Program Book

2015-16

FARRUQUITO

IMPROVISAO Feb 27–28, 2016 AKRAM KHAN AND ISRAEL GALVÁN IN

TOROBAKA Mar 15, 2016

JAKE SHIMABUKURO Apr 8, 2016

Photo: Jean-Louis Fernandez

THE TALLIS SCHOLARS Apr 10, 2016

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WELCOME THANK YOU SO MUCH FOR JOINING US.

Since opening in 1990, Irvine Barclay Theatre has consistently presented culturally diverse music, theatre and dance of extraordinary variety and international reach. Indeed, the artists featured in this program book have traveled literally thousands of miles to entertain us.

Farruquito, the dynamic flamenco dancer from Spain, is heir to a flamenco dynasty. A grandson of the legendary El Farruco, Farruquito dances flamenco with intensity and passion, always preserving its flamenco puro.

Akram Khan, the British-born dancer and choreographer of Bangladeshi heritage and Israel Galván, the Spanish flamenco dancer, have drawn inspiration form their rich backgrounds in TOROBAKA, a tour de force collaboration between two unique and influential artists.

Jake Shimabukuro, a ‘ukulele virtuoso from Hawai’i, is reinventing the four-stringed instrument with his expressive musicianship and ingenious arrangements.

The Tallis Scholars, the world’s premiere chamber choir from England, are considered the rock stars of Renaissance vocal music. Performing a time-travelling program, the ensemble’s piercing clarity and beauty of tone have been enchanting audiences for more than 40 years.

I hope you will enjoy these inspirational artists who venture far from their homes to be with us at the Barclay.

Jerry Mandel, Ph.D. Interim President, Irvine Barclay Theatre

Board of Directors CHAIR Ken Rohl Chairman/Founder Rohl LLC

Stephen Barker Interim Dean, Claire Trevor School of the Arts University of California, Irvine

Ramona Agrela Associate Chancellor University of California, Irvine

Robert Farnsworth CEO Sonnet Technologies, Inc.

Francisco J. Ayala Professor and National Medal of Science Laureate University of California, Irvine

Michelle Grettenberg Assistant to the City Manager City of Irvine

Sean Joyce City Manager City of Irvine

Lynn Schott Mayor Pro Tem City of Irvine

Michael Kerr Community Leader

Mickie Shapiro Community Leader

William Parker Professor Emeritus Physics and Astronomy University of California, Irvine

HONORARY Steven S. Choi, Ph.D. Mayor, City of Irvine Howard Gillman, Ph.D. Chancellor, UCI IRVINE BARCLAY THEATRE | 3

NEW WORLD FLAMENCO FESTIVAL &

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FARRUQUITO

IMPROVISAO February 27–28, 2016 | Cheng Hall This program is presented without an intermission.

Sponsored by: Drs. Francisco & Hana Ayala

An anonymous fund of the Orange County Community Foundation

PROGRAM Seguirilla

Solo Guitarras Alegrías Jaleos

Taranto Tangos

Solo Román Soleá

Fin de Fiesta

Direction and Choreography Juan Manuel Fernández Montoya “Farruquito” Dance Juan Manuel Fernández Montoya “Farruquito” Guest Dancer Gema Moneo

Vocals Antonio Zúñiga, Encarna Anillo, Mari Vizarraga, Pepe de Pura Toque, guitar Román Vicenti, José Gálvez Percussion El Polito Lighting Luis Cascón Sound Gaspar Lea

Road Manager Daliris Gutiérrez Tour Manager Juan Castro

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Juan Manuel Fernández Montoya, or “Farruquito,” is a venerated figure in the world of flamenco. He is the son of flamenco singer Juan Fernández Flores, “El Moreno,” the dancer Rosario Montoya Manzano “La Farruca,” and is the chief proponent of the unique dancing style founded by his grandfather, “Farruco.” Throughout his life, he has been immersed in the most pure form of flamenco, making his début on Broadway at the age of five. Since then, he has devoted himself entirely to the preservation and innovation of his beloved art form.

At the age of eight, he presented his first seasonal show at the Sala Zambra in Madrid; and at 12, he appeared in Carlo Saura’s film Flamenco, with the family patriarch, El Farruco. That same year, he joined his illustrious family in Bodas de Gloria, contributing to its artistic and choreographic conception. In 1992, he performed at the Opening Ceremony of the Barcelona Paralympics, and with his grandfather at the Andalucía Pavilion of the Seville Universal Exposition, in the show Presente, Pasado y Futuro.

The death of Farruco in 1997 signaled a changing of the guard and Farruquito was entrusted with the responsibility of perpetuating the family lineage. At the age of 15, he created his first show, Raíces Flamecas, in which he distinguished himself as a dancer of a new dimension, who couples all his traditional knowledge with a prodigious personal artistic conception.

From its début at the London’s Royal Festival Hall, this display of the frenetic, indigenous flamenco achieved instant success, which was then repeated at the Villa and Conde Duque Theaters in Madrid, the Poliorama Theatre in Barcelona and on international tours in France and Japan.

In 2001, Farruquito and his family performed at the Flamenco USA Festival and following performances in New York and Boston. The New York Times rated him as “the best artist who set foot in the Big Apple in 2001.” The following year, he led the cast of the show, Por Derecho, and toured throughout 11 North American cities, stunning the critics by his personality and the vitality of his art. Furthermore, Farruquito’s genius did not go unnoticed by the great photographer Richard Avedon or by the U.S. magazine People, which named him as one of the most beautiful people in the world.

In November 2003, the opening of Alma Vieja at the Maestranza Theater in Seville was an enormous success.

This was repeated at the Albéniz Theater in Madrid and the Victoria Theater in Barcelona, and since then, the show has triumphed on stages across Spain, France, Italy and the UK. Out of the spotlight, the dancer also became head of an academy, based in Seville, which propagates the precepts and techniques of the Farruco school of dance.

Throughout his career, Farruquito has never been short of artistic recognition. In 2004 alone, he received a plethora of awards such as the Premio Público for Best Flamenco Dancer; the Flamenco Hoy for Best Flamenco Dancer; the Telón Chivas 2004 Award for Best Dancer, and the prestigious APDE 2004 Prize for “the dignified repository of the inheritance of gypsy dancing.”

Photo by Sophie Mühlenburg

FARRUQUITO

In 2008, he launched Puro, including 14 musicians on stage and a stunning technical dancing display. With performances in Palma de Mallorca, Jerez, and Seville (XIII Flamenco Biennial), the critics were unanimous, “Farruquito reigns again!” Puro toured countries such as Israel, Holland, and Mexico, receiving rave reviews wherever it took to the stage.

