BSO Announces Changes to Summer/Fall Performances

The Bloomington Symphony Orchestra Board of Directors has made the difficult decision to suspend full orchestra rehearsals and performances through October 2020. This includes our biannual appearance at Summer Fete, our annual outdoor concert at Arts in the Park, and the opening concert of the year, traditionally held at the beginning of October. We continue to plan for the rest of our 2020-21 season with the understanding that, as the dates approach, public health recommendations may require further changes to our schedule.

Out of an abundance of caution, we are shifting our focus to smaller ensembles that can allow for safe performance conditions for audiences and musicians. As we learn more about best practices which allow us to safely perform as a full orchestra in front of a live audience, and as the restrictions around social gatherings continue to quickly evolve, we will adjust our plans accordingly.  

We remain dedicated to our mission to enrich the lives of our audiences and musicians with outstanding performances of challenging, educational, and thoughtfully selected orchestral repertoire. While we are sad to lose this portion of our season, we hope to see you in person at live chamber music performances, or virtually, as we are planning some online experiences for our audience.

For now, keep an eye on our website and Facebook page where we will announce our plans. You can also sign up for our email list here or add your name and address to our mailing list to receive hard copy announcements by completing this form.

Viola Flute and Clarinets of the Bloomington Symphony Orchestra play
The Musicians of the BSO perform in February 2019 at the Minnesota Masonic Heritage Center (photo credit: Leslie Plesser)
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CANCELLED: Music in 3D #7: The BSO Plays Mahler’s Fifth

The BSO’s Board of Directors is following the recommendations from the Minnesota Department of Health, and cancelling the April 5 concert and related rehearsals. Our Annual Meeting, which was scheduled for Sunday, March 15, is also cancelled.

We are devastated to make this decision since Manny Laureano and our musicians have already put in a great deal of time and effort in preparation. However, the health and safety of our audiences and musicians is at the forefront of our minds, as we make decisions in this unprecedented time.

If you ordered tickets to this concert, please keep an eye on your email. The Masonic Heritage Center will send a message and touch base with patrons to discuss ticket refunds on Tuesday, March 17.

Please address any other questions to our board via our email address: info@bloomingtonsymphony.org.

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Musician’s Musing – March 2020

This month’s musing is written by BSO assistant principal violist, librarian, and personnel coordinator Jon Poupore. We are so happy to have Jon on the BSO’s administrative and musical teams and are thrilled to share his words with you here!

It’s been nearly three years since my husband James and I moved from Maine to Minnesota, and what a wonderful move it’s been. I grew up in Duluth and James spent his teens and early 20’s in the Upper Midwest. I was especially fortunate to be coming back when I did as I was able to spend a quality two years with my mother as she dealt with ovarian cancer. She died a year ago this past January.

James Carlisle (left) & Jon Poupore (right)

I’ve always had a non-traditional relation to music: I’ve sung in choirs my whole life, took up Classical guitar and piano as a young teen, and at age 17 started the viola with a former student of William Primrose. Deciding to attend St. John’s University for pre-medical studies in 1981, I quickly switched over to Viola Performance and haven’t looked back since. It was there that I was roommate for two years with a pianist named Carl, and after losing track of each other for some 35 years, reunited and have since put on a program of Viola and Violin music that we’ve shared over 15 times.

To say I love chamber music does not quite cut it; indeed I get the highest satisfaction when playing quartets. It’s sometimes discouraging that it can be so difficult to pull people together to play, but I currently have several groups and the quality is improving all the time. I’ve started a monthly series called Classical Open Mic at Southdale Center which meets every first Wednesday of the month; join us, bring a piece to share, or sit in the audience. 

I’ve also made a lifelong commitment to understanding the technique of the violin legend Jascha Heifetz, and can say with a high degree of certainty that I have it “figured out.”  I love sharing that knowledge too.  My other music passion is mechanical instruments, particularly something called a Reproducer Piano, which is just a very sophisticated player piano.  I currently have three!

When we moved from Baltimore to Maine in 2007, I slid right into a job as the Librarian for the Portland Symphony Orchestra, an environment with wonderful co-workers, big responsibilities, and enjoyable duties.  I am happy to be bringing some of those skills to my job with the BSO. I also worked Personnel both in Portland and earlier with the Duluth-Superior Symphony in the 1990’s.

