FVSO Opens the Season with Pianist Michael Mizrahi

FVSO is thrilled to open our 60th anniversary season with pianist Michael Mizrahi from Lawrence University performing Beethoven's Emperor Concerto on September 19. 

Get your tickets here!

Let's check in with Michael:

I am thrilled to be sharing the stage with so many friends and colleagues to help open another great season for our own Fox Valley Symphony Orchestra. We are fortunate to have such a vibrant music scene here in Appleton! From Lawrence University's Conservatory of Music (where I teach) to the Lawrence Community Music School to Mile of Music to the Fox Cities Performance Arts Center to the inspiring music teachers in the Appleton Area School District and across the area, my family and I have been so happy to call the Fox Valley home for the past 15+ years.

Maestro Sütterlin and I are collaborating on Beethoven's Emperor Concerto on a program that also features the world premiere of a new work by Alex Drossart, Rosabelle Believe. So much of my career has been devoted to the commissioning and premiering of new works for solo piano, and I am so pleased to see new work centered so frequently in the FVSO's programming.

But my performance with the FVSO will center music by one of my earliest favorite composers, Ludwig van Beethoven. The 32 Piano Sonatas and 5 Piano Concertos by Beethoven have been close to my heart since I first explored this repertoire as a teenager. This is music that I listened to obsessively on my Walkman (I am prepared to accept how old that makes me) and on my family's then-new CD player. It is exciting, gripping music, filled with virtuosic piano passages and huge dynamic contrasts—exactly the kind of thing that appealed to 13-year-old me. As a (one hopes) more mature adult, I am also discovering all of the intricate dialogue between piano and orchestra throughout, like a conversation between 50 musicians.

I’m looking forward to exploring that conversation with Maestro Sütterlin and the wonderful musicians of the Fox Valley Symphony—and to sharing this music with our Fox Valley community.

About our Soloist:

Mr. Mizrahi has performed in the world’s leading concert halls including Carnegie Hall, Toyko’s Suntory Hall, the Kimmel Center in Philadelphia, Jordan Hall and the Gardner Museum in Boston, the Kennedy Center in Washington, DC, the Chicago Cultural Center and Houston’s Jones Hall. He has performed as soloist with the Houston Symphony, National Symphony, Haddonfield Symphony, Sioux City Symphony, and Prince Georges Philharmonic, among others.

He has given solo recitals at the Phillips Collection in Washington, DC and has made repeated appearances on the Dame Myra Hess Concert Series in Chicago.

Praised as "intrepid" (Philadelphia Inquirer), "engaging" (Houston Chronicle), and "endlessly fascinating" (WQXR New York), pianist Michael Mizrahi has won acclaim for his compelling performances of a wide-ranging repertoire and his ability to connect with audiences of all ages.

He has appeared as concerto soloist, recitalist, chamber musician, and teaching artist across the United States and abroad.

Recognized widely for his commitment to artistic excellence, Michael Mizrahi won Lawrence University's Award for Excellence in Creative Activity, and was recently one of five international recipients of the S&R Foundation's Washington Award.

An enthusiastic promoter of music education, Mizrahi has presented lecture-recitals and master classes at the University of North Carolina – Chapel Hill, the University of Redlands, the University of California – San Diego, the American School in Switzerland (TASIS), and the University of Nebraska at Omaha, among many others.

His chamber music festival appearances include Music@Menlo, Verbier, the Yellow Barn Music Festival, and the Steans Institute at the Ravinia Festival.

Mr. Mizrahi won First Prize and the Audience Choice Award in the Ima Hogg International Competition, as well as first prizes in the International Bartók-Kabalevsky Competition and the Iowa International Piano Competition.

He won third prize in the San Antonio International Piano Competition. Mr. Mizrahi appeared for many years on the active roster of Astral Artists.

He is a founding member of NOW Ensemble, a chamber group devoted to the commissioning and performing of new music by emerging composers.

Mr. Mizrahi's celebrated albums The Bright Motion and Currents, both albums of new solo piano works commissioned by Mizrahi, was released on the New Amsterdam Records label. His third solo piano album Dreamspace was released in 2024 on Sono Luminus. His popular music videos have been lauded by National Public Radio and New Yorker music critic Alex Ross. Mr. Mizrahi also co-directs the New Music @ Lawrence concert series.

As a member of Carnegie Hall’s prestigious Academy program (now Ensemble Connect) and Teaching Artists Collaborative, Mr. Mizrahi spent several years as a teaching artist in New York City public schools.

