23

CONCERT PROGRAM
May 1-4, 2014
Carlos Izcaray, conductor
Juliet Petrus, soprano
Ryan Belongie, countertenor
Nmon Ford, baritone
St. Louis Symphony Chorus
Amy Kaiser, director
The St. Louis Childrens Choirs
Barbara Berner, artistic director
STEVE REICH The Four Sections (1987)
(b. 1936)
Strings (with Winds and Brass)
Percussion
Winds and Brass (with Strings)
Full Orchestra
INTERMISSION
ORFF Carmina burana (1936)
(1895-1982)
FORTUNA IMPERATRIX MUNDI
(Fortune, Empress of the World)
O Fortuna
Fortune plango vulnera
PRIMO VERE (In Springtime)
Veris leta facies
Omnia Sol temperat
Ecce gratum
UF DEM ANGER (On the Green)
Tanz
Floret silva
Chramer, gip die varwe mir
Reie
Were diu werlt alle min
continued on next page
24
IN TABERNA (In the Tavern)
Estuans interius
Olim lacus colueram
Ego sum abbas
In taberna quando sumus
COUR DAMOURS (The Court of Love)
Amor volat undique
Dies, nox et omnia
Stetit puella
Circa mea pectora
Si puer cum puellula
Veni, veni, venias
In trutina
Tempus est iocundum
Dulcissime
BLANZIFLOR ET HELENA (Blanzior and Helena)
Ave formosissima
FORTUNA IMPERATRIX MUNDI
(Fortune, Empress of the World)
O Fortuna
25
ACKNOWLEDGMENTS
These concerts are part of the Wells Fargo Advisors Series.
Carlos Izcaray is the Ann and Lee Liberman Guest Artist.
Amy Kaiser is the AT&T Foundation Chair.
The concert of Thursday, May 1, is underwritten in part by a generous gift from
Dr. and Mrs. Gordon Philpott.
The concert of Friday, May 2, is underwritten in part by a generous gift from
Mr. and Mrs. Jerry E. Ritter.
The concert of Saturday, May 3, is underwritten in part by a generous gift from
Mrs. Ann Lux.
The concert of Sunday, May 4, is underwritten in part by a generous gift from
Mr. and Mrs. Ted W. Beaty.
Pre-Concert Conversations are sponsored by Washington University Physicians.
Large print program notes are available through the generosity of Dielmann
Sothebys International Realty and are located at the Customer Service table in
the foyer.
26
TIMELINKS
1936
ORFF
Carmina burana
Olympic Games held in
Berlin as showcase for
Nazi Germany
1987
STEVE REICH
The Four Sections
The Simpsons cartoon
rst appears as a
segment of The Tracey
Ullman Show
The Modernist revolution that transformed
music during the early decades of the 20th cen-
tury was conducted in the name of liberty. Claude
Debussy explicitly sought greater freedom of har-
mony than was granted by traditional practice;
Arnold Schoenberg desired the emancipation of
dissonance. The early Modernists also worked
to unshackle rhythm from the restraints that
had long been placed upon it in Western music.
Stravinskys landmark The Rite of Spring brought
pounding, driving, irregular rhythms to the
forefront of his musical thinking, and did so to
thrilling effect. The infuence of that achievement
was immediate and enormous. Within a few
years, composers as diverse as Bartk, Prokofev,
Antheil, Milhaud, and Gershwin were, in their
own ways, making rhythmic invention a conspic-
uous part of their work.
The liberation of rhythm from its relatively
secondary status in Western concert music would
continue to have strong ramifcations throughout
the century. The primitivist use of powerful and
angular rhythms established by The Rite of Spring
remained a viable option for many composers,
and we fnd this at the heart of Carl Orffs cantata
Carmina burana. There is more to this work than
just assertive metrical throbbing, but the rhyth-
mic power of its great opening chorus establishes
the tone of the entire composition and remains
its most memorable element.
