Rhapsody in Blue

Program

Gabriela Lena Frank Three Latin American Dances (20 mins)

Introduction: Jungle Jaunt
Highland Harawi
The Mestizo Waltz

George Gershwin Rhapsody in Blue (16 mins)

Manuel de Falla Suites from The Three-Cornered Hat (24 mins)

Introduction - Afternoon
Dance of the Miller’s Wife (Fandango)
The Corregidor The Miller’s Wife
The Grapes
The Neighbors Dance (Seguidillas)
The Miller’s Dance (Farruca)
Final Dance (Jota)

Andrew Litton

Andrew Litton

Conductor and Piano

Andrew Litton

Conductor and Piano

Andrew Litton is Music Director of the New York City Ballet. He is also Conductor Laureate of the Bournemouth Symphony Orchestra and was previously Music Director Laureate of Norway’s Bergen Philharmonic. Under his leadership the Bergen Philharmonic gained international recognition through extensive recording and touring, making debuts at the BBC Proms, at Amsterdam’s Concertgebouw, and appearances at Vienna’s Musikverein, Berlin’s Philharmonie, and New York’s Carnegie Hall. For his work with the Bergen Philharmonic, Norway’s King Harald V knighted him with the Norwegian Royal Order of Merit.
Andrew was Principal Conductor of the Bournemouth Symphony Orchestra from 1988-1994. During this time, he led the orchestra on their first American tour and produced 14 recordings, including the Grammy-winning Belshazzar’s Feast. As Music Director of the Dallas Symphony Orchestra from 1994-2006, he hired over one third of the players, led the orchestra on three major European tours, appeared four times at Carnegie Hall, created a children’s television series broadcast nationally and in widespread use in school curricula, produced 28 recordings, and helped raise the orchestra’s endowment from $19 million to $100 million. He regularly guest conducts leading orchestras and opera companies around the globe and adds to his discography of over 140 recordings, which have garnered America’s Grammy Award, France’s Diapason d’Or and other honours.
In addition to conducting over fifty performances at the New York City Ballet, Andrew returns regularly to the Singapore Symphony Orchestra (where he is a former Principal Guest Conductor) Bournemouth Symphony Orchestra and Bergen Philharmonic Orchestra, and guest conducts with a wide range of international orchestras - recent and forthcoming highlights including the Vancouver Symphony, South Netherlands Philharmonic, Orchestra Sinfonica di Milano, BBC Symphony Orchestra, English Chamber Orchestra, City of Birmingham Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, Deutsches Symphonie- Orchester Berlin, Dallas Symphony, Colorado Symphony, Seattle Symphony, Adelaide Symphony Orchestra, Orquesta Sinfonica de Galicia, and the Royal Swedish Orchestra.
An avid opera conductor with a keen theatrical sense, Andrew has led major opera companies throughout the world, including the Metropolitan Opera, Royal Opera Covent Garden, Australian Opera and Deutsche Oper Berlin. In Norway, he was key to founding the Bergen National Opera, where he led numerous critically acclaimed performances. He often conducts semi-staged opera programmes with symphony orchestras. During his 14-year tenure as Artistic Director of the Minnesota Orchestra Sommerfest, he concluded the festival with sold-out performances of Salomé, Der Rosenkavalier, Madama Butterfly, La Bohème, Tosca, Rigoletto, La Traviata and others. He conducted the BBC National Orchestra of Wales at the 2021 BBC Cardiff Singer of the World competition.
Andrew’s work with New York City Ballet has earned praise from critics, dancers, and audiences, bringing new prominence to the Ballet’s orchestra. He began his ballet work while still a Juilliard student, performing as on-stage pianist for Rudolf Nureyev, Natalia Makarova, and Cynthia Gregory. In December 2023 Andrew made his debut with the Royal Ballet, Covent Garden and in the 2024-25 season he will make his debut with the Bayerisches Staatsballett, Munich.
An accomplished pianist, Andrew often performs as piano soloist, conducting from the keyboard, most recently Gershwin’s Rhapsody in Blue with the Adelaide Symphony Orchestra and Beethoven’s Triple Concerto in Singapore. An acknowledged expert on George Gershwin, he has performed and recorded Gershwin widely as both pianist and conductor and serves as Advisor to the University of Michigan Gershwin Archives. After leading the Covent Garden debut of Porgy and Bess, Andrew arranged his own concert suite of the work, which is now performed around the world. In 2014 he released his first solo piano album, A Tribute to Oscar Peterson, a testimony to his passion for jazz, particularly the music of that great pianist.
Andrew’s Dallas Symphony Rachmaninoff Piano Concerto recordings with Stephen Hough, widely hailed as the best since the composer’s own, won the Classical Brits/BBC Critics Award. He also received a Grammy nomination for his recording of Sondheim’s Sweeney Todd with the New York Philharmonic and Patti Lupone.
Born in New York City, Andrew graduated from the Fieldston School and earned both Bachelor’s and Master’s degrees from The Juilliard School in Piano and Conducting. He served as assistant conductor at La Scala and at the National Symphony under Rostropovich. His many honours in addition to Norway’s Order of Merit include Yale’s Sanford Medal, the Elgar Society Medal, and an Honorary Doctorate from the University of Bournemouth.
Updated September 2024