Accompanying my move to Minnesota is a commitment to changing my status as musician from professional to amateur, and it’s been a great decision. I also play with the Minnesota Philharmonic Orchestra, one of the world’s few GLBTQA orchestras, and a highly gratifying experience. Eventually I hope to find a local chorus to join.

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Remembering Kristin Brinkmann

By Sara Kleinsasser Tan

Kristin Brinkamn
Kristin Brinkmann, violinist

My first encounter with Kristin was in late August 2014, via a message from the BSO’s website contact form. Her message simply read: “Being on permanent disability from MN Orch and suddenly being relegated to the audience is seriously not agreeing with me. Would you have a spare chair for me here? I miss it too much.”

A short time later, Kristin joined the BSO as a first violinist, where she served as assistant concertmaster, filled in as concertmaster from time to time, led sectionals for the second violin section, and served on the Board of Directors.

If you attended a concert between October 2014 and November 2017, you likely saw a very tall (over six feet!) first violinist who would sit on an unusually tall chair on the outside of the section. She didn’t always stand when the rest of the orchestra rose, and she’d often stay in her chair during the intermission.

In addition to the aforementioned disability, Kristin lived with Parkinsons disease. She was forced to step away from her professional playing with the Minnesota Orchestra, but with the right combination and timing of pain medication, Kristin was able to prepare for and participate in the BSO’s weekly rehearsal. She would embark on the long drive from her home in White Bear Lake, to rehearsals in Bloomington, often arriving early to give her time to move in her heavy chair, and warm up her muscles enough to be able to play.

During her time on the board, Kristin provided me with so much insight that could only come with her extensive musical experience. One example that stands out is the unique perspective she offered on repertoire. One year, Manny had his eye on a certain piece for an upcoming season concert. Kristin knew the piece from her days at the Minnesota Orchestra, and warned against programming it, noting its difficulty for the professional musicians of the MN Orchestra. She was able to suggest alternate ideas that would lead the ensemble to musical success and musicians’ personal satisfaction.

I leaned heavily on Kristin’s editing skills for program notes and grant applications. She vigorously used the Microsoft Word editing feature, enthusiastically placing every comma, correcting many a grammatical error, strictly adhering to her inner style guide, always making sure the BSO was representing itself to the highest standard.

Over the years, Kristin started experiencing more and more pain. Following the November 2017 concert, she stepped away from playing and unfortunately never returned. We have missed Kristin’s playing and presence, but have always been planning on her return to playing and board service. We were heartbroken when we received the news that Kristin died of pneumonia on January 24, 2020, at the too young age of 52.

We humbly offer this tribute, along with the rose on the empty chair, as a memorial to a musician who has left her indelible mark on our organization. We are grateful for her time and service to our musicians and board.

We encourage you to read Kristin’s “Musicians Musings” posted on our website where you can read more of her story in her own words.

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The Colorful Music of Russia :: Concert Preview No. 2

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the final entry of the “Musings” for the “The Colorful Music of Russia” concert that will be performed on Sunday, February 16, 2020.

Symphony No. 4 in F minor, Op. 36

Piotr Ilych Tchaikovsky

Pretend for a moment that you are Tchaikovsky’s Symphony No. 4 in F minor and you’ve won a Grammy for “Most Dramatic Symphony Ever”… or something.

Look, just work with me for a moment.

Your award acceptance speech might go something like this:

“I’d like to thank Rudolph Kündinger for the early private musical lessons that my composer took even, though he never really believed Piotr Ilyich Tchaikovsky (1840-1893) would amount to anything. I’d like to thank the Russian Musical Society and the St. Petersburg Conservatory for not only providing him with an opportunity to further his musical studies but saving him from a life as a civil servant. Next, I’d like to thank his fellow Russian composers for recognizing his talent and even allowing their own works to be influenced by his new style of writing music like me. This group includes that august cadre of nationalist composers known as “The Five.” You know who you are.

(At this point the you wink at composers Balakirev, Cui, Borodin, Rimsky-Korsakov, and also Mussorgsky who—once again—has shown up drunk to the event.)