Rhythm plays a different but equally impor-
tant role in Steve Reichs The Four Sections. During
the course of his career, Reich has cultivated a
style featuring short repetitive patterns within
a larger texture of steady rhythmic pulsation.
The result is a unique kind of musicnot one
with contrasting themes, developments or other
events, but often an all but seamless sonic fabric
that changes slowly over time. Each of the four
movements of The Four Sections presents such a
fabric, the richness and subtlety of which com-
mand our attention.
RHYTHM UNCHAINED
BY PAUL SCHI AVO
27
STEVE REICH
The Four Sections
A NEW STYLE One of the most conspicuous
developments in music during the late 20th cen-
tury was the emergence of a style that, through
analogy to comparable developments in visual
art, came to be called Minimalist. Beginning
in the late 1960s, a handful of breakaway com-
posers abandoned the abstruse harmonies and
tangled rhythms that had become the hallmark
of late-modern music and pared their composi-
tions down to a few essential elements: neutral,
static harmonies; brief repeating melodic fg-
ures; and clear rhythmic patterns within a steady
pulse.At its experimental beginnings in the late
1960s, Minimalist music was confned to lofts
and garages in lower Manhattan. But as its cre-
ators expanded the scope and scale of their work,
the idiom made its way into symphony halls
and opera houses across the country, and the
Minimalist style emerged as a vehicle for ambi-
tious, expressive composition.
Steve Reich, one of Minimalisms leading
lights, began his career in the late 1960s, writing
music of extreme austerity: slight instrumenta-
tion and bare-bones textures, harmonies that
were sparse or absent entirely, and the most
limited melodic materials. From the start, his
pieces were given over largely to compositional
formats that typically involved brief melodic
fragments repeating obsessively but changing
slowly over time, the relationships between
different instrumental or vocal parts changing
as they did so. Such processes, as Reich calls
them, characterize the classic Minimalist style,
a style Reich has expanded in signifcant ways
but never really abandoned.
During the 1980s, Reich produced a number
of extended orchestral compositions, includ-
ing Variations, Tehillim, The Desert Music, Three
Movements, and The Four Sections, which we hear
now.Reich composed this piece in 1987 to fulfll
a commission from the San Francisco Symphony
Orchestra. Reich explains that the works title
has multiple connotations. It refers to the four
families of orchestral instruments (strings, wood-
winds, brass and percussion). It also references
Born
October 3, 1936, New York
Now Resides
New York
First Performance
October 7, 1987, in San
Francisco, Michael Tilson
Thomas conducted the
San Francisco Symphony
Orchestra
STL Symphony Premiere
This week
Scoring
4 utes
piccolo
4 oboes
4 clarinets
bass clarinet
4 bassoons
contrabassoon
4 horns
4 trumpets
4 trombones
tuba
timpani
percussion
2 pianos
2 synthesizers
strings
Performance Time
approximately 25 minutes
A
L
I
C
E

A
R
N
O
L
D
28
the four movements that comprise the piece. Finally, the title alludes to four
harmonic sections within each movement.
WEBS OF COUNTERPOINT Each of the four movements features a different
group of instruments. Strings dominate in the frst, with woodwinds and brass
lending support. Percussion comes to the fore in the second movement, as
woodwinds do in the third. The fnale brings the full orchestra into concerted
play. Each movement uses interlocking melodic fgures to produce a rich web
of contrapuntal patterns.
The frst movement begins with the frst violins divided to play a three-
part canon, each group playing the same melodic idea a few moments apart,
as in a round. Soon the second violins add three more parts to the canon, as do
the violas shortly afterwards. The resulting nine-voice canon produces chang-
ing melodic impressions as the different instrumental lines rise and fall. Reich
underscores this development by having cellos and woodwinds trace the con-
tours of the melodies resulting from the combined canonic fgures. Meanwhile,
brass, synthesizers, and basses sustain chords implied by the moving parts.