View Full Profile
Grant Park Orchestra

Grant Park Orchestra

Orchestra

Grant Park Orchestra

Orchestra

The Grant Park Orchestra was formed in 1944 when the Chicago Park District assembled a single resident orchestra under the direction of Principal Conductor Nikolai Malko to perform at the Grant Park Music Festival (which began in 1935 and featured a series of visiting orchestras). Since then, other prestigious conductors have held the position, including Irwin Hoffman, Leonard Slatkin, David Zinman, Zdnek Macal and Hugh Wolff. In 2000, Carlos Kalmar was named the Festival’s Principal Conductor.
Today, the Grant Park Orchestra draws its musicians from different orchestras and musical institutions throughout the United States. Each summer, all of the orchestra members gather in Millennium Park for a ten-week long season consisting of intensive rehearsals and performances. During the year, the musicians can be found across the country performing with major orchestras, teaching at numerous universities and appearing frequently in concert stages across the country. Some organizations represented by Grant Park Orchestra musicians include the Lyric Opera of Chicago, the Metropolitan Opera, the Buffalo, Colorado, Jacksonville, Kansas City, Milwaukee, New Mexico, Phoenix, Pittsburgh, Richmond, San Antonio, Seattle, and Utah Symphonies. The Grant Park Orchestra was nominated for a Grammy award for its recording entitled Robert Kurka: Symphonic Works.

View Full Profile

Gabriela Lena Frank (b. 1972)
Three Latin American Dances (2003)
Scored for: three flutes including piccolo, three oboes including English Horn, three clarinets including bass clarinet, three bassoons, four French horns, three trumpets, three trombones, timpani, percussion, harp, piano, and strings
Performance time: 20 minutes
First Grant Park Orchestra performance

Named one of the “35 Most Significant Women Composers in History” by the Washington Post in 2017, Gabriela Lena Frank currently serves as composer-in-residence with the Philadelphia Orchestra. She was born in Berkley, California, to a mother of Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent. Throughout her career, her multicultural heritage has been central to her compositional identity, her voice an amalgam of her lived experiences as a multiethnic Latina and the paradoxes inherent in that reality. She writes that her early days were “filled with Oriental stir-fry cuisine, Andean nursery songs, and frequent visits from our New York-bred Jewish cousins.” Her musical upbringing was just as diverse, her piano repertoire spanning not only the traditional works of Bach and Mozart but also Scott Joplin’s rags and her own early compositions, which carried overtones of Peruvian folk music.

Frank’s Three Latin American Dances (2004) are an encapsulation of this diverse background. The first movement, “Introduction: Jungle Jaunt,” begins with an intentional nod to Leonard Bernstein’s Symphonic Dances from West Side Story, which similarly employ an eclectic mix of musical traditions. After this tribute, she turns to the harmonies and rhythms of various pan-Amazonian dance forms. Next, “Highland Harawi,” evokes the harawi, a traditional Andean genre of music and lyric poetry Frank describes as “a melancholy adagio traditionally sung by a single bamboo quena flute so as to accompany a single dancer.” The somber music that bookends this movement depicts the vastness of the Andean mountains, while the fast middle section is meant to simulate the great spinning top belonging to Illapa, the Peruvian-Inca weather deity of thunder, lightning, and rain. Finally, “The Mestizo Waltz” honors the mixed-race (“mestizo”) music of the South American Pacific coast. “In particular,” Frank writes, “it evokes the ‘romancero’ tradition of popular songs and dances that mix influences from indigenous Indian cultures, African slave cultures, and western brass bands.”

