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Mondavi

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Madeleine Albright

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San Francisco Symphony

Bayanihan: National Folk Dance Company of the Philippines

Dianne Reeves

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Steve Martin and the Steep Canyon Rangers

Rising Stars of Opera

Los Lobos

Issue 1: Sept-Oct 2010


Before the show Photo: Lynn Goldsmith

Before the Curtain Rises, Please Play Your Part

a message from

Don Roth, Ph.D. Executive Director Mondavi Center

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s we open our ninth season, for many it is hard to imagine our region before the Mondavi Center. Think about the amazing student and faculty work that takes place throughout each academic year in the Vanderhoef Studio Theatre or Jackson Hall. Think about the many other critical events that have made the Mondavi Center their venue of choice. For example, the first 2010 Gubernatorial Debate occurred in Jackson Hall on September 28, and coming in November, the Governors’ Global Climate Summit 3 will attract leaders from around the world. The Mondavi Center has become in these few years a genuine gathering place for our community

If you are reading this note, you The Mondavi Center has are in the Mondavi Center for one become in these few years of the first of more than 90 events in our 2010–11 season. Associate a genuine gathering Executive Director Jeremy Ganter place for our community and I strive to create opening weeks that light up with diversity and variety. Where else can you spend an evening with Secretary Albright, garnering insights about the complex world around us, then come back the next evening and hear the world-class San Francisco Symphony with its great maestro Michael Tilson Thomas, and a mere twenty-four hours later witness the national song and dance company of the Philippines, Bayanihan, in all their splendor. Heading into the weekend, Dianne Reeves, my favorite vocalist these days, explores the great American Songbook of standards. And the next evening, Steve Martin and the Steep Canyon Rangers arrive to explore the bluegrass tradition, a very different but equally important volume of that songbook! Rounding out the performances covered in this edition are our great friends Los Lobos, who so wonderfully immerse themselves in Mexican, American and Mexican American music traditions, both acoustically and electrically; and a beautiful salute to our wonderful patron Barbara Jackson, Rising Stars of Opera on October 9. That’s a free concert and there are still some tickets available. Pretty soon you might have to pay hundreds of dollars to hear these young stars sing—for example, David Lomelí, who is this generation’s great Mexican tenor, in the tradition of Ramon Vargas. Incidentally, Spanish tenor Placido Domingo has taken an interest in Lomelí’s career. Thanks for being with us for the start of our ninth season! Our great audiences are the secret of our success!

• As a courtesy to others, please turn off all electronic devices. • If you have any hard candy, please unwrap it before the lights dim. • Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited. • Please look around and locate the exit nearest you. That exit may be behind you, to the side, or in front of you. In the unlikely event of a fire alarm or other emergency please leave the building through that exit. • As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may not be re-admitted to his/her ticketed seat while the performance is in progress.

info

Accommodations for Patrons with Disabilities 530.754.2787 • TDD: 530.754.5402 In the event of an emergency, patrons requiring physical assistance on the Orchestra Terrace, Grand Tier, and Upper Tier levels please proceed to the elevator alcove refuge where this sign appears. Please let us know ahead of time for any special seating requests or accommodations. See p. 43 for more information.

Membership 530.754.5436 Member contributions to the Mondavi Center presenting program help to offset the costs of the annual season of performances and lectures, and provide a variety of arts education and outreach programs to the community. Friends of Mondavi Center 530.754.5000 Contributors to the Mondavi Center are eligible to join the Friends of Mondavi Center, a volunteer support group that assists with educational programs and audience development. Volunteers 530.754.1000 Mondavi Center volunteers assist with numerous functions, including house ushering and the activities of the Friends of Mondavi Center and the Arts and Lectures Administrative Advisory Committee.

Tours 530.754.5399 One-hour guided tours of the Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre, and Rumsey Rancheria Grand Lobby are given regularly by the Friends of Mondavi Center. Reservations are required.

Don Roth Executive Director Mondavi Center for the Performing Arts

Lost and Found Hotline 530.752.8580

P.S. Look in these pages for Kern Holoman’s wonderful essay on the Berlioz Romeo & Juliet pieces which the S.F. Symphony is performing and for Jeff Hudson’s always reliable recommended recordings! Printed on recycled paper. Please recycle this playbill for reuse.

Recycle We reuse our playbills! Thank you for returning your recycled playbill in the bin located by the main exit on your way out.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Madeleine Albright

In Conversation with Madeleine Albright Moderated by Larry Berman, UC Davis Professor of Political Science and Director, UC Washington Program A Distinguished Speakers Series Event Wednesday, September 29, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis Individual Support provided by Lawrence and Nancy Shepard There will be no intermission. Post-Performance Q&A Madeleine Albright Madeleine K. Albright is principal of Albright Stonebridge Group, a global strategy firm, and is chair and principal of Albright Capital Management LLC, an investment advisory firm focused on emerging markets. Albright was the 64th Secretary of State of the United States. In 1997, she was named the first female Secretary of State and became, at that time, the highest ranking woman in the history of the U.S. government. As Secretary of State, Albright reinforced America’s alliances, advocated democracy and human rights, and promoted American trade and business, labor, and environmental standards abroad. Albright earned a B.A. with honors from Wellesley College and Master’s and Doctorate degrees from Columbia University’s Department of Public Law and Government, as well as a Certificate from Columbia’s Russian Institute.

Albright is the author of three New York Times best-sellers. Her autobiography, Madam Secretary: A Memoir, was published in 2003. In 2006, Albright published The Mighty and the Almighty: Reflections on America, God, and World Affairs. In 2008, she published Memo to the President: How We Can Restore America’s Reputation and Leadership. Her latest book is Read My Pins: Stories from a Diplomat’s Jewel Box (2009).

Larry Berman Upon completing his doctorate at Princeton University in 1977, Professor Larry Berman joined the faculty at the University of California, Davis where he has remained through a distinguished scholarly and teaching career. He has developed an international reputation as an expert on American politics, foreign policy, the American presidency, and the war in Vietnam. He has served as Founding Director of the University of California Washington Center and Director of the Davis Washington program.

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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Now On Display

in our

lobby

uc davis design museum The Mondavi Center display will preview pieces from: Vanishing Traditions: Textiles and Treasures from Southwest China Showcasing wearable textiles and ornaments, a new exhibition at the UCD Design Museum, Vanishing Traditions: Textiles and Treasures from Southwest China, opening in fall 2010, displays the life, culture, and continuing loss of adornment skills of the minority people who live in Southwest China. The exhibition curator, Bea Roberts, shares her visually superb collection, acquired during her early visits to the region, when the villages were primarily intact in their cultural identity, before the traditions started to vanish in today’s globalization race. At the Robert and Margrit Mondavi Center for the Performing Arts, we are deeply interested in the visual arts and the ways in which painting, photography, and other forms may enhance the experience of the performing artists we present. Located at the north end of the Yocha Dehe Grand Lobby, the art display case is a collaboration among the Mondavi Center, the Design Museum, the C. N. Gorman Museum, and the Richard L. Nelson Gallery & Fine Arts Collection.

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

San Francisco Symphony Michael Tilson Thomas, Music Director and Conductor Carey Bell, Clarinet and Jean-Frédéric Neuburger, Piano A Western Health Advantage Orchestra Series Event Thursday, September 30, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis Sponsored by

There will be one intermission. Pre-Performance Talk Speaker: D. Kern Holoman, Professor, Conductor Emeritus, UC Davis Department of Music Jackson Hall, Mondavi Center • 7PM

further listening see p. 12

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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San Francisco Symphony Michael Tilson Thomas conducting Rapsodie espagnole Prélude à la nuit: Très modéré Malagueña: Assez vif Habanera: Assez lent et d’un rythme las Feria: Assez animé

Ravel

Première Rapsodie for Clarinet and Orchestra

Debussy

Carey Bell, clarinet

Fantaisie for Piano and Orchestra Andante—Allegro Lento e molto espressivo— Allegro molto

Debussy

Jean-Frédéric Neuburger, piano Intermission

Scenes from Roméo et Juliette, Op. 17 Introduction: Combat—Tumult—Intervention of the Prince Love Scene Roméo Alone—Festivities at the Capulets’ Palace

Program Notes Rapsodie espagnole (1907) Maurice Ravel (Born March 7, 1875, in Ciboure, France; died December 28, 1937, in Paris) Maurice Ravel could conjure the atmosphere of Spain, a land to whose physical reality he was fairly indifferent. He did it wonderfully, and we have a testimonial from the highest authority, Manuel de Falla, Spain’s greatest composer since the 16th century. He heard Ravel and Viñes in a private reading of the Rapsodie espagnole and recalled: “How was I to account for the subtly genuine Spanishness of Ravel, knowing, because he had told me so, that the only link he had with my country was to have been born near the border! The mystery was soon explained: Ravel’s was a Spain he had felt in an idealized way.” He had absorbed impressions of Spain through his mother, who spent her youth in Madrid. The Rapsodie espagnole was Ravel’s first major orchestral composition. The first of the four movements is titled Prélude á la nuit, an unhurried, even languid piece that begins softly and never rises beyond mezzo-forte. It is dominated by a figure of four descending notes. This Prélude creates the illusion of music with nearly no substance. The hypnotic repetitions of the four-note figure, a couple of upward swirls, short cadenzas for pairs of clarinets and bassoons— that is all it takes to make magic.

Printed on recycled paper. Please recycle this playbill for reuse.

Berlioz

Next comes a malagueña, a quick and sensuous dance in three-quarter time. Midway, the English horn sings a melancholy song to the accompaniment of the magic four-note figure from the Prélude. This, too, is predominantly a pianissimo piece. Then we hear the Habanera. To quote Falla again: “When [Ravel] wanted to characterize Spain musically, he showed a predilection for the habanera, the song most in vogue when his mother lived in Madrid. This was the same time that Pauline Viardot-García, famous and well acquainted with the best composers in Paris, spread the habanera among them. That is why that rhythm, much to the surprise of Spaniards, went on living in French music, although Spain had forgotten it half a century ago.” In the Habanera, the first beat of each measure is divided in three, the second in two. The tempo is slow, and Ravel wants this one played in a weary rhythmic motion. Another quiet piece. And now Ravel lets go. The concluding Feria, a holiday piece, is fast, ebullient, and at times splendidly loud. One catchy melody after another swings by; the darkest and most insinuating of them brings the four-note figure from the Prélude in its wake. But darkness is not for long, and the Rapsodie goes blazing to its close. First performance: In its original version for piano fourhands, with Ravel and Ricardo Viñes as soloists, in early fall 1907; in its full orchestral version, March 15, 1908, by Édouard Colonne and the Colonne Orchestra.

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Première Rapsodie for Clarinet and Orchestra (1909) Fantaisie for Piano and Orchestra (1890) Claude Debussy (Born August 22, 1862, in Saint Germain [Seine-et-Oise], France; died March 25, 1918, in Paris) In 1909, at the urging of Gabriel Fauré, Claude Debussy was appointed to the Supreme Council of the Musical Division of the Paris Conservatory. Debussy interested himself in education and attended conscientiously to his duties. Among his obligations was the composition of a sight-reading test-piece for clarinetists and a more elaborate test-piece for the senior competitions. The latter he called the Première rapsodie, although no deuxième rapsodie would be written. Debussy’s remark that the clarinet rhapsody was one of the most agreeable works he had composed is quoted whenever the piece is mentioned. This is not, however, gratuitous self-praise. He said it in astonishment when he learned that the piece had excited confusion and anger at a performance in Russia late in 1911. We might wonder why so lovely and graceful a piece is so neglected. By 1911, Debussy had long been a master of the orchestra, and by that point he was inclined to think of texture as primary building material in his music. The Rapsodie, whose first performance direction is “dreamily” or perhaps “musingly” slow (rêveusement lent), begins with a preliminary measure consisting of just the note F, pianissimo and three octaves deep, entering on three separate beats. In his orchestration, Debussy breathes fascinating and delicate life into a musical gesture whose pitch content (and interest) is minimal. And the placement of every one of the notes that so tactfully, richly, and finely frame and support the lines of solo clarinet is managed with equal fantasy and finesse. The clarinet is a languorous dreamer but also a dancer and a jester. The Rapsodie ends brilliantly, but we find a clue to the world it inhabits in a scrap of conversation among some of Debussy’s friends. They were discussing one of his unfinished operatic projects, As You Like It. They knew that it was the character of the melancholy Jacques—he of the famous “seven ages of man” speech—that particularly touched the composer. One of the friends, the sensitive critic Georges Jean-Aubry, remarked that Debussy, having abandoned Shakespeare’s play as an opera, had had to content himself offering the Première Rapsodie as homage to “Jacques le Mélancholique.” In 1884, Debussy won the Prix de Rome, which meant four years of travel and study in Italy. The Piano Fantasy dates from that time and was to have been performed shortly after its completion, but Debussy withdrew the work; it was not heard until after he died. It is still among his most rarely performed compositions. The piano in this music is not a prominent soloist but joins in partnership with the orchestra. The opening movement is rich in sonorities and soft melodic outline. The last two movements are linked, the lyrical second movement leading into the brilliant final Allegro, spelled by a delicate interlude that suggests the Debussy to come. First performance of the Rhapsody: January 16, 1911, by P. Mimart, at a concert of the Société Musicale Independante in Paris. First performance of the Fantasy: November 20, 1919, at a concert of the Royal Philharmonic Society, London. Alfred Cortot was the pianist and Albert Coates conducted.

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Scenes from Roméo et Juliette, Op. 17 (1839) Hector Berlioz (Born December 11, 1803, at Côte-Saint-André, France; died March 8, 1869, in Paris) Hector Berlioz composed Roméo et Juliette in the aftermath of his misfortune with his opera Benvenuto Cellini, though the work did not reach final form until 1858. Except for those who chose to specialize in opera, no composer of Berlioz’s generation could ignore Beethoven. His Ninth was a redefinition of “symphony,” an inspiration to young musicians, and a daunting challenge. To that challenge, Berlioz’s Roméo et Juliette, a “dramatic symphony with choruses, soloists, and a prologue in choral recitative,” was a vigorous response. What Berlioz proposed was a work in which he would use words primarily in a utilitarian function, rendering Shakespeare’s poetry through the music. As Berlioz said, “If there is singing, almost at the beginning, it is to prepare the listener’s mind for dramatic scenes whose feelings and passions are to be expressed by the orchestra.” The work is divided into seven parts. The first is the Prologue, and the last three comprise Juliet’s funeral procession, the scene of Romeo in the Capulets’ tomb and Juliet’s awakening, and the finale, which Berlioz admitted fell “into the realm of opera or oratorio.” The rest consists of three large orchestral movements, with an introduction. That introductory music is an allegro depicting the warring households of the Montagues and Capulets, ending with the entry of the Prince of Verona, who orders the families to keep peace on pain of death. The Love Scene, which in the complete Roméo et Juliette begins with the offstage voices of the young people making their way home after the Capulets’ ball, was the music Berlioz loved best of any he had written. The ardor of its melodies, the delicacy of coloration, and the finesse of poetic detail make it a love scene like no other in music. Now comes the depiction of Romeo alone. Distant noises from the Capulets’ ball at first are carried by the night air as though in fragments; then it is as if a curtain were drawn aside and we found ourselves in the midst of the brilliant festivities. First performance (of the complete Roméo et Juliette): November 24, 1839, in the concert hall of the Paris Conservatory, with the composer conducting. —Michael Steinberg Michael Steinberg, the San Francisco Symphony’s program annotator from 1979-99 and a contributing writer to the San Francisco Symphony’s program book until his death in July 2009, was one of the nation’s pre-eminent writers on music. His books include three “Listener’s Guides,” one each devoted to The Symphony, The Concerto, and Choral Masterworks, and For the Love of Music, all published by Oxford University Press. These notes copyright © 2010 by the San Francisco Symphony.

Michael Tilson Thomas, music director and conductor Michael Tilson Thomas first conducted the San Francisco Symphony in 1974 and has been Music Director since 1995. A Los Angeles native, he studied with John Crown and Ingolf Dahl at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at 19 and working with Stravinsky, Boulez, Stockhausen, and Copland at the famed Monday Evening Concerts. He was pianist and conductor for


In 1969, Tilson Thomas won the Koussevitzky Prize and was appointed Assistant Conductor of the Boston Symphony. Ten days later he came to international recognition, replacing Music Director William Steinberg in mid-concert at Lincoln Center. He went on to become the BSO’s Associate Conductor, then Principal Guest Conductor. He has also served as director of the Ojai Festival, Music Director of the Buffalo Philharmonic, Principal Guest Conductor of the Los Angeles Philharmonic, and Principal Conductor of the Great Woods Festival. He became Principal Conductor of the London Symphony Orchestra in 1988 and now serves as Principal Guest Conductor. For a decade, he served as co-Artistic Director of Japan’s Pacific Music Festival, which he and Leonard Bernstein inaugurated in 1990, and he continues as Artistic Director of the New World Symphony, which he founded in 1988. Michael Tilson Thomas’s recordings have won numerous international awards, and his recorded repertory reflects interests arising from work as conductor, composer, and pianist. His television credits include the New York Philharmonic Young People’s Concerts, and in 2004, he and the SFS launched Keeping Score on PBS. His compositions include From the Diary of Anne Frank, Shówa/ Shoáh (commemorating the 50th anniversary of the Hiroshima bombing), Poems of Emily Dickinson, Urban Legend, Island Music, and Notturno. Among his honors are Columbia University’s Ditson Award for services to American music and Musical America’s 1995 Conductor of the Year award. He is a Chevalier des Arts et des Lettres of France, was selected as Gramophone 2005 Artist of the Year, was named one of America’s Best Leaders by U.S. News & World Report, has been elected to the American Academy of Arts and Sciences, and in February, was awarded the National Medal of Arts by President Obama.

