Tuesday, June 23, 2026

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.

Tuesday, May 5, 2026

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

Wednesday, April 29, 2026

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

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.

Wednesday, May 21, 2025

FVSO Extends Music Director Kevin Sütterlin’s Contract for Another Three Years

Appleton, WI — The Fox Valley Symphony Orchestra (FVSO) is thrilled to announce Music Director Dr. Kevin Sütterlin has renewed his contract for another three years, continuing his dynamic leadership through the 2027-28 season.

Known for his international accolades and deep commitment to community engagement, Dr. Sütterlin has quickly become a beloved figure in the Fox Valley music scene. From Emmy-winning ensembles to his boundary-breaking co-directorship at Sinfonietta Memphis, Kevin brings a global flair and a heartfelt local touch to everything he conducts.

"Kevin's vision for the orchestra and our community truly inspires me, and I'm so glad we get to keep him with us,” said Jamie LaFreniere, FVSO Executive Director. “I'm excited to continue this adventure and see what comes next.”

Cathy Mutschler, FVSO’s incoming Board President, echoed that enthusiasm: "We're delighted that Kevin has renewed his contract with the FVSO for another term. His technical skill and passion have challenged and elevated our orchestra, and his heart and humor have endeared him to our community."

Sütterlin joined FVSO in 2019 and this will be his second renewal. “I am excited for the next few years with the amazing musicians, staff, board members, and our beloved audience of the Fox Valley Symphony Orchestra,” said Sütterlin. “I look back with pride as we have established the FVSO as one of Wisconsin’s finest professional orchestras, having been nationally recognized and awarded in recent years—and I look forward to continuing on our path of artistic growth through programming that is relevant, challenging, and inspiring. I am particularly excited about the new music we are commissioning and performing—orchestral music does not have to be dusty or old-fashioned—it can (and should!) be relevant to people’s everyday lives; it should be exciting, meaningful, and creative.”

Within the orchestra, Sütterlin’s leadership is equally celebrated. Concertmaster Yuliya Smead shared, "Kevin’s artistic vision for the orchestra is simply inspiring. His programming is broad enough to reach everyone in the audience and on stage. His exceptional musicality breathes new life into pieces, new and old alike."

Under Sütterlin’s leadership, FVSO won two American Prize awards: first place for Orchestral Performance – professional division, and second place for Conducting – professional division.  

And Principal Horn Bruce Atwell said, "After an amazing performance of Mahler's Second Symphony last weekend, I was reflecting on the incredible musical and artistic growth the orchestra has experienced under Kevin's leadership. It was at this moment Jamie let me know Kevin had signed a new 3-year contract! I could not be more thrilled!"

With this new chapter, the FVSO continues its mission of making orchestral music accessible, vibrant, and deeply rooted in community. Whether you're a seasoned subscriber or just dipping your toes into symphonic waters—there’s never been a better time to experience the energy and excellence of the Fox Valley Symphony Orchestra.

About Dr. Kevin Sütterlin:
An internationally sought-after conductor and pedagogue, Dr. Sütterlin is the Director of Orchestral Activities and Opera at Concordia College and co-directs Sinfonietta Memphis, where friendship through music is more than a motto—it’s a mission. A champion of living and underrepresented composers, Sütterlin commissions multiple new works each year, passionately expanding the orchestral repertoire. He brings that same innovation and inclusion to the FVSO stage, ensuring every concert is as fresh and forward-looking as it is rooted in excellence. Sütterlin is one of the country’s leading conducting pedagogues, being praised for his keen analytical eye and deep understanding of conducting technique and physique, paired with a kind and caring approach that has empowered conductors and conducting students across the globe. He leads one of the country’s only undergraduate programs in orchestral conducting that attracts highly talented students from across the world.


About the Fox Valley Symphony Orchestra:

The Symphony's mission is to build bridges of accessibility to orchestra music and to make a positive impact on the lives of everyone in our community. Founded in 1966, the non-profit provides the community with concerts, community outreach programming, and three Youth Orchestra programs. Music Director Dr. Kevin Sütterlin leads the FVS orchestra, with Dr. Luis Fernandez conducting Youth Orchestra, which just had its 50th Anniversary in the 24-25 season. Greg Austin conducts Concert Orchestra, and Adam Brown conducts Philharmonia. The Youth Orchestras serve students from middle school through high school and there are full scholarships available for all three youth groups.

