BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Santa Rosa Symphony - ECPv6.16.5//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Santa Rosa Symphony X-ORIGINAL-URL:https://www.srsymphony.org X-WR-CALDESC:Events for Santa Rosa Symphony REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20230312T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20231105T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20240310T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20241103T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20250309T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20251102T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20240209T022520Z CREATED:20220309T002430Z LAST-MODIFIED:20240209T022520Z UID:24893-1705536000-1705536000@www.srsymphony.org SUMMARY:Opera in Concert: Mozart's Magic Flute DESCRIPTION:ArtQuest Staff and Instructors\n\n\n\nKatie Loomis\, Program CoordinatorMarla Tusa\, Vocal MusicLea Brown\, DanceJereme Anglin\, Theatre ArtsJason Pedri\, Video ArtsLauren Frost\, Digital ArtsBrooke Delello\, Visual Fine ArtsJanet Fisher\, Visual Fine ArtsTim Decker\, Instrumental MusicJohn Sappington\, Photography \n\n\n\nSan Francisco Conservatory of Music students\n\n\n\nVictor Cardamone\, TaminoEllen Leslie\, PaminaHyesoo Kim\, PapagenaErica Thelen\, First Lady/Child-SpiritTaylor See\, Second Lady/Child-SpiritHope Nelson\, Third Lady/Child-SpiritJackson Allen\, Monostatos/First Armored ManJoe Hack\, Temple Speaker/Second Armored Man \n\n\n\n \n\n\n\n  \n\n\n\nTickets\n\n\n\nSingle tickets available now. \n\n\n\n\nBuy Now!\n\n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nLead Sponsor: Victor and Karen TrioneConductor Francesco Lecce-Chong Sponsored by David and Corinne ByrdArtQuest Santa Rosa High School sponsored by Willow Creek Wealth ManagementEllen Leslie sponsored by Pauline FisherEfraín Solís sponsored by Jack Dupre and Marsha Vas DupreShawnette Sulker sponsored by Irene Sohm \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\n\n\n\n\n\nWolfgang Amadeus Mozart – Die Zauberflöte (The Magic Flute)\, K. 620 (abridged)\nCOMPOSER: born January 27\, 1756\, Salzburg\, Austria; died December 5\, 1791\, ViennaWORK COMPOSED: between April and July 1791\, on a libretto by Emanuel SchickanederWORLD PREMIERE: Mozart led the premiere at the Freihaus-Theater auf der Wieden in Vienna on September 30\, 1791INSTRUMENTATION: Tamino (tenor)\, Papageno (baritone)\, Pamina (soprano)\, Queen of the Night (coloratura soprano)\, Sarastro (bass)\, 3 Ladies (sopranos)\, Monostatos (tenor)\, 3 Child-Spirits (treble\, alto\, mezzo-soprano)\, Speaker of the Temple (bass-baritone) 3 Priests (tenor\, bass\, speaker)\, Papagena (soprano)\, 2 Armored Men (tenor\, bass)\, 3 Slaves (2 tenors\, bass)\, SATB chorus\, 2 flutes (1 doubling piccolo)\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 horns\, 2 trumpets\, 3 trombones\, timpani\, and stringsESTIMATED DURATION: 90 minutesDuring the summer and fall of 1791\, Wolfgang Amadeus Mozart juggled several projects: his final opera\, La clemenza di Tito; the singspiel The Magic Flute\, the Requiem (which Mozart left unfinished at his death)\, and the Clarinet Concerto. In September 1791\, as Mozart raced to complete The Magic Flute\, he was also opening La clemenza in Prague. This hectic schedule resulted in long days\, sleepless nights\, and hours traveling between Vienna and Prague\, in less than comfortable conditions. After he premiered La clemenza\, Mozart fell ill; he spent the final two months of his life frantically trying to complete as much music as possible while he could still work. He died on December 5\, 1791\, seven weeks before his 36th birthday. \n\n\n\nBoth the story and music of The Magic Flute reflect Mozart’s style and personality; conductor Bruno Walter called it “Mozart’s own spiritual will and testament.” Written in German\, Mozart’s mother tongue\, the fanciful tale incorporates many of the Enlightenment ideals to which Mozart aspired: noble virtue\, the universality of mankind\, integrity\, and the heroic striving for knowledge. These lofty aspirations combine with unapologetically lowbrow humor to make The Magic Flute a true masterpiece\, one Mozart wrote for everyday people rather than the aristocracy or the Church. \n\n\n\nIn technical terms\, The Magic Flute falls into