Concert: 13th and 14th
Hill Auditorium, Ann Arbor, Michigan
UNIVERSITY MUSICAL SOCIETY
George Frideric Handel
THE UNIVERSITY CHORAL UNION
Thomas Hilbish, Conductor
Elizabeth Knighton Printy, Soprano Drew Minter, Countertenor Nancy Hodge, Harpsichordist
Paul Groves, Tenor
Stephen Bryant, Bass-baritone
Marilyn van der Velde, Organist
The Ann Arbor Symphony Orchestra
Saturday Evening, December 1, 1990, at 8:00
Sunday Afternoon, December 2, 1990, at 2:00
Hill Auditorium, Ann Arbor, Michigan
Each year, residents of the southeastern Michigan community gather for these annual Messiah presentations, coming together in this great hall to share the glorious music of George Frideric Handel. Whether a participant onstage or a member of the audience, it is a time to reflect on the legacy left by a group of local church choir members who loved to sing choruses from Messiah. Their enjoyment led them to form a "Messiah Club" and then to the official organization of the University Choral Union. The first concert of the Choral Union, on December 16, 1879, included, of course, choruses from Messiah. An announcement on the back of those early programs stated: "The University Musical Society and the Ann Arbor Choral Union have been organized for the purpose of combining all the available talent, vocal and instrumental, both in the University and in the city, and for advancing musical attainment and taste to the highest possible standard."
One hundred and eleven years later, Messiah concerts remain a community collaboration, affirming that Ann Arbor continues to be a thriving environment for the performing arts. Now, as then, singers, instrumentalists, and conductor represent an inspired commingling of university and community talent.
The University Musical Society expresses gratitude to Great Lakes Bancorp for a generous grant m support of these 1990 Messiah concerts, a sponsorship demonstrating an appreciation of and a commitment to the performing arts in our city.
The harpsichord heard in these concerts is by David Sutherland, Ann Arbor.
For the convenience of our patrons, the box office in the outer lobby is open during intermission for purchase
of tickets to upcoming Musical Society concerts.
13th and 14th Concerts of the 112th Season Twentieth Annual Choice Series
Messiah is in three parts. The first celebrates the birth of Jesus, from eager anticipation and prophecy to jubilant fulfillment and thanksgiving. The second part deals with the Passion and its redemptive significance, culminating in the magnificent "Hallelujah" chorus, and the third is a great affirmation of faith, growing from quiet profundity to the ringing jubilation of the chorus "Worthy Is the Lamb" and the final grand "Amen."
Jn order that the continuity of the work be maintained, it is requested that the audience refrain from applause until the end of each part of the program.
Tenor: Comfort ye, My people, saith your God, speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accom?plished, that her iniquity is pardon'd. The voice of him that crieth in the wilderness. Prepare ye the way of the Lord, make straight in the desert a highway for our God.
Every valley shall be exalted, and every mountain and hill made low; the crooked straight, and the rough places plain. Chorus: And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it. Bass: Thus saith the Lord of Hosts: Yet once a little while, and 1 shall shake the heavens and the earth, the sea and the dry land; and I will shake all nations; and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple, e'en the messenger of the covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts.
But who may abide the day of His coming and who shall stand when He appeareth -For He is like a refiner's fire. Chorus: And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.
Countertenor and Chorus: Behold, a virgin shall conceive and bear a Son, and shall call His name EMMANUEL: God with us. O thou that tellest good tidings to Zion, get thee up into the high mountain! Lift up thy voice with strength! Lift it up, be not afraid! Say unto the cities of Judah, Behold your God! Arise, shine for thy light is come; and the glory of the Lord is risen upon thee! Chorus: For unto us a Child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.
Pastoral Symphony: Pifa Soprano: There were shepherds abiding in the field, keeping watch over their flock by night. And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.
And the angel said unto them, Fear not: for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in th'e City of David, a Saviour, which is Christ the Lord.
