Bourbon Baroque

Founded in the summer of 2007, Louisville-based Bourbon Baroque specializes

in the historically informed performance of 17th and 18th-century music,
inspired by the art and culture of the royal House of Bourbon. Led by historical
keyboardist John Austin Clark and violinist Alice Culin-Ellison, the ensemble
varies in size based on a given programme, performing chamber music to full
operatic spectacles throughout the year in a variety of venues. Through
music, Bourbon Baroque holds collaboration and outreach as its mission.

John Austin Clark, Co-Artistic Director

Director of Music and keyboardist John Austin Clark

serves as founding Producing Artistic Director for
Bourbon Baroque. Mr. Clark operates a private piano
studio (#musicbox1532), is an active accompanist, recit-
alist, vocal coach, and directs/produces musical theatre
and opera including work with Louisville Ballet
(Louisville, Kentucky), CenterStage (Louisville, Kentucky),
Music Theater of Louisville (Louisville, Kentucky),
Pandora Productions (Louisville, Kentucky), and Gulf-
shore Playhouse (Naples, Florida). Mr. Clark made his
debut at Commonwealth Theatre Center this Fall directing William Finn's
"25th Annual Putnam County Spelling Bee" and will direct Kander and Ebb's
"Cabaret" this Spring. He enjoys the musical rendezvous of the Baroque and
Broadway and finds great influence between the two genres.

Alice Culin-Ellison, Co-Artistic Director

Alice Culin-Ellison, violinist and co-Artistic Director of

Bourbon Baroque, is a versatile historical performer
with training in over 400 years of repertoire. As
concertmaster, Alice has led productions of Handel’s
Acis and Galatea and Purcell’s King Arthur, and soloed
with various ensembles. Other professional engagements
include Indianapolis Baroque Orchestra, Chatham
Baroque, Apollo’s Fire, and Les Délices. Also passionate
about education and scholarship, her current research
focuses on 19th-century American chamber music and
she has lectured and given masterclasses on Historical Performance. Alice
recently co-founded Incantare | An Ensemble of Violins and Sackbuts,
specializing in lesser-known repertoire from the late 16th to 17th centuries.
Messiah, HWV 56 Georg Frideric Händel
(1685-1759)

Part One
Isaiah's prophecy of salvation
Sinfony
Comfort ye my people (Reese)
Ev'ry valley shall be exalted (Reese)
And the glory of the Lord (chorus)

The coming judgment

Thus saith the Lord of hosts (Schwartz)
But who may abide the day of His coming (Grabowski)
And he shall purify the sons of Levi (chorus)

The prophecy of Christ's birth

Behold, a virgin shall conceive (Dodson)
O thou that tellest good tidings to Zion (Dodson and chorus)
For behold, darkness shall cover the earth (Schwartz)
The people that walked in darkness (Schwartz)
For unto us a child is born (chorus)

The annunciation to the shepherds

Pifa
There were shepherds abiding in the fields (Myers)
And lo, the angel of the Lord (Myers)
And the angel said unto them (Myers)
And suddenly there was with the angel (Myers)
Glory to God in the highest (chorus)

Christ's healing and redemption

Rejoice greatly, O daughter of Zion (Myers)
Then shall the eyes of the blind be opened (Sutherland)
He shall feed his flock like a shepherd (Sutherland and Beebe)
His yoke is easy (chorus)
 Part Two
Christ’s Passion
Behold the Lamb of God (chorus)
He was despised and rejected of men (Grabowski)
Surely he hath borne our griefs and carried our sorrow (chorus)
And with his stripes we are healed (chorus)
All we like sheep have gone astray (chorus)
All they that see him laugh him to scorn (Bradshaw)
He trusted in God that he would deliver him (chorus)

Christ’s Death and Resurrection

He was cut off (Bradshaw)
But thou didst not leave his soul in hell (Bradshaw)

Christ's Ascension
Lift up your heads, O ye gates (chorus)