Mizrahi is the inaugural Director of Summer Music Programs at Lawrence University, which brings together young artists from around the world each summer at the Lawrence Summer Music Institute and Lawrence Chamber Music Festival.

Dedicated to the music of our time, Mr. Mizrahi has commissioned and given world premieres of several new works by today’s leading composers, including Missy Mazzoli, Judd Greenstein, Sarah Kirkland Snider, Mark Dancigers, and John Luther Adams.

FVSO and Local Composer Alex Drossart to Honor Houdini

Erik Weisz (March 24, 1874 – October 31, 1926),
known professionally as Harry Houdini

As Appleton celebrates a year of Harry Houdini to mark the100th anniversary of his death, FVSO kicks off their 60th anniversary season with a tribute to one of our most notable citizens. The orchestra is working with local composer Alex Drossart on a new piece commissioned by Stephanie Long and Andrew Hetzel. It will be the first piece performed on FVSO's Opening Night, September 19, at the Fox Cities Performing Arts Center, accompanied by an animation by Frank Anderson and Oliver Anderson. 

Notes from our Composer, Alex Drossart:

When I started writing Rosabelle Believe, I knew I wanted to write something about Harry Houdini, but I didn't really want to write a straightforward piece about his life or his career. What interested me more was the story of Houdini and his wife, Bess, and the promise they made to each other about communicating after his death.

Houdini was deeply skeptical of claims about communication with the dead. In the later part of his life, he spent a great deal of time exposing fraudulent mediums and séances. But his skepticism didn't stop him from being curious about the possibility. He and Bess agreed that if communication after death really was possible, they would find a way to test it. They created a secret code that Houdini could use to identify himself to Bess if he ever managed to contact her from beyond the grave.

Alex Drossart, composer

The code was “Rosabelle Believe,” based on a song Bess had performed during their early years together in vaudeville. They turned the phrase into a code based on an old vaudeville mentalism system, where specific words stood for different letters. The code reads: Rosabelle, Answer, Tell, Pray, Look, Tell, Answer, Answer, Tell.

That idea immediately gave me a way into the piece. Instead of simply trying to write “Houdini music,” I decided to make the code itself the structure of the composition. Each word is associated with a musical idea, and those ideas are introduced, developed, and combined throughout the piece.

The Rosabelle melody is especially important to me. I adapted the original tune and used it to frame the entire piece. It appears at the beginning and returns at the end, giving the music a sense of coming full circle. Everything in between grows out of that initial idea.

The first statement of the Rosabelle theme is a conversation between oboe and flute. The oboe is meant to represent Harry's voice, while the flute represents Bess's. The final statement of the theme starts with solo flute and eventually grows into a full orchestral statement of the melody.

The story also has a particularly fitting connection to Halloween. Houdini died on October 31, 1926, and after his death Bess continued the attempts they had made to test whether communication with the dead was possible. For ten years, she held séances and made a special effort to contact Houdini on Halloween, hoping that he would appear and give her the secret code they had agreed upon.

He never did.

In some ways, that ending is particularly poignant because of Houdini's skepticism. After years of trying, Bess was never able to receive the message they had planned. There was no secret code waiting for her, and no definitive answer about whether Houdini had found a way to communicate from beyond the grave.

For me, that makes the story more complicated than simply being a story about belief in the afterlife. Bess's attempts were an expression of love and hope, but her failure to receive the code also seems to validate the skepticism Houdini had held during his lifetime. The mystery remains, but there is no secret message waiting at the end to resolve it.

That's really the part of the story that stayed with me while I was writing the piece. Beneath all of Houdini's fame, escapes, and larger-than-life persona, this is ultimately a story about two people who loved each other and wanted to find a way to stay connected after one of them was gone.

I tried to let the music reflect that uncertainty. There are moments that feel mysterious and theatrical, but there are also quieter and more intimate sections. I didn't want the piece to be a musical reenactment of Houdini's life. Instead, I wanted it to feel like a conversation between memory, hope, mysticism, and skepticism.

Rosabelle Believe is my interpretation of that story: part puzzle, part tribute, and ultimately a piece about the very human desire to believe that the people we love don't completely disappear when they're gone—and the equally human challenge of accepting when they don't come back.

Buy concert tickets here

About Alex Drossart:

Alex Drossart is a composer, keyboardist, and record producer based in Appleton, Wisconsin. His work spans film, television, and live performance, with a focus on strong thematic writing, clear musical structure, and practical orchestration.

