2016-17 Philharmonic Society presents
ALINA IBRAGIMOVA & CÉDRIC TIBERGHIEN April 2, 2017 KEI AKAGI TOKYO TRIO April 19, 2017 COMPAGNIE HERVÉ KOUBI April 22, 2017
HAPA: BARRY FLANAGAN AND RON KUALA’AU April 29, 2017 GUGU DRUM GROUP FROM SHANGHAI May 21, 2017 AMY H NAIALI’I’ GILLIOM May 25, 2017
Life will be different here. Welcome to Great Park Neighborhoods. Things are getting good. Really good. Because we have new home designs, and more ways to love where you live. Like the top-rated Irvine Unified School District. Creative parks that encourage even more creative play. Trails that connect people to each other. We could go on and on. And it’s all at the edge of the Orange County Great Park. No wonder people are so happy here. Our two newest neighborhoods, Beacon Park and Parasol Park, range in price from the high $500,000s to the high $1,000,000s. Located at the intersection of Great Park Boulevard and Ridge Valley, just east of Sand Canyon Avenue. GreatParkNeighborhoods.com 949.523.2057
© 2017 Heritage Fields El Toro, LLC. All rights reserved. Great Park Neighborhoods, the bicycle logo, and “Life Will Be Different Here” is a registered trademark of and “Live Will Be Different Here” are a registered trademarks of Heritage Fields El Toro, LLC (“Heritage Fields”) dba Great Park Neighborhoods used for the marketing of new home neighborhoods in Irvine, California. Five Point Communities Management, Inc. (“Five Point”) is the development manager of Great Park Neighborhoods. Neither Heritage Fields nor Five Point is designing, constructing or offering homes for sale in Great Park Neighborhoods. All oposed amenities are subject to change without notice. Lifestyle photography does not reflect any ethnic or racial preference. (3/17)
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IRVINE BARCLAY THEATRE GUIDE
17-GPN-0535
WELCOME IT IS MY PLEASURE TO WELCOME YOU TO THE NEW BARCLAY.
A very successful season has almost come to a close, and I recall with delight the many enriching performances we have experienced. This is the last program book of Irvine Barclay Theatre’s 27th season and the artists exemplify the eclectic diversity for which the theatre is known. The amazing roster of artists assembled in this program book covers a spectrum of genres and styles – from the sophisticated jazz stylings of the Kei Akagi Tokyo Trio, and the hauntingly beautiful Hawaiian melodies of HAPA and Amy Hānaiali’i’ Gilliom – to the contemporary and urban dance of Compagnie Hérve Koubi and the timeless drum movements of the GuGu Drum Group from Shanghai. As always, the Philharmonic Society of Orange County provides a rich musical experience with Alina Ibragimova and Cédric Tiberghien. We are indebted to all who help us maintain the Barclay, this unique community resource: our staff and our Board of Directors; our public partners – the City of Irvine and UCI; and you, the audience. Your continued contribution supports the programs we present and allows us to serve you and the entire community. I thank you for being here with us. We will be rolling out events for 2017–2018 soon. So, please check our website often for another season of exceptional array of artists.
Jerry Mandel, Ph.D. President, Irvine Barclay Theatre
Board of Directors CHAIR Ken Rohl Chairman/Founder Rohl LLC Ramona Agrela Associate Chancellor University of California, Irvine Francisco J. Ayala Professor and National Medal of Science Laureate University of California, Irvine Stephen Barker Dean, Claire Trevor School of the Arts University of California, Irvine
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HONORARY Donald P. Wagner Mayor, City of Irvine
Howard Gillman, Ph.D. Chancellor, UCI IRVINE BARCLAY THEATRE | 3
Sunday, April 2, 2017, 3pm Irvine Barclay Theatre
SAM B. ERSAN SERIES SPONSOR
ALInA IBrAgIMovA, vIoLIn CédrIC TIBErghIEn, pIAno Violin Sonata No. 4 in C minor, BWV 1017
Johann Sebastian BACH (1685-1750)
Largo Allegro Adagio Allegro
AlinA ibrAgimovA & CédriC Tiberghien
BACh: vIoLIn SonATA no. 4 In C MInor, BWv 1017
Violin Sonata No. 2 in A major, Op. 100
Johannes BRAHMS (1833-1897)
Allegro amabile Andante tranquillo – Vivace Allegretto grazioso
- inTermiSSion Six Melodies (1950)
John CAGE (1912-1992)
Violin Sonata No. 2 in D minor, Op. 121
Robert SCHUMANN (1810-1856)
Ziemlich langsam – Lebhaft Sehr lebhaft Leise, einfach Bewegt Colbert Artists Management, Inc. 307 Seventh Avenue, Suite 2006, New York NY 10001 www.colbertartists.com | (212) 757-0782 Laguna Chamber Music Series sponsored by
Mr. Sam B. Ersan
Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones, and other audible devices. Although rare, all dates, times, artists, programs, and prices are subject to change.
Bach composed six sonatas for violin and keyboard during his tenure as music director in Cöthen (1717-1723). Bach was a great synthesizer, and he drew upon several traditions in these sonatas: the trio sonata, in which the polyphony is a product of three distinct voices (the violin and the pianist’s right and left hands), and the Italian instrumental sonata di chiesa, whose four movements are in a slow-fastslow-fast sequence. These sonatas combine the contrapuntal complexity of German music with the singing line of the Italian instrumental sonata. The most striking movement of the Sonata in C minor is its opening Siciliano, marked Largo. A siciliano (that title indicates its place of origin) is a slow dance in 6/8 built on swaying dotted rhythms, and it makes for a serious opening to this sonata. The brisk Allegro is in three parts, though the final part varies the opening section rather than repeating it literally. The Adagio features the violin’s singing line over the keyboard accompaniment, but the interesting thing here is the clash of rhythms: the violin’s melodic line rides along dotted rhythms, while the piano has steady triplets. Bach releases these tensions only in the closing measures, where the two instruments interlock gracefully on quiet strands of sixteenths. Though the spirited finale, an Allegro in binary form, has something of the feel of a perpetual motion, it is largely fugal in construction.
brAhmS: violin SonATA no. 2 in A mAJor, oP. 100
The Violin Sonata No. 2 in A major, composed that summer, is one of Brahms’ finest chamber works and one of the most good-natured pieces he ever wrote. Characterized by gracious melodies and an easy partnership between violin and piano, this genial music also offers some of Brahms’ most idiomatic writing for the violin. The score is littered with Brahms’ constant reminders to the performers: dolce, teneramente (tenderly), espressivo, sempre dolce. Even the tempo indication for the first movement spells out clearly the mood Brahms wishes to project: Allegro amabile—“Fast, [but with] love.” The movement begins with a graceful, flowing melody for piano alone, the violin itself soon picks up this melody and later shares the equally-relaxed second subject with the piano. In the same year he wrote this sonata, Brahms used this theme as the basis for his song Wie Melodien zieht es mir (“As Melodies a Feeling”), and it may be worth quoting the opening of the text of that song, for some of its spirit flavors this movement: “As melodies a feeling / steals softly through my mind, / as spring flowers it blooms / and as scent floats away.” The second movement combines slow movement and scherzo. The opening Andante tranquillo soon gives way to a tautly-sprung Vivace, and these sections alternate through the movement. With each repetition the gentle opening theme rises higher in the violin’s register until at last it soars high above the piano accompaniment. The music comes to a quiet close, and then Brahms ends with a quick joke: a seven-bar fragment of the scherzo section jumps up to bring the movement to its real close. The concluding Allegretto grazioso (Brahms’ marking is once again quite specific: “Moderately quick, [but] graceful”) is a rondo. The violin has the stirring main theme, which stays entirely on the G-string. Alternating episodes grow more
CAgE: SIx MELodIES (1950) John Cage composed his String Quartet in Four Parts in Paris in 1949-50, using a technique he called “gamuts,” a collection of specific tones and intervals organized by a sequence of rhythmic proportions. After completing the quartet, Cage found that he still had ideas within these gamuts that he wished to explore, and from them he composed his Six Melodies in New York City in April 1950—in a letter to Pierre Boulez, Cage described the Six Melodies as “postscripts” to the quartet. Cage’s music is sometimes interesting for what it is not, and in Six Melodies Cage attempts to do away with the notion of harmony and harmonic resolution that underlies Western music. There is no harmonic progress in any of these six movements, nor is there any of the drama of sonata-form structures. Instead, some have heard the influence here of Satie, whose pithy, aphoristic music exerted a particular attraction for Cage at this time. One might take Cage’s title in the sense of the French mélodie, which means “song.” These are six songs for violin and piano, each of them lasting only a minute or two. This music takes us into an elusive world, one in which gestures are subtle and understated. Cage asks that the violinist play without vibrato and with minimal bow pressure, and these six brief “songs” are soft and evocative, almost disembodied in their refusal to progress toward a specific destination.
