Summer 2022

SEP 18 | Joyfully Together

SEP 18 | 5 PM

Wolf Trap and The Washington Chorus are pleased to announce the creation of a new community choral festival celebrating the power of singing together to connect and inspire. The festival, led by The Washington Chorus’s Dr. Eugene Rogers as festival Artistic Director, features a wonderful mix of the area’s regional choirs across many styles and genres. This one-day festival includes short performances by each chorus on stage, and culminates in a combined performance of all participating ensembles and sing-along moments with the audience in a 7,000+ voice chorus.


Alexandria Harmonizers
Joe Cerutti, Jr., Artistic Director

The Children’s Chorus of Washington
Margaret Nomura Clark, Artistic Director

Duke Ellington School of the Arts Concert Chorale
Greg Watkins, Director

Gay Men’s Chorus of Washington, DC & GenOUT
Thea Kano, Artistic Director

Towson University Singers
Diana V. Sáez, Director

The Washington Chorus
Eugene Rogers, Artistic Director

Washington Performing Arts
Children of the Gospel Choir
Michele Fowlin, Artistic Director

Washington Performing Arts
Men and Women of the Gospel Choir
Theodore Thorpe, III, Artistic Director


Rollo Dilworth, piano and composer
Reena Esmail, composer
Aundi Marie Moore, soprano
Nicolò Spera, guitar
Melissa Studdard, poet


*“We Are Love”
Reena Esmail, words by Melissa Studdard
featuring Aundi Marie Moore, soprano

^”Lean on Me”
Bill Withers

“God Said It”
Willis J. DeVone

Washington Performing Arts
Men and Women of the Gospel Choir

Theodore Thorpe III, Artistic Director

“Take Me Home, Country Roads”
John Denver

“Canción con Todos”
César Isella, arr. Ismael Coca Aranibar

Carlos Cordero
Puerto Rican Plena, arr. Diana V. Sáez

Towson University Singers
Diana V. Sáez, Artistic Director

^”Oh Shenandoah”
Traditional American Folk Song

“Lift Every Voice and Sing”
arr. Roland Carter

“Wake Up Everybody”
John Legend

Duke Ellington School of the Arts Concert Chorale
Greg Watkins, Director

^”America the Beautiful”
Katherine Lee Bates

“Hallelujah” Chorus, from Mount of Olives
Ludwig Van Beethoven

“The Book of Rahul” from Door Out of the Fire
Christopher Theofanidis, words by Melissa Studdard

The Washington Chorus
Eugene Rogers, Artistic Director
featuring Nicoló Spera, guitar

“Climb Ev’ry Mountain”
Oscar Hammerstein II and Richard Rodgers
Aundi Marie Moore, soprano
featuring Wei-Han, piano

“He Rose”
Brent Jones

“Why Do We Sing”
Gail Jones Murphy

Washington Performing Arts
Children of the Gospel Choir

Michele Fowlin, Artistic Director

^”Standing Stone”
Melanie DeMore

“Bridge Over Troubled Water”
Paul Simon, arr. Greg Volk

“Circle of Life”
music by Elton John, lyrics by Tim Rice

Alexandria Harmonizers
Joe Cerutti, Jr., Artistic Director

^”I Sing Because I’m Happy”
Charles Gabriel, arr. Kenneth Paden

“Let the River Run”
Carly Simon, arr. Craig Hella Johnson

“Shine Your Light”
Raymond Wise

Children’s Chorus of Washington
Margaret Nomura Clark, Artistic Director

^”Hold Everybody Up”
Melanie DeMore

“Brand New Day” from The Wiz
Luther Vandross

“Make Them Hear You” from Ragtime
music by Stephen Flaherty, lyrics by Lynn Ahrens

Gay Men’s Chorus of Washington, DC
featuring GenOUT & 17th Street Dance

Thea Kano, Artistic Director

*”United in Purpose”
Rollo Dilworth
featuring Rollo Dilworth, piano

*Combined chorus numbers
^Audience participation numbers


EUGENE ROGERS, Artistic Director
A two-time Michigan Emmy Award-winner, a 2017 Sphinx Medal of Excellence recipient, and a 2015 Grammy Award nominee, The Washington Chorus Artistic Director Eugene Rogers is recognized as a leading conductor and pedagogue throughout the United States and abroad. In addition to being the founding director of EXIGENCE, Dr. Rogers is the director of choirs and an associate professor of conducting at the University of Michigan.

At the University, Rogers leads the graduate choral conducting program, conducts the chamber choir, and administers the program of over eight choral ensembles. His choirs have toured throughout China, South Africa, and the United States, and have appeared at national and regional conferences. In December 2017, Musical America named Rogers one of the top 30 “Movers and Shapers” professionals in North America. His past appointments include being the director of the University of Michigan Men’s Glee Club, Macalester College (St. Paul, Minnesota), the Boys Choir of Harlem, Waubonsie Valley High School (Aurora, Illinois), and Anima Young Singers of Greater Chicago (formerly the Glen Ellyn Children’s Choir). In 2016, Rogers’ passions for issues of social justice and music were featured in the award-winning documentary Love, Life and Loss which highlights Joel Thompson’s powerful Seven Last Words of the Unarmed. In 2013, he co-managed the production of the joint CD Ye Shall Have a Song with the Michigan, Yale, and Harvard Glee Clubs, a collaboration celebrating America’s three oldest collegiate choirs.

In 2015, Mark Foster Publishing began the Eugene Rogers Choral Series, a series featuring emerging composers who specialize in contemporary classical and folk music traditions, and the EXIGENCE Choral Series in 2018 which features folk and contemporary works by Black and Latinx composers. In 2011, Rogers traveled to and studied the choral traditions of East Africa (Tanzania).

Rogers holds a Bachelor of Arts degree in choral music education from the University of Illinois at Urbana Champaign and the Master of Music and Doctor of Musical Arts degrees in choral conducting from the University of Michigan. He currently serves on the board of Chorus America and is the former national chair of the Diversity Initiatives Committee for the American Choral Directors Association.

Eugene Rogers, Artistic Director

The Washington Chorus (TWC), now in its 62nd season, is one of the foremost symphonic choruses in the nation. Noted for the superb artistry of its performances, TWC is widely recognized as a cultural leader in the nation’s capital.

A three-time nominated and two-time Grammy Award-winner, the 160-voice Washington Chorus presents an annual series at The John F. Kennedy Center for the Performing Arts, regularly performs at the invitation of leading orchestras such as the National Symphony Orchestra and the Baltimore Symphony Orchestra, and appears annually at the Music Center at Strathmore in Maryland.

TWC is proud to have sung in countless performances under the direction of many of the world’s greatest conductors, including Gianandrea Noseda, Christoph Eschenbach, Leonard Slatkin, Mstislav Rostropovich, Rafael Frühbeck de Burgos, Seiji Ozawa, Sir Neville Marriner, Kent Nagano, Marin Alsop, Gustavo Dudamel, Sir Andrew Davis, and many others.

TWC has performed for numerous prestigious events throughout its history—inaugurations, papal visits, with the Rolling Stones during their 50th Anniversary Tour, and at the White House in 2013 and 2014 for the President and First Lady.

Margaret Nomura Clark, Artistic Director

The Children’s Chorus of Washington (CCW) nurtures artistic excellence and empowers young singers by celebrating our shared humanity and the value of every voice. CCW provides outstanding music education and performance opportunities for children in grades K-12 in the nation’s capital region, and fosters students’ growth as musicians and leaders by emphasizing personal responsibility and working together toward a common goal. Internationally recognized and critically acclaimed for its outstanding artistry, CCW collaborates frequently with our community’s leading arts organizations and maintains an active performance schedule that reaches thousands of audience members in marquee and neighborhood venues across the city and beyond. CCW is committed to deepening its impact across the district through its partnership with DC Public Schools and robust scholarship opportunities for its auditioned ensembles. CCW was founded in 1995 by Joan Gregoryk, and is now under the leadership of Artistic Director Margaret Nomura Clark and Executive Director
Betsy Bates.

Joe Cerutti, Jr., Artistic Director

Founded in 1948 as a “men’s harmony club” with 18 members, the Alexandria Harmonizers have grown to become the DC area’s premier a cappella chorus. Specializing in four-part close harmony, the group is made up of volunteer singers ranging in age from their teens to their eighties. They perform a wide range of music including Broadway show tunes, American songbook standards, and modern pop arrangements, all in a cappella style.

The Harmonizers have won 20 international chorus competition medals including four gold medals, with the most recent being a third-place bronze at the 2022 Barbershop Harmony Society International Convention in Charlotte, NC this past July. In 2018 they received the Greater Washington, DC Area Choral Excellence “Ovation” Award for “Best A Cappella Ensemble.”

The Harmonizers perform throughout the year in concert, contest, and in collaboration with other performers. They have sung at the White House, the Supreme Court, The Kennedy Center, and Carnegie Hall. Recent collaborations with the Music Center at Strathmore include the 2016 DC area premiere of Andrew Lippa’s I Am Anne Hutchinson/I Am Harvey Milk, starring Lippa and Kristin Chenoweth, and the 2018 world premiere of Jeremy Schonfeld’s Iron and Coal – Survivor and Son.

The Harmonizers also have performed internationally, most recently in August 2019 when they toured in the United Kingdom and performed at the Edinburgh Fringe Festival, the largest arts festival in the world. In 2014 the chorus traveled to Normandy, France to participate in ceremonies commemorating the 70th anniversary of the D-Day landings, singing at the Normandy beaches and cemeteries, in Sainte-Mère-Église, and in the Chartres Cathedral.

Beyond musical excellence, the Harmonizers are focused on community outreach and artistic collaboration. They provide a number of free performances throughout the year in their local community of Alexandria, including free “Singing Valentines” at senior centers and local businesses and free holiday caroling in Old Town. They explored the African-American roots of barbershop harmony by hosting a two-day festival of workshops and performances with several local gospel groups and the Grammy Award-winning gospel quartet, The Fairfield Four. They have formed a musical partnership with the Alexandria Alfred Street Baptist Church Men’s Choir, and recently collaborated with 17th Street Dance, an ensemble of the Gay Men’s Chorus of Washington, DC, at the 2022 Barbershop Harmony Society International Convention. The chorus also regularly hosts a Youth Harmony Festival, bringing in top clinicians and quartets to introduce area students and their musical directors to the joys of
a cappella harmony.

The Harmonizers are members of several choral organizations, including Chorus America, the Contemporary A Cappella Society, and the Barbershop Harmony Society.

Thea Kano, Artistic Director

Led by Artistic Director Thea Kano, the Gay Men’s Chorus of Washington, DC (GMCW) is now starting its 42nd season. GMCW sings to inspire equality and inclusion with musical performances and education promoting justice and dignity for all. GMCW has more than 300 singing members, three select ensembles, a dance company, a youth chorus, 50 support volunteers, more than 300 subscribers, 500 donors, and an annual audience of more than 10,000 people. The Chorus and its ensembles keep a very busy schedule with more than 100 outreach performances each season. Past outreach performances have included the HRC National Dinner, performing live on NBC-TV’s The Today Show, a historic LGBTQ music and outreach tour in Ukraine, a first-ever tour by an LGBTQ+ chorus to Cuba, and a special concert in Reykjavik, Iceland. GMCW has performed for President and First Lady Obama, eight consecutive years at Vice President and Dr. Biden’s residence, twice at the Kennedy Center Honors, and as part of the inaugural celebrations for President Obama and President Clinton. Since 2001, the Chorus has maintained a robust youth outreach program, GenOUT, and in 2015, launched the GenOUT Youth Chorus, the first LGBTQ+ and allied youth chorus in the DC metro area. Since its debut, more than 120 singers from 60 area schools have participated in GenOUT. GMCW is a member of Chorus America, the Gay and Lesbian Association of Choruses (GALA Choruses), and the Cultural Alliance of Washington.

Greg Watkins, Director

The vocal department at the Duke Ellington School of the Arts (DESA) strives to give all students the opportunity to grow as young musicians through our study of voice, music theory, sight-singing, and choir. It has various ensembles, which help teach the skill of ensemble singing. DESA is a dual curriculum program, focusing on both academic and artistic classes. In vocal music, our goal is artistic growth and college admission for any student desiring to major in music. To achieve this, they use a scientific and holistic approach to singing through vocal technique along with music theory, sight singing, and piano. This study helps students achieve success in whatever aspect of music they elect to pursue.

In the spring of 2019, the Concert Choir traveled to New York City for the FAME Choir Competition. While at the competition, they won first place in the Mixed Choir Division as well as many accolades including best choral sound and best repertoire. The Concert Choir also performed the Mozart Requiem in The Colour of Music festival and concluded the season with Handel’s Messiah. Returning to in-person performances during the 2021-2022 season has been a thrill and was elevated by a featured performance with legendary tenor George Shirley in the Post Classical Ensemble’s presentation of Hope in the Night. Thrilled to have returned to another season of in-person performance, they are excited to continue in musical excellence.

