2016-17 Philharmonic Society presents
MANDELRING QUARTET March 3, 2017
MATTHEW MORRISON March 4, 2017 GEORGE BENSON March 5, 2017 WILLIE K March 11, 2017 CLAYTON-HAMILTON JAZZ ORCHESTRA March 18, 2017 MAX RAABE & PALAST ORCHESTER LET’S DO IT April 5, 2017
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IRVINE BARCLAY THEATRE GUIDE
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WELCOME IT IS MY PLEASURE TO WELCOME YOU TO THE NEW BARCLAY.
Throughout this particular season, and indeed the past 26 years, Irvine Barclay Theatre has been committed to presenting diverse music programming. The amazing roster of musicians assembled in this program book covers a spectrum of genres and styles — from the Great American Songbook, Hawaiian music and jazz to popular music of the 20’s and 30’s and classical music. The Barclay’s superb acoustics and intimate atmosphere make it a perfect destination in which to enjoy these music presentations. We are indebted to all who help us maintain 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 and hope you’ll be inspired to sample other presentations throughout the season.
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
Karen Cahill Community Leader
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Sean Joyce City Manager City of Irvine
Lynn Schott Mayor Pro Tem City of Irvine
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Mickie Shapiro Community Leader
Terry McDonald Community Leader
William Parker Professor Emeritus Physics and Astronomy University of California, Irvine Penelope Parmes Partner Troutman Sanders
Gary Singer Senior Advisor RSI Holding LLC
HONORARY Donald P. Wagner Mayor, City of Irvine
Howard Gillman, Ph.D. Chancellor, UCI IRVINE BARCLAY THEATRE | 3
Friday, March 3, 2017, 8pm Irvine Barclay Theatre
SAM B. ERSAN SERIES SPONSOR
MANDELRING QUARTET Sebastian Schmidt, violin • Nanette Schmidt, violin Andreas Willwohl, viola • Bernhard Schmidt, cello
mandelring quartet (uWe arenS)
String Quartet in F major, Franz Joseph HAYDN Op. 50, No. 5, Hob. III/48, “The Dream” (1732-1809)
HAYDN: STRING QUARTET IN F MAJOR, OP. 50, NO. 5, “THE DREAM”
Allegro moderato Poco adagio Tempo di menuetto: Allegretto Finale (Vivace) String Quartet No. 13 in A minor, D. 804, Op. 29, “Rosamunde”
Franz SCHUBERT (1797-1828)
Allegro ma non troppo Andante Menuetto: Allegretto – Trio Allegro moderato
- intermiSSiOn String Quartet in E minor, Ludwig van BEETHOVEN Op. 59, No. 2, “Rasumovsky” (1770-1827) Allegro Molto adagio Allegretto Finale (Presto) The Mandelring Quartet is represented exclusively in North America by California Artists Management http://www.CalArtists.com
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.
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Haydn’s Op. 50 quartets were written in 1787 for King Frederick William II of Prussia, and as such they are often called the Prussian Quartets. A cellist and avid chamber music lover himself, the king also received dedications from other composers of the time such as C.P.E. Bach, Mozart, and Beethoven. To show his appreciation to Haydn, he gifted him with a golden ring that remained one of Haydn’s prized possessions for the rest of his life. Out of the six quartets that make up Op. 50, No. 5, “The Dream,” is the most light-hearted. The first movement, Allegro moderato, opens with a violin duet introducing the main theme. After the opening, the first violin really takes ownership of this theme and molds it into different variations throughout the movement. Sextuplets are also traded between each musician in the quartet, and not only have a prominent role in this movement but inspire triplet passages in the following movements as well. The Poco adagio is what inspired the subtitle “The Dream” for this quartet. The melody rests almost exclusively with the first violin, and often floats ethereally over the warm, comforting harmonies created by the other three musicians. The triplet passages in this movement are delicate, challenging the musicians to keep a light touch and soft dynamics while playing the ascending and descending lines together.
—Siri Bloom SCHUBERT: STRING QUARTET IN A MINOR, D. 804, “ROSAMUNDE” Chamber music suited Franz Schubert. One reason to focus on such works is that they were in high demand. Talented amateur musicians, who played for their own enjoyment, were always seeking new music, particularly in Schubert's hometown of Vienna. Another stimulant was the composer's own retiring nature. Although a fine enough player to make concert appearances, he was far too shy to feel comfortable on the stage and preferred playing for gatherings of friends and family. In such settings, less pretentious compositions were both more practical and more appropriate. Schubert began composing string quartets while in his early teens, producing more than a dozen quartets before his nineteenth birthday. Of those early works, some became lost and none were published in the composer's lifetime. After a break of several years, in which songs and piano music earned more of his attention, he returned to quartets in February and March 1824, producing two works in a period of six weeks. That both are in minor keys may reflect the composer's difficult circumstances, having just endured a lengthy period of hospitalization in vain hope of ridding himself of the venereal disease that would ultimately take his life. There were also recent professional setbacks, including the spectacular failure of his stage music for Rosamunde, fragments of which earned a second life in this quartet. Yet gloom and doom are not permitted too free a rein. Only the opening movement is rife with sorrow. By contrast, the serene second movement draws inspiration and flavor alike from a gentle pastoral scene in Rosamunde. The third movement, rather than choosing the intensity of a scherzo (as Beethoven would have done), opts for a sweetly nostalgic Ländler, a dance of folk inspiration;
the country spirit is also to be found in the Hungarian-tinged finale. Schubert, it seems, was not one to linger long in the shadows. —Betsy Schwarm
BEETHOVEN: STRING QUARTET IN E MINOR, OP. 59, NO. 2, “RASUMOVSkY” Count Andreas Razumovsky was neither a composer nor a performer, but only a diplomat. The count, who had come to Vienna to serve as Russian ambassador to the Austrian Imperial Court, fancied himself as a leader of aristocratic society and was determined to live in the highest style. He ordered the construction of a magnificent palace, and, anticipating the grand occasion that the palace’s first ball would represent, commissioned three quartets from Beethoven. The plan was that the works would premiere at the palace, but Beethoven, perhaps unwilling to risk his music being lost in a social whirl, outfoxed the Russian count. He finished the quartets quickly, and arranged a premiere in February 1807, even before the palace was complete. The works were published together the following year.
ABOUT THE PROGRAM
The Menuetto: Allegretto is the most unstable movement in the work. Haydn plays with sudden harmonic transitions and the consistent trills in the melody cause the phrases to sound a bit unbalanced. The quartet ends with a dance-like Vivace movement, in which Haydn creates an interesting color by noting that most of the melody needs to be played on a single sting. The sextuplets return in this movement as well, giving the finale an exciting flourish.