And suddenly there was with the angel a multitude of the heavenly host praising God, and saying:
Chorus: Glory to God in the highest and peace on earth, good will toward men. Soprano: Rejoice greatly, O daughter of Zion. Shout, O daughter of Jerusalem. Behold, thy king cometh unto thee. He is the righteous Saviour and He shall speak peace unto the heathen.
Countertenor: Then shall the eyes of the blind be open'd, and the ears of the deaf unstopped. Then shall the lame men leap as an hart, and the tongue of the dumb shall sing. Countertenor and Soprano: He shall feed His flock like a shepherd, and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. Come unto Him, all ye that labor and are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. Chorus: His yoke is easy, His burden is light.
Chorus: Behold the Lamb of God that taketh away the sin of the world. Countertenor: He was despised and rejected of men, a man of sorrows and acquainted with grief. He gave His back to the smiters, and
His cheeks to them that plucked off the hair. He hid not His face from shame and spitting. Chants: Surely He hath borne our griefs, and carried our sorrows: He was wounded for our transgressions, He was bruised for our iniqui?ties, the chastisement of our peace was upon Him.
And with His stripes we are healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on Him the iniquity of us all.
Tenor: All they that see Him laugh Him to scorn: they shoot out their lips, and shake their heads, saying:
Chorus: He trusted in God that He would deliver Him: let him deliver Him, if He delight in Him.
Tenor: Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him.
Behold, and see if there be any sorrow like unto His sorrow.
He was cut off out of the land of the living: for the transgression of thy people was He stricken.
But Thou didst not leave His soul in hell, nor didst Thou suffer Thy Holy One to see corruption.
Chorus: Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is the King of glory The Lord strong and mighty, the Lord mighty in battle. Who is this King of glory The Lord of hosts, He is the King of glory.
Chorus: The Lord gave the word: Great was the company of the preachers. Bass: Why do the nations so furiously rage together: why do the people imagine a vain thing The kings of the earth rise up, and the rulers take counsel together: against the Lord, and against his Anointed. Chorus: Let us break their bonds asunder, and cast away their yokes from us.
Tenor: He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
Thou shall break them with a rod of iron; Thou shalt dash them in pieces like a potter's vessel.
The Choral Union invites you to join them in singing the "Hallelujah Chorus." Unless you wish to keep it, please leave the music at the door when leaving.
Chorus and Audience: Hallelujah! for the Lord God omnipotent reigneth.
The kingdom of this world is become the kingdom of our Lord and of His Christ; and He shall reign forever and ever. King of Kings, and Lord of Lords.
Soprano: I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And tho' worms destroy this body, yet in my flesh shall I see God! For now is Christ risen from the dead, the first fruits of them that sleep.
Chorus: Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Bass: Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet.
The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
For this corruptible must put on incor-ruption, and this mortal must put on immor?tality.
Chorus: Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength and honor, and glory, and blessing. Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb forever and ever. Amen.
To Better Serve Our Patrons
Visit the UMSEncore Information Table in the lobby, where volunteers and staff members are on hand to provide a myriad of details about events, restaurants, etc., and register any concerns or suggestions. Open thirty minutes before each concert and during intermission.
'Messiah" -A Triumph Over Adversity
Handel was born in the German city of Halle on February 23, 1685 and died in London on April 14, 1759. Unlike his contemporary Bach, who never left Germany and whose greatness was acknowledged only long after his death, Han?del traveled widely as a young man and did not have to wait for posterity's recognition. After a sojourn to Italy in his twenties, he began writing Italian operas and settled in London at age 26 to write more of them. In Britain, Georg Friedrich Handel became George Frideric Handel and more or less created the enduring English tradition in both choral and instrumental music.
Handel went to England as the most admired composer of Italian operas. When -the popularity of that form began to decline, he converted his effort (and some of his already produced operas) to oratorios, which were, in essence, operas without stage action. Most of these were on Biblical subjects, chosen for the most part from the Old Tes?tament, but not in any true sense sacred works. Messiah, his only oratorio based on the New Testament, was something different. It was not a dramatic work like the oratorios before and after it, but a contemplative one, which Handel called "A Sacred Oratorio."
