Boston Conservatory Orchestra: A Night in Italy
Event Dates
(EST)
Boston Conservatory Orchestra, conducted by Bruce Hangen, celebrates an array of Italian composers from throughout the ages, representing opera, ballet, film, and concert music. The program will also feature Capriccio Italien by Russian composer Pyotr Ilyich Tchaikovsky—an acknowledgment of the many composers of other nationalities who traveled to Italy and composed symphonic impressions from their visit—and a special performance of Luigi Bassi’s Rigoletto Variations, featuring principal clarinetist of the Baltimore Symphony Orchestra and Boston Conservatory faculty member YaoGuang Zhai.
Berklee students, faculty, and staff may receive two comp tickets when they show their Berklee ID at Mechanics Hall.
Program Information
Repertoire
VINCENZO BELLINI: I Capuleti e i Montecchi—Overture
GIOVANNI GABRIELI: Canzon Noni Toni, a 12
LUIGI BASSI: Concerto Fantasia on Verdi’s Rigoletto
PYOTR IIYCH TCHAIKOVSKY: Capriccio Italien
GIOACHINO ROSSINI: The Barber of Seville—Overture
TERESA PROCACCINI: Marionette
I. Allegro vivace
II. Tempo di valzer
III. Presto
ENNIO MORRICONE (arr. HENRY MANCINI): “Gabriel’s Oboe” from The Mission
OTTORINO RESPIGHI: Pini di Roma (Pines of Rome)
I. I pini di Villa Borghese (The Pines of the Villa Borghese) – Allegretto vivace
II. Pini presso una catacomba (Pines Near a Catacomb) – Lento
III. I pini del Gianicolo (The Pines of the Janiculum) – Lento
IV. I pini della via Appia (The Pines of the Appian Way) – Tempo di marcia
GIOVANNI GABRIELI: Canzon Noni Toni, a 12
LUIGI BASSI: Concerto Fantasia on Verdi’s Rigoletto
PYOTR IIYCH TCHAIKOVSKY: Capriccio Italien
GIOACHINO ROSSINI: The Barber of Seville—Overture
TERESA PROCACCINI: Marionette
I. Allegro vivace
II. Tempo di valzer
III. Presto
ENNIO MORRICONE (arr. HENRY MANCINI): “Gabriel’s Oboe” from The Mission
OTTORINO RESPIGHI: Pini di Roma (Pines of Rome)
I. I pini di Villa Borghese (The Pines of the Villa Borghese) – Allegretto vivace
II. Pini presso una catacomba (Pines Near a Catacomb) – Lento
III. I pini del Gianicolo (The Pines of the Janiculum) – Lento
IV. I pini della via Appia (The Pines of the Appian Way) – Tempo di marcia
Program Notes
VINCENZO BELLINI (1801–1835): I Capuleti e i Montecchi—Overture
Vincenzo Bellini was an Italian bel canto composer renowned for his lyrical operas. His overture to I Capuleti e i Montecchi (1830) captures the tragedy of Romeo and Juliet with a somber, restrained introduction that transitions to a turbulent, intense theme, reflecting the violence of the feud between the Capulet and Montecchi families. The overture’s contrasting sections of lyrical beauty and rhythmic tension mirror the opera’s themes of love and conflict. Bellini showcases his expertise in weaving together various themes of the opera, setting the stage for this emotionally charged work.
—Nur Fahlevi Pratama, MM '25
GIOVANNI GABRIELI (1557–1612): Canzon Noni Toni a 12 from Sacred Symphonies
Giovanni Gabrieli’s legacy as a great instrumental composer of the Renaissance is best represented by his Sacrae Symphoniae (Sacred Symphonies)—a collection of motets and sonatas written in eight, ten, twelve, or fifteen musical lines. Canzon Noni Toni a 12 appears as the 31st piece in this collection, written for 12 voices. These works emulate the texture of the Venetian polychoral style, popular for its use of imitative counterpoint between two “broken choirs,” or cori spezzatti. This texture was often highlighted by physically distancing the choirs, taking advantage of the sonorous and ornate basilicas in which they were premiered. Performed in this program by three brass choirs, the beauty of this work lies in its ability to share and transform melodic content between the independent voices, all the while enhancing the powerful unity of the brass timbre.