Diana V. Sáez and Stephen Holmes, Artistic Directors

The Towson University Choirs are comprised of music majors, graduates, and graduate students from other disciplines across the university. The choirs offer several concerts during the year performing a broad range of repertoire that includes music from all styles and historical periods. University Chorale and Treble Voices are under the direction of Diana V. Sáez and the Men’s Chorus is directed by Stephen Holmes. Today the three choirs combine their voices to present a Latin American choral music program.

Theodore Thorpe, III, Artistic Director

Led by Theodore Thorpe III, Washington Performing Arts Men and Women of the Gospel Choir showcases many of the finest voices in our community performing contemporary and classic works by African Americans. In their three decade history, the choir has shared the stage with luminaries such as Wynton Marsalis and Jazz at Lincoln Center Orchestra, the late Edwin Hawkins, the late Walter Hawkins, Ramsey Lewis, and Sweet Honey in the Rock. Past performances have included a special holiday concert, With a Grateful Heart: A Gospel Thanksgiving, at Duke Ellington School of the Arts Theater featuring G Thomas Allen, Patrick Lundy, and Roderick Giles; the 10th anniversary celebration of the Martin Luther King Jr. Memorial; annual gospel brunches at University of Maryland; Christmas concerts at Washington National Cathedral; Kennedy Center Millennium Stage; Mayor’s Arts Awards; The Hamilton; and Sirius XM Radio. In celebration of their 30th anniversary, a milestone celebration concert is scheduled for Sunday, November 20, 2022 at the MC Cultural Arts Center in Silver Spring, Maryland.

Michele Fowlin, Artistic Director

One of the region’s most celebrated youth ensembles, the Washington Performing Arts Children of the Gospel Choir has become a destination choir for local students who look to develop excellence in artistry and technique. Chosen through a competitive audition process, choir members from DC, Maryland, and Virginia commit to participating in a year of choral training, intensive workshops, and a variety of performances on Washington Performing Arts’ main stage and community events. Under the leadership of Artistic Director Michele Fowlin, the Children of the Gospel Choir have been featured at the White House (with Sara Bareilles at the Canadian State Dinner honoring Prime Minister Justin Trudeau); the Inaugural Prayer Services for President Barack Obama and the National Memorial Service for Nelson Mandela, both at The Washington National Cathedral; with Matthew Whitaker in concert; the Washington Performing Arts Gala with Broadway star Matthew Morrison; the historic Howard Theatre; the US Department of State; and on NBC’s Today Show. Performances by the Washington Performing Arts Children of the Gospel Choir are made possible through the generous support of Jacqueline Badger Mars and
Mars, Incorporated.

Biography provided by artist management.


Rollo Dilworth
is currently Vice Dean and Professor of Choral Music Education in the Department of Music Education and Therapy at Temple University’s Center for the Performing and Cinematic Arts in Philadelphia, PA. He has served on the faculty since 2009. Prior to his position with Boyer College, he taught music education and was the director of choral activities for 13 years at North Park University in Chicago, where he prepared and conducted numerous extended and choral-orchestral works. Before teaching at the college level, Dilworth also taught choral and general music at the middle school level in his hometown of St. Louis, MO.

Over 200 of Dilworth’s choral compositions and arrangements have been published, and many are part of the Henry Leck Creating Artistry Choral Series with the Hal Leonard Corporation. In 2015 Dilworth launched his own choral series with Hal Leonard, focusing on secondary and tertiary level repertoire representing composers and arrangers from diverse backgrounds. He is also an established author and contributor for the Essential Elements for Choir and the Experiencing Choral Music textbook series. He has authored three books of choral warm up exercises intended for elementary and secondary choral ensembles, entitled Choir Builders: Fundamental Vocal Techniques for General and Classroom Use (2006), Choir Builders for Growing Voices (2009), Choir Builders for Growing Voices 2 (2014), and Music of Our Roots (2016). Dilworth is an active clinician and frequent guest conductor of all-state, honors, festival, community, church, and professional choirs. He has researched, lectured, and presented extensively on various topics including African American choral music, composing/arranging for choirs, social justice, social emotional learning, cultural appropriation, urban music education, community engagement, and diversity, equity, and inclusion.

Much of Dilworth’s creative output as a composer and arranger focuses on themes of social justice and social change. His compositions Freedom’s Plow (commissioned by the St. Louis Symphony and IN UNISON Chorus) and Credo (commissioned by the Mendelssohn Club Chorus of Philadelphia) are examples of his vision to elevate the words of Langston Hughes and W.E.B. DuBois, respectively. Most recently, a consortium of 20 universities and arts organizations commissioned Dilworth to set Claudia Rankine’s social justice poem Weather to music for chorus, narrator, and wind ensemble.

Dilworth serves on the national boards of Chorus America and the National Collegiate Choral Organization (NCCO); he is an active life member of the American Choral Directors Association (ACDA). He also holds memberships with several other organizations, including the National Association for Music Education (NAfME), the National Association of Negro Musicians (NANM), and the American Society of Composers, Authors, and Publishers (ASCAP).

REENA ESMAIL, composer
Reena Esmail works between the worlds of Indian and Western classical music, to bring communities together through the creation of equitable musical spaces. Esmail holds degrees from The Juilliard School and the Yale School of Music. A resident of Los Angeles, Esmail is the 20-23 Swan Family Artist in Residence with Los Angeles Master Chorale, and the 20-21 Composer in Residence with Seattle Symphony. She currently serves as Co-Chair of the Board of New Music USA, and Co-Founder and Artistic Director of Shastra, a non-profit organization that promotes cross-cultural music connecting musical traditions of India and the West.

American soprano Aundi Marie Moore has quickly established herself as an exceptional talent with her recent appearance as Strawberry Woman in the Metropolitan Opera’s new production of Porgy and Bess last season. Previous career highlights on the opera stage include Donna Elvira in Don Giovanni at L’Opéra de Monte Carlo for her international operatic debut, Nedda in I Pagliacci at Sarasota Opera, Mimi in La bohème in Italy at the Amalfi Coast Festival, Serena in Porgy and Bess at Atlanta Opera and at Virginia Opera, Young African American Soprano in Ricky Ian Gordon’s world premiere Rappahannock County at Virginia Opera, Soprano 2 in the US premiere of Michael Nyman’s Facing Goya at Spoleto Festival, and the role of Odessa Clay in the world premiere of D. J. Sparr’s Approaching Ali commissioned by Washington National Opera. Noted for her versatility, Moore is no stranger to the musical theatre stage where she has appeared as Lady Thiang in The King and I at Lyric Opera of Virginia, Nettie Fowler in Carousel at Ashlawn Music Festival, and Maggie Porter in Tazewell Thompson’s Jubilee at Arena Stage. Concert engagements are highlighted by her performance with the New World Symphony for Samuel Barber’s Knoxville: Summer of 1915 under the baton of Steven Jarvi as well as the National Symphony Orchestra as their featured guest soloist for their Christmas Pops concert with Marvin Hamlisch conducting.

NICOLÒ SPERA, guitarist
Italian guitarist Nicolò Spera brings to his teaching and performing a unique synthesis of European and American traditions.

Spera is one of the few guitarists in the world to perform on both six-string and 10-string guitars, as well as on theorbo. His wide-ranging repertoire includes the extraordinary music of the Franco-Andalusian composer Maurice Ohana. He has given lecture-recitals on the music of Ohana at many institutions and festivals worldwide, and his recordings of Ohana’s works for solo guitar have won different awards, including a Chitarra d’oro at the Convegno Internazionale di Chitarra in Milan, Italy.

Spera has also published recordings of new works for guitar and choir, of his own transcriptions of Bach’s Cello Suites, of selected works by Catalan composers Federico Mompou and Enrique Granados, as well as a recording focused on the
passacaglia form.

A primary goal of Spera’s creative work is to expand the guitar’s repertoire. He is committed to commissioning substantial works for guitar that explore unprecedented ways of writing for his instrument.

In the last few years, Spera has commissioned, performed, and recorded new works that range from solos to programs with choirs, small ensembles, and orchestras. He has collaborated with different composers from Europe and the US, such as Christopher Theofanidis, Annika Socolofsky, Corrado Margutti, Francisco del Pino, Nicola Campogrande, and Steve Goss.

His passion for choral music and his interest in new works for guitar and choir have led Spera to a close collaboration with choir conductor Eugene Rogers.

He has presented solo recitals, concerti with orchestra, and performances with choir for some of the oldest concert series in Europe, such as the Hugh Lane Gallery in Dublin and the Sibelius Museum in Turku, and for major guitar events: Sanremo Guitar Festival, Festival Mediterraneo della Chitarra, and Festival Corde d’Autunno in Italy, Festival de la Guitarra de Sevilla in Spain, International Guitar Symposium at the University of Surrey in the UK, and concert series at the University of Michigan, University of Louisville, University of Kentucky, University of Rhode Island, Vanderbilt University, and Belmont University in the US.

His most influential teachers are Oscar Ghiglia, Jonathan Leathwood, and Lorenzo Micheli. Spera holds degrees from the Conservatory of Bolzano and the Accademia Musicale Chigiana in Siena, an artist diploma in guitar performance at the University of Denver and a Doctor of Musical Arts degree from the University of Colorado Boulder.

In 2011, Spera was appointed to the faculty at the University of Colorado Boulder, where he is associate professor of classical guitar. He is also on the faculty of the study abroad program Chigiana Global Academy in Siena, Italy.

MELISSA STUDDARD, lyricist for “We Are Love”
Melissa Studdard
is the author of the poetry collections, Dear Selection Committee and I Ate the Cosmos for Breakfast, as well as the chapbook Like a Bird with a Thousand Wings. She is the recipient of The Penn Review Poetry Prize, the Poetry Society of America’s Lucille Medwick Memorial Award, and the REELpoetry International Film Festival Audience Choice Award.


“Lean on Me”
Bill Withers

Sometimes in our lives we all have pain
we all have sorrow but if we are wise
we know that there’s always tomorrow

Lean on me
When you’re not strong
And I’ll be your friend
I’ll help you carry on…
For it won’t be long
Till I’m gonna need somebody to lean on

Please swallow your pride
If I have things you need to borrow
For no one can fill
Those of your needs that you won’t let show
You just call on me brother when you need a hand
We all need somebody to lean on
I just might have a problem that you’ll understand
We all need somebody to lean on

“Take Me Home”
John Denver

Country roads, take me home
To the place I belong
West Virginia, mountain mama
Take me home, country roads

“I Sing Because I’m Happy”
Charles Gabriel, arr. Kenneth Paden

I sing because I’m happy, I sing because I’m free,
for his eye is on the sparrow, and I know he watches me.

“America the Beautiful”
Katherine Lee Bates

O beautiful for spacious skies,
For amber waves of grain,
For purple mountain majesties
Above the fruited plain!
America! America!
God shed His grace on thee,
And crown thy good with brotherhood
From sea to shining sea!

O beautiful for patriot dream
That sees beyond the years,
Thine alabaster cities gleam
Undimmed by human tears!
America! America!
God shed His grace on thee,
And crown thy good with brotherhood
From sea to shining sea!

“Standing Stone”
Melanie DeMore

I will be your standing stone,
I will stand by you.

“Oh Shenandoah”
Trad. American Folk Song

Oh Shenandoah,
Away you rolling river.
Oh Shenandoah, I long to hear you,
bound away.
The wide, Missouri.

‘Tis seven years
Since I have seen you,
to hear your rolling river.
O Shenandoah, I long to see you
Away, we’re bound away
across the wide Missouri.

“Hold Everybody Up”
Melanie DeMore

We gotta hold everybody
We gotta hold everybody up
We gotta hold everybody
We gotta hold everybody up
Hold everybody up, up, up
Hold everybody up, up, up
Hold everybody up, up, up
Hold everybody up





Calling All Performing Arts Teachers!
Have a dream project that’s ready to be brought to life? Wolf Trap’s Grants for High School Performing Arts Teachers will award multiple grants of up to $5,000 to develop exciting new performing arts experiences for their students. Apply by Oct. 1 at

Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

SEP 14 | The Washington Ballet

Photo of The Washington Ballet troupe dancing

SEP 14 | 8 PM


Choreography: George Balanchine
Music: Pyotr Ilyich Tchaikovsky
Costumes courtesy of Boston Ballet Company
Lighting design by Jean Rosenthal
Lighting adaptation by Elizabeth A. Coco

Underwriting support for Serenade provided by Nora Orphanides.

