About the Performance
Performers
Chicago Symphony Orchestra
Marin Alsop, conductor and co-curator
Laura Karpman, composer and co-curator
Chi-Yuan Lin, guest conductor
Program
8:00 PM – Hunter Pavilion
The Science of Scoring: “Perception & Touch of Evil” Bernard Herrmann: “Scène d’amour” from Vertigo
Arturo Márquez: Danzón No. 2
Henry Mancini: Original scene audio from Touch of Evil
“The Female Lens” Suite Anna Meredith: Nautilus (arr. Jack Ross)
Chanda Dancy: Main Titles from Lawmen: Bass Reeves
Rachel Portman: Main Titles from Cider House Rules
Hildur Guðnadóttir: “Confessions” from A Haunting in Venice
Germaine Franco: Encanto Suite
Natalie Holt: “Hanging Out” from Obi-Wan Kenobi
John Williams: Star Wars Title Theme Conducted by Chi-Yuan Lin
–Intermission–
Leonard Bernstein: Symphonic Suite from ‘On the Waterfront’
Laura Karpman: Unsung: A Symphonic Suite for the Superhero Women of Classic Hollywood (Ravinia commission, Premiere) Theme I: Varinia (Spartacus, 1960) Theme II: Phyllis Dietrichson (Double Indemnity, 1944) Theme III: Annie Johnson (Imitation of Life, 1959) Theme IV: Lady Marian (The Adventures of Robin Hood, 1938) Visual Collaboration: Four Movements in Blind Contour by Suzanne McClelland and Silvia Muleo
Four Movements in Blind Contour
Four Movements in Blind Contour is a visual response to Unsung, a brilliant score by Laura Karpman. Laura wrote scores from preexisting films, for four women characters: Varina, Phyllis, Annie, and Marian. By implementing the blind contour method of seeing, I extended the series of responses that are essential to any work of art.
Blind contour drawing is an observational method in which one draws the edges of a subject in one continuous line without ever looking at the result. It is not about representation. It is seeing beyond looking. The contour becomes a pure line and the edges of a face. The hope is to strengthen the relationship between ear, eye, and hand just as a musician reads the score and plays without looking at their hands.
Silvia Muleo animated these drawings. Working with time as her material, she extends the collaboration, reconnecting the images to the time-based properties of music and film. Together we built a color world, a pace, and a rhythm that responds to the foundation of Laura’s scores and gives new voice to these strong and unforgettable female characters.
–Suzanne McClelland
SAT, JULY 25, 2026 • Pre‑Concert Event – Event Sold Out
Workshop/Performance: “The Science of Scoring”
6:00 p.m. in the Sandra K. Crown Theater
As Oscar-nominated composer Laura Karpman explains it, “the absolute magic of music in film is contingent on a strange bargain between an audience and a composer—it’s pure witchcraft.” Karpman and Ravinia Chief Conductor Marin Alsop lead an interactive presentation with a studio-size ensemble, workshopping sounds that demonstrate “The Science of Scoring” to create heroic, sad, suspenseful, and more moods.
This interactive performance and master class will run approximately 50 minutes, without intermission.
“The Science of Scoring” precedes tomorrow evening’s concert by St. Vincent with the Chicago Symphony Orchestra. Tickets to this special event do not include park admission for the evening, which must be purchased additionally.