Playbill Issue 2: Oct-Nov 2011

mondavi center

2o11–12

Ballet Preljocaj: Blanche Neige Photo by Jean-Claude Carbonne

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k.d. lang and the siss boom bang

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rising stars of opera

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hilary hahn, violin

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so percussion

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cinematic titanic

Photo: Lynn Goldsmith

Before the Curtain Rises, Please Play Your Part • As a courtesy to others, please turn off all electronic devices.

• If you have any hard candy, please unwrap it before the lights dim.

• Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited.

• Please look around and locate the exit nearest you.

That exit may be behind you, to the side or in front of you. In the unlikely event of a fire alarm or other emergency please leave the building through that exit.

• As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may not be re-admitted to his/her ticketed seat while the performance is in progress.

info

Donors 530.754.5438 Donor contributions to the Mondavi Center presenting program help to offset the costs of the annual season of performances and lectures and provide a variety of arts education and outreach programs to the community.

Friends of Mondavi Center 530.754.5000 Contributors to the Mondavi Center are eligible to join the Friends of Mondavi Center, a volunteer support group that assists with educational programs and audience development.

Volunteers 530.754.1000 Mondavi Center volunteers assist with numerous functions, including house ushering and the activities of the Friends of Mondavi Center and the Arts and Lectures Administrative Advisory Committee.

Tours 530.754.5399 One-hour guided tours of the Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre and Yocha Dehe Grand Lobby are given regularly by the Friends of Mondavi Center.

Reservations are required.

s co-chair of Sacramento’s For Arts Sake initiative (along with Mondavi Center Advisory Board member Garry Maisel), it is my pleasure to draw your attention to Artober, a month-long showcase of the Sacramento region’s rich array of performing and visual arts. Civic and cultural leaders in the region have created Artober to highlight the high quality, varied and accessible arts we have in this area. (For a full list of Artober events go to http://artobersac.com/.)

Here at the region’s premier performing arts venue, our “Artober” is another one of those great Mondavi Center months, rich in a variety of offerings which range from the best of the classics (Hilary Hahn plays the 3 B’s: Bach, Beethoven and Brahms) to the essence of the contemporary (k.d. lang), from comic cinema (Cinematic Titanic) to percussive John Cage (Brooklyn’s Sō Percussion). I especially welcome you to join us for Sō Percussion, the very first event in our Studio Classics series, now funded in part by a landmark Mellon Foundation grant in support of expanding audiences for classical music. Welcome to the Vanderhoef Studio Theatre, which for one weekend becomes the only classical music nightclub in town. Enjoy a beverage at one of our four-top tables, come early for a talk with the artists and engage with one of the most exciting ensembles of young musicians performing today. If all you know about John Cages is 4’33”, his famous silent piece, there’s a lot more music to experience.

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Accommodations for Patrons with Disabilities 530.754.2787 • TDD: 530.754.5402 In the event of an emergency, patrons requiring physical assistance on the Orchestra Terrace, Grand Tier and Upper Tier levels please proceed to the elevator alcove refuge where this sign appears. Please let us know ahead of time for any special seating requests or accommodations.

See page 55 for more information.

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from the directo

before the show

We are proud to present the 30-member Scottish Ballet on its first tour of the U.S. Who knew that Gustav Mahler, he of the Nietzschean angst, Freudian dislocations and enormous orchestras (don’t get me wrong, I am a Mahlerian from way back), was in reality a ballet composer? His “tenth symphony”—Das Lied von der Erde—forms the backdrop for wonderful MacMillan choreography showing off the marvelous technique of the Scottish dancers. Later this season, Ballet Preljocaj’s Blanche Neige, having its American premiere in Jackson Hall, draws on some of Mahler’s most beautiful and emotive passages to accompany this wonderful re-telling of the Snow White legend.

For a second season, our great friend Barbara K. Jackson has made possible a free performance of her beloved opera, with the young stars from San Francisco Opera’s Adler Fellows program in the first half and the UCD Symphony Orchestra accompanying baritone Eugene Brancoveanu, an Adler graduate, in a series of opera arias. Thank you, Barbara, for sharing your passion for opera with our campus and our community.

Enjoy the performances and please let me know what the Mondavi Center can do to increase your enjoyment of the experience.

Lost and Found Hotline 530.752.8580 Recycle We reuse our playbills! Thank you for returning your recycled playbill in the bin located by the main exit on your way out.

