Phaeton Piano Trio, Jorgensen Center | Thur, Mar 2, 7:30 pm

WORLD-CLASS CARE IN STORRS.

UConn Health offers primary and specialty care, dental services, and urgent care right in Downtown Storrs. We also have a Sports Medicine Walk-In Clinic for quick assessment and treatment of athletic injuries. Adjacent to our Storrs campus, our highly experienced and compassionate providers offer comprehensive medical care for you and your family.

health.uconn.edu/storrs

SERVICES IN STORRS:

Blood Draw

Cardiology

Dental Care

Dermatology

Family Medicine

Obstetrics and Gynecology

Orthopedics and Sports Medicine

Podiatry Psychiatry

Radiology

Sleep Disorders

Urgent Care

Vascular Surgery

SPRING 2023 EVENTS

JANUARY

22 Llama Llama Red Pajama Live!

FEBRUARY

2 BalletX

13 Lviv National Philharmonic Orchestra of Ukraine

17 Joanne Shaw Taylor

18 Jo Koy World Tour

19 Popovich Comedy Pet Theater

24 Jazz at Lincoln Center

MARCH

2 Phaeton Piano Trio*

9 KODO

11 Pavel Haas Quartet*

19 The Adventures of Harold and the Purple Crayon

23 Martha Graham Dance Company

APRIL

14 Girl Named Tom

*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.

Spring

Tickets & information: jorgensen.uconn.edu

Note: all artists, events, dates, programs and COVID-19 policies are subject to change.

Storrs Mansfield, CT 06268

Ample Parking available, 1 car $380 per semester, bus stop. Rooms also available for rent, private bathroom, FREE Wifi, AC.

Weddings

We welcome all our fellow travelers www.springhillinnct.com info@springhillinnct.com 860-771-8427

PROTECTING YOU AND YOUR LOVED ONES FOR MORE THAN 75 YEARS

We represent over 15 Property and Casualty insurance companies. We also offer Life and Health options.

Wilcox & Reynolds would like to Thank our clients and friends for nominating us for this award. We will strive every day to live up to this honor.

Connecticut Repertory Theatre is the producing arm of the University of Connecticut’s Department of Dramatic Arts.

2022-2023 SEASON

METAMORPHOSES

By Mary Zimmerman

Dec 1 – 11, 2022

Nafe Katter Theatre

ROE

By Lisa Loomer

March 2 – 11, 2023

Nafe Katter Theatre

DEATH AND THE MAIDEN

By Ariel Dorfman

March 23 – April 2, 2023

Studio Theatre

RENT

Book, Music and Lyrics

by Jonathan Larson

April 20 – 30, 2023

Harriet S. Jorgensen Theatre

Tickets & Information: crt.uconn.edu

CRT BOX OFFICE

860.486.2113

crtboxoffice@uconn.edu crt.uconn.edu

Group Discounts available Call 860.486.2133

FOLLOW CRT

Facebook: @CRTuconn

Instagram: @crt_uconn

Twitter: @crt_uconn

Note: all artists, events, dates, programs and COVID-19 policies are subject to change.

CRT cover: METAMORPHOSES

Photo: © 2022 Mattias Lundblad

FOR YOUR INFORMATION

JORGENSEN BOX OFFICE

(860) 486-4226

jorgensen.uconn.edu

Hours Mon-Fri, 10-5 pm, and 90 minutes before curtain.

CRT BOX OFFICE

(860) 486-2113

crt.uconn.edu

Hours Wed-Fri, 2-5 pm, and 60 minutes before curtain.

COVID-19 POLICIES:

Please check our website for the latest policies and procedures: jorgensen.uconn.edu crt.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.

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.

REST ROOMS

Located in the upper and lower Jorgensen lobbies and the CRT lobby

SPECIAL SERVICE

Accessible rest rooms located in the lower Jorgensen & CRT lobbies. Elevator service from the main Jorgensen lobby down to the lower lobby only.

ASSISTIVE LISTENING SYSTEM

Free from the front office for Jorgensen and Katter Theatre productions.

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.

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

Call the respective box office for more information.