Drossart has composed scores for several films and television productions, including GOLD (dir. Paige McKenna Grube) and Chasing Rabbits (dir. Michael Farris Smith, PBS Mississippi). He has also contributed music to the Apple TV+ series Central Park and the Hulu feature Carved (dir. Justin Harding).

He holds a certification from Berklee College of Music in Composing and Orchestrating for Film and Television. Alongside his work for screen, Drossart maintains an active career as a keyboardist and touring musician, performing with artists including Cory Chisel and the Wandering Sons, Traveller, Hang Ten, Big Mouth and the Power Tool Horns, J Council, and The Know-It-All Boyfriends.

He has also served as Music Director for the Madison-based charity concert Joey’s Song, organized with producer Butch Vig.

Drossart’s music reflects influences ranging from late-Romantic orchestral composers to contemporary film and minimalist traditions, shaped equally by classical training and years of performing and producing across genres.

Symphony Under the Stars '26 - Best Night of the Year

Fox Valley Symphony Orchestra’s Symphony Under the Stars on July 24

GRAND CHUTE, WI – Neuroscience Group Field will be filled with the sound of music on Friday, July 24 when the Wisconsin Timber Rattlers host Fox Valley Symphony Orchestra’s Symphony Under the Stars presented by Miron. This is a free event with no charge for parking or admission with additional sponsorship from Network Health, Community First Credit Union, and Amcor. The show starts at 7:30pm.

“This concert is our gift to the community,” said Jamie LaFreniere, Executive Director of the Fox Valley Symphony Orchestra. “We want to bring together everyone for a fun, free, exiting event where everyone feels welcome. We get the opportunity to play rock classics, and you can bring the whole family, enjoy incredible music, delicious food, and a fireworks finale that lights up the night. It’s all about joy, connection, and celebration.”

This is a free, all-ages show that continues the tradition of presentations of an eclectic mix of music with performances of everything from Aerosmith to Zeppelin.

“This night is about FUN,” LaFreniere added. “Even if you’ve never been to a concert with us before, you belong here.”

Thanks to generous sponsors, the evening remains free and accessible. But as the event grows, so does the need for support. “We’re looking for new sponsors to help us support this program,” said LaFreniere. “It’s a big production and we count on our sponsors to help us make it possible.”

The stadium parking lot opens at 5:00pm with the gates to get into the stadium open at 6:00pm.  All free seating for the event is based on first-come, first-serve availability.  There will be food and beverages available for purchase from the concessions stands with fireworks scheduled at the end of the show.

Kevin Sütterlin, FVSO’s music director, has been part of the production since 2019 and loves bringing a unique experience to the Fox Cities. “The joy of gathering together and sharing music is something larger than ourselves,” said Sütterlin. “We’re so grateful to be able to share this evening with our community.

Russ and the Renegades, the house band of FVSO, Fox Valleyaires Men’s Barbershop Chorus, and MacDowell Male Chorus will also be part of the show again this year.

There are special sections available for those who would like to reserve their seats.  The Diamond Seats behind home plate includes a buffet of Neuroscience Group Field favorites with a reserved seat and food for $45 per ticket.  Patio tables, which seat four, are available for $80 per table and include waitstaff service.  Both options are available at this link.

“We also have an open rehearsal from 3-5pm, for a more sensory-friendly experience,” said LaFreniere. “For those with special needs who have a hard time with large crowds and don’t want the noise of fireworks, we love having them join us earlier so they can enjoy their own private free concert while being able to move around freely.”

Please contact FVSO at info@foxvalleysymphony.com to make special accommodations for the daytime rehearsal.

Verdi's Requiem: Meet the Soloists!

Our grand finale is coming up this weekend on Saturday, May 9 at 7:30pm at the Fox Cities Performing Arts Center. We'd love for you to join us in the hall!

Purchase tickets here!

Along with our special guests NEWVoices, we'd love for you to meet our soloists for Verdi's Messa da Requiem.

Marsha Thompson, soprano

Internationally acclaimed soprano Marsha Thompson effortlessly traverses the realms of classical and new vocal music. From prestigious opera houses to intimate concert halls, her voice has been noted as “leaving an indelible mark on the soul.” 