The Razumovsky quartets reflect a sharp departure for the composer. His earlier quartets, a set of six dating from the first decade after his arrival in Vienna, were written with the city’s talented amateur ensembles in mind. They are finely crafted, yet make no wicked demands on the players, for there was money to be made in catering to a more general audience. Yet in the Razumovsky quartets, Beethoven seems to reject such concerns, choosing instead to write music that is rich and varied, with intricate layering of parts and ambitious development of themes. There is both sorrow and rapture; the intellect of a fugue is soon offset by the verve of a country dance. In these quartets, Beethoven demonstrated the versatility that characterized his so-called middle period. What one hears in the Razumovsky quartets would soon take impressive orchestral form in the Fifth and Sixth Symphonies. The second of the three quartets, likely in tribute to Razumovsky’s nationality, features in its third movement, the Russian folk hymn “Slava,” which decades later would appear in Mussorgsky’s opera Boris Godunov. Otherwise, the quartet’s melodies are Beethoven’s own, often given a measure of poignancy by the recurring minor key. Although somber moods 2 IRVINE BARCLAY THEATRE | 5
ABOUT THE ARTISTS
mandelring quartet
are frequent, the last movement offers a spirited and dramatic conclusion to the piece. —Betsy Schwarm MANDELRING QUARTET The Frankfurter Allgemeine Zeitung declared that the Mandelring Quartet is so good that it is a worthy successor to the Alban Berg Quartet. The leading Austrian arts magazine, Die Bühne, writing of their Shostakovich cycle at the Salzburg Festival, named it as the “heir of the legendary Borodin Quartet.” And the renowned international music magazine Fono Forum named it one of the six best string quartets in the world. The Mandelring Quartet’s expressivity and remarkable homogeneity of sound and phrasing have become its distinguishing characteristics. The four individual members perform as one in their shared determination to seek out the innermost core of the music and remain open to the musical truth. By grasping the spiritual dimension, exploring the emotional extremes and working on the details, these musicians probe far beneath the surface of each work, thus revealing the multiple layers of meaning inherent in each. Their approach to the music is always both emotional and personal. Formed in 1983 in the German wine region in Neustadt an der Weinstrasse, three Schmidt siblings —Sebastian, Nanette and Bernhard—joined with 3 6 | IRVINE BARCLAY THEATRE
violist Andreas Willwohl in a partnership dedicated to exemplary performances of chamber music. Their success in winning some of the world’s great competitions—the Munich (ARD), Evian and Reggio Emilia (Premio Paolo Borciani)—launched an impressive international career that brings them to all corners of the globe. Along with their regular series of concerts in Berlin and Munich and performances throughout Germany, their concert tours have taken them through Europe—Amsterdam, Brussels, London, Madrid, Paris and Vienna; annually to North America—New York, Washington D.C., Chicago, Los Angeles and Vancouver; to Japan— Osaka and Tokyo; to Central and South America— Buenos Aires, Lima and Montevideo; the Middle East and Asia—including recent appearances in Dubai and Abu Dhabi. The Mandelring Quartet has enjoyed highly successful appearances at major international Festivals including Lockenhaus, Montpelier, Montreal, Ottawa, the Schleswig-Holstein Music Festival, the Enescu Festival in Bucharest and the Salzburg Festival where they presented the complete cycle of 15 string quartets of Shostakovich over two days in 2011. The Mandelring Quartet’s own festival, the HAMBACHERMusikFEST, is an annual meeting place for lovers of chamber music from all over the world. Since 2010 the Quartet has presented a regular series of concerts in its hometown of Neustadt and the Chamber Music Hall of the Berlin Philharmonie, and beginning with the current 2016-17 season, in the Munich Residenz. Their discography includes more than thirty CD recordings, which have been repeatedly awarded the German Music Critics’ Prize and nominated for the International Classical Music Award, confirming the Mandelring Quartet’s exceptional quality and wide-ranging repertoire. Their recording of the complete string quartets of Shostakovich was hailed as one of the finest complete recording sets of our time. Their recordings of works by Schubert and Schumann have been selected as new benchmark performances, and their recent CD of the string quartets of Leos Janáček received a range of awards. The Mandelring Quartet recently recorded the complete chamber music for strings by Felix Mendelssohn on four CDs. Their latest CD, the complete String Quintets of Johannes Brahms, was released in fall 2016.
1617
THE SEASON
ABOUT THE ARTISTS
MARCH 2017 15
UPCOMING CONCERTS MAY 2017
St. Petersburg Philharmonic
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Renée and Henry Segerstrom Concert Hall
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National Symphony Orchestra of Ukraine Renée and Henry Segerstrom Concert Hall
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Renée and Henry Segerstrom Concert Hall
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Jake Shimabukuro, ukulele Renée and Henry Segerstrom Concert Hall
Danish National Symphony Orchestra Renée and Henry Segerstrom Concert Hall
APRIL 2017 2
Benjamin Grosvenor, piano
Alina Ibragimova, violin Cedric Tiberghien, piano
TICkETS AND INFORMATION
949.553.2422 PHILHARMONICSOCIETY.ORG
Irvine Barclay Theatre
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Bach’s St. John Passion with Bach Academy Stuttgart Renée and Henry Segerstrom Concert Hall
SEASON HIGHLIGHTS Chicago Symphony | Riccardo Muti Mariinsky Theatre Orchestra | Valery Gergiev
Although rare, all dates, times, artists, programs, venues and ticket prices are subject to change.
