Chris Thile, solo • FEB 15
JANUARY – FEBRUARY 2014
The art of performance draws our eyes to the stage
Sometimes the most meaningful communication happens without dialogue. Great performances tell us that we are not alone with our emotions. Mondavi Center, thank you for inspiring us.
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A MESSAGE FROM THE CHANCELLOR
It is my pleasure to welcome you to the 2013–14 season at the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis. This year we honor the legacy of Robert Mondavi on the occasion of what would have been his centennial. An expert winemaker, a wise businessman, a philanthropist and patron of the arts—Robert contributed immeasurably to his industry, the University and the community. The generous philanthropic support of both Robert and Margrit leaves more than buildings; it enhances the quality of life for
LINDA P.B. KATEHI
UC DAVIS CHANCELLOR
many generations to come. It is an ongoing testament to this vision that the Mondavi Center serves as a welcoming community gathering place. Truly, it is a crossroads where cultures from around our nation and the world come together: at once a source of learning and entertainment, a place of creative and intellectual stimulation and a venue for celebrating classics and exploring new pieces.
The Mondavi Center is a generous contributor to the quality of life in the region— a beautiful tribute to its namesakes.
The impact of Mondavi Center programs goes beyond the events in the venue itself. Many of the artists and speakers featured in Jackson Hall or the Vanderhoef Studio Theatre also venture out onto our campus and into our community. This exchange of ideas and expertise, the up close and personal experiences that can only happen during artist residencies, create inspiration and stimulation that benefit us all. Rich conversations radiate from the seats in the hall to the lobby or the rehearsal room and continue on to homes, cafés and other places in our community. This sort of dialogue ensures that the Mondavi Center stands firmly as a generous contributor to the quality of life in the region—a beautiful tribute to its namesakes. Thank you for being a part of the Mondavi Center’s season.
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SPONSORS CORPORATE PARTNERS
MONDAVI CENTER STAFF Don Roth, Ph.D.
Alison Morr Kolozsi
ARTIST ENGAGEMENT COORDINATOR
CURATOR: YOUNG ARTISTS PROGRAM
ARTS EDUCATION Joyce Donaldson
PUBLIC EVENTS MANAGER
ASSISTANT PUBLIC EVENTS MANAGER
BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR
4 MONDAVIARTS .ORG
INFORMATION TECHNOLOGY WEB DEVELOPER AND DESIGNER
DEVELOPMENT AND SUPPORT SERVICES ASSISTANT
SENIOR STAGE MANAGER, JACKSON HALL
Christopher C. Oca
SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE MASTER CARPENTER MASTER ELECTRICIAN
HEAD AUDIO ENGINEER
ARTIST SERVICES COORDINATOR
MUSIC DEPARTMENT LIAISON/ STAGE TECHNICIAN
LEAD APPLICATION DEVELOPER
AUDIO ENGINEER - STUDIO THEATRE/STAGE TECHNICIAN
Huguette Albrecht Ralph Clouse Eric Davis George Edwards Donna Horgan Paul Kastner Jan Perez Mike Tracy Janellyn Whittier Terry Whittier
DIRECTOR OF MARKETING
ART DIRECTOR & SENIOR GRAPHIC ARTIST
TICKET OFFICE Steve David
Catering and BBQ
El Macero County Club
DIRECTOR OF OPERATIONS
BUSINESS SERVICES SENIOR DIRECTOR OF DEVELOPMENT AND SUPPORT SERVICES
Mark J. Johnston
AUDIENCE SERVICES MANAGER
ASSISTANT PRODUCTION MANAGER
Daniel J. Goldin
Phil van Hest
DEVELOPMENT AND SUPPORT SERVICES ASSISTANT
ASSOCIATE TO THE EXECUTIVE DIRECTOR FOR ARTS EDUCATION AND STRATEGIC PROJECTS ARTS EDUCATION COORDINATOR
CORPORATE & ANNUAL FUND OFFICER
MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS
DIRECTOR OF MAJOR GIFTS & PLANNED GIVING
DIRECTOR OF PROGRAMMING PROGRAMMING MANAGER
Donna J. Flor
ASSOCIATE EXECUTIVE DIRECTOR
SENIOR DIRECTOR OF DEVELOPMENT AND SUPPORT SERVICES
TICKET OFFICE MANAGER TICKET OFFICE SUPERVISOR
Russell St. Clair TICKET AGENT
RAS. Proud sponsors of creativity, dedication and innovation. Medicine, like art, requires long training, practiced technique and a combination of innovation and creativity. At Radiological Associates of Sacramento, weâ€™ve pursued breakthroughs in diagnosis and treatment since 1917 by blending innovative science with creative thinking, giving us a true appreciation of what goes into a successful performance. We applaud the Robert and Margrit Mondavi Center for the Performing Arts for its commitment to enriching lives.
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IN THIS ISSU
A MESSAGE FROM THE EXECUTIVE DIRECTOR
DON ROTH, Ph.D. EXECUTIVE DIRECTOR
Arts lovers around the Sacramento valley are well aware that the Mondavi Center presents more than 100 performances—from superstars like Diana Krall to discoveries like Theo Bleckmann— each and every year. What is less obvious, but no less important, is the work we do to provide the young people of our region a chance to connect with the arts—work that reflects the UC Davis commitment to bettering the world around it. At a time when school finances have starved the arts out of many schools, this part of our mission seems more critical with each passing day.
Since our opening, more than 250,000 school children from 14 Northern California counties have experienced a school matinee in the Mondavi Center. As John Updike said, “Art offers … a certain breathing room for the spirit.” That is precisely the kind of impact we hope to have on the children who attend our matinees; even if they don’t become regular arts patrons, we want them to have art in their lives.
Fortunately, the artists we bring to the Mondavi Center are as committed to education as they are to performance. When a world-class conductor like David Robertson lifts the spirits of more than 1,000 fifth graders in a joyful take on Copland’s Appalachian Spring; when jazz trombonist Delfeayo Marsalis works with middle schoolers on improvisational skills; when Yo-Yo Ma takes time out of his touring to teach cello master classes; when Harry Belafonte inspires a classroom of UC Davis freshmen with tales of his work with Martin Luther King, Jr.—they are providing life-changing experiences for the students involved. Another unique role we play is supporting the growth of aspiring young artists through our Young Artists Competition (YAC) and the Mondavi Center SFJAZZ High School All-Stars program. For more than half a dozen years, YAC has celebrated budding classical musicians and provided the winner a spot on our Debut Series. The dedicated young jazz musicians in the High School All-Stars program work closely with mentors in Sacramento and San Francisco and culminate their experience with performances on stages from Jackson Hall to the new SFJAZZ Center. Our third focus in arts education is providing professional development for teachers. Each year, 12 teachers from around the region participate in a year-long program, learning to use Shakespeare’s work as a teaching tool in their classrooms. Their final exam? A performance under the stars at Shakespeare’s Globe Theatre in London. For those teachers, now close to 100 in number, this program is transformational, both personally and professionally, and thousands of their students have benefited from this work. So, as you sit in Jackson Hall, I encourage you to reflect on the work the Mondavi Center does behind the scenes, in our schools and around our towns, work to ensure that the arts remain a vibrant part of our lives and our children’s lives. 6 MONDAVIARTS .ORG
ROBERT AND MARGRIT
MONDAVI CENTER FOR THE PERFORMING ARTS
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Nicholas Kristof Royal Philharmonic Orchestra Spirit of Uganda Grupo Corpo Circus Oz True Blues San Francisco Symphony The King’s Singers Chris Thile, Solo Murray Perahia, Piano The Chieftains Jack DeJohnette, Joe Lovano, Esperanza Spalding and Leo Genovese 50 Bahia Orchestra Project 54 Stephen Petronio Company
BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance. • 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. Violators are subject to removal. • Please look around and locate the exit nearest you. That exit may be behind, 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 readmitted to his/her ticketed seat while the performance is in progress. • Assistive Listening Devices and opera glasses are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.
January – February 2014 Volume 1, No. 3
an exclusive wine tasting experience oF Featured wineries For inner circle donors
2012—13 Paul Heppner Publisher Susan Peterson Design & Production Director
Ana Alvira, Deb Choat, Robin Kessler, Kim Love, Jana Rekosh Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold, Seattle Sales Director Gwendolyn Fairbanks, Jan Finn, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Executive Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartsprograms.com
Paul Heppner Publisher Leah Baltus Editor-in-Chief
Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7–8PM and during intermission if scheduled.
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Orquesta Buena Vista Social Club® Raymond Vineyards Emmylou Harris & Rodney Crowell Clarksburg Wine Company
Ballet Hispanico Heitz Cellar
Salzburg Marionette Theatre Seavey Vineyard Fred Hersch Trio Seavey Vineyard
Pink Martini Holiday Show Boeger Winery
Royal Philharmonic Orchestra Robert Mondavi Winery
Marty Griswold Sales Director
Joey Chapman Account Executive
Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor www.cityartsonline.com
Paul Heppner President Mike Hathaway Vice President Deborah Greer Executive Assistant Erin Johnston Communications Manager April Morgan Accounting
march 17 22
april 2 11
Grupo Corpo Paradise Ridge Winery The King’s Singers Navarro Vineyards Dr. Lonnie Smith Trio Navarro Vineyards The Chieftains Echelon Vineyards Caladh Nua Cline Cellars Academy of St. Martin in the Fields with Joshua Bell Bonny Doon Vineyard Jonathan Batiste and Stay Human Band Bonny Doon Vineyard Cameron Carpenter, organ Pride Mountain Vineyards Peter Sagal Grgich Hills Estate San Francisco Symphony Ram’s Gate Winery
Jana Rekosh Project Manager/Graphic Design Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 email@example.com 800.308.2898 x105 www.encoremediagroup.com ®
Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2014 Encore Media Group. Reproduction without written permission is prohibited.
For information about becoming a donor, please call 530.754.5438 or visit us online: www.mondaviarts.org. encore art sprograms.com 7
UC Davis Campus Community Book Project A Mondavi Center Special Event Monday, January 13, 2014 • 8PM SPONSORED BY
Question & Answer Session Moderated by Beth Ruyak Beth Ruyak, Insight Host, Capital Public Radio When Beth Ruyak landed her first job as a reporter more than 30 years ago, she knew she had found a career. What she couldn’t have imagined is the people she would meet, miles she would travel and how curious the journey would be. As host of Insight, Ruyak delights in the opportunity to communicate and converse in the region she calls home. To Ruyak, being part of the Capital Public Radio team is a privilege, an adventure and a great reason to go to work every day. Of course, so is the dance as she calls it, with the guests and audience on Insight.
8 MONDAVIARTS .ORG
Half The Sky: Turning Oppression Into Opportunity For Women Worldwide
Two-time Pulitzer Prize-winner and New York Times columnist Nicholas D. Kristof is often called the “reporter’s reporter” for his human rights advocacy and his efforts to give a voice to the voiceless. In 1990, Kristof and his wife, Sheryl WuDunn, then also a New York Times journalist, became the first husband-wife team to win a Pulitzer Prize for journalism for their coverage of China’s Tiananmen Square democracy movement. Kristof won his second Pulitzer in 2006 for what the judges called “his graphic, deeply reported columns that, at personal risk, focused attention on genocide in Darfur and that gave voice to the voiceless in other parts of the world.” Kristof and WuDunn have written three bestselling books: Half the Sky: Turning Oppression Into Opportunity for Women Worldwide; China Wakes: The Struggle for the Soul of a Rising Power; and Thunder from the East: Portrait of a Rising Asia. Oprah Winfrey devoted two full programs to their work and they have been on countless other television programs. Archbishop Desmond Tutu dubbed Kristof “an honorary African” for his reporting on conflicts there and President Bill Clinton claimed “there is no one in journalism, anywhere in the United States at least, who has done anything like the work he has done to figure out how poor people are
actually living around the world and what their potential is.” Kristof graduated from Harvard College, Phi Beta Kappa and won a Rhodes Scholarship to Oxford, where he studied law and graduated with first class honors. He later studied Arabic in Cairo, Chinese in Taipei and Japanese in Tokyo. After working in France, he began backpacking in Africa and Asia, writing articles to cover his expenses. Kristof has lived on four continents, reported on six and traveled to more than 150 countries. During his travels he has caught malaria, experienced wars, confronted warlords, encountered an Indonesian mob carrying heads on pikes and survived an African airplane crash. After joining The New York Times in 1984, Kristof served as a correspondent in Los Angeles, Hong Kong, Beijing and Tokyo. He has covered presidential politics, interviewed everyone from President Obama to Iranian President Ahmadinejad and was the first blogger on The New York Times website. Ben Affleck executive produced an HBO documentary on him titled Reporter. He has won innumerable awards including the Dayton Literary Peace Prize, the Anne Frank Award and the Fred Cuny Award for Prevention of Armed Conflict. He serves on the board of Harvard University and the Association of American Rhodes Scholars.
with Wunderland by Edwaard Liang and a World Premiere by Ma Cong
at the Community Center Theater
February 13 - 15, 2014 • 7:30pm February 16, 2014 • 2:00pm
Red Hot Valentine Excerpts from the February production, with a focus on all things ‘love’ly!
Saturday, February 8 Tickets: $25 each
Tickets On Sale NOW: Individual: $19 - $70 Call: 916-808-5181
(Community Center Theater Box Office Mon - Sat: 10am-6pm)
Photo by Jay Mather
Wunderland is Sponsored by: CWL Associates LLC. Ma Cong World Premiere Sponsored By: James Hargrove
ROYAL PHILHARMONIC ORCHESTRA
Pinchas Zukerman, Principal Guest Conductor & Violin Soloist
© PAUL LABELLE PHOTOGRAPHE INC.
A Western Health Advantage Orchestra Series Event Saturday, January 25, 2014 • 8PM
INDIVIDUAL SUPPORT PROVIDED BY
Ralph and Clairelee Leiser Bulkley
Overture to The Creatures of Prometheus, Op. 43 Beethoven Beethoven
INTERMISSION Symphony No. 5 in C Minor, Op. 67 Allegro con brio Andante con moto Allegro— Allegro 10 MONDAVIARTS .ORG
OVERTURE TO THE CREATURES OF PROMETHEUS, OP. 43 (1801)
LUDWIG VAN BEETHOVEN
Violin Concerto in D Major, Op. 61 Allegro ma non troppo Larghetto— Rondo: Allegro
(Born December 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna, Austria) Salvatore Vigano was one of the great dancers of the early 19th century, whose fame during his own time has been compared to that of Nijinsky a century later and Nureyev and Baryshnikov in more recent days. Though he was constantly in demand throughout Europe as performer, producer and choreographer, Vigano showed Vienna the special favor of two extended residencies, the second beginning in 1799. Late in 1800, Vigano devised the scenario for a new ballet based on the Prometheus legend, a work he intended as a compliment to Maria Theresa, second wife of the Emperor Francis. He inquired at court as to which composer might be the most suitable to engage, and was informed that Beethoven, who had recently (and tactfully) dedicated the score of his Septet (Op. 20) to Maria Theresa, would be an appropriate choice. Beethoven was approached, and he agreed to undertake the project.
The following description of the ballet’s plot appeared in the program for the premiere: “The foundation of this allegorical ballet is the fable of Prometheus. The philosophers of Greece allude to Prometheus as a lofty soul who drove the people of his time from ignorance, refined them by means of science and the arts, and gave them manners, customs and morals. As a result of that conception, two statues that have been brought to life are introduced in this ballet; and these, through the power of harmony, are made sensitive to all the passions of human life. Prometheus leads them to Parnassus, in order that Apollo, the god of the fine arts, may enlighten them.” The ancient legend of Prometheus had taken on a certain topicality in turn-ofthe-19th-century Europe because of the association of the (then) hero Napoleon with the god who stole fire from Mount Parnassus to enlighten mankind. Beethoven, in those pre-“Eroica” years, may have wanted to show his respect for the French general in this ballet, his only work in the genre. It is also likely that the composer saw something
of himself in the character of Prometheus. “Music should strike fire in the heart of man,” he once proclaimed. More specifically relating himself with the Prometheus legend was his statement to the Archduke Rudolph in 1823: “There is no loftier mission than to approach the Divinity nearer than other men, and to disseminate the divine rays among mankind.” The Overture to Prometheus is Beethoven’s earliest work in that form, and one of his most compact. George Bernard Shaw, who was a music critic during his early days in London, once wrote, “When I was a boy, an overture beginning emphatically with an unprepared discord made me expect something tremendous.” So begins this Overture. The characteristic tension—the expectation of “something tremendous”—generated by so many of Beethoven’s works appears here in the very first measure. The electric opening chord initiates a lyrical introduction in slow tempo. The main body of the Overture follows without pause. The first theme is an energetic display of rushing scales propelled by a vibrant rhythmic energy. The second theme is a more delicate melody, entrusted to the piping flutes in duet. The Creatures of Prometheus, standing on the threshold of Beethoven’s second creative period, points forward to the substance of his later works. Of this prophetic quality, Marion M. Scott wrote, “In [Prometheus], Beethoven occupied himself with the theme of the beneficent saviour of mankind. It was a turning point in his career. His old style no longer contented him. Of conventional religion, Beethoven had none, but his mind was beginning to search into the deepest mysteries of the universe at the same time that he recognized the mission within himself that he must fulfill. The musician must be the liberator of mankind from sorrow.”
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VIOLIN CONCERTO IN D MAJOR, OP. 61 (1806) In 1794, two years after he moved to Vienna from Bonn, Beethoven attended a concert by an Austrian violin prodigy named Franz Clement. To Clement, then 14 years old, the young composer wrote DC 091813 tacos 1_3s.indd “Dear Clement! Go forth on the way which you hitherto have travelled so beautifully, so magnificently. Nature and art vie with
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MMF 111813 july 1_12.pdf
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each other in making you a great artist. Follow both and, never fear, you will reach the great—the greatest—goal possible to an artist here on earth. All wishes for your happiness, dear youth; and return soon, that I may again hear your dear, magnificent playing. Entirely your friend, L. v. Beethoven.” Beethoven’s wish was soon granted. Clement was appointed conductor and concertmaster of the Theater an der Wien in Vienna in 1802, where he was closely associated with Beethoven in the production of Fidelio and as the conductor of the premiere of the Third Symphony. Clement, highly esteemed by his contemporaries as a violinist, musician and composer for his instrument, was also noted for his fabulous memory. One tale relates that Clement, after participating in a single performance of Haydn’s The Creation, wrote out a score for the entire work from memory. Of Clement’s style of violin performance, Boris Schwarz wrote, “His playing was graceful rather than vigorous, his tone small but expressive, and he possessed unfailing assurance and purity in high positions and exposed entrances.” It was for Clement that Beethoven produced his only Violin Concerto. The sweet, lyrical nature and wide compass of the solo part of this Concerto were influenced by the polished style of Clement’s playing. The five soft taps on the timpani that open the work not only serve to establish the key and the rhythm of the movement, but also recur as a unifying phrase throughout. The main theme is introduced in the second measure by the woodwinds in a chorale-like setting. A transition, with rising scales in the winds and quicker rhythmic figures in the strings, accumulates a certain intensity before it quiets to usher in the second theme, another legato strophe entrusted to the woodwinds. The development is largely given over to wide-ranging figurations for the soloist. The recapitulation begins with a recall of the five drum strokes of the opening, here spread across the full orchestra sounding in unison. Though the hymnal Larghetto is technically a theme and variations, it seems less like some earth-bound form than it does a floating constellation of ethereal tones, polished and hung against a velvet night sky with infinite care and flawless precision. Music of such limited dramatic
contrast cannot be brought to a satisfactory conclusion in this context, and so here it leads without pause into the vivacious rondo-finale. The solo violin trots out the principal theme before it is taken over by the full orchestra. This jaunty tune returns three times, the last appearance forming a large coda.
