Playbill Issue 3: nov-dec 2011 by Mondavi Center

mondavi center

2o11–12

Ballet Preljocaj: Blanche Neige Photo by Jean-Claude Carbonne

program Issue 3: nov-dec 2011 3

Jennifer Johnson Cano, mezzo-soprano

Hot 8 Brass Band

Trey McIntyre Project and Preservation Hall Jazz Band

Lara Downes, piano

Tia Fuller Quartet

Mariachi Sol de México de Jóse Hernàndez

Lara Downes Family Concert

Blind Boys of Alabama

American Bach Soloists

• 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.

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 page 63 for more information. Donors 530.754.5438 Donor 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 Yocha Dehe Grand Lobby are given regularly by the Friends of Mondavi Center. Reservations are required.

ere at the Mondavi Center, we talk a lot about “engagement,” especially where artists and audiences are concerned. These two types of engagement activities are intrinsically linked: our engaging with artists provides us with a tremendous resource, the artists themselves, to actively engage our audiences. In our next playbill, I will write a bit about what we mean by audience engagement, how we carry it out and why carrying on a meaningful dialogue with our audience is so important to us. This month, I wanted spend some time on “artist engagement.”

By artist engagement, we mean the fostering of a sustained presence by artists (and speakers) on our campus and in our community—in other words, residencies. So many of the artists we work with are born communicators—teachers as well as great performers—that it seems a shame to not find ways to connect them more to our community. While many visiting artists are on tours so tightly scheduled that they are in and out of town in a flash, at the Mondavi Center we are focused on shifting the touring paradigm from “one night stands” to creating opportunities for multi-day residencies around performances. This is one very important way in which we differ from a commercial presenter of artists. As part of UC Davis, we share in the University’s service mission to reach out to our community with educational and other beneficial resources. Creating community-based artist residencies is one of the most important ways we do this.

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Photo: Lynn Goldsmith

Before the Curtain Rises, Please Play Your Part

from the directo

before the show

What are some examples of this? Many of you already have read about jazz trombonist Delfeayo Marsalis’s two-week residency last season, which touched the lives of more than 200 young musicians and their parents with opportunities to grow musically and to perform on stage in the Vanderhoef Studio Theatre. It was our most extended residency yet, and we are in the early stages of planning to bring Delf back for more. This season, in partnership with SFJAZZ, we have created the Mondavi Center SFJAZZ High School All-Stars. Through open auditions, we have assembled a group of young high school players who will be coached by Sacramento-based Capital Jazz Project cofounder Mike McMullen as well as by members of the SFJAZZ Collective. In the spring, these wonderful young artists will be the opening act for the SFJAZZ Collective’s Jackson Hall performance. On the classical music side, each of our Debut Series artists makes visits to classrooms in numerous school districts, while members of the San Francisco Symphony coach local high school and university students. Beginning next season, with the help of the Andrew W. Mellon Foundation, we will have a major American orchestra in residence for three days, as well as several master performers and composers. In addition, visiting dance troupes work with the Mondavi Center-sponsored Dance Consortium, consisting of area dancers and dance teachers, in residency activities such as master classes and open rehearsals. Our Distinguished Speakers, although generally here for a short time, all participate in classroom visits on the UC Davis campus. If you want to learn more about artist engagement and residencies at the Mondavi Center, feel free to email our Artist Engagement Coordinator Ruth Rosenberg at rrosenberg@ucdavis.edu or me at droth@ucdavis.edu if you have any questions or comments. Enjoy the holiday season and this month’s great lineup of musical events!

Lost and Found Hotline 530.752.8580 Recycle We reuse our playbills! Thank you for returning your recycled playbill in the bin located by the main exit on your way out.

Don Roth, Ph.D. Executive Director Mondavi Center for the Performing Arts, UC Davis

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MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

WHAT DO YOU SEE? We see your vision for a healthier future. You see your personal health-care champions. When looking for a personal physician, you want a doctor who not only sees you when you need to be seen, but who sees you as a unique individual. When you choose any of UC Davis Health System’s 160 primary care physicians, you’ll find your personal health-care team of expert doctors, nurses and specialists. You’ll enjoy conveniences such as same- and next-day appointments when needed and access to your medical records online. And you’ll have peace of mind knowing we’ll be there with expert care when you need it most. To see the full story and more, visit YouSeeTheFuture.UCDavis.edu. To choose a UC Davis physician, call 800-2-UC DAVIS.

YOU SEE THE FUTURE

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Robert and Margrit Mondavi

Center for the Performing Arts

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Presents

Debut

Jennifer Johnson Cano, mezzo-soprano Christopher Cano, piano A Debut Series Event Saturday, November 5, 2011 â&#x20AC;˘ 8PM Sunday, November 6, 2011 â&#x20AC;˘ 2PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis 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.

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jennifer johnson cano, mezzo-soprano

Jennifer Johnson Cano, mezzo-soprano Christopher Cano, piano

Chants d’Auvergne Canteloube “L’Antouèno” “Pastourelle” “La delaïssádo” “Lou coucut” Gypsy Songs, Op. 55 “Lied ertönt, ein Liebespsalm” “Ei, wie mein Triangel” “Rings ist der Wald so stumm und still” “Als die alte Mutter mich noch lehrte singen” “Reingestimmt die Saiten” “In dem weiten, breiten, luft’gen Leinenkleide” “Darf es Falken Schwinge Tatrahöh’n umrauschen”

Dvořák

Siete Canciones Populares Españolas “El Paño Murano” “Seguidilla Murciana” “Asturiana” “Jota” “Nana” “Canción” “Polo”

de Falla

Intermission

Sea Pictures, Op. 37 “Sea Slumber Song” “In Haven (Capri)” “Sabbath Morning at Sea” “Where Corals Lie” “The Swimmer”

Elgar

Program is subject to change.

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Program Notes Selections from Chants d’Auvergne (Songs of the Auvergne) (1923–30) Joseph Canteloube (Born October 21, 1879, in Annonay, France; died November 4, 1957, in Grigny, Seine-et-Oise) Joseph Canteloube was born into an old family in the small town of Annonay in the Ardèche, 50 miles south of Lyons—his country heritage was to shape his life’s work. He went to Paris as a young man and studied piano with Amélie Doetzer, who had been a pupil of Chopin. In 1901, Canteloube entered the Schola Cantorum, which had been founded by the composer and pedagogue Vincent d’Indy just five years before. D’Indy became his mentor as well as his instructor (he published a biography of his teacher in 1949), and d’Indy’s musical style and passion for French folksong were the model and inspiration for much of Canteloube’s work. Canteloube began composing while still a student, and he went on to create a modest catalog of original works: two operas (the first of which, Le Mas, completed in 1913, won the Huegel Prize, but was not premiered until 1929); a symphonic poem; concert pieces for violin and piano; some vocal music; and two chamber works. It was his research and arrangements of French folksong, however, that won him enduring fame. He spent much of his life traveling throughout France to collect the music of many regions, preserving traditions soon to be gobbled up by mass media, and he lectured, wrote and broadcast extensively about his findings. He arranged many songs for choir or solo voice, most with instrumental accompaniment, making a special point of preserving the dialects of the originals (though he also gave renditions in modern French). From 1939–44, Canteloube edited the Anthologie des chants populaires français, a comprehensive collection of regional folksongs. Between 1923–30 he issued superbly atmospheric settings of 19 Songs of the Auvergne in four volumes for voice and orchestra; he added a fifth set of seven numbers in 1955. The texts treat the subjects of love and seduction, often in a refreshingly earthy manner, and the melodies range in style from simple ditties to country arias. The settings in which Canteloube enfolded the songs are filled with warmth and wit, always rich and sweet in sonority and harmony, yet never cloying. They are among the most masterful vocal music of the 20th century. Gypsy Songs, Op. 55 (1880) Antonín Dvořák (Born September 8, 1841, in Nelahozeves, Bohemia; died May 1, 1904, in Prague) Dvořák first gained notice from Vienna’s music lovers in February 1875, when a committee headed by Johannes Brahms awarded him a government grant intended to encourage young composers in the provinces of the Habsburg empire. His Viennese reputation grew quickly thereafter with performances of his chamber music by Joseph Joachim (for whom Brahms wrote his Violin Concerto) and the lightning success of the Slavonic Dances of 1878. In November 1879, Dvořák was invited to Vienna for a performance by the Philharmonic Orchestra and conductor Hans Richter of his Slavonic Rhapsody No. 3, “which was very well received,” he reported. “I won the sympathy of the whole orchestra at a stroke, and I had to assure them that I would send them a symphony for the next season.” The day after the concert, Richter gave a banquet at his house, to which he invited all the Czech members of the

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orchestra. “It was a grand evening which I shall not easily forget.” Late the following summer Dvořák composed his Symphony No. 6 for the Philharmonic, but intrigues by his jealous Viennese rivals scuttled its scheduled premiere and the work was first heard in Prague in March 1881. Dvořák fared better in Vienna with the set of Gypsy Songs that he wrote in January 1880 for Prague-born Gustav Walter, the leading tenor of the Vienna Opera for the three decades after 1856 and a renowned specialist in lieder recitals and the operas of Mozart and Wagner; Walter premiered the Gypsy Songs, in German, at his recital in Vienna on February 4, 1881. The words and spirit of these pieces came from the collection of original poems titled Gypsy Melodies that Adolf Heyduk (1835–1923), a professor at Písek, 50 miles south of Prague, had published in 1859. (Dvořák took a song for male chorus that he had written in 1877 to Heyduk’s “I Am a Fiddler” as the basis for his Symphonic Variations.) Heyduk’s poems were inspired by the traditional verses of the Gypsies of Slovakia, a mountainous land then considered by the more westernized Bohemians to be wilder and more exotic than their own, and they drew from Dvořák settings in which, wrote Alec Robertson in his study of the composer, “He reached his highest pinnacle as a song-writer. Everything is in place here.” Indeed, the fourth number of the set, widely known as “Songs My Mother Taught Me,” became one of Dvořák’s most famous and best-loved melodies. As well as the fiery sentiments commonly associated with the Gypsies, these songs also encompass tenderness, melancholy, love and an unquenchable zest for freedom and independence. Siete Canciones Populares Españolas (Seven Popular Spanish Songs) (1914) Manuel de Falla (Born November 23, 1876 in Cádiz, Spain; died November 14, 1946, in Alta Gracia, Argentina) When Falla was preparing his opera La Vida Breve for its first Paris performance, at the Opéra Comique on December 30, 1913 (it had been premiered in Nice on April 1), he received two requests—one from the soprano Luisa Vela, who was performing the leading role of Salud in the cast of La Vida Breve; the other, from a Greek singing teacher. Vela was planning a series of solo recitals during the coming months, and she asked Falla to provide some songs in Spanish style for her programs; the Greek singing teacher wanted advice about the appropriate accompanimental style for some melodies from his homeland. Falla experimented with setting one of the Greek songs, and discovered that he could extrapolate a suitable harmonic idiom from the implications of the melody itself. He tried out this new technique in the songs he was preparing for Vela, which he had decided would be settings of seven popular indigenous melodies culled from various regions of Spain. The Siete Canciones Populares Españolas were largely completed by the time he retreated to Spain in 1914 in the face of the German invasion of France; he and Vela gave their premiere at the Ateneo in Madrid on January 14, 1915. The idiom of the piano accompaniments that Falla devised for his Seven Popular Spanish Songs was, according to the composer’s biographer Suzanne Demarquez, derived from “the natural resonance … and modal nature of each song, without in any way neglecting the grace, the sensitivity, the delicate style of his pianistic inspiration.” Though the Siete Canciones Populares Españolas is virtually the only work of Falla’s to quote existing Spanish

“El Paño Moruno” (“The Moorish Cloth”), whose accompaniment was inspired by the steely brilliance of the guitar, comes from Murcia in southeastern Spain. “Seguidilla Murciana,” also from the province of Murcia, is a popular dance song in quick triple time. “Asturiana” is a lament from the northern region of Asturias. The “Jota,” mainly associated with the central province of Aragon, is one of the most familiar of Spanish dance forms. “Nana” is an Andalusian lullaby. “Canción” (“Song”) exhibits the pattern of mixed rhythmic stresses that characterizes much of Spain’s indigenous music. “Polo,” Andalusian in origin, evokes the Gypsy world of flamenco. Sea Pictures, Op. 37 (1899) Edward Elgar (Born June 2, 1857, in Broadheath, England; died February 23, 1934, in Worcester) It was the lightning success of the Enigma Variations following its premiere under the direction of Hans Richter in London on June 19, 1899, that propelled Edward Elgar to international notoriety. Cambridge University made him a doctor honoris causa in 1900; Oxford did so five years later. With his choral ode for the coronation of Edward VII in 1901 and the appearance of the first two “Pomp and Circumstance Marches” in 1902, Elgar became

jennifer johnson cano, mezzo-soprano

themes (two tiny folksong fragments were employed in The ThreeCornered Hat), so potent were these pieces in defining a national style of art song that Gilbert Chase said they provide “a model for contemporary song-writers throughout the Spanish-speaking world, in which popular and artistic elements are closely and often inextricably intertwined.”

England’s unofficial music laureate; he was knighted in 1904. Alberto Randegger, director of the Norwich Festival, sought to capitalize on the composer’s burgeoning fame by commissioning from him a vocal work to be premiered at the Festival in October 1899, Elgar’s first major project after Enigma. Elgar first mooted a piece for chorus, but finally settled on a cycle of songs when he learned that the splendid contralto Clara Butt, then just beginning her career, would be performing at the Festival. Elgar began the composition by reworking a setting he had made in 1897 of a poem by his wife, Alice, which he published in that year as “Lute Song.” Alice’s images of the sea suggested to him a cycle of verses by different poets on that subject, rather in the manner of Berlioz’s Les Nuits d’été (Summer Nights). Sea Pictures was duly composed in July 1899 at Birchwood Lodge, a secluded cottage near Worcester to which Elgar retreated during those years when he needed to work in solitude. The premiere, conducted by the composer with Miss Butt as soloist at the Norwich Festival on October 5, was a fine success. “The cycle went marvelously well, and we were recalled four times—I think—after that, I lost count,” Elgar wrote to A.J. Jaeger, his publisher and close friend (who was immortalized as “Nimrod” in the Enigma Variations). Sea Pictures was introduced to London before a packed house at St. James’s Hall two days later, and given a command performance before Queen Victoria at Balmoral on October 22. Elgar performed it frequently with Clara Butt and other singers and recorded it with Leila Megane and the Royal Albert Hall Orchestra in 1922–23. Sea Pictures, with its broad melodic writing and burnished orchestral sonority, masterfully reflects the sweep and majesty of its panoramic subject. —Dr. Richard E. Rodda

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Vivaldi: Beatus Vir, RV 597 Bach: Magnificat, BWV 243 Handel: Ode for St. Cecilia’s Day

Friday, december 2, 2011

7:00 pm

Jackson Hall, Mondavi Center $8 Stu & Ch, $12/15/17 A | StAndArd SeAting Tickets are available through the Mondavi Center Box Office Noon–6:00 pM Monday–Saturday | 530.752.2787 | mondaviarts.org

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jennifer johnson cano, mezzo-soprano

Texts for Jennifer Johnson Cano, mezzo-soprano

Canteloube: Selections from Chants d’Auvergne (Songs of the Auvergne) “L’Antouèno” (“Anthony”) (Series II, No. 2) Quond onorèn o lo fièïro, iè! Li onorèn tuoï dous, l’Antouèno! Li onorèn tuoï dous!

When we go to the fair, hey! We’ll both go together, Anthony! We’ll both go together!

Croumporèn uno baquetto, iè! La croumporèn tuoï dous, l’Antouèno! La croumporèn tuoï dous!

We’ll buy a cow, hey! We’ll both go together, Anthony! We’ll buy it together!

La baquetto sèro méouno, iè! Lèi cornoï sèroun pèr bous, l’Antouèno! Lèi cornoï sèroun pèr bous!

But the cow will be mine, hey! The horns will be for you, Anthony! The horns will be for you!

“Pastourelle” (Series II, No. 1) “È passo dè dessaï! È passo dellaï l’aïo! Bendras olprès de ièu, Què d’ofaïré parlorèn, È lou restan del jiour N’en parlorén d’amour!”

“Oh, come here to me! Come across the river! Come to this side, and we shall talk of serious things; and then for the rest of the day we shall talk about love!”

“Né pouodi pas passa! Couci bouos qué iéu passi? N’aï pas de pount d’arcados È n’aï pas dè batéu, Ni máï dè pastourel Qué mè siasco fidèl!”