Carey Bell, clarinet Carey Bell became SFS Principal Clarinetist and occupant of the William R. and Gretchen B. Kimball Chair in 2007 and made his solo debut with the Orchestra in 2008, in Mozart’s Clarinet Concerto. As a member of the San Francisco Contemporary Music Players, he has performed with orchestras and chamber ensembles throughout the Bay Area. He has held principal positions with the San Francisco Opera Orchestra and Syracuse Symphony, and he served as acting principal clarinetist of the San Francisco Ballet Orchestra. His summer engagements have included Music@Menlo, Oregon Bach Festival, Music in the Vineyards, Telluride Chamber Music Festival, and the Skaneateles Music Festival. Bell received degrees in performance and composition from the University of Michigan, where he studied with clarinetist Fred Ormand and composers William Bolcom, Bright Sheng, Michael Daugherty, and Evan Chambers. During his time in Michigan he participated in summer fellowships at Tanglewood and the Music Academy of the West. After graduating, he continued his clarinet training at DePaul University with Larry Combs and was a member of the Civic Orchestra of Chicago.

Jean-Frédéric Neuburger, piano Jean-Frédéric Neuburger, first-prize winner in the 2006 Young Concert Artists International Auditions, made his debuts in the Young Concert Artists Series in New York at Zankel Hall and in Washington, D.C., at the Kennedy Center. This past season he appeared as soloist with the Philadelphia Orchestra, performed at the Saratoga Chamber Music Festival in New York, and appeared in recital with the La Jolla Music Society. Printed on recycled paper. Please recycle this playbill for reuse.

san francisco symphony

Piatigorsky and Heifetz master classes and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth.

Born in France in 1986, Neuburger began studying piano with Claude Maillols at the Académie Maurice Ravel at age 9. He studied organ and composition with Emile Naoumoff and Jean-François Zygel. At the Conservatoire National Supérieur de Musique de Paris, he received highest honors in piano, accompaniment, and chamber music. Neuburger has performed with such ensembles as the Orchestra of St. Luke’s, London Philharmonic, Bamberg Symphony, Osaka Philharmonic, Orchestre National d’Île de France, and NHK Symphony and makes his San Francisco Symphony debut this week. He has made concerto debuts in Shanghai with the Shanghai Philharmonic in Shostakovich’s Piano Concerto No. 2, and in Tokyo with the New York Philharmonic in Beethoven’s Piano Concerto No. 3. In 2007, he was featured in the re-opening of Paris’s Salle Pleyel. He has performed recitals at Suntory Hall in Tokyo, the Louvre in Paris, and at Chopin festivals in Poland and Germany. Among his numerous honors are first prize at the 2002 Ettlingen International Competition for Young Pianists; second prize and the Beethoven Prize at the 2004 International José Iturbi Competition in Valencia, Spain; the Sacem Prize at the 2004 Long-Thibaud Competition in Paris; and second prize at the 2005 London International Piano Competition. Neuburger’s recording of music by Czerny and Liszt is on the Mirare label. For DiscAuvers, he has recorded the complete Chopin Etudes, another recording of Chopin works, and a Brahms disc. He was recently appointed professor at the Conservatoire National Supérieur de Musique et de Danse in Paris.

The San Francisco Symphony The San Francisco Symphony gave its first concerts in 1911 and has grown in acclaim under a succession of music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award, and the Grammy in the U.S. For RCA Red Seal, Michael Tilson Thomas and the SFS have recorded music from Prokofiev’s Romeo and Juliet, Mahler’s Das klagende Lied, Berlioz’s Symphonie fantastique, two Copland collections, a Gershwin collection, Stravinsky ballets (Le Sacre du printemps, The Firebird, and Perséphone), and Charles Ives: An American Journey. Their cycle of Mahler symphonies has received seven Grammys and is available on the Symphony’s own label, SFS Media, for which they have also recorded an album of the composer’s orchestral songs. Some of the most important conductors of the past and recent years have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein, and Sir Georg Solti, and the list of composers who have led the orchestra includes Stravinsky, Ravel, Copland, and John Adams. The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and Godfather III. For two decades, the SFS Adventures in Music program has brought music to every child in grades 1 through 5 in San Francisco’s public schools. SFS radio broadcasts, the first in the U.S. to feature symphonic music when they began in 1926, today carry the Orchestra’s concerts across the country. In a multimedia program designed to make classical music accessible to people of all ages and backgrounds, the SFS has launched Keeping Score on PBS, DVD, radio (The MTT Files), and at the Web site keepingscore.org. San Francisco Symphony recordings are available at shopsfsymphony.org.

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Berlioz’s Third by D. Kern Holoman Roméo et Juliette, Berlioz’s third symphony of four, is the last work completed by Berlioz during the most fertile decade of his career, the 1830s. His autograph score carries the following remark: “this Symphony, begun 24 January 1839, was finished on 8 September of the same year and performed for the first time at the Conservatoire under the direction of the composer on the following 24 November.” But the idea for a dramatic work on Shakespeare’s tragedy extends backward to the appearance of the Irish actress Harriet Smithson—the Beloved of the Symphonie fantastique—as Juliet in Paris, September 1827. This was also the period in which Berlioz came, for the first time, under the spell of Beethoven, and the work reflects in no small measure his absorption of Beethovenian ideals through study of the scores and attendance at concerts of the Paris Conservatoire Orchestra, now the Orchestre de Paris. Of Shakespeare’s play as performed by an English company at the Odéon, and Harriet Smithson’s Juliet in September 1827, Berlioz writes: ‘To steep myself in the fiery sun and balmy nights of Italy, to witness the drama of that passion swift as thought, burning as lava, radiantly pure as an angel’s glance, imperious, irresistible, the raging vendettas, the desperate kisses, the frantic strife of love and death—all this was more than I could bear.” After the Smithson performance, Berlioz is said to have declared: “That woman shall be my wife. And I’ll write my biggest symphony on the play.” Berlioz continued to work out a scheme for Roméo et Juliette during his sojourn in Italy, 1831–32. He reviewed a February 1831 performance of Bellini’s I Montecchi ed i Capuletti, giving in his text a virtual table of contents of his own emerging work, including a love-scene and a treatment of Mercutio’s Queen Mab monologue. On an outing in the Roman countryside, Berlioz remarked to Mendelssohn of his surprise that no one had ever written a scherzo about Queen Mab, then for many years dreaded that Mendelssohn might actually do it first. But it took a magnanimous gesture by the violin virtuoso Nicolò Paganini to prompt Berlioz into beginning serious composition of his new symphony. In 1834, Paganini had commissioned Berlioz to compose a concerto which the artist would play on his new Stradivarius viola; the result was the symphony Harold en Italie. Paganini was disappointed with the appearance of the finished score and did not wish to undertake a part he considered too simple for his talents. But on December 16, 1834, he came to hear the work under the baton of the composer. On the 18th, still overwhelmed by the music, he sent Berlioz a draft on the Rothschild bank for 20,000 francs in token of his homage.

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Two weeks later, relieved of financial obligation, Berlioz was hard at work on the symphony. He began to draft it, starting with the Fête chez Capulet. The first performances, in November and December 1839, were easily the most successful Berlioz had had thus far in his career, and they mark his emergence as one of the most distinguished conductors of his epoch. Reaction of the public—which included princes of the royal family, Berlioz’s own relatives, Balzac, Alfred de Vigny, Théophile Gautier, Beethoven’s amanuensis Anton Schindler, and the young Wagner—was overwhelmingly favorable. Wagner, in fact, absorbed so much about the ideals of dramatic music that the work can he considered a major influence on Tristan und Isolde. When Wagner first heard Roméo in 1839 he said it made him feel like a schoolboy at Berlioz’s side. “And the identity of the first few bars of the Tristan Prelude with the opening of “Roméo seul” cannot be denied. In 1860, a grateful Wagner sent Berlioz the published full score of Tristan und Isolde inscribed: Au grand et cher auteur de Roméo et Juliette L’auteur reconnaissant de Tristan et Isolde. Berlioz conducted the three true symphonic movements—the Fête chez Capulet, Scène d’amour, and Queen Mab Scherzo—on dozens of occasions in Paris and throughout Europe. And over the years one of them emerged as his favorite: “If you now [1858] ask me which of my pieces I like best, my answer will be that I share the view of most artists: I prefer the Love Scene from Roméo et Juliette.”

D. Kern Holoman is Distinguished Professor of Music at UC Davis and conductor emeritus of the UC Davis Symphony Orchestra. He is the author of Berlioz, Evening with the Orchestra, the popular textbook Masterworks, and the best-selling Writing About Music, among others. He is the editor of the standard text for Berlioz’s Roméo et Juliette, H. 79 in Holoman’s Catalogue of the Works of Hector Berlioz. Two books are scheduled to appear with Oxford University Press in the holiday season 2011: Charles Munch, a biography of the Alsatian conductor of the Boston Symphony Orchestra and Orchestre de Paris, and The Orchestra: A Very Short Introduction.


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San Francisco Symphony Michael Tilson Thomas, Music Director and Conductor Donato Cabrera, Resident Conductor Herbert Blomstedt, Conductor Laureate First Violins Alexander Barantschik Concertmaster Naoum Blinder Chair Nadya Tichman Associate Concertmaster San Francisco Symphony Foundation Chair Mark Volkert Assistant Concertmaster 75th Anniversary Chair Jeremy Constant Assistant Concertmaster Mariko Smiley Paula & John Gambs Second Century Chair Melissa Kleinbart* Katharine Hanrahan Chair Yun Chu Sharon Grebanier Naomi Kazama Hull Yukiko Kurakata Catherine A. Mueller Chair Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen In Sun Jang† Second Violins Dan Nobuhiko Smiley Principal Dinner & Swig Families Chair Dan Carlson Associate Principal Audrey Avis Aasen-Hull Chair Paul Brancato* Assistant Principal Kum Mo Kim The Eucalyptus Foundation Second Century Chair Raushan Akhmedyarova David Chernyavsky John Chisholm Cathryn Down Darlene Gray Amy Hiraga Frances Jeffrey Chunming Mo Kelly Leon-Pearce Polina Sedukh Isaac Stern Chair Robert Zelnick Chen Zhao* Violas Jonathan Vinocour Principal Yun Jie Liu* Associate Principal Katie Kadarauch Assistant Principal John Schoening Joanne E. Harrington & Lorry I. Lokey Second Century Chair

Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Seth Mausner* Wayne Roden Nanci Severance Adam Smyla Roxann Jacobson† Virginia Lenz†

Oboes William Bennett Principal Edo de Waart Chair Jonathan Fischer Associate Principal Pamela Smith Dr. William D. Clinite Chair Russ deLuna English Horn Joseph & Pauline Scafidi Chair

Cellos Michael Grebanier Principal Philip S. Boone Chair Peter Wyrick Associate Principal Peter & Jacqueline Hoefer Chair Amos Yang Assistant Principal Margaret Tait Lyman & Carol Casey Second Century Chair Barbara Andres The Stanley S. Langendorf Foundation Second Century Chair Barbara Bogatin Jill Rachuy Brindel David Goldblatt Christine & Pierre Lamond Second Century Chair Sébastien Gingras Carolyn McIntosh Anne Pinsker

Clarinets Carey Bell Principal William R. & Gretchen B. Kimball Chair Luis Baez Associate Principal E-flat Clarinet David Neuman Jerry Simas† Bass Clarinet

Basses Scott Pingel Principal Larry Epstein Associate Principal Stephen Tramontozzi Assistant Principal Richard & Rhoda Goldman Chair S. Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen* Ken Miller† Flutes Tim Day Principal Caroline H. Hume Chair Robin McKee Associate Principal Catherine & Russell Clark Chair Linda Lukas Alfred S. & Dede Wilsey Chair Catherine Payne Piccolo

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Bassoons Stephen Paulson Principal Steven Dibner Associate Principal Rob Weir Steven Braunstein Contrabassoon Horns Robert Ward Principal Jeannik Méquet Littlefield Chair Nicole Cash Associate Principal Bruce Roberts Assistant Principal Jonathan Ring Jessica Valeri Kimberly Wright Trumpets Mark Inouye Principal William G. Irwin Charity Foundation Chair Glenn Fischthal Associate Principal Peter Pastreich Chair Michael Tiscione Jeff Biancalana† Ann L. & Charles B. Johnson Chair Trombones Timothy Higgins Principal Robert L. Samter Chair Paul Welcomer John Engelkes Bass Trombone

Tuba Jeffrey Anderson Principal James Irvine Chair Harp Douglas Rioth Principal Timpani David Herbert Principal Percussion Jack Van Geem Principal Carol Franc Buck Foundation Chair Raymond Froehlich Tom Hemphill James Lee Wyatt III Keyboard Robin Sutherland Jean & Bill Lane Chair SAN FRANCISCO SYMPHONY John D. Goldman President Brent Assink Executive Director John Kieser General Manager Gregg Gleasner Director of Artistic Planning Nan Keeton Director of Marketing, Communications and External Affairs Robert Lasher Director of Development Oliver Theil Director of Public Relations Rebecca Blum Orchestra Personnel Manager Joyce Cron Wessling Manager, Tours and Media Production Tim Carless Production Manager Vance DeVost Stage Manager Dennis DeVost Stage Technician Rob Doherty Stage Technician Roni Jules Stage Technician

* On leave † Acting member of the San Francisco Symphony Resident Conductor Donato Cabrera’s appointment as Music Director of the San Francisco Symphony Youth Orchestra is generously supported by the Paul L. and Phyllis Wattis Endowment Fund. The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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further listening

by jeff hudson

Mondavi Center Arts Education 2 0 1 0 2 0 1 1

The San Francisco Symphony has an ample discography, going back to 1925. But for the purposes of this essay, let’s look at four symbolic landmarks: Johannes Brahms: Alto Rhapsody, conducted by Pierre Monteax. Recorded during wartime in Spring 1945 for a 78-rpm disc (still available as a download and CD), the soloist is contralto Marian Anderson—a singer of phenomenal range and intensity (also an African American)—who was in much demand in Europe in the early 1930s. She returned to the U.S., but was blocked from singing for an integrated audience in Washington DC’s Constitution Hall (owned by the Daughters of the American Revolution). Anderson’s supporters responded by arranging a free outdoor concert on Easter Sunday 1939 at the Lincoln Memorial, heard by a crowd of 75,000 (and a nationwide audience on radio). Anderson instantly became a symbol of what would emerge as the Civil Rights movement. Monteax’s decision to record with Anderson was simultaneously an artistic and a political statement—the musical results, which were intended for the ages (not just the 1940s), are still hypnotic. John Adams: Harmonielehre, conducted by Edo de Waart. Originally issued as a vinyl LP (still available via CD and download), this 1985 recording was the Bay Area composer’s big breakthrough—a full-length symphonic piece that put Adams (still in his 30s at the time) on the map as an important musical voice. Subsequent recordings of Harmonielehre by Simon Rattle (City of Birmingham Orchestra) and David Robertson (St. Louis Symphony) have strong points as well. But for the thrilling sensation that “history is being made before your ears”—by the rising composer, as well as the orchestra playing the music—you can’t top the San Francisco Symphony’s original recording. My pulse still beats faster whenever I hear this one, even after 25 years.

TARGET school matinee Series Mondavi Center Arts Education encourages all K-12 teachers to bring their students to Mondavi Center, UC Davis this season for at least one school matinee performance. Especially designed for students, the School Matinee program is curriculum based and focuses on the cultural authenticity and international exchange possible only through live performance.

Bayanihan  Friday, October 1, 2010 Gamelan Çudamani  Monday, October 25, 2010 Imago, ZooZoo Monday, November 8, 2010

A series of discs featuring several Scandinavian composers, recorded under conductor Herbert Blomstedt in the late 1980s and early 1990s. Blomstedt’s take on Carl Nielsen’s symphonies is particularly noteworthy, but the discs with Sibelius symphonies and Grieg’s original incidental music for Peer Gynt are also remarkable.

Mariachi Los Camperos

Gustav Mahler, Symphony No. 8 and the Adagio from Symphony No. 10, conducted by Michael Tilson Thomas. Recorded live in 2006 (Adagio) and 2008 (Symphony No. 8), this two-disc package—part of a much-honored Mahler cycle that began in 2001—picked up three Grammy Awards in January 2010 (Best Classical Album, Best Choral Performance, and Best Engineered Classical Album). Tilson Thomas has been interested in Mahler for a long time (he first led a Mahler symphony with the SFS as a 20-something guest conductor in the 1970s). In this recording, made after he’d been music director in San Francisco for more than a decade, he gets the kind of perceptive, assured performance that typically occurs only when a mature conductor and a strong orchestra have been working together for a long time. Several more disks are still forthcoming in this series.

Monday, January 31, 2011

de nati cano Monday, December 6, 2010 MOMIX, Botanica

Curtis On Tour Thursday, March 17, 2011 Dan Zanes and Friends Monday, March 21, 2011 Alvin Ailey american dance theater Tuesday, April 5, 2011

Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise, and Sacramento News and Review.