Werner Sonata
Choreography: Silas Farley
Composer: Kyle Werner
Pianist: Glenn Sales
Violinist: Regino Madrid
Costumes by Cassia Farley
Lighting design by Elizabeth A. Coco

Tschaikovsky Pas de Deux
Choreography: George Balanchine
Music: Pyotr Ilyich Tchaikovsky
Costumes courtesy of Miami City Ballet
Lighting design by Jean Rosenthal
Lighting adaptation by Elizabeth A. Coco

Choreography: Andile Ndlovu
Music: Ape Chimba
Costumes by Liz Vandal



Maki Onuki

Alexa Torres

Ashley Murphy-Wilson

Gian Carlo Perez

Oscar Sanchez

Andrea Allmon

Adelaide Clauss

Noura Sander

Brittany Stone


Annie Bacon, Nardia Boodoo, Madison Bruns, Kimberly Cilento, Anna Cole, Ava Dempster, Jessy Dick, Catherine Doherty, Misha Glouchkova, Salma Gonzalez, Carly Jones, Katelyn Konawalik, Rachel Rohrich

Rony Baseman, Ethan Slocumb, Paolo Tarini, Harry Warshaw


Andrea Allmon, Rafael Bejarano, Nardia Boodoo, Adelaide Clauss, Nicholas Cowden, Gilles Delellio, Jessy Dick, Nicole Graniero, Ariel Martinez, Tamako Miyazaki, Stephen Nakagawa, Oscar Sanchez, Stephanie Sorota, Brittany Stone


Ayano Kimura and Masanori Takiguchi


Andrea Allmon, Rafael Bejarano, Nardia Boodoo, Kimberly Cilento, Gilles Delellio, Lope Lim, Ariel Martinez, Tamako Miyazaki, Javier Morera, Ashley Murphy-Wilson, Stephen Nakagawa, Maki Onuki, Gian Carlo Perez, Rachel Rohrich, Noura Sander, Rench Soriano, Brittany Stone, Alexa Torres


Andrea Allmon, Rafael Bejarano, Nardia Boodoo, Kimberly Cilento, Adelaide Clauss, Nicholas Cowden, Gilles Delellio, Kateryna Derechyna, Jessy Dick, Nicole Graniero, Ayano Kimura, Eun Won Lee, Lope Lim, Ariel Martinez, Tamako Miyazaki, Javier Morera, Ashley Murphy-Wilson, Stephen Nakagawa, Andile Ndlovu, Maki Onuki, Gian Carlo Perez, Samara Rittinger, Oscar Sanchez, Rench Soriano, Stephanie Sorota, Sarah Steele, Brittany Stone, Masanori Takiguchi, Alexa Torres

Rony Baseman, Catherine Doherty, Misha Glouchkova, Rachel Rohrich, Noura Sander, Ethan Slocomb, Paolo Tarini, Harry Warshaw, Jie-Siou Wu

Charles Barker, Guest Conductor


Julie Kent became the Artistic Director of The Washington Ballet in July 2016. She is the longest-serving ballerina in American Ballet Theatre’s 83-year history. She began her dance training with Hortensia Fonseca at the Academy of the Maryland Youth Ballet in Bethesda, MD, and she attended summer sessions at American Ballet Theatre II and the School of American Ballet before joining American Ballet Theatre as an apprentice in 1985. In that same year, Kent won first place in the regional finals of the National Society of Arts and Letters at The Kennedy Center.

In 1986, she was the only American to win a medal at the Prix de Lausanne International Ballet Competition, and she became a member of ABT’s corps de ballet. Kent starred in the Herbert Ross film Dancers in 1987 opposite Mikhail Baryshnikov. She was appointed a Soloist with ABT in 1990 and a Principal Dancer in 1993, the year in which she became the first American to win the Erik Bruhn Prize in Toronto and was named one of People Magazine’s “50 Most Beautiful People.” In April 2000, Kent achieved another triumph, becoming the first American to win the Prix Benois de la Danse. Later that year, Kent starred in the motion picture Center Stage directed by Nicholas Hytner. In 2012, she was awarded an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts as well as a “Lifetime Achievement Award” from Dance Magazine.

Since 2014, she has been the Brand Ambassador for HANIA New York, a luxury line of hand-knit cashmere in NYC. During Kent’s long performing career, she has acquired a vast repertoire dancing over 100 ballets, including all of the major classical, dramatic, and neo-classical roles in works by Marius Petipa, George Balanchine, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, John Cranko, Anthony Tudor, Michel Fokine, Agnes DeMille, Merce Cunningham, Jose Limon, Jiri Kylian, Ronald Hynd, Ben Stevenson, and Christopher Wheeldon. As well, she has had roles created on for her by John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Nacho Duato, Stanton Welch, James Kudelka, Jorma Elo, David Parsons, Jessica Lang, and Natalie Weir. Her appearances as a guest include invitations from the Mariinsky Theatre, Teatro alla Scala, New York City Ballet, Stuttgart Ballet, Berlin Staatsballett, Australian Ballet, Bayerisches Staatsballett, Teatro Colon, Ballet de Santiago, and others.

In August of 2015, after a 30-year performing career, Kent was named Artistic Director of ABT’s Summer Intensive, a comprehensive summer dance program for 1,400 students at five campuses across the US.

Since Kent arrived at The Washington Ballet, she has brought important classical and contemporary masterworks into the repertoire, including her and Victor Barbee’s own critically acclaimed staging of The Sleeping Beauty, described by The New York Times former chief dance critic Alastair Macaulay as “one of the world’s finer Sleeping Beauties.” Kent’s steadfast commitment to the development of artists, rising choreographers, and the creation of arts education initiatives that benefit the community of our nation’s capital, showcase her dedication to creativity, expression, and to propelling ballet forward into the 21st century.

Kent is married to The Washington Ballet’s Associate Artistic Director Victor Barbee, and, as a mother of two children, she has helped redefine the image of the American ballerina.

Biography provided by artist management.


Victor Barbee was born in Raleigh, North Carolina and received his ballet training at the North Carolina School of the Arts and the School of American Ballet. He joined the American Ballet Theatre in April 1975. Barbee was promoted to Soloist in 1979 and to Principal Dancer in 1984. He became Assistant to the Artistic Staff in 1994, Ballet Master in 1997, and Associate Artistic Director in 2001, a position he held until becoming Associate Artistic Director of The Washington Ballet in 2016.

Barbee’s repertoire with American Ballet Theatre included leading roles in major classical ballets including Swan Lake and La Bayadère, and principal roles in Le Corsaire, Coppèlia, Don Quixote, La Fille Mal Gardee, The Merry Widow, Snow Maiden, La Sylphide, Raymonda, Kenneth Macmillan’s Anastasia, Sleeping Beauty, and Manon. He created roles for numerous choreographers, including Mikhail Baryshnikov, Agnes DeMille, Antony Tudor, Twyla Tharp, John Neumeier, Alexei Ratmansky, and David Parsons, among others. Barbee made his musical comedy debut on Broadway in Woman of the Year, and appeared on Broadway in Andrew Lloyd Webber’s Song and Dance, co-starring with Bernadette Peters. He also appeared in the television series Hart to Hart and Laverne and Shirley, and in the films The Turning Point and Dancers. Barbee is married to Artistic Director Julie Kent.

Biography provided by artist management.


Charles Barker has conducted orchestras worldwide including the Royal Philharmonic, Royal Opera House Orchestra, St Paul Chamber Orchestra, Paris Opéra Orchestra, Danish Radio Symphony, Orquestra Filarmonica de Buenos Aires, Adelaide Symphony, Columbus Symphony, and the Pacific Symphony. He is currently Principal Conductor of American Ballet Theatre (since 1987), Music Director for the Pittsburgh Ballet Theatre (since 2007), and a regular guest conductor for San Francisco, Houston, and The Washington Ballet. He was Music Director of the Australian Ballet from 1997 to 2001, then joined the Royal Ballet in London until 2003. He is on the faculty of ABT’s JKO school (since 2017) teaching music to young dancers.

From 1995 to 1998 he was a member of the Barnard-Columbia Ancient Drama Group in New York which presents Greek and Latin drama in the original language. In addition to being a cast member, Mr. Barker wrote music for The Bacchae, Hippolytus, and Heracles.

He was the Music Director of the American Chamber Orchestra from 1981 to 1987. In November 1983 he performed A Tribute to Aaron Copland at Carnegie Hall in honor of the composer’s 83rd birthday. In 1985 he was Music Director for Aaron Copland’s rarely performed opera The Second Hurricane, which played to critical acclaim at the new Federal Theatre in New York.

He has conducted numerous film and television features for dance including Dance in America, a PBS special presentation on the works of Antony Tudor; the BBC in England; TV Asahi in Japan; and the ABC in Australia.

Biography provided by artist management.


Julie Kent, Artistic Director
Patrick Mühlen-Schulte, Managing Director

Victor Barbee, Associate Artistic Director
Catherine Eby, Artistic Operations Manager
Sona Kharatian, Ballet Master
Tamás Krizsa, Ballet Master
Danielle Norris, Physical Therapist
Natalie Rouland, Scholar-in-Residence
Glenn Sales, Music Supervisor
Rachel Scherer, Rehearsal Coordinator
Sula Washington, Massage Therapist

Pamela Bjerknes, Lower Division Head
Kayla DeShields, SE Campus School Manager
Rinat Imaev, Senior Faculty & Company Teacher
Miya Hisaka, TWSB Adult Program Coordinator
Tammy Hurt, School Principal, SE
Xiomara Reyes, Professional Training Division Head
Alexandra (Alex) Schools, NW Campus School Manager
Katie Sopoci Drake, General Manager of TWSB
DeMoya Watson-Brown, Community Engagement Manager
Kristina (Kristy) Windom, Upper Division Head
Margaret (Maggie) Williamson, Artistic Administrator

Carolynn Hawthorne, Assistant Wardrobe Supervisor
Chris Insley, Production Carpenter
Suzi Kilbourne, Stage Manager
Monica Leland, Wardrobe Supervisor
Karen Storms, Director of Production
Sasha Zabela, Wardrobe Assistant
Elizabeth A. Coco, Lighting Supervisor

Mary Bounds, Associate Director of Development
Kayla Marcus, Major Gifts Officer
Karen Shepherd, Chief Operating Officer
Toni Stifano, Institutional Advancement Associate

Christopher Anderson, Director of Marketing & Sales
Amber Lucia Chabus, Marketing Manager
Billy Griffis, Ticketing Associate
Wil Johnson, Associate Director of Ticketing & Patron Services
Kyle Travers, Ticketing Associate

Fidel Colin, Director of Facilities
Claudio Flores, Custodial Services
Patricia Mendoza, Custodial Services
Anjelica Millan, Custodial Services
Dayana Orellana, Custodial Services
Lynn Quinn, Chief Financial Officer


Jean-Marie Fernandez, Chair
Luanne Adams, Vice Chair
Mike Goldstein, Vice Chair
Lowell Yoder, Treasurer
Joan McCarthy, Secretary

Britt Biles
Jamie Boucher
Jane Rosenthal Cafritz
Evonne Connolly
Charles DeSantis
David DeSantis
Emilia Ferrara
James Gale
Heather Hughes
Elizabeth Keeley
Dianne Keppler
Janice Kim
Sara Lange
Eric Larsen
Hanane Lemlih
Eve Lilley
Timothy Lowery
Dorothy Pierce McSweeny
Michelle Montes
Michael Olding
Barbara Rothkopf
Martha Schwieters
Yolanda Scott
Jennifer Tulumello
Patricia Wu


Violin 1
Oleg Rylatko, concertmaster
Karen Lowry-Tucker
Joan Cataldo
Susan Midkiff
Sarah Sherry
Paula McCarthy
Patty Hurd
Jennifer Himes

Violin 2
Laura Miller, principal
Tim Macek
Laura Knutsen
Aga Kowalsky
Jennifer Rickard
Rachael Stockton

Stephanie Knutson, principal
Tiffany Richardson
Jim Kelly
Kyung Le Blanc

Lori Barnet, principal
Kerry Van Laanen
Todd Thiel
Suzanne Orban

Ed Malaga, principal
Marta Bradley
Yoshiaki Horiguchi

David Lonkevich, principal

Fatma Daglar, principal

Kathy Mulcahy, principal

Eric Dircksen, principal

Hilary Harding, principal
Chandra Cervantes

Phil Snedecor, principal

Bryan Bourne, principal

Jonathan Rance

Joe Connell, principal
John Spirtas

Becky Smith, principal

Marcia Farabee




Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

SEP 8 | Yo-Yo Ma and Paquito D’Rivera

Split photo of Yo-Yo Ma with his cello (left) and Paquito D'Rivera with his clarinet (right)

SEP 8 | 8 PM

Two superstars LIVE! Join cellist Yo-Yo Ma and clarinetist/composer Paquito D’Rivera in the world premiere of D’Rivera’s The Journey. This inspired evening also includes the NSO performing works by Paquito D’Rivera, George Gershwin, Arturo Márquez, and a grand finale with Leonard Bernstein’s visionary and ever-popular Symphonic Dances from West Side Story.