—Madeleine Corrigan, MM '26
LUIGI BASSI (1833–1871): Gran Duetto Concertato sopra motivi dell’opera Rigoletto di Verdi
Luigi Bassi, an Italian clarinetist and composer, is celebrated for his virtuosic opera-inspired works. His Gran Duetto Concertato sopra motivi dell’opera Rigoletto di Verdi (ca. 1857) is a dazzling duet for clarinet and piano, drawing on themes from Verdi’s Rigoletto. Accompanied by the orchestra at this performance, Bassi weaves the opera’s famous arias, including “La donna è mobile” and “Caro nome” into a series of variations that highlight the clarinet’s lyrical and technical range. The piece captivates with its expressive depth, demanding passages, and brilliant finale, making it an exciting showcase in the clarinet repertoire.
—Nur Fahlevi Pratama, MM '25
PYOTR IIYCH TCHAIKOVSKY: Capriccio Italien, op. 45
Beginning in January of 1880, Russian composer Pyotr Illyich Tchaikovsky spent three months on holiday in Rome, Italy. There, he immersed himself within the rich musical and cultural landscape of the newly unified nation. Tchaikovsky was particularly taken by the folk melodies and street music that filled the air during Carnevale season. Initially described as a ‘suite’ or ‘fantasia’ on Italian folk songs, the Capriccio Italien, op. 45, emerged out of his fascination and admiration for Italian culture and aesthetics. As stated in letters to his patron and friend Nadezhda von Meck, Tchaikovsky was inspired by his time on the Italian peninsula. “... I have already prepared in rough an Italian Fantasia on folk themes, which it seems to me, might be predicted to have a good future. It will be effective, thanks to its delightful tunes, some of which I chose from collections, and some of which I heard myself on the streets.” The work is an orchestral suite in one movement that explores various songs and dances. Tchaikovsky takes the audience on a musical tour through the Italian countryside and metropolitan hubs. The opening brass fanfare features the bugle call that the composer would hear daily from the military barracks near his hotel in Rome. Of the five melodies that follow, only one has been identified by name: a tarantella based on the well-known folk song “Cicuzza.” An instant success upon reception, Capriccio Italien remains a symbol of Italian culture in the context of Tchaikovsky’s dramatic compositional style.
—Adam Broce, MM '26
TERESA PROCACCINI (b. 1934): Marionette, op. 121
Teresa Procaccini’s career is best represented by her operas and symphonic works, as well as her works written for children and resources for teaching. Marionette captures this duality, contrasting playful themes and imagery with complex harmony and structure. Originally composed in 1972 for two pianos and fully orchestrated in 1990, Marionette remains one of her most popular works. She writes of her music as having “… a high level of emotive tension which both facilitates and encourages comprehension.” The first movement evokes a frenetic and deviously whimsical mood highlighted by intensely rhythmic thematic material, while the second movement falls into a contrastingly dreamy waltz. The third movement returns to the original mood, intensifying until a sudden and dramatic stop, as if the puppeteer had grown sick of his marionette and dropped its strings.
—Madeleine Corrigan, MM '26
GIOACHINO ROSSINI: The Barber of Seville—Overture
The overture to Gioachino Rossini’s opera The Barber of Seville, premiered in 1816, is a vibrant work which masterfully encompasses the opera buffa style and wit of the opera as a whole. Following a slow introduction, the piece bursts into a lively allegro, featuring playful motifs and energetic rhythms, giving a glimpse of the action to come. This piece famously features the “Rossini crescendo,” which is the repetition of a motive that gets louder every time. In this piece, the motive features a rise and fall of brisk sixteenth notes, with each statement of the motive leading to the next. While this piece serves as a fantastic introduction to the opera, it is also a greatly adored concert piece due to its diverse characters and infectious melodies.