All shows at 11AM

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arts education

The San Francisco Symphony


Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Bayanihan The National Folk Dance Company of the Philippines A World Stage: Dance Series Event Friday, October 1, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis Sponsored by Office of Campus Community Relations

There will be one intermission. Pre-Performance Talk Speaker: Henry Spiller, Assistant Professor, UC Davis Department of Music Vanderhoef Studio Theatre, Mondavi Center • 7PM

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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campus community relations is a proud sponsor of The robert and margrit Mondavi Center for the performing arts

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Bayanihan

Bayanihan The National Folk Dance Company of the Philippines HELENA Z. BENITEZ: Founder AMB. ALFONSO YUCHENGCO: Chairman DR. LUCRECIA R. KASILAG: President SUZIE MOYA BENITEZ: Artistic Director ISABEL A. SANTOS: Costume Director FERDINAND B. JOSE: Dance Director and Choreographer MELITO S. VALE CRUZ: Music Director HELEN LEGION: Costume Mistress

Musicians Timoteo Basco Dominic Glenn Cruz Rommel de la Cruz Jose Laurence Leong Rudolf S. Pabon Rogelio C. Sambrano Jr. Jezreel Lastra Singer Mary Anne Luis

Female Dancers Marielle M. Benitez Pamela Rose Corales Charisse Cabera Rachel Dawn Cudiamat Leonor Petra Elepano Karina Gabito Louis Belle Ignacio Mary Anne Luis

Program “All Time Favorites” Well-loved Bayanihan dances that have placed this dance company firmly ensconced on the world’s stage for more than 50 years. Alitaptap Pandanggo Oasiwas Maglalatik Sa Kabukiran Bangko Tinikling Asik Vinta Singkil

Male Dancers Ferdinand Orbacedo Peter Laurenz Callangan Michael de la Chica Paulo Emmanuel Garcia Leo Laurence Q. Lorilla Joseph Robert Manayan Gian Carlo Yabut Hubbert Cristian Guerrero Corrigidor Reche Obillo

“Mestizaje y Criolleria” Cross-cultural expressions in this suite echo almost 400 years of Spanish colonization. Bayanihan captures the fire and passion of the Spanish culture in dances and music once performed inside the Walls (Intramuros) and outside the Walls (Extramuros) of Manila. Silverio Bravo Caviteña En la Luneta Malageuña de Bailes Sacramonte de Intramuros Cancion Habanero de dilao El Cañi

“E-Bayanihan” Bayanihan ventures into the fusion of new technology and folk dance in capturing the unique traditions of certain towns and cities in the Philippines such as Marikina, Pagsanjan, Laguna, and Mindanao. This suite is inspired by the Bayanihan’s “Teaching and Touching Lives” Program, a partnership with the local government leaders. The results of these studies and programs have been captured and projected on stage from the Bayanihan’s artistic team’s lenses. Bituing Marikit Valse Marikina Lerion Zapatero Labandera Sayap/Rhythms of Gandingan Intermission Printed on recycled paper. Please recycle this playbill for reuse.

“The Philippinescape” The rhythms and colors of island Philippines. This suite is a fitting finale as it celebrates the spirit of the Filipinos in their love for traditions, their love for nature and the environment. This includes Bayanihan’s tribute to the master, National Artist Fernando Amorsolo, who gave life to the Philippine countryside and beautiful traditions in his masterpieces. Dances inspired by the studies done in partnership with the local governments of General Trias and Noveleta Cavita, and Iloilo are recreated in this final extravaganza. Amorsolo Kasilyo Kawayanan Ang Maya Fiesta Extravaganza PROGRAM SUBJECT TO CHANGE WITHOUT NOTICE

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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Bayanihan

Dr. Helena Z. Benitez, Founder Dr. Helena Z. Benitez, one of the most remarkable women of the Philippines, is among the continuing motivating forces behind the Bayanihan Philippine National Dance Company. She originally provided Bayanihan with an institutional base in her Philippine Women’s University (the first university in Asia founded by Asians), where Bayanihan started to gain renown while perfecting its craft and repertoire in the 1950s. In the half century since then, and after Bayanihan gained its own independent footing and identity, she has continued to be its foremost patron and promoter even as she pursued her career as an educator and made her mark in other fields of endeavor. She served in the Philippine legislature as Senator and Member of Parliament for more than a decade. She was elected head of two United Nations bodies: the first Filipino to become chairperson of the UN Commission on the Status of Women, and the first woman President of the UN Environment Program. She has served as a member of the executive board of the International Association of Universities and chair of the Southeast Asian Council of the International Association of University Presidents. She has served as ambassador of the Philippines and headed Philippine delegations to many international conferences including the UN Habitat Conference in Vancouver. She is the only person to have served on the Board of Trustees of Bayanihan continuously throughout its existence. She currently serves as Chairperson of the Philippine Women’s University System and of Bayanihan. Dr. Lucrecia R. Kasilag, President and Music Director Renowned for her dual titles as National Artist for Music and the “First Lady of Philippine Music,” as well as her roles as President and Music Director of Bayanihan, Dr. Lucrecia R. Kasilag is a pioneer in researching indigenous ethnic music and blending it with Western musical approaches. Her work in uniting the sounds of ancient ethnic instruments with Western music stands in a class of its own. An internationally acclaimed composer, she is also a highly accomplished educator, cultural entrepreneur, researcher, lecturer, and writer. Aside from Bayanihan, she is also active in various organizations including the Young Artists Foundation, League of Filipino Composers, Federation of Asian Cultural Promotion, and the Asian Composers League, of which she is the honorary chairman. In 1993, Dr. Kasilag was elected as an honorary member of the UNESCO International Music Council. In 1995, she won the 4th ASEAN Achievement Award from Singapore’s ASEAN Business Forum for outstanding contributions to the performing arts. Suzie Moya Benitez, Artistic Director Suzie Moya Benitez earned a degree in foreign service from Assumption College, a master’s degree in public administration from the University of the Philippines, and a master’s degree in strategic business economics from the University of Asia and the Pacific. She is also a professional lecturer on corporate image, social graces, business etiquette, and leadership skills. Benitez traveled around the world as a Bayanihan dancer and model from late 1960s until 1977. She is a professional image consultant, the head of PERFORM (Personality Enrichment and Character Formation) at Assumption College, and director of special events and special programs at the Philippine Women’s University. As executive director for Bayanihan she spearheaded the group’s efforts for government recognition.

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Isabel A. Santos, Costume Director Born in the province of Lanao del Sur in the southern Philippines, Isabel A. Santos has lived and traveled throughout the country and thus become familiar with a variety of native costumes. As costume director for Bayanihan since 1957, she has designed numerous costumes based on her research on ethnic dress across the archipelago. A recipient of the City of Manila Cultural Award for costume design in dance, Santos co-authored the 1996 book Helena Z. Benitez, Bayanihan and the Filipino, A Trilogy for Culture. She was costume director for the Folk Arts Theatre and Cultural Consultant at the Office of the President of the Philippines from 1974-86. Santos received the Francisca T. Benitez Award from the Philippine Women’s University “for her significant contribution to the nurturing of the Filipino spirit and identity through her accomplishments in the arts, particularly of theatrical costuming, that captured the intrinsic and enduring beauty of Philippine costume.” In 2003, she received the Antonio Villegas Award for culture and arts given by the City of Manila, and in 2005, the award for costume design from the National Commission for Culture and the Arts in connection with the centennial of the feminist movement in the Philippines. Santos is the author of Bayanihan: A Memory of Six Continents, a history of Bayanihan Philippine National Dance Company from 1956 to 2005. Ferdinand B. Jose, Dance Director Ferdinand Jose joined the Bayanihan Philippine National Dance Company in 1976 and has toured the world extensively with the group. Major works for which has choreographed and designed include Tribulink (1996), Klasika (1997), and more recently, Kabayanihan Saludo, Bayanihan’s salute to the nation’s centennial celebration of its independence. Since 1982, he has played a focal role on Bayanihan’s research and program development teams and was made acting dance director and administrative director for the company in 1995. Jose has studied traditional folk dance both locally and internationally, and has taken many courses on improvisation and composition for modern dance. He was a recipient of a study grant, under the Rockefeller Brothers Fund administered by the Ramon Magsaysay Foundation, for development managers at the Asian Institute of Management in Manila. Melito S. Vale Cruz, Deputy Music Director A member of Bayanihan since 1975, Melito Vale Cruz currently serves not only as deputy music director but also as assistant dance director, videographer, office manager, and officer-in-charge of the audio-visual department at the company. A graduate of management and marketing, he has toured the world extensively with Bayanihan and in 1992-93, was an ASEAN exchange dance instructor in Singapore. His other interests include short-film production for dance, video production for dance, and voice studies. Melito was a member of the Philippine Madrigal Singers from 1980-86. Bayanihan: A National Treasure Bayanihan, the National Folk Dance Company of the Philippines takes its name from an ancient Filipino tradition called bayanihan, which means working together for a common good. In 1956, Dr. Helena Z. Benitez founded the Bayanihan Folk Dance Group of the Philippine Women’s University. The following year, it was formally organized as the Bayanihan Folk Arts Center with the Bayanihan Philippine Dance Company as its performing arm. Both the center and the dance company were tasked to research and preserve indigenous Philippine art forms in music, dance, costumes, and


Barely a year old but eminently backed up by painstaking research and innovative choreography, Bayanihan made its highly successful debut at the Brussels Universal Exposition in 1958, launching the company on an international career representing the Philippines. The popular TV host Ed Sullivan featured the company in his coast-to-coast telecast, Highlights of the Brussels Fair, beamed to 40 million people in the U.S. Shortly after, Sol Hurok, “the king of impresarios,” signed Bayanihan for the Sol Hurok International Festival. On October 13, 1959, Bayanihan opened on Broadway at the Winter Garden Theater and received the unanimous acclaim of New York critics. It was a major breakthrough in Philippine dance history. Credit for transforming Bayanihan’s ethnic research materials into dances of theatrical excitement and artistry largely belongs to Dr. Lucrecia Reyes Urtula, National Artist for Dance. As Walter Terry of the New York Herald Tribune observed, “the choreography is endlessly fascinating, for while preserving authenticity of step and regional color, Lucrecia Urtula has devised designs of incredible originality, visual beauty, and excitement.”

Bayanihan

folklore; to restructure and enhance these research findings to evolve repertoires suited to the demands of contemporary theater; and to promote international goodwill through performances at home and abroad.

Through the years it has earned many “firsts”: the first Filipino artists to break into Broadway and the first non-American dance company to perform at the New York State Theater of the Lincoln Center; the first Filipino cultural group to perform in Russia and China and first to make an in-depth tour of South America; the first Filipino dance company to perform at the World Showcase Millennium Village EPCOT; and the only Filipino dance company to receive the prestigious Ramon Magsaysay Award for international understanding. As the winner of multiple national and international awards, Bayanihan has awakened a new pride among Filipinos in their cultural heritage, added a new dimension to the country’s dance tradition, and built a rich reserve of international goodwill. In appreciation and recognition of their pioneering efforts and international success, the 10th Congress declared the Bayanihan Philippine Dance Company as The Philippines National Folk Dance Company. Subsequently, the president of the Philippines issued Proclamation No. 138 declaring May 27 of every year as a National Day to commemorate and propagate the Bayanihan spirit as the unique way of working together as a people.

Since its organization, the company has mounted 14 major world tours of six months to a year in duration to Asia, Australia, Africa, Europe, the Middle East, and the Americas and more than 100 short tours to foreign countries. In half a century Bayanihan has performed in six continents, 64 countries, and 658 cities worldwide.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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instruments • accessories • sheet music • lessons • rentals • repairs

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Dianne Reeves A Capital Public Radio Jackson Hall Jazz Series Event Saturday, October 2, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis There will be no intermission. Dianne Reeves, vocals Peter Martin, piano Peter Sprague, guitar Reginald Veal, bass Terreon Gully, drums & percussion

Sponsored by

B

lue Note recording artist Dianne Reeves is the pre-eminent jazz vocalist in the world today. As a result of her virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves was awarded the Grammy for Best Jazz Vocal Performance for three consecutive recordings—a Grammy first in any vocal category. Reeves appeared and performed in George Clooney’s Good Night, and Good Luck, the Academy Award-nominated film that chronicles Edward R. Murrow’s confrontation with Senator Joseph McCarthy. The soundtrack recording of Good Night, and Good Luck provided Reeves her fourth Best Jazz Vocal Performance Grammy in 2006.

recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first singer to perform at the famed Walt Disney Concert Hall. When Reeves’s first holiday collection, Christmas Time is Here, was released in 2004, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CDs I’ve heard.” In 2007, Reeves was featured in a documentary on the all-toobrief life of Billy Strayhorn. In 2008, she released When You Know, a stunning array of performances of old and new standards along with an infectious, uplifting new original.

Reeves has recorded and performed extensively with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

19


Hyatt Place is a proud sponsor

of The robert and margrit Mondavi Center for the performing arts, UC Davis

Hyatt Place UC Davis 173 Old Davis Road Extension Davis, CA 95616, USA Phone: +1 530 756 9500 Fax: +1 530 297 6900

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Steve Martin and the Steep Canyon Rangers A Chevron American Heritage Series Event Sunday, October 3, 2010 • 7PM Jackson Hall, Mondavi Center, UC Davis Sponsored by

Individual Support provided by John and Lois Crowe and Joe and Betty Tupin There will be one intermission.

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

21


Lili Received the GIFT of LIFE Born two months early, Lili Jimenez had a difficult start in life. Weighing barely three pounds, Lili suffered a host of ailments, including a life-threatening intestinal disease unique to preemies. With little time to spare, Lili was transferred to the neonatal intensive care unit at UC Davis Children’s Hospital—the region’s only comprehensive children’s hospital. After two complex surgeries, four months of round-the-clock care and lots of TLC, Lili was sent home to a future now in full bloom. At UC Davis Health System, our next medical breakthrough just may have your name on it.

Lili’s care team included neonatologist Mark Underwood, nurse Christa Mu and other specialists in the research and treatment of preterm birth complications.

A gift for advancing health.

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Steve Martin, one of the most versatile performers in the entertainment industry today—actor, comedian, author, playwright, producer, musician—has been successful as a writer of and performer in some of the most popular movies of recent film history. Born in Waco, Texas, and raised in southern California, Martin became a television writer in the late 1960s, winning an Emmy Award for his work on the hit series The Smothers Brothers Comedy Hour. By the end of the decade, he was performing his own material in clubs and on television. Launched by frequent appearances on Johnny Carson’s Tonight Show, Martin went on to host Saturday Night Live several times and star in and co-write four highly rated television specials. Martin’s first film project, The Absent-Minded Waiter, a short he wrote and starred in, was nominated for a 1977 Academy Award. In 1979, he moved into feature films, co-writing and starring in The Jerk, directed by Carl Reiner. In 1981, he starred in the musical comedy Pennies from Heaven. Martin then co-wrote and starred in the send-up of detective thrillers, Dead Men Don’t Wear Plaid, and the science fiction comedy The Man with Two Brains, both directed by Reiner. In 1984, Martin received a Best Actor Award from both the New York Film Critics Association and the National Board of Review for his performance in All of Me. In 1987, his motion picture hit Roxanne, a modern adaptation of the Cyrano de Bergerac legend, garnered Martin a Best Actor Award from the Los Angeles Film Critics Association and Best Screenplay Award from the Writer Guild of America. In 1988, he costarred with Michael Caine in the hit comedy Dirty Rotten Scoundrels and in 1989, he starred with Mary Steenburgen and Diane Wiest in Ron Howard’s family comedy, Parenthood. In 1991, Martin wrote, starred in, and co-executive produced the critically acclaimed comedy L.A. Story; made a cameo appearance in Lawrence Kasdan’s Grand Canyon; and starred with Diane Keaton in the hit Disney film Father of the Bride, receiving the People’s Choice Award for Favorite Actor in a Comedy Motion Picture for the latter. In 1992, he starred in Housesitter, opposite Goldie Hawn, winning the People’s Choice Award for Favorite Actor in a Comedy Motion Picture for the second year in a row. In 1996, he starred again with Diane Keaton in the hit sequel to Father of the Bride and was nominated for a Golden Globe Award. Martin received critical praise in 2005 for Shopgirl, starring Claire Danes. The screenplay was written by Martin and adapted from his best-selling novella of the same name. His most recent film is It’s Complicated, with Meryl Streep and Alec Baldwin. Martin’s other films include Little Shop of Horrors, Planes, Trains and Automobiles, The Three Amigos, Bowfinger, The Spanish Prisoner, Bringing Down the House, Cheaper by the Dozen, Cheaper by the Dozen 2, The Pink Panther, and The Pink Panther 2. Martin’s second novella, The Pleasure of My Company, was ranked on best-seller lists around the country including in The New York Times. He has also written a best-selling collection of comic pieces, Pure Drivel; a children’s book, The Alphabet from A to Y with Bonus Letter Z!, co-written with New Yorker illustrator Roz Chast; and an autobiography, Born Standing Up. His work frequently appears in The New Yorker and The New York Times.

Printed on recycled paper. Please recycle this playbill for reuse.

Steve Martin and the steep canyon rangers

Steve Martin

In 1993, Martin’s first original play, the comedy-drama Picasso at the Lapin Agile, was presented by Chicago’s prestigious Steppenwolf Theatre. Following rave reviews and an extended run in Chicago, the play was presented successfully in Boston and Los Angeles, and then off-Broadway in New York at the Promenade Theatre, to nationwide critical and audience acclaim. It continues to be mounted in productions worldwide. WASP, a one-act play that Martin wrote, was first performed at the Public Theatre in New York in 1995. The Underpants, a dark comedy Martin adapted from the 1911 play by Carl Sterneim, premiered off-Broadway at the Classic Stage Company in 2002. Martin has won Grammy Awards for his comedy albums Let’s Get Small and A Wild and Crazy Guy and received a gold record for his single “King Tut.” A long-time banjo player, Martin has won musical Grammys for his playing on “Foggy Mountain Breakdown” on Earl Scruggs & Friends (2001) and for his banjo album The Crow: New Songs for the Five-String Banjo, which was awarded Best Bluegrass Album in 2010. In 1996, Martin was honored with a retrospective of his work by the American Film Institute’s Third Decade Council at the U.S. Comedy Arts Festival. He was also presented with the Lifetime Achievement Award at the ceremony. In 2004, Martin was honored for his film work by the American Cinematheque. Martin received the prestigious Kennedy Center Honor in December 2007.