Born in Corpus Christi, Texas, and raised in Shreveport, Louisiana, she began her musical studies as a violinist at the Centenary College Suzuki School. Ms. Thompson studied violin and voice at the University of Houston, Music Academy of the West in Santa Barbara, and AIMZ in Graz, Austria. She has won numerous prizes in national competitions from the Metropolitan Opera National Council, Gerda Lissner Foundation, Orlando Opera Competition, Fort Worth Opera Competition, and several others. Her operatic roles include Tosca, Aida, Abigaille, Suor Angelica, Bess, and many other soprano heroines which she has appeared at Teatro Municipal de São Paulo, Opera Carolina, New York City Opera, New York Grand Opera, Piedmont Opera and several others. 

Ms. Thompson also maintains a career as a Chief of Staff and Executive Assistant in the financial services industry. She is the author of the book ‘The Passion for Happiness.’ You may read more about her at www.marshathompson.com

Kara Morgan, mezzo-soprano

Kara Morgan is a singing actress seeking out and lending her artistry to projects that broaden minds and inspire others. Career highlights include mainstage credits with Minnesota Opera, Fargo-Moorhead Opera, Pacific Opera Project, and An Opera Theatre; apprenticeships with Merola Opera, Sarasota Opera and Santa Fe Opera; and recognition from the Schubert Club, Opera Tampa D’Angelo Young Artist and Metropolitan Opera Laffont Competitions. As a Resident Artist with Minnesota Opera in the 2024-25 season, Kara debuts the roles of Stéphano (Roméo et Juliette) and Rosina (Il barbiere di Siviglia).

Josh Kohl, tenor

American tenor Joshua Kohl is known for his compelling stage presence and vocal clarity across a wide range of repertoire. He has performed with companies throughout the United States and Europe, including Minnesota Opera, Seattle Opera, Pittsburgh Opera, Dallas Opera, Sarasota Opera, Nashville Opera, Opera Omaha, Dayton Opera, Tulsa Opera, and Opera Santa Barbara, among others, as well as Musiktheater im Revier and Konzert Theater Bern.

He was a member of the ensemble at Theater Freiburg for six seasons, where he performed a broad range of roles and developed a versatile repertoire. In addition to his operatic work, he has appeared in concert with the Philharmonisches Orchester Freiburg in works such as Die Schöpfung and Das Lied von der Erde. Recent performances include Calaf in Turandot, Des Grieux in Manon in Freiburg, and the title role in Amleto with Opera Delaware, the latter praised as a “star-making performance, tireless to the last, intimate and passionate” by Parterre Box.

In addition to his performance career, Kohl serves as Artistic Director of Fargo-Moorhead Opera, where he works to strengthen the company’s artistic identity, deepen community engagement, and build collaborative partnerships.

Kohl studied at the University of Cincinnati, Boston University, and Yale University.

Andy Papas, bass

Praised for his “vocal power & finesse” and “irresistible hijinks,” baritone Andy Papas is sought after for his impeccable musicianship and mastery of comic repertoire. Mr. Papas began his 2024-2025 season as the title role in Verdi’s Falstaff with Pacific Northwest Opera, a role he has also covered for Opera Saratoga. In March, he sings Mustafa (L’Italiana in Algieri) in Houston for Opera in the Heights, and again in April for Anchorage Opera (AK). In May he sings Don Magnifico in La Cenerentola for Wichita Grand Opera, and he returns to the Pacific Northwest next fall in the other Cinderella, as Pandolfe in Cendrillon for Vashon Opera. Last season Mr. Papas re-joined the roster of Boston Lyric Opera as Magnifico (cover), and as cover in Matthew Aucoin’s Eurydice, and also returned to Opera Co. of Middlebury as Hortensius in La Fille du Regiment and as Stage Director for Rossini’s La Scala di Seta. The Major General (Pirates of Penzance) is a signature role for Mr. Papas, with prior performances for Opera Naples and Anchorage Opera, and he is the Modern Major General again next fall for Salt Marsh Opera (CT). 

Other noteworthy recent engagements for him include the title role in Don Pasquale for Union Avenue Opera and Opera Saratoga, Dr. Bartolo (Il Barbiere di Siviglia) for Anchorage Opera, Painted Sky Opera, and Opera Theater of Connecticut, the Music Master in Ariadne auf Naxos with Vashon Opera, Baron Zeta in The Merry Widow with Opera Saratoga, Pandolfe with Opera Company of Middlebury, and the title role in Falstaff and Tonio in Pagliacci with Raylynmor Opera. Mr Papas’ committed, musically sophisticated performances have consistently earned him praise for “creating a character both sinister and silly,” and for his “rich voiced portrayals... of considerable aplomb.” Mr. Papas made his debut in 2023 with The Ojai Music Festival alongside Rhiannon Giddens & Michael Abels, performing Owen/Johnson in Omar’s Journey, roles which he also covered in the Boston Lyric Opera production of Omar. He reprised his impassioned performance in Omar’s Journey for the Quad City Symphony Orchestra in February. Mr. Papas can be heard on Bridge Records as Bugs/Gent in The Cradle Will Rock, which he also performed with Opera Saratoga, on New World Records as part of White Snake Projects recording of The Ouroboros Trilogy: Naga, and on Albany Records as Stephano in the world premiere of composer Joseph Summer’s The Tempest. 

