CONCERT PROGRAMJanuary 18-20, 2013

Leonard Slatkin, conductorCourtney Lewis, conductor (January 20)St. Louis Symphony Chorus

Amy Kaiser, director

CINDY MCTEE Double Play (2010) (b. 1953) The Unquestioned Answer— Tempus Fugit

STRAVINSKY Symphony of Psalms (1930) (1882-1971) Exaudi orationem meam— Expectans expectavi Dominum— Alleluia. Laudate Dominum

St. Louis Symphony Chorus Amy Kaiser, director

INTERMISSION

HOLST The Planets, op. 32 (1914-16) (1874-1934) Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic

Women of the St. Louis Symphony Chorus Amy Kaiser, director

ACKNOWLEDGMENTS

Leonard Slatkin is the Monsanto Guest Artist.

Amy Kaiser is the AT&T Foundation Chair.

The St. Louis Symphony Chorus is the Essman Family Foundation Guest Artist.

The concert of Friday, January 18, is underwritten in part by a generous gift from Drs. Dan and Linda Phillips.

The concert of Saturday, January 19, is underwritten in part by a generous gift from Mr. and Mrs. Michael F. Neidorff.

The concert of Sunday, January 20, is underwritten in part by a generous gift from Mr. and Mrs. David L. Steward.

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are part of the Wells Fargo Advisors Series.

Large print program notes are available through the generosity of Mosby Building Arts and are located at the Customer Service table in the foyer.

TIMELINKS

1914-16HOLSTThe PlanetsWorld War I engulfs Europe

1930 STRAVINSKYSymphony of PsalmsGerman physicists discover the neutron

2010 CINDY MCTEEDouble PlayHaitian earthquake creates widespread devastation

The three compositions on our program span nearly a century: the earliest dates from 1916, the most recent from 2010. That chronology places these works in the broad historical era of modernism, a period that many concertgoers once regarded with antipathy. But with the passing of time, the music of the early 20th century has become more familiar, and that familiarity has caused it to seem no longer abrasive or confounding. Instead, we are today able to appreciate the originality, the expressiveness, even the melodiousness of music by the early modern masters.

We also can perceive the individuality of these composers. Certainly it would be difficult to find two personalities more dissimilar than Igor Stravinsky and Gustav Holst. The former was a thoroughly cosmopolitan musician. Born into a cultured Russian family, Stravinsky lived and worked in Paris during the years in which that city was the world’s most vibrant cultural center, and he traveled widely, conducting his music in major cities throughout Europe and America. Holst, by contrast, was modest and retiring. He spent much of his career as a schoolteacher, and used his spare time to study philosophy, religion, and other metaphysical subjects.

The two large compositions on our program reflect these differences. Stravinsky’s Symphony of Psalms sets texts that have long held a revered place in Judeo-Christian worship, and its music is scored with a restraint that underscores its prevailing sense of stark majesty. Holst’s The Planets, on the other hand, takes its inspiration from the zodiac and revels in instrumental color and sonic energy.

Understanding and appreciation of the early modernists also makes the music of our own time more accessible. Our concert begins with a recent piece by American composer Cindy McTee. Although one would hardly confuse her Double Play with the work of Stravinsky or any other musician of the early 20th century, its rhythms, harmonic idiom, and instrumental colors could hardly exist without the pathbreaking innovations of her musical predecessors.

A CENTURY OF MUSICBY PAUL SCHIAVO

CINDY MCTEE Double Play

A DISTINGUISHED AMERICAN COMPOSER Described as a “fresh and imaginative voice” in the world of concert music, Cindy McTee grew up in a musical family in the Pacific Northwest. Her mother played clarinet and saxophone, her father the trumpet, and McTee spent childhood hours hearing them rehearse jazz standards. After earning a degree in music from Pacific Lutheran University, in Tacoma, Washington, she did post-graduate work at the Yale School of Music and the University of Iowa. She also completed a year of study in Poland with one of that nation’s most significant contemporary composers, Krzysztof Penderecki. McTee subsequently taught for more than 25 years at the University of North Texas. She recently retired her post as Regents Professor of Composition there. In 2011 she married the conductor Leonard Slatkin, a longtime champion of her music.