Occasionally Reich varies the melodic fgures, but only slightly, and he always
retains the thoroughly contrapuntal texture. As a result, the music changes in
a subtle, almost subliminal, way. The repetition of short ideas, the continual
echoing, the steady, softly pulsating overall rhythm, and the generally static
harmonies impart a sense of serenity to the proceedings.
That serenity is broken by several ringing chords, sounded by two vibra-
phones and a piano, followed by a series of clockwork repeated notes. So begins
the second movement, which fnds these instruments plus a second piano and
two bass drums forming an angular music of interlocking motifs. The third
movement uses different woodwind instruments in a somewhat faster tempo.
Small groups give way in the fnal section to a larger ensemble, with futes and
clarinets supported by oboes, trumpets, and the full string section.
Each movement of the work proceeds in a quicker tempo, and the fnale
moves at a rapid clip. Here the music entails several strands of melody woven
in counterpoint. Each consists of repeating patterns and has a distinct instru-
mental color. They combine in increasingly complex ways as the movement
builds to a climactic conclusion.
29
CARL ORFF
Carmina burana
SONGS OF LIFE AND LOVE In 1803, a remark-
able manuscript was discovered in a medieval
Benedictine monastery at Beuren, in southern
Germany. This document was not a religious text
but a collection of secular songs and poems writ-
ten by wandering students and minstrels during
the 12th and 13th centuries. The verses, in Latin,
Old French, and Middle-High-German, touched
a broad range of topics. They satirized the clergy
and nobility, celebrated the passing seasons,
complained of poverty, greed, and corruption,
praised the pleasures of wine and song, and
above all sang the joys and sorrows of loveall
while expressing a fatalistic view of human des-
tiny controlled by a wheel of fortune. By turns
blatant and refned, the language of these poems
refected the varied backgrounds and social sta-
tions of their authors, and the verses revealed
a freshness that is striking even today. They
were published in 1847 under the title Carmina
burana (Beuren Songs). In 1935 they came to
the attention of an obscure German composer
named Carl Orff.
A COMPOSERS SEARCH Orff is one of the more
curious fgures of 20th-century music. He
received a solid if unremarkable musical training
and, like so many composers of his generation,
absorbed the infuence frst of the German late-
Romanticsparticularly Strauss and the young
Schoenbergand later of Stravinsky. But his inter-
ests soon spread beyond the concerns of modern
composition. During his 20s, he became involved
with the theater and soon became fascinated
with the possibility of combining the various
arts to produce a spectacle whose total effect was
greater than the sum of its parts, an idea similar
to Wagners concept of the Gesamtkunstwerk (the
complete art work).
At about the same time, Orff developed a
strong interest in early music, particularly that of
the medieval and Renaissance periods. Finally, in
1924, he began an association with the dancer
Dorothee Gunther and with her established
an educational method aimed at reviving the
Born
July 10, 1895, Munich
Died
March 29, 1982, Munich
First Performance
June 8, 1937, in Frankfurt
am Main, by the Frankfurt
Opera under the direction
of conductor Bertil
Wetzelsberger
STL Symphony Premiere
January 21, 1961, with soprano
Donna Precht, tenor Kenneth
Wikowsky, baritone Jay
Willoughby, the Legend
Singers and the Sumner High
School A Cappella Choir,
director Kenneth Billups,
Edouard Van Remoortel
conducting
Most Recent STL Symphony
Performance
May 8, 2011, with soprano
Cyndia Sieden, tenor Richard
Troxell, baritone David Adam
Moore, St. Louis Symphony
Chorus under the direction
of Amy Kaiser, The St. Louis
Childrens Choirs under the
direction of Barbara Berner,
David Robertson conducting
30
Scoring
3 solo voices
mixed chorus
childrens chorus
3 utes
2 piccolos
3 oboes
English horn
3 clarinets
E-at clarinet
bass clarinet
2 bassoons
contrabassoon
4 horns
3 trumpets
3 trombones
tuba
timpani
percussion
2 pianos
celesta
strings
Performance Time
approximately 65 minutes
natural unity of music and movement. Orffs
work in this area, and in early music education
generally, continued for decades, resulting in the
famous Orff-Schulwerk teaching program, which
employs simple percussion instruments and
rhythmic movement, a practice now widely used
throughout the world.