“But I cannot get across! Whatever shall I do? I have no boat, nor bridge to cross the water; nor even a shepherd to love me faithfully!”

“Aurias léu un batéu Sè tu èros poulido! Aurias un pount d’arcados, Aurias un pastourel Qué té serio fidèl È máï djusqu’al toumbel!”

“You would soon have a boat were you to be kind to me! You would have a vaulted bridge, you would have a shepherd, too, to love you faithfully all your life!”

“La Delaïssádo” (“The Forsaken Shepherdess”) (Series II, No. 4) Uno pastourèlo èsper’ olaï al capt del bouès Lou galan doguélo, mè nè bèn pas! “Ay! souï délaïssado! Què n’aï pas vist lou mio galant; Crésio què m’aïmábo, è ton l’aïmè ièu!” Luziguet l’estèlo, acquèlo qué marco la nuèt e lo pauro pastoureletto Démourewt à ploura ...

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A shepherdess is waiting over there at the top of the wood for the one she loves, but he does not come! “Alas, he has forsaken me! I look for him in vain! I thought he loved me, and I love him so!” The star comes out, the star announcing the night, and the poor little shepherdess stays alone and weeps ...

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“Lou Coucut” (“The Cuckoo”) (Series IV, No. 6) Lou coucut oqu’os un auzel Que n’io pas capt plus de to bel Coumo lou coucut que canto, Lou mió coucut, lou tió coucut, E lou coucut dès autrès! Dió. Obès pas entendut canta lou coucut?

The cuckoo is a beautiful bird: there are none more beautiful than the cuckoo that sings, than my cuckoo, than your cuckoo, than anybody’s cuckoo! Say, have you not heard the cuckoo sing?

Per obal found del prat, Sé nió un áubré flourit é gronat, Qué lou coucut l’i canto. Lou mió coucut, lou tió coucut, E lou coucut dès autrès. Dió. Obès pas entendut canta lou coucut?

Yonder, at the bottom of the meadow, stands a scarlet flowering tree, and there the cuckoo sings. He’s my cuckoo, he’s your cuckoo, he’s everybody’s cuckoo. Say, have you not heard the cuckoo sing?

E se toutse les coucuts Boulioù pourta souneto, O! forióu çin cent troumpetoï! Lou mió coucut, etc.

And certainly if all the cuckoos chose to wear bells, they would sound like five hundred trumpets! He’s my cuckoo, etc.

Dvořák: Gypsy Songs, Op 55, Text: Adolf Heyduk “Lied ertönt, ein Liebespsalm” (“My Song of Love”) Lied ertönt, ein Liebespsalm, beginnt der Tag zu sinken, und wenn das Moos, der welke Halm Tauperlen heimlich trinken.

My song of love rings through the dusk, just as the day is fading, as pearls of dew upon the grass are braided into its hair.

Mein Lied ertönt voll Wanderlust, wenn wir die Welt durchwallen, nur auf der Puszta weitem Plan kann froh mein Sang erschallen.

My song rings out with longing as I wander through the world, but once I’m in my native land my song sounds clear and strong.

Mein Lied ertönt voll Liebe auch, wenn Heidestürme toben; wenn sich befreit zum letzten Hauch des Bruders Brust gehoben!

My song rings out in joy and love, when storms whip across the plains, when from earth’s grasp my brother is released by death.

“Ei, wie mein Triangel” (“Ring Out, My Triangle”) Ei! Ei, wie mein Triangel wunderherrlich läutet! Wie Zigeunerlieder, wenn zum Tod man schreitet! Wenn Triangelklänge mich zum Tod begleiten, ist’s mit Tanz und Liedern aus für alle Zeiten! Lieder, Reigen, Liebe aus für alle Zeiten.

Ring out, my triangle, sing your bell-like ringing, singing like a Gypsy when death approaches! When the triangle sounds at a Gypsy’s death it’s farewell to songs, dancing and love forever.

“Rings ist der Wald so stumm und still” (“Everything in the Forest is Still”)

Rings ist der Wald so stumm und still, das Herz schlägt mir so bange; der schwarze Rauch sinkt tiefer stets, die Träne trocknend meiner Wange.

Everything in the forest is still, my heart alone is crying; the acrid smoke wafting from the vale dries the tears that flow down my cheek.

Doch meine Träne trockne nicht, sollst anders wohin wehen! Wer auch im Schmerz noch singen kann, der lebt, nicht wird sein Lied vergehen!

You don’t need to do this, wind, for me, I won’t succumb to sorrow, for he who can sing while still grieving can certainly face tomorrow.

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“Als die alte Mutter mich noch lehrte singen” (“Songs My Mother Taught Me”) Als die alte Mutter mich noch lehrte singen, sonderbar, dass Tränen ihr am Auge hingen. Jetzt die braunen Wangen netzen mir die Zähren, wenn ich will die Kinder Sang und Spielen lehren!

When my mother taught me the songs she loved dearly, tears would flow from her eyes. Now my eyes weep as well as these old strains my own child is learning!

“Reingestimmt die Saiten!” (“Come Join the Dancing, Young Man!”) Reingestimmt die Saiten! Bursche tanz’ im Kreise! Heute froh, überfroh noch heute, morgen trüb’ nach alter Weise! Nächsten Tag am Nilstrand, der den Vätern heilig, reingestimmt, reingestimmt die Saiten, in den Tanz, in den Tanz spring eilig!

Come join the dancing, young man! Spin and turn! leap and dance with joy for tomorrow may bring sorrow! There will be no returning from the hereafter, so take your fiddle and bow, young man, and join in the song and laughter!

“In dem weiten, breiten, luft’gen Leinenkleide” (“Wide Sleeves and Wide Trousers”) In dem weiten, breiten, luft’gen Leinenkleide freier der Zigeuner als in Gold un Seide! Jaj! der gold’ne Dolman schnürt die Brust zu enge, hemmt des freien Liedes wanderfrohe Klänge. Wer beim Schwung der Lieder wahre Lust empfindet, wünscht, dass alles Gold jetzt aus der Welt verschwindet!

Wide sleeves and wide trousers have more freedom than a robe of gold. The robe of gold constricts the chest, and the song within the body dies. He who is happy, his song blossoms with wishes that the whole world would lose its taste for gold.

“Darf des Falken Schwinge Tatrahoh’n umrauschen” (“Give a Hawk a Fine Cage Made of Gold”) Darf des Falken Schwinge Tatrahoh’n umrauschen, wird das Felsennest nicht er mit dem Käfig tauschen. Kann das wilde Fohlen jagen durch die Heide, wird’s an Zaum und Zügel finden keine Freude. Hat Natur Zigeuner etwas dir gegeben, ja zur Freiheit schuf sie mir das ganze Leben.

Give a hawk a fine cage made of gold and he would not exchange it for his old nest. Try to catch a stallion galloping across the land and you will try in vain to make him docile. Nature’s dearest present to the Gypsy is the gift of freedom, which no man can take away.

Falla: Siete Canciones Populares Españolas (Seven Popular Spanish Songs) “El Paño Murano” (“The Moorish Cloth”) On the delicate fabric in the shop there fell a stain; for a lower price it sells because it lost its value. Ay!

Al paño fino en la tienda Una mancha le cayó; Por menos precio se vende, Porque perdió su valor, Ay!

“Seguidilla Murciana” Cualquiera que el tejado tenga de vídrio, No debe tirar piedras al del vecino. Arrieros somos, Puede que en el camino Nos encontremos. Por tu mucha inconstancia Yo te comparo Yo te comparo por tu mucha inconstancia Yo te comparo Con peseta que corre de mano en mano; Que al fin se borra Y creyéndola falsa Nadie la toma.

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Whoever has a glass roof should not throw stones at his neighbor’s. Mule drivers are we, perhaps on the road we shall meet. Because of your inconstancy I compare you, I compare you because of your inconstancy, I compare you to a peseta that passes from hand to hand; that finally becomes so rubbed down, that believing it false, no one will take it.

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“Asturiana” Por ver si me consolaba, Arriméme a un pino verde; Por verme llorar, lloraba. Y el pino, como era verde, Por verme llorar, lloraba.

To see if I could be consoled I sought the comfort of a green pine tree; seeing me weep, it wept too. And the pine tree, since it was green, seeing me weep, wept too. “Jota”

Dicen que no nos queremos Porque no nos ven hablar; A tu corazón y al mío Se lo pueden preguntar. Ya me despido de tí, De tu casa y tu ventana Y aunque no quiera tu madre, Adiós, niña, hasta mañana.

They say we don’t love each other because they never see us talking; but of your heart and mine they have only to ask. Now I bid you farewell, your house and your window too, even though your mother may not like it, farewell, little girl, until tomorrow. “Nana” (“Lullaby”)

Duérmete, niño, duerme, Duerme, mi alma, Duérmete, lucerito De la mañana Nanita, nana. Nanita nana Duérmete, lucerito De la mañana.

Sleep, little baby, sleep, sleep, my soul, sleep, little star of the morning. nanita nana. Sleep, little star of the morning. “Canción” (“Song”)

Por traldores, tus ojos, Because they are traitors, your eyes, Voy a enterrarlos; I will bury them; No sabes lo que cuesta, you don’t know how painful it is, “Del aire,” niña, el mirarlos “From heaven,” little one, to look at them. “Madre, a la orilla,” “Mother, from their edge”— Niña, el mirarlos. little one, to look at them. “Madre.” “Mother.” Dicen que no me quieres, They say you don’t love me, Ya me has querido ... yet once you did love me! Váyase lo ganado Gone is my love! “Del aire” por lo perdido, “From heaven,” it is lost. “Mother, from their edge!” It is lost. “Madre, a la orilla,” por lo perdido. “Madre.” “Mother!” “Polo” Guardo una “ay” Guardo una pena en mi pecho, Ay! Que a nadie se la diré! Malhaya el amor, malhaya! Ay! Y quien me lo dió a entender! Ay!

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I am hiding an “ay”— I am hiding a pain in my breast, Ay! That to no one will I reveal! Cursed love, cursed! Ay! And the one who taught it to me! Ay!

jennifer johnson cano, mezzo-soprano

Elgar: Sea Pictures, Op. 37 “Sea Slumber Song” Text: Roden Noel

“Sabbath Morning at Sea” Text: Elizabeth Barrett Browning

Sea-birds are asleep, The world forgets to weep, Sea murmurs her soft slumber-song On the shadowy sand Of this elfin land; “I, the Mother mild, Hush thee, O my child, Forget the voices wild! Isles in elfin light Dream, the rocks and caves, Lulled by whispering waves, Veil their marbles bright, Foam glimmers faintly white Upon the shelly sand Of this elfin land; Sea-sound, like violins, To slumber woos and wins, I murmur my soft slumber-song, Leave woes, and wails, and sins, Ocean’s shadowy might Breathes good-night, Good-night!”

The ship went on with solemn face: To meet the darkness on the deep, The solemn ship went onward. I bowed down weary in the place; For parting tears and present sleep Had weighed mine eyelids downward.

“In Haven (Capri)” Text: C. Alice Elgar Closely let me hold thy hand, Storms are sweeping sea and land; Love alone will stand. Closely cling, for waves beat fast, Foam-flakes cloud the hurrying blast; Love alone will last.

The new sight, the new wondrous sight! The waters around me, turbulent, The skies, impassive o’er me, Calm in a moonless, sunless light, As glorified by even the intent Of holding the day glory! Love me, sweet friends, this sabbath day. The sea sings round me while ye roll Afar the hymn, unaltered, And kneel, where once I knelt to pray, And bless me deeper in your soul Because your voice has faltered. And though this sabbath comes to me Without the stolèd minister, And chanting congregation, God’s Spirit shall give comfort. He Who brooded soft on waters drear, Creator on creation, He shall assist me to look higher, Where keep the saints, with harp and song, An endless sabbath morning, And on that sea commixed with fire, Oft drop their eyelids raised too long To the full Godhead’s burning.

Kiss my lips, and softly say: “Joy, sea-swept, may fade to-day; Love alone will stay.”

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MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

jennifer johnson cano, mezzo-soprano

“Where Corals Lie” Text: Richard Garnett

“The Swimmer” Text: Adam Lindsay Gordon

The deeps have music soft and low When winds awake the airy spry, It lures me, lures me on to go And see the land where corals lie.

With short, sharp, violent lights made vivid, To southward far as the sight can roam, Only the swirl of the surges livid, The seas that climb and the surfs that comb. Only the crag and the cliff to nor’ward, And the rocks receding, and reefs flung forward, Waifs wreck’d seaward and wasted shoreward, On shallows sheeted with flaming foam.

By mount and mead, by lawn and rill, When night is deep, and moon is high, That music seeks and finds me still, And tells me where the corals lie. Yes, press my eyelids close, ’tis well; But far the rapid fancies fly To rolling worlds of wave and shell, And all the lands where corals lie. Thy lips are like a sunset glow, Thy smile is like a morning sky, Yet leave me, leave me, let me go And see the land where corals lie.

A grim, grey coast and a seaboard ghastly, And shores trod seldom by feet of men— Where the batter’d hull and the broken mast lie, They have lain embedded these long years ten. Love! when we wandered here together, Hand in hand through the sparkling weather, From the heights and hollows of fern and heather, God surely loved us a little then. The skies were fairer and shores were firmer— The blue sea over the bright sand roll’d; Babble and prattle, and ripple and murmur, Sheen of silver and glamour of gold. So, girt with tempest and wing’d with thunder And clad with lightning and shod with sleet, And strong winds treading the swift waves under The flying rollers with frothy feet. One gleam like a bloodshot sword-blade swims on The sky line, staining the green gulf crimson, A death-stroke fiercely dealt by a dim sun That strikes through his stormy winding sheet. O, brave white horses! you gather and gallop, The storm sprite loosens the gusty reins; Now the stoutest ship were the frailest shallop In your hollow backs, on your high-arched manes. I would ride as never a man has ridden In your sleepy, swirling surges hidden; To gulfs foreshadow’d through strifes forbidden, Where no light wearies and no love wanes.

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Finishing her third residency at the Marlboro Music Festival, Cano performed in the Metropolitan Opera Summer Recital Series at Central Park and Brooklyn Bridge Park and finished summer 2011 with her Los Angeles Philharmonic debut and a performance at the Bard Music Festival. In recent seasons, she has toured with Musicians from Marlboro, performed at the St. Petersburg Palaces Music Festival in Russia and participated in the Ravinia Festival’s Steans Institute for Young Artists. Cano was selected for the Lindemann Young Artist Development Program at the Metropolitan Opera in 2008, the same year she won the coveted Metropolitan National Council Auditions. She made her Met debut in the 2009–10 season singing a Bridesmaid in Le nozze di Figaro and Sandman in Hansel and Gretel. Last season, she appeared as Ludmilla in the Metropolitan Opera and the Juilliard School’s joint production of The Bartered Bride and returned to the Chicago Opera Theater singing Schumann’s Frauenliebe und leben, where she debuted as Kate Julian in Benjamin Britten’s Owen Wingrave in 2009. After two seasons as a Gerdine Young Artist with the Opera Theatre of St. Louis, Cano made her principal artist debut there in 2008 as The Muse/ Nicklausse in Offenbach’s The Tales of Hoffmann. As first prize winner in the 2009 Young Concert Artists International Auditions, where she was also awarded the Mecklenburg-Vorpommern Festival Prize and the Princeton University Concerts Prize, Cano made recital debuts on the Young Concert Artist Series at both Merkin Hall in New York, sponsored by the Peter Marino Prize, and at the Kennedy Center in Washington, D.C. Other accolades include a 2011 Sarah Tucker Study Grant from the Richard Tucker Foundation and a 2009 Sullivan Foundation Award. Cano hails from St. Louis, Missouri, and obtained her bachelor’s degree in music from Webster University in St. Louis and received her master’s degree from Rice University in Houston.

jennifer johnson cano, mezzo-soprano

Jennifer Johnson Cano (mezzo-soprano), who is equally at home in the worlds of opera, lieder and chamber music, returns to the Metropolitan Opera this season as Kate Pinkerton in Madama Butterfly, Sandman in Hansel & Gretel and Wellgunde in Wagner’s Das Rheingold and Gotterdammerung. She also returns to the New York Philharmonic with Alan Gilbert after debuting with the Philharmonic in Mendelssohn’s Elijah last season. As soloist she performs in 2011–12 with the Cleveland Orchestra and the Orchestra of St. Luke’s, among others. She gives recitals at Carnegie Hall’s Neighborhood Concert Series, with the Buffalo Chamber Music Society and across the U.S.

