NOVEMBER – DECEMBER 2013
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.
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CURATOR: YOUNG ARTISTS PROGRAM
ARTS EDUCATION Joyce Donaldson
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Jennifer Mast ARTS EDUCATION COORDINATOR
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Huguette Albrecht Ralph Clouse Eric Davis George Edwards Donna Horgan Paul Kastner Jan Perez Mike Tracy Janellyn Whittier Terry Whittier
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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 benefitted 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
Gil Shaham, violin
17 THE INTERGALACTIC NEMESIS 18 Pink Martini 20 Leah Crocetto, soprano 24 Lara Downes 27 Jeff Tweedy, solo 29 Blind Boys of Alabama 31 American Bach Soloists
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.
November – December 2013 Volume 1, No. 2
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Th eAn d r e wW. Me l l o nFo u n d a t i o n
GIL SHAHAM PROGRAM NOTES
Centrally located in Downtown Davis
VIOLIN SONATA NO.1 IN G MINOR, BWV 1001
(Born March 31, 1685, in Eisenach, Germany; died July 28, 1750, Leipzig, Germany.) It is generally agreed—although by no means certain—that Bach began work on Sei Solo a Violino Senza Basso Accompagnato (“Six Violin Solos without Bass Accompaniment”) while employed in the Weimar court, where he served from 1708 to 1717 as violinist as well as organist, composer and eventually concertmaster. The completion date is much more secure, thanks to a manuscript in Bach’s own hand from 1720, about midway through his service to Prince Leopold of Anhalt-Cöthen. The collection is made up of three each partitas (suites) and sonatas. A benign spirit hovers over those three sonatas: the revered Italian composer-violinist Arcangelo Corelli, who had just recently gone to his rest in 1713. Corelli had meticulously refined his sonatas into creations of rare beauty and sophistication, leaving behind models that were the inspiration (and despair) of composers everywhere. The Corellian sonata comes in two flavors. The “church” sonata da chiesa lays out its materials in four movements, slow-fast-slow-fast, with infrequent changes of key. By contrast, the “court” sonata da camera resembles a suite of short movements, including dances. By following the da chiesa model for his sonatas, Bach not only honored an already rich tradition, but also elevated string playing (and writing) to heights unimaginable to Corelli or his Italian contemporaries. The G Minor sonata opens with a free-form Adagio that bears a striking resemblance to those intricate obbligato arabesques for violin or oboe that often complement the vocal line in Bach’s arias. Here, however, the solo violin carries the weight of the whole: it is soloist, accompanist, and orchestra all in one. Bach manages that by writing
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GIL SHAHAM wide-spanned chords that serve as harmonic pillars, establishing a stately underlying chordal pulse that supports the movement’s vinelike and expansive melodic lines. The second movement is a fugal Allegro, right out of the Corellian playbook. However, Bach was never one to follow tradition slavishly, and here he enlivens the standard template of subjects-separated-by-episodes by interleaving his fugal elements with glittering single-line passagework that could have stepped right out of a virtuoso concerto. Bach’s astounding ingenuity at implying a full complement
...near-nonstop sixteenth notes erupt from the strings like so many wheels whirring and gears clicking... of polyphonic voices with just a few strings was noted by admirers from early on. Even after Bach’s own polyphonically-enhanced transcriptions for organ (BWV 539) and lute (BWV 1000), not to mention the passing of almost three centuries, the solo violin original has lost none of its capacity to inspire and astonish. The third-place Siciliano returns us to song, a Bachian aria that brings both soloist and accompaniment to vivid life via the four strings of a solo violin. Gentle and faintly melancholic, the major-mode movement provides the perfect foil for the conclusion, a minor-key Presto that reminds us of the 18th century’s fascination with all things scientific and mechanical. Resembling a finger-bending keyboard fantasia, near-nonstop sixteenth notes erupt from the strings like so many wheels whirring and gears clicking, in a virtuoso moto perpetuo finale that brings the sonata to an appropriately dazzling close. —Scott Foglesong 10 MONDAVIARTS .ORG
PARTITA NO. 1 FOR SOLO VIOLIN IN B MINOR, BWV 1002 Suites (partitas in Italian) make up a substantial percentage of Bach’s instrumental works. Consider the 18 keyboard suites, divided into six each English Suites, French Suites, and Partitas, plus the substantial “French Ouverture” Partita and a few oddball remainders. Bach also wrote suites for solo flute, orchestra, lute, and solo cello in addition to the three partitas for solo violin. Given the dance suite’s international provenance, Bach routinely mixed Italian and French dance dialects, despite their often striking differences—such as the zippy Italian corrente versus the stately, rhythmically complex French courante. Although Bach routinely organized his keyboard suites around four standardized dances—Allemande, Courante, Sarabande, Gigue—he took a more idiosyncratic approach in the three violin partitas, no doubt recognizing the unique requirements of writing for a solo string instrument. In the B Minor Partita for Solo Violin, Bach provides four dance movements, each followed by an étude-like variation called a “double.” (This is the only suite in which Bach sustained such a scheme throughout.) Listeners lacking a program might be confused by the opening Allemanda, thinking that they are hearing the stately dotted-rhythm opening of an ouverture à la française. Certainly the Allemanda represents the French style at its most grand and ceremonious, but the following Double abandons the Gallic character in favor of smoothly arpeggiated (i.e., chordal) lines that rise and fall with almost hypnotic regularity as they outline the movement’s underlying harmonies. The rest of the suite is resolutely Italianate. The bubbly, perpetualmotion second dance is actually a Corrente, but in keeping with Bach’s overall label-agnostic cosmopolitanism, many editions (including the Bach Gesellschaft) dub it as a Courante. On the page the movement might look as though it consists of a single melodic line, but to the ear the situation is markedly different: at least three voices are easily audible, especially a high
soprano that etches out brisk two-note figures answered by arpeggios in a middle voice and supported by a solid bass line down below. The Corrente’s virtuosic stance is proudly unabashed, but that’s nothing compared to its Double, which halves the note values and turns a dance into a scamper. The Sarabande follows the traditional Italian vein with fetching lyricism over steady, regular chord changes. Movements such as this, featuring numerous instances of four-note chords, led to sincere but misguided efforts in the 20th century to design a special violin bow that could be quickly loosened to play four strings at once. Such gimmicks are not only unhistoric but unnecessary; sensitive technique and careful attention to sonority will ensure success in playing Bach’s expansive chords. The Double transforms the Sarabande’s block harmonies into lilting and graceful arpeggios. Bach chose an alternative to the Gigue for his finale, a Tempo di Borea, a.k.a. bourrée, a dance normally found between the Sarabande and Gigue of a traditional suite. Jumpy, athletic and vivacious, both the Tempo di Borea and its perpetual-motion Double provide a fine and festive wrap-up to the proceedings. —Scott Foglesong
SUITE NO. 2 FOR SOLO VIOLIN
(Born May 26, 1938, in Seattle, Wash.) I’d wished to learn the violin when young, but for several reasons (including the theft of my grandfather’s Sears “Stradivarius” from the family car), I never got to learn to play; I still wish I had. I had to settle for learning how to write for the violin by working with violinists from a young age—in fact a principal joy for me as a composer has been to write for others what I might have been delighted to be able to perform myself— but the added dividend is that writing for someone else can then become a portrait of the performer. That makes it actually more gratifying for me than writing for myself to play, a thing I rarely do nowadays. My first solo violin suite was written at the request of Sergiu Luca, who
GIL SHAHAM died two years ago. A flamboyant and mercurial piece, it exists in a recording by Philip Ficsor. I owe him the birth of my most often played violin sonata and a violin concerto, both inspired by Serge’s relationship with the great jazzman Joe Venuti and brilliantly recorded by Luca. A few seasons ago, the violin concerto was executed by Gil Shaham and the Toronto Symphony under Leonard Slatkin; his almost opposite approach from Luca’s also worked extremely well, proving the possible success of performing a piece more than one way. The solo suite I wrote for Gil is very different in mood from the first suite, lyrical and playful by turns. Distantly referring to the Baroque dance-suite form, Suite No. 2 is in nine movements. “Morning Music,” a short rhapsodic prelude, leads to the lively “Dancing in Place,” featuring “fingerboard notes” executed by drumming the left-hand fingers onto the string and board. “Northern Nigun” is a gentle lament and “Lenny in Spats” is a fanciful image of Leonard Bernstein dressed like Fred Astaire or Jack Buchanan in tuxedo with white spats covering his patent-leather uppers while dancing with a cane. “Tempo di Gavotte” is however not in the Baroque gavotte form; Barcarolle, in 12/8 and 6/8 time, portrays a leisurely afternoon on the water. A two-voiced Fuga Malinconica provides a tragic mood to the suite, while the following Tarantella’s frenzy recalls the legendary centuries-old belief that wild dancing would neutralize a tarantula’s poisonous bite. The concluding “Evening Music” recalls the opening phrase of the suite and ends with “duettini” in double stops, pairing different sets of strings for a peaceful close. —William Bolcom
whole headed up by a celebrated Preludio. That Preludio stands proudly amongst Bach’s most familiar and well-loved pieces, virtually a concerto movement that encompasses orchestral ritornelli and soloist passages within the four strings of a violin. In keeping with its concertante nature, the movement is peppered with the forte and piano
markings that one might encounter in the Italian Concerto BWV 971 for harpsichord or other Bach works that mimic the lob-and-volley of a Baroque concerto. Bach was fully aware of the movement’s orchestral potential: as a sinfonia for organ and orchestra it pops up in two cantatas (BWV 29 and 120a), as well as in a transcription for lute, BWV 1006a. Later composers have
PARTITA NO. 3 FOR SOLO VIOLIN IN E MAJOR, BWV 1006
JOHANN SEBASTIAN BACH
The E Major Partita drops all pretense at maintaining a traditional layout. Of the usual quartet of dances only the concluding Gigue is retained; instead we find an assortment of the “optional” dances normally found between Sarabande and Gigue, the encore art sprograms.com 11
GIL SHAHAM found the piece irresistible; perhaps its most notable admirer was Sergei Rachmaninoff, who gifted posterity with a scintillating recording of his superb 1933 transcription for solo piano. Nevertheless, the Preludio’s original setting remains the touchstone, a glittering musical jewel that has provided generations of violinists (and their audiences) with fascination, challenge, and delight. The E Major Partita is by and large a lighthearted work, its vibrant mood spearheaded by the virtuosic brilliance of the Preludio and sustained throughout its six dances. The second-place Louré—a rarely-encountered dance of French
The E Major Partita is by and large a lighthearted work, its vibrant mood spearheaded by the virtuosic brilliance of the Preludio and sustained throughout its six dances.
12 MONDAVIARTS .ORG
courtly origin—is the closest the partita comes to a bonafide slow movement, but the Louré’s overall character is more languid than serious, rather like a French gigue in slow motion. The Gavotte en Rondeaux is a hybrid movement in which Bach blends a traditional dance—the bright doubleupbeat Gavotte found in many suites—with rondo form in which a central reprise returns repeatedly after contrasting episodes, in this case five instances of the reprise separated by four episodes. The two Minuets that follow give the lie to notions of a reactionary, fuddy-duddy Bach who was sassed by his impertinent sons as “the old wig.” Forward-thinking rather than backward, the paired Minuets clearly prefigure the forthcoming and soon-to-be-ubiquitous Minuet and Trio
GIL SHAHAM movements of Haydn, Mozart, and their Viennese Classical colleagues, including Bach’s mouthy offspring. The Bourrée savors of the “echo” movements popular in French suites, in which a forte statement is immediately mirrored by a piano repeat. One might achieve such an effect with clever orchestration—or a shift from one keyboard to another—but a violinist must rely on fingers and bow arm to negotiate Bach’s quicksilver changes from one dynamic to another. To conclude, Bach conjures up a thoroughgoing albeit brief Italianate Gigue that positively emits buoyant good cheer, the perfect ending to one of the sunniest works in the literature.