Christ's reception in Heaven

Unto which of the angels (Soph)
Let all the angels of God worship Him (chorus)

The beginnings of Gospel preaching

Thou art gone up on high (Lagasca)
The Lord gave the word (chorus)
How beautiful are the feet (Sutherland)

The world’s rejection of the Gospel

Why do the nations so furiously rage together (Lagasca)
Let us break their bonds asunder (chorus)
He that dwelleth in heaven (Soph)

God’s ultimate victory

Thou shalt break them with a rod of iron (Soph)
Hallelujah (chorus)
 Part Three
The promise of eternal life
I know that my Redeemer liveth (Beebe)
Since by man came death (chorus)

The Day of Judgment

Behold, I tell you a mystery (Cerin)
The trumpet shall sound (Cerin)

The final conquest of sin

Then shall be brought to pass (Dodson)
O death, where is thy sting (Dodson and Bradshaw)
But thanks be to God (chorus)
If God be for us, who can be against us (Moyer)

The acclamation of the Messiah

Worthy is the Lamb (chorus)
Amen (chorus)
 Biographies
Rebecca Myers, hailed for her “vulnerability and grace” by the San Francisco
Chronicle performs a wide variety of repertoire across North America. Last
year’s solo performances included singing the role of Parthenope in the world
premiere of David Hertzberg’s The Wake World with Opera Philadelphia as
a part of the inaugural O17 Festival. She also performed in a joint recital with
composer Benjamin C.S. Boyle with Opus Opera at the Opera Guild Home in
New Orleans. Rebecca returned as soprano soloist with Philadelphia’s Prome-
theus Chamber Orchestra to sing Britten’s seldom performed masterpiece,
Les Illuminations and sang on a program of the music of Debussy with the
Philadelphia art song series, Lyric Fest. Equally at home as an ensemble singer
Rebecca sings regularly with The Crossing, the GRAMMY winning vocal
ensemble fully dedicated to the performance of new music under the direction
of Donald Nally. In 2015 she was one of three featured female soloists on the
GRAMMY nominated recording of Thomas Lloyd’s Bonhoeffer sung the The
Crossing. An avid lover of early music as well, Rebecca is a soprano soloist with
Choral Arts Philadelphia for the monthly Bach @ 7 series. Rebecca appears
regularly with Seraphic Fire, Skylark Vocal Ensemble, True Concord, and
The Santa Fe Desert Chorale.

Mezzo-soprano Dianna Grabowski, described as “glamorous” and “glowing-

toned” by the Dallas Morning News, is an active performer of music
spanning the Renaissance through the 21st century. Dianna particularly values
the collaborative nature of classical singing and is constantly inspired by the
generosity of her musical colleagues. As a concert soloist, Dianna has
performed with such groups as TENET vocal artists, Santa Fe Pro Musica,
Dallas Bach Society, Mountainside Baroque, and the Tulsa Oratorio Chorus.
Dianna sings frequently with professional choruses including Santa Fe Desert
Chorale, Grammy-winning ensemble The Crossing, and the Grammy-
nominated Seraphic Fire. Dianna is also a founding member of Armonia
Celeste, an ensemble specializing in the expressive vocal music of the Italian
Renaissance and Baroque. The group's debut album, "Udite, Amanti - Lovers,
Beware!" will be followed by a 2018 release of “The Rebel Queen,” both
released by Centaur Records. With Armonia Celeste, Dianna was featured in
a documentary presented by Early Music Television entitled “Culture Wars of
Venice and the Birth of Public Opera,” and has toured throughout the United
States. Dianna received her M.M. from the University of North Texas in
Voice Performance with a related field in Early Music Performance. In addition
to performing, Dianna teaches in the Voice department at Susquehanna
University and serves as Music Director at Christ Community United
Methodist Church. She lives (and cooks and gardens) in Lewisburg, PA with
her husband, conductor Gregory Grabowski, and two sons, Ben, and Sam.

