Tchaikovsky Violin Concerto

Program

Mykola Lysenko Overture to Taras Bulba (5 mins)

Piotr Ilyich Tchaikovsky Violin Concerto (33 mins)

Allegro moderato
Canzonetta: Andante
Finale: Allegro vivacissimo

Intermission (20 mins)

Sergei Prokofiev Symphony No. 5 (46 mins)

Andante
Allegro moderato
Adagio
Allegro giocoso

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.

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Keri-Lynn Wilson

Keri-Lynn Wilson

Conductor

Keri-Lynn Wilson

Conductor

Keri-Lynn Wilson is the founder and Music Director of the highly regarded Ukrainian Freedom Orchestra, formed in response to the Russian invasion and which has toured major cities and festivals in Europe and the United States over the past three summers. As a staunch supporter of Ukrainian liberty, Ms. Wilson performed the Verdi Requiem at the Lviv Opera House in February 2023 to commemorate the one-year anniversary of the invasion and she has returned to Ukraine on numerous occasions since then to lead performances in solidarity.
Ms. Wilson created a new performance version of the “Ode to Joy” in Ukrainian for the Ukrainian Freedom Orchestra’s Beethoven Ninth Freedom Tour last summer. In this version, “Joy” is changed to “Slava,” the Ukrainian word for “Glory,” the rallying cry for Ukrainian victory. The Ukrainian Freedom Orchestra’s recording of the Beethoven Ninth Symphony was released by Deutsche Grammophon to commemorate the second anniversary of the invasion.
Most recently, Ms. Wilson was appointed Music Director of the Kyiv Camerata, Ukraine’s leading chamber orchestra. Ms. Wilson will be leading the Kyiv Camerata in concerts both inside and outside of Ukraine in the 2024/25 season.
Ms. Wilson’s career as a conductor of opera and symphonic music includes many of the world’s leading opera houses and symphony orchestras. Among the opera companies she has conducted in recent seasons are the Royal Opera House, Paris Opera, and the Metropolitan Opera. Orchestras she has conducted recently include the NHK Symphony, the Symphonieorchester des Bayerischen Rundfunks, the Deutsches Symphonie-Orchester Berlin, and the Bruckner Orchestra of Linz.
Highlights of Ms. Wilson’s 2024/25 season include her debut at the Staatsoper Berlin, conducting Turandot, as well as return engagements with the Canadian Opera Company to conduct Madama Butterfly, the Deutsche Oper Berlin to conduct Salome, and the Metropolitan Opera to conduct Pique Dame. She makes her debut with the New York Philharmonic in December, conducting Shostakovich’s Tenth Symphony. Ms. Wilson will also be conducting a Puccini Gala concert tour of Spanish opera houses with soprano Sondra Radvanovsky and tenor Piotr Beczala at Grand Teatre del Liceu Barcelona, Teatro de la Maestranza, Teatro Real de Madrid and Les Arts Valencia. This season, she also conducts the Orquestra del Teatro Colon in a performance of the Beethoven Ninth Symphony, as well as concert programs with the Havana Lyceum Orchestra at Mozartwoche in Salzburg, the Orchestre national de Metz Grand Est, and the MDR Sinfonieorchester.
Over a rich and varied career, Ms. Wilson has conducted, amongst many other orchestras, the Los Angeles Philharmonic, the San Francisco Symphony, the Wiener Kammerorchester, the Hessische StaatsorchesterWiesbaden, the Filarmonica Arturo Toscanini in Parma, the Wrocław Philharmonic, the Deutsches Symphonie Orchester, the Prague Philharmonia, the RAI Symphony Orchestra, the Salzburg Mozarteum, the Ravinia Festival Orchestra, the Seattle Symphony, the Orchestre national d'Ile de France, NDR Radiophilharmonie, Orchestre national Bordeaux Aquitaine, Sinfonieorchester St. Gallen, Toronto Symphony and l’Orchestre Symphonique de Montréal.
Ms. Wilson’s career operatic highlights include Carmen, La Bohème and La Traviata at the Royal Ballet and Opera House Covent Garden; Tosca, Madama Butterfly, and La Traviata at the Wiener Staatsoper, Lady Macbeth of Mtsensk at the Metropolitan Opera, Salome at Houston Grand Opera La Traviata, Madama Butterfly and Il Barbiere di Siviglia at the Bayerische Staatsoper, Stolen Happiness at the Liviv National Opera, Madama Butterfly at the Deutsche Oper, Cendrillon at Opéra national de Paris, Lady Macbeth of Mtsensk and La Traviata at the Opernhaus Zürich, Don Carlo, Iolanta, Manon Lescaut, Carmen, Tosca, La Fanciulla del West, Jenufa and Aïda at the English National Opera, Rusalka at the Czech National Opera, Rigoletto at the Norwegian National Opera, Der Fliegende Holländer, Carmina Burana, Boris Godunov, and Carmen at the Polish National Opera, Faust at the Washington National Opera, Pique Dame and Tosca at the Latvian National Opera and Madama Butterfly at the Canadian Opera Company. She was the first female conductor to lead an opera at: the Arena di Verona, where she conducted Tosca and Madama Butterfly; the New National Theatre (NNT) Tokyo, where she led Madama Butterfly; and the Opera di Roma, where she conducted Aïda.
Of partial Ukrainian descent, Ms. Wilson was raised in Winnipeg, Canada, home of North America’s most concentrated Ukrainian population, where she studied flute, piano, and violin from an early age. While still a student at Juilliard, she assisted Claudio Abbado at the Salzburg Festival, and won a fellowship from the Tanglewood Music Center. Upon graduating from Juilliard with a masters both in flute and conducting, she was named the Associate Conductor at the Dallas Symphony Orchestra.
On August 24th, Ukrainian Independence Day, Ms. Wilson was awarded the Order of Princess Olga by President Zelensky for her contributions to Ukrainian culture.