the category of singspiel (speech-song) rather than opera\, as it incorporates spoken dialogue rather than recitatives between songs. Singspiels\, a form of German comic opera\, were quite popular in Mozart’s time. He was familiar with the style\, having previously composed several singspiele\, including Bastien und Bastienne\, written at the tender age of 12\, and The Abduction from the Seraglio\, the first large-scale stage work he wrote after moving to Vienna in 1782. Singspiele are especially well-suited for plots that feature magical\, whimsical\, or “exotic” elements. Librettist\, actor\, and theatrical impresario Emanuel Schikaneder no doubt had singspiel in mind for The Magic Flute\, whose story combines elements of several earlier tales. Research suggests Schikaneder may have been influenced by a 12th-century roman\, Yvain (Owain\, a knight of King Arthur’s Round Table)\, as well as the 1731 fantasy novel Life of Sethos\, Taken from the private Memoirs of the Ancient Egyptians. Schickanader’s theatrical company was also known for its productions of Zauberoper (fairy-tale operas)\, particularly Oberon and The Philosopher’s Stone. \n\n\n\nIn 1784\, Mozart became a Freemason\, drawn as he was to the group’s belief in Enlightenment and humanist values. Many of Mozart’s friends and colleagues were also Masons\, including Schikaneder\, who found in Masonic symbology a perfect vehicle for telling a fanciful tale. The Magic Flute abounds in Masonic references. The number three has particular Masonic significance; the overture\, set in the key of E-flat (three flats)\, begins with three bold chords\, meant to represent the three knocks that open secret Masonic rites. These chords return later in the overture\, and recur at pivotal dramatic moments in the opera. \n\n\n\nOpera plots are known for their convoluted storylines\, particularly comic operas\, with their reliance on misdirection\, deception\, and mistaken identity. Schikaneder’s story is less purely complicated and more puzzling\, however. Prince Tamino is given a quest by the Queen of the Night to rescue the Queen’s daughter\, Pamina\, from the evil clutches of the wicked sorcerer Sarastro. This sets up the premise that Tamino\, Pamina\, and the Queen are “good” characters\, while Sarastro is presented as “bad.” Halfway through the story these assumptions are turned upside-down. During his travels\, Tamino\, accompanied by the half-man\, half-bird Papageno\, finds Sarastro and comes to understand that Sarastro was rescuing Pamina from the Queen\, who is actually the evildoer in this story. Along the way\, as Sarastro charges them to perform three “trials” to prove their bravery\, loyalty\, and honesty\, Tamino and Pamina fall in love (Papageno eventually finds love himself in the form of the adoring half-woman half-bird Papagena)\, and the Queen is defeated. \n\n\n\nMusicologist Luke Howard offers an intriguing explanation for this narrative about-face. “These plot peculiarities can be understood in terms of a larger universal story that untangles the complexities of façade and inner truth\,” he writes. “In this interpretation\, The Magic Flute is a sophisticated symbolic vehicle\, a lesson in epistemology that represents a philosophical exercise commonly known in German as Sein und Schein (Reality and Appearance). It invites the viewer to look past first appearances\, and examine the premises and assumptions on which those appearances are based. In other words\, it takes the story much further than a mere fairy tale – where characters are “types” and the distinction between good and evil usually well-marked – and turns it into a more meaningful and profound allegory … the audience … discovers the true Sein (Reality) beneath the deceptive Schein (or Appearance). This makes the first part of the opera an intentional deception\, trying to convince Tamino that good is evil\, and evil good. The second Act then pulls the curtain back and reveals the Truth that the Queen had hidden in the opera’s opening.” \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n© 2023 Elizabeth Schwartz Elizabeth Schwartz is a writer and music historian based in the Portland area. She has been a program annotator for more than 20 years\, and works with music festivals and ensembles around the country. Schwartz has also contributed to