GIL SHAHAM Gil Shaham is one of the foremost violinists of our time, whose combination of flawless technique with inimitable warmth has solidified his legacy as an American master. Highlights of his 2013–14 season include: Korngold’s Violin Concerto with the Vienna Philharmonic at Carnegie Hall, the Cleveland Orchestra and the Orchestre de Paris; a continuation of his exploration of the concertos of the 1930s with the San Francisco Symphony, Los Angeles Philharmonic and on tour with the Bavarian Radio Symphony; the world, Asian and European premieres of a new concerto by Bright Sheng; and a recital tour featuring Bach’s Sonatas and Partitas for solo violin. Shaham has more than two dozen concerto and solo CDs to his name, including bestsellers that have appeared on record charts in the U.S. and abroad, winning him multiple Grammys, a Grand Prix du Disque, Diapason d’Or and Gramophone Editor’s Choice. His recent recordings are produced on the Canary Classics label, which he founded in 2004; they comprise Nigumin: Hebrew Melodies, Haydn Violin Concertos and Mendelssohn’s Octet with Sejong Soloists, Sarasate: Virtuoso Violin Works, Elgar’s Violin Concerto with the Chicago Symphony, The Butterfly Lovers and Tchaikovsky’s Violin Concerto,
Tchaikovsky’s Piano Trio in A with Yefim Bronfman and Truls Mork, The Prokofiev Album, The Fauré Album, Mozart in Paris and works by Haydn and Mendelssohn. Shaham was awarded an Avery Fisher Career Grant in 1990 and in 2008 he received the coveted Avery Fisher Award. He plays the 1699 Countess Polignac Stradivarius. He lives in New York City with his wife, violinist Adele Anthony, and their three children.
WILLIAM BOLCOM Named 2007 Composer of the Year by Musical America and honored with multiple Grammy Awards for his groundbreaking setting of Blake’s Songs of Innocence and of Experience, William Bolcom is a composer of cabaret songs, concertos, sonatas, operas, symphonies and much more. He was awarded the 1988 Pulitzer Prize in Music for his 12 New Etudes for Piano. With his wife mezzo-soprano Joan Morris, he has performed in concert for 39 years throughout the United States, Canada and abroad. In addition to their live performances, Bolcom and Morris have recorded two dozen albums. Their first one, After the Ball, garnered a Grammy nomination for Joan Morris. Their most recent recordings are two albums of songs by lyricist E. Y. “Yip” Harburg and Gus Kahn on Original Cast Records; Bolcom’s complete Cabaret Songs, written with lyricist Arnold Weinstein, on Centaur; and Someone Talked: Memories of World War II with tenor Robert White and narrator Hazen Schumacher (available on Equilibrium). Some recent premieres include Canciones de Lorca with tenor Plácido Domingo, the Pacific Symphony Orchestra and conductor Carl St. Clair at the gala opening concert of the Renée and Henry Segerstrom Concert Hall, Orange County Performing Arts Center, Costa Mesa, Calif. (September 2006); Eighth Symphony with the Boston Symphony Orchestra and Tanglewood Festival chorus conducted by James Levine [February 2008]; Lucrezia, a one-act opera for five singers and two pianists (March 2008); and First Symphony for Band with the University encore art sprograms.com 13
at the Community Center Theater
December 7 - 22, 2013 Evening and Matinee Performances Select Shows with Live Music Performed by: the Sacramento Region Performing Arts Alliance - Two in Tune (formerly known as the Sacramento Philharmonic)
Tickets: Individual: $19 - $90 Call: 916-808-5181
(Community Center Theater Box Office Mon - Sat: 10am-6pm)
Mee Sugar Plut the m Fairy and the e ntire Cast at our annua l
Sugar Plu m Fairy Tea Sunda y, Decem b
Tickets: $ 3
Photo by Jay Mather
The Nutcracker Sponsored By:
The Nutcracker is sponsored by:
GIL SHAHAM of Michigan Symphony Band conducted by Michael Haithcock (February 2009). In the spring of 2007, Bolcom was feted in Minneapolis-St. Paul, Minnesota, with a two and a half-week festival of his music, including master classes, recitals and concerts of his vocal, organ and chamber music. Titled Illuminating Bolcom, the festival was highlighted by two performances of Songs of Innocence and of Experience accompanied by animated projections of Blake’s illuminations. The animations were commissioned by VocalEssence and created by projection designer Wendall K. Harrington, who designed the projections for Bolcom’s opera, A View from the Bridge. In November 2007, his opera A View from the Bridge was produced by the Washington National Opera in Washington, D.C. A new chamber orchestration was premiered at the University of Texas at Austin in April 2010. In February 2008 his Eighth Symphony was premiered by the Boston Symphony Orchestra and Chorus in three performances. Bolcom taught composition at the University of Michigan from 1973–2008. In the fall of 1994 the University of Michigan named him the Ross Lee Finney Distinguished University Professor of Composition. He has recorded for Advance, Jazzology, Musical Heritage, Nonesuch, Vox and Omega, among others. For more information, please visit William Bolcom’s website at www.williambolcom.com.
FURTHER LISTENING by Jeff Hudson
GIL SHAHAM and WILLIAM BOLCOM Gil Shaham will turn 43 in a few months. That would be considered fairly young for a conductor or a composer, and you’ll certainly see plenty of dads that age taking their young children to elementary schools around Davis. But Shaham made a big splash as boy wonder violinist in the 1980s, and he got a big break in 1989, when he was called on to replace the ailing Itzhak Perlman in a set of concerts by the London Symphony Orchestra (under conductor Michael Tilson Thomas). Shaham’s been recording since 1990, with some 30 albums to his credit. So when Shaham joked about going through his “midlife crisis” during an interview with San Francisco Classical Voice earlier this year, he was perhaps reflecting on how long he’s been performing at important venues around the world. After his solo recital in Davis this evening, Shaham will appear with the Chicago Symphony Orchestra next week, then the Atlanta Symphony Orchestra in midmonth and then the Bavarian Radio Symphony Orchestra in Munich after that. Shaham recorded for Deutsche Grammophon for many years, then he launched his own label—Canary Classics—in 2004. He’s recorded several albums with pianist Orli Shaham (his younger sister),
including this year’s Nigunim, which features a new piece (commissioned by the Shaham siblings) by Israeli composer Avner Dorman, which created a stir in several cities when Shaham toured a few months ago. Tonight, Shaham will play another very recent piece composed with him in mind—William Bolcom’s Suite No. 2 for Solo Violin, which Shaham premiered in February. Bolcom completed his First Symphony in 1957; he studied composition at Mills College in Oakland under Darius Milhaud from 1958 to 1961 (around the time Milhaud was commissioned by UC Davis to write his Twelfth Symphony for the dedication of Freeborn Hall). Over his lengthy career, Bolcom has composed operas (including McTeague, based on the Frank Norris novel, set in San Francisco and Death Valley circa 1900), numerous orchestral and chamber works, songs, ragtime tunes and more. His 12 New Etudes for Piano received the Pulitzer Prize for Music in 1988; the Naxos recording of Bolcom’s setting of William Blake’s Songs of Innocence and of Experience won four Grammy Awards in 2006. Bolcom’s very popular rag “Graceful Ghost” (1970) is often performed as an encore by pianists and violinists … including Gil Shaham.
JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
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Live-Action Graphic Novel Book One: Target Earth
A With A Twist Series Event
Written and Directed by Jason Neulander
CAST (in order of appearance)
Friday, November 15, 2013 • 8PM
Adapted from the stage play by Jason Neulander and Chad Nichols
Danu Uribe Molly Sloan, Bird, Lead Hive Voice, Aughy, Claire, Queen of Zygon
Jackson Hall THERE WILL BE ONE 15-MINUTE INTERMISSION.
Adapted from the radio drama by Ray Patrick Colgan, Jessica Reisman, Julia Edwards, Lisa D’Amour Based on an original idea by Ray Patrick Colgan Comic-Book Artwork by Tim Doyle Color Art by Paul Hanley and Lee Duhig Production Designed by Jason Neulander Sound Effects Created by Buzz Moran Original Improvised Score Composed by Graham Reynolds
Brock England Timmy Mendez, Assassin, Jeeves, Shopkeeper, Clint, X-7, Silcron, Zygonian guard, Little Girl Christopher Lee Gibson Vlad, Ben Wilcott, Driver, Mysterion the Magnificent, Lord Crawford, Thug, Omar, Jean-Pierre Desperois, Elbee-Dee-Oh Foley Sound Effects Cami Alys Piano and Organ Kenneth Redding, Jr.
Sound Engineering by George R. Stumberg IV Company Manager, Jessie Douglas Associate Company Manager, Erin J. Hause Comic books, sound-effects gadgets, posters, shirts and Zygonian Slime are available in the lobby at intermission and after the performance. The cast will be signing books after the show. This production received its world premiere at the Long Center for the Performing Arts in Austin, Texas, 2010. New York premiere at the New Victory Theatre, 2012. encore art sprograms.com 17
PINK MARTINI AUTUMN DEWILDE
A Just Added Event Monday, December 2, 2013 • 8PM Jackson Hall SPONSORED BY
Pink Martini Thomas Lauderdale, piano China Forbes, vocals Nick Crosa, violin Timothy Nishimoto, vocals, percussion Dan Faehnle, guitar Phil Baker, bass Anthony Jones, drums Brian Davis, drums Derek Rieth, drums Gavin Bondy, trumpet Jeff Budin, trombone 18 MONDAVIARTS .ORG
In 1994 in his hometown of Portland, Oregon, Thomas Lauderdale was working in politics, thinking that one day he would run for mayor. Like other eager politicians-in-training, he went to every political fundraiser under the sun, but was dismayed to find the music at these events underwhelming, lackluster, loud and un-neighborly. Drawing inspiration from music from all over the world— crossing genres of classical, jazz and old-fashioned pop—and hoping to appeal to conservatives and liberals alike, he founded the “little orchestra” Pink Martini in 1994 to provide beautiful and inclusive musical soundtracks for political fundraisers for progressive causes such as civil rights, affordable housing, the environment, libraries, public broadcasting, education and parks. After three years and a cast of different singers, Lauderdale called China Forbes, an old Harvard classmate who was living in New York City, and asked her to join Pink Martini. The band began to write songs together, and their first song “Sympathique”—with the chorus
Je ne veux pas travailler (“I don’t want to work”)—became an overnight sensation in France and was even nominated for “Song of the Year” at France’s Victoires de la Musique Awards. “All of us in Pink Martini have studied different languages as well as different styles of music from different parts of the world. So inevitably, our repertoire is wildly diverse,” says Lauderdale. “At one moment, you feel like you’re in the middle of a samba parade in Rio de Janeiro, and in the next moment, you’re in a French music hall of the 1930s or a palazzo in Napoli. It’s a bit like an urban musical travelogue. We’re very much an American band, but we spend a lot of time abroad, and therefore have the incredible diplomatic opportunity to represent a broader, more inclusive America, the America which remains the most heterogeneously populated country in the world, comprised of people from every country, every language, every religion.” Featuring 12 regular musicians, Pink Martini performs its multilingual repertoire on concert stages and with symphony orchestras throughout Europe, Asia, Greece, Turkey, the Middle East, Northern Africa, Australia, New Zealand, South America and North America. Pink Martini made its European debut at the Cannes Film Festival in 1997 and its orchestral debut with the Oregon Symphony in 1998 under the direction of Norman Leyden. Since then, the band has gone on to play with more than 25 orchestras around the world, including multiple engagements with the Los Angeles Philharmonic at the
“It’s a bit like an urban musical travelogue.” Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony and the BBC Concert Orchestra in London. Other appearances include the grand opening of the Los Angeles Philharmonic’s new Frank Gehry-designed Walt Disney Concert Hall with return sold-out engagements for New Year’s Eve 2003, 2004 and 2008; two soldout concerts at Carnegie Hall; the opening party of the remodeled Museum of
PINK MARTINI Modern Art in New York City; the Governor’s Ball at the 80th Annual Academy Awards in 2008 and the opening of the 2008 Sydney Festival in Australia. Pink Martini’s debut album Sympathique was released independently in 1997 on the band’s own label Heinz Records (named after Lauderdale’s dog) and quickly became an international phenomenon, garnering the group nominations for “Song of the Year” and “Best New Artist” in France’s Victoires de la Musique Awards in 2000.