McTee’s works have been performed by many orchestras, including the St. Louis Symphony. The composer has received numerous awards, including fellowships from the Guggenheim and Fulbright Foundations, American Academy of Arts and Letters, and the National Endowment for the Arts. She also won the 2001 Louisville Orchestra Composition Competition.

QUESTION AND ANSWER Double Play was written to fulfill a commission from the Detroit Symphony Orchestra and was first performed in June 2010 by that ensemble, conducted by Slatkin. The piece consists of two movements, which can be played independently or, as we hear them now, together. McTee calls the first movement “The Unquestioned Answer.” That title evokes one of the most famous American compositions of the 20th century, Charles Ives’s The Unanswered Question, and McTee’s music is a gloss on Ives’s iconic work. As in The Unanswered Question, melodic phrases unfold over complex sustained sonorities, provided mainly by the strings. Those phrases are variants of the fivenote theme of Ives’s piece, which, McTee notes, “is heard in both its backward and forward versions throughout the work.” And as in The Unanswered

BornFebruary 20, 1953, Tacoma, Washington

Now ResidesBloomfield Hills, Michigan

First PerformanceJune 3, 2010, in Detroit, Leonard Slatkin conducted the Detroit Symphony Orchestra

STL Symphony PremiereThis week

Scoring2 flutes piccolo3 oboes2 clarinets E-flat clarinet3 bassoons4 horns3 trumpets3 trombonestubatimpanipercussionharpstrings

Performance Timeapproximately 17 minutes

Question, a feeling of contemplation and mystery pervades the movement.

Those qualities carry over into the opening minutes of “Tempus Fugit,” the second part of Double Play, where music redolent of the previous movement sounds against clockwork percussion figures moving at different speeds. But the character of events suddenly changes, as the tempo accelerates and the proceedings grow animated, even frenetic. Here, McTee notes, “jazz rhythms and harmonies, quickly-moving repetitive melodic ideas and fragmented form echo the multifaceted and hurried aspects of 21st-century American society.” Midway through, the fast-paced music pauses for a recollection of the preceding movement; but it soon recaptures its momentum and races to an exciting conclusion.

IGOR STRAVINSKY Symphony of Psalms

A SYMPHONY TO SING Igor Stravinsky was, among many other things, one of the 20th century’s outstanding composers of religiously inspired music. His stature as such rests in no small part on his Symphony of Psalms. Stravinsky wrote this work in 1930 to commemorate the 50th anniversary of the Boston Symphony Orchestra. For this occasion the composer wanted to write a symphony, but not the traditional kind. As he explained in his 1936 autobiography: “My idea was that my symphony should be a work with great contrapuntal development, and for that it was necessary to increase the media at my disposal. I finally decided on a choral and instrumental ensemble in which the two elements should be on an equal footing….”

Having settled on a symphony with voices, Stravinsky came “quite naturally,” as he described it, to the psalms for its texts. He started setting verses from three of them in Slavonic translations but soon came to favor the sound of Latin. The resulting Symphony of Psalms was performed in Boston, on December 19, 1930, six days after receiving its premiere, in Brussels.

In scoring his music, Stravinsky deemphasized the role of the string instruments in favor of winds and percussion. Violins and

BornJune 17, 1882, Oranienbaum, Russia

DiedApril 6, 1971, New York City

First PerformanceDecember 13, 1930, in Brussels, Ernest Ansermet conducted the Société Philharmonique de Bruxelles orchestra and chorus

STL Symphony PremiereJanuary 20, 1956, Vladimir Golshmann conducting, with the Sumner High School a capella Choir under the direction of Kenneth Billups

violas are absent entirely from his orchestra, while the cello and bass parts are largely limited to accompaniment figures that support more conspicuous foreground events. This instrumental deployment affects not just the composition’s spectrum of aural colors but also its rhetorical character. The music conveys an austerity and remote grandeur to which the traditionally warm and intimate tone of violins and violas is unsuited. It is notable, in view of this, that Stravinsky deplored what he called the “lyrico-sentimental” view of the psalms, describing them instead as “magisterial verses.”

CHRIST, ELIJAH, AND BACH Stravinsky composed the first movement, he remembered, “in a state of religious and musical ebullience.” Its initial gesture is an incisive chord that returns periodically to punctuate both the arching instrumental lines of the opening measures and the entreaties of the chorus.