NPR’s “Performance Today\,” (now heard on American Public Media). \n\n\n\nNOTE: These program notes are for Santa Rosa Symphony patrons and other interested readers. Any other use is forbidden without specific permission from the author\, who may be contacted at classicalmusicprogramnotes.com. URL:https://www.srsymphony.org/event/opera-in-concert-mozarts-magic-flute/ CATEGORIES:Special Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20240119T222254Z CREATED:20210708T170554Z LAST-MODIFIED:20240119T222254Z UID:24885-1705536000-1705536000@www.srsymphony.org SUMMARY:Jurassic Park - In Concert DESCRIPTION:Ticket Information\n\n\n\nTickets for Jurassic Park – In Concert will be available to purchase starting July 29 at 10 AM. \n\n\n\nTickets for this event are available through the Green Music Center box office. The Santa Rosa Symphony is not selling tickets for this concert. \n\n\n\nTo purchase tickets\, please call (707) 664-4246 or visit the GMC website. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n  \n\n\n\nHealth and Safety\n\n\n\nPrior to purchasing tickets and attending the concert\, please visit the Green Music Center website for their latest COVID-19 policy.  \n\n\n\nSupported in part by:\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n© Universal City Studios LLC and Amblin Entertainment\, Inc. All Rights Reserved. \n\n\n\nNot available for this concert. URL:https://www.srsymphony.org/event/jurassic-park-in-concert/ CATEGORIES:Special Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20240119T221742Z CREATED:20210624T225322Z LAST-MODIFIED:20240119T221742Z UID:24870-1705536000-1705536000@www.srsymphony.org SUMMARY:Visions of Hope DESCRIPTION:Ticket Information\n\n\n\nTicket holders: If you had tickets to the original May 2020 date\, your tickets were reissued in February 2022. Please contact Patron Services\, if you did not receive yours or if you have a question or wish to make a change. (707) 546-8742 \n\n\n\nConcert Conversations with Francesco Lecce-Chong\n\n\n\nConcert Conversations are general seating and free to Classical Series concert ticket holders. Approximately 30 minutes in Weill Hall. \n\n\n\n\nSaturday\, June 11\, 2022 at 6:30 PM\n\n\n\nSunday\, June 12\, 2022 at 2:00 PM\n\n\n\nMonday\, June 13\, 2022 at 6:30 PM\n\n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\nCovid Protocols for This Concert\n\n\n\nPlease note: COVID-19 protocols are subject to change. \n\n\n\nMasks are optional\, but recommended. \n\n\n\nAdults 18 +:Photo I.D. and one of the following: \n\n\n\n\nProof of vaccination\n\n\n\nNegative COVID PCR test (taken by a laboratory within 72 hours prior to performance). \n\n\n\n\nThe name on the document must match the photo I.D. \n\n\n\nAges 7-17:No requirements. \n\n\n\nPlease stay home if… \n\n\n\n\nYou are sick or have any of the following symptoms: fever\, sore throat\, chills\, cough\, shortness of breath\, congestion\, nausea\, or vomiting.\n\n\n\nYou’ve been in close contact with an individual diagnosed with COVID-19 or exhibiting COVID-19 symptoms within the past 14 days.\n\n\n\nYou’ve been directed to self-isolate or quarantine by a health care provider or public health official.\n\n\n\nYou are awaiting the results of a COVID-19 PCR test.\n\n\n\n\nClick here for Ticket Policies regarding COVID-19. \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from the following:\n\n\n\nClassical Concert Series underwritten by Anderman Family Foundation Supporting Sponsors: County of Sonoma & Creative SonomaConductor Francesco Lecce-Chong underwritten by Norma Person\, in memory of Evert PersonGuest Artist Mariachi Champaña Nevín Supporting Sponsors: Pacific Gas and Electric and Nancy and Robert NovakWorld premiere underwritten by The Clarence E Heller Charitable Foundation and The National Endowment for the ArtsComposer Enrico Chapela Barba underwritten by Pam and Tim ChanterDiscovery Open Rehearsal Series sponsored by The Stare Foundation and David Stare of Dry Creek VineyardPre-concert Talks sponsored by Jamei Haswell and Richard GrundySeason Media Sponsor: The Press Democrat \n\n\n\n\n\n\n\nPrograms\, dates\, artists\, and prices are subject to change without notice. Tickets are subject to availability.