He opened Sonerias at the 2010 Seville Flamenco Biennale, incorporating a choreography full of impressive nuances of traditional and old styles, offering a theatricality that was entirely different from his previous shows. For his next larger project, he launched Baile Flamenco at the Compac Theater in Madrid. He performed for four consecutive days that were completely sold out and with reviews like, “Farruquito triumphs at the opening of Baile Flamenco.” (El Mundo, 11/2011). In this production, Farruquito took to the stage dressed by the distinguished fashion labels Louis Vuitton and Berluti, this being the first instance where Berluti had agreed to dress a celebrity.

In the summer of 2012, he gave an opportunity to his youngest brother, Manuel Fernández Montoya or “El Carpeta” with the opening of Siembra. With music and lyrics composed

by Farruquito, Siembra is tailored for his brother and consists of a series of dances which he has learned from his elders and to which he lends his own style. Within the production, various artistic elements merge together to convey the continuity of an enduring and thriving legacy, that of the Farruco school.

In 2013, he launched Improvisao; and performed in Pinacendá (2014); El amor brujo with the Los Angeles Philharmonic; and Farruquito y familia (2015).

Artist Representation: Flamenco Festival www.flamencofestival.org

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AKRAM KHAN AND ISRAEL GALVÁN IN

TOROBAKA March 15, 2016 | Cheng Hall

Duration: 70 minutes without an intermission.

Created and Performed by Akram Khan and Israel Galván

Music Arranged and Performed by David Azurza B C Manjunath Bobote Christine Leboutte

Lighting Designer Michael Hulls

Costume Designer Kimie Nakano

Sound Pedro León

Rehearsal Director Jose Agudo

Production Coordinator Amapola López

Technical Director Richard Fagan

Technical Manager Marcos Avilés

Lighting Stéphane Déjours

Tour Manager Amparo Hernández

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Sponsored by: Michael Kerr

An anonymous fund of the Orange County Community Foundation

Producers Farooq Chaudhry (Khan Chaudhry Productions) Chema Blanco & Cisco Casado (A Negro Producciones) 2Luck Concepts (Producers, North America and exclusive management)

Co-produced by MC2: Grenoble, Sadler’s Wells, London, Mercat de les Flors, Barcelona, Théâtre de la Ville, Paris, Les Théâtres de la Ville de Luxembourg, Festival Montpellier Danse 2015, Onassis Cultural Centre — Athens, Esplanade — Theatres on the Bay Singapore, Prakriti Foundation, Stadsschouwburg Amsterdam / Flamenco Biënnale Nederland, Concertgebouw Brugge, HELLERAU — European Center for the Arts Dresden, Festspielhaus St. Pölten, Romaeuropa Festival

Sponsored by COLAS

Produced during residency at Mercat de les Flors, Barcelona and MC2: Grenoble

Supported by Arts Council England

Israel Galván is an Associate Artist of Théâtre de la Ville, Paris and Mercat de les Flors, Barcelona.

Akram Khan is an Associate Artist of Sadler’s Wells, London and Curve. Leicester, and formerly an associate artist of MC2: Grenoble (2011–2014) when TOROBAKA was created.

Special thanks to the whole MC2 team, Hervé Le Bouc, Sophie Sadeler, Béatrice Abeille-Robin, Mr. & Mrs. Khan, Yuko Khan, Aditi Mangaldas, Pedro G. Romero, Pandit Lachhu Maharaj, Shlomo and Jacob Galván.

World Premiere: MC2: Grenoble, France, 2 June 2014

Spanish Premiere: XXXI Festival de Otoño a Primavera, Madrid, 27 June 2014

UK Premiere: Sadler’s Wells Theatre, London, 3 November 2014

MESSAGE FROM COLAS As he relentlessly explores all that is universal, Akram Khan digs down to expose the very roots shared by the languages of dance, using choreography to weave a web that links the whole. While Vertical Road tackles the pathway of the spiritual, DESH crisscrosses the traces of individual memory and iTMOi travels the tortuous trails taken by the ritual of artistic creation.

With TOROBAKA, Akram Khan and Israel Galván leave us to imagine a bridge from which one can contemplate two entirely different landscapes. One dances kathak, the other flamenco. Both are masters of their art. Together, they endeavored to go back in time, to break the bond that sealed them to their pedestals, to work from the very source.

Together, they found the pulse and rhythm of their common language: TOROBAKA. Roots are what paves the way, declares the choreographer.

Colas has been accompanying Akram Khan’s work since 2008, because it embodies one of the Group’s priorities − innovation.

— Hervé Le Bouc, Chairman & CEO

TOROBAKA AKRAM KHAN AND ISRAEL GALVÁN Akram Khan; Israel Galván; Khan; Galván; the very euphony of their names sets the scene. Dance before it became art.

This transition, this intermediary space, this interstice is where they operate.

This is not, of course, an ethnic exchange between traditions, an exercise in global dance. It is about creating something from a way of understanding dance—derived, certainly, from dancing kathak and flamenco—that harks back to the origins of voice and of gesture, before they began to produce meaning. Mimesis rather than mimicry.

The hunter, lost in the countryside, imitates the gait of the animal he has come to hunt. Words are yet to be defined, guttural sounds which are understood almost as if they were orders, acts of command. Every part of the body is expressive, movements are read, they have a function.

TOROBAKA! Nor is there any need for primitivism. In one of the rehearsals, Khan and Galván grappled with Toto-vaca, a Maori-inspired phonetic poem by Tristan Tzara. It was automatic. The bull (toro) and the cow (vaca), sacred animals in the dancers’ two traditions, but united, profaned (in the original sense of the word, to restore things to their common use), in an unconstrained dadaist poem.

Israel Galván and Akram Khan. This is what it is about, dancing without compromise and for the audience to go on perceiving it as art.

— Pedro G. Romero, January 2014

Master, you have shown us unfamiliar images and rhythms, a new world that I now recognize as kathak. There are poisons that heal, and kathak is one of these remedies. I have it nestled within my body.

Master, sometimes we must move forward, go faster and then stop suddenly. Gandhi, perhaps, knew that by standing still, we more easily see the world than people who are always moving.

Master, I came prepared for a cockfight, the snake and the weasel, and we have become monks, two holy men in a secluded monastery of dance.

Master, I have found a brother, one and only, unique.

Maybe people won’t like our steps, but I have learnt so much. What matters is the process. I hope that each of our thousands of hours of rehearsals, and the work together, can be seen. I hope that all that we put into the show can be seen, and the rest, too − all that we have removed. What is and what is not: everything is important.

— Israel Galván, May 2014

Dancing beside Israel is like dancing next to a sublime storyteller of rhythms, not rhythms of the past, but rhythms of the future. I have gained so much insight into flamenco through Israel. He has opened my eyes into how and what is possible with flamenco: how one can deconstruct it, transform it and recreate it, in order to form new stories.