Pink Martini released Hang On Little Tomato in 2004, Hey Eugene! in 2007 and Splendor In The Grass in 2009. In November 2010, the band released Joy To The World—a festive, multi-denominational holiday album featuring songs from around the globe. Joy To The World received rave reviews and was carried in Starbucks stores during the 2010 holiday season. All five albums have gone gold in France, Canada, Greece and Turkey and have sold more than 2 million copies worldwide.
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FURTHER LISTENING PINK MARTINI Retro—focusing on the ‘50s and early ‘60s. Campy—but in an affectionate and sincere way. Bohemian—you can tell they like to party. And international—their new album Get Happy (a September release) includes lyrics in Japanese, Turkish, Farsi, Romanian and more. That’s Pink Martini, the “little orchestra” presided over by irrepressible pianist Thomas Lauderdale. Get Happy features some special guest vocalists including NPR White House correspondent Ari Shapiro (singing in Spanish, as quite a crooner). Also a swansong by the late comedienne Phyllis Diller (recorded in 2012 at age 95, singing Charlie Chaplin’s “Smile”). There’s also a bit of J-pop, in the form of “Zundoko,” a hit in 1969 for a Japanese vocal quintet/boy band called The Drifters. Lauderdale, whose heritage includes a bit of what he describes as “mystery Asian” ancestry, also worked a Japanese translation of “White Christmas” into Pink Martini’s 2010 holiday season album Joy to the World, which has turned into one of their best-selling disks. Lauderdale’s musical interests are many and varied. He told an NPR interviewer earlier this year that as a boy growing up in Indiana, he had six big influences: “Ray Conniff, Ray
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Charles, the New Christy Minstrels, the Mormon Tabernacle Choir, Roger Miller and the album Jesus Christ Superstar.” He also mentioned a recent fondness for Tammy Wynette’s 1969 country version of “Just a Closer Walk with Thee.” And he confessed that he really does respect the nimble keyboard work on Liberace’s recordings from the early 1950s, when he played everything from Liszt classics to “Malagueña” to the “Bumblebee Boogie” in the days his appearances were primarily about music, long before the sequined costumes took over. “I’m inching closer to Liberace-land every day,” Lauderdale said, only half in jest. Pink Martini is also unusual in that it works with two lead singers. China Forbes—scheduled to sing at tonight’s concert—was a founding member of the group; she and Lauderdale were friends during their college days at Harvard, 20odd years ago. Forbes took a hiatus after experiencing vocal trouble two years ago. When Pink Martini visited the Mondavi Center for the first time in July 2011, their guest vocalist was Storm Large. China Forbes, now recovered, sings at many of Pink Martini’s concerts; Storm Large also continues in an ongoing role as the band’s co-lead vocalist. (And they’re both heard on the new album.)
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A Director’s Choice Series Event Saturday, December 7, 2013 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY
Barbara K. Jackson
LEAH CROCETTO, Soprano MARK MARKHAM, Piano “REJOICE, REJOICE GREATLY” FROM MESSIAH, HWV 56
PROGRAM “Rejoice, rejoice greatly” from Messiah
GEORGE FRIDERIC HANDEL
Three Songs Barber Sleep now, oh sleep now Sure on this Shining Night Nocturne Die Nacht Strauss Morgen Cacelie “Glück, das mir verblieb” (Marietta’s Lied) from Die Tote Stadt Korngold INTERMISSION Eternal Recurrence The Void Graciso Vivace, Naïve By Chance Recit, Hollow. Liquide, molto rubato Largo, proud Verklärt Playful, leggiero The Void Con amores la mi madre Del Cabello mas sutil Chiquitita la novia
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(Born February 23, 1685, in Halle, Germany; died April 14, 1759, in London, England.) Messiah librettist Charles Jennens took his text from Zechariah 9:9–10, which fortells of a savior who shall “speak peace unto the heathen.” As such, “Rejoice, rejoice greatly” is dramatic and virtuosic, its two major-key sections (both setting “Rejoice greatly”) flanking a relatively introverted passage in minor mode that sets “He is the righteous Saviour.” A bit of Messiah trivia is in order: as performed at the 1742 Dublin premiere, “Rejoice greatly” was in compound triple time, which gave it a grandly billowing character, but when Handel recast it in common time for the 1743 London performances, the aria acquired the propulsive angularity for which it has become known.
“SLEEP NOW, OH SLEEP NOW” “SURE ON THIS SHINING NIGHT” “NOCTURNE” SAMUEL BARBER
(Born March 9, 1910, in West Chester, Pa.; died January 23, 1981, New York City) “Throughout his life Barber was never without a volume or two of poetry at his bedside. Poetry was as necessary to his existence as oxygen.” That’s pianist John Browning on his friend and mentor Samuel Barber, American song composer par excellence who found it difficult to read poetry for pleasure because “I always have in the back of my mind the feeling that I may come across a usable song text.”
In his youth Barber was particularly drawn to Celtic poets such as James Stephens and William Butler Yeats. In James Joyce he found a kindred soul whose 1907 Chamber Music provided the text for the Three Songs, Op. 10, composed in 1935-6 and published in 1939. The second song, “Sleep now, oh sleep now,” begins with a quiet exhortation for the heart to sleep, then rises to an impassioned cry as “the voice of the winter is heard at the door” before sinking back into the intimate hush of the beginning. In the 1940 Four Songs, Op. 13 we find “Sure on this Shining Night,” to a text by James Agee. The celebrated song resembles those great lieder by such worthies as Johannes Brahms and Robert Schumann, particularly in its long floating cantilena melodic line over a quietly pulsating piano accompaniment, such as might be found in Schumann’s Dichterliebe. The Four Songs are also the source for the haunting “Nocturne,” to a poem from Carnival by Frederic Prokosch, a moody writer with a flair for mysticism. Barber sets Prokosch’s richly metaphoric text in a manner more Debussyean than Schumannesque, with clear references to the superheated style of Alexander Scriabin, one of Barber’s favorite composers.
“DIE NACHT” OP. 10 NO. 3 “MORGEN” OP. 27 NO. 4 “CÄCILIE” OP. 27 NO. 2 RICHARD STRAUSS
(Born June 11, 1864, in Munich, Germany; died September 8, 1949, in Garmisch-Partenkirchen, Germany) Richard Strauss wrote lieder throughout his long life. The first to appear in print, published in 1885 as Op. 10, were the Eight Poems from
Hermann Gilm’s “Letzte Blätter,” composed by Strauss at the age of 20. “Die Nacht,” the third song in the cycle, offers a quintessentially Romantic image of a personified night that “takes everything that is lovely,” and may very well steal “you, too, from me.” But dawn comes after the dark, as “Morgen,” from an 1894 set of four lieder, promises that “the sun will shine again” as “we shall look into each other’s eyes” and revel in silent happiness. After the introversion of those two songs, “Cäcilie” comes as a welcome contrast, bursting with a lover’s most heartfelt passions, its effusive piano part supporting an ecstatically soaring vocal line.
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“GLÜCK, DAS MIR VERBLIEB” (MARIETTA’S LIED) FROM DIE TOTE STADT
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ERICH WOLFGANG KORNGOLD
(Born May 29, 1897, in Brno, Czech Republic; died November 29, 1957, in Los Angeles) Child prodigies at the level of Erich Wolfgang Korngold come along only rarely. He was still in short pants when his works were being played throughout Europe by the likes of pianist Artur Schnabel. He was all of 23 years old when his opera Die Tote Stadt (The Dead City) erupted into international prominence, staged even at the Metropolitan Opera within a few years of its dual 1920 premieres in Cologne and Hamburg. The story—which bears more than a passing resemblance to Alfred Hitchcock’s Vertigo— features a superb soprano role in Marietta, the lovely young dancer who vividly reminds the protagonist Paul of his recentlydeceased wife. In the opera, “Glück, das mir verblieb” (“My happiness that remained”) is a rapturous duet between Marietta and Paul, but in concert it is typically presented as an aria for solo soprano.
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(Born in 1975, in Hartselle, Alabama) Travel is at the heart of Eternal Recurrence. The narrative—albeit abstract—is in the form of a journey. At the literal level, the primary character is activated by the vastness of experiential possibilities, and sets out for as much of it as he or she can bear. First on the path we encounter Love and the difficulties that Intimacy presents. The protagonist responds by running across the wide world. A musical stop along the river Seine is indicative
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LEAH CROCETTO of the European landscape of the heart of the work, through which the composer traveled while composing the poetry. The conclusion of this poetic journey is the realization that home, travel, motion and time itself are illusory; subsequently, we witness and coexperience Sybil and the ineluctable Death and the surprise of longing for crossing the River Styx. But as every birth must conclude in death, so must death follow birth in endless cycle,
and arrive again at the beginning. The large structure of the work is palindromic in regards to motive and harmony.
“CON AMORES LI MI MADRES” “DEL CABELLO MAS SUTIL” “CHIQUITITA LA NOVIA” FERNANDO OBRADORS
(Born 1897, in Barcelona , Spain; died 1945 in Barcelona , Spain.) The self-taught Catalan composer,
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pianist, and conductor Fernando Obradors (1897–1945) wrote music in a variety of genres, but he is best known for his collections of folk and popular songs. The Dos Cantares Populares (Two Popular Songs) are “Con amores, la mi madre,” from a 15th-century text by Juan de Anchieta that speaks of a mother’s love and the rest it brings, and the anonymous “Del Cabello mas sutil,” in which a swain pines for the “softest hair” of his lady love. “Chiquitita la novia,” the “tiny bride” with her equally tiny groom and tiny bed, comes from a set of verses by 19th century flamenco singer Francisco Fernández Boigas, better known under the pseudonym Curro Dulce.