\n\n\n\nVisions of Hope Program Notes by Steven Ledbetter\n\n\n\n\nArturo Márquez\nDanzón No. 2 for OrchestraArturo Márquez was born in Alamos\, Sonora\, Mexico\, on December 20\, 1950. He composed his Danzón No. 2 in 1994. Francisco Savin conducted the first performance in Mexico City’s Netzahaucoyotl Hall on March 5\, 1994. The score calls for pairs of flutes\, oboes\, clarinets and bassoons\, four horns\, two trumpets\, three trombones\, tuba\, four percussionists\, piano and strings.ESTIMATED DURATION: 10 minutes.Arturo Márquez studied the violin\, piano and trombone in his teens\, then piano and theory at the National Conservatory in Mexico from 1970 to 1975. After that\, he studied privately in Paris and completed a master’s degree at the California Institute of the Arts in 1990. His major teachers were Federico Ibarra and Morton Subotnick. \n\n\n\nThe majority of his early works were multi-media creations\, uniting music with theater\, dance\, cinema and photography\, for which the music was often electro-acoustic combinations of an avant-garde character. \n\n\n\nIn the early 1990s\, he stepped aside from the modernist track to play with popular dance styles in a series of seven compositions\, for different instrumental combinations\, under the generic title Danzón\, which refers to a formal couple dance that grew out of 19th-century Cuban traditions of the contredanse and the habanera. By the 20th century\, it began to interact with other Cuban dance types\, and its popularity spread to Mexico as well. The couple undertaking the danzón performed an elaborate set of footwork on syncopated beats\, sometimes stopping completely\, in elegant frozen positions\, to listen to an instrumental section. Gradually the danzón was involved in the mambo and the cha cha cha. The danzón continues to be danced in its traditional form by members of the older generation. \n\n\n\nArturo Márquez composed his first Danzón in 1992 for pre-recorded tape with optional saxophone. Soon the dancer Irene Martinez and the painter Andres Fonseca persuaded him to compose a Danzón for full orchestra. In preparation for the work\, he traveled to Veracruz\, where\, in the port city saloons\, the dance had first conquered Mexico. Then he continued his research in the dance saloons of Mexico City. The resulting lively dance composition\, combining French\, African\, Cuban and Mexican elements in a rondo pattern of tremendous vigor and color\, is Marquez’s best-known work. \n\n\n\n\n\n\nEnrico Chapela Barba\nBraceros\, Cantata for Mariachi and OrchestraEnrico Chapela Barba was born on January 29\, 1974\, in Mexico City\, where he still lives. The work is a commission from the Santa Rosa Symphony\, designed to draw upon his wide range of musical interests. These are the first performances.ESTIMATED DURATION: 30 minutesChapela’s music has frequently fused widely diverse traditions\, including rock and electronic music as well as popular mariachi traditions from his native Mexico\, which will be heard in this new piece with the Santa Rosa Symphony. His studies have ranged as widely as his musical interests. After receiving his Bachelor’s degree in composition from the Centro de Investigación y Estudios Musicales\, he studied classical guitar in England and received a Master’s from the University of Paris Saint-Denis.His work has been widely performed in the Americas\, Europe and Asia. He absorbed the major Mexican composers of the 20th century\, Carlos Chavez and Silvestro Revueltas\, but also studied electronic music in Paris. At the same time\, he admires the philosophical-musical ideas of John Cage. He continues to teach at his alma mater in Mexico City.Regarding his new mariachi-laced composition\, the composer writes: When America was forced into the Second World War\, workers were drafted into battle\, leaving farm fields unattended. To prevent crops from rotting\, the Mexican Farm Labor Program was signed in 1942. Also known as the “bracero” program\, this binational treaty summoned Mexican workers to pick American crops. More than three million Mexicans entered the US to labor in the agricultural fields as guest workers under the agreement. The benefits of the program led to its annual renewal until 1964\, when an excess of migrant labor and the introduction of the mechanical cotton harvester\, along with the Farm Workers Association’s movement\, led by Cesar Chavez\, and the civil rights movement\, rendered the