SYMPHONY NO. 5 IN C MINOR, OP. 67 (1804-1808) Beethoven’s Fifth Symphony, more than any work in the musical repertory, is the archetypal example of the technique and content of the form. Its overall structure is not one of four independent essays linked simply by tonality and style, as in the typical 18th-century example, but is rather a carefully devised whole in which each of the movements serves to carry the work inexorably toward its end. The progression from minor to major, from dark to light, from conflict to resolution is at the very heart of the “meaning” of this work. The triumphant nature of the final movement as the logical outcome of all that preceded it established a model for the symphonies of the Romantic era. The psychological progression toward the finale—the relentless movement toward a life-affirming close—is one of Beethoven’s most important technical and emotional legacies, and it established for following generations the concept of how such a creation could be structured, and in what manner it should engage the listener. The opening gesture is the most famous beginning in all of classical music. It establishes the stormy temper of the Allegro by presenting the germinal cell from which the entire movement grows. Though it is possible to trace this memorable four-note motive through most of the measures of the movement, the eminent English musicologist Sir Donald Tovey has pointed out that the power of the music is not contained in this fragment, but rather in the “long sentences” that Beethoven built 11/18/13 3:05 PM from it. The key to appreciating Beethoven’s formal structures lies in being aware of the way in which the music moves constantly from one point of arrival to the next. The gentler second theme derives from the opening motive, and gives only a brief respite in the headlong rush that hurtles through the movement. It provides the necessary contrast while doing nothing to
ROYAL PHILHARMONIC ORCHESTRA impede the music’s flow. The development section is a paragon of cohesion, logic and concision. The recapitulation roars forth after a series of breathless chords that pass from woodwinds to strings and back. The stark hammer-blows of the closing chords bring the movement to its powerful end. The second movement is a set of variations on two contrasting themes. The first theme, presented by violas and cellos, is sweet and lyrical in nature; the second, heard in horns and trumpets, is heroic. The ensuing variations on the themes alternate to produce a movement by turns gentle and majestic. The Scherzo returns the tempestuous character of the opening movement, as the four-note motto from the first movement is heard again in a brazen setting led by the horns. The fughetta, the “little fugue,” of the central trio is initiated by the cellos and basses. The Scherzo returns with the mysterious tread of the plucked strings, after which the music wanes until little more than a heartbeat from the timpani remains. Then begins another accumulation of intensity, first gradually, then more quickly, as a link to the finale, which arrives with a glorious proclamation, like brilliant sun bursting through ominous clouds. The finale, set in the triumphant key of C major, is jubilant and martial. The sonata form proceeds apace. At the apex of the development, however, the mysterious end of the Scherzo is invoked to serve as the link to the return of the main theme in the recapitulation. It also recalls and compresses the emotional journey of the entire Symphony. The closing pages repeat the cadence chords extensively as a way of discharging the work’s enormous accumulated energy. Concerning the effect of the “struggle to victory” that is symbolized by the structure of the Fifth Symphony, a quote that Beethoven scribbled in a notebook of the Archduke Rudolf, one of his aristocratic piano students, is pertinent. The composer wrote, “Many assert that every minor [tonality] piece must end in the minor. Nego! On the contrary, I find that ... the major [tonality] has a glorious effect. Joy follows sorrow, sunshine—rain. It affects me as if I were looking up to the silvery glistening of the evening star.” ©2014 Dr. Richard E. Rodda
ROYAL PHILHARMONIC ORCHESTRA FIRST VIOLINS
Duncan Riddell Tamás András Clare Duckworth Judith Templeman Naoko Keatley Andrew Klee Anthony Protheroe Erik Chapman Russell Gilbert Jonathan Lee Cindy Foster Shana Douglas Grace Lee Kaija Lukas
Andrew Storey Elen Hâf Richards Jennifer Christie Charlotte Ansbergs Jenny Dear Stephen Payne Charles Nolan Sali-Wyn Ryan Peter Graham Stephen Kear Colin Callow Sophie Cameron
Fiona Winning Liz Varlow Abigail Fenna Andrew Sippings Jonathan Hallett Chian Lim Felix Tanner Clive Howard Daniel Cornford
Tim Gill Jonathan Ayling Chantal Webster Roberto Sorrentino Niamh Molloy William Heggart Shinko Hanaoka Rachel van der Tang Emma Black
Anthony Alcock David Broughton David Gordon Benjamin Cunningham John Holt Nicola Davenport Albert Dennis
Helen Keen Joanne Marsh
Mike Allen Adam Wright
Matthew Gee Philip Dewhurst
ROYAL PHILHARMONIC ORCHESTRA MANAGEMENT ARTISTIC DIRECTOR AND PRINCIPAL CONDUCTOR
Charles Dutoit MANAGING DIRECTOR
Ian Maclay FINANCE DIRECTOR
John Roberts Timothy Watts
Nicholas Cox Thomas Watmough
Rebecca Mertens Emma Harding
Philip Woods Jonathan Bareham Paul Gardham Andrew Fletcher
CONCERTS DIRECTOR TOURS MANAGER
Rosemary Anthony DIRECTOR OF PRESS & MARKETING
Chris Evans EDUCATION MANAGER
Ruth Currie ORCHESTRA MANAGERS
Jane Aebi, Kathy Balmain LIBRARIAN
Patrick Williams STAGE MANAGER
If you would like to join the Royal Philharmonic Orchestra’s FREE mailing list or for further information about concerts and recordings, please take a look at our website: www.rpo.co.uk. encore art sprograms.com 13
ROYAL PHILHARMONIC ORCHESTRA PINCHAS ZUKERMAN Pinchas Zukerman has remained a phenomenon in the world of music for four decades. His musical genius, prodigious technique and unwavering artistic standards are a marvel to audiences and critics. Devoted to the next generation of musicians, he has inspired younger artists with his magnetism and passion. His devotion to teaching has resulted in innovative programs in London, New York, China, Israel and Ottawa. The name Pinchas Zukerman is equally respected as violinist, violist, conductor, pedagogue and chamber musician. Pinchas Zukerman’s 2013–14 season includes more than 100 worldwide performances, bringing him to multiple destinations in North America, Europe, Asia and Australia. Zukerman is currently in his 15th season as music director of the National Arts Centre Orchestra of Ottawa, with whom he tours China this fall. In his fifth season as principal guest conductor of the Royal Philharmonic Orchestra in London, he leads the ensemble in concerts in Spain, Russia and the United Kingdom and a nationwide tour of the United States. Additional orchestral engagements include the Vienna Philharmonic, Boston Symphony, Budapest Festival Orchestra, Salzburg Camerata, Israel Philharmonic, Royal Scottish National Orchestra and a return visit to Australia for appearances with the Sydney and Adelaide Symphonies and West Australian Symphony Orchestra in Perth. Spring recitals with pianist Yefim Bronfman take place throughout North America and the Zukerman ChamberPlayers perform at the Ravinia, Verbier and Miyazaki Festivals in addition to their third South American tour. Over the last decade, Zukerman has become as equally regarded a conductor as he is an instrumentalist, leading many of the world’s top ensembles in a wide variety of the orchestral repertoire’s most demanding works. Currently in his 13th season as music director of the National Arts Centre Orchestra in Ottawa, Zukerman is recognized for heightening the ensemble’s caliber and reputation, inaugurating the prestigious National Arts Centre Summer Music Institute and expanding the ensemble’s repertoire to include large-scale works. Performances under Maestro Zukerman have included the Brahms, Mozart, Verdi and Fauré Requiems, Opera Lyra’s production of Mozart’s The Magic Flute and major works by Beethoven, 14 MONDAVIARTS .ORG
Berlioz, Bruckner, Dvořák, Elgar, Mahler, Mendelssohn, Rachmaninoff, Stravinsky, Tchaikovsky, Schubert and Schumann. Zukerman is deeply committed to enriching the National Arts Centre Orchestra’s cultural involvement within the region, and since his appointment has taken an interest in virtually every aspect of Ottawa’s artistic community. He has made five recordings with the Orchestra, introduced a new Acoustic Control System to the NAC’s Southam Hall and been involved in a number of national radio and television broadcasts. Several educational initiatives have been established under his leadership, including the NAC Institute for Orchestral Studies and the Summer Music Institute which brings students from around the globe to Ottawa to participate in the Young Artists, Conductors and Composers Programmes. The Zukerman Musical Instrument Fund works to acquire donated and new instruments for orchestral musicians. He has also championed contemporary Canadian composers, conducting works by Linda Bouchard, Jacques Hétu, Alain Perron, Peter Paul Koprowski, Gary Kulesha, Denis Bouliane, Alexina Louie, Denis Gougeon and Malcolm Forsyth. Since Zukerman’s arrival in 1998, the National Arts Centre Orchestra has renewed its commitment to regular touring both nationally and internationally. He led enormously successful Canadian tours in 1999, 2002, 2004 and 2005, as well as critically acclaimed tours to the Middle East and Europe in 2000 and the United States and Mexico in 2003, all highlighted by hundreds of unprecedented outreach activities with an innovative internet component. In January 2008, Maestro Zukerman led the Royal Philharmonic Orchestra on a North American tour consisting of 22 concerts in 11 states, after which the RPO musicians unanimously voted to appoint him principal guest conductor beginning in the 2009–10 season. In this capacity, Zukerman works extensively with the RPO throughout the UK and on several international touring projects each season. In addition to this season’s tours of China, Italy, England, Israel and Switzerland, he has also led the RPO in concerts in Russia, Italy, Switzerland, Spain and the UK. He will also employ his expertise and passion for outreach and play an active role in developing the RPO’s education department and community activities. In addition to the National Arts Centre and Royal Philharmonic Orchestras, Maestro
Zukerman maintains long-term conducting relationships with such esteemed ensembles as the Chicago Symphony, Israel Philharmonic and Pittsburgh Symphony Orchestras. In North America he has led the New York and Rochester Philharmonics orchestras, the National Symphony, The Florida Orchestra, and the symphonies of Atlanta, Dallas, Toronto, Milwaukee, Saint Louis, Madison, Oregon, Utah and Colorado, among others. Internationally he has conducted the Staatskapelle Berlin, the Radio France and Nagoya Philharmonics, and the Barcelona, São Paulo and Singapore Symphony Orchestras. A devoted and innovative pedagogue, Zukerman chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music. To maintain close relationships with his students while fulfilling the travel demands of his concert engagements, Zukerman has pioneered the use of distance-learning technology in the arts. Through the use of the school’s videoconferencing system, his students are able to receive regular string instruction. A frequent chamber music performer, Pinchas Zukerman has appeared regularly with such friends and colleagues as Daniel Barenboim, Vladmir Ashkenazy, Itzhak Perlman, the Orion and Tokyo String Quartets, the Kalichstein-Laredo-Robinson Trio, Ralph Kirshbaum, Yefim Bronfman, Lynn Harrell, Marc Neikrug and the late Jacqueline du Pré. In 2003 he formed the Zukerman ChamberPlayers, an ensemble which have performed for the past eight seasons at such prestigious overseas venues as the BBC Proms, Concertgebouw, Tivoli, Schleswig-Holstein, Verbier, Harrogate and Tuscan Sun Music Festivals. In North America, the group has garnered critical acclaim for concerts at the Ravinia, Tanglewood and Aspen Music Festivals and at New York City’s 92nd Street Y, the Kennedy Center, Toronto’s Royal Conservatory of Music, Parry Sound and Domaine Forget in Canada. The Zukerman ChamberPlayers have toured throughout Europe, Asia, South America and New Zealand. The group has recorded Schubert’s Trout Quintet and Mozart’s Piano Quartet in E-flat with pianist Yefim Bronfman on Sony/BMG and the quintets of Mozart, Brahms and Dvorak for Altara. The Zukerman ChamberPlayers’ debut recording for CBC Records, Mozart-Zukerman, was nominated for a 2004 Juno Award in the Classical Album of the Year: Solo or Chamber Ensemble category.
Pinchas Zukerman’s extensive discography contains more than 100 titles, and has earned him 21 Grammy nominations and two awards: Best Chamber Music Performance in 1980 and Best Classical Performance, Instrumental Soloist with Orchestra in 1981. Zukerman’s first recording as Music Director of the National Arts Centre Orchestra was a 1999 CBC Records release of Vivaldi’s The Four Seasons in which he was featured as conductor and violinist. An earlier recording of three Haydn works on BMG Classics, which he made as guest conductor of the Orchestra in 1993, was re-released in 1998 in honor of his appointment. In 2000, CBC Records released Zukerman’s first ever recording of Beethoven Symphonies—Nos. 1 and 2—along with the Romance No. 2 in F Major, followed by discs of Schubert works in 2002 and Mozart in 2003. Prior releases on BMG Classics/RCA Victor Red Seal include the complete violin/piano and viola/piano repertoire of Brahms, Beethoven, Mozart and Schumann with pianist Marc Neikrug. Earlier recordings are also available on the Angel, CBS, Decca, Deutsche Grammophon, London and Philips labels. Pinchas Zukerman has been featured in numerous television specials and national talk shows. He has been a performer and presenter at both the Kennedy Center Honors and the Grammy Awards ceremony and appeared with the Chicago Symphony on the PBS special Mozart by the Masters. In 2004, the CBC recorded a 10-segment series titled The Concerto According to Pinchas which continues to be broadcast and rebroadcast around the world. A frequent performer on Live from Lincoln Center, Zukerman has collaborated with the English filmmaker Christopher Nupen on several projects including the Here to Make Music series, a Brahms series, a Schubert series and a documentary on Nathan Milstein. He appeared on PBS’s Charlie Rose Show and on CBC Television’s nationwide broadcast celebrating the opening concerts of the National Arts Centre’s 30th anniversary season. Crossing Bridges, a documentary by Niv Fichman, followed his tour to the Middle East with the Orchestra, and was awarded the prestigious Gold World Medal at the 2001 New York Festival. Zukerman’s violin playing can be heard on the film soundtracks for Prince of Tides and Critical Care. Born in Tel Aviv in 1948, Pinchas Zukerman studied music with his father, first on the recorder and clarinet, and later on the violin. He soon began lessons with Ilona Feher and came to America in 1962 with the support of Isaac Stern, Pablo Casals and the America-Israel and
Helena Rubinstein Foundations. He began his studies at The Juilliard School with Ivan Galamian and, in 1967, was named first-prize winner of the 25th Leventritt Competition. He holds an honorary doctorate from Brown University and an Achievement Award from the International Center in New York. He was presented with the King Solomon Award by the America-Israel Cultural Foundation and, in 1983, President Reagan awarded him the
Medal of Arts for his leadership in the musical world. In 2002 he became the first recipient of the Isaac Stern Award for Artistic Excellence at the National Arts Awards Gala in New York City, and in May 2006 was appointed as the Rolex Mentor and Protégé Arts Initiative’s first instrumentalist mentor in the music discipline. Pinchas Zukerman is married to cellist Amanda Forsyth and is father to two daughters, Arianna and Natalia.
FURTHER LISTENING by Jeff Hudson
THE ROYAL PHILHARMONIC ORCHESTRA and PINCHAS ZUKERMAN Do you suppose it’s the month of January? On January 27, 2012, the Royal Philharmonic Orchestra performed in Jackson Hall under music director Charles Dutoit, with pianist Jean-Yves Thibaudet featured in the Saint-Saens “Egyptian” Concerto. The program also featured a Berlioz overture (“Le Corsaire”) and the Fifth Symphony of Tchaikovsky. I remember the evening well. Now, here we are—January 25, 2014— and the Royal Philharmonic Orchestra is visiting Jackson Hall again. This time, principal guest conductor Pinchas Zukerman (who maintains a parallel high-profile career as a star violinist) will be leading an all-Beethoven program. Zukerman’s served as principal guest conductor of the RPO since 2009, but he’s been leading ensembles for more than 40 years. Zukerman was conductor with the English Chamber Orchestra in 1970. But Americans probably remember him best as the music director of the Saint Paul Chamber Orchestra (SPCO), a post Zukerman assumed in 1980, taking over from conductor Dennis Russell Davies. (You may recall Davies’ pair of concerts in Jackson Hall leading the Bruckner Orchestra Linz in 2005.) In SPCO, Zukerman appeared as both conductor and violin soloist, a dual
role rather similar to his current duties with the Royal Philharmonic Orchestra. And during his years with SPCO, Zukerman and that orchestra recorded a number of albums for the Phillips and CBS Masterworks labels, with soloists including Yo-Yo Ma, Emanuel Ax, and Isaac Stern. (Zukerman also wore a beard during several of those years.) Zukerman’s career as a violist extends into the early 1960s, when Isaac Stern spotted the young Zukerman when Stern was visiting Israel. Zukerman came to New York to study at Juilliard. He released his debut recordings in 1969 (the Tchaikovsky Violin Concerto with the London Symphony Orchestra, under Antal Dorati; and the Mendelssohn Violin Concert with the New York Philharmonic, under Leonard Bernstein), and he was on his way. The Royal Philharmonic was scheduled to visit Russia in December, as part of the 75th birthday celebration for conductor Yuri Temirkanov, who has been associated with the RPO since 1977. (You may recall hearing Temirkanov and the St Petersburg Philharmonic at Mondavi in March 2011; their performance of the Rimsky-Korsakov Russian Easter Overture was revelatory. Temirkanov and the St. Petersburg Philharmonic will be back in Jackson Hall in March 2014 performing works by Prokofiev and Rachmaninoff.)
JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
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John SteinBeck Adapted by FrAnk GAlAti Directed by Granada Artist-in-residence MileS AnDerSon Based on the novel by
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PROGRAM Empisa Bwola Bugwanjuba Ndiisaawo’Mwoyo Kyemuli Kyetwaali, Kyetuli Kyemuliba Obutebenkevu Emaali O Runyege Intermission Bakisimba Larakaraka Amanyi Ga’abakyaala (Strength of a Woman) Ensi Eno Olele Obangaina Niye Kitaguriro Jowa ARTISTIC DIRECTOR & MASTER OF CEREMONIES
Peter Kasule GUEST ARTIST
Rachel Magoola THE COMPANY
Kuluthum Aketch Jimmy Ayo Rajab Basoga Frank Isabirye Anthony Kiranda Sharon Kyomugisha George Lukwago Tonny Lwerere Bernard Muwonge Betty Nabaweesi Yudaya Nabbanja
Faith Ruth Nabukenya Joyce Nagujja Percy Nakaggwa Donatina Nakimuli Sylvia Namaganda Miriam Namala John Baptist Nyanzi Brian Odong Ivan Ogambo Hassan Onegu-Rwoth
SPIRIT OF UGANDA DAN OZMINKOWSKI
DIRECTOR’S NOTE To empower children, to make a change in this world, nothing is better than letting their voices be heard. Our African cultures are educative, entertaining, history keeping and forever reviewable—forever renewable. They unite our voices and connect each of us to one another. I love what I do because art requires discipline, patience, love, control and above all it never loses its attachment to its roots. For these reasons and so many more, I am honored that Rachel Magoola accepted our invitation to join Spirit of Uganda this year. For Rachel’s is a clarion voice of Uganda—a strong and proud presence whose work so powerfully and creatively links past to present. Like Uganda’s rich and diverse cultures, our program is rooted in shared expressions across borders, across generations, and is the result of joyful and respectful collaborations among mentors and friends, elders and students—artists all. Improvisation is a hallmark of creativity, and the best performers are great innovators whose moves and sounds are absorbed, transmuted and transmitted. In this way, traditions are continually evolving; as they draw from the past, each generation adds its own voices, rhythms and movements. The works featured in Spirit of Uganda’s program may be named after an instrument, a song’s lyric, a particular rhythm or phrase or its place of origin. Some pieces are drawn from specific peoples—such as the Acholi who live in northern Uganda and southern Sudan, or the Baganda whose centuries-old home is the kingdom of Buganda. Other pieces are suites that link rhythms and phrases from multiple regions, playing with
differences and similarities to combine sounds and movements in new ways. Still others are original works that provide a window into contemporary Uganda today. Thank you for joining us on this journey, and welcome to Uganda!—Peter Kasule
THE PROGRAM EMPISA This a capella duet features guest artist Rachel Magoola and longtime company member Rajab Basoga. Praising the value of the social cultural norms that keep the values of society alive, a mother tries to rein in her precocious son who fancies the high life offered by all that he thinks is modern. In this generational battle of ideas, can you be good and cool at the same time? BWOLA Bwola is considered the most important traditional dance of the Acholi people in the Kitgum region of northern Uganda. Originally, it was performed only on orders of the chief. The men carry drums and play intricate rhythms while dancing; the movement of their feet matches rhythmically with the beating of their drums. The dance’s leader moves independently and sets the tempo. He is considered a very important person and traditionally was among the few people the community allowed to wear a leopard skin. BUGWANJUBA This suite of dances from the land “where the sun sets” reflects an exchange of dance movements between the Lugbara of Uganda and their neighbors to the west in the Democratic Republic of the Congo. encore art sprograms.com 17
SPIRIT OF UGANDA Musically, the suite features the adungu, a nine-stringed plucked harp. We see and hear new sounds and rhythms that have emerged from this West Nile region fused with sounds of Kampala, Uganda’s capital city.
Featuring the kora, a long-necked lute, Rachel Magoola and Jimmy Ayo sing this tale of betrayal when the one in whom you put all your trust betrays you and breaks your heart.
KYEMULI KYETWAALI, KYETULI KYEMULIBA showcases the boy’s drumming skills in a selection of African rhythms, signifying Uganda’s ability to welcome and celebrate all the goodness of Africa.
OBUTEBENKEVU (BALANCE) Past and present meet in this bravura showcase for the girls as they perform while balancing traditional clay pots on their heads. The moves are from dances now popular in the streets, clubs and festivals of Uganda. The music is by company member Jimmy Ayo, and the song’s lyrics encourage us to “listen to the sweet sounds and pitches of the African drums, and how well they are played.” EMAALI This traditional song celebrates the birth of a girl in the family—an auspicious and welcome occasion. In Uganda, when a girl gets married, the groom’s family makes a financial tribute to the bride’s family. Guest artist Rachel Magoola takes the vocal lead. O RUNYEGE Originally a courtship dance of the Banyoro and Batooro people of southeast Uganda, this exuberant and demanding dance gives everyone a chance to show their individual talents. In the past, young men and women would be brought together in front of the community to choose their future mates. This ceremony was a critical event, especially for the boys, since bad dancers risked remaining bachelors. The girls were expected to dance well in return, exhibiting pluck, style and grace. INTERMISSION BAKISIMBA is a traditional dance of the court of Buganda, the largest ethnic group of Uganda. Originally performed only by women, it celebrates the creation of banana wine for the king. The drummers’ rhythms and the dancers’ movements mirror the king’s words 18 MONDAVIARTS .ORG
of thanks, “speaking” for him and reflecting his increasingly celebratory mood.
LARAKARAKA In northern Uganda near the Sudanese border, Larakaraka has become a rallying cry and therapeutic dance for those who have been abducted by rebels of the Lord’s Resistance Army (LRA). Derived from an Acholi courtship dance, this piece is accompanied by rhythms pounded out on gourds struck with bike spokes to attract attention. Gourds or calabashes are multipurpose vessels used to fetch water, sat upon as stools, and held overhead to limit the effects of the hot sun; mothers will lightly tap out rhythms on them to console crying babies on their backs and help them fall asleep. AMANYI GA’ABAKYAALA (STRENGTH OF A WOMAN) The girls display their drumming prowess as they shift from one complex rhythm to the next with ease and power—an apt metaphor for successfully completing the many tasks they juggle each day.
ENSI ENO The large, long xylophone, the embaire, takes center stage. In this parable, guest artist Rachel Magoola encourages us to avoid procrastinating and get down to the business of sustaining ourselves and families. She chides those who engage in idle gossip, intrigue and envy against those that work and make their lives better. She encourages people to focus on what they can do to better their lot and stop tearing each other down. OLELE Peter Kasule leads the youngest girls in the troupe in popular and free-spirited children’s songs. OBANGAINA Rachel Magoola and the Afrigo Band brought Ugandan pop to an international audience in the late 1990s and this hit song remains one of Uganda’s most popular. Rachel narrates the anguished story of a woman whose husband has been unfaithful to her. The wife complains about her husband’s wasting of the family resources supporting his mistress, Margaret. He forgets his family and spends time with Margaret, thinking only of himself. When this song was first released it struck a chord of recognition as infidelity led to the rapid spread of HIV in Uganda. Many Ugandans interpreted the song to also refer to the wasting of government resources by corrupt officials to satisfy their greed.
NIYE Jimmy Ayo’s original song of praise champions faith to overcome temptation, provide salvation from suffering and to set the righteous before the almighty God. KITAGURIRO originates with the nomadic Banyankole of western Uganda, who cherish the cattle that they tend to for a living. This dance praises the long-horned cows of Ankole and Rwanda—found nowhere else on earth. The dancers emulate the sounds, rhythms and the movements of the graceful cows. The omukuri, a flute used to herd the cattle, is featured here. JOWA Jimmy Ayo’s call to all people to work for peace, harmony and development in the face of apathy and complaint driven by poverty and war reunites the entire troupe.
WHO’S WHO PETER KASULE (Artistic Director) is a musician, composer and choreographer. The founding Artistic Director of Spirit of Uganda, Kasule researches, creates, and arranges all repertory; he casts and rehearses the troupe, and produces the company’s music recordings. Peter Kasule was born in Kampala, Uganda in 1981. Having lost his parents to AIDS, he lived at the Daughters of Charity Orphanage from 1989–96. In 1994, Kasule traveled to Germany for the International Children’s Festival where his dance troupe was awarded Best Performers. In 1996 he accepted an invitation from Alexis Hefley to attend Booker T. Washington High School for the Performing and Visual Arts in Dallas where he established himself as an award-winning musician. Supported by Empower African Children’s US Scholarship Program, Kasule earned a degree from the College of Santa Fe in 2007 in music technology, with a focus on composition and recording and an interest in blending African and Western music. After graduation, he worked at the World Bank in Washington, D.C., as an audio/visual engineer. Kasule was an original member of the Children of Uganda company and served as that group’s director from 2004–06. In addition to overseeing all of Empower African Children’s artistic initiatives, Kasule is involved in developing other opportunities for young Ugandans. He partners with Father Joseph Luzindana, working as a sound technician during retreats and other
religious events. He is also the sound technician at the YES Center (Youth Encountering the Savior). Kasule has established a recording studio in Kampala. As a producer, performer and DJ, his work is seen and heard throughout Uganda. Kasule is married and father to two children.
RACHEL MAGOOLA (Guest Artist) A musical icon, Rachel Magoola’s voice embraces the many roots and influences that make up contemporary Uganda. Her original compositions reflect the richness of her country’s cultural heritage embedded in a modern sound. Born and raised by music teacher parents, Magoola spent much of her youth learning and performing traditional songs and dances from all over Uganda. In 1989, qualified as a music teacher, Magoola launched two simultaneous careers: weekdays on the faculty of Namasagali College and Kaliro Primary Teacher’s College and weekends as a singer with Afrigo, Kampala’s best known band. Magoola honed her vocal and songwriting skills with Afrigo. In turn the band was enriched by her knowledge of Ugandan musical traditions. The mix of traditional and global forms along with lyrics in various local dialects imbued her sound with a distinctive East African authenticity. Her talents produced many of Afrigo’s top hits of the 1990s and early 2000s including “Obangaina,” which put Ugandan pop on the world music map. Ready to focus on her own work, Magoola left Afrigo in 2002. Along with performing and recording, she hosted radio shows and produced videos for Ugandan TV. She has toured abroad both with Afrigo and on her own including a long stint in London appearing at clubs and other venues such as Royal Festival and Queen Elizabeth Halls. Magoola has created six solo albums including Songs from the Source of the Nile (2006) and Eisadha (2008). Magoola wrote “Take Me As I Am” for the Sickle Cell Association of Uganda and “I Am Not a Toy” for the girl education movement. She is the “Voice of Hospice Uganda” and on the organizing committee for Miss Tourism 2013. She continues to write and perform, often guesting with the Afrigo Band. She also heads the primary school and teacher’s college originally started by her parents in Iganga.
Encore Arts Programs is proud to be part of the world-class performances at the Mondavi Center for the Performing Arts.
ALEXIS HEFLEY is the Founder and President of Empower African Children and producer of Spirit of Uganda. Recognized internationally for her work with vulnerable children in Africa, Hefley
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SPIRIT OF UGANDA first traveled to Uganda in 1993, where she lived and worked with AIDS orphans in Kampala for 18 months before returning to the U.S. to found Uganda Children’s Charity Foundation. She led that organization for 10 years before launching Empower African Children in 2006. Hefley initiated and produced Children of Uganda, the award-winning and critically acclaimed performing arts company that introduced millions of Americans to East
Africa’s rich cultures and markedly raised awareness of the impact of AIDS and war. Hefley’s dedicated approach, passionate advocacy, innovative thinking and extensive experience are at the center of Empower African Children. Working in partnership with individuals, government agencies, public institutions and corporations in the U.S. and Uganda, she has developed and successfully implemented a wide range of programs to
THE COMPANY KULUTHUM AKETCH (age 16) Born in Kampala as the youngest of four children, Aketch has been cared for by a paternal aunt following the deaths of her parents. An outstanding student, she is in Senior 3 (10th grade) at Taibah International School. Her favorite subjects in school are math and textiles and she aspires to be a fashion designer in the future. Kuluthum joined EAC in 2012; this is her first tour with Spirit of Uganda.