George Gershwin (1898–1937)
Rhapsody in Blue (1924; Orchestration by Ferde Grofé, 1926)
Scored for: two flutes, two oboes, three clarinets including bass clarinet, two bassoons, three French horns, three trumpets, three trombones, tuba, timpani, percussion, alto saxophone, tenor saxophone, banjo, strings, and solo piano
Performance time: 16 minutes
First Grant Park Orchestra performance: June 23, 1940; Oscar W. Anderson, conductor and Jane Anderson, piano

The story of how Rhapsody in Blue came to be is almost as legendary as the work itself. George Gershwin and his brother Ira were reading the paper one day in early January 1924 when they came across a startling announcement: the famous dance bandleader Paul Whiteman was holding a concert on February 12, featuring a new jazz concerto by George Gershwin. This was news to the composer. Gershwin either had forgotten about the commission, or there was a miscommunication. Regardless, he had to write something—and fast. Gershwin composed Rhapsody in Blue in just a few weeks while also in rehearsals for his new musical comedy, Sweet Little Devil, which was opening in Boston at the same time. He sought the help of Whiteman’s go-to arranger, Ferde Grofé, who orchestrated Gershwin’s piano reduction for Whiteman’s idiosyncratic “jazz” band and later scored it for symphony orchestra.

The bustling soundscape of urban America was Gershwin’s main source of inspiration. “It was on the train, with its steely rhythms, its rattlety-bang that is often so stimulating to a composer,” Gershwin explained. “And there I suddenly heard—and even saw on paper—the complete construction of the rhapsody, from beginning to end . . . I heard it as a sort of musical kaleidoscope of America—of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.” Though other classical composers before Gershwin had integrated jazz rhythms and harmonies into their music, Rhapsody in Blue is often considered the landmark piece that brought “jazz” into the concert hall.

Jazz is not the only nonclassical stylistic influence in Rhapsody in Blue. While Rhapsody in Blue has received criticism for white-washing jazz, it is erroneous to treat Rhapsody in Blue as authentic source material, as it is not really jazz. Instead, the work presents an amalgam of the sounds Gershwin grew up hearing as a second-generation Russian Jewish immigrant in New York. For instance, he nods to his roots as a teenage song plugger on Tin Pan Alley. There are also strains of Yiddish theater music, the hurdy-gurdies of the Lower East Side, and Latin American dance rhythms, representing the city’s rich cultural tapestry.

Manuel de Falla (1876–1946)
Suite from El sombrero de tres picos (The Three-Cornered Hat) (1916)
Scored for: three flutes including piccolo, three oboes including English Horn, two clarinets, two bassoons, four French horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celesta, and strings
Performance time: 24 minutes
First Grant Park Orchestra performance: July 9, 1948; Alfredo Antonini, conductor

The 1919 London premiere of Manuel de Falla’s ballet El sombrero de tres picos (The Three-Cornered Hat) is one of those moments in music history that makes you wish time travel were possible. Not only does the ballet score feature some of Falla’s most delightful music, but the production was mounted by impresario Sergei Diaghilev and the famed Ballets Russes (the same company that premiered Stravinsky’s The Rite of Spring), with Léonide Massine as the choreographer/principal dancer and none other than Pablo Picasso as the set and costume designer. The ballet was a hit in London, cementing Falla’s international reputation as one of the most consequential Spanish composers of the early 20th century.

Before the outbreak of World War I, Falla had spent seven years in Paris, where he encountered the artistic luminaries who would later help bring El sombrero de tres picos to fruition. Along with Diaghilev, he met prominent composers such as Stravinsky, Ravel, and Debussy. The latter was especially influential on Falla’s compositional style, which blends traditional Spanish musical elements with French Impressionism. Back in Spain, Falla set to work on numerous stage works, including incidental music for a pantomime called El corregidor y la molinera (The Magistrate and the Miller), based on a novella by Pedro Antonio de Alarcón. After visiting Madrid with Stravinsky in 1916, Diaghilev convinced Falla to expand the pantomime into a ballet for full orchestra.