After all, stories are what help us make sense of the world.

I think the simplest way to describe our process together is to imagine if fragrance was created before the flower that contains it, that’s how our ideas developed on this wonderful journey. At first, we created smells, colors, sketches, then together, with the musicians, lighting designer, sound designer, costume designer, rehearsal director and many others, we finally encapsulated it in the body of a theme: TOROBAKA. — Akram Khan, May 2014

FIRST THOUGHTS ON WHAT WOULD BECOME TOROBAKA The Dancing Bodies of Anarchy Tradition is like oxygen during the day, and during the night it is carbon dioxide. I would say that is the simplest way I could think of to illustrate what Israel and I do, with our respective traditions. For Israel, flamenco would be his tradition, and my oxygen would be kathak.

For many years now, I have been hungry to create a space where these respective traditions can co-exist with each other to create a new dynamic dance.... But the reason I held back was simply because I was not excited to revisit what so many other artists before us have attempted, which is to simply illustrate a connection between the two traditions.

How do we break the mold or the tradition from within?

Only when I finally witnessed Israel perform, did I realize that he was the artist I was waiting for to travel on this journey of discovery and anarchy…. (After all, anarchy is sometimes necessary to remind tradition to update itself.)

— Akram Khan, Early 2013

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In Gestation My mother danced in flamenco venues in Seville until the seventh month of her pregnancy. She was pregnant with me, I was inside.

I grew up dancing with my parents and I developed an almost religious respect towards flamenco.

I had a master whose name was Mario Maya. When I watched him for the first time, I became completely amazed by new things that I had never contemplated before.

When I was training with Akram in Paris, he reminded me of my master. I asked Akram to choreograph some dance steps typical of my master. Akram picked up the steps perfectly, he felt confident with them and I could see a young Mario. The way Akram communicates whilst moving was very dear to me.

I dance barefoot but the borderline between us are my boots with toes and heels.

He told me once that when he dances, it is like giving a present to the audience. As a dancer I inherit the idea of killing the audience in order to avoid them killing me.

I think that Akram grew up believing in lots of gods.

My family taught me to believe in one.

I would like to meet many of his gods and thank the audience while I dance.

— Israel Galván, Early 2013

AKRAM KHAN Akram Khan is one of the most celebrated and respected dance artists today. In just over fifteen years he has created a body of work that has contributed significantly to the arts in the UK and abroad. His reputation has been built on the success of imaginative, highly accessible and relevant productions such as DESH, iTMOi, Vertical Road, Gnosis and zero degrees.

An instinctive and natural collaborator, Khan has been a magnet to world-class artists from other cultures and disciplines. His previous collaborators include: the National Ballet of China; actress Juliette Binoche; ballerina Sylvie Guillem; choreographer/dancer Sidi Larbi Cherkaoui; singer Kylie Minogue; visual artists Anish Kapoor, Antony Gormley and Tim Yip; writer Hanif Kureishi; and composers Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost.

Khan’s work is recognized as being profoundly moving, in which his intelligently crafted storytelling is effortlessly intimate and epic. Described by the Financial Times as an artist “who speaks tremendously of tremendous things,” a recent highlight of his career was the creation of a section for the London 2012 Olympic Games Opening Ceremony that was received with unanimous acclaim.

Khan has been the recipient of numerous awards throughout his career, including the Laurence Olivier Award, the Bessie Award (New York Dance and Performance Award), the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award, the Herald Archangel Award at the Edinburgh International Festival, 8 | IRVINE BARCLAY THEATRE

the Fred and Adele Astaire Award, the South Bank Sky Arts Award and six Critics’ Circle National Dance Awards. Khan was awarded an MBE for services to dance in 2005. He is also an Honorary Graduate of Roehampton and De Montfort Universities, and University of London, as well as Honorary Fellow of Trinity Laban.

Khan is an associate artist of Sadler’s Wells, London and Curve in Leicester.

ISRAEL GALVÁN Israel Galván de los Reyes was awarded the 2005 National Dance Prize in the “Creation” category by the Culture Department of the Spanish Government, for “his capacity to generate a new creation in an art such as flamenco without forgetting the real roots that have sustained it to the present day and that make of it a universal genre.” In 2012, he was honored with the Bessie Award (New York Dance and Performance Award), for an Outstanding Production and the Fine Arts Medal by the Council of Ministers of the Spanish Government.

Son of Sevillian bailaores Jose Galván and Eugenia de Los Reyes, Galván grew up in an atmosphere of tablaos and fiestas. Accompanying his father to flamenco dance academies throughout his childhood, it was only in 1990 that he decided to become a dancer.

In 1994, he joined Compañía Andaluza de Danza, directed

by Mario Maya. This was the beginning of an unstoppable career, abound with the most prestigious awards in flamenco dance.

He has collaborated on numerous projects with many artists from various disciplines, including Enrique Morente, Manuel Soler, Pat Metheny, Vicente Amigo and Lagartija Nick.

The year 1998 saw the premiere of his first creation, ¡Mira! / Los Zapatos Rojos. Praised by critics as a stroke of genius, it sparked a revolution in the conception of flamenco shows.

Since then, he has presented productions such as La Metamorfosis, Galvánicas, Arena, La Edad De Oro, Tábula Rasa, Solo, El Final De Este Estado De Cosas - Redux, Israel vs Los 3000, La Curva and Lo Real/Le Réel/The Real, for which he received three Premios Max de Teatro Awards in May 2014 for Best Dance Production, Best Choreography and Best Dancer. He has also created La Francesa and Pastora for his sister Pastora Galván.

Galván is an associate artist of Théâtre de la Ville, Paris and Mercat de les Flors, Barcelona.

Artist Representation: 2Luck Cocepts, LLC info@2luck.com 518-781-3000

JAKE SHIMABUKURO April 8, 2016 | Cheng Hall This program is presented without an intermission.

Sponsored by: Bill and Janice Parker JAKE SHIMABUKURO Consider the humble ‘ukulele. It’s an adaptation of a stringed instrument that traveled with Portuguese immigrants who came to work in the sugar cane fields of Hawai‘i. Islanders made the “machete” their own, mixing external influences of classical European music and Spanish guitar with Hawaiian songs. Native Hawaiians renamed the little machete, the ‘ukulele, and it has become synonymous with Hawaiian music and Hawaiian culture.

Jake Shimabukuro comes from that same process of mixing both island and outside influences, both modern and historical.

He’s combined the qualities of a long line of virtuoso ‘ukulele players with modern rock musicians to create a sound that’s uniquely his own but still firmly grounded in Hawaiian tradition.