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Augustin Hadelich

Augustin Hadelich

Violin

Augustin Hadelich

Violin

Augustin Hadelich is one of the great violinists of our time. From Bach to Paganini, from Brahms to Bartók to Adès, he has mastered a wide-ranging and adventurous repertoire. He is often referred to by colleagues as a musician's musician. Named Musical America’s 2018 "Instrumentalist of the Year", he is consistently cited worldwide for his phenomenal technique, soulful approach, and insightful interpretations.
Highlights of Augustin Hadelich’s 2020/21 season include appearances with the Atlanta, Baltimore, Colorado, Dallas, Milwaukee, North Carolina and Seattle symphony orchestras, as well as the Leipzig Gewandhaus Orchestra, WDR radio orchestra Cologne, Philharmonia Zürich, Dresden Philharmonic, ORF Vienna Radio Symphony, Danish National Orchestra, City of Birmingham Symphony Orchestra, Finnish Radio Symphony Orchestra, BBC Scottish Orchestra, and Elbphilharmonie Orchestra Hamburg, where he was named Associate Artist starting with the 2019/20 season.

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Mykola Lysenko (1842–1912)
Overture to Taras Bulba (1880)
Scored for: three flutes including piccolo, three oboes including English Horn, three clarinets including bass clarinet, three bassoons including contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, percussion, harp, and strings
Performance time: 5 minutes
First Grant Park Orchestra performance

Ukrainian composer Mykola Lysenko never got to see his opera Taras Bulba performed during his lifetime. His insistence on using Ukrainian text and folk music prevented its production in what was then the Russian Empire, which sought to suppress the Ukrainian language and culture. Nicknamed “the father of Ukrainian classical music,” Lysenko composed several operas as well as works for choir, orchestra, piano, and chamber ensembles. He also founded the Ukrainian National School of Music, where he taught a generation of Ukrainian composers.

Based on the novella Taras Bulba by Nikolai Gogol, the opera takes place in 17th-century Ukraine when Poland was fighting for supremacy in the region. In fighting for his people’s freedom, the Cossack patriarch Taras Bulba ends up killing his son for treason after he falls in love with the daughter of the Polish governor. The opera was performed for the first time in 1924 in Kharkiv. After undergoing significant revisions in the 1930s and 1950s, the opera now traditionally closes out each season at the Kyiv Opera House, though it is still rarely performed in the West.

Piotr Ilyich Tchaikovsky (1840–1893)
Concerto in D major for Violin & Orchestra, op. 35, TH 59 (1878)
Scored for: two flutes, two oboes, two clarinets, two bassoons, four French horns, two trumpets, timpani, strings, and solo violin
Performance time: 33 minutes
First Grant Park Orchestra performance: September 5, 1936; Joseph Raffaelli, conductor and Mischa Elman, violin

Just four years after pianist Nikolai Rubinstein’s notorious condemnation of his First Piano Concerto, Piotr Ilyich Tchaikovsky again faced damning criticism for a work that would later become an audience favorite. In the spring of 1878, Tchaikovsky escaped the fallout from his failed marriage by absconding to the Swiss resort town of Clarens on Lake Geneva. There, he composed his Violin Concerto in D Major, Op. 35, with the help of violinist Iosif Kotek, a former student from the Moscow Conservatory. The two had become close friends and collaborators after Kotek’s graduation in 1876. The young violinist proved a useful resource not only in helping Tchaikovsky workshop the Violin Concerto but also in connecting the composer with his future patron, the reclusive widow Nadezhda von Meck. Her patronage would give Tchaikovsky the financial security to quit teaching and compose full-time.