Christopher Cano (piano), a seasoned recitalist and orchestra soloist, has performed with the Tucson Symphony Orchestra, Tucson Civic Orchestra, Southern Arizona Symphony Orchestra, Catalina Chamber Orchestra and the University of Arizona Symphony Orchestra. Recital appearances have been in Europe, across the U.S., Mexico, Israel and the Far East. Cano has won numerous awards including the Green Valley Scholarship Competition, Emilio Osta Scholarship Competition, Tucson Symphony Orchestra Young Artist Competition and is a recipient of the Theodore Presser Scholarship. He is also a twotime winner of the University of Arizona President’s Concert Concerto Competition. Cano made his recording debut with the Catalina Chamber Orchestra in an acclaimed performance of Shostakovich’s Piano Concerto No.1, Op.35. As a collaborative artist, he has played in the master classes of the late Fedora Barbieri, the late Anna Moffo, Lauren Flannigan, Martin Katz, Craig Rutenberg and Suzanne Mentzer. Cano has also played for the master classes of Marilyn Horne in New York City at Carnegie Hall. As a studio pianist, Cano has had the distinct privilege of working with some of the great artists and teachers of singing including Marilyn Horne, Sherrill Milnes, Luciano Pavarotti, Marni Nixon, Patricia McCaffrey, Joan PatenaudeYarnell, Rita Shane and Diana Soviero. Cano has performed as a guest soloist and chamber musician at the Killington Music Festival in Vermont, Alamos Music Festival of Sonora, Mexico, and has participated as a pianist at the International Vocal Arts Institute in Tel Aviv, Israel. Cano has been a member of the music staff at the Festival Lyrique en Mer in Belle Isle, France, Toledo Opera, San Diego Opera, Utah Festival Opera, Opera Company of North Carolina, Florida Grand Opera and Opera Theatre of Saint Louis. Cano has served on the faculties of Intermezzo Music Festival, Manhattan School of Music Summer Voice Institute and V.O.I.C.Experience, a summer program for promising young singers in Florida under the administrative and artistic direction of Maria Zouves and renowned baritone, Sherrill Milnes, respectively. Recent recital appearances include collaborations with some of today’s most promising young vocal talent, including Jennifer Welch-Babidge, Jossie Perez, Wendy Bryn Harmer, Elaine Alvarez, Timothy Mix and Young Concert Artists winners Jeanine DeBique and Jennifer Johnson Cano. A native of southern Arizona, Cano holds a bachelor’s and master’s of music degrees in piano performance from the University of Arizona, where his teachers included the late Ozan Marsh, Nicholas Zumbro, Dr. Paula Fan and Rex Woods. Cano and his wife, mezzo-soprano Jennifer Johnson Cano, reside in New York City, where he was a full-scholarship student in the Professional Studies Program of Vocal Accompanying at the Manhattan School of Music. He currently serves on the vocal coaching staff of that institution, where he was a student of renowned pianist Warren Jones.

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MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

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 and Barnes & Noble.

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Photo by Joseph Yoon

Debut

Hot 8 Brass Band A Mondavi Center Spirit of New Orleans Special Event Wednesday–Friday, November 9–11 • 8PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis There will be one intermission. Sponsored by Office of Campus Community Relations

Individual support provided by Joe and Betty Tupin Additional support provided by

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MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

hot 8 brass band

Hot 8 Brass Band Terrell Batiste, Trumpet JonPal Brooks, Trumpet Harry Cook, Bass Drum Samuel Cyrus, Snare Drum Edward Jackson, Trombone Bennie Pete, Sousaphone Clarence Slaughter, Saxophone Gregory Veals, Trombone Raymond Williams, Trumpet

Repertoire will be selected from the following and announced from the stage. This repertory includes, but is not limited to, traditional and contemporary brass band music.

Traditional Brass Band Music: “Fly Away” “Bourbon Street Parade” “When the Saints” “Ate of the Apple Tree” Contemporary Brass Band Music: “Rock with the Hot 8” (Hot 8 Brass Band) “Fine Tuner” (Hot 8 Brass Band) “Feel Like Funkin’ it Up” (Rebirth Brass Band) “All I Do” (Stevie Wonder)

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Members of the Hot 8 Brass Band have toured in Japan, Italy, France, Spain, Finland, England and Sardinia. The band performs annually at the New Orleans Jazz & Heritage Festival, world and jazz festivals across the U.S. and Europe and were featured in the Spike Lee documentary When the Levees Broke. The Hot 8 Brass Band has been part of an important relief project following Hurricane Katrina. “SAVE OUR BRASS!” is a local grassroots project that has brought music and instruments to shelters, temporary trailer parks and communities across the Gulf Coast. For more information: www.hot8brassband.com Myspace.com/hot8brassband Recordings: Rock with the Hot 8 (Louisiana Red Hot Records), Jazz Fest Live 2006 (Munck Music), Jazz Fest Live 2007 (Munck Music)

The History of the “Second Line” Second line parades are the descendants of the city’s famous jazz funerals and, apart from a casket, mourners and a cemetery visit, they carry many of the same traditions with them as they march down the streets. Today, the parades are not tied to any particular event, holiday or commemoration; rather, they are generally held for their own sake and to let the good times roll. Second lines trace their roots back to the 19th century and the fraternal societies and neighborhood organizations that collectively provided insurance and burial services to members, especially among the African American community. The “first line” of a funeral consisted of the people who were an integral part of the ceremony, such as the members of the club or krewe, or family and friends of the deceased. The “second line” originally referred to people who were attracted to the music. Led by a “Grand Marshal,” the band and mourners would move to the burial site, with the band playing a dirge to signal the struggles, the hardships, the ups and downs of life. On the way back, the music became more joyful. Relatives, friends and acquaintances would become the second line and dance with wild abandon. The second line, usually sporting umbrellas and handkerchiefs, became traditional at these jazz funerals. The noun second line is also the name of a unique dance performed to the beat of New Orleans traditional jazz. The dance is an evolved version of an old African dance known as the “Bambula.” Terrell “Burger” Batiste (trumpet) was born in New Orleans in 1984. He started playing baritone in the seventh grade and joined the Hot 8 while he was still in high school. His influences include Miles Davis, Leroy Jones and Louis Armstrong.

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Hot 8 brass band

Hot 8 Brass Band New Orleans’s own Hot 8 Brass Band has epitomized New Orleans street music for more than a decade. The band plays the traditional Second Line parades, hosted each Sunday afternoon by social aid and pleasure clubs, infusing their performances with the funk and energy that makes New Orleans music loved around the world. The members of the Hot 8 Brass Band were born and raised in New Orleans, and many began playing together in high school. What makes the Hot 8 so special is the sounds they coax from their well-loved, well-worn horns. An evening with the Hot 8 is like no other.

JonPal Brooks (trumpet) grew up in New Orleans surrounded by New Orleans traditional jazz. His musical journey started initially playing an electronic keyboard, then the piano and ultimately the trumpet. His influences include Wynton Marsalis, Miles Davis, Dizzy Gillespie, Louis Armstrong and John Coltrane. In 2000, he was awarded a scholarship and enrolled at Southern University to pursue a music education and music performance degree. JP has performed with many local New Orleans artists including Soul Rebels, Rebirth Brass Band and Trombone Shorty. Harry “Swamp Thang” Cook (bass drum) was born in New Orleans in 1976. He began playing in high school at the age of 16. Harry’s influences include Herlin Riley, Louis Armstrong and Tuba Fats. Samuel “Sammy” Cyrus (snare drum) received a true New Orleans music education on the streets of the Sixth Ward in New Orleans, which is the foundation for much of the brass band music in the city. Edward “Juicy” Jackson’s (trombone) musical influences are trombonist Keith “Wolf” Anderson, trumpeter Shamarr Allen, school band directors Jerry McGowan and Wilbert Rawlins and the venerable Louis Armstrong and Ella Fitzgerald. Bennie “Big Peter” Pete (tuba and band leader) was born in New Orleans in 1976 and has played tuba since the sixth grade. Pete played previously with the Looney Tunes and was the founder of the Hot 8. His influences include Tuba Fats, Keith Anderson and Leroy Jones. Clarence “Trixzey” Slaughter (saxophone) was born in Dayton, Ohio, in 1989. He met Thomas “Tumas” Allison, who became his mentor, and under his tutelage joined the Serious Young Musicians ensemble, a group that performed in several of Dayton’s top jazz venues. In 2008, he moved to New Orleans where he became part of the group Street Gumbo. He has performed with Trombone Shorty’s band Orleans Avenue, Soul Rebels, Rebirth, Maceo Parker, Charmaine Neville and Russell Batiste. Gregory “Koon” Veals (trombone) got his first taste of brass band music at Second Lines listening to the likes of Olympia Brass Band and the Dirty Dozen. He joined the junior high school band and never looked back. Having played with the Olympia Brass Band Kids, the Lil’ Rascals and the Soul Rebels, Veals has developed a unique style and has been a valuable addition to the Hot 8 Brass Band. Raymond “Dr. Rackle” Williams (trumpet) was born in New Orleans in 1961. He attended college in Hartford, Connecticut, on a music scholarship and recorded with Jackie McLean on the Blue Note label before joining the Hot 8 in 2001. His influences include McLean, Ellis Marsalis and Clifford Brown. In Memoriam: Four valued members of the Hot 8 Brass Band have been lost, two of them to the violence of the New Orleans streets. The band continues to honor them with their music: Demond “Bart” Dorsey (trombone), Jacob Johnson (trumpet), Joseph “Shotgun Joe” Williams (trombone) and Dinerral “Dick” Shavers (drums).

MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

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 TVs

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

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Debut

Trey McIntyre Project and Preservation Hall Jazz Band Ma Maison A Hallmark Inn, Davis Dance Series and Spirit of New Orleans Event Saturday, November 12, 2011 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis There will be one intermission. Pre-Performance Talk Saturday, November 12, 2011 â&#x20AC;˘ 7PM Jackson Hall, Mondavi Center, UC Davis Open company warm up, followed by a talk with Artistic Director Trey McIntyre Dance Series Sponsored by

Spirit of New Orleans Series Sponsored by Office of Campus Community Relations

Individual support provided by Joe and Betty Tupin Additional support provided by

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MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

trey mcintyre project and preservation hall jazz band

Trey McIntyre Project and Preservation Hall Jazz Band Ma Maison

Trey McIntyre, Artistic Director Dancers

Ben Behrends Chanel DaSilva Lauren Edson Jason Hartley Brett Perry Yarinet Restrepo Annali Rose John Michael Schert Travis Walker Ashley Werhun

Ma Maison Choreography: Trey McIntyre Premiered: November 21, 2008 Dixon Hall, New Orleans, Louisiana Music: Preservation Hall Jazz Band and Sister Gertrude Morgan Costume Design: Jeanne Button Mask Design: Michael Curry Lighting Design: Travis C. Richardson Jason Hartley Chanel DaSilva John Michael Schert Travis Walker Lauren Edson Brett Perry Annali Rose Ashley Werhun Ma Maison was commissioned by the New Orleans Ballet Association with additional underwriting provided by the Ann and Joseph Heil Charitable Trust of Milwaukee, WI, and Peter and Debbie Wachtell of Boise, ID.

God’s Word Will Never Pass Away (Let’s Make a Record) was written by Sister Gertrude Morgan; Heebie Jeebies (Hurricane Sessions) was written by Preservation Hall Jazz Band; He Wrote the Revelation (Let’s Make a Record) was written by Sister Gertrude Morgan; Westlawn Dirge (Here Come Da Great Olympia Band) was written by Dejan’s Olympia Brass Band of New Orleans; Complicated Life (Hurricane Sessions) was written by Raymond Davies; I Don’t Want to Be Buried in the Storm (Hurricane Sessions) was written by Preservation Hall Jazz Band; Power (Let’s Make a Record) was written by Sister Gertrude Morgan; That’s a Plenty (Hurricane Sessions) was written by Preservation Hall Jazz Band. Used by permission. All rights reserved.

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trey mcintyre project and preservation hall jazz band

The Sweeter End Choreography: Trey McIntyre Premiered: February 4, 2011 Mahalia Jackson Theater, New Orleans, LA Music: Preservation Hall Jazz Band Costume Design: Andrea Lauer Lighting Design: Travis C. Richardson Set Design: Trey McIntyre St. James Infirmary Chanel DaSilva Brett Perry

Jason Hartley

John Michael Schert

St. James Infirmary Annali Rose Ben Behrends Travis Walker

Lauren Edson Ashley Werhun

Trouble in Mind Jason Hartley Yellow Moon Brett Perry

Ashley Werhun

Old Man Mos Company

The Sweeter End is co-commissioned by the New Orleans Ballet Association, with underwriting support from Kerry Clayton and Paige Royer of New Orleans; University of Florida Performing Arts and Lincoln Center for Lincoln Center Out of Doors 2011. Lead underwriting provided by Blair Kutrow of Washington, D.C., with original music for The Sweeter End commissioned by the Charles and Joan Gross Family Foundation of New York, NY. Denim supplied by Levi’s Jeans. This project is supported in part by an award from the National Endowment for the Arts and funded through USA Projects, an online initiative of United States Artists. Whoopin’, traditional/arrangement; St. James Infirmary, traditional/arrangement; Trouble in Mind, traditional/arrangement; Old Man Mos, Traditional/Arrangement; Yellow Moon, composed by Ben Jaffe and Charlie Gabriel. All songs performed by Preservation Hall Jazz Band.

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MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

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

24 | mondaviarts.org 12 | mondaviarts.org

In 2010, McIntyre was named the United States Artists Wynn Fellow. He has received two choreographic fellowships from the National Endowment for the Arts, a Choo-San Goh Award for Choreography, was named one of Dance Magazine’s “25 to Watch” in 2001, one of People magazine’s “25 Hottest Bachelors” 2003 and one of Out Magazine’s 2008 “Tastemakers.” New York Times critic Alastair Macauley said of McIntyre, “There’s a fertility of invention and a modernity of spirit here that are all Mr. McIntyre’s own,” and the Los Angeles Times told the world to “keep [their] eye on Trey McIntyre, who creates brilliant works” in its dance preview of the 21st century. Focusing primarily on Trey McIntyre Project, McIntyre spends his time creating works that explore the human experience in transformative and captivating ways by creating a unique culture for audience members to explore the work.

Benjamin Behrends (Tenderfoot) Born: Santa Rosa, CA Training: Santa Rosa Dance Theater, Academy of Ballet, Boston Ballet Trainee Program Professional Experience: Smuin Ballet Ben is sponsored for Year 4: 2011–12 by Rich and Georgiann Raimondi of Boise, ID. Chanel DaSilva Born: Brooklyn, NY Training: Creative Outlet Dance Theater of Brooklyn, F.H. LaGuardia High School for Music & Art and the Performing Arts, Alvin Ailey School, Juilliard School Chanel is sponsored for Year 4: 2011-12 by Pam and Richard Hanlon of Great Falls, VA. Chanel is a 2011 Princess Grace Honoree for Dance. Lauren Edson Born: Boise, ID Training: The Juilliard School, Ballet Idaho Academy, North Carolina School of the Arts Professional Experience: Portland Opera, Lane Hunter {dance}, Hubbard Street 2, Ballet Idaho, Idaho Dance Theatre Lauren is sponsored for Year 4: 2011–12 by Hal and Jacque Eastman and Richard and Sondra Hackborn of Boise, ID. Jason Hartley Born: Des Moines, IA Training: North Carolina School of the Arts Professional Experience: Washington Ballet, ARKA Ballet, CityDance Ensemble, American Repertory Ballet, Ballet Met Columbus Jason is sponsored for Year 4: 2011–12 by Nancy and Steve Einhorn of Milwaukee, WI. Jason is a 1996 Princess Grace Award Winner for Dance. Printed on recycled paper. Please recycle this playbill for reuse.

trey mcintyre project and preservation hall jazz band

Trey McIntyre is one of the most sought-after choreographers working today. Born in Wichita, Kansas, McIntyre has created a canon of more than 90 works for companies such as American Ballet Theatre, Stuttgart Ballet, Hubbard Street Dance Chicago, New York City Ballet and Ballet de Santiago (Chile). He served as Choreographic Associate for Houston Ballet from 1989–2008 and Resident Choreographer for Oregon Ballet Theatre, Ballet Memphis and the Washington Ballet before forming his acclaimed Trey McIntyre Project in 2008 in Boise, Idaho.