Far from remaining isolated, these interests
came together in a fascinating synthesis in Orffs
creative work. He sought new ways to dramatize
concert music, presenting staged versions of ora-
torios and other pieces. His own compositions
relied increasingly on modal melodies derived
from medieval plainchant, and on the percussion
instruments and simplicity of utterance that char-
acterize Orff-Schulwerk. Orff plainly was search-
ing for a vehicle by which to bring these disparate
elements together in a telling and original way.
He found it in Carmina burana.
A NEW BEGINNING Orff composed his setting of
Beuren monastery verses in 1935-36. Upon com-
pleting it, he wrote to his publisher: Everything
I have written to date ... can be destroyed. With
Carmina burana, my collected works begin.
Hearing the composition, one can understand
how Orff might have been tempted to make this
extreme declaration, for the sound of Carmina
burana was virtually unprecedented. Its pound-
ing and repetitive rhythms, simple motifs, ele-
mental harmonies, and huge orchestral sound
blocks convey a pagan and often quite orgias-
tic energy. In an audacious gambit, Orff delib-
erately abandoned Western musics traditional
techniques of counterpoint and thematic devel-
opment in favor of a deliberately primitive rhet-
oric. This aimed unapologetically for physical
and emotional sensation rather than aesthetic
response. In all my work, Orff wrote later, my
fnal concern is not with musical but with spiri-
tual exposition. Carmina burana may indeed
turn its back on musical exposition as this is
usually conceived, but its raw emotive power
cannot be ignored.
Framing Carmina burana is a massive
chorus, O Fortuna, whose allusion to both hap-
piness and woe, power and poverty alike, sets
out a broad canvas of human experience to be
31
flled by the intervening numbers. These are divided into three large sections.
The frst, In Springtime, is a hymn to reawakening nature and love. In the
Tavern treats the pains and pleasures of hedonistic abandon. The Court of
Love, the works fnal section, celebrates love and sensuality. A reprise of the
opening chorus brings the work full circle to conclude as it began.
Carmina burana was frst heard in 1937, and it immediately brought Orff
international attention. It has since become one of the most frequently per-
formed of modern choral works, its impact undiminished in the decades since
Orff composed it.
Program notes 2014 by Paul Schiavo
St. Louis Symphony Chorus
32
CARLOS IZCARAY
ANN AND LEE LIBERMAN GUEST ARTIST
Spanish-Venezuelan conductor Carlos Izcaray
has received accolades throughout Europe and
North and South America. A representative of the
new Venezuelan musical generation, throughout
his career he has premiered numerous instru-
mental, choral, and operatic works by compos-
ers from the whole cultural spectrum, becoming
thus a champion of both new music and rarely
performed compositions. He is equally distin-
guished as a passionate performer of the stan-
dard repertoire.
After a very successful podium debut with
the Venezuela Symphony Orchestra in 2003,
Izcaray was immediately invited back to lead
the ensemble in its 75th Anniversary Season.
In 2007, he went on to international stature by
winning the very frst James Conlon Conducting
Prize in the history of the Aspen Music Festival
and School, and was later Finalist and Laureate
at the Eighth Toscanini International Conducting
Competition in 2008. In 2012 he conducted
his American opera debut in performances of
Carmen with Opera Theatre of St. Louis.
JULIET PETRUS
Juliet Petrus, soprano, is emerging as a singer
highly sought after in the worlds of opera, oper-
etta, concert, and recital. The 2013-14 season has
proven to be an exciting one for Petrus. Her Alice
Tully Hall at Lincoln Center debut with I Sing
Beijing received great acclaim. She recently also
completed a tour throughout the U.S., also sing-
ing Chinese repertoire.
