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The Cleveland Orchestra, under the leadership of Franz Welser-Möst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. In recent years, The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.
Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned the ensemble into one of the most admired around the world.
The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming platform Adella.live and its own recording label. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.
The 2025–26 season marks Franz Welser-Möst’s 24th year as Music Director, a period in which The Cleveland Orchestra has earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of celebrated opera presentations.
Since 1918, seven music directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world.
conductor
Finnish conductor Klaus Mäkelä Klaus Mäkelä has held the position of chief conductor of the Oslo Philharmonic since 2020 and music director of the Orchestre de Paris since 2021. In 2027, he assumes the chief conductor position of the Royal Concertgebouw Orchestra and also begins his tenure as music director of the Chicago Symphony Orchestra.
An exclusive Decca Classics artist, Mäkelä has released three albums with the Orchestre de Paris, including Ballet Russes scores by Stravinsky and Debussy, as well as Berlioz’s Symphonie fantastique and Ravel’s La valse. With the Oslo Philharmonic, he has recorded the complete symphonies of Sibelius, Prokofiev’s First Violin Concerto with Janine Jansen, and Shostakovich’s Symphonies Nos. 4, 5, and 6.
With the Oslo Philharmonic, Mäkelä’s 2025–26 season opens with Mahler’s Seventh Symphony and closes with Magnus Lindberg’s Kraft. Additional highlights include a January tour and residencies in Hamburg, Vienna, Paris, and Essen. His fifth season with the Orchestre de Paris features wide-ranging programs, from Beethoven’s Missa solemnis to Pascal Dusapin’s Antigone, alongside works by Bizet, Franck, Joan Tower, Anders Hillborg, and Ellen Reid.
With the Royal Concertgebouw Orchestra, Mäkelä’s performances at the 2025 BBC Proms and Salzburg Festival are followed by an extensive tour of South Korea and Japan. At home, they celebrate the 50th anniversary of the traditional Christmas Matinée TV broadcasts and commence an annual residency at the 2026 Baden-Baden Easter Festival, taking over from the Berliner Philharmoniker.
Mäkelä also conducts the Chicago Symphony Orchestra in four residencies this season and leads them in a US tour, which marks his first appearance with the Orchestra at Carnegie Hall. He returns to the United States in summer 2026 for his Ravinia Festival debut, leading the Orchestra in two programs.
Further, Mäkelä appears as guest conductor with the Berliner Philharmoniker. As a cellist, he partners with members of the Orchestre de Paris and Royal Concertgebouw Orchestra.
soprano
Grammy Award–winning soprano Tamara Wilson continues to garner international recognition for her interpretations of Verdi, Mozart, R. Strauss, and Wagner, and is the recipient of the prestigious Richard Tucker Award. Other recent honors include an Olivier Award nomination and Grand Prize in the annual Francisco Viñas Competition.
2025–26 season highlights include a debut with Festival d’Aix-en-Provence in Die Frau ohne Schatten and a return to the Opéra national de Paris for new productions of Die Walküre and Siegfried. On the concert stage, Wilson makes debut appearances with the Staatstheater Darmstadt, Houston Symphony, and NHK Symphony Orchestra, along with a return to The Cleveland Orchestra.
Operatic highlights of Wilson’s career include performances at the Metropolitan Opera, Los Angeles Opera, Teatro alla Scala, Opernhaus Zürich, Gran Teatre del Liceu, and Opéra National de Lyon. She has also appeared with leading orchestras in the US and abroad and frequently partners with pianist Warren Jones in recital.
tenor
Andrew Staples stands as a versatile artist of our era. He combines a busy schedule as an opera and concert singer with a career as a film and stage director and photographer. To his creative output, Staples brings a collaborative approach and a passion to tell better stories that build connections between artists and audiences.
As a tenor, Staples has appeared with renowned orchestras such as the Berlin Philharmonic, Vienna Philharmonic, Orchestre de Paris, London Symphony Orchestra, New York Philharmonic, and Los Angeles Philharmonic, among others. Operatic highlights include performances at the Royal Opera House, Metropolitan Opera, Salzburger Festspiele, Lucerne Festival, and Lyric Opera of Chicago.