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support thousands of Ugandan children and their families. In 2004, Ugandan President Yoweri Museveni presented Alexis with the Ugandan North American Association’s Philly Bongole Lutaaya award for her leadership role in increasing AIDS awareness. In 2013 Hefley received the “Women Who Give Hope” award from Chiapas International.
- Member, Crocker Art Museum’s Board of Directors - Chair, Arts & Antiquities Committee for a private organization - Nominee, Individual Leadership in the Arts, Sacramento Arts & Business Council
Mastering the fine art of estate & investment planning.
As a true lover of the arts, I get joy from volunteering over 300 hours annually to various arts-related organizations in the capital region. That same passion I have for the arts I apply to my work as Trust Manager at First Northern Bank.
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JIMMY AYO (age 18) joined EAC in 2009 and toured with Spirit of Uganda in 2010 and 2012. He just completed high school and will head to university next fall. He would like to become a lawyer, musician and producer. He particularly likes to play the adungu (plucked harp), and is a prolific composer. Originally from Adyegi, a village in northern Uganda, Ayo lost his father in 1995 in the rebel war. He hopes the audience will remember him by his sweet voice and friendly demeanor. RAJAB BASOGA (age 20) comes from Nakisenyi in eastern Uganda and is the fifth of 13 children. His father makes chapati (flat bread); his mother cooks in a restaurant. Basoga joined EAC in 2007 and toured to the USA with Spirit of Uganda in 2008, 2010 and 2012. He is in Senior 4 (11th grade) at Taibah College School where he is a top student in his class. Basoga loves dancing, singing and drumming—talents that run in his family. He hopes audiences will remember him for his unique and powerful voice. It is often said that he never needs a microphone. Basoga hopes to become a choreographer. FRANK ISABIRYE (age 19) Before joining Empower African Children in 2011, Isabirye lived with his parents, who are subsistence farmers, a grandfather and six siblings in a small, two-room house. He in Senior 4 (11th grade) at Taibah International School, where he is an eager
learner and exhibits great leadership skills. This is his first tour with the Spirit of Uganda.
ANTHONY KIRANDA (age 18) joined EAC in 2009. He plays the xylophone and the tube fiddle and toured with Spirit of Uganda in 2012. Kiranda’s parents are subsistence farmers in the village of Nakisenyi in eastern Uganda, where his three siblings also live with other members of his extended family. Kiranda is in Senior 3 (10th grade) at Taibah International School where his favorite subjects are math and science. He hopes to become an accountant. He is excited about being an ambassador for Uganda as a member of Spirit of Uganda for the second time. SHARON KYOMUGISHA (age 18) is the second eldest of four children all of whom live in the village of Lungujja in Kampala. She lost her father to HIV/AIDS; her HIV-positive mother cares for the family. Kyomugisha joined EAC in 2009 and toured with Spirit of Uganda in 2010 and 2012. She graduated from high school in December 2013 and will begin university next fall. Kyomugisha plans to become a journalist because she likes to find out about and share other people’s stories and experiences. GEORGE LUKWAGO (age 19) loves to communicate through music and hopes the people he meets on this tour will remember him as the most disciplined performer. Orphaned at an early age, Lukwago has five siblings and is originally from the Masaka District in central Uganda. Lukwago joined EAC in 2011 and will begin university next fall. He would like to become a statistician and an entrepreneur. Lukwago toured with Spirit of Uganda in 2012. TONNY LWERERE (age 16) is one of four children whose parents earn a modest income through farming and working in a shop. Lwerere joined Empower African Children in 2011 and attends Taibah International School. He is in Senior 5 (11th grade). Lwerere is a great dancer and wonderful public speaker. This is his first tour with Spirit of Uganda.
BERNARD MUWONGE (age 16) joined Empower African Children in 2011 and is excited to be on his first tour with Spirit of Uganda. He is in the Senior 4 (11th grade) at Taibah International School where he was selected Class Leader last term and now heads up the Chess Club. His favorite subject
is math. Muwonge and his two siblings live in the Masaka District in central Uganda with their mother who is a tailor; their father died in a motor accident in 2007. He would like to become a chess player and a fashion designer.
BETTY NABAWEESI (age 15) is the oldest of six children. She lost her father in 2009, and her mother struggles to maintain the family and their single room house. Nabaweesi is now in Senior 4 (11th grade) at Taibah International School where she takes initiative as a leader. This is her first tour with Spirit of Uganda. YUDAYA NABBANJA (age 14) is the sixth of eight children. Prior to joining EAC in 2009, she lived in Sonde near Kampala with her paternal aunt and four siblings. She is an excellent student and leader in her Senior 3 (10th grade) class at Taibah International School, and hopes to become a surgeon. Nabbanja toured with Spirit of Uganda in 2010 and 2012. FAITH RUTH NABUKENYA (age 13) comes from Nakasongola District in central western Uganda. She is the eldest of five children. Her mother cleans offices. Her father moved back to the village in search of work, and is rarely home. Nabukenya joined EAC in 2011, and is in Senior 1 (8th grade) at Taibah International School. Nabukenya is a beautiful dancer with captivating eyes and smile, and first toured the USA with Spirit of Uganda in 2012. She hopes to become a business owner. JOYCE NAGUJJA (age 16) Joyce joined EAC in 2011 and toured with Spirit of Uganda in 2012. She and her six siblings have lived with her aunt in Makindye, a suburb of Kampala since her parents’ deaths. Nagujja is in Senior 4 (11th grade) at Taibah International School where she is a leader among her peers. She loves large groups of people, and is looking forward to performing in front of big audiences. She would like to be a bank manager in the future. PERCY NAKAGGWA (age 17) joined EAC in 2009, toured with Spirit of Uganda in 2010 and 2012 and is now in Senior 3 (10th grade) at Taibah International School. She is a very interested in academics; math and English are her favorite subjects. She also loves music and reading, and enjoys dancing. Her athletic abilities enabled her to be elected as the sports prefect for her class. Nakaggwa lives with a widowed paternal grandfather and many cousins in
Kawunguli, the southern Ugandan Rakai District. Nakaggwa lost both her parents to HIV/AIDS in 2000. She hopes to become a doctor.
DONATINA NAKIMULI (age 13) comes from the Rakai District where her father is a primary school teacher in Sanje and her mother a subsistence farmer. She is the fifth of nine children. Nakimuli joined Empower African Children in 2009 and toured with Spirit of Uganda in 2010 and 2012. Now in Primary 7 (7th grade) at Taibah Junior School, Nakimuli loves school; her favorite subject is English. She would like to become a nurse so that she can cure people of their illnesses. SYLVIA NAMAGANDA (age 19) The eldest of eight siblings, Namaganda joined Empower African Children in 2009 and is on tour with Spirit of Uganda for the first time. Her parents are subsistence farmers. She is in Senior 3 (10th grade) at Taibah International School. Namaganda is very compassionate and a good listener. Her favorite subject is math. MIRIAM NAMALA (age 15) joined EAC in 2007 and is a founding member of Spirit of Uganda. She toured to the USA with the company in 2007, 2008, 2010 and 2012. The second of four children, Miriam is from Mmanya in Rakai, in southern Uganda. Her mother is a subsistence farmer. Namala is in Senior 4 (11th grade) at Taibah International School. She is very confident and almost always happy. She enjoys games and traveling abroad as well as dancing and singing especially when it makes audiences happy too. Namala hopes to become an architect. JOHN BAPTIST NYANZI (age 19) joined Empower African Children in 2011. One of eight children, his father works as a farmer, and his mother sells handmade crafts. Both of his parents suffer from health problems. Nyanzi is a very smart young man who just completed his final year at Taibah International School. This is his first tour to the USA with Spirit of Uganda. BRIAN ODONG, (age 21) joined EAC in 2007, is a founding member of Spirit of Uganda and toured with the company in 2007, 2008, 2010 and 2012. He is from Gulu in northern Uganda, an area adversely affected by the LRA insurgency for more than two decades. The youngest of four children, Odong lost his mother at birth; his father was killed by rebels in 2004. He recently encore art sprograms.com 21
SPIRIT OF UGANDA completed high school at Taibah International School and hopes to become a sound engineer. He loves to perform because it’s the best way he can express his feelings and touch peoples’ lives. Odong enjoys helping others, making friends, singing, swimming, basketball and soccer.
IVAN OGAMBO (age 16) is one of five children and lived in a one-room house with his mother and siblings before joining Empower African Children in 2011. Ogambo’s father died when he was 6 years old. His mother braids hair and babysits for her neighbors, but never has a consistent source of income. With the support of EAC, Ogambo is in Senior 4 (11th grade) at Taibah International School. He is a very bright young man. This is his first tour with the Spirit of Uganda. HASSAN ONEGU-RWOTH (age 16) is from Kampala. He and his four siblings lost their father in 2007; his mother sells produce in the city. OneguRwoth joined Empower African Children in 2012. Bright and motivated, he is in Senior 3 (10th grade) at Taibah International School. Onegu-Rwoth loves sports and hopes to become a journalist.
STAFF DAVID KASATA (Assistant to the Artistic Director) began performing at the age of 6 in a group founded by his father, Kigenyi Kasata. As a dancer and instrumentalist, he toured with various Ugandan performing arts groups to the Netherlands, Belgium, Germany, Denmark, Austria, France and Japan. When he is not training Spirit of Uganda performers, Kasata teaches dance in schools around Kampala. He has assisted Artistic Director Peter Kasule since 2006. Kasata has a wife and two children. PETER MUGGA (Audio Supervisor & Assistant Production Manager) An accomplished composer, multi-instrumentalist, sound engineer and educator, Mugga is an original member of Spirit of Uganda and a graduate of Santa Fe University of Art and Design under Empower African Children’s Scholarship program. Mugga plays various genres of music and his wide-ranging skills are in demand. Just recently Mugga opened for Public Enemy and he was also a guest artist at the 2013 Carnival of Steel at Richland College (TX). Peter co-produced and engineered Spirit of Uganda’s 2012 and 2014 tour CDs. Today, Mugga’s on-stage and engineering work continues to add to his experience and further his goals of sharing, 22 MONDAVIARTS .ORG
preserving and strengthening his culture through music performance, education and technology.
DAN OZMINKOWSKI (Lighting Designer) Ozminkowski has collaborated with Spirit of Uganda since 2008. Regional: Treasure Island – A New Musical (Arkansas Repertory Theatre); Let Me Down Easy (Arena Stage, Wexner Center, Philadelphia Theatre Company, San Diego Rep, Berkeley Rep). NYC: A Celebration of Maurice Sendak with Tony Kushner (92Y); If You Could See (o/o Broadway); To Walk in Darkness & B*tch (o/o Broadway); Amanda Selwyn Dance Theatre (4 seasons). Summer: Merry-Go-Round Playhouse (Four Musicals). Associate/Assistant: A Night With Janis Joplin (Broadway); One Night With Janis Joplin (Arena Stage, Pasadena Playhouse, Milwaukee Rep); Impressionism (Broadway); Le Reve (Wynn, Las Vegas); The Ritz (Broadway); Jennifer Muller / The Works (Brazil); Foxfire & Private Lives (Utah Shakespeare). Nominated, Barrymore PECO Award 2011. USA 829. B.F.A Theatre Design/Technology, Purchase College. RUKIA NALWOGA (Teacher and Spokesperson) previously traveled to the USA with Spirit of Uganda in 2012, when she first visited many of the actual locations about which she had previously taught lessons in theory. As a Geography, History and Religious Studies teacher at Taibah International School for nearly a decade, Nalwoga focuses primarily on upper level students (ages 14-19). She graduated with a bachelor’s degree from Makerere University. As the eldest daughter in her family, she takes her responsibilities seriously and successfully guides and supports five younger sisters. Seeing a great need in her Kampala neighborhood, she is now looking after the small children of two families who were in serious need. “They were underfed and undressed and generally looked miserable. I have changed their well being and they now have hearty laughs, dress well, and play happily.” Nalwoga strongly believes in children taking ownership of their learning and making responsible choices within a structured and supportive environment. She enjoys meeting people, traveling and history. LIBBY NICHOLS (Company Manager) is the Operations Manager for Empower African Children in Dallas. After graduating from the University of Texas at Austin, Nichols joined EAC as a volunteer on the 2010 Spirit of Uganda tour; she served as Company Manager for the 2012 tour. Nichols has traveled to Uganda
every summer since 2009 and takes a lead role in coordinating EAC’s Visitors’ Program, during which Americans travel to Uganda for research, to provide hands on support, and to learn directly about this nation’s people and culture.
TOUR STAFF Peter Kasule, Artistic Director Rachel Magoola, Guest Artist Dan Ozminkowski, Lighting Designer & Production Manager David Kasata, Assistant to the Artistic Director Peter Mugga, Audio Supervisor and Assistant Production Manager Sandy Siu, Scenic Designer Rukia Nalwoga, Teacher and Spokesperson Libby Nichols, Company Manager Costumes designed by David Kasata and Mariah Nakitto, and made by Mariah Nakitto and Company, Kampala, Uganda. Photos by Dan Ozminkowski, Doug Menuez. TOUR COMMITTEE Kate Kingman (Chairperson); Donna Malouf, Anne O’Brien, Teddy Namirembe Miti, Cecilia Nipp, Amy Steurer, Monica Wommack TOUR MANAGEMENT Lisa Booth & Deirdre Valente, Lisa Booth Management, Inc., NYC PRODUCER
EMPOWER AFRICAN CHILDREN
PO Box 141226 Dallas, TX 75214 www.EmpowerAfricanChildren.org EMPOWER AFRICAN CHILDREN IS A REGISTERED 501(C)3 NONPROFIT ORGANIZATION.
Alexis Hefley, Founder and President; Donna Malouf, Co-Founder; Jeremy Phillips, Executive Director; Libby Nichols, Operations Manager, Dallas PARTNERS UGANDA: J.E. Nsubuga & Associates; Taibah International School, Great Lakes Safaris; White Lines Shuttle Services USA: Quentin Faust, Andrews and Kurth, LLP: General Counsel; Darrell Harris, Microbooks Management: Accountant; Bryan Young, Graphic Designer; Betsy del Monte: Architect, Ursuline Academy of Dallas; The Parish Episcopal School; Babson College, The Greenwood School, Wynne Motorcoaches, LLC
Copyright © UC Regents, Davis campus, 2013. All Rights Reserved.
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A Dance Series Event Tuesday, February 4, 2014 • 8PM THERE WILL BE ONE INTERMISSION.
INDIVIDUAL SUPPORT PROVIDED BY
Mary B. Horton Question & Answer Session With members of Grupo Corpo Q & A SESSION MODERATOR
Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center, UC Davis Ruth Rosenberg is the artist engagement coordinator for the Mondavi Center, UC Davis, overseeing residencies by touring artists, preperformance talks and Q&A sessions with the artists. She has organized indepth residencies with such artists as St. Louis Symphony, Delfeayo Marsalis, ABT II and the Merce Cunningham and Limon dance companies. Previously, she served as professional development coordinator for the Mondavi Center, managing the Center’s Kennedy Center Partnership in Education with Elk Grove Unified School District and a partnership with Shakespeare’s Globe Theater in London. From 2001–07, Ruth served as the arts stabilization consultant for the Sacramento Metropolitan Arts Commission. Rosenberg started her career as a dancer. Artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990–2001, she also performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco. She was the recipient of numerous awards and honoraria, including a Dance Fellowship and five choreography grants from the Sacramento Metropolitan Arts Commission. In 2008, she was included in Sacramento Magazine’s Power & Influence 100 and named a finalist for the Arts & Business Council’s Individual Leadership award.
GRUPO CORPO JUNIPER SHUEY
GRUPO CORPO Artistic Director Paulo Pederneiras
Technical Coordinator Gabriel Pederneiras
Choreographer Rodrigo Pederneiras
Technicians André Pederneiras, Átilla Gomes, Eustáquio Bento, Stefan Bottcher
Rehearsal Director Carmen Purri Technical Director Pedro Pederneiras Dancers Alberto Venceslau, Andressa Corso, Carol Rasslan, Carolina Amares, Dayanne Amaral, Edson Hayzer, Elias Bouza, Filipe Bruschi, Gabriela Junqueira, Grey Araújo, Helbert Pimenta, Janaina Castro, Lucas Saraiva, Malu Figueirôa, Mariana do Rosário, Rafael Bittar, Rafaela Fernandes, Sílvia Gaspar, Uátila Coutinho, Victor Vargas, Williene Sampaio, Yasmin Almeida Choreographic Assistants Ana Paula Cançado, Carmen Purri, Miriam Pederneiras Ballet Mistress Bettina Bellomo Pianist Anna Maria Ferreira GRUPO CORPO IS SPONSORED BY
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Wardrobe Assistants Alexandre Vasconcelos, Maria Luiza Magalhães Administrator Marcelo Cláudio Teixeira Administrative Manager Kênia Marques Administrative Assistant Marcel Gordon Firing Secretary Flávia Labbate Documentation Cândida Braz Communication Cristina Castilho Social Media Ana Paula Oliveira Program Coordinator Cláudia Ribeiro Production Patrícia Galvão Production Assistant Michelle Deslandes
GRUPO CORPO PROGRAM ÍMÃ (2009)
SEM MEM (2011)
Choreography by Rodrigo Pederneiras
Choreography by Rodrigo Pederneiras
Music by Carlos Núñes and José Miguel Wisnik (on songs by Martín Codax)
Music by + 2 (Moreno Veloso, Domenico Lancelotti, and Alexandre Kassin)
Set Design & Lighting by Paulo Pederneiras
Set Design & Lighting by Paulo Pederneiras Costume Design by Freusa Zechmeister The principles of interdependence and complementarity that govern human relationships serve as choreographer Rodrigo Pederneiras’s point of departure for the creation of ímã. Smooth and vital, trivial and strange, the piece by Grupo Corpo is marked by the stage’s constant alternation between full and empty. Solos, duos and smaller and larger groups form and dissipate throughout in an incessant game of union and dispersion. The soundtrack composed by + 2, a trio made up of Moreno Veloso, Domenico Lancelotti and Alexandre Kassin, superimposes tones and textures of a wide range of diverse instruments—guitar and ocarina, or synth and cuíca—to journey through abstract themes that are essentially melodic or typically electronic, revealing influences that range from bossanovista João Donato to 1970s Afro-music icon Fela Kuti, visiting contemporary Japanese multiinstrumentalist Cornelius along the way. Using seven-color LEDs that were recently released by an American company, Paulo Pederneiras creates a new scenic spatiality where volume and texture acquire an “ethereal materiality” because they are made of pure light. The whole, almost bucolic tones at the beginning of ímã lead to an explosion of color that is violent, radical, exuberant, producing unusual almost always dissonant combinations between them or in intense dialogue with Freuza Zechmeister’s costumes. This poetry of polarities, molded by the magic that lurks in the convergent of the divergent, the juxtaposition of the disparate, the excitement that surrounds the friction, imparts a mixture of strangeness and indescribable beauty.
Costume Design by Freusa Zechmeister The sea (of Vigo), that carries away and brings back the lover, the friend, gives life and movement to sem mim (without me). The ballet is rocked and soothed by the original score composed by Carlos Núñez, of Vigo, and José Miguel Wisnik, of Brazil, and based on the only set of pieces from the medieval Galician Portuguese secular songbook that has come down to us with its scores intact: the celebrated “sea of Vigo song cycle” by Martín Codax. In the seven songs, dating from the 13th century, the poet always expresses the voice of the woman, or more specifically, the voice of maidens in love that weep the absence or celebrate the imminent return of the loverfriend. Anxious to be reunited, they confide at times in the sea, at times in the mother, at times in friends. And, to appease or excite their desire, they go bathing in the waves of the sea of Vigo. The lyrics of this medieval troubadour lead Rodrigo Pederneiras to mark his moving score with the interchange between calm and fury and with the ebb and flow of the waves and also to (re) produce, in the posturing on stage, the separation between feminine and masculine, where one always complains of the absence of the other, in choreography portraying the constant flux of advances and retreats and the recurrence of sinuous or abrupt movements of the torso. From the combination of a geometric shape (an enormous, empty aluminum square) with an organic shape (meters and meters of a synthetic fabric made to provide shade for crops), both of which can be manipulated vertically, Paulo Pederneiras constructs a metamorphic set that transfigures during the show to represent different landscapes and elements: sea, mountains, clouds, boat, fishing net, dawn. On finely knit unitards, dyed to match the skin color of each dancer, Freusa Zechmeister applies inscriptions and textures based on ornaments from the Middle Ages, transforming the dancers’ bodies into media conveying all the symbology of the era, and creating the illusion that the scene is populated by men and women “au naturel,” whose “nudity” is only covered by one of the most archaic signs of maritime imagination: the tattoo.
The Mondavi Center Thanks Andrew W. Mellon Foundation’s Support of Initiatives in
ince 2012, the Andrew W. Mellon Foundation has supported the Mondavi Center in initiatives to engage audiences more deeply with Classical Music. These have included activities by composers, symphonic and other classical musicians in residence to connect with community members and UC Davis students, not only in the concert hall but in schools, senior centers and dorms. Projects to re-work traditional concert formats, such as our cabaret-style “Studio Classics” also have received Mellon’s generous support. Through this grant, we have been able to develop the Aggie Arts internship program, an in-depth experience in arts leadership training for UC Davis students. At the Mondavi Center, we believe in the power of classical music and the musicians who create it and are deeply appreciative of the Mellon Foundation’s support of these programs to tap into that power.
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From the Ground Up
A Marvels Series Event Saturday, February 8, 2014 • 8PM Sunday, February 9, 2014 • 3PM PERFORMERS
Hazel Bock Jeremy Davies Tom Davis Spenser Inwood Kai Johnson-Peady Bec Matthews (Musician) Stevee Mills Carl Polke (Musician and Musical Director) Ania Reynolds (Musician) Mark Sheppard Mason West Dale Woodbridge
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Artistic Director and Show Director Mike Finch Senior Circus Artist and Founding Member Tim Coldwell Touring Show Director Ed Boyle Musical Director Carl Polke Production Manager Margaret Murray Touring Production Manager Betty Siemers Lighting Designer Jenny Hector Lighting Technician Tristan Bourke Sound Engineer Joe Ferguson Riggers Beau Dudding, Helen Clifford Stage Manager Anna Pidgeon Operations & Tour Manager Mel Fyfe Set Designer Darryl Cordell Costume Designer Laurel Frank Props Designer/Maker Michael Baxter & David Hope
When Soapbox Circus and the New Ensemble Circus merged in 1978, Circus Oz was born. As one of the world’s very first full-scale contemporary circuses, all the animals involved were human (although suspicious kangaroos and flocks of flying cockatoos have been sighted on stage from time to time). The show grabbed traditional circus skills, like trapeze, juggling and high wire, and flung them together with live music and a blatant disregard for the impossible—to create something entirely original. The critics called it postmodern. The performers kept their tongues firmly jammed in cheeks. Circus Oz, in its combination of hilarity and intelligence, spectacle, irony, beauty and—yes, occasionally dagginess—could only come from Australia. It wears its collective heart on its sleeve, passionately supporting gender equity and social justice but always combined with a good pratfall. In the beginning they were a collective and the company did everything, fixing up the battered old trucks they toured in and sitting down between shows to sew their first canvas tent on borrowed sewing machines. Now they tour with shipping containers, a gang of highly skilled supporting crew, but they have never lost their commitment to that original spirit of multi-skilling and anarchic but disciplined creativity. Circus Oz has struck an acrobatic chord with audiences from Hobart to Arnhem Land, from Fremantle to the Sydney Opera House and all points in between. Since 1980 they have toured to 26 countries across five continents, where in each place, inevitably, audiences have never seen anything quite like it before. They have played sell out seasons on 42nd Street in New York and one-off gigs at refugee camps on the West Bank. They have performed at the Royal Festival Hall in London, in a glass opera house in the Brazilian rainforest, the Tivoli in Copenhagen, in a tent erected in the Plaza de Toros Monumental in Barcelona and another in a walled compound in Bogotá where the crowds almost rioted to get in! As they say, people seemed to like it and one thing led to another.... This show, like every Circus Oz performance in 36 years, will be a once off. When the performers meet the audience and the band kicks into gear, you never know exactly what will happen … that’s the sheer joy of it.