El sombrero de tres picos tells the story of a miller and a buffoonish magistrate, whose attempts to seduce the miller’s wife are repeatedly thwarted. By the end of the ballet, the magistrate, identified by his traditional three-cornered hat, is thoroughly humiliated, even being arrested by his own constables in a case of mistaken identity. Two orchestral suites are typically extracted from the score for concert performance, with one suite for each of the ballet’s two acts. The first suite opens with a brief fanfare as the curtain rises on a warm, sunny afternoon. The magistrate passes by the mill, his pompous strut represented by the bassoon. To goad the boorish official, the miller’s wife seduces him by dancing a fandango and offering him grapes. When she runs away, the magistrate tries to catch her but is ambushed by the miller, who leaps from the bushes, brandishing a stick. In the second suite, the miller’s neighbors celebrate the Feast of St. John by dancing seguidillas. The miller then dances a solo flamenco farruca—a showcase Falla had composed for Massine. Before choreographing the ballet, Massine had toured Spain for a year to immerse himself in authentic Spanish character dances, even studying under renowned flamenco dancer Félix Fernández García. Finally, the ballet’s themes combine in the celebratory jota, as the villagers toss the debased magistrate in the air on a blanket.

—Katherine Buzard

Giancarlo Guerrero

Giancarlo Guerrero

Conductor

Giancarlo Guerrero

Conductor

Six-time GRAMMY® Award-winning conductor Giancarlo Guerrero named artistic leader of Chicago’s Grant Park Music Festival.
The internationally renowned conductor and longtime music director of the Nashville Symphony Orchestra and music director designate of the Sarasota Orchestra becomes the Festival’s eighth artistic director and principal conductor. Guerrero led the Grant Park Orchestra and Chorus in three acclaimed concerts during the 2024 season and has taken the reins of the Festival’s artistic team for the 2025 season. He will conduct four weeks next summer. The Festival has presented free classical concerts since 1935 and attracts hundreds of thousands each year.
“We are thrilled to welcome Giancarlo Guerrero to Chicago to lead what is regarded as the United States’ most important free classical music institution,” said Paul Winberg, Grant Park Orchestral Association President and CEO. “Giancarlo is not only a brilliant conductor with a stellar reputation; he has a history of curating programs that are exciting, surprising, and inventive. Also, our musicians are tremendously excited about working with him. His concerts last summer sparked a palpable energy from our audiences. It is a joy to listen to the music he conducts. The Grant Park Music Festival is highly anticipated by Chicagoans each year; we are confident that our future is in excellent hands with Giancarlo at the podium.”
Praised for his “viscerally powerful performances” (Boston Globe) and described as “at once vigorous, passionate, and nuanced” (BachTrack), Guerrero is one of the most respected orchestra conductors in the world. He succeeds Carlos Kalmar, who served in the position for 25 seasons, and will now hold the title of conductor laureate. Guerrero is familiar to Chicago audiences through his frequent appearances with the Chicago Symphony Orchestra. In addition, he has led multiple programs with the Grant Park Music Festival since his 2008 debut.
“From the moment I first walked onto the stage of the glorious Pritzker Pavilion, and looked out at the sea of people – a snapshot of the entire city of Chicago – it was immediately apparent what a gift the Grant Park Music Festival is to the community. In the heart of this vibrant downtown, in one of the most exciting cities in the world, here is a festival dedicated to orchestral music and designed to be enjoyed by everyone. The mission of the Festival aligns closely with my philosophy that music is meant to be enjoyed by people from all walks of life, without boundaries,” said Guerrero. “I felt such a natural, easy connection with these incredible musicians – including both the stellar orchestra and the spectacular chorus. I recognized sparks flying, musically speaking, from my first interactions with them from the podium. These musicians, hailing from orchestras and opera companies from the region and throughout the world, are really the best of the best.”