Staples’s work as a film and stage director and photographer weaves together art, music, and digital realms, aiming to encapsulate the beauty of classical music and the broader arts. His recent cinematic output includes directing music films for VOCES8, Platoon (Apple), and the Choir of Trinity College, Cambridge.
baritone
Award-winning baritone Ludwig Mittelhammer has appeared at prestigious opera houses worldwide including the Vienna State Opera, Frankfurt Opera, and Tokyo’s New National Theatre. His extensive repertoire includes roles such as Schaunard (La bohème), Figaro (The Barber of Seville), Papageno (The Magic Flute), and the title role in Krenek’s Jonny spielt auf.
The 2025–26 season sees Mittelhammer’s role debut as Gabriel von Eisenstein in Die Fledermaus, alongside appearances with The Cleveland Orchestra in Britten’s War Requiem and with the Konzerthausorchester Berlin in J.S. Bach’s Christmas Oratorio.
A passionate lieder interpreter, Mittelhammer’s recitals have taken him to London’s Wigmore Hall, the Philharmonie in Cologne and Essen, the Vienna Konzerthaus, and the Schubertiade in Hohenems. In 2019, he released his first solo album featuring songs by Schubert, Medtner, and Wolf on the Berlin Classics label.
Now in its 74th season, The Cleveland Orchestra Chorus is celebrated for its versatility and refined musicianship, appearing regularly with The Cleveland Orchestra at Severance and Blossom Music Center. As one of the few all-volunteer, professionally trained choruses affiliated with a major American orchestra, it received the 2019–20 Distinguished Service Award, recognizing extraordinary service to the Orchestra.
Visit cochorus.com for more information on the Chorus and auditions.
The Cleveland Orchestra Children’s Chorus was formed in 1967 to provide a high-quality choral group for the many orchestral works written for children’s voices, and to offer choral training to school children in the Cleveland area. Today, the Children’s Chorus regularly performs with The Cleveland Orchestra and The Cleveland Orchestra Chorus at Severance Music Center, including the annual Holiday concerts at Severance. Recent seasons have also seen performances with the Cleveland Pops Orchestra, the Akron Symphony Orchestra, and the Cleveland Orchestra Youth Chorus. The Children's Chorus is open to singers in grades 6 through 8 via audition & application.
Visit cocc.cochorus.com for more information on the Children’s Chorus and how to audition.
Composer
It is not a requiem to console the living; sometimes it does not even help the dead to sleep soundly. It can only disturb every living soul, for it denounces the barbarism more or less awake in mankind with all the great authority that a great composer can muster. There is no doubt at all ... that it is Britten’s masterpiece.
These words, by the English music critic William Mann, appeared in The London Times on May 25, 1962, five days before Britten’s War Requiem received its first performance in the new Coventry Cathedral, which had been erected next to the ruins of the ancient cathedral destroyed in World War II. After the premiere, critics and audiences alike were deeply moved by this passionate plea against war, expressed in music of surpassing power and beauty. In the years since, the War Requiem has entered the repertoire as one of the greatest choral works of the 20th century.
Britten had long wanted to compose a large-scale choral work, and the commission from the Coventry Cathedral Festival gave him an opportunity to express his lifelong pacifist beliefs. (Both he and his partner, tenor Peter Pears, had registered as conscientious objectors during the war.) He decided to compose a setting of the Latin Requiem Mass, interspersed with texts by English poet Wilfred Owen. Tragically killed in action at age 25 — just a week before the armistice that ended World War I — Owen left a small body of poetry that denounced war in extremely vivid terms.
In combining Latin liturgy with English anti-war poetry, Britten had an important antecedent: Vaughan Williams’s 1936 cantata Dona nobis pacem. But Britten exploited the dramatic contrasts between these texts more strongly than his compatriot, often making them clash within the same movement. Britten also had a personal stake in the composition. He dedicated the work to the memory of four friends, three of whom had been killed in World War II and the fourth, also a war veteran, who had committed suicide in 1959. The four names listed on the first page of the score — Roger Burney, Piers Dunkerley, David Gill, and Michael Halliday — stand as four tombstones representing many more graves, marked and unmarked, of victims of the war.