The Steep Canyon Rangers “If George Jones had Lester Flatt and Bill Monroe in mind when he sang ‘Who’s Gonna Fill Their Shoes?’ he might have found his answer in North Carolina’s hot-picking, young band, the Steep Canyon Rangers.” —Jack Bernhardt, Raleigh News & Observer The Steep Canyon Rangers’ deep dedication to bluegrass is heard in every note they play. But it’s the band’s amazing songwriting talent that makes it truly exceptional. With a sound firmly rooted in bluegrass tradition, their ability to draw musical elements from hardcore honky-tonk, classic country, and blues sets them apart from the rest of the pack. While Steep Canyon’s fierce commitment to traditional bluegrass audiences is obvious, the band is also dedicated to bringing its music to the next generation of fans. The band has taken bluegrass to rock clubs, jam band festivals, and other non-traditional venues, winning new converts at every turn. In 2006, the International Bluegrass Music Association voted the Steep Canyon Rangers the Emerging Artist of the Year. The past year also saw the band’s song “One Dime at a Time” rise to number one on the Bluegrass Unlimited National Bluegrass Survey. In October 2009, the Grand Ole Opry welcomed the Rangers for a debut performance at the Ryman Auditorium in Nashville. On the heels of their recent success comes a third Rebel album, Lovin’ Pretty Women, produced by bluegrass heavyweight Ronnie Bowman, affirming the band’s arrival at the highest level of acoustic music. The Steep Canyon Rangers have built a reputation as a powerful, engaging quintet seasoned by constant touring. Their willingness to carry bluegrass to music-lovers worldwide has put the band on stage at Americana and bluegrass festivals in the U.S. and overseas, as well as major rock venues on the national jam-band circuit.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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BALLET DIRECTOR

RON CUNNINGHAM ISSUE #6

PLAYWRIGHT

GREGG COFFIN ISSUE #7

TONY WINNER

FAITH PRINCE ISSUE #8 ACTOR

COLIN HANKS ISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDI ISSUE #16

BROADWAY STAR

MARA DAVI ISSUE #19

Available at Raley's, Nugget Markets, Borders and Barnes & Noble.

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Rising Stars of Opera Karen Slack, soprano | David Lomelí, tenor | Mark Morash, piano UC Davis Symphony Orchestra Christian Baldini, conductor Saturday, October 9, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis Individual Support provided by Barbara K. Jackson There will be one intermission. Rhapsody in B Minor, Op. 79, No. 1

Brahms

Morgen Op. 27, No. 4 Cäcilie Op. 27, No. 2

R. Strauss

Un Sospiro from Études de Concert

Liszt

No puede ser from La Taberna del Puerto

Sorozábal

Un gitano sin su honor from Luna

Cano

Ride On, King Jesus

Johnson Intermission

Intermezzo from Cavalleria Rusticana

Mascagni

Una furtiva lagrima from L’elisir d’amore

Donizetti

Vissi d’Arte from Tosca

Puccini

Rodolfo and Mimi’s final scene, Act I, of La Bohème

Puccini

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

25


rising stars of opera

Program Notes by Dr. Richard E. Rodda

No puede ser (“It Is Not Possible!”) from La Taberna del Puerto (1936) Pablo Sorozábal (Born September 18, 1897 in San Sebastian, Spain; died December 26, 1988 in Madrid)

Rhapsody in B minor, Op. 79, No. 2 (1879) Johannes Brahms (Born May 7, 1833 in Hamburg, Germany; died April 3, 1897 in Vienna, Austria)

The composer and conductor Pablo Sorozábal was born in 1897 in San Sebastian, the coastal Spanish city closest to France. He first studied with Enrique Fernández Arbós in Madrid, and from 1920 to 1931, attended the conservatories in Leipzig and Berlin. Sorozábal returned to Spain in 1931 for the premiere of his first zarzuela, Katiuska, whose success established his reputation in his homeland. He composed nine further examples of the genre through 1958, incorporating distinctive styles from the Basque region and Madrid; he was one of the last exponents of the zarzuela form. Sorozábal also wrote two operas and several scores for orchestra. In addition to his work as a composer, he was conductor of the Madrid Municipal Band and the Madrid Philharmonic Orchestra. He died in Madrid in 1988. La Taberna del Puerto of 1936 is a story of high passion and low crime set in a seedy fishing port in northern Spain. The young fisherman Leandro is in love with the beautiful Marola (the tavern-keeper, the taberna, of the title), and he sings No puede ser when he is told (incorrectly, as it turns out) that she is luring him into a dangerous smuggling plot.

Brahms’ pianism was noted less for its flashy virtuosity than for its rich emotional expression, fluency, individuality, nearly orchestral sonority and remarkable immediacy, and his compositions for solo piano are marked by introspection, seriousness of purpose and deep musicality. William Murdoch wrote, “Brahms had begun his life as a pianist, and his first writing was only for the pianoforte. It was natural that at the end of his life he should return to playing this friend of his youth and writing for it. This picture should be kept in mind when thinking of these late pieces. They contain some of the loveliest music ever written for the pianoforte. They are so personal, so introspective, so intimate that one feels that Brahms was exposing his very self. They are the mirror of his soul.” Morgen (“Tomorrow”) and Cäcilie (1894) Richard Strauss (Born June 11, 1864 in Munich, Germany; died September 8, 1949 in Garmisch-Partenkirchen) The great tradition of the 19th-century German Lied came to its end with the songs of Richard Strauss. Though he wrote songs throughout his long life — his first piece, penned at age six, was a Christmas carol; his last was the magnificent Four Last Songs — he composed most of his Lieder before he turned from the orchestral genres to opera at the beginning of the 20th century. The best of Strauss’ songs are imbued with a soaring lyricism, a textural and harmonic richness, and a sensitivity to the text that place them among the most beautiful and enduring works of their type, the culmination of the most intimate musical genre of the legacy of Schubert, Schumann and Brahms. John Henry Mackay (1864-1933) was born in Scotland but spent most of his life in Germany, where he gained notoriety for his anarchistic writings and his support of what was then known as “homosexual emancipation.” He also wrote passionate lyrical poetry, and in 1894 Strauss included his poem Morgen in the set of four songs (Op. 27) that he wrote as a wedding gift for his bride, the gifted soprano Pauline von Ahna. Strauss also included in his Op. 27 a setting of Cäcilie by the German poet, drama critic and literary journal publisher Heinrich Hart (1855-1906). Un Sospiro (“A Sigh”) from Études de Concert (1848) Franz Liszt (Born October 22, 1811 in Doborján, Hungary [now Raiding, Austria]; died July 31, 1886 in Bayreuth, Germany) In 1848, Franz Liszt, inspired by the models provided by Chopin more than a decade before, wrote a series of three etudes intended less for the pedagogical studio than for the concert platform. Liszt’s examples of the Étude de Concert were larger in scale than those of Chopin, and admitted a greater variety of internal musical contrast, but share with them a virtuosic approach to the keyboard and a wide range of emotional expression. Upon their publication (they were dedicated to Chopin), Liszt’s Études were titled Il Lamento, La Leggierezza and Un Sospiro to indicate the general expressive character of each. Un Sospiro (“A Sigh”), a remarkable exercise in the technique of crossing hands, is filled with a poetic Romanticism whose nocturnal mood is indebted to the touching nostalgic effusions of Chopin. A greater impetuosity stirs the Étude in its central section before the music returns to the wistful strains of the opening. Printed on recycled paper. Please recycle this playbill for reuse.

Un gitano sin su honor (“A Gypsy without His Honor”) from Luna (“Moon”) (1997) José María Cano (Born February 21, 1959 in Madrid, Spain) The Spanish composer, singer and conceptual artist José María Cano, born in Madrid in 1959, was trained as an architect but while still in school he and his brother Nacho and singer Ana Torroja formed the pop band Mecano, which became a multi-million selling group in Spain and Latin America. Cano started writing for other singers in the 1980s, and when Mecano broke up in 1992 he began composing the opera Luna (“Moon”) with the encouragement and support of Plácido Domingo. Attempts to have the work performed in Madrid in 1997 proved unsuccessful, so Cano recorded excerpts from it with Domingo, Renée Fleming and Teresa Berganza. The album sold well in Spain and a concert version was performed in Valencia on June 15, 1998, but the opera still awaits its first staged production. Cano has lived in London and devoted himself largely to socially aware conceptual art since 2002. Luna, to Cano’s own libretto, is set in Seville in 1810. The gypsy Lola implores the moon to let her marry the gypsy Antonio, and her wish is granted. When their son is born, however, the infant has fair skin and little resemblance to his father. Antonio accuses his wife of infidelity and stabs her to death without realizing that she is innocent. He abandons the child in the woods, where it is gathered up by the moon. Antonio sings of his distress in the passionate aria Un gitano sin su honor (“A Gypsy without His Honor”). Ride On, King Jesus (arr. 1949) Arranged by Hall Johnson (Born March 12, 1888 in Athens, Georgia; died April 30, 1970 in New York City) This version of Ride On, King Jesus appeared in the volume of Thirty Negro Spirituals arranged by Hall Johnson in 1949. Johnson was born into a prominent African-American family in Athens, Georgia in 1888 and learned the old plantation songs from his grandmother, who was born a slave. Johnson studied at the University of Pennsylvania, Juilliard and USC, and took up choral conducting and formed his own choir in 1925 after working for several years as a violinist in New York City. His choir appeared in the 1930 Broadway production of Marc Connelly’s The Green Pastures, and also participated in the play’s international tour, radio broadcasts and 1936 screen adaptation by Warner Bros. Johnson went onto arrange and lead his choir for more than thirty feature films, including Lost Horizon and Cabin in the Sky.

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Intermezzo from Cavalleria Rusticana (1890) Pietro Mascagni (Born December 7, 1863, in Livorno, Italy; died August 2, 1945, in Rome, Italy)

Vissi d’arte from Tosca (1899) Giacomo Puccini (Born December 22, 1858 in Lucca, Italy ; died November 29, 1924, in Brussels, Belgium)

Mascagni’s Cavalleria Rusticana created a sensation when it was premiered on May 17, 1890, in Rome. The progenitor of an Italian operatic sub-species known as verismo (“realism”), it was one of the first modern operas to depict contemporary settings and characters on stage, and was produced with immediate and enormous success across Europe and in the United States. The one-act story is set in the square of a Sicilian village on Easter morning. Turiddu returns from the army to find that his former sweetheart, Lola, has married Alfio. With Lola unavailable, Turiddu consoles himself with the charms of the peasant girl Santuzza. She falls in love with Turiddu, and is infuriated when he returns to Lola for an adulterous affair. Santuzza confronts Turiddu on the steps of the church when he arrives to attend Mass, but he refuses to submit to her jealousy. Lola enters, singing a light-hearted ditty, grasps the situation at a glance, and exchanges bitter words with Santuzza. Turiddu, furious at the scene, hurls Santuzza to the ground, and escorts Lola into church. At this tense moment, Alfio enters, and Santuzza reveals to him his wife’s illicit love for Turiddu. Alfio swears vengeance and leaves. A crowd fills the square after the Easter service ends. Turiddu proposes a toast to the villagers, but Alfio spurns the glass of wine offered to him. Insulted, Turiddu challenges him to a duel, and the two leave. The villagers rush back into the square with the news that Turiddu has been killed.

Tosca’s lover, the painter Cavaradossi, has been unjustly imprisoned by Scarpia, the treacherous chief of the Roman police. Scarpia summons Tosca to share his dinner, and tells her that the only way Cavaradossi’s life can be saved is if she submits to his wishes. In the aria Vissi d’arte, Tosca despairs that, after a life devoted to art, love and prayer, she should be faced with such a terrible choice.

The Intermezzo occurs at the crucial moment in the drama when Alfio has just learned of his wife’s infidelity and determines to confront her lover. The serenity of the music, played while the stage is empty for the Easter service, evokes the solemn worship in the church and also acts as a foil for the intensity and tragedy of the scenes surrounding it.

Rodolfo and Mimi’s final scene, Act I of La Bohème (1896) Giacomo Puccini Four poor but high-spirited bohemians live together in a Parisian garret. Marcello, a painter, suggests that they smash a chair to fuel the waning fire on this chilly Christmas Eve, but Rodolfo, a poet, offers the manuscript of his latest work instead. The philosopher Colline arrives with the disappointing news that he has been unable to pawn a bundle of old books, but Schaunard, the musician, appears with food and fuel and some extra cash from a new patron. He suggests that they celebrate his good fortune at the Café Momus in the Latin Quarter. Rodolfo stays behind to finish an article. There is a knock on the door. Rodolfo opens it to find Mimi, his neighbor, whose candle has gone out on the way to her flat. Rodolfo, struck by the girl’s fragile beauty, relights the candle and asks her to tell him about herself, which she does in the tender aria Mi chiamano Mimì. As they search in the darkness for Mimi’s key, they touch, and Rodolfo remarks on her “frozen little hand” (“gelida manina”). “Let me give it back its warmth,” he sings. He holds her hand tenderly as he tells her of his life: “When it comes to dreams and visions…I’ve the soul of a millionaire.” Rodolfo and Mimi are immediately drawn to each other and in the rapturous duet O soave fanciulla sing of their new-found love before leaving to join the bohemians at the Café Momus. ©2010 Dr. Richard E. Rodda

Una furtiva lagrima from L’elisir d’amore (1832) Gaetano Donizetti (Born November 29, 1797, in Bergamo, Italy; died there April 1, 1848) The gentle villager Nemorino is in love with Adina, and he is upset with her apparent indifference to him. In hope of enhancing his attractiveness to her, he buys a bottle of “magic love elixir”— actually just cheap Bordeaux—from the quack Dr. Dulcamara. Nemorino is mobbed by young girls (who have just learned that his recently deceased uncle has left Nemorino his fortune), and thinks that he detects a hint of jealousy in Adina. When she still remains aloof, however, he sings of his feelings in the touching aria Una furtiva lagrima. Adina relents and admits her love. The two are betrothed as the curtain falls.

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rising stars of opera

Strauss: Morgen (Tomorrow), Op. 27, No. 4 Und morgen wird die Sonne wieder scheinen, und auf dem Wege, den ich gehen werde, wird uns, die Glücklichen, sie wieder einen inmitten dieser sonnenatmenden Erde … Und zu dem Strand, dem weiten, wogenblauen, werden wir still und langsam niedersteigen, stumm werden wir uns in die Augen schauen, und auf uns sinkt des Glückes stummes Schweigen.

And tomorrow the sun will shine again, and on the path I will take, it will unite us again, we happy ones, upon this sun-breathing earth … And to the shore, the wide shore with blue waves, we will descend quietly and slowly; we will look mutely into each other’s eyes and the silence of happiness will settle upon us.

Strauss: Cäcilie (Cecily), Op. 27, No. 2 Wenn du es wüsstest, Was träumen heisst von brennenden Küssen, Von Wandern und Ruhen mit der Geliebten, Aug in Auge, Und kosend und plaudernd, Wenn du es wüsstest, Du neigtest dein Herz! Wenn du es wüsstest, Was bangen heisst in einsamen Nächten, Umschauert vom Sturm, da niemand tröstet Milden Mundes die kampfmüde Seele, Wenn du es wüsstest, Du kämest zu mir. Wenn du es wüsstest, Was leben heisst, umhaucht von der Gottheit Weltschaffendem Atem, Zu schweben empor, lichtgetragen, Zu seligen Höhn, Wenn du es wüsstest, Du lebtest mit mir!

If you only knew what it’s like to dream of burning kisses, of wandering and resting with one’s beloved, eye turned to eye, and cuddling and chatting — if you only knew, you would incline your heart [to me]! If you only knew what it’s like to feel dread on lonely nights, surrounded by a raging storm, while no one comforts with a mild voice your struggle-weary soul — if you only knew, you would come to me. If you only knew what it’s like to live, surrounded by God’s world-creating breath, to float up, carried by the light, to blessed heights — if you only knew, then you would live with me!

Sorozábal: No puede ser (It is not possible! ) from La Taberna del Puerto No puede ser, esa mujer es buena. No puede ser, una mujer malvada. En su mirar, como una luz singular, he visto que esa mujer no es una desventurada. No puede ser una vulgar sirena que envenenó las horas de mi vida. No puede ser porque la vi rezar, porque la vi querer, porque la vi llorar. Los ojos que lloran no saben mentir las malas mujeres no miran así. Tremblando en sus ojos dos lágrimas vi y a mí me ilusiona que tiemblen por mí. Viva luz de mi ilusión, sé piadosa con mi amor. Porque no sé fingir, porque no sé callar, porque no sé vivir.