Growing up in Hawai‘i, Jake’s influences included legendary ‘ukulele players like Eddie Kamae, Ohta-San and Peter Moon. Jake also credits icons like Bruce Lee and Michael Jordan as a source of inspiration. Known for his energetic strumming on the ‘ukulele, Jake’s performance incorporates elements of thoughtful, sophisticated arrangements to spontaneous, improvised passages. In addition to his original compositions, his repertoire includes Queen’s “Bohemian Rhapsody,” Schubert’s “Ave Maria” and Cohen’s “Hallelujah.”

Born and raised in Honolulu, Hawai‘i, Jake’s life has always centered on the ‘ukulele. He started playing at the age of four, urged by his mother who also played. (continued)

Photo by Coleman Saunders

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IRVINE BARCLAY THEATRE | 9

Jake began his music career in the mid-90’s, performing at local coffee shops as a sideman with his first band, Pure Heart. But Jake’s solo career began in 2002 when he signed with Epic Records, becoming the first ‘ukulele player to sign with Sony Music. While his well-received solo releases positioned Jake as an established musician in Hawai‘i and Japan, his career skyrocketed when a cover of “While My Guitar Gently Weeps” went viral on YouTube with more than 13 million views, opening the rest of the world’s eyes to Jake and his unique playing style.

In the years since the YouTube clip aired, Jake has collaborated with an array of artists that include Yo-Yo Ma, Jimmy Buffett, Bette Midler, Cyndi Lauper, Jack Johnson, Ziggy Marley, Dave Koz, Michael McDonald, Bela Fleck and The Flecktones, Tommy Emmanuel, and Lyle Lovett—as well as orchestras around the world. He’s sold out world-class venues, played at Bonnaroo, SXSW, the Playboy Jazz Festival, Fuji Rock Festival, the influential TED conference, and even performed for Queen Elizabeth II at the Royal Variety Performance in Blackpool, England.

He has topped Billboard’s World Music Chart numerous times, been declared a musical “hero” by Rolling Stone Magazine, which also stated: “one of the hottest axemen of the past few years doesn’t actually play guitar.” He has also

won accolades from the disparate likes of Eddie Vedder who states: “Jake is taking the instrument to a place that I can’t see anybody else catching up with;” been talked about by Perez Hilton and Dr. Sanjay Gupta, wowed audiences on national TV with appearances on Jimmy Kimmel Live, Late Night with Conan O’Brien, Good Morning America, and The Today Show, and along the way has earned comparisons to musical innovators such as Jimi Hendrix and Miles Davis.

Jake was the subject of an award-winning documentary, Jake Shimabukuro: Life On Four Strings, which aired on Netflix.

Jake also travels to schools around the world and spreads positive messages to young people, encouraging them to find their passion and live drug-free.

Although he is constantly touring, playing 140 shows a year, Jake and his family continue to make Hawai‘i their home.

Jake’s new album, Travels, was released in October 2015.

Artist Representation: United Talent Agency 209 10th Avenue South, Suite 511 Nashville, Tennessee 37203

The City of Irvine plays an invaluable role in the successful operation of Irvine Barclay Theatre.

We thank the City for its generous support.

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THE TALLIS SCHOLARS April 10, 2016 | Cheng Hall This performance will include a 15-minute intermission.

PROGRAM William Byrd: Laetentur caeli

John Taverner: Missa Western Wynde I N TE R M I S S I O N

Richard Davy: Salve regina William Byrd: Salve regina

Thomas Tallis: Lamentations I

Alfonso Ferrabosco (the Elder): Lamentations

Soprano Amy Haworth Emily Atkinson Alto Caroline Trevor Patrick Craig

Tenor Steven Harrold Christopher Watson Guy Cutting Simon Wall Bass Tim Scott Whiteley Simon Whiteley

Photo by Eric Richmond

William Byrd: Vigilate

Director Peter Phillips

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PROGRAM NOTES This program explores the extraordinary flowering of sacred choral music which took place in England in the sixteenth century. The various religious upheavals associated with the Tudor dynasty forced English composers to learn flexibility and adapt to rapidly changing circumstances. The most successful became experts at securing patronage, being in the right place at the right time, and even – as for one of this evening’s composers – trafficking in information as international men of mystery.

If making a living as a composer in Tudor England was a matter of playing one’s cards right, Thomas Tallis and William Byrd must have thought themselves in possession of a full house, when in 1575 they secured from Queen Elizabeth a monopoly on printed music. In gratitude, they used it to publish a volume of sacred music dedicated to the Queen – a collection which includes Byrd’s motet Laetentur caeli. The words look with joy towards the coming of the Lord, a sense conveyed by the optimistic opening motif, which rises and proceeds into scales and runs as if bursting with excitement, and is then picked up and imitated by the other voices in turn.

John Taverner’s hold on musical patronage was less secure. Initial success led to his appointment as Informator Choristarum at Cardinal Wolsey’s brand new educational establishment in Oxford. The Cardinal, a chief advisor to King Henry VIII, wished his new college to reflect his magnificence, and endowed it with considerable resources, including a large choral foundation replete with “clerkes skilled in polyphony.” Nevertheless, when Wolsey fell dramatically from the King’s graces, so too did his college, and Taverner was forced to find work elsewhere. During his years at Cardinal College, however, he made significant contributions to church music, many of which are still sung today at what is now Christ Church, Oxford.

Among these was the Mass Western Wynde, a pioneering work in England, in that it was based not on a sacred model but a secular tune. This may have been in conscious emulation of a style which had become popular on the continent. Taverner took an English tune – perhaps one favored at court – but instead of using it as a cantus firmus (fixed song), as continental composers did, used it as the basis for a series of variations. This means one can always hear the melody, most often in the top voice, and marvel at the virtuosity with which the composer elaborates around it, continuously varying the texture and rhythm. Perhaps inspired by the ingenuity of the work, Taverner’s contemporaries, John Sheppard and Christopher Tye, would also go on to compose ‘Western Wind’ masses.

Often a comparison of two composers’ settings of the same text can illuminate the gradual evolution of styles in music. Such is the case with the Salve reginas of Byrd and Richard Davy, who was active in the late fifteenth century.

Davy worked at Magdalen College in Oxford, where he was Informator Choristarum in 1491. His music must have been highly regarded, as several of his works are found in the lavish Eton Choirbook, an important source of early Tudor music. His setting of the Marian antiphon Salve regina 12 | IRVINE BARCLAY THEATRE

largely follows the standard pattern for music of this era. It is mostly in five parts, though a grandiose effect is achieved at the opening of the piece by dividing and further dividing the highest part in a technique known as gymel. Grand sections for full choir alternate with more intimate trios and duets, which use a florid, highly ornamented style.

By the time William Byrd came to publish his setting nearly a hundred years later, times had changed. In particular, the influence of continental models had pervaded English composition. Close imitation between voices is rife, and after the opening trio, the texture remains full throughout.