The War Requiem opens with a languid, wandering orchestral line and the quiet tolling of bells — emphasizing the tritone (known as the “devil in music” during the Medieval era) — as the chorus whispers the words “Requiem aeternam” (Grant them eternal rest). This slowly builds to a menacing climax before the children’s chorus responds with a more uplifting interlude, “Te decet hymnus, Deus in Sion” (A hymn, O God, becomes You in Zion). Soon, the proceedings are interrupted by the entrance of a separate chamber orchestra. Accompanied by agitated figurations in the harp and a nervous motive in the strings, the tenor soloist intones the first of Owen’s lines: “What passing-bells for those who die as cattle?” This distinction — large orchestra accompanying the Latin Requiem text, chamber ensemble accompanying the English poems — is maintained throughout the entire work.
Some of the most moving moments in the piece, however, have no orchestral participation at all. The first movement, for instance, ends with a series of other-worldly chords sung by the unaccompanied chorus in triple pianissimo, punctuated only by two bell strokes. The same music returns two more times at important junctures in the work.
At the beginning of the Dies irae — the longest movement of the War Requiem — the stark horn calls of the Last Judgment contrast with the relentless, asymmetrical march rhythm of the chorus. The baritone soloist answers the chorus with a poem about the bugles of war. The Day of Wrath, one realizes, is not an event taking place in an uncertain, mythical future, but one that has already arrived on the battlefield.
Unlike the tenor and baritone soloists, who carry the Owen poems, the soprano soloist (along with the chorus) is always assigned to the Latin text. The soloist first enters with “Liber scriptus proferetur” (A book will be brought forth) to an angular melody in dotted rhythm, accompanied only by wind instruments. The apocalyptic vision is linked to a modern one, in which the soldiers recognize Death as an “old chum,” though the harmonic clusters and persistent percussion ostinatos seem to suggest otherwise. The intimate “Recordare Jesu pie” (Remember, sweet Jesus) a prayer for salvation sung by the chorus, is countered by a breathless “Confutatis maledictis” (When the damned are dismayed) sung by the tenors and basses. The baritone soloist’s next poem, “Be slowly lifted up,” is a haunting evocation of a gun about to be fired. Without pause, this leads into a cataclysmic restatement of the opening Dies irae. Following this, the achingly beautiful “Lacrimosa dies illa” (What weeping that day will bring) — for soprano solo with chorus — is fused with the poem “Move him into the sun,” a wrenching memorial for a fallen soldier.
The Offertorium opens in a bright, chant-like fashion with the children’s chorus and organ, which soon leads directly into Owen’s bitter retelling of the biblical story of Abraham and Isaac (with music based partially on Britten’s Canticle II: Abraham and Isaac, written in 1952). In Owen’s version, Abraham does not heed the voice of God’s angel and instead goes through with the of Isaac, along with “half the seed of Europe, one by one.” While the two soloists relate this shocking turn of events, Britten, with tragic irony, brings in the children’s chorus, singing of the sacrifices offered in remembrance of the dead. Subsequently, the chorus’s recapitulation of the line “Quam olim Abrahae promisisti et semini ejus” (Which You once promised to Abraham and his seed) takes on a whole new, chilling meaning.
The soprano soloist intones the Sanctus, a proclamation of God’s holiness, to the accompaniment of bells and mallet percussion, a timbre influenced by Britten’s fascination with Balinese gamelan. The words “Pleni sunt coeli et terra gloria tua” (Heaven and earth are full of Your glory) are declaimed by the chorus, chanting in free rhythm over a sequence of constantly rising pitches which eventually encompass all 12 notes of the chromatic scale. The cries of “Hosanna,” by contrast, are firmly anchored in D major, with exultant flourishes in the wind instruments. Soon, another Owen poem arrives to contradict the triumphant mood: death, not life, is eternal and the scars of the earth will never heal.