Brett Perry Born: Greenwood, IN Training: The Dance Company, Juilliard School Brett is sponsored for Year 4: 2011–12 by Suzanne and W. Patrick Knibbe of Boise, ID. Brett is a 2010 Princess Grace Award Winner for Dance. Yarinet Restrepo (Tenderfoot) Born: Tampa, FL Training: Mencia and Pikieris School of Dance, New World School of the Arts, The Art of Classical Ballet Professional Experience: Grand Rapids Ballet Company, Hubbard Street 2 TMP is seeking a generous sponsor for Yarinet’s Year 4: 2011–12 Season. Annali Rose Born: Santa Cruz, CA Training: Sacramento Ballet Apprentice, Yuma Ballet Academy Professional Experience: Sacramento Ballet, Larry Pech Dance Company Annali is sponsored for Year 4: 2011–12 by Rob and Nancy Chimsky of Sonoma, CA. John Michael Schert Born: Valdosta, GA Training: North Carolina School of the Arts, Valdosta Dance Theater Professional Experience: Alonzo King’s LINES Ballet, Lar Lubovitch Dance Company, Cedar Lake Contemporary Ballet, American Ballet Theatre. John Michael is sponsored for Year 4: 2011–12 by Virginia McGehee Friend of Waterford, VA. Travis Walker Born: Syracuse, NY Training: Ballet Arts Theatre, Usdan Center for the Performing Arts, New York State Summer School of the Arts, Central Pennsylvania Youth Ballet. Professional Experience: Ballet San Jose, Alberta Ballet, Smuin Ballet Travis is sponsored for Year 4: 2011–12 by Lesley Andrus of Sun Valley, ID. Ashley Werhun Born: Edmonton, ALB Training: School of Alberta Ballet, Alonzo King’s LINES Ballet Ensemble Professional Experience: Ballet British Columbia Ashley is sponsored for Year 4: 2011–12 by Peter and Debbie Wachtell of Boise, ID.

To see more of Trey McIntyre Project’s dancers, visit treymcintyre.com for full bios, video clips and interactive information on these artists. For an up close and personal look at the dancers’ life on the road, visit treymcintyre.com/blog.

MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

Clayton World of Wonders Bailey’s

O N V I E W T H RO U G H J A N UA RY 15,, 2012

MEDICAL PROBE !

WOW

Medical Probe, 1976. What can we say? Ouchie.

AMAZ

ING

“The Kaolithic Giant of the Precredulous Era.–Port Costa, CA.” 1976 and 1980. Sometimes ﬁction is far more entertaining than truth.

WARRIOR ROBOT

Robots. Ray Guns. Fossils from the “Bone Age” and other pseudo-scientific discoveries. Channel your inner-geek and visit the fantastical world of ceramist, sculptor, and “mad scientist,” Clayton Bailey. 180 works. Humorous, grotesque, too much fun to miss.

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Warrior, 2002. Revenge of the recyclables.

Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Lara Downes, piano 13 Ways of Looking at the Goldberg A Studio Classics: Replay Series Event Saturday, November 12, 2011 • 8PM Sunday, November 13, 2011 • 2PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis

Post-Performance Q&A Saturday, November 12, 2011 with Lara Downes Pre-Performance Talk Sunday, November 13, 2011 • 1PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis with Lara Downes

Support provided by

The Andrew W. Mellon Foundation

further listening see p. 30

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MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

lara downes, piano

Lara Downes, Piano 13 Ways of Looking at the Goldberg Bach Reimagined

I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after. Stanza V: 13 Ways of Looking at a Blackbird —Wallace Stevens

“Aria” from Goldberg Variations BWV 988 “Chasing Goldberg” “The Gilmore Variation” “Variation Fugato” “Goldmore Variation” “Kontraphunktus” “Melancholy Minuet” “Rube Goldberg Variation” “Fantasy Variation” “Ornament” “Ghost Variation” “My Goldberg” (Gymnopedie #1) “Yet Another Goldberg Variation” “Variation on Variation with Variation” “Aria” (Reprise), from Goldberg Variations BWV 988

J.S. Bach Fred Lerdahl Jennifer Higdon Bright Sheng Lukas Foss Derek Bermel Fred Hersch C. Curtis-Smith Stanley Walden Ryan Brown Mischa Zupko David del Tredici William Bolcom Ralf Gothóni J.S. Bach

Please join Lara Downes for a CD signing immediately following the performance.

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13 Ways is a set of 13 new “re-imaginings” of the magnificent “Aria” from the Goldberg Variations, commissioned in 2004 by the Irving S. Gilmore International Keyboard Festival. The 13 composers who contributed to the project include 2010 Pulitzer Prize winner Jennifer Higdon, Lukas Foss, David del Tredici, William Bolcom, Fred Hersch and Derek Bermel. These brilliant contemporary voices invoke the Goldbergs in broadly different ways, celebrating both the eternal beauty of Bach’s music and the musical evolutions of the past 250 years. In what she calls a “wonderfully imaginative musical journey,” Downes interprets these brilliant variations that range in mood from lyrical to tempestuous, traveling from neo-romanticism to jazz and back again to a Bachian contrapuntalism. On a personal level, Downes, who says she was “weaned as a baby” on Gould’s recording, dedicates her new CD jointly to the memory of Gould and of her father, also named Glenn, who first introduced her to Gould and the Goldbergs. Downes has already garnered national acclaim for 13 Ways. At its concert debut this summer at the Portland Piano International Festival, The Oregonian wrote “Lara Downes shines with electric playing of updated Goldberg Variations.” With performances scheduled this fall on WFMT Chicago, the International Beethoven Project Festival, Cornelia Street Café in New York City, Classical Revolution in San Francisco and the El Paso Pro Musica Festival in Texas, among other stops, Downes is bringing these “new Goldbergs” to audiences across the country, in her own exhilarating, exceptional and always unexpected way. The Old/New Goldberg Variations Some of my deepest and most long-abiding musical memories are my attempts as a youth to play the aria and some of the variations of the J.S. Bach Goldberg Variations on our little upright piano at home. Although I could play most of the notes I failed to master these pieces in any acceptable fashion other than for my own pleasure and frustration, but I got a real sense of how deep and powerful (and fiendishly difficult!) this great work is. A little later, I encountered Glenn Gould’s monumental first recording of the Goldberg, and I become somewhat obsessed with it. I had never heard anything so masterful, so moving, so perfect. My friends at the time grew increasingly impatient and appalled at my monomania as I tried to make them listen to it for the umpteenth time. Eventually I wore the piece out in my mind much as I wore out the recording. Later, after many years serving music as a would-be musical demiurge and manager, I re-encountered the Goldberg Variations in a big way as Director of the Gilmore International Keyboard Festival, and I bonded with the piece all over again! Among many others, I had heard the great recorded performances by Andras Schiff, Peter Printed on recycled paper. Please recycle this playbill for reuse.

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13 Ways of Looking at the Goldberg In June 1955, Glenn Gould made his groundbreaking recording of Bach’s Goldberg Variations for Columbia Records, rescuing the Goldbergs from obscurity in one of the most significant classical recordings of a generation. This September, critically acclaimed pianist Lara Downes broke ground of her own with her new recording 13 Ways of Looking at the Goldberg, a fascinating new take on Bach’s masterpiece. In an extraordinary coincidence of fate and timing, Lara’s recording of her new Goldberg project took place over the same four days in June as Gould’s historic 1955 sessions.

Serkin, Marc-Andre Hamelin, Daniel Barenboim and, above all, Rosalyn Tureck, and I was entranced by arrangements of the piece by Bernard Labadie, Dmitry Sitkovetsky and Uri Caine. Angela Hewitt played a marvelous version of it at our Festival, and we have had other performances of it on harpsichord and even a jazz version of some of the variations by the estimable French pianist Jacques Loussier with his trio. All these varied performances got me thinking that the indestructible and iconic Goldberg could stand a “re-imagining” by some of the wonderful composers I had encountered during my life in music. And so, with funds provided by the Gilmore, I set about importuning these creative spirits for variations on the Goldberg aria and found, to my delight, that they liked the idea. There was no rhyme nor reason to my selection of composers—I just picked out some to whom I thought the idea would appeal. No one turned me down! Each new variation was written without any knowledge of who the other composers would be and, of course, without any knowledge of what the others had written. Lukas Foss suggested the title (he had already written a beautiful setting of the Wallace Stevens poem “Thirteen Ways of Looking at the Blackbird”). I knew exactly whom I wanted to premiere the new variations— my old friend and Tanglewood colleague Gilbert Kalish—a great pianist with a courageous spirit of adventure and a technical command of the piano second to none. He decided an order for the variations and inserted the 13th variation of the Bach original in the middle of the piece for his first performances in 2004, with the understanding that other performers could play the piece in different configurations (as Lara Downes has done, adding another variation by Ryan Brown). I hope that 13 Ways of Looking at The Goldberg will now be heard with increasing frequency and these variations will be appreciated as they were intended—as a contemporary homage and tribute to one of the greatest musical masterpieces of all time. Lara’s fine performances and recording will go a great deal toward making that happen. —Daniel Gustin, Director of the Irving S. Gilmore International Keyboard Festival Lara Downes (piano) A captivating presence both on and offstage, this critically acclaimed American pianist has garnered wide acclaim as one of the most exciting and communicative pianists of today’s generation. Lauded by NPR as “a delightful artist with a unique blend of musicianship and showmanship” and praised by the Washington Post for her stunning performances “rendered with drama and nuance,” Downes presents the piano repertoire—from iconic favorites to newly commissioned works—in new ways that bridge musical tastes, genres and audiences. Downes’s fresh and insightful interpretations have captivated audiences at Carnegie Hall, Kennedy Center, Lincoln Center, Queen Elizabeth Hall London, Vienna Konzerthaus, the Salle Gaveau Paris, American Academy Rome, San Francisco Performances, the Portland International Piano Festival, Le Poisson Rouge NYC, Montreal Chamber Music Festival and the University of Washington World Series among many others. Her performance projects have received support from prominent organizations such as the National Endowment for the Arts, the Barlow Endowment for Music Composition and American Public Media.

MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

lara downes, piano

lara downes

further listening

by jeff hudson Lara Downes’s concert—and her new album, released in mid-September—are both based on a set of 13 pieces commissioned by the Irving S. Gilmore International Keyboard Festival in 2004. That Michigan-based festival (and its sponsoring foundation)—more conveniently known as “The Gilmore”—asked 13 very different composers to write short pieces reflecting on J.S. Bach’s Goldberg Variations. More specifically, the composers were asked to reflect on the aria that opens Bach’s set from 1740s. The Gilmore’s set of 13 variations was originally performed by pianist Gilbert Kalish and published in 2007. The title is a reference to the Wallace Stevens poem “Thirteen Ways of Looking at a Blackbird.” Downes was drawn to record this set of 13 modern variations because she grew up transfixed by pianist Glenn Gould’s landmark 1955 recording of the Goldbergs, which she said she remembers “as my first music ... a little girl in my father’s big chair, listening and wondering at the twists and turns of Bach’s creation and Gould’s imagination.” In addition to the 13 composers commissioned by The Gilmore, Downes’s album features a Bachinspired work by Dave Brubeck (who many people do not realize grew up in the Gold Country town of Ione in Amador County, about an hour’s drive east of Davis). There’s also a piece by Ryan Brown, the young composer from San Francisco whose music has been featured at the Mondavi Center as part of the Young Artist Competition, as well as a piece by the late Lukas Foss (1922-2009), whose music is always worth a listen.

Downes’s recording of the 13 Gilmore-commissioned variations is the first studio recording of them, and the only recording in circulation. “It is a perfect fit for me because I have worked with all of the composers on the album to a greater or lesser extent, except for Lukas Foss. I’ve communicated with most of them quite a lot,” Downes told me. She added that the project appealed to her because “I like to look at history and how it translates through art. I love all the connections and translations of musical ideas in this piece.” Downes spent much of the fall traveling and promoting the album, including a live performance on classical radio flagship WFMT in Chicago, as well as concerts in New York and San Francisco. Lastly, we should point out some pianists who have been honored by The Gilmore (and have appeared at the Mondavi Center), including Ingrid Fliter (Gilmore Artist 2006, appeared with San Francisco Symphony in Jackson Hall in 2007); Christopher Taylor (Gilmore Young Artist in 1990, solo recital in Vanderhoef Studio Theatre in 2008), Jonathan Biss (Gilmore Young Artist in 2002, appeared with the Pittsburgh Symphony Orchestra in Jackson Hall in 2007) and Yuja Wang (Gilmore Young Artist 2006, appeared in Jackson Hall with the San Francisco Symphony and the China Philharmonic in 2009).

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

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lara downes, piano

Downes’s chamber music appearances include collaborations with other noted soloists and ensembles, including violinists Rachel Barton Pine and Lara St. John, cellists Zuill Bailey and Denis Brott, the Miami and Alexander string quartets and the Brubeck Institute Jazz Quintet. Commissions and premieres of new works for Downes have come from composers Aaron Jay Kernis, David Sanford, Benny Golson, Eve Beglarian and Dan Coleman among others. Downes’s previous solo recordings have met with tremendous critical and popular acclaim. Her debut CD, Invitation to the Dance (2000), was called “a magical recording” by NPR, and her second release, American Ballads (2001), was ranked by Amazon.com among the four best recordings of American concert music ever made. Dream of Me (2006) was praised for “exquisite sensitivity” by American Record Guide. Downes’s busy performance career is strongly driven by her commitment to expanding and developing new audiences for the arts. She is the Founder and President of the 88 KEYS Foundation, a non-profit organization that fosters opportunities for music experiences and learning in America’s public schools, and she regularly works and performs with the next generation of talented young musicians as Curator of the Young Artists program at the Mondavi Center for the Performing Arts at UC Davis, where she serves as Artist in Residence. Downes is a Steinway Artist. 13 Ways of Looking at the Goldberg was commissioned by the Irving S. Gilmore International Keyboard Festival.

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American Bach Soloists

American Bach Soloists Messiah George Frideric Handel (1685-1759) American Bach Soloists American Bach Choir Jeffrey Thomas, conductor Mary Wilson Ian Howell Charles Blandy Jesse Blumberg AMERICAN BACH SOLOISTS Violins Elizabeth Blumenstock (leader) Andrea Guarneri, Cremona, 1660. * Tatiana Chulochrikova Joseph Hollmayr, Freiburg, circa 1760. Tekla Cunningham (principal Violin II) Sanctus Seraphin, Venice, 1746. Daria d’Andrea Anonymous, Neapolitan school, circa 1760. Andrew Davies Augustine Chauppy, Paris, 1749. Rachelle Hurwitz Anonymous, Mittenwald, circa 1730. Tyler Lewis Timothy Johnson, Hewitt, TX, 2009; after Stradivari, Cremona, 18th century. Robert Mealy Jason Visettear, New York, 2009; after Bartolomeo Giuseppe Antonio Guarneri, del Gesù, Cremona, 1730s. Maia Silberstein Anonymous, Milan, circa 1770. Janet Worsley Strauss Matthias Joannes Koldiz, Munich, 1733. David Wilson Timothy Johnson, Hewitt, TX, 2007; after Stradivari, Cremona, 18th century. *The 1660 Andrea Guarneri violin played by Ms. Blumenstock is made available to her through the generosity of the Philharmonia Baroque Period Instrument Trust.

Violas Jason Pyszkowski Jay Haide, El Cerrito, CA, 2008; after Giovanni Paolo Maggini, Brescia, circa 1580. Clio Tilton Eric Lourme, Le Havre, France, 2009, after Brothers Amati, 16th century. Aaron Westman Dmitry Badiarov, Brussels, 2003; after Antonio Bagatella, Padua, circa 1750. Ondine Young Anonymous, German, 17th century. Violoncellos Elisabeth Reed (continuo) Anonymous, Italy, 1685. Shirley Edith Hunt Anonymous, Milan, circa 1706. Hallie Pridham Anonymous, 18th century. Contrabasses Steven Lehning (continuo) Anonymous, Austria, circa 1830. Christopher Deppe Johann Neuner II & Cantius Hornsteiner, Mittenwald, circa 1880. Joshua Lee John Pickering, Greenmont, NH, 1783. Harpsichord Corey Jamason John Phillips, Berkeley, CA; after Ruckers-Taskin, 1780.

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Soprano Countertenor Tenor Baritone Organ Steven Bailey John Brombaugh & Associates, Oregon, 1980. Oboes Debra Nagy Randall Cook, Basel, 2004; after Jonathan Bradbury, London, circa 1720. Meg Owens Bernard Schermer, Basel,1996; after Jonathan Bradbury, London, circa 1720. Bassoons Kate van Orden Peter de Koningh, The Netherlands, 1986; copy of Thierriot Prudent, Paris, circa 1770. Charles Koster Paul Hailperin, Zell im Wiesental, Germany, circa 1990; after M. Deper, Vienna, circa 1725. Trumpets Caleb Hudson (solo) Rainer Egger, Basel, 2009; after Johann Leonhard Ehe III, Nuremberg, 1746. William Harvey Keevy Vanryne, London, 2003; after Johann Wilhelm Haas, Nuremberg, circa 1710-20. Timpani Kent Reed Anonymous, England, circa 1840.