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Don Roth, Ph.D. Executive Director Mondavi Center for the Performing Arts, UC Davis MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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Davis Hospitality...

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Proud Sponsors of The Robert and Margrit Mondavi Center for the Performing Arts, UC Davis

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Amenities Include:

 Breakfast Buffet with Cook To Order Omelets  Nightly Cocktail Reception  Deluxe Plush Bedding  WIFI Throughout  Bee Kind Amenities  32” LCD TVs

Now Featuring: Complimentary Bicycle Program* For reservations or more information* Please contact us at: (800) 753-0035 110 F Street Davis, CA 95616 • www.hallmarkinn.com

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

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Photo by Graham Wylie

Debut

Scottish Ballet A Hallmark Inn, Davis Dance Series Event Wednesday, October 19, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis

There will be one intermission.

Post-Performance Q&A Moderated by Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center, UC Davis

Sponsored by

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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Scottish Ballet Kings 2 Ends (2011)

Choreography: Jorma Elo Music: Violin Concerto No. 1 by Wolfgang Amadeus Mozart and Double Sextet by Steve Reich Costume design: Yumiko Takeshima Lighting design and scenic design: Jordan Tuinman Choreographer’s assistant: Nancy Euverink

Cast: Tomomi Sato Brenda Lee Grech Katie Webb Quenby Hersh Kara McLaughlin Amy Hadley Eva Lombardo

Daniel Davidson Owen Throne Teun van Roosmalen Jamiel Laurence Victor Zarallo Remi Andreoni Christopher Harrison

Intermission

Song of the Earth (1965) Choreography: Kenneth MacMillan Music: Das Lied von der Erde by Gustav Mahler Design: Nicholas Georgiadis Lighting design: John B Read Répétiteur: Grant Coyle and Donald MacLeary Cast: Messenger of Death – Victor Zarallo 1st Song Christopher Harrison

4th Song Quenby Hersh Owen Thorne

Owen Thorne Remi Andreoni Jamiel Laurence Andrew Peasgood Lewis Landini

Laura Joffre Brenda Lee Grech Nathalie Dupouy Bethany Kingsley-Garner Amy Hadley Katie Webb Andrew Peasgood Lewis Landini Daniel Davidson William Smith Remi Andreoni Jamiel Laurence

2nd Song Tomomi Sato Constance Devernay Quenby Hersh Laura Joffre Owen Thorne Remi Andreoni Andrew Peasgood Lewis Landini

5th Song Christopher Harrison Owen Thorne

3rd Song Constance Devernay Amy Hadley Bethany Kingsley–Garner Nathalie Dupouy Katie Webb Lewis Landini Daniel Davidson William Smith Andrew Peasgood

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Daniel Davidson

6th Song Full Company

Kings 2 Ends (2011) As Resident Choreographer at Boston Ballet, Finnish-born Jorma Elo has become an increasingly sought-after talent across the U.S. and Europe and has created works for many companies including San Francisco Ballet, New York City Ballet, Nederlands Dans Theater and Finnish National Ballet. Kings 2 Ends, created for Scottish Ballet, is a collision of the two very different energies found in Mozart’s Violin Concerto No. 1 and Steve Reich’s Double Sextet. Both lyrical and playful, Elo’s vibrant choreography invites the audience to simply immerse themselves in the piece and to discover their own personal meaning.

Dancers Principals Sophie Martin was born in Cherbourg, France, and trained at Conservatoire National Superieur de Paris de musique et de danse. She joined Scottish Ballet in 2003 and was promoted to Principal in 2008.

Tomomi Sato was born in Nagoya, Japan, and trained at the Royal Conservatory and The Hague.

She joined Scottish Ballet in 2000 and has been a Principal since 2005.

Song of the Earth (1965) Kenneth MacMillan created Song of the Earth for Stuttgart Ballet in 1965 at the invitation of Artistic Director John Cranko. Set to Mahler’s song cycle Das Lied von der Erde, the lyrics to which were freely translated from a collection of 8th century Chinese poems offering bittersweet reflections on human emotion, Song of the Earth explores man’s struggle to accept mortality, with the Messenger of Death stalking the action throughout, and the hope and renewal that come with death.

Adam Blyde was born in London and trained at Royal Ballet School. He joined Scottish Ballet in 2003 and was promoted to Principal in 2008.