ABoUT ThE progrAM
Brahms spent the summer of 1886 at Lake Thun in Switzerland. The previous fall had seen the premiere of his Fourth Symphony, and now he came to the sunny meadows of Switzerland to relax and compose. Working in a room with a view of glistening glaciers across the magnificent lake, Brahms turned to chamber music.
impassioned as the movement proceeds, but the noble main idea dominates and carries the music to its close.
SChUMAnn: vIoLIn SonATA no. 2 In d MInor, op. 121 Schumann’s three violin sonatas come from very late in his career. He wrote the second in the space of only eight days (October 26-November 2, 1851), during a period of increasing stress. Then 41, Schumann was nearing the end of his turbulent tenure as music director in the city of Düsseldorf and believed himself surrounded by scheming rivals—he had written his Violin Sonata No. 1 only a month before, describing himself as “very angry with certain people” when he composed it. The Second Sonata appears to have come from a calmer
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ABoUT ThE ArTISTS
interval, though it too has moments of turbulence. Schumann’s Second Violin Sonata shows an unusual structure. It is in four movements rather than the customary three: two massive outer movements frame two much shorter inner movements, which are themselves linked in ingenious ways. The sonata opens with a declarative slow introduction, somewhat in the manner of a recitative. The music leaps ahead at the exposition (marked “Lively”), where the main theme is full of propulsive and twisting energy; by contrast, the second subject is melodic and quite long. The second movement, a scherzo marked “Very lively,” features pounding chords in the outer sections and two trios. This movement too drives to a powerful climax on unison chords from both instruments. And then the surprises begin. Schumann marks the third movement “Gentle, simple,” and simple it certainly seems to be, as the violin picks out a tune and the movement turns into a set of variations on this melody. Only gradually does the identity of this tune become clear: it was the massive chordal climax at the end of the scherzo, presented there as a sort of premonition. That melody is itself a variation of the Bach chorale tune Gelobet seist du, Jesu Christ, and Schumann’s variations here are quite imaginative; the movement concludes with a brief reminiscence of the scherzo. The finale (marked “Animated”) features torrential washes of sixteenth-notes, some difficult string-crossings for the violinist, and once again much syncopated writing. —Program notes by Eric Bromberger ALInA IBrAgIMovA, vIoLIn And CédrIC TIBErghIEn, pIAno Cédric Tiberghien and Alina Ibragimova first met as members of the BBC Radio 3 New Generation Artists scheme in 2005. Immediately finding a rare musical and personal rapport, they performed together in a number of studio sessions and in concerts at the Wigmore Hall and at festivals around the UK. The unique partnership which developed between the two artists was picked up by The Times, which concluded its review of Cédric and Alina’s final recital as part of New Generation Artists at the 2007 Cheltenham Festival by
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commenting “Both of these players have the potential to conquer the world.” The duo has gone on to perform throughout Europe and in North America, appearing in venues including the Concertgebouw Amsterdam, Théâtre des Champs Elysées in Paris, Auditorio Nacional in Madrid, Carnegie Hall and Lincoln Center in New York, at the Vancouver Recital Society, and San Francisco Performances as well as major tours of Australia and Asia. This season’s North American tour includes concerts on the major series in St. Paul, Miami, Toronto, Orange County, San Francisco, and North Carolina. The duo is also a regular guest of the Wigmore Hall in London, where it presented an acclaimed complete cycle of the Beethoven violin sonatas in the 2009-10 season. This was followed in 2015-16 by a series of five concerts as part of the Hall’s ‘The Mozart Odyssey’ series, which saw them perform the complete sonatas for violin and piano by W. A. Mozart. Cédric and Alina’s Beethoven cycle was recorded for a three-volume release on the ‘Wigmore Live’ label, attracting unanimous praise from the press. International Record Review gave each volume its “IRR Outstanding Recording” award, commenting that “In every way, it proves an extraordinary achievement.” The Times was equally enthusiastic: “Spontaneous, impulsive, young and fresh, the violinist Ibragimova and the pianist Tiberghien make an electrifying partnership.” The duo’s other recordings are all available on Hyperion: its first release on the label featured the complete works by Szymanowski (2009), and was followed by a disc with Ravel’s complete works coupled with Lekeu’s Violin Sonata (2011) and the complete works by Schubert (2013). Cédric and Alina’s most recent recordings are the first three volumes (of five) of the complete sonatas for violin and keyboard by Mozart, which have again proved hugely popular with critics and audiences alike, with volume 1 selected as Editors’ Choice in Gramophone: "it would be hard to imagine more persuasive performances than we have here from the ever-rewarding Tiberghien-Ibragimova duo." Both Cédric and Alina enjoy flourishing careers as soloists, appearing with many of the world’s leading orchestras and as solo recitalists in some the most distinguished venues and festivals on the circuit.
1617
THE SEASON
UpCoMIng ConCErTS MAY 2017
ABoUT ThE ArTISTS
APRIL 2017 APRIL 19 | 8PM Bach’s St. John Passion
MAY 3 | 8PM Benjamin Grosvenor, piano
Renée and Henry Segerstrom Concert Hall
Renée and Henry Segerstrom Concert Hall
International Bach Academy Stuttgart Chorus and Orchestra Hans-Christoph Rademann, conductor Regula Mühlemann, soprano Roxana Constantinescu, contralto Benedikt Kristjansson, tenor Jakob Pilgram, tenor Peter Harvey, bass Martin Schicketanz, bass
MAY 27 | 8PM Jake Shimabukuro, ukulele Renée and Henry Segerstrom Concert Hall
For TICKETS And InForMATIon
949.553.2422 | phILhArMonICSoCIETY.org
Although rare, all dates, times, artists, programs, venues and ticket prices are subject to change.
SEASON HIGHLIGHTS Chicago Symphony | Riccardo Muti Mariinsky Theatre Orchestra | Valery Gergiev
APPEARANCES BY Lang Lang Itzhak Perlman Yuja Wang Jean-Yves Thibaudet
San Francisco Symphony | Michael Tilson Thomas Academy of St Martin in the Fields | Joshua Bell Boston Pops Orchestra | All-John Williams
SPECIAL CONCERT Dracula: Live in Concert with Philip Glass and Kronos Quartet
For SUBSCrIpTIon InForMATIon | 949.553.2422 | phILhArMonICSoCIETY.org
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Although rare, all dates, times, artists, programs, venues and ticket prices are subject to change.
FRIENDS
The Philharmonic Society of Orange County gratefully acknowledges the following donors for their generous support of the Fund for Music during the past twelve months. These contributions make up the difference between the income generated from ticket sales and the actual cost of bringing the world’s finest orchestras, soloists and chamber ensembles to Orange County and inspiring 160,000 K-12 students each year with quality music programs. Gifts range from $60 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.