AMERICAN BACH CHOIR Sopranos Jennifer Brody Michelle Clair Tonia D’Amelio Julia Earl Elisabeth Engan Susan Judy Allison Lloyd Diana Pray Cheryl Sumsion Altos James Apgar Sara Couden Dan Cromeenes Elisabeth Eliassen Katherine McKee Deborah Rosengaus Amelia Triest Delia Voitoff-Bauman Tenors Edward Betts Nick Burdick John Davey-Hatcher Andrew Morgan Colby Roberts John Rouse Sigmund Siegel Sam Smith Basses John Bailey Ryan Brandau Adam Cole Bryan Jolly Raymond Martinez Jefferson Packer Daniel Pickens-Jones Jere Torkelsen

MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

American Bach Soloists

Program Notes Handel composed Messiah during the three weeks between August 22 and September 14, 1741, and premiered the work in April of the following year. Prior to 1732, he had composed only operatic works in Italian for the London theaters, but the 10 years that followed would prove to be a period of experimentation and change. Perhaps spurred on by new competition with a rival opera company, in 1736, he turned to the composition of an English oratorio, a setting of John Dryden’s ode for Saint Cecilia’s Day titled Alexander’s Feast; or the Power of Musique. The text of Alexander’s Feast was brought to Handel’s attention by Newburgh Hamilton, who would provide some much needed assistance to Handel with the intricacies of setting the English language to music. (Hamilton was later afforded a gift in the composer’s will for helping to “adjust the words” of his English compositions.) Hamilton wrote that Handel had “with Pleasure undertaken the task” of setting Alexander’s Feast. Indeed the experience was so successful and satisfying for Handel that, during the nine days between September 15 and 24 in 1739, he composed his setting of another of Dryden’s odes, A Song for St. Cecilia’s Day. This “Pleasure” that Handel had newly found in the composition of oratorios was something of an economic and spiritual windfall for the composer. The sad truth is that 20 years earlier, he had begun to suffer financial difficulties, and by the early 1730s, his professional life was simply unraveling. He was nearly bankrupt and had fallen very much out of the critical favor of the aristocratic public for whom he had composed his Italian operas. They were expensive to produce and not accessible enough for his audience. But by the time he set his pen to paper in the autumn of 1741 to compose Messiah, things had taken a turn for the better. It was a time of transition for the composer: he had already begun to explore the possibility of accepting an invitation for an extended stay in Dublin, but proceeded nonetheless to address his annual task of composing new works for his next London season. Messiah was really the idea of the librettist Charles Jennens, who wrote in July of that year: “Handel says he will do nothing next Winter, but, I hope to persuade him to set another Scripture Collection I have made for him ... I hope he will lay out his whole Genius and skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other Subject. The Subject is Messiah.” Handel scored Messiah for chorus, soloists and an orchestra of only strings, continuo, two trumpets and timpani—a rather modest combination. There are strong indications that Handel had Dublin in mind while he composed the score, and therefore the relatively small forces required for Messiah are a reflection of what Handel expected would be available to him there. Additionally, he may have taken Jennen’s recommendation that Messiah be used for a benefit performance, perhaps utilizing a smaller orchestra to economize on expenses. It was the custom, however, to have oboes double soprano voices and bassoons double the continuo line. It seems reasonable to utilize these slightly fuller forces. Had the circumstances been more lavish, Handel certainly would have done so, and indeed might have done so, even though there is no evidence to prove it. In November, having ultimately accepted the invitation, Handel arrived in Dublin. He received a warm welcome and performed his first concert there to a sold-out house. The first performance of Messiah took place on April 13, 1742, in the new music hall on Fishamble Street, and was a tremendous success. The review that appeared in Faulkner’s Dublin Journal proclaimed: “Words are

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wanting to express the exquisite Delight it afforded to the admiring crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.” But the librettist did not agree. Jennens greatly valued his text and a few years later wrote that Handel had “made a fine Entertainment of it, tho’ not near so good as he might and ought to have done. I have with great difficulty made him correct some of the grossest faults in the composition, but he retained his overture obstinately in which there are some passages far unworthy of Handel but much more unworthy of the Messiah.” Messiah had blurred the distinctions between opera, oratorio, passion and cantata, and perhaps Jennens found this to be a fundamental fault. Over the course of the first few performances of the work, Handel had chosen among his soloists the actress Mrs. Susannah Cibber, who had previously suffered greatly under the clouds of scandal, and a popular comic actress named Kitty Clive. In fact, the performance history of Messiah under the composer’s direction is a wildly varied one, to say the least. The first performance in Dublin utilized only two singers of any real distinction, two Dublin cathedral choirs (from which were drawn the male voice solos) and the rather meager orchestra, as mentioned above. By a few years later, however, the orchestra had grown considerably, augmented by oboes, bassoons and horns. The number of vocal soloists also increased, and by 1750, the famous castrato Guadagni was among them. Its various performance venues included the Dublin Cathedral, Covent Garden and London’s Foundling Hospital. Like any great work, Messiah is indestructible, even when subjected to the most unorthodox or unflattering performance schemes. It has survived all sorts of treatments and interpretations, but always shines brightest when graced by historically informed performance practices. It is especially then that the true splendor of Handel’s sublime eloquence triumphs. While Messiah is certainly considered by any audience to be a “Grand Musical Entertainment”—as it was sometimes called in Handel’s day—the composer is purported to have said, “I should be sorry if I only entertained them; I wished to make them better.” —Jeffrey Thomas

Handel’s Hallelujah Chorus: To Stand or Not To Stand … Perhaps the best-known and widely accepted concert “tradition” is standing for the Hallelujah chorus. Legend has it that King George II leapt to his feet when he heard it during one of the work’s first performances in London. Because no person could remain seated while the King stood, the entire audience rose with him. Some credit this anecdote as the origin of the “standing ovation.” But a closer look at the facts reveals that there is no evidence that the King ever attended such a performance. The first written account of the story appeared in 1780, more than 35 years after the cited performance, and it was written by someone who admits to not having witnessed the King’s presence himself. However, the King was known to attend such events incognito. So he, in fact, at least might have been there. If he was in attendance, there is much speculation as to why he stood at all. Theories range from the reverent to the simply unflat-

The custom is common in English-speaking countries, but essentially unknown in all others. Many have objected, in more contemporary eras, to the distastefully imperialistic implications of following the King’s lead in this manner. After all, the general audience only stood because they had to do so. But others are quick and well justified to point out that Handel’s Messiah is certainly the most well known and universally enjoyed major work in the Baroque oratorio genre—if not among all “classical” music works—and that standing as a group, in the name of tradition, unites the audience with the performers for a few minutes in a most energizing way. No matter how convincingly some can argue that this “tradition” is rooted in untrustworthy hearsay, you have only to look at the performers when you stand at that wondrous, thrilling moment: you will see their smiles and their spirits lifted even higher, knowing that millions upon millions of people have stood at that very same moment in music, and in virtually every corner of the world. Even Haydn stood with the crowd at a performance in Westminster Abbey. It is said that he wept and proclaimed of George Frideric Handel, “He is the master of us all.”

American Bach Soloists

tering: he might have been stretching his legs, relieving his gout, leaving for the bathroom or suddenly awakened by the chorus’s forte entrance. But the general opinion is that his own sense of obeisance compelled him to stand upon hearing the majestic and undeniably enthralling music of the Hallelujah chorus.

down the line to a phrase’s focal point. Accordingly, the bows for stringed instruments were then made to create the same amount of sound whether the bow was moving up or down. And of course concert halls grew in size, so instruments were made to play louder. In the 20th century, some composers required sounds that acoustic instruments simply could not produce; hence the genre of electronic music. One of the most exciting sounds we hear from these “early instruments,” however, is the inherent tension during the most climactic moments in a musical work. If you haven’t already done so, find a recording of Beethoven’s Ninth Symphony played by an orchestra of period instruments, and listen to the most dissonant or loud moments. You’ll be glad to hear the instruments being pushed to their limits, and you just might find the ease and aplomb with which modern instruments and their players perform the same passages to be lackluster by comparison. Finally, a short note about antiques and reproductions ... while it is not uncommon to find violins and cellos that are more than 300 years old being played in orchestras like ours, very few surviving antique wind instruments are still playable. Consequently, period wind instruments are almost always copies of originals.

A Simple Primer on Early Instruments … Several decades ago, a movement began in the classical music industry to perform music on the instruments that were used during the composer’s lifetime. Unquestionably advanced by the advent of CD recordings in the early 1980s, this marriage of scholarship and style became known as “historically informed performance practice.” But it encompasses more than just the proper choice of instruments for the performance of music from the Renaissance, Baroque and Classical eras. Fine points of expression, articulation and even the way instruments are tuned play a large role in what you are hearing tonight.

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Probably for most of us it is the use of these beautiful and, in most cases, truly antique and priceless instruments that brings the most unique quality to these performances. Rather than cataloguing all the well-founded and essential reasons to use period instruments for this music, it is even more compelling to consider why the use of modern instruments would cheat us of the experience a composer like Handel meant to give to us. Instruments have evolved and grown over the centuries, mostly because composers would present new challenges to instrumentalists and therefore to those who built their instruments. When a composer like Bach or Beethoven would write the most difficult passages that would tax the limits of an instrument’s responsiveness, within a decade or so instrument builders found a way to accommodate the challenges. In the Baroque period, musical phrases were made up of strong and weak notes, falling on strong and weak beats within a bar. When a violinist would move the bow in a downward stroke across a string, the sound was stronger than when the bow would be moved in an upward direction. But eventually the lengths of musical phrases grew, and more notes were meant to be played in a connected way, leading much further

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MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

American Bach Soloists

The following libretto is adapted from the printed word-book for the first London performances of Messiah in 1743, and incorporates Handel’s own designations of part headings, scenes and movement headings.

Messiah AN ORATORIO PART THE FIRST SINFONY

Scene I RECITATIVE, accompanied Comfort ye, comfort ye my People, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her Warfare is accomplish’d, that her Iniquity is pardon’d. The Voice of him that crieth in the Wilderness, prepare ye the Way of the Lord, make straight in the Desert a Highway for our God. (Isaiah 40:1-3) AIR Ev’ry Valley shall be exalted, and ev’ry Mountain and Hill made low, the Crooked straight, and the rough Places plain. (Isaiah 40:4) CHORUS And the Glory of the Lord shall be revealed, and all Flesh shall see it together; for the Mouth of the Lord hath spoken it. (Isaiah 40:5) Scene II RECITATIVE, accompanied Thus saith the Lord of Hosts; Yet once a little while, and I will shake the Heav’ns and the Earth; the Sea and the dry Land: And I will shake all Nations; and the Desire of all Nations shall come. (Haggai 2:6-7) The Lord whom ye seek shall suddenly come to his Temple, ev’n the Messenger of the Covenant, whom ye delight in: Behold He shall come, saith the Lord of Hosts. (Malachi 3:1) AIR But who may abide the Day of his coming? And who shall stand when He appeareth? For He is like a Refiner’s Fire. (Malachi 3:2) CHORUS And he shall purify the Sons of Levi, that they may offer unto the Lord an Offering in Righteousness. (Malachi 3:3) Scene III RECITATIVE Behold, a Virgin shall conceive, and bear a Son, and shall call his Name Emmanuel, GOD WITH US. (Isaiah 7:14; Matthew 1:23)

AIR & CHORUS O thou that tellest good Tidings to Zion, get thee up into the high Mountain: O thou that tellest good Tidings to Jerusalem, lift up thy Voice with Strength; lift it up, be not afraid: Say unto the Cities of Judah, Behold your God. O thou that tellest good Tidings to Zion, Arise, shine, for thy Light is come, and the Glory of the Lord is risen upon thee. (Isaiah 40:9; Isaiah 60:1)

RECITATIVE, accompanied For behold, Darkness shall cover the Earth, and gross Darkness the People: but the Lord shall arise upon thee, and his Glory shall be seen upon thee. And the Gentiles shall come to thy Light, and Kings to the Brightness of thy Rising. (Isaiah 60:2-3) AIR The People that walked in Darkness have seen a great Light; And they that dwell in the Land of the Shadow of Death, upon them hath the Light shined. (Isaiah 9:2) CHORUS For unto us a Child is born, unto us a Son is given; and the Government shall be upon his Shoulder; and His Name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace. (Isaiah 9:6) Scene IV PIFA RECITATIVE There were Shepherds abiding in the Field, keeping Watch over their Flock by Night. (Luke 2:8) RECITATIVE, accompanied And lo, the Angel of the Lord came upon them, and the Glory of the Lord shone round about them, and they were sore afraid. (Luke 2:9) RECITATIVE And the Angel said unto them, Fear not; for behold, I bring you good Tidings of great Joy, which shall be to all People. For unto you is born this Day, in the City of David, a Saviour, which is Christ the Lord. (Luke 2:10-11) RECITATIVE, accompanied And suddenly there was with the Angel a Multitude of the heav’nly Host, praising God, and saying ... (Luke 2:13) CHORUS Glory to God in the Highest, and Peace on Earth, Good Will towards Men. (Luke 2:14) Scene V AIR Rejoice greatly, O Daughter of Sion, shout, O Daughter of Jerusalem; behold, thy King cometh unto thee: He is the righteous Saviour; and He shall speak Peace unto the Heathen. (Zechariah 9:9-10) RECITATIVE Then shall the Eyes of the Blind be open’d, and the Ears of the Deaf unstopped; then shall the lame Man leap as an Hart, and the Tongue of the Dumb shall sing. (Zechariah 35:5-6)

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CHORUS His Yoke is easy, his Burthen is light. (Matthew 11:30) Intermission

Part the Second Scene I CHORUS Behold the Lamb of God, that taketh away the Sin of the World. (John 1:29) AIR He was despised and rejected of Men, a Man of Sorrows, and acquainted with Grief. He gave his Back to the Smiters, and his Cheeks to them that plucked off the Hair: He hid not his Face from Shame and Spitting. (Isaiah 53:3; Isaiah 50:6) CHORUS Surely he hath borne our Griefs and carried our Sorrows: He was wounded for our Transgressions, He was bruised for our Iniquities; the Chastisement of our Peace was upon Him. (Isaiah 53:4-5) CHORUS And with His Stripes we are healed. (Isaiah 53:5) CHORUS All we, like Sheep, have gone astray, we have turned evâ&#x20AC;&#x2122;ry one to his own Way, and the Lord hath laid on Him the Iniquity of us all. (Isaiah 53:6) RECITATIVE, accompanied All they that see him laugh him to scorn; they shoot out their Lips, and shake their Heads, saying ... (Psalm 22:7) CHORUS He trusted in God, that he would deliver him: let him deliver him, if he delight in him. (Psalm 22:8) RECITATIVE, accompanied Thy Rebuke hath broken his Heart; He is full of Heaviness: He looked for some to have Pity on him, but there was no Man, neither found he any to comfort him. (Psalm 69:21) AIR - Tenor Behold, and see, if there be any Sorrow like unto his Sorrow! (Lamentations 1:12) Scene II RECITATIVE, accompanied He was cut off out of the Land of the Living: For the Transgression of thy People was He stricken. (Isaiah 53:8)

American Bach Soloists

AIR He shall feed his Flock like a shepherd: and He shall gather the Lambs with his Arm, and carry them in his Bosom, and gently lead those that are with young. Come unto Him all ye that labour, come unto Him all ye that are heavy laden, and He will give you Rest. Take his Yoke upon you and learn of Him; for He is meek and lowly of Heart: and ye shall find Rest unto your souls. (Isaiah 40:11; Matthew 11:28-29)