APPEARANCES BY Lang Lang Itzhak Perlman Yuja Wang Jean-Yves Thibaudet
San Francisco Symphony | Michael Tilson Thomas
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Boston Pops Orchestra | Keith Lockhart
SPECIAL CONCERT
Academy of St Martin in the Fields | Joshua Bell
Dracula: Live in Concert with Philip Glass and Kronos Quartet
FOR SUBSCRIPTION INFORMATION | 949.553.2422 | PHILHARMONICSOCIETY.ORG 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 • The Henry T. and Elizabeth Segerstrom Charitable Foundation 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
PRESIDENT’S CLUB Bette and Wylie Aitken Mr. and Mrs. James Alexiou Eleanor and Jim Anderson Pete and Sabra Bordas Mr. Warren G. Coy The Dirk Family Disneyland Resort Mr. and Mrs. James A. Driscoll Karen and Don Evarts Mrs. Joanne C. Fernbach First American Trust Kimberly Dwan Bernatz Mr. John D. Flemming and Mr. Mark Powell
Margaret M. Gates—In memory of family Joan Halvajian Jewish Community Foundation of Orange County Joann Leatherby and Dr. Greg Bates 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 Philharmonic Foundation
PLATINUM BATON Dr. and Mrs. Richard D. Campbell Macy’s
GOLDEN BATON
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Marcia Kay and Ron Radelet The Orange County Register
Elizabeth and Justus Schlichting Dr. Steven Sorenson
Wells Fargo – The Private Bank Mr. and Mrs. Noel Hamilton Anonymous (1)
michael and diane StephenS
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 Mrs. Sigrid Hecht Milli and Jim Hill Gary and Betsy Jenkins Ms. Elizabeth Jones Drs. Siret and Jaak Jurison
Carolyn and Bill Klein Mr. David H. Koontz and Mr. James Brophy Helen and Fritz Lin 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 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 (2)
Cathy and David Krinsky 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 City of Mission Viejo Marlene and Chris Nielsen Mr. Patrick Paddon Dr. and Mrs. Paul Qaqundah Mr. Christopher Quilter Mr. and Mrs. Walter Rados
Mary Rence Walter Rios Ms. Jennie Robinson Eva and Fred Schneider Dr. Emmanuel Sharef Mr. and Mrs. Lawrence S. Spitz Elizabeth and Richard Steele Fund Dr. and Mrs. Julio Taleisnik 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 Peter Conlon and Deborah Shaw Dr. Frank A. D'Accone Ms. Carol Dalton Fiorenza and Fernando de la Fuente
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($6,000+)
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 Lynda Thomas Mr. and Mrs. David Troob U.S. Bank Mr. Stephen Amendt
($3,000+)
American Business Bank Diane and John Chimo Arnold Mr. Douglas T. Burch, Jr. Mr. Gary Capata Charles Schwab Dr. and Mrs. Shigeru Chino Suzanne and David Chonette Mrs. William P. Conlin Mrs. William L. Cook Richard Cullen and Robert Finnerty Marjorie and Roger Davisson Hung Fan and Michael Feldman
SILVER BATON
($10,000+)
Disney Worldwide Services, Inc. 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
List current as of 1/20/2017. Full listing of donors appears in all Segerstrom Center for the Arts program books.
Since its inception in 1954, the Society has presented Since its inception in 1954, the Society has presented the world's most acclaimed symphony orchestras, the world's most acclaimed symphony orchestras, chamber ensembles, soloists and international artists for chamber ensembles, soloists and international artists for the enjoyment and appreciation of Orange County the enjoyment and appreciation of Orange County audiences. The Society's Youth Programs, one of the audiences. The Society's Youth Programs, one of the most extensive music education programs of its kind most extensive music education programs of its kind in the country, are offered free of charge to schools, in the country, are offered free of charge to schools, students and parents, and each year reach more than students and parents, and each year reach more than 160,000 students from first grade through high school. 160,000 students from first grade through high school. The Committees of the Philharmonic Society is the The Committees of the Philharmonic Society is the Society's principal fundraising and volunteer force. More Society's principal fundraising and volunteer force. More than 80,000 hours of in-kind service are provided each than 80,000 hours of in-kind service are provided each year by the 800 volunteer members in implementing and year by the 800 volunteer members in implementing and evaluating the music education programs. The evaluating the music education programs. The Committees also present a wide variety of fundraising Committees also present a wide variety of fundraising events, including the Philharmonic House of Design and events, including the Philharmonic House of Design and the Huntington Harbour Cruise of Lights®. the Huntington Harbour Cruise of Lights®. For more information, please visit us at For more information, please visit us at www.PhilharmonicSociety.org www.PhilharmonicSociety.org
ADMINISTRATIVE STAff ADMINISTRATIVE STAff ARTISTIC OPERATIONS ARTISTIC OPERATIONS Siri Bloom Operations Coordinator Siri Bloom Operations Coordinator Kathy Smith Piano Technician Kathy Smith Piano Technician
DEVELOPMENT DEVELOPMENT
Ronald G. Dufault Vice President of Development Ronald G. Dufault Vice President of Development Halim Kim Director of Annual Campaign Halim Kim Director of Annual Campaign Allison Heinrichs Development Associate Allison Heinrichs Development Associate
EDUCATION EDUCATION Rita Major Director of Education/Grants Administrator
Rita Major Director of Education/Grants Administrator Eli Peterson Director of Volunteer Services Eli Peterson Director of Volunteer Services Madeline Fields Huntington Harbour Office Manager Madeline Fields Huntington Harbour Office Manager
fINANCE fINANCE Roan Alombro Director of Finance
Roan Alombro Director of Finance Celine Ocampo Accounting Associate Celine Ocampo Accounting Associate
MARkETING AND PUBLIC RELATIONS MARkETING AND PUBLIC RELATIONS Chantel Chen Uchida Vice President of Marketing and Public Relations
Chantel Chen Uchida Vice President of Marketing and Public Relations Jean Hsu Director of Marketing Jean Hsu Director of Marketing Marie Songco-Torres Senior Marketing and Public Relations Associate Marie Songco-Torres Senior Marketing and Public Relations Associate
PATRON SERVICES PATRON SERVICES Jonathan Mariott Director of Patron Services
Jonathan Mariott Director of Patron Services Randy Polevoi Musical Concierge Randy Polevoi Musical Concierge
BOARD BOARD Of Of DIRECTORS DIRECTORS Noel Hamilton Noel Hamilton Immediate Past Chairman Immediate Past Chairman
OffICERS OffICERS Kimberly Dwan Bernatz Kimberly Dwan Bernatz Chairman, CEO Chairman, CEO
Eleanor Anderson Eleanor Anderson Member-at-Large Member-at-Large
ExECUTIVE COMMITTEE ExECUTIVE COMMITTEE Jane K. Grier Jane K. Grier Member-at-Large Member-at-Large
Anthony Mastrangelo Anthony Mastrangelo Development Development Hung Fan Hung Fan Laguna Beach Music Festival Laguna Beach Music Festival
John W. Benecke John W. Benecke Joanne Fernbach Joanne Fernbach John Flemming John Flemming
Stephen Amendt Stephen Amendt Secretary/Treasurer Secretary/Treasurer
Donna L. Kendall Donna L. Kendall Member-at-Large Member-at-Large Elaine P. Neuss Elaine P. Neuss Concerts Concerts
Douglas H. Smith Douglas H. Smith Foundation Foundation Dr. Daniel Stein Dr. Daniel Stein Member-at-Large Member-at-Large Judy Michel Judy Michel President, The Committees President, The Committees
Sabra Bordas Sabra Bordas Nominating Nominating Margaret M. Gates Margaret M. Gates Jerry M. Harrington Jerry M. Harrington Marlene Nielsen Marlene Nielsen
Barbara Roberts Barbara Roberts David Troob David Troob Sandi Wright-Cordes Sandi Wright-Cordes
ABOUT ABOUT THE THE PHILHARMONIC PHILHARMONIC SOCIETY SOCIETY
ABOUT THE SOCIETY ABOUT THE PHILHARMONIC PHILHARMONIC SOCIETY Of ORANGE COUNTY Of ORANGE COUNTY
PRESIDENT AND ARTISTIC DIRECTOR PRESIDENT AND ARTISTIC DIRECTOR John Mangum John Mangum 6 6 IRVINE BARCLAY THEATRE | 9
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MATTHEW MORRISON March 4, 2017 | Cheng Hall This performance is presented without an intermission.
