A heartwarming Sounds of the Season with Tacoma Youth Chorus

TACOMA, WA – The Pantages Theater stage will be brimming with musicians and instruments, including singers from 4th grade through high school, when Symphony Tacoma presents the annual Sounds of the Season program, featuring the Tacoma Youth Chorus. A cherished tradition in Tacoma, the pageant-style concert—conducted by Sarah Ioannides and Judy Herrington—features beloved carols, hymns and songs, including “The Little Drummer Boy,” “My Favorite Things,” “Joy to the World” and “Greensleeves,” among many others.  Held at 2:30 p.m. on Sunday, December 3, the performance is sponsored by Columbia Bank, Aetna, and Stadium Thriftway; The News Tribune is the media sponsor.  For tickets, starting at $19.50, call 800-291-7593 or 253-591-5894, or visit www.symphonytacoma.org.

Joining Ioannides and Herrington will be soprano Leann Conley-Holcom, who directs the TYC Concert Choir and is active internationally as a freelance singer, clinician and guest conductor. She will be featured in the Domine Deus from Vivaldi’s Gloria, the Coventry & Sussex Carol by 17th century priest Luke Wadding, “My Favorite Things,” and more.

The program is studded with other great names and titles in choral and seasonal music: Tchaikovsky’s Nutcracker Dance, Vaughan Williams’s Fantasia on “Greensleeves,” Eric Whitacre’s “Glow,” John Rutter’s “Tomorrow Shall Be My Dancing Day,” Prokofiev’s “Troika,” and Leroy Anderson’s “Christmas Festival.” Symphony Tacoma’s frequent collaborator Bo Ayars has created arrangements of Rodgers & Hammerstein’s “My Favorite Things” and Richard Kountz’s “The Sleigh.” Sarah Ioannides has orchestrated Judy Herrington’s composition for women’s choir, “Stars Tonight,” which will receive its premiere during the performance!

“Tacoma Youth Chorus is looking forward to once again sharing our music with Symphony Tacoma and its audience for Sounds of the Season!” Judy Herrington stated.  “Sarah Ioannides is a remarkable conductor, and I know our singers will be inspired by her artistry and technique.  We are excited and honored to share in this collaboration!”

The Tacoma-based choral arts program, now in its 26th season, is a place for kids to be themselves and have fun with music. It includes seven ensembles, from the introductory Music Makers to the advanced Chorale.  Featured in this performance will be the Concert Choir for grades 4-5, the Chamber Choir for grades 6-8, the Women’s Choir for grades 9-12, and the Chorale for grades 9-12.

When Illness Strikes a Soloist

Unforeseen illness can wreak havoc when it strikes a professional classical concert soloist just days before a scheduled performance.

The schedule of an in-demand soloist is typically set at least a year in advance, with a lengthy planning window ensuing. Travel, accommodations, rehearsal schedules, hall bookings, and other details are spelled out in contracts and riders painstakingly negotiated between the booking agency and the presenter, often taking six months or more to complete.

In addition, classical concertos are complex and difficult, requiring lengthy preparation. Even the most gifted artist can only keep so many pieces under his or her fingers. Soloists thus usually have a relatively short list of works ready for performance in any given concert season.

For all these reasons, classical music organizations are not particularly adept at turning on a dime when the unforeseen strikes.

The unforeseen struck recently when Symphony Tacoma officials received a call from pianist Andrew Tyson’s agency—just three days before the concert—that the artist was too ill to fulfill his November 18 engagement. Tyson was slated to make his regional debut performing the Ravel Piano Concerto in G at Tacoma’s Pantages Theater, with Sarah Ioannides conducting.

We all know the old adage “the show must go on,” but part of being a professional is knowing when you’re too ill to give a performance your best–and bowing out in time for the presenting organization to have a shot at replacing you.  In this difficult circumstance, Tyson did the right thing. It cannot have been an easy decision for him.