—Emily Scicchitano, MM '25
ENNIO MORRICONE (arr. HENRY MANCINI): “Gabriel’s Oboe” from The Mission
“Gabriel’s Oboe,” composed by Ennio Morricone and arranged by Henry Mancini, comes from the 1986 film The Mission. The film is set in 18th-century South America and follows two Jesuit priests, Father Gabriel and Rodrigo Mendoza, who are working to defend the Guarani people. They are able to create a peaceful mission in the jungle, but are still faced with political pressure from colonial forces. This piece was composed for Father Gabriel’s character and it seeks to represent his commitment to peace amidst conflict and chaos. Right at the beginning of the piece, above a beautiful bed of sound created by the strings, the breathtaking oboe melody soars. The oboe melody, which ingeniously intertwines harmonically with the string lines, invites the listener into Father Gabriel’s world.
—Emily Scicchitano, MM '25
OTTORINO RESPIGHI (1879–1936): Pini di Roma (Pines of Rome)
Ottorino Respighi was an Italian Romantic composer known for picturesque compositions and revival of Italian symphonic music. Born July 9, 1879, Respighi began studies in violin, viola, piano, and composition at a young age. Though gaining mild success as a violist, he turned to composition full-time after lessons with Nikolai Rimsky-Korsakov (1844–1908). It was not until Respighi’s symphonic poem, Fountains of Rome (1916), that he found success; following this, he composed two similar works, Pines of Rome (1923–24) and Festivals of Rome (1928), that share similar imagery of the vivacity and history of Rome, through, as Respighi describes, “the maximum of orchestral sonority and color.” Respighi’s symphonic poem Pines of Rome (1924) follows the scenery surrounding the iconic pines found across Rome. Respighi described this piece as using “nature as a point of departure, to recall memories and visions. The century-old trees which dominate the Roman landscape become testimony for the principal events in Roman life.” The first movement, The Pines of the Villa Borghese, illustrates children playing with curious excitement with the woodwinds’ joyful melody. Conversely, The Pines Near a Catacomb depicts dark shadows with offstage trumpets playing a Kyrie and Sanctus Gregorian chant that emerges from these tombs. Next is The Pines of Janiculum, a nocturne of a serene moonlight scene of nightingales. Respighi employs a phonograph recording of nightingales in this movement, as no combinations of instruments could produce this authentically, according to Respighi. Finally, The Pines of Appian Way recalls the military glory of Italy’s southward expansion in 312 BC. Respighi honors this success with unceasing rhythmic footsteps, resurrecting the military men walking the Appian Way to triumphant trumpet calls.
—Stella Feliberti, BM '27
Vincenzo Bellini was an Italian bel canto composer renowned for his lyrical operas. His overture to I Capuleti e i Montecchi (1830) captures the tragedy of Romeo and Juliet with a somber, restrained introduction that transitions to a turbulent, intense theme, reflecting the violence of the feud between the Capulet and Montecchi families. The overture’s contrasting sections of lyrical beauty and rhythmic tension mirror the opera’s themes of love and conflict. Bellini showcases his expertise in weaving together various themes of the opera, setting the stage for this emotionally charged work.
—Nur Fahlevi Pratama, MM '25
GIOVANNI GABRIELI (1557–1612): Canzon Noni Toni a 12 from Sacred Symphonies
Giovanni Gabrieli’s legacy as a great instrumental composer of the Renaissance is best represented by his Sacrae Symphoniae (Sacred Symphonies)—a collection of motets and sonatas written in eight, ten, twelve, or fifteen musical lines. Canzon Noni Toni a 12 appears as the 31st piece in this collection, written for 12 voices. These works emulate the texture of the Venetian polychoral style, popular for its use of imitative counterpoint between two “broken choirs,” or cori spezzatti. This texture was often highlighted by physically distancing the choirs, taking advantage of the sonorous and ornate basilicas in which they were premiered. Performed in this program by three brass choirs, the beauty of this work lies in its ability to share and transform melodic content between the independent voices, all the while enhancing the powerful unity of the brass timbre.