Erik Cavallari was born in Brescia, Italy, and trained at Associazione Balletto Classico. He joined Scottish Ballet in 2001 and has been a Principal since 2004.

Soloists

Scottish Ballet Scottish Ballet is Scotland’s national dance company. The company performs across Scotland, the U.K. and abroad, with strong classical technique at the root of all of its work. The broad repertoire includes new versions of the classics, seminal pieces from the 20th century modern ballet canon, signature pieces by living choreographers and new commissions.

Scottish Ballet provides a comprehensive education and outreach program to complement its production and touring activity.

Education initiatives and classes include work with people of all ages and abilities, and Scottish Ballet’s Associate Program encourages young dancers to train for a career in the industry. As part of this commitment to broadening audiences, Scottish Ballet was the first dance company in the U.K. to offer live audio-description for the visually impaired and maintains a program of regular audiodescribed performances today.

In 2009, Scottish Ballet moved to its purpose-built home at the Tramway complex in Glasgow, creating a production and presentation facility of a scale and artistic mix unrivaled in the U.K.

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Program Notes

Eve Mutso was born in Tallinn, Estonia, and trained at Tallinn Ballet School. She joined Scottish Ballet as a Soloist in 2003.

Luke Ahmet was born in London and trained at Royal Ballet School. He joined Scottish Ballet in 2004 and was promoted to Soloist in 2011.

Christopher Harrison was born in Kippen, Scotland, and trained at Dance School of Scotland and Royal Ballet Upper School. He joined Scottish Ballet in 2005 and was promoted to Soloist in 2009.

Coryphée Laura Joffre was born in Perpignan, France, and trained at L’Ecole Nationale de Danse de Marseille and Paris Opera Ballet School. She joined Scottish Ballet in 2010.

Quenby Hersh was born in California and trained at Southland Ballet Academy and Royal Ballet School.

She joined Scottish Ballet in 2006 and was promoted to Coryphée in 2011. Quenby is sponsored

by Brooks Brothers, supported by Arts and Business Scotland.

Coryphée continued on page 7

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Coryphée continued Sophie Laplane was born in Paris and trained at Paris Opera Ballet School and Conservatoire National Superieur de Paris de musique et de danse.

She joined Scottish Ballet in 2004 and was promoted to Coryphée in 2011.

Eva Lombardo was born in Rome and trained at Accademia Nazionale di Danza. She joined Scottish Ballet in 2011.

Kara McLaughlin was born in Irvine, Scotland, and trained at Dance School of Scotland. She joined Scottish Ballet in 1996 and was promoted to Coryphée in 2007. Kara is sponsored by Reid, supported by Arts and Business Scotland.

Luciana Ravizzi was born in Buenos Aires, Argentina, and trained at Royal Ballet School. She joined Scottish Ballet in 2002 and was promoted to Coryphée in 2009. Luciana is sponsored by Baillie Gifford.

Daniel Davidson was born in Edinburgh, Scotland, and trained at Millennium Dance and Dance School of Scotland. He joined Scottish Ballet in 2005 and was promoted to Coryphée in 2009.

William Smith was born in Virginia and trained at Joffrey Ballet. He joined Scottish Ballet in 2004.

Artists

Owen Thorne was born in New Orleans and trained at San Francisco Ballet School, Nashville Ballet and Central Pennsylvania Youth Ballet. He joined Scottish Ballet in 2009 and was promoted to Coryphée in 2011. Owen is sponsored by Brooks Brothers.

Noëllie Conjeaud was born in France and trained at Paris Opera Ballet School. She joined Scottish Ballet in 2011.

Brenda Lee Grech was born in Zejtun, Malta, and trained at Johane Casabene Dance Conservatoire and Scuola di Ballo del Teatro alla Scala. She joined Scottish Ballet in 2008.

Amy Hadley was born in West Midlands, England and trained at Birmingham Royal Ballet Associates and the Royal Ballet School. She joined Scottish Ballet in 2006.

Bethany Kingsley-Garner was born in Devon, England, and trained at Royal Ballet School. She joined Scottish Ballet in 2007. Bethany is sponsored by The Daily Telegraph.

Laura Kinross was born in Queensland, Australia, and trained at Ransley Gold Coast Youth Ballet and English National Ballet School. She first danced with Scottish Ballet in 2009 and joined in 2010.