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Recognized as a rising star in the next generation of singers, Leah Crocetto represented the United States at the 2011 Cardiff BBC Singer of the World Competition where she was a finalist in the Song Competition. She is a 2010 Grand Finals Winner of the Metropolitan Opera National Council Auditions and was the First Place Winner, People’s Choice and the Spanish Prize Winner of the 2009 José Iturbi International Music Competition, and winner of the Bel Canto Foundation competition. A former Adler fellow at San Francisco Opera, Crocetto has appeared frequently with the company, most recently in the role of Liu in Turandot Crocetto begins the current season singing a concert of sacred pieces by Verdi with Orchestre National de France under the direction of Daniele Gatti. She returns to Opera de Bordeaux to sing Desdemona in Otello, and she returns to Frankfurt Opera for her first performances of Alice Ford in Falstaff. Her concert engagements take her to the Green Music Center in Sonoma, California, and the Speed Museum in Louisville, Kentucky. This season, she sings the Verdi Requiem with San Francisco Opera and with the Radio Orchestra of Saarbrücken, Germany. She makes her debut with Pittsburgh Opera singing her first performances of Mimi in La bohème, and she performs Handel’s Messiah with the National Symphony Orchestra at the Kennedy Center. Crocetto began the 2012–13 season with her debut in Venice, singing Desdemona in Otello at Teatro la Fenice. She reprised the
LEAH CROCETTO role with the company in their tour of Japan later in the season, as well as with Frankfurt Opera in her company debut. Crocetto also made her debut with the Israeli Opera as the title role of Luisa Miller. She joined the Calgary Philharmonic in performances of the Verdi Requiem, and she returned to Italy to sing Leonora in Il trovatore in her debut at the Arena di Verona. PERSONAL DIRECTION:
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MARK MARKHAM Pianist Mark Markham made his debut in 1980 as soloist with the New Orleans Symphony Orchestra and in the same year was invited by the renowned Boris Goldovsky to coach opera at the Oglebay Institute, hence the beginning of a multi-faceted career. His teachers at the time, Robert and Trudie Sherwood, were supportive of all his musical endeavors from solo repertoire, vocal accompanying, and chamber music to Broadway and jazz. During the next 10 years as a student at the Peabody Conservatory, where he received bachelor’s, master’s and doctoral degrees in piano performance, this same support for the diversity of his musical gifts came from Ann Schein, a pupil of the great Artur Rubinstein. While under her tutelage, he won several competitions including the First Prize and the Contemporary Music Prize at the 1988 Frinna Awerbuch International Piano Competition in New York City. He has given solo recitals at the National Gallery of Art in Washington, D.C.; the New York Public Library; the Baltimore Museum of Art and the Getty Museum in Los Angeles. In 1987, Markham was appointed pianist of the Contemporary Music Forum of Washington, D.C. During five seasons he gave numerous premiere performances at the Corcoran Gallery with this ensemble. This work led to other premieres throughout the U.S. by composers Shulamit Ran, Larence Smith and Richard Danielpour. Markham has also performed with the Brentano, Mozarteum, Glinka and Castagnieri quartets and the Baltimore Woodwind Quintet, as well as with Edgar Meyer, Ron Carter, Grady Tate and Ira Coleman. While a student at the conservatory, Markham toured with soprano
Phyllis Bryn-Julson. This collaboration resulted in critically acclaimed recordings of works by Messiaen, Carter, Dallapiccola, Schuller and Wuorinen. In addition, he has toured the US, Europe and Asia with countertenor Derek Lee Ragin. Since 1995, Markham has been the recital partner of Jessye Norman, giving nearly 300 performances in over 25 countries, including recitals in Carnegie Hall, the Concertgebouw in Amsterdam, La Palau de la Musica in Barcelona, London’s Royal Festival Hall, the Musikverein in Vienna, the Salzburg Festival, Bunka Kaikan in Tokyo, Mann Auditorium in Tel Aviv, the Ancient Theatre of Epidaurus in Greece and at the 2002 Nobel Peace Prize presentation to President Jimmy Carter in Oslo. Recently he has performed with Norman in London, Paris, Lyon, Moscow, St. Petersburg, Ghent, Zurich, Oman, Beirut, Baden-Baden, Washington, D.C. and San Francisco. Much appreciated by the public for his improvisational skills, Markham performed
at the Expo 2000 in Hannover, Germany, where he collaborated with Sir Peter Ustinov for a live television broadcast throughout the country. His gift for jazz has been recognized in the Sacred Ellington, a program created by Norman in which he serves as pianist and musical director and which has toured Europe and the Middle East. Most recently, his recording with Jessye Norman of Roots: My Life, My Song was nominated for a Grammy. In 1990, Markham was invited to join the faculty of the Peabody Conservatory, where he served for ten years as vocal coach and professor of vocal repertoire and accompanying. A former faculty member of Morgan State University, the BrittenPears School in England and the Norfolk Chamber Festival of Yale University, he has presented master classes for pianists and singers throughout the U.S., Europe and Asia and has been a guest lecturer for the Metropolitan Opera Guild and the Johns Hopkins University. Markham currently resides in New York City.
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A Hallmark Inn, Davis Children’s Stage Event Sunday, December 8 • 3PM SPONSORED BY
Lara Downes, piano
LARA DOWNES FAMILY CONCERT The Magic Fish
Daren Jackson, bass, Magic Fish (2013 FOUNDERS’ PRIZE WINNER OF THE MONDAVI CENTER YOUNG ARTISTS COMPETITION)
Lauren Woody: Mother Zachary Gordin: Father Ann Moss: Otter/Girl Darron Flagg: Boy Davis High School Orchestra Angelo Moreno, Conductor Mindy Cooper, Director
LARA DOWNES, a critically acclaimed American pianist and a captivating presence both on and offstage, is recognized as one of the most exciting and communicative classical artists of her generation. Called “a delightful artist with a unique blend of musicianship and showmanship” by NPR and praised by the Washington Post for her stunning performances “rendered with drama and nuance,” Downes presents the piano repertoire—from iconic favorites to newly commissioned works—in new ways that bridge musical tastes, genres and audiences. Since making concert debuts at Queen Elizabeth Hall London, the Vienna Konzerthaus and the Salle Gaveau Paris, Downes has won over audiences at Carnegie Hall, Kennedy Center, Lincoln Center, the American Academy Rome, San Francisco Performances, the Montreal Chamber Music Festival, Portland Piano International and the University of Washington World Series, among many others. Her original solo performance projects have received support from prominent organizations such as the National Endowment for the Arts, the Barlow Endowment for Music Composition, the Center for Cultural Innovation and American Public Media. Downes’s chamber music appearances include collaborations with noted soloists and ensembles including cellist Zuill Bailey, violinist Rachel Barton Pine, jazz pianist Dan Tepfer and the Alexander String Quartet. Commissions and premieres of new works for Downes have come from composers Mohammed Fairouz, David Sanford, Benny Golson and Eve Beglarian, among others. Downes’s solo recordings have met with tremendous critical and popular acclaim. Her debut CD, Invitation to the Dance (2000), was called “magical” by NPR, and her second release, American Ballads (2001), was ranked by Amazon among the best recordings of American concert music ever made. Dream of Me (2006) was praised for “exquisite sensitivity” by American Record Guide. 13 Ways of Looking at the Goldberg (2011) was called 24 MONDAVIARTS .ORG
Music by Sunny Knable; Libretto by Jim Knable “addicting” by the Huffington Post, and “magnificent and different” by Sequenza 21. Her chart-topping new release, Exiles’ Café (2013), featured as CD of the Week by radio stations from WQXR New York to KDFC San Francisco, was called “ravishing” by Fanfare magazine. She is regularly heard nationwide on radio programs including NPR Performance Today, WNYC New Sounds, WFMT Impromptu, TPR Classical Spotlight and WWFM Cadenza. Downes ‘s busy performance career is strongly driven by her commitment to expanding and developing new audiences for the arts. She is the founder and president of the 88 KEYS® Foundation, a non-profit organization that fosters opportunities for music experiences and learning in America’s public schools, and she regularly works and performs with the next generation of talented young musicians as artistic director of the Young Artists program at the Mondavi Center for the Performing Arts, UC Davis, where she serves as artist-in-residence. Downes is founder and director of The Artist Sessions, San Francisco.
Lara Downes is a Steinway Artist. www.LaraDownes.com
A Broadway veteran for over 25 years, MINDY COOPER has performed (Chicago, Titanic, Beauty and The Beast, Song & Dance and Tenderloin), choreographed (Dracula, Wrong Mountain) and produced (Soul Doctor) on Broadway. As a director, she has worked extensively around the country, including Off-Broadway, New York Theater Workshop, Town Hall (NYC), Manhattan Theater Club, Koener Hall (Toronto), Sacramento Music Circus and CenterRep, where her work has won 10 Bay Area Theater Critics Awards. She most recently directed the American premiere of the one-man show Men are from Mars, Women are from Venus Live, now touring nationwide. She has also choreographed for TV, film, industrials, commercials and benefits, and is delighted to return to the Mondavi Center for the fourth time with Lara Downes’s family concert.
Based on the Brothers Grimm fairy tale, The Fisherman and His Wife
DARRON FLAGG is a singer-actor posed to become one of the opera world’s most exciting discoveries of recent memory. Flagg’s celebrated performances of the treacherously difficult title role in Rossini’s comedic masterpiece Le Conte D’Ory as well as his portrayal of the Honorable Elijah Mohammed in a 2006 production of Anthony Davis’ Life and Times of Malcolm X have cemented his reputation in contemporary and bel canto roles. Flagg has performed roles with regional opera companies on the West Coast of the United States. These houses include Sacramento Opera, West Bay Opera, Festival Opera, Livermore Valley Opera, Pocket Opera, San Francisco Opera, Verismo Opera, West Edge Opera and Oakland Opera Theater. Internationally, Flagg has participated in the Young Artist Program at the New Israel Opera House. Flagg has performed as a soloist on stages in Russia, Sweden and Germany. On the concert stage, Flagg has been as soloist in works such as Herrmann’s Moby Dick, Handel’s Messiah, Verdi’s Requiem, Bruckner’s Te Deum, Haydn’s Creation and Haydn’s Paukenmesse. At the Los Angeles Philharmonic’s Walt Disney Hall, Flagg served as tenor soloist in a performance of Beethoven’s Ninth Symphony. On the theatrical stage, Flagg has performed works of William Shakespeare, Johann Goethe and Friedrich Dürrenmatt. Flagg’s assumed the role of Sal Jr. in feature film Baghdad Café, co-starring Oscar-winning actor Jack Palance and CCH Pounder. A former recitalist in Lincoln Center’s Meet the Artist series, Flagg is a past winner of the Southeast Symphony Young Artist competition and a former member of the New Israel Opera House Young Artists Studio in Tel Aviv. ZACHARY GORDIN is renowned for bringing masterful singing and strong physicality to a wide variety of roles from baroque heroes to contemporary works written specifically for him. For his recent debut at the Olympic Music Festival, the Seattle Times hailed him as “a singer already capable of some arresting
LARA DOWNES FAMILY CONCERT musical insights. The occasional big effects were commanding and intense without ever descending into coarseness, and the delicacy and tonal allure he brought to the cycle’s preponderance of quiet songs were deeply impressive.” Recent performances on the operatic stage include Escamillo in Carmen with Diablo Symphony Orchestra and San Francisco Lyric Opera, Ben in The Telephone with Blue Sage Center for the Arts, Silvio in Pagliacci and Monterone in Rigoletto with Sacramento Opera, Aeneas in Dido and Aeneas and El Cantaor in La vida breve with West Bay Opera, Germont in La Traviata with West Bay Opera and Center Stage Opera, Enrico in Lucia di Lammermoor with North Bay Opera and Center Stage Opera and many others. Gordin has been in high demand as a guest artist with the Oakland East Bay Symphony, where has sung Fauré’s Requiem, Verdi’s Otello, Kurt Weill’s Street Scene and Orff’s Carmina Burana. Gordin’s talent has been recognized as a winner of prestigious vocal competitions, including the Pacific Musical Society Competition, East Bay Opera League Vocal Competition, Bellini International Voice Competition and the Ibla Grand Prize Baroque Music Competition. He was the recipient of the Irene Patti Swartz Encouragement Award for the Florida Grand Opera National Voice Competition and Grantee of the Vocal Arts Foundation in San Francisco. He was also World Finalist for the Academia at Teatro alla Scala, Regional Finalist for the Metropolitan Opera National Council Auditions and the youngest candidate selected for the ORFEO 2000 World Competition of International Finalists hosted by Hannover Staatsoper.
DAREN JACKSON is the Founders’ Prize winner of the 2013 Mondavi Center Young Artists Competition. He began voice studies at age 8 in Wilmington, NC. At 15, he was accepted as the youngest student at North Carolina School of the Arts, where he currently studies with Glenn Siebert. He has performed diverse roles in works such as Andrew Lloyd Weber’s Requiem, Bernstein’s Kaddish and Rossini’s Stabat Mater. He is the recipient of the Bill and Judy Watson Scholarship and the William Bondurant Scholarship at UNCSA, and in 2013 he won 1st place in the North Carolina and Mid-Atlantic Region NATS auditions. SUNNY KNABLE was raised in a family of artists. As an adult, he became an award-winning composer, classical pianist, jazz player, songwriter, percussionist and educator. As a composer, he has won three Best Composition awards at the Festival of New American Music, and in 2009, he was the recipient of the Iron Composers Award (for which he wrote a four-minute piece in five hours). His works have been heard throughout the U.S. and internationally. After receiving his bachelor’ of music degree in composition, piano performance and jazz studies at California State University, Sacramento, he moved to New York City, where he makes his living as a pianist. In 2010, his 30-minute work Music of the Rails was commissioned and premiered by the Sacramentobased sextet Citywater in celebration of the Crocker
Art Museum’s reopening. In 2011, Half Moon Theatre of Poughkeepsie, NY, commissioned his children’s opera, The Magic Fish, with his brother Jim Knable as librettist. In 2012, he received his master’s of arts degree in composition at the Aaron Copland School of Music where he served as president of the Queens College New Music Group for two years. His debut composition CD American Variations was released in 2012 on Centaur Records. He serves as music director of The Church-in-the-Gardens in Forest Hills, NY, while fulfilling commissions from around the country. He continues his doctoral education at Stony Brook University.