Fortunately, the quick-thinking Sarah Ioannides immediately texted pianist Charlie Albright—with whom she had just collaborated in Philadelphia the week before—to see if by any chance he was available and knew the concerto.  Charlie, who has been acclaimed as “among the most gifted musicians of his generation” by The Washington Post, hails from Centralia, just an hour down I5 from Tacoma.  He responded right away: yes, he was available, and yes he was ready, willing and able to perform the formidable Ravel concerto on a scant three days’ notice!

This was truly a happy solution.  The Pacific Northwest native had previously appeared with Symphony Tacoma in November 2014, so he was already known and loved by local audiences.  As The New York Times put it, he has “jaw-dropping technique and virtuosity meshed with a distinctive musicality,” and to add to the package, a friendly, outgoing and generous personality that is the same onstage or off.  Finally, he has the rare talent of being a master improviser.  He knocked the ball out of the park with his dazzling performance of the Ravel concerto, and then played an encore improvised on the spot after asking audience members to pick the first four notes.

Sometimes turning on a dime brings positive artistic results. The unforeseen may start out by bringing havoc, but if properly embraced it can result in high flying!

Pianist Andrew Tyson cancels due to illness; Charlie Albright steps in at 11th hour for Ravel Concerto

Pianist Andrew Tyson has canceled his engagement with Symphony Tacoma due to illness. The young artist was slated to make his regional debut performing the Ravel Piano Concerto in G on Saturday, November 18 at the Pantages Theater, with Sarah Ioannides conducting. Fortunately, pianist Charlie Albright—hailed as “among the most gifted musicians of his generation” by The Washington Post—is available to step in, and, even more remarkably, is willing to perform the formidable Ravel concerto on a scant three days’ notice!

Conducted by Sarah Ioannides, the concert will also include the Firebird Suite of Igor Stravinsky and Tchaikovsky’s Symphony No. 4. The performance will be held at 7:30 p.m. Saturday, November 18 in the Pantages Theater, 901 Broadway, Tacoma. Sponsors include Skelley Piano and Alaska Airlines. Mr. Albright’s appearance is underwritten by the Tacoma Philharmonic Endowment Fund, held in trust by the Broadway Center for the Performing Arts. For tickets, starting at $19.50, call 800-291-7593 or 253-591-5894, or visit www.symphonytacoma.org

“We are delighted and grateful that Charlie is able to join us on such short notice,” said Music Director Sarah Ioannides, who collaborated with Mr. Albright in a concert with the Chamber Orchestra of Philadelphia earlier this month. During that concert he demonstrated his well- known talent—rare among classical musicians—for improvisation, offering what critic David Patrick Stearns called a “distinctive” improvised version of Beethoven’s “Fur Elise.” The Pacific Northwest native previously appeared with Symphony Tacoma in November 2014, performing the Tchaikovsky Piano Concerto No. 1.

Mr. Albright has been praised for his “jaw-dropping technique and virtuosity meshed with a distinctive musicality” by The New York Times. Recipient of the prestigious 2014 Avery Fisher Career Grant and 2010 Gilmore Young Artist Award, Albright won the 2014 Ruhr Klavier Festival Young Artist Award presented by Marc-André Hamelin (Germany) and the 2009 Young Concert Artists International Auditions.

“Poet of the piano” to make regional debut with Symphony Tacoma

31-year-old pianist Andrew Tyson—called a “poet of the piano” by BBC Radio 3 and a “phenomenal musician” by La Libre—will make his regional debut with Symphony Tacoma in Ravel’s Piano Concerto in G Major.  Conducted by Sarah Ioannides, the concert will also include the Firebird Suite of Igor Stravinsky and Tchaikovsky’s Symphony No. 4. The performance will be held at 7:30 p.m. Saturday, November 18 in the Pantages Theater, 901 Broadway, Tacoma.  Sponsors include Skelley Piano and Alaska Airlines. For tickets, starting at $19.50, call 800-291-7593 or 253-591-5894, or visit www.symphonytacoma.org

“Tyson is a real poet of the piano,” wrote BBC Radio 3. “His playing is exquisite, flexible, subtle, colorful, passionate, and daring.”   “A phenomenal musician, a refined artist, an accomplished pianist,” raved La Libre. “Tyson employed his immense skills and his musical genius to serve us an enchanted vision.” As winner of the Young Concert Artists International Auditions in 2011, Tyson was awarded YCA’s Paul A. Fish Memorial Prize and the John Browning Memorial Prize. In 2013, he was the Avery Fisher Career Grant recipient. He is a Laureate of the Queen Elisabeth Competition and won the Eastern Music Festival Competition at the age of 15.