Mr. Papas completed his Master of Music at the University of Houston, and his Bachelor of Music at the University of Michigan. This winter he was the on-snow content producer for Bromley Mountain Ski Resort in the Green Mountains of Southern Vermont. He teaches students around the globe in opera courses such as The British Operas are Coming and Strauss in the Haus, and maintains a private voice studio. andypapas.com

FVSO's Grand Finale: Verdi's Requiem

Saturday, May 9 at 7:30pm
Fox Valley Symphony Orchestra with NEWVoices
GIUSEPPE VERDI: Messa da Requiem (90 min)
Join us for the post-concert reception in the lobby. 

Kevin Sütterlin, music director

Phillip Swan, chorus master

Marsha Thompson, soprano

Kara Morgan, mezzo-soprano

Josh Kohl, tenor

Andy Papas, bass

One of the most ambitious, and certainly the most theatrical, settings of the Requiem Mass, the traditional Catholic Mass for the dead, was written by a man of no professed religious faith—indeed, Verdi was a life-long agnostic. He was, however, a fervent believer in Italian musical culture, and the then not-yet-realized dream of Italian national unification. His Requiem was inspired by the passing of two cultural titans—the first, the composer Gioachino Rossini in 1868, and author and poet Alessandro Manzoni in 1873. 

Verdi had proposed the composition of a Requiem for Rossini in the immediate aftermath of his passing—he suggested that 13 Italian composers should each contribute a section of the mass—a collective outpouring of grief and respect for the operatic master. The project ultimately never cohered, and Verdi tabled the section that he had written, the Libera Me, Domine (Deliver me, Lord, from eternal death). After the death of Manzoni—the artist that Verdi revered above all others—he resurrected his project and composed the entirety of a new mass for the dead, adding his Libera Me as the final movement. The work was premiered to great acclaim in 1874, although some critics were appalled by the unabashedly operatic writing—no matter to Verdi, who fully intended his Requiem to be a work for the concert hall, not a liturgical setting. 

The work is scored for chorus, four vocal soloists (soprano, mezzo-soprano, tenor, and bass) and a sizeable orchestra. It is set in seven large sections, following the traditional structure of the mass. The opening Requiem aeternam (Grant them eternal rest) is hushed and solemn, while the following te decet hymnus and Kyrie eleison (Lord, have mercy) introduce both imitative counterpoint and later the solo quartet. 

The following section, the longest of the work, erupts with a literal scream of terror from the mass of voices and instruments, as they intone the Dies irae (Day of wrath), a depiction of the horrors of the final Day of Judgment. The overall mood throughout this section is grim, with on- and off-stage trumpets heralding the raising of the dead, and the ominous, martial flourishes that mark the setting of the Rex tremendae (King of awful majesty); interspersed with these menaces are pleas and prayers for remembrance, forgiveness, and salvation led by the vocal quartet, in solos and combined voices. 

The Offertorium provides respite in two movements for the solo quartet, and the mood finally turns joyful in the Sanctus, a depiction of the heavenly host praising the divine with an energetic, sparkling fugue. 

The chant-inspired Agnus Dei (Lamb of God) and Lux aeterna (Light eternal) give way to the return of angst and foreboding in the final Libera me, which, after all, is a prayer for deliverance from death, the wrath of judgment, and the fires of hell. Verdi concludes this grand work with a decidedly modern note of ambivalence, with gentle chords enshrining the soprano’s and chorus’ final supplications. 

Program notes written by Erik Leveille

Soprano Aphrodite Patoulidou joins FVSO on March 28

APHRODITE PATOULIDOU

Born in Thessaloniki, Greece, Aphrodite Patoulidou is one of the most interesting rising stars of today. A celebrated soprano, she was one of the first artists to take part in Barbara Hannigan’s Equilibrium Young Artists Initiative as Anne Trulove (The Rake’s Progress) in 2018. Since then, she has worked with orchestras such as Orchestre Philharmonique de Radio France, Gothenburg Symphony, Munich Philharmonic, SWR Sinfonieorchester, Concertgebouw Orchestra and Danish Radio Symphony among many others.

