Thursday, March 19, 2026

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. 

Buy tickets now!

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



 

 

 

 

 

 


Wednesday, March 18, 2026

My Notes: Learning Music with Dyscalculia

What do you mean you can look at a plate of six cookies and just know there are six cookies?

I was in my 30s when I learned that the average person possesses this inherent ability to group things, and boy was I pissed. Since childhood I knew two things were true: I was bad at math, and I couldn’t play an instrument. 

I don’t ever want to speak for an entire population of people (5% of the world has dyscalculia by current estimates) but I can describe what dyscalculia is like for me. I also feel compelled to share because this very real condition is so rarely discussed. I'll take any opportunity I have to help adults understand the perspective of kids who might be looking through a different lens.

As a kid having undiagnosed dyscalculia meant being incredibly bad at multiplication. This turns out to be a hallmark of the mathematics learning disability, which frequently involves severe, daily challenges with mental arithmetic alongside math anxiety and math avoidance. This avoidance typically develops because someone isn’t as fast to grasp concepts. I wouldn’t have any problem counting money, or telling time on a digital clock though, which would lead to skepticism when I couldn’t finish a multiplication time test. Every report card would read “Does not live up to potential.” 

My first crushing clash with this invisible barrier in a musical sense happened a few years later in my 6th-grade band class. I had fought my parents hard to be able to play the alto saxophone – I thought it was a beautiful instrument, and I was excited to be just like Lisa Simpson. One day, my new band teacher looked at me not playing and asked what my problem was. Frozen, trying to understand what was happening, I told him I was having trouble with my "E's." His response? That I had "a lot more problems than that." 

I quit playing the sax that semester. I was mortified. How could all these kids around me read what was on the page? What was I missing? 

My experience perfectly mirrors the findings in Sheerin Hosseini's study, “The lived experiences of adult musicians with dyscalculia: A heuristic inquiry,” which identified the impact of teachers' actions and shrinking self-esteem as major emergent themes for musicians with this condition. Like many of the ten successful adult musicians studied by Hosseini, those early negative experiences with authority figures chipped away at my confidence. I wasn’t musical. I couldn’t be good. If anything, I could go to Solo & Ensemble to sing with my friends, and that would be the relationship I was allowed to have with music.

It would be six years before I picked up another instrument, this time a keyboard, strictly because I needed an elective. I knew from choir that my ear was decent and my memory wasn't terrible. I initially thought, “I was probably just lazy back then," but quickly realized I couldn't read the notes at the required tempo. Instead, I bypassed the sheet music entirely to get by. I memorized the noises that were supposed to happen when my teacher would play examples, recorded her playing, and let my hands learn to follow suit. It’s been 25 years since then and my hands and ears still remember how to play what I call “The Pony Song” which was the end of the semester tune we needed to get out.

I didn't know it at the time, but I was developing coping strategies that would follow me through years of corporate work. It's amazing what you can do when you accept that you sometimes must adapt what is given to reach an end goal. The study notes that musicians with dyscalculia frequently face specific challenges with reading and memorizing music, counting during resting periods, subdivision, and music theory. My absolute terror of sheet music wasn't a personal failure; it was a textbook symptom of dyscalculia. I was instinctively creating workarounds to bypass my brain's inability to process the musical math. The idea that you can know where that black dot on a line is without counting the lines or spaces to this day seems like a superpower. 

As I got older, I kept trying to connect with music. I bought and sold guitars. I have a bass guitar gathering dust in my basement right now. Interestingly, the only times I felt successful with instruments were when I was playing Guitar Hero (which I was unreasonably good at) or using Rocksmith, a video game that acts as a music teacher. The visual, game-based interface completely removed the traditional math and theory of reading music, allowing me to bypass my dyscalculia.

For a long time, I didn't even know what dyscalculia was. But during my undergrad, an intense fascination with psychology and neuroscience led me to undergo a battery of psychometric tests. The results blew my mind and finally gave a name to the invisible wall I'd been hitting my whole life.