During the 2024 Festival, Guerrero led two programs: the first featuring Shostakovich’s Symphony No. 5 on July 10, and the second featuring Beethoven’s Emperor Concerto with Maurice Duruflé's Requiem on July 12 and 13. Reviewing the Shostakovich program for the Chicago Tribune, Hannah Edgar praised Guerrero’s “curatorial and interpretive creativity” and added that his pre-performance remarks to the audience “provided context for both pieces… that mirrored his interpretation of the symphony: emphatic, practiced and assertive.” Recognizing that he might be a candidate to replace Kalmar, Edgar concluded that “Guerrero will have no problem leaving his mark.”
Festival concertmaster Jeremy Black also lauded Guerrero’s leadership of the orchestra, saying, “Giancarlo established a genuine rapport with the orchestra. I remember hearing one of my orchestra colleagues say, ‘he lit a fire under us!’ He's a superb musician who can inspire us to perform at the highest level.”
“The Grant Park Music Festival drew hundreds of thousands of people during our recently concluded summer season,” added Grant Park Orchestral Association Board Chair Adam Grais. “Not only do our concerts attract dedicated music lovers and introduce thousands of young people to classical music, we also present some of the world’s most esteemed musicians to our stage. Concertgoers tell me that the Festival is one of the things they most love about Chicago. And Giancarlo possesses the talent, relationships, vision and drive to lead our organization to even greater accomplishments in the future.”
The board of directors of the Grant Park Orchestral Association enthusiastically voted unanimously at an August 15 meeting to name Guerrero as the successor to Kalmar, who had announced in 2021 that he was stepping down at the end of the Festival 2024. The search for Kalmar’s replacement was a three-year process undertaken by a search committee composed of musicians, members of the board of directors and community leaders. The Festival team will announce Guerrero’s plans for the 2025 season in January.
About Giancarlo Guerrero
In the 2024-2025 season, Guerrero will serve in his 16th and final year as music director of the Nashville Symphony. Guerrero collaborated with the Nashville Symphony to premiere over two dozen new works and release 22 commercial albums. These definitive recordings garnered 13 GRAMMY® Award nominations and six GRAMMY® wins, cementing Guerrero and the Symphony’s international reputation as standard-bearers for recordings of contemporary American music. As part of his commitment to fostering the work of contemporary composers, Guerrero, together with composer Aaron Jay Kernis, also guided the creation of Nashville Symphony’s biannual Composer Lab & Workshop for young and emerging composers.
Guerrero has collaborated throughout his career with leading ensembles in North America, including the Chicago Symphony Orchestra, Boston Symphony, New York Philharmonic, and Philadelphia Orchestra, among others. Internationally, he has maintained longstanding relationships with esteemed orchestras in Europe, Latin America and Australia/New Zealand. Guerrero also recently completed a six-season tenure as music director of the NFM Wrocław Philharmonic in Poland. Guerrero previously held posts as the principal guest conductor of both the Cleveland Orchestra Miami Residency and the Gulbenkian Orchestra in Lisbon, music director of the Eugene Symphony, and associate conductor of the Minnesota Orchestra.
Born in Nicaragua, Guerrero immigrated during his childhood to Costa Rica, where he joined the local youth symphony. He studied percussion and conducting at Baylor University in Texas and earned his master’s degree in conducting at Northwestern University in Evanston, Illinois. Given his beginnings in civic youth orchestras, Guerrero is particularly engaged with conducting training orchestras and has worked with the Curtis School of Music, Colburn School in Los Angeles, National Youth Orchestra (NYO2) and Yale Philharmonia, as well as with the Nashville Symphony’s Accelerando program, which provides an intensive music education to promising young students from diverse ethnic backgrounds.