Last season, she made her debut with the Cleveland Orchestra in the States and successfully toured with the London Symphony Orchestra in nine concerts, visiting Europe’s most prestigious halls, singing Mahler’s 4th Symphony and Vivier’s Lonely Child. Her virtuosic performance of Britten’s Les Illuminations with the Deutsches Symphonie-Orchester Berlin conducted by Dalia Stasevska has been praised by the press. For this performance, Aphrodite created paintings inspired by the 10 movements of Britten’s work, which were shared with the audience in printed form.

Her operatic roles include Elle (La Voix Humaine), Susanna (Le Nozze di Figaro), Belinda (Dido & Aeneas), Sophie Scholl (Weisse Rose). She has performed in theatres including the Staatsoper Berlin, La Monnaie, Teatro Real Madrid, Greek National Opera.

In 2024/25 season Aphrodite will be bringing her carefully curated “My Bloody Valentine” recital programme to Philharmonie de Paris with Martin Martineau and to the Greek National Opera in Athens and Cologne with Eric Schneider. Her upcoming engagements also include Mahler 4 with Teodor Currentzis (Utopia Orchestra) at Munich’s Isarphilharmonie, Brahms’ Requiem with Rotterdam Philharmonic and Scapino Ballet as well as performing with the Brussels Philharmonic at Concertgebouw Brugges. Additional appearances will include concerts with the BBC Philharmonic and Helsinki Philharmonic orchestras.

Aphrodite has collaborated with conductors such as Kirill Petrenko, Barbara Hannigan, Christian Reif, Dalia Stasevska, Christopher Moulds, Tito Ceccherini, Manuel Nawri and has performed in concert halls such as the Berliner Philharmonic, Concertgebouw Amsterdam, Gothenburg Konserthuset, Barbican London, Elbphilharmonie Hamburg, Konzerthaus Dortmund, Philharmonie Köln, Rotterdam de Doelen, Brussels Bozar as well as in music festivals such as Ojai in California, Klara Festival, Aldeburgh, Ludwigsburg and Sansusi.

Aphrodite creates special projects inspired by her passion for dark romantic themes, incorporating visual elements to set a musical dialogue between folk music and classical traditions, brought to life through her particular accompaniment on the nyckelharpa. She is passionate about expressing her diverse artistry through photography and painting. As a visual artist, Aphrodite has created artwork for the metal band GRINN. Her painting "Luonnotar" has been exhibited in the concert halls where she performed Sibelius' homonymous work. Her illustrated poetry collection "17.5 almost 18" was published by H.O.N. as the 1st Panhellenic poetry prize in 2010. She was also a guest in the company of Sasha Waltz and has been lead singer on tour with the heavy metal band Igorrr. As a songwriter, Aphrodite composes in many different genres. She has co-created the soundtrack of the video game Titan Quest 2.

She has studied folk singing and plays the piano, the guitar and ventures on the nyckelharpa.

Aphrodite will perform RICHARD STRAUSS: Four Last Songs with Fox Valley Symphony Orchestra on March 28, 2026. 

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Youth Orchestra working with Composer Theresa Martin

We are excited to work with composer Theresa Martin on her new composition for our Youth Orchestra. With the concert coming up this weekend, we asked Theresa to say a few words about the piece.

"I think we all have experienced feeling nervous for a big, important event. As a musician, I’ve learned to deal with this nervous energy over time and with practice. Yet after many years of performing, I still have to battle nerves sometimes. 

"Last year, while I was waiting to accompany a difficult solo for a student competition, I stood in a hallway filled with commotion. With nervous energy all about me, I closed my eyes and tried to center myself. Picturing a peaceful image in my mind, I was able to find calm, and the performance was a success.  

"Later, while recalling this moment of peace amidst the storm, I felt inspired to write my latest piece for String Orchestra and piano, Anchor. Oftentimes in life we may feel anxious or scared when a storm is swirling all around us. But if you hold on to your anchor, perhaps you, too, can find hope and peace. 

"I’d like to invite you to experience Anchor with me as it will be performed by the Fox Valley Youth Symphony Orchestra, this Sunday, Mar. 22."

What: Fox Valley Youth and Concert Orchestras Concert

Where: Lawrence University Memorial Chapel, 510 E. College Ave., Appleton, WI

When: Sunday, Mar. 22, 2pm

Tickets