 

Thursday, February 6, 2025

Meet our soloist: Eduard Teregulov

We are delighted to have Eduard Teregulov join us on stage this weekend! Let's find out a little more about the Feb. 8 performance:


Why did you pick this piece to perform? Is there specific significance or do you love the piece? Why?

I am always on the lookout for lesser-known works. How many times have the audience heard cello concertos by Dvořák, Elgar, or Schumann? Those are incredible works, but there is so much more amazing music written out there. Music that deserves to be performed and brought to the audience. I am a strong believer in diversity in classical music, and I am doing my best to contribute to it with my performances. In my opinion, both works by Sam Wu and Matilde Capuis are going to make a great contrasting program that will be engaging to the audience. They pair wonderfully with Debussy’s La Mer and Oceana by Stella Sung.

Have you played this piece before?

No, I haven’t. This will be my first public performance. When FVSO reached out to me about this concert, I was thrilled that maestro Sütterlin agreed to program these works.

Tell us about some of your other favorites.

I am a huge enthusiast for contemporary music and music of the 20th century. Some of my favorite composers are Sofia Gubaidulina, Alfred Schnittke, and Witold Lutosławski. I also love working with living composers. In the past few years, I have commissioned and premiered over 20 works for cello, including compositions for cello and electronics, cello and piano, and solo cello. Some of my late favorites are ROAR by Hannah Rice, Swansongs by Mara Gibson, Tesla Fantasy by Alina Akhmetova, and if/then Kari Watson.

What are you looking forward to about the performance?

I’m very excited to create some amazing music with FVSO and maestro Kevin Sütterlin, and I can’t wait to share it with you all on Saturday, February 8th at the Fox Cities Performing Arts Center. It’s going to be a blast!


Join Fox Valley Symphony Orchestra with Eduard Teregulov on Saturday, Feb. 8 at the Fox Cities Performing Arts Center. Pre-concert talk begins at 6:40pm. Concert starts at 7:30pm.


Purchase tickets here!


More about Eduard Teregulov:

Eduard Teregulov is a winner of international competitions in both Europe and the United States. He started his musical journey at the age of five and now maintains an active career around the country. His recent performances include playing in Carnegie Hall and DiMenna Center in New York City.

Eduard Teregulov is an avid advocate of the music of living and underrepresented composers. Amplifying and creating platforms for artists of today and underrepresented composers is central to his music career. Within the framework of his project on expanding the cello repertoire of the 21st century, Teregulov commissioned and premiered over twenty works for cello, including a cello concerto, works for solo cello, various chamber ensembles, and electro-acoustic compositions. He was invited to perform at festivals, conferences, and concert series including SEAMUS, ChimeFEST at UChicago, Electric LaTex at Rice University, New Music on the Bayou, Music by Women, Branceleoni International Festival, and many others.

Dr. Teregulov holds the position of Assistant Professor of Cello and Double Bass at Concordia College in Moorhead, MN. He is also a founding member of Homegrown New Music Ensemble and the Music Director of the concert series in Fargo, ND - Fugitive Sound Experience.


Wednesday, January 29, 2025

Meet our Composer: Sam Wu

One of the pieces FVSO will perform at the February 8 Oceana concert is cetacean songs by Sam Wu. This fascinating piece is designed to inspire and inform and we can't wait to share this with you. We had a chance to talk with composer Sam Wu, who will also join us at the concert, and asked a few questions about the piece. 

What was your inspiration for the piece? What brought you to this idea?

"cetacean songs is inspired by the complexity of whalesong. While we don't understand what whales are singing and saying, we know that they communicate with specific syntax, repetition, and even regional dialects. To me, the sound of the cello shares a kindred spirit with whalesong; before I wrote the work, I also read a wonderful book by Tom Mustill, How to Speak Whale, which greatly inspired (and informed) me."

What do you want people to take away from the performance?

"I hope people walk away from the performance with an awareness of how little we know about the ocean and its inhabitants, as well as how fragile aquatic ecosystems are. Musically, I also hope people enjoy the vast colors and effects the solo cello explores throughout the concerto––I am so thrilled and grateful to work with the incredible Eduard Teregulov for this performance!"