MATTHEW MORRISON Matthew Morrison is a versatile actor who is recognized for his work on stage and on screen. He has been nominated for Tony, Emmy and Golden Globe Awards. Morrison most recently starred as “J.M Barrie” in the Harvey Weinstein musical Finding Neverland (through January 2016). The Broadway production is an adaptation of the 2004 film written by David Magee. The story follows the relationship between Barrie and the Davies family, who became the author’s inspiration for the creation of Peter Pan. Morrison received two Drama Desk nominations for his role, and won the category of Favorite Actor in a Musical in the Broadway.com Audience Awards. In addition to his Broadway tenure in 2016, Morrison performed as a guest star on the CBS hit show The Good Wife, where he played the role of U.S. Attorney, Conor Fox, through the series finale. In 2015, Morrison wrapped the final season of Fox’s musical comedy series Glee, where he starred as the director of the glee club, “Mr. Schuester.” The show was created by Ryan Murphy and received the Golden Globe Award for Best Television Series – Comedy or Musical in 2010 and 2011. Morrison was the first artist signed to Adam Levine’s record label, 222 Records, where he released his Broadway standards album, Where It All Began, in June 2013.
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In 2012, Morrison starred in the Lionsgate film, What to Expect When You’re Expecting, which was based on the book of the same name, directed by Kirk Jones. The film also starred Cameron Diaz, Jennifer Lopez and Dennis Quaid, among others. Morrison played a famous dance show star who is faced with the unexpected demands of fatherhood. The film was released on May 18, 2012. In March 2012, Morrison hosted and narrated the PBS special entitled Oscar Hammerstein II − Out of My Dreams, which focused on the Broadway producer’s life and career. Also in March 2012, Morrison was featured in a performance of Dustin Lance Black’s play, 8 – a staged reenactment of the federal trial that overturned California’s Prop 8 ban on same-sex marriage. The performance raised money for the American Foundation for Equal Rights. Morrison studied musical theater, vocal performance and dance at New York University’s Tisch School of the Arts.
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He made his debut on Broadway in Footloose, but his big break came when he was cast as heartthrob Link Larkin in the hit, Hairspray. Morrison was later nominated for a Tony Award for his role in The Light in the Piazza, and received a Drama Desk nomination for Outstanding Actor in a Musical for 10 Million Miles. He also starred in the Tony-winning revival of South Pacific at Lincoln Center Theater in New York. Morrison currently resides in New York. Artist Representation: Creative Artists Agency 405 Lexington Avenue, 19th Floor New York, NY 10174 212-277-9000
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GEORGE BENSON March 5, 2017 | Cheng Hall Duration: 75 minutes without an intermission.
Sponsored by: Rohl, LLC — Ken & Helene Rohl
GEORGE BENSON
George Benson Guitar/Vocals
David Garfield MD/keyboards
Stanley Banks Bass
Thom Hall Keyboards
Michael O’Neill Guitar/Vocals
Khari Parker Drums
Lilliana de los Reyes Percussion/Vocals
Appreciated as both a musician and performer by millions, George Benson has always had the dual role of expert improviser and vibrant entertainer. He has consistently placed his keenly discerning art in the service of a rousing good time. Rounding out his singular approach with sly, seductive rhythm and blues, he’s earned himself an impeccable reputation as one of music’s most enterprising and engaging stars. Few might have predicted that striking level of stardom some forty years ago, when Benson was a fledgling guitarist working the corner pubs of his native Pittsburgh. That’s where his yen to please a crowd was born. “I was an entertainer first,” he says proudly. “As a kid, I sang, danced and played the ukulele in a nightclub. As my career has progressed, I’ve had the pleasure of playing with the baddest jazz cats on the planet. But that doesn’t change my desire to entertain folks. That’s really who I am.” It was Wes Montgomery, one of jazz’s most creative players, who came across Benson early on; the vet complimented the young guitarist, urging him to continue his already impressive work. In the early 1960s, Benson apprenticed with organist Brother Jack McDuff; he found the organist’s gritty swing a fertile ground for the sly, confident and adventurous guitar lines, which earned him an early rep as a master. “Jack turned me on to a lot of stuff,” muses Benson. “A lot of the jazz tunes we played together were danceable, and that furthered my understanding of what people wanted. When jazz was danceable, it was king. The intellectual stuff that came later on — Charlie Parker and all that — turned toward a brainier sound. That was good, and I dug it. But I really like when people kick up their heels and go crazy.” Montgomery had called one of his best records, Boss Guitar. Benson had both the conviction and chops to nip at his hero’s heels; his 1964 debut was released as The New Boss Guitar. It lived up to its title. Benson’s tone was juicy, and his blues solos sparkled with a carefully honed logic. A jaunty funk and swing aesthetic prevailed. By the time the legendary talent scout John Hammond signed Benson to Columbia, the guitarist’s name was bubbling throughout the industry. His work for the label proved Hammond’s hunch to be on-target: brains and flash were in perfect synch. IRVINE BARCLAY THEATRE | 13
“I’d sat down with a great blind pianist from San Francisco named Freddy Gambrel,” recalls Benson. “He turned me on to some wonderful ways to get in and out of chord changes and weld harmonies together. Of course I still wanted to be like Charlie Christian, Django Reinhardt and Hank Garland— my heroes. I’ve always liked the hot guitar guys.” Playing the combination won Benson access to all sorts of arenas. His work was boundless: in the late ’60s, he sat in on heady Miles Davis sessions, and also put a personal spin on the tunes from the Beatles’ Abbey Road. Hooking up with the CTI label in 1970, he was united with many of jazz’s finest instrumentalists, including Stanley Turrentine, Ron Carter and Freddie Hubbard. His visibility and prestige grew even further. Classic albums, such as Beyond the Blue Horizon, abounded. But after a while, different ideas began to flow from Benson’s muse. And the environment didn’t seem right for growth. “I’d been screaming about my guitar sound for years, and they didn’t want to hear about it. I wanted to use my band in the studio, just get comfortable and test out some stuff. But it was like pulling teeth. The first time I tried to sing along with my guitar, everybody in the studio booed. They all said that it wouldn’t work. When I got with Tommy LiPuma, all that changed. He said, ‘Sure, let’s go with some vocals, see where we get.’ And you know what happened after that.” What happened was Breezin’, the first jazz record to attain platinum sales. The 1976 blockbuster, his first in a long association with Warner Bros. Records, brought the instrumental title track to jazz radio. And Benson’s soulful update of Leon Russell’s “This Masquerade,” which featured the guitarist scatting along with his solo break, was a pop smash. He followed up with many pop hits, including a sultry version of “On Broadway” and the irresistible “Give Me the Night,” which thrilled many a dancer. Benson was a superstar. Some old fans were miffed about this new pop success. “I guess that’s the biggest crime I’ve made as far as jazz lovers go,” offers Benson. “They don’t always like to see you play for the general public. They want to be catered to. But I’ve tried that approach and it doesn’t work for me. Nobody can stay one way for 30 years. I’ve always tried to let my experience show itself. You learn — you change. The door opened and I walked through it.” Throughout the 1980s, Warner Bros. and LiPuma followed their smash success with several terrific Benson records. Individually, they blended grooves and guitar work, proving that R&B was a natural part of Benson’s profile. Collectively, they cemented his global renown. The guitarist has won ten Grammys, played around the world, and thrilled many crowds with his playing. In the mid-’90s, Benson followed LiPuma to the GRP label. Their association had proven artistically and commercially fertile; both wanted to sustain it. Together they cut the 1996 gem, That’s Right. It offered a modern version of contemporary jazz that reminded its listeners Benson was one of the genre’s forefathers. These days, Benson’s interests are many. He’s often 14 | IRVINE BARCLAY THEATRE
spotted at Manhattan jazz clubs, checking the action of fledgling guitarists. The most impressive of the lot are sometimes invited back to Benson HQ for jam sessions and stylistic powwows. The guitarist is resolute about keeping the sparkle in his playing. “The younger cats awaken something in me from the early days,” says Benson. “I love listening and playing with guys like Joshua Redman, Roy Hargrove and Christian McBride. When they tell me I’ve still got the chops, I feel great.” Benson followed That’s Right with Standing Together, also on GRP. The album assured that his chops were sharper than ever, as he used elements of hip-hop and Caribbean rhythms to keep his personalized R&B on the edgy side. “I’m not against ear candy,” he chuckles, “but I like mine to be significant, not just noises in the record. Some of those backing tracks we used are cool. They gave me little tidbits of sound to bounce my guitar lines off of.” On Absolute Benson, he surprises us once again by emphasizing instrumental music. Only three of the album’s tunes feature any vocals, so his distinctive guitar playing takes center stage. Blending jazz with R&B and blues, Absolute Benson aims for accessibility and recalls Benson’s albums of the early-to-mid 1970s. Absolute Benson illustrates Benson’s virtuosity without sacrificing his commitment to the groove, the beat and the melody. Unfazed by the constrictions of predictability, he’s built a career on sniffing out what people enjoy hearing and what he enjoys playing. “I had to break a couple rules along the way,” he reflects. “There was an unwritten law: be cool, don’t get too raunchy. But jazz was once hanging-out music. And the easiest way to involve people is by getting ‘em tapping their feet. When they’re tapping a bit, they’ll go your way. That’s when I can float any kind of jazz line into the music. Once the audience knows I respect them, they let me be whatever I want to be. I hope…no, I firmly believe, that will always be the case.” On the album Irreplaceable, he marks a directional shift back to silky sexy soul music… with a decidedly contemporary urban edge. “I’m just trying to wake some people up,” Benson says with the confident patois of a Pittsburgh hipster, “give them something that they wouldn’t expect. Just like in ’76, when I recorded Breezin’ and everybody expected instrumentals at 8,000 notes per second like I’d done in the past. I dropped a vocal, ‘This Masquerade,’ on `em instead! So, we’re coming in strong from the left this time. When the DJ says, ‘That was George Benson,’ folks will be like, `What?’ They’re not gonna believe it…and that’s what we want.” Artist Representation: Seth Shomes United Talent Agency 1880 Century Park East, Suite 711 Los Angeles, CA 90067
3/11
WILLIE K
Sponsored by: The Richard & Elizabeth Steele Fund Trisha Steele
Hyatt Regency Maui Resort and Spa
March 11, 2017 | Cheng Hall This performance will include a 15-minute intermission.
Hyatt Regency Waikiki Beach Resort and Spa
OPENING ACT
WILLIE K
Jesus Melecio Guitar
The Hawaiian phenomenon Willie K is undoubtedly the only artist in the world who can go into an Irish pub in the middle of Maui and play anything from indigenous acoustic Hawaiian music to jazz, reggae, rock, country and even opera. “When you come to the Willie K experience, you leave knowing who Willie K really is,” says Willie K himself. With Warehouse Blues—the album that returned the Grammy nominee and winner of multiple prestigious Nā Hōkū Hanohano awards (Hawai’i’s equivalent of a Grammy) to his roots— those fortunate enough to bask in the glow of that experience will discover another side of this multi-talented singer, songwriter, multi-instrumentalist and all-around riveting entertainer. For Willie K—born William Kahaialii and known affectionately as Uncle Willie in the islands—playing the blues marks the completion of a full circle. Although he has built a reputation as one of the foremost practitioners of native Hawaiian music over the years, it was the blues that Willie first learned from his dad, himself a highly respected musician. As part of a family band—he was the second of nine boys and four girls—Willie learned how to play every instrument that might be needed in the show, from guitar and bass to the ukulele, quickly becoming a virtuoso on each. That eclecticism is evident on the amazing DVD release, Uncle Willie K: Live at Mulligans on the Blue, and the stunningly diverse CD Live at Hapa’s. His other albums released over the past two decades are devoted to everything from pure traditional Hawaiian music to Christmas tunes. But although he’s always been close to the genre, Warehouse Blues takes Willie K’s artistry to another level altogether. His gruff, impassioned vocals, blistering guitar licks and frank songwriting are something his work until now has only hinted at. Consisting of 17 Willie K originals, Warehouse Blues marks the first time that Willie K has devoted an entire album to the genre that was his first love. The songs, he says, all come from his personal life experiences. Willie’s newest venture is promoting festivals. His annual Uncle Willie K’s BBQ Bluesfest just completed its 4th year. Elvin Bishop, Angela Strehli, Billy F. Gibbons of ZZ Top, Mick Fleetwood of Fleetwood Mac, and Pat Simmons of the Doobie Brothers have graced his stage in the past years. In 2016, Taj Mahal and Steven Tyler of Aerosmith returned for an encore performance along with Alice Cooper, Michael McDonald, Samantha Fish and New Jersey’s Billy Walton Band, who shared the stage with Willie and his Warehouse Blues band. It just keeps getting bigger and better.
Steve Harding Bass WITH WILLIE
K
Jerry Byers Bass Guitar
Kris Thomas
Drums
Artist Representation: Maui Tribe Productions Jim Marabotto mauitribejim@aol.com
IRVINE BARCLAY THEATRE | 15
3/18
CLAYTON-HAMILTON JAZZ ORCHESTRA MARCH 18, 2017 | Cheng Hall This performance is presented without an intermission.