HONORARY SEASON SPONSOR
Drs. Hana and Francisco J. Ayala • Disneyland Resort • Catherine Emmi Colburn Foundation • Mr. Sam B. Ersan • Donna L. Kendall Foundation • Barbara Roberts Mrs. Michelle Rohé • Elizabeth Segerstrom • The Segerstrom Foundation The Committees of the Philharmonic Society • Anonymous (1)
CHAIRMAN’S CIRCLE
The Crean Foundation • Ann and Gordon Getty Foundation • Mr. and Mrs. Milton S. Grier, Jr. Maralou and Jerry M. Harrington • The Isidore & Penny Myers Foundation • Dr. and Mrs. Howard Jelinek Phillip N. and Mary A. Lyons • Mr. and Mrs. Douglas H. Smith • William and Sakura Wang
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Margaret M. Gates - In memory of family Joan Halvajian Jewish Community Foundation of Orange County Joann Leatherby and Dr. Greg Bates Helen and Fritz Lin Macy's Charitable Contributions Mr. and Mrs. Anthony Mastrangelo Mrs. Michael McNalley National Endowment for the Arts Elaine and Carl Neuss Pacific Life Foundation Lauren and Richard Packard
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Frome Family Foundation David and Trudi Gartley The William Gillespie Foundation Anita and Denis Halton The Hanauer Family Foundation Elizabeth F. Hayward and Robert M. Carmichael Milli and Jim Hill Gary and Betsy Jenkins Ms. Elizabeth Jones Drs. Siret and Jaak Jurison Carolyn and Bill Klein
The Orange County Register Elizabeth and Justus Schlichting Dr. Steven Sorenson
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doug burCh And mAriAn FArber
Mr. David H. Koontz and Mr. James Brophy Regina and John Mangum Drs. Armine and Vahe Meghrouni Mr. and Mrs. Michael Morris Mr. and Mrs. Michael D. Nadler Orange County Community Foundation Mr. Michael D. Ray Elizabeth Gordon Reinhold Mr. and Mrs. James G. Reynolds Mr. and Mrs. Philip E. Ridout
Ms. Howard Roop Ellen and Vasily I. Semeniuta Dr. Emmanuel Sharef Mr. and Mrs. John Stahr Diane and Michael Stephens Robert A. and Sandra E. Teitsworth Dr. and Mrs. Fritz C. Westerhout Gayle Widyolar and David Scott Bobbitt and Bill Williams Anonymous (1)
Mr. and Mrs. William F. Kroener III Vincent “Tim” and Sharon Le Pore Vicki Lee Mr. Clark Leonard—In memory of Lockie Leonard Susan and Richard Mangum Peggy and Alex Maradudin Mr. and Mrs. Orville L. Marlett Millstream Fund Pat and Ken Morgan City of Mission Viejo Marlene and Chris Nielsen Mr. Patrick Paddon The PIMCO Foundation Dr. and Mrs. Paul Qaqundah Mr. Christopher Quilter
Mr. and Mrs. Walter Rados Mary Rence Walter Rios Ms. Jennie Robinson Eva and Fred Schneider Mr. and Mrs. Lawrence S. Spitz Elizabeth and Richard Steele Fund Dr. and Mrs. Julio Taleisnik Lynda Thomas Mrs. Judy Tschetter Chantel and Andrew Uchida Dr. Nancy E. Van Deusen Chava and Ted Wortrich Anonymous (3)
($1,200+)
Dr. and Mrs. Daniel L. Abbott Hope Aldrich and Michael Jeffers David Anderson Barbara and Jerry Andes John W. Benecke The Boeing Company Gilbert and Ildiko Butler Foundation Mr. and Mrs. John C. Carson Dr. and Mrs. David Casey Mrs. Linda Lipman Cassuto Allison Kawamoto Choy Mr. and Mrs. Stewart A. Clark Dr. Frank A. D'Accone Ms. Carol Dalton Fiorenza and Fernando de la Fuente Disney Worldwide Services, Inc.
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Macy’s Marcia Kay and Ron Radelet
Philharmonic Foundation Mr. and Mrs. William F. Podlich Richard and Deborah Polonsky Ralph Lauren Corporation Dr. and Mrs. Chase Roh Mr. and Mrs. David Rosenberg Schumann|Rosenberg LLP Segerstrom Center for the Arts Shanbrom Family Foundation South Coast Plaza Ms. Dea Stanuszek Dr. Daniel and Jeule Stein Mr. and Mrs. David Troob U.S. Bank Mr. Stephen Amendt
Mr. and Mrs. Neil B. Donavan Mr. and Mrs. Roger Duplessis Ron and Marti Erickson Mr. and Mrs. Donald French JoAnn and Peter Fuerbringer Gluck Bradley Foundation Mr. and Mrs. Philip Gold Mr. and Mrs. Michael S. Gordon Mr. and Mrs. Carl Greenwood Wanda Gwozdziowski Bonnie and William S. Hall Ellen Pickler Harris and Ron Harris Carole and Joseph Innes Dr. and Mrs. Tae S. Kim Mr. and Mrs. Louis J. Knobbe Cathy and David Krinsky
List current as of 2/17/2017. Full listing of donors appears in all Segerstrom Center for the Arts program books.
ABOUT THE PHILHARMONIC SOCIETY Of ORANGE COUNTY
ADMINISTRATIVE STAff
Since its inception in 1954, the Society has presented the world's most acclaimed symphony orchestras, chamber ensembles, soloists and international artists for the enjoyment and appreciation of Orange County audiences. The Society's Youth Programs, one of the most extensive music education programs of its kind in the country, are offered free of charge to schools, students and parents, and each year reach more than 160,000 students from first grade through high school. The Committees of the Philharmonic Society is the Society's principal fundraising and volunteer force. More than 80,000 hours of in-kind service are provided each year by the 800 volunteer members in implementing and evaluating the music education programs. The Committees also present a wide variety of fundraising events, including the Philharmonic House of Design and the Huntington Harbour Cruise of LightsÂŽ. For more information, please visit us at www.PhilharmonicSociety.org
Siri Bloom Operations Coordinator Kathy Smith Piano Technician
DEVELOPMENT Ronald G. Dufault Vice President of Development Halim Kim Director of Annual Campaign Allison Heinrichs Development Associate
EDUCATION
Rita Major Director of Education/Grants Administrator Eli Peterson Director of Volunteer Services Madeline Fields Huntington Harbour Office Manager
fINANCE
Roan Alombro Director of Finance Celine Ocampo Accounting Associate
MARkETING AND PUBLIC RELATIONS
Chantel Chen Uchida Vice President of Marketing and Public Relations Jean Hsu Director of Marketing Marie Songco-Torres Senior Marketing and Public Relations Associate
PATRON SERVICES
Jonathan Mariott Director of Patron Services Randy Polevoi Musical Concierge
BOARD Of DIRECTORS OffICERS
Noel Hamilton Immediate Past Chairman
Kimberly Dwan Bernatz Chairman, CEO
Stephen Amendt Secretary/Treasurer
ABoUT ThE phILhArMonIC SoCIETY
ARTISTIC OPERATIONS
ExECUTIVE COMMITTEE
Eleanor Anderson Member-at-Large
Jane K. Grier Member-at-Large
Douglas H. Smith Foundation
Anthony Mastrangelo Development
Donna L. Kendall Member-at-Large
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Hung Fan Laguna Beach Music Festival
Elaine P. Neuss Concerts
Judy Michel President, The Committees
Sabra Bordas Nominating John W. Benecke Joanne Fernbach John Flemming
Margaret M. Gates Jerry M. Harrington Marlene Nielsen
Barbara Roberts David Troob Sandi Wright-Cordes
PRESIDENT AND ARTISTIC DIRECTOR John Mangum 6 IRVINE BARCLAY THEATRE | 9
4/19
KEI AKAGI TOKYO TRIO April 19, 2017 | Cheng Hall This performance will include one 15-minute intermission.
Media Sponsor:
Kei Akagi Piano
Shunya Wakai Bass
Tamaya Honda
Drums & Percussion With Special Guests
James Newton Flute
Darek “Oles” Oleszkiewicz Bass
KEI AKAGI TOKYO TRIO The Tokyo Trio was formed in 2000 as a group for experimenting with modern concepts within jazz improvisation. Kei Akagi is the leader, pianist and primary composer. Shunya Wakai is the bassist, and Tamaya Honda is the drummer and percussionist.
The Tokyo Trio has given well over 300 performances. Its music is documented on seven CD’s: Palette (2001), A Hint of You (2003), Modern Ivory (2004), Live – Shapes in Time (2006), Liquid Blue (2007), Circlepoint (2014) and Contrast & Form (2016). The point of departure for the group is the rich history of jazz and its tradition. At the same time, the trio extends the genre through a spontaneous deconstruction of the rhythmic and harmonic elements that define the music. Eschewing the traditional roles of the instruments associated with a piano trio format, the Tokyo Trio emphasizes the equal role of each member within a collective ensemble.
Kei Akagi (Piano). Pianist and composer Kei Akagi, born in Sendai, Japan, spent his childhood years in Cleveland, Ohio, where he trained at The Music Settlement, studying piano, theory and music history. Returning to Japan in his early teens, he eventually studied philosophy and music composition at International Christian University in Tokyo. Upon graduation he was accepted as a graduate student in the Doctorate Program in Philosophy at the University of California, Santa Barbara. While pursuing his studies there, he also found time to compose and orchestrate music for the University Jazz Band, as well as performing locally in various bands. He turned to music as a full-time profession at the age of twenty-five. 10 | IRVINE BARCLAY THEATRE
Kei Akagi
As a pianist and composer, Akagi has been a mainstay of the international jazz world for almost four decades. Known for his work as a member of the Miles Davis band, his career includes extended associations with major figures such as Stanley Turrentine, James Newton, Joe Farrell, Al DiMeola and Airto Moreira. He has also performed or recorded with Art Pepper, Blue Mitchell, Freddie Hubbard, Ron Carter, Charlie Haden, Charnett Moffett, Tom Harrell, Eddie Harris, Slide Hampton, Steve Turre, Robin Eubanks, Allan Holdsworth, John Patitucci and others.
James Newton
As a solo artist and leader, Akagi has recorded 14 CD’s. As a sideman and accompanist, he is on over 60 CD’s worldwide, including Miles Davis’ last recorded works. He has over 80 published compositions. He is a Professor of Music at the University of California, Irvine.