Acclaimed to have “a beautiful sound” (New York Times), Filipino-American

Enrico Lagasca is enjoying a career in Oratorio, Opera, Chamber Music, and
Recitals with repertoire from Early to Contemporary Music both as Soloist
and Chorister. Regular performances with The Metropolitan Opera Chorus,
Choir of St. Ignatius Loyola, Bach Choir of Holy Trinity Lutheran Church,
St. Thomas Choir of Men and Boys, Musica Sacra New York, Choir of St.
John the Divine, Choir of Trinity Wall Street, TENET Vocal Artists, Santa
Fe Desert Chorale, Conspirare, Ensemble VIII, Skylark Vocal Ensemble,
Bach Collegium San Diego, and Seraphic Fire. Appearances with notable
orchestras including the New York Philharmonic, American Symphony,
Orchestra of St. Luke's, American Classical Orchestra, Pacific Symphony,
Israel Philharmonic, to name a few. Recent solo performance highlights
include Beethoven Symphony no. 9, Haydn The Creation, Bach Mass in B
Minor, Haydn Lord Nelson Mass, Mozart Requiem, Rossini Stabat Mater,
Operatic roles as L’arbre/Fauteuil (L’Enfant et les sortilèges), Collatinus
(Rape of Lucretia), Lorenzo (I Capuleti e I Montecchi). Festival appearances
include the Salzburg Festival, Oregon Bach Festival, Virginia Arts Festival,
Mostly Mozart Festival, Twelfth Night Festival, and the Bard Summerscape
Festival. Enrico has been a guest vocalist with the Mark Morris Dance Com-
pany, Idan Cohen Dance Company, Baltimore Choral Arts, among others.
He has recorded discs with the Philippine Madrigal Singers, ACRONYM,
Bach Choir of Holy Trinity, Choir of Trinity Wall Street, American Symphony
Orchestra, and Santa Fe Desert Chorale. Enrico studied at the University of
the Philippines and at Mannes College of Music. He currently resides in
Queens, New York, is active on social media and you may find him @enricolee.

Elisa Sutherland is a mezzo-soprano known for her detailed, stylistic interpre-

tations of both early and new music. This upcoming season, she will perform
with Philadelphia's contemporary music choir The Crossing, New York
ensembles Ekmeles and TENET, New Chamber Ballet, Grammy-award
winning octet Roomful of Teeth, Cleveland's Apollo's Fire, Santa Fe Desert
Chorale, and her own early and new music sextet, Variant 6. Elisa has
performed as a soloist with the American Bach Soloists, Apollo Chorus of
Chicago, and Quicksilver Baroque, singing Bach's Mass in b minor, Handel's
Messiah, and Buxtehude's Membra Jesu Nostri. In the realm of contemporary
music, she has premiered works with the Contemporary Music Ensemble at
Northwestern University, and performed with the Rowan University Wind
Ensemble. She has sung with LyricFest, Philadelphia's premiere art song concert
series curated by Laura Ward. In addition to winning the Philadelphia
District of the Metropolitan Opera Auditions in 2015, Elisa is the 2014
winner of the Lynne Harvey Cooper Award, and was the first-place winner of
the inaugural Handel Aria Competition at the Madison Early Music Festival in
2013. Recent opera roles include Dido in Dido and Aeneas, Dorabella in Cosi
fan tutte, Meg in Little Women, Ottavia in L'incoronazione di Poppea, and Nancy
in Albert Herring. Elisa is also remembered for her Blazing Saddles - Madeline
Kahn impression in a production of Die Fledermaus.