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

Parking is available across from Jorgensen in the North Garage. For a detailed parking map, visit park.uconn.edu

PLEASE NOTE:

The parking fee for Jorgensen events is now included as part of your ticket price. Patrons will no longer have to pay upon entry or exit in the North Garage. All gates have been removed and gateless parking begins one hour prior to showtime through the conclusion of each performance. Please note: this applies to North Garage only.

IMPORTANT UPDATE:

Hillside Road on the UConn Storrs campus will be closed to vehicular traffic between Glenbrook Road and Jim Calhoun Way. Motorists who park in North Garage should access the garage by taking Discovery Drive or Glenbrook Road to the garage entrance on north Hillside Road.

Healthy is worth a standing ovation.

We’re proud to support so many award-winning performers. And while it may not be a Tony or Grammy, we’re also proud of own our cast for earning the highest honors in Patient Safety at Manchester Memorial Hospital and 4-Star Quality Care for Medicare and Medicaid patients. From one group of dedicated performers to another, good luck and good health!

Manchester Memorial Hospital

Rockville General Hospital

John A. DeQuattro Cancer Center ECHN Medical Group

Thursday, March 2, 2023, 7:30 pm

University of Connecticut School of Fine Arts

Alain Frogley, Interim Dean

Jorgensen Center for the Performing Arts

Rodney Rock, Director presents

PHAETON PIANO TRIO

Lenard Chamber Music Event

Friedemann Eichhorn, violin

Peter Hörr, violoncello

Florian Uhlig, piano

Sponsored by by the Alexander-Hewitt Fund and NICABM (National Institute for the Clinical Application of Behavioral Medicine)

Media Sponsors

Shupp Artists Management, Inc.

Erica Shupp

concerts@shuppartists.com

PROGRAM

Franz Joseph Haydn (1732-1809)

Piano Trio in D major, Hob. XV:7

I. Andante con variazioni

II. Andante

III. Allegro assai

Robert Schumann (1810-1856)

Piano Trio in G minor, Op. 110

I. Bewegt, doch nicht zu rasch

II. Ziemlich langsam-Etwas bewegter - Tempo I

III. Rasch-Etwas zurückhaltend bis langsamer tempo - Tempo I

IV. Kräftig, mit Humor

- INTERMISSION -

Ludwig van Beethoven (1770-1827)

Piano Trio in B flat Major Op. 97 “Archduke”

I. Allegro moderato

II. Scherzo: Allegro

III. Andante cantabile, ma pero con moto

IV. Allegro moderato

PHAETON PIANO TRIO

The Phaeton Piano Trio with Friedemann Eichhorn, violin, Peter Hörr, cello, and Florian Uhlig, piano - German artists with an international career as chamber musicians and soloists - is based in Weimar. As soloists, the artists have been successfully touring the major stages in Europe, Asia and North and South America for years. Since joining forces in 2017, they have been enjoying the treasures of the piano trio repertoire in concerts throughout Germany, in Austria, the Netherlands, France, Switzerland and South America.

Its first tour to North America in early 2020, included a very successful U.S. debut at the Library of Congress (where Friedemann Eichhorn could play the Kreisler Guarneri del Gesu in the Library’s collection), the Frick Collection in NYC, concerts in Cleveland, and in San Jose. CA. Its Canadian debut in the summer of 2020 has been rescheduled for 2023. Further tours to North America are scheduled for March 2024 along with touring throughout Europe and Asia. In 2022 the trio recorded a set of Schumann CDs.

FRIEDEMANN EICHHORN

Friedemann Eichhorn has performed as chamber music partner of G. Kremer, Yuri Bashmet, B. Pergamenschikov and many others. In addition to his extensive recording for Hänssler Classic and Naxos, he is Professor of violin at the Weimar Hochschule für Musik “Franz Liszt” and Artistic Director of the renowned Kronberg Academy. Recent activities include a performance of Fazil Say’s violin concerto with the Orchestra di Santa Cecilia di Roma at the Spoleto Festival and the premier performance of Say’s Violin Sonata No. 2 at the Istanbul Festival. Upcoming will be debuts with the Konzerthaus Orchester Berlin and the Hong Kong Philharmonic under Eschenbach. His recording of Say’s violin works has received numerous accolades.

