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Tuesday, November 9, 2021, 7:30 pm University of Connecticut School of Fine Arts Anne D'Alleva, Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents
The Lenard Chamber Series
Castalian Quartet Sini Simonen, violin Ruth Gibson, viola
Daniel Roberts, violin Christopher Graves, cello
Media Sponsors
David Rowe Artists 24 Bessom Street, Suite 4 Marblehead, MA 01945 USA (781) 639 - 2442 www.davidroweartists.com www.castalianstringquartet.com
PROGRAM String Quartet in F Major, K. 590 “Prussian” Wolfgang Amadeus Mozart (1756-1791) Allegro moderato
Andante Menuetto & Trio. Allegretto Allegro
String Quartet No. 1 (Kreutzer Sonata) Leoš Janáček (1854-1928) Adagio - Con moto
Con moto Con moto (Vivace. Andante) Con moto (Adagio)
-IntermissionQuartet in D minor, Op. 56 (Voces intimae) Jean Sibelius (1865 - 1957) Andante – Allegro molto moderato
Vivace Adagio di molto Allegretto (ma pesante) Allegro
The Castalian String Quartet appears by arrangement with David Rowe Artists.
BIOGRAPHY
In the decade since its formation, the London-based Castalian Quartet has distinguished itself as one of the most dynamic, sophisticated young string quartets performing today. Recipient of the Royal Philharmonic Society’s 2019 Young Artists Award, the Quartet also received the prestigious inaugural Merito String Quartet Award and Valentin Erben Prize in 2018, has won a Borletti-Buitoni Trust Fellowship Award, and is beginning to gain international acclaim as they take their talents abroad. The Castalian Quartet will have their debut performances in Seattle, San Francisco, New York, Atlanta, Vancouver, and many other cities across North America in the 2021-22 season.
In February 2019, the Quartet was joined at Wigmore Hall by guest artists Stephen Hough, Cédric Tiberghien, Michael Collins, Nils Mönkemeyer, Isabel Charisius and Ursula Smith to perform the chamber music of Brahms and Schumann. The Guardian (UK) raved, “To hear this music, so full of poetry, joy and sorrow, realized to such perfection, felt like a miracle.” Other pre-Covid highlights included debuts at the Paris Philharmonie and Vienna Konzerthaus; performances of the complete Haydn Op.76 Quartets at Wigmore Hall; concerts in the Tel Aviv Museum of Art, Heidelberger Frühling, East Neuk, Zwischentöne Festival in Engelberg, Neuchatel Chamber Music in Switzerland and Banff International Festivals. Further afield they undertook tours of China and Colombia. Formed in 2011, the Castalian Quartet studied with Oliver Wille (Kuss Quartet) at the Hannover University of Music, Drama and Media, graduating with a Master’s degree. In addition to the above, awards include Third Prize at the 2016 Banff Quartet Competition and First Prize at the 2015 Lyon Chamber Music Competition. The Quartet was selected by Young Classical Artists Trust (YCAT) in 2016. They have received coaching from Simon RowlandJones, David Waterman and Isabel Charisius. Ruth Gibson makes her debut with the quartet this season. Their name is derived from the Castalian Spring in the ancient city of Delphi. According to Greek mythology, the nymph Castalia transformed herself into a fountain to evade Apollo’s pursuit, thus creating a source of poetic inspiration for all who drink from her waters. Herman Hesse chose Castalia as the name of his futuristic European utopia in The Glass Bead Game. The novel’s protagonist, a Castalian by the name of Knecht, is mentored in this land of intellectual thought and education by the venerable Music Master.