With a voice hailed as “vivid” (Wall Street Journal) and “unusually sparkling”
(Kansas City Star), Doug Dodson is making his mark on opera and concert
stages throughout the United States in repertoire ranging from the Baroque
to the contemporary. Notable recent engagements include the role of Cupid in
Blow’s Venus and Adonis with the Oregon Bach Festival, Speranza in Monteverdi’s
L’Orfeo with Pacific MusicWorks, Arion in the American premiere of Jonathan
Dove’s Arion and the Dolphin with the Harvard Summer Chorus, The United
Way in the American premiere of Tod Machover’s Death and the Powers with
American Repertory Theater, and Ottone in Monteverdi’s L’incoronazione di
Poppea at the Aldeburgh Music Festival as a member of the prestigious
Britten-Pears Young Artist Programme. As a soloist he can be heard on the
world-premiere recordings of Nicolas Vines’ opera Loose, Wet, Perforated
(Navona Records), James Kallembach’s oratorio The Most Sacred Body
(Gothic), and Viva Italia (featuring works by Charpentier and Sances) on
MSR Classics. Mr. Dodson also performs regularly with some of the country’s
most acclaimed choral ensembles, including Seraphic Fire, Skylark, the South
Dakota Chorale, and the chorus of the Handel and Haydn Society. A native
of Spearfish, SD, Mr. Dodson earned a degree in anthropology from the
University of South Dakota and a master's in vocal performance from the
University of Missouri - Kansas City. He recently made his television debut as
a three-day champion on season 35 of Jeopardy!

Lauded as having a “honey-colored tone” and “the most radiant solo singing” from
Opera News, soprano Jessica Beebe is steadily gaining international attention
as an affecting interpreter of repertoire from the Renaissance to contemporary
American opera. Ms. Beebe has performed as a guest soloist with several
major orchestras across the country including The New York Chamber
Orchestra at Carnegie Hall, The Indianapolis Symphony Orchestra, The
Indianapolis Baroque Orchestra, The Folger Consort, The Princeton Festival
Orchestra, The Philadelphia Orchestra and more. Opera roles performed
include Zerlina, Despina, Barbarina, Gluck's Euridice, Humperdinck's Gretel;
First Niece in Peter Grimes with The Princeton Opera Festival, First Daughter
in Akhnaten with The Indianapolis Opera Theatre, La Gloire in Lully's Alceste
and Purcell's Dido. Highlights of her operatic activity include covering the role
of Lila in the 2016 East Coast premiere of Jennifer Higdon's Cold Mountain with
Opera Philadelphia, joining Norway's Bergen National Opera to cover the
role of the Angel in Netia Jones' hi-tech staged production of Messiah, and in
2017 debuting the role of Luna in David Hertzberg’s The Wake World. Most
recently, Ms. Beebe covered the role of Winnie in Lembit Beecher’s Sky on
Swings with Opera Philadelphia. Ms. Beebe looks forward to her 2018-2019
season which includes engagements with The Crossing, Clarion, and Variant
6, and return solo appearances with Choral Arts Philadelphia, The Folger
Consort, a west coast tour with Piffaro, and a Los Angeles Philharmonic solo
debut in Meredith Monk’s opera, Atlas. For more information on Ms. Beebe
please visit www.jessicabeebesoprano.com

A "superb vocal soloist" (The Washington Post), tenor Steven Soph performs
music spanning the medieval to modern day. In the 2018-2019 season, Steven
makes his Bourbon Baroque and Variant 6 debuts in this program, as well as
his Philharmonia Baroque Orchestra, New Jersey Symphony Orchestra,
Arkansas Symphony, and Champaign-Urbana Symphony Orchestra debuts.
In recent seasons, Steven joined The Cleveland Orchestra for several
programs including the Severance Hall premier performances of Stravinsky's
Threni id est Lamentationes Jeremiae Prophetae conducted by Franz Welser-Möst,
an all-Handel program led by Ton Koopman, and Mozart's Requiem led by
Patrick Dupré Quigley. An active Bach interpreter, Steven has performed as
the Evangelist in the St. Matthew Passion with Chicago Chorale, Seraphic Fire
(Mendelssohn version), Bach Society of St. Louis, Brown University Chorus
and Schola Cantorum of Boston, and Boston University's Marsh Chapel. He
has performed as the Evangelist in the St. John Passion with the University of
North Texas Collegium (1725 version), Concord Chorale, Chicago Chorale,
and Boston University's Marsh Chapel. Steven appeared in Bach's B minor
Mass with Symphony Orchestra Augusta, the Indianapolis Baroque Orchestra,
and Chicago Chorale; Bach's Magnificat with Voices of Ascension, True
Concord Voices & Orchestra, and Seraphic Fire; and BWV 34 with The
Cleveland Orchestra. Steven holds degrees from the University of North
Texas and Yale School of Music, where he studied with renowned tenor
James Taylor. He was a 2012 American Bach Soloists Academy Artist, 2014
Carmel Bach Festival Adams Fellow, and 2016 Oregon Bach Festival Young
Artist. www.stevensoph.com