program unviable. The plot takes place in 1964\, the last year of the treaty. \n\n\n\nPedro wants to marry Consuelo. Her father Jorge\, who needs to know more about how they plan to pay the bills\, learns that Pedro will join the bracero program\, and save his earnings for the wedding. This does not sit well with Jorge\, who\, when he was young\, was one of the first workers to be hired at Pecos\, Texas. He had a bad experience\, given the existing segregation culture in Texas\, as well as the meager working conditions. He gives voice to those workers that were mistreated by Mexican officials and agricultural bosses\, and has little more to say than resentful complaints. In contrast\, his wife Dolores points to the positive aspects he is ignoring in his bitter account\, and has a kinder approach to parenthood towards their daughter Consuelo. \n\n\n\nNevertheless\, Jorge is reluctant to let his little girl get married to a bracero worker\, or even worse\, to an illegal wetback\, if the program gets canceled and the plan deteriorates into a life-threatening-desert-crossing undertaking. So\, he recounts his own misfortunes as a young bracero\, 20 years earlier. But Jorge’s story fails to discourage Pedro\, who after learning from his own words that Jorge was a cotton-picking champion\, and that he ran into significant troubles because of his addictive betting habits\, Pedro challenges Jorge to a bet: if he comes back from the fields to beat the old man in a sun-to-sun-cotton-picking match\, the reluctant father will have to consent to the wedding. Consuelo\, who is not thrilled about watching her boyfriend bet their future with her seasoned father\, finds his resolve very romantic and reads with passion the adventurous letters describing his progress at the agricultural farms of California… The term “bracero” comes from the Spanish word brazo (arm)\, and describes someone who works with his arms. \n\n\n\n\n\n\nOttorino Respighi\nThe Fountains of RomeOttorino Respighi was born in Bologna\, Italy\, on July 9\, 1879\, and died in Romeon April 18\, 1936. He composed his Fontane di Roma (Fountains of Rome) in 1916. The first performance took place in March 1917 at the Augusteo (Mausoleum of Augustus) in Rome\, conducted by Antonio Guarnieri. The score calls for two flutes and piccolo\, two oboes and English horn\, two clarinets  and bass clarinet\, two bassoons\, four horns\, three trumpets\, three trombones\, tuba\, timpani\, triangle\, cymbals\, chimes\, glockenspiel\, two harps\, celesta\, piano\, organ and strings.ESTIMATED DURATION: 15 minutesRespighi wrote music of extraordinary color and orchestral brilliance\, partly\, no doubt\, a consequence of his having studied orchestration with Rimsky‑Korsakov during the years he served as principal violist in the orchestra of the St. Petersburg opera. After returning\, he made composition his principal activity. Respighi wrote eight operas\, as well as other stage works. He was interested in early music\, and this led to a number of “archaizing” works like the Piano Concerto in the mixolydian mode and a Concerto gregoriano for violin\, not to mention his better-known arrangements of Ancient Airs and Dances and The Birds\, both derived from older lute and keyboard compositions. \n\n\n\nBut the works that remain far and away the best known of Respighi’s entire output are the three orchestral suites depicting aspects of his adopted city\, Rome. He composed The Fountains of Rome in 1916\, The Pines of Rome (the most popular of them all) in 1924 and the Festivals in 1928‑1929. In the course of the dozen images presented musically in these three scores\, Respighi draws inspiration from the Rome of classical antiquity\, of the Middle Ages and Renaissance\, and the modern day. Some movements depict natural beauties\, others paint the customs and life of the Roman streets and plazas. \n\n\n\nFrom the days of the ancient Romans\, the provision of water into a city the size of Rome has been one of the civil engineering wonders of the world. Different regions of the city received their water via aqueducts coming from mountains in various directions from the city\, often dozens of miles away\, and to this day Romans argue cheerfully among themselves about the advantages of their various “waters\,” which surge forth from a series of exquisite