Tuesday, November 9, 2021, 7:30 pm Jorgensen Center for the Performing Arts
The Lenard Chamber Music Series
Castalian Quartet PROGRAM NOTES Quartet No. 23 in F Major, K. 590, “Prussian” Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) In the spring of 1789, having little to occupy him in Vienna and few prospects of remunerative work anywhere, Mozart accepted an invitation from Prince Karl Lichnowsky to accompany him on a journey to Berlin. During his stay there, Mozart was presented to Friedrich Wilhelm II who, in 1786, had succeeded his uncle, Frederick the Great, as King of Prussia. Like his celebrated predecessor, Friedrich Wilhelm showed a strong predilection for music, only instead of the flute, he played the cello, on which he was quite proficient. When Mozart returned home to Vienna in June, he brought with him a commission from the King for six string quartets and as many easy piano sonatas for his eldest daughter, the Princess Friederike. Unfortunately, Mozart never lived to carry out the complete commission. The only one of the six piano sonatas he was able to write for the Princess was that in D Major (K. 576), his last work in this form. Likewise, only three of the six quartets were finished: No. 21 in D Major (K. 575), No. 22 in B flat Major (L.589), and No. 23 in F Major (K. 590), and these too, were to be his last. It is possible that he might have completed all six quartets had not a series of financial and family worries beset him. He managed to turn out the first of these so-called “King of Prussia” Quartets by the end of June 1789. But the intervention of his wife’s and his own illness, plus the necessity of working on his latest opera Così fan tutte, caused him to lay the rest of the Berlin commission aside. Ultimately, he got back to the “King of Prussia” Quartets, finishing two more in May and June 1790, though his heart
was not in his work. It is surprising, therefore, that they have retained their freshness and spontaneity right up to the present day. It is not surprising, however, that these three quartets for Friedrich Wilhelm allot such prominence to the cello part. After all, they were intended not only for the enjoyment of this royal patron, but they were actually meant for him to play. Shortly after their completion, Mozart, hard-pressed for funds, was obliged to sell them very cheaply. When they were published in 1791, just after his death, the omission of the dedication to the King may have been the result of an oversight, yet the cello parts stand as an irrevocable dedication to the musical monarch. The first movement of the Quartet No. 23 in F Major (K. 590), a lively and often brilliant Allegro moderato, has an opening theme with a propulsive downward run that dominates much of the music. Quite expectedly, the cello takes a leading role in setting forth the principal material. Harmonically and even stylistically, the second movement, Andante, seems to presage the music of Schubert. Alfred Einstein called this “one of the most sensitive movements in the whole literature of chamber music,” one which “seems to mingle the bliss and sorrow of a farewell to life. How beautiful life has been! How sad! How brief!” In the Menuetto, Allegretto, seven-bar phrases are contrasted with equally unique five-bar phrases in the trio or middle section. Also unusually inventive is the final Allegro, in which a portion of the opening theme is employed as counterpoint to the second subject. String Quartet No. 1, Op. 56, “Kreutzer Sonata” Leos Janácek (Born July 3, 1854, in Hukvaldy; died August 12, 1928, in Morava-Ostrava) Leos Janácek was a composer of great originality and independence who devoted an important part of his work to two great causes that commanded his interest. One was the advancement of the native Slavic cultures in the regions that became Czechoslovakia and their preservation from the powerful German-speaking societies around them. The other was concern for the condition of women, which
provided the subject of this quartet and of several of his operas and other works. Janácek began his musical career as a choirboy in Brno. Later, he studied in Prague, Leipzig, and Vienna, but he returned to Brno to teach; he spent almost all of his adult life there. As a young man in his twenties, he wrote a string quartet that disappeared for many years but was rediscovered long after his death. In the interim, the present work, composed in 1923, was known as his String Quartet No. 1. Like many of his works, it is music with literary associations. The idea for this work originated in 1908, when Janácek wrote a trio for piano, violin, and cello inspired by Leo Tolstoy’s story, “The Kreutzer Sonata,” a tale of adulterous passion aroused by performance of the Beethoven Violin Sonata, Op. 47, known as the Kreutzer Sonata. Janácek’s trio was performed in 1909 but was subsequently lost or destroyed. He may have used some of the material in this quartet, which would explain how he was able to write it in just one week, during the autumn of 1923. Shortly after the first performance in 1924, he wrote to a friend, “I had in mind an unhappy, tortured, beaten woman, as Tolstoy described her.” Tolstoy ascribed “the most immoral effects” to music, but Janácek contended that his music was a moral protest against male despotism over women; he intended to base