Recent performances include the Chopin Society in Hong Kong; Caramoor, New York; and Piano Aux Jacobins in Toulouse, France.  Later this season he performs in Music at Evergreen; with the Kansas City Symphony; and the Haydn Philharmonic Orchestra in Vienna.

Ravel’s Piano Concerto in G dates from 1929 when, after having achieved financial security through the success of Bolero, the French composer began a concerto as a showcase for his pianistic abilities. Although he was a gifted virtuoso, the resulting work proved too formidable for his talents. He decided to pass along the premiere to his protégé, Marguerite Long.  Influenced by Gershwin’s Rhapsody in Blue, the concerto is among a number of compositions during this period, by different composers, reflecting the popularity of American jazz.

Also featured on the program will be Stravinsky’s Firebird Suite, the 27-year-old composer’s first major full-length work. Originally scored as a ballet, and based upon a Russian folk tale, the score contains many brilliant effects, including horn and trombone glissandos (sliding between pitches) and the natural-harmonic string glissando near the beginning, which the bass chord touches off like a Catherine-wheel.

Concluding the program will be Tchaikovsky’s Symphony No. 4, hailed as one of the most “towering symphonic structures in our whole literature” by music experts. The opening “fate” fanfare, centered around only three notes, reflects the two-note main motif of Beethoven’s 5th Symphony, which it rhythmically recalls.

Seven vocal soloists featured in music of West Side Story during Season Opening

Symphony Tacoma will open its 2017-2018 Season with the first official observance of the highly anticipated Bernstein Centennial in the Pacific Northwest. Music Director Sarah Ioannides, whose contract with the Symphony was recently extended through 2024, will present a program featuring music from the composer/conductor’s most famous musical, West Side Story; his film score for On the Waterfront; and his opera Candide.

Joining her will be the Symphony Tacoma Voices and a cast of seven vocal soloists: Tess Altiveros as Maria, Elizabeth Galafa as Anita and Francisca, Bianca Raso as Rosalia, Dawn Padula as Consuela, John Marzano as Tony, John Arthur Greene as Riff, and Caisey Raiha as Bernardo.

The concert will be held at 7:30 p.m. Saturday, October 21 in the Pantages Theater, 901 Broadway, Tacoma. Click here for tickets.

Praised for “a ripe, sensual lyric soprano” (Opera News), soprano Tess Altiveros will sing the role of Maria.  Recent engagements include Seattle Opera’s critically acclaimed The Combat, St. Matthew Passion (Colorado Symphony), Don Giovanni (Skylark Opera Theatre), La Bohème (Colorado Symphony), Vaughan Williams Dona Nobis Pacem (Seattle Pro Musica), and Susanna in Le Nozze di Figaro (Angels & Demons Entertainment).  Other recent credits include The Turn of the Screw (Eugene Opera), Don Giovanni (Juneau Lyric Opera), Die Fledermaus (Opera Coeur d’Alene), La Voix Humaine (Vespertine Opera Theater), Carmen (Opera Fairbanks).  A native Seattleite, Tess just completed her ninth season singing for the Seattle Mariners.

Mezzo-Soprano Elizabeth Galafa—singing the roles of Anita and Francisca—was born in Southern California and raised in Florida. Two years after completing her Master’s at the University of Michigan, she married and moved to the Pacific Northwest. Among her concert credits, she sang in Ravel’s L’enfant et les sortileges in her final U. of M. performance. She also performed in Strauss’s Ariadne auf Naxos under conductor Kamal Khan. Arts at Michigan wrote, “Elizabeth Galafa was a force of nature… it was impossible to take one’s eyes off her.”