CONDUCTOR AND BASS
John Clayton TRUMPETS
Bijon Watson (lead trumpet) Clay Jenkins Sal Cracchiolo Gilbert Castellanos James Ford TROMBONES
Ira Nepus George Bohanon Ryan Porter Maurice Spears (bass trombone) SAXES
Jeff Clayton (alto saxophone) Keith Fiddmont (alto saxophone) Rickey Woodard (tenor saxophone) Charles Owens (tenor saxophone) Lee Callet (baritone saxophone) RHYTHM
Jeff Hamilton (drums) Tamir Hendelman (piano) Christoph Luty (bass) Graham Dechter (guitar) TECHNICAL MANAGER
Anthony Stein
Drums and Heads – Remo Sticks and Brushes – Regal Tip Calato Jeff Hamilton Signature Brush & Stick Cymbals – Sabian Hammertone Signature Cymbals
16 | IRVINE BARCLAY THEATRE
THE CLAYTON-HAMILTON JAZZ ORCHESTRA The Grammy-nominated Clayton-Hamilton Jazz Orchestra (CHJO) is an awesome machine that has flourished over the course of thirty one years under inspired and dedicated leadership. “We’ve worked at creating a family here, rather than just pulling together super players,” said John Clayton. It paid off. In the February 2007 issue of JazzTimes, the readers voted CHJO the Best Big Band! This followed the December 2003 issue of DownBeat Magazine Readers Poll where CHJO was named the Best Big Band in America. John Clayton, Jeff Hamilton and Jeff Clayton founded the CHJO in 1986. John Clayton and Jeff Hamilton had played together with Monty Alexander, and then went their separate ways, reuniting in Los Angeles to found the band. Brother Jeff Clayton, who had been living and working in Los Angeles all along, came on board to help put the band together. John explains, “He knew all the best players in the city and how compatible they were musically and personality-wise.” JOHN CLAYTON
John Clayton began his bass career in elementary school, playing in strings class, junior orchestra, high school jazz band, orchestra, and soul/R&B groups. In 1969, at the age of 16, he enrolled in bassist Ray Brown’s jazz class at UCLA, beginning a close relationship that lasted more than three decades. After graduating from Indiana University School of Music with a degree in bass performance in 1975, he toured with the Monty Alexander Trio (1975–77), the Count Basie Orchestra (1977–79), and settled in as principal bassist with the Amsterdam Philharmonic Orchestra in Amsterdam, Netherlands (1980–85). He was also a bass instructor at The Royal Conservatoire, The Hague, Netherlands, from 1980 to1983. In 1985, he returned to California, co-founded the Clayton-Hamilton Jazz Orchestra, rekindled the Clayton Brothers Quintet, and taught part-time bass at Cal State Long Beach, UCLA and USC. In 1988, he joined the faculty of the USC Thornton School of Music, where he taught until 2009. Now, in addition to individual clinics, workshops and private students, as schedule permits, John also directs the educational components associated with the Lionel Hampton Jazz Festival, Centrum Festival and the Vail Jazz Party. With
a Grammy on his shelf and eight additional nominations, artists such as Diana Krall, Paul McCartney, Regina Carter, Dee Dee Bridgewater, Gladys Knight, Queen Latifah and Charles Aznevour vie for a spot on his crowded calendar. JEFF HAMILTON
Jeff Hamilton, continually receiving rave reviews for his dynamic drumming, brings both originality and versatility to every group with which he performs. That is why he is constantly in demand on stages and in studios, whether with his trio, Oscar Peterson, Ray Brown, the Clayton Brothers, or co-leading the Clayton-Hamilton Jazz Orchestra. Born in Richmond, Indiana, Jeff grew up listening to his parents’ Big Band records and at the age of eight began playing drums along with Oscar Peterson records. He attended Indiana University and in 1974, got his first big break playing with the New Tommy Dorsey Orchestra. He then joined Lionel Hampton’s band until 1975 when he, along with bassist John Clayton, became members of the Monty Alexander Trio. He attained a childhood goal in 1977 when he joined Woody Herman and the Thundering Herd. The whirlwind continued with the L.A.4 (with Ray Brown, Bud Shank and Laurindo Almeida), Ella Fitzgerald, the Count Basie Orchestra, Rosemary Clooney, the Ray Brown Trio, and others. Jeff has worked on nearly 200 recordings with artists such as Natalie Cole, Diana Krall, Milt Jackson, Rosemary Clooney, Barbra Streisand, Mel Torme, John Pizzarelli, Benny Carter, Lalo Schifrin, George Shearing, Dr. John, Clark Terry, Gene Harris, Toshiko Akioshi, Scott Hamilton, Harry “Sweets” Edison, Keely Smith, Bill Holman, Herb Ellis, YAELISA Barney Kessel and Mark Murphy.
JEFF CLAYTON Jeff Clayton, three years John’s junior, began playing clarinet at the age of nine. By age 14, he added the alto saxophone and the flute, later majoring in oboe performance at California State University, Northridge, where he was able to add other related instruments from the woodwind family, including the tenor and baritone saxophones, alto flute and piccolo, the English horn and the bass clarinet. At the end of his third year at Northridge, he auditioned, toured and recorded with Stevie Wonder for two and a half years. His years as a studio musician also allowed him to play with such icons as Gladys Knight, Kenny Rogers, Michael Jackson, Patti Labelle and Madonna. Others who requested his big warm tones on their bandstands were Frank Sinatra, Sammy Davis Jr., Ella Fitzgerald, Woody Herman, Lionel Hampton and Lena Horne. Jeff also played in the Count Basie Orchestra under the direction of Basie and later under the direction of Thad Jones, and was a member of the Phillip Morris Superband. He has also toured with Gene Harris, Dianne Reeves, Joe Cocker, B.B. King and Ray Charles. Artist Representation: Gail Boyd Artist Management 315 Madison Avenue, Suite 901 New York, NY 10017 212-777-5714 www.gailboyd.com IRVINE BARCLAY THEATRE | 17
The City of Irvine plays an invaluable role in the successful operation of Irvine Barclay Theatre. We thank the City for its generous support.
UCI Celebrates the Arts at the Irvine Barclay Theatre May 6 UCI Music Showcase Concert
May 12 – 13 OPERA UCI ‘Our Town’ A Three-Act Opera
May 20 Hossein Omoumi and Friends
Irvine Barclay Theatre 8 p.m.
Event calendar & more info: www.arts.uci.edu | Purchase tickets: www.arts.uci.edu/tickets Additional questions please contact the Box Office: (949) 824-2787
18 | IRVINE BARCLAY THEATRE
4/5
MAX RAABE & PALAST ORCHESTER LET’S DO IT APRIL 5, 2017 | Cheng Hall This performance will include a 15-minute intermission.