“Next, I’d like to thank my composer’s dear friend and confidant, Nadezhda von Meck, who stood by him through the tough times, especially that rather unfortunate marriage to that sweet girl, Antonina Miliukova. I recall she was a fine singer but really didn’t understand what she was getting into with him. It was a mess and didn’t last long at all, even by celebrity marriage standards. Anyway, thanks Madame von Meck, for inspiring my composer to work and financially supporting him so he could forge on. I’ll never forget that time you pestered him for an explanation of ‘our’ symphony even though he really didn’t have a specific program. Remember what he wrote to you?:

‘Fate, the decisive force which prevents our hopes of happiness from being realized, which watches jealously to see that our bliss and peace are not complete and unclouded, and which, like the sword of Damocles, is suspended over our heads and perpetually poisons our souls.’

“Dude… a bit much, no?

“Finally, I’d like to thank Almighty Beethoven for the influence that helped fashion that fate theme you all hear at the beginning of the first movement and keep bringing back, much the same way Beethoven used his famous four-note motif. I think it’s the most important part of my compositional structure as a symphony. I do have to mention the oboe solo that sets off my second movement and the unprecedented use of pizzicato in the Scherzo were pretty clever (by the way, the piccolo player would like a little more time playing instead of having to wait two-and-a-half movements before she plays a note—just sayin’). Even though my composer will likely go on to write some great music after me, I would wager that there will be no more exciting ending to a symphony than what he has me do in the Finale. Wow… talk about throwing in the kitchen sink…. good times, good times.”

At this point you make some rambling statements about the Tsar of Russia before you get hustled off the stage by the show’s producers.

A black and white photograph of Piotr Ilyich Tchaikovsky
Piotr Ilyich Tchaikovsky, composer

Join Music Director & Conductor Manny Laureano, for the concert, “The Colorful Music of Russia” featuring BSO Concertmaster Michael Sutton as soloist. The concert takes place on Sunday, February 16, 2020, at 3 p.m., at the Gideon S. Ives Auditorium at the Masonic Heritage Center (11411 Masonic Home Drive, Bloomington)

To learn more about the concert, click here. You can order tickets online through the Masonic Heritage Center Box Office, or by calling 952-948-6506.

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The Colorful Music of Russia :: Concert Preview No. 1

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the first entry of the “Musings” for the “The Colorful Music of Russia” concert that will be performed on Sunday, February 16, 2020.

Two Works by Dmitri Kabalevsky

This concert by the BSO partially features a look into two well-known works by Soviet composer Dmitri Kabalevsky (1904-1987). He, like several other Russian composers, can truly be considered a child of two revolutions, as he began his formal studies in music at the Scriabin School at the age of 15 and later, at the Moscow School.

A black and white photograph of Dmitri Kabalevsky, with his autograph written in blue ink over his chest.
Dmitri Kabalevsky, composer

Upon listening, you can hear that his music is different from that of Shostakovich or Prokofiev even though they were contemporaries. He doesn’t challenge the listener to intensely private moments portrayed in his music or stir the queries of whether there are hidden meanings within it. His music is lyrical, yet never filled with the angst we associate with so many other Soviet composers of the time and hints more at trips to the circus in his youth. There is an enjoyable predictability when compared to other composers that grew up and developed at the same time in the same place as Kabalevsky. It is important to note that Kabalevsky was and still is, recognized for the piano music he composed for children, helping to hone their skills through fingerings and melodic lines that suited young hands with an emphasis on flowing melody lines and harmonies.

The Overture to Colas Breugnon (1938) is a pre-war romp based on the writings of French author Romain Rolland that became Kabalevsky’s first operatic venture. You could say that the boundless optimism of the protagonist suited Kabalevsky’s personality quite well and his music captures Colas’ personality perfectly. It is an early work that required the revisions it received in 1968 but the Overture has remained a concertgoer favorite ever since.

The Violin Concerto in C Major (1948) is a post-war, three-movement work that grabs you by the collar at its opening, releases you only briefly for one poignant slow movement, and then lifts you onto horseback for a wild ride, scimitar and all. Originally written for Igor Bezrodny, a budding Soviet violinist, the work immediately drew praise for the youthful optimism it displays from the start with its Spanish-style rhythms. It is a conversational work that features solo instruments within the orchestra to chatter back and forth with the primary violin solo part. The B? major second movement seems to not be able to contain its penchant for joy (even though it tries to be serious at first!) but remembers its role as a contrasting movement and settles down into peaceful beauty. For the finale, one is advised to buckle up for aforementioned ride, as Kabalevsky alternates from major to minor themes and larger-than-life characters culminating in a cadenza that invite “parental” admonishments from the orchestra. Like a clever child, however, the violin melts the heart and helps us end in youthful triumph, smiles abounding.