In the summer of 2011, Petrus made her frst
trip to Bejiing as a participant in the inaugural
season of I Sing Beijing, a program that has led to
her concert premieres in Washington, D.C., and
Paris, France. While in China, she made her debut
at both the National Center for the Performing
Arts debut in Beijing, and Tianjin Concert Hall in
Tianjin. During her fve-week long visit in China,
Petrus studied Western and Chinese Opera and
Mandarin, working with famed Metropolitan
Opera Bass, Hao Jiang Tian.
Carlos Izcaray is a former
Principal Cello with the
Venezuela Symphony
Orchestra.
A native of Farmington,
Michigan, Juliet Petrus makes
her St. Louis Symphony
debut this week.
33
Ryan Belongie makes his St.
Louis Symphony debut this
week.
Nmon Ford debuts with
the St. Louis Symphony in
Carmina burana.
RYAN BELONGIE
Countertenor Ryan Belongie has recently made
his debuts with the Lyric Opera of Chicago as the
Mago Cristiano in Rinaldo and the Canadian Op-
era Company as Athamas in Semele. He returns
to Canadian Opera Company this season to cover
Lychas in Hercules. Recent engagements include
Katte for the Metropolitan Operas workshop of
Scott Wheelers The Sorrows of Frederick and Ot-
tone in Lincoronazione di Poppea for Berkeley West
Edge Opera. Concert highlights include Messiah
with Kansas City Symphony, Seattle Symphony,
and Alabama Symphony; Mass in B minor with
the American Festival Chorus and the Bach In-
stitute at Valparaiso University; Chichester Psalms
with the Grant Park Orchestra and Chorus; and
St. Matthew Passion with Utah Festival Opera and
the Grand Rapids Symphony. Previous highlights
include Oberon in A Midsummer Nights Dream
with Wolf Trap Opera and Didymus in Theodora
with Opera Bergen, Norway. He is a graduate of
the prestigious Merola Opera Program and the
Adler Fellowship at San Francisco Opera.
NMON FORD
A featured soloist on the 2010 Grammy Award-
winning Transmigrations (Telarc) and the four-
time 2006 Grammy Award-winning (including
Best Classical Recording) Songs of Innocence
and of Experience (Naxos), Panamanian-
American artist Nmon Ford enjoyed many suc-
cessful major debuts this season, most recently
with Long Beach Opera in the title role of a new
production of Ernest Blochs Macbeth, Opra
National de Bordeaux as Jochanaan in a new
production of Salome by Dominic Pitoiset, and
Michigan Opera Theater as Zurga in the Zandra
Rhodes production of The Pearl Fishers. After per-
forming Mahlers Lieder eines fahrenden Gesellen
with Orchestre National des Pays de la Loire
(ONPL), conducted by John Axelrod, he was
immediately reengaged by the ONPL for Mahlers
Kindertotenlieder and Faurs Requiem. He
appeared at Teatro Comunale di Bologna in the
title role of Pier Luigi Pizzis production of Don
Giovanni, followed by Escamillo in Carmen at the
Szeged Open-Air Festival in Hungary.
34
AMY KAISER
AT&T FOUNDATION CHAIR
One of the countrys leading choral direc-
tors, Amy Kaiser has conducted the St. Louis
Symphony in Handels Messiah, Schuberts Mass
in E-fat, Vivaldis Gloria, and sacred works by
Haydn and Mozart as well as Young Peoples
Concerts. She has made eight appearances as
guest conductor for the Berkshire Choral Festival
in Sheffeld, Massachusetts, Santa Fe, and at
Canterbury Cathedral. As Music Director of the
Dessoff Choirs in New York for 12 seasons, she
conducted many performances of major works at
Lincoln Center. Other conducting engagements
include concerts at Chicagos Grant Park Music
Festival and more than ffty performances with
the Metropolitan Opera Guild.
Principal Conductor of the New York
Chamber Symphonys School Concert Series for
seven seasons, Kaiser also led many programs for
the 92nd Street Ys acclaimed Schubertiade. She
has conducted over twenty-fve operas, including
eight contemporary premieres.
