Ravinia 2026 Issue 2

HUNTERPAVILION 8:00 PM FRIDAY, JULY 24 , 2026 CHICAGO SYMPHONYORCHESTRA MARIN ALSOP, conductor and co-curator LAURA KARPMAN, composer and co-curator CHI-YUAN LIN , guest conductor † “ e Science of Scoring”: Perception & Touch of Evil HERRMANN “Scène d’amour” from Vertigo MÁRQUEZ Danzón No. MANCINI Original scene audio from Touch of Evil “ e Female Lens” Suite MEREDITH Nautilus DANCY Main Titles from Lawmen: Bass Reeves PORTMAN Main Titles from Cider House Rules GUÐNADÓTTIR “Confessions” from A Haunting in Venice FRANCO Encanto Suite HOLT “Hanging Out” from Obi-Wan Kenobi WILLIAMS Main Title from Star Wars Chi-YuanLin,conductor – – BERNSTEIN Symphonic Suite from ‘On the Waterfront’ KARPMAN Unsung: A Symphonic Suite for the Superhero Women of Classic Hollywood ° (Visualcollaboration:SuzanneMcclellandandSilviaMuleo) eme I: Varinia ( Spartacus , ) eme II: Phyllis Dietrichson ( Double Indemnity , ) eme III: Annie Johnson ( Imitation of Life , ) eme IV: Lady Marian ( e Adventures of Robin Hood , ) † Ravinia debut ° World premiere, Ravinia commission Ravinia expresses its appreciation for the generous support of Breaking Barriers Sponsors Susan & Don Civgin , Daniela O’Leary-Gill & George Gill , and Ellen Rudnick & Paul Earle . “ e Science of Scoring” BERNARDHERRMANN (1911–1975) “Scène d’amour” from Vertigo Bernard Herrmann, a native of New York City, gravitated toward music at an early age, begin- ning with violin and later pursuing conducting and composition at New York University and e Juilliard School. By his early s, he was already working professionally as an arranger and rehearsal accompanist for the CBS Sym- phony Orchestra, skills that would prove indis- pensable as he moved into lm scoring. He also associated with the Young Composers Group, an ambitious, loose collective of musicians modeled on Les Six, whose members included Aaron Copland, Vivian Fine, and Elie Siegmeis- ter. Hermann achieved his rst major triumph with the score for Orson Welles’s lm Citi- zen Kane . e next years witnessed a string of classic soundtracks, including e Magni cent Ambersons ( ), e Man Who Knew Too Much ( ), Psycho ( ), Fahrenheit ( ), and Taxi Driver ( ), whose recording he completed shortly before his death. One of the most in uential lm composers of the mid- th century, Herrmann earned a reputation for innovative orchestration, a singular com- mand of tension and suspense, and music that shapes the onscreen narrative. Vertigo ( ) was Herrmann’s third Alfred Hitchcock lm, following e Man Who Knew Too Much ( ) and e Wrong Man ( ). In Vertigo , Scottie Ferguson (James Stewart), a detective paralyzed by vertigo a er his partner’s fatal fall, is hired by Gavin Elster (TomHelmore) to tail his mysterious wife, Madeleine (Kim No- vak). Scottie grows obsessed with Madeleine, fol- lows her to the grave of her great-grandmother, Carlotta Valdes, who died of apparent suicide, and watches in horror as Madeleine plunges from the tower of the Mission San Juan Bautista to her death. e grieving detective later encoun- ters Judy Barton (also Novak), who he discovers has been impersonating Madeleine as part of Bernard Herrmann RAVINIAMAGAZINE • JULY 20 – AUGUST 2 , 2026 74