fountains. Respighi’s musical tribute to this aspect of Roman life is also a character piece tracing the Roman day from dawn to sunset\, the composer having chosen to present each linked with “the hour in which their character is most in harmony with the surrounding landscape\, or in which their beauty appears most impressive to the observer.” \n\n\n\nThe four “scenes” run directly from one to another. The Fountain of the Valle Giulia at dawn\, or Julia Valley\, is a pastoral scene. The breezes cause the leaves in the trees to rustle as a herd of cattle passes slowly by. A sudden summons on the horns immediately conjures up The Fountain of Triton in the morning. The triton\, in Bernini’s great 17th-century stature\, is seated on an open scallop shell\, his head far back as he drinks from a conch shell. The sheer virility of the figure is celebrated in the horn calls\, while the fantasy that envelops it figures in the lively main theme in the woodwinds. The Trevi fountain in the afternoon evokes the most famous of all the Roman fountains\, the one into which visitors throw coins with the wish to return to Rome. Respighi’s music takes us to a site that\, even when Nathaniel Hawthorne visited more than a century ago\, was one of the liveliest daytime scenes in Rome:for the piazza is then filled with stalls of vegetable and fruit dealers\, chestnut-roasters\, cigar venders\, and other people whose patter and wandering traffic is transacted in the open air. It is likewise thronged with idlers\, lounging over the iron railing\, and with forestieri [foreigners]\, who come hither to see the famous fountain.The music grows quieter as evening falls\, and we end the day strolling to the Fountain of the Villa Medici at sunset. The fountain in front of the Villa Medici is a modest broad basin\, spurting a single jet of water upwards\, but it rests high above the city (not far from the Spanish Steps and the Piazza del Popolo with a spectacular view to the west). At sunset\, the water in the fountain will mirror Michelangelo’s great cupola on St. Peter’s\, across the Tiber in the Vatican. Oboe and English horn recall the pastoral mood of the opening\, a tranquility that seems unlikely in one of the world’s great capitals\, yet one attainable here\, where the sunset view has changed surprisingly little in four centuries. Birdsong dies away\, and the stillness of the dark closes the day. \n\n\n\n \n\n\n\n\n\n                             \n\n\n\n© Steven Ledbetter (stevenledbetter.com) URL:https://www.srsymphony.org/event/visions-of-hope/ CATEGORIES:Special Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20240119T223234Z CREATED:20190328T173618Z LAST-MODIFIED:20240119T223234Z UID:24847-1705536000-1705536000@www.srsymphony.org SUMMARY:Raiders of the Lost Ark In Concert DESCRIPTION:Tickets available through the Green Music Center ONLY\n\n\n\nTo purchase tickets\, please call 707-664-4246 or visit their websiteTickets starting at $25  \n\n\n\n \n\n\n\n\n\n\n\nConcert-goers may bring in food (but no beverages) to enjoy a picnic on the lawn or at terrace tables outside Sonoma State University’s Green Music Center. Food and beverages may also be purchased on site. Water bottle filling stations will also be available.  \n\n\n\nSeating on the lawn is general admission and filled first come\, first serve. Patrons are permitted to bring blankets and/or lawn chairs. We request patrons bring low lawn chairs that sit a few inches off the ground\, however\, we understand this may not be feasible for all patrons and therefore do not have a height limit on chairs. All patrons are asked to be considerate of those around them and the Front of House staff reserves the right to request patrons with higher chairs to move to areas that do not obstruct the view of the hall/screen for those around them. \n\n\n\nFor the safety of all guests\, all items brought into the Green Music Center including coolers\, picnic baskets\, bags\, backpacks and purses are subject to search upon entry. Patrons who choose not to subject their personal belongs to a security search will not be permitted to enter the grounds. For more information regarding these SSU policies\, visit https://gmc.sonoma.edu/go/. \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels \n \n \n \n \n \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from our sponsors:\n\n\n\nBruce and Susan Dzieza URL:https://www.srsymphony.org/event/raiders-of-the-lost-ark-in-concert/ CATEGORIES:Special Event END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240118T000000 DTEND;TZID=America/Los_Angeles:20240118T000000 DTSTAMP:20240119T223034Z CREATED:20190328T171444Z LAST-MODIFIED:20240119T223034Z UID:24846-1705536000-1705536000@www.srsymphony.org SUMMARY:The Four Seasons of Sonoma County - Our free community concert DESCRIPTION:Lawn seating will be available the day of the concert.