PETER HÖRR

Peter Hörr is a sought-after chamber music partner. He received the ECHO Klassic for his recording of the Duport cello concerti and has been Artistic Director of the Hofkapelle Weimar since 2010. In 20/21, he released a recording of the complete Beethoven works for cello and piano with pianist Liese Klahn. In 2022 he performed the Schubert symphonies and Haydn’s cello concerto in D with the Swiss orchester le phenix, both as soloist and conductor. Peter is Professor of cello at the Leipzig Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy".

FLORIAN UHLIG

Florian Uhlig, recently appointed honorary member of the London Royal Academy of Music, made his orchestral debut at the London Barbican and has appeared at leading concert halls across the world, performing with renowned orchestras and conductors. The Hänssler Classic label has released 20 of his recordings, including the complete Schumann and Ravel piano solo works. Florian was awarded the 2021 Annual German Record Reviewers Prize, the 2022 Opus Klassik and the 2023 City of Zwickau’s prestigious biennial Schumann prize – won also by e.g. Gilels, Brendl and Barenboim – for his set of 19 Schumann CDs. He also is Artistic Director of the Johannesburg International Mozart Festival and Professor of piano at the Musikhochschule Luebeck.

Thursday, March 2, 2023, 7:30 pm

Jorgensen Center for the Performing Arts

PHAETON PIANO TRIO

Lenard Chamber Music Event

Friedemann Eichhorn, violin

Peter Hörr, violoncello

Florian Uhlig, piano

PROGRAM NOTES

Piano Trio No. 20, Op. 40, No. 2 in D Major, Hob.15/7

Joseph Haydn

(Born March 31, 1732, in Rohrau; died May 31, 1809, in Vienna)

Haydn wrote a prodigious number of piano trios, nine in the 1780s. Of these, musicologist Charles Rosen noted that at least three should be included among Haydn’s greatest achievements.

At the time he composed this work, Haydn was still using the title “Sonata for harpsichord with accompaniments for violin and cello,” following in the tradition of the “accompanied sonata” where the strings serve to reinforce the keyboard soloist. Although Mozart is usually credited with evolving a new texture of independent, integral parts for the piano trio, Haydn was well on his way to creating an interesting, independent role for the strings. Trios, then becoming the rage, were generally not composed for public performance, but were rather aimed at an audience of virtuoso amateurs, who played them at homes in private performances, often especially for the pleasure of the performers. Although many contemporary trios were composed so that the keyboard part could even be played alone, should circumstances so dictate, Haydn makes the violin indispensable here, and even allows the cello to show its independence.

Up until the middle of the 20th century, there were only thirty-one Haydn trios that had been numbered; they existed in an order that had nothing to do with their chronology. In 1939, the Danish musicologist Jens Peter Larsen numbered them in chronological order, which Anthony van Hoboken (Hob. XV: 1–31) replicated, when he numbered Haydn’s whole oeuvre. Hoboken also expanded the total number of piano trios to forty-one by adding nine early trios (Hob. XV: 33–41) and one from 1792, known until then as a sonata for piano and violin (Hob. XV: 32); therefore, in Hoboken’s catalogue, the nine trios with the highest numbers are actually the oldest. In 1968, H.C. Richard Landon created the first chronological and critical edition of the known trios, making the actual total forty-five, by adding six more early works and removing Hob. XV: 3 and 4, which were composed by Ignaz Pleyel. Landon’s edition includes two pieces that are lost and four that were not conceived by Haydn in this form, which leaves thirty-nine available trios: eleven early examples, thirteen from the period 1784–90, the last three specifying flute or violin, and fifteen from 1792–96.

Composed in 1785, Piano Trio No. 20, Op. 40 No. 2 (Hob. XV: 7) published originally as a piano sonata with accompaniments for violin and cello, is a fairly brief work because both its second and third movements are each only around three minutes long. It is one of three sonatas dedicated to Madame la Comtesse Marianne de Witzay née Comtesse de Grafsalkowics.