Join Music Director & Conductor Manny Laureano, for the concert, “The Colorful Music of Russia” featuring BSO Concertmaster Michael Sutton as soloist. The concert takes place on Sunday, February 16, 2020, at 3 p.m., at the Gideon S. Ives Auditorium at the Masonic Heritage Center (11411 Masonic Home Drive, Bloomington)

To learn more about the concert, click here. You can order tickets online through the Masonic Heritage Center Box Office, or by calling 952-948-6506.

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Dmitri Kabalevsky Stayed at My House by Michael Sutton

Sounds like the title for a children’s book. Maybe it should be.

It’s 1979, and I’m having a wonderful childhood. I go to school, play with my friends, etc. In my mind, it’s nothing out of the ordinary, except that I’ve been a Suzuki violin kid for five years, I practice every day, and I’m starting to get good at it.

Before I go any further, allow me to introduce my parents so this story makes more sense. My loving mother Phyllis is the backbone of the household, taking me to lessons and helping mepractice, while steadfastly supporting my talented dad. His name is Vern, and he is balancing a singing career while also being a professor, and head of the opera department at the University of Minnesota.

I realize now that my childhood was anything but ordinary.

My parents inform me that we are going to have company, and that it isn’t family. They set the usual ground rules, and added a new one; I was not to use the phone while he was here, so that we could focus all of our attention on our guest. That was OK with me, because as a nine-year-old I didn’t really use it that much.

I had no idea who our guest was, just that he was important.

At our South Minneapolis house, near the University, arrives Dmitri Kabalevsky. He is a kindly old man, very tall, softly speaking a language I have never heard before. Thankfully, he has a translator traveling with him! She is magnificent; beautiful and elegant, her English so perfect it sounds fake. She is always there to help, but never in the way. I don’t remember anything she says in particular, except that I am welcome to call her Tatiana, and him Dmitri. It’s a short visit, and he has a busy schedule. But we are able to share some meals together, after which I play my little heart out for him.

Our house and car are his lodging and transportation during his stay, so Dad chauffeurs him to his functions at the University. One magical time, I get to go along. We pile into the front seat of our maroon Chevy Malibu station wagon, Tatiana alone in the back. As I sit in the middle of the bench seat, Dmitri ever so gently cradles my hands, rubbing them like you would a newborn. I feel an overwhelming sense of calm. He turns his head to the side and speaks over my head to his translator. Tatiana explains he is saying I must take care of my hands, as they are my gift.

Fast forward to adulthood.

This part would not be in the children’s book. This part is called “come to find out.” When I was old enough to understand, my parents let me in on a few things about this incredible visit. The University invited Kabalevsky to be their guest as they put on a festival honoring him and his music. He asked to stay in a home rather than a hotel, and we got the nod. This meant a few things were put in place behind the scenes:
That old rotary phone I was told not to use had been tapped by the CIA. I hadn’t even noticed the unmarked van parked next to our house. We were followed everywhere. That’s what happens when a high-ranking KGB agent stays at your house during the Cold War. “Tatiana” as she called herself, was there to make sure Kabalevsky didn’t defect. Our government was making sure she wasn’t here to steal secrets from Minnesota companies who worked with the Department of Defense.

Hearing this for the first time was chilling. But after the initial shock, my memories warmed me back up: I was so grateful I saw the whole event through the innocent lens of a nine-year-old. None of the politics I was oblivious to would ever take away the unspoken emotional bond I shared with my new gentle friend, Dmitri.

A score to the Concerto for Violin, written from Dmitri Kabalevsky to a young Michael Sutton

Come and hear Michael Sutton play Dmitri Kabalevsky’s Violin Concerto on Sunday, February 16, 2020 at 3 p.m. Complete concert information is available here.

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New Works and Old Friends :: Concert Preview No. 4

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the final entry of the “Musings” for the “New Works and Old Friends” concert that will be performed on Sunday, October 6, 2019.