\n\n\n\nHall and Table seating is SOLD-OUT \n\n\n\nAll ticket holders must be in assigned seat(s) by 6:40pm or will forfeit the seat to another guest (Hall & Terrace Tables ONLY).  \n\n\n\nSanta Rosa Symphony and the Green Music Center present\n\n\n\nThe Four Seasons of Sonoma County – Our Free Concert for the Community\n\n\n\nCelebrate the exquisite beauty of Sonoma County through the eyes of its residents\, displayed on screens during Vivaldi’s iconic ode to nature\, The Four Seasons. Photography of Sonoma County landscapes\, depicting the corresponding seasons\, will enhance Vivaldi’s four violin concertos\, performed by the Symphony. \n\n\n\nThis co-produced program\, conducted by SRS Music Director and Conductor Francesco Lecce-Chong\, is free to the public\, but a ticket is required.  \n\n\n\n“These concertos were the most innovative and groundbreaking music of their time – three-hundred years later they will feel as fresh and vibrant as ever against the backdrop of our own surroundings. I look forward to this celebration of music\, nature\, and our unique community.”  \n\n\n\n– Francesco Lecce-Chong  \n\n\n\n\n\n\n\nThe Four Seasons of Sonoma County Photography Contest is now concluded\n\n\n\n\n\n\n\nA free concert to celebrate community and the exquisite beauty of Sonoma County. The Museum of Sonoma County is seeking photographs of Sonoma County landscapes and pastoral scenes\, depicting the corresponding seasons\, to enhance Vivaldi’s The Four Seasons. Selected photographs from this juried photo contest will be displayed on digital screens during this iconic ode to nature. \n\n\n\nWe thank all of the photographers who submitted their photos for consideration. \n\n\n\nPhotography of Sonoma County was organized by the Museum of Sonoma County.\n\n\n\n\n\n\n\nAll ticket holders must be in assigned seat(s) by 6:40 PM or will forfeit the seat to another guest (Hall & Terrace Tables ONLY).\n\n\n\nConcert-goers may bring in food (but no beverages) to enjoy a picnic on the lawn or at terrace tables outside Sonoma State University’s Green Music Center. Food and beverages may also be purchased on site. Water bottle filling stations will also be available.  \n\n\n\nSeating on the lawn is general admission and filled first come\, first serve. Patrons are permitted to bring blankets and/or lawn chairs. We request patrons bring low lawn chairs that sit a few inches off the ground\, however\, we understand this may not be feasible for all patrons and therefore do not have a height limit on chairs. All patrons are asked to be considerate of those around them and the Front of House staff reserves the right to request patrons with higher chairs to move to areas that do not obstruct the view of the hall/screen for those around them. \n\n\n\nFor the safety of all guests\, all items brought into the Green Music Center including coolers\, picnic baskets\, bags\, backpacks and purses are subject to search upon entry. Patrons who choose not to subject their personal belongings to a security search will not be permitted to enter the grounds. For more information regarding these SSU policies\, visit https://gmc.sonoma.edu/go/. \n\n\n\n\n\n\n\nWe gratefully acknowledge the generous contributions from our sponsors:\n\n\n\nLead sponsor: Shanna Thompson Trust\, in memory of Shanna ThompsonSupporting Sponsor: Wells Fargo Bank \n\n\n\n\n\n\n\nLandscape photo by Susan and Neil Silverman Photography \n\n\n\nPlan Your Visit\n\n\n\n \n \n \n \n \n \n \n\n Learn more about the Discovery Rehearsal Series \n \n \n\n Directions & More \n \n \n\n Seating Map \n \n \n\n Before the Concert \n \n \n\n At the Concert \n \n \n\n Dining & Hotels URL:https://www.srsymphony.org/event/the-four-seasons-of-sonoma-county-our-free-community-concert/ CATEGORIES:Special Event END:VEVENT END:VCALENDAR