Known for her “purity and flawless range” (South Florida Classical Review),
soprano Sarah Moyer has been a soloist with orchestras and chamber ensembles
such as Aspen Symphony Orchestra, Lost Dog New Music Ensemble, Boston
Modern Orchestra, Emmanuel Music, Les Bostonades, Boston Masterworks
Chorale, Andover Choral Society, Music at Marsh Chapel, and Trinity
Boston, among others. As a soloist, she has performed world premieres by
Christopher Theofanidis, James Kallembach, and Jake Runestad, as well as
American premieres by Melani and Per Nørgård. She also tours nationally
with choral ensembles Skylark, GRAMMY® nominated Seraphic Fire, Santa
Fe Desert Chorale, Conspirare, GRAMMY® nominated True Concord, The
Thirteen, Spire Chamber Ensemble, and Ensemble Origo. This season’s solo
engagements include Mozart’s Requiem and Theofanidis’ Four Levertov Settings
at Aspen Music Festival, Handel’s Messiah with Variant Six + Bourbon
Baroque, Handel’s Ode for St. Cecilia where she delivered a “golden-toned,
note-perfect, and expressively pure” “time-stopping” performance (Boston
Classical Review) with Emmanuel Music, Handel’s Messiah with Handel
Society of Dartmouth College, Bernstein’s Glitter and be Gay with Mistral
Music, and a solo recital about Celestial Sprites in the Skylark Spotlight
Series. She enjoys spending time outdoors, visiting quirky museums and
roadside attractions, and expanding her refrigerator magnet collection.
www.sopranosarahmoyer.com

James Reese is an avid ensemble, chamber, and solo musician whose singing
has been praised for its “intensity and sensitivity...spirituality and eloquence.”
(Chestnut Hill Local) Highlights of James' 2018-19 season include his Canadian
and Austrian debuts with the Calgary Philharmonic Orchestra and Gallicantus,
and his solo debuts with TENET Vocal Artists, Bourbon Baroque Orchestra,
Delaware Choral Society, St. George’s Choral Society, and the Duke Chapel
Evensong Singers. In addition this year, James will appear with The Crossing,
Santa Fe Desert Chorale, True Concord, and Variant 6. Earlier this season,
James sang an all-Mozart program with Philharmonia Baroque Orchestra,
about which Michael Anthonio of Parterre wrote: “the biggest discovery of the
night for me was tenor James Reese. His clear voice was so effortless.”
Previously, James has appeared in concerts with Philharmonia Baroque
Orchestra, Bach Collegium Japan, the American Classical Orchestra, and at
the Ad Astra Music Festival. He recently made his Carnegie Hall solo debut
in Bach's B Minor Mass with the New York Choral Society, about which the
New York Classical Review wrote, "the high, easy tenor of James Reese...floated
beautifully on its own over the long, gentle lines of the Benedictus." An advocate
for new music, James is a founding member of Philadelphia vocal sextet
Variant 6 (variantsix.com). He appears on The Crossing's release of Gavin
Bryars' The Fifth Century, which won a Grammy for Best Choral Performance
in 2018. He is also a soloist on 2016 Grammy-Nominated Bonhoeffer, released
by the Crossing. He holds degrees from Northwestern University’s Bienen
School of Music and the Yale School of Music.