Some sacred texts came into vogue at particular times and were set by multiple composers. The Lamentations of Jeremiah were a popular subject later in the sixteenth century, perhaps because of the Elizabethan “fashionable melancholy” that would later bequeath the doleful lutenist John Dowland to the world. The text laments the destruction of Jerusalem, and whilst it was appointed to be read during Holy Week, musical settings such as those by Tallis and Alfonso Ferrabosco were more likely intended for private performance in secular contexts.

Though less famous than his contemporary Tallis, Ferrabosco was highly regarded in his time, and not only as a composer. Born in England to Italian parents, he became a court musician and was favored by Queen Elizabeth. He seems to have been adept at gaining the confidence of powerful people, and was entrusted with diplomatic as well as musical responsibilities. Indeed, a Vatican emissary asserted that the Queen “made much use of him for spying and scheming,” activities that frequently landed the composer in hot water.

The original Hebrew from which the Lamentations are drawn is in the form of an acrostic poem, and it became conventional to set the Hebrew letters to music to preface each verse. Both Tallis and Ferrabosco follow this convention, which allowed composers to indulge in a sort of “pure polyphony,” where melismas conjure a sensation that has been described as “ritualized weeping in music.” Tallis demonstrates restraint and an austere beauty, whilst the Italian Ferrabosco allows himself a more piquant harmonic style.

The program concludes with Byrd’s powerful Advent motet, Vigilate. Each successive musical point is sharply defined in an almost madrigalian manner, as when the falling lines of sero (in the evening) are interrupted by the crowing of the cock at an gallicantu. Yet despite this the motet always feels unified, periodically returning to that central injunction, vigilate – “Watch!” – James M. Potter, 2015.

TEXTS Laetentur caeli

By William Byrd (1539/40–1623)

Laetentur coeli et exultet terra; jubilate montes laudem quia Dominus noster veniet; et pauperum suorum miserebitur.

Orietur in diebus tuis justitia et abundantia pacis.

Rejoice, heavens, and let the earth rejoice.

Rejoice, hills, for our Lord will come and show mercy to his poor people.

Justice and abundance of peace will rise up in those days.

Missa Western Wynde

By John Taverner (1944–2013)

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens.

Domine Fili unigenite, Jesu Christe; Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus Sanctus; tu solus Dominus; tu solus altissimus, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris. Amen.

Glory be to God on high, and in earth peace, goodwill towards men. We praise thee; we bless thee; we worship thee; we glorify thee. We give thanks to thee for thy great glory, O Lord God, heavenly king, God the Father almighty.

O Lord the only-begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us; thou that takest away the sins of the world, receive our prayer; thou that sittest at the right hand of God the Father, have mercy upon us.

For thou only art Holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art Most High in the glory of God the Father. Amen.

Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; genitum, non factum; consubstantialem Patri; per quem omnia facta sunt.

Qui propter nos homines, et propter nostram salutem descendit de caelis, et incarnatus est de Spiritu Sancto, ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est.

Et resurrexit tertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivos et mortuos; cuius regni non erit finis.

Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, the only-begotten Son of God, begotten of his Father before all worlds. God of God; Light of Light; very God of very God; begotten, not made: being of one substance with the Father; by whom all things were made.

Who for us men, and for our salvation, came down from heaven, and was incarnate by the Holy Ghost of the Virgin Mary, and was made man. And was crucified also for us under Pontius Pilate; he suffered death and was buried.

And the third day he rose again according to the Scriptures; and ascended into heaven, and is seated at the right hand of the Father; and he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end.

And I look for the resurrection of the dead, and the life of the world to come. Amen.

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Glory be to thee, O Lord most high.

Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Blessed is he that cometh in name of the Lord. Hosanna in the highest.

Agnus Dei, qui tollis peccata mundi, miserere nobis Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

O Lamb of God, that takes away the sins of the world, have mercy on us.

O Lamb of God, that takes away the sins of the world, have mercy on us.

O Lamb of God, that takes away the sins of the world, grant us thy peace.

IRVINE BARCLAY THEATRE | 13

Salve regina

By Richard Davy (1465–1507)

Salve Regina, Mater Misericordiae, Vita, dulcedo, et spes nostra, Salve!

Ad te clamamus, exsules filii [H]evae, Ad te suspiramus, gementes et flentes, In hac lacrimarum valle.

Eja ergo, Advocata nostra, Illos tuos misericordes oculos ad nos converte Et Jesum, benedictum fructum ventris tui, Nobis, post hoc exilium, ostende, O clemens, O pia, O dulcis Virgo Maria.

Hail, Holy Queen, Mother of mercy, our life, our sweetness and our hope!

To thee do we cry, poor banished children of Eve, to thee do we send up our sighs, mourning and weeping in this valley of tears.

Turn, then, most gracious advocate, thine eyes of mercy toward us, and after this, our exile, show unto us the blessed fruit of thy womb, Jesus.

O clement, O loving, O sweet Virgin Mary.

Salve regina

By William Byrd Salve, Regina mater misericordiae vita dulcedo et spes nostra, salve.

Ad te clamamus, exules filii Evae.

Ad te suspiramus, gementes et flentes in hac lacrimarum valle.

Eia ergo advocata nostra, illos tuos misericordes oculos ad nos converte.

Et Jesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende.

O clemens, O pia, O dulcis Virgo Maria.

Hail, Queen, mother of pity; our life, sweetness, and hope, hail.

To thee we cry, the exiled sons of Eve. To thee we sigh, lamenting and weeping in this vale of tears.

Therefore, our advocate, turn thy pitiful eyes upon us.

And, show us this exile, Jesus, the blessed fruit of thy womb.

O merciful, O holy, O sweet Virgin Mary.

Lamentations I

By Thomas Tallis (1505–1585)

Incipit lamentatio Jeremiae prophetae

Aleph: Quomodo sedet sola civitas plena populo Facta est quasi vidua Domina gentium Princeps provinciarum facta est sub tributo 14 | IRVINE BARCLAY THEATRE

Beth: Plorans ploravit in nocte et lacrimae euis in maxillis eius: Non est qui consoletur eam ex omnibus caris eius; Omnes amici eius spreverunt eam et facti sunt ei inimici

Jerusalem, Jerusalem, convertere ad Dominum Deum tuum Here begins the lamentation of the prophet Jeremiah

Aleph: How desolate lies the city that was once full of people: The Queen of nations has become a widow The ruler of provinces is now subject to others Beth: By night she weeps in sorrow and tears run down her cheeks: There is none to console her, of all who love her; All her friends have betrayed her and have become her enemies.

Jerusalem, Jerusalem, turn to the Lord your God. Lamentations Alfonso Ferrabosco (1543–1588)

De lamentatione Jeremiae Prophetae.