Since then, I've built a family, worked as an executive, and am graduating with my master's degree this fall. The stigma that I carried around with me from a childhood of “not living up to potential” made me afraid to go to college, afraid to do anything even a little related to math and really hindered my own belief in myself. However, like most stories with a happy ending, I met someone who believed in me (so I am marrying him, obviously). I started to accept that maybe I could do more: I got the degrees, read the literature, lowered my walls a little, and am much more comfortable being vulnerable in spaces that will hurt. As a former professional musician himself, when I discussed with him what it’s like to be unable to group items in my mind, he suddenly seemed to completely understand my fears around music. “You can’t subdivide, and you can’t group, obviously reading sheet music will be terrible for you."  Sinfonia is one of the most vulnerable things I will do this year. I'd be lying if I said I hadn't considered quitting every day.

So, we color-code my music and remove anything from the sheet that will distract me from learning it. I have him play the music for me so I can hear what it is supposed to be. Most importantly, we alter the notation from a form that is dense (and convenient for printing) to a form that is arranged by color, shape and one dimension of space.  No counting of lines necessary, no extra noise.

Having dyscalculia means the world isn't always built for how my brain processes information, whether that's multiplying numbers or reading a staff of music. One of the things I learned from the barrage of psychometric tests I took is that my processing speed far exceeds that of the average person, and if we could go back in time and do the same test, I can’t help but wonder if there wouldn’t be a gap there which would have us wondering if that processing speed wasn’t formed through the coping mechanisms created in my childhood experiences. A disability in one place always forces the hand of another place.

If someone out there feels terrified of sheet music or is convinced they aren't trying hard enough, know this: they might just be playing a different mental instrument than everyone else. If you’re a teacher, or musician, spend a few minutes perspective taking what it might be like to be in that 5% of the population. Adapt your tools. Share music with the world. Don't assume that reading sheet music printed in a particular fashion is required to be a successful musician.

Wednesday, September 17, 2025

FVSO welcomes Composer-in-Residence Lawren Brianna Ware

The Fox Valley Symphony Orchestra begins the season on September 20 at the Fox Cities Performing Arts Center. Along with trumpet soloist Michael Henckel, there will be a world premiere from Lawren Brianna Ware. This is Ware's second time working with the orchestra and Dr. Sütterlin is excited to share this new piece with our audience. 

Lawren will be joining us for the pre-concert talk on Saturday, but we checked in with her early to ask what we can expect from the piece. 

Tell us about your last trip with FVSO. What was that experience like? 

Ware: My last trip to visit with the FVSO was AMAZING! It was my first ever orchestral premiere and I was blown away by the kindness and hospitality of Kevin, Jamie, the FVSO, and the concert attendees. They truly made me feel like a celebrity and I thought that my heart would burst with joy and gratitude! And I can't forget to mention that the orchestra's performance of "The Moirai" was HOLY SMOKES INCREDIBLE!!!!!!!!!!!!!!!!!

OK, we would argue that you ARE a celebrity! But please tell us about M31. What was your inspiration? What do you want people to feel when listening? 

Ware: "M31" was a really fun piece for me to write. I went back and forth about the title of the piece but I knew that the composition would deal with the idea of "space" in some way. When I saw that Mazzoli's "Sinfonia for Orbiting Spheres" was programmed as well, a little lightbulb went off in my head and, in a Captain Kirk voice, whispered "Space! The final frontier!" (LOL. Kidding...kind of....) The work is named after the original catalog name for the Andromeda Galaxy (originally called "Messier 31" and then abbreviated to "M31") Andromeda popped into my head because my mother-in-law is a space and science enthusiast and LOVES to talk about Andromeda, haha. Andromeda or M31 is our closest galactic neighbor. While it is significantly larger than our galaxy (the Milky Way), much less is known about it. That unknown is what aided me in the composition of the work. There aren't many moments in the piece that I intended to concretely signify a certain sound or occurrence. My hope is for the listener to use the work as their own exploratory vessel (Trekkies, for you it might act as the Enterprise; for my Star Wars peeps, it might be the Millenium Falcon; or the Executor if you're leaning more towards the dark side...). Listen to the piece and decide for yourself the things that you are discovering as you traverse Andromeda. Did a space monster attack your ship? Did you discover a planet where aliens play jazz on extraterrestrial instruments? Did you narrowly survive a sudden meteor shower? I think you get the picture 😉! During the final seconds of the work, the orchestra crescendos, leading to a thrilling conclusion to the piece. This ending is representative of a spaceship's engines warming up to full power, preparing for a jump to lightspeed to continue on its exploratory journey of Andromeda. 

Trekkies and the Millenium Falcon? OK! We're in! We hope you love working with us as much as we love working with you.  