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It is not possible! This woman is virtuous. She cannot be a wanton woman. There is something unique about her that tells me this woman is deeply unhappy. She cannot be a vulgar harlot who has poisoned all the hours of my life. It is impossible! Because I saw her pray, I saw her love, I saw her weep. Eyes that weep cannot lie, and wanton women do not look like that. I saw two tears trembling in her eyes, and I cherish the illusion that they trembled for me. Shining light of my dreams, have pity on my love because I cannot pretend, I cannot be silent, I cannot live.


rising stars of opera

Cano: Un gitano sin su honor (A Gypsy without His Honor) from Luna Dime que no es verdad. Dime que lo que están viendo mis ojos no es más que un mal sueño que de tanto quererte me he vuelto loco. Y un gitano sin su honor es la cosa más peor. Fue mi mare quien me lo enseñó cuando vio que ya iba a echar a andar pa’ que lo aprendiese antes que a hablar: Que un gitano deshonrao es un mosto repuntao ni pa’ hacer vinagre vino dulce que ha amargao. Y un gitano sin su honor es la cosa mas peor que al que es probe y que no tié de na’ no quitarle de su dignidad. Si me dejas humillao poca cosa me has dejao y es que al probe que no tié de na’ aay. No le quites de su dignidad. Un gitano sin su honor un geranio sin la flor es que ni mirarlo sirve pa’ pisarlo ni un mal bicho alrededor que un gitano sin su honor es la cosa más peor.

Tell me that it is not true. Tell me that what my eyes are watching is no more than a bad dream, that because of loving you so much I became crazy. And a gypsy without his honor is the worst thing. It was my mother who taught me this, when she saw that I was almost walking, for me to learn it before speaking: That a dishonored gypsy is just a squashed grape. no lo quiere nadie Nobody wants it even to make vinegar — sweet wine that got bitter. And a gypsy without his honor is the worst thing. The poor one who doesn’t have anything, don’t take his dignity away. If you leave me humbled you have left me with nothing, The poor one who doesn’t have anything, ahh! Don’t take his dignity away. A gypsy without his honor is a geranium without the flower. Don’t even look at him. He is just for stepping on, even a bug wouldn’t be around him, because a gypsy without his honor is the worst thing.

arr. Johnson: Ride On, King Jesus Ride on, King Jesus! No man can a-hinder me. Ride on King Jesus, ride on. No man can a-hinder me, For he is king of kings, he is lord of lords, Jesus Christ the first and last, no man works like him, For he is king of kings, he is lord of lords, Jesus Christ the first and last, no man works like him. King Jesus rides on a milk white horse, No man works like him. The river Jordan he did cross, No man works like him, For he is king of kings, he is lord of lords, Jesus Christ the first and last. King Jesus rides in the middle of the air, he calls the saints from everywhere, ah. Ride on King Jesus, no man can a-hinder me. Ride on, King Jesus, ride on. No man can a-hinder me. He is the king, he is the lord, Yes, he is the king, he is the lord, Jesus Christ the first and last, No man works like him. Ride on, ride on, ride on, ride on, Jesus!

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rising stars of opera

Donizetti: Una furtiva lagrima from L’elisir d’amore Una furtiva lagrima Negli occhi suoi spuntò… Quelle festose giovani Invidiar sembrò… Che più cercando io vo’! M’ama, sì, m’ama, lo vedo. Un solo istante i palpiti Del suo bel cor sentir… I miei sospir confondere Per poco a’ suoi sospir!... I palpiti, i palpiti sentir! Confondere i miei co’ suoi sospir! Cielo, si può morir; Di più non chiedo, non chiedo. Ah! Cielo, etc. Di più non chiedo. Si può morir, si può morir d’amor.

A furtive tear escaped from her eye… Those merry maidens she seemed to envy… Why do I seek further? She loves me, she loves me, I can see. If I could but feel the beating of her dear heart for one instant… mingle my sighs for a little with hers!... If I could feel that beating! And mingle my sighs with hers! Oh, heaven, I could die then, nor ask anything more. Oh, heaven, etc. I ask nothing more. One could die, could die of love.

Puccini: Vissi d’arte from Tosca Vissi d’arte, vissi d’amore, non feci mai male ad anima viva! Con man furtiva quante miserie conobbi, aiutai. Sempre con fè sincera la mia preghiera ai santi tabernacoli salì. Sempre con fè sincera, diedi fiori agli altar. Nell’ora del dolore perchè, perchè, Signore, perchè me ne rimuneri così? Diedi gioielli della Madonna al manto, e diedi il canto agli astri, al ciel, che ne ridean più belli. Nell’ora del dolor perchè, perchè, Signor, ah, perchè me ne rimuneri così?

I lived for art, I lived for love, I have never harmed a living soul! Secretly I helped the poor and unfortunate. Ever with fervent faith, my prayers ascended to the saints. Ever with fervent faith, I brought flowers to the altar. In my hour of misery, why, why, O Lord, why do you repay me thus? I gave jewels for the mantle of the Madonna, and I offered my song to the stars, to the heavens, for their greater radiance. In my hour of misery, why, why, O Lord, ah, why do you repay me thus?

Puccini: Rodolfo and Mimi’s final scene, Act I of La Bohème

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Si. Mi chiamano Mimì, ma il mio nome è Lucia. La storia mia è breve: a tela o a seta ricamo in casa e fuori. Son tranquilla e lieta, ed è mio svago far gigli e rose. Mi piaccion quelle cose che han sì dolce malia, che parlano d’amor, di primavere; che parlano di sogni e di chimere, quelle cose che han nome poesia. Lei m’intende?

Yes. They call me Mimi, but my name is Lucia. My story is brief: I embroider linen or silk, at home or outside. I’m contented and happy, and it’s my pleasure to make roses and lilies. I love those things which possess such sweet enchantment, which speak of love and springtime, of dreams and visions, those things that people call poetic. Do you understand?

Mi chiamano Mimì, il perchè non so. Sola mi fo il pranzo da me stessa. Non vado sempre a messa, ma prego assai il Signor. Vivo sola, soletta, là in una bianca cameretta; guardo sui tetti e in cielo, ma quando vien lo sgelo, il primo sole è mio!

They call me Mimi, why, I don’t know. All alone, I make my own supper. I don’t always go to Mass, but I pray diligently to God. I live alone, quite alone there in a little white room; I overlook roofs and sky, but when the thaw comes, the first sunshine is mine,

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il primo bacio dell’aprile è mio! Il primo sole è mio! Germoglia in un vaso una rosa; foglia a foglia la spio! Così gentil il profumo d’un fior. Ma i fior ch’io faccio, ahimè! ... i fior ch’io faccio, ahimè! non hanno odore! Altro di me non le saprei narrare: sono la sua vicina che la vien fuori d’ora a importunare.

April’s first kiss is mine! The first sunshine is mine, In a vase a rose is coming into bloom; petal by petal I watch it! The scent of a flower is so sweet. But the flowers I make, alas, the flowers I make have no smell! There’s no more I can tell you about myself: I am your neighbor who comes to bother you at the wrong moment. * * *

Che gelida manina, se la lasci riscaldar. Cercar che giova? Al buio non si trova. Ma per fortuna è una notte di luna e qui la luna l’abbiamo vicina. Aspetti, signorina, le dirò con due parole chi son, e che faccio, come vivo. Vuole? Chi son? Sono un poeta. Che cosa faccio? Scrivo. E come vivo? Vivo. In povertà mia lieta scialo da gran signore rime ed inni d’amore. Per sogni e per chimere e per castelli in aria, l’anima ho milionaria. Talor dal mio forziere ruban tutti i gioielli due ladri: gli occhi belli. V’entrar con voi pur ora, ed i miei sogni usati e i bei sogni miei tosto si dileguar! Ma il furto non m’accora, poichè, poichè v’ha preso stanza la speranza! Or che mi conoscete, parlate voi, deh! parlate. Chi siete? Vi piaccia dir!

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What a frozen little hand, let me warm it again. What’s the use of looking? We can’t find anything in the dark. But fortunately it’s a moonlight night, and very soon the moon will shine in here. Wait, pretty maiden, and I’ll tell you briefly who I am, what I do, and how I live. May I? Who am I? I’m a poet. What do I do? I write. And how do I live? I live! In my happy poverty I’m as prodigal as a lord with my rhymes and love-songs. In dreams, fantasies or castles in the air, I’m as rich as a millionaire. Sometimes the strongroom of my imagination is robbed of all its treasures by two thieves: beautiful eyes. They came in with you just now, and all my accustomed dreams, all my beautiful dreams, melted away at once! But I’m not distressed at this robbery, because they have been replaced by hope! Now that you know all about me, won’t you please tell me who you are? Please will you say?

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Giacomo Puccini, La bohème, Act I, “O soave fanciulla”

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Rodolfo O soave fanciulla, o dolce viso di mite circonfuso alba lunar in te, vivo ravviso il sogno ch’io vorrei sempre sognar!

Rodolfo Oh lovely girl, oh sweet face bathed in the soft moonlight. I see you in a dream I’d dream forever!

Mimì Ah! tu sol comandi, amor! . . .

Mimì Ah! Love, you rule alone!

Rodolfo Fremon già nell’anima le dolcezze estreme, nel bacio freme amor!

Rodolfo Already I taste in spirit the heights of tenderness! Love trembles at our kiss!

Mimì Oh! come dolci scendono le sue lusinghe al core . . . tu sol comandi, amore! . . .   No, per pietà!

Mimì How sweet his praises enter my heart . . . Love, you alone rule!

Rodolfo Sei mia!

Rodolfo You’re mine!

Mimì V’aspettan gli amici . . .

Mimì Your friends are waiting.

Rodolfo Già mi mandi via?

Rodolfo You send me away already?

Mimì Vorrei dir . . . ma non oso . . .

Mimì I dare not say what I’d like . . .

Rodolfo Dì

Rodolfo Tell me.

Mimì Se venissi con voi?

Mimì If I came with you? . . .

Rodolfo Che? . . . Mimì? Sarebbe così dolce restar qui. C’è freddo fuori.

Rodolfo  What? Mimì! It would be so fine to stay here. Outside it’s cold.

Mimì Vi starò vicina! . . .

Mimì I’d be near you!

Rodolfo E al ritorno?

Rodolfo And when we come back?

Mimì Curioso!

Mimì Who knows?

Rodolfo Dammi il braccio, mia piccina.

Rodolfo Give me your arm, my dear . . .

Mimì Obbedisco, signor!

Mimì Your servant, sir . . .

Rodolfo Che m’ami di’. . .

Rodolfo Tell me you love me!

Mimì Io t’amo!

Mimì  I love you.

Together Amor! Amor! Amor!

Together Love!  Love!  Love!

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No, please!


Karen was recently cast in Tyler Perry’s new film For Colored Girls and is the featured opera soloist in the film, scheduled for release in January 2011. She sings Mahler’s Symphony No. 2 with the Latvian National Symphony Orchestra in fall 2010 and Verdi’s Requiem with the Sacramento Choral Society and Orchestra at the Mondavi Center in spring 2011. The New York Times described her singing as “warmly expressive, especially in her brilliant top.” The Financial Times labeled her “a radiant spinto soprano.” The San Francisco Chronicle claimed she “was suitably grandiose of voice—she boasts a large gleaming sound.” Her 2009 performance of the Verdi Requiem with the Madison Symphony Orchestra garnered this review: “Slack had a lovely dark tone color, harnessing a captivating depth of emotion especially in the final Libera me.” Her recent debut as Violetta with the Sacramento Opera was praised by the Sacramento Bee: “Karen Slack...turned the opera into a showpiece for her powerful and expressive soprano with her performance.” Karen made her Metropolitan Opera debut in 2006 in the title role of Luisa Miller and quickly followed that with performances at San Francisco Opera, Carnegie Hall, Santa Fe Opera, Opera Company of Philadelphia and Melbourne Symphony (Australia). While a student at the Curtis Institute, Slack was noticed by Santa Fe Opera and given a coveted place in its apprentice program. San Francisco Opera rewarded her with an invitation to participate in the Merola Opera Program and followed that with an Adler Fellowship. Karen has gained international attention as winner of several high-profile competitions: the Jose Iturbi Competition, Portland Opera Lieber Award, Florida Grand Opera Competition, finalist in the Metropolitan Opera National Council Auditions, George London Award, and second prize in the Montserrat Caballé International Singing Competition. Recent engagements include the role of Cilla in the new American opera Margaret Garner for Michigan Opera Theater, soprano soloist for Verdi’s Requiem with Madison Symphony Orchestra, Serena in Porgy and Bess for San Francisco Opera and Washington National Opera, and Violetta in La Traviata for Sacramento Opera and West Bay Opera.

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rising stars of opera

Karen Slack, soprano Karen Slack’s voice sparkles with brilliance and warmth in the roles of Mimi, Cio-Cio San, Violetta, Suor Angelica, Liu, Luisa Miller, Arabella, Desdemona, Countess, Donna Anna, Tatyana, and Serena. She is also perfectly suited as soloist for the concert works of Strauss, Brahms, and Beethoven.

David Lomelí, Tenor Born in Mexico City, David Lomelí is quickly gaining prominence for the great beauty of his voice. A first-prize winner in Plàcido Domingo’s 2006 Operalia competition, Lomelí is the first Mexican tenor to have won the first prize and the first singer to win both the opera and zarzuela divisions in the renowned singing competition. In 2006, he was the first-prize winner at the national tenor competition Nicolas Urcelay in Merida, Mexico, and winner of the Palm Beach Opera Competition, Montserrat Caballé Competition, Zachary Foundation, and Jose Iturbi Voice Competition. As a winner of Operalia, he joined the Puerto Rico Symphony Orchestra in a gala concert in 2007. Lomelí had an exciting 2009-10 season as Rinuccio in Gianni Schicci for San Francisco Opera and then with the Los Angeles Philharmonic for performances of the Verdi Requiem. He sang further performances of the Requiem in his debut with the Berlin Philharmonic and made his debut as the Duke in Rigoletto in Dijon, France. Other engagements include an opera aria concert with soprano Nuccia Focile at UC Berkeley, a gala concert in Prague, and a concert with soprano Nicole Cabell at Bad Kissingen. Lomelí was also heard as Don Ottavio in Don Giovanni with Michigan Opera Theatre. A graduate of the Los Angeles Opera’s Domingo-Thornton Young Artist Program, Lomelí made his debut with the company as Count Lerma and the Royal Herald in Don Carlos. Additional performances in Los Angeles include Saboyano and Javier in Luisa Fernanda and Rodolfo in La Bohème, which he also performed in Tel Aviv. In 2008, he appeared in concert with the Ventura Symphony and also with the Munich Radio Orchestra at the Bad Kissingen Festival. Lomelí joined San Francisco Opera in 2009 as a member of its prestigious Adler Fellowship Program. He made his San Francisco Opera debut as Alfredo Germont in La Traviata, conducted by Donald Runnicles. In the summer of 2009, he was also heard in concert in Bad Kissingen as part of the Kissingen Sommer, a concert he repeated in Oslo, Norway. Lomelí studied at the Accademia de Perfezionamento per Cantanti Lirici alla Scala and has worked with such distinguished musical authorities as Plàcido Domingo, James Conlon, Bruno Rigacci, Gustavo Dudamel, Mignon Dunn, Denise Massé, Joan Dornemann, and César Ulloa. He is a recipient of both the Plàcido Domingo and Pepita Serrano scholarships.

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Y D O B NO l ysica h P w esho d i pany S m A o tre C Thea ction u prod erlin

M Bella erson y b d e nd Devis r: Miles A Roesner to Direc ser: David o Comp

October 14-24, 2010 Vanderhoef Studio Theatre, Mondavi Center 530.754.ARTS theatredance.ucdavis.edu

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CHRISTIAN BALDINI

Mark Morash is a conductor and pianist originally from Halifax, Canada. He currently serves as the director of musical studies for San Francisco Opera Center. He has also led productions and concerts with the Merola Opera Program and Western Opera Theater. In recent years, Morash has also led performances of Rigoletto with Opera Colorado as well as Don Giovanni and The Turn of the Screw for the Lincoln Theater in Yountville, California. His work with the San Francisco Opera Center has included such varied repertoire as Così fan tutte, Die Fledermaus, The Merry Wives of Windsor, Donizetti’s Rita, Pasatieri’s The Seagull, Pergolesi’s La Serva Padrona and Ibert’s Angélique. As a collaborative pianist, Morash’s performances have taken him throughout North America, Japan and Russia. He has collaborated with such renowned artists as Michael Schade, Tracy Dahl and Sheri Greenawald, and he has accompanied numerous emerging singers in the San Francisco Opera Center’s esteemed Schwabacher Debut Recitals. Morash has also been involved with the Opera Center of Pittsburgh Opera, Wolf Trap Opera, the Banff Centre, and Hawaii Opera Theater and is a former faculty member of the University of Toronto.

The dynamic work of Christian Baldini, conductor and composer, has taken him around the world as guest conductor of the Buenos Aires Philharmonic (Argentina), the San Francisco Contemporary Music Players, opera for the Aldeburgh Festival (United Kingdom) and as a featured composer at the Acanthes Festival in France. After conducting the Sao Paulo Symphony Orchestra (OSESP, Brazil), critic Arthur Nestrovski from the Folha de Sao Paulo praised this “charismatic young conductor” who “conducted by heart Brahms’s First Symphony, lavishing his musicality and leaving sighs all over the hall and the rows of the orchestra.”

rising stars of opera

MARK MORASH

Baldini’s music has been performed throughout Europe, South America, North America, and Asia by orchestras and ensembles including the Orchestre National de Lorraine (France), Southbank Sinfonia (London), New York New Music Ensemble, Memphis Symphony Orchestra, Daegu Chamber Orchestra (South Korea), Chronophonie Ensemble (Freiburg), and the International Ensemble Modern (Frankfurt). His music appears on the Pretal Label and has been broadcast on SWR (German Radio) as well as in the National Classical Music Radio of Argentina. He has also conducted and recorded contemporary Italian music for the RAI Trade label. Baldini’s work has received awards in several competitions including the top prize at the Seoul International Competition for Composers (South Korea, 2005), the Tribune of Music (UNESCO, 2005), the Ossia International Competition (Rochester, NY, 2008), the Daegu Chamber Orchestra International Competition (South Korea, 2008), and the Sao Paulo Orchestra International Conducting Competition (Brazil, 2006). He has been an assistant conductor with the Britten-Pears Orchestra (England) and a cover conductor with the National Symphony Orchestra (Washington, DC). After teaching and conducting at the State University of New York in Buffalo, Baldini is now an assistant professor at the University of California, Davis, where he serves as the Music Director of the UC Davis Symphony Orchestra. He regularly appears as a guest conductor with ensembles and orchestras throughout South America and Europe. Future engagements include performances with the Israel Contemporary Players and Ensemble Plural (Spain), and conducting rehearsals with the BBC Symphony Orchestra in London on a program dedicated entirely to the music of Brian Ferneyhough.