The second movement offers contrapuntal treatment of two themes, one given out by the orchestra, the other, somewhat later, by the chorus. Stravinsky evidently was inspired by the great chorus-with-orchestra movements of J. S. Bach’s sacred works. The “Kyrie” of Bach’s Mass in B minor may not have been the formal model for this music, but the two movements have a certain kinship of sound and spirit.

The closing lines of the second movement call for “a new song,” and we get just that with the intoning of “Alleluia” at the start of the finale. Stravinsky described the slow introduction to this third movement, whose music will recur at several important junctures, as “a prayer to the Russian image of the infant Christ with orb and scepter.” A restrained tone and circling repetition of limited melodic material impart a liturgical quality. Soon the tempo accelerates for a faster section which, the composer explained, “was inspired by a vision of Elijah’s chariot climbing the Heavens.” Stravinsky finally returns to the music of the introduction, extending it in a passage of great stillness and concluding the movement much as it began.

Most Recent STL Symphony PerformanceNovember 19, 2006, David Robertson conducting, with the St. Louis Symphony Chorus under the direction of Amy Kaiser

Scoringmixed chorus5 flutespiccolo4 oboesEnglish horn3 bassoonscontrabassoon4 horns4 trumpetspiccolo trumpet3 trombonestubatimpanibass drumharp2 pianoscellosbasses

Performance Timeapproximately 21 minutes

GUSTAV HOLST The Planets, op. 32

ESOTERIC PURSUITS Gustav Holst belongs to that fascinating tradition, the eccentric English artist. A frail, shy descendant of German and Russian immigrants, Holst was idealistic, obsessive, and solitary. Throughout his life he delved into mysticism and esoteric studies, even learning Sanskrit in order to read Hindu scriptures in their original language.

These interests might seem unrelated to Holst’s efforts as a composer, but in fact they were closely connected to it. “As a rule,” Holst once admitted, “I only study things which suggest music to me.” Consequently, a number of Holst’s early works were operas and choral settings based on sacred Hindu texts. During the years just prior to World War I, he became interested in astrology and learned to cast horoscopes. It is uncertain whether he gained from this activity the insight into human nature and the workings of the world that astrology’s devotees ascribe to the discipline, but the diverse characters associated with the planets in both astrology and Roman mythology did indeed “suggest music” to Holst. The result was The Planets, a suite of seven short tone poems begun in 1914 and completed two years later. This work proved immediately and enormously successful, and it remains Holst’s best-known composition.

A MUSICAL ZODIAC Each of the seven movements that comprise The Planets expresses a mood suggested by the astrological sign associated with its particular planet. These pieces fall into two general types:  scherzando movements, which are lively, brash, and rhythmic; and quiet meditations of a remote, timeless nature. The former group includes “Mars,” which opens The Planets in thunderous fashion; “Mercury,” with animated music appropriate to its namesake; “Jupiter,” whose character derives in large part from the flavor of English folk song, though no popular tunes are actually quoted; and “Uranus.” Among the contemplative sections are “Venus”; “Saturn,” described by Holst as conveying not so much the physical decay of old age but a

BornSeptember 21, 1874, Cheltenham, England

DiedMay 25, 1934, London

First performance: September 29, 1918, in London, English conductor Adrian Boult led the New Queen’s Hall Orchestra; Boult also directed the work’s initial public performance, which he gave with the London Philharmonic Orchestra on February 27, 1919

STL Symphony PremiereJanuary 14, 1973, Leonard Slatkin conducting the first full performance of The Planets, with the Ronald Arnatt Chorale and Missouri Singers

Most RecentSTL Symphony PerformanceMarch 6, 2010, David Robertson conducting, with Women of the St. Louis Symphony Chorus under the direction of Amy Kaiser

Scoringwomen’s chorus3 flutes2 piccolos alto flute3 oboesbass oboeEnglish horn3 clarinets bass clarinet3 bassoons

vision of fulfillment; and “Neptune,” where the orchestra, playing hushed, reverent sonorities, is joined in the final passage by a wordless chorus of women’s voices.