It’s hard to say exactly what it is about Sibelius’ music that has made it such a favorite of Minnesotans. Learning that Sibelius will be played somewhere is cause for bundling up the family and driving a reasonable number of miles of frigid winter darkness to hear it, whether by a local professional ensemble or a community group like your BSO. It may be that we identify with the kind of weather Sibelius knew or the heartiness required to live through a harsh winter. Finns and Minnesotans seem to relish the suffering, whether from sowing the seeds of freedom for a nation or living through just one more season of Vikings Football. In either case, hope springs eternal.

By the time Sibelius set about writing his wonderful Second Symphony, to be premiered just a month away from the promise of spring, he had attained a form of heroic status among musicians and the Finnish public. He also found a place for himself as a conductor of his own music, leading no less than the Helsinki Philharmonic for that premiere. The boy who would be a great violinist found himself in the position of being a voice for his people instead. It seemed the Finns were not in as much need for a star violinist as they were a voice the world would be able to recognize for his superb craft in melody, harmony, and construction.

Black and white photo of a stern looking middle aged man
Jean Sibelius, composer

The dedication to Baron Axel Carpelan, a noted hypochondriac who was unlucky at love and once smashed his own violin in a fit of frustration seems unlikely, but Carpelan had the gift to be a source of inspiration for Sibelius. In fact, he was the fellow who egged on Sibelius to write a the celebrated Finlandia. He continued to badger Sibelius to travel and take in the world so that he could continue to feed his talent. Carpelan was proved right as Sibelius did absorb the ideas that come through exposure to new situations. It was not easy since the recent death of daughter Kirsti Sibelius left an indelible mark on her grieving father. Music was what saw Jean through, nevertheless.

This symphony offers itself as an interesting contrast from the gloomy First Symphony in E minor. This D Major jaunt is sunny from the outset. You can literally feel the sun on your face from the opening bars. That’s not to say that the symphony doesn’t offer moments of introspection and self doubt. It is a deep symphony that speaks poetically. The “walking bass line” of the second movement is just one of the moments of what seems to be a look into the soul of someone whose brain is so busy as to be housing multiple personalities. Sibelius continues his habit of ending movements of his symphonies almost abruptly, without the usual grand ritardando and long held note. He seems to be eager to get on with it.

So he does with his third movement scherzo which is constructed almost exactly like a Beethoven scherzo. Its busyness pauses momentarily for what can only be described as a song for various woodwind soloists with a pastoral quality that makes the interrupting brass that return us back to the scherzo seem like a practical joke, again, much like Beethoven would have done.

The seamless transition to the finale… well, after so many suppositions as to what Sibelius “meant” by this heroic, bold music with its undeniable fervor, it must be left up to the listener to decide whether this is a bit of nationalist pride or an unabashed celebration of D Major merely for its own sake. He negotiates the waters of modulation from major to minor and back again in as expert a manner as one could imagine like characters in an opera. Sibelius pulls out all the stops and, as he does so beautifully in his earlier Finlandia, he makes you wish you were a Finn by the time the last chords ring like a peal of bells.

Join Music Director & Conductor Manny Laureano, for the concert, “New Works and Old Friends” featuring Eastman School of Music Viola Professor George Taylor as soloist. The concert takes place on Sunday, October 6, 2019, at 3 p.m., at the Gideon S. Ives Auditorium at the Masonic Heritage Center (11411 Masonic Home Drive, Bloomington)

To learn more about the concert, click here. You can order tickets online through the Masonic Heritage Center Box Office, or by calling 952-948-6506.

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New Works and Old Friends :: Concert Preview No. 3

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the third entry of the “Musings” for the “New Works and Old Friends” concert that will be performed on Sunday, October 6, 2019.

When you think of composers who had a large output of music of all types, one has to go to the usual suspects like Beethoven, Mozart, and Bach. If one was to further assume that it was one of those aforementioned gentlemen who held some sort of record for the most music written, you would be close but this is serious musicological business, not horse shoes. Nay, that record has to go to Georg Philipp Telemann (1681-1767) with about 900 pieces of music to his credit! This is not bad, considering that the young Georg was almost prevented from fulfilling his desire to be a great musician by his mother who believed that no good could come of this music obsession he had. My favorite quote about that was the admonition from some of the congregants from the Lutheran church he attended that he would turn out “a clown, a tightrope walker or a marmot trainer.” Never have seen a trained marmot, I don’t know that I would have minded that he learn the craft. At any rate, rodents were not in Telemann’s future and he set about studying a wide variety if musical instruments on his own in secret. He wrote and wrote as he matured and traveled to work in many important musical capacities for the great and near great. This came with a cost, however of a couple of marriages that didn’t end well. He did live a long life, dying at the age of 88.