Tell us a little about your other works.

Much of my music is programmatic––I enjoy creating musical metaphors with extra-musical concepts. Besides whalesong, I have also written music inspired by weather data visualization (Wind Map), the elaborate Shanghai metro system (Mass Transit), and moons in our Solar System that plausibly host liquid oceans (Ocean Moons). I grew up playing the violin, and first fell in love with music playing in youth orchestras; as a composer, I feel most at home writing for the orchestra, and am excited to work with Maestro Sütterlin and the FVSO for the first time!

Sam will join Dr. Sütterlin at the pre-concert talk at 6:40pm on February 8 at the Fox Cities Performing Arts Center. Get your tickets online now!

More about Sam Wu:

Sam Wu's music "abounds in delicate colours, wisps of sound and sylvan textures" (Gramophone). Many of his works center around extra-musical themes: architecture and urban planning, climate science, and the search for exoplanets that harbor life.

Selected for the American Composers Orchestra's EarShot readings and the Tasmanian Symphony’s Australian Composers’ School, winner of an ASCAP Morton Gould Young Composer Award and First Prize at the Washington International Competition, Sam Wu also received Harvard's Robert Levin Prize and Juilliard's Palmer Dixon Prize.

Sam’s collaborations span five continents, notably with the orchestras of Philadelphia, New Jersey, Minnesota, Sarasota, Melbourne, Tasmania, Macao, and Shanghai, the New York City Ballet, National Center for the Performing Arts in Beijing, Sydney International Piano Competition, the Lontano, Parker, Argus, ETHEL, and icarus Quartets, conductors Osmo Vänskä, Marin Alsop, Miguel Harth-Bedoya, Dina Gilbert, and Benjamin Northey, violinist Johan Dalene, and sheng virtuoso Wu Wei.

From Melbourne, Australia, Sam holds degrees from Harvard, Juilliard, and Rice. He is currently on faculty at Whitman College, as their Visiting Assistant Professor of Music in Theory and Composition.


Tuesday, November 5, 2024

World Premiere in November from Lawren Brianna Ware

The only thing we love more than our local soloists is working with composers on new works to premiere on our stage. We are once again blessed to do so in November! 

Lawren Brianna Ware will be in Appleton for the performance of "The Moirai," a commission from April Ann and Kevin Sütterlin as a gift to the Fox Valley Symphony Orchestra, in honor of their dear friend and mother figure Danna Sue Browder Brown, who passed away on August 3, 2024.

She will join us for the concert as well as the pre-concert talk, but let's learn a bit more about the piece so you can come to the talk ready with questions!

Purchase your tickets now for our November 16, 2024 concert!

What was your inspiration for the piece? What brought you to this idea?

The piece was inspired by the concert's overall theme of fate. After speaking with Kevin and learning that the closing piece would be Beethoven's 5th Symphony, I had the idea to tie in the idea of "fate knocking" into my piece. Since my composition would open the concert and Beethoven's 5th would close the. concert, I felt that it would be really cool to create a piece that helped to "bookend" the program with the theme of "fate." I chose a more literal route and composed the piece based on the Fates or "Moirai" from Greek Mythology.

What do you want people to take away from the performance?

My goal in writing is to "create music that makes one feel." Regardless of the feeling (although of course I hope that it is a GOOD feeling), I want the listener/audience to be intellectually stimulated while also experiencing a visceral reaction. Also, I just want the audience to have fun and enjoy the piece. I want them to be transported musically so that they can see the story that I am attempting to tell unfold. 

We are delighted you will be joining us for the concert. Is this the first time you will be joining an orchestra for a world premiere? 

I am SO excited and honored to be joining you! Thank you for the opportunity! And yes, this is my first time joining an orchestra for a world premiere and I am SO PUMPED!!! I have had the opportunity to have pieces read by my school's orchestra, but this is the first time I've had a premiere by a professional orchestra. It's really a dream come true!

Tell us a little about your other works.