—Madeleine Corrigan, MM '26
LUIGI BASSI (1833–1871): Gran Duetto Concertato sopra motivi dell’opera Rigoletto di Verdi
Luigi Bassi, an Italian clarinetist and composer, is celebrated for his virtuosic opera-inspired works. His Gran Duetto Concertato sopra motivi dell’opera Rigoletto di Verdi (ca. 1857) is a dazzling duet for clarinet and piano, drawing on themes from Verdi’s Rigoletto. Accompanied by the orchestra at this performance, Bassi weaves the opera’s famous arias, including “La donna è mobile” and “Caro nome” into a series of variations that highlight the clarinet’s lyrical and technical range. The piece captivates with its expressive depth, demanding passages, and brilliant finale, making it an exciting showcase in the clarinet repertoire.
—Nur Fahlevi Pratama, MM '25
PYOTR IIYCH TCHAIKOVSKY: Capriccio Italien, op. 45
Beginning in January of 1880, Russian composer Pyotr Illyich Tchaikovsky spent three months on holiday in Rome, Italy. There, he immersed himself within the rich musical and cultural landscape of the newly unified nation. Tchaikovsky was particularly taken by the folk melodies and street music that filled the air during Carnevale season. Initially described as a ‘suite’ or ‘fantasia’ on Italian folk songs, the Capriccio Italien, op. 45, emerged out of his fascination and admiration for Italian culture and aesthetics. As stated in letters to his patron and friend Nadezhda von Meck, Tchaikovsky was inspired by his time on the Italian peninsula. “... I have already prepared in rough an Italian Fantasia on folk themes, which it seems to me, might be predicted to have a good future. It will be effective, thanks to its delightful tunes, some of which I chose from collections, and some of which I heard myself on the streets.” The work is an orchestral suite in one movement that explores various songs and dances. Tchaikovsky takes the audience on a musical tour through the Italian countryside and metropolitan hubs. The opening brass fanfare features the bugle call that the composer would hear daily from the military barracks near his hotel in Rome. Of the five melodies that follow, only one has been identified by name: a tarantella based on the well-known folk song “Cicuzza.” An instant success upon reception, Capriccio Italien remains a symbol of Italian culture in the context of Tchaikovsky’s dramatic compositional style.
—Adam Broce, MM '26
TERESA PROCACCINI (b. 1934): Marionette, op. 121
Teresa Procaccini’s career is best represented by her operas and symphonic works, as well as her works written for children and resources for teaching. Marionette captures this duality, contrasting playful themes and imagery with complex harmony and structure. Originally composed in 1972 for two pianos and fully orchestrated in 1990, Marionette remains one of her most popular works. She writes of her music as having “… a high level of emotive tension which both facilitates and encourages comprehension.” The first movement evokes a frenetic and deviously whimsical mood highlighted by intensely rhythmic thematic material, while the second movement falls into a contrastingly dreamy waltz. The third movement returns to the original mood, intensifying until a sudden and dramatic stop, as if the puppeteer had grown sick of his marionette and dropped its strings.
—Madeleine Corrigan, MM '26
GIOACHINO ROSSINI: The Barber of Seville—Overture
The overture to Gioachino Rossini’s opera The Barber of Seville, premiered in 1816, is a vibrant work which masterfully encompasses the opera buffa style and wit of the opera as a whole. Following a slow introduction, the piece bursts into a lively allegro, featuring playful motifs and energetic rhythms, giving a glimpse of the action to come. This piece famously features the “Rossini crescendo,” which is the repetition of a motive that gets louder every time. In this piece, the motive features a rise and fall of brisk sixteenth notes, with each statement of the motive leading to the next. While this piece serves as a fantastic introduction to the opera, it is also a greatly adored concert piece due to its diverse characters and infectious melodies.