The Agnus Dei text is completely merged with Owen’s poem “One ever hangs where shelled roads part,” and for once, there is no contradiction between the two: the image of the Lamb of God is amplified by Owen’s related image of Christ, who loses a limb in battle but inspires love by His presence. Despite the large forces employed in this movement, the textures are extremely simple.
The concluding Libera me is the emotional high point of the entire work. After a final evocation of the Last Judgment, we witness the reconciliation of two former enemies — an English soldier and a German soldier — and the eternal rest of which the text speaks finally becomes reality. The children’s chorus then sings the liturgical “In paradisum deducant te Angeli” (May the Angels lead you into paradise) while the tenor and the baritone repeat the final line of Owen’s poem: “Let us sleep now.” This monumental gesture of peace involves all the performers on stage, but the final words are sung by unaccompanied chorus: “Requiescant in pace” — May they rest in peace.
For the work’s 1962 premiere, Russian soprano Galina Vishnevskaya — one of Britten’s selected soloists — was unable to appear due to Soviet travel restrictions. Instead, Irish soprano Heather Harper stepped in with only 10 days’ notice. Eight months later, Vishnevskaya joined the other premiere soloists — tenor Peter Pears and baritone Dietrich Fischer-Dieskau — to make a studio recording of the work, which sold nearly 250,000 copies in the first few months of its release. At that point, Britten’s original vision was fulfilled, with three prominent singers from three major countries involved in World War II — Russia, England, and Germany — joining their voices to denounce war and pray for everlasting peace.
— adapted from a note by Peter Laki
Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor of music, emeritus, at Bard College and was The Cleveland Orchestra’s program annotator from 1990 to 2007.
Texts from the Latin Requiem Mass and poetry by Wilfred Owen (1893 – 1918)
CHORUSRequiem aetemam dona eis Domine,et lux perpetua luceat eis.
CHILDREN’S CHORUSTe decet hymnus, Deus in Sion,et tibi reddetur votum in Jerusalem.Exaudi orationem meam,ad te omnis caro veniet.
TENORWhat passing-bells for those who die as cattle?Only the monstrous anger of the guns.Only the stuttering rifles’ rapid rattleCan patter out their hasty orisons.No mockeries for them from prayers or bells,Nor any voice of mourning save the choirs, —The shrill, demented choirs of wailing shells;And bugles calling for them from sad shires.
What candles may be held to speed them all?Not in the hands of boys, but in their eyesShall shine the holy glimmers of good-byes.The pallor of girls’ brows shall be their pall;Their flowers the tenderness of silent minds,And each slow dusk a drawing-down of blinds.
— “Anthem for Doomed Youth” (1917)
CHORUSKyrie eleison.Christe eleison.Kyrie eleison.
CHORUSDies irae, dies ilia,solvet saeclum in favilla,teste David cum Sibylla.
Quantus tremor est futurus,quando Judex est venturus,cuncta stricte discussurus.
Tuba mirum spargens sonumper sepulchra regionum,coget omnes ante thronum.
Mors stupebit et natura,cum resurget creatura,judicanti responsura.
BARITONEBugles sang, saddening the evening air,And bugles answered, sorrowful to hear.
Voices of boys were by the river-side.Sleep mothered them; and left the twilight sad.The shadow of the morrow weighed on men.
Voices of old despondency resigned,Bowed by the shadow of the morrow, slept.
— “But I Was Looking at the Permanent Stars” (c. 1917)
SOPRANO AND CHORUSLiber scriptus proferetur,in quo totum continetur,unde mundus judicetur.
Judex ergo cum sedebit,quidquid latet, apparebit,nil inultum remanebit.
Quid sum miser tunc dicturus?Quern patronem rogaturuscum vix justus sit securus?
Rex tremendae majestatis,qui salvandos salvas gratis,salva me, fons pietatis.
TENOR & BARITONEOut there, we’ve walked quite friendly up to Death;Sat down and eaten with him, cool and bland, —Pardoned his spilling mess-tins in our hand.We’ve sniffed the green thick odour of his breath, —Our eyes wept, but our courage didn’t writhe.He’s spat at us with bullets and he’s coughedShrapnel. We chorused when he sang aloft;We whistled while he shaved us with his scythe.