BARBARA BERNER
Barbara Berner conducts the advanced touring
ensemble, Concert Choir, and oversees all aspects
of the childrens choirs program as Artistic
Director. Under Berners direction, Concert
Choir has performed at Carnegie Hall, the
national American Choral Directors Association
convention in Los Angeles, the Oregon Bach
Festival, and at the White House. In June 2013,
Berner had the honor of conducting the National
Childrens Festival Chorus at Lincoln Center in
New York City and Concert Choir performed as a
featured ensemble.
She received a Bachelor of Arts degree with
honors from Principia College and a Master of
Music degree from Ithaca College. Barbara Berner
was awarded an Artist/Teacher and Master
Teacher Diploma from the Institute for Choral
Teacher Education, where she studied conduct-
ing with Dr. Doreen Rao, and holds an Advanced
Certifcate from the Kodly Pedagogical Institute
in Kecskmet, Hungary.
Amy Kaiser celebrates her
20th anniversary as St. Louis
Symphony Chorus Director
in the 2014-15 season.
Barbara Berner has prepared
Concert Choir for 80
performances with the
St. Louis Symphony.
35
Amy Kaiser
Director
Leon Burke III
Assistant Director
Gail Hintz
Accompanist
Susan Patterson
Manager
Nicholas W. Beary
Annemarie Bethel-Pelton
Paula N. Bittle
Jerry Bolain
Joy Boland
Michael H. Bouman
Richard F. Boyd
Keith Boyer
Daniel P. Brodsky
Buron F. Buffkin, Jr.
Leon Burke III
Cherstin Byers
Peggy Cantrell
Leslie A. Caplan
Maureen A. Carlson
Victoria A. Carmichael
Mark P. Cereghino
Steven Chemtob
Jessica Klingler Cissell
Rhonda Collins Coates
Timothy A. Cole
Derek Dahlke
Laurel Ellison Dantas
Deborah Dawson
Zachary K. Devin
Mary C. Donald
Stephanie M. Engelmeyer
Jamie Lynn Eros
Stephen Eros
Ladd Faszold
Heather Fehl
Robin D. Fish, Jr.
Alan E. Freed
Mark Freiman
Amy Telford Garcs
Amy Gatschenberger
Lara Gerassi
Lisa Nicole Gines
Megan E. Glass
Susan Goris
Karen S. Gottschalk
Tyler Green
Susan H. Hagen
Clifton D. Hardy
Rebecca L. Hatlelid
Nancy J. Helmich
Ellen Henschen
Jeffrey E. Heyl
Matthew Holt
Allison Hoppe
Heather Humphrey
Kerry H. Jenkins
Stephanie Johnson
Madeline Kaufman
Elena Korpalski
Paul V. Kunnath
Debby Lennon
Gregory C. Lundberg
Gina Malone
Alicia A. Matkovich
Patrick Mattia
Daniel Mayo
Randy D. Mayo
Rachael McCreery
Celia McManus
Scott Meidroth
Katherine Menke
Jei Mitchell
Kendra Lee Muir
Brian K. Mulder
Johanna Nordhorn
Duane L. Olson
Nicole Orr
Susan Parton-Stanard
Heather McKenzie
Patterson
Susan Patterson
Matt Pentecost
Brian Pezza
Shelly Ragan Pickard
Sarah Price
Valerie Christy Reichert
Kate Reimann
Gregory J. Riddle
Patti Ruff Riggle
Paul J. Robinson
Tiara Dione Rooks
Michelle Suzanne Rose
Terree Rowbottom
Nathan Tulloch Ruggles
Paul N. Runnion
Jennifer Ryrie
Mark V. Scharff