Shunya Wakai (Bass) was born in 1988 in Aichi-ken, Japan. Upon entering Meiji University in Tokyo, he started playing the contrabass, and embarked on his professional career a year later. He is currently much in demand throughout Japan by major bands. He was the bassist on the recording, Shiawasw Na Mori No Ghibli, which was released on October 6, 2010. The recording was No.1 on Amazon, and reached fifth place on iTunes downloads, both within jazz music categories.
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Tamaya Honda (Drums & Percussion) was born in Tokyo in 1969 and comes from a lineage of renowned Japanese jazz musicians. His father was pianist Takehiro Honda, a towering figure for decades in the world of jazz. His mother, Chiko Honda, is an extremely popular jazz vocalist. Sadao Watanabe, an internationally renowned saxophonist, is his uncle. Surrounded by this background, it was only natural that Tamaya started playing drums while still a child.
Tamaya’s drumming is both powerful and delicate, with a thoroughly modern musicality that transcends genres. He was an integral part of the band Native Sun, led by his father. It was one of Japan’s most popular bands during the electric era, and Tamaya took part in numerous recordings and performances of this group. Tamaya has also played or recorded with luminaries such as Toshiko Akiyoshi, Junior Mance, Kazumi Watanabe, Paul Jackson and Sadao Watanabe. He has toured internationally with his own groups, appearing as featured artist in major jazz festivals in Asia and Europe.
James Newton (Flute). James Newton’s work encompasses chamber, symphonic and electronic music genres, compositions for ballet and modern dance, and numerous jazz and world music contexts. Mr. Newton has been the recipient of many awards, fellowships and grants, including the Ford Foundation, Guggenheim, National Endowment of the Arts and Rockefeller Fellowships, Montreux Grande Prix Du Disque and DownBeat International Critics Jazz Album of the Year, as well as being voted the top flutist for a recordbreaking 23 consecutive years in DownBeat magazine’s International Critics Poll.
Described as a musician’s renaissance man, Newton has performed with and composed for many notable artists in the jazz and classical fields: San Francisco Ballet, Coro e Orchestra del Teatro Regio di Torino, Vladimir Spivakov and the Moscow Virtuosi, Anthony Davis, Jose Limon Dance Company, Dino Saluzzi, Zakir Hussain, Avanti Chamber Orchestra, Grant Gershon and the Los Angeles Master Chorale, Billy Hart, Gloria Cheng, San Francisco Contemporary Music Players, Henry Threadgill, the Los Angeles Philharmonic New Music Group, Ensemble für neue Musik (Zurich), New York New Music Ensemble, Southwest Chamber Music, Jon Jang and Frank Wess. Newton’s works have been performed at notable venues including Carnegie Hall, the San Francisco Opera House, The Kennedy Center for Performing Arts, Cité de la Musique (Paris, France), Berlin National Gallery, Teatro Romano (Verona, Italy), The Walt Disney Concert Hall, Hollywood Bowl, RAI Auditorium (Torino, Italy), Blas Galindo Auditorium (Mexico City), Teatro Strehler (Milano, Italy), Theatre de la Ville (Paris, France), Parco Concert Hall (Tokyo, Japan), DIRECTV Music Hall (Rio De Janeiro, Brazil), Severance Hall (Cleveland), Amsterdam Museum of Modern Art, and the Whitney Museum (New York). 12 | IRVINE BARCLAY THEATRE
Mr. Newton currently holds a distinguished professorship at the University of California, Los Angeles in the Department of Ethnomusicology. He has also held professorships at University of California, Irvine, California Institute of the Arts, and Cal State University, Los Angeles. In May of 2005, Newton was awarded a Doctor of Arts Degree, Honoris Causa, from California Institute of the Arts.
Darek “Oles” Oleszkiewicz (Bass) was born on February 20, 1963 in Wroclaw, Poland. At the age of five, he began his music education at the State Music School in Wroclaw. In the early 1980’s, Darek participated in various jazz festivals and national competitions for young musicians. In 1983, Darek was invited by Jan Ptaszyn Wroblewski, a jazz legend in Poland, to join the saxophonist’s quartet on tour. For the next five years Darek was working steadily with some of the best jazz bands in the country such as: Zbigniew Namyslowski Quartet, Tomasz Szukalski Quartet, Henryk Majewski Quintet, Wojciech Karolak Trio and Andrzej Jagodzinski Trio and Jan Ptaszyn Wroblewski Quartet. In 1988, Darek arrived in Los Angeles with a simple plan in mind: to broaden his musical horizon. Offered a scholarship by California Institute of the Arts, he studied with the legendary Charlie Haden.
Darek Oles is one of the most sought-after bass players on the West Coast. A partial list of his collaborations includes: Brad Mehldau, Billy Higgins, Pat Metheny, Joe Lovano, Eddie Henderson, Charles Lloyd, John Abercrombie, Bennie Maupin, Lee Konitz, Peter Erskine, Alan Pasqua, Bennie Wallace, Victor Lewis, Harvey Mason, Dave Grusin, Art Farmer, Horace Silver, Alice Coltrane, Ravi Coltrane, James Newton, Geri Allen, Brian Blade, Arthur Blythe, Lew Tabackin, Steve Kuhn, Gary Smulyan, Ronnie Cuber, Billy Hart, Kevin Hays, Munyungo Jackon, Steve Hass, Toshiko Akiyoshi, Marian McPartland, Janis Siegel, Bob Brookmeyer, Curtis Fuller, Roy McCurdy, Tom Harrell, Larry Goldings, Bill Stewart, Chris Potter, Kei Akagi, Billy Childs, Bob Sheppard, Joe LaBarbera, Bill Cunliffe, Patrice Rushen, Bennie Golson, Piotr Baron, Teri Lynn Carrington, Buddy De Franco, Terry Gibbs, Anthony Wilson Nonet, and the Los Angeles Jazz Quartet. Darek has recorded approximately 100 albums, and performed hundreds of concerts throughout America, Europe and Asia. Several of those recordings have been nominated for the Grammy Awards. His first recording project as a leader, Like a Dream, with Brad Mehldau and Bennie Maupin, was released by Cryptogram Records in 2004 and gained critical acclaim worldwide. In 2005, Darek was voted the Best Acoustic Bassist by the Jazz Top Readers Poll in Jazz Forum European magazine. His most recent recording is a solo bass CD, a tribute to Charlie Haden, entitled Blues for Charlie. He also teaches in the jazz faculties of California Institute of the Arts, the University of Southern California, and the University of California, Irvine. Artist Representation: Kei Akagi kakagi@uci.edu
The City of Irvine plays an invaluable role in the successful operation of Irvine Barclay Theatre. We thank the City for its generous support.
IRVINE BARCLAY THEATRE | 13
4/22
COMPAGNIE HERVÉ KOUBI: What the Day Owes to the Night April 22, 2017 | Cheng Hall This performance is presented without an intermission. The presentation of Compagnie Hervé Koubi – What the Day Owes to the Night – is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon.
Sponsored by an anonymous fund of the Orange County Community Foundation
Choreography Hervé Koubi
Dancers Lazhar Berraoug Riad Mendjel Issa Sanou Giovanni Martinat Nadjib Meherhera Abdelghani Ferradji Zakaria Ghezal Mourad Messaoud Mohamed Medelsi Houssni Mijem El Houssaini Zahid Adil Bousbara
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Music Maxime Bodson Hamza El Din with Kronos Quartet Johann Sebastian Bach Sufi Music Lighting Design Lionel Buzonie
Costume Design Guillaume Gabriel
(Photo by Ahmad Daghlas)
WHAT THE DAY OWES TO THE NIGHT In 2009, Hervé Koubi organized an audition in Algeria. The chosen twelve Algerian and Burkina Faso dancers, mostly coming from street dance and hip-hop, helped Hervé Koubi realize his long-term project: first, the creation of El Din (2010), and subsequently in 2013, Ce que le jour doit à la nuit (What the Day Owes to the Night). Ce que le jour doit à la nuit takes its title from Yasmina Khadra’s novel about the childhood of Younes, a young man growing up in the 1930’s during the Algerian war for independence. Just as the young boy−an ordinary hero from the novel−is sent from one family to another, so Hervé Koubi embarks on an exploration of his own history. “It is as if an Orientalist from the 19th-century came to Algeria to give life to his dreams of the Orient; I would like to give life to my dreams; a child born in France who discovered belatedly his true origins and those of his parents, Algerians from birth.”
With powerful imagery evocative of Orientalist paintings and the stone filigree of Islamic architecture, Hervé Koubi traces his own path, formed from entanglements of a complex weave.