Haydn returned to writing trios in 1784, a year before composing Piano Trio in D major, No. 20. One of the reasons that has been put forth to explain his renewed interest in the form was the sudden and rapid burgeoning of the genre in Vienna. Seventy trios with keyboard, for the most part dedicated to women, were issued in Vienna between 1781 and 1790, with a notable increase in production from 1786 onwards. Among the most well-known composers who wrote trios at that time include Clementi, Haydn, Mozart, and Pleyel. In October 1784, Haydn returned to the genre by sending to his London publisher two trios by his pupil Pleyel, which he passed off as his own (Hob. XV: 3 and 4), and a trio of his own composition (Hob. XV: 5). He followed these up with three

trios, Nos. 19–21 (Hob. XV: 6–8), that Artaria published in April 1786 as Opus 40. Trio No. 20, which has three movements, is surrounded in Artaria’s trilogy by two that have only two movements.

Unusually, the first two movements of Piano Trio No. 20 are both slow, Andante. The first, Andante con variazioni, begins with a theme followed by five variations, all in the major mode. The piano predominates in the theme, which contains two equal length sections, both repeated. The violin dominates in variations 1 and 3, the piano in variations 2 and 4, while in the last variation, the two instruments are treated equally.

The next movement, an Andante in D minor, has a siciliano rhythm, (a distinctive pattern characterized by dotted rhythms) linked, after a pause, to the third movement, Allegro assai, in rondo form. The form is A B A,’ with the B section at its end having a very unusual and eccentric passage. After two bars of silence, the pianist strikes a single note eight times; the return of the theme seems almost like an intrusion. The A section is then repeated, followed by a C section, a piano cadenza, then A’ again, followed by a coda.

Piano Trio No. 3, in G minor, Op. 110

Robert Schumann

(Born June 8, 1810, in Zwickau; died July 29, 1856, in Endenich)

Robert Schumann’s father was a small-town bookseller who encouraged his son’s inclination toward the arts. At the age of six, the boy began to play the piano and to compose, and by the time he was fourteen, he was a published poet. At eighteen, he entered Leipzig University as a law student, but the call of music was too strong for him to resist. In his third year, he abandoned the University, determined to become a great pianist. When an accident or illness injured his hand, he gave up hope of a career as a performer, turned to composition, and wrote the several brilliant collections of short, descriptive, and atmospheric pieces that established his position as Germany’s leading composer.

Throughout his career, Schumann’s output consisted of a series of

works in related forms and styles. In 1840, the year of his marriage to Clara Wieck, he wrote almost nothing but songs, more than 130 of them, in a great outpouring of love and gratitude. His attention was diverted to the orchestra in 1841, when he wrote four symphonic compositions and the first movement of his Piano Concerto. In 1842, he put other work aside to concentrate on chamber music. That April, he ordered scores of all the Mozart and Beethoven string quartets available, which he studied for two months and then between June and October, in a furious burst of creative energy, composed three string quartets, a piano quartet, and a piano quintet.

In Schumann's adulthood, he was increasingly plagued by mental instability. His periods of mental illness grew longer and more oppressive, but when he was well, he worked as hard as ever. At the end of the summer of 1851, he began a new series of pieces of chamber music that soon included his two violin sonatas and this, his third Trio, which he composed in the week of October 2 to 9. There were some private performances of it that autumn, and on March 21, 1852, it premiered publicly at a charity concert in the Leipzig Gewandhaus (“Drapers’ Hall”). The performers were pianist Clara Schumann, the composer’s wife; violinist Ferdinand David, who inspired the Violin Concerto of Mendelssohn; and the cellist Andreas Grabau. When the Trio was published, in 1852, it was dedicated to the Danish composer, Niels Wilhelm Gade, a friend who had succeeded Mendelssohn as conductor of the Leipzig orchestra.

Clara Schumann was greatly concerned about her husband's condition around the time of this Trio, and she hardly hid her fears when she wrote in her diary, “How grand such a mind is, with its growing creative power. Terrible anxiety overcomes me when I consider how much more greatly I am blessed than are millions of other wives, and I ask heaven if I have too much happiness.”

The new Trio echoes her pride rather than her fears, for it is, in some ways, more vigorously energetic and more effectively dramatic than the first two. At the same time, there is a sense of uneasiness in the music, in its uneven rhythms, irregular phrase

lengths, and unexpected key shifts.

The first movement, Bewegt, doch nicht zu rasch, (“agitated, but not too fast,”) begins abruptly. There is no introduction or lead-in to the opening theme, a large far-ranging powerfully passionate melody that establishes the expressive character of the entire work. In this movement, Schumann interlinks the two strings with counterpoint, which comes to a climax in the development section where the cello has a pizzicato figure which introduces an extended section of counterpoint whose motifs make their way throughout the trio.