Booking Direction by David Lieberman, Artists Representative Post Office Box 10368 Newport Beach, CA 92658 714-979-4700 email@example.com
CIRCUS OZ PERFORMER BIOS Since she can remember, HAZEL BOCK has always loved being on stage. At the age of 11 she taught herself to juggle and hasn’t looked back since! After training at the National Institute of Circus Arts she went on to perform with CIRCA, Circus Catharsis, Circus Monoxide and New Zealand’s Circus Quirkus. Chocolate is her favorite food group.
JEREMY DAVIES has been a core member of Canberra’s Warehouse Circus, co-founded circus company Kronik and has co-created many independent theatre productions. He runs Melbourne’s major independent circus training space Blue Circus Studios. He has also toured puppetry to 42nd Street New York. This is his second stint with Circus Oz. TOM DAVIS first fell into the circus industry at the age of ten with Arena Theatre and Warehouse Circus in Canberra, where he grew up. He moved to Melbourne to attend NICA from 2008-10, and since then has performed all over Australia, with companies including Solid State Circus and Long Answers to Simple Questions, the latter of which he founded. Tom is the youngest of eight children, and is aware that birth order is in fact a hierarchy.
STEVEE MILLS spent her childhood bouncing on trampolines, hanging from monkey bars and cartwheeling instead of walking. This led to a successful career in gymnastics and a Bachelor of Circus Arts at NICA, which she completed in 2010. Mills lives in Melbourne with her roommate Kostya (a 60kg Mastiff). And she still prefers cartwheeling to walking! Accolades resplendent, CARL POLKE’s unique brand of award-winning musical mayhem has shrieked across companies like Legs on the Wall, Urban Theatre Projects and Flying Fruit Fly Circus. Transcending fashion, form and function, Polke’s sweetly distilled synthesis of intellect and intuition is tonight delivered through The Vehicle of the Guitar Solo!
ANIA REYNOLDS has worked extensively as a composer and musical director for Polyglot Puppet Theatre Company and Westside Circus, in addition to various other theatre companies. As a musician she has performed nationally and internationally with groups including Croque Monsieur, Johnnie and the Johnnie Johnnies, Yana Alana and Tha
Paranas and Papa Chango, and has performed on a paddlesteamer, in a bumblebee suit, at an Olympic Opening Ceremony (in Hamilton) and at a wizards’ convention—although not all at the same time!
MARK SHEPPARD just loves good company and goo-oo-ood laugh. Never one to take himself too seriously, Sheppard is generous with sharing his cultural humor and sensibilities through his performance approach. Gorn gibbiddum den. MASON WEST started at the Flying Fruit Fly Circus at the age of 7. After leaving high school at 16 he moved to New Zealand where he trained and worked as the head rigger for three years at CircoArts. As a performer he has worked throughout New Zealand and even landed a lead role in the BBC production The Lost World. DALE WOODBRIDGE is a Gamilaroi man from Mungindi. He attended ACPA where he majored in dance. Prior to his tertiary studies, Woodbridge was a state gymnast as well as a participant in Circus West. Circus Oz allows him to use all of his skills in the most fabulous way.
SPENSER INWOOD has been following her passion for circus since the age of 8. She trained at the Flying Fruit Fly Circus and has performed aerial acts in Australia and across the globe. Inwood has also taught for Women’s Circus, Circus Oz and the Circus Spot, and had her solo directing debut in May 2013 with the show What Do I Want? (Women’s Circus). KAI JOHNSON-PEADY first started circus in 2001 when he joined The Flying Fruit Fly Circus School at the age of 9. He graduated in 2009 and went on to become an acrobatics coach for their circus. In January, 2012 Kai toured nationally with the school show Bouncing Around. In March 2012, he toured to Bahrain and Colombia with Tom Tom Crew (Strut ‘N Fret). BEC MATTHEWS has recorded and performed with many Melbourne-based bands, musical theatre companies and orchestras. She is currently percussionist, performer, composer and co-musical director for the highly acclaimed cabaret act Yana Alana and Tha Paranas who won six green room awards including Best Ensemble, Original Songs, Musical Direction and Production in 2010. Matthews was previously the musical director for the Women’s Circus. encore art sprograms.com 27
TRUE BLUES Corey Harris An American Heritage Series Event Wednesday, February 12, 2014 • 8PM Pre-Performance Talk True Blues artists in conversation with Julia Simon, Department Chair of French and Italian, Professor of French, UC Davis PRE-PERFORMANCE TALK MODERATOR:
Julia Simon received a BA in French from the University of Northern Iowa, an MA in French from the University of Iowa and a Ph.D. in French literature from the University of California, San Diego. She is a specialist in 18th-century French literature and culture. Before coming to UC Davis, she taught at Emory University, Washington University and The Pennsylvania State University. Professor Simon is the author of Mass Enlightenment: Critical Studies in Rousseau and Diderot, Beyond Contractual Morality: Ethics, Law, and Literature in EighteenthCentury France and, most recently, Rousseau Among the Moderns: Music, Aesthetics, Politics. She is currently working on a book-length study of the poetics of time in the blues. A blues enthusiast and bass player, Professor Simon regularly teaches a humanities course on the Cultural History of the Blues. 28 MONDAVIARTS .ORG
Guy Davis COREY HARRIS is a guitarist, vocalist, songwriter and band leader who has carved out his own niche in blues. A powerful singer and accomplished guitarist, he has appeared at venues throughout the North America, Europe, Brazil, The Caribbean, West Africa, Asia, Australia and New Zealand. He began his career as a New Orleans street singer, travelling throughout the southern U.S. In his early 20s he lived in Cameroon, West Africa for a year, which had a profound effect on his later work. He has recorded many old songs of the blues tradition while also creating an original vision of the blues by adding influences from reggae, soul, rock and West African music. His 1995 recording, Between Midnight and Day, is a tribute to the tradition of acoustic blues. Subsequent recordings, such as Greens From the Garden (1999), Mississippi to Mali (2003) and Daily Bread (2005) show Harris’s maturation from interpreter to songwriter. Some of his imaginative compositions are marked by a deliberate eclecticism; other works stay true to the traditional blues formula of compelling vocals and down-home guitar. With one foot in tradition and the other in contemporary experimentation, Harris is a truly unique voice in contemporary music.
Alvin Youngblood Hart He has performed, recorded and toured with many of the top names in music such as BB King, Taj Mahal, Buddy Guy, R.L. Burnside, Ali Farka Toure, Dave Matthews Band, Tracy Chapman, Olu Dara, Wilco and others. His additional recordings include Fish Ain’t Bitin’ (1996), Vu-Du Menz (with Henry Butler, 2000), Downhome Sophisticate (2002), Zion Crossroads (2007) and blu black (2010). In 2003, Harris was a featured artist and narrator of the Martin Scorcese film Feel Like Going Home, which traced the evolution of blues from West Africa to the southern U.S. In 2007, he was awarded a $500,000 MacArthur Fellowship—commonly referred to as a “genius grant”—from the John D. and Catherine T. MacArthur Foundation. The annual award, which recognizes individuals from a wide range of disciplines who show creativity, originality and commitment to continued innovative work, described Harris as an artist who “forges an adventurous path marked by deliberate eclecticism.” That same year, he was also awarded an honorary doctor of music degree from Bates College, in Lewiston, Maine. Whether GUY DAVIS is appearing on Late Night With Conan O’Brien or nationallysyndicated radio programs such as Garrison
TRUE BLUES Keillor’s, A Prairie Home Companion, Mountain Stage or David Dye’s, World Café, or in front of 15,000 people on the main stage of a major festival, or teaching an intimate gathering of students at a Music Camp, Davis feels the instinctive desire to give each listener his all. His all is the blues. The routes, and roots, of his blues are as diverse as the music form itself. It can be soulful, moaning out a people’s cry, or playful and bouncy as a hay-ride. Davis can tell you stories of his greatgrandparents and his grandparents, their days as track linemen, and of their interactions with the infamous KKK. He can also tell you that as a child raised in middleclass New York suburbs, the only cotton he’s picked is his underwear up off the floor. He’s a musician, composer, actor, director and writer. But most importantly, Guy Davis is a bluesman. The blues permeates every corner of Davis’s creativity. Throughout his career, he has dedicated himself to reviving the traditions of acoustic blues and bringing them to as many ears as possible through the material of the great blues masters, African American stories, and his own original songs, stories and performance pieces. His influences are as varied as the days. Musically, he enjoyed such great blues musicians as Blind Willie McTell (and his way of story telling), Skip James, Manse Lipscomb, Mississippi John Hurt, Elizabeth Cotton, and Buddy Guy, among others. It was through Taj Mahal that he found his way to the old time blues. He also loved such diverse musicians as Fats Waller and Harry Belafonte. His writing and storytelling have been influenced by Zora Neale Hurston, Garrison Keillor and by the late Laura Davis (his 105-year-old grandmother). Davis’s creative roots run deep. Though raised in the New York City area, he grew up hearing accounts of life in the rural South from his parents and especially his grandparents, and they made their way into his own stories and songs. Davis taught himself the guitar (never having the patience to take formal lessons) and learned by listening to and watching other musicians. One night on a train from Boston to New York he picked up finger picking from a ninefingered guitar player. Throughout his life, Davis has had overlapping interests in music and acting.
Early acting roles included a lead role in the film Beat Street opposite Rae Dawn Chong and on television as Dr. Josh Hall on One Life to Live. Eventually, Davis had the opportunity to combine music and acting on the stage. He made his Broadway musical debut in 1991 in the Zora Neale Hurston/Langston Hughes collaboration Mulebone, which featured the music of Taj Mahal. In 1993 he performed off-Broadway as legendary blues player Robert Johnson in Robert Johnson: Trick the Devil. He received rave reviews and became the 1993 winner of the Blues Foundation’s “Keeping the Blues Alive Award” presented to him by Robert Cray at the W.C. Handy Awards ceremony. Looking for more ways to combine his love of blues, music, and acting, Davis created material for himself. He wrote In Bed with the Blues: The Adventures of Fishy Waters—an engaging and moving one-man show. The off-Broadway debut in 1994 received critical praise from The New York Times and the Village Voice. Davis’s writing projects have also included a variety of theatre pieces and plays. “Mudsurfing,” a collection of three short stories, received the 1991 Brio Award from the Bronx Council of the Arts. “The Trial” (later renamed “The Trial: Judgement of the People”), an anti-drug abuse, one-act play that toured throughout the New York City shelter system, was produced off-Broadway in 1990 at the McGinn Cazale Theater. Davis also arranged, performed and co-wrote the music for an Emmy- winning film To Be a Man. In the fall of 1995, his music was used in the national PBS series “The American Promise.” Davis also performed in a theater piece with his parents, actors/writers Ruby Dee and the late Ossie Davis, titled “Two Hah Hahs and a Homeboy,” staged at the Crossroads Theatre in New Brunswick, New Jersey in the spring of 1995. The show combined material written by Davis and his parents with music, African American folklore and history, as well as performance pieces by Hurston and Hughes. Of Davis’ performance, one reviewer observed that his style and writing “sounds so deeply drenched in lost black traditions that you feel that they must predate him. But no, they don’t. He created them.” For the past decade, Davis has concentrated much of his efforts on writing, recording and performing music. In the
fall of 1995, he released his Red House records debut Stomp Down Rider, an album that captured Davis in a stunning live performance. The album landed on top lists all over the country, including in the Boston Globe and Pulse magazine. Davis’ next album, Call Down the Thunder, paid tribute to the blues masters, but leaned more heavily towards his own powerful originals. The electrifying album solidified Davis’ position as one of the most important blues artists of our time. It too was named a top ten album of the year in the Boston Globe and Pulse, and Acoustic Guitar magazine called it one of the “thirty essential CDs from a new generation of performers.” Davis’ third Red House disc, You Don’t Know My Mind, which includes backing vocals by Olu Dara, explodes with passion and rhythm, and displays Davis’s breadth as a composer and powerhouse performer. It was chosen as Blues Album of the Year by the Association For Independent Music. The San Francisco Chronicle gave the CD four stars, adding, “Davis’s tough, timeless vocals blow through your brain like a Mississippi dust devil.” Charles M. Young summed up Davis’s own take on the blues best when he wrote his review in Playboy magazine: “Davis reminds you that the blues started as dance music. This is blues made for humming along, stomping your foot, feeling righteous in the face of oppression and expressing gratitude to your baby for greasing your skillet.” Davis’s fourth album was, Butt Naked Free, the first of all of the albums since that have been produced by John Platania, former guitarist for Van Morrison. In addition to John on electric guitar, it includes musician friends such as Levon Helm (The Band), multiinstrumentalist, Tommy “T-Bone” Wolk (Hall & Oates, Carly Simon, Saturday Night Live Band), drummer Gary Burke (Joe Jackson), and acoustic bassist, Mark Murphy (Walt Michael & Co., Vanaver Caravan). Of the fifth album Give in Kind, music critic Dave Marsh wrote “Davis never loses sight of the blues as good-time music, the original forum for dancing on top of one’s sorrows. Joy made more exquisite, of course, by the sorrow from which it springs.” It was this album that caught the ear of Ian Anderson, founder and lead singer of one of Rock & Roll’s greatest bands, Jethro Tull, who invited Davis to open for them during the summer of 2003. He wrote in encore art sprograms.com 29
his invitation “Folk Blues (Sonny Terry, J.B. Lenoir) is where I started. Hearing Davis is like coming home again.” Chocolate to the Bone, Davis’s sixth album, came with more accolades and acclaim— including a W.C. Handy award nomination for “Best Acoustic Blues Album.” In fact, Davis has been nominated for nine Handy Awards over the years including “Best Traditional Blues Album,” “Best Blues Song” (“Waiting On the Cards to Fall”) and as “Best Acoustic Blues Artist” two times. His latest album, Legacy, was picked as one of the Best CDs of the Year by NPR, and the lead track on it, “Uncle Tom’s Dead” was chosen as one of the Best Songs of the Year. This of course is ironic as FCC rules won’t allow it to be played on the air, but it’s a fitting tribute nonetheless. The only other artist on both lists was Brian Wilson of the Beach Boys fame. The cover for this album was drawn by noted comic book artist and graphic illustrator Guy Davis. The tongue-in-cheek cartoon strip that is included in the liner notes is a collaboration between the two Davises. A winery in California completes the triumvirate as it is headed by a man also named Davis. He created a limited edition wine in their honor with the label artwork done by illustrator Guy. Bluesman Davis has contributed songs on a host of tribute and compilation albums, including collections on bluesmen Charley Patton and Robert Johnson, for Putumayo Records collections including From Mali to Memphis and the children’s album called Sing Along With Putumayo, for tradition-based rockers like the Grateful Dead, songwriters like Nick Lowe, and for Bob Dylan’s 60th birthday CD called A Nod to Bob, even on a Windham Hill collection of Choral Music, and alongside performers like Bonnie Raitt, Jackson Browne and Bruce Springsteen for a collection of songs written by his friend, legendary folksinger “Uncle” Pete Seeger, called Where Have All the Flowers Gone. However, easily the proudest recording project he’s been involved with is the one produced by his friend Larry Long, called I Will Be Your Friend: Songs and Activities for Young Peacemakers, in which Davis contributes the title track. It’s a CD collection of enriching songs combined together with a teacher’s aide kit to help teach 30 MONDAVIARTS .ORG
TRUE BLUES diversity and understanding. It is all part of the national “Teaching Tolerance” (www. tolerance.org) campaign and continues to be distributed by the Southern Poverty Law Center and sent to every public school in the country to help combat hatred. And speaking of children’s projects, Davis wrote a couple songs and recorded with Dr. John for Whoopi Goldberg’s Littleburg series, and appeared and sang in Jack’s Big Show both for the Nickelodeon network Nick, Jr. Davis has also done residency programs for the Lincoln Center Institute, the Kennedy Center, the State Theatre in New Jersey, and works with “Young Audiences of NJ” doing classroom workshops and assembly programs all across the country and in Canada for elementary, high school and college students. Most recently Davis had the honor of appearing in the PBS special on late jazz and blues artist Howard Armstrong. He was an honored guest at the Kennedy Center Awards, in which his folks received their medals, alongside other recipients like Warren Beatty, Elton John and composer John Williams from the president of the United States. Known as a “musician’s musician,” ALVIN YOUNGBLOOD HART’s praises have been sung by everyone from Bob Dylan to Brit guitar gods Eric Clapton and Mick Taylor. Since the release of his 1996 debut recording, the all-acoustic Big Mama’s Door, Hart has relayed his eclectic musical message around the world. A devout follower of the “no barriers” approach carved out by veteran performers like Gatemouth Brown and the late/great Doug Sahm, Hart aims to delight the masses and points to challenge the so-called blues purists. Big Mama’s Door was reviewed with blessings by Playboy with the prospect that Hart “had the power to bring the blues to Generation X” also stating that “Charley Patton would approve of Hart’s version of Pony Blues, and the cover of Gallows Pole is the coolest since Led Zeppelin’s.” Based on the strength of his record debut and the allure of his live shows, Hart received five nominations at the 1997 W.C. Handy Blues Awards. He was nominated for Best New Artist, Best Acoustic Artist and Best Traditional Blues Artist and his
album (Big Mama’s Door) was nominated for both Acoustic Album of the Year and Traditional Album of the Year. He received the award for Best New Artist. Hart also received two Living Blues Awards that same year. The anticipated sophomore release of Territory in 1998 gave a rousing tribute to all forms of American music and received the DownBeat Magazine Critics’ Poll Award for Best Blues Album (though Territory is not a blues album). The summer of 1999 found Hart teaming up with celebrated producer Jim Dickinson to begin recording Start With the Soul, a record hailed as a new-breed Southern Rock classic and one that piloted Hart’s return to the “sacred garage.” Start With the Soul was chosen by The New York Times as one of the top 10 releases of 2000, as well as the BBC’s Blues Record of the Year. In 2001 Hart shared Living Blues magazine’s best guitarist honors with fellow road dog Big Jack Johnson. In 2004, Hart received a Grammy for his philanthropic contribution to the compilation Beautiful Dreamer: The Songs of Stephen Foster. All of the proceeds from the recording benefited American Roots Publishing, a nonprofit organization dedicated to preserving American regional culture through literature and art. In the summer of 2005, fortified in the wake of much recognition and determined to defy any stereotypes attached to his artistry, Hart released the self-produced (and personal favorite) Motivational Speaker, a rock guitar free-for-all, paying homage to fallen and missing rockers like Phil Lynott and Sly Stone. Hart’s songwriting, singing and electric guitar prowess are all championed on this project and showcase the versatility he continuously strives to offer his fans and profession. In 2006, Hart collaborated with several Memphis-area musicians in the Craig Brewer cult hit film Black Snake Moan by serving as a guitar tutor to the film’s leading actor, Samuel L. Jackson, and recording a duet with the film’s female lead, Christina Ricci, for the film’s riveting soundtrack. In the fall of 2006, Hart was invited to hit the road for two months with rock-n-roll legend Bo Diddley for what turned out to be Diddley’s final coast-to-coast tour. In April of 2007, Hart’s extended and varied interests led him to influence his local
educational arena by participating on a tour of Mississippi high schools as a member of the Thelonious Monk Institute of Jazz. Later that year, Hart was called upon to contribute his knowledge of blues music to the Denzel Washington co-produced and directed film The Great Debaters. Based on a true story about the black historical Wiley College debate team, the release of the film coincided with a nationally stepped-up effort by urban debate leagues to get hundreds of inner-city and financially-challenged schools to establish debate programs. As an avid roots music performer and connoisseur, not only did Hart fit the bill to record predominately on the film’s dynamic soundtrack, Hart also proved a natural onscreen fit for the role of a juke joint musician. Songs for The Great Debaters soundtrack were comprised of remakes of traditional blues and gospel songs from the 1920s and 1930s and were hand-picked by Denzel Washington from more than 1,000 selections. A personal career highlight occurred in the summer of 2008 when Hart met the late Irish guitar legend Gary Moore. Moore invited Hart, a lifelong Thin Lizzy fan, onstage to jam with himself and original Thin Lizzy drummer, Brian Downey. In the spring of 2009 Moore requested Hart’s band as the opening act on a tour of Germany. Moore was seen offstage most every night with friends, cheering Hart’s band along during their set. In 2010 Hart joined forces with friends Luther Dickinson (North Mississippi Allstars, Black Crowes) and Jimbo Mathus (Squirrel Nut Zippers, Tri-State Coalition) to form The South Memphis String Band. The fun-loving and regaling trio was quickly dubbed by the media as an acoustic super group. Recorded in a borrowed radio station studio while the band was on its first road trip, their debut record Home Sweet Home was received with rabid enthusiasm. The 2011 Blues Music Awards (The Blues Foundation) nominated the record for Best Acoustic Album. The group plans to release a second album in the spring of 2012. When not touring solo or plugged in with his revered rock trio Alvin Youngblood Hart’s Muscle Theory, Hart enjoys researching, collecting, repairing and modifying obscure musical equipment. encore art sprograms.com 31
Simone Lamsma, violin
SAN FRANCISCO SYMPHONY
Michael Tilson Thomas, music director Jaap van Zweden, conductor
OTTO VAN DEN TOORN
A Just Added Event Thursday, February 13, 2014 • 8PM INDIVIDUAL SUPPORT PROVIDED BY
Grace and John Rosenquist Pre-Performance Talk Elizabeth Seitz, Music History Faculty, Boston Conservatory Elizabeth Seitz is currently the Music History Coordinator at the Boston Conservatory, where she has been teaching since 2005. She received her Ph.D. from Boston University. She has been a frequent lecturer at the Boston Symphony Orchestra, Boston Lyric Opera, Museum of Fine Arts in Boston, Rockport Chamber Music, Tanglewood, Road Scholar, and the New York Philharmonic.
HANS VAN DER WOERD
PROGRAM Overture to The Abduction from the Seraglio, K.384
Violin Concerto in D Minor, Opus 47 Sibelius Allegro moderato Adagio di molto Allegro ma non troppo INTERMISSION Symphony No. 4 in F Minor, Opus 36 Tchaikovsky Andante sostenuto—Moderato con anima, in movimento di valse Andantino in modo di canzona Scherzo, pizzicato ostinato: Allegro Finale: Allegro con fuoco
Abduction from the Seraglio for the best of reasons: The Abduction from the Seraglio is a Turkish tale. This is the story. Konstanze, a noblewoman, has been captured by pirates and sold to a powerful Turkish ruler. Konstanze’s lover, Belmonte, finds her and helps her escape. They are caught, but the Turkish ruler is magnanimous and pardons his prisoners, sending them on their way. Mozart composed the opera with special pleasure at the challenge of finding the appropriate music for the rage, the grief and the rapture of the various characters, not to forget the comic scenes and the moments that needed a certain exotic coloration.