Daleth. Viae Sion lugent, eo quod non sint qui veniant ad solemnitatem; omnes portae eius destructae, sacerdotes eius gementes; virgines eius squalidae, et ipsa oppressa est amaritudine.

Lamed. O vos omnes qui transitis per viam, attendite et videte si est dolor similis sicut dolor meus.

Jerusalem, Jerusalem, convertere ad Dominum Deum tuum.

From the Lamentation of Jeremiah the Prophet.

Daleth. The streets of Zion mourn; for there are none to attend her ceremonies. All her gates are ruined; her priests sigh and groan. Her virgins are afflicted, and she is overwhelmed with bitterness.

Lamed. All you who pass this way. look and see of there is any sorrow like my sorrow Jerusalem, Jerusalem, turn to the Lord, your God. Vigilate William Byrd Vigilate, nescitis enim quando dominus domus veniat, sero, an media nocte, an gallicantu, an mane.

Vigilate ergo, ne cum venerit repente, inveniat vos dormientes.

Quod autem dico vobis, omnibus dico: vigilate.

Watch ye therefore (for you know not when the lord of the house cometh, at even, or at midnight, or at the cock crowing, or in the morning): Watch therefore, lest coming on a sudden, he find you sleeping.

And what I say to you, I say to all: watch.

Photo by Eric Richmond

THE TALLIS SCHOLARS The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through recordings and concert performances, the ensemble has established itself as the leading exponent of Renaissance sacred music throughout the world. Peter Phillips has worked with the group to create, through good tuning and blend, the purity and clarity of sound that he feels best serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the resulting beauty of sound for which The Tallis Scholars has become so widely renowned.

The Tallis Scholars perform in both sacred and secular venues, usually giving around 70 concerts each year across the globe. In 2013 the group celebrated their 40th anniversary with a world tour performing 99 events in 80 venues in 16 countries and travelling sufficient air-miles to circumnavigate the globe four times. The group kicked off the year with a spectacular concert in St Paul’s Cathedral, London, including a performance of Thomas Tallis’ 40-part motet Spem in alium and the world premieres of works written specially for them by Gabriel Jackson and Eric Whitacre. Their recording of the Missa Gloria tibi Trinitas by John Taverner was released on the exact anniversary of their first concert in 1973 and enjoyed six weeks at number one in the UK Specialist Classical Album Chart.

The Tallis Scholars’ career highlights have included a tour of China in 1999 and 2014; and the privilege of performing in the Sistine Chapel in April 1994 to mark the final stage of the complete restoration of the Michelangelo frescoes, broadcast on Italian and Japanese television. The ensemble has commissioned many contemporary composers during their history: in 1998 they celebrated their 25th Anniversary with a special concert in London’s National Gallery, premiering a Sir John Tavener work written for the group and narrated by Sting. A further performance was given with Sir Paul McCartney in New York in 2000. Composers they have worked with recently include Eric Whitacre, Nico Muhly, Gabriel Jackson and Matthew Martin. The Tallis Scholars are broadcast regularly on radio (including

performances from the BBC Proms at the Royal Albert Hall in 2007, 2008, 2011, 2013 and 2014) and have also been featured on the acclaimed ITV program The Southbank Show.

Much of The Tallis Scholars reputation for their pioneering work has come from their association with Gimell Records, set up by Peter Phillips and Steve Smith in 1980 solely to record the group. In February 1994 Peter Phillips and The Tallis Scholars performed on the 400th anniversary of the death of Palestrina in the Basilica of Santa Maria Maggiore, Rome, where Palestrina had trained as a choirboy and later worked as Maestro di Cappella. The concerts were recorded by Gimell and are available on both CD and DVD. Recordings by The Tallis Scholars have attracted many awards throughout the world. In 1987 their recording of Josquin’s Missa La sol fa re mi and Missa Pange lingua received Gramophone magazine’s Record of the Year Award, the first recording of early music ever to win this coveted award. In 1989 the French magazine Diapason gave two of its Diapason d’Or de l’Année awards for the recordings of a mass and motets by Lassus and for Josquin’s two masses based on the chanson L’Homme armé. Their recording of Palestrina’s Missa Assumpta est Maria and Missa Sicut lilium was awarded Gramophone’s Early Music Award in 1991; they received the 1994 Early Music Award for their recording of music by Cipriano de Rore; and the same distinction again in 2005 for a recording of music by John Browne. The Tallis Scholars were nominated for a Grammy Award in 2001, 2009 and 2010. In 2012 their recording of Josquin’s Missa De beata virgine and Missa Ave maris stella received a Diapason d’Or de l’Année and in their 40th anniversary year they were welcomed into the Gramophone Hall of Fame by public vote.

These accolades and achievements are continuing evidence of the exceptionally high standard maintained by The Tallis Scholars, and of the dedication to one of the great repertoires in Western classical music.

IRVINE BARCLAY THEATRE | 15

PETER PHILLIPS Peter Phillips has made an impressive if unusual reputation for himself in dedicating his life’s work to the research and performance of Renaissance polyphony. Having won a scholarship to Oxford in 1972, Peter Phillips studied Renaissance music with David Wulstan and Denis Arnold, and gained experience in conducting small vocal ensembles, already experimenting with the rarer parts of the repertoire. He founded The Tallis Scholars in 1973, with whom he has now appeared in over 2000 concerts and made over 60 discs, encouraging interest in polyphony all over the world. As a result of his work, through concerts, recordings, magazine awards and publishing editions of the music and writing articles, Renaissance music has come to be accepted for the first time as part of the mainstream classical repertoire.

Apart from The Tallis Scholars, Peter Phillips continues to work with other specialist ensembles. He has appeared with the BBC Singers, the Collegium Vocale of Ghent and the Netherlands Chamber Choir, and is currently working with the Choeur de Chambre de Namur, Intrada of Moscow, Musica Reservata of Barcelona and El Leon de Oro of Orviedo. He gives numerous master-classes and choral workshops every year around the world – amongst other places in Rimini (Italy), Evora (Portugal) and Barcelona (Spain). In 2014 he launched the London International A Cappella Choir Competition in St John’s Smith Square, attracting choirs from all over the world.

In addition to conducting, Peter Phillips is well-known as a writer. For 32 years he has contributed a regular music column (as well as one, more briefly, on cricket) to The Spectator. In 1995 he became the owner and publisher of The Musical Times, the oldest continuously published music journal in the world. His first book, English Sacred Music 1549–1649, was published by Gimell in 1991, while his

16 | IRVINE BARCLAY THEATRE

second, What We Really Do, an unblinking account of what touring is like, alongside insights about the make-up and performance of polyphony, was published in 2003 and again in 2013.