Tchaikovsky dedicated the Violin Concerto to violinist Leopold Auer, a colleague at the conservatory who had lobbied to premiere the work. However, Auer was not exactly thrilled when Tchaikovsky presented him with the completed score. In an interview in 1912, Auer said, “I regretted that the great composer had not shown it to me before committing it to print. Much unpleasantness might then have been spared us both.” According to Tchaikovsky, Auer said the concerto was “impossible to play” and “a mockery of the public”—much like the comments he had received from Rubinstein on his Piano Concerto. Auer insisted his criticism was more measured, his main complaint being that certain solo passages were not idiomatic for the instrument. Regardless of what words were actually exchanged, Tchaikovsky was hurt and the situation got messy. Auer’s lack of support meant the concerto was not performed until 1881, when it premiered to an unsympathetic audience in Vienna. Auer eventually came around to the Violin Concerto after making some edits to the violin part. He not only became a celebrated interpreter of the work but also taught it to his many illustrious students, including Jascha Heifetz.

The first movement begins simply with a minimally accompanied melody for the violins. A suspenseful dominant pedal in the low strings anticipates the solo violin’s entrance with a quiet iteration of the noble first theme. This melody alternates with a more sinuous second theme. These two themes are developed throughout the movement, with transitional passages providing the soloist ample opportunities for virtuosic display. Tchaikovsky did make one substantial edit after Auer’s comments: completely rewriting the slow movement. (He would recycle the original Andante in his suite for violin and piano Souvenir d’un lieu cher.) Titled “Canzonetta,” the movement’s sorrowful song-like melody is first presented over muted strings, then in duet with the flute and clarinet. A transitional cadenza flows straight into the spirited finale. Recalling the violin’s roots as a folk instrument, the rondo-form finale evokes a Slavic dance, again allowing the violinist plenty of opportunities for soloistic bravura.

Sergei Prokofiev (1891–1953)
Symphony No. 5 in B-flat major, op. 100 (1944)
Scored for: three flutes including piccolo, three oboes including English Horn, four clarinets including bass clarinet, three bassoons including contrabassoon, four French horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, and strings
Performance time: 46 minutes
First Grant Park Orchestra performance: August 9, 1961; Irwin Hoffman, conductor

Just as Sergei Prokofiev took the stage on January 13, 1945, to conduct the premiere of his Fifth Symphony, news reached Moscow that the Red Army had crossed the Vistula River into German-occupied Poland, marking the beginning of the defeat of the Nazis on the Eastern Front. In the silence of the auditorium, celebratory gunfire could be heard outside. Pianist Sviatoslav Richter, who was in attendance, recalled the scene: “When Prokofiev mounted the podium and silence set in, artillery salvos suddenly thundered. His baton was already raised. He waited, and until the cannon fire ceased, he didn’t begin. There was something very significant, very symbolic in this. It was as if all of us—including Prokofiev—had reached some kind of shared turning point.”

The tide was already starting to turn in favor of the Allies when Prokofiev set to work on his Fifth Symphony, hope for the war’s end in the air. Prokofiev composed the symphony—his first in 16 years—while staying at the Composers’ House in Ivanovo. Established by the Union of Soviet Composers, it was designed to give artists a quiet place to work away from the war-torn cities. This symphony ended up being one of his finest creations, with Prokofiev calling it “the culmination of an entire period of my work.” The Fifth Symphony marked the pinnacle of both his career and his standing with the government, earning him the Stalin Prize, First Class, in 1946. It was soon recorded and adopted by orchestras around the world. He was even featured on the cover of Time Magazine shortly after the American premiere by Serge Koussevitzky and the Boston Symphony Orchestra in November 1945.

Prokofiev said his Fifth Symphony was “a hymn to free and happy man, to his mighty powers, his pure and noble spirit.” While this statement was likely curated to appease Soviet officials, the work does carry an air of defiance and celebration. The opening melody of the Andante, presented with austere accompaniment at first, eventually builds in confidence, prevailing in hulking fortissimo by the end of the coda. Two other themes feature in the first movement: a more lyrical theme with sumptuous chromatic inflections, introduced by the flute and oboe, and a jittering theme of leaping and repeated 16th notes. The Allegro moderato is a witty scherzo and trio. After the scherzo’s jaunty clarinet theme, the clarinet and viola offer a snaky, sinuous melody in the trio, punctuated by snare drum and tambourine. When the scherzo returns in tiptoeing brass, it takes on a more sinister quality.

The following Adagio is dense and somber. A long-lined woodwind melody emerges from hefty bass chords and triplet string arpeggios. The lyrical melody swells in full strings before a funereal march takes over in the dark middle section. After a tortured climax of percussive bombast, the opening material returns, the movement ending gently with an ascending clarinet arpeggio. The finale begins with a graceful yet curious wind melody. Divided cellos soon restate the opening movement’s first theme. After this quiet introduction, the musical material becomes more excited, living up to the movement’s “giocoso” (or “playful”) marking. Prokofiev continually ratchets up the intensity, the coda spinning into a dizzying frenzy and ending with a bang.

—Katherine Buzard

Event Sponsors

The appearance of Augustin Hadelich is generously underwritten by Jeannette and Jerry Goldstone.

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.

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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.

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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

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Giancarlo Guerrero

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