ANGELO MORENO is a graduate of UC Davis where he received his bachelor of arts and master of arts in orchestral conducting under the direction of Dr. D. Kern Holoman in the fall of 2002. He also received his teaching credential in music education from Sacramento State University. Moreno is the director of the Sacramento Youth Symphony’s Academic Orchestra. In addition to his youth symphony work, Moreno has been directing the Davis Schools Secondary Orchestras since 2000. He was orchestra director at Emerson Junior High and is currently the director of the Davis Senior High and Holmes Junior High School Orchestra Programs. In 2005, Moreno was awarded the Teacher of the Year Award presented by the CSUS College of Education in recognition of outstanding service to public education. In 2006, he was honored by State Assemblywoman Lois Wolk and given a resolution from the California Legislature recognizing his work in music education. In 2009, the Sacramento News & Review honored Moreno at the Jammies Concert with the Sacramento Music Educators Outstanding Achievement Award. In addition, DownBeat Magazine recognized Moreno and his Combined Junior High Advanced Orchestra and the Davis Senior High School Symphony Orchestra to be Best Classical Ensemble at the high school level nationwide in 2010 and 2011. In the fall of 2011, Moreno was given the Harmony in Our Lives Award for excellence in music education by the Davis Schools Arts Foundation. In the fall of 2012, the California Music Educators Association (CMEA) unanimously recognized Moreno as the state’s Richard L. Levin Orchestra Educator awardee. ANN MOSS is an ardent and acclaimed champion of contemporary vocal music who performs and collaborates with a dynamic array of American composers. Her high, silvery, flexible voice has been singled out by Opera News for its “beautifully pure floated high notes” and by San Francisco Classical Voice for its “powerful expression.” September 2013 marks the release of her debut CD CURRENTS, produced by multiple Grammy Award-winner Leslie Ann Jones and featuring a dream team of collaborators from the chamber music, new music and jazz communities performing some of the extraordinary new and recent American vocal/chamber music Moss has championed over the past decade. Moss has sung premieres and performed
contemporary repertoire with M2B, Earplay, Eco Ensemble, One Art Ensemble, New Music Works, San Francisco Lyric Opera, the Ives String Quartet, Alexander String Quartet, Hausmann Quartet, Sanford Dole Ensemble and Composers in Red Sneakers. She has performed at the Sacramento Festival of New American Music, Fresno New Music Festival, PARMA Festival, SF Song Festival, Other Minds Festival, Switchboard Music Festival, Sonic Harvest, CNMAT and in frequent recitals of contemporary art song. Equally sought after for her vibrant and affecting interpretations of masterworks from the oratorio and operatic literature, Moss has recently been heard performing solos in Beethoven’s Ninth Symphony with the UC Berkeley Symphony Orchestra, Haydn’s Missa in Angustiis with Oakland Symphony Chorus, Handel’s Acis & Galatea with California Bach Society, and Poulenc’s Gloria and Ravel’s L’enfant et les sortilèges with Berkeley Opera. Other operatic roles include Nannetta, Blondchen, Despina and Dew Fairy. A native of Boston and a graduate of the Longy School of Music and San Francisco Conservatory, Moss currently resides and teaches in the San Francisco Bay Area. She has participated in master classes with artists including Jose Van Dam, Nathan Gunn, Graham Johnson, Martin Katz, Jake Heggie, John Harbison, Craig Smith and Barbara Kilduff. Private teachers include Sheri Greenawald, Wendy Hillhouse, Anna Gabriali and Rodney Gisick; coaches include Steven Bailey, Brian Moll, Paul Hersh, Wayman Chen, Brenda Miller and Tim Bach. She attended the internationally renowned Songfest program for two summers. Soprano LAUREN WOODY recently returned from performing at Lincoln Center with the New York City Opera Orchestra and on a National U.S. tour with the prestigious Young Artist program, I Sing Beijing. She is garnering recognition for her artistry, beautiful vocal timbre and ringing high notes. In 2012, she made her international debut in China at the National Center for the Performing Arts, where she studied under the tutelage of internationally acclaimed faculty members, including Metropolitan Opera bass Hao Jiang Tian, Maestro Paul Nadler and coach Katherine Chu. A winner of the Career Bridges Grant Award in New York, Woody has been described as possessing a “wonderful lyric soprano voice capable of many styles and genres.” Over the years, she has been tackling leading roles in The Magic Flute (Second Lady), Haydn’s La Vera Costanza (Rosina), and the title roles in Gilbert and Sullivan’s Patience and Iolanthe. Her performances have been characterized as “superb ... engaging the audience with both her singing and acting” (Maestro Brian Sparks). Currently based in the San Francisco Bay Area, she sings with the contemporary hybrid hip-hop orchestra, Ensemble Mik Nawooj, premiering new works by composer Joowan Kim. Woody studies with world-renowned soprano and San Francisco Opera Center Director Sheri Greenawald, specializing in lyric soprano repertoire by Puccini, Mozart and Verdi. encore art sprograms.com 25
JEFF TWEEDY, Solo
A Just Added Event Tuesday, December 10, 2013 • 8PM Jackson Hall
According to Salon.com, Jeff Tweedy is “one of the most daring songwriters of his generation” and his band Wilco is hailed as “vital, adventurous … breaking new stylistic ground with each ambitious and creatively restless album.” As the founding member and leader of the American rock band Wilco and before that the co-founder of alt-country band Uncle Tupelo, Jeff Tweedy is one of contemporary American music’s most accomplished songwriters, musicians and performers. Since starting Wilco in 1994, Tweedy has written original songs for eight Wilco albums and collaborated with folk singer Billy Bragg to bring musical life to three albums full of Woody Guthrie-penned lyrics in the Mermaid Avenue series. Tweedy has had a firm hand in producing all of Wilco’s eight studio albums, and over the past decade has created the Wilco Loft, a state-of-the-art recording studio and rehearsal space on Chicago’s North Side “where eccentric vintage instruments sit side by side with near classics … industrial-grade shelves filled to the ceiling with guitar cases and amps. Everywhere you look, there are instruments” (Fretboard Journal). Tweedy, an accomplished and in-demand producer beyond the Wilco realm, has collaborated twice with soul and gospel legend Mavis Staples. First on her 2010 release You Are Not Alone, and more recently, on the just-released One True Vine. Both albums were produced by Tweedy and recorded at the Wilco Loft. Both have garnered widespread critical acclaim. “One True Vine sounds at once contemporary and true to
Staples’s lengthy career and history … haunting, beautifully restrained … A-” (The A.V. Club). “Guided by the brilliant production of Wilco’s Jeff Tweedy, [the album] mixes triumphant gospel and evocative blues, infusing each with hard-won wisdom,” says NPR on You Are Not Alone, which went on to win Best Americana Album in the 53rd Annual Grammy Awards. Tweedy’s most recent producer credits include The Invisible Way by the Minneapolis trio Low, Wassaic Way by folk-rock duo Sarah Lee Guthrie & Johnny Irion (co-produced with Wilco’s Patrick Sansone) and a forthcoming album by Austin’s psychedelic rockers White Denim. A touring tour-de-force since the release of The Whole Love in September 2011 on the band’s own dBpm Records, Wilco has played more than 170 concerts worldwide including multiple tours of North America and Europe as well as tours of Australia, New Zealand and Japan. Wilco also mans the helm at its own Solid Sound Festival at MASS MoCA in The Berkshires—a three-day event blending music, comedy, world-class contemporary art and more. In addition to his work with Wilco, Tweedy tours frequently as a solo artist, playing intimate, unscripted acoustic sets that draw from his 400-plus song repertoire. A departure from Wilco’s carefully orchestrated, sonically complex performances, Tweedy’s solo concerts showcase his prolific output as a songwriter, his proficiency as a guitarist, his charismatic and compelling stage presence and his wry sense of humor. encore art sprograms.com 27
Friday, January 10, 2014
Jackson Hall, mondavi center
London-Haydn String Quartet and Eric Hoeprich, basset clarinet Haydn: Quartet in G Major, op. 33, no. 5 Weber: Clarinet Quintet, op. 34 Tickets are available through the Mondavi Center Box Office | 530.754.2787 | mondaviarts.org
BLIND BOYS OF ALABAMA
Go Tell It on the Mountain
A Just Added Event Friday, December 13, 2013 • 8PM Jackson Hall Jimmy Carter, vocals Ben Moore, vocals Ricky McKinnie, vocals Joey Williams, guitar/vocals Tracy Pierce, bass Peter Levin, keys Austin Moore, drums
The Blind Boys of Alabama are recognized worldwide as living legends of gospel music. Nearly 75 years after they hit their first notes together, the Blind Boys of Alabama are exceptional not only in their longevity, but also in the breadth of their catalog and their relevance to contemporary roots music. Since 2000, they have won five Grammy® Awards and four Gospel Music Awards, and have delivered their spiritual message to countless listeners. Longevity and major awards aside, the Blind Boys have earned praise for their remarkable interpretations of everything from traditional gospel favorites to contemporary spiritual material. With as much momentum as the Blind Boys have gathered in the last several years, there is no chance of slowing them down. I’ll Find A Way, the Blind Boys’ most recent release, was produced by Justin Vernon (of Bon Iver). A
unique collaboration between one of popular music’s longest-running acts and one of its fastestrising stars, it is a powerful collection of gospel and spiritual songs new and old, featuring some of the Blind Boys’s most fervent vocals as well as contributions by a new generation of Blind Boys fans—Sam Amidon, Shara Worden of My Brightest Diamond, Merrill Garbus of tUnE-yArDs, Casey Dienelof White Hinterland, Patty Griffin and Justin Vernon himself. The Blind Boys’ live shows are roof-raising musical events that appeal to audiences of all cultures, as evidenced by an international itinerary that has taken them to virtually every continent. The Blind Boys of Alabama have attained the highest levels of achievement in a career that spans more than 75 years and shows no signs of diminishing. encore art sprograms.com 29
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ONE T EAM , O NE C H O IC E
A Holiday Event Sunday, December 15, 2013 • 4PM SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY
AMERICAN BACH SOLOISTS
American Bach Choir American Bach Soloists Jeffrey Thomas, conductor Shawnette Sulker, soprano Eric Jurenas, countertenor* Aaron Sheehan, tenor Mischa Bouvier, baritone*
AMERICAN BACH CHOIR
AMERICAN BACH SOLOISTS
Jennifer Brody Cheryl Cain Tonia D’Amelio Julia Earl Susan Judy Clare Kirk Rita Lilly Allison Zelles Lloyd Diana Pray Brett Ruona Cheryl Sumsion
Edward Betts John Davey-Hatcher Andrew Morgan Mark Mueller Sigmund Siegel Sam Smith
Elizabeth Blumenstock (leader) ** Tekla Cunningham (principal second) Tatiana Chulochnikova * Karin Cuellar * Andrew Davies Rachel Hurwitz Mishkar Núñez-Mejía * Janet Strauss Lindsey Strand-Polyak * Noah Strick * David Wilson Jude Ziliak *
Steven Lehning (principal & continuo) ** Christopher Deppe Josh Lee
Within the decade that followed Handel’s composition of Messiah in 1741, nearly a dozen different casts and configurations of vocal soloists were employed by the composer during those first 10 years of what would become a never-ending history of performances worldwide. In each case, and for the remaining years of Handel’s life, he made revisions to his score that made the best use of the particular talents of his solo singers. While it is certainly true that Handel’s arrangements and transcriptions of arias that were employed for the work’s premiere in Dublin (1742) were due to the inadequacy of some of the singers at his disposal there, all subsequent revisions sought to show both the artists and the work in their best light. Customizing a musical work for the sake of the performers was not uncommon. In fact, it was not unheard of for an operatic vocalist (of necessarily considerable reputation) to carry along his or her favorite arias from city to city, insisting that they be incorporated into otherwise intact and singularly-composed musical works for the stage. This indulgence was not as unreasonable as one might first assume. The operatic style during Handel’s day has since become known as opera seria, a term that literally means “serious opera” and that was devised to mark the differences between those works and opera buffa, “comic operas” that were
ALTO James Apgar Dan Cromeenes Elisabeth Elliassen Danielle ReutterHarrah * William Sauerland * Gabriela Solis * Amelia Triest Celeste Winant
BASS John Kendall Bailey Hugh Davies Thomas Hart Raymond Martinez Jefferson Packer Daniel Pickens-Jones Jere Torkelsen David Varnum
VIOLA Jason Pyszkowski (principal) * Vijay Chalasani * Daria D’Andrea Clio Tilton *
TRUMPET John Thiessen (solo) ** William B. Harvey
TIMPANI Allen Biggs
OBOE John Abberger Debra Nagy **
BASSOON Charles Koster
ORGAN CONTINUO Steven Bailey
VIOLONCELLO William Skeen (principal & continuo) ** Gretchen Claassen * Elisabeth Reed ** Andres Vera *
HARPSICHORD CONTINUO Corey Jamason ** * ABS Academy Alumnus ** ABS Academy Faculty
encore art sprograms.com 31
AMERICAN BACH SOLOISTS “exit aria.” Of course, one of the primary reasons for this theatrical device was to solicit applause from the audience for the singer (although some of the approval might just as well have been intended for the composer). And each principal singer would fully expect to sing a number of arias in a variety of moods: lamentation, revenge, defiance, melancholy, anger and heroic virtue were common sentiments. The texts of the arias were rarely longer than four or eight lines, and rather generic, so it was more or less reasonable that a singer could