Lisa A. Sienkiewicz
Janice Simmons-Johnson
John William Simon
Charles G. Smith
Shirley Bynum Smith
Adam D. Stefo
J. David Stephens
Maureen E. Taylor
Michelle D. Taylor
Daniel James Terry
Robyn Danielle Theison
Natanja Tomich
Dewayne Trainer
Pamela M. Triplett
David R. Truman
Greg Upchurch
Kevin Vondrak
Samantha Dane Wagner
Nancy Maxwell Walther
Keith Wehmeier
Nicole C. Weiss
Alexander Weymann
Dennis Willhoit
Paul A. Williams
Mary M. Wissinger
Kate Yandell
Susan Donahue Yates
Carl S. Zimmerman
ST. LOUIS SYMPHONY CHORUS 2013-2014
36
Barbara Berner
Artistic Director
Billie Derham
Accompanist
Jodi Kratzer
Choir Manager
Erica Ancell
Meher Arora
Emma Baylis
Kierstin Birmes
Deborah Blackmon
Mariana Blessing
Danielle Boulanger
Adrienne Brown
Emily Brown
Jo Jo Buckley
Adrianna Calhoun
Demetri Case
Blaine Clark
Jacquelyn Cooper
Rebecca Cunningham
Grace Daniels
Isabelle DeBold
Thalia Dimitriou
Annie Donnell
Zoey Fleisher
Melissa Frank
Samantha Frese
Katherine Galvin
Aaron Garner
Taylor Gibbs
Claire Golden
Calista Goldwasser
Carmen Greiner
Elizabeth Grossman
Clara Gruneisen
Milana Gurt
Allison Harrell
Gea Henry
Shirley Hwang
Diana Jacobsmeyer
Jordan Jones
Jennifer Keeney
Menea Kefalov
Cassandra Keller
Alyssa Kim
Anne Koo
Katherine Krosley
Olivia Leek
Magda Lijowska
Tara Linneman
Allyson Lotz
Riley Majzun
Lisa Millar
Janine Norman
Pamela Petterchak
Dawson Ren
Samantha Robbins
Kyra Ruben
Jocelyn Sanders
Hannah Schultz
Emma Severson
Aleesha Shi
Lynn Socha
Emily Tan
Catie Todisman
Emily Tonner
Hannah Tonner
Addie Trippeer
Diana Vazquez
Sydney Wahl
Hadley Willson
Sydney Winders
THE ST. LOUIS CHILDRENS CHOIRS 2013-2014
CONCERT CHOIR
37
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POWELL HALL RENTALS
Select elegant Powell Hall for your next
special occasion.
Visit stlsymphony.org/rentals
for more information.
38
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WHEELCHAIR LIFT
BALCONY LEVEL
(TERRACE CIRCLE, GRAND CIRCLE)
GRAND TIER LEVEL
(DRESS CIRCLE, DRESS CIRCLE BOXES,
GRAND TIER BOXES & LOGE)
MET BAR
TAXI PICK UP
DELMAR
ORCHESTRA LEVEL
(PARQUET, ORCHESTRA RIGHT & LEFT)
KEY
WIGHTMAN
GRAND
FOYER
TICKET LOBBY
CUSTOMER
SERVICE
LOCKERS
WOMENS RESTROOM
MENS RESTROOM
ELEVATOR
BAR SERVICES
HANDICAPPED-ACCESSIBLE
FAMILY RESTROOM
POWELL HALL
B
O
U
T
I
Q
U
E
WHEELCHAIR LIFT
BALCONY LEVEL
(TERRACE CIRCLE, GRAND CIRCLE)
GRAND TIER LEVEL
(DRESS CIRCLE, DRESS CIRCLE BOXES,
GRAND TIER BOXES & LOGE)
MET BAR
TAXI PICK UP
DELMAR
ORCHESTRA LEVEL
(PARQUET, ORCHESTRA RIGHT & LEFT)
KEY
WIGHTMAN
GRAND
FOYER
TICKET LOBBY
CUSTOMER
SERVICE
LOCKERS
WOMENS RESTROOM
MENS RESTROOM
ELEVATOR
BAR SERVICES
HANDICAPPED-ACCESSIBLE
FAMILY RESTROOM
Please make note of the EXIT signs in the auditorium. In the case of an emergency,
proceed to the nearest EXIT near you.