—Emily Scicchitano, MM '25
ENNIO MORRICONE (arr. HENRY MANCINI): “Gabriel’s Oboe” from The Mission
“Gabriel’s Oboe,” composed by Ennio Morricone and arranged by Henry Mancini, comes from the 1986 film The Mission. The film is set in 18th-century South America and follows two Jesuit priests, Father Gabriel and Rodrigo Mendoza, who are working to defend the Guarani people. They are able to create a peaceful mission in the jungle, but are still faced with political pressure from colonial forces. This piece was composed for Father Gabriel’s character and it seeks to represent his commitment to peace amidst conflict and chaos. Right at the beginning of the piece, above a beautiful bed of sound created by the strings, the breathtaking oboe melody soars. The oboe melody, which ingeniously intertwines harmonically with the string lines, invites the listener into Father Gabriel’s world.
—Emily Scicchitano, MM '25
OTTORINO RESPIGHI (1879–1936): Pini di Roma (Pines of Rome)
Ottorino Respighi was an Italian Romantic composer known for picturesque compositions and revival of Italian symphonic music. Born July 9, 1879, Respighi began studies in violin, viola, piano, and composition at a young age. Though gaining mild success as a violist, he turned to composition full-time after lessons with Nikolai Rimsky-Korsakov (1844–1908). It was not until Respighi’s symphonic poem, Fountains of Rome (1916), that he found success; following this, he composed two similar works, Pines of Rome (1923–24) and Festivals of Rome (1928), that share similar imagery of the vivacity and history of Rome, through, as Respighi describes, “the maximum of orchestral sonority and color.” Respighi’s symphonic poem Pines of Rome (1924) follows the scenery surrounding the iconic pines found across Rome. Respighi described this piece as using “nature as a point of departure, to recall memories and visions. The century-old trees which dominate the Roman landscape become testimony for the principal events in Roman life.” The first movement, The Pines of the Villa Borghese, illustrates children playing with curious excitement with the woodwinds’ joyful melody. Conversely, The Pines Near a Catacomb depicts dark shadows with offstage trumpets playing a Kyrie and Sanctus Gregorian chant that emerges from these tombs. Next is The Pines of Janiculum, a nocturne of a serene moonlight scene of nightingales. Respighi employs a phonograph recording of nightingales in this movement, as no combinations of instruments could produce this authentically, according to Respighi. Finally, The Pines of Appian Way recalls the military glory of Italy’s southward expansion in 312 BC. Respighi honors this success with unceasing rhythmic footsteps, resurrecting the military men walking the Appian Way to triumphant trumpet calls.
—Stella Feliberti, BM '27
About the Artists
YaoGuang Zhai, clarinet, joined the Conservatory in 2019 and is an associate professor of clarinet. YaoGuang is principal clarinet of the Baltimore Symphony Orchestra, appointed by Maestra Marin Alsop. Prior to that, he was the associate principal clarinet of the Toronto Symphony Orchestra for five years (appointed by Maestro Peter Oundjian) and served as principal clarinet of the Shanghai Symphony Orchestra for two years under Chinese conductor Maestro Long Yu. A native of TaiYuan, China, YaoGuang began his musical career at the age of three as a violinist, switching to the clarinet seven years later. In 1999, he entered the China Central Conservatory and then came to the United States in 2003, attending the Idyllwild Arts Academy as a full scholarship student. He continued to study at the Curtis Institute of Music and graduated in 2009. That year, he represented the Curtis Institute as solo and chamber music clarinetist, touring the United States. His solo performance was chosen to be included on Curtis Institute’s CD of the year. During his study, YaoGuang won the Hellam Competition, Aspen Music Festival Concerto Competition, the Blount-Slawson Young Artists Competition, the Spotlight Award, and the Pacific Symphony Concerto Competition. In addition to solo appearances with the Baltimore Symphony Orchestra and Toronto Symphony Orchestra, YaoGuang has performed with the Victoria Symphony Orchestra, Toronto Summer Music Festival Orchestra, Shanghai Symphony Orchestra (China), Pacific Symphony Orchestra, the Montgomery Symphony Orchestra, the American Academy of Conducting Orchestra (Aspen), and the Springfield Symphony Orchestra. YaoGuang also serves as a clarinet faculty member at the Interlochen Summer Music Camp, the Curtis Institute Summer Music Camp, the Master-Players Summer Music Festival, and the National Youth Orchestra of China. He is a Buffet Crampon Clarinet and Vandoren artist.