Katie Webb was born in Worcester, England, and trained at Tring Park School for the Performing Arts. She first danced with Scottish Ballet in 2009 and joined in 2010.

Remi Andreoni was born in Toulouse, France, and trained at a private school in Toulouse. He joined Scottish Ballet in 2010.

Lewis Landini was born in West Yorkshire, England, and trained at Central School Of Ballet.

He joined Scottish Ballet in 2007.

Jamiel Laurence was born in London and trained at Tring Park School and the Central School of Ballet. He first danced with Scottish Ballet in 2009 and joined in 2010.

Andrew Peasgood was born in Lincolnshire, England, and trained at the Royal Ballet School.

He joined Scottish Ballet in 2010.

Constance Devernay was born in Amiens, France, and trained at Rosella Hightower’s School in Cannes and English National Ballet School. She first danced with Scottish Ballet in 2008 and joined in 2009.

Teun van Roosmalen was born in Uden, The Netherlands, and trained at the Royal Conservatoire. He joined Scottish Ballet in 2010.

Nathalie Dupouy was born in Paris and trained at L’Ecole Nationale Supérieure de Danse de Marseille.

She joined Scottish Ballet in 2005.

Victor Zarallo was born in Barcelona and trained at Institut del Theatre, John Cranko School and Royal Ballet Upper School. He first danced with Scottish Ballet in 2008 and joined in 2009.

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In memoriam

Earl Corin Coralie F. & F. Earl Corin

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wo of the benefactors of the Mondavi Center, the couple Coralie F. & F. Earl Corin, are long-time Roseville residents and natives of California. Corin Courtyard, a space just outside the Mondavi Center, is named because of their generous support.

Coralie is the great-granddaughter of the Sacramento Valley pioneer Elizabeth Jane Crawford Atkinson, who brought Coralie’s grandfather, Walter F. Fiddyment, with her in 1854 at the age of one year from Joliet, Illinois, across the Isthmus of Panama to be with her sisters in Walnut Grove after her young husband had been murdered. Elizabeth Jane was “a well-informed and most estimable woman,” who settled a large ranch west of Roseville in 1856, “all of which was devoted to stock raising and general farming.”

Coralie’s grandfather, Walter F. Fiddyment, was a teacher, banker, retailer and one of the original founders and stockholders of the Roseville Telephone Company (now Surewest). Her father, Russell F. Fiddyment, established himself on the Roseville property, Fiddyment Ranch, as a successful sheep and turkey rancher, also raising cattle and wheat. Her mother, Cora S. Fiddyment, was

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raised in Chico and became a teacher and an established Christian Science Practitioner in Sacramento until her passing in 1992 at the age of 103.

Coralie, the fourth of four children, was educated at Roseville High School, the Principia in Elsah, Illinois and UCLA. She was a member of the Junior League of Sacramento and of Alpha Phi Sorority at UCLA. Frederick Earl, born 85 years ago on July 10, 1925, in Hollywood as the second of four children of Fred M. and Florence Corin, passed away on June 12, 2011.

Coralie and Earl’s three children are Charlene (married to Walter Brunner in Chur, Switzerland), Camela (Dave Labhard in Sacramento) and John Corin (Dana Jones in Roseville), and their eight grandchildren are Karin, Nina Cantieni-Brunner, Simon Brunner, Sarah Labhard Watkins, Chris Labhard and Dustin, Ben and Elena Corin.

Earl Corin was educated at USC and UCLA, where he played basketball for John Wooden in his first year of coaching. He was a member of Kappa Sigma fraternity. He is a Navy veteran of World War II, as a radarman deployed in the South Pacific from 1943-46.

Earl was honored to have been named a Paul Harris Fellow of the Rotary Foundation of Rotary International. He was a member of the Auburn Rotary Club from 1995 until his death.

Earl’s service to the public was paramount in his life. He was elected to the office of Placer County Treasurer/Tax Collector in 1959 until 1993.

He also served as president of numerous service organizations.

Earl Corin was proud to have been commended in 1968 by former Vice President Hubert Humphrey and Presidential candidate Richard Nixon for being the first Californian to be elected president of the National Association of County Treasurers and Finance Officers.

Furthermore, he received commendation from President Ronald Reagan in 1983 for being the first person in Placer County government to have been elected as President of the California State Association of Local Elected Officials. He also received a commendation in 1993 from California Governor Pete Wilson for completion of 34 years serving Placer County and its residents.