the outgrowth of commedia dell’arte. There were strict conventions within opera seria, including the utilization of the da capo, or A-B-A, format for arias. Secco recitatives, accompanied only by continuo (harpsichord and violoncello), were used to reveal plot details and to introduce the arias (or rarely, duets) that would illuminate the emotions of whichever character would sing them. But there were also non-musical conventions of equally practical importance. In most cases the singer would exit at the end of an aria; hence the term
The magic of
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substitute a favorite aria from another work so long as the general emotion was appropriate. Other traditions further supported this kind of expected artistic license. In most cases, final arias within any opera of the period were always awarded to the most important singer, not necessarily the most important character. This sort of deference to the talent made a great deal of sense as, during Handel’s day, the singers themselves were as much of an attraction to the audience, if not more so, as the composers and their works might have been. So, in Handel’s implementations of various casts of Messiah soloists, he made redistributions of the workload to be fair or, in some cases, to be flattering to the members of any particular roster. When surveying all of the versions of Messiah, it is very interesting to look first at the assignment of the final aria, “If God be for us.” Although originally composed for soprano, even for the premiere he altered the key so that it could be sung by the contralto, Susanna Cibber, a singing actress that Handel found to be tremendously compelling. Over the next few years he continued to assign that “status” aria to her until 1749, the year before the first performance of Messiah in London’s Foundling Hospital. In this case it was awarded to a treble, or boy soprano, perhaps as a prescient indication of discussions that were underway to bring the oratorio into that venue, a home for abandoned or orphaned children. And the following year, in 1750, it was again transposed down a few keys so that it could be sung by the most recently arrived operatic star, the great Italian castrato, Gaetano Guadagni (1728–1792). Only for the last performance of Messiah conducted by Handel in 1754 was the final aria heard as it was first composed, for soprano. London’s Foundling Hospital, a home “for the maintenance and education of exposed and deserted young children,” was established in 1739 in the Bloomsbury area. Its founder, Thomas Coram (1668-1751), was a sea captain and had spent a number of his early years in the American colonies. Following a career as a successful London merchant, he turned his attention to philanthropy and, in particular, rescuing homeless, abandoned children. At that time, charity and philanthropy had become not only critically essential to the survival of Londoners as a whole, but it had also gained an oddly self-serving functionality as part of the fantastic expansion of London and the greater English empire. The rate of growth of London during the 18th century was exponential. About three-fourths of Londoners had been born elsewhere. Its culture was as diverse as the most modern 21st-century city. London offered
AMERICAN BACH SOLOISTS opportunities and wealth to the industrious and ambitious, as well as a thriving underworld, anonymity and meager subsistence to criminals and the unskilled. Its hierarchical systems of social status were engrained, accepted and treasured, despite the fact that the 18th century offered all Londoners the chance to upgrade their places and stations within that cosmopolis. Ironically, though, even those who were able to buy into higher levels of society through their success as merchants were as eager as the blue-blooded aristocracy to maintain whatever distinctions of social status could be maintained. The wealthy typically lived in five-story townhouses while the lower classes (those not housed as servants in the top floors of the elite’s homes) often lived in terribly unhealthy and cramped hovels. During most of the 1700s, Londoners were subjected to dreadful pollution, reprehensibly unsanitary conditions and mostly unbridled crime. Many of those poor conditions were the result of the preponderance of manufacturing industries within London’s commercial organism. About a third of London’s population was employed by manufacturing ventures, and the resulting pollution had turned the Thames River into, literally, a sewer. Still, this flourishing business culture helped increase overseas trade at least threefold during the century, and the spoils were global political power and domestic wealth. But the victims of all this were the children. Many lived only a few short years, and still others were abandoned to live on their own in the filth, smoke and mire of London’s poorer quarters. In the face of such undeniable misery, the wealthy could hardly turn a blind eye. During an era of destitution, depravity and victimization, the beliefs of the Latitudinarian branch of the Church of England were timely assertions that benevolent and charitable deeds, rather than (or at least in addition to) the formalities of church worship, were essential to the quality of the moral state of the individual. Only by engaging in acts of compassion and by the establishment of a supporting relationship with the less fortunate could their plights, their suffering and the terrible waste of human life be acceptably mitigated and tolerated. Thus, charity became fashionable. Merchants supported charities that in turn supported the working class. They needed healthy workers in great numbers to keep their machines well-oiled and their industries thriving. Consumers were needed on the other side of the coin, so to speak, so the maintenance of the lower classes was in the best interest of those entrepreneurs. The kingdom itself needed to be defended at sea and abroad, so healthy battalions had to be provided. By supporting the less fortunate and encouraging
their strength and independence—to a degree— those who had newly-acquired wealth could gain prestige and propriety while nurturing their economic self-interests. To have a “bleeding heart” was especially in vogue among London’s upperclass women. Their ever-increasing opportunities to fashion socially relevant activities led quite naturally to their involvement in charities, which in turn substantiated their refinement, respectability and moral rank. William Hogarth (1697–1764), the great English painter, satirist and cartoonist, called
this transformative time “a golden age of English philanthropy” and one of the greatest results of it was the Foundling Hospital. In 18th-century London, the term “hospital” was applied to institutions for the physically ill as well as for the mentally ill, and to organizations that, through hospitality, supported particular factions of London’s population including sailors, refugees, penitent prostitutes and destitute children. To a great degree, the efforts of Coram, assisted by Hogarth and Handel, firmly established
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AMERICAN BACH SOLOISTS the Foundling Hospital as one of England’s most long-lived and admirable benevolent institutions. Even before the buildings were completed—a process that took 10 years from 1742 to 1752— children were first admitted to temporary housing in March 1741. No questions were asked, but overcrowding quickly led to the establishment of rules for acceptance. The requirement that children be aged no more than two months was relaxed by the House of Commons in 1756 so that children up to 12 months would be accepted. During the next few years, more than 15,000 infants were left at its doors. Even within the Hospital, though, more than two-thirds of them would not survive long enough to be apprenticed during their teenage years. In the same year that the Foundling Hospital accepted its first charges, Handel composed Messiah. Charles Jennens, the librettist for Messiah, had probably made the suggestion to Handel that the premiere of the work might take place in Dublin as a charity event. In fact, on March 27, 1742, Faulkner’s Dublin Journal published an announcement that: “For Relief of the Prisoners in the several Gaols, and for the Support of Mercer’s Hospital in Stephen’s Street, and of the Charitable Infirmary on the Inns Quay, on Monday the 12th of April, will be performed at the Musick Hall in Fishamble Street, Mr. Handel’s new Grand Oratorio, call’d the Messiah…” The previous decade or so had been quite unpleasant for Handel. He had begun to suffer financial difficulties, and by the early 1730s his professional life was simply unraveling. He was nearly bankrupt and had fallen very much out of the critical favor of the aristocratic public for whom he had composed his Italian operas. They were expensive to produce and not accessible enough for his audience. But, in fact, Handel himself was the object of what must have felt like brutal betrayal by his patrons, his audience and even his musicians. For the first half of his life, Handel had led a charmed existence. He seems to have waltzed into one happy situation after another, in which he enjoyed the patronage of royalty, the aristocracy and the culture-seeking population at large. He was unexaggeratedly a national hero, despite his non-domestic origins. He had lived in extravagant estates, kept the most celebrated artists, writers and musicians in his closest circles, and profited— although, not necessarily financially—from the tremendous favor that was bestowed upon him by 9/23/13 9:21 AM an entire empire. His unprecedented success was so irreproachable that he was, without a doubt, completely unprepared for what amounted to
AMERICAN BACH SOLOISTS a staggering fall from grace. But what emerged in 1741–42 was a work that would transcend the boundaries of musical forms, subject matter, social and cultural expectations, and eventually, the bitterness of his rivals. It would restore “the great Mr. Handel” to the revered status that he had enjoyed decades before. The first performance of Messiah took place on April 13, 1742, in Dublin’s new music hall on Fishamble Street and was a tremendous success. The review that appeared in Faulkner’s Dublin Journal proclaimed: “Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.” Performances in subsequent years took place in London, but those were met with less enthusiastic receptions. Messiah had blurred the distinctions between opera, oratorio, passion and cantata, and perhaps some Londoners found this to be a fundamental fault. So it is fascinating to note that when the function of Messiah was returned to that of a work presented for the benefit of charities, and when the venue became an ecclesiastical structure rather than a theatre, the oratorio took hold of its permanent place in the hearts of audiences, then in London and now throughout the world. For at least one year before the first Foundling Hospital performance of Messiah in 1750, Handel was involved with the charity, probably drawn to it through his associations with Hogarth and the music publisher John Walsh (1709–1766) who had been elected a governor in 1748. On May 4, 1749, Handel had made an offer, which was gratefully accepted, to present a benefit concert of vocal and instrumental music to help in the completion of the hospital’s chapel. The hospital reciprocated with an invitation to Handel, which he declined, to become one of its governors. On May 27, Handel directed a performance (in the unfinished chapel) of excerpts from his Fireworks Music, Solomon and the newly-composed Foundling Hospital Anthem, “Blessed are they that considereth the poor and needy.” (The Foundling Hospital Anthem was Handel’s last work of English church music.) The “Hallelujah” chorus from Messiah was the final work, a premonition of what was in store for the following year. Royalty were in attendance. Nearly one year later, on May 1, 1750, Handel performed Messiah in the (still-unfinished) chapel. That day marked what could be seen as the most significant day in Handel’s career. The benefit
concert’s success was extraordinary. More than 1,000 people crowded into the space, and more were turned away. Massive public attention to the event, coupled with unequivocal approbation for the oratorio, served Handel well and generated new commitment on the part of the London audience to uphold Handel and his oratorios as the great beacons of English music that they are. He became a governor of the hospital; since more than £1,000 had been raised by his performances, the fee required of governors was waived. In subsequent years, the Foundling Hospital continued to rely upon annual performances of Messiah for significant income. The most noteworthy musical aspect of the 1750 Foundling Hospital version of Messiah is the reworking of the aria, “But who may abide.” Gaetano Guadagni had arrived in London at the age of 20 in 1748, as part of an Italian opera company. The music historian Charles Burney (1726–1814) wrote about Guadagni: “His voice was then a full and well toned counter-tenor; but he was a wild and careless singer. However, the excellence of his voice attracted the notice of Handel, who assigned
him the parts in his oratorios of the Messiah and Samson, which had been originally composed for Mrs. Cibber…” Handel composed a new middle section of the aria, taking advantage of Guadagni’s bravura vocal technique as well as his apparently considerable low notes. Two other arias were also reworked for Guadagni: “Thou art gone up on high” and “How beautiful are the feet.” Recent research seems to indicate that the alto arrangement of “How beautiful are the feet” was only an afterthought. For the May 1, 1750, performance, Handel had six soloists (female soprano, boy treble, female contralto, male castrato, counter-tenor, tenor and bass). But two weeks later, on May 15, when the work was offered for a second time especially to those who were turned away a fortnight before, the soprano must have fallen ill. Emergency reassignments were put in place, and the alto arrangement of “How beautiful are the feet” was one of them. In all fairness, however, it might have been that Handel was so pleased with Guadagni’s singing that he took that opportunity to give the singer another one of the oratorio’s “gem” arias. © Jeffrey Thomas
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AMERICAN BACH SOLOISTS LIBRETTO THE FOLLOWING LIBRETTO IS ADAPTED FROM THE PRINTED WORD-BOOK FOR THE FIRST LONDON PERFORMANCES OF MESSIAH IN 1743 AND INCORPORATES HANDEL’S OWN DESIGNATIONS OF PART HEADINGS, SCENES, AND MOVEMENT HEADINGS.