Mezzo-soprano Bianca Raso will perform as Rosalia.  An alumna of the University of South Carolina, she is familiar to Tacoma audiences from her recent appearance in La Périchole with Tacoma Opera. In July, she performed with The Seattle Gilbert and Sullivan Society in H.M.S. Pinafore. Additional performance credits include Stellaluna with the Seattle Children’s Theatre, The Yeomen of the Guard with Seattle Gilbert and Sullivan Society, and LionFish Production’s Never The Sinner. A native of Toronto, Raso lives with her husband in Seattle.

Mezzo-soprano Dawn Padula appears as Consuela. A versatile performer of opera, oratorio, musical theatre, jazz and classical, Dr. Padula is Director of Vocal Studies at the University of Puget Sound. She recently toured Bulgaria with the Pazardzhik Symphony in performances of Mozart’s Requiem. In August, she released her first classical solo album, Gracious Moonlight. Padula has performed with the Tacoma and Kitsap operas, Concert Opera of Seattle, and Puget Sound Concert Opera; and has concertized with the Oregon Symphony, Seattle Bach Choir, and Second City Chamber Series, among others.

Tenor John Marzano—singing the role of Tony—was born and raised in Tacoma. He earned his Bachelor’s at PLU, studying under Barry Johnson. A frequent performer with the operas of Seattle, Vashon and PLU, Marzano’s recent appearances include Mozart’s Così fan tutte and Die Zauberflöte, Rossini’s Il Barbiere di Siviglia, Puccini’s Gianni Schicchi, Britten’s Albert Herring, and Bizet’s Carmen. On the concert stage, he has performed with the Tacoma Youth Symphony, PLU Orchestra, Choral Union, and Choir of the West, among others.

John Arthur Greene is no stranger to the role of Riff, the leader of the Jets, since his first appearance in the Broadway production of West Side Story at age 20. A native of North Carolina, Greene grew up listening to all types of music, including classical, opera, jazz, rock, blues, soul—and especially Broadway. At age 18 he performed on tour as Action in West Side Story; two years later the late great director Arthur Laurents invited him to play the role of Riff.  Current roles include Theo in School of Rock, Luke in Mim, and Jonathan in Tick Tick Boom, to name a few. He performs all over New York, and his singles “Easy” and “Brooklyn,” as well as his Debut EP, Shadows Of Light, are available on iTunes, Spotify, Amazon, and YouTube.

Casey Raiha, appearing as Bernardo, has been a featured soloist for Masterworks Choral Ensemble, the Olympia Choral Society, and Seattle Unity Church. Specializing in Musical Theatre, Casey also performs in Shakespeare, pantomime, dance and vocal recitals, concerts, Cabarets, radio dramas, staged readings, and improv. Recent appearances include South Pacific with Coeur d’Alene Summer Theatre, A Midsummer Night’s Dream with Seattle Shakespeare Company, and Singin’ in the Rain with Village Theatre. He has performed in venues all over the Pacific Northwest, including Benaroya Hall, Mount Baker Theatre in Bellingham, and The Washington Center in Olympia.

The global celebration titled “Leonard Bernstein at 100” officially began on August 25, 2017 and continues for exactly one full year.  Composer, conductor, educator, pianist, cultural ambassador—Leonard Bernstein filled all these roles and more with aplomb.  Igor Stravinsky admiringly termed him “a department store of music.”  Bernstein received his first permanent conducting job in 1943, serving as Assistant Conductor of the New York Philharmonic. On November 14, 1943, he was called upon to substitute for an ailing Bruno Walter at Carnegie Hall.  Broadcast nationally on radio, the concert caused an instant sensation and made Bernstein a celebrity almost overnight.

As Music Director of the New York Philharmonic from 1958 to 1969, he led more concerts with the orchestra than any previous conductor.  His famed Young People’s Concerts were broadcast on national television for 14 seasons, well beyond his tenure as Music Director. For an entire generation, Bernstein came to exemplify and symbolize a new, distinctly American classical maestro: young, handsome, charismatic, approachable, debonair, passionate, and compassionate.