Koubi has always been fascinated by lace and its design. “It is before all else a way of creating ‘le jour’ (the day), the day in a textile, the day rendered in matter…the day in my history. As the title implies, Ce que le jour doit à la nuit is a mixing up of time and a story of links.”
COMPAGNIE HERVÉ KOUBI Compagnie Hervé Koubi, the French-based, Algerianrooted troupe, combines contemporary and urban dance movements, capoeira and martial arts with powerful imagery and inspired gravity-defying choreography. The company made its U.S. debut in October 2015 at the 12th annual Fall for Dance Festival at New York City Center.
Company founder and choreographer of Algerian roots, Hervé Koubi grew up in the South of France. He holds a Doctorate of Pharmacology and Clinical Biology from the University of Aix-en-Provence. Upon deciding to concentrate on a career in dance, he pursued his education at the world renowned Rosella Hightower School of Dance in Cannes and Opéra de Marseille. He has worked with Jean-Charles Gil, Jean-Christophe Paré, Emilio Calcagno and Barbara Sarreau (all of whom greatly influenced Ballet Preljocaj) on the development of new contemporary dance projects. IRVINE BARCLAY THEATRE | 15
(Photo by Karim Amar)
Koubi has collaborated with videographers on several dance video projects: Chic Chef in 2009 with Max Vadukul for Yoji Yamamoto; Body Concrete in 2010 with Pierre Magnol; Body Concrete 2 in 2011 with Pierre Magnol and Michel Giumbard; Ovoid Edges in 2012 with Pierre Magnol; and with Stephane Chazelon for Une Histoire de Traces (A History of Traces) in 2012.
In 1999, Koubi joined the National Choreography Center of Nantes, directed by Claude Brumachon and Benjamin Lamarche, where he helped develop the choreography for Hotel Central (2000). With Karine Saporta from the National Choreographic Centre in Caen (Normandy), he created Le Garage, essai sur la mystique Rock (The Garage - Sitting on the Mystical Rock - 2001); followed by the creation of Reliefs d’un banquet (2003) and D’Orient (2008) with Thor, Thierry Smits’ company, in Brussels.
In 2000, he established Compagnie Hervé Koubi with his first work, Le Golem, with collaborator Guillaume Gabriel, who has remained his collaborator on the majority of his creations to date. Koubi created Menagerie in 2002; and Les Abattoirs, fantaisie... in 2004; and in 2006, he worked with the musical artist Laetitia Sheriff on the creation of 4’30. Other professional experiences as a choreographer include various other projects with live music, outdoors on Cannes’s world renowned Croisette promenade − Les Heures Florissantes − The Flowering Hours − for the Festival Cadences in Arcachon, as well as creating the contemporary and unusual work, Moon Dogs – a discovery of the movements of Hip Hop. In 2008, Koubi created three choreographic pieces based on three written works: Coppelia, une fiancée aux yeux d’email (Coppelia, a Fiancée with Enamel Eyes); The Supremes (a collaboration with writer Chantal Thomas); Bref sejour chez les vivants (Brief visit with the living – a collaboration with Roman Panassié). In 2009, he collaborated with dancers from the Beliga Kopé Company in Ivory Coast on the creation of Un rendez-vous en Afrique. In 2009, Koubi held an audition in Algeria. The twelve chosen dancers (eleven from Algeria and one from Burkina Faso) created El Din (2010) and Ce que le jour doit à la nuit (2013).
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Compagnie Hervé Koubi has developed residency partnerships with Ecuador, Mexico, Palestine, Algeria, Russia and Canada. Koubi is regularly invited as a guest teacher by various professional dance schools such as the Rosella Hightower School of Dance in Cannes, and by many others in France and abroad.
Hervé Koubi received the honor of Knight of the Order of Arts and Letters (l’Ordre de Chevalier des Arts et des Lettres) by the French Ministry of Culture in July 2015. Compagnie Hervé Koubi is supported by the Region of Limousin, the Department of Correze, and the city of Brive, the Ministery of Culture, the Region PACA and the City of Cannes, the department Alpes Maritimes and The French Institute for some of its international tours.
Coproductions: Ballet of the National Opera of Rhin– National Choreographic Center/National Choreographic Center of Creteil et du Val de Marne–Company Kafig/Palace of the Congress de Loudéac /Cultural Center of Vitré/Ballet Preljocal –National Choreographic Center of Aix en Provence/Ballet Biarritz–Thierry Malandain–National Choreographic Center.
Ce que le jour doit à la nuit took part in Marseille – Provence 2013, a celebration of the territory’s designation as the European Capital of Culture for 2013. Artist Representation: Bernard Schmidt Productions, Inc. www.bernardschmidtproductions.com
THE WOODEN FLOOR PERFORMS
34TH ANNUAL CONCERT
JUNE 1-3, 2017 IRVINE BARCLAY THEATRE
An inspiring contemporary dance event
Photography by Christine Cotter ©2017 The Wooden Floor.
Experience the unexpected at this not-to-miss contemporary dance performance, featuring a dream team of the nation’s top artists, designers, and choreographers working in tandem with underserved youth. These young dancers consistently produce ground-breaking dance works that have drawn national accolades.
FREE PRE-PERFORMANCE CHAT & WINE RECEPTION
Friday, June 2 at 6:45pm
Arts Night Out! presented by
Tickets on sale now!
Reserve your tickets at www.TheWoodenFloor.org/ConnectedSpaces Based in Santa Ana, California, The Wooden Floor is one of the foremost creative youth development nonprofit organizations in the country. We transform the lives of young people in low-income communities through the power of dance and access to higher education.
IRVINE BARCLAY THEATRE | 17
4/29
HAPA
Barry Flanagan and Ron Kuala’au
Sponsored by: The Richard & Elizabeth Steele Fund Trisha Steele
Hyatt Regency Maui Resort and Spa
April 29, 2017 | Cheng Hall This performance will include a 15-minute intermission.
Barry Flanagan Guitar & Vocals
Ron Kuala‘au Guitar & Vocals
Tarvin Lono Makia Bass & Vocals
Radasha Ho‘ohuli Hula
Hyatt Regency Waikiki Beach Resort and Spa
Songs will be announced from the stage. Please, no video or audio recording of any kind. The artists will be available after the show to sign CD’s.
HAPA HAPA: 1: Hawaiian word for “half”; 2: Of mixed racial heritage with partial roots in Asian and/or Pacific Islander ancestry. If an individual has one parent who is a Pacific Islander and one parent who is of an ethnicity outside of Pacific Islander, they would generally be considered “Hapa”; 3: A musical act from Hawai‘i that consists of one member of Hawaiian/South Pacific ancestry and one guy from New Jersey. Like the islands themselves, HAPA’s music is an amalgam of influences ranging from ancient Polynesian rhythms and genealogical chants to the strummed ballads of Portuguese fisherman and Mexican cowboys, and the inspired melodies and harmonies of the traditional church choirs of the early missionaries. Add a dose of American acoustic folk/rock, and you have what has been described as the “most exciting and beautiful contemporary Hawaiian music the world knows!” (Maui Times)
The HAPA name reflects the diverse backgrounds of its musicians and the mix of cultures that converge in Hawai‘i. Brilliant guitarist Barry Flanagan has been the guiding force of HAPA since its beginnings over 30 years ago. He is joined by Ron Kuala‘au, one of Barry’s first teachers in Hawaiian music and culture, and one of the early influences on the HAPA sound, and bassist and vocalist Tarvin Makia.
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Often described as the “sound of Maui,” HAPA’s music evokes a feeling that many people at different times have referred to as “heavenly.” The overriding quality of HAPA’s music is one of beauty and serenity, found in the majestic tones of the ‘oli (chant), mele (song), the elegant movements of the spiritual dance known as hula, and the exhilarating innovative sounds of the virtuoso slack key guitar. “Masterful” is how Rock and Roll Hall of Fame inductee Stephen Stills describes the group’s guitar skills.