National Symphony Orchestra

José Luis Gomez, conductor

The Elephant and the Clown

The Journey*

I. Beans
II. Rice
III. The Journey

World Premiere
*Yo-Yo Ma, cello
*Paquito D’Rivera, clarinet
*Cathy Yang, erhu

*Samuel Torres, percussion; *Alex Brown, piano
Co-commissioned by Wolf Trap Foundation for the Performing Arts
and the National Symphony Orchestra


Cuban Overture

Danzón No. 2

Symphonic Dances from West Side Story

I. Prologue
II. “Somewhere”
III. Scherzo
IV. Mambo
V. Cha Cha

VI. Meeting Scene
VII. “Cool” Fugue
VIII. Rumble
IX. Finale


Yo-Yo Ma’s multi-faceted career is testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society, or engaging unexpected musical forms, Ma strives to foster connections that stimulate the imagination and reinforce our humanity.

In 2018, Ma set out to perform Johann Sebastian Bach’s six suites for solo cello in one sitting in 36 locations around the world that encompass our cultural heritage, our current creativity, and the challenges of peace and understanding that will shape our future. And last year, he began a new journey to explore the many ways in which culture connects us to the natural world. Over the next several years, Ma will visit places that epitomize nature’s potential to move the human soul, creating collaborative works of art and convening conversations that seek to strengthen our relationship to our planet and to each other.

Both endeavors continue Ma’s lifelong commitment to stretching the boundaries of genre and tradition to explore how music not only expresses and creates meaning, but also helps us to imagine and build a stronger society and a better future.

It was this belief that inspired Ma to establish Silkroad, a collective of artists from around the world who create music that engages their many traditions. Through his work with Silkroad, as well as throughout his career, Ma has sought to expand the classical cello repertoire, premiering works by composers including Osvaldo Golijov, Leon Kirchner, Zhao Lin, Christopher Rouse, Esa-Pekka Salonen, Giovanni Sollima, Bright Sheng, Tan Dun, and John Williams.

In addition to his work as a performing artist, Ma has partnered with communities and institutions from Chicago to Guangzhou to develop programs that advocate for a more human-centered world. Among his many roles, Ma is a UN Messenger of Peace, the first artist ever appointed to the World Economic Forum’s board of trustees, and a member of the board of Nia Tero, the US-based nonprofit working in solidarity with Indigenous peoples and movements worldwide.

Ma’s discography of over 100 albums (including 19 Grammy Award-winners) reflects his wide-ranging interests. In addition to his many iconic renditions of the Western classical canon, he has made several recordings that defy categorization, among them Appalachia Waltz (1996) and Appalachian Journey (2000) with Mark O’Connor and Edgar Meyer, and two Grammy- winning tributes to the music of Brazil. Ma’s recent recordings include: Sing Me Home (2016) with the Silkroad Ensemble, which won the 2016 Grammy for Best World Music Album; Six Evolutions — Bach: Cello Suites; and Songs of Comfort and Hope, created and recorded with pianist Kathryn Stott in response to the COVID-19 pandemic. Ma’s latest album is Beethoven for Three: Symphonies Nos. 2 and 5, with pianist Emanuel Ax and violinist Leonidas Kavakos.

Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and three years later moved with his family to New York City, where he continued his cello studies with Leonard Rose at The Juilliard School. After his conservatory training, he sought out a liberal arts education, graduating from Harvard University in 1976. He has received numerous awards, including the Avery Fisher Prize (1978), the National Medal of the Arts (2001), the Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), and the Polar Music Prize (2012). He has performed for nine American presidents, most recently on the occasion of President Biden’s inauguration.

Ma and his wife have two children. He plays three instruments, a 2003 instrument made by Moes & Moes, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius.

Biography provided by artist management.


Paquito D’Rivera defies categorization. The winner of 14 combined Grammy and Latin Grammy awards, he is celebrated both for his artistry in Latin jazz and his achievements as a classical composer.

Born in Havana, Cuba, he performed at age 10 with the National Theater Orchestra, studied at the Havana Conservatory of Music, and at 17, became a featured soloist with the Cuban National Symphony. As a founding member of the Orquesta Cubana de Música Moderna, he directed that group for two years, while at the same time playing both the clarinet and saxophone with the Cuban National Symphony Orchestra. He eventually went on to premiere several works by notable Cuban composers with the same orchestra.

Additionally, he was a founding member and co-director of the innovative musical ensemble Irakere. With its explosive mixture of jazz, rock, classical, and traditional Cuban music never before heard, Irakere toured extensively throughout America and Europe, earned several Grammy nominations (1979, 1980), and won a Grammy Award (1979). This summer, D’Rivera teamed up with former Irakere member Chucho Valdés (pianist) for a European reunion tour and recording called I Missed You Too! (2022).

His numerous recordings include more than 30 solo albums. In 1988, he was a founding member of The United Nation Orchestra, a 15-piece ensemble organized by Dizzy Gillespie to showcase the fusion of Latin and Caribbean influences with jazz. D’Rivera continues to appear as guest conductor. A Grammy was awarded to The United Nation Orchestra in 1991, the same year D’Rivera received a Lifetime Achievement Award from Carnegie Hall for his contributions to Latin music.

While D’Rivera’s discography reflects a dedication and enthusiasm for jazz, bebop, and Latin music, his contributions to classical music are also impressive. They include solo performances with the London Symphony Orchestra, the Warsaw Philharmonic Orchestra, the National Symphony Orchestra, the Baltimore Symphony, the Simón Bolívar Symphony Orchestra, and the St. Luke’s Chamber Orchestra. In his passion to bring Latin repertoire to greater prominence, D’Rivera has successfully created, championed, and promoted all types of classical compositions, including his three chamber compositions recorded live in concert with distinguished cellist Yo-Yo Ma in September 2003. The chamber work Merengue from that live concert at Zankel Hall was released by Sony Records and garnered D’Rivera his seventh Grammy Award for Best Instrumental Composition in 2004.

In addition to his extraordinary performing career as an instrumentalist, D’Rivera has rapidly gained a reputation as an accomplished composer. The prestigious music house Boosey and Hawkes is the exclusive publisher of D’Rivera’s compositions. Recent recognition of his compositional skills came with the award of a 2007 John Simon Guggenheim Fellowship in Music Composition, and the 2007- 2008 appointment as Composer-In-Residence at the Caramoor Center for Music and the Arts with the Orchestra of St. Luke’s. As part of the Caramoor Latin American music initiative, Sonidos Latinos, D’Rivera’s new concerto for double bass and clarinet/saxophone, Conversations with Cachao, pays tribute to Cuba’s legendary bass player, Israel “Cachao” Lopez. D’Rivera’s works often reveal his widespread and eclectic musical interests, which range from Afro-Cuban rhythms and melodies—including influences encountered in his many travels—back to his classical origins.

Inspiration for another recent composition, The Cape Cod Files (2009), comes from such disparate sources as Benny Goodman’s intro to the Eubie Blake popular song “Memories of You,” Argentine milonga, improvisations on the music of Cuban composer Ernesto Lecuona, and North American boogie-woogie. His numerous commissions include compositions for Jazz at Lincoln Center, the Library of Congress, the National Symphony Orchestra, the Rotterdam Philharmonic, the Turtle Island String Quartet, Ying String Quartet, the International Double Reed Society, Syracuse University, Montreal’s Gerald Danovich Saxophone Quartet, and the Grant Park Music Festival.

In 2022, D’Rivera has four premieres of his compositions. The first is the completion of the worldwide commission by four orchestras to expand the trumpet repertoire. The Concerto Venezolano was performed by Pacho Flores this year with the Royal Liverpool Philharmonic, the Orquesta de Valencia, and the San Diego Symphony. The first performance with the Orquesta Sinfónica de Minería occurred in 2019 and was recorded with Pacho Flores for Deutsche Grammophon. The second commission, Afro Tales for clarinet and cello, was premiered in April at Michigan State University College of Music. Later in April, the Caribbean Berceuse for clarinet quartet and wind symphony was premiered by the North Texas State Wind Symphony. The final spring premiere, Fantasías Barcelónicas for clarinet quartet, was performed by the Barcelona Clarinet Players. They have recorded the piece and more D’Rivera compositions in the new album Fantasías BarcelónicasTribute to Paquito D’Rivera (2022).

D’Rivera is the author of four books: Letters to Yeyito: Lessons from a Life in Music; Ser o no ser, esa es la jodienda!; Oh La Habana; and My Sax Life. During the pandemic, D’Rivera produced a series of YouTube videos called “The Paq-Man’s Korner.” In the videos, he shares insights of his recordings, premieres chamber music, interviews fellow artists, and gives masterclasses. D’Rivera is the recipient of notable lifetime achievements. He is the recipient of the NEA Jazz Masters Award in 2005, the National Medal of the Arts in 2005, and the Living Jazz Legend Award from The Kennedy Center in 2007. His numerous other honors include Doctorates Honoris Causa in Music (from the Berklee College of Music in Boston and the University of Pennsylvania) and the Jazz Journalist Association’s Clarinetist of the Year Award in both 2004 and 2006.

D’Rivera is the first artist to win Latin Grammys in both Classical and Latin Jazz categories—for Stravinsky’s Historia del Soldado (L’Histoire du Soldat) (2003) and Brazilian Dreams (2002) with New York Voices. He has served as Artistic Director of Jazz Programming at the New Jersey Chamber Music Society; Artistic Director of DC Jazz Festival in Washington, DC; Artistic Director of Jazz Patagonia in Chile; and he continues as Artistic Director of the famous world-class Festival Internacional de Jazz de Punta Del Este in Uruguay.

In 1999, and in celebration of its 500-year history, the Universidad de Alcalá de Henares presented D’Rivera with a special award recognizing his contribution to the arts, his humane qualities, and his defense of rights and liberties of artists around the world. The National Endowment for the Arts website affirms “he has become the consummate multinational ambassador, creating and promoting a cross-culture of music that moves effortlessly among jazz, Latin, and Mozart.”

Biography provided by artist management.


The Venezuelan-born, Spanish conductor José Luis Gomez began his musical career as a violinist but was catapulted to international attention when he won First Prize at the International Sir Georg Solti Conductor’s Competition in Frankfurt in September 2010, securing a sensational and rare unanimous decision from the jury. Gomez’s electrifying energy, talent, and creativity earned him immediate acclaim from the Frankfurt Radio Symphony Orchestra where he was appointed to the position of Assistant Conductor, a post created especially for him by Paavo Järvi and the orchestra directly upon the conclusion of the competition.

In 2016, Gomez was named Music Director of the Tucson Symphony Orchestra. Since taking the helm, the orchestra has seen a marked increase in subscribers and donors and Gomez has worked tirelessly to introduce innovative and exciting new outreach activities whilst continuing to nurture and support existing education projects. For example, he helmed the unique Young Composers’ Project which sees students new to composing working closely with orchestra representatives to create new compositions, culminating in a public performance and recording. Maestro Gomez is also a champion of many lesser-known composers from South America, programming their works sensitively with more recognized classical names, creating hugely interesting and unique concerts. He has also been responsible for commissioning new works; for example, he co-commissioned a new concerto for orchestra and trumpet by Arturo Marquez with his orchestra, which was given its US premier under Gomez’s baton in 2019.

Gomez’s recent highlights include conducting the Opera de Tenerife’s Opera Gala at Auditorio de Tenerife, returning to Tucson Symphony to present a vibrant program of music in celebration of Mexican Independence Day, and a debut conducting the Chineke! Junior Orchestra at London’s Royal Festival Hall. The 21–22 season saw Gomez lead Tucson Symphony Orchestra in his sixth year as their Music Director. Highlights in Tucson included a Latin- influenced season opener with trumpeter Pacho Flores, a baroque special showcasing selections from Handel’s Messiah, and a new concert series labelled New Works Re-Works, which will explore an innovative approach to familiar repertoire. Gomez will return to the Flanders Symphony Orchestra to conduct a program featuring soloist Johannes Moser in Dvořák’s Cello Concerto, which will tour venues around Belgium before returning to Brussels for Gomez to lead the orchestra in their season gala at Queen Elisabeth Music Chapel. Also this season, Gomez will make much-anticipated returns to conduct the Colorado Symphony and the Elgin Symphony Orchestra and will make his postponed debut with the Pacific Symphony Orchestra. In the Americas, he enjoys a close relationship with the Edmonton Symphony Orchestra and has also worked with such orchestras as the National Arts Centre Orchestra of Ottawa; the Houston, Vancouver, Colorado, Grand Rapids, Winnipeg, Pasadena, Elgin, and Alabama Symphonies; the Chamber Orchestra of San Antonio; the Rochester and Louisiana Philharmonics; and he made his debut at Carnegie Hall with YPhil Youth International Philharmonic. Further south, he has worked with Orquestra Sinfônica Brasileira, Bogotá Philharmonic Orchestra, and Orquesta Sinfónica Nacional del Perú.