Scene III SEMICHORUS Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord Strong and Mighty; the Lord Mighty in Battle. Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts: he is the King of Glory. (Psalm 24:7-10) Scene IV RECITATIVE Unto which of the Angels said He at any time, Thou art my Son, this Day have I begotten thee? (Hebrews 1:5) CHORUS Let all the Angels of God worship Him. (Hebrews 1:6) Scene V AIR Thou art gone up on High; Thou has led Captivity captive, and received Gifts for Men, yea, even for thine Enemies, that the Lord God might dwell among them. (Psalm 68:18) CHORUS The Lord gave the Word: Great was the Company of the Preachers. (Psalm 68:11) DUET & CHORUS How beautiful are the Feet of him that bringeth glad Tidings, Tidings of Salvation, that saith unto Sion: Thy God reigneth! Break forth into joy! (Isaiah 52:7 and 9) Scene VI AIR Why do the Nations so furiously rage together? and why do the People imagine a vain Thing? The Kings of the Earth rise up, and the Rulers take Counsel together against the Lord and against his Anointed. (Psalm 2:1-2) CHORUS Let us break their Bonds asunder, and cast away their Yokes from us. (Psalm 2:3) Scene VII RECITATIVE He that dwelleth in Heaven shall laugh them to scorn; the Lord shall have them in Derision. (Psalm 2:4) AIR Thou shalt break them with a Rod of Iron; thou shalt dash them in pieces like a Potterâ&#x20AC;&#x2122;s Vessel. (Psalm 2:9) CHORUS Hallelujah! for the Lord God Omnipotent reigneth. The Kingdom of this World is become the Kingdom of our Lord and of his Christ; and He shall reign for ever and ever, King of Kings, and Lord of Lords. Hallelujah! (Revelation 19:6; 11:15; 19:16)

AIR But Thou didst not leave his Soul in Hell, nor didst Thou suffer thy Holy One to see Corruption. (Psalm 16:10) Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

American Bach Soloists

Part the Third Scene I AIR I know that my Redeemer liveth, and that He shall stand at the latter Day upon the Earth: And tho’ Worms destroy this Body, yet in my Flesh shall I see God. For now is Christ risen from the Dead, the FirstFruits of them that sleep. (Job 19:25-26; 1 Corinthians 15:20) CHORUS Since by Man came Death, by Man came also the Resurrection of the Dead. For as in Adam all die, even so in Christ shall all be made alive. (1 Corinthians 15:21-22) Scene II RECITATIVE, accompanied Behold, I tell you a Mystery: We shall not all sleep, but we shall all be chang’d, in a Moment, in the Twinkling of an Eye, at the last Trumpet. (1 Corinthians 15:51-52) AIR The trumpet shall sound, and the Dead shall be rais’d incorruptible, and We shall be chang’d. For this corruptible must put on Incorruption, and this Mortal must put on Immortality. (1 Corinthians 15:52-54) Scene III RECITATIVE Then shall be brought to pass the Saying that is written; Death is swallow’d up in Victory. (1 Corinthians 15:54) DUET O Death, where is thy Sting? O Grave, where is thy Victory? The Sting of Death is Sin, and the Strength of Sin is the Law. (1 Corinthians 15:55-56) CHORUS But Thanks be to God, who giveth Us the Victory through our Lord Jesus Christ. (1 Corinthians 15:57) AIR If God is for us, who can be against us? Who shall lay anything to the Charge of God’s Elect? It is God that justifieth; Who is he that condemneth? It is Christ that died, yea, rather that is risen again; who is at the Right Hand of God, who maketh intercession for us. (Romans 8:31 and 33-34) Scene IV CHORUS Worthy is the Lamb that was slain, and hath redeemed us to God by His Blood, to receive Power, and Riches, and Wisdom, and Strength, and Honour, and Glory, and Blessing. Blessing and Honour, Glory and Pow’r be unto Him that sitteth upon the Throne, and unto the Lamb, for ever and ever. (Revelation 5:12-14) CHORUS Amen.

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The American Bach Soloists (“ABS”) were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to bring this brilliant music to life. For 21 years, Jeffrey Thomas has brought thoughtful, meaningful and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists. Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. Fanfare Magazine proclaimed that “Thomas’ direction seems just right, capturing the humanity of the music … there is no higher praise for Bach performance.” Critical acclaim has been extensive: The Wall Street Journal named ABS’s “the best American specialists in early music … a flawless ensemble … a level of musical finesse one rarely encounters.” San Francisco Classical Voice declared “there is nothing routine or settled about their work. Jeffrey Thomas is still pushing the musical Baroque envelope.” And the San Francisco Chronicle recently extolled the ensemble’s “divinely inspired singing.” The first public concerts were given in February 1990 at St. Stephen’s Church in Belvedere, where the ensemble serves as Artists-in-Residence. The year 1993 brought the debut of ABS’s first annual summer festival in Tiburon/Belvedere. By the fifth season, regular performances had been inaugurated in San Francisco and Berkeley, and as a result of highly successful collaborations with the Robert and Margrit Mondavi Center for the Performing Arts, ABS’s full concert seasons expanded to the Davis/Sacramento region in 2005. As the audience increased, so the artistic direction of the ensemble expanded to include Bach’s purely instrumental and larger choral masterpieces, as well as music of his contemporaries and that of the early Classical era. The American Bach Soloists present an annual Subscription Series with performances in Belvedere, Berkeley, Davis and San Francisco. Their annual holiday performances of Handel’s Messiah—presented each December before capacity audiences since 1992—have become a Bay Area tradition. In addition to their regular subscription season, the American Bach Soloists have been presented at some of the world’s leading early music and chamber music festivals, and have appeared worldwide from Santa Fe to Hong Kong and Singapore. In 1998, in conjunction with the Fifth Biennial Berkeley Festival & Exhibition, ABS established the American Bach Soloists & Henry I. Goldberg International Young Artists Competition as a way to foster emerging musicians who wish to pursue a career in early music. In conjunction with ABS’s 15th Anniversary Season in 2003-04, Thomas announced the “Bach Cycle,” an ambitious plan to present all of Bach’s major oratorios, including two Passions, the oratorios for Christmas and Easter and the Mass in B Minor; the violin and harpsichord concertos, Brandenburg Concertos and orchestral suites; the major cantatas from Bach’s years in Mühlhausen, Weimar and Leipzig; and the sonatas and suites for violin, flute, cello and viola da gamba.

Japan and Mexico. He has performed at the Santa Fe Chamber Music Festival, Spoleto USA Festival, Ravinia Festival, Saratoga Performing Arts Center, Berkeley Festival and Exhibition, Boston Early Music Festival, Bethlehem Bach Festival, Göttingen Festival, Tage Alte Musik Festival in Regensburg, E. Nakamichi Baroque Festival in Los Angeles, the Smithsonian Institution and at the Brooklyn Academy of Music’s “Next Wave Festival,” and he has collaborated on several occasions as conductor with the Mark Morris Dance Group.

The Chorus of the American Bach Soloists has shone in repertoire from the Baroque and early Classical eras. With the inception of the Choral Series in 2004, these fine singers have been featured on programs exploring more than five centuries of choral music. To acknowledge this splendid work, the American Bach Soloists announced in 2006 a new name for their choral ensemble: American Bach Choir. Critics have acclaimed their “sounds of remarkable transparency and body.”

Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street Journal as “a superstar among oratorio tenors,” Thomas’s extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics and Arabesque. Thomas is an avid exponent of contemporary music and has conducted the premieres of new operas, including David Conte’s Gift of the Magi and Firebird Motel, and premiered song cycles of several composers, including two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities and appeared with his own vocal chamber music ensemble, L’Aria Viva.

In July 2010, the American Bach Soloists inaugurated North America’s newest annual professional training program in historically informed performance practice. Drawing on their distinguished roster of performers, the American Bach Soloists Academy offers advanced conservatory-level students and emerging professionals unique opportunities to study and perform Baroque music in a multi-disciplinary learning environment. The Academy is held in the San Francisco Conservatory of Music’s exquisite new facilities in the heart of the city’s arts district. The American Bach Soloists have a discography of 18 CDs on the Koch International Classics, Delos International and American Bach Soloists labels, including six volumes of Bach cantatas, many performed one on a part. The ensemble’s critically acclaimed disc of Bach’s Mass in B Minor has been called a benchmark recording and a “joyous new performance” (The Washington Post). One of their most popular offerings is an historically significant version of Handel’s Messiah, recorded live during performances in 2004 at the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis, and released in November 2005 on the Delos International label. In 2007, ABS’s entire catalogue of critically acclaimed recordings of Bach’s Mass in B Minor, cantatas and transcriptions of Italian music, Haydn Masses, choral and vocal works by Schütz and other works was re-released on iTunes, Magnatune.com, Amazon, CDBaby and ABS’s own excellent and resourceful website, which features free streaming audio of most titles. The same year brought two new and much-anticipated releases: Beethoven’s Ninth Symphony and Bach’s Brandenburg Concertos. The most recent release, 1685 & The Art of Ian Howell, features the remarkable young countertenor (and recent winner of the ABS Young Artist Competition) in works by Bach, Handel and Domenico Scarlatti. Coming this season will be Bach’s Violin Concertos featuring the brilliant virtuoso Elizabeth Blumenstock. Jeffrey Thomas (artistic and music director) has directed and conducted recordings with the American Bach Soloists of more than 25 cantatas, the Mass in B Minor, Musical Offering, motets, chamber music and works by Schütz, Pergolesi, Vivaldi, Haydn and Beethoven. He has appeared with the Baltimore, Berkeley, Boston, Detroit, Houston, National, Rochester, Minnesota and San Francisco symphony orchestras; with the Vienna Symphony and the New Japan Philharmonic; with virtually every American baroque orchestra; and in Austria, England, Germany, Italy,

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American Bach Soloists

ABS has been a leader throughout the Bay Area in its commitment to artistic collaborations. Some recent examples include a collaboration with two San Francisco dance organizations, Xeno and Ultra Gypsy, at the Crucible in Oakland in 2004, and collaborations with the well-known Mark Morris Dance Group in 1999 and 2004. To celebrate the 20th Anniversary Season, ABS joined forces with San Francisco’s Grace Cathedral and Lighting Systems Design Inc. in a spectacular laser show rendering of Handel’s Music for the Royal Fireworks.

Educated at the Oberlin Conservatory of Music, Manhattan School of Music and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society and Southern Utah Early Music Workshops, presented master classes at the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College and Washington University, been on the faculty of Lehigh University in Pennsylvania, and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis. He was a UC Davis Chancellor’s Fellow from 2001–06, and the Rockefeller Foundation awarded him a prestigious residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007, to work on his manuscript, “Handel’s Messiah: A Life of Its Own.” Mary Wilson (soprano) is acknowledged as one of today’s most exciting young artists. Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News). Engagements during the current season include the role of Oriana in Handel’s Amadigi di Gaula with Boston Baroque, Beethoven’s Symhony No. 9 with the Dayton Philharmonic, Mahler’s Symphony No. 4 with the Buffalo Philharmonic, Hadyn’s Lord Nelson Mass with the Kansas City Symphony and Messiah with Nicholas McGegan and the Detroit Symphony and with the Cleveland Orchestra. She sings Carmina Burana and Mozart’s Exultate Jubilate with the Quad Cities Symphony, Bach’s Mass in B Minor and Mozart’s Requiem with the Florida Bach Festival, Carmina Burana with the Boulder Philharmonic, Monteverdi’s Vespers of 1610 with Boston Baroque, Mozart’s Requiem with the Cedar Rapids Symphony, Bach’s St. John Passion with Musica Angelica and joins St. Olaf College for a distinguished alumni recital and American Bach Soloists for a concert of Handel and Bach.

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American Bach Soloists

In high demand on the concert stage, she has most recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Orchestra, St, Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Dayton Philharmonic, VocalEssence and at the Hollywood Bowl. She has worked with conductors including Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, JoAnn Falletta and Leonard Slatkin. An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with Musica Angelica, American Bach Soloists, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival and the Carmel Bach Festival. On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro and Gilda in Rigoletto. She has created leading roles in North American and world premiere performances of Dove’s Flight (Controller), Glass’s Galileo Galilei (Grand Duchess Christina) and Petitgirard’s Joseph Merrick dit L’Elephant Man (Le Colorature). She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Brooklyn Academy of Music and the Goodman Theatre. Ian Howell (countertenor) is praised by the New York Times for his “clear voice and attractive timbre,” by San Francisco Classical Voice for the “heart at the core of his soulful sound,” and by Classical Voice of North Carolina for his “lovely, supple, and crystal clear” voice sings with a warm and seamless tone rarely heard from countertenors.” In 2006, Howell won First Prize at the American Bach Soloists International Solo Competition with an acclaimed performance of Bach’s Cantata BWV 170, Vergnügte Ruh, and Third Prize at the Oratorio Society of New York’s Vocal Competition. Howell’s debut solo CD, 1685 and the Art of Ian Howell with American Bach Soloists, was released in 2009 and features repertory by Domenico Scarlatti, J.S. Bach and G.F. Handel. He can also be heard with the all-male chamber choir Chanticleer on one DVD and eight CDs, including the Grammy Award-winning Lamentations and Praises and the Grammy-nominated Our American Journey. Equally at home on opera and concert stages, Howell’s upcoming season includes performances of Messiah with both American Bach Soloists and the Choir of St Thomas Fifth Ave (NYC) and Handel’s Giulio Cesare (Tolomeo) with Florentine Opera. Howell’s 2010-11 season included debut performances with Florentine Opera (Blow’s Venus & Adonis—Cupid and Purcell’s Dido & Aeneas—Spirit), Seattle Baroque (Pergolesi’s Stabat Mater) and the New Mexico Symphony (Bach’s Weinachts Oratorium). He returned for engagements with Chatham Baroque (Bach’s St. John Passion), New York’s St. Ignatius Loyola (Handel’s Jephtha— Hamor) and the U.C. Davis Choirs (Bernstein’s Missa Brevis and Chichester Psalms and in a new work by Pablo Ortiz). In his 2009–10 season, Howell debuted with Canada’s Orchestra London/Opera London as Tolomeo in Handel’s Giulio Cesare, for which critics called his portrayal “chilling,” “remarkable” and “heart-rending,” and noted that he “handled the intricacies of Handel’s vocal writing with ease.” Howell also debuted as a

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featured soloist on the Ravinia Festival’s Rising Stars Series (Beginner’s Ear Recital), with the St. Louis Symphony (P.D.Q. Bach’s Iphigenia in Brooklyn), the Handel Choir of Baltimore (Messiah), the Hudson Valley Singers (Handel’s Susanna— Joachim), Chatham Baroque (Pergolesi’s Stabat Mater and J.C. Bach’s Lamento), Musica Angelica (Bach’s St. John Passion) and in recital with the Columbus (Ohio) Guitar Society (The New Music: 1602—Present). He returned to the Bay Area to reprise Handel’s Messiah for the second year in a row with American Bach Soloists. In previous seasons, audiences have heard Howell as a featured soloist with the Oratorio Society of New York, Musica Sacra (NYC), Rebel Orchestra with the Choir of Trinity Wall St. (NYC), Concert Royále with the Choir of St Thomas Fifth Ave. (NYC), the Choral Arts Society of Philadelphia, the Vancouver Chamber Choir, the Portland Baroque Orchestra, Berkshire Choral Festival, Princeton Glee Club, Tableau Baroque and the Staunton (Virginia) and Whidbey Island (Washington) Music Festivals. Ian Howell holds a Master of Music Degree in Voice conferred jointly by the Yale Institute of Sacred Music and the Yale School of Music. Charles Blandy (tenor) has performed a wide repertoire, from works of Mozart and Bach to the most challenging contemporary music. The Boston Globe praised his performance of Tom Rakewell in Stravinsky’s The Rake’s Progress at Emmanuel Music in Boston, where he has also sung Tamino in Mozart’s Magic Flute and Lurcanio in Handel’s Ariodante. He recently performed the role of Almaviva in Boston Lyric Opera’s family performances of Barber of Seville. Opera News and the Boston Globe praised his performances as Francis Flute in Britten’s Midsummer Night’s Dream. At Tanglewood, he appeared in the world premiere of Osvaldo Golijov’s Ainadamar, starring Dawn Upshaw and conducted by Robert Spano, later reprised at Walt Disney Concert Hall in Los Angeles. In December, he will sing with the American Bach Soloists in Handel’s Messiah. Last year he made his Lincoln Center debut in the Mozart Requiem and Haydn Paukenmesse with the National Chorale at Avery Fisher Hall in New York, where he returned in November to sing Handel’s Alexander’s Feast. He recently performed as the Evangelist in Bach’s St. John and St. Matthew Passions with Emmanuel Music, and with the Bethlehem Bach Choir in its Christmas concert of Bach and Haydn. He was a finalist in the Oratorio Society of New York solo competition, singing in Weill Recital Hall. He performed Handel’s Messiah and Britten’s Cantata Misericordium with the Charlotte Symphony; Britten’s St. Nicolas with conductor Raymond Leppard in Indianapolis; and Mozart’s Requiem with the Boston Landmarks Orchestra, performed outdoors on the Esplanade in Boston. He has appeared with the Handel and Haydn Society, Boston Baroque, Cantata Singers, Berkshire Choral Festival, Pittsburgh Bach and Baroque and the Bloomington Early Music Festival. On four day’s notice he took over a tricky tenor part in Berio’s Sinfonia under conductor Robert Spano at Tanglewood. He recently appeared with the Boston Modern Orchestra Project in music of Ronald Perera and Scott Wheeler. His performance of Jorge Liderman’s Song of Songs with the San Francisco Contemporary Music Players (which became a Bridge Records CD) was called