Founded in 1983, HAPA played over 500 live shows per year before releasing its benchmark self-entitled first recording in 1993, which still remains the number one selling recording by a group or duo in the history of recorded Hawaiian music; it swept all six categories for which it was nominated at the 1994 Nā Hōkū Hanohano Awards, the Hawaiian equivalent of the Grammy’s. All follow-up HAPA recordings, 1997’s In the Name of Love; 1999’s Namahana; and 2005’s MAUI debuted in the Top Ten of Billboard’s World Music Chart. HAPA also captured four Nā Hōkū Hanohano Awards for its Maui CD. HAPA’s music was on the soundtrack for the Adam Sandler Movie Just Go With It. Director Dennis Dugan also featured HAPA as “the band” in the movie’s supper club scene that was shot on Maui. HAPA’s music has also been heard on Hawai‘i 5-0. www.hapa.com
ABOUT THE ARTISTS Barry Flanagan (Guitar & Vocals). A prolific composer and performer, and one of Hawai’i’s most respected and celebrated recording artists and producers, Barry Flanagan has composed some of Hawai’i’s most popular songs of the last three decades. Flanagan is known for his guitar-playing skills, vocal performances and ocean awareness projects. Born in New York City and raised in Bergen County, New Jersey, Flanagan came to the Hawaiian Islands in 1980 to study and explore the art of kī hō‘alu, or slack-key guitar, and haku mele, Hawaiian poetic song composing. Flanagan heard the recordings of Ry Cooder and Hawaiian slack key icon Gabby Pahinui while living in Colorado, which inspired Flanagan’s first visit and eventual move to Hawai‘i. Flanagan immersed himself in Hawaiian culture and art, seeking out native speakers, teachers and composers of Hawaiian poetry along with legendary Hawaiian slack key players, passionately studying all the indigenous art forms with Hawai‘i as the backdrop. An “eternal wellspring of inspiration for artists and writers from around the globe” is how Flanagan describes Hawai‘i. In 1994, the Hawai‘i Academy of Recording Arts honored Flanagan and Hawaiian language professor S.H. Kiope Raymond with the prestigious Haku Mele Award, an acknowledgement for Excellence in the Art of Song Composition in the native Hawaiian language. In 2004, Flanagan co-composed a song with friend Kenny Loggins for his Grammy-nominated release More Songs from Pooh Corner. The song, entitled “Hana Aluna Lullaby,” includes a chorus in the Hawaiian language, the first song utilizing Hawaiian lyrics to receive that distinction.
Ron Kuala‘au (Guitar & Vocals). Born in Honolulu and raised in Kailua on the windward side of O’ahu, Ron Kuala‘au’s earliest memories are of large family gatherings with lots of music and singing. In the early 1980’s, Ron moved to Maui and began performing professionally, finding audiences resonated with his soulful vocals and beautifully
penned Hawaiian songs. After releasing five full-length solo albums, Ron joined HAPA to the delight of founding member and HAPA’s songwriter, Barry Flanagan. “Ron was one of my first Hawaiian music teachers and one of the main influences on the HAPA sound that we found in the 1980’s,” says Barry. “His harmony and guitar arrangements left an indelible mark on me and that inspiration can certainly be heard on our first self-titled HAPA release.” Both performers were equally inspired by each other’s music. “Barry and I go way back, we have a 30-year friendship built on our music and our love for expanding traditional and contemporary Hawaiian themes. I think we influenced each other a lot early on in our careers. We stretched our creative boundaries and always experimented with instrumentation and arrangements.” Ron appreciates that HAPA reaches across world genres in creating their unique and eloquent artistry, combining music, chant and dance. His goal is to continue HAPA’s evolution in exploring new ways to express aloha through music. Tarvin Lono Makia (Bass & Vocals). Born on the island of O’ahu, Tarvin Edwin Lono Makia now resides on the island of Maui and is one of Hawaiian music’s most respected bassists and musical arrangers. He began playing ‘ukulele at the age of five, and later turned down a football scholarship to launch his music career by accepting an offer to perform in Japan for several months in a Polynesian Revue. Upon his return from Japan, he formed a group called Da Guys and also performed with Braddah Iz and his brother Skippy, as well as Gabby “Pops” Pahinui. A few years later, he formed another group, Hau`ula, performing and recording their first CD, including their original popular song, “E Ku`u Pua.” Three years ago, Tarvin joined HAPA, giving him the privilege of traveling and performing all over the continental U.S., Japan and Canada. Radasha Ho‘ohuli (Hula). Radasha Ho`ohuli, Miss Hawai’i USA 2006, is from Nanakuli, O’ahu and is a graduate of the Kamehameha Schools. With guidance from late Kumu Hula (hula master), O’brian Eselu and training with his awardwinning halau (hula group), Ke Kai O Kahiki, Radasha became a featured soloist at Paradise Cove Luau for nearly 10 years and continues to be a premier soloist in Hawai’i and abroad. She obtained a Bachelor of Arts in Communication from Hawai’i Pacific University and currently is a flight attendant for Hawaiian Airlines. Radasha continues to be featured in local, national, and international magazines, commercials and productions. She supports local charities and organizations. Artist Representation: Pasifika Artists Network Karen A. Fischer karen@pasifika-artists.com www.pasifika-artists.com IRVINE BARCLAY THEATRE | 19
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5/21
GUGU DRUM GROUP FROM SHANGHAI May 21, 2017 | Cheng Hall
(Photo by Lynn Lane)
This performance will include one 15-minute intermission.
Yang Xiaodong Director
GUGU DRUM GROUP FROM SHANGHAI This award-winning and top-rated drum group from Shanghai presents a theatrical drum drama depicting historical and culturally significant drum compositions that present profound insight into unity, human evolution, awareness, wisdom, social commitment and communication through percussive movements. Director Yang Xiaodong and his authentic ancient drum movements, as well as the actual ancient drums themselves, represent a powerful lineage of drum movements dating
back to the times of the emperors of the Chinese dynasties. This moving presentation, employing a contemporary approach, has been featured at many outdoor festivals and arts centers throughout China. The show features drum vignettes based on timeless Chinese proverbs, fables and fairy tales.
This performance uses traditional Chinese drums, and the traditional percussive vocabulary of these ancient instruments, paired with modern percussion techniques famous just outside of Shanghai.
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Boatmen on the Yellow River (6 minutes, 15 seconds) Composer: Zhang Lie This drum symphony with song features the voices of men and the drum. As they make their way to the Bohai Sea, the boatmen work together to brave the powerful waters of the Yellow River.
(Photo by Lynn Lane)
The Yellow River or Huáng Hé is the third-longest river in Asia, following the Yangtze River and Yenisei River, and the sixth-longest in the world at the estimated length of 3,400 miles long with a water discharge of nearly 100,000 cubic feet per second from Bayan Har Mountains, which is where the river begins.
PROGRAM King Qin & His Troops (6 minutes, 30 seconds) Composers: Wang Baocan and Jing Jianshu A harsh wind blows from the west. During the Tang Dynasty, more than 1300 years ago, the King prepares his troops for the first Northern Expedition in order to surround and destroy the enemy camp. Bull & Tiger (6 minutes) Composer: Wang Guojie The two animals “meet,” “play” and “fight.”
Women Generals of Yang Family (5 minutes, 18 seconds) Composer: Zhang Lie The Yang Palace is burdened with grief. The women of the Yang family face their enemy after losing most of their men in battle. Together, the women gain strength and confidence as they defend the national spirit of heroism and patriotism.
The Wedding of the Mice (4 minutes, 45 seconds) Composer: Hao Shixun A comedic fairy tale about the wedding of two mice. In Chinese culture, it is said that December 3rd is the wedding day of the rat (according to the Chinese zodiac based on the lunar calendar). On this day, every year, a group of elves and mice quietly play music on the decorated road, beating drums to commemorate the blessed event. They are overjoyed by the spirit of the celebration when, suddenly, a giant cat appears.
Dragon Drum (6 minutes, 30 seconds) Composer: Anonymous The brute force and rhythm of the great dragon is vigorous and brave. The spirit of the dragon brings out the true colors, celebrating the bravery of Chinese men. 22 | IRVINE BARCLAY THEATRE
Translation of the Chinese Lyric “The Yellow River is the Mother River to China, an endless life source and a true inspiration for all Chinese people. We celebrate the power and the beauty of the glorious water pathway. The brave boatmen of China make their way on the Yellow River to the mouth of the Bohai Sea.”
INTERMISSION
Rolling Walnuts (4 minutes) Composer: Wang Baocan The Walnut tree tells people when it is harvest time. The tree branches drop their ripe nuts onto the rooftops of the homes and temples in the village. The late autumn breeze causes the walnuts to roll playfully; and the girls dance and try to catch them as they celebrate the joy of the harvest.
Golden Pheasant Plays on the Hill (4 minutes, 15 seconds) Composer: Tian Longxin The lively rhythm and vivid expression the magical golden pheasant makes as it moves down the steep hillside, enjoying the charming scenery landscape along the way. Nuo (5 minutes, 10 seconds) Composer: Yang Leiheng Nuo uses the Duan Gong, which is used in the ceremonies of farmers throughout China. It is a famous drum drama descending from the ancient folk traditions of China. It is said to be a formal percussive prayer to God, petitioning for the blessing of rain to support a good harvest, and also to dispel disaster and scare away any spirit that would prevent good weather and a good harvest.