West Side Story, a modern retelling of Romeo and Juliet, is set in 1950s New York City, with the Montagues being replaced by the Anglo Jets, and the Capulets by the rival Puerto Rican Sharks.  The magical partnership of Bernstein and lyricist Stephen Sondheim resulted in energetic, emotional music paired with clever, memorable lyrics.

West Side Story rapidly entered mainstream culture and remains there to this day.  Bernstein’s music has been covered by jazz musicians like Buddy Rich, Oscar Peterson, Stan Kenton and Chick Corea; and rock and pop artists such as Little Richard, Keith Emerson, Alice Cooper, Selena, Trisha Yearwood, and Salt-n-Pepa, among many more.

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Leonard Bernstein: America’s Musical Department Store

Composer, conductor, educator, pianist, cultural ambassador—Leonard Bernstein filled all these roles and more with aplomb.  Igor Stravinsky admiringly termed him “a department store of music.”

The global celebration titled “Leonard Bernstein at 100” officially began on August 25, 2017 and continues for exactly one full year; Symphony Tacoma’s season opening concert on Saturday, October 21 featuring Bernstein’s music is among the earliest events worldwide—and first in the South Sound.

Born in Lawrence, Massachusetts, Leonard Bernstein grew up during a time when Western music was exploding with different sounds and styles.  Still recovering from the 1913 premiere of Rite of Spring, the classical world was set reeling again just six years later when—in a seeming complete about-face—Stravinsky launched into his sparse, crisp Neoclassical period with L’Histoire du Soldat.  Meanwhile, Schoenberg’s Second Viennese School was busy advancing its new Twelve-Tone system, a controversial method that did away with all vestiges of tonality.  Bartok was incorporating percussiveness, rhythmic irregularity, and Eastern European folk music into his compositions.  Varese was introducing a highly experimental musical aesthetic he termed “organized sound.” Electronic music was heard for the first time with the introduction of the theremin.  Escaping from its Ragtime cradle, Jazz was radiating from the hottest clubs of New Orleans, St. Louis, and Chicago, influencing composers from Copland to Milhaud, Ravel to Shostakovich.  Radio and vinyl records made listening in the privacy of your home, whenever you liked, widespread for the first time.

It must have been a heady mix for a budding young musician!

Bernstein received his first permanent conducting job in 1943, serving as Assistant Conductor of the New York Philharmonic. On November 14, 1943, he was called upon to substitute (on a scant several hours’ notice, with no rehearsal, and after a night out partying) for an ailing Bruno Walter at Carnegie Hall.  Broadcast nationally on radio, the concert caused an instant sensation and made Bernstein a celebrity almost overnight.

As Music Director of the New York Philharmonic from 1958 to 1969, he led more concerts with the orchestra than any previous conductor.  His famed Young People’s Concerts were broadcast on national television for fourteen seasons, well beyond his tenure as Music Director. For an entire generation, Bernstein came to exemplify and symbolize a new, distinctly American classical maestro:  young, handsome, charismatic, approachable, debonair, passionate, and compassionate.  (Though he had his critics: Oscar Levant famously quipped “he uses music as an accompaniment to his conducting.”)

His fame as conductor tended to overshadow that of composer, but in works spanning chamber music, symphonies, opera, film and Broadway, Bernstein revealed himself as a gifted composer who gathered, absorbed and synthesized the sounds of his age—from Neoclassicalism to jazz—and made them his own.    According to conductor John Mauceri, he projected a message “of understanding and hope employing both complex and simple forms and styles—yet always sounding like ‘Bernstein.’”