CONCERTO IN D MINOR FOR VIOLIN AND ORCHESTRA, OPUS 47
PROGRAM NOTES OVERTURE TO THE ABDUCTION FROM THE SERAGLIO, K.384
WOLFGANG AMADÉ MOZART
(Born in Salzburg, Austria, on January 27, 1756; died in Vienna on December 5, 1791) The percussion that begins its pleasing jingle and thump a few seconds into the Overture to The Abduction from the Seraglio was known as “Turkish music.” European military bands imported the sound and the style from Turkey early in the 18th century, and before long, composers of opera and concert music were captivated by this exciting new addition to their sound. Mozart used it in 1782 for The
(Born on December 8, 1865, in Tavestehus, Finland; died on September 20, 1957, in Järvenpää, Finland) From Bach to Bartók, many of the great keyboard concertos have been written by composers for themselves. More of the famous violin concertos have been written for others to play. Sibelius wrote his for a kind of ghostly self. He was a failed violinist. He had begun lessons late, at 14, but then “the violin took me by storm, and for the next 10 years it was my dearest wish, my overriding ambition, to become a great virtuoso.” In fact, aside from the double handicap of his late start and the provincial level of even the best teaching available in Finland, he had neither the physical coordination nor the temperament for such a career. In 1890–91, when he was in Vienna studying composition encore art sprograms.com 33
SAN FRANCISCO SYMPHONY with Robert Fuchs and Karl Goldmark, he played in the conservatory orchestra (its intonation gave him headaches), and on January 9, 1891, he auditioned for the Philharmonic. “When he got back to his room,” we read in Erik Tawaststjerna’s biography, “Sibelius broke down and wept. Afterward he sat at the piano and began to practice scales.” With that he gave up, though a diary entry in 1915 records a dream of being 12 and a virtuoso. His Violin Concerto is,
in any event, imbued both with his feeling for the instrument and the pain of his farewell to his “dearest wish” and “overriding ambition.” While it is true that the Sibelius is one of the really smashing virtuoso concertos, it would be a mistake to associate it with the merely virtuosic tradition represented by the concertos of, say, Tchaikovsky, Bruch, and perhaps even the elegant Mendelssohn. Sibelius’s first movement, with its daring sequence of disparate ideas, its
quest for the unity behind them, its bold substitute of a cadenza for a conventional development, its recapitulation that continues to explore, rearrange, and develop, its wedding of violinistic brilliance to compositional purposes, is one that bears the unmistakable stamp of the symphonist. The second and third movements proceed from a lesser level of structural ambition, which does not mean, however, that the Adagio is anything other than one of the most moving pages Sibelius ever achieved. In the finale, which Donald Francis Tovey called “a polonaise for polar bears,” the rhythm becomes more and more giddily inventive, especially in the matter of the recklessly across-the-beat bravura embellishment the soloist fires across the themes. Drama builds and the concerto ends in utmost and syncopated brilliance. —Michael Steinberg
SYMPHONY NO. 4 IN F MINOR, OPUS 36
PIOTR ILYICH TCHAIKOVSKY
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(Born on May 7, 1840, in Votkinsk, Russia; died on November 6, 1893, in Saint Petersburg) By the dawn of 1877, the 36-year-old Tchaikovsky already stood at the forefront of his generation of Russian composers. That year, two things occurred that had a decisive influence on the direction his path would take. Both were fraught with problems. Either could have derailed him entirely. The first was the consolidation of his relationship with Nadezhda Filaretovna von Meck. Immensely wealthy and musically adept, she had positioned herself in Moscow society as a notable patron of the arts and as a collector of musicians, including pianist and conductor Nicolai Rubinstein and the young violinist Yosif Yosifovich Kotek. She adored Tchaikovsky’s music to the point of obsession, and in December 1876 she used Rubinstein and Kotek as go-betweens for her first contact with the composer. Tchaikovsky embarked on his involvement with von Meck and the composition of his Fourth Symphony practically at the same time, and the two “projects” were greatly intermeshed in his mind. In his letters to von Meck he often referred to it as “our symphony,” sometimes even as “your symphony.” By May he completed the lion’s share of work on the new piece. “I should like to dedicate it to you,” he wrote on May 13, “because I believe you would find in it an echo of your most intimate thoughts and emotions.” Then a second bizarre thing happened. He got married on the spur of the moment to
Antonina Ivanovna Miliukova, a former pupil. The explanation for this rash act is open to a broad range of speculation and interpretation. Whatever the reason, the hastily arranged marriage took place on July 6, 1877. Two weeks later Tchaikovsky fled in panic and spent the summer at his sister’s estate in Ukraine, estranged from Antonina. In September he returned to his bride in Moscow to try to make another go of it, but this time the effort lasted only 11 days. At that point, Tchaikovsky fell terribly ill, fled to Saint Petersburg, had a nervous breakdown, and woke up to a life that would not henceforth include Antonina, though they were never divorced. During this misadventure, the Fourth Symphony had been put on hold. Only in the latter half of 1877 did Tchaikovsky return to edit and orchestrate what he had composed between February and May. “Our symphony progresses,” he wrote to von Meck on August 24. “The first movement will give me a great deal of trouble with respect to orchestration. It is very long and complicated: at the same time I consider it the best movement. The three remaining movements are very simple, and it will be easy and pleasant to orchestrate them.” Tchaikovsky’s comment is apt. The center of gravity is very much placed on the first movement, and the other three stand as considerably shorter and less imposing pendants. The first movement launches with the pervasive “Fate” theme, the fanfare motif that helps bind the opening movement together and serves as a sonic landmark for listeners somewhat in the way the famous “ta-ta-ta-daaaa” of Beethoven’s Fifth does in that far more compact piece. A famous oboe solo opens the Andantino, a generally melancholy movement. Much of the movement does seem to carry a heavy weight on its shoulders, but—as in the first movement— the proceedings are leavened by glimpses of balletic arabesques. Certainly the Scherzo is the most balletic movement of all, from its fleet pizzicato opening to the tangy, wind-flavored peasant dance at its center. After the ethereal pianissimo conclusion of the Scherzo, the Finale erupts with a fortissimo explosion for the full orchestra, with far-from-bashful timpani, bass drum, and cymbals. A folk tune, “The Little Birch Tree,” furnishes the stuff of the movement’s main theme, and the brasses revive the “Fate” motif from the first movement as a disturbing presence in the carnival atmosphere of this otherwise buoyant Finale. —James M. Keller
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Cio 090313 open 1_3s.pdf
Cio 090313 1_3s.indd 1 PROGRAM NOTES © 2014 SAN FRANCISCO SYMPHONY
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SAN FRANCISCO SYMPHONY SAN FRANCISCO SYMPHONY
Michael Tilson Thomas MUSIC DIRECTOR AND CONDUCTOR
Herbert Blomstedt CONDUCTOR LAUREATE
CHORUS DIRECTOR EMERITUS
ACTING PRINCIPAL DINNER & SWIG FAMILIES CHAIR
ACTING ASSOCIATE PRINCIPAL AUDREY AVIS AASEN-HULL CHAIR
ACTING ASSISTANT PRINCIPAL
Dan Nobuhiko Smiley THE EUCALYPTUS FOUNDATION SECOND CENTURY CHAIR
Raushan Akhmedyarova David Chernyavsky Cathryn Down Darlene Gray Amy Hiraga Kum Mo Kim Kelly Leon-Pearce Chunming Mo Polina Sedukh Chen Zhao Sarah Knutson†
Alexander Barantschik CONCERTMASTER NAOUM BLINDER CHAIR
ASSOCIATE CONCERTMASTER SAN FRANCISCO SYMPHONY FOUNDATION CHAIR
ASSISTANT CONCERTMASTER 75TH ANNIVERSARY CHAIR
ASSISTANT CONCERTMASTER PAULA & JOHN GAMBS SECOND CENTURY CHAIR KATHARINE HANRAHAN CHAIR
Yun Chu Sharon Grebanier Naomi Kazama Hull In Sun Jang ISAAC STERN CHAIR
Jonathan Vinocour PRINCIPAL
Yun Jie Liu
JOANNE E. HARRINGTON & LORRY I. LOKEY SECOND CENTURY CHAIR
Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen
Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young
CATHERINE A. MUELLER CHAIR
Paul Welcomer John Engelkes
PRINCIPAL PHILIP S. BOONE CHAIR ASSOCIATE PRINCIPAL PETER & JACQUELINE HOEFER CHAIR
LYMAN & CAROL CASEY SECOND CENTURY CHAIR
ACTING PRINCIPAL EDO DE WAART CHAIR ACTING ASSOCIATE PRINCIPAL
DR. WILLIAM D. CLINITE CHAIR
ENGLISH HORN JOSEPH & PAULINE SCAFIDI CHAIR
PRINCIPAL ROBERT L. SAMTER CHAIR
Jeffrey Anderson PRINCIPAL JAMES IRVINE CHAIR
THE STANLEY S. LANGENDORF FOUNDATION SECOND CENTURY CHAIR
Barbara Bogatin Jill Rachuy Brindel
GARY & KATHLEEN HEIDENREICH SECOND CENTURY CHAIR
Sébastien Gingras David Goldblatt
CHRISTINE & PIERRE LAMOND SECOND CENTURY CHAIR
Carolyn McIntosh Anne Pinsker
PRINCIPAL WILLIAM R. & GRETCHEN B. KIMBALL CHAIR
ASSOCIATE PRINCIPAL & E-FLAT CLARINET
David Neuman Jerome Simas BASS CLARINET
Stephen Paulson PRINCIPAL
Douglas Rioth PRINCIPAL
PRINCIPAL MARCIA & JOHN GOLDMAN CHAIR
Rob Weir Steven Braunstein
Raymond Froehlich Tom Hemphill James Lee Wyatt III
Scott Pingel Larry Epstein
ASSISTANT PRINCIPAL RICHARD & RHODA GOLDMAN CHAIR
S. Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen
PRINCIPAL CAROLINE H. HUME CHAIR
ASSOCIATE PRINCIPAL CATHERINE & RUSSELL CLARK CHAIR
ALFRED S. & DEDE WILSEY CHAIR
Catherine Payne PICCOLO
PRINCIPAL JEANNIK MÉQUET LITTLEFIELD CHAIR
Jonathan Ring Jessica Valeri Kimberly Wright*
JEAN & BILL LANE CHAIR
PRINCIPAL LIBRARIAN NANCY & CHARLES GESCHKE CHAIR
PRINCIPAL WILLIAM G. IRWIN CHARITY FOUNDATION CHAIR
ACTING ASSOCIATE PRINCIPAL PETER PASTREICH CHAIR
*On Leave †Acting member of the San Francisco Symphony
ANN L. & CHARLES B. JOHNSON CHAIR
Jeff Biancalana The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically. 36 MONDAVIARTS .ORG
JAAP VAN ZWEDEN
Amsterdam-born Jaap van Zweden has been music director of the Dallas Symphony since 2008, and in September 2012 he took up the position of music director of the Hong Kong Philharmonic Orchestra. Appointed at 19 as the youngest concertmaster ever of the Royal Concertgebouw Orchestra, he began his conducting career in 1995 and has served as chief conductor of the Netherlands Symphony Orchestra, Residentie Orchestra of The Hague, and the Royal Flemish Philharmonic, and chief conductor and artistic director of the Netherlands Radio Philharmonic and Netherlands Radio Chamber Orchestra; he currently serves as honorary chief conductor of the Netherlands Radio Philharmonic Orchestra and conductor emeritus of the Netherlands Radio Chamber Orchestra. Van Zweden was named Musical America’s 2012 Conductor of the Year. Highlights of the 2013–14 season and beyond include subscription debuts with the London Symphony, Orchestre de la Suisse Romande, and Deutsches Symphonie-Orchester Berlin, a tour of China with the Hong Kong Philharmonic, and a threeweek festival with the Chicago Symphony, of which he will serve as curator. Van Zweden has made numerous recordings, including a cycle of Bruckner symphonies with the Netherlands Radio Philharmonic and discs with the London Philharmonic (on the LPO Live label), and the Philharmonia Orchestra and pianist David Fray (Virgin). His DVD/CD of Parsifal won the Edison award for Best Opera Recording in 2012. For the Dallas Symphony’s own label he has recorded symphonies of Tchaikovsky and Beethoven, and Steven Stucky’s cantata August 4, 1964. In 1997, Jaap van Zweden and his wife Aaltje established the Papageno Foundation to support families of children with autism.
SAN FRANCISCO SYMPHONY
The San Francisco Symphony gave its first concerts in 1911 and has grown in acclaim under a succession of distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and Michael Tilson Thomas, who assumed his post in 1995. The SFS has won such recording awards as France’s Grand Prix du Disque,
Britain’s Gramophone Award and the United States’s Grammy. Each year the symphony offers Adventures in Music, the longest running education program among this country’s orchestras, which brings music to every child in grades 1 through 5 in San Francisco’s public schools. In 2004, the SFS launched the multimedia Keeping Score on PBS-TV and the Web. For more information, go to www.sfsymphony.org.
Simone Lamsma began studying the violin at the age of 5. At age 11, she moved to the U.K. to study at the Yehudi Menuhin School before continuing her studies at the Royal Academy of Music in London, where she graduated with first class honors. Lamsma was awarded the national Dutch VSCD Classical Music Prize in the category of New Generation Musicians in 2010, awarded by the Association of Dutch Theatres and Concert Halls. In 2011, she was invited to perform during the Queen’s Day Concert, in the presence of the Dutch Royal Family. Lamsma’s 2013–14 season highlights include her debuts with the Chicago Symphony, Finnish Radio Symphony, Orchestre National de Belgique, Warsaw Philharmonic, City of Birmingham Symphony, as well as appearances with the Saint Louis Symphony and New Zealand Symphony. In addition, she will tour China with the Hong Kong Philharmonic under Jaap van Zweden. She has performed in recital throughout Italy, the U.K., the U.S., and the Netherlands. Lamsma’s debut recital recording, featuring works by Elgar, was released on the Naxos label. Her second release features violin concertos by Louis Spohr with Sinfonia Finlandia. Lamsma plays the “ex-Braga” Stradivarius violin, on generous loan to her by an anonymous benefactor. encore art sprograms.com 37
THE KING’S SINGERS B. EALOVEGA
A Mondavi Center Special Event Friday, February 14, 2014 • 8PM SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED IN HONOR OF
Friends of the Mondavi Center THE KING’S SINGERS
David Hurley Countertenor Timothy Wayne-Wright Countertenor Paul Phoenix Tenor Christopher Bruerton Baritone Christopher Gabbitas Baritone Jonathan Howard Bass
38 MONDAVIARTS .ORG
One of the world’s most celebrated vocal ensembles, The King’s Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. Instantly recognizable for their spot-on intonation, impeccable vocal blend, flawless articulation of the text and incisive timing, they are also consummate entertainers: a class act with a delightfully British wit. During the 2013–14 concert season, The King’s Singers will perform throughout the United States, Europe, Asia and Australia in some of the world’s most famous venues. Launched at the Royal Albert Hall (London), new studio recording and live performance project “Great American Songbook” includes 17 brand new arrangements written specifically for the group. With a discography of more than 150 recordings, the group’s contribution to classical recording was recognized when they were selected to join the Gramophone Hall of Fame in June 2013, marking their influence and inspiration across the years. A new collaborative project sees the group work with oboist Albrecht Mayer for a CD
of works on the theme of winter, released on Deutsche Grammophon. Deeply committed to new choral music, they have commissioned more than 200 works from prominent contemporary composers and choral luminaries, including Whitacre Richard Rodney Bennett, Maxwell Davies, Ligeti, Rutter, Takemitsu and Tavener. The group is committed to maintaining and developing the international choral canon by commissioning new works from both young and established composers, with the 2013–14 season seeing new works from both James MacMillan and Joanna Marsh. There are more than two million pieces of sheet music published by The King’s Singers in circulation. Their arrangements are sung the world over by school and college choirs, and by ensembles both amateur and professional. The King’s Singers are double Grammy® awardwinning artists. Visit www.kingssingers.com for the latest news, blog entries, video blogs, tweets and YouTube updates.
THE KING’S SINGERS
Who’s FURTHER LISTENING Your THE KING’S SINGERS Jeweler? by Jeff Hudson
The most surprising thing about The King’s Singers appearance in Jackson Hall this evening is that this will be the first time they’ve performed here. The group was organized in 1968, and they’ve toured extensively over the years. Given that Jackson Hall’s acoustic favors vocal ensembles, you’d think The King’s Singers might have appeared here at some point during the Mondavi Center’s first decade. But better late than never. The King’s Singers spent much of last fall promoting their latest release, “Great American Songbook,” launched in mid-October with an appearance in the Elgar Room at the Royal Albert Hall. It’s a double album featuring new arrangements (written with this six-voice group specifically in mind) of popular standards from Broadway (and beyond) by the likes of Harold Arlen, Richard Rogers, Irving Berlin, Jerome Kern and Cole Porter. Included in the set is the Rodgers and Hart classic “My Funny Valentine” – care to guess whether you might hear that song this evening? Other notable recent releases by The King’s Singers include “High Flight,” a 2011 album featuring works by the very popular contemporary American choral composers Eric Whitacre and Morten Lauridsen, plus several pieces by British composer Bob Chilcott (who sang tenor with
The King’s Singers, back in the ‘80s and ‘90s). The group picked up a Grammy Award (for Best Classical Crossover) for their 2008 album Simple Gifts, which included tracks ranging from the ancient English standard “Greensleeves” to arrangements of pop tunes by the likes of Randy Newman and Billy Joel. The album also featured several American spirituals – including “Swing Low, Sweet Chariot” – a song I tend to associate with the great Paul Robeson (and other great black vocalists); The King’s Singers sang it with something of an English accent. Also worth a try is The King’s Singers technology-assisted recording of “Spem in Alium,” the famously-complex 40-part motet composed in the late 1500s by English composer Thomas Tallis. The King’s Singers used the recording studio to layer their voices, covering all the parts. (The track is found on their 2006 DVD “From Byrd to the Beatles.”) There are many more albums we could mention – The King’s Singers have upwards of 150 recordings to their credit. The vocal line-up has inevitably shifted over the years – countertenor David Hurley is the longest-serving member (since 1990). Members are typically English, though baritone Christopher Bruerton says he’s “proud to be a Kiwi.”
JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
Frank, Vasiliy, Liz, Sophia, Carmen, Luz & Cliff
• Jewelry & Watch Repair • Ring Sizing & Refurbishing • Engraving — Inside Rings, Bracelets • FREE Ring Cleaning & Inspection • Appraisals
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An American Heritage Series Event Saturday, February 15, 2014 • 8PM
INDIVIDUAL SUPPORT PROVIDED BY
John and Lois Crowe
CHRIS THILE, Solo BACH: SONATAS AND PARTITAS, VOL. 1 Mandolin virtuoso and composer Chris Thile, a winner of multiple Grammy Awards and a MacArthur Fellow, has long been known as an audacious improviser and a tireless collaborator whose work has incorporated bluegrass, folk, rock, jazz, and classical elements. Besides his brilliant bandmates in Punch Brothers, his fellow travelers have also included pianist Brad Mehldau, cellist Yo-Yo Ma, guitarist Michael Daves, and double bassist/composer Edgar Meyer, among others. But this time Thile has taken on perhaps his greatest musical challenge all by himself with Bach: Sonatas and Partitas, Vol. 1, which comprises three works written for solo violin: Sonata No. 1 in G minor, BWV 1001; Partita No. 1 in B Minor, BWV 1002; and Sonata No. 2 in A Minor, BWV 1003. While Thile has often included pieces by Bach in his live repertoire, alongside his own work and his interpretations of work by artists ranging from Bill Monroe to Radiohead, this disc, produced by his friend and mentor Meyer, fulfills a long-held dream to create studio recordings of these pieces rendered on mandolin. Thile says the recording sessions were an opportunity “to interact with the greatest musician who ever lived.” 40 MONDAVIARTS .ORG
“Bach was my first meaningful experience with—for lack of a better word—classical music,” Thile explains. “It was the second recording of Glenn Gould playing the Goldberg Variations. Gould plays with the kind of rhythmic integrity that I had previously only associated with non-classical music: music with a groove, with a pocket, that made you move. Gould was playing that music like my heroes play fiddle tunes. It humanized the whole thing for me and the heavens opened up and Bach came down. He continues, “This record to me is not about this iconic violin music played on the mandolin—like, ‘Oh boy, what fun, he’s playing a weird instrument!’ It’s about Bach being one of the greatest musicians of all time, the solo violin music being some of his best work, and the mandolin having the potential to cast it in a new and hopefully interesting light.” The prodigious Thile was a member of groundbreaking trio Nickel Creek at the age of 8; by the time he was 12, he already had a solo recording contract with Sugar Hill. It was four years later when he serendipitously discovered Bach, thanks to birthday gifts from his maternal grandmother and stepgrandmother, each of whom independently
gave him Bach recordings: an album of the Brandenburg Concertos and Gould’s Goldberg Variations. (“I guess that means my grandfather had a type,” quips Thile.) The records set his adventurous young mind reeling: “I just started devouring all the Bach I could get my hands on—the Brandenburgs, the violin music.” He didn’t have any bold scheme to transpose these violin pieces to mandolin at first; he was simply using the instrument he knew best. “I played the mandolin and I wanted to play Bach. I set about learning it by ear because that’s how I did things. It was slow going. I would be learning the Brandenburg Concertos by ear, playing whatever part was the loudest.” That approach, of course, did not last for long, and Thile began to teach himself to read music. “I was a 16-year-old, back there in my room, going ‘Every Good Boy Does Fine, All Cows Eat Grass,’ like most musical kids do at 4 or 5. The first thing I got all the way through was the E Major Prelude, which lends itself remarkably well to the mandolin, and I’ve been like a kid in a candy store ever since. I actually don’t think I’ve traveled without an edition of the Sonatas and Partitas since then. It’s one of the true joys of my life that they exist.”