Bruce Hangen, conductor, joined the Conservatory in 2003. He serves as the Conservatory’s orchestral conductor as well as director of both the orchestral and conducting programs. Since 1997, Hangen has served as music director of the Vista Philharmonic Orchestra. Hangen completed his tenure as the principal guest conductor of the Boston Pops Orchestra in 2005. He has also held the title of Boston Symphony’s Germeshausen Family Youth Concerts conductor’s chair. Additional past positions include the artistic and general director of the Portland Opera Repertory Theatre (P.O.R.T.) of Portland, Maine in the summer season. Having cofounded the company in July 1995, Hangen was the chief visionary force behind this opera company and its activities. A graduate of the Eastman School of Music with a major in conducting, Hangen was also a conducting fellow at the Berkshire Music Center at Tanglewood for two summers, where his conducting teachers included Gunther Schuller, Seiji Ozawa, Leonard Bernstein, Michael Tilson Thomas, Stanislaw Skrowaczewski, Bruno Maderna, and Joseph Silverstein.
Bruce Hangen, conductor, joined the Conservatory in 2003. He serves as the Conservatory’s orchestral conductor as well as director of both the orchestral and conducting programs. Since 1997, Hangen has served as music director of the Vista Philharmonic Orchestra. Hangen completed his tenure as the principal guest conductor of the Boston Pops Orchestra in 2005. He has also held the title of Boston Symphony’s Germeshausen Family Youth Concerts conductor’s chair. Additional past positions include the artistic and general director of the Portland Opera Repertory Theatre (P.O.R.T.) of Portland, Maine in the summer season. Having cofounded the company in July 1995, Hangen was the chief visionary force behind this opera company and its activities. A graduate of the Eastman School of Music with a major in conducting, Hangen was also a conducting fellow at the Berkshire Music Center at Tanglewood for two summers, where his conducting teachers included Gunther Schuller, Seiji Ozawa, Leonard Bernstein, Michael Tilson Thomas, Stanislaw Skrowaczewski, Bruno Maderna, and Joseph Silverstein.
Ensemble
CONDUCTOR
Bruce Hangen
SOLO CLARINET
YaoGuang Zhai^
PICCOLO
Aaron Dore, BM '25
Teo Mondiru, BM '27
Mia Mravle, BM '27
Maggie Stuteville, BM '27
FLUTE
Claressa Castro, BM '28
Aaron Dore, BM '25
Teo Mondiru, BM '27
Mia Mravle, BM '27
Maggie Stuteville, BM '27
ALTO FLUTE
Claressa Castro, BM '28
Teo Mondiru, BM '27
Mia Mravle, BM '27
OBOE
Isabella Guevarra, BM '28
Christopher Mavrogian, MM '25
Coleton Morgan, BM '25
ENGLISH HORN
Christopher Mavrogian, MM '25
Coleton Morgan, BM '25
CLARINET
Andrew Coleman, MM '25
Chase J. Oliveri, BM '25
Nathan Soric, MM '26
Siyuan Yin, MM '25
BASS CLARINET
Andrew Lee, BM '25
BASSOON
Matthew Gaudio, BM '28
Max Li, MM '25