View Full Profile
Christopher Bell

Christopher Bell

Chorus Director

Christopher Bell

Chorus Director

Christopher Bell has served as Chorus Director of the Grant Park Chorus since 2002. Bell oversees a chorus of more than 100 singers, along with the Project Inclusion Vocal Fellows, a unique program designed to encourage singers under-represented in the field. Bell prepares all of the Festival’s choral programs, and conducts the orchestra and chorus for several concerts.
During his tenure, he and the chorus have been recipients of the coveted Margaret Hillis Award for Choral Excellence given by Chorus America, as well as glowing reviews from both critics and audiences alike. In 2013, Bell won the Michael Korn Founders Award for Development of the Professional Choral Art.
In a career spanning thirty years thus far, Christopher has been chorusmaster of the Edinburgh Royal Choral Union (1987–1990), Chorus Master of the Royal Scottish National Orchestra Chorus (1989–2002) the Belfast Philharmonic Choir (2005–2011) the Edinburgh Festival Chorus (2007–2018) and the Washington Chorus (2017–2020).
Largely responsible for the formation of the National Youth Choir of Scotland (NYCOS) in 1996, he has been its Artistic Director ever since. The National Youth Choir of Scotland has toured to Sweden, Ireland, Chicago, Hungary, Germany and Central Europe, has won a prestigious Royal Philharmonic Society Award, and performed at the BBC Proms and the Edinburgh International Festival to great acclaim. NYCOS organisation has expanded to has expanded over 25 years to include fifteen regional choirs, three national choirs and an extensive education and publishing arm.
Bell was awarded an Honorary Doctorate in Music from the Royal Conservatoire in Scotland in 2012, in recognition of his contribution to performing arts in Scotland. In 2015, he was awarded an Honorary Doctor of Music from the University of Aberdeen.
Born in Belfast, Bell was educated at Edinburgh University and held his first post as Associate Conductor of the BBC Scottish Symphony. Since then, he has worked with many of the major orchestras in the UK and Ireland, including the Royal Philharmonic, London Philharmonic, Royal Scottish National, BBC Scottish Symphony, Ulster Orchestra, Scottish Chamber, City of London Sinfonia, London Concert, RTE National Symphony, RTE Concert and the Bournemouth Symphony. Between 2009 and 2017 he was Associate Conductor of the Ulster Orchestra. Recent orchestral performances have included San Francisco Symphony and the Orchestra of Opera North.
He is well-known for his work with young musicians. Before his current post with the National Youth Choir of Scotland, he was the founding conductor of the Ulster Youth Choir, director of the Total Aberdeen Youth Choir for six years, and director of the prestigious RSNO Junior Chorus for twenty four years.