Ware: FVSO loves to premiere new music so it would be great to see what it is like from your perspective. I absolutely love and appreciate the FVSO's dedication to premiering new music and working with up and coming composers as well as established ones. Its dedication to new music is refreshing and, for me, personally, it's making dreams come true!

What else are you working on or what is coming up next for you? 

Ware: I'm currently working on several projects! A few days after the premiere of M31, I'll be heading to New York (SUNY Brockport) for the premiere of my (our) piece, "Tea Leaves." This composition is a collaborative work between myself and soprano/poet Kaswanna Kanyinda made possible by Opera on Tap Rochester's Jay Red Koh Composer Residency (headed by Seiko Elmore). The work is a multi-movement sound cycle that explores the African Diaspora through the tea trade and addresses the importance of tea in Black culture throughout history. Additionally I am in the early stages of planning for a commission with members of the LunART festival and International Crane Foundation. Finally, on a non-composition related note, I am continuing to love teaching my wonderful piano and violin students (of my private studio, B. Ware Works)!

Thank you all for this opportunity to return to Appleton! Because of the FVSO, Appleton will always have a special place in my heart. 

Come to meet Lawren and enjoy M31 at 7:30pm at the Fox Cities Performing Arts Center on September 20. Pre-concert talk starts at 6:40pm and there is a free post-concert reception after the concert for everyone. 

PURCHASE YOUR TICKETS NOW!

 


Tuesday, September 9, 2025

FVSO Opens the Season with Soloist Michael Henckel



The Fox Valley Symphony Orchestra begins the season on September 20 at the Fox Cities Performing Arts Center. Along with a world premiere from Lawren Brianna Ware, the evening features principal trumpet Michael Henckel. Henckel will perform both the Haydn Trumpet Concerto and a piece by local composer Marty Robinson titled Evensong.

We asked Michael about his years with FVSO and the anticipation for his upcoming performance. 

Tell us about your time with FVSO. How long have you been with us?

I joined the Fox Valley Symphony in the fall of 2000, so this concert will be the start of my 26th season with the orchestra; and what a way to kick off the season by getting the opportunity to be the guest soloist!

What are some of your biggest memories with FVSO?

There are so many to choose from! Technically, this will be my third time soloing with the orchestra. In 2015, I performed the Telemann Trumpet Concerto in D, and it was a wonderful event: the first time I was able to solo in the Fox Cities Performing Arts Center, and three family members were part of the orchestra with me that evening: my wife, Laura (Principal Cellist of FVSO), my daughter, Kayla (violin), and my mother-in-law, Carol (harpsichord)

The other solo opportunity I had with the orchestra was my first season on the holiday concert at Picard Auditorium in Neenah. "Ding Dong Merrily on High" was the piece, but more importantly than the solo opportunity was the fact that several days after the concert I received a hand drawn picture of me playing the trumpet from a young girl who had attended the concert. She brought it to the FVSO office and asked that I get the drawing. That sticks with me still today because I’ve never thought of myself as a role model, but I certainly seemed to make an impression for that young girl that evening.

Other memories include an outstanding performance of the Elgar Cello Concerto by Laura, and the opportunity to perform so many great pieces of the classical literature: Mahler, Brahms, Tchaikovsky, Dvorak, Strauss … and the list goes on!

Why did you pick the Haydn to perform?

The Haydn Trumpet Concerto is truly a staple of the trumpet solo repertoire. As such, I’ve played the first page of the piece many times as part of auditions for various groups. But that limits you from really getting to know the piece as a whole. I performed the Concerto 20 years ago with the Manitowoc Symphony, and I’m excited to get the chance to perform it again with the FVSO. I’ve grown a lot as a musician and a trumpet player over the past 20 years, and my approach to and study of the piece this time around has brought some new discoveries. The piece is very well crafted, has some very beautiful moments, and some playful ones as well.

We’re excited to have Marty’s piece on the program too. 

It is a great honor for me to perform Marty’s piece with the orchestra. Marty and I have known each other for 35 years, and I’m excited to share his piece and his music with the audience. 

Evensong was originally written for saxophone quartet and trumpet. In 2014 Laura was taking a small string orchestra of students from her school on a tour of Italy, and we asked Marty if he had any pieces for trumpet and strings. He didn’t, but said he could reorchestrate Evensong for strings and trumpet. Laura’s group and I performed the piece on several concerts in Rome, and when Kevin and I agreed upon me playing the Haydn, I asked if it would also be possible to perform Marty’s piece as well.