While Handel was unquestionably the most revered composer of his time, his most beloved work, Messiah, like so many master-works that have moved their listeners most deeply, was created in a period of profound personal distress and represents, in a sense, a triumph over adversity. By 1741, Handel had impoverished himself by spending his own money in unsuccessful attempts to revive opera in London, and he had exhausted himself with work. He had suffered a stroke in 1737 and had been plagued by rheumatism, insomnia, and general depression. He was living a relatively secluded life when Charles Jennens sent him the libretto he had com?piled for Messiah. While Handel described Jennens as "a vain fool crazed by wealth," the libretto seemed to be the stimulus Handel needed to rouse him from his depression. He threw himself into the project and worked
with such drive that the entire composition was finished in just 24 days. To a servant who found him in tears on completing the famous "Hallelujah" chorus, Handel declared: "I did think 1 did see all Heaven before me, and the Great God Himself!"
Messiah was not publicized, but was saved as a surprise for Dublin, where Handel had agreed to give a series of benefit concerts for local charities the following spring. Those present at the rehearsal on April 8, 1742, generated such enthusiasm that at the public premiere five days later, the Music Hall in Fishamble Street was packed to overflowing, and hundreds had to be turned away. The first London performance, however, was not successful, and the score was not published in Handel's lifetime. But the work was received enthusiastically once Handel placed it at the service of London's Foundling Hospital, where he began conducting annual charity performances in 1750.
Altogether, Messiah enjoyed 14 seasons of performances under Handel's own supervi?sion. In several of these, the score underwent substantial changes: pieces were shortened or lengthened, eliminated or added, recomposed entirely, transposed into other keys and for other voices. For example, Handel originally composed the "pastoral symphony" before the Nativity recitatives as a prelude only eleven measures long. In Dublin, however, he ex?panded it by adding a middle section and a da capo, though reverting to the short form in 1754. Handel, by the way, gives it the title Pifa, indicating that it should suggest the sound of pifferi, or shepherds' pipes.
By 1759, Messiah was popular enough to warrant three hearings at Covent Garden. At the third, on April 6, the blind composer made his last public appearance conducting a warmly received performance of Messiah. Eight days later he died: it was Holy Saturday and the morrow of the 17th anniversary of the first Dublin Messiah.
About the Artists
Conductor Thomas Hilbish, Professor Emeritus of Music and Director Emer?itus of University Choirs at The Uni?versity of Michigan, is serving as interim conductor of the University Musical Society's Choral Union and Festival Chorus during the 1990-91 season. At the School of Music, nine of his 22 years were spent as chairman of the conducting department.
Throughout his forty-year career, Professor Hilbish has established himself as one of America's leading conductors of choral music, widely respected for his ability to inspire musicians to achieve levels of performance far beyond expectations. After com?pleting his bachelor's and master's degrees at the University of Miami and Westminster Choir Col?lege, he spent 16 years as supervisor of music at the Princeton Public Schools. During that time, he built the Princeton High School Choir into a nationally recognized ensemble that became the first high school ensemble to receive sponsorship by the U.S. State Department for tours of Europe.
Thomas Hilbish joined the faculty of The University of Michigan in 1965, and one of his first objectives was to form the University of Michigan
Chamber Choir. Under his guidance, the Chamber Choir, like the Princeton Choir before it, became internationally recognized for the excellence of its performances, as it toured through Italy, the Soviet Union, Spain, Poland, Czechoslovakia, and Hungary. Under Professor Hilbish's direction, the Chamber Choir made several recordings, including Menotti's The Unicom, the Gorgon, and the Manticore, which received a Grammy nomination in 1981.
Professor Hilbish has prepared choirs for many distinguished conductors, including Robert Shaw, Thomas Schippers, and Leonard Bernstein. For six years, he served with Bernstein, Erich Leinsdorf, Donald J. Grout, and Leroy Anderson on the Board of Observers of Harvard College. He has been a member of several professional associations and organizations, among them the American Choral Directors Association, and was a board member of the Kodaly Fellowship Program and Choruses of the World in New York City. He has made guest appearances at universities and festivals throughout the United States and abroad.