Finale (12 minutes, 20 seconds) In a playful, contemporary scene, the encore celebrates the percussion and drum styles of the Western world along with drum styles from each of the countries in East Asia, including China. The audience is welcome to join in the fun.
PRODUCTION STAFF FOR U.S. TOUR Joshua Cutler (Lighting Designer) has worked in film, television, and live performance for over 15 years. His work has been seen on PBS, CNN, Yahoo!, NBC Sports, and on stages across the county. He received his MFA in stage design from Southern Methodist University in 2012 and is currently based in New York City. (www.joshuacutler.com)
KMP Artists (International Producer & Tour Manager). KMP has been a tour management firm and production company for live cultural arts since 2004. KMP endeavors to provide programming for broad audiences in genres that include dance, theater, family and music programs. KMP also offers visual arts exhibits and residency programs. KMP is committed to international exchange by touring exceptional projects from around the globe that stimulate conversation and encourage mutual understanding, with a particular focus on work found around the Pacific Rim. (www.kmpartists.com)
(Photo by Lynn Lane)
George Boyd (Production Stage Manager). In New York, Mr. Boyd directed the original productions of As Is; staged managed Lily Tomlin in Appearing Nitely on Broadway; Bette Midler’s Clams on the Half Shell Revue; Lorelei starring Carol Channing; and Enrico IV starring Rex Harrison. He wrote and directed Woody Guthrie: His Life, Times and Music offBroadway; and stage managed the first national company of Beauty and the Beast in Los Angeles and La Bella y la Bestia in Mexico City, performed entirely in Spanish. For KMP, he stage managed James Gavin’s Stormy Weather; the Lena Horne project starring Mary Wilson/Freda Payne; and Rex Reed’s Ira Gershwin: Words without Music. He is currently touring with the SEOP Dance Company from South Korea, as well as with the GuGu Drum Group of Shanghei. In 1989, he directed the American contingent at the First International Festival of the Arts in Shenzhen and Shanghai, China. When the police canceled their performances in Beijing, he proudly demonstrated with the students in Tiananmen Square. He has toured with Shirley MacLaine, Lena Horne, and Tony Orlando and Dawn. Currently living, again, in Texas, he has directed Little Shop of Horrors and the world premieres of All Hallowed, The Lady Revealed and The Diver’s Wife, as well as Beehive, Smokey Joe’s Cafe, Crowns, a gospel musical starring Freda Payne, and most recently, Ring of Fire, the Johnny Cash musical.
IRVINE BARCLAY THEATRE | 23
5/25
Sponsored by: The Richard & Elizabeth Steele Fund Trisha Steele
AMY HANAIALI’I’ GILLIOM
Hyatt Regency Maui Resort and Spa May 25, 2017 | Cheng Hall This performance will include a 15-minute intermission.
Hyatt Regency Waikiki Beach Resort and Spa
Amy has played for sold out crowds in Europe, Japan, China, all across America and French Polynesia. On her 2009 album, Friends and Family, she performed a duet with country music legend Willie Nelson; she has also performed alongside artists such as Earth, Wind and Fire, Carlos Santana, Boz Scaggs, Diana Krall and Joe Crocker. Her seventh album, Chardonnay, which features a duet with Michael McDonald, was released in late 2015.
SINGER-SONGWRITER, AMY HANAIALI’I’ GILLIOM is Hawai’i’s top-selling female vocalist of all time. Her accolades include five Grammy nominations for Best Hawaiian Album of the Year and 28 Nā Hōkū Hanohano Awards (Hawai’i’s equivalent of the Grammy) for Female Vocalist of the Year, Hawaiian Album of the Year, Song of the Year, Group of the Year, Christmas Album of the Year and Contemporary Album of the Year, among others. Amy Hānaiali’i’ has won the hearts of many with the resurrection of hai (falsetto). When Amy emerged, hai was not only once again discovered, but enhanced. She received formal training in European classical music, jazz, blues, American standards and pop, and holds a Bachelor of Fine Arts in Musical Theater. Combining these artistic styles and training makes her a fluently diverse entertainer and creates an immediate and profound connection with her audiences. 24 | IRVINE BARCLAY THEATRE
Given her genealogy, the success of Amy Hānaiali’i’ should come as no surprise. Amy is the granddaughter of Jennie Nāpua Woodd, one of the original Royal Hawaiian Girls or Tūtū as Amy affectionately calls her. Woodd’s many credits include being the choreographer on all of the major Hawaiian motion pictures in the 1930’s and 40’s while in New York City, Hollywood and Las Vegas, defining America’s perception of Hawaiian music and dance at the height of its popularity. While performing at the Lexington Hotel in New York City, Jennie met Amy’s grandfather, Lloyd B. Gilliom, who played trumpet and steel guitar with the likes of Sammy Kaye and Tommy Dorsey. Amy is the caretaker and curator of much of the archived footage from this era and is producing a show honoring the story of her lineage in her own venue on Maui. If in Maui, come and check out Amy’s brand new showroom called The Hawaiian Room, located at the Grand Wailea, a Waldorf Astoria Resort. Artist Representation: Amy Hānaiali’i’ Gilliom www.amyhanaialiigilliom.com
For Your Information Ticket Services Order online 24/7 at www.thebarclay.org or www.facebook.com/IrvineBarclay/events
Call the Box Office at 949.854.4646 Monday through Friday from 10am until 6pm; Saturday and Sunday from noon until 4pm. On days of a performance, the Box Office remains open through intermission. MasterCard, VISA, American Express, and Discover accepted. Late Seating To prevent disruption of a performance in progress, patrons who have not entered the theatre when the performance begins may be asked to wait in the lobby until there is a suitable interval.
Ushers Ushers are located at each auditorium entrance and at designated stations in the lobby. Please consult an usher if you need assistance. If you are interested in joining the usher staff, please contact the Patron Services Manager at: 949.854.4193; darling@thebarclay.org. Public Parking Parking is provided for a fee in the structure located at the corner of West Peltason and Campus Drive.
Restrooms Restrooms are located on the main lobby level near the box office. Drinking fountains are located on either side of the main lobby staircase and on the second level. Listening Devices Listening devices for amplifying stage sound are available at the concessions bar free of charge.
Cellular Phones, Beepers, Watch Alarms As a courtesy to all patrons, please turn these units to off or non-audible before the performance begins. Cameras and Recording Equipment The taking of photographs and use of any mechanical or digital recording devices are strictly prohibited.
Children Children are welcome. However, not all events are appropriate for small children. A paid ticket is required for everyone entering the theatre, including infants and children. The box office can provide advice regarding an event’s suitability.
Theatre Tours Backstage tours of the Barclay are offered through the theatre’s ArtsReach program. For information, or to reserve tours for schools or community groups please call 949.854.4193.