View Full Profile

Festival Forever

Donate

Become a member

Jeremy Black, concertmaster

Trista Wong, acting assistant concertmaster

Zulfiya Bashirova

Jennifer Cappelli

Laura Park Chen†

Injoo Choi

Dima Dimitrova

Erica Hudson

Hyewon Kim*

Matthew Lehmann

Jayna Park

Rika Seko

Karen Sinclair

Bonnie Terry

Krzysztof Zimowski

Liba Shacht, principal

Laura Miller, assistant principal*

Ying Chai

Ran Cheng

Karl Davies

Likai He

Ann Lehmann

Cristina Muresan*

Kjersti Nostbakken

Irene Radetzky

Jeanine Wynton

Thomas Yang

Bing Jing Yu†

Terri Van Valkinburgh, principal

Yoshihiko Nakano, assistant principal

Elizabeth Breslin*

Beatrice Chen

Amy Hess

Christopher McKay†

Edwardo Rios†

Rebecca Swan

Chloé Thominet

Walter Haman, principal

Peter Szczepanek, assistant principal

Calum Cook

Larry Glazier

Steven Houser

Eric Kutz

Eran Meir

Colin Corner, principal

Peter Hatch, assistant principal

Andrew Anderson

Christian Luevano

Samuel Rocklin

Chunyang Wang

Chris White

Jennifer Lawson, acting principal

Jennifer Clippert†

Alyce Johnson, acting assistant principal

Alyce Johnson

Mitchell Kuhn, principal

Alex Liedtke

Anne Bach, assistant principal

Anne Bach

Dario Brignoli, principal

Trevor O’Riordan

Eric Hall, principal

Nicole Haywood Vera Tenorio, assistant principal

Juan De Gomar†

Patrick Walle, acting principal†

Stephanie Blaha, assistant principal*

Neil Kimel

Brett Hodge

Paul Clifton

David Gordon, principal

Mike Brozick, acting assistant principal

William Denton*

Rebecca Oliverio†

Daniel Cloutier, principal*

Jeremy Moeller, acting principal

Lee Rogers, acting assistant principal†

Alexander Mullins

Andrew Smith, principal

Daniel Karas, principal

Josh Jones, principal

Joel Cohen, assistant principal

Doug Waddell

Kayo Ishimaru-Fleisher, principal*

Christopher Guzman

Eliza Bangert, principal

Javier F. Torres-Delgado, violin

Maria Gabriela Mendez Martinez, violin

Joshua Thaver, viola

Manuel Papale, cello

Laura Lynch Anderson

Kristina Bachrach

Madalynn Baez

Megan E. Bell

Alyssa Bennett

Tamara Bodnar

Kylie Buckham

Anna Joy Buegel

Laura Bumgardner

Katherine Buzard

Bethany Clearfield

Nathalie Colas

Carolyne DalMonte

Megan Fletcher

Kaitlin Foley

Saira Frank

Julia Frodyma

Katherine Gray-Noon

Kimberly Gunderson

Alexandra Ioan

Alexandra Kassouf

Darlene Kelsey

Olivia Knutsen

Marybeth Kurnat

Katelyn Lee

Kyuyim Lee+

Rosalind Lee

Veronica Mak

Hannah Dixon McConnell

Marie McManama

Kathleen Monson

Susan Nelson

Evangeline Ng

Máire O'Brien

Alexandra Olsavsky

Laura Perkett

Angela Presutti Korbitz

Alexia Rivera

Veronica Samiec

Emily Sinclair

Molly Snodgrass

Tiana Sorenson

Christine Steyer

Sarah van der Ploeg*

Lydia Walsh-Rock

Sherry Watkins

Kyuyim Lee

Isabel Yang

Opal Clyburn-Miller

Matthew Dexter

Emily Amesquita

Melissa Arning

Christina Bernardoni

Angela Born

Bethany Brewer

Julie DeBoer

Leah Dexter

Katrina Dubbs

Stacy Eckert

Margaret Fox

Catarine Hancock

Ruth Ginelle Heald

Sophia Heinz

Miya Higashiyama

Carla Janzen

Amy Allyssa Johnson

Kathryn Kinjo Duncan

Amanda Koopman

Anna Laurenzo

Jeannette Lee

Thereza Lituma

Chelsea Lyons

Victoria Marshall

Jessica McCarthy

Quinn Middleman

Ella Peters

Sarah Ponder

Emily Price

Stephanie Schoenhofer

Suzanne A. Shields

Marissa Simmons

Cassidy Smith

Aidan Spencer

Alannah Spencer

Margaret Stoltz

Carolyn Sundlof Boudreau

Gabrielle Timofeeva López

Elizabeth Vaughan

Corinne Wallace-Crane

A.J. Wester

Debra Wilder

Isabel Yang+

Charles Anderson

Enrico Giuseppe Bellomo

Justin Berkowitz

Madison Bolt

Hoss Brock

Steven Caldicott Wilson

Opal Clyburn-Miller+

John J. Concepción

Micah Dingler

Jared V. Esguerra

Alec Fore

Ace Gangoso

Klaus Georg

Tejas Gururaja

Paul Hunter

Garrett Johannsen

William Johnson

James Judd

Tim Lambert

Tyler Lee

Stephen D. Noon

Marcos Ochoa

Brett Potts

Nicholas Pulikowski

Peder Reiff

Samuel Rosner

Matthew W. Schlesinger

Joe Shadday

Aaron Short

Brian Skoog

Michael St. Peter

Ryan Townsend Strand

Alan Taylor*

Sean J. Watland

Nate Widelitz

Walter Aldrich

Evan Bravos

Matthew Brennan

Michael Cavalieri

Ryan J. Cox

Ed Frazier Davis

Lifan Deng

Matthew Dexter+

Chris DiMarco

Christopher Filipowicz

Dimitri German

Dominic German

David Govertsen

Spencer Greene

Brian Hupp

Jan Jarvis

Jess Koehn

Eric Miranda

Ian Morris

Ian Murrell

John E. Orduña

Wilbur Pauley

Douglas Peters

Jackson Pierzina

Martin Lowen Poock

Ian Prichard

Dan Richardson

Stephen Richardson

Benjamin D. Rivera

Scott Uddenberg

Schyler Vargas

Vince Wallace

Aaron Wardell

Ronald Watkins

Jonathon Weller

Peter Wesoloski

Jonathan Wilson

Staff and Board

Meet Our Team

Welcome

2025 Digital Programs

Program

Featuring

Andrew Litton

Grant Park Orchestra

Program Notes

Event Sponsors

Artistic Leadership

Giancarlo Guerrero

Christopher Bell

Support The Festival

Festival Forever

Donate

Become a member

Grant Park Orchestra

Grant Park Chorus

Staff and Board