 

Single Tickets go on sale for 2017-2018 Concert Season

The first official observance of the highly anticipated Bernstein Centennial in the Pacific Northwest. The West Coast debut of Opus X, the acclaimed crossover quartet that is putting a new spin on music from Handel to Led Zeppelin. The U.S. Premiere of Swedish composer Marie Samuelsson’s 2016 The Eros Effect and Solidarity. The Tacoma solo debuts of pianist Andrew Tyson, cellist Efe Baltacigil, and Met soprano Kelly Cae Hogan. Symphony Tacoma’s 2017-2018 Season—on sale to the general public next Wednesday, August 15—abounds with firsts.

Available only via season ticket purchase since its unveiling last March, the season has generated record response, having already surpassed last year’s total revenue numbers.  Excitement reached a new level in June when the Symphony announced it had extended the contract of Sarah Ioannides, its charismatic new music director, through 2024. Moreover, 2017-2018 marks the final season before the Symphony’s main home venue, the Pantages Theater, closes for a full year for an extensive refit.

“Tacoma’s musical community is still elated by the news of Sarah Ioannides’ extension,” said Executive Director Andy Buelow. “This represents a huge vote of confidence on her part, not only in the Symphony, but in Tacoma’s vibrant future. Since her arrival attendance and audience engagement have grown exponentially, and the Orchestra is playing at a new artistic level.”

“Being here in Tacoma is a complete pleasure,” Ioannides said. “There is a whole community renaissance building around arts and culture—with a compelling, distinct identity. It’s the perfect environment to reinvent the Symphony for a new generation.”

Ioannides’ optimism is borne out in both citywide statistics and the organization’s own numbers. A recent survey by Americans for the Arts showed a combined economic impact of more than $86 million by Tacoma’s arts and cultural organizations. The Symphony’s concert revenue has grown 60% in just five seasons, and both individual giving and corporate support are up 50%.

The News Tribune recently declared Symphony Tacoma “an integral part of our city’s culture and communal spirit.”

The season kicks off Friday, October 20 with a West Side Story-themed Gala at Tacoma Art Museum, including a gourmet dinner, silent and live auction, and live entertainment. The signature event generates vital funding for Symphony Tacoma’s growing youth education program.

The opening concert at the Pantages Theater, just 24 hours later, exclusively features music by Leonard Bernstein, highlighted by his legendary West Side Story.  Two suites from the landmark 1958 musical will be performed, one of which includes treasured tunes like “I Feel Pretty,” “Tonight,” and “The Jet Song.”

Last week, auditions were announced for the seven major vocal roles of the musical. The soloists will provide a sneak preview of the concert during the Friday night Gala, and then take center stage at the Pantages the following evening.  Also in the spotlight will be the acclaimed Symphony Tacoma Voices, directed by Dr. Geoffrey Boers.

The remainder of the concert lineup—from November through May—sports such blockbusters as Tchaikovsky’s Symphony No. 4, Stravinsky’s Firebird Suite, Handel’s Messiah, Sibelius’s Symphony No. 2 (its first performance by Symphony Tacoma), and Brahms’s Symphony No. 1, among others.

The season concludes on May 12 with another Symphony Tacoma first: an evening of works by Richard Wagner, including the Overture to Die Meistersinger, Ride of the Valkyries, and the Prelude and Liebestod from Tristan und Isolde, featuring Ms. Hogan.  The music of this greatest of all German Romantics is paired with French composer Francis Poulenc’s 1961 Gloria, called “riotously wild, spiky, and humorous” by The Observer.

For more information, call 800-291-7593 or 253-591-5894.

 

Download press release – click here.

Symphony Tacoma announces vocal auditions for Bernstein Centennial Concert featuring music from West Side Story

The first official observance of the highly anticipated Bernstein Centennial in the Pacific Northwest will be presented by Symphony Tacoma in its Season Opening Concert, held in Tacoma’s Pantages Theater at 7:30 p.m. Saturday, October 21.  The full evening of works by Leonard Bernstein will feature music from his legendary West Side Story, including the Symphonic Dances and Suite No. 2—which contains such classic songs as “I Feel Pretty,” “America,” “Tonight,” “The Jet Song,” and more.  The concert will frontline seven vocal soloists and the 70-person Symphony Tacoma Voices, along with the 80-piece Symphony Tacoma under the leadership of Music Director Sarah Ioannides.