Oh, Death was never enemy of ours!We laughed at him, we leagued with him, old chum.No soldier’s paid to kick against his powers.We laughed, knowing that better men would come,And greater wars; when each proud fighter bragsHe wars on Death — for Life; not men — for flags.
— “The Next War” (1917)
CHORUSRecordare Jesu pie,quod sum causa tue viae.Ne me perdas ilia die.
Quaerens me, sedisti lassus.Redemisti crucem passus.Tantus labor non sit cassus.
Ingemisco, tamquam reus,culpa rubet vultus meus:Supplicanti parce Deus.
Qui Mariam absolvisti,et latronem exaudisti,mihi quoque spem dedisti.
Interoves locum praesta,et ab hoedis me sequestra,statuens in parte dextra.
Confutatis maledictis,flammis acribus addictis,coca me cum benedictis.
Oro supplex et acclinis,cor contritum quasi cinis,gere curam mei finis.
BARITONEBe slowly lifted up, thou long black arm,Great gun towering toward Heaven, about to curse;
Reach at that arrogance which needs thy harm,And beat it down before its sins grow worse;
But when thy spell be cast complete and whole,May God curse thee, and cut thee from our soul!
— “Sonnet On Seeing a Piece of our Heavy Artillery Brought into Action” (c. 1917)
CHORUS & SOPRANO
Dies irae, dies ilia …
Quantus tremor est futurus …
Lacrimosa dies ilia,qua resurget ex favilla,judicandus homo reus.Huic ergo parce, Deus.
TENORMove him into the sun —Gently its touch awoke him once,At home, whispering of fields unsown.Always it woke him, even in France,Until this morning and this snow.If anything might rouse him nowThe kind old sun will know.Think how it wakes the seeds, —Woke, once, the clays of a cold star.Are limbs, so dear-achieved, are sides,Full-nerved — still warm — too hard to stir?Was it for this the clay grew tall?— O what made fatuous sunbeams toilTo break earth’s sleep at all?
— “Futility” (1918)
CHORUSPie Jesu Domine,dona eis requiem.Amen.
CHILDREN’S CHORUSDomine Jesu Christe, Rex gloriae,libera animas omnium fidelium defunctorumde poenis inferni et de profundo lacu!Libera eas de ore leonis,ne absorbeat eas Tartarus,ne cadant in obscurum.
CHORUSSed signifer sanctus Michael,repraesentet eas in lucem sanctam,quam olim Abrahae promisistiet semini ejus.
BARITONE & TENORSo Abram rose, and clave the wood, and went,And took the fire with him, and a knife.And as they sojourned both of them together,Isaac the first-born spake and said, My Father,Behold the preparations, fire and iron,But where the lamb for this burnt-offering?Then Abram bound the youth with belts and straps,And builded parapets and trenches there,And stretchèd forth the knife to slay his son.When lo! an angel called him out of heaven,Saying, Lay not thy hand upon the lad,Neither do anything to him. Behold,A ram, caught in the thicket by its horns;Offer the Ram of Pride instead of him.But the old man would not so, but slew his son, —And half the seed of Europe, one by one.
— “The Parable of the Old Man and the Young” (c. 1918)
CHILDREN’S CHORUSHostias et preces tibi Domine,laudis offerimus.Tu suscipe pro animabus illisquarum hodie memoriam facimus —fac eas, Domine, de morte transire ad vitam,quam olim Abrahae promisistiet semini ejus.
CHORUSQuam olim Abrahae promisistiet semini ejus.
SOPRANO & CHORUSSanctus, Sanctus, Sanctus,Dominus Deus Sabaoth!Pleni sunt coeli et terra gloria tua!Hosanna in excelsis!Benedictus qui venit in nomine Domini.Hosanna in excelsis!
BARITONEAfter the blast of lightning from the East,The flourish of loud clouds, the Chariot Throne;After the drums of Time have rolled and ceased,And by the bronze west long retreat is blown,
Shall life renew these bodies? Of a truthAll death will He annul, all tears assuage? —Fill the void veins of Life again with youth,And wash, with an immortal water, Age?