Known for her versatility as both a mu?sician and an actress, Elizabeth Knighton Printy has performed in or?chestral concerts, music festivals, and on operatic stages. Her recent operatic roles include Donna Anna in Don Giovanni with the Minnesota Opera and the title role in Carlisle Floyd's Susannah with the Tulsa Opera. With or?chestras she has recently sung in an all-Beethoven program with the San Francisco Symphony, Beethoven's Ninth Symphony with the New Jersey Symphony, Handel's Messiah with the Pittsburgh Symphony, and with the San Antonio Symphony. Ms. Printy made her Metropolitan Opera debut in 1987 as Mimi in La Boheme and also portrayed Emma in Mussorgsky's Khovanshchina with the Metropolitan. At New York City Opera, she has sung Marguerite in Faust and Magda in Puccini's La Rondine. Her roles with the Washington Opera include the title role in The Tsar's Bride, Gilda in
Rigoletto, Miss Jessel in Britten's The Turn of the Screw, Micaela in Carmen, and the title role of Handel's Semele. She has also essayed various other roles with the Canadian Opera, the Opera Theatre of St. Louis, the Houston Grand Opera, and the Miami and Vancouver Operas. In addition to the aforementioned orchestras, she has appeared as soloist with the symphony orchestras of Philadelphia, Baltimore, and Seattle. She has also participated in the Aldeburgh Festival, the Carmel Bach Festival, and the Midsummer Mozart Festival in San Francisco.
Now making her Ann Arbor debut, Elizabeth Knighton Printy is a graduate of the New England Conservatory and began her career as an apprentice with the Wolf Trap Opera, where she made her professional debut as Monica in Menotti's The Medium.
Critically acclaimed for his sensitive mu?sicianship and spectacular coloratura, Drew Minter is one of today's most sought-after countertenors. He began his career as a soloist with many of America's most prominent early music ensembles, including the famed Waverly Concert, and first came to international attention in 1983 in the title role of Handel's Orlando at the St. Louis Baroque Festival. Since then, he has appeared throughout the world in other baroque productions, both staged and in concert, and is a favored guest at festivals throughout the world.
The current season sees Mr. Minter with San Francisco's Philharmonia Baroque Orchestra for per?formances of Handel's Clori, Tirsi e Fileno, with the Mark Morris Dance Group singing Handel's L'Allegro at the Brooklyn Academy of Music, and with Chicago's Basically Bach as Tolemeo, in addi?tion to various recitals and concerts. Highlights of last season included L'Allegro and Pergolesi's Stabat
Mater at the Brussels' Opera National, Bach's Mass in B minor with Christopher Hogwood conducting the Handel and Haydn Society in Boston and in New York, Peter Sellars' production of Giulio Cesare in Paris, and the title role of Handel's Floridante at the Goettingen Festival under Nicholas McGegan.
Drew Minter began singing as a boy chorister at the age of nine at the National Cathedral in Washington, D.C. He went on to earn music degrees at Indiana University and the Hochschule fur Musik in Vienna. He won prizes in international vocal competitions in Holland, Belgium, and Boston and was awarded both a Fulbright and a Martha Baird Rockefeller grant. Mr. Minter has been artist-in-residence at Washington University (St. Louis) and is currenty on the faculty of New York's Mannes School of Music. He records for DeccaLondon, Hungaroton, Harmonia Mundi, and Nonesuch, has appeared over German, Swiss, and Hungarian television, as well as on the BBC, CBC, and other European radio networks.
Mr. Minter now makes his University Musical Society debut in these concerts.
Making his first Ann Arbor appear?ance is Paul Groves, who includes Handel's Messiah in his oratorio repertoire, along with Verdi's Re?quiem, the Berlioz Requiem, and Beethoven's Mass in C. His operatic roles include Rodolfo in La Boheme, Tamino in The Magic Flute, Nemorino in The Elixir of Love, Hoffmann in The Tales 0 Hoffmann, and the Templar Knight in Holy Blood and Crescent Moon, a world premiere by Stuart Copeland for the Cleveland Opera. He has per?formed with the Baton Rouge Louisiana Opera, the Shreveport Opera, the Glimmerglass Opera in New York, and for the Ohio Light Opera he has sung in The Gypsy Baron, The Land of Smiles, The Grand Duchess of Gerolstein, Clairette, and The Merry Widow.