his work on Tolstoy’s Anna Karenina, and, like his 1921 opera, Katya Kabanova, to have as its subject an unhappily married woman who takes an unworthy lover and dies tragically. The general mood of Tolstoy’s story, rather than its specific events, is directly reflected in Janácek’s yearning, brooding String Quartet. The first movement opens Adagio and then becomes Con moto, with two germinal motives. He uses the first motive, thought to be associated with the heroine’s desires, again in the second and fourth movements. The second movement, Con moto, a kind of polkascherzo, was probably patterned after one by the Czech composer, Bedrich Smetana, from his autobiographical quartet, From My Life. Janácek derives his main theme from the opening theme of Smetana’s work. The throbbing, passionate, slow movement begins Con moto with a theme related to one in Beethoven’s Kreutzer Sonata; it goes on to an agitated middle section, Vivace, and
closes with resignation, Andante. The music drama of the quartet reaches its climax in the anguished finale, which is based on the theme of yearning from the first movement. It begins Con moto and concludes with a brief Adagio. String Quartet in D minor, Voces Intimae, Op. 56 Jean Sibelius (Born December 8, 1865, in Tavastehus, Finland; died September 20, 1957, in Järvenpää) In the early 20th century, Jean Sibelius’s string quartet was said to be equal in both mastery of form and profundity of expression to the last works of Beethoven, and his symphonies were said to constitute a body of the kind of art called "immortal." A later generation decided that Sibelius did not belong with the infinite, universal masters, most of whom were German or Austrian, but with the finest members of the other national schools of composition in Europe: Russian, Czech and Norwegian, for example. The old notion that Sibelius was a solitary figure, alone and separate from Europe on the distant Karelian peninsula, was inexact. He was an international figure, who studied in Berlin and Vienna and made concert tours to the principal cities of Europe, and was even appointed to the French Legion of Honor. He often went to England, where he was very popular and where he completed this quartet in 1909. He taught for a while at the New England Conservatory of Music in Boston, and Yale awarded him an honorary degree. This quartet is the only one that Sibelius published, but it is not the only one he composed. In his youth, when he was an excellent violinist and passionate chamber music player, he wrote three quartets, and he even gave one of them an opus number before he decided to withdraw it. In later life, he announced others to be in progress, but like the long awaited Eighth Symphony, they never appeared. The time in which this quartet took form was a difficult period for Sibelius. In 1908, the year after he had finished his light spirited Third Symphony, he fell ill with a suspected malignant growth that was removed only after a series of difficult and unpleasant operations. Although he insisted on continuing his busy schedule
of public appearances as conductor, it was a long time before he knew that his life was not in danger. His bitter Fourth Symphony is a fruit of these years, as is this quartet. He was allowed "no liquor, no cigars," he wrote to a friend. "The new regime has been of benefit to my work. When I dispensed with these narcotics, I found that I could feel and think with true intensity." He began the quartet in December 1908 and completed it in March 1909, in London. Intensity of musical thought and depth of feeling are the principal characteristics of the quartet. Sibelius gave it a title, a rare and revealing one. He called it, in Latin, Voces Intimae (Inner Voices.) His technical procedures resemble those in the symphonies of the time. The five movements are organically related through the alteration and reuse of tiny musical components, rather than through cyclic repetition of entire themes. We hear instant and constant development, running figures, repeated notes and tremolos, pronounced contrary motions, silent pauses, themes that slip across bar lines, much attention to spacing and texture, contrast in tension, and almost obstinate repetition. All these procedures are set within the orderly frames of movements. The first movement presents some basic material in a slow introductory section, Andante, and begins to develop it immediately upon the quickening of the tempo to Allegro molto moderato. At the end, there is a coda, Più moderato that runs directly into the buzzing, busy, scherzo like second movement, Vivace. Next comes the slow movement, Adagio di molto, free in form but always lyrically expressive. Another fast movement, Allegretto (ma pesante), that is shaped more nearly like the classical scherzo, follows. A forceful finale, Allegro, brings the quartet to an end. Program Notes by Susan Halpern, 2021.
The Lenard Chamber Music Series
SPRING 2022
Esme Quartet
Tues, Mar 29 7:30 pm
Isabel Leonard, mezzo-soprano
Tues, Apr 5 7:30 pm
jorgensen.uconn.edu All Spring 2022 events go on sale Monday, Dec. 6 at 10 am. The Lenard Chamber Music Series is made possible through the Lenard Chamber Music Endowment. Thanks to the Lenard Endowment, UConn students, non-UConn students, and youth under 18 are invited to attend all chamber events for free.