CHRIS THILE Regarding how the composer might feel about his music being played on mandolin, Thile says, “Bach was pretty casual about shuffling his music from instrument to instrument. He made organ and lute transcriptions of the violin’s G-minor fugue, turned one of the violin concertos into a keyboard concerto, etc. Even though this music is, to a certain extent, an exploration of violin technique, it’s also perhaps the most complete and satisfying realization of polyphony on a largely monophonic instrument ever, which almost has to have been Bach’s primary objective for it, as well as for the solo cello and flute music. One of the reasons that playing the violin music on the mandolin makes sense is that it’s a slightly more polyphonic instrument than the violin, more chordal. Playing three- or four-part chords is less of a gladiator-like endeavor, which allows you to approach things a lot differently in terms of phrasing and dynamics.” Thile admits, “I envy people who’ve had this music their whole lives the way I’ve had fiddle tunes my whole life, which is probably one of the reasons I’ve waited so long to do this. I doubt I’ll ever feel totally confident about my perspective on the music and my approach to achieving my goals for it, but I think it was just time to go for it. Being able to lean on Edgar as a mentor since I was 18 or 19 has been incredibly valuable and getting to talk Bach with other musicians who’ve lived with his music for far longer than I have, like Yo-Yo and Jeffrey Kahane (who conducted Thile’s mandolin concerto Ad astra per alas porci with the Los Angeles Chamber Orchestra and Colorado Symphony) has been amazing. Being involved in the young classical music community in New York has been really valuable, too. With so many brains to pick, I finally came to the conclusion that there’s really never a perfect time to record Bach. It can mean so many different things to you at different points in your life. Gould recorded the Goldberg Variations twice. Henryk Szeryng recorded the six sonatas and partitas for solo violin twice. I wonder if no one is ever completely prepared—and if maybe realizing that is part of being prepared enough. Last January Meyer and Thile convened in Western Massachusetts, at the Berkshires studio where they had worked with violinist Stuart Duncan and Yo-Yo Ma on the Grammy Award-winning The Goat Rodeo Sessions. They had considered using a concert hall setting for the recording but ultimately preferred
the ambience of a smaller studio: “I like the way the room sounded and the way the mandolin sounded there. The mandolin is an imperfect instrument—there are things about it that will frustrate me for the rest of my life—but one of its strengths is that it’s a really intimate instrument, very delicate, very vulnerable, very honest. And it’s very precise, painfully precise, with that plastic pick hitting the metal string. It’s not a big lush emotional sound like the violin; it’s a heart to heart with a close friend in your living room. And I think that’s where the mandolin shines; it’s truly a chamber instrument. When I listen to the recording now, I feel like I’m in that kind of space with the instrument; we’re in the living room together, maybe with some brandy. Bach was a brandy man.” Thile and Meyer worked for six days, apportioning two days for each piece. (Thile intends to record the remaining three Bach compositions of this six-work set with Meyer in the near future.) They encountered a few technical surprises along the way: “The low string is often excited by what’s happening
above it and it starts ringing at the damnedest times,” confesses Thile. But for the most part, “it was a heavenly experience to get to play music like that all day long for six days. I can’t express how much fun it was. I don’t think I’ve ever played so much in my life. Hell of a lot of mandolin playing, even for me! You just dive down deep into these pieces and live there for a while and never, ever get tired of it. We recorded way more than we needed, I think in part because it was so hard to leave each piece; getting to the point where it was time to move on and was always kind of bittersweet.” Quick-witted performer that he is, Thile’s skill has long been about creating something in—and for—the here and now. In a sense that is what he has also accomplished with this recording of works Johann Sebastian Bach composed nearly 300 years ago. As Thile says finally, “The real story is that this music is crackling with life, with relevant information. It’s no museum piece. Perhaps hearing it on the ‘wrong’ instrument can help take it out of its historical context and put it in a contemporary place.” —Michael Hill
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A Wells Fargo Concert Series Event Tuesday, February 18, 2014 • 8PM SPONSORED BY
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Shipley and Dick Walters
PROGRAM TO INCLUDE French Suite No. 4 in E-flat Major, BWV 815 J.S. Bach Allemande Courante Sarabande Gavotte Air Menuet Gigue Sonata No. 23 in F Minor, Op. 57, “Appassionata” Beethoven Allegro assai Andante con moto — Allegro ma non troppo INTERMISSION Papillons, Op. 2 Schumann Scherzo No. 2 in B-flat Minor, Op. 31 Chopin
FRENCH SUITE NO. 4 IN E-FLAT MAJOR, BWV 815 (CA. 1720)
JOHANN SEBASTIAN BACH
(Born March 21, 1685, in Eisenach, Germany; died July 28, 1750, in Leipzig) The first four of the so-called “French” Suites must have been composed during Bach’s tenure as director of music at the court of AnhaltCöthen from 1717 to 1723, since they appear in a manuscript collection of six such works dating from 1723, the year he left for Leipzig. The last two suites in the set—now known independently as BWV 818 and BWV 819—had been replaced with the French Suites Nos. 5 and 6 by 1725, when the collection, much revised, reached its definitive state. The six French Suites (BWV 812-817) form a pendant to the earlier English Suites, though they are smaller in scale (they eschew the elaborate opening Preludes of the English Suites), more melodic
MURRAY PERAHIA, Piano FELIX BROEDE
in character, and lighter in texture. The source of the term “French” in the title is unknown. The heading of the 1725 manuscript was written in French, but so was that for the English Suites, and neither one mentioned “French” or “English” in its title. The composer’s first biographer, Johann Nicolaus Forkel, suggested that the works were “written in the French taste,” but the 19th-century Bach scholar Philipp Spitta countered that “there is no idea of imitating or carrying out any specially French characteristics.” What is certain about the title of the French Suites is that it was not authentic with Bach and that it provides a convenient means of identifying the pieces. The French Suites follow the standard succession of stylized dances that comprise the Baroque form, established in German practice with the works of Johann Jakob Froberger around 1650: Allemande, Courante, Sarabande, Gigue. In the French Suites, two to four additional dances of differing character (Bourrée, Gavotte, Menuet, Air, Loure, Polonaise, Anglaise) are inserted before the Gigue. The moderately paced Allemande, if its French name is to be trusted, originated in Germany in the 16th century. French composers found it useful for displaying their most elaborate keyboard ornamentations, and passed it back to German musicians in that highly decorated form. The Courante was an old court dance accompanied by jumping motions that was frequently paired with the smoothly flowing Allemande. When the Sarabande immigrated to Spain from its birthplace in Mexico in the 16th century, it was so wild in its motions and so lascivious in its implications that Cervantes ridiculed it and Philip II suppressed it. The dance became considerably more tame when it was taken over into French and English music during the following century, and it had
achieved the dignified manner in which it was known to Bach by 1700. The Gavotte is a dance of moderate liveliness whose ancestry traces back to French peasant music. The title Air in the early 18th century generally indicated an instrumental piece in slow tempo with a sweet, ingratiating melody in the upper voice—the so-called Air on the G String from Bach’s Third Orchestral Suite is the quintessential example of the type—but the Air in the E-flat French Suite is a movement of quick motion, flying scales and broken chords. The Menuet was originally a quick peasant dance from southwestern France that had become more stately and measured by Bach’s time. The lively Gigue arose from an English folk dance and became popular as the model for instrumental compositions by French, German and Italian musicians when it migrated to the continent.
SONATA NO. 23 IN F MINOR, OP. 57, “APPASSIONATA” (1804–1806) LUDWIG VAN BEETHOVEN
(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) Beethoven spent the summer of 1804 in Döbling, an elegant suburb of Vienna nestled in the foothills of the Wienerwald north of the central city. He wrote to his brother Johann, a prosperous apothecary in Vienna, “Not on my life would I have believed that I could be so lazy as I am here. If it is followed by an outburst of industry, something worthwhile may be accomplished.” The country air and fizzy Heurigen wine of Döbling must have been true inspiration to Beethoven, because during the following three years he produced a stunning series of masterpieces simply unmatched anywhere in the entire history of music: the “Waldstein” Sonata (Op. 53), F Major Piano Sonata (Op. 54), “Eroica” Symphony (Op. 55), Triple Concerto encore art sprograms.com 43
MURRAY PERAHIA (Op. 56), “Appassionata” Sonata (Op. 57), Fourth Piano Concerto (Op. 58), three “Razumovsky” Quartets (Op. 59), Fourth Symphony (Op. 60), Violin Concerto (Op. 61) and Coriolan Overture (Op. 62). The three piano sonatas were all apparently largely formed in Döbling, because Beethoven offered them on August 26th to Breitkopf und Härtel for publication as a set, but he was refused. The “Waldstein” and Op. 54 Sonatas were thereafter finished quickly, but the “Appassionata” was not completed until September 1806. Its sobriquet was applied not by the composer but by the Hamburg publisher Cranz when he issued a two-piano version of the work in 1838. The F Minor Sonata is in three movements: two massive sonata-form essays anchor it at beginning and end, and surround a short, rapt set of variations in which Beethoven tried to make time itself stand still. When Glenn Gould’s recording of the “Appassionata” was issued in 1974, he provided for it a surprisingly curmudgeonly set of liner notes which, nevertheless, penetrate straight to the essence of Beethoven’s creative procedure in the outer movements of this composition: “The ‘Appassionata,’ in common with most of the works Beethoven wrote in the first decade of the
19th century, is a study in thematic tenacity. His conceit at this period was to create mammoth structures from material that, in lesser hands, would scarcely have afforded a good 16-bar introduction. The themes, as such, are usually of minimal interest but are often of such primal urgency that one wonders why it took a Beethoven to think them up.” The eminent English musicologist Sir Donald Tovey noted exactly the same abundance of inspiration derived from a paucity of material in the nearly contemporary Symphony No. 5, about which he counseled the listener that the power of the music is not contained in its themes, but rather in the “long sentences” that Beethoven built from them. It is this sense of inexorable growth and change, of driving toward the next goal, of constantly seeking, that places the “Appassionata” Sonata upon the highest plateau of Beethoven’s achievement.
PAPILLONS (“BUTTERFLIES”), OP. 2 (1831)
(Born June 8, 1810, in Zwickau, Germany; died July 29, 1856, in Endenich, near Bonn) In 1828, Schumann’s mother bundled him off to the University of Leipzig to study law, a career she felt would assure his professional
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success. Young Robert, just turned 18, made a desultory effort at his classes, but he could not free himself from his long-standing ambition to make music his life’s work. The following year Schumann began lessons with Friedrich Wieck, Leipzig’s most highly regarded piano pedagogue, but he found the endless diet of scales and etudes somewhat too astringent and life at the University not to his taste, so he decided to abandon Leipzig for a while. In the spring of 1829, he transferred to Heidelberg University to tinker with the law a little further, but he soon gave that up in favor of music. He inevitably fell in with the town’s music lovers, whom he entertained with his ability as an improviser and his knowledge of recent piano music. From Wieck in Leipzig, the center of the German music publishing trade, he requested copies of works by Hummel, Moscheles and, most of all, Schubert, then dead less than a year, for whom he had the highest regard. He especially enjoyed improvising in the manner of Schubert’s waltzes, and got so good at it that he was able to pass off as authentic one of his counterfeits (later No. 8 in Papillons) to his perceptive friends. He began noting down some of these Heidelberg dance pieces, and they became the kernel of the piano cycle that he completed after returning to Leipzig in 1831 to resume his studies with Wieck. Papillons, he called the work—“Butterflies”—a word richly layered with references. The butterfly is at once the symbol of immortality—one was inscribed on Beethoven’s tomb—and of frivolity (as in the “social butterfly”), as well as of transformation into a new being, which Schumann undoubtedly felt as a result of giving himself up to music. Butterflies also represented for him winged thoughts, and he proposed using butterflies as aerial messengers when he and his beloved Clara, Wieck’s daughter, were later forbidden to correspond by him. In addition, Schumann found in his Papillons evocations of the Larventanz—which has the dual meaning in German of “Dance of the Larvae” and “Dance of the Masks”—that closes the flamboyant novel Flegeljahre (“Teenage Years”) by Jean Paul Richter, his favorite author. It was in Flegeljahre that Schumann discovered a philosophy concerning the intimate relationship between music and the emotional life of the individual, which the writer rendered as the ability to escape from reality into the “dream world of musical images.” Jean Paul often used musical similes to describe the emotional states of his characters, who habitually poured out their innermost feelings in piano improvisations. The final chapter of Flegeljahre, set in the make-believe world of a masked ball, describes the twin characters Vult and Walt (really the contrasting divisions of a single split personality), a psychological concept that both frightened and fascinated Schumann because it
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seemed so disturbingly close to his perception of his own emotional constitution. Schumann noted the associations between Papillons and Jean Paul’s masked ball scene in a letter to his friend Henrietta Voigt, pointing out to her, however, that “I put the words to the music after it was composed, and not the other way around. Only the last piece [which ironically quotes the stuffy old Grossvatertanz (‘Grand Father Dance’) then traditionally used as the final number at German dance parties] was evoked by Jean Paul.” He went on to cite specific passages in Flegeljahre: “No. 2: ‘Punch room ... ball room ... full of zigzag figures moving towards each other’; No. 3: ‘sliding about, a gigantic boot wearing and carrying itself’; No. 4: ‘simple nun with a half-mask and a sweet-smelling bunch of auricula’; No. 6: ‘Your waltzing ... good mimical imitations’; No. 7: ‘hot desert dryness or dry feverish heat ... most earnest supplications’; No. 10: ‘exchange of masks ... floating, gliding up and down ... butterflies of a faraway island. Like a rare lark’s song in late summer ... [At the end] the noise of the carnival is stilled. The clock in the tower strikes six.’”
SCHERZO NO. 2 IN B-FLAT MINOR, OP. 31 (1837)
(Born February 22, 1810 in Zelazowa-Wola, Poland; died October 17, 1849 in Paris) Though Beethoven perfected the scherzo as a constituent element of his multi-movement instrumental compositions, it was Chopin who elevated the form to an independent concert genre. His first example of the form—the Scherzo No. 1 in B minor, Op. 20—was composed while he was in Vienna in 1830-1831 waiting out the uprising in his native Poland, and the piece vented some of the strong feelings that swayed him at that time. The Scherzo No. 2 in B-flat minor of 1837 retains the expressive urgency of its predecessor (Robert Schumann called it “Byronic”), but folds its emotions into the sort of perfectly balanced and precisely integrated form in which Chopin wrapped the most profound of his mature utterances. The work is large in scale and subtle in formal detail, but falls essentially into three sections: A–B–A. The outer portions are, by turns, sepulchral and tempestuous, given to sudden outbursts and dramatic statements; the central section is flowing and lyrical, with a grace and buoyancy that turn serious as the recapitulation of the opening music approaches. – ©2013 Dr. Richard E. Rodda
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St. Martin in the Fields, with whom he has toured as conductor and pianist throughout the United States, Europe, Japan, and South East Asia. Born in New York, Mr. Perahia started playing piano at the age of four, and later attended Mannes College where he majored in conducting and composition. His summers were spent at the Marlboro Festival, where he collaborated with such musicians as Rudolf Serkin, Pablo Casals, and the members of the Budapest String Quartet. He also studied at the time with Mieczyslaw Horszowski. In subsequent years, he developed a close friendship with Vladimir Horowitz, whose perspective and personality were an abiding inspiration. In 1972 Mr. Perahia won the Leeds International Piano Competition, and in 1973 he gave his first concert at the Aldeburgh Festival, where he worked closely with Benjamin Britten and Peter Pears, accompanying the latter in many lieder recitals. Mr. Perahia was co-artistic director of the Festival from 1981 to 1989. In the 2013-14 season, apart from touring Europe, Mr. Perahia appears in recital in Japan and for the first time in Australia where he performs at the Sydney Opera House and the Melbourne Recital Center in November. In February 2014, he plays the Schumann Concerto with the Boston Symphony Orchestra lead by Bernard Haitink in Boston and in New York’s Carnegie Hall before embarking on a recital tour across America. Mr. Perahia has a wide and varied discography. Sony Classical has issued a special boxed set edition of all his recordings including several DVDs entitled The First 40 Years. His recording of Brahms Händel Variations, which won the Gramophone Award in 2011, was described as “one of the most rewarding Brahms recitals currently available.” Some of his previous solo recordings feature a 5-CD boxed set of his Chopin recordings, Bach’s Partitas Nos. 1, 5, and 6 and Beethoven’s Piano Sonatas, opp 14, 26, and 28. He is the recipient of two Grammy awards for his recordings of Chopin’s complete Etudes and Bach’s English Suites Nos. 1, 3, and 6, and several Gramophone Awards including the first ever granted Piano Award in 2012. Recently, Mr. Perahia embarked on an ambitious project to edit the complete Beethoven Sonatas for the Henle Urtext Edition. He also produced and edited numerous hours of recordings of recently discovered master classes by the legendary pianist, Alfred Cortot, which resulted in the highly acclaimed Sony CD release, “Alfred Cortot: The Master Classes.” Mr. Perahia is an honorary fellow of the Royal College of Music and the Royal Academy of Music, and he holds honorary doctorates from Oxford University, Leeds University and Duke University. In 2004, he was awarded an honorary KBE by Her Majesty The Queen, in recognition of his outstanding service to music. 8/2/13 3:25 PM
A Just Added Event Wednesday, February 19, 2014 • 8PM SPONSORED BY
Six-time Grammy Award winners The Chieftains have been highly recognized for reinventing traditional Irish music on a contemporary and International scale. Their ability to transcend musical boundaries to blend tradition with modern music has notably hailed them as one of the most renowned and revered musical groups to this day. The Chieftains were formed in 1962 by Paddy Moloney. Enlisting top folk musicians, fiddler Martin Fay, flautist Michael Tubridy, tin whistle virtuoso Seán Potts, and bodhrán player David Fallon, Maloney intended to record a oneoff instrumental album, but it was later re-recorded with additional musicians, fiddler Seán Keane, and Peader Mercier replacing Fallon. Harpist Derek Bell came on board in 1973. It wasn’t until 1975 that The Chieftains began playing together full time and their landmark first full band performance was held at The Royal Albert Hall in London. The next few years saw the departure of Mercier, and the addition of bodhrán player and vocalist Kevin Conneff. Another lineup change came in 1978-79, at the departure of Potts and Tubridy and the addition of new flautist Matt Molloy. Although their early following was purely a folk audience, the range and variation of their music and accompanying musicians quickly captured a much broader audience, elevating their status to the likeness of fellow Irish band U2. Never afraid to shock purists and push genre boundaries, The Chieftains have amassed an immeasurably varied resume. They have been involved in such historic events as being the first Western group to perform on the Great Wall, Roger Waters’ The Wall performance in Berlin in 1990, honored as the first group to give a concert in the Capitol Building in Washington, D.C. (at the invitation of former Speaker Thomas “Tip” O’ Neill), and in October 2001, Moloney performed at a Ground Zero memorial service in New York for the victims of September 11th. They have performed with many symphony and folk orchestras worldwide, and have broken many musical boundaries by collaborating and performing with some of the biggest names in rock, pop and traditional music around the world. In addition to their six Grammy awards, they have been honored in their home country by being officially named Ireland’s Musical Ambassadors, performing during the Pope’s visit to Ireland in 1979 in front of an audience of 135,000,000 strong, and were the subject of a Late Late Show tribute in 1987, recognizing their 25th anniversary. In 2010, Moloney’s whistle and Molloy’s flute accompanied a NASA assignment into space, and in 2011 they performed for HRH Queen Elizabeth II during her historical visit to Ireland. 2012 marked the group’s 50th anniversary, and to celebrate this momentous occasion, The Chieftains once again invited friends from all musical styles to collaborate on their latest album, Voice of Ages. Featuring some of modern music’s fastest rising artists (Bon Iver, The Decemberists and Paolo Nutini among them), this album is proof that their music transcends not only stylistic and traditional boundaries, but generational as well. The trappings of fame have not altered The Chieftains’ love of, and loyalty to, their roots however; they are as comfortable playing spontaneous Irish sessions as they are headlining a concert at Carnegie Hall. After 50 years of making some of the most beautiful music in the world, The Chieftains’ music remains as fresh and relevant as when they first began. encore art sprograms.com 47
A Capital Public Radio Jackson Hall Jazz Event Friday, February 21, 2014 • 8PM
INDIVIDUAL SUPPORT PROVIDED BY
Tony and Joan Stone
JACK DEJOHNETTE JOE LOVANO
Pre-Performance Talk • 7PM
The Spring Quartet
PRE-PERFORMANCE TALK MODERATOR
Cory Combs, Director of Outreach, Music, and Enrichment, The Nueva School Cory Combs is an educator, historian, lecturer, bassist and composer living in the San Francisco Bay Area. He earned his bachelor’s and master’s degrees from the Eastman School of Music, where he studied classical performance, jazz and composition. He is currently director of outreach, music and enrichment at the Nueva School. He previously served as director of education at SFJAZZ, the non-profit organization behind the San Francisco Jazz Festival. Additionally, he served as music director at Waldorf High School in San Francisco and directed the jazz program at the American Festival of the Arts in Houston, Texas. He continues to be an active guest clinician and educator at colleges and high schools. Combs has presented frequent lectures on music history and culture throughout San Francisco and nationally, including the Asian Art Museum, the Pacific Asian Museum, the Jewish Community Center, Davies Symphony Hall, Herbst Theater, City College, the San Francisco Public Library, San Francisco State University, and on KQED Forum. He has released three CDs under his name, which have all received positive reviews in DownBeat and All About Jazz. His CD Valencia was listed as one of the 10 best CDs of the year by All About Jazz.
ESPERANZA SPALDING LEO GENOVESE LANITA ADAMS
Studying the vibrant history of modern music, not just jazz alone, you’d be hard pressed to find a major name that Jack DeJohnette, Joe Lovano, Esperanza Spalding and Leo Genovese are not connected to, whether on recordings, performances or collaborations. To have these four musicians co-lead a modern multigenerational project that showcases the linear path from the beginning source to the future of the lauded jazz idiom, is a spectacle in itself. One of the most respected drummers on the planet, NEA Jazz Master JACK DEJOHNETTE is capable of playing in any style while maintaining a well-defined voice, keeping him in constant demand as a drummer, bandleader, and sideman for more than five decades. Hailed by The New York Times as “one of the greatest musicians in jazz history,” Grammy award-winning saxophone giant JOE LOVANO has distinguished himself as a prescient and path-finding force in the arena of creative music. Lovano’s 23 recordings on the famed Blue Note label is unparalleled and his accolades and acclaim as bandleader and soloist are endless.
The young bassist/composer ESPERANZA SPALDING was one of the biggest breakout stars of 2011—not just in jazz, but in all genres of music. Her receipt of the 2011 Grammy for Best New Artist was unprecedented—the first time in history that a jazz musician has won the award— but Spalding continues to make the unprecedented the norm. The all-star frontline is rounded out by the amazing Argentinean pianist LEO GENOVESE a long-time cohort of Esperanza Spalding, who has travelled the globe on her Chamber Music Society and Radio Music Society tours.
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BAHIA ORCHESTRA PROJECT Ricardo Castro, conductor Jean-Yves Thibaudet, piano A Western Health Advantage Orchestra Series Event Saturday, February 22, 2014 • 8PM SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY
Nancy Lawrence, Gordon Klein, and Linda Lawrence Pre-performance Talk • 7PM Leopoldo M. Bernucci, Professor, The Russell F. and Jean H. Fiddyment Chair in Latin American Studies, Department of Spanish and Portuguese, UC Davis Leopoldo M. Bernucci is The Russell F. and Jean H. Fiddyment Chair in Latin American Studies in the Department of Spanish and Portuguese at UC Davis. He earned his Ph.D. degree, specializing in Spanish language and Latin American literature, from the University of Michigan at Ann Arbor in 1986. He has taught at various institutions, including Yale University, the University of Colorado-Boulder, the University of São Paulo (Brazil), and the University of Texas at Austin. He is author, co-author, and editor of numerous essays and the following scholarly books on colonial, 19th- and 20th-century Spanish American and Brazilian literature and culture. He is presently working on a critical study of the novel La vorágine (1924), by the Colombian writer José Eustasio Rivera, and its connections with a corpus of Brazilian ethnographic and fictional texts. Bernucci is the founder and director of the Luso-Brazilian Studies section in Department of Spanish and Portuguese at UC Davis and the founder and director of the Summer Abroad Program in Salvador, Bahia, Brazil. 50 MONDAVIARTS .ORG
BAHIA ORCHESTRA PROJECT The Bahia Orchestra Project is a pioneer initiative in Brazil modeled on the Venezuelan “El Sistema.” It was founded in 2007 by the Brazilian pianist and conductor Ricardo Castro, who remains its artistic and general director. Supported by the government of Bahia, this orchestra is part of the longterm educational program NEOJIBA (Núcleos Estaduais de Orquestras Juvenis e Infantis da Bahia). Over the last couple of years it has been gaining acclaim in Europe for its engaging performances that consistently bring sold-out audiences in London, Berlin and Geneva to their feet. These amazing young musicians are transforming the lives of hundreds of children through their gift of teaching symphonic orchestra instruments. Everywhere they go, they win over new audiences with their exciting interpretations of traditional repertoire as well as contemporary music and live improvisation.
PROGRAM Romeo and Juliet, Fantasy-Overture Tchaikovsky Piano Concerto in G Major Ravel Allegramente Adagio assai Presto INTERMISSION Sensemayá
O Tremzinho do Caipira from Bachianas Brasileiras No. 2 Villa-Lobos Danzón No. 2 Márquez
BAHIA ORCHESTRA PROJECT PROGRAM NOTES ROMEO AND JULIET, FANTASY-OVERTURE (1869)
PETER ILYICH TCHAIKOVSKY
(Born May 7, 1840, in Votkinsk; died November 6, 1893, in St. Petersburg) Romeo and Juliet was written when Tchaikovsky was 29. It was his first masterpiece. For a decade he had been involved with the intense financial, personal and artistic struggles that mark the maturing years of most creative figures. Advice and guidance often flowed his way during that time, and one who dispensed it freely to anyone who would listen was Mili Balakirev, one of the group of amateur composers known in English as “The Five” (and in Russian as “The Mighty Handful”) who sought to create a nationalistic music specifically Russian in style. In May 1869, Balakirev suggested to Tchaikovsky that Shakespeare’s Romeo and Juliet would be an appropriate subject for a musical composition, and he even offered the young composer a detailed program and an outline for the form of the piece. Tchaikovsky took the advice to heart, and he consulted closely with Balakirev during the composition of the work. Though his help came close to meddling, Balakirev’s influence seems to have had a strong positive effect on the finished composition. Tchaikovsky’s Romeo and Juliet is in a carefully constructed sonata form, with introduction and coda. The slow introduction, in chorale style, depicts Friar Lawrence. The exposition (Allegro giusto) begins with a vigorous, syncopated theme depicting the conflict between the Montagues and the Capulets. The contrapuntal interworkings and the rising intensity of the theme in this section suggest the fury and confusion of a fight. The battle subsides, and the familiar love theme (used here as a contrasting second theme) is sung by the English horn to represent Romeo’s passion. A tender, sighing phrase for muted violins suggests Juliet’s response. A stormy development section utilizing the driving main theme and the theme from the introduction denotes the feud between the families and Friar Lawrence’s urgent pleas for peace. The crest of the battle ushers in the recapitulation, in which the thematic material from the exposition is considerably compressed. Juliet’s sighs again provoke the ardor of Romeo, whose motive is here given a grand, emotional setting that marks the work’s high point. The tempo slows, the mood darkens, and the coda emerges with a sense of impending doom. The themes of the conflict and of Friar Lawrence’s entreaties sound again, but a funereal drum beats out the cadence of the lovers’ fatal pact. Romeo’s theme appears for a final time in
a poignant transformation, and the closing woodwind chords evoke visions of the flight to celestial regions.