The second movement, Ziemlich langsam, (“rather slow”) is a three part song, sung first in duet by the two string instruments to the accompaniment of the piano. This song is both dramatic and dark, but at the end, it becomes calm as the piano joins the strings at last for their melodic interchange.

The third movement, Rasch, (“quick”), features a restless scherzo with two contrasting trio sections, the first with an upward syncopated chromatic theme, and the second, more rhythmic and diatonic in character.

In the finale Kräftig, mit Humor, (“powerful, with humor”) Schumann creates a great change of mood, with a rondo whose main theme grows from an interval with which Schumann builds both the first movement’s second theme and uses again at the beginning of the second movement. The third movement’s first trio is brought back again too to aid in the unification of the work. It, in turn, is followed by distinctive march rhythm Schumann used in the second trio (from the 3rd movement). The work ends exuberantly.

Piano Trio No. 7, in B Flat, Op. 97 (“Archduke Trio”)

Ludwig van Beethoven

(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)

The piano trio was one of the most popular chamber music ensembles in Beethoven’s time; although he wrote relatively

few of them, Beethoven’s trios are all very important works. The composer’s Op. 1 was a set of three trios Haydn thought so advanced and difficult that he felt it would have been unwise to publish them just then. In his middle years, Beethoven brought the media and forms he had inherited from Mozart and Haydn to their greatest height and wrote three more beautiful trios, the two of Op. 70 and the B Flat Trio, Op. 97, dedicated to Archduke Rudolph and known as the Archduke Trio.

Rudolph Johann Joseph Rainer, Archduke of Austria, born in 1788, was the youngest son of Emperor Leopold II. A passionate music lover, he began to take lessons from Beethoven when he was about eighteen years old; he and Beethoven became lifelong, faithful friends. Rudolph’s few compositions are of little interest, but he became a good enough pianist to play the solo part in Beethoven’s Triple Concerto. In 1809, when Beethoven thought of taking a post with one of Napoleon’s brothers, Rudolph and two other young noblemen joined in guaranteeing him an annual income that would keep him in Vienna under conditions in which, they said, “the necessities of life would not block his genius.” Rudolph collected Beethoven’s manuscripts and kept all the composer’s letters. Beethoven, in return, treated the Archduke with an unusual degree of respect that was mingled with affection and dedicated fourteen scores to him. Rudolph had hoped for the dedication of the Op. 70 Trios, which went to someone else by mistake, so Beethoven, of course, dedicated the next one, Op. 97, to Rudolph. In English speaking countries the work is usually now always called the Archduke Trio.

Beethoven sketched the Archduke Trio in 1810 and wrote out the complete work during just three weeks of March 1811. Although he was usually in a hurry to get such big and important works before the public, he withheld this one for a long time, perhaps for some reason connected with Rudolph. Beethoven’s friends knew of the work’s existence, but none of them heard the Trio until they began to rehearse it for a concert in April 1814. The composer Louis Spohr, who was there, wrote in his Autobiography, “It was not much of a pleasure, for, in the first place, the piano was badly

out of tune, which didn’t bother Beethoven much, since he could not hear it. There was almost nothing left of his former great virtuosity, which used to be so admirable. I was moved to deepest sorrow. Since deafness is so great a misfortune for anyone, how can a musician endure it without despair? Beethoven’s continual melancholy was no longer a riddle to me.” In addition to his hearing loss, Beethoven had other problems at that time. The composer believed that he was exhausting the expressive possibilities of the Classical musical structures. A period of near silence was coming, during which Beethoven would write nothing, while he gathered his energies for the outpouring of future works in a new style, that was to come late in his life. The Archduke Trio was his only important composition of the year 1811.

Perhaps the elevated nobility of the Trio’s first movement, Allegro moderato, has always made the title seem so appropriate. The distinctive qualities of the work are all immediately apparent here. Every one of its musical ideas is rich in great new possibilities. The brilliantly colorful writing for the three instruments perfectly matches the shifting moods of the music. After the broad grandeur of the main theme, the second theme provides a charming and playful interlude. Then Beethoven gets down to the serious business of development in which he explores in every direction that can be taken with the incomparable fertility of his creative imagination.