Carson Saponaro, BM '26
Tin P. Tran, BM '28
CONTRABASSOON
Kyle Sodman, GPD '26
HORN
Holly Fullerton, BM '26
Drew Lingenfelter, BM '28
Cameron McCarty, BM '25
Connor Strauss, BM '25
Ricardo Verde, BM '26
Zachery Watson, BM '27
TRUMPET
Charlotte Berube-Gray, BM '26
Emily Dillon, BM '27
Joe Foley^
Freddie Poor, BM '27
Jackson Stahlman, BM '28
CJ Waldrop, MM '25
Charlotte Berube-Gray, BM '26
Emily Dillon, BM '27
TROMBONE
Collin Hawkinson, BM '28
Christian Haymon, BM '28
Zayden A. Morgan, BM '28
Ben Pilon, MM '26
Brooke Thomson, BM '26
Sum Ho Tsui, BM '27
BASS TROMBONE
Collin Good, BM '26
Cole MacEwen, BM '28
TUBA
Clayton Frank, BM '27
Lowrider James, BM '27
Tyler E. Shepard, BM '27
SOPRANO BUCCINA
Charlotte Berube-Gray, BM '26
CJ Waldrop, MM '25
TENOR BUCCINA
Mikayla Frank-Martin, MM '25
Brooke Thomson, BM '26
BASS BUCCINA
Christian Haymon, BM '28
Cole MacEwen, BM '28
PERCUSSION
Logan Bass, BM '28
Yuth Cañizalez, BM '28
Dustyn Carter, BM '27
Tianyu Guo, MM '26
John Hanchey, BM '27
Grant Mellone, BM '27
Shixiao Shan, MM '25
Lesley Silva-Garcia, BM '27
Dennis Smith, BM '27
Jack Tarpley, BM '28
HARP
Chanling Bai, MM '25
Yinong Zhang, BM '28
ORGAN
Audrey Puschinsky, MM '26
PIANO
Sumi Kim, GPD '26
CELESTE
Julian Dürr, MM '26
VIOLIN I
Celeste di Meo, PSC '25, concertmaster
Jocelyn Wang, MM '26
Youngmi Hwang, GPD '26
Isabelle Parker BM '28
Luis Estrada, MM '25
Shu-Yi Huang, MM '26
Stella Feliberti, BM '27
Annali Wirtz, BM '26
Spencer Lee, MM '26
Tess O.B. Reed, BM '28
Joshua Rosenthal, BM '26
Serene Sung, BM '28
VIOLIN II
Kristen Barrett, PSC '25
Adrian Atonya, BM '26
Isabella Yee BM ‘26
Rose Barranco, BM '26
Tommaso Lorenzon, GPD '25
Leon Baker III, BM '25
Finnian Long, BM '26
Caden Burston, BM '25
Pippin Forrest, BM '27
YenYu Kuo, BM '26
VIOLA
Zeynep Yiğitoğlu, BM '25
Emily Tardiff, MM '26
Dylan Cohen, BM '27
Lauren Wilson, BM '25
Si Daly, BM '26
Lydia Tan, BM '27
Maya Hartglass, BM '27
Webb Hiaasen, BM '27
Julian Bernal, BM '27
CELLO
Olivia Myers, MM '25
Danielle Hall, MM '26
Lilya Arustamyan, BM '25
Madeleine Corrigan, MM '26
Milla Chitwood, BM '27
Sophie Paul, MM '25
Lauren Roberts, MM '25
Nadia Brooks, MM '26
Tzu-Yi (Tiffany) Yeh, MM '25
Enrique Garcia, BM '28
YiHsien Lin, MM '26
BASS
Gabriel de los Reyes, BM '27
Joseph Holt*
Zakar Basan, BM '27
* Boston Conservatory faculty
^ Guest musician
Bruce Hangen
SOLO CLARINET
YaoGuang Zhai^
PICCOLO
Aaron Dore, BM '25
Teo Mondiru, BM '27
Mia Mravle, BM '27
Maggie Stuteville, BM '27
FLUTE
Claressa Castro, BM '28
Aaron Dore, BM '25
Teo Mondiru, BM '27
Mia Mravle, BM '27
Maggie Stuteville, BM '27
ALTO FLUTE
Claressa Castro, BM '28
Teo Mondiru, BM '27
Mia Mravle, BM '27
OBOE
Isabella Guevarra, BM '28
Christopher Mavrogian, MM '25
Coleton Morgan, BM '25
ENGLISH HORN
Christopher Mavrogian, MM '25
Coleton Morgan, BM '25
CLARINET
Andrew Coleman, MM '25
Chase J. Oliveri, BM '25