While studying at McNeese State University and Louisiana State University, Mr. Groves was awarded the F. G. Bulber and Earl Redding schol?arships and the Baton Rouge Opera Guild Scholar?ship. He was a winner of the Shreveport Opera and Mobile Opera competitions, as well as the N. A.T. S. Young Artist Competition. He was also the winner of a District Metropolitan Audition and a Regional
Metropolitan Opera Audition. He has participated in the master classes of Arleen Auger, Giorgio Tozzi, James McCracken, Martina Arroyo, and Jan De Gaetani. His voice teachers include Marlena Malas at the Juilliard Opera Center and Robert Grayson, tenor.
Elizabeth Knighton Printy is represented by Columbia Artists Management Inc., New York. Drew Minter is represented by Robert Lombardo Associates, New York. Stephen Bryant is represented by Harwood Management Group, Inc., New York.
In recent years, Stephen Bryant has been prominent on Ann Arbor's musical scene as Messiah soloist (1988 and 1989), May Festival soloist in 1989 with Kurt Masur and Leipzig Gewandhaus Orchestra, and as soloist in the Tribute Concert to his father, Donald Bryant, earlier this year. Including these 1990 Messiah concerts, Stephen Bryant's performances under Mu?sical Society auspices number ten.
In both oratorio and opera, Mr. Bryant's bass-baritone voice has been praised as "dramatic, vigorous, and brilliant." In addition to Messiah, his oratorio repertoire includes Handel's Lord Nelson Mass, Bach's St. Matthew and St. John Passions and the B-minor Mass, Mendelssohn's Walpurgisnacht and Elioh, the Brahms and Mozart Requiems, Mozart's Coronation Mass, and Beethoven's Choral Fantasy.
On the operatic stage, Stephen Bryant has sung roles in The Mother of Us All, The Rake's
Progress, Gianni Schicchi, La Traviata, Tosca, Madame Butterfly, The Marriage of Figaro, Don Giovanni, Rigoletto, Romeo and]uliet, and Un Ballo in Maschera, as well as in Gilbert and Sullivan's The Gondoliers, lolanthe, and The Mikado. He made his New York Town Hall debut in 1988 as Lord Sidney in the New York premiere of Rossini's H viaggio a Reims.
Stephen Bryant began his professional career as a member of the Columbus Boychoir School, of which his father, Donald Bryant, was musical director. With the Boychoir, he soloed in Radio City Music Hall, sang on the Bell Telephone Hour and the Hallmark Hall of Fame, and toured throughout the United States and Canada. He obtained a bachelor's degree in vocal performance from Oberlin College Conservatory and a double master's degree in vocal performance and choral conducting from the University of Michigan School of Music, with a minor in theater as well as doctoral studies in vocal performance. In addition to his performance schedule, Mr. Bryant serves as associate professor of music at William Paterson College in New Jersey.