PIANO CONCERTO IN G MAJOR
(Born March 7, 1875 in Ciboure, Basses-Pyrénées; died December 28, 1937 in Paris) Ravel’s tour of the United States in 1928 was such a success that he began to plan for a second one as soon as he returned to France. With a view toward having a vehicle for himself as a pianist on the return visit, he started work on a concerto in 1929, perhaps encouraged by the good fortune that Stravinsky had enjoyed concertizing with his Concerto for Piano and Winds and Piano Capriccio earlier in the decade. However, many other projects pressed upon him, not the least of which was a commission from the pianist Paul Wittgenstein, who had lost his right arm in the First World War, to compose a piano concerto for left hand alone, and the Concerto in G was not completed until 1931. The sparkling first movement of the Concerto in G opens with a bright melody in the piccolo that may derive from an old folk dance of the Basque region of southern France, where Ravel was born. There are several themes in this exposition: the lively opening group is balanced by another set that is more nostalgic and bluesy in character. The development section is an elaboration of the lively opening themes, ending with a brief cadenza in octaves as a link to the recapitulation. The lively themes are passed over quickly, but the nostalgic melodies are treated at some length. The jaunty vivacity of the beginning returns for a dazzling coda. When Ravel first showed the manuscript of the Adagio to Marguerite Long, who took over the work’s premiere when the composer was unable to find enough time to practice it, she commented on the music’s effortless grace. Ravel sighed and told her that he had struggled to write the movement “bar by bar,” that it had cost him more anxiety than any of his other scores. The movement begins with a longbreathed melody for solo piano over a rocking accompaniment. The central section does not differ from the opening as much in melody as it does in texture—a gradual thickening occurs as the music proceeds. The texture then becomes again translucent, and the opening melody is heard on its return in the plaintive tones of the English horn. The finale is a whirling showpiece for soloist and orchestra that evokes the dynamic world of jazz. Trombone slides, muted trumpet interjections, shrieking exclamations from the woodwinds abound. The episodes of the form tumble continuously one after another on their way to the abrupt conclusion of the work.
(Born December 11, 1899, in Santiago Papasquiaro, Durango, Mexico; died October 5, 1940, in Mexico City) Silvestre Revueltas was born in 1899 to a merchant family of small success in a little town in the northern Mexican state of Durango. He began playing the violin at an early age. At 13, he went to Mexico City to study performance and composition, and lived in the United States from 1916 to 1920 to attend schools in Austin and Chicago. He pursued a concert career in Mexico in 1921 and 1922, but decided to return to Chicago to finish his course of study. From 1926 to 1928, he worked as a theater violinist and orchestra conductor in San Antonio and Mobile, Alabama. In 1929, the distinguished composer and conductor Carlos Chávez summoned Revueltas to Mexico to become his assistant with the newly formed Orquesta Sinfónica de México. It was during his seven years in that post, and with the encouragement of Chávez, that Revueltas undertook serious work as a composer. He also became involved with the cause of workers’ and artists’ rights during that volatile time, and in 1937, he went to Spain to conduct concerts of his own music in support of the Loyalist government. He returned to Mexico City the following year, overburdening himself with activities in an attempt to defeat the poverty that had plagued him throughout his life, and he took to drink to ease the strain. On October 5, 1940, at the age of 40, Revueltas died of pneumonia precipitated by his crushing life style, an incalculable loss to Mexican music. In a fitting posthumous tribute, his remains were moved to the Rotunda de los Hombres Ilustres in Mexico City on March 3, 1976. Sensemayá of 1938 came near the end of the single decade that comprised Revueltas’ activity as a composer. The title is a Mayan word referring to a ritualistic rhythm or song, the work being inspired by verses of the Cuban poet Nicolás Guillén about the ceremonial sacrifice of a deadly snake by an African tribe. Sensemayá depicts this pagan ritual through a throbbingly visceral yet carefully controlled primitivism characterized by ostinato rhythms, irregular meters, prominent percussion and brass, great waves of sound, clear and memorable melodies and a high level of ear-tingling dissonance. In atmosphere and effect it is related to such other 20thcentury masterworks of musical primitivism as Stravinsky’s The Rite of Spring, Bartók’s Allegro barbaro and Prokofiev’s Scythian Suite. Sensemayá is a work of savage energy, stimulating brilliance and unique musical personality.
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BAHIA ORCHESTRA PROJECT O TREMZINHO DO CAIPIRA (“THE LITTLE COUNTRY TRAIN”) FROM BACHIANAS BRASILEIRAS NO. 2 (1930–1931)
HEITOR VILLA-LOBOS (1887–1959)
(Born March 5, 1887 and died December 17, 1959 in Rio de Janeiro) Heitor Villa-Lobos, Brazil’s greatest composer had little formal training. He learned the cello from his father and earned a living as a young man playing with popular bands, from which he derived much of his musical background. From his earliest years, Villa-Lobos was enthralled with the indigenous songs and dances of his native land, and he made several trips into the Brazilian interior to study the native music and ceremonies. Beginning with his earliest works, around 1910, his music shows the influence of the melodies, rhythms and sonorities that he discovered. He began to compose prolifically, and, though often ridiculed for his daring new style by other Brazilian musicians, he attracted the attention of the pianist Artur Rubinstein, who helped him receive a Brazilian government grant in 1923 that enabled him to spend several years in Paris, where his international reputation was established. Upon his permanent return to Rio de Janeiro in 1930, Villa-Lobos became an important figure in public musical education, urging the cultivation of Brazilian songs and dances in the schools. He made his first visit to the United States in 1944, and spent the remaining years of his life traveling in America and Europe to conduct and promote his own works and those of other Brazilian composers. The set of nine Bachianas Brasileiras holds a special place in Villa-Lobos’ enormous output of more than 2,000 works. These compositions, which Arthur Cohn called “less a musical form than a type of creative principle,” combine the melodic and rhythmic characteristics of Brazilian music with the texture and style of Bach. The Bachianas Brasileiras No. 2 was arranged for chamber orchestra from pieces originally written for cello and piano and for solo piano. The work, considerably more Brazilian than Bachian, is actually a delightful set of four miniature tone poems suggesting various aspects of the life of Villa-Lobos’ country. It is said that he wrote the last movement, O Tremzinho do Caipira (“The Little Country Train”), in one hour while riding on a country railroad that carried berry pickers and farm workers from São Paulo into the Brazilian interior. Originally composed for cello and piano, it was orchestrated by Villa-Lobos and added to the three completed movements of this Bachianas Brasileiras. The music depicts the chugging, clanking, whistle-blowing journey of the determined little train, an interesting contrast to the sleek power of Honegger’s Pacific 231 of 1924 that inspired Villa-Lobos’ imagination. 52 MONDAVIARTS .ORG
DANZÓN NO. 2 (1994)
(Born December 20, 1950, in Alamos Sonora, Mexico) Arturo Márquez, born in Alamos Sonora, Mexico in 1950, began his musical training in La Puente, Calif. in 1966, and subsequently studied piano and music theory at the Conservatory of Music of Mexico and composition at the Taller de Composicíon of the Institute of Fine Arts of Mexico; he also studied privately in Paris with Jacques Castérède and at the California Institute of the Arts. Márquez’s professional appointments have included leader of the Navojoa Municipal Band, teacher of composition at the National School of Music of Mexico, and a residency at the National Center of Research, Documentation and Information of Mexican Music at the National University of Mexico. In 1942, after a good-will visit to Cuba, Aaron Copland wrote his Danzón Cubano and gave the following description of the form: “The Cuban danzón is a stately dance, quite different from the rhumba, conga and tango, and one that fulfills a function rather similar to that of the waltz in our own music, providing contrast to some of the more animated dances. It is elegant and curt and very precise, as dance music goes.” Of his Danzón No. 2, Márquez noted, “I discovered that the apparent lightness of the danzón hides a music full of sensuality and rigor, music of nostalgia and joy that our old folks live with, a world that we can still grasp in the dance music of Veracruz and the dance halls of Mexico City. Danzon No. 2 is a tribute to the world that nurtured it.” –©2014 Dr. Richard E. Rodda
BAHIA ORCHESTRA PROJECT
The Bahia Orchestra Project is a pioneer initiative in Brazil modeled on the Venezuelan “El Sistema.” It was founded in 2007 by the Brazilian pianist and conductor Ricardo Castro, who remains its artistic and general director. Supported by the government of Bahia, this orchestra is part of the long-term educational program NEOJIBA (Núcleos Estaduais de Orquestras Juvenis e Infantis da Bahia). Over the last couple of years it has been gaining acclaim in Europe for its engaging performances that consistently bring sold-out audiences in London, Berlin and Geneva to their feet. These amazing young musicians are transforming the lives of hundreds of children through their gift of teaching symphonic orchestra instruments. Everywhere they go, they win over new audiences with their exciting interpretations of traditional repertoire as well as contemporary music and live improvisation.
Ricardo Castro is the founder and general director of NEOJIBA, an “El Sistema” program in Brazil that runs the Bahia Orchestra Project. He
first played the piano at the age of 3 and was taking lessons in his homeland (Salvador) by the time he was 5. In 1984 Ricardo Castro moved to Europe where he studied piano and conducting at Geneva Conservatory. Prize winner at ARD Munich Competition in 1987 and Géza Anda Competition in Zurich in 1988, winning the first prize at 1993 Leeds International Piano Competition as the only Latin American winner in the competition’s history, Ricardo Castro was launched on an international career giving recitals in the world’s major concert halls and performing concertos with some of the finest orchestras, including the BBC Symphony, Zurich Tonhalle, Orquestre de la Suisse Romande, Warsaw and Tokyo Philharmonic. He has also worked with some of the world’s major conductors and chamber music partners, including Sir Simon Rattle, Yakov Kreizberg, Leif Segerstam, Bartok String Quartet and pianist Maria João Pires with whom he gave concerts in the most important cities and concert halls around the world. In 2005 a CD for Deutsche Grammophon was released with Schubert’s works for duo and solo piano. Ricardo Castro has also recorded eight CDs for BMG Arte Nova, including a five-CD set of Chopin masterpieces, which have received great critical acclaim. Since the founding of NEOJIBA, Ricardo Castro has put all his efforts to insert the collective practice of music on the daily life of Brazilian children. He also teaches at Lausanne Haute École de Musique in Switzerland.
One of today’s most sought-after soloists, Jean-Yves Thibaudet has the rare ability to combine poetic musical sensibilities with dazzling technical prowess. His talent at coaxing subtle and surprising colors and textures from each work he plays has led The New York Times to exclaim that “every note he fashions is a pearl … the joy, brilliance and musicality of his performance could not be missed.” Thibaudet’s musical depth and natural charisma have underlined a career with global impact, including 30 years of performing around the world and over 40 recorded albums. After three striking summer appearances at Tanglewood in which he played the complete piano works of Ravel, Thibaudet begins his 2011–12 schedule with a European tour with Charles Dutoit and the Philadelphia Orchestra. Thibaudet builds seasons around composers, delving into their repertoire with unmatched passion and depth. Much of the 2011–12 season is centered on Liszt, Ravel and Saint-Saëns, and he performs the concertos of Ravel and Liszt with the Philadelphia Orchestra, and with the San Diego Symphony at its season-opening gala in October.
During the months of October and November, Thibaudet performed a program of Liszt lieder and Brahms lieder with mezzosoprano Angelika Kirchschlager, including a stop at New York’s Carnegie Hall. He also toured Europe with the Royal Concertgebouw Orchestra and the U.S. with the Royal Philharmonic Orchestra playing Saint-Saëns. After New York performances with the New York Philharmonic for its PBS-televised New Year’s Eve Gala and with the Orpheus Chamber Orchestra, Thibaudet will conclude his season with Debussy recitals in Germany and France. These Debussy evenings celebrate the 150th anniversary of the composer’s birth. Thibaudet has released more than 40 albums with Decca, which have earned the Schallplattenpreis, the Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo awards, and the Edison Prize. In spring 2010, Thibaudet released his latest CD, Gershwin, featuring big jazz band orchestrations of “Rhapsody in Blue,” variations on “I Got Rhythm,” and Concerto in F live with the Baltimore Symphony and music director Marin Alsop. On his Grammy-nominated recording of Saint-Saëns, Piano Concerti Nos. 2&5, released in fall 2007, Thibaudet is joined by longstanding collaborator Charles Dutoit and the Orchestre de la Suisse Romande. Also released in 2007, Thibaudet’s Aria: Opera Without Words features transcriptions of opera arias by Saint-Saëns, R. Strauss, Gluck, Korngold, Bellini, J. Strauss II, P. Grainger, and Puccini; some of the transcriptions are by Mikhashoff, Sgambati, and Brassin and others are Thibaudet’s own. Among his other recordings are Satie: The Complete Solo Piano Music and the jazz albums Reflections on Duke: Jean-Yves Thibaudet Plays the Music of Duke Ellington and Conversations With Bill Evans, his tribute to two of jazz history’s greats. Known for his style and elegance on and off the traditional concert stage, Thibaudet has had an impact on the world of fashion, film, and philanthrophy. His concert wardrobe is by celebrated London designer Vivienne Westwood. In November 2004, Thibaudet served as president of the prestigious Hospices de Beaune, an annual charity auction in Burgundy, France. He had an onscreen cameo in the Bruce Beresford feature film on Alma Mahler entitled Bride of the Wind, and his playing is showcased throughout the movie soundtrack. Thibaudet was the soloist on the Oscar- and Golden Globe Award-winning soundtrack to Universal Pictures’ Atonement and the Oscar-nominated Pride and Prejudice. He was also featured in the 2000 PBS/Smithsonian special Piano Grand!, a piano performance program hosted by Billy Joel to pay tribute to the 300th anniversary of the piano.
Thibaudet was born in Lyon, France, where he began his piano studies at age 5 and made his first public appearance at age 7. At 12, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age 15, he won the Premier Prix du Conservatoire and, three years later, won the Young Concert Artists Auditions in New York City. In 2001, the Republic of France awarded Thibaudet the prestigious Chevalier dans
l’Ordre des Arts et des Lettres, and in 2002, he was awarded the Premio Pegasus from the Spoleto Festival in Italy for his artistic achievements and his long-standing involvement with the festival. In 2007, he was awarded the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. On June 18, 2010, the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame.
BAHIA ORCHESTRA Guilherme Teixeira, CONCERTMASTER
Amanda De Menezes Silva Ana Celi Venturini Damaris Dos Santos Daniel De Camargo Aly Danilo Lopes Eliel Santana Filipe Vital Karen Silva Santos Misael Dinis Priscila Figueiredo Souza Priscila Gabrielle R. Silva Santos Reinaldo Silva Rodrigo Carvalho De Oliveira
Filipe Oliveira Mota Adeilson Sodré Ainoã Santos Cruz Barbara Gallo Bruno Smetak Enã Deuel Barosa Santos Fabrizio D’andreamatteo Gabriel Miranda Dantas Geisiane Da Silva Dos Santos George Lavigne Jeanderson Barbosa De Lima Karen Gabriele Nino Rosa Keila Maielle Marivaldo Liberato Neri Jr. Mateus Correia De Oliveira Mateus Mariani Neivan Dos Santos Sidinei George Dos Santos
Jhonathan Santos Airã Saulo Barbosa Dos Santos Alan Resedá Dos Santos Leite Ana Florencia Paulin Eduardo Lopes Conceição Elson Freitas De Jesus Santos Fabio Dantas De Araujo Costa Geisa Da Silva Dos Santos Jéssica Almeida Lima Laercio Souza Dos Santos Lais Guimarães Dos Santos Costa Luiza Oliveira Dos Santos Nataly Maria Do Vale Ramiris De Oliveira Silva
Társis Araujo Cruz
Caio Azevedo Ana Belen Ruales Aguiar Daniel Lopes Darlan Gabriel Vargas Santana Correia Filipe Massumi Joás Ferreira Neves Juliana Florêncio Costa Lais Tavares Gomes Marcos Vinicius Santana Magalhães Nilton De Jesus Pedro Cunha Victor De Oliveira Macêdo
Kivia Silva Santos Alexsandro Alves Souza Athos Eduardo Francisco Alves Souza Isaque Marques Dos Anjos Jairo Soares Da Rocha Junior Marcelle Elvira M.r. Miranda Patricia Silva Ana Júlia Victor Da Costa
Bittencourt Doris Barbosa Felipe Almeida Alves Silva Flavia Silva Santos Yamila Maleh Samuel Egídio Santos
Érica Barreto Smetak Elizane Priscila Silva Santana Jadison De Jesus Santos Mariana Da Cruz Sales Sandra Paola Romero Rojas
Adauri Oliveira Amanda Muller Geisiane Rocha Da Silva Indira Dourado Leandro Aragão Dos Santos Thiago Da Silva Santos Vanessa Da Silva Melo
Abner Da Silva Pinto Ange Paola Bazzani Esdras Santana Santos
Valter Pedro Rodrigues
Orlando Afanador Florez Davi Da Silva Brito Paula Graziele Guimarães Santos Uriel Borges Vieira Silva Washington Nascimento Yuli Martinez
Helder Célio Ribeiro Passinho Jr. Davi De Souza Brito Esdras Efrain Santana Rocha Fabio De Souza Teixeira Jairo Luis Sant’ Ana Lucas Felipe Araújo Manoel Passos Ribeiro Neto
Michele Girardi Bruno Duarte Joadson Araújo De Sena Otávio Correa Da Silva Pedro Degaut Stephan Santos Sanches Tenison Santana Dos Santos
David Souza Dos Santos Ednei Ipojucan Alves De Brito
Jamberê Ribeiro Cerqueira Jackson De Jesus Santos
Isaac Falcão Novais De Almeida Cassio Bitencourt Celso Teixeira De Amaral Neto David Oliveira Martins Everton Isidoro Santos Silva Fábio Da Silva Santos Rafael Souza Campos Rodrigo De Paula Lima Tainnã Chagas Batista
Aline Falcão Novais De Almeida
Cecília Anddrade Pacheco
A Dance Series Event Friday, February 28, 2014 • 8PM THE PROGRAM IS PERFORMED WITHOUT AN INTERMISSION. INDIVIDUAL SUPPORT PROVIDED BY
Verne Mendel in memory of Tink Mendel. Question & Answer Session MODERATED BY
Lorelei Bayne, Vice Chair, Department of Theatre and Dance, Associate Professor, Dance, Sacramento State University Lorelei Bayne is a dance educator, choreographer and performer whose choreography has been presented in venues throughout New York City, as well as in CT, PA, FL, CA and VA, through Lorelei Bayne/Projects (digsacramento.org) since 1991. She danced professionally for 18 years on the East Coast and has performed the works of dance luminaries such as Jose Limon, Mark Morris, Ann Reinking, May O’Donnell and Mark Dendy. Bayne was co-artistic director of the Sacramento-based, Dangerous Lorraines Dance Theater, from 2007–10 with Melissa Wynn. Currently, she is an associate professor and the vice chair of the department of theatre and dance at CSU, Sacramento. The recipient of many grants and awards, such as the Outstanding Teaching Award for the CSUS College of Arts and Letters, Bayne’s primary area of inquiry is composition, collaboration and dance-driven new performance forms that seek to touch audiences and broaden exposure of the art of dance. She and Philip Flickinger have started a new project in Sacramento: DIG/ Dancers Investigation Group. Bayne is proud to be fiscally sponsored by Dancers Group in San Francisco, CA.
54 MONDAVIARTS .ORG
STEPHEN PETRONIO COMPANY
Like Lazarus Did (LLD 2/28)
LIKE LAZARUS DID (LLD 2/28) A New Music USA Commission Concept and choreography Stephen Petronio Original music Son Lux Performed by Son Lux, featuring the Young People’s Chorus of New York City Lighting design Ken Tabachnick Costumes H. Petal; Tara Subkoff Performed by Julian De Leon, Davalois Fearon, Josh D Green, Gino Grenek, Barrington Hinds, Natalie Mackessy, Jaqlin Medlock, Nicholas Sciscione, Emily Stone, Joshua Tuason Assistant to the Artistic Director Gino Grenek Lighting Supervisor Burke Wilmore Production Stage Manager Kelly Brown
Slipping into heightened, intuitive states through motion has long been at the root of my choreographic interest, no matter what the specific topical pursuit driving me; an ecstatic, transcendent state reached through physical form. A few years back, composer Son Lux sent me a book of American slave songs, previously unpublished and passed down only through oral tradition. Their language and form so oddly compelling, these spiritually elevated songs sung by the most oppressed of people offered me a new key to getting out of body through music. They became our inspiration and point of departure in making this performance. The title Like Lazarus Did (LLD 2/28) is a line taken directly from one of these original songs. Lazarus’ resurrection, the phoenix rising, and cycles of reincarnation are compelling ideas common to many cultures. —Stephen Petronio
STEPHEN PETRONIO COMPANY ABOUT THE COMPANY
Acclaimed by audiences and critics alike, Stephen Petronio is widely regarded as one of the leading dance-makers of his generation. New music, visual art, and fashion collide in his dances, producing powerfully modern landscapes for the senses. He has built a body of work with some of the most talented and provocative artists in the world, including composers Atticus Ross, Valgeir Sigurðsson, Nico Muhly, Fischerspooner, Rufus Wainwright, Lou Reed, Laurie Anderson, Son Lux, James Lavelle, Michael Nyman, Sheila Chandra, Diamanda Galás, Andy Teirstein, Wire, Peter Gordon, Lenny Pickett, and David Linton; visual artists Cindy Sherman, Anish Kapoor, Donald Baechler, Stephen Hannock, Tal Yarden, Arnaldo Ferrara, and Justin Terzi III; fashion designers Jillian Lewis, Adam Kimmel, Benjamin Cho, Michael Angel, Tony Cohen, Rachel Roy, Tara Subkoff, Tanya Sarne/Ghost, Leigh Bowery, Paul Compitus, Manolo, Yonson Pak, and H. Petal; and Resident Lighting Designer Ken Tabachnick. Founded in 1984, Stephen Petronio Company has performed in 26 countries throughout the world, including more than 35 New York City engagements with 17 seasons at The Joyce Theater. The Company has been commissioned by Dance Umbrella Festival/London, Hebbel Theater/Berlin, Theater Scene National de Sceaux/France, Festival d’Automne a Paris, CNDC Angers/ France, The Holland Festival, Festival International Montpellier-Danse, Danceworks UK Ltd, International Cannes Danse Festival, and in the U.S. by San Francisco Performances, The Joyce Theater, UCSB Arts & Lectures, Wexner Center for the Arts, Walker Art Center, and White Bird, among others. Over the past year, the Company performed at the American Dance Festival in Durham, North Carolina; in Irvine, Calif.; in Dallas and Houston; and in Chicago. The Company looks forward to upcoming engagements in Portland; San Francisco; New York; and Scottsdale, Ariz.
STEPHEN PETRONIO (Artistic Director/
Choreographer). For nearly 30 years, Stephen Petronio has honed a unique language of movement that speaks to the intuitive and complex possibilities of the body within the shifting sphere of our current time. He continues to create a haven for dancers with a keen interest in history and an appetite for the unknown. Petronio was born in Newark, New Jersey and received a B.A. from Hampshire College in Amherst, Mass., where he began his early training in improvisation and dance technique. He was greatly influenced by working with Steve Paxton as well as the dancing of Rudolph
Nureyev and was the first male dancer of the Trisha Brown Company (1979 –1986). He has gone on to build a unique career, receiving numerous accolades, including a John Simon Guggenheim Fellowship, awards from the Foundation for Contemporary Performance Arts, New York Foundation for the Arts, an American Choreographer Award, and a New York Dance and Performance “Bessie” Award. Petronio has created more than 35 works for his company, and has been commissioned by some of the world’s most prestigious modern and ballet companies, including William Forsythe’s Ballett Frankfurt (1987), Deutsche Oper Berlin (1992), Lyon Opera Ballet (1994), Maggio Danza Florence (1996), Sydney Dance Company (2003, full evening), NorrDans (2006), the Washington Ballet (2007) and The Scottish Ballet (2007). His company repertory works have been set on The Scottish Ballet, NorrDans in Sweden, Dance Works Rotterdam, National Dance Company Wales, X Factor Dance Company in Edinburgh, Ballet National de Marseille, Ballet de Lorraine, and London Contemporary Dance Theater. In 2009, Petronio completed an evening-length work, Tragic/Love, for 30 dancers in collaboration with composer Son Lux for Ballet de Lorraine. He completed two additional new works with Son Lux: By Singing Light, for National Dance Company Wales (2010), and The Social Band, a commission for OtherShore Dance Company in New York (2011). In September 2013, Petronio created Water Stories, his second commission for National Dance Company Wales. Other recent projects include Prometheus Bound (2011), a musical for the American Repertory Theater, in collaboration with director Diane Paulus (HAIR), writer and lyricist Steven Sater (Spring Awakening) and composer Serj Tankian (Grammy Award, lead vocalist “System of a Down”). Petronio performed his rendition of Paxton’s Intravenous Lecture at the TEDMED-2012 conference at the Kennedy Center Opera House in Washington, D.C., and has spent the last several years working on his memoir, Confessions of a Motion Addict. In October 2012, Petronio received the honor of being named the first Artist-in-Residence at The Joyce Theater, an appointment running through September 2014.