He has worked extensively at home in Europe with such orchestras as RTVE National Symphony Orchestra of Madrid, Weimar Staatskapelle Orchestra, Royal Scottish National Orchestra, Royal Liverpool Philharmonic, Orquesta Filarmónica de Gran Canaria, Hamburg Symphony, Karlsruhe Staatstheatre Orchestra, Basel Sinfonietta, Orquesta Sinfonica do Porto, Castilla y Leon, Pomeriggi Musicali di Milano, Sinfonia Varsovia, SWR Radio Sinfonie-orchester Stuttgart, Orquesta Sinfónica de Tenerife, and in 2019, he made a very successful debut with Komische Oper Berlin with Gabriela Montero as soloist.

In Australasia, he has worked with the Macau Orchestra and Nemanja Radulovic, New Zealand Symphony, Australian National Academy of Music in a Celebration of Bernstein, the Dunedin Symphony Orchestra, the National Taiwan Symphony Orchestra, the Daegu Symphony Orchestra, as well as conducted and curated the program for the inaugural year of the Solasian Youth Orchestra at the Daegu Festival.

Other memorable performances included debuts with the Moscow State Conservatory, a widely televised New Year’s Eve concert in Sofia, and New Year’s concerts with the Frankfurt Radio Symphony Orchestra. Opera highlights have included La Bohème at Frankfurt Opera, a new production of Rossini’s La Cenerentola at Stuttgart Opera (of which he also conducted the revival in the following season), La Forza del Destino in Tokyo with the New National Theatre, Don Carlo and Norma at The State Opera in Tbilisi, Georgia, La Traviata in concert with Sacramento Philharmonic Orchestra, Le Nozze di Figaro and Don Giovanni with Teatro Sociale di Como, also joining their spectacular, season-ending production of Cavalleria Rusticana.

He has also featured with the Colorado Symphony, recording Béla Fleck’s Second Concerto for Banjo and Orchestra (also known as the “Juno Concerto”). He went on to conduct the MGD CD release of the Nielsen, Francaix, and Debussy Clarinet Concertos with talented young clarinetist Vladimir Soltan and the Hamburg Symphony Orchestra. Maestro Gomez was the principal conductor of the Orchestra 1813 at the Teatro Sociale di Como between 2012 and 2015 where he curated a new symphonic season, resulting in a new and enthusiastic audience and full houses. He is currently the Musical Director of the Tucson Symphony Orchestra where his contract has been extended to the end of the 23–24 season.

Biography provided by artist management.


The Elephant and the Clown
The Journey

One of the most enduring lessons Paquito D’Rivera learned as a child from his classical-saxophonist father, Tito, was the principle Duke Ellington famously articulated: “There are simply two kinds of music, good music and the other kind.” For D’Rivera, music is simply music—whether it’s jazz, classical, or vernacular styles from Latin America and the Caribbean, improvisation, or composition. He has spent his prolific career celebrating hybrids of styles and traditions that are usually categorized as separate worlds.

A powerful indication of how far D’Rivera has journeyed in these explorations can be gleaned from his vast discography of multiple Grammy Award-winning solo albums and collaborations with artists ranging from Dizzy Gillespie and Astor Piazzolla to Yo-Yo Ma. Born in Havana in 1948, D’Rivera emerged as a child prodigy on saxophone and clarinet, and began making history early on as a member of the trailblazing, all-star fusion ensemble Irakere. He left Cuba in 1980 and became a US citizen, continuing to develop an international following for his ongoing legacy as an instrumentalist and bandleader—and, increasingly, as a composer.

The Elephant and the Clown is a short work D’Rivera originally wrote in 2012 for double clarinet quintet, later arranging it for large orchestra (adding “play toys” to the percussion section to evoke bird calls and other animal sounds). He was inspired by a memory from his Havana childhood, when D’Rivera performed in a TV circus “full of light, colors, animals, and fantasy” that featured “a wonderful trio of musical clowns from Madrid.” He recalled a prank pulled by one of the clowns that involved hiding the elephant from his trainer and convincing him to march to the police station to report its theft.

With The Journey, D’Rivera set out to pay tribute to his personal and artistic connection with Yo-Yo Ma, with whom he had already collaborated for such projects as the cellist’s 2002 album Obrigado Brazil. The idea eventually expanded from a double concerto for cello and clarinet to a triple concerto when he decided to add a third solo part to the second and third movements. This part is assigned to the erhu, an ancient, two- stringed Chinese instrument played with a bow. D’Rivera additionally surrounds the three soloists with a pianist and a percussionist who helps ensure a balance between this upfront combo and the rest of the orchestra.

The instrumentation points to the varied styles and cultural references D’Rivera fuses together in this score. Here, too, a memory from his Cuban childhood prompted the artist’s imagination. He recalled regular visits to a restaurant in Havana’s Chinatown where “the aroma of orchids, jasmine rice with black beans, and the laundry parlor downstairs” blended with the sounds of “different
groups of Asian musicians rehearsing.”

Following the first movement (“Beans”), the erhu makes its first appearance in the slower second movement (“Rice”), introducing a dreamy melody that is soon taken up by the cello and clarinet. D’Rivera weaves what he calls the “nostalgic” and “mystical sounds” of the erhu with jazz rhythms and vocabulary and “melodies, harmonies, and rhythmic cells from Brazil and the Afro-Cuban traditions.” The third movement (“The Journey”), which gives the concerto its title, is meant as “a soulful tribute” to the Chinese people who came to America “in such precarious conditions” and “hugely contributed to the arts and culture of the New World.”

Cuban Overture

In February 1932, George Gershwin headed to Cuba for a vacation that shaped up as “two hysterical weeks in Havana, where no sleep was to be had, but the quality and quantity of fun made up for that.” What intrigued him most of all, he wrote, were Cuba’s “small dance orchestras, who play [the] most intricate rhythms most naturally.” He came home loaded with a new collection of Cuban
percussion instruments, putting them to work in a concert overture he wrote that summer for a hugely successful concert in August devoted to his music.

Gershwin at first called the piece Rumba, the name for the Cuban style that had become fashionable in its exported guise. He later retitled it Cuban Overture to emphasize the skills in classical symphonic technique and orchestration he had been honing. “In my composition I have endeavored to combine the Cuban rhythms with my own thematic material,” Gershwin explained, “The result is a
symphonic overture which embodies the essence of the Cuban dance.”

Danzón No. 2

The son of a mariachi violinist, Arturo Márquez, who was born in 1950, early on began absorbing the folk and popular musical idioms characteristic of his native Mexico. He has become especially well-known for his vibrantly colorful orchestral adaptations of dance genres and the traditions that have grown up around them. Last summer, for example, his latest major work, saw the premiere of his violin concerto Fandango, which explores how the popular Spanish dance evolved in new ways in eastern Mexico.

Márquez has over the years written a series of danzóns that similarly draw from his experiences with a dance that was imported to Mexico, where it took on unique characteristics. The danzón originated in Cuba but went on to become popular in Veracruz, Mexico City, and elsewhere. Fascinated by a visit to a ballroom in Veracruz, Márquez studied the rhythmic, melodic, and formal
qualities of the danzón, listening closely to old-school recordings of the genre. He writes: “I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness.”

In Danzón No. 2, which dates from 1993, Márquez focuses on the dance’s “nostalgic melodies” and “wild rhythms,” creating what he calls “a very personal way of paying my respects and expressing my emotions towards truly popular music.”

Symphonic Dances from West Side Story

Like the other composers on our program, Leonard Bernstein effortlessly moved back and forth between so-called classical and popular styles, in the process creating innovative hybrids. A case in point is the landmark West Side Story, which altered the course of American musical theater from the moment it opened in 1957.

Steven Spielberg’s 2021 film remake (with a revised book by Tony Kushner) reaffirmed how startlingly fresh and impactful this music and the revolutionary choreography connected with it remain more than six decades after West Side Story was conceived. Just a few years ago, the Symphonic Dances became the single most performed of his compositions during the Bernstein centennial.

As part of an upcoming fundraising concert for the New York Philharmonic in 1961, of which he was then music director, Bernstein gathered nine excerpts from the show to create the stand-alone Symphonic Dances, overseeing their orchestration into a suite by his associates Sid Ramin and Irwin Kostal; they had just finished scoring the first film version of West Side Story. An extensive percussion section is used to intensify the aggressive confrontation between the rival Jets and Sharks gangs and also for the dances in the gym where the star-crossed lovers Tony and Maria first meet in this adaptation of Romeo and Juliet.

Bernstein’s organization of the material draws attention to the score’s dynamic rhythmic patterns and tight interconnection of motifs. The order of the nine sections departs from the dramatic sequence of the musical and is as follows: Prologue, “Somewhere,” Scherzo, Mambo, Cha-Cha (including “Maria”), Meeting Scene, “Cool” Fugue, Rumble, and Finale.

Program notes by Thomas May.




Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

SEP 17 | Tom Jones

SEP 17 | 8 PM

Knighted by Queen Elizabeth in 2006, Sir Tom Jones has always been pop royalty. Jones became an icon with hits including “It’s Not Unusual,” “What’s New Pussycat,” and “She’s a Lady.” Now, he returns to Wolf Trap on the heels of his most recent album, Surrounded By Time (2021).


For an artist such as Sir Tom Jones, with over 100 million record sales to his name, certain milestones loom large over the horizon—and with those milestones come certain expectations. A few years ago, Jones’ record label raised the topic of his 80th birthday in June 2020. When you’ve enjoyed 36 Top 40 hits spanning five decades, a new “Greatest Hits” collection somewhat suggests itself. People start to use the word “legacy” a lot—and not, in this case, without good reason. If you want to talk about legacy and Tom Jones, it’s hard to know where to begin. Musical calling cards such as “It’s Not Unusual,” “What’s New Pussycat,” “Delilah,” “If I Only Knew,” and “Sexbomb” barely scratch the surface of a career that also includes networked primetime TV shows spanning over five decades both in America and the UK, countless Las Vegas residencies, and a string of Grammy, Ivor Novello, and Brit Awards. But, after a period of upheaval which saw him come to terms with the loss of Linda his wife of 59 years and spend time in hospital with a bacterial infection, Jones’ instinct was not to reflect upon his legacy, but further extend it.

Having recorded three hugely acclaimed albums with producer Ethan Johns (Laura Marling, Paolo Nutini, Kings Of Leon, Ray Lamontagne), Jones was keen to continue what was already the longest musical association of his career. An avid record collector, there were songs he had set aside for decades, waiting to reach an age at which he would truly be able to do them justice. He remembered a visit from revered jazz composer and singer Bobby Cole after one of his Vegas shows in 1972, in which Cole presented him with a song called “I’m Growing Old.” Cole figured the song needed a big, characterful voice to inhabit it. Jones agreed, “I told him I really loved it, the melody of it, the chords of it, but I was 33. I just didn’t feel like I was old enough to do it justice at that point. I remember Clint Eastwood saying something similar about The Unforgiven. He had that story as a young man, and he held onto that script until he was old enough to try and do it justice. Sometimes you just have to be patient.”

True to his word, the very first song that Jones recorded after reconvening with Ethan Johns late in 2019 was the Bobby Cole song. What was meant to be a run-through for the benefit of keyboard player Neil Cowley (The Neil Cowley Trio) resulted in an electrifying performance and ultimately became the take heard on the record. “I think that performance caught both Neil and myself by surprise,” recalls Jones, “Because I had never sung the song all the way through and Neil had never played it, but that’s the magic you’re always chasing in the studio.”

Recording in his native Wales for the very first time, that first session laid down the blueprint for much of what followed. With the band making full use of Monnow Valley Studios’ residential wing, Surrounded By Time took shape not just when the red light was on, but over breakfast discussions and walks around the surrounding countryside.

For Tom Jones and Ethan Johns, the first question to ask about any song when figuring out its suitability for an album is always the same: what does it require in the here and now? Once again, the answer was one at which Jones arrived by digging deep into a lifetime spent listening closely to other singers. As a teenager, among the first records he bought from Freddie Fay’s music shop in Pontypridd were 78s by Hank Williams, whose Luke The Drifter alter ego would elect to speak rather than sing his songs. It was this approach which led Jones to record “Ol’ Mother Earth.” As the foreboding undercurrents of the lyric are teased out in a brooding ensemble performance, Jones handles the vocal like a seasoned actor, trying to make sense of the senseless devastation portended by Tony Joe White’s original lyric. It was a technique to which Jones returned for the first single from Surrounded By Time, “Talking Reality Television Blues.” Even in Jones’ storied career, this track marked a foray into hitherto uncharted territory. Over six and a half minutes, this modern parable addresses the pernicious effect of reality television on the reality it purports to represent.