Max Raabe Vocals
Cecilia Crisafulli Violin
Thomas Huder Trumpet, Vocals
Michael Enders Trumpet, Vocals, Musical Director
Jörn Ranke
Trombone, Viola, Vocals
Bernd Frank
Tenor Sax, Clarinet
Johannes Ernst Alto Sax, Clarinet
Sven Bährens Alto Sax, Clarinet
Rainer Fox
Baritone Sax, Clarinet, Vocals
Vincent Riewe
Drums, Percussion
Bernd Hugo Dieterich
TOUR PRODUCTION OF PALAST ORCHESTER
Bernd Meyer-Lellek
Bass, Sousaphone
Ulrich Hoffmeier
Sound
Guitar, Banjo, Violin
Ian Wekwerth
Light
Wilfried Haase
Piano
Dirk M. Lehmann
Office Manager
IRVINE BARCLAY THEATRE | 19
MAX RAABE & PALAST ORCHESTER Founded in 1986 by the Berlin-based baritone singer Max Raabe and a group of fellow music students, Max Raabe & Palast Orchester embodies the high style and musical glory of the 20’s and 30’s and has been heard by adoring audiences in the United States, China, Japan, Italy, Russia, Hungary, Poland, Holland, France, England, Scandinavia and the Baltics, performing over 150 concerts a year. Max Raabe captures this timeless music with debonair charm and wit. A singer of incredible range, he has a singular ability to capture the cunning rasp of the cabaret singer, the confident bel canto hero, the oily melodiousness of the revue beau, the carefree timbre of early jazz, as well as the falsetto of ragtime, all backed by his stellar 12-member band, many of whom have been with him from the beginning. Max Raabe’s art lies in revealing the enigmatic intelligence, ambiguity, musical power and complexity of the “German chansons” from the turbulent Weimar Republic. In his amazing performances he keenly reminds us that between melancholy and irony, rebellion and resignation, elegy and slapstick there is often only half a measure, sometimes just a single note, or a mere word. Over the years, Max Raabe & Palast Orchester have discovered that one of the secrets of a good show is diversity. Accordingly, their vast repertoire includes classics like “I Kiss Your Hand Madame,” “My Little Green Kaktus,” and “Heute Nacht oder nie” (“Tonight or Never”); from the American Songbook, “Cheek to Cheek,” “Night and Day” and “I Got Rhythm,” as well as Rumbas (“Amapola”), Paso Dobles (“Rosa, Charming Rosa” − “…I fell in love ’cause she looked so cute, last summer in her bathing suit”), rare gems (“My Gorilla Has a Villa in a Zoo”), charming gems (“Love Thy Neighbor”) and silly gems (“Dort tanzt Lulu” − “Lulu is dancing too! Ahaha, uhuhu”). Listeners may find themselves dreaming to a romantic melody such as “Leben ohne Liebe kannst du nicht” (“You Can’t Live Without Love”), or wooed by Max’s wry commentary between songs, or relaxing to a Comedian Harmonists’ adaptation or a beautiful violin solo. Max Raabe & Palast Orchester have also created covers of modern pop songs in the style of the 20’s, including “Sex Bomb,” “Oops!...I Did It Again” and “Super Trouper.” 20 | IRVINE BARCLAY THEATRE
In 1997, Max Raabe & Palast Orchester celebrated their 10th anniversary with an audience of 20,000 at Berlin’s Waldbühne. In 2000, the album Charming Weill was released on BMG Classics, a homage to the composer Kurt Weill, which received the ECHO award, and Super Hits replaced the Beatles as the “No. 1” album in the charts in Latvia. In 2002, the Palast Orchester had the honor of opening the Viennese Festival Weeks for an audience of 40,000 and in the same year the orchestra made its U.S. premiere at Royce Hall in Los Angeles and the Fox Theatre in Atlanta. From its premiere at Hamburg’s Thalia Theater in August 2003 to the last show in 2007, the lavish production, Palast Revue, with its changing scenery, a stunning chorus line, and video backdrop was seen by more than 300,000 people. In the spring of 2004, Max Raabe and his pianist Christoph Isreal made his New York debut in two sold-out solo concerts in the Neue Galerie on New York’s elegant Upper East Side. This and the following tour of Max Raabe & Palast Orchester to Los Angeles, Atlanta and San Antonio really sparked off their U.S. career. In 2005, Max Raabe & Palast Orchester made their Carnegie Hall debut at Zankel Hall. In 2010, Max Raabe & Palast Orchester travelled to Israel with the show, Heute Nacht oder nie (“Tonight or Never”). A documentary film was made about the orchestra’s Israel tour, Max Raabe in Israel. The film premiered at the Eighteenth Annual Jewish Film Festival of Berlin and Potsdam, Germany in 2012 and was subsequently shown at the Jewish Film Festival at Lincoln Center in New York. The film is a ninety-minute documentary featuring moments from concerts in Tel Aviv, Jerusalem and Haifa, interspersed with interviews with and monologues by Raabe, as well as moments with his Israeli audiences. Max Raabe & Palast Orchester’s DVD releases include concert recordings from Berlin’s open air venue, Waldbühne; Palast Revue (filmed at the Festspielhaus Baden Baden); Heute Nacht oder nie (“Tonight or Never”– filmed in Admiralspalast in Berlin, an original theater from the 20’s); Live in Rome; and Eine Nacht in Berlin (“A Night in Berlin”). In 2016, the Let’s Do It television special (from the Admiralspalast in Berlin) was broadcast throughout North America. A few years ago, Max Raabe teamed up with composer and producer Annette Humpe. Together they created two gold and platinum-awarded albums, Küssen kann man nicht alleine (“One Cannot Kiss Alone”) and Für Frauen ist das kein Problem (“For Women It’s Not a Problem”), both released by Universal/ Deutsche Grammophon. For more information please visit: www.palastorchester.de. Artist Representation: Opus 3 Artists www.opus3artists.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.
Irvine Barclay Theatre Online Get the latest information on what’s happening at Irvine Barclay Theatre by joining the Barclay’s E-list to receive email updates and special offers. Go to the Barclay’s website at www.thebarclay.org or email us at info@thebarclay.org.