The second movement is a long and complex Scherzo, Allegro. The movement’s central section consists of a mysterious, chromatic, syncopated canon and a contrasting rhythmic section. At the very end, the canon comes back as a coda to close the movement. Next comes an Andante cantabile that looks forward to the slow movements of the last works. The movement is built as a calm and beautiful theme with five variations of constantly increasing intensity. A coda runs without pause directly into the last movement, Allegro moderato, a big, joyous, witty rondo.

Program Notes by Susan Halpern, 2023

SAVE THE DATE!

ALL PAWS IN MARCH 8-9

SUPPORT

C oSt rs★

Jorgensen Center for the Performing Arts

2022 - 2023 Co-Chairs: Lin Klein & Jane Moskowitz

$500 per person, $1,000 per couple

Elena Sevilla & Paul Aho

Mona & Greg Anderson

Marianne Barton

Deborah Walsh Bellingham

In Memory of Dr. Bruce A. Bellingham

Honey & Harry Birkenruth

Ruth Buczynski

Carol Colombo

In Memory of Paul Colombo

Anne D’Alleva

Madison & Bob Day

Susan & John DeWolf

Pamela Diggle

Stan & Sandy Hale

Judy & Peter Halvorson

Patricia Hempel

Shareen Hertel & Donald Swinton

Jan Huber

Tina & Bryan Huey

Blair T. Johnson & Blanche Serban

Lynn & Harry Johnson

Janet & George Jones

Lin & Waldo Klein

James Knox

Ann Kouatly

Becky & Scott Lehmann

Jean & John Lenard

Gene Likens & Leola Spilbor

Margarethe & Matthew Mashikian

Antonia Moran

Jane & Robert Moskowitz

Constance & Rodney Rock

Nancy & John Silander

Beverly Sims & William Okeson

Anne & Winthrop Smith

Maurice Thompson

Karen Zimmer

Susan Zito

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 2022-2023

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*

Marianne Barton*

Deborah Walsh

Bellingham*

In Memory of Dr. Bruce A. Bellingham*

Honey & Harry Birkenruth*

Ruth Buczynski*

Carol Colombo*

In Memory of Paul Colombo*

Michael E. Cucka

Anne D’Alleva*

Madison & Bob Day*

Mr. Paul D’Italia

Susan & John DeWolf*

Ms. Joan N. Gionfriddo

In Memory of

Elaine D. Neiswanger, Robert Neiswanger, & Thomas Neiswanger

Stan & Sandy Hale*

Judy & Peter Halvorson*

Patricia Hempel*

Shareen Hertel & Donald Swinton*

Jan Huber*

Tina & Bryan Huey*

Blair T. Johnson & Blanche Serban*

Lynn & Harry Johnson*

Janet & George Jones*

Lin & Waldo Klein*

James Knox*

Ann Kouatly*

Becky & Scott Lehmann*

Jean & John Lenard*

Gene Likens & Leola Spilbor*

Margarethe & Matthew Mashikian*

Antonia Moran*

Jane & Robert Moskowitz*

Craig & Karen Nass

Barbara Rhein & Stan Shaw

Constance & Rodney Rock*

Nancy & John Silander*

Beverly Sims & William Okeson*

Anne & Winthrop Smith*

Maurice Thompson*

Karen Zimmer*

Susan Zito*

*Members of the Jorgensen CoStars

Directors Circle

$250/person, $500/couple

Lynn & Marjorie Brown

Kenneth A. Doeg

Mona & Todd Friedland

In honor of Jane Moskowitz

Mr. David Johnson

David & Carol Jordan

Maureen Kohler & John Zavokjancik

Tom Martin & Susan Spiggle

Carl Nawrocki

Mr. & Ms. Steven & Barbara Rogers

Cheryl A. & Mark J. Roy

Bonnie Ryan

Ms. Nancy Swiacki

Keith Wilson & Marjorie Hayes

Artists Circle

$125/person, $250/couple

Patricia Anderson

Mr. & Mrs. Bennett & Linda Brockman

Dr. & Mrs. Steven & Elaine Cohen

Maryellen Donnelly & James Krall

M. Kevin & Jeanne Fahey

Mrs. Alice Hale

Betty & Kenneth Hanson

Rob & Mary Hoskin

Ms. Cathy Jameson & Ms. Renee Fournier