Further mining inspiration from the American folk-blues canon, the second single from Surrounded By Time saw Tom and Ethan take a little-known song by pioneering songwriter/activist Malvina Reynolds and hotwire new life into it with a sizzling electric sitar display and an incendiary vocal performance from Tom himself. “Sometimes,” elaborates Tom, “you can see a glimmer of something in a song that hasn’t quite revealed itself. I saw a clip of [Malvina Reynolds] doing this song with Pete Seeger and a bunch of other people, and it was great, but I thought that it needed a measure of aggression for what’s happening now, in this social media age, with people trying to get you to think this and that. And I notice that young people get it in the neck from all directions, which is unfair given that they’re inheriting the mess we’ve made of things. So once you throw all those elements into the mix, it was bound to kick off!”

Here and elsewhere, perhaps the question that determined the shape and feel of Surrounded By Time was this: what if this were to be Tom Jones’ final album? “I hope I get to make several more,” he adds, “But at this point, you really have to make it count.” That goes some way to explaining song selections that draw from the entirety of Jones’ story. For “Pop Star,” Jones recast the slightly ironic intent of Cat Stevens’ original lyric with Jones’ own recollections of early success: the intoxicating headrush of “first fame.” The kaleidoscopic quality of those early memories, propelled within the space of a few years from Pontypridd to the orbit of childhood heroes such as Elvis Presley, Little Richard, and Ray Charles, also informed Jones’ version of “Windmills Of Your Mind,” a standard which he had never previously recorded.

Other songs, meanwhile, were informed by recent events in Jones’ life, in particular the contemporary gospel intimacies of the album’s opening song “I Won’t Crumble With You If You Fall.” Originally written by Bernice Johnson Reagon, acclaimed social activist and founder member of Sweet Honey In The Rock, the song assumed a new significance for Jones as he and his wife Linda came to terms with her illness. “I was on the road, when I got the call to tell me that things have really taken a turn for the worse, so I rushed back to spend whatever time was left with her. I said, ‘Look Linda, I really don’t know what I’m going to do. I don’t see life after this. She knew she was dying, but she was the calmest person in the room. I said to her, ‘I don’t even know whether I’m going to be able to sing, because songs are sticking in my throat.’ And she said, ‘You must promise me that you will. Think of the good times. Don’t think of what’s happening right now.’ So really, the message of the song is me keeping my promise to her.”

On what is almost certainly Jones’ most personal collection to date, two songs in particular seem to draw deepest of all from decades of experience: “This Is The Sea” and “Lazarus Man.” On “This Is The Sea,” something undeniably powerful takes hold when Tom Jones rides a tidal swell of gospel organ and acoustic guitar to dispense words of redemption to his subject: “Now I hear there’s a train/It’s coming on down the line/It’s yours if you hurry/You’ve got still enough time/And you don’t need no ticket/And you don’t pay no fee/No you don’t need no ticket.” Recalling the session which yielded this hair-raising performance, Tom says, “What you hear on that is the entire band in the room, just in the moment. And it doesn’t get any better than that, when you’ve got a song like this, and you’ve got a song that can not only bear the weight of all your accumulated experience, but soar with it, do you know what I mean?”

You can hear the same magic at work on the other song which deals with memory and hindsight. Approaching “Lazarus Man,” Jones was equally drawn to both characters in the lyrics: “This idea that you’re both the teacher, and the student. I’m telling the story but I’m listening at the same time. You rise up again. You never die. Not really. That’s why I raise my voice again at the end.” For Jones, returning from his longest recording hiatus to date, choosing to politely decline the advice of medical professionals, there couldn’t be a more apt way to conclude his 41 studio album. “Every time you drop the needle on the record, I’ll be right there with you.”

Biography provided by artist management.




Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

SEP 15 | Caifanes

Caifanes taking a selfie in front of a crowd

SEP 15 | 8 PM

Originally formed in 1986, Caifanes altered the course of Mexican rock history by powerful lyrics and the melding of their rock and Latin influences, as showcased on their megahit “La Célula Que Explota.” The Latin rock band speaks to music lovers of all generations as their sound has continued to evolve and the power of their music to unite people remains the same.

Los Caifanes iniciaron juntos en 1986 y desde un principio cambiaron el curso de la historia del rock mexicano con sus letras poderosas y la combinación de su propio concepto de rock con otras influencias Latinas, tal y como se muestra en su súper éxito “La Célula Que Explota.” Esta banda de rock Latino se comunica perfectamente con amantes de la música de todas las edades y generaciones porque su sonido no ha parado de evolucionar y el poder que tiene su música para unir a la gente sigue siendo el mismo.


Caifanes began in 1986, and between 1987 and 1995 the band released four albums that altered the course of Mexican rock history.

Since April 2011, Caifanes has shared their music on stage with more than 5.2 million people. Their fans span several generations who celebrate Caifanes’ devotion to music and lyrics at every show—being at a Caifanes concert is not an experience to miss. For younger fans, the music is fresh and new; for older ones, the songs have become a soundtrack to their lives. Caifanes’ live shows are ceremonies to unify voice and spirit alike.

There are those who would like to categorize or define Caifanes, but that effort has proven to be futile. The band is as contemporary, innovative, and relevant today as it was in 1986—a timeless entity that continues its inviolable artistic journey.

Change and evolution have always been part of its story. As the band continues to evolve, two things always remain constant: the power of their music and connection to generations of fans. They are a timeless band that continues their tradition of delivering powerful and emotional concerts. Caifanes latest single “Sólo Eres Tú” was released in early 2022.

Biography provided by artist management.

Entre 1987 y 1995, los Caifanes sacaron cuatro discos que alteraron el curso de la historia del rock mexicano.

Desde abril del 2011, los Caifanes han compartido su música en diversos escenarios con más de 5.2 millones de personas.  Sus fanáticos pertenecen a varias generaciones que celebran su devoción a la música y las letras de la banda en cada uno de sus espectáculos—asistir a un concierto de los Caifanes es una experiencia que nadie debería perderse.  Para los fans más jóvenes, su música es nueva y fresca, para los más grandes, sus canciones se han convertido en el la banda sonora de sus vidas.  Los conciertos en vivo de los Caifanes son más bien ceremonias que unifican la voz y el espíritu.

Hay a quienes les gustaría categorizar o definir a los Caifanes, pero ese es un esfuerzo que ha demostrado ser inútil. La banda es tan contemporánea, innovadora y relevante como lo era en 1986—los Caifanes son una entidad atemporal que continúa en un viaje artístico sagrado.

Cambio y crecimiento han sido siempre parte de la historia de los Caifanes. Aún en su permanente evolución, hay dos cosas que han permanecido constantes: el poder de su música y la conexión de la banda con diversas generaciones de fanáticos.  Los Caifanes son una agrupación imperecedera que continúa su tradición de ofrecer los conciertos más poderosos y emotivos. A principios de 2022, el grupo presentó su último sencillo “Sólo Eres Tú.”

Biografía proporcionada por el director artístico del grupo.




Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

SEP 16 | Boyz II Men

AUG 16 | 8 PM

It’s long overdue, but now Boyz II Men are making their Wolf Trap debut! Boyz II Men’s combination of sweet soul harmonies and swaggering new jack swing beats ruled radio in the mid-’90s with hits including “Motownphilly,” “I’ll Make Love to You,” “On Bended Knee,” and more. SWV opens the show with their smooth harmonies that make audiences weak in the knees.


Boyz II Men redefined popular R&B and continues to create timeless hits that appeal to fans across all generations. The band has penned and performed some of the most celebrated classics of the past two decades. The group’s four Grammy Awards are just the tip of the iceberg; throughout their 30-year career, Boyz II Men have also won a whopping nine American Music Awards, nine Soul Train Awards, three Billboard Awards, a 2011 MOBO Award for Outstanding Contribution to Music, a star on the Hollywood Walk of Fame, and a Casino Entertainment Award for their acclaimed residency at the Mirage Resort and Casino in Las Vegas, which launched in 2013.

The trio holds the distinction of being the best-selling R&B group of all time, with an astounding 64 million albums sold. And the reason is abundantly clear: for the past two decades Boyz II Men have given fans a rich catalog of hits filled with smooth harmonies and enduring themes. And for Boyz II Men, the hits just keep on coming—the group continues to craft new albums and bring their legendary act to stages across the world.

Boyz II Men’s past hits include: “End of the Road,” “I’ll Make Love to You,” “One Sweet Day,” “Motownphilly,” and many others. Their recent albums have earned them major critical acclaim as well. Their Decca label debut, Motown: A Journey Through Hitsville USA (Decca/Universal), released in 2007, earned them two Grammy nominations.

In 2011, Boyz II Men marked their 20th anniversary by releasing a landmark album, fittingly titled Twenty. The album contains the group’s first original material in nearly a decade as well as a dozen remastered, classic, career-defining hits. Twenty debuted at No. 20 on the Billboard Top 200 Albums Chart, No. 4 on the Billboard R&B album chart, No. 10 on the Billboard Digital Album Chart, and placed No. 1 on the iTunes R&B Soul Album chart. Twenty’s first single, “More Than You’ll Ever Know” cracked into the top 15 on Urban AC charts.

Boyz II Men have won fans around the world over with their soulful multi-octave sound and incredible vocals. Given the monumental success of their albums and the timeless quality of their vocals, it’s easy to see why Boyz II Men remains the most popular R&B group of all time. Ask any successful pop or R&B superstar which artists have inspired them—chances are Boyz II Men will be at the top. From Justin Timberlake and Usher to Justin Bieber and Beyonce, the most successful stars in the industry look to Boyz II Men as their idols.

Beyond making music, giving back is also important to Boyz II Men; the group has its own charity called Boyz II Men House which lends support to individuals and organizations that focus on improving the quality of life and helping to unlock human potential, while contributing to the health and vitality of those less fortunate.

Fans were wowed in the summer of 2014 when Boyz II Men headed out on the hotly-anticipated Package Tour with New Kids on the Block and 98 Degrees.

The group released a new album featuring original material through label BMG in October 2014 called Collide. Collide was a landmark album for Boyz II Men, showcasing a new and different sound for one of the most successful and enduring groups in mainstream music. Two of the tracks, “Better Half” and “Diamond Eyes,” were featured on a special episode of ABC’s hit show The Bachelorette. The group also performed on FOX’s hit live show Grease Live in 2016, and their performance became the most-tweeted moment.

In 2016, Boyz II Men member Wanya Morris became a double threat, stepping on the dance floor on ABC’s hit show Dancing with the Stars, where he and partner Lindsay Arnold made it to the semifinals—ending on a high note with three tens. In the summer of 2017, the group once again joined New Kids on the Block on the road for The Total Package Tour featuring Paula Abdul. In the fall of 2017, the group released a Doo-Wop album Under The Streetlight. In 2019, the group released “If You Leave Me Now,” a hit song with singer/songwriter Charlie Puth. They also opened up for Bruno Mars on his 24K Magic Tour in select cities in the US.

Boyz II Men were featured in a film starring Charlize Theron and Seth Rogen called Long Shot that received rave reviews.

In summer of 2019, they were nominated for a CMT Music Award for their Crossroads performance of “Motownphilly” with country singer Brett Young and continued collaborations by joining forces with Steep Canyon Rangers on a bluegrass song, “Be Still Moses.” In October 2019, the trio made a cameo in ABC’s show Schooled, where they performed “Motown Philly,” a spoof of their hit song, taking it back to the ‘90’s with a twist. In February of 2020, the group launched a wine called Chateau Harmony. Most recently, they made an appearance on the NBC hit show Songland. Their song “Love Struck” premiered at No. 2 on iTunes and was featured on ABC’s hit show Blackish.

In 2021, Boyz II Men was in ABC’s A Very Boy Band Holiday , Live in Front of A Studio Audience: Different Strokes, CMT Christmas with Brett Young, as well as The AFTR PRTY featuring Shawn and Wanya.

This year, Boyz II Men took over Twitter with Peacock for Super Bowl LVI and they are currently on tour in the US.

Biography provided by artist management.

SWV posing against a yellow background

In 1992, a trio of vocally talented women called SWV was introduced to the music world.

The group’s RCA debut It’s About Time (1992) produced a string of Top 10 R&B hits including: “I’m So Into You,” “Right Here,” Downtown,” “Weak,” and “You’re Always On My Mind.” This montage of musical success established the trio as a commercial force early in 1993. Teddy Riley mentored the group to hone their craft and sound, and as a result, produced the remix to the hit “Right Here,” which featured samples of Michael Jackson’s hit song “Human Nature.” The partnership topped the R&B charts at No. 1 and popular charts at No. 2. SWV earned 11 Billboard Music Award nominations for their debut album.