I have a wide range of other works with some being very traditional acoustic "contemporary classical" to electronic works. I've had the opportunity to write for many different ensemble types and instrument combinations from orchestra, to wind ensemble, chamber works to electronic music for a comic book. The vast majority of my compositions are programmatic in nature. I focus on telling the stories that I feel need to be told. Those stories, for me, are based on experiences ranging from simply seeing beautiful art or travelling all the way to focusing on topics of mental health, African-American and World history, mythology, literature, and deep emotions. 

More about Lawren Brianna Ware:

Dr. Lawren Brianna Ware, a Gadsden, Alabama native, is a graduate of The University of Wisconsin-Madison where she earned her DMA in Music Composition with a minor in musicology. Compositionally, Dr. Ware’s goal is to “write music that makes one feel.” Although she is an “up and coming” composer, she has begun to secure her place in the world of contemporary classical composition. Dr. Ware’s compositions have  been featured on several professionally recorded albums including Marcus Eley’s Grammy nominee contender (2023) “Perseverance,” Jessica Johnson’s “Sojourn”(2023), the Amernet Quartet’s “Alabama String Quartets (Birmingham Arts Music Alliance)”(2020) and Dr. Cole Bartels’ “On the Brink”(2022). She will be included on upcoming albums by Cobus du Toit (flute) and Lara Downes (piano). Her most recent projects include working as a Lullaby Teaching Artist for the Overture Center’s Lullaby Project, being the inaugural composer and co-founder of the Black Composer Revival Consortium, composing for the Minnesota Consortium for Black American Composers (2020), and composing and releasing an electronic music album in conjunction with comic book writer Jaromir François on the comic My Brother Teddy (2021). 


Friday, October 25, 2024

FVSO Principal Susan Sullivan Takes to the Stage as Soloist

We're looking forward to our upcoming fall concert, Fateful Fifth, on Saturday, November 16 at 7:30pm at the Fox Cities Performing Arts Center. What makes this concert even more special is the soloist is our own Pricipal Bass Susan Sullivan. 

She took time out of practice and teaching to answer a few questions for us about her upcoming performance. 

Why did you pick this piece to perform? 

Solos for bassist are not as plentiful as for violinists or pianists, so there are only a couple of concertos in the repertoire that come to mind when playing with an orchestra. One is the Bottesini, and the other is the Koussevitsky. I am more familiar with the Koussevitsky so I chose it for this concert. And it is so much fun to play the double stops in the first movement!

Have you played this piece before?

I have worked on the first movement as the solo piece required for orchestral auditions but have never performed the concerto for an audience. I am looking forward to playing the entire piece and not just the first movement.

Tell us about some of your other favorites.

I’ll tell you a little secret: at heart, I am an orchestral bass player so most of my musical favorites are in the orchestral realm. I really, really enjoy the sound and texture of an orchestra. The melodies, harmonies, and endless combinations of the instruments melding together is music for my soul. However, playing the Bach Cello Suites is another kind of music for my soul. They are so simple yet complicated. The playing has to be so clean and precise, yet musical. I do prefer the suites played on the bass (but don’t tell the cellists that or I will be ostracized by them!).

What are you looking forward to about the performance?

It is relatively rare for a bassist to be a soloist so I am honored to be playing a concerto with the Fox Valley Symphony. This will be a new experience for me. And it is a new experience for our audience, who, I hope, will enjoy the sound of the solo bass. 


More about Susan Sullivan:

Susan grew up in Stevens Point, WI and has played the bass since 9th grade.  She attended Northwestern University to study with Warren Benfield and Joe Guastafeste, both of the Chicago Symphony Orchestra bass section.  After obtaining a Bachelor of Music degree, she free-lanced in the Chicago area for many years before moving back to Wisconsin.  She is the Principal Bass of the Fox Valley Symphony, and also plays in the Weidner Philharmonic and the Elgin (IL) Symphony Orchestras.  She has been a substitute player in many orchestras in the area, including Madison, Sheboygan, and Manitowoc.

Susan is currently in her 19th year of teaching private bass lessons at the Lawrence Community Music School where she enjoys the chance to work with both children and adults on a one-to-one basis.  For many years, Susan has been leading Fox Valley Youth Orchestra bass sectionals and appreciates the opportunity to pass on her orchestral skills to the next generation of musicians.