Ashley Page (artistic director) was born in Rochester, Kent, England. Page joined the Royal Ballet School after having trained in his hometown. After joining the Royal Ballet in 1976, he worked with choreographers such as Frederick Ashton, Kenneth MacMillan, Glen Tetley and Richard Alston. Although his subsequent encounter with modern dance was a revelation, he never refuted ballet.

In 1984, the year he was promoted to Principal Dancer, Page created A Broken Set of Rules for the Royal Ballet. By the end of the 1980s, he had created dances for several other companies: Rambert Dance Company, Second Stride, Western Australian Ballet, Turkuaz Modern Dance Company and the Dutch National Ballet. Each collaboration enhanced the investigation of new formula, which, in turn, informed the creation of works such as Pursuit (1987), Bloodlines (1990), Fearful Symmetries (1994), Ebony Concerto (1995), Sleeping with Audrey (1996), Two-Part Invention (1996), Room of Cooks (1997) and Cheating, Lying, Stealing (1998). The collaboration with cutting-edge artists such as Michael Nymam, Orlando Gough, John Adams, Howard Hodgkin, Deanna Petherbridge, John Morrell and Antony McDonald is one of the most evident traits of his dance making, together with a vibrantly multilayered choreographic style.

Such signature features are at the core of his artistic directorship for Scottish Ballet, which he took in 2002. Works by Balanchine, Ashton, Alston, Robbins, Brown, Petronio and Forsythe are presented along with his own works and his successfully modernist takes on classics such as The Nutcracker (2003), Cinderella (2005), The Sleeping Beauty (2007) and Alice (2011). Page received an OBE for his service to dance in 2006.

Paul Tyers (deputy artistic director) was born in Leicester and trained at the Rambert and Royal Ballet Schools. During his time as a Principal dancer with Scottish Ballet, Paul danced many leading roles for the Company. He subsequently became Répétiteur and then Ballet Master in 1986. Paul was promoted to the role of Assistant Artistic Director in 2002 and Deputy Artistic Director in 2005.

In addition to his role at Scottish Ballet, Paul was appointed Artistic Director of the BA in Modern Ballet course at the Royal Scottish Academy of Music and Drama in 2009.

Maria Jimenez (ballet mistress) obtained a degree in Classical Dance from the Royal Academy of Dramatic Art and Dance of Madrid, while training at the School of Dance Maria De Avila in Zaragoza, where she subsequently taught from 1991 to 2001. She then studied for a certificate in HE in Contemporary Dance at London Contemporary Dance School and Benesh Notation at the Benesh Institute where she graduated as a Professional Notator with Distinction in 2005. In the meantime, she became Ballet Mistress and Répétiteur for Ballet Zaragoza in 2004, before joining Scottish Ballet in 2005.

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Artistic Staff

Hope Muir (ballet mistress) was born in Toronto. Muir was a founding member of Peter Schaufuss’s London Festival Ballet School.

Upon graduation she joined the company (now English National Ballet) where she danced numerous soloist and principal roles. In 1994, Muir joined Rambert Dance Company with the appointment of Christopher Bruce CBE. There, she danced a wide variety of repertoire from some of the most prolific choreographers of our time, including Ek, Kylián, Naharin, Tharp, Tetley, De Frutos, Cunningham and more than a dozen Bruce works. After 10 years with RDC, she moved to Hubbard Street Dance Chicago and expanded her repertoire to include Forsythe, Duato and Lubovitch amongst others. After a 19-year career, Muir retired from performing and holds a diploma from the Royal Academy of Dance (PDTD) and coaches both classical and contemporary technique. She assists Christopher Bruce CBE with the setting of his work internationally and recently worked as Guest Rehearsal Director for both Crystal Pite at the National Ballet of Canada and Emily Molnar at Ballet British Columbia.

Muir joined Scottish Ballet as Ballet Mistress in 2009.

Kings 2 Ends Jorma Elo (choreography) is one of the most sought-after choreographers in the world.

Elo, who was named Resident Choreographer of Boston Ballet in 2005, was singled out as a talent to follow by Anna Kisselgoff in her 2004 Year in Review for The New York Times.