When I do ask white Age he saith not so:“My head hangs weighed with snow.”And when I hearken to the Earth, she saith:“My fiery heart shrinks, aching. It is death.Mine ancient scars shall not be glorified,Nor my titanic tears, the sea, be dried.”
— “The End” (c. 1916)
TENOROne ever hangs where shelled roads part.In this war He too lost a limb,But His disciples hide apart;And now the Soldiers bear with him.
CHORUSAgnus Dei,qui tollis peccata mundi,dona eis requiem.
TENORNear Golgotha strolls many a priest,And in their faces there is prideThat they were flesh-marked by the BeastBy whom the gentle Christ’s denied.
TENORThe scribes on all the people shoveAnd bawl allegiance to the state,But they who love the greater loveLay down their life; they do not hate.
— “At a Calvary near the Ancre” (c. 1917)
CHORUSAgnus Dei,qui tollis peccata mundi,dona eis requiem sempiternam.
TENORDona nobis pacem.
CHORUSLibera me, Domine, de morte aetema,in die illa tremenda,quando coeli movendi sunt et terra,dum veneris judicare saeculum per ignem.
SOPRANO & CHORUSTremens factus sum ego, et timeodum discussio venerit atque ventura ira;quando coeli movendi sunt et terra.Dies illa, dies irae,calamitatis et miseriae,dies magna et amara valde.Libera me, Domine …
TENORIt seemed that out of battle I escapedDown some profound dull tunnel, long since scoopedThrough granites which titanic wars had groined.Yet also there encumbered sleepers groaned,Too fast in thought or death to be bestirred.Then, as I probed them, one sprang up, and staredWith piteous recognition in fixed eyes,Lifting distressful hands as if to bless.
And no guns thumped, or down the flues made moan.“Strange friend,” I said, “here is no cause to mourn.”
BARITONE“None,” said the other, “save the undone years,The hopelessness. Whatever hope is yours,Was my life also; I went hunting wildAfter the wildest beauty in the world.
For by my glee might many men have laughed,And of my weeping something had been left,Which must die now. I mean the truth untold,The pity of war, the pity war distilled.Now men will go content with what we spoiled.Or, discontent, boil bloody, and be spilled.They will be swift with swiftness of the tigress,None will break ranks, though nations trek from progress.
Miss we the march of this retreating worldInto vain citadels that are not walled.Then, when much blood had clogged their chariot-wheels,I would go up and wash them from sweet wells,Even from wells we sunk too deep for war,Even the sweetest wells that ever were.
I am the enemy you killed, my friend.I knew you in this dark; for so you frownedYesterday through me as you jabbed and killed.I parried; but my hands were loath and cold.”
TENOR & BARITONE“Let us sleep now …”
— “Strange Meeting” (c. 1918)
SOPRANO, CHORUS & CHILDREN’S CHORUSIn paradisum deducant te Angeli;in tuo adventu suscipiant te Martyreset perducant te in civitatem sanctam Jerusalem.Chorus Angelorum te suscipiatet cum Lazaro quondam paupereaeternam habeas requiem.
Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.Requiescant in pace.Amen.
One of the 20th century’s grandest and most moving calls for peace is taken up by The Cleveland Orchestra, two of TCO’s choruses, and three preeminent vocalists, all under the baton of Klaus Mäkelä. Born from the horrors of two world wars, Britten’s searing War Requiem intersperses the Latin Requiem text with haunting antiwar poems by British poet and soldier Wilfred Owen. It’s a powerfully emotional experience that you will not soon forget.
There will be a Concert Preview presentation one hour prior to the concert in Mandel Concert Hall with Jamie O’Leary, Frederick R. Selch Associate Professor of Musicology, Oberlin Conservatory.
We offer a variety of concessions before the concert, as well as during intermission.
2 hours before concert: Suzanne and Paul Westlake Terrace Room, Lotus Club*, and Smith Lobby
45 minutes before concert: Grand Foyer, Dress Circle, and Box Lobby
Intermission: Grand Foyer, Dress Circle, Box Lobby
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