Symphony Tacoma has announced vocal auditions for the seven roles:  Maria, Anita, Rosalia, Consuela, Tony, Riff and Bernardo.  Applicants are asked to upload a private Youtube video of themselves performing, with piano accompaniment, the songs for their desired vocal part, and to send the private link and a performance resume to Symphony Tacoma at auditions@symphonytacoma.org. Finalists will participate in a live audition at 6:00 p.m. on Thursday, August 31 at the Broadway Center for the Performing Arts, Studio 3.

“At Symphony Tacoma, we strive to put community first, going beyond tradition to surprise and captivate,” said Music Director Sarah Ioannides.  “This concert represents an opportunity for area singers, from gifted amateurs to seasoned pros, to take the stage with a full symphony orchestra performing some of the most exciting and beautiful American music of all time.”

For more information about applying, please click here.

Symphony Announces Contract Extension of Music Director Sarah Ioannides

Symphony Tacoma has extended the contract of Music Director Sarah Ioannides through the 2023-2024 Season, Board President Clark D’Elia announced today. Described by The New York Times as a conductor with “unquestionable strength and authority,” Sarah Ioannides arrived in 2014-2015 after a two-year international search. Her tenure has brought a new level of artistic vibrancy to the Tacoma-based performing arts organization, distinguished by her inclusive leadership style and progressive artistic sensibility.

“We are delighted to announce the extension of Maestra Ioannides’ contract,” stated D’Elia. “In just three seasons, the changes she has implemented—both artistic and programmatic—have been remarkable. She has wholeheartedly embraced and been embraced by the community, building the Orchestra’s artistic capacity, forging collaborative relationships, and bringing a new caliber of guest artists to the concert stage. The Board is extremely pleased with the results, and we look forward to continuing this fruitful partnership for years to come.”

Under Ioannides’ leadership, Symphony Tacoma has worked dexterously to honor the canon of classical works while also taking the audience on new musical excursions and engaging the wider community beyond the concert hall. The recent NEA-funded performance of Daniel Ott’s Fire-Mountain, dedicated to raising awareness of Mount Rainier’s rapidly melting glaciers, incorporated the Museum of Glass, Hilltop Artists, Lincoln High School, and the National Park Service as collaborators. The News Tribune called it “A culmination of creativity, education, outreach and advocacy that touched our community and brought people together in a powerful shared experience.”

Last season’s performance of Tan Dun’s Water Passion was an explosive tour-de-force of symphony, Chinese opera and theater, leading The News Tribune to proclaim, “With imagination, skill and engagement… the Symphony is an integral part of our city’s culture and communal spirit.” Performances such as these demonstrate Ioannides’ unique skill as a musical curator who embraces the vital tension between tradition and innovation.

Since her arrival, the season has expanded to include additional Classics concerts and repeat performances in Gig Harbor at Chapel Hill Presbyterian Church. Attendance has increased significantly, and performance revenue overall has grown by 60%.

Under Ioannides’ leadership, the Symphony has added new education and community engagement programs and made important changes to existing ones. Last season, the organization presented a free community concert that featured Tacoma Youth Symphony musicians performing in a “side-by-side” format with Symphony Tacoma musicians. 2016 marked the pilot year of Symphony Coaches, a program embedding principal string players in three underserved high schools—Foss, Mount Tahoma and Lincoln—to bolster their string orchestra programs. The fledgling program received high marks from teachers and students and has been expanded this season. Ioannides also used her national influence to bring Carnegie Hall’s acclaimed “Link Up” curriculum to the Symphony’s Simply Symphonic series of concerts for fourth and fifth grade students, enhancing the long-standing program with state-of-the-art curriculum materials and interactive performance features.