Nathan Soric, MM '26
Siyuan Yin, MM '25
BASS CLARINET
Andrew Lee, BM '25
BASSOON
Matthew Gaudio, BM '28
Max Li, MM '25
Carson Saponaro, BM '26
Tin P. Tran, BM '28
CONTRABASSOON
Kyle Sodman, GPD '26
HORN
Holly Fullerton, BM '26
Drew Lingenfelter, BM '28
Cameron McCarty, BM '25
Connor Strauss, BM '25
Ricardo Verde, BM '26
Zachery Watson, BM '27
TRUMPET
Charlotte Berube-Gray, BM '26
Emily Dillon, BM '27
Joe Foley^
Freddie Poor, BM '27
Jackson Stahlman, BM '28
CJ Waldrop, MM '25
Charlotte Berube-Gray, BM '26
Emily Dillon, BM '27
TROMBONE
Collin Hawkinson, BM '28
Christian Haymon, BM '28
Zayden A. Morgan, BM '28
Ben Pilon, MM '26
Brooke Thomson, BM '26
Sum Ho Tsui, BM '27
BASS TROMBONE
Collin Good, BM '26
Cole MacEwen, BM '28
TUBA
Clayton Frank, BM '27
Lowrider James, BM '27
Tyler E. Shepard, BM '27
SOPRANO BUCCINA
Charlotte Berube-Gray, BM '26
CJ Waldrop, MM '25
TENOR BUCCINA
Mikayla Frank-Martin, MM '25
Brooke Thomson, BM '26
BASS BUCCINA
Christian Haymon, BM '28
Cole MacEwen, BM '28
PERCUSSION
Logan Bass, BM '28
Yuth Cañizalez, BM '28
Dustyn Carter, BM '27
Tianyu Guo, MM '26
John Hanchey, BM '27
Grant Mellone, BM '27
Shixiao Shan, MM '25
Lesley Silva-Garcia, BM '27
Dennis Smith, BM '27
Jack Tarpley, BM '28
HARP
Chanling Bai, MM '25
Yinong Zhang, BM '28
ORGAN
Audrey Puschinsky, MM '26
PIANO
Sumi Kim, GPD '26
CELESTE
Julian Dürr, MM '26
VIOLIN I
Celeste di Meo, PSC '25, concertmaster
Jocelyn Wang, MM '26
Youngmi Hwang, GPD '26
Isabelle Parker BM '28
Luis Estrada, MM '25
Shu-Yi Huang, MM '26
Stella Feliberti, BM '27
Annali Wirtz, BM '26
Spencer Lee, MM '26
Tess O.B. Reed, BM '28
Joshua Rosenthal, BM '26
Serene Sung, BM '28
VIOLIN II
Kristen Barrett, PSC '25
Adrian Atonya, BM '26
Isabella Yee BM ‘26
Rose Barranco, BM '26
Tommaso Lorenzon, GPD '25
Leon Baker III, BM '25
Finnian Long, BM '26
Caden Burston, BM '25
Pippin Forrest, BM '27
YenYu Kuo, BM '26
VIOLA
Zeynep Yiğitoğlu, BM '25
Emily Tardiff, MM '26
Dylan Cohen, BM '27
Lauren Wilson, BM '25
Si Daly, BM '26
Lydia Tan, BM '27
Maya Hartglass, BM '27
Webb Hiaasen, BM '27
Julian Bernal, BM '27
CELLO
Olivia Myers, MM '25
Danielle Hall, MM '26
Lilya Arustamyan, BM '25
Madeleine Corrigan, MM '26
Milla Chitwood, BM '27
Sophie Paul, MM '25
Lauren Roberts, MM '25
Nadia Brooks, MM '26
Tzu-Yi (Tiffany) Yeh, MM '25
Enrique Garcia, BM '28
YiHsien Lin, MM '26
BASS
Gabriel de los Reyes, BM '27
Joseph Holt*
Zakar Basan, BM '27
* Boston Conservatory faculty
^ Guest musician
Concert Services Staff
Senior Manager of Concert Services – Luis Herrera
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Boston Conservatory thanks audience members for viewing this program information online. This paperless program saved 300 sheets of paper, 31 gallons of water, and 27 pounds of CO2-equivalent greenhouse gas emissions.
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