Peter Phillips has made numerous television and radio broadcasts. Besides those featuring The Tallis Scholars (which include live broadcasts from the 1988, 2001, 2003, 2007, 2008, 2011, 2013 and 2014 BBC Proms), he has appeared several times on the BBC’s Music Weekly and on the BBC World Service, on Kaleidoscope (BBC Radio 4), on Today (BBC Radio 4); National Public Radio in the US and on German, French, Italian, Spanish and Canadian radio, where he has enjoyed deploying his love of languages. In 1990 ITV’s The South Bank Show featured Peter’s “personal odyssey” with The Tallis Scholars; while in 2002 a special television documentary was made for the BBC about the life and times of William Byrd.

Peter has recently been appointed a Reed Rubin Director of Music and Bodley Fellow at Merton College, Oxford, where the new choral foundation he helped to establish began singing services in October 2008. They gave their first live broadcast on BBC Radio Three’s Choral Evensong in October 2011. In 2005 Peter Phillips was made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture, a decoration intended to honor individuals who have contributed to the understanding of French culture in the world.

For more information, visit www.thetallisscholars.co.uk The Tallis Scholars record for Gimell Records, www.gimell.com Follow The Tallis Scholars on Facebook and YouTube.

Artists Representation: Alliance Artist Management 5030 Broadway, Suite 812, New York, NY 10034

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., Interim President Ginny W. Hayward, Assistant to the President

Christopher Burrill, General Manager Lori Grayson, Director of Development Karen Drews Hanlon, Director of Communications Gary Payne, Director of Finance Douglas C. Rankin, Programming Advisor/

President Emeritus

Jeff Stamper, Production Manager Tim Owens, Associate Production Manager Lu Bauer, Box Office Manager Josh Roberts, Assistant Box Office Manager Robin Darling, Patron Services Manager Nathan Dwyer, Bar Manager Helena Danovich, Marketing Assistant Ingrid Strayer, Finance Assistant

IRVINE BARCLAY THEATRE | 17

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 Cheng Family Foundation Bobbi Cox Haskell & White LLP Patricia Murphy Hirata and Gerry Hirata HumanKind Philanthropic Fund Michael Kerr Toni and Terry McDonald National Endowment for the Arts Pacific Life Foundation William and Janice Parker Family Fund Sonnet Technologies, Inc. Richard & Elizabeth Steele Fund Trisha Steele Lynda Thomas BRAVO BARCLAY PARTNER $5,000 – $9,999 Arts Consulting Group Chris and Lori Burrill Gartley Charitable Foundation William Gillespie Foundation New England Foundation for the Arts

18 | IRVINE BARCLAY THEATRE

Salwa and Sabri Rizkalla Michelle Rohe

BRAVO BARCLAY BENEFACTOR $2,500 – $4,999 Rick and Wendy Aversano Yvonne and Damien Jordan Dr. Paul and Mrs. Ellen Lee Rohl LLC – Kenneth and Amber Rohl Linda I. Smith Foundation Alan and Barbara Wiener

BRAVO BARCLAY PATRON $1,000 – $2,499 James and Elaine Alexiou The Beall Family Foundation The British Council Barbara Klein The Millstream Fund Donald and Ui Natenstedt Peter and Alexandra Neptune Tom Nielsen Barbara Roberts Chiyo and Stanton Rowe Michael Shubert and Associates, LLC Nancy Smith ENCORE CIRCLE ENTHUSIAST $250 – $999 Oscar R. Aguirre Richard Alexander Brien Amspoker and Ellen Breitman John W. Ballantyne

Robert and Delphi Ballinger Ms. Lindy Balmer Betty Barry Dr. Michael Bear Larry and Sue Ann Beaty Honorable Marian Bergeson Linda Berquist Scott Berry Suzanne Boras Leia Bowers Mary and Dave Bruce The Bukaty Family Lisa and Robert Burnand Harold and Eleanor Carpenter John Coyne Bob and Burnetta Denham Joan M. Donahue Roger du Plessis Joel and Melanie Durst Robert and Nancy Eagan David Falconer Bonnie Rae Feers Nancy Field Cathie Fields Carol Foster Mark A. Franzen Ellen Fujikawa Robert and Margaret Green Ramya Harishankar and Hari Krishnamurthy Ginny and Chuck Hayward Barbara Helton Dan and Nicole Honigman Judy and Terry Jones Christina Kaoh Judy Kaufman and George Farkas Martin G. Langer Vicki and Richard Lee In Memory of Estelle Levy Peggy and Alex Maradudin Helen McMillan Sharon McNalley

Michael L. and Nancy Meyer Reiko and Mitsuhiko Nakano Keith and June Nelson Neurocare, Inc. Mike and Pat Noggle Ogilvie Family Tom and Amber Orradre Robert Parker Suzanne T. Peltason Omar and Irene Perez Remembering Mel Posin Edward and Betty Quilligan Dennis Repp Dr. Stephen M. Rochford Nancy Lee Ruyter Psychiatry Schaepper Judith M. Schmidt Louise Schwennesen Frances Segal and Michael Friedson Trudy Vermeer Selleck Dorothea Silavs Mr. and Mrs. John L. Smith Dorothy J. Solinger Deborah and Frank Rugani Jack and Katharine Schoellerman Kia Stora Diane Stovall Richard and Jane Sungaila Thomas and Marilyn Sutton Shelley Thunen Marilyn and Angelo Vassos Vendini, Inc. Kathy Vickers and Jeremy Freimund Emily Vogler and Daniel Flynn Michael Voronel Kim Waterson Charles and Marilyn Wright Xiaofan Yuan Majid and Sohaila Zarrinkelk

ENCORE CIRCLE SUPPORTER $100 – $249

Paul and Sandra Findly Donna Fisher Constance and Dick Fleming Nelson and Elizabeth Flores Ruby Foo Jeannine Ford Kimberly Fox Roberta Fox Lisa Friend Heather Fuller Mary Ann Gaido Galeos Cafe Shelli and Majid Ghassemieh Bernard and Phyllis Gilmore Marcella Gilmore and Edward Muehl Lisa Glass S. Glass Family Valerie Glass Dennis Glauber Ben and Sandie Goelman Lawrence Goldberg Lori Grayson Linda and George Greene Janice Groh Paul and Nancy Groner Sanjiv and Geeta Grover Patrick and Trisha Guinet Ranjan and Angela Gupta Matthew and Annemarie Hall Rebecca Hall Jim and Berri Harris Carole S. Harrison Thomas Hartman Thomas Heinz and Denise Van Horn June and Miles Herman David Herzlinger Dan and Nicole Honigman Elizabeth Howard Yonghong Hu Dana Huff IBM Matching Grants Program JoAnn Iles Robert Ingold Dennis and Irene Iverson Lori Johnstone Dr. Mitchell Katz and Mrs. Linda Scott-Katz Kenneth Kelly Bijan Khamanian Clare Kiklowicz Eung Jin Kim Jay King Gregory and Maureen Kirkorowicz Steve and Lynne Koffler Kerry Krisher William Kroener Arthur S. Kroll Rosa Kwong Dr. and Mrs. John Lagourgue Carmen Lasso Edwina Lawrence