CoSt ★rs Jorgensen Center for the Performing Arts
2021 - 2022 Chair: Lin Klein $500 per person, $1,000 per couple Shareen Hertel & Donald Swinton Elena Sevilla & Paul Aho Marsha Hilsenrad Mona & Greg Anderson Jan Huber Deborah Walsh Bellingham Blair T. Johnson & In Memory of Blanche Serban Dr. Bruce A. Bellingham Lynn & Harry Johnson Ruth Buczynski Janet & George Jones Carol Colombo In Memory of Paul Colombo Catherine & Davey Kalonia Lin & Waldo Klein Anne D’Alleva James Knox Madison & Bob Day Becky & Scott Lehmann Susan & John DeWolf Jean & John Lenard Judy & Peter Halvorson Gene E. Likens & Patricia Hempel Leola G. Spilbor
Sue & Lester Lipsky Margarethe & Matthew Mashikian Antonia Moran Jane & Robert Moskowitz Rita Pollack Constance & Rodney Rock Nancy & John Silander Beverly Sims & William Okeson Anne & Win Smith Maurice Thompson
Join the CoStars, Jorgensen’s Active Volunteers! The CoStars is a special group of volunteers who generously donate not only $500 per person, but also their talent and time. The invaluable CoStars support Jorgensen through community advocacy by creative fund-raising activities, and by hosting pre- and post-concert receptions that often feature world-class luminaries. The CoStars have been instrumental in the purchase of the new portable chamber stage and acoustical shell, a new Steinway Model D Concert Grand Piano, funding the JOY! Conservatory Program, the installation of the exterior Jorgensen message center, the renovation of the Jorgensen Gallery, and continued support of Jorgensen programming. By becoming a CoStar, you’ll join with other vibrant, thoughtful and devoted arts lovers who have made Jorgensen’s success a priority. CoStars receive an honorary membership in the Jorgensen Circle of Friends at the Producers Circle level. Benefits include early ticket ordering privileges for one full year from the date of enrollment; reserved lower-level parking in the North Garage, providing a speedier exit after each Jorgensen event; and recognition in the Jorgensen playbill.
As a Special Thank You... An Invitation to the CoStars CoStar members receive an exclusive invitation to attend the Annual Sneak Peek hosted by Jorgensen Director Rodney Rock. This party offers attendees an exciting preview of the coming season – prior to the public announcement. Join the CoStars and be the first to know what’s new! If you are interested in becoming a CoStar, please contact Rodney Rock at 860-486-1983, or by e-mail at rodney.rock@uconn.edu.
Jorgensen
Circle of Friends 2021-2022 Become a Friend of Jorgensen!
We invite you to join Jorgensen’s Circle of Friends, a group of generous arts supporters who over the years have made vital contributions to Jorgensen’s special projects, commissioned works, and interior restorations. Your membership in the Circle of Friends entitles you to early ticket ordering privileges for one full year from the date of your enrollment; you will be recognized in the Jorgensen Playbill; and if you contribute at the Directors or Producers Circle levels, you will enjoy reserved parking in the North Campus Parking Garage for each Jorgensen performance you attend. Please consider making your tax-deductible donation and become a Circle of Friends member today. Simply call 860-486-4226 for more information.
Jorgensen Center for the Performing Arts gratefully acknowledges the support of its Friends.
Producers Circle
$500/person $1,000 & above/couple
Elena Sevilla & Paul Aho* Mona & Greg Anderson* Deborah Walsh Bellingham* In Memory of Dr. Bruce A. Bellingham* Ruth Buczynski* Carol Colombo* In Memory of Paul Colombo* Michael Cucka Anne D’Alleva* Madison & Bob Day* Susan & John DeWolf* Kenneth Doeg Judy & Peter Halvorson* Patricia Hempel* Shareen Hertel & Donald Swinton* Marsha Hilsenrad* Jan Huber* Blair T. Johnson & Blanche Serban* Lynn & Harry Johnson* Janet & George Jones* Catherine & Davey Kalonia* Lin & Waldo Klein* James Knox* Becky & Scott Lehmann* Jean & John Lenard*
Gene E. Likens & Leola G. Spilbor* Sue & Lester Lipsky* Margarethe & Matthew Mashikian* Antonia Moran* Jane & Robert Moskowitz* Karen & Craig Nass Rita Pollack* Barbara Rhein & Stan Shaw Constance & Rodney Rock* Nancy & John Silander* Beverly Sims & William Okeson* Anne & Win Smith* Maurice Thompson* Two Friends * Members of the Jorgensen CoStars