Despite these two broad groupings, each “planet” is distinct in character and thematic material, a few well-chosen melodic cross-references notwithstanding. Many admirable details of compositional craftsmanship contribute to the vividness of Holst’s zodiac portrayals. Among other things, we can note  the brilliant orchestration, the deft handling of syncopated rhythms and unusual meters, and the haunting modal melodies of its slow movements. The effectiveness of these elements has not faded, and The Planets is still one of the most generally impressive and widely enjoyed orchestral works to have come out of England in the last century.

Program notes © 2013 by Paul Schiavo

contrabassoon6 horns4 trumpets3 trombonestuba tenor tubatimpanipercussioncelestaorgantwo harpsstrings

Performance Timeapproximately 51 minutes

LEONARD SLATKINMONANTO GUEST ARTIST

Internationally acclaimed American conductor Leonard Slatkin began his tenure as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his post at the DSO, he serves as Music Director of the Orchestre National de Lyon, an appointment which began in August 2011. He is also Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in fall 2008, and is the author of a new book entitled Conducting Business.

Following a 17-year appointment as Music Director of the St. Louis Symphony, where he retains the title Conductor Laureate, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, where he founded its Sommerfest; first Music Director of the Cleveland Orchestra’s summer series at the Blossom Music Festival, an appointment he held for nine years; Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. In Great Britain he served as Principal Guest Conductor of both the Philharmonia Orchestra of London and the Royal Philharmonic, and was also Chief Conductor of the BBC Symphony Orchestra. Born in Los Angeles to a distinguished musical family, his parents were the conductor-violinist Felix Slatkin and cellist Eleanor Aller, founding members of the famed Hollywood String Quartet. Leonard Slatkin began his musical studies on the violin and studied conducting with his father, followed by Walter Susskind at Aspen and Jean Morel at the Juilliard School. He is the proud parent of a son, Daniel, who attends the University of Southern California. He is married to composer Cindy McTee, and they reside in Bloomfield Hills, Michigan. Leonard Slatkin most recently conducted the St. Louis Symphony in November 2010.

Leonard Slatkin is Conductor Laureate of the St. Louis Symphony.

COURTNEY LEWISJANUARY 20 CONCERT

Hailed by the Boston Phoenix as “…both an inspired conductor…and an inspired programmer,” Courtney Lewis is quickly becoming recognized as one of today’s top emerging talents. He is founder and music director of Boston’s acclaimed Discovery Ensemble, a chamber orchestra with the mission of introducing inner-city schoolchildren to classical music while bringing new and unusual repertoire to established concert audiences. Lewis is also Associate Conductor of the Minnesota Orchestra, where he regularly conducts Young People’s concerts, outdoor concerts, and other performances, making a successful subscription debut in the 2011-12 season. In November 2008 Lewis made his major American orchestra debut with the St. Louis Symphony. Other recent and upcoming appearances include returns to the Ulster Orchestra (for a series of BBC Radio 3 Invitation Concerts as well as on subscription) and debuts with the Colorado and New Hampshire music festivals as well as the Atlanta and Memphis symphonies, Naples Philharmonic, Washington’s National Symphony Orchestra, RTÉ National Symphony Orchestra of Ireland, and the Lausanne Chamber Orchestra. Appointed a Dudamel Fellow with the Los Angeles Philharmonic for the 2011-12 season, he made his debut with that orchestra in fall 2011, returning for additional performances in the spring. Born in Belfast, Northern Ireland, Lewis attended the University of Cambridge, during which time he studied composition with Robin Holloway and clarinet with Dame Thea King, graduating with starred first class honors. After completing a master’s degree with a focus on the late music of György Ligeti, he attended the Royal Northern College of Music, where his teachers included Sir Mark Elder and Clark Rundell. Courtney Lewis most recently conducted the St. Louis Symphony in February 2011.

Courtney Lewis made his major American orchestra debut with the St. Louis Symphony in 2008.