It was an astute observation. He has since created numerous works in the U.S. and internationally, including Slice to Sharp for New York City Ballet, Glow-Stop and C. to C. (Close to Chuck) for American Ballet Theatre, Double Evil for San Francisco Ballet, Carmen for Boston Ballet, A Midsummer Night’s Dream for Vienna State Opera Ballet, Pur ti Miro for National Ballet of Canada, 10 to Hyper M for Royal Danish Ballet and Offcore for Finnish National Ballet. His From All Sides debuted in 2007 for Hubbard Street Dance Chicago to a commissioned score from Chicago Symphony Orchestra’s Mead Composer-in-Residence Mark Anthony Turnage, and the piece was conducted by Maestro Esa-Pekka Salonen.

Elo trained with the Finnish National Ballet School and the Kirov Ballet School in Leningrad. Prior to joining Netherlands Dance Theatre in 1990, he danced with Finnish National Ballet from 1978-84 and Cullberg Ballet from 1984-90.

For Boston Ballet, Elo has created six world premieres: Sharp Side of Dark (2002), Plan to B (2004), Carmen (2006), Brake the Eyes (2007), In On Blue (2008) and Le Sacre du Printemps (2009).

Elo has received commissions from Netherlands Dance Theatre 1, Basel Ballet, Houston Ballet, Royal Danish Ballet, Norwegian National Ballet, Finnish National Ballet, Royal Ballet of Flanders, Stockholm 59° North, Alberta Ballet, Staatstheater Nurnberg, Aspen Santa Fe Ballet, Ballet X, Stuttgart Ballet and Pennsylvania Ballet. He is also a skilled designer of costumes, lighting and video effects for his ballets.

The 2005 Helsinki International Ballet Competition awarded Elo a choreographic prize, and he is the recipient of the Prince

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Charitable Trust Prize and the Choo-San Goh Choreographic Award in 2006. Dance magazine (April 2007) featured Elo on its cover with a corresponding article, Pointe named him a Dance VIP of 2006 and Esquire named him a Master Artist in 2008.

In 2011, Elo won the prestigious Benois de la Danse prize for best choreography of 2010 in Moscow. Elo was nominated for his production of A Midsummer Night’s Dream, commissioned

by Vienna State Opera Ballet, and Slice to Sharp, a new version of the ballet created for the Ballet Company of Stanislavsky and Nemirovich-Danchenko Music Theatre.

Wolfgang Amadeus Mozart (composer) was born January 27, 1756, in Salzburg. Son of the violinist and composer Leopold Mozart (1719–87), Mozart was born the year of the publication of Leopold’s best-selling treatise on violin playing. He and his older sister, Maria Anna (1751–1829), were prodigies; at age five he began to compose and gave his first public performance.

From 1763, Leopold toured throughout Europe with his children, showing off the “miracle that God allowed to be born in Salzburg.”

The first round of touring (1763–69) took them as far as France and England, where Wolfgang met Johann Christian Bach and wrote his first symphonies (1764). Tours of Italy followed (1769–73); there he first saw the string quartets of Joseph Haydn and wrote his own first Italian opera. In 1775–77, he composed his violin concertos and his first piano sonatas. He returned to Salzburg as cathedral organist and in 1781, wrote his opera seria Idomeneo. Chafing under the archbishop’s rule, he was released from his position in 1781; he moved in with his friends the Weber family and began his independent career in Vienna. He married Constanze Weber, gave piano lessons and wrote The Abduction from the Seraglio (1782) and many of his great piano concertos.

The later 1780s were the height of his success, with the string quartets dedicated to Haydn (who called Mozart the greatest living composer), the three great operas on Lorenzo Da Ponte’s librettos—The Marriage of Figaro (1786), Don Giovanni (1787) and Così fan tutte (1790)—and his superb late symphonies. In his last year he composed the opera The Magic Flute and his great Requiem (left unfinished). His death at age 35 may have resulted from a number of illnesses; among those that have been suggested are military fever, rheumatic fever and Schönlein-Henoch syndrome.

No other composer left such an extraordinary legacy in so short a lifetime.

Steve Reich (composer), recipient of the Pulitzer Prize for 2008, has been called “America’s greatest living composer” by The Village Voice, “the most original musical thinker of our time” by The New Yorker and “among the great composers of the century” by The New York Times.

His music has been influential to composers and mainstream musicians all over the world. He is a leading pioneer of minimalism, having in his youth broken away from the establishment that was serialism. His