Directors Circle $250/person, $500/couple
Susan & Chuck Brome Lynn & Marjorie Brown Barbara Depray & Steven Rogers Paula & Keith Enderle M. Kevin & Jeanne Fahey Steven Fish Mr. David Johnson David & Carol Jordan Ann Kouatly
Carl Nawrocki Bonnie Ryan Nancy Swiacki Keith Wilson & Majorie Hayes
Artists Circle $125/person, $250/couple
Neil Aldin & Mary Lacek Cathy & David Bean Carol & Carl Brolin Andrew & Kristie Foley Rob & Mary Hoskin Arthur Kirschenbaum & hhhCheryl Pomerantz Carol & Yves Kraus Zoe & Gerald Leibowitz Carl & Julie Lindquist Len Oberg Daryl & Paul Ramsey Harriet Walker Maureen & John Zavodjancik Joel Zuckerbraun
Patrons Circle $50/person, $100/couple
Roger & Tina Abell Cynthia & Roger Adams Sheila Amdur & Marcia Neff Rosemary Andle
Robert Bittner Philip & Dorothy Bognar John & Susan Boland Richard & Irene Brown Paul D’Italia Michael & Mary Donnelly Maryellen Donnelly & James Krall Joyce Donahoo Rudolph & Joy Favretti Mrs. Betty Hale Betty & Kenneth Hanson Richard & Karin James Col. & Dr. Leonard & Judith Kaplan Catherine Kennelly Uwe & Helen Koehn Henry Krisch In Memory of June S. Krisch Christine Martyn John Mayer Stanley & Susan McMillen Rev. & Mrs. Donald & Marilyn Miller Sean Mulcahey Maya Paulose Susan Phillips Jacqueline Seide Paul & Annete Shapiro Dr. Jay Shivers
In Memory of Rhoda Shivers Marilynn St. Onge Susan & Julian Stoppelman Adeline Theis Susanna Thomas Joanne & Jeffrey Todd
Critics Circle
$25/person, $50/couple Anonymous Joan Buck Nelson & Linda Cyr Barry Friedman In Memory of Mary E. hhhThatcher & hhhMax B. Thatcher, PhD Lorraine Gallup Audrey Gough Marjorie Helme-Brother & hhhJames Brother Connie & Joseph Kenyon Shoshanna Levinson & Christ Crossgrove Joseph & Francine Linonis Katherine & Alan Miller Robert Reichel, Sr. Sari & James Rosokoff Pamela F. Sutkaitis Susan & Michael Zito
Director’s Fund
Jeffrey Arbogast Mona & Greg Anderson In honor of Giovanni Favretti & in support for the Arts Diane & Joseph Briody Ruth Buczynski Maidie Cohen Carol Colombo Caitlin Fahey Jo & George Fox Jennifer & Eric Person Nancy & John Silander NICABM: Donation from pDr. Ruth Buczynski Jeremy Schwartz & Merle Potchinsky The Verizon Foundation
Piano Maintenance Fund
John Mayer & Irwin Krieger
Endowed Sponsorship Program The Endowed Sponsorship Program provides individuals and families with the opportunity to support Jorgensen by sponsoring any concert or other program. Benefits to Endowed Sponsors will include name recognition in the Jorgensen playbill, additional recognition in the community through press releases provided by the University, and an opportunity to visit with the guest artist. Sponsorship could be a means of celebrating a special holiday or anniversary, or of dedicating an event to a loved one. Most importantly, by contributing to the cost of current programs, sponsors would help ensure that the Jorgensen Center for the Performing Arts will continue to present wonderful music and other programs in the future. Your gift would benefit not only Jorgensen, but also the community at large. Patrons interested in sponsoring an event should contact Rodney Rock at 860-486-1983 or rodney.rock@uconn.edu for further information.
Jorgensen Outreach for Youth Funded through private contributions as well as corporate support, JOY! provides school-age children, many from economically disadvantaged backgrounds, with access to live performances and special enrichment programs. Now in its 15th season, the JOY! Conservatory program offers instrumental and vocal students in grades 9-12 the opportunity for a rigorous course of study including private lessons, ensemble rehearsals and coaching, and basic musicianship courses. For more information, contact Jorgensen director Rodney Rock at 860-486-1983.
Corporate / Foundation Sponsors SBM Charitable Foundation
Diamond / $1000+ Jean & John Lenard Nancy & John Silander Nora Stevens
Emerald / 600 +
Sapphire / $100+
Ruby / $300+
Pearl / up to $99
Honey & Harry Birkenruth
James Knox Becky & Scott Lehmann The University of Connecticut League, Inc.