Helping the FVSO raise funds for the Youth Orchestras, Susan has been the long-time  bass coach for the Sinfoniac participants.  Once they’ve gotten over the shock of the size of the instrument and have figured out how to get the bass in the car, her section players perform like they were meant to be musicians!

When not playing the bass, Susan enjoys reading, gardening, and testing out new recipes on her FVSO colleagues.

 


Saturday, September 14, 2024

Meet our Soloist!

Our opening night is just ONE week away, and we are delighted to work with Jeanyi Kim on Brahms Violin Concerto in D Major, Op. 77. 

A note from Jeanyi:

I chose the Brahms Violin Concerto because I have always loved it so much! There are so many great violin concertos (Tchaikovsky, Beethoven, Sibelius, Mendelssohn to name a few), but none with quite as much depth of expression and emotion. Along with the Beethoven, it is one that the performer cannot lavish gratuitous display upon, otherwise it detracts from its power. It’s probably one of the most challenging and demanding of the soloist’s technical command and endurance, because of the unidiomatic leaps, arpeggios, double and triple stops and symphonic structure and length. This is a masterpiece written for the violin, but not by a violinist. 

Beautiful and intimate lyricism is there, but it’s interwoven into the greater whole and shared with other instruments in the orchestra (for instance the famous oboe solo in the opening of the 2nd movement.) This is a tour-de-force for both the soloist and orchestra, and definitely a bucket list piece for me!

Although I have played this piece in different settings, I’ve never had the opportunity to perform it with orchestra. I’m so honored and delighted to have been invited by conductor Kevin Sütterlin to solo with the Fox Valley Symphony Orchestra. I couldn’t be more excited and thrilled to meet and collaborate with Maestro Sütterlin and the wonderful musicians of the Fox Valley Symphony Orchestra!!!

Join us on September 21 at 7:30pm for "Ben, Bonds, and Brahms" at the Fox Cities Performing Arts Cetner. Be sure to come early at 6:40pm for the pre-concert talk with Jeanyi and Kevin, and stay late for a free public reception in the lobby.



MORE ABOUT JEANYI KIM:

Jeanyi Kim is the Associate Concertmaster of the Milwaukee Symphony Orchestra, and Concertmaster of Milwaukee Musaik (also known as the Milwaukee Chamber Orchestra). A Toronto native, Kim's command as a violinist and orchestral musician have brought her to illustrious venues around the world, including Carnegie Hall, the Barbican Centre, Salle Pleyel, and the Concertgebouw. As a guest, she has appeared as Assistant Leader of the London Symphony Orchestra (UK) under Sir Colin Davis and Valery Gergiev, Concertmaster of the Kalamazoo Symphony Orchestra, Principal Second of the National Arts Centre Orchestra, and guest musician of the Philadelphia Orchestra. Of her featured solo recital, the Journal Sentinel praised her performance, drawing likeness to that of "a glamorous international star." Kim is equally comfortable in soloist, chamber, and orchestral roles as well as a variety of styles, and her playing has been described as "engrossing…intelligent," and simultaneously having "easy grace" (Journal Sentinel) and "fistfuls of technical fireworks." (Urban Milwaukee) 

Recent solo appearances include performances with the Milwaukee Symphony Orchestra, Milwaukee Musaik Chamber Orchestra, Sunflower Music Festival Orchestra, Kenosha Symphony Orchestra and Sheboygan Symphony Orchestra. A passionate and energetic chamber musician, Kim is a founding member of the Philomusica Quartet, and is a regular artist at the esteemed Sunflower Music Festival. She has performed in a number of prominent chamber music series, including Frankly Music, Dame Myra Hess, Fine Arts at First, Searl Pickett, as well as on radio broadcasts for Wisconsin Public Radio, WFMT Chicago and Kansas Public Radio. In addition, she serves as Vice President of the Board of Milwaukee Musaik. 

A dedicated teacher, Kim has held faculty positions at various institutions, including University of Wisconsin-Parkside and University of New Haven, and during summers has taught at several festivals, including the Eleazar de Carvalho International Music Festival (Brazil) and the Elm City ChamberFest. Under her guidance, many of her students have gone on to win various prizes and honors. Kim is also a frequent adjudicator of competitions. Her major teachers include Erick Friedman, Kyung Yu, Rebecca Henry and Berl Senofsky, and important mentors include Aldo and Elizabeth Parisot, Sidney Harth, and Tokyo String Quartet. As a graduate student at Yale, she served as a teaching assistant to Erick Friedman. Kim holds a DMA from Yale University, where she also earned her BA, MM, and MMA degrees. As an undergrad, Kim was the recipient of the Bach Society Award. 