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MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Los Lobos A Chevron American Heritage Series Event Wednesday, October 13, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis Sponsored by

Individual Support provided by John and Lois Crowe and Joe and Betty Tupin

further listening see p. 34

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal. 36

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ore than three decades have passed since Los Lobos released its debut album, Just Another Band from East L.A. Since then they’ve repeatedly disproven that title—Los Lobos isn’t “just another” anything, but rather a band that has consistently evolved artistically while never losing sight of its humble roots. For Tin Can Trust—Los Lobos’ first collection of new original material in four years—the venerable quintet reconnected directly with those roots by returning to East L.A. and recording at Manny’s Estudio, “in a rundown neighborhood,” says Los Lobos songwriter/multi-instrumentalist Louie Pérez. “That took us out of our comfort zone and allowed us to do what we hadn’t done in quite some time: to play together in the same room, as one. This was not about putting our feet up; this was about working.” “This was a no-frills studio,” adds David Hidalgo (guitar, violin, accordion, percussion, vocals). “We didn’t even have a couch to sit on. We had to bring one in.” “We went into that studio and the first day everyone was asking, ‘Does anyone have any material?’” recalls guitarist/vocalist Cesar Rosas. “So I said, ‘Well, I have a couple of songs.’ Then Dave started hitting the keys and he came up with something, and then Louie followed. That’s the way everything worked out. That’s the way we made this record.” “What I liked about making this album,” says Hidalgo, “was the spirit of it: nobody said no to anything. If you had an idea, OK, try it. Just go for it and see where we end up.” “It felt more like a group effort,” agrees bassist/vocalist Conrad Lozano. “We went into the studio with no ideas and worked some out. Before, everybody would come in with a finished product.” That unified vision and strong work ethic are evident in each of the 11 tracks comprising the self-produced Tin Can Trust, but so is something even greater: “an intuitiveness,” says Pérez, “that happens only from being in a band for so long.” A rare example of longevity in a volatile music world that stresses style over substance, the Los Lobos lineup has remained uninterrupted since 1984, when saxophonist/keyboardist Steve Berlin joined original members Pérez, Hidalgo, Rosas, and Lozano, each of whom had been there since the beginning in 1973. “This is what happens when five guys create a magical sound, then stick together for 30 years to see how far it can take them,” wrote Rolling Stone, and indeed, Los Lobos is a band that continually redefines itself and expands its scope with each passing year, while never losing sight of where they came from. Through sheer camaraderie and respect for one another’s musicality, they’ve continued to explore who Los Lobos is and what they have to offer, without succumbing to the burnout that plagues so many other bands that stick it out for any considerable length of time. Their influence is vast, yet they remain humble, centered, and dedicated to their craft. Each new recording they make moves Los Lobos into another new dimension while simultaneously sounding like no one else in the world but Los Lobos. As All About Jazz raved, “The genius of Los Lobos resides in their innate ability to find the redemptive power of music, no matter the style they choose to play.”

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los lobos

M

“We’re long haul guys,” says Berlin. “If you’re in it for the long haul, it makes staying together a lot easier. It’s a challenge, but the thing I’m most proud of is that we’ve never rested on our laurels. We keep trying to make every record feel like the first one and try to do the best we can and not tread on territory we have already trod on. What you hear is exactly what we wanted to do.” Tin Can Trust, like so much of Los Lobos’ previous work, is an album that speaks to the time and place in which it was conceived. But it wasn’t until the songwriting and recording processes were well under way that it occurred to the band that an underlying theme was trying to make itself heard. The phrase that ultimately became the album’s title can be traced back more than a century, but for the band it’s apt for the rickety state in which so many of us find ourselves—and our world—today. The characters that populate Tin Can Trust are often anxious and hurting yet they remain resilient and proud. The scenarios in which they find themselves and the emotions they are experiencing are all familiar. It wasn’t until Pérez and his songwriting partner Hidalgo had crafted the title track and another highlight of the album, “On Main Street,” that the album’s focus started to come into view. Says Pérez, “I usually have to find the direction everything wants to go. I try not to resist because as soon as you start fighting and move it in another direction, it just doesn’t work.” A number of tracks on Tin Can Trust are Hidalgo-Pérez collaborations, including the album’s opener “I’ll Burn It Down,” with blues-rocker Susan Tedeschi offering a guest vocal harmony, and “Jupiter or the Moon”—both of which feature Lozano on the upright acoustic bass. Hidalgo and Pérez are also behind “Lady and the Rose,” which Berlin calls “incredible, one of my favorite songs on the record, with great lyrics”; the dance instrumental “Do the Murray,” a tribute to Hidalgo’s recently deceased dog; and the album-closing “Twenty-Seven Spanishes,” which attempts to encapsulate in one song nothing less than the entire tale of the Spanish conquest of Mexico, “blow by blow,” as Pérez says. Of the remaining four tracks, three were written in whole or in part by Rosas, and the other is a cover of the Grateful Dead’s “West L.A. Fadeaway.” Lobos and the Dead have a shared history that extends back into the 1980s when the Angelenos befriended and opened shows for their northern peers. Los Lobos previously covered the Dead’s “Bertha” for a tribute album, and as Tin Can Trust took shape, it occurred to the band to tuck “West L.A. Fadeaway,” which originally appeared on the Dead’s most successful album, In the Dark, into their own new project. “We were fooling around with it live for awhile,” says Pérez, “and then when we got into the studio I think it was Cesar who said, ‘We’ve been messing with “West L.A. Fadeaway” for a while. Why don’t we try learning it?’ We said, ‘That would certainly light up a lot of lives,’ because the Dead fans and Lobo-heads have always asked, ‘Why don’t you do another Grateful Dead song?’” Astute Dead heads will also notice the co-authorship of Robert Hunter, the Grateful Dead’s chief lyricist, on “All My Bridges Burning,” which he wrote with Rosas. Amidst soaring, fuzzed-out guitars, spiritual organ from guest Rev. Charles Williams, rock-solid drumming, and Lozano’s dependably in-the-pocket bass grooves, Rosas delivers Hunter’s words with heart and soul.

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los lobos

further listening

by jeff hudson Like many people, I first became aware of Los Lobos when they put out their first major label album (How Will the Wolf Survive?) in 1984. And like many people, I got more familiar with the band in 1987, when the Ritchie Valens biopic La Bamba was released. At the time, I was living in downtown Watsonville, a predominantly Latino town in the Monterey Bay area. La Bamba was directed by Luis Valdez, whose theater group El Teatro Campesino is based in nearby San Juan Bautista. Valdez had recruited Los Lobos to record covers of Valens’ songs. The screening was in Watsonville because of Connie Valenzuela (Ritchie Valens’ mom). Ritchie died in 1959 while on tour in a plane crash—still in his teens, after a recording career that lasted barely eight months. Connie eventually left Los Angeles and “started over,” picking a northern California town that didn’t have show biz associations. The film was shown at Watsonville’s faded but still charming Fox Theater, a 1920s movie palace, which by 1987 was showing Spanish-language films. VIP guests included the film’s stars, director Valdez, and co-producer Taylor Hackford (best known then as director of An Officer and a Gentleman and White Nights). Also on hand were Ritchie Valens’ teenage girlfriend Donna, for whom Valens’ song “Donna” was written (she settled in the Sacramento area as an adult); Valens’ “bad boy” half-brother Bob Morales, who hovered in the lobby, taking occasional swigs from a hip flask; and of course Connie Valenzuela herself, by then a frail, white-haired senior. Connie got a thunderous standing ovation when she was introduced. And there were the members of Los Lobos. I recall one of them— probably David Hidalgo—saying they felt a sense of honor and duty when asked to record several of Valens’ songs for the movie, since Valens was a groundbreaker—the first Latino rock star and the first to have a rock hit in Spanish. (Los Lobos’ 1987 cover version of “La Bamba” became a number one single.) Connie Valenzuela passed away some months after that Watsonville screening. And downtown Watsonville got clobbered in October 1989 by the Loma Prieta earthquake, which damaged hundreds of homes, leaving thousands of people (many Latino) camping in the city’s meager parks. Los Lobos returned to Watsonville in November 1989 for a huge outdoor benefit concert on the Watsonville High football field, generating money for earthquake relief. The band’s association with the town continues. Los Lobos played the rebuilt 800-seat theater at Watsonville High this spring. Four albums to check out: How Will the Wolf Survive? (their landmark 1984 debut) La Pistola y El Corazón (including traditional Mexican tunes, from 1988) Papa’s Dream (a delightful children’s album, also good for adults, featuring the great Lalo Guerrero) Tin Can Trust (their newest disc, released earlier this year) Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise, and Sacramento News and Review.

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It was during their earliest years that the particular hybrid of traditional regional Mexican folk music, rock and roll, blues, R&B, country, and other genres began finding a sweet spot in the music of Los Lobos. “In 1973, when we first formed,” says Pérez, “we were four guys from East L.A. who were friends from high school who played in local rock bands. Then once we got out of high school, you still had four guys who were just hanging out together. So the natural progression of things is to just start playing music again. “You’d think that we’d form a rock band, but then out of nowhere somebody got this idea of ‘Let’s learn a Mexican song to play for somebody’s mom for their birthday’ or something. Mexican music was largely just wallpaper for us—it was always in the background, and we never paid much attention to it. We were modern kids who listened to rock and roll. Then when we finally dug up some old records to learn a couple of songs, it was a real revelation to us that this music is actually very complicated and challenging. So at that point we were off and running.” “To sit around in the afternoons and play these old songs we had heard when we were kids, it felt good,” adds Hidalgo. “We’d get some Budweiser and some flatbread and string cheese and hang around. It was cool. Then it grew. The old folks were blessing us and thanking us for playing this music. That’s why we’re still here, because of moments like that.” The first several years, says Pérez, were a “chapter,” as Los Lobos began discovering who they were as a creative unit. The band’s 1978 Spanish-language debut found only a small audience, and quality gigs were few.”We ended up doing happy hours strolling in a Mexican restaurant. That wasn’t what we had in mind,” says Hidalgo. By 1980, they began to turn up the volume, returning to rock music. At first, acceptance was evasive—at one notorious gig, Los Lobos was rejected by a hostile hometown crowd while opening for John Lydon’s post-Sex Pistols band Public Image Ltd. Before long though, Los Lobos had begun to build an audience within L.A.’s punk and roots-rock world. An opening slot for local rock heroes the Blasters at the Sunset Strip’s legendary Whisky A-Go-Go in 1982 was a breakthrough, and that band’s saxophonist Steve Berlin took a special interest in Lobos, joining the group full-time in 1984 for its critically acclaimed Slash Records debut, How Will the Wolf Survive? As the 1980s kicked in for real, Los Lobos’ fortunes quickly turned in a positive direction, and it became one of the most highly regarded bands to emerge from the fertile L.A. scene. “It was one of those places and times, like 1967 in San Francisco or Paris in the ’20s,” says Berlin. “A lot of really superlative creative energy was focused in that place at that time. It was a very collegial atmosphere because everybody was experimenting with everything: with their identities, with their music. It was a very exciting time to be in a place where Printed on recycled paper. Please recycle this playbill for reuse.

los lobos

Rosas supplied the two Spanish-language numbers on Tin Can Trust, the cumbia “Yo Canto” and the norteno “Mujer Ingrata,” both of which forge a connection to the Mexican folk songs played by Los Lobos in their formative years and on their classic 1988 album La Pistola y El Corazon. “‘Mujer Ingrata,’” says Rosas, “has to do with a relationship gone bad. The title means ungrateful woman. And ‘Yo Canto’ is about seeing different people and looking at some nice chicks! These aren’t social comments about anything,” he adds with a laugh. “I write the plain songs and the traditional songs.”

everybody around you was doing really interesting stuff. To this day, I think that ethos informs a lot of what we do.” One of the most momentous events in Los Lobos’ history arrived in 1987, when the band was tapped to cover “La Bamba,” the Mexican folk standard that had been transformed into a rock and roll classic in 1958 when it was recorded by the ill-fated 17-year-old Ritchie Valens. Valens, the first Chicano rock star, was catapulted to legendary status the following year when he died in a plane crash along with Buddy Holly and the Big Bopper, and it was a natural choice that Los Lobos be asked to remake his signature hit for the forthcoming biopic of the same name. Little did anyone suspect that the remake would spring to number one on the charts. “We had met Ritchie’s family, and they had asked for us,” says Pérez. “Of course, our emphasis at that time was on making our next album, By the Light of the Moon. Then ‘La Bamba’ came out and when the other record came out a few months later it was, ‘By the Light of the Moon, what’s that?’ It was completely pre-empted by this massive hit. We had no idea what was going to happen.” What happened was that Los Lobos was now reaching a vastly larger audience. “We were opening up for bands like U2 and the Clash and traveling around the world,” says Lozano. “You’d walk into an airplane and some little kid would be singing ‘La Bamba.’ It was a great time.” Rather than capitalize on the elevated commercial profile that “La Bamba” had given them, Los Lobos instead chose to record La Pistola y El Corazon as a follow-up, paying tribute to their acoustic Mexican acoustic music roots. The next breakthrough came in 1992 with the release of Kiko, an album cited by many—including all the members of Los Lobos—as one of the best of their career. Bringing together all of the elements on which they had previously drawn and taking more liberties than in the past, Kiko “demonstrated the breadth of their sonic ambitions,” as the All Music Guide website put it. “With that album, we didn’t want to be tied down to all the conventional ways of recording, so we started experimenting and making up sounds,” comments Rosas. Since then, on equally stunning albums such as Colossal Head, Good Morning Aztlan, and The Town and the City, Los Lobos has continued to deliver dependably solid and diverse recordings, a live show that never fails to disappoint, and just enough side trips—a Disney tribute album and a couple of live ones, solo and duet recordings (among them Hidalgo and Pérez’s 1990s diversion, the Latin Playboys), Berlin’s many production and sideman gigs— to keep the creative juices flowing. Tin Can Trust pushes Los Lobos ahead a few more notches while retaining everything the band’s loyal fans have come to expect. “There’s this thing that still happens, this musical thing,” says Pérez. “But if you took everything away, even the music, you’d still end up with four guys who were friends and hung out and grew up in the same neighborhood. And you can’t take that friendship away from us.” “We’re brothers and we all equally recognize that,” says Rosas. “That’s what keeps us going, knowing that we need to help each other, and we need to get through this and we work well together. And we keep it real.” “We’re incredibly lucky,” adds Berlin. So are we—lucky to have Los Lobos.

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Mondavi Center support

mondavi center

corporate support

DONORS

Platinum

Our generous donors allow us to bring world-class artists and speakers to the region’s doorstep, and energize and inspire tens of thousands of school children and teachers through our nationally recognized Arts Education programs. In thanks for their generous gifts, donors receive a host of benefits including:

gold

· Priority Seating · Access to Donor-Only Events · Advance ticket sales for Just Added shows · Meet the artists · Much, much more…

Office of Campus Community Relations

Remember: Ticket sales cover only 40% of our costs.

silver

Help support the art you love: Donate today! For more information, visit us at MondaviArts.org/supportus or contact our Development Staff at 530.754.5436

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Mondavi Center Grantors and arts education sponsors

Friends of Mondavi Center

Event & Additional Support Partners Boeger Winery Ciocolat Davis Food Co-op 36 40

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Seasons Restaurant Watermelon Music


Individual Supporters -ONDAVI#ENTER )NNER#IRCLE Inner Circle donors are dedicated arts patrons whose leadership gifts to the Mondavi Center are a testament to the value of the performing arts in our lives. Mondavi Center is deeply grateful for the generous contributions of the dedicated patrons who give annual financial support to our organization. These donations are an important source of revenue for our program, as income from ticket sales covers less than half of the actual cost of our performance season. Their gifts to the Mondavi Center strengthen and sustain our efforts, enabling us not only to bring memorable performances by worldclass artists to audiences in the capital region each year, but also to introduce new generations to the experience of live performance through our Arts Education Program, which provides arts education and enrichment activities to more than 35,000 K-12 students annually. For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5437.