MESSIAH AN ORATORIO SET TO MUSICK BY GEORGE-FRIDERIC HANDEL, ESQ. PART THE FIRST
SONG – Alto & Soprano
And he shall purify the Sons of Levi, that they may offer unto the Lord an Offering in Righteousness.
He shall feed his Flock like a shepherd: and He shall gather the Lambs with his Arm, and carry them in his Bosom, and gently lead those that are with young. Come unto Him all ye that labour, come unto Him all ye that are heavy laden, and He will give you Rest. Take his Yoke upon you and learn of Him; for He is meek and lowly of Heart: and ye shall find Rest unto your souls.
RECITATIVE - Soprano
SINFONY SCENE III
There were Shepherds abiding in the Field, keeping Watch over their Flock by Night.
RECITATIVE - Alto
Behold, a Virgin shall conceive, and bear a Son, and shall call his Name Emmanuel, GOD WITH US.
ARIOSO - Soprano
SCENE I RECITATIVE, accompanied - Tenor Comfort ye, comfort ye my People, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her Warfare is accomplish’d, that her Iniquity is pardon’d. The Voice of him that crieth in the Wilderness, prepare ye the Way of the Lord, make straight in the Desert a Highway for our God. (ISAIAH 40:1–3)
SONG - Tenor Ev’ry Valley shall be exalted, and ev’ry Mountain and Hill made low, the Crooked straight, and the rough Places plain. (ISAIAH 40:4)
(ISAIAH 7:14; MATTHEW 1:23)
SONG - Alto & CHORUS
(ISAIAH 40:9; ISAIAH 60:1)
And the Glory of the Lord shall be revealed, and all Flesh shall see it together; for the Mouth of the Lord hath spoken it.
RECITATIVE, accompanied - Bass
SCENE II RECITATIVE, accompanied - Bass Thus saith the Lord of Hosts; Yet once a little while, and I will shake the Heav’ns and the Earth; the Sea and the dry Land: And I will shake all Nations; and the Desire of all Nations shall come. (HAGGAI 2:6-7)
The Lord whom ye seek shall suddenly come to his Temple, ev’n the Messenger of the Covenant, whom ye delight in: Behold He shall come, saith the Lord of Hosts. (MALACHI 3:1)
SONG – Alto But who may abide the Day of his coming? And who shall stand when He appeareth? For He is like a Refiner’s Fire. (MALACHI 3:2)
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(ISAIAH 40:11; MATTHEW 11:28–29)
His Yoke is easy, his Burthen is light.
O thou that tellest good Tidings to Zion, get thee up into the high Mountain: O thou that tellest good Tidings to Jerusalem, lift up thy Voice with Strength; lift it up, be not afraid: Say unto the Cities of Judah, Behold your God. O thou that tellest good Tidings to Zion, Arise, shine, for thy Light is come, and the Glory of the Lord is risen upon thee.
And lo, the Angel of the Lord came upon them, and the Glory of the Lord shone round about them, and they were sore afraid.
For behold, Darkness shall cover the Earth, and gross Darkness the People: but the Lord shall arise upon thee, and his Glory shall be seen upon thee. And the Gentiles shall come to thy Light, and Kings to the Brightness of thy Rising.
RECITATIVE - Soprano —INTERMISSION— And the Angel said unto them, Fear not; for behold, I bring you good Tidings of great Joy, which shall be to all People. For unto you is born this Day, in the City of David, a Saviour, which is Christ the Lord.
PART THE SECOND SCENE I
RECITATIVE, accompanied - Soprano
Behold the Lamb of God, that taketh away the Sin of the World.
And suddenly there was with the Angel a Multitude of the heav’nly Host, praising God, and saying ...
CHORUS Glory to God in the Highest, and Peace on Earth, Good Will towards Men. (LUKE 2:14)
SONG - Alto He was despised and rejected of Men, a Man of Sorrows, and acquainted with Grief. He gave his Back to the Smiters, and his Cheeks to them that plucked off the Hair: He hid not his Face from Shame and Spitting. (ISAIAH 53:3; ISAIAH 50:6)
SCENE V SONG - Bass
CHORUS SONG - Soprano
The People that walked in Darkness have seen a great Light; And they that dwell in the Land of the Shadow of Death, upon them hath the Light shined. (ISAIAH 9:2)
Rejoice greatly, O Daughter of Sion, shout, O Daughter of Jerusalem; behold, thy King cometh unto thee: He is the righteous Saviour; and He shall speak Peace unto the Heathen. (ZECHARIAH
Surely he hath borne our Griefs and carried our Sorrows: He was wounded for our Transgressions, He was bruised for our Iniquities; the Chastisement of our Peace was upon Him.
For unto us a Child is born, unto us a Son is given; and the Government shall be upon his Shoulder; and His Name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace.
RECITATIVE - Alto
Then shall the Eyes of the Blind be open’d, and the Ears of the Deaf unstopped; then shall the lame Man leap as an Hart, and the Tongue of the Dumb shall sing.
And with His Stripes we are healed.
AMERICAN BACH SOLOISTS CHORUS
SONG - Bass
All we, like Sheep, have gone astray, we have turned ev’ry one to his own Way, and the Lord hath laid on Him the Iniquity of us all.
RECITATIVE - Tenor
RECITATIVE - Tenor
Unto which of the Angels said He at any time, Thou art my Son, this Day have I begotten thee?
He that dwelleth in Heaven shall laugh them to scorn; the Lord shall have them in Derision.
The trumpet shall sound, and the Dead shall be rais’d incorruptible, and We shall be chang’d. For this corruptible must put on Incorruption, and this Mortal must put on Immortality.
SONG - Tenor
Let all the Angels of God worship Him. (Hebrews 1:6)
Thou shalt break them with a Rod of Iron; thou shalt dash them in pieces like a Potter’s Vessel.
He trusted in God, that he would deliver him: let him deliver him, if he delight in him.
SONG - Alto
RECITATIVE, accompanied - Tenor All they that see him laugh him to scorn; they shoot out their Lips, and shake their Heads, saying ...
(1 CORINTHIANS 15:52–54)
RECITATIVE, accompanied - Tenor
Thou art gone up on High; Thou has led Captivity captive, and received Gifts for Men, yea, even for thine Enemies, that the Lord God might dwell among them.
Thy Rebuke hath broken his Heart; He is full of Heaviness: He looked for some to have Pity on him, but there was no Man, neither found he any to comfort him.
The Lord gave the Word: Great was the Company of the Preachers.
SONG - Tenor
Behold, and see, if there be any Sorrow like unto his Sorrow! (LAMENTATIONS 1:12)
ARIA - Soprano How beautiful are the Feet of them that preach the gospel of peace, and bring glad tidings of good things.
RECITATIVE, accompanied - Tenor
He was cut off out of the Land of the Living: For the Transgression of thy People was He stricken.
(REVELATION 19:6; 11:15; 19:16)
O Death, where is thy Sting? O Grave, where is thy Victory? The Sting of Death is Sin, and the Strength of Sin is the Law. (1 Corinthians 15:55–56)
PART THE THIRD
But Thanks be to God, who giveth Us the Victory through our Lord Jesus Christ.
SONG - Tenor
SEMICHORUS Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord Strong and Mighty; the Lord Mighty in Battle. Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts: he is the King of Glory.
(1 CORINTHIANS 15:57)
I know that my Redeemer liveth, and that He shall stand at the latter Day upon the Earth: And tho’ Worms destroy this Body, yet in my Flesh shall I see God. For now is Christ risen from the Dead, the First-Fruits of them that sleep. (JOB 19:25–26; 1 CORINTHIANS 15:20)
Their Sound is gone out into all Lands, and their Words unto the Ends of the World.
DUET - Alto and Tenor
Then shall be brought to pass the Saying that is written; Death is swallow’d up in Victory. (1 CORINTHIANS 15:54)
Hallelujah! for the Lord God Omnipotent reigneth. The Kingdom of this World is become the Kingdom of our Lord and of his Christ; and He shall reign for ever and ever, King of Kings, and Lord of Lords. Hallelujah!
SONG - Soprano
But Thou didst not leave his Soul in Hell, nor didst Thou suffer thy Holy One to see Corruption.
RECITATIVE - Alto
SONG - Bass Why do the Nations so furiously rage together? and why do the People imagine a vain Thing? The Kings of the Earth rise up, and the Rulers take Counsel together against the Lord and against his Anointed. (PSALM 2:1–2)
CHORUS Let us break their Bonds asunder, and cast away their Yokes from us.
SONG - Alto If God is for us, who can be against us? Who shall lay anything to the Charge of God’s Elect? It is God that justifieth; Who is he that condemneth? It is Christ that died, yea, rather that is risen again; who is at the Right Hand of God, who maketh intercession for us.
Since by Man came Death, by Man came also the Resurrection of the Dead. For as in Adam all die, even so in Christ shall all be made alive.
(ROMANS 8:31 AND 33–34)
(1 CORINTHIANS 15:21–22)
Behold, I tell you a Mystery: We shall not all sleep, but we shall all be chang’d, in a Moment, in the Twinkling of an Eye, at the last Trumpet.
Worthy is the Lamb that was slain, and hath redeemed us to God by His Blood, to receive Power, and Riches, and Wisdom, and Strength, and Honour, and Glory, and Blessing. Blessing and Honour, Glory and Pow’r be unto Him that sitteth upon the Throne, and unto the Lamb, for ever and ever.