The University Choral Union
Thomas Hilbish. Interim Conductor
Deborah Halinski, Manager
lean Schneider-Claytor, Accompanist
Donald Bryant, Conductor Emeritus
Patricia Reed Amalfitano
Joan M. Bell
Kathryn Foster Elliott
Karen L Keip
Amy K. McGee
Loretta I. Meissner
Carole Lynch Pennington
Alice M. Schneider
Ilene A. Seltzer
Susan E. Topol
Daphne M. Bofetiado Dorothy Brock Marilyn Buss Dixie Cocagne Janice Gutfreund Jan Gyselinck Kathleen M. Higley May Huang Hunter Kathleen P. Kowalski Ann Kathryn Kuelbs Judy Lehmann Loretta Lovalvo Kim Mackenzie Annetta Makowski Alison Matthews Nancy Rae Morehead Susan Morris Trisha Neff Lydia Nichols Joanne Owens Margaret Brewer Perrett Sara Jane Peth Alexandra Reid-Schwartz Cynthia A. Schloesser Michelle Seguin Letitia Shapiro Sue Ellen Straub Patricia Tompkins
Jean Marion Urquhart Barbara Hertz Wallgren Kathleen A. Young
Margo Angclini Barbara Baily Carol A. Beardmore Stefanie Lynn Benjamin Lauretha V. Brown Alice Cerniglia Hannah Clark Mary C. Crichton Ruth Gewanter Rita Heydon Jacqueline Hinckley Nancy Hpuk Jean Huneke Carol L Hurwitz Nancy Karp Carolyn King Patricia Kowalski Deborah J. Kroopkin Lisa Lava-Kcllar Karen Lesser Marianne Page Julie Ann Ritter Anne Facione Russell Jari Smith Joan Stahman Kathryn Stebbins Patricia Steiss Anna Vakil Marianne Webster Barbara H. Wooding Ann F. Woodward
Lubomyra A. Chapelsky Kelly Czerepinski Anne C. Davis Alice B. Dobson Deborah A. Dowson Andrea Foote Valerie Hawksley Nancy Heaton Barbara Hilbish Lorce Kallay Sally A. Kope Judy Lucas Frances Lyman Lois P. Nelson Anne Ormand
Shirley Parola Mary B. Price Joan M. Roth Carren Sandall Margaret Sharemet Cynthia J. Sorensen Carol Spencer Alice Warsinski Wendy White Janet Yoakam
Charles R. Cowley
Fr. Timothy J. Dombrowski
Forrest G. Hooper
Robert E. Lewis
Robert K. MacGregor
Helen F. Welford
Steve M. Billcheck Rupert de Salis Stephen Erickson Dwight L Fontenot Gary M. Gatien Albert P. Girod.Jr. Marshall J.Grimm Martin G. Kope Mike Needham David M. Rumford Henry Schuman Carl R. Smith Gary M. Ward
First Basses Mark D. Anema Michael Brand Robert R. Brewster John M. Brueger Howard Cash Charles Cocagne Mark A. Davis JohnJ. Dryden Philip Gorman Marcus Hertlein Vince Krause Charles Lovelace Sol Metz
Mark Nelson James C. Schneider Donald R. Williams
Victor Abdella James David Anderson Kee Man Chang Edward Curtis
Don Faber Howard Grodman Geoffrey Henderson Charles F. Lehmann William P. McAdoo W. Bruce McCuaig Marshall Schuster William A. Simpson
JeffSpindler Robert Stawski Robert D. Strozier Terril O. Tompkins Stewart L Tubbs Thomas G. Zantow
The Ann Arbor Symphony Orchestra Carl St. Clair, Music Director
The Ann Arbor Symphony Orchestra was founded in 1928 by a group of dedicated volunteer musicians with the goal of establishing a community orchestra that would give the area's many talented musicians an opportunity to perform. Though the orchestra has undergone many changes since then, the underlying concept of featuring musicians with ties to Ann Arbor remains intact.
With the appointment of Carl St. Clair as music director in 1985, the Ann Arbor Symphony has become a thriving organization. In addition to its regular subscription concerts, the Symphony has received regional and national acclaim for its Education and Outreach program. Last year, the Ann Arbor Symphony Orchestra was recognized by the Washtenaw Council for the Arts with an "Annie" Award for Excellence in the Performing Arts.
Concertmaster Liz Avsharian Linda Etter Valjaskiewicz Tim Kopf Katie Rowan I-aura Rowe Judy Wayman-Yamada Cyril Zilka
Lisa Tarzia James Thompson
Korey Konkol Cathy Franklin Kathcrinc Jackson Carol Palms Carolyn Tarzia Nancy Thomas
Richard Mattson Margot Amrine Rob Baxtresser John Cunningham Andrew Rubin Tim Smith
John Kennedy Scott Hamed Maricarmen Rivera Richard Worn
Lorelei Crawford Kristin Wiedenmann
"Derek Lockhart Timothy McFadden