† Mondavi Center Advisory Board Member * Friends of Mondavi Center

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Mondavi Center support

mondavi center

Impresario Circle $25,000 and up

John and Lois Crowe †* Barbara K. Jackson †* Grant and Grace Noda* virtuoso Circle $15,000 - $24,999

Joyce and Ken Adamson Friends of Mondavi Center* Ann and Gordon Getty Foundation Anne Gray † Benjamin and Lynette Hart †* William and Nancy Roe †* Lawrence and Nancy Shepard † Joe and Betty Tupin † Shipley and Dick Walters* Maestro Circle $10,000 - $14,999

Oren and Eunice Adair-Christensen* Dolly and David Fiddyment † Samia and Scott Foster † Mary B. Horton* M. A. Morris* Tony and Joan Stone † Benefactors Circle $6,000 - $9,999 Michael Alexander Wayne and Jacque Bartholomew †* California Statewide Certified Development Corporation Camille Chan † Patti Donlon † First Northern Bank † Bonnie and Ed Green †* Dee and Joe Hartzog † The One and Only Watson Margaret Hoyt* Sarah and Dan Hrdy William and Jane Koenig Greiner Heat, Air, and Solar Garry Maisel † Stephen Meyer and Mary Lou Flint † Grace and John Rosenquist Raymond and Jeanette Seamans Ellen Sherman Della Aichwalder Thompson Larry and Rosalie Vanderhoef †* And one donor who prefers to remain anonymous

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Mondavi Center support

Producers Circle $3,000 - $5,999

Neil and Carla Andrews Hans Apel and Pamela Burton Cordelia S. Birrell Neil and Joanne Bodine Barry and Valerie Boone Brian Tarkington and Katrina Boratynski Ralph and Clairelee Leiser Bulkley* Cantor & Company, A Law Corporation Michael and Betty Chapman Robert and Wendy Chason Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Claudia Coleman Eric and Michael Conn Nancy DuBois Catherine and Charles Farman Mr. and Mrs. Domenic Favero Donald and Sylvia Fillman Judith and Andrew Gabor Kay Gist Kathleen and Robert Grey Judith and William Hardardt* Lorena Herrig* Dr. Ronald and Lesley Hsu Debra Johnson, M.D. and Mario Gutierrez Gerald and Virginia Jostes Teresa and Jerry Kaneko* Dean and Karen Karnopp* Nancy Lawrence, Gordon Klein, and Linda Lawrence Drs. Richard Latchaw and Sheri Alders Ginger and Jeffrey Leacox Robert and Barbara Leidigh John T. Lescroart and Lisa Sawyer Nelson Lewallyn and Marion Pace-Lewallyn Betty J. Lewis Dr. and Mrs. Ashley T. Lipshutz Paul and Diane Makley* In memory Of Jerry Marr Janet Mayhew* Robert and Helga Medearis Verne Mendel* Derry Ann Moritz Richard and Mary Ann Murray Charles and Joan Partain Suzanne and Brad Poling Lois and Dr. Barry Ramer Roger and Ann Romani Melodie Rufer Hal and Carol Sconyers* Tom and Meg Stallard* Tom and Judy Stevenson* Donine Hedrick and David Studer Jerome Suran and Helen Singer Suran* Nathan and Johanna Trueblood Ken Verosub and Irina Delusina In loving memory of John Max Vogel, M.D. 42

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Claudette Von Rusten John Walker and Marie Lopez Elizabeth F. and Charles E. Wilts Bob and Joyce Wisner* Richard and Judy Wydick And four donors who prefer to remain anonymous Directors Circle $1,100 - $2,999 Beulah and Ezra Amsterdam Russell and Elizabeth Austin Murry and Laura Baria* Lydia Baskin* Virginia and Michael Biggs Kay and Joyce Blacker* Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Robert Burgerman and Linda Ramatowski Davis and Jan Campbell David J. Converse, ESQ. Gail And John Cooluris Jim and Kathy Coulter* John and Celeste Cron* Terry and Jay Davison Jim and Carolyn DeHayes Cecilia Delury and Vince Jacobs Mike and Cheryl Demas Bruce and Marilyn Dewey Martha Dickman* Dotty Dixon* Richard and Joy Dorf* Merrilee Engel Thomas and Phyllis Farver* Tom Forrester and Shelly Faura Nancy McRae Fisher Pam Gill-Fisher and Ron Fisher* Dr. Andy and Wendy Huang Frank Joseph George and Elaine LaMotta Karl Gerdes and Pamela Rohrich Henry and Dorothy Gietzen Fredic and Pamela Gorin John and Patty Goss* Florence and Jack Grosskettler* Diane Gunsul-Hicks Charles and Ann Halsted Paul and Kathleen Hart In memory of William F. McCoy Timothy and Karen Hefler Charles and Eva Hess Sharna and Mike Hoffman Suzanne and Chris Horsley* Claudia Hulbe Ruth W. Jackson Clarence and Barbara Kado Barbara Katz* Robert Kingsley and Melissa Thorme Cheryl and Matthew Kurowski Brian and Dorothy Landsberg Mary Jane Large and Marc Levinson Edward and Sally Larkin* Claudia and Allan Leavitt Hyunok Lee and Daniel Sumner Yvonne LeMaitre*

Linda and Peter Lindert Spencer Lockson and Thomas Lange Angelique Louie Natalie and Malcolm MacKenzie* Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield Michael and Maxine Mantell Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Kenneth McKinstry Steve and Sonja Memering Joy Mench and Clive Watson Fred and Linda Meyers* John Meyer and Karen Moore Eldridge and Judith Moores Patricia and Surl Nielsen Dr. James Nordin and Linda Orrante Philip and Miep Palmer Prewoznik Foundation Linda and Lawrence Raber* Larry and Celia Rabinowitz Kay Resler* Alessa Johns and Christopher Reynolds Thomas Roehr Don Roth and Jolán Friedhoff Liisa A. Russell Beverly “Babs” Sandeen and Marty Swingle Ed and Karen Schelegle The Schenker Family Neil and Carrie Schore Jeff and Bonnie Smith Wilson and Kathryn Smith Ronald and Rosie Soohoo* Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick Stratton Karmen Streng Tony and Beth Tanke George and Rosemary Tchobanoglous Dr. Haluk and Ayse Tezcan Brandt Schraner and Jennifer Thornton Claude and Barbara Van Marter Louise and Larry Walker Janda J. Waraas Bruce and Patrice White Dale and Jane Wierman Paul Wyman Elizabeth and Yin Yeh And five donors who prefer to remain anonymous


Donors Encore Circle

$600 - $1,099 Gregg T. Atkins and Ardith Allread Michael and Tootie Beeman Drs. Noa and David Bell Donald and Dolores Chakerian Gale and Jack Chapman William and Susan Chen John and Cathie Duniway Nell Farr and Anna Melvin Doris and Earl Flint Murray and Audrey Fowler Carole Franti* Paul J. and Dolores L. Fry Charitable Fund Gatmon-Sandrock Family Craig Gladen Paul N. and E. F. “Pat” Goldstene David and Mae Gundlach Robin Hansen Roy and Miriam Hatamiya Katherine Hess Barbara and Robert Jones Kent and Judy Kjelstrom Paula Kubo Anesiades Leonard Stanley and Donna Levin Maria Manoliu Frances Mara Gary C. and Jane L. Matteson Barbara Moriel James Morris Hedlin Family Don and Sue Murchison Robert Murphy Richard and Kathleen Nelson Alice Oi John Pascoe Jerry L. Plummer Ann and Jerry Powell* J and K Redenbaugh John Reitan Heather and Jeep Roemer Jeannie and Bill Spangler Lenore and Henry Spoto Sherman and Hannah Stein Les and Mary Stephens Dewall Lynn Taylor and Mont Hubbard Roseanna Torretto* Henry and Lynda Trowbridge* Robert and Helen Twiss Steven and Andrea Weiss Denise and Alan Williams Kandi Williams and Dr. Frank Jahnke Karl and Lynn Zender And four donors who prefer to remain anonymous

Orchestra Circle

Glen And Nancy Michel Robert and Susan Munn* William and Nancy Myers Anna Rita and Bill Neuman Forrest Odle John and Carol Oster Sally Ozonoff and Tom Richey Frank Pajerski Jack and Sue Palmer Dr. John and Barbara Parker Bonnie A. Plummer* Deborah Nichols Poulos and Prof. John W. Poulos Harriet Prato Edward and Jane Rabin J. David Ramsey Rosemary Reynolds Guy and Eva Richards Ronald and Sara Ringen John and Marie Rundle Bob and Tamra Ruxin Tom and Joan Sallee Mark and Ita Sanders* Howard and Eileen Sarasohn Jerry and Kay Schimke Mervyn Schnaidt Mark E. Ellis and Lynn Shapiro Nancy Sheehan and Rich Simpson Kathie Shigaki Elizabeth Smithwick Al and Sandy Sokolow Edward and Sharon Speegle Curtis and Judy Spencer Elizabeth St Goar Tim and Julie Stephens Pieter and Jodie Stroeve, and Diane Barrett Kristia Suutala Nancy Teichert Cap and Helen Thomson Butch and Virginia Thresh Dennis and Judy Tsuboi Ann-Catrin Van Ph.D. Robert Vassar and Nanci Manceau George and Denise Gridley Donald Walk, M.D. Geoffrey and Gretel Wandesford-Smith Norma and Richard Watson Dr. Fred and Betsy Weiland Chuck White Lisa Yamauchi and Michael O’Brien Iris Yang and G. Richard Brown Wesley Yates Ronald M. Yoshiyama Hanni and George Zweifel

$300 - $599 Michelle Adams Mitzi S. Aguirre Susan Ahlquist Paul and Nancy Aikin Steven Albrecht and Jessica Friedman Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Al and Pat Arthur Michael and Shirley Auman* Robert and Joan P. Ball Robert Hollingsworth and Carol Beckham Don and Kathy Bers* Elizabeth Bradford Paul Braun Rosa Maquez and Richard Breedon Joan Brenchley and Kevin Jackson Irving and Karen Broido* In Memory of Rose Marie Wheeler John and Christine Bruhn Manuel Calderon De La Barca Sanchez Jackie Caplan Michael and Louise Caplan Michael and Susan Carl Richard Carlsen Doreen T. Chan Amy Chen and Raj Amirtharajah Dorothy Chikasawa* Charles and Mary Anne Cooper James and Patricia Cothern Catherine Coupal* Larry Dashiell and Peggy Siddons Thomas B. and Eina C. Dutton Micki Eagle Sheila and Steve Epler Janet Feil David and Kerstin Feldman Susan Flynn Tom and Barbara Frankel Sevgi and Edwin Friedrich* Dr. Deborah and Brook Gale Marnelle Gleason and Louis J. Fox* Marvin and Joyce Goldman Donald Green William Green and Martin Palomar Stephen and Deirdre Greenholz Marilyn and Alexander Groth Judy Guiraud Gwen and Darrow Haagensen Sharon and Don Hallberg David and Donna Harris Stephen and Joanne Hatchett Cynthia Hearden Len and Marilyn Herrmann Fred Taugher and Paula Higashi Frederick and Tieu-Bich Hodges Frederick and B.J. Hoyt Pat and Jim Hutchinson* Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung David Kalb and Nancy Gelbard Edith Kanoff Charles Kelso and Mary Reed Ruth Ann Kinsella* Richard and Rosie Kirkland Joseph Kiskis Peter Klavins and Susan Kauzlarich Norma Klein Charlene R. Kunitz Allan and Norma Lammers Darnell Lawrence Katie Thomas and Richard Lawrence Ruth Lawrence Frances and Arthur Lawyer* Carol and Robert Ledbetter Michael and Sheila Lewis* David and Ruth Lindgren Bill and Harriet Lovitt Helen Ma Bunkie Mangum Pat Martin* Robert Mazalewski and Yvonne Clinton Sean and Sabine McCarthy Del and Doug McColm Julie and Craig McNamara Don and Lou McNary

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And ten donors who prefer to remain anonymous

Mainstage Circle $100 - $299

Leal Abbott Thomas and Betty Adams Mary Aften Jill Aguiar Suzanne and David Allen David and Penny Anderson Valeriejeanne Anderson Elinor Anklin and George Harsch Janice and Alex Ardans Clemens Ford Arrasmith Debbie Arrington Fred Arth and Pat Schneider Jerry and Barbara August George and Irma Baldwin Charlotte Ballard Beverly and Clay Ballard Charlie and Diane Bamforth* Elizabeth Banks Michele Barefoot and Luis Perez-Grau Lupie and Richard Barton Paul and Linda Baumann Lynn Baysinger* Delee and Jerry Beavers Claire and Marion Becker* Mark and Betty Belafsky Lorna Belden Merry Benard Carol L. Benedetti William and Marie Benisek Robert C. and Jane D. Bennett

Márta Battha Béres Bevowitz Family Boyd and Lucille Bevington Ernst and Hannah Biberstein John and Katy Bill Andrea Bjorklund and Sean Duggan Lewis J. and Caroline S. Bledsoe Fred and Mary Bliss Marchia Bond Brooke Bourland* Mary and Jill Bowers Adney and Steve Bowker Alf and Kristin Brandt Robert Braude and Maxine Moser Dan and Millie Braunstein* Don and Liz Brodeur David and Valerie Brown Linda Clevenger and Seth Brunner Martha Bryant* Mike and Marian Burnham Margaret Burns and Roy W. Bellhorn Victor and Meredith Burns William and Karolee Bush Robert and Lynn Campbell Robert Canary John and Nancy Capitanio James and Patty Carey Anne and Gary Carlson Jan Carmikle, ‘90 John Carroll Bruce and Mary Alice Carswell* Jan B. and Barbara J. Carter* Caroline Chantry and James Malot Frank Chisholm Michael and Paula Chulada Arthur Chung and Karen Roberts Betty M. Clark Gail Clark L. Edward and Jacqueline Clemens Bill and Linda Cline Barbara Cody Stephan Cohen Sheri and Ron Cole Harold and Marj Collins Steve and Janet Collins Patricia Conrad and Ann Brice Jan and Gayle Conroy Judith Cook Pauline Cook Mr. and Mrs. Terry Cook Victor Cozzalio and Lisa Heilman-Cozzalio Bill and Myra Cusick Elizabeth Dahlstrom-Bushnell* John W. and Joanne M. Daniels Dena Davidson Johanna Davies Mary Hanf Dawson Jody Deaderick Ed and Debby Dillon Joel and Linda Dobris Richard Epstein and Gwendolyn Doebbert Val Dolcini and Solveig Monson Val and Marge Dolcini* Gordon Douglas Sue Drake* Ray Dudonis Anne Duffey Leslie Dunsworth Marjean Dupree Victoria Dye and Douglas Kelt J. Terry and Susan Eager Harold and Anne Eisenberg Eliane Eisner Brian Ely and Robert Hoffman Allen Enders Adrian and Tamara Engel Sid England Carol Erickson and David Phillips M. Richard and Gloria M. Eriksson Jeff Ersig Christine Facciotti Adrian Farley and Greg Smith Andrew D. and Eleanor E. Farrand* Elizabeth Fassler Elizabeth and Timothy Fenton Steven and Susan Ferronato Margery Findlay Kieran and Martha Fitzpatrick Judy Fleenor* Manfred Fleischer David and Donna Fletcher Glenn Fortini Marion Franck and Bob Lew Frank Brown Barbara and Edwin Frankel

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

43

Mondavi Center support

mondavi center


Mondavi Center support

Anthony and Jorgina Freese Joel Friedman Kerim and Josina Friedrich Joan M. Futscher Myra A. Gable Lillian Gabriel Charles and Joanne Gamble Claude and Nadja Garrod Xiaojia Ge and Ronghua Li* Ivan Gennis Peggy Gerick Gerald Gibbons and Sibilla Hershey Mary Lou and Robert Gillis Eleanor Glassburner Roberta R. Gleeson Burton Goldfine Robert Gonzalez* Robert and Velma Goodlin Michael Goodman Susan Goodrich Alouise Hillier Victor Graf Tom Graham Jacqueline Gray* Kathleen and Thomas Green Paul and Carol Grench Cindy and Henry Guerrero June and Paul Gulyassy Wesley and Ida Hackett* Jim and Jane Hagedorn Frank and Rosalind Hamilton William and Sherry Hamre Jim and Laurie Hanschu Margaret Brockhouse Marylee and John Hardie Richard and Vera Harris Cathy Brorby and Jim Harritt Marjorie Heineke Donald and Lesley Heller Paul and Nancy Helman Martin Helmke and Joan Frye Williams Rand and Mary Herbert Eric Herrgesell, DVM Roger and Rosanne Heym Elizabeth and Larry Hill Calvin Hirsch and Deborah Francis Michael and Peggy Hoffman Jan and Herb Hoover Steve and Nancy Hopkins Allie Huberty David and Gail Hulse Deborah Hunter Eva Peters Hunting Lorraine J. Hwang William Jackson Kathryn Jaramillo Dr. and Mrs. Ronald C. Jensen Pamela R. Jessup Carole and Phil Johnson John and Jane Johnson Steve and Naomi Johnson Michelle Johnston Warren and Donna Johnston Martin and JoAnn Joye* John and Nancy Jungerman Fred and Selma Kapatkin Shari and Timothy Karpin Jean and Stephen Karr Anthony and Beth Katsaris Yasuo Kawamura Phyllis and Scott Keilholtz* Gary Kieser Dave and Gay Kent Michael Kent and Karl Jandrey Cathryn Kerr Pat and John Kessler Anonymous Larry Kimble and Louise Bettner Ken and Susan Kirby Dorothy Klishevich Muriel Knudsen Winston and Katy Ko Paul and Pamela Kramer Dave and Nina Krebs Marcia and Kurt Kreith Sandra Kristensen Elizabeth and C.R. Kuehner Nate Kupperman Leslie Kurtz Cecilia Kwan Donald and Yoshie Kyhos Ray and Marianne Kyono Terri Labriola Bonnie and Kit Lam* Marsha M. Lang