American Bach Soloists

“sterling” by the San Francisco Chronicle, and he appears on a critically praised Naxos CD of Scott Wheeler’s opera Construction of Boston. He gave the U.S. premiere of Einojuhani Rautavaara’s song cycle for voice and strings Die Liebenden with Chameleon Arts Ensemble, in a performance the Boston Globe called “marvelous.” With a wide repertoire in art song, his recital of Janacek’s Diary of One Who Disappeared was profiled in the Boston Globe. He previously gave a recital of songs by Rachmaninoff, Liszt and Szymanowski at Tufts University—called “one of the most engrossing concerts in ages” by reviewer Caldwell Titcomb. He teaches in Harvard University’s Holden Voice Program and at Tufts University. He was a fellow at the Tanglewood Music Center, where he was awarded the Grace B. Jackson Prize. He received his master’s degree from Indiana University and has studied at the Britten-Pears School in Aldeburgh, England. He is a native of Troy, New York and graduated from Oberlin College with a BA in religion. Jesse Blumberg (baritone) is an artist equally at home on opera, concert and recital stages. This past season he performed the role of the Celebrant in Bernstein’s Mass at London’s Royal Festival Hall under the baton of Marin Alsop, debuted with Boston Lyric Opera as Harlekin in Ariadne auf Naxos and performed recitals in Paris with the Mirror Visions Ensemble. In 2007 he created the role of Connie Rivers in The Grapes of Wrath (recorded by P.S. Classics at the Minnesota Opera) and later made his Utah and Pittsburgh Opera debuts in the same production. Other recent appearances include leading and featured roles with Annapolis Opera, Opera Delaware, Opera Vivente and the Boston Early Music Festival. In concert, Blumberg has been a featured soloist with American Bach Soloists, Los Angeles Master Chorale, Sacred Music in a Sacred Space and the Berkshire Choral Festival. He has also given the world premieres of two important chamber works: Ricky Ian Gordon’s Green Sneakers (recorded by Blue Griffin Recording) and Lisa Bielawa’s The Lay of the Love and Death, the former at the Vail Valley Music Festival and the latter at Alice Tully Hall. He has toured with the Mark Morris Dance Group and the Waverly Consort and given recitals for the Marilyn Horne Foundation. Last season, he and pianist Martin Katz performed Schubert’s two monumental song cycles, Die schöne Müllerin and Winterreise, over one weekend in Ann Arbor and will soon repeat this pairing in New York City. Blumberg has been recognized in many song and opera competitions, and in 2008, was awarded Third Prize at the International Robert Schumann Competition in Zwickau, becoming its first American prizewinner in more than 30 years. His current engagements include song recitals in New York, Boston and Washington, D.C., debuts with New York Festival of Song, Clarion Society, University Musical Society, Green Mountain Project and Apollo’s Fire and returns to American Bach Soloists, Minnesota Opera and the Boston Early Music Festival. Blumberg received a Master of Music degree from the University of Cincinnati College-Conservatory of Music and undergraduate degrees in history and music from the University of Michigan. Blumberg is also the founder and artistic director of the Five Boroughs Music Festival, a new concert series in New York City.

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Mondavi Center

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MondaviCenter InnerCircle 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 530.754.5438.

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Neil and Carla Andrews Hans Apel and Pamela Burton Cordelia Stephens Birrell Kay and Joyce Blacker* Neil and Joanne Bodine Mr. Barry and Valerie Boone Brian Tarkington and Katrina Boratynski 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* Stephen Duscvha and Wanda Lee Graves Merrilee and Simon Engel Catherine and Charles Farman Domenic and Joan Favero Donald and Sylvia Fillman Andrew and Judith Gabor Kay Gist Fredric Gorin and Pamela Dolkart Gorin Ed and Bonnie Green* Robert Grey Diane Gunsul-Hicks Charles and Ann Halsted Judith and Bill Hardardt* The One and Only Watson Lorena Herrig* Charley and Eva Hess Suzanne and Chris Horsley* Sarah and Dan Hrdy Dr. Ronald and Lesley Hsu Debra Johnson, MD and Mario Gutierrez Teresa and Jerry Kaneko* Dean and Karen Karnopp* Nancy Lawrence, Gordon Klein, and Linda Lawrence Greiner Heat, Air, and Solar Brian and Dorothy Landsberg Drs. Richard Latchaw and Sheri Alders Ginger and Jeffrey Leacox Claudia and Allan Leavitt Robert and Barbara Leidigh Yvonne LeMaitre John T. Lescroart and Lisa Sawyer Nelson Lewallyn and Marion Pace-Lewallyn Dr. Ashley and Shiela Lipshutz Paul and Diane Makley* In memory of Jerry Marr Janet Mayhew* Robert and Helga Medearis Verne Mendel* Derry Ann Moritz Jeff and Mary Nicholson Philip and Miep Palmer Gavin Payne Suzanne and Brad Poling 58

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Lois and Dr. Barry Ramer David Rocke and Janine Mozée Roger and Ann Romani* Hal and Carol Sconyers* Tom and Meg Stallard* Karen and Jim Steidler Tom and Judy Stevenson Donine Hedrick and David Studer Jerome Suran and Helen Singer Suran* Rosemary and George Tchobanoglous Della Aichwalder Thompson Nathan and Johanna Trueblood Ken Verosub and Irina Delusina Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Cantor & Company, A Law Corporation* Bob and Joyce Wisner* Richard and Judy Wydick And six donors who prefer to remain anonymous Directors Circle $1,100 - $2,999 John and Kathleen Agnew Dorrit Ahbel Beulah and Ezra Amsterdam Russell and Elizabeth Austin Murry and Laura Baria* Lydia Baskin* Connie Batterson 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 Bruce and Marilyn Dewey Martha Dickman* Dotty Dixon* Richard and Joy Dorf* Thomas and Phyllis Farver* Tom Forrester and Shelly Faura Sandra and Steven Felderstein Nancy McRae Fisher Carole Franti* Paul J. and Dolores L. Fry Charitable Fund Karl Gerdes and Pamela Rohrich Henry and Dorothy Gietzen Craig A. Gladen John and Patty Goss* Jack and Florence Grosskettler* Virginia Hass Tim and Karen Hefler Sharna and Myron Hoffman Claudia Hulbe

Ruth W. Jackson Clarence and Barbara Kado Barbara Katz* Hansen Kwok Thomas Lange and Spencer Lockson Mary Jane Large and Marc Levinson Edward and Sally Larkin* Hyunok Lee and Daniel Sumner Linda and Peter Lindert Angelique Louie Natalie and Malcolm MacKenzie* Stephen Madeiros Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Maria Manoliu Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Ken McKinstry Joy Mench and Clive Watson Fred and Linda J. Meyers* John Meyer and Karen Moore Eldridge and Judith Moores Barbara Moriel Mary-Alice and Augustus B. Morr Patricia and Surl Nielsen Linda Orrante and James Nordin Alice Oi, In memory of Richard Oi Jerry L. Plummer Linda and Lawrence Raber* Larry and Celia Rabinowitz Kay Resler* Prof. Christopher Reynolds and Prof. Alessa Johns 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 Bonnie and Jeff Smith Wilson and Kathryn Smith Ronald and Rosie Soohoo* Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick Stratton Brandt Schraner and Jennifer Thornton Verbeck and friends Louise and Larry Walker Scott Weintraub Dale L. and Jane C. Wierman Paul Wyman Yin Yeh And five donors who prefer to remain anonymous

Mondavi Center Donors

Encore Circle $600 - $1,099

Gregg T. Atkins and Ardith Allread Drs. Noa and David Bell Marion Bray Don and Dolores Chakerian Gale and Jack Chapman William and Susan Chen Robert and Nancy Nesbit Crummey John and Cathie Duniway Shari and Wayne Eckert Doris and Earl Flint Murray and Audrey Fowler Gatmon-Sandrock Family Jeffery and Marsha Gibeling Paul N. and E. F. â&#x20AC;&#x153;Patâ&#x20AC;? Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Cynthia Hearden* Lenonard and Marilyn Herrmann Katherine Hess Barbara and Robert Jones Paula Kubo Frances and Arthur Lawyer* Gary and Jane Matteson Don and Sue Murchison Robert Murphy Richard and Kathleen Nelson Frank Pajerski John Pascoe and Susan Stover Jerry and Ann Powell* J. and K. Redenbaugh John and Judy Reitan Jeep and Heather Roemer Jeannie and Bill Spangler Sherman and Hannah Stein Les and Mary Stephens Dewall Judith and Richard Stern Eric and Patricia Stromberg* Lyn Taylor and Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Donald Walk, M.D. Geoffrey and Gretel Wandesford-Smith Steven and Andrea Weiss* Denise and Alan Williams Kandi Williams and Dr. Frank Jahnke Karl and Lynn Zender And three donors who prefer to remain anonymous

Orchestra Circle

$300 - $599 Michelle Adams Mitzi Aguirre Susan Ahlquist Paul and Nancy Aikin Jessica Friedman Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Fred Arth and Pat Schneider Al and Pat Arthur Shirley and Michael Auman* Robert and Joan Ball Beverly and Clay Ballard In memory of Ronald Baskin Delee and Jerry Beavers Robert Hollingsworth and Carol Beckham Carol L. Benedetti Donald and Kathryn Bers* Bob and Diane Biggs Al J. Patrick, Bankruptcy Law Center 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 Anne and Gary Carlson Koling Chang and Su-Ju Lin Jan Conroy, Gayle Dax-Conroy, Edward Telfeyan, Jeri Paik-Telfeyan Charles and Mary Anne Cooper James and Patricia Cothern Cathy and Jon Coupal* David and Judy Covin Larry Dashiell and Peggy Siddons Thomas B. and Eina C. Dutton Micki Eagle Janet Feil David and Kerstin Feldman Sevgi and Edwin Friedrich* Dr. Deborah and Brook Gale Marvin and Joyce Goldman Stephen and Deirdre Greenholz Judy Guiraud Darrow and Gwen Haagensen Sharon and Don Hallberg Alexander and Kelly Harcourt David and Donna Harris Roy and Miriam Hatamiya Stephen and Joanne Hatchett Paula Higashi Brit Holtz Herb and Jan Hoover Frederick and B.J. Hoyt Pat and Jim Hutchinson* Mary Jenkin Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Nancy Gelbard and David Kalb Douglas Neuhauser and Louise Kellogg Charles Kelso and Mary Reed Ruth Ann Kinsella* Joseph Kiskis Judy and Kent Kjelstrom Peter Klavins and Susan Kauzlarich Charlene Kunitz Allan and Norma Lammers Darnell Lawrence and Dolores Daugherty Richard Lawrence Ruth Lawrence Carol and Robert Ledbetter Stanley and Donna Levin Barbara Levine Ernest and Mary Ann Lewis* Michael and Sheila Lewis* David and Ruth Lindgren

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

Jeffrey and Helen Ma Pat Martin* Yvonne Clinton Mazalewski and Robert Mazalewski Sean and Sabine McCarthy Catherine McGuire Michael Gerrit Nancy Michel Hedlin Family Robert and Susan Munn* Anna Rita and Bill Neuman John and Carol Oster Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker Brenda Davis and Ed Phillips Bonnie A. Plummer* Deborah Nichols Poulos and Prof. John W. Poulos Harriet Prato John and Alice Provost J. David Ramsey Rosemary Reynolds Guy and Eva Richards Ronald and Sara Ringen Tracy Rodgers and Richard Budenz Sharon and Elliott Rose* Barbara and Alan Roth Marie Rundle Bob and Tamra Ruxin Tom and Joan Sallee Mark and Ita Sanders Eileen and Howard Sarasohn Mervyn Schnaidt Maralyn Molock Scott Ruth and Robert Shumway Michael and Elizabeth Singer Al and Sandy Sokolow Edward and Sharon Speegle Curtis and Judy Spencer Tim and Julie Stephens Pieter Stroeve, Diane Barrett and Jodie Stroeve Kristia Suutala Tony and Beth Tanke Butch and Virginia Thresh Dennis and Judy Tsuboi Ann-Catrin Van Ph.D. Robert Vassar Don and Merna Villarejo Rita Waterman Norma and Richard Watson Regina White Wesley and Janet Yates Jane Y. Yeun and Randall E. Lee Ronald M. Yoshiyama Hanni and George Zweifel And six 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 Elinor Anklin and George Harsch Janice and Alex Ardans Debbie Arrington Shota Atsumi Jerry and Barbara August George and Irma Baldwin Charlotte Ballard and Bob Zeff Diane and Charlie Bamforth* Elizabeth Banks Michele Barefoot and Luis Perez-Grau Carole Barnes Paul and Linda Baumann Lynn Baysinger* Claire and Marion Becker

Sheri Belafsky Merry Benard Robert and Susan Benedetti William and Marie Benisek Robert C. and Jane D. Bennett Marta Beres Elizabeth Berteaux Bevowitz Family Boyd and Lucille Bevington Ernst and Hannah Biberstein Katy Bill Andrea Bjorklund and Sean Duggan Lewis J. and Caroline S. Bledsoe Fred and Mary Bliss Bobbie Bolden William Bossart Mary and Jill Bowers Alf and Kristin Brandt Robert and Maxine Braude Daniel and Millie Braunstein* Francis M. Brookey Linda Clevenger and Seth Brunner Mike and Marian Burnham Margaret Burns and Roy W. Bellhorn Victor W. Burns William and Karolee Bush Lita Campbell* Robert and Lynn Campbell Robert Canary John and Nancy Capitanio James and Patty Carey Michael and Susan Carl John and Inge Carrol Bruce and Mary Alice Carswell* Jan and Barbara Carter* Dorothy Chikasawa* Frank Chisholm Richard and Arden Christian Betty M. Clark Gail Clark L. Edward and Jacqueline Clemens James Cline Wayne Colburn Sheri and Ron Cole Steve and Janet Collins In honor of Marybeth Cook Nicholas and Khin Cornes Victor Cozzalio and Lisa Heilman-Cozzalio Lorraine Crozier Bill and Myra Cusick Elizabeth Dahlstrom-Bushnell* John and Joanne Daniels Nita Davidson Johanna Davies Voncile Dean Mrs. Leigh Dibb Ed and Debby Dillon Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val Docini and Solveig Monson Val and Marge Dolcini* Katherine and Gordon Douglas Anne Duffey Marjean Dupree Victoria Dye and Douglas Kelt David and Sabrina Eastis Harold and Anne Eisenberg Eliane Eisner Terry Elledge Vincent Elliott Brian Ely and Robert Hoffman Allen Enders Adrian and Tamara Engel Sidney England Carol Erickson and David Phillips Jeff Ersig David and Kay Evans Valerie Eviner Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Richard D. Farshler Liz and Tim Fenton Steven and Susan Ferronato Bill and Margy Findlay Judy Fleenor* Manfred Fleischer David and Donna Fletcher Glenn Fortini

MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

Lisa Foster Robert Fowles and Linda Parzych Marion Franck and Bob Lew Anthony and Jorgina Freese Joel Friedman Larry Friedman Kerim and Josina Friedrich Joan M. Futscher Myra Gable Charles and Joanne Gamble Peggy E. Gerick Gerald Gibbons and Sibilla Hershey Louis J. Fox and Marnelle Gleason* Pat and Bob Gonzalez* Michael Goodman Susan Goodrich Louise and Victor Graf Jeffrey and Sandra Granett Jacqueline Gray* Donald Green Mary Louis Greenberg Paul and Carol Grench Alexander and Marilyn Groth June and Paul Gulyassy Wesley and Ida Hackett* Paul W. Hadley Jim and Jane Hagedorn Frank and Ro Hamilton William Hamre Jim and Laurie Hanschu Marylee and John Hardie Richard and Vera Harris Cathy Brorby and Jim Harritt Ken and Carmen Hashagen Mary Helmich Martin Helmke and Joan Frye Williams Roy and Dione Henrickson Rand and Mary Herbert Roger and Rosanne Heym Larry and Elizabeth Hill Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Michael and Peggy Hoffman Steve and Nancy Hopkins Darcie Houck David and Gail Hulse Lorraine J. Hwang Marta Induni Jane Johnson* Kathryn Jaramillo Robert and Linda Jarvis Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Pamela R. Jessup Carole and Phil Johnson SNJ Services Group Michelle Johnston and Scott Arranto Warren and Donna Johnston In memory of Betty and Joseph Baria Andrew and Merry Joslin Martin and JoAnn Joye* John and Nancy Jungerman Nawaz Kaleel Fred Kapatkin Shari and Timothy Karpin Anthony and Beth Katsaris Yasuo Kawamura Phyllis and Scott Keilholtz* Patricia Kelleher* Dave and Gay Kent Robert and Cathryn Kerr Gary and Susan Kieser Louise Bettner and Larry Kimble Ken and Susan Kirby Dorothy Klishevich Paulette Keller Knox Paul Kramer Dave and Nina Krebs Kurt and Marcia Kreith Sandra Kristensen Leslie Kurtz Cecilia Kwan Donald and Yoshie Kyhos Ray and Marianne Kyono Bonnie and Kit Lam* Angelo Lamola Marsha M. Lang Bruce and Susan Larock