Ms. Mary Lacek & Mr. Neil Aldin

Mr. & Mrs. Gerald

Leibowitz

Len Oberg

Daryl & Paul Ramsey

Mrs. Kristin Santini

Susan Stoppelman

Harriet Walker

Patrons Circle

$50/person, $100/couple

Anonymous

Cynthia & Roger Adams

Robert Bittner

Dorothy Blocker

Susan & John Boland

Carol & Carl Brolin

Irene & Richard Brown

Ms. Joyce Donohoo

Lorraine Gallup

Richard & Karin James

Col. & Dr. Leonard & Judith Kaplan

Art Kirschenbaum & Cheryl Pomerantz

Dr. & Mrs. Uwe & Helen Koehn

Yves & Carol Kraus

Robin Lubatkin

Donna Matulis

Rev. Donald Miller

Pamela Paine

Judith Rhodes

Jacqueline Seide

Paul & Annette Shapiro

Adeline Theis

Susanna Thomas

George Thompson

Aaron Tumel

Dr. & Mrs. Joel Zuckerbraun

Critics Circle

$25/person, $50/couple

Anonymous

Ms. Kathleen Donahue

Mrs. Audrey Gough

Dr. & Mrs. Ed & Susan Grace

John H. Mayer & Irwin M. Krieger

Mr. & Mrs. Joseph Linonis

Wesley & Mary Lord

Joseph & Nancy Madar

Stan & Sue McMillen

Linda Pelletier

Mr. & Mrs. Ettore & Laura Raccagni

Sari & James Rosokoff

John & Marilyn Shirley

Dr. Jay S. Shivers

Mrs. Pamela Sutkaitis

Director’s Fund

Paul Aho & Elena Sevilla

Mona & Greg Anderson

Honey & Harry Birkenruth

Diane & Joseph Briody

Carol Colombo

Paula & Keith Enderle

David & Marilyn Foster

Mr. Thomas French

Lin & Waldo Klein Fund

Jane & Robert Moskowitz

In honor of Linda K. Klein, PhD & Rodney D. Rock

NICABM

Jennifer Person

Mr. Allen Schmied & Ms. Tina Polttila-Schmied

Nancy & John Silander

Ms. Joanne Sousa

In Memory of John P. Sousa

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+

Honey & Harry Birkenruth

Carol Colombo

Nancy & John Silander

Mrs. Nora Stevens

Ruby / $300+

Becky & Scott Lehmann

The University of Connecticut League, Inc.

Sapphire / $100+

Dorothy Blocker

Margaret Dillon & Larry Bowman

Shingo Goto

Carol & David Jordan

James Knox

Carl Nawrocki

Peter Polomski

Joanne Sousa

Pearl / up to $99

Mr. Paul D’Italia

Irwin Krieger & John Mayer

Robin Lubatkin

Pamela Paine

Bonnie Ryan

Marti & Tom Smith

Dale Swett

Joanne Todd

Ilene Whitacre

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, non-UConn 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

Kenneth & Janet Slavett

Marilyn & Arthur Wright

Box Office 860.486.4226

Administration 860.486.4228

Marketing 860.486.5795

BOX OFFICE & ADMINISTRATION

2132 Hillside Road Unit 3104 Storrs, CT 06269-3104

jorgensen.uconn.edu

SCHOOL OF FINE ARTS

Alain Frogley Interim Dean

JORGENSEN ADMINISTRATION

Rodney Rock Director

Gary Yakstis Operations Manager

Leann Sanders Administrative Assistant

Diane Briody House Manager

BOX OFFICE

Jennifer Darius Box Office Manager

Amanda Salas Asst. Box Office Manager

MARKETING/PUBLICITY

Renee Fournier Marketing Manager

Giana DiNatale Int. Marketing Coordinator

PRODUCTION TECHNICIANS

Bryan Wosczyna Technical Manager

Daniel Leavitt Technical Assistant

Scott Fisher Technical Assistant

Dine With Us

Breakfast, Lunch & Dinner Daily Specials & Wine

One Dog Lane, Storrs, CT 860.429.4900 doglanecafe.com

Coyote Flaco

50 Higgins Highway, Mansfield • 860.423.4414

Coyote Flaco is a family owned & operated restaurant. We invite you to try some of our favorite dishes such as our churrasco or one of our home-made tamales. Please try our many “Fresh-Lime Juice” margaritas, our full menu can be found at www.coyoteflacoct.com