Jane & Robert Moskowitz
Gail & Neil Christopher Gail & Neil Christopher Gracie Martin
Lenard Chamber Music Endowment Fund The Lenard Chamber Series is made possible through the generosity of longtime patrons Jean and John Lenard and the Lenard Chamber Music Endowment. Thanks to the generous philanthropy of patrons Jean and John Lenard, chamber music, one of the hallmarks and most dearly loved elements of the programming at Jorgensen, is secure well into the future. Also thanks to the Lenard Endowment, UConn students, nonUConn students, and area youth are invited to attend all chamber music events for free. Please join this giving community and make your contribution today. To make a gift, contact Jorgensen Director Rodney Rock at rodney.rock@uconn.edu or 860-486-1983, or visit jorgensen.uconn.edu/online/article/lenard-endowment.
Jean & John Lenard Elena Sevilla & Paul Aho Greg & Mona Anderson Deborah Walsh Bellingham Ruth Buczynski Carol Colombo Anne D’Alleva Kenneth Doeg Judy & Peter Halvorson
Patricia Hempel George & Janet Jones Carol & David Jordan Lin & Waldo Klein James Knox June & Henry Krisch Becky & Scott Lehmann Shoshana Levinson & Chris Crossgrove
Julia J. & Carl W. Lindquist, MD Joan and Austin McGuigan Jane & Robert Moskowitz Lauren & Eric Prause Donald Shankweiler & Ruth Garrett Millikan John & Nancy Silander Beverly Sims & William Okeson Marilyn & Arthur Wright
Coming up in December at
BOSTON POPS
HOLIDAY CONCERT
BOSTON POPS ON TOUR KEITH LOCKHART, CONDUCTOR
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SAT, DEC 11, 8 PM JORGENSEN GIFT CERTIFICATES The gift that keeps on giving! Note: all artists, events, dates, programs and COVID-19 policies are subject to change.
jorgensen.uconn.edu @JorgensenUConn 860-486-4226
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F O R YO U R I N F O R M AT I O N JORGENSEN BOX OFFICE (860) 486-4226 jorgensen.uconn.edu Phone Hours Mon-Fri, 10-5 pm, and 90 minutes before curtain through intermission. No in-person hours.
CHILDREN AND INFANTS Tickets are required for everyone, no matter how young. Children must be 4 years old to attend CRT productions. Minimum 4 years old recommended for Jorgensen Center events.
CRT BOX OFFICE (860) 486-2113 crt.uconn.edu PHONE HOURS Wed-Fri, 12-5 pm, and 60 minutes before curtain. No in-person hours.
REST ROOMS Located in the upper and lower Jorgensen lobbies and the CRT lobby.
COVID-19 POLICIES: Please check our website for the latest policies and procedures: jorgensen.uconn.edu LATE ARRIVALS Latecomers will be seated at the discretion of the artists’ management. CAMERAS AND RECORDING DEVICES Strictly prohibited. SMOKING Not permitted within 25 feet of the building
SPECIAL SERVICE Accessible rest rooms located in the lower Jorgensen & CRT lobbies. Elevator service goes from the main Jorgensen lobby down to the lower lobby only. ASSISTIVE LISTENING SYSTEM Free from the front office. TOO LOUD? Free hearing protection is available upon request from the front office. LOST AND FOUND ARTICLES Can be reported or picked up at each box office.
Community School of the Arts at Lenard Hall Visual Arts Programs & Private Music Instruction for All Ages! www.mansfieldct.gov/csa 860.429.3015
REFRESHMENT BARS Enjoy refreshments at your seat. Bars located In the upper Jorgensen and main lobbies of each theater. Food and beverage restrictions may apply due to Covid-19. GROUP TICKETS CRT: Call the group sales office for more information (860) 486-3931 BAG POLICY For the safety of all, bags and backpacks larger than 10” x 10” are prohibited in the theater. Small bags and purses are permitted. An exception will be made for medically necessary items and diaper bags after proper inspection. All bags are subject to search. PARKING & TRAVEL Paid parking available across from Jorgensen in the North Garage. For a detailed parking map, visit park.uconn.edu
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10% Discount w/tickets day of the performance only.
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