JULIAN DE LEON (Dancer) began his dance training at the Los Angeles County High School for the Arts. Upon graduation, he was accepted to the Laban Center in London, England. In 2000, De Leon danced with Random Dance Company. He moved to San Francisco in 2002 and was involved in projects with Janice Garret and Dancers, Kunst-Stoff, and Margaret Jenkins Dance Company. De Leon has been dancing with Stephen Petronio Company since May 2007. encore art sprograms.com 55
STEPHEN PETRONIO COMPANY DAVALOIS FEARON (Dancer) was born in Jamaica and raised in New York City. She began her dance training at the Professional Performing Arts/Alvin Ailey High School dance program. Fearon went on to receive additional training on scholarship from the Merce Cunningham school, the Martha Graham school, and graduated from The Conservatory of Dance at Purchase College with a BFA. In 2005, during her senior year of college, she joined the Stephen Petronio Company. Since joining, she has performed worldwide with the company and has also assisted Petronio in the creation of The Social Band for OtherShore Dance Company in 2010. JOSH D GREEN (Dancer) was born in Minnesota, where he also received his early dance training. He earned his BFA in dance with honors from New York University’s Tisch School of the Arts in 2010. After graduation, Green performed with Lucinda Childs and joined Stephen Petronio Company in 2011. GINO GRENEK (Dancer/Assistant to the Artistic Director) is originally from Rochester, New York. He is a graduate of both Dartmouth College (Engineering Sciences and Studio Art, 1994) and New York University’s Tisch School of the Arts (MFA in dance, 1996). As a member of the original Broadway cast, Grenek performed in Matthew Bourne’s award-winning reinterpretation of Swan Lake (1998-1999). For eight years, he toured with the Stephen Petronio Company across five continents (1999-2007). He has assisted Petronio with the creation of new works for NorrDans (Sweden, 2004), Washington Ballet (United States, 2007), Ballet de Lorraine (France, 2009) and National Dance Company Wales (United Kingdom, 2010 and 2013). In 2007, Grenek was honored with a New York Dance and Performance “Bessie” Award for his body of work with Stephen Petronio. He returned to the company in 2009. BARRINGTON HINDS (Dancer) is from West Palm Beach, where he began his training at the School of Ballet Florida under the direction of Marie Hale. He holds a BFA in dance from SUNY Purchase College and has also trained a semester abroad at the Taipei National University of the Arts in Taiwan. Hinds has worked professionally with VERB Ballets, Northwest Professional Dance Project and performed in the national tour of Twyla Tharp’s Broadway show, Movin’ Out. In 2011, Hinds was honored as a finalist for the Clive Barnes Award in young talent for dance. He joined the company in 2008. NATALIE MACKESSY (Dancer) is originally from Columbus, Ohio. She is a graduate of Point Park University with a B.A. in dance. Mackessy has danced as a scholarship student with Mark Morris Dance Group, as well as Amanda Selwyn Dance 56 MONDAVIARTS .ORG
Theatre. She was named a finalist for the 2011 Clive Barnes Award in Dance. Mackessy joined the Stephen Petronio Company in November 2009.
JAQLIN MEDLOCK (Dancer), a native of New York, holds a BFA in dance and photography from Marymount Manhattan College. Upon graduation, Medlock began her own photography business specializing in movement. She has performed for companies, including STEPS Repertory Ensemble, DreDance, NY2, DeMa Dance Company, and Bennyroyce Dance Productions. She was also assistant to choreographer Warren Adams while working with Phoenix Dance Theater in Leeds, England. Medlock joined the Stephen Petronio Company in September 2011. NICHOLAS SCISCIONE (Dancer) was born and raised in Elizabeth, New Jersey. He graduated magna cum laude with a BFA in dance from Mason Gross School of the Arts at Rutgers University. He has performed works by Benoit-Swan Pouffer, Randy James, Xiao-xiong Zhang, Danielle Agami, and Ohad Naharin and has also worked with Nimbus Dance Works and Freespace Dance. Sciscione joined Stephen Petronio Company in 2011. EMILY STONE (Dancer) is originally from Colorado, where she began dancing with the Boulder Ballet. Stone attended SUNY Purchase Dance Conservatory and received her B.A. in dance from Empire State College. She completed the professional training program at the Merce Cunningham Studio and has performed with Cornfield Dance and Terrain Dance Company. Stone joined the Stephen Petronio Company in May 2009. JOSHUA TUASON (Dancer) was born and raised in San Francisco and began his training with the San Francisco Ballet School. He earned his BFA in dance from Marymount Manhattan College under the direction of Katie Langan. After graduation, he was a member of the Martha Graham Ensemble and has worked professionally with Lane Gifford and Ian Spencer Bell. He joined the Stephen Petronio Company in February 2009. SON LUX (aka Ryan Lott) (Composer) grew up studying music and earned a bachelor of music at Indiana University. His debut recording, At War With Walls and Mazes, earned him the title of Best New Artist by NPR’s All Songs Considered. In 2011, he followed up this release with We Are Rising, which featured collaborations with chamber sextet yMusic, DM Stith, and Shara Worden (My Brightest Diamond). In addition to his creative output as Son Lux, Lott has kept busy balancing his time between scores for films, commissions, and advertising work. In 2012, Lux joined forces with rapper Serengeti and indie music
luminary Sufjan Stevens to release the EP Beak & Claw. This adds to his already long list of high profile collaborators, with artists such as Beans (AntiPop Consortium), Richard Perry (Arcade Fire), Busdriver, Colin Stetson (Bon Iver) and Peter Silberman (The Antlers). He also contributed brass and wind arrangements to the These New Puritans’ album Hidden, NME’s 2010 Album of the Year. His arranging credits include several feature films, most notably, the score for Looper (2012). In addition to designing and programming “virtual” instruments for the score, he was the orchestrator, assistant arranger and pianist, and contributed one of his Son Lux songs to the soundtrack. Ryan is currently working on his third full-length Son Lux release and composing the score for the forthcoming film The Disappearance of Eleanor Rigby, starring Jessica Chastain and James McAvoy. In addition to his score for Petronio’s work Like Lazarus Did, Lott has created scores for three of Petronio’s commissioned works for other companies: Ballet de Lorraine, National Dance Company Wales, and OtherShore.
H. PETAL (Costume Designer) grew up in Liverpool, raised by his immigrant grandmother, a master patternmaker who had him creating clothes for his family by age 10. Petal briefly attended Central St. Martins in the late 1980s before dropping out to follow his aesthetic heart to England’s underground. He has designed for a wide variety of Petronio’s choreographic adventures in the dance world since 1990, including MiddleSexGorge, Close Your Eyes and Think of England, and Bud Suite for the Stephen Petronio Company; Extravenous for Lyon Ballet; Laytext for The Deutsche Opera Berlin; Tragic/Love for Ballet de Lorraine; and most recently, By Singing Light and Water Stories for National Dance Company Wales. KEN TABACHNICK (Resident Lighting Designer; Visual Design) has an extensive background in both the management and the creative sides of the arts, where he has worked for more than 30 years. Some companies with which he has collaborated include the Bolshoi and Kirov companies, Paris Opera Ballet, Martha Graham Dance Company, and Trisha Brown Dance Company. Tabachnick was recently named Deputy Dean of Tisch School of the Arts at NYU. Prior to that, he was Dean of the School of the Arts at Purchase College and General Manager at New York City Ballet. He has also served as the resident lighting director at New York City Opera and had his own private practice in entertainment and intellectual property law. Tabachnick is a trustee of Dance/USA and Stephen Petronio Company, and has been lighting Petronio’s work since 1985. BURKE WILMORE (Lighting Supervisor) is a member of United Scenic Artists Local 829 and
an honors graduate of Wesleyan University. He was the resident designer for Battleworks (2001 -2010) and has lit five of Mr. Battle’s works to date for Alvin Ailey American Dance Theater. He is the resident designer for Keigwin + Company. He has also lit works by Camille A. Brown, Brian Brooks, Gregory Dolbashian, and Stephen Petronio. He frequently collaborates with Broadway star André de Shields, for whom he designed scenery and lighting for the recent Ain’t Misbehavin’. He also designed scenery and lighting for Apollo Club Harlem, directed by Maurice Hines. Wilmore leads the production team and serves as Associate Producer for FOCUS Dance presentations in venues across New York City each January.
KELLY BROWN (Production Stage Manager) received her formal dance training on Long Island at the American Theater Dance Workshop, the official school of the Eglevsky Ballet. She continued on to dance for Eglevsky Ballet and later became the company’s production director. Brown graduated from Adelphi University with an Honors College degree and BFA in theatrical design & technology. She has served as production stage manager for Complexions Contemporary Ballet since 2010. Other credits and companies include: Eliot Feld/Ballet Tech, Trey McIntyre Project, Flamenco Vivo Carlota Santana, Nomad Contemporary Ballet, The World Science Festival, Mont Blanc de la Culture Arts Patronage Awards, Mannes Opera, Dicapo Opera Theatre, and the 75th anniversary national tour of Porgy & Bess. Special thanks to Ann Morton for costume construction.
Stephen Petronio Company’s 2013–14 Season is made possible in part with public funds from The National Endowment for the Arts, New York State Council on the Arts, NYC Department of Cultural Affairs in Partnership with the City Council, and with additional support from Dance/USA’s Engaging Dance Audiences; the Dorothea Leonhardt Fund, Communities Foundation of Texas; The Harkness Foundation for Dance; Joseph & Joan Cullman Foundation for the Arts; and the New England Foundation for the Arts, with funding from the Doris Duke Charitable Foundation. Stephen Petronio Company would like to send a heartfelt thanks to Jeremy Ganter and the entire staff and crew of Mondavi Center. We are pleased to be performing in this engagement.
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The magic of
Like Lazarus Did is made possible by the New England Foundation for the Arts’ National Dance Project with lead funding from the Doris Duke Charitable Foundation and additional funding from Andrew W. Mellon Foundation, MetLife Foundation, and the National Endowment for the Arts. Original music for Like Lazarus Did was commissioned through New Music USA’s Commissioning Music/ USA program, which is made possible by generous support from the NYC Department of Cultural Affairs as well as endowment support from The Mary Flagler Cary Charitable Trust, The Helen F. Whitaker Fund, The Andrew W. Mellon Foundation, The Rockefeller Brothers Fund, The William and Flora Hewlett Foundation, and the Francis Goelet Charitable Lead Trust. Support for this program has been provided by New Music USA’s Live Music for Dance program. Like Lazarus Did Production Residency funded by the New England Foundation for the Arts’ National Dance Project, with funding from The Andrew W. Mellon Foundation. Like Lazarus Did was created in part with the support of The Joyce Theater Foundation’s ArtistIn-Residence initiative, funded by The Andrew W. Mellon Foundation, and The Flying E Ranch Residency Program, with funding from the Wellik Foundation, The Del E. Webb Center for the Performing Arts and the National Endowment for the Arts.
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Martha Bryant* Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy W. Bellhorn Victor W. Burns William and Karolee Bush John and Marguerite Callahan Helen Campbell Lita Campbell* Jean Canary Tony Cantelmi John and Nancy Capitanio Michael and Susan Carl Carolyn Chamberlain Dorothy Chikasawa* Richard and Arden Christian Gail Clark L. Edward and Jacqueline Clemens Bill and Linda Cline Stephan Cohen Stuart and Denise Cohen Wayne Colburn Sheri and Ron Cole Collected Works Gifts, LLC Steve and Janet Collins David Combies and Loretta Smith Patricia Conrad Terry and Marybeth Cook Nicholas and Khin Cornes Fred and Ann Costello Catherine Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan Fitz-Roy and Susan Curry Robert Bushnell, DVM and Elizabeth Dahlstrom-Bushnell John and Joanne Daniels Kim Uyen Dao* Judy and David Day Lynne de Bie* Carl and Voncile Dean Steven E. Deas Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* Richard Doughty Mr. and Mrs. John Drake Anne Duffey Marjean DuPree Harold and Anne Eisenberg Eliane Eisner Allen Enders Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Lynette Ertel* Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Cheryl and David Felsch Liz and Tim Fenton* Joshua Fenton and Lisa Baumeister Steven and Susan Ferronato Dave Firenze Kieran and Marty Fitzpatrick David and Donna Fletcher Walter Ford Marion Franck and Bob Lew Anthony and Jorgina Freese Larry Friedman and Susan Orton Kerim and Josina Friedrich Joan Futscher Myra A. Gable Lillian Gabriel Claude and Nadja Garrod Peggy Gerick Gerald Gibbons and Sibilla Hershey Elizabeth Gibson Mary Lou and Robert Gillis Barbara Gladfelter Eleanor Glassburner Louis J. Fox and Marnelle Gleason* Pat and Bob Gonzalez* Michele Tracy and Dr. Michael Goodman
encore art sprograms.com 59
THE ART OF GIVING Jeffrey and Sandra Granett Steve and Jacqueline Gray* Mary Louise Greenberg Paul and Carol Grench Alex and Marilyn Groth Wesley and Ida Hackett* Paul W. Hadley Jane and Jim Hagedorn Frank and Rosalind Hamilton William Hamre Pat and Mike Handley Jim and Laurie Hanschu Susan and Robert Hansen Vera Harris Sally Harvey* Buzz Haughton Mary Helmich Joan Williams and Martin Helmke Roy and Dione Henrickson Rand and Mary Herbert Eric Herrgesell, DVM Fred Taugher and Paula Higashi Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Michael and Margaret Hoffman David and Gail Hulse Eva Peters Hunting Patricia Hutchinson* Lorraine Hwang Marta Induni Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Mun Johl Phil and Carole Johnson Michelle Johnston and Scott Arranto Warren and Donna Johnston Valerie Jones Jonsson Family* Andrew and Merry Joslin James Anthony Joye Martin and JoAnn Joye* Fred and Selma Kapatkin Tim and Shari Karpin Yasuo Kawamura Phyllis and Scott Keilholtz* Charles Kelso and Mary Reed Dr. Michael Sean Kent
Robert and Cathryn Kerr Pat Kessler Jeannette Kieffer Gary and Susan Kieser Larry Kimble and Louise Bettner Dr. and Mrs. Roger Kingston Dorothy Klishevich* Mary Klisiewicz Paulette Keller-Knox Winston and Katy Ko Marcia and Kurt Kreith Sandra Kristensen Elizabeth and C.R. Kuehner Leslie Kurtz Cecilia Kwan Ray and Marianne Kyono Bonnie and Kit Lam* Marsha M. Lang Susan and Bruce Larock Leon E. Laymon Marceline Lee and Philip Smith The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn Lewis David and Susan Link Motoko Lobue Mary Lowry Henry Luckie Ariane Lyons Edward and Susan MacDonald Leslie Macdonald and Gary Francis Kathleen Magrino* Alice Mak and Wesley Kennedy Vartan Malian Joseph and Mary Alice Marino Pamela Marrone and Michael J. Rogers David and Martha Marsh J. A. Martin Bob and Vel Matthews Leslie and Michael Maulhardt Katherine Mawdsley* Sean and Sabine McCarthy Karen McCluskey* Nora McGuinness* Dr. Thomas and Paula McIlraith Donna and Dick McIlvaine
CORPORATE MATCHING GIFTS
Tim and Linda McKenna Martin A. Medina and Laurie Perry In Honor of Werner Paul Harder, II DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Fred and Linda J. Meyers* Beryl Michaels and John Bach Lisa Miller Phyllis Miller Sue and Rex Miller Douglas L. Minnis Kathy and Steve Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Elaine and Ken Moody Amy Moore Hallie Morrow Diane and William Muller Judith and Terry Murphy Elaine Myer Nachtergaele-Devos Judy and Merle Neel Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Jenifer Newell Keri Mistler and Dana Newell* Malvina and Eugene Nisman Nancy Nolte and James Little Dana K. Olson Jim and Sharon Oltjen Marvin O’Rear Bob and Elizabeth Owens Mike and Carlene Ozonoff* Pamela Pacelli Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Brenda Davis and Ed Phillips Pat Piper Drs. David and Jeanette Pleasure Jane Plocher Vicki and Bob Plutchok Jerry and Bea Pressler
Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.
We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.
Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Bob and Barbara Leidigh Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Anonymous
ARTISTIC VENTURES FUND
John and Lois Crowe Patti Donlon Richard and Joy Dorf Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef
If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation. If you are interested in learning about planned giving opportunities, please contact Ali Morr Kolozsi, Director of Major Gifts and Planned Giving (530.754.5420 or firstname.lastname@example.org ).
Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. 60 MONDAVIARTS .ORG
Deb and Jeff Stromberg Mary Superak Joyce Nao Takahashi Yayoi Takamura and Jeff Erhardt Stewart and Ann Teal* Julie A. Theriault, PA-C Janet and Karen Thome Brian Toole Robert and Victoria Tousignant Michael and Heidi Trauner Rich and Fay Traynham James Turner Barbara and Jim Tutt Robert and Helen Twiss Nancy Ulrich* Unda/Serat Family Chris and Betsy Van Kessel Robert Vassar Bart and Barbara Vaughn* Catherine Vollmer Rosemarie Vonusa* Carolyn Waggoner and Rolf Fecht* Kim and James Waits M. Wakefield and Wm Reichert Carol Walden Andy and Judy Warburg Valerie Boutin Ward Marny and Rick Wasserman Royce and Caroline Waters Dr. Fred and Betsy Weiland Jack and Rita Weiss Douglas West Martha S. West Robert and Leslie Westergaard* Edward and Susan Wheeler Linda K. Whitney Jean and Don Wigglesworth Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Heather Young Verena Leu Young Melanie and Medardo Zavala Darrel and Phyllis Zerger* Sonya and Tim Zindel Dr. Mark and Wendy Zlotlow And 36 donors who prefer to remain anonymous
Thank you to the following donors for their program gifts during the past fiscal year.
Chevron/Texaco Matching Gift Fund DST Systems Morgan Stanley U.S. Bank
We applaud our Artistic Ventures Fund’s founding members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies and programs made available free to the public.
Dr. and Ms. Rudolf Pueschel Edward and Jane Rabin Dr. Anne-Louise and Dr. Jan Radimsky Mary Ralli Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Sandra Erslsine Reese Fred and Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Francis Resta David and Judy Reuben* Al and Peggy Rice Stephen Michael Rico Jeannette and David Robertson Alice and Richard Rollins Richard and Evelyne Rominger Andrea G. Rosen Linda Roth and Teddy Wilson Cathy and David Rowen Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Dr. Terry Sandbek and Sharon Billings* Patsy Schiff Julie Schmidt Janis J. Schroeder and Carrie L. Markel Jenifer and Bob Segar Dan Shadoan and Ann Lincoln Nancy Sheehan and Rich Simpson Mamie Shen Jill and Jay Shepherd Valerie Brown and Ed Shields Jane and Ray Shurtz Consuelo Sichon Sandi and Clay Sigg Dan and Charlene Simmons P. and C. Simpson Marion E. Small Robert Snider Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Marguerite Spencer Miriam Steinberg Harriet Steiner and Miles Stern Raymond Stewart
YOUNG ARTISTS COMPETITION AND PROGRAM
John and Lois Crowe Merrilee and Simon Engel
Mary B. Horton Barbara K. Jackson
ARTS EDUCATION STUDENT TICKET PROGRAM
Donald and Dolores Chakerian Members of The Friends of Mondavi Center Carole Pirruccello, John and Eunice Davidson Fund Sharon and Elliott Rose
DANCE FOR PARKINSON’S PROGRAM
Tom and Lynda Cadman Douglas Clarke In Memory of Virginia Fong Gerald Hayward William and Madeleine Kenefick John Springer and Melourd Lagdamen Phyllis and Sunny Lee Jean Malamud
Joy McCarthy Mia McClellan David and Connie McKie Sybil and Jerry Miyamoto Maureen and Harvey Olander Parkinson’s Association of Northern California Samuel and Lynne Wells John Whitted
UC DAVIS STUDENT MEMBERSHIP PROGRAM
Eric Joshua Smith
BOARDS & COMMITTEES
MONDAVI CENTER ADVISORY BOARD
The Mondavi Center Advisory Board is a university support group, whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis and its resident users, the academic departments of Music, Theatre and Dance, and the presenting program of Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and 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. 13–14 COMMITTEE MEMBERS Lee Miller • Jim Forkin • Erin Jackson • Sharon Knox • Eleanor McAuliffe • Marta Altisent • Charles Hunt • Gabrielle Nevitt • Burkhard Schipper • Christine Chang • Timothy Colopy • Daniel Friedman • Susan Perez • Lauren Perry • Don Roth • Jeremy Ganter • Erin Palmer • Becky Cale
THE FRIENDS OF MONDAVI CENTER is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis. edu or call 530.754.5431. 13–14 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Jo Anne Boorkman, President Sandi Redenbach, Vice President Jo Ann Joye, Secretary Jim Coulter, Audience Enrichment Lydia Baskin, School Matinee Support Leslie Westergaard, Mondavi Center Tours Karen Street, School Outreach Martha Rehrman, Friends Events Jacqueline Gray, Membership Joyce Donaldson, Chancellor’s Designee, Ex-Officio Shirley Auman, Gift Shop, Ex-Officio
13–14 ADVISORY BOARD MEMBERS Joe Tupin, Chair • John Crowe, Immediate Past Chair Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry Maisel • Stephen Meyer • Randy Reynoso • Grace Rosenquist • John Rosenquist • Joan Stone • Tony Stone • Larry Vanderhoef HONORARY MEMBERS Barbara K. Jackson • Margrit Mondavi
EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Jo Anne Boorkman, President, Friends of Mondavi Center • Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis • Lee Miller, Chair, Arts & Lectures Administrative Advisory Committee
of Mondavi Center
is an active donor-based volunteer organization that supports activities of Mondavi Center’s presenting program.
Gift Shop at Mondavi Center The Gift Shop at the Mondavi Center is located in the southeast corner of the Yocha Dehe Grand Lobby. The Gift Shop is currently stocking new and festive holiday merchandise and is open prior to and during intermission for performances in Jackson Hall. Managed and staffed by Friends of Mondavi Center, the Gift Shop is a friendly gathering spot and perfect place to shop for a special gift. We hope to see you there! All profits from the Gift Shop help to support Mondavi Center’s Arts Education program. For more information regarding the Friends of Mondavi Center, call the Mondavi Center Arts Education Coordinator at 530.754.5431 encore art sprograms.com 61
POLICIES & INFORMATION TICKET EXCHANGE • Tickets must be exchanged at least one business day prior to the performance. • Tickets may not be exchanged after the 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 lowerpriced 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 $8 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.
Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.
CHILDREN (AGE 17 AND UNDER) A ticket is required for admission of all children regardless of age. Any child attending a performance should be able to sit quietly through the performance. For events other than the Children’s Stage Series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend.
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.
Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ ucdavis.edu.
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. 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,
UC Davis students are eligible for a 50% discount on all available tickets. Proof Requirements: School ID showing validity for the current academic year. Student ID numbers may also be used to verify enrollment. Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on all available tickets. (Continuing education enrollees are not eligible.)
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ACCOMMODATIONS FOR PATRONS WITH DISABILITIES
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 or TDD 530.754.5402.
ASSISTIVE LISTENING DEVICES 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.
ELEVATORS 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.
LOST AND FOUND HOTLINE 530.752.8580