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AMY KAISERAT&T FOUNDATION CHAIR

One of the country’s leading choral directors, Amy Kaiser has conducted the St. Louis Symphony in Handel’s Messiah, Schubert’s Mass in E-flat, Vivaldi’s Gloria, and sacred works by Haydn and Mozart as well as Young People’s Concerts. She has made eight appearances as guest conductor for the Berkshire Choral Festival in Sheffield, 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 Chicago’s Grant Park Music Festival and more than fifty performances with the Metropolitan Opera Guild. Principal Conductor of the New York Chamber Symphony’s School Concert Series for seven seasons, Kaiser also led many programs for the 92nd Street Y’s acclaimed Schubertiade. She has conducted over twenty-five operas, including eight contemporary premieres. A frequent collaborator with Professor Peter Schickele on his annual PDQ Bach concerts at Carnegie Hall, Kaiser made her Carnegie Hall debut conducting PDQ’s Consort of Choral Christmas Carols. She also led the Professor in PDQ Bach’s Canine Cantata “Wachet Arf” with the New Jersey Symphony. Kaiser has led master classes in choral conducting at Indiana University Jacobs School of Music, served as faculty for a Chorus America conducting workshop, and as a panelist for the National Endowment for the Arts. An active guest speaker, Kaiser teaches monthly classes for adults in symphonic and operatic repertoire and presents “Illuminating Opera” for four weeks in April at Opera Theatre of St. Louis. Amy Kaiser has prepared choruses for the New York Philharmonic, Ravinia Festival, Mostly Mozart Festival, and Opera Orchestra of New York. She also served as faculty conductor and vocal coach at Manhattan School of Music and the Mannes College of Music. An alumna of Smith College, she was awarded the Smith College Medal for outstanding professional achievement.

Amy Kaiser prepares the St. Louis Symphony Chorus for performances of The Matrix, April 5-6, 2013.

Amy KaiserDirector

Leon Burke, IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nancy Davenport Allison Rev. Fr. Stephan Baljian Stephanie A. Ball Nick Beary Rudi J. Bertrand Annemarie Bethel-Pelton Paula N. Bittle Jerry Bolain Michael Bouman Richard F. Boyd Keith Boyer Pamela A. Branson Bonnie Brayshaw Marella Briones Daniel P. Brodsky Buron F. Buffkin, Jr.Leon Burke, IIICherstin Byers Leslie Caplan Maureen A. Carlson Victoria Carmichael Mark Cereghino Jessica Klingler Cissell Rhonda Collins Coates Timothy A. Cole Daniel Copeland Derek Dahlke Laurel Ellison Dantas Deborah DawsonMary C. Donald Stephanie M. Engelmeyer Ladd Faszold Jasmine J. Fazzari Heather Fehl Robin D. Fish, Jr.Alan Freed Mark Freiman Amy Gatschenberger

Lara Gerassi Megan E. Glass Susan Goris Karen S. Gottschalk Jacqueline Gross Susan H. Hagen Clifton D. Hardy Nancy J. Helmich Ellen Henschen Jeffrey E. Heyl Matthew S. Holt Allison Hoppe Heather Humphrey Kerry H. Jenkins Madeline Kaufman Paul V. Kunnath Kendra Lee Debby Lennon Gregory C. Lundberg Gina Malone Jamie Lynn Marble Kellen Markovich Jan Marr a Lee Martin Alicia Matkovich Daniel Mayo Rachael McCreery Elizabeth Casey McKinney

Scott Meidroth Brian Mulder Johanna Nordhorn Duane L. Olson Nicole Orr Heather McKenzie Patterson

Susan Patterson Matt Pentecost Brian Pezza Shelly Ragan Pickard Sarah Price Valerie Reichert Kate Reimann David Ressler Gregory J. Riddle Patti Ruff Riggle Stephanie Diane Robertson

Terree Rowbottom Paul N. Runnion

Jennifer Ryrie Susan Sampson Patricia Scanlon Mark V. Scharff Samantha Nicole Schmid Paula K. Schweitzer Lisa Sienkiewicz Janice Simmons-Johnson John William Simon Charles G. Smith Shirley Bynum Smith Joshua Stanton Adam Stefo David Stephens Benna D. Stokes Denise Stookesberry Greg Storkan Maureen Taylor Michelle D. Taylor Justin Thomas Natanja Tomich Pamela M. Triplett David Truman Greg Upchurch Robert Valentine Kevin Vondrak Samantha Wagner Keith Wehmeier Nicole C. Weiss Dennis Willhoit Paul A. Williams Christopher Wise Mary Wissinger Susan Donahue Yates Elena Zaring Carl S. Zimmerman