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Harry Laswell and Sharon Adlis C and J Learned Marceline Lee Lee-Hartwig Family Nancy and Steve Lege Suzanne Leineke The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn A. Lewis Melvyn Libman Motoko Lobue Mary S. Lowry Henry Luckie Maryanne Lynch Ariane Lyons Ed and Sue MacDonald Leslie Macdonald and Gary Francis Thomas and Kathleen Magrino* Deborah Mah* Mary C. Major Vartan Malian Julin Maloof and Stacey Harmer Joan Mangold Bunkie Mangum Raymond and Janet Manzi Joseph and Mary Alice Marino Donald and Mary 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 Cliva Mee and Werner Paul Harder III DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland and Marilyn Meyer Leslie Michaels and Susan Katt Jean and Eric Miller Phyllis Miller Sue and Rex Miller Douglas Minnis Steve and Kathy Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Louise S. Montgomery Amy Moore Hallie Morrow Marcie Mortensson Christopher Motley Robert and Janet Mukai Bill and Diane Muller Terry and Judy Murphy Steve Abramowitz and Alberta Nassi Judy and Merle Neel Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell K. C. Ng Denise Nip and Russell Blair Forrest Odle Yae Kay Ogasawara James Oltjen Marvin O’Rear Jessie Ann Owens Bob and Beth Owens Mike and Carlene Ozonoff* Michael Pach and Mary Wind Charles and Joan Partain Thomas Pavlakovich and Kathryn Demakopoulos Dr. and Mrs. John W. Pearson Bob and Marlene Perkins Pat Piper Mary Lou Pizzio-Flaa David and Jeanette Pleasure Bob and Vicki Plutchok

Ralph and Jane Pomeroy* Bea and Jerry Pressler Ann Preston Rudolf and Brigitta Pueschel Evelyn and Otto Raabe Edward and Jane Rabin Jan and Anne-Louise Radimsky Kathryn Radtkey-Gaither Lawrence and Norma Rappaport Evelyn and Dewey Raski Olga Raveling Dorothy and Fred Reardon Sandi Redenbach* Paul Rees Sandra Reese Martha Rehrman* Eugene and Elizabeth Renkin David and Judy Reuben* Al and Peggy Rice Joyce Rietz Ralph and Judy Riggs* David and Kathy Robertson Richard and Evelyne Rominger Andrea Rosen Catherine and David Rowen Paul and Ida Ruffin Michael and Imelda Russell Hugh Safford Dr. Terry Sandbek* and Sharon Billings* Kathleen and David Sanders* Glenn Sanjume Fred and Polly Schack John and Joyce Schaeuble Patsy Schiff Tyler Schilling Leon Schimmel and Annette Cody Fred and Colene Schlaepfer Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Rick Schubert Brian A. Sehnert and Janet L. McDonald Andreea Seritan Dan Shadoan and Ann Lincoln Ed Shields and Valerie Brown Sandi and Clay Sigg Joy Skalbeck Barbara Slemmons Marion Small Judith Smith Juliann Smith Robert Snider Jean Snyder Blanca Solis Roger and Freda Sornsen Marguerite Spencer Johanna Stek Raymond Stewart Karen Street* Deb and Jeff Stromberg Mary Superak Thomas Swift Joyce Takahashi Francie Teitelbaum Jeanne Shealor and George Thelen Julie Theriault, PA-C Virginia Thigpen Janet Thome Robert and Kathryn Thorpe Brian Toole Lola Torney and Jason King Michael and Heidi Trauner Rich and Fay Traynham James E. Turner Barbara and Jim Tutt Robert Twiss Ramon and Karen Urbano Chris and Betsy Van Kessel Bart and Barbara Vaughn* Richard and Maria Vielbig Charles and Terry Vines Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner* M. Therese Wagnon Carol Walden Caroline and Royce Waters Marya Welch* Dan and Ellie Wendin*

Douglas West Martha S. West Robert and Leslie Westergaard* Linda K. Whitney Jane Williams Marsha Wilson Linda K. Winter* Janet Winterer Michael and Jennifer Woo Ardath Wood Timothy and Vicki Yearnshaw Elaine Chow Yee* Norman and Manda Yeung Teresa Yeung Phillip and Iva Yoshimura Heather Young Phyllis Young Verena Leu Young* Melanie and Medardo Zavala Mark and Wendy Zlotlow And 47 donors who prefer to remain anonymous

CORPORATE MATCHING GIFTS Bank of America Matching Gifts Program Chevron/Texaco Matching Gift Fund DST Systems We appreciate the many Donors 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 Donors 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 530.754.5438 to inform us of corrections.

The Friends of Mondavi Center is an active donorbased volunteer organization with a long history of assisting the Mondavi Center staff. Deeply committed to arts education, Friends volunteer their time and resources to fundraising, audience development and providing learning opportunities for K-12 students and adults. Here are some of the areas in which Friends provide direct management and coordination:

• Pre-Matinee Classroom Talks • School Matinee Ushering • Audience Enrichment • Mondavi Center Tours • Gift Shop • School Outreach • Ad Hoc Mondavi Center Events Support

Mondavi Center Gift Shop Managed and staffed by Friends of Mondavi Center, the Gift Shop is the social hub of the Yocha Dehe Grand Lobby. In addition to being a friendly gathering place, the Mondavi Center Gift Shop is the perfect spot to find a gift for a special occasion or personal indulgence. And, your purchase will help the Friends, all committed arts patrons, to raise $20,000 to help support Mondavi Center Arts Education in the 2011-2012 season!

Shakespeare Works when Shakespeare Plays A three-day workshop conference for teachers at the Mondavi Center, UC Davis, January 13-15, 2012 Teaching Artists from some of the world’s most respected Shakespeare Theaters share active and playful approaches that will enliven your teaching of Shakespeare. This conference of hands-on workshops at the Mondavi Center, UC Davis, will also transform your teaching across the curriculum to support the VAPA standards. The weekend is presented by the UC Davis School of Education and the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis in association with Globe Education (Shakespeare’s Globe, London) and the Shakespeare Theatre Association. www.regonline.com/shakespeare_works Registration is $349. Limited openings will sell out fast. Visit the Conference Website for more information: http://shakespeareplays.ucdavis.edu

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

Invited Presenters: Shakespeare Festival/LA San Francisco Shakespeare Company Oregon Shakespeare Festival Bard on the Beach (Vancouver) American Shakespeare Center (Virginia) Shakespeare and Company (Lennox, Mass) Shakespeare’s Globe Education (London) Folger Shakespeare Theater

MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

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

AUDIENCE SERVICES Emily Taggart Audience Services Manager/ Artist Liaison Coordinator

DEVELOPMENT Debbie Armstrong Senior Director of Development

Yuri Rodriguez Events Manager

Ali Kolozsi Director of Major Gifts

Natalia Deardorff Assistant Events Manager Nancy Temple Assistant Public Events Manager

BUSINESS SERVICES Debbie Armstrong Lara Downes Senior Director of Support Curator: Young Artists Program Services ARTS EDUCATION Joyce Donaldson Associate to the Executive Director for Arts Educaton and Strategic Projects

Mandy Jarvis Financial Analyst Russ Postlethwaite Billing System Administrator

Jennifer Mast Arts Education Coordinator

MARKETING Rob Tocalino Director of Marketing

production Christopher Oca Stage Manager

Will Crockett Marketing Manager

Christi-Anne Sokolewicz Stage Manager

Erin Kelley Elisha Findley Senior Graphic Artist Corporate & Annual Fund Officer Morissa Rubin Amanda Turpin Senior Graphic Artist Donor Relations Manager Amanda Caraway Angela McMillon Public Relations Coordinator Development and Support Services Assistant TICKET OFFICE Sarah Herrera Ticket Office Manager

FACILITIES Herb Garman Director of Operations

Steve David Ticket Office Supervisor

Greg Bailey Lead Building Maintenance Worker

Susie Evon Ticket Agent

INFORMATION TECHNOLOGY Darren Marks Programmer/Designer

Russell St. Clair Ticket Agent Head Ushers Huguette Albrecht George Edwards Linda Gregory Donna Horgan

Mark J. Johnston Lead Application Developer

Mondavi Center Advisory Board

Tim Kendall Programmer

Jenna Bell Production Coordinator Zak Stelly-Riggs Master Carpenter Daniel Goldin Master Electrician Michael Hayes Head Sound Technician Adrian Galindo Scene Technician Kathy Glaubach Scene Technician Daniel Thompson Scene Technician

Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

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. 11-12 Season Board Officers John Crowe, Chair Joe Tupin, Patron Relations Chair Randy Reynoso, Corporate Relations Co-Chair Garry P. Maisel, Corporate Relations Co-Chair

Members Jeff Adamski Wayne Bartholomew Camille Chan John Crowe Lois Crowe Cecilia Delury Patti Donlon David Fiddyment Dolly Fiddyment Mary Lou Flint

Samia Foster Scott Foster Anne Gray Benjamin Hart Lynette Hart Dee Hartzog Joe Hartzog Barbara K. Jackson Vince Jacobs Garry P. Maisel Stephen Meyer

Randy Reynoso Nancy Roe William Roe Lawrence Shepard Nancy Shepard Joan Stone Tony Stone Joe Tupin Larry Vanderhoef Rosalie Vanderhoef

Ex Officio Linda P.B. Katehi, Chancellor, UC Davis Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis Jo Anne Boorkman, Friends of Mondavi Center Board Don Roth, Executive Director, Mondavi Center Erin Schlemmer, Arts & Lectures Chair

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.

11-12 Executive Board

11-12 Committee Members Erin Schlemmer, Chair Prabhakara Choudary Adrian Crabtree Susan Franck Kelley Gove Holly Keefer

Sandra Lopez Danielle McManus Bella Merlin Lee Miller Bettina Ngâ&#x20AC;&#x2122;weno Rei Okamoto

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Hearne Pardee Isabel Raab Kayla Rouse Hulleah Tsinhnahjinnie

Jo Anne Boorkman, President Laura Baria, Vice President Francie Lawyer, Secretary Jim Coulter, Audience Enrichment Jacqueline Gray, Membership Sandra Chong, School Matinee Support Martha Rehrman, Friends Events Leslie Westergaard, Mondavi Center Tours Phyllis Zerger, School Outreach Eunice Adair Christensen, Gift Shop Manager, Ex Officio Joyce Donaldson, Director of Arts Education, Ex Officio

Accommodations for Patrons with Disabilities

Ticket Exchange

The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements.

• • • • • • • •

Tickets must be exchanged at least one business day prior to the performance. Tickets may not be exchanged after your performance date. There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers. If you exchange for a higher-priced ticket, the difference will be charged. The difference between a higher and a lower priced ticket on exchange is non-refundable. Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season. Balances may not be transferred between accounts. All exchanges subject to availability. All ticket sales are final for events presented by non-UC Davis promoters. No refunds.

Parking You may purchase parking passes for individual Mondavi Center events for $7 per 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

Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The 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. Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last minute requests. Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

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].

Assistive Listening Devices

Entertain friends, family, classmates or business associates and save! Groups of 20 or more qualify for a 10% discount off regular prices. Payment must be made in a single check or credit card transaction. Please call 530.754.2787 or 866.754.2787.

Assistive Listening Devices are available for Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID to be held at the Patron Services Desk until the device is returned.

Student Tickets (50% off the full single ticket price*)

Elevators

Student tickets are to be used by registered students matriculating toward a degree, age 18 and older, with a valid student ID card. Each student ticket holder must present a valid student ID card at the door when entering the venue where the event occurs, or the ticket must be upgraded to regular price.

Children (50% off the full single ticket price*) Children’s tickets are for all patrons age 17 and younger. No additional discounts may be applied. As a courtesy to other audience members, please use discretion in bringing a young child to an evening performance. All children, regardless of age, are required to have tickets, and any child attending an evening performance should be able to sit quietly through the performance.

Privacy Policy The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently. We 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 MondaviArts.org.

POlicies

Policies and Information

The Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.

Restrooms All public restrooms are equipped with accessible sinks, stalls, babychanging 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.

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.

*Only one discount per ticket.

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

MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 |

september 2011

december 2011

21 30

7–10 8 11 15 18

Return To Forever IV with Zappa Plays Zappa Ricky Skaggs and Kentucky Thunder

october 2011 1 2 6 8 13 19 20 21 24 29 29–30

Wayne Shorter Quartet Alexander String Quartet Yamato Jonathan Franzen San Francisco Symphony Scottish Ballet k.d. lang and the Siss Boom Bang Rising Stars of Opera Focus on Film: Thirty Two Short Films About Glenn Gould Hilary Hahn, violin So Percussion: “We Are All Going in Different Directions”: A John Cage Celebration

november 2011 4 5–6 7–8 9–11 12 12–13 14 14–15

mondavi center–

Tia Fuller Quartet Mariachi Sol de México de Jóse Hernàndez Lara Downes Family Concert: Green Eggs and Ham Blind Boys of Alabama Christmas Show American Bach Soloists: Messiah

january 2012 5 9 14–15 19 25–28 27 29 30

San Francisco Symphony Focus on Film: Platoon Alexi Kenney, violin and Hilda Huang, piano Soledad Barrio and Noche Flamenca Alfredo Rodriguez Trio Royal Philharmonic Orchestra Alexander String Quartet Focus on Opera: Tosca

february 2012

3 4 Cinematic Titanic Jennifer Johnson Cano, mezzo-soprano If God Is Willing and da Creek Don’t Rise 9 Hot 8 Brass Band 11–12 Trey McIntyre Project 14 and Preservation Hall Jazz Band 17 Lara Downes: 18 13 Ways of Looking at the Goldberg Focus on Film: Salaam Bombay! 22 Growing Up In India: 25 A Film and Photo Exhibition

Oliver Stone Rachel Barton Pine, violin, with the Chamber Soloists Orchestra of New York Les Ballets Trockadero de Monte Carlo CIRCA Loudon Wainwright III & Leo Kottke Eric Owens, bass-baritone Chucho Valdés and the Afro-Cuban Messengers The Chieftains Overtone Quartet

Media Clips & More Info:

MondaviArts.org

Rachel Barton Pine

530.754.2787

2 9 10–11 17–18 18 22 24–25 29

Angelique Kidjo Garrick Ohlsson, piano Curtis On Tour Ballet Preljocaj: Blanche Neige Alexander String Quartet Zakir Hussain and Masters of Percussion Circus Oz SFJAZZ Collective

april 2012 1 9 11 13 14–15 17 18–21 19–22 28

2 9 12 13 14 16–19

530.754.2787

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march 2012

Young Artists Competition Winners Concert Focus on Opera: The Elixir of Love Sherman Alexie Bettye LaVette Zippo Songs: Poems from the Front Anoushka Shankar The Bad Plus The Improvised Shakespeare Company Maya Beiser: Provenance

may 2012

Call for Tickets!

2o11 12

866.754.2787 (toll-free)

San Francisco Symphony Chamber Ensemble Patti Smith New York Philharmonic ODC/Dance: The Velveteen Rabbit Focus on Opera: Lucia di Lammermoor Supergenerous: Cyro Baptista and Kevin Breit

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The art of performance draws our eyes to the stage

Our community’s commitment to arts and culture says a lot about where we live and it brings us together from the moment the lights go down and the curtains come up.

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8/4/11 3:10 PM

can The health plan that

take care of your employees. And your bottom line.

As a founding partner of the Mondavi Center, Western Health Advantage has been a strong supporter of local arts. Which might explain why we’ve lifted local health care to an art form. What’s our method? We deliver friendly, responsive service, keep costs low, and provide access to 2,300 area physicians and specialists. Maybe that’s why over 4,000 local businesses offer our plans and 90,000 individuals and families choose our coverage. That kind of recognition is worthy of a standing ovation.

Visit westernhealth.com to learn more about our health plans.