One of the top 20 female conductors worldwide, according to Lebrecht’s 2016 “Woman Conductors: The Power List,” Sarah Ioannides was cited as “one of six female conductors breaking the glass podium” by the Los Angeles Times and noted in The New York Times as part of “a new wave of female conductors in their late 20s through early 40s.” In April she attended the inaugural Global Cultural Leadership Summit in Abu Dhabi, the world’s first event convening leaders from the worlds of the arts, media, public policy and technology to address the role of culture in the rapidly-changing modern world. In May, she performed her final concerts as Music Director of the Spartanburg Philharmonic Orchestra of South Carolina.

As a guest conductor she has appeared internationally with the Tonkünstler Orchestra, Royal Philharmonic Orchestra, Orchestra Nationale de Lyon, Gothenburg Symphony Orchestra, Flemish Radio Orchestra, National Symphony of Colombia, Daejeon Philharmonic, Freiburg Philharmonic Orchestra, Wuttenbergisches Kammerorchester, and the Simon Bolivar Youth Orchestra.

Ioannides has also led orchestras extensively in the United States including the Buffalo and Rochester Philharmonics and the orchestras of Chattanooga, Charleston, Louisville, New Haven, New West, North Carolina, Toledo and Tulsa. A protégé of the late Otto­Werner Mueller, Ioannides has appeared in special engagements with the Los Angeles Philharmonic, New World Symphony and the London Symphony Orchestra working with Pierre Boulez and Esa­Pekka Salonen.

Formerly the Assistant Conductor of the Cincinnati Symphony Orchestra, Ioannides was the first woman appointed to its full-time conducting staff. She also held appointments as Music Director of the El Paso Symphony and Spartanburg Philharmonic, guest Music Director of the Dessoff Choirs, and Music Director of Oxford University. Her extensive and diverse experience in orchestral, choral, operatic, new works and multimedia performance is equal to her passion to support learning and music education. She continues to coach orchestra at high-level conservatories such as Yale University, Curtis Institute, Chicago College of Performing Arts.

A zealous supporter of living composers, Ioannides has conducted over 40 World, North American and European premieres. Under her leadership, Spartanburg Philharmonic Orchestra and Symphony Tacoma have received ArtWorks grants from the National Endowment for the Arts, both for creativity in collaborations, commissioning and community involved projects. She has both commissioned and directed films for live orchestral multimedia performances, including Holst’s The Planets and Steve Reich’s The Desert Music. During the summer of 2016 she was producer and advisor for a new multimedia art film to accompany Darius Milhaud’s Creation du Monde, directed by Brad McCombs, using artwork selected from the Cincinnati Art Museum as well as her own personal paintings and collections internationally; the multimedia performance was premiered at Cincinnati’s Summermusik Festival 2016.

Ioannides has collaborated regularly with composer/conductor Tan Dun, serving as his Assistant Conductor & Production Coordinator between 1999 and 2003. As such, she conducted the Gothenburg Symphony Orchestra, the BBC Concert Orchestra, the Flemish Radio Orchestra, BBC Symphony Orchestra, London Sinfonietta and the Oregon Bach Festival. In 2005, she was selected by Tan Dun to conduct his Water Passion After St. Matthew at the Perth International Arts Festival. Opera­Opera depicted Ioannides lyrical conducting technique as one “with the most persuasive of gentle textures, she coaxed from the performers an extraordinary array of sounds. She was grace personified.” Ioannides has led many operas and conducted festivals worldwide, including the European premiere of Stephen Paulus’ The Woodlanders, British Youth Opera, Curtis Opera Theatre, Spoleto Festival and Philadelphia Opera Company, Perth International Festival.

Ioannides began performing as a violinist in the National Youth Orchestra of Great Britain in the UK and horn player in the Surrey County Youth Orchestra from the age of 11. With Masters degrees from Oxford University (Instrumental Scholar) and the Juilliard School of Music (Bruno Walter Award), Ioannides studied conducting, violin, piano, singing and French Horn. A recipient of numerous prizes and awards, following studies at the Guildhall School of Music, she came to the United States as a Fulbright Scholar attending the Curtis Institute of Music. Serving on numerous advisory boards, as a competition adjudicator, and public speaker, she has served as panelist for the National Endowment of the Arts for the US Government.