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Staff Jerry Mandel, Ph.D. President
Gary Payne
Karen Wood
Karen Drews Hanlon
Lori Grayson
Ginny W. Hayward
Production & Facilities Manager
Helena Danovich
Development Assistant
Chief Operating and Finance Officer Artists & Contracts Manager Administration Manager Board Liaison
Lu Bauer
Box Office Manager
Josh Roberts
General Manager
Jeff Stamper Tim Owens
Associate Production Manager
Robin Darling
Patron Services Manager
Director of Marketing and Communications
Communications Assistant Program Book Editor
Christina Wang
Social Media and Outreach Marketing
Director of Development
Fatima Rizvi
Michael Halpern
Senior Development Consultant
Assistant Box Office Manager
Ingrid Strayer
Finance Assistant IRVINE BARCLAY THEATRE | 25
Annual Fund for
THANK
EXCELLENCE
YOU
Irvine Barclay Theatre gratefully acknowledges the generous contributions of our donors who help support the “big talent” in our “small hall.” Gifts to the Annual Fund for Excellence assist the Barclay in presenting an international roster of performers while keeping tickets reasonably priced. They also support our ArtsReach programs provided to the schools at little or no cost and “family-friendly” programming on stage. The Barclay’s mission also embraces making its beautiful facilities available to diverse community organizations, UCI, and other educational institutions. Thank you to all of our generous donors listed here for their contributions during the previous 12 months! If you would like to join the ranks of those who make it all possible at the Barclay, you may make a donation online at www.thebarclay.org or call 949.854.4607. PUBLIC PARTNERS
City of Irvine University of California, Irvine BRAVO BARCLAY PRESENTING SPONSOR $10,000 AND ABOVE
An Anonymous Fund of the Orange County Community Foundation Drs. Francisco and Hana Ayala City National Bank Robin Follman-Otta Haskell & White LLP HumanKind Philanthropic Fund Michael Kerr Toni and Terry McDonald National Endowment for the Arts William and Janice Parker Family Fund Rohl LLC – Ken and Amber Rohl Sonnet Technologies, Inc. Richard and Elizabeth Steele Fund Trisha Steele Elizabeth C. and Thomas T. Tierney
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BRAVO BARCLAY PARTNER $5,000 – $9,999
BRAVO BARCLAY PATRON $1,000 – $2,499
Lynette and Richard Berg Bruce and Karen Cahill Erika Dadura-Crane and Marc Crane Gartley Charitable Foundation Fund Hyatt Regency Maui Resort and Spa New England Foundation for the Arts Salwa and Sabri Rizkalla Michelle Rohe Gary and Melanie Singer Western States Arts Federation
The Beall Family Foundation Douglas Bradley Carol and Les Elliot Hyatt Regency Waikiki Beach Resort and Spa Bruce Kerr and Ann Patterson Dr. Paul and Mrs. Ellen Lee Carl Neisser Peter and Alexandra Neptune Albert and Tricia Nichols Fund Bruce and Esmeralda Ogilvie Susan Rhodes and Goran Matijasevic Tom and Barbara Roddel Chiyo and Stanton Rowe Deborah and Frank Rugani David Scott and Gayle Widyolar Ellen and Vasily Semeniuta Simon Foundation for Education and Housing Diane Stovall Majid and Sohaila Zarrinkelk
BRAVO BARCLAY BENEFACTOR $2,500 – $4,999
Milt and Mary Ann Bower Jerry and Whitney Mandel Linda I. Smith Foundation Frank Wagner and Lynn O’Hearn Wagner Judy and Wes Whitmore
ENCORE CIRCLE ENTHUSIAST $250 – $999 Oscar R. Aguirre Richard Alexander AmazonSmile Foundation John W. Ballantyne Robert and Delphi Ballinger Lindy Balmer Scott and Cheryl Berry Roland and Jaquelynn Beverly Craig Boardman Leia Bowers Laurie Brady and Dr. Sam Mary Watson-Bruce Clifford and Jennifer Cheng Denise Chilcote Karen and Bruce Clark Mary Cobb John Coyne Michael and Kathy Dogali Roger du Plessis Scott and Monica Duggan Peggie Fariss Paul and Sandra FIndly Frederic and Aviva Forster Mark A. Franzen Mike Fuhr Charles and Janet Henze
IBM Matching Grants Program Yvonne and Damien Jordan Joanne and Dennis Keith Carl D. and Margaret E. Kelleher Bill and Carolyn Klein Martin G. Langer Curtis Ling Leonard and Joalyn Mushin Reiko and Mitsuhiko Nakano Mike and Pat Noggle Orange County Community Foundation Robert Parker Suzanne T. Peltason Dr. Stephen M. Rochford Joel B. Rothman Nancy Lee Ruyter Urban Kitchen Group – Cucina Enoteca Aloha R. Saxon Frances Segal Nancy Smith Dorothy J. Solinger John Sorich Thomas and Marilyn Sutton Synchrony Financial Jennifer Szabo Law Offices of Jeri E. Tabback Vendini, Inc. Marilyn and Angelo Vassos Craig Wickwire Charles and Marilyn Wright
Ernestina and Charles Benson Honorable Marian Bergeson Cesar Betancourt Richard H. Bigelow Michael and Margaret Bodeau Seth Brindis and Stephanie Reich Scott Brinkerhoff Susan Bryant and David Gardiner Douglas T. Burch, Jr. Linda and Roland Bye Sandra Jones Campbell Luisa Cano Harold and Eleanor Carpenter Grace Chen Rita Chenoweth Deanna Choi Michael and Kate Clark Tim Collins Kenneth J. Craig, Jr. Nancy Cramer Frank Crance and Andrea Bouas Anahid Crecelius Madeleine and Alan Crivaro Dr. Edward Deeb Bob and Burnetta Denham Joan M. Donahue Don and Linda Dressler Jacolyn Dudley Rad and Toni Dwyer Robert and Nancy Eagan Cathie Fields Ruby Foo Carol Foster Elisabeth and Lester Fruth Ellen Fujikawa Ismael Garcia David George Marcella Gilmore and Edward Muehl S. Glass Family Ben and Sandie Goelman Lloyd Goldwater Paul and Nancy Groner
Sanjiv and Geeta Grover Matthew and Annemarie Hall Kim and Dennis Hampton Jim and Berri Harris Carole S. Harrison Jon Healing Colin Henderson Richard and Sara Hess Dan and Nicole Honigman Gary and Linda Globerman Jackson Korey Jorgensen Judy Kaufman and George Farkas Eung Jin Kim Jeannine Kouns Kerry Krisher Charles Kristenson Dr. and Mrs. John Lagourgue Carter Lee Susan Leisten Leslie Levine Neal Littlejohn Eugene and Deanna Litwer Nancy Locke Christian and Sharon Maas Robert D. and Pat MacDonald Albert Martinez William McKaig Helen McMillan Kristy and Danny Melita Lauri and Mike Mendenhall Wanda Mendoza Rob and Carolyn Merritt Mark and Jan Merryfield Michael L. and Nancy Meyer Don and Terri Milder Mela and Ricardo Miledi Gabriella Miotto John and Marjorie Murray Julie Nakata Huey Yann Ooi Lauren and Richard Packard Jeri Pauloski Omar and Irene Perez
Leo and Sheila Pinsky Donna Powell Edward and Betty Quilligan Elaine Ramsay Michael Recendez John and Sheryl Redpath Dennis Repp Cynthia Reynolds Shari Rezai Francie Rope St. Matthew’s Montessori School De Anne Sbardellati Jack and Katharine Schoellerman Jeff and Linda Schulein Louise Schwennesen Gordon Sheldall Frederick Smith John L. and Mary Smith Kathy Soderlund Betty and Hugh Spilsbury William Spurgeon Daniel and Jeannette Stokols Kia Stora Ingrid Strayer Celia and Julio Taleisnik Steve Tamura Johanna Tilley Gary and Peranza Topjon Torlic Family Catherine and Mark Turkel Marjorie Tussing Neurocare, Inc Kathy Vickers and Jeremy Freimund Raymond Ward Cathy Warner Steven and Carolyn Watanabe Brian West Diane Wick Shara and David Witkin Kurt Youngs Chi Zhang
NATIONAL CHOREOGRAPHERS INITIATIVE
David and Beverly Carmichael Bobbi Cox Sophia and Larry Cripe Bronny Daniels Diane Diefenderfer and David Hanlon Roger du Plessis Gale Edelberg and Bob Butnik Henry and Janet Eggers David Emmes and Paula Tomei Cliff Faulkner and Shigeru Yaji Roberta Fox Mary and Andrew Franklin Sandy and Don French Judith A. Gorski Dr. and Mrs. Denis Gray Dana Huff Chuck Johnston Dr. Burton L. Karson Joanne and Dennis Keith Robert Labaree and Gillian Finley
Don and Grace Laffoon Dr. Martin G. Langer Kathryn Lynch and Robert McDonnell Molly Lynch and Alan Andrews Debra Maxwell Sharon McNalley John and Margi Murray Mr. and Mrs. Mitsuhiko Nakano National Endowment for the Arts Carl Neisser Tom and Marilyn Nielsen Northern Trust Bank of California Anne B. Nutt Marshall Parker John and Charlene Pasko James Penrod Jody Pike Janice and Richard Plastino Dolly A. Platt, Ph.D Edward and Diana Putz
Salwa Rizkalla Barbara Roberts Robinson Foundation Michelle Rohe Andrew Rose Jack and Katy Schellerman Betty Schweickert Sally Anne and Don Sheridan Igal and Diane Silber Ann Sim Jackie Smiley Richard and Elizabeth Steele Fund Jennifer Szabo Karen and Gary Thorne Barbara and Jack Tingley Max and Peggy Weismair Mary Vensel White and T. Jason White William Gillespie Foundation
ENCORE CIRCLE SUPPORTER $100 – $249 Nick and Sue Alexopoulos Robert Allgeier Jan Arnoldus Debbie Aslanian Betty Barry George and Linda Bauer Craig Behrens
As a partner in the annual National Choreographers Initiative, Irvine Barclay Theatre is also pleased to acknowledge all those who support this important contribution to American dance.
Betty B. and Roy Anderson Betsy Andrews and Alex Moad Mrs. Alan V. Andrews Diane and Dennis Baker Ballet Barres West William H. Bardens Dr. Michael Bear Beau Corps Studio Honorable Marian Bergeson Paul Blank Theodore Bradshaw Stacie Brandt Laurie and Bart Brown
IRVINE BARCLAY THEATRE | 27
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