A black and white etching of composer Georg Philipp Telemann wearing a white powdered wig and robes over his writing outfit
Georg Philipp Telemann

Telemann left us with a cornerstone of the viola repertoire, his Concerto for Viola in G Major which was written over a five year period between 1716 and 1721. I’m not sure what the hold up was, but it was the first concerto ever written for the instrument and I suppose he wanted to make sure he got it right. Apparently he did, since the four-movement, slow-fast-slow-fast structure was very appealing. The concerto exploits the wonderful alto voice of the instrument under a variety of articulations and sentiments. If you listen carefully, it will seem that the viola has a uniquely human character and it is perhaps that quality that makes it such a compelling voice to hear in the relationship between instrument and chamber orchestra.

African American violist George Taylor, wearing a robin's egg blue button down shirt, navy suit coat and holding his viola, stands against a colorful wallpapered wall.
George Taylor, viola soloist for the Bloomington Symphony Orchestra concert “New Works and Old Friends” on Sunday, October 6.

Join Music Director & Conductor Manny Laureano, for the concert, “New Works and Old Friends” featuring Eastman School of Music Viola Professor George Taylor as soloist. The concert takes place on Sunday, October 6, 2019, at 3 p.m., at the Gideon S. Ives Auditorium at the Masonic Heritage Center (11411 Masonic Home Drive, Bloomington)

To learn more about the concert, click here. You can order tickets online through the Masonic Heritage Center Box Office, or by calling 952-948-6506.

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New Works and Old Friends :: Concert Preview No. 2

Before each concert, we share “Manny’s Musings,” thoughts from our Music Director and Conductor, Manny Laureano. This is the second entry of the “Musings” for the “New Works and Old Friends” concert that will be performed on Sunday, October 6, 2019.

It is always an interesting debate to discuss what makes composers free in terms of how they express themselves. Are they free when they latch on to a current convention, perhaps writing in a style that is challenging for challenge’s sake? Are they freest when they write for themselves or the listener? This is the debate you may have when you listen to the music of Adolphus Hailstork (born 1941 in Rochester, NY). Hailstork is a true eclectic, as he doesn’t seem to feel the need to wed himself to any one musical language. He is at home in any structure he chooses to write.

African American composer Adolphus Hailstork, wearing a black tuxedo, against an ivory colored background
Adolphus Hailstork, composer

His works cover the gamut of styles and types of ensembles available for musical expression. He has written for band, orchestra, chorus, vocal soloists, and an array of chamber ensembles. This is reasonable, given his equally diverse mentors with whom he studied beginning in the early 1960’s including luminaries such as Nadia Boulanger, who was a prime influence for Igor Stravinsky and Aaron Copland, for example. He also worked with American composers David Diamond and Vittorio Giannini. What you think Hailstork “sounds like” really depends on which of his works you happen to be listening to.

Today, you will listen to his foray into the tonal qualities of the viola with chamber orchestra in Two Romances for Viola and Chamber Ensemble. His conversational and flowing style is a bit like the musical version of a color wheel which holds a melody that wafts from one instrument or sections of the orchestra to the solo viola. The BSO is proud to join the ranks of the Philadelphia Orchestra, New York Philharmonic, Baltimore Symphony, and Detroit Symphonies, to name a few, in this celebration of the music of one of our own American composers.

Join Music Director & Conductor Manny Laureano, for the concert, “New Works and Old Friends” featuring Eastman School of Music Viola Professor George Taylor as soloist. The concert takes place on Sunday, October 6, 2019, at 3 p.m., at the Gideon S. Ives Auditorium at the Masonic Heritage Center (11411 Masonic Home Drive, Bloomington)

To learn more about the concert, click here. You can order tickets online through the Masonic Heritage Center Box Office, or by calling 952-948-6506.

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