ST. LOUIS SYMPHONY CHORUS 2012-2013SYMPHONY OF PSALMS

Amy KaiserDirector

Marella BrionesAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nancy Davenport Allison Stephanie A. Ball Paula N. Bittle Pamela A. Branson Bonnie Brayshaw Marella Briones Cherstin Byers Maureen A. Carlson

Victoria Carmichael Rhonda Collins Coates Laurel Ellison Dantas Deborah DawsonHeather Fehl Megan E. Glass Susan Goris Karen S Gottschalk Nancy J. Helmich Ellen Henschen Allison HoppeHeather Humphrey Madeline Kaufman Kendra Lee Debby Lennon Gina Malone Jamie Lynn Marble Rachael McCreery Elizabeth Casey McKinney Johanna Nordhorn

Heather McKenzie Patterson

Susan Patterson Valerie Reichert Kate Reimann Patti Ruff Riggle Stephanie Diane Robertson Jennifer Ryrie Patricia Scanlon Lisa Sienkiewicz Janice Simmons-Johnson Denise Stookesberry Pamela M. Triplett Samantha Wagner Nicole C. Weiss Mary WissingerSusan Donahue Yates Elena Zaring

WOMEN OF THE ST. LOUIS SYMPHONY CHORUSTHE PLANETS

dilip vishwanaT

Psalm 38, v 13, 14Exaudi orationem meam, DomineEt deprecationem meam.Auribus percipe lacrimas meas.Ne sileas: Quoniam advena ego sum apud te Et peregrinus, sicut omnes patres mei.Remitte mihi ut refrigererPrius quam abeam et amplius non ero.

Psalm 39, v 1-3Expectans expectavi DominumEt intendit mihiEt exaudivit preces meas:Et eduxit me de lacu miseriae,Et de luto faecis.Et statuit super petram pedes meos:Et direxit gressus meos.Et immisit in os meum canticum novum,Carmen Deo nostro.Videbunt multi et timebunt:Et sperabunt in Domino.

Psalm 150Laudate Dominum in sanctis ejus.Laudate eum in firmamento virtutis ejus.Laudate eum in virtutibus ejus.Laudate eum secundum multitudinem

magnitudinis ejus.Laudate eum in sono tubae.Laudate eum in timpano et choro.Laudate eum in chordis et organo.Laudate eum in cymbalis benesonantibus.Laudate eum in cymbalis jubilationibus.Omnis spiritus laudat Dominum.Alleluia.

Hear my prayer, O LordAnd my supplication.Give ear unto my cryNor be silent: for I am a stranger with

theeAnd a foreigner, like all my fathers.Spare me, that I may be refreshedBefore I go hence and am no more.

I waited patiently for the LordAnd He inclined unto meAnd heard my prayer,And brought me up out of a horrible pit,And out of the foul mud.And set my feet upon a rockAnd directed my step.And He hath put a new song in my mouth, A song of our God.Many shall see and shall fearAnd shall hope in the Lord.

Praise the Lord in His sacred places,Praise Him in the firmament of His power. Praise Him for His mighty acts.Praise Him according to his excellent

greatness.Praise Him with the sound of the trumpet. Praise Him with drums and voices. Praise Him with strings and organ. Praise Him with high-sounding cymbals. Praise Him with cymbals of joy. Let everything that has breath praise the Lord.Alleluia.

SYMPHONY OF PSALMS

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BOUTIQUE

WHEELCHAIR LIFT

BALCONY LEVEL(TERRACE CIRCLE, GRAND CIRCLE)

GRAND TIER LEVEL(DRESS CIRCLE, DRESS CIRCLE BOXES,

GRAND TIER BOXES & LOGE)

MET BAR

TAXI PICK UPDELMAR

ORCHESTRA LEVEL(PARQUET, ORCHESTRA RIGHT & LEFT)

KEY

WIGHTMANGRANDFOYER

TICKET LOBBY

CUSTOMERSERVICE

LOCKERS

WOMEN’S RESTROOM

MEN’S RESTROOM

ELEVATOR

BAR SERVICES

HANDICAPPED-ACCESSIBLE

FAMILY RESTROOM

POWELL HALL