In 1996, SWV returned to the music scene with another platinum album New Beginning, which was preceded by the No. 1 hit, “You’re the One” and The Neptunes-produced hit “Use Your Heart.”

In 1997, SWV released its third album Release Some Tension, which spawned several Top 10 hits including: “Someone” featuring Sean “Puffy” Combs as artist and producer; “Lose My Cool,” a rhythmic duet of SWV and rap artist Redman; “Rain,” a trademark torch ballad written and produced by their first album collaborator Brian Alexander Morgan; and the Timbaland-produced song “Can We” featuring Missy Elliot, which was featured on the Booty Call movie soundtrack.

SWV has received numerous accolades from its peers in the industry. In 1993, their debut album received nominations for a Grammy, American Music Award, and Source Award. The group also won a Children’s Choice Award and a BET “Best of Video Soul” Award.

In May 2021, SWV performed on Verzuz against Xscape. After performing to more than 3.5 million viewers and garnering 1.25 billion impressions, Billboard declared SWV the winner. Billboard also put SWV on their prestigious Top 40 Female Groups of All Time (all genres).

Biography provided by artist management.




Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

SEP 9 | Neko Case and Patty Griffin

Split photo of Neko Case (left) and Patty Griffin (right)

SEP 9 | 8 PM

Equally revered in the realms of indie and Americana, Neko Case is known for “putting her big, torchy voice behind larger-than-life imagery” (The New York Times). Case recently released Wild Creatures, a career retrospective that includes the most impactful tracks from her discography.

Patty Griffin, a two-time Grammy Award winner and seven-time nominee, is a quintessentially American artist whose wide-ranging canon incisively explores the intimate moments and universal emotions that bind us together. Her songs have independent lives that continue in your head when the music ends.


Is there another songwriter so fearless and inventive? Bending decades of pop music into new shapes, Neko Case wields her voice like a kiss and her metaphors like a baseball bat. She cast the fishing net of her career wide—from Seattle and Vancouver to Chicago and Stockholm, setting up her home base on a farm in New England.

Gathering power year after year, Case sings with the fierce abandon of a newborn infant crying in a basket in the woods. Since escaping the labels of country and Americana, the gorgeous train-whistle vocals of her early career sit submerged in her later style, where their ghost can appear any minute. When her voice jumps an octave, it’s almost visible, like sparks at night. “I never knew where I wanted to go or what I wanted to do with my voice,” she says, “but I just wanted to do it so bad.”

With a career spanning over twenty years, she has famously collaborated with The New Pornographers and case/lang/veirs in addition to releasing many critically acclaimed solo albums, including Fox Confessor Brings The Flood (2006), Middle Cyclone (2009), and most recently, 2018’s Hell-On.

She’s doing it on her own terms, but the legacy she’s building is one that can stand up to music made by any other solo artist in her lifetime. Don’t look away; you never know what might happen. “I’m just trying,” she says, “to be myself as hard as I can.”

Biography provided by artist management.


Patty Griffin is among the most consequential singer/songwriters of her generation, a quintessentially American artist whose wide-ranging canon incisively explores the intimate moments and universal emotions that bind us together. Over the course of two decades, the two-time Grammy Award-winner—and seven-time nominee—has crafted a remarkable body of work in progress that prompted The New York Times to hail her for “[writing] cameo-carved songs that create complete emotional portraits of specific people…[her] songs have independent lives that continue in your head when the music ends.”

2019 saw the acclaimed release of the renowned artist’s Grammy Award-winning 10th studio recording Patty Griffin on her own PGM Recordings label via Thirty Tigers. An extraordinary new chapter and one of the most deeply personal recordings of Griffin’s remarkable two-decade career, the album collects songs written during and in the aftermath of profound personal crisis—several years in which she battled and ultimately defeated cancer—just as a similar and equally insidious disease metastasized into the American body politic. As always, Griffin’s power lies in how, as writer Holly Gleason observed in Martha’s Vineyard Gazette, “her songs seem to freeze life and truth in amber.”

Griffin’s first-ever eponymous LP made a top five debut on Billboard’s Independent Albums chart amidst unprecedented worldwide acclaim—and later, earned a prestigious Grammy Award for Best Folk Album, Griffin’s first win and second consecutive nomination in the category following 2015’s Servant of Love. “A master class in vivid, empathetic roots music that’s both about taking responsibility for the choices we’ve made and surrendering to those made for us,” raved Entertainment Weekly. “There are great records being made right now that are both reflecting on the strife around us but at the same time, offering some peace. Patty Griffin is one of those records.” “A beautiful celebration of indomitability,” wrote The New York Times while Associated Press declared Patty Griffin “varies seamlessly between American folk, Celtic-rooted tunes, chansons, and beyond with the excellence and elegance Griffin’s songwriting has deservedly become known for… Griffin has never sounded any less than fully engaged on any of her albums and now that her name is on the building, so to speak, her commitment is as profound as ever.” “Moving easily between idioms—tragic Scots-Irish balladry; gospel-blues repetition; earthy, narrative detail; dreamily poetic imagery—(Griffin) teases out the album’s subtle, animating tension,” wrote NPR Music. “There’s such a light, sympathetic touch to her accompaniment that the arrangements feel like they sprout from the moods she sets.” “One of the best albums of the year,” summed up New York Newsday. “(Griffin) examines how we can try to move forward together in a world that currently seems to thrive on people tearing each other apart.”

Born in ME, but long based in Austin, TX, Griffin made an immediate impact with her 1996 debut Living with Ghosts and its 1998 follow-up Flaming Red—both now considered seminal works of modern folk and Americana. Since then, Griffin’s diverse body of work spans such classic LPs as 2002’s Grammy Award-nominated 1000 Kisses—later ranked No.15 on Paste’s “The 50 Best Albums of the Decade (2000-2009)” and honored by the Americana Music Association with two Americana Honors and Awards including Artist of the Year and Album of the Year. To date, Griffin has received seven total nominations from the Americana Music Association, affirming her as one of the far-reaching genre’s leading proponents.

2011’s Downtown Church—which blends traditional gospel favorites with Griffin’s own spiritually questioning material—debuted at No. 1 on both Billboard’s Folk Albums and Christian Albums charts before winning 2011’s Best Traditional Gospel Album Grammy Award, Griffin’s first solo Grammy triumph among seven career nominations. Griffin’s most recent LP, 2015’s Servant of Love, marked the first release on her own PGM Recordings label via Thirty Tigers. Applauded by The Guardian as “bravely experimental,” the collection saw Griffin earn still another Grammy Award nomination, this time in the Best Folk Album category.

Widely regarded among the best pure songwriters of this or any other era, Griffin has had her work performed by a truly epic assortment of her fellow artists, among them Linda Ronstadt, Emmylou Harris, Solomon Burke, Kelly Clarkson & Jeff Beck, Martina McBride, and Miranda Lambert, to name but a few. Her songs have also been showcased in a variety of film, TV, and theatre projects, with her original music and lyrics featured in the 2007 musical, 10 Million Miles, produced Off-Broadway by the Atlantic Theatre Company and directed by Tony Award- winner Michael Mayer. Griffin has also been joined in the studio by a veritable who’s-who of contemporary Americana, including Harris, Buddy & Julie Miller, Shawn Colvin, Jim Lauderdale, Raul Malo, Ian McLagen, JD Foster, and many others. As if her own remarkable career weren’t enough, Griffin has found time to collaborate with a wide range of like-minded artists, among them Joshua Radin, Todd Snider, Dierks Bentley, Robert Plant, Jack Ingram, Gillian Welch, and David Rawlings.

In addition to her creative career, Griffin has also devoted considerable energy and focus towards the wellbeing of the planet as well as showing compassion for the less fortunate among us via personal and public acts of charity including the 2017 Lampedusa Tour supporting the Jesuit Refugee Service and follow up 2019 Women’s Refugee Commission Tour.

Having crafted a rich catalog that chronicles love and death, heartache and joy, connection and detachment, Griffin continues to push her art forward, as always imbuing every effort with compassion and craft, uncanny perception, and ever-increasing ingenuity.

Biography provided by artist management.




Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

SEP 2-4 | Sting

Sting singing and playing his bass guitar

SEP 2-4 | 8 PM

Seventeen-time Grammy-winner Sting returns to Wolf Trap for three unforgettable evenings of hits like “Englishman in New York,” “Fields of Gold,” and “Every Breath You Take.”


Composer, singer/songwriter, actor, author, and activist Sting was born in Newcastle, England before moving to London in 1977 to form The Police with Stewart Copeland and Andy Summers. The band released five studio albums, earned six Grammy Awards, and two Brits, and was inducted into The Rock and Roll Hall of Fame in 2003.

As one of the world’s most distinctive solo artists, Sting has received an additional 11 Grammy Awards, two Brits, a Golden Globe, an Emmy, four Oscar nominations, a Tony nomination, Billboard Magazine’s Century Award, and MusiCares 2004 Person of the Year. In 2003, he was made a Commander of the Order of the British Empire (CBE) by Queen Elizabeth II for his myriad of contributions to music. Also a member of the Songwriters Hall of Fame, he has received the Kennedy Center Honors, The American Music Award of Merit, and The Polar Music Prize. Sting has been awarded Honorary Doctorates of Music by the University of Northumbria (1992), Berklee College of Music (1994), University of Newcastle upon Tyne (2006), and Brown University at its 250th commencement ceremony (2018).

Throughout his illustrious career, Sting has sold 100 million albums from his combined work with The Police and as a solo artist.

Following his critically acclaimed album, 57th & 9th (2016), his first rock/pop collection in over a decade, Sting and reggae icon Shaggy, both managed by the Cherrytree Music Company, released a collaborative, island-influenced album, entitled 44/876 (2018), drawing from the many surprising connections at the heart of their music. With its title referencing their home country codes, 44/876 first and foremost honors the duo’s mutual love for Jamaica: Shaggy’s homeland, and the place where Sting penned such classics as The Police’s “Every Breath You Take.” Their release spent over 20 weeks atop Billboard’s Reggae Album chart in the US, earned Gold certifications in Poland and France and received the Grammy Award® for Best Reggae Album.

In 2019, Sting was honored at the BMI Pop Awards for his enduring hit single “Every Breath You Take,” which has become the most performed song, with 15 million radio plays, from BMI’s catalog of over 14 million musical works. Most recently, the song was added to Spotify’s “Billions Club,” having amassed over one billion streams on the platform.

Also in 2019, an album entitled My Songs, featuring contemporary interpretations of his most celebrated hits, was released and followed by a world tour of the same name, which recently resumed. Sting’s My Songs World Tour is a dynamic and exuberant show featuring his most beloved songs spanning the 17-time Grammy Award-winner’s prolific career with The Police and as a solo artist.

Always known as a musical explorer, pioneering genre-bending sounds and collaborations, Sting’s 2021 release Duets compiled some of his most celebrated collaborations, including those with Mary J. Blige, Herbie Hancock, Eric Clapton, Annie Lennox, Charles Aznavour, Mylène Farmer, Shaggy, Melody Gardot, Gashi, and more.

Sting’s latest album, The Bridge (2021), showcases his prolific and diverse songwriting prowess. Representing various stages and styles from throughout his unrivaled career and drawing inspiration from genres including rock ’n’ roll, jazz, classical music, and folk, the eclectic album features Sting’s quintessential sound on pop-rock tracks such as the album’s opening rock salvo “Rushing Water” and new indie-pop sounding “If It’s Love.”

Sting kicked off his Las Vegas residency, “My Songs,” at The Colosseum at Caesars Palace to rave reviews. The show presents a compendium of his most beloved songs with dynamic, visual references to some of his most iconic videos and inspirations with Sting treating fans to an array of greatest hits spanning his illustrious career, including “Roxanne,” “Message In A Bottle,” “Every Little Thing She Does Is Magic,” “Every Breath You Take,” and several other fan favorites, plus brand new songs from his forthcoming album, The Bridge. The residency will resume in April 2023.

Most recently, Sting produced Shaggy’s latest album, Com Fly Wid Mi (2022) which finds the dancehall/reggae icon performing the Sinatra songbook in a reggae style. To celebrate the album’s release, Sting hosted a party at the legendary Blue Note Jazz Club in NYC where Shaggy performed the album in full.