Dog Lane Cafe

One Dog Lane, Storrs • 860.429.4900

Northeastern Connecticut’s European/American cafe, offering something for everyone from early morning to late at night. Our menu and our daily specials emphasize seasonal, local and freshly-prepared food, all made to order. Offering a wide variety of sandwiches, grilled items and freshly tossed salads or help yourself to coffee at our self-service coffee bar. Offering indoor and outdoor seating. Whether you are in a hurry or want to take some time and relax with friends, our style of service lets you set your own pace. Serving beer & wine.

doglanecafe.com

Fresh Fork

Rte 195, Storrs Center • 860.477.0200

“The Fresh Fork Café is a fast casual restaurant owned by a University of Connecticut Alum. Their menu includes many Vegan and Gluten Free items alongside traditional café fare. All fruit smoothies, coffee, tea, beer, wine, and craft cocktails accompany the eclectic and inclusive menu. Breakfast served all day and a late night menu available on weekends. Catering available

www.freshforkcafe.com

Hilltop

39 Adamec Rd., Willington• 860.477.1054

Come and visit Hilltop Restaurant, Bar & Banquet to experience a delicious meal, live entertainment, full bar with flat screen TVs, and more, stop in today. If you’re looking for a place to hold a party or event, call and talk to us about our banquet rooms, Make sure that you call ahead to find out what our Chef’s Specials are. They change daily. hilltopct.net

Hops 44

625 Middle Tpke., Storrs • 860.477.1174

Local Gastropub less than 1 mile from campus featuring local craft beer, cocktails and a full bar. Smoked BBQ, Burgers, Award Winning Wings, Salad and Lighter American Fare. Open Wed-Thurs 3-9, Fri 3-10, Sat 1-10, Sun 1-7. Enter as a stranger and leave as a friend, there is something for everyone. Indoor and Outdoor seating, dogs are welcome on the patio.

WWW.Hops44.com

10 % off the day of performance with ticket

Willimantic Brewing Co.

Main Street Café

967 Main Street, Willimantic • 860.423.6777

The Willimantic Brewing Co./Main Street Café is a living landmark restaurant & pub brewery located in Willimantic, in the heart of rural northeastern Connecticut. We offer an extensive menu from fun appetizers, daily specials, gluten free, vegetarian and so much more. Fresh craft beers brewed on site, ciders, cocktails, and guest beers we have something to please everyone.

Visit us at www.willibrew.com for more information.

Willington Pizza

Rte 32, Willington Center • 860.429.7433

Italian Cuisine served in a 200-year-old home with lovely antique decor. Seating for 200. National award-winning pizza featured on CBS This Morning and ABC Good Morning America. Desserts.

Open Mon-Thurs 11am–11pm; Fri & Sat 11am–12am; Sun 11am–10pm. Casual attire. Entrées $6–$13. No reservations. (MC, V, D, AE) Best Pizza, Tolland County by Connecticut Magazine.

Box Office: 860.486.2113

802 Bolton Road, Unit 1127

Storrs, CT 06269-1127

crt.uconn.edu

FOLLOW CRT

Facebook: @CRTuconn

Instagram: @crt_uconn

Twitter: @crt_uconn

SCHOOL OF FINE ARTS

Alain Frogley Interim Dean

CRT ADMINISTRATION

Megan Monaghan Rivas Artistic Director & Head, Department of Dramatic Arts

Michelle S. Polgar Managing Director

Vince Tycer Associate Artistic Director

Panagiota Capaldi Box Office Manager

Alana Conti Company/House Manager

CRT PRODUCTION

Robert Copley Production Manager

Tom Kosis Production Stage Manager

Michael Beschta Technical Director

John Parmelee Associate Technical Director

Daniela Weiser Scenic Charge Artist

Susan Tolis Costume Shop Supervisor

Michael Demers Production Master Electrician

Paul Spirito Puppet Arts Technical Supervisor

Jake Neighbors Sound Supervisor

Gino Costabile Properties Manager