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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
Assistant 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 | 21
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
Allergan Foundation An Anonymous Fund of the Orange County Community Foundation Drs. Francisco and Hana Ayala City National Bank Erika Dadura-Crane and Marc Crane 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 22 | IRVINE BARCLAY THEATRE 22 | IRVINE BARCLAY THEATRE
BRAVO BARCLAY PARTNER $5,000 – $9,999
Lynette and Richard Berg Bruce and Karen Cahill 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 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 BRAVO BARCLAY PATRON $1,000 – $2,499
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 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 Ellen and Vasily Semeniuta Simon Foundation for Education and Housing Diane Stovall Gayle Widyolar and David Scott Majid and Sohaila Zarrinkelk ENCORE CIRCLE ENTHUSIAST $250 – $999 Oscar R. Aguirre Richard Alexander Brien Amspoker and Ellen Breitman John W. Ballantyne Robert and Delphi Ballinger Lindy Balmer Larry and Sue Ann Beaty Honorable Marian Bergeson Scott and Cheryl Berry Leia Bowers Laurie Brady and Dr. Sam Mary Watson-Bruce Clifford and Jennifer Cheng Denise Chilcote Karen and Bruce Clark Ms. Mary Cobb
John Coyne Kenneth J. Craig, Jr. Michael and Kathy Dogali Scott and Monica Duggan Roger du Plessis Peggie Fariss Paul and Sandra Findly Fredric and Aviva Forster Carol Foster Mark A. Franzen Mike Fuhr Ellen Fujikawa Ramya Harishankar and Hari Krishnamurthy Charles and Janet Henze IBM Matching Grants Program Yvonne and Damien Jordan Joanne and Dennis Keith The Kelleher Family Eung Jin Kim Bill and Carolyn Klein Dr. Martin G. Langer Vicki and Richard Lee Curtis Ling Robert D. and Pat MacDonald Terri Milder Leonard and Joalyn Mushin Reiko and Mitsuhiko Nakano Mike and Pat Noggle Orange County Community Foundation Tom and Amber Orradre Robert Parker Suzanne T. Peltason Dr. Stephen M. Rochford Joel B. Rothman Nancy Lee Ruyter Aloha Saxon
Louise Schwennesen Frances Segal and Michael Friedson Frederick Smith Nancy Smith Dorothy J. Solinger John Sorich Kia Stora Thomas and Marilyn Sutton Synchrony Financial Jennifer Szabo Law Offices of Jeri E. Tabback Urban Kitchen Group — Cucina Enoteca Marilyn and Angelo Vassos Vendini, Inc. Kathy Vickers and Jeremy Freimund Craig Wickwire Charles and Marilyn Wright
Sandra Jones Campbell Luisa Cano Harold and Eleanor Carpenter Grace Chen Rita Chenoweth Che Chereskin Deanna Choi Michael and Kate Clark Joseph L. and Kathleen Y. Coleman Nancy Cramer Frank Crance and Andrea Bouas Anahid Crecelius Madeleine and Alan Crivaro Dr. Edward Deeb Joan M. Donahue Patsy and Douglas Downs Jacolyn Dudley Alan and Rosemary Dugard David Dupre Rad and Toni Dwyer Robert and Nancy Eagan Donna Emmett David Falconer Cathie Fields Ruby Foo Roberta Fox Lisa Friend Elisabeth and Lester Fruth Heather Fuller Mary Ann Gaido Ismael Garcia David George Marcella Gilmore and Edward Muehl S. Glass Family Ben and Sandie Goelman Lawrence Goldberg Lloyd Goldwater Jeffrey Gordon Paul and Nancy Groner Sanjiv and Geeta Grover Matthew and Annemarie Hall Kim and Dennis Hampton Jim and Berri Harris Carole S. Harrison Thomas Hartman Jon Healing Barbara Helton Colin Henderson Richard and Sara Hess Dan and Nicole Honigman Dana Huff JoAnn Iles Robert Ingold
Gary and Linda Globerman Jackson Katrina Jauregui Korey Jorgensen Christina Kaoh Judy Kaufman and George Farkas Clare Kiklowicz Jeannine Kouns Kerry Krisher Charles Kristenson Arthur S. Kroll Dr. and Mrs. John Lagourgue Carter Lee Susan Leisten Benjamin and Sunny Leos Neal Littlejohn Eugene and Deanna Litwer Nancy Locke Christian and Sharon Maas Albert Martinez William McKaig Sherry McKuin Helen McMillan Sharon McNalley Kristy and Danny Melita Lauri and Mike Mendenhall Vivian Mendoza Wanda Mendoza Rob and Carolyn Merritt Mark and Jan Merryfield Dr. Frank and Mrs. Linda Meyskens Peter Milner Gabriella Miotto Nancy and William Murray Julie Nakata Huey Yann Ooi Lauren and Richard Packard Jeri Pauloski Omar and Irene Perez Edward Pope and Antoinette Olivera Donna Powell Edward and Betty Quilligan Elaine Ramsay Michael Recendez John and Sheryl Redpath Dennis Repp Cynthia Reynolds Shari Rezai Thomas Ringland Ms. Francie Rope Michael Rose and Blanca Cervantes Stephanie and Eric Rubery Charles R. Rusky Karen Salita
De Anne Sbardellati Psychiatry Schaepper Judith M. Schmidt Jack and Katharine Schoellerman Jeff and Linda Schulein Trudy Vermeer Selleck Cl Sexsmith Strybel Mr. Gordon Sheldall Dorothea Silavs Jackie Smiley John L. and Mary Smith Kathy Soderlund Paul Spas Candace Spennato Betty and Hugh Spilsbury William Spurgeon Daniel and Jeannette Stokols Robert Stopher Ingrid Strayer Richard and Jane Sungaila Paula Sweet Celia and Julio Taleisnik Michael Talens Steve Tamura Thomas Tancredi Cindy and Steven Bandel Ernestina and Charles Benson Don and Linda Dressler Michael L. and Nancy Meyer Mela and Ricardo Miledi John and Marjorie Murray Leo and Sheila Pinsky Johanna Tilley Eric Tobiessen Gary and Peranza Topjon Torlic Family Catherine and Mark Turkel Marjorie Tussing Neurocare, Inc Kathy Vickers and Jeremy Freimund Michael Voronel Raymond Ward Cathy Warner Steven and Carolyn Watanabe Kim Waterson Virginia Weddle Brian West Diane Wick Daniel and Courtney Wiercioch Richard and Barbara Wilkes 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 Kay S. Faranda 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 Dr. Martin G. Langer Kathryn Lynch and Robert McDonnell Molly Lynch and Alan Andrews Debra Maxwell Sharon McNalley John and Margi Murray 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, PhD 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 Don and Grace Laffoon Richard and Elizabeth Steele Fund Jennifer Szabo Karen and Gary Thorne Barbara and Jack Tingley Mary Vensel White and T. Jason White William Gillespie Foundation
ENCORE CIRCLE SUPPORTER $100 – $249 Bob and Burnetta Denham Katherine Ahn Dennis and Cindy Alderson Nick and Sue Alexopoulos Robert Allgeier Patricia Allison AmazonSmile Foundation Jan Arnoldus Debbie Aslanian Rivka Barasch Shannon Barisoff Betty Barry George and Linda Bauer Shelley Beckham Sandra and William Beckman Craig Behrens Linda Berquist Cesar Betancourt Susan and Steven Bierlich Richard H. Bigelow Michael and Margaret Bodeau Suzanne Boras Seth Brindis and Stephanie Reich Scott Brinkerhoff Susan Bryant and David Gardiner The Bukaty Family Douglas T. Burch, Jr. Lisa and Robert Burnand Jeff and Cindy Busche Linda and Roland Bye
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 | 23
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