Carter Lee Josephine Lee Benjamin and Sunny Leos Alla Liberstein Anne Llewellyn Nancy Locke Christa and Gerry Long Junling Ma Christian and Sharon Maas Robert D. and Pat MacDonald Glenn and Laura MacKinnon Peggy and Alex Maradudin William and Nancy March Marshall and Marilyn Martinez Goran Matijasevic William K. Maxwell David and Teryl McDermott William McKaig Sherry McKuin Ken and Gisela Meier Tony and Barbara Mendoza Vivian Mendoza Wanda Mendoza Mark and Jan Merryfield Dr. Frank and Mrs. Linda Meyskens Mela and Ricardo Miledi Peter Milner Gabriella Miotto Heather Mircheff Jean Montague Hiroko and Yoshiharu Moriwaki John and Marjorie Murray Nancy and William Murray John Nahina Julie Nakata Beth Nicholas Michael and Sylvia Nieto Lorrie and John Odell James Olney and Laura O’Connor Orange County Community Foundation Lauren and Richard Packard Thomas Paris and Lauren Smith Pam Paul Ann and Bernal Peralta Dan Pillasch Leo and Sheila Pinsky Janice and Richard Plastino Edward Pope and Antoinette Olivera Julie and Michael Potter Donna Powell Natalie and Nick Punto Sharon and Gary Qualls Sarah Quinn Miriam and Israel Ramirez Elaine Ramsay Margaret Redmond John and Sheryl Redpath Stephanie Reich Claudia Ried-Kraemer and Alan Kraemer

Jill Ries Margaret C. Riggs Betty and Nash Rivera Mr. and Mrs. Theodore Robins Christopher Rochlen Thomas Roddel Francie Rope Michael Rose and Blanca Cervantes Stephanie and Eric Rubery Charles R. Rusky Karen Salita De Anne Sbardellati Walter Scacchi and Christine Fluor-Schacci Joann Schaum Carol Schwab Sandra and Arthur Selvan Diana Serio Lori Shapiro Thomas Shimada Diane and Igal Silber Jackie Smiley Frederick Smith Otto Smith Shirley and Coy Smith Paul Spas Betty and Hugh Spilsbury William Spurgeon Hugh Stevenson and Jan Burns Daniel and Jeannette Stokols Robert Stopher Ingrid Strayer John and Margaret Sun Alice Swan Law Offices of Jeri E. Tabback Celia and Julio Taleisnik Michael Talens Steve Tamura Thomas Tancredi Earleen Thomas Andrew and Karen Thornburn Torlic Family Johanna Tilley Eric Tobiessen Gary and Peranza Topjon Robert Travers Howard and Marcia Tucker Sylvia C. Turner Lydia and Dennis Tyler Dr. Rodger Uchizono Kathy Vickers and Jeremy Freimund Anne Walthall Virginia Weddle Diane Wick Daniel and Courtney Wiercioch George and Flo-Ree Woodruff Jing Wu and Wing Wong Sara Yang Kurt Youngs Ruth Yunker Chi Zhang

NATIONAL CHOREOGRAPHERS INITIATIVE

Gale Edelberg and Bob Butnik David and Beverly Carmichael Concierge Podiatry Newport Beach 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 Robert Farnsworth Cliff Faulkner and Shigeru Yaji Gilian Finley and Robert Labaree Roberta Fox Mary and Andrew Franklin Sandy and Don French William Gillespie Foundation Judith A. Gorski Dr. and Mrs. Denis Gray Judy Jones Dr. Burton L. Karson Joanne and Dennis Keith

Michael Kerr Carolyn and William Klein Dr. Martin G. Langer Phuong and Joseph S. Lewis III Kathryn Lynch and Robert McDonnell Molly Lynch and Alan Andrews Jack Lyons Debra Maxwell Sharon McNalley Ed Moen and Janek Schergen 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 Mrs. J. Matthew Osborne Marshall Parker Cyrus Parker-Jeannette John and Charlene Pasko James Penrod Jody Pike Janice and Richard Plastino

Dolly A. Platt, Ph.D. Edward and Diana Putz Barbara Roberts Robinson Foundation Michelle Rohe Andrew Rose Bruce and Jan Scherer Jack and Katy Schellerman Sally Anne and Don Sheridan Igal and Diane Silber Ann Sim Jackie Smiley Grace Songolo Elizabeth R. Steele Studio du Corps Pilates Center of Orange County Jennifer Szabo Chris Thayer Karen and Gary Thorne Barbara and Jack Tingley Gretchen and William Valentine Max and Peggy Weismair Mary Vensel White and T. Jason White Shigeru Yaji

Katherine Ahn Dennis and Cindy Alderson Steven and Alexandria Allan Patricia Allison Thomas and Virginia Amlie Jan Arnoldus Debbie Aslanian Diane and Dennis Baker Pauline Baker Sarah and David Ball Cindy and Steven Bandel Rivka Barasch Tony Battaglia and Meredith Lee Shannon Barisoff George and Linda Bauer Shelley Beckham Craig Behrens Henry Bennett Jeannie Berryman Susan and Steven Bierlich Richard H. Bigelow Christopher Blank Eric S. Blum Michael and Margaret Bodeau Darci Bodin Lupe Borboa Laurie Brady Rosanna Brichta Scott Brinkerhoff Jon and Donna Brownell Margaret Brummel Susan Bryant and David Gardiner Douglas T. Burch, Jr. Linda and Roland Bye Sandra Jones Campbell Clifford and Jennifer Cheng Denise Chilcote Deanna Choi Kate and Michael P. Clark Tim Collins Jeff Corp Kenneth J. Craig, Jr. Anahid Crecelius Madeleine and Alan Crivaro Shannon Davis Michelle Dean Dr. Edward Deeb Arturo and Domna Del Rio Deborah Denise Sheila Dennis William Domino Patsy and Douglas Downs Jacolyn Dudley Alan and Rosemary Dugard David Dupre Rad and Toni Dwyer Robert and Nancy Eagan Donna Emmett Peggie Fariss

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 Ann Marie DeAngelo Productions Diane and Dennis Baker Ballet Barres West William H. Bardens Victoria Barrett Dr. Michael Bear Honorable Marian Bergeson Paul Blank Theodore Bradshaw Stacie Brandt Laurie and Bart Brown

IRVINE BARCLAY THEATRE | 19

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