A graduate of The University of the Arts, Steven Bradshaw is a professional

vocalist and visual artist based in Philadelphia. He appeared as a soloist with
The Philadelphia Chamber Orchestra, Tempesta Di Mare, Bang on a Can,
The Bach Collegium of Philadelphia, and Network for New Music. He is
scheduled to appear as a soloist with the LA Philharmonic for the premier of
Pulitzer finalist: Ted Hearne’s PLACE. In addition to recording and performing
all over the country with Roomful of Teeth, Steven performs regularly with
Seraphic Fire,Trinity Wall Street, Ekmeles, Spire, Blue Heron, Yale Choral
Artists, and Apollo’s Fire. He is a founding member of The Crossing: winner
of the 2018 Grammy for Best Choral Performance. Steven premiered Pulitzer
Prize winner David Lang’s work “Lifespan" for three whistlers and a four
billion year-old fossil, and gave over 300 performances of the work. In addition
to his singing career, Steven is a dedicated visual artist. His artwork has been
featured at Arch Enemy Arts, Stephen Romano Gallery, Gristle Gallery (NYC),
GrindcoreHouse, Philamoca (Philadelphia) Baker-Hezelden (Tucson AZ) and
La Luz De Jesus gallery in Los Angeles California.

Daniel Schwartz, bass-baritone, obtained his bachelors degree in percussion

performance and masters in choral conducting at Temple University, Daniel
studied voice with retired Metropolitan Opera baritone David Arnold. Since
graduating, he has sung with the Opera Philadelphia chorus where he has
performed a number of bit roles such as The Foreman in the east coast premiere
of Oscar. Daniel also sings with The Crossing, a Grammy winning new music
choir, and has been featured as a soloist on their radio broadcasts. In 2014 he
traveled to California to perform Louis Andriessen’s De Materie with the Los
Angeles Philharmonic and seven other singers from The Crossing, who also
made their Carnegie Hall debut that year. Daniel has performed with many
distinguished ensembles such as Piffaro, Tempesta di Mare, and is a founding
member of Variant 6. He has appeared as a Bach soloist with The Choristers
and Choral Arts Philadelphia. He recently performed the role of Captain
Belville with Brandywine Baroque in William Shield’s opera Rosina. Last
year he made his debut as a soloist with The Philadelphia Orchestra for Pat
Metheny and the American Beat. In addition to singing, he holds several con-
ducting positions, including Artistic Director of the Philadelphia Voices of Pride.

Praised for his “burnished tones and focused phrasing,” baritone Jean
Bernard Cerin has charmed audiences throughout the United States, France,
Austria, and his native Haiti. A gifted recitalist, Mr. Cerin won the Gerard
Souzay Prize for best performance of a French Melodie in the 2018 Joy in
Singing International Song Competition. With his Duo 1717 partner, pianist
Veena Kulkarni-Rankin, he gives recitals throughout the country redefining
the limits of a traditional song recital. This season, the two appear at the
Metropolitan Museum of Art and the Detroit Institute of Art among other
venues. On the oratorio platform, the music of J.S. Bach has played a significant
role in Mr. Cerin's recent output. This summer, he sang the bass solos in
Bach’s Mass in B Minor with the American Bach Soloists in San Francisco.
Other oratorio highlights include bass solos in Monteverdi’s Vespers, Handel’s
Messiah, Haydn’s Creation, Mozart’s C Minor Mass, and Kodaly’s Missa
Brevis. This season, Mr. Cerin debuts with the Philadelphia Chamber Music
Society's Gamut Bach Ensemble and appears with the Philadelphia Bach
Festival, the Mendelssohn Club of Philadelphia, and Piffaro Rennaissance
Wind Band. Mr. Cerin did his undergraduate studies in Economics &
Performing Arts at St. Joseph's University. He holds a Master of Music degree
from the New England Conservatory and a Doctor of Musical Arts degree
from the University of Michigan. He serves on faculty at Lincoln University
in southern Pennsylvania. ▪