Evensong is inspired by the tradition of Christian evening prayers. The peaceful melodic lines are presented in an introspective and reflective manner.

Thank you to Kevin and the FVSO for this opportunity, and to my friends and colleagues in the orchestra who have helped make the memories over the past 25 years. Thank you to my friends outside of the orchestra for your continued support of my musical passion.

And, a huge thank you to my family: Laura, Kayla, Dylan, and Nolan, for your never-ending love and support and for understanding over the years every time I’ve said, “I’ve got to go practice.”

Come and enjoy Michael's performance at 7:30pm at the Fox Cities Performing Arts Center on September 20. Pre-concert talk starts at 6:40pm and there is a free post-concert reception after the concert for everyone. 

PURCHASE YOUR TICKETS NOW!

 


Monday, August 18, 2025

FVSO's Sensory-Inclusive Concerts for Fall & Spring


Music in Motion, a collaboration event between the Fox Valley Symphony Orchestra, Expressive Therapies, and your Fox Cities Performing Arts Center, is returning for a second season, now with two dates for community members to join in the sensory-inclusive experience. 

Designed with guests of all abilities in mind, Music in Motion blends live symphonic music with a welcoming environment that encourages movement, participation and fun. Attendees are invited to join in the music-making using handheld instruments and colorful scarves (provided at the event), while enjoying flexible seating, consistent lighting, and open areas for those who prefer to move during the performance. 

Musicians from the Fox Valley Symphony Orchestra will perform a mix of modern and classic selections and participate in a Q&A session during the event. “It was a wonderful event. It was so nice to have the orchestra, the players involved, and it was really fun. I think everybody had a good time.”said Maresa, inaugural Music in Motion attendee 

Join your community this season for two themed concerts: 

“Soundtracks” on November 8 at 3 p.m. Featuring music from beloved films and musicals: 1. A New Hope or Cantina Song (from the Star Wars) OR Star Wars Medley 2. Under the Sea (from The Little Mermaid) 3. Let It Go (from the Frozen) 4. Defying Gravity (from the Wicked) 5. Pirates of the Caribbean Medley (from the Pirates of the Caribbean) 6. The Cup Song (from the Pitch Perfect) 
Get tickets for November here!

“Sun, Star, Moon” on March 14 at 3 p.m. A celestial celebration of day and night: 1. Twinkle Twinkle Little Star 2. Moonlight Bay (Wenrich) 3. Counting Stars (One Republic) 4. Rewrite The Stars (from the The Greatest Showman) 5. House of the Rising Sun (Woody Guthrie, Bob Dylan, The Animals) 6. Here Comes the Sun (The Beatles) 
Get tickets for March here!

Friday, June 13, 2025

Symphony Under the Stars Returns!


GRAND CHUTE, WI – The Wisconsin Timber Rattlers and the Fox Valley Symphony Orchestra present Symphony Under the Stars 2025 at Neuroscience Group Field on Saturday, July 26. This is a free event with no charge for parking or admission presented by Network Health, Miron Construction, Community First Credit Union, and Wisconsin Public Radio. The show starts at 7:30pm.

“This concert is truly our love letter to the community,” said Jamie LaFreniere, Executive Director of the Fox Valley Symphony Orchestra. “We want everyone to feel welcome. 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 free event is designed to bring generations together – from toddlers to grandparents – with no tickets and no barriers to participation.

“This night is about FUN,” LaFreniere added. “Whether it’s your first symphony concert or your fiftieth, 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 keep this tradition going strong,” said LaFreniere. “It’s a big production—and our sponsors are the reason we can share it with everyone, year after year.”

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.

FVSO’s music director Kevin Sütterlin has been part of the production since 2019 and loves bringing a unique experience to the Fox Cities. “Imagine your orchestra performing Prince and Ozzy Osbourne. We can’t wait to share this amazing night of music with both our musicians and our audience,” says Sutterlin.

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.

For the first time at this event, 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 a $40 ticket. Patio tables, which seat four, are available for $80 per table and include waitstaff service. Both options are available at this link.

“We are also happy to bring back the open rehearsal during the daytime hours, 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.”

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