44

| mondaviarts.org

Lawrence and Ingrid Lapin Bruce and Susan Larock Kathleen Larson Leon E. Laymon C and J Learned Marceline Lee and Philip Smith Nancy P. Lee The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Edward N. Lester Evelyn A. Lewis Melvyn and Rita Libman Guille Levin Libresco Jim and Jami Long Kim Longworth Mary Lowry Henry Luckie Paul and Linnae Luehrs Diana Lynch Maryanne Lynch Ed and Sue MacDonald Leslie Macdonald and Gary Francis Julin Maloof and Stacey Harmer Sandra Mansfield Joseph and Mary Alice Marino Pam Marrone and Mick Rogers Donald and Mary Martin Garth and Linda Martin J. A. Martin Mr. and Mrs. William R. Mason Bob and Vel Matthews Leslie Maulhardt Katherine F. Mawdsley* Karen McCluskey* John Mccoy Nora McGuinness* Donna and Dick McIlvaine Tim and Linda McKenna Blanche McNaughton* Richard and Virginia McRostie Martin A. Medina and Laurie Perry Wener Paul Harder III DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland Meyer Leslie Michaels and Susan Katt Lisa Miller Phyllis Miller Sue and Rex Miller Douglas Minnis Steve and Kathy Miura* Kei and Barbara Miyano Sydney Moberg Vicki and Paul Moering Joanne K. Moldenhauer Amy Moore Debra Moore Hallie Morrow Marcie Mortensson Tony and Linda Mras Robert and Janet Mukai The Muller Family Terry and Judith Murphy Steve Abramowitz and Dr. Alberta Nassi Joni Neibert M.A. Nelson Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell Kan Ching Ng Nancy Nolte and James Little John Chendo and Esther Novak Patricia O’Brien* Kay Ogasawara Dana Olson James Oltjen Marvin O’Rear David and Debra Oshige Bob and Beth Owens Carlene and Mike Ozonoff* Michael Pach Joan S. Packard Thomas Pavlakovich and Kathryn Demakopoulos Bob and Marlene Perkins Lee/Michael Perrone Ann Peterson and Marc Hoeschele Pat Piper Vicki and Bob Plutchok Ralph and Jane Pomeroy*

Bea and Jerry Pressler Ann Preston John Provost Evelyn and Otto Raabe Jan and Anne-Louise Radimsky Kathryn Radtkey-Gaither Lawrence and Norma Rappaport Evelyn and Dewey Raski Olga Raveling Sandi Redenbach* Mrs. John Reese, Jr. Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Judy, David, and Hannah Reuben Mr. and Mrs. Alexander Rice Bill Rich John Richards Fred and Bernadeen Richardson Joyce Rietz Caroline and Stephen Roberts Warren G. Roberts David and Kathy Robertson Tracy Rodgers Richard and Evelyne Rominger Mary F. Rosa Sharon and Elliott Rose Jean and George Rosenfeld Barbara and Alan Roth David and Catherine Rowen Paul and Ida Ruffin Hugh Safford Terry Sandbek and Sharon Billings* Kathleen and David Sanders Fred and Polly Schack John and Joyce Schaeuble Tyler Schilling Leon Schimmel and Annette Cody Fred and Colene Schlaepfer Janis J. Schroeder and Carrie L. Markel Jean Schwarzkopf Robert and Jenifer Segar Brian Sehnert and Janet McDonald Dan Shadoan and Ann Lincoln Jay and Jill Shepherd Ruth and Robert Shumway Sandra and Clay Sigg Andrew Sih and Caitlin McGaw Mark Berman and Lynn Simon Michael and Elizabeth Singer Joy Skalbeck Barbara Slemmons Judith Smith Jean Snyder Roger and Freda Sornsen Greg and Pam Sparks Joseph and Dolores Spencer Marguerite Spencer Miriam Steinberg Harriet Steiner and Miles Stern John and Johanna Stek Judith Stern Raymond Stewart Deb and Jeff Stromberg Patricia Sturdevant Becky and James Sullivan Thomas Swift Joyce Takahashi Stewart and Ann Teal Pouneh Tehrani Francie Teitelbaum Jeanne Shealor and George Thelen Julie Theriault, PA-C Virginia Thigpen Janet Thome Robert Thorpe Brian Toole Robert and Victoria Tousignant Katharine Traci Michael and Heidi Trauner Gary and Jan Truesdail Barbara and Jim Tutt Chris Van Kessel Bart and Barbara Vaughn* Marian and Paul Ver Wey Richard and Maria Vielbig Merna and Don Villarejo Charles and Terry Vines Evelyn Matteucci and Richard Vorpe Carolyn Waggoner* M. Therese Wagnon Maxine Wakefield and William Reichert Marny and Rick Wasserman Caroline and Royce Waters Marya Welch*

Dan and Ellie Wendin Martha West Robert and Leslie Westergaard* Susan Wheeler Regina White Linda K. Whitney Kristin Wiese Phillip and JoAnne Wile Ward Willats Mrs. Jane L. Williams Suzanne and Keith Williams Janet Winterer The Wolf Family Jennifer Woo Linda Yassinger Timothy and Vicki Yearnshaw Norman and Manda Yeung Phillip and Iva Yoshimura Heather M. Young and Peter B. Quinby Larry Young and Nancy Lee Phyllis Young Melanie and Medardo Zavala Phyllis and Darrel Zerger* Timothy Zindel Karen Ziskind Mark and Wendy Zlotlow And 53 donors who prefer to remain anonymous

CORPORATE MATCHING GIFTS American Express Foundation Gift Matching Program Bank of America Matching Gifts Program Chevron/Texaco Matching Gift Fund ExxonMobil Foundation McGraw-Hill Company Merrill Lynch & Co. Foundation Monsanto Company The Sacramento Bee Wachovia Foundation Matching Gifts Program Wells Fargo Foundation We appreciate the many Members who participate in their employers’ matching gift program. Please contact your Human Resources department to find out about your company’s matching gift program. Note: We are pleased to recognize the Members of Mondavi Center for their generous support of our program. We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5436 to inform us of corrections.


Davis Hospitality...

Proud Sponsors of The Robert and Margrit Mondavi Center for the Performing Arts, UC Davis

Amenities Include:

  Breakfast Buffet with Cook To Order Omelets  Nightly Cocktail Reception  Deluxe Plush Bedding  WIFI Throughout  Bee Kind Amenities  32” LCD TV’s

Now Featuring: Complimentary Bicycle Program* For reservations or more information* Please contact us at: (800) 753-0035 110 F Street Davis, CA 95616 • www.hallmarkinn.com

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

45


Mondavi Center staff

Mondavi Center staff DON ROTH, Ph.D. Executive Director Jeremy Ganter Associate Executive Director PROGRAMMING Jeremy Ganter Director of Programming Erin Palmer Programming Manager Ruth Rosenberg Artist Engagement Coordinator Lara Downes Curator: Young Artists Program

AUDIENCE SERVICES Emily Taggart Audience Services Manager/ Artist Liaison Coordinator Yuri Rodriguez Events Manager Nancy Temple Assistant Public Events Manager BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services Carolyn Warfield Human Resources Analyst

ARTS EDUCATION Joyce Donaldson Associate to the Executive Director for Arts Educaton and Strategic Projects

Mandy Jarvis Financial Analyst

Jennifer Mast Arts Education Coordinator

Dena Gilday Payroll and Travel Assistant

Russ Postlethwaite Billing System Administrator

DEVELOPMENT Debbie Armstrong Senior Director of Development

MARKETING Rob Tocalino Director of Marketing

Robert Avalos Director of Major and Campaign Gifts

Erin Kelley Senior Graphic Artist

Christine Vargas Donor Relations Manager

Morissa Rubin Senior Graphic Artist

Elisha Findley Development Coordinator

TICKET OFFICE Sarah Herrera Ticket Office Manager

FACILITIES Steve McFerron Director of Facilities

Steve David Ticket Agent

Greg Bailey Lead Building Maintenance Worker

Russell St. Clair Ticket Agent

production Christopher Oca Stage Manager Jenna Bell Production Coordinator Zak Stelly-Riggs Master Carpenter Daniel Goldin Master Electrician Michael Hayes Head Sound Technician Adrian Galindo Scene Technician Christi-Anne Sokolewicz Scene Technician Head Ushers Huguette Albrecht George Edwards Linda Gregory Donna Horgan Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

INFORMATION TECHNOLOGY Darren Marks Programmer/Designer Mark J. Johnston Lead Application Developer Tim Kendall Programmer

Mondavi Center advisory Board The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance, and the presenting program of the Mondavi Center, through fundraising, public outreach, and other support for the mission of UC Davis and the Mondavi Center. 10-11 Season Board Officers John Crowe, Chair Lynette Hart, Vice-Chair Joe Tupin, Vice-Chair Dee Hartzog, Patrons Relations Co-Chair Lor Shepard, Patrons Relations Co-Chair Garry P. Maisel, Corporate Relations Co-Chair Camille Chan, Corporate Relations Co-Chair

Members Wayne Bartholomew Camille Chan John Crowe Lois Crowe Patti Donlon David Fiddyment Dolly Fiddyment Mary Lou Flint Samia Foster

Scott Foster Anne Gray Bonnie Green Ed Green Benjamin Hart Lynette Hart Dee Hartzog Joe Hartzog Barbara K. Jackson Garry P. Maisel

Stephen Meyer Nancy Roe William Roe Lawrence Shepard Nancy Shepard Joan Stone Tony Stone Joe Tupin Larry Vanderhoef Rosalie Vanderhoef

Ex Officio

Linda Katehi, Chancellor, UC Davis Enrique Lavernia, Provost and Executive Vice Chancellor, UC Davis Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis Margaret Neu, President, Friends of Mondavi Center Sally Ryen, Chair, Arts & Lectures Administrative Advisory Committee Don Roth, Executive Director, Mondavi Center

Arts & Lectures Administrative Advisory Committee

friends of mondavi center

The Arts & Lectures Administrative Advisory Committee is made up of interested students, faculty, and staff who attend performances, review programming opportunities, and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

10-11 Executive Board Margaret Neu, President Laura Baria, Vice President/Membership Francie Lawyer, Secretary Jo Anne Boorkman, Adult Education Sandra Chong, K-12 Education John Cron, Mondavi Center Tours Phyllis Zerger, Outreach Martha Rehrman, School Matinee Ticket Program Fundraising Eunice Adair Christensen, Gift Shop Manager, Ex Officio Joyce Donaldson, Director of Arts Education, Ex Officio

10-11 Committee Members Sally Ryen, Chair Prabhakara Choudary Adrian Crabtree Susan Franck Kelley Gove Holly Keefer

46

Sandra Lopez Danielle McManus Bella Merlin Lee Miller Bettina Ng’weno Rei Okamoto

| mondaviarts.org

Hearne Pardee Isabel Raab Kayla Rouse Erin Schlemmer Hulleah Tsinhnahjinnie


Ticket Exchange Policy • Once a season ticket request is processed, there are no refunds. • If you exchange for a higher priced ticket, you will be charged the difference. The difference between a higher and lower priced exchanged ticket is not refundable. • Tickets must be exchanged at least one business day prior to the performance. • Tickets may not be exchanged after your performance date. • Gift certificates will not be issued for returned tickets. Parking You may purchase parking passes for individual Mondavi Center events for $6 for each event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced. Group Discounts Entertain friends, family, classmates, or business associates and save money. Groups of 20 or more qualify for a 10% discount. Payment must be made in a single check or credit card transaction. Please call 530.754.2787 or 866.754.2787. Student Tickets (50% off the full single ticket price*) Eligibility: Full-time students age 12 & over enrolled for the current academic year at an accredited institution and matriculating towards a diploma or a degree. (Continuing education enrollees are not eligible). Proof Requirements: School ID for the current academic year OR photocopy of your transcript/report card/tuition bill receipt for the current academic year. Children For events other than the family series it is recommended that children under the age of 5 not be brought to the performance for the enjoyment of all patrons. A ticket is required of all children regardless of age; any child attending a performance should be able to sit quietly throughout the performance. Privacy Policy Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons more efficiently. We also sometimes share names and addresses with other not-for-profit arts organizations. If you do not wish to be included in our e-mail communications or postal mailings, or if you do not want us to share your name, please notify us via e-mail, U.S. mail, or telephone. Full Privacy Policy at www.MondaviArts.org.

POlicies

POlicies and information

Accommodations for Patrons with Disabilities Mondavi Center is proud to be a state-of-the-art public facility that meets or exceeds all state and federal ADA requirements and is fully accessible to patrons with disabilities. Parking for patrons with DMV placards is available on the street level (mid-level) of the nearby parking structure, and on the surface lots near the covered walkway. There is also a short-term drop-off area directly in front of the entrance. Patrons with disabilities or special seating needs should notify the Mondavi Center Ticket Office of those needs at the time of ticket purchase. Requests for sign language interpreting, real-time captioning, Braille programs, and other reasonable accommodations should be made with at least two weeks notice. Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances. Ushers are available at the doors to Jackson Hall and the Vanderhoef Studio Theatre. Please explain to the usher how best to assist you, if needed. Special Seating Mondavi Center offers special seating arrangements for our patrons with disabilities. Please call the Ticket Office at 530.754.2787 [TDD 530.754.5402]. Listening Enhancement Devices Listening Infrared Systems are installed in both Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids are available for patrons who have difficulty understanding dialogue or song lyrics. They may be checked out at no charge from the Patron Services Desk near the lobby elevators. Elevators Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Rumsey Rancheria Grand Lobby, near the restrooms and Patron Services Desk.

Service Animals Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times. Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.

Restrooms All public restrooms are equipped with accessible sinks, stalls, baby-changing stations, and amenities. There are six public restrooms in the building: two on the Orchestra level; two on the Orchestra Terrace level; and two on the Grand Tier level. *Only one discount per ticket.

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MONDAVI CENTER PROGRAM Issue 1: Sept-Oct 2010 |

47


September 2010

Imago, ZooZoo sun, nov 7

march 2011

Madeleine Albright

Delfeayo Marsalis Group

mon, mar 7

Wed, Sep 29

San Francisco Symphony

Center

Thur, Sep 30

Christopher O’Riley, piano sat-sun, nov 13-14

october 2010

Paul Taylor Dance Company

Bayanihan, National Folk Dance Company of the Philippines

Tous les Matins du Monde

sat, nov 13

fri, Oct 1

thu, nov 18

Dianne Reeves

Ornette Coleman

sat, Oct 2

sat, nov 20

Steve Martin and the Steep Canyon Rangers

Jeanine De Bique, soprano

sun, Oct 3

Rising Stars of Opera

Mondavi 2 0 1 0 2 0 1 1

wed-fri, nov 10-12

sat-sun, nov 20-21

december 2010

Los Lobos

Tord Gustavsen and Solveig Slettahjell

Dresden Staatskapelle

Alexander String Quartet

Gamelan Çudamani

Mariachi Los Camperos de Nati Cano

Stew and The Negro Problem

Kronos Quartet

Jonah Lehrer

Dr. Beverly Daniel Tatum

Music and Madness Festival

Lara Downes Family Concert

sat, Oct 9

wed, Oct 13 sat, Oct 23

sun, Oct 24

tue-wed, Oct 26-27 wed, Oct 27

thu-sun, Oct 28-31

wed-sat, dec 1-4 sun, dec 5 sun, dec 5 thu, dec 9

fri, dec 10

sun, dec 12

American Bach Soloists, Messiah

Professor Henry Louis Gates, Jr. Tango Fire: Tango Inferno thu, mar 10

Yefim Bronfman, piano sat, mar 12

Alexander String Quartet sun, mar 13

San Francisco Symphony and Chorus thu, mar 17

Curtis On Tour

sat-sun, mar 19-20

Dan Zanes and Friends sun, mar 20

St. Petersburg Philharmonic Orchestra sat, mar 26

Young Artists Competition Winners sun, mar 27

april 2011 Branford Marsalis & Terence Blanchard fri, apr 1

Takács Quartet, with Nobuyuki Tsujii, piano sat, apr 2

Alvin Ailey American Dance Theater tue-wed, apr 5-6

The Silk Road Ensemble with Yo-Yo Ma fri, apr 8

sat, dec 18

Lara Downes with David Sanford

Venice Baroque Orchestra with Robert McDuffie, violin

january 2011

China Philharmonic Orchestra

Delfeayo Marsalis Octet

sat-sun, jan 15-16

Buika

thu, jan 20

Alexander String Quartet

sat, jan 22

november 2010 wed, nov 3

wed-sat, nov 3-6 sat, nov 6 sun, nov 7

Kenric Tam

Mark O’Connor and Julian Lage Itzhak Perlman, violin Daniel Handler wed, jan 26

25th Hour

thu, jan 27

MOMIX, Botanica

sat-sun, jan 29-30

Simone Dinnerstein and Tift Merritt sat-sun, jan 29-30

february 2011 Mark Morris Dance Group wed, feb 2

Vijay Iyer

wed-sat, feb 2-5

Joshua Bell, violin wed, feb 9

Bill Frisell Trio and John Scofield Trio

sat-sun, apr 9-10 tue, apr 12

Max Raabe and Palast Orchester wed, apr 13

Béla Fleck, Zakir Hussain, & Edgar Meyer thu, apr 14

Der Untergang (Downfall) thu, apr 21

Buddy Guy

fri, apr 22

David Sedaris thu, apr 28

Pablo Ziegler, Beyond Tango fri, apr 29

may 2011 Lucinda Childs, DANCE tue, may 3

Roby Lakatos Ensemble thu, may 5

june 2011 Alexander String Quartet sun, june 5

fri, feb 11

New Century Chamber Orchestra with Nadja Salerno-Sonnenberg sat, feb 12

La Rondine 48

| mondaviarts.org

thu, feb 17

MondaviArts.org 530.754.2787

866.754.2787 (toll-free)


Playbill Issue 1: Sept-Oct 2010