The Kentucky Arts Council, the state arts agency,

provides operating support to Bourbon Baroque,
Inc. with state tax dollars and federal funding from
the National Endowment for the Arts.
 Bourbon Baroque
John Austin Clark & Alice Culin-Ellison
Artistic Directors

Violin Oboe
Alice Culin-Ellison Sung Lee
Sarah Cranor Sarah Schilling
Anna Maberry
Evan Few Bassoon
Reynaldo Patiño Kelsey Andrew Schilling
Kathie Raymond
Trumpet
Viola Kris Kwapis
Allison Monroe Shannon Walsh
Michael Hill
Timpani
Cello David Davenport
Lara Turner
Erica Rubis Harpsichord
John Austin Clark
Violone
Phil Spray

Variant 6

Soprano Tenor
Jessica Beebe Steven Bradshaw
Rebecca Myers James Reese
Sarah Moyer Steven Soph

Alto Bass
Doug Dodson Jean-Bernard Cerin
Dianna Grabowski Enrico Lagasca
Elisa Sutherland Daniel Schwartz
 Bourbon Baroque, Inc.
Bourbon Baroque, Inc. is a 501(c)(3) not-for-profit organization

Board of Directors
Robert E. Kulp, Jr., president
John H. Clark IV
Benjamin J. Evans

Ticket sales cover only a small percentage of the operating costs

needed to maintain our collaborative programming.

Please consider becoming a member of Bourbon Baroque!

Membership Circle
(as of 11/15/2018)

Rond-Point du Roy | $5000+ Lully Lane | $500+

The Owsley Brown, II Family
Foundation
Mr. & Mrs. John H. Clark, IV
The Robert W. Rounsavall, Jr.
Family Foundation
Rue Rameau | $1000+
Anonymous
Mrs. Harry S. Frazier, Jr.
Mary Moss Greenebaum
Mark Huebsch
Mr. Robert E. Kulp, Jr.
Benjamin J. Evans
Dean M. Karns
Mary and Bob Rounsavall
Handel Heights | $250+
Mrs. G. Hunt Collins
Mark Huebsch
Michael Kirk
Barbara and Paul Ogden
In memory of Nicolas Fortin
Myrna Payne
Gary Pope
Stephanie and Charles Sarasohn
Dr. and Mrs. Robert S. Tillett, Jr.
Mr. and Mrs. William C. Tyler

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Albinoni Avenue | $100+ Cape Couperin | $50+
Helen Blasi Mrs. Gretchen G. Clark and
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Elizabeth and Patrick Geri Fridy
Bruenderman In memory of Nicolas Fortin
Eric Fulton
Lola Burdine Carroll
Rachel and Kevin Gries
In memory of Nancy Albrink Rosanne Hoffmann
Leigh Walton Clark Alex Kah
Barret H. Collins Jan Kottke
Cassandra Culin Mary Larew
Dr. and Mrs. Bobby M. DeWeese Ellen Miller Timmons
Sally MacDonald In memory of Jack Roby
Marilyn Meredith Rosalind Streeter
In memory of Nicolas Fortin
Michael Swansburg Bourbon Baroque | $25+
Delia and Hugh Walker
Laura H. Chipe
Edgar Wallace and William Paula Fangman
Bippus Kris Kwapis
Jonathan York

Special thanks to our hosts:

Garrett and Lane Adams Joan Lindop
Pat Bricking Judith McCandless
Jane and Mike Brown Ellen McKnight
Louise Brown Marilyn Meredith
Kathy Burr Stephanie and Chuck Sarasohn
Stephen Buss Anita Streeter
Margaret Carreiro Pris Tillett
Grace Carswell Carol Toner
Mr. and Mrs. John H. Clark IV Fran Weinstock and Craig Kaviar
Cassandra Culin and Kyle Ellison Stephen Wesley
John Gray and Brent Gettelfinger Ralph Will
Angie Hopperton Wendy Yoder
Kathy and Joe Kremer

P.O. Box 406734, Louisville, KY 40204 | bourbonbaroque.com