Kim recorded for a Boosey & Hawkes publication/CD entitled, 10 Violin Solos from the Masters, released by Hal Leonard. She performs on a 1705 Petrus Guarnerius violin. 

She and her husband, violinist and conductor Alexander Mandl, enjoy the adventures of raising their two young children, Miranda and Nikolas, frequenting their favorite coffee shops, biking, sailing, and traveling. 

More information on Philomusica Quartet and Milwaukee Musaik can be found here: www.philomusicaquartet.com 
www.milwaukeemusaik.org

Thursday, September 5, 2024

Meet the Composer!

 

FVSO is excited to welcome Benjamin Krause to Appleton for our Opening Night concert on September 21 at the Fox Cities Performing Arts Center. In fact, he's the Ben in our concert title "Ben, Bonds, and Brahms" so you know we are serious!

Ben's piece is titled "Brief as Lightning" and will start the season and our first concert.

While you can meet Ben at our upcoming concert and ask him questions at our pre-concert talk, we wanted to start with some questions of our own.  

  1. What was your inspiration for the piece? What brought you to this idea?

I knew that this piece was going to serve as a concert opener, basically a fanfare. I wanted to write a quick, energetic, and somewhat flashy piece that contained a lot of variety even within its short span. There wasn’t any specific source of inspiration other than these general musical ideas – the title, “Brief as the Lightning,” came later as I looked for language that alluded to a sense of kinetic, flashy energy. I was drawn to a passage from Shakespeare’s A Midsummer Night’s Dream that compares the wild and fleeting feelings of love to a lightning storm erupting at night. As with a lot of my music, a rhythmic impulse drives the piece forward. Over these rhythms come soaring melodies in the strings, somewhat reminiscent, to my mind, of the jazz-tinged Hollywood scores of the 40s and 50s.

  1. What do you want people to take away from the performance?

I mainly hope that the audience is energized and thrilled by the music. There is a feeling I get from my favorite highly-propulsive pieces that is somehow both visceral and visual, and like all music it mostly bypasses my ability to describe meaningfully in words.

  1. We are delighted you will be joining us for the concert. Is this the first time you will be joining an orchestra for a world premiere? If so, what are your thoughts? If not, how did that feel to experience?

I’m very fortunate to have had a previous orchestral work, Pathways, premiered by the Shepherd School Chamber Orchestra at Rice University and later performed by the Houston Symphony and Indianapolis Chamber Orchestra. Having so many musicians on stage to perform my work is always an overwhelming and slightly intimidating experience for me. Whenever I’m writing a piece of music, I want to do right by the performers, and have them in mind as much as I do the audience or myself.

  1. Tell us a little about your other works.

I write a variety of music within the orchestral, chamber, and vocal or choral worlds. Even though my style encompasses many extremes and contrasts, as a whole I tend to be preoccupied with color and harmony, rhythmic energy, and the relationship between text and music. My Six Lowell Songs for voice and piano showcase impressionistic, colorful harmonies and my interest in poetry. Taxonomies of Pulse is a work for two pianos that, while still harmonically-oriented, is much more focused on energetic rhythmic patterns and the ways in which they can be combined and developed. I have also written a lot of choral music (such as “Hear Our Cry, O Lord”), which tends to be more influenced by early music and the Western sacred music tradition in general. My website is a good place to visit to hear more.


This piece is very special to FVSO, as it was commissioned by our music director Kevin Sütterlin and his wife April in honor of Dr. Monroe Trout, one of our most impactful supporters over the years and winner of the Winston Churchill Leadership Medal. Sadly, we lost Dr. Trout recently, but his legacy will live on with us. 

Join us on September 21 at 7:30pm for "Ben, Bonds, and Brahms" at the Fox Cities Performing Arts Cetner. Be sure to come early at 6:40pm for the pre-concert talk with Ben and Kevin, and stay late for a free public reception in the lobby.