(1 CORINTHIANS 15:51–52)
RECITATIVE, accompanied - Bass
encore art sprograms.com 37
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JEFFREY THOMAS (conductor) has brought thoughtful, meaningful and informed perspectives to his performances as artistic and music director of the American Bach Soloists for more than two decades. He has directed and conducted recordings of more than 25 cantatas, the Mass in B Minor, Brandenburg Concertos, St. Matthew Passion, harpsichord concertos, Handel’s Messiah works by Schütz, Pergolesi, Vivaldi, Haydn and Beethoven. Fanfare magazine has praised his series of Bach recordings, stating that “Thomas’ direction seems just right, capturing the humanity of the music … there is no higher praise for Bach performance.” Before devoting all of his time to conducting, he was one of the inaugural recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street Journal as “a superstar among oratorio tenors,” Thomas’ extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics and Arabesque. Thomas is also an avid exponent of contemporary music and has conducted the premieres of new operas, including David Conte’s Gift of the Magi and Firebird Motel, and premiered song cycles of several composers, including two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities and appeared with his own vocal chamber music ensemble, L’Aria Viva. He has collaborated on several occasions as conductor with the Mark Morris Dance Group. Educated at the Oberlin Conservatory of Music, Manhattan School of Music and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society and Southern Utah Early Music Workshops, presented master classes at the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College and Washington University, been on the faculty of Lehigh University in Pennsylvania and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis. He was a UC Davis Chancellor’s Fellow from 2001 to 2006; the Rockefeller Foundation awarded him a prestigious Residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007 to work on his manuscript, Handel’s Messiah: A Life of Its Own. Thomas serves on the board of Early Music America and hosts two public radio programs on Classical KDFC. SHAWNETTE SULKER (soprano) has been praised by Opera News for the “natural warmth and charm” of her singing and noted for “displaying a bright, superbly controlled soprano with perfectly placed coloratura” (San Francisco Chronicle). ABS patrons may remember her appearances with ABS a few
seasons ago in Virgil Thomson’s Four Saints in Three Acts with the Mark Morris Dance Group and Henry Purcell’s Dido & Aeneas in ABS’s collaboration with the San Francisco Opera Center and The Crucible. A frequent collaborator with Maestro Thomas, Sulker has performed under his baton in performances of Andrew Lloyd Webber’s Requiem and Carl Orff’s Carmina Burana. A video of that performance, with the UC Davis Symphony Orchestra and University/Alumni Chorus at the Mondavi Center for the Performing Arts, is one of the most requested classical music films on YouTube, with more than 10 million views. On the operatic stage, Sulker has been a featured artist with the San Francisco Opera, Hawaii Opera Theatre, Internationale Opera Producties (The Netherlands), Festival Opera, Union Avenue Opera, Natchez Opera Festival, Mendocino Music Festival, West Bay Opera, Berkeley West Edge Opera and Livermore Valley Opera, to name but a few. She has performed roles from Handel and Purcell, to Mozart, Bizet, Verdi and Puccini, as well as contemporary composers. She created the role of Corina in the world-premiere of David Conte’s opera Firebird Motel for Thick Description. In concert, Sulker has performed with the Santa Clara Chorale and Orchestra, the San Francisco Choral Society and the Masterworks Chorale. Sulker has been a special guest of the Ritz-Carlton in Osaka, Japan where she performed a series of Christmas concerts. Her film résumé includes a soundtrack performance for the movie Mimic and an on-screen operatic appearance in the feature film Jackson. Sulker earned scholarships to attend Bennington College and graduated with a bachelor’s degree in vocal performance. She was awarded scholarships to attend both the Contemporary Opera and Song Program at the Banff Centre for the Arts in Canada and the OperaWorks Summer Intensive Program in Los Angeles. Sulker was also a resident artist for the Natchez Music Festival in Mississippi. A winner of career scholarships from the East Bay Opera League Vocal Competition, Sulker has also been a regional finalist with the National Association of Teachers of Singing Competition and a finalist and award winner with the Irene Dalis Vocal Competition.
ERIC JURENAS (countertenor), proclaimed as “the real deal” (Grand Rapids Press) and defined as having a “rich, mature voice” (Third Coast Digest) with “incredible power” (Opus Colorado), has quickly established himself as a dynamic and versatile performer in both opera and concert. Jurenas has performed as a featured soloist with American Bach Soloists, Michigan Opera Theatre, Opera Philadelphia, The Dayton Philharmonic, Colorado Bach Ensemble, Calvin College Choirs, Kentucky Bach Choir and the Bel Canto Chorus of Milwaukee, among others. An alumnus of the American Bach Soloists Academy, he has been featured in ABS performances of Handel’s Ariodante and Dixit Dominus and Vivaldi’s Beatus vir. His professional debut was with Michigan Opera Theatre (Handel’s Giulio Cesare) where he was applauded by encore art sprograms.com 39
AMERICAN BACH SOLOISTS Opera News for his “performances of admirable gusto.” An avid competitor around the country and the world, Jurenas has won and received awards from several vocal competitions, including first place in the Hal Leonard Online Vocal Competition, Dayton Opera Guild Competition, Kentucky Bach Choir Competition and the Bel Canto Chorus of Milwaukee Competition. Additional awards have been received from Ft. Worth Opera’s McCammon Competition, Opera Columbus Competition, Washington International Competition, Marcello Giordani Competition and the Nico Castel International Master Singer Competition held at Weill Recital Hall at Carnegie Hall NYC. Having begun his vocal studies at an early age with his mother, soprano Joan Jurenas, he received his bachelor’s degree from the University of Cincinnati College-Conservatory of Music and is presently pursuing his master’s degree at The Juilliard School.
AARON SHEEHAN (tenor) has established himself as a first rate singer in many styles. His performances are heard regularly in the United States, South America and Europe, and he excels equally in repertoire ranging from oratorio and chamber music to opera. His singing has taken him to many festivals and venues including Tanglewood, Lincoln Center, the Metropolitan
Museum of Art, Washington National Cathedral, the early music festivals of Boston, San Francisco, Vancouver, Houston, Tucson, Washington D.C. and Madison, as well as the Regensburg Tage Alter Musik. Known especially for his Baroque interpretations, his voice has been described by the Boston Globe as “superb: his tone classy, clear and refined, encompassing fluid lyricism and ringing force” and the Washington Post praised his “polished, lovely tone.” Sheehan is a first-rate interpreter of the oratorios and cantatas of Bach and Handel. He has appeared in concert with ensembles including the American Bach Soloists (most recently as the Evangelist in Bach’s St. John Passion), Orpheus Chamber Orchestra, Handel and Haydn Society, Boston Baroque, New York Collegium, Les Voix Baroque, Boston Early Music Festival, Aston Magna Festival, Washington National Cathedral, Pacific Music Works, Boston Museum Trio, Tragicomedia, the Folger Consort and Concerto Palatino. On the opera stage, he has appeared in the Boston Early Music Festival’s world premiere staging of Mattheson’s Boris Gudenow, Lully’s Psyché, Charpentier’s Actéon and in Handel’s Acis and Galatea. He also has worked with American Opera Theater and Intermezzo Chamber Opera in leading roles of operas by Cavalli, Handel, Weill and Satie. Sheehan has appeared on many
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recordings, including the Grammy-nominated operas Thésée and Psyché of Lully, recorded with the Boston Early Music Festival on the CPO label. A native of Minnesota, Sheehan holds a Bachelor of Arts degree from Luther College and a Master of Music degree in Early Voice Performance from Indiana University. He is currently on the voice faculties of Boston University, Wellesley College and Towson University.
MISCHA BOUVIER (baritone) has been noted by The New York Times for his “rich timbre” and “fine sense of line,” and his performances have been called a “delight to encounter for the first time” by the Pittsburgh Tribune-Review. He continues to impress audiences with his keen musicality and remarkable communicative ability. Bouvier is an alumnus of the inaugural class of the American Bach Soloists Academy, at which he performed the role of Lucifer in Handel’s dramatic oratorio, La Resurrezione. He has performed with a wide array of ensembles including Anonymous 4, the Mark Morris Dance Group, Boston Symphony Orchestra, American Handel Society, the Bach and the Baroque Ensemble of Pittsburgh, Bronx Opera, the Five Boroughs Music Festival, the Folger Consort, Sacred Music in a Sacred Space and Christopher Williams Dance. An avid proponent of art song, he has presented recitals at the Baldwin-Wallace Art Song Festival, the Trinity Church Concerts at One Series, Internationale Meisterkurse für Musik Zürich, the Cincinnati Grandin Festival and the Music Room at the Lindberg Farm series. He has offered regional premieres of Lori Laitman’s Men With Small Heads and Paul Moravec’s Songs of Love and War and a world premiere of Charles Fussell’s cycle Venture during the Festival of Contemporary Music at Tanglewood. A singer of tremendous versatility, Bouvier made his professional musical theater debut under the baton of Keith Lockhart in Rodgers and Hammerstein’s Carousel with the Boston Pops. Other notable non-traditional performances have included Gilbert and Sullivan’s Trial By Jury and The Pirates of Penzance; Jerry Bock’s She Loves Me for Lyric Opera Cleveland and collaborations with Sting on Songs from the Labyrinth at Disney Hall. Bouvier holds performance degrees from Boston University and the University of Cincinnati College-Conservatory of Music and has participated in programs at Lyric Opera Cleveland, the Internationale Meisterkurse für Musik Zürich, the Carmel Bach Festival and the Tanglewood Music Festival. Recognition awards have included the American Bach Soloists Henry I. Goldberg Young Artist Award, the Oratorio Society of New York Solo Competition’s Docia Goodwin Franklin and Richard Westenberg Awards, the Louisville Bach Society Gerhard Herz Young Artist Competition, the American Prize’s Vocal Competition and the Concert Artists Guild International Competition.
THE ART OF GIVING The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives. Annual donations to the Mondavi Center directly support our operating budget and
are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.
For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.
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$100 – $299
Leal Abbott M. Aften Jill and John Aguiar Dorrit Ahbel Susan Ahlquist Suzanne and David Allen Jacqueline Ames David and Penny Anderson Dawnie Andrak Alex and Janice Ardans Debbie Arrington Jerry and Barbara August George and Irma Baldwin Charlotte Ballard and Robert Zeff Diane and Charlie Bamforth Elizabeth Banks Michele Barefoot and Luis Perez-Grau Carole Barnes Paul and Linda Baumann Lynn Baysinger Bee Happy Apiaries Mark and Betty Belafsky Merry Benard William and Marie Benisek Alan and Kristen Bennett Robert C. and Jane D. Bennett Mrs. Vilmos Beres Linda and William Bernheim Bevowitz Family Boyd and Lucille Bevington Dr. Robert and Sheila Beyer John and Katy Bill Andrea Bjorklund and Sean Duggan Sam and Caroline Bledsoe Fred and Mary Bliss Bill Bossart Brooke Bourland Jill and Mary Bowers Alf and Kristin Brandt Robert and Maxine Braude Dan and Mildred Braunstein Frank Brown, MD Valerie and David Brown Alan Brownstein Edelgard Brunelle Linda Clevenger and Seth Brunner Don and Mary Ann Brush 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 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 Heilman-Cozzalio 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 Jeffrey and Sandra Granett Steve and Jacqueline Gray Mary Louise Greenberg Paul and Carol Grench
encore art sprograms.com 43
THE ART OF GIVING 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 Tim and Linda McKenna Martin A. Medina and Laurie Perry
CORPORATE MATCHING GIFTS
Chevron/Texaco Matching Gift Fund DST Systems Morgan Stanley U.S. Bank
We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.
ARTISTIC VENTURES FUND
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.
Patti Donlon Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef
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 Dr. and Ms. Rudolf Pueschel Edward and Jane Rabin
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.
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 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
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 ).
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 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 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
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 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.
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
DANCE FOR PARKINSON’S PROGRAM
Tom and Lynda Cadman Douglas Clarke Gerald Hayward William and Madeleine Kenefick John Springer and Melourd Lagdamen Phyllis and Sunny Lee
Joy McCarthy Mia McClellan Sybil and Jerry Miyamoto Maureen and Harvey Olander Samuel and Lynne Wells John Whitted
UC DAVIS STUDENT MEMBERSHIP PROGRAM
Eric Joshua Smith
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. 44 MONDAVIARTS .ORG
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 • Vince Jacobs • 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 45
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.)
46 MONDAVIARTS .ORG
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
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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Mondavi Center Program ISSUE 2: NOVEMBER–DECEMBER