Sting has appeared in more than 15 films, executive produced the critically acclaimed A Guide to Recognizing Your Saints, and in 1989 starred in The Threepenny Opera on Broadway. His most recent theatre project is the Tony®-nominated musical The Last Ship, inspired by his memories of the shipbuilding community of Wallsend in the northeast of England where he was born and raised. The show, with music and lyrics by Sting, ran on Broadway in 2014/2015 and completed a UK regional theatre tour which ran from March-July 2018. Thereafter, Sting starred as shipyard foreman Jackie White in the Toronto-based production of The Last Ship at the Princess of Wales Theatre. In 2020, he reprised the role for productions in Los Angeles at the Ahmanson Theatre and San Francisco at the Golden Gate Theatre.

Sting’s support for human rights organizations such as the Rainforest Fund, Amnesty International, and Live Aid mirrors his art in its universal outreach. Along with wife Trudie Styler, Sting founded the Rainforest Fund in 1989 to protect both the world’s rainforests and the indigenous people living there. Together they have held 19 benefit concerts to raise funds and awareness for our planet’s endangered resources. Since its inception, the Rainforest Fund has expanded to a network of interconnected organizations working in more than 20 countries over three continents.

Sting is managed by Martin Kierszenbaum/Cherrytree Music Company.

Biography provided by artist management.

The Last Bandoleros holding their instruments

San Antonio’s native sons The Last Bandoleros have been earning effusive accolades for their accomplished musicianship and impressive harmonies, opening for respected artists such as Sting, The Mavericks, Los Lobos, and Dwight Yoakum. The trio lovingly refer to their unique new sound—a mix of rock, pop, and Latin flavor—as “Tex Flex,” also the name of their new album.

The Last Bandoleros’ previous album Live from Texas (2020) soared to No. 6 on the iTunes album chart directly following a kinetic performance on ABC’s Good Morning America. Now with Tex Flex (2022), the band—Diego Navaira on vocals/bass, Emilio Navaira Jr. on vocals/drums, and Jerry Fuentes on vocals/guitar—further explores their melodic affinities and Latin heritage through a collection of songs brimming with irresistible vocal lines and nylon string counterpoint.

Tex Flex is a delicious sonic “guiso,” infusing elements of bolero, cumbia, Tejano, bachata, and salsa into modern rock, country, and pop production. The song “Maldita,” which begins with an alluring Spanish nylon guitar, has already received a prestigious Premio Tejano Mundial award for “Crossover Song of the Year,” while “California Moon,” a haunting duet with singer/songwriter Hannah Brier, evokes an unforgettable drive down LA’s Sunset Boulevard. Other selections from Tex Flex include the effervescent “Every Time We Dance,” stunning ballad “Mi Amor,” salsa-flavored “In Between,” romantic bachata beat-driven “Fall in Love Again,” Tejano-flavored “Friend Zone,” and rollicking “Somewhere in Texas”—a country-fueled ode to their beloved stomping grounds complete with a cumbia break-down. Also included on the album is a modernized “Tex Flex” rendition of Eddie Cochran’s iconic “Something Else” and a mesmerizing cover of Los Panchos’ heart-wrenching classic “Sin Un Amor,” which wonderfully showcases The Last Bandoleros’ irresistible harmonies.

Biography provided by artist management.


Back when Joe Sumner lived in London, he formed a band called Santa’s Boyfriend, which eventually was renamed to Fiction Plane. The trio enjoyed a moment, well, several years of moments, a few record labels, a small handful of releases, a well-cultivated fan base, and an 18-month tour supporting another trio—The Police—before parting ways.

Despite the notable lineage, Sumner has spent more than your perfunctory 10,000 hours perfecting his own musical vibrant craft.

Fast forward to sunny Los Angeles, where Sumner maintains “proud dad” status, churns out highly listenable, insanely classic, palpably epic masterpieces—we’re talking, of course, about songs here—many of which will be featured on his upcoming solo album Sunshine In The Night to be released in early 2023.

In the meantime, Sumner has a new single “Looking For Me, Looking For You” hitting in early September, as well as further tour dates supporting his dad (Sting) and solo dates in Europe and North America.

Biography provided by artist management.




Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

SEP 1 | Boy George & Culture Club

Boy George singing with Culture Club in the background

SEP 1 | 8 PM

Known for his eclectic sense of style and expressive voice, Boy George returns to Wolf Trap with Culture Club. The iconic new wave group’s memorable songs such as “I’ll Tumble 4 Ya,” “Do You Really Want to Hurt Me,” and “Karma Chameleon” earned them a string of Top 10 Hits. Fellow countrymen and ’80s hit-makers The English Beat (“Save It For Later,” “Mirror In the Bathroom”) open the show. Get ready to sing along!


An artist whose extraordinary voice is married to an eye-popping stage presence, Boy George relentlessly bedazzles audiences, bringing spirit to the global soundscape. With melodious flourishes of funk, reggae, aggressive soul, Soca, tropical pop, and angular art rock from the band—Roy Hay (guitar), Mikey Craig (bass), and Jon Moss (drums)—Culture Club continues to remain one of the most iconic bands on the planet. A climactic glimpse into the vibrant multi-cultural prism that echoes through their music, Culture Club was the first multi-ethnic band with an androgynous-fashioned, openly gay front man. Formed in 1981, the Grammy and Brit Award winning group has sold more than 150 million records globally with timeless hits including: “Do You Really Want To Hurt Me” (the biggest selling single of 1983), “Karma Chameleon,” “Church of the Poison Mind,” “Victims,” and “Time (Clock of the Heart),” which is embodied in the Rock and Roll Hall of Fame’s list of 500 songs that shaped rock and roll. Culture Club reunited in 2014.

Boy George is undoubtedly one of the most recognizable voices in pop music and blue-eyed soul. He has had overwhelming success as an iconic solo artist, DJ, author, actor, and fashion designer, as well as lead vocalist and creative force behind pop supergroup Culture Club. George Alan O’Dowd is a sophisticated lyrical and cultural phenomenon and in the world of entertainment, music royalty.

Biography provided by artist management.


Hailing from working-class Birmingham, England, Dave Wakeling and The English Beat entered the music scene in the troubled times of 1979. When The English Beat rushed on to the music scene it was a time of social, political, and musical upheaval. Into this storm came they came, trying to calm the waters with their simple message of love and unity set to a great dance beat.

The six member band consisted of singer/songwriter Dave Wakeling (vocals and guitar), Andy Cox (guitar), David Steele (bass), Everett Morton (drums), Saxa (saxophone), and Ranking Roger (toasting). The band managed to fuse all of their respective musical influences—soul, reggae, pop, and punk—into a unique sound that was highly danceable. Along with contemporaries such as The Specials, The Selecter, and Madness, The English Beat became one of the most popular and influential bands of the British two tone ska movement.

Over the course of three albums, The English Beat achieved great success in their home country, charting several singles into the Top 10. In addition to their UK chart success, in America the band found a solid base of young fans eager to dance to their hypnotic rhythms and absorb their message of peace, love, and unity. Their constant touring with iconic bands such as The Clash and The Police helped to boost their popularity in the states.

Despite his huge success, Wakeling didn’t stop singing and acting on the problems caused by what he called the “noise in this world.” The band donated all the profits from their highly successful single version of “Stand Down Margaret” to the Committee for Nuclear Disarmament. They donated their music to causes including the anti-nuclear benefit album Life in The European Theatre (1982) and The World of Music and Dance album focusing on indigenous people’s art, and lent their voice to The Special AKA’s anthem song of freedom “Free Nelson Mandela,” to name but a few.

Wakeling once said that every great band only has three really good albums. And true to form, The English Beat disbanded in 1983, after their third album, Special Beat Service (1982).

After The English Beat, Wakeling formed General Public with his mate Ranking Roger. The band took off quickly, scoring numerous hits off the their three studio albums, including “Tenderness,” “So Hot You’re Cool,” “Never You Done That,” “Come Again,” “Too Much or Nothing,” and “I’ll Take You There.” While Wakeling was penning hits stateside, Andy Cox and David Steele were putting their own band together. Cox and Steele placed an ad for a singer on MTV, and received an extraordinary gift in the form of one Roland Gift. With Gift onboard, the Fine Young Cannibals was formed and right from the release of their first single “Johnny Come Home,” the band was a hit. Their two studio albums scored multiple hit singles, with tunes such as “She Drives Me Crazy” and “Good Thing” becoming instant classics. Not being slackers either, Saxa and Everett Morton put together their own band, International Beat, blending modern pop with traditional Jamaican rhythms to form a wonderful hybrid sound. International Beat toured around the world and released two live albums, including cameos from Wakeling and Ranking Roger.

These bands combined scored multi-platinum record sales, sold-out shows all over the world, and most importantly, earned universal fan approval because they kept The Beat alive.

That ember was nursed back into a roaring flame in February 2003, when a dream came true for many fans of The English Beat as the band reunited for a UK tour, culminating in a sold-out command performance at the prestigious Royal Festival Hall.

Consummate showman that he is, Wakeling has continued to keep The Beat alive and strong. How could he not? Wakeling continues to tour the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat, General Public, and his new songs.

Biography provided by artist management.




Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters

Summer 2022

AUG 27 | Mary Chapin Carpenter and Emmylou Harris

Splitscreen images of Mary Chapin Carpenter (left) and Emmylou Harris (right)

AUG 27| 7 PM

While DC isn’t typically known for its Americana scene, two of the genre’s stalwarts got their start in the district. Beloved singer/songwriter Mary Chapin Carpenter considers herself a Hometown Girl, having called the Washington area home for nearly 30 years. Carpenter is joined by Emmylou Harris, “one of music’s most revered voices” (The Guardian). Harris has collaborated with everyone from Dolly Parton to Bright Eyes across her 50-year career but she cut her teeth in DC’s club scene.


With hits like “Passionate Kisses” and “He Thinks He’ll Keep Her,” Mary Chapin Carpenter has won five Grammy Awards (with 15 nominations), two CMA awards, two Academy of Country Music awards, and is one of only 15 female members of the Nashville Songwriters Hall of Fame. Over the course of her acclaimed career, Carpenter has sold over 15 million records. In 2020, Carpenter released two albums—The Dirt And The Stars in August 2020 and One Night Lonely, recorded live without an audience at the legendary Filene Center at Wolf Trap in VA during the COVID-19 shut down—in addition to sharing “Songs From Home,” a virtual concert series which has been viewed over 10 million times.

Of the new album The Dirt And The Stars (2020), produced by Ethan Johns (Ray LaMontagne, Paul McCartney, Kings of Leon) and recorded entirely live at Peter Gabriel’s Real World Studios in Bath in southwest England, Carpenter quotes the writer Margaret Renkl, “‘We are all in the process of becoming.’ That doesn’t stop at a certain age. To be always a student of art and music and life, as she says, that, to me, is what makes life worth living. The songs are very personal and they’re difficult in some ways, and definitely come from places of pain and self-illumination, but also places of joy, discovery and the rewards of self- knowledge. They arrived from looking outward as much as inward, speaking to life changes, growing older, politics, compassion, #MeToo, heartbreak, empathy, the power of memory, time, and place. So, I suppose I could say there are many themes, but they all come back to that initial truth that we are all constantly ‘becoming’ through art and expression.”

Biography provided by artist management.


A 14-time Grammy winner and Billboard Century Award recipient, Emmylou Harris’ contribution as a singer and songwriter spans 40 years. She has recorded more than 25 albums and has lent her talents to countless fellow artists’ recordings. In recognition of her remarkable career, Harris was inducted into the Country Music Hall of Fame in 2008 and earned a Grammy Lifetime Achievement award in 2018.

Harris is known as much for her eloquently straightforward songwriting as for her incomparably expressive singing. Admired through her career for her talent as an artist and song connoisseur, Harris shook up country radio in the 1970s and established herself as the premier songwriter of a generation, selling more than 15 million records and garnering 14 Grammy Awards, three CMA Awards, and four Americana Awards.

Harris is one of the most admired and influential women in music. She has recorded with such diverse artists as Linda Ronstadt, Daniel Lanois, Bob Dylan, Mark Knopfler, Neil Young, Gram Parsons, Willie Nelson, Dolly Parton, Roy Orbison, Ryan Adams, Beck, Elvis Costello, Johnny Cash, Lucinda Williams, Lyle Lovett, and Rodney Crowell. Few artists have achieved such honesty or have revealed such maturity in their writing. Forty years into her career, Harris continues to share the hard-earned wisdom that—hopefully, if not inevitably—comes with getting older, though she’s never stopped looking ahead.

A longtime social activist, Harris has lent her voice to many causes, most passionately to animal welfare. In 2004, she established Bonaparte’s Retreat with the goal of rescuing shelter dogs and adopting them into forever homes. To this day, Bonaparte’s Retreat continues to save dogs most in need at Metro Nashville Animal Care and Control and at municipal shelters in surrounding counties.

Biography provided by artist management.



Dan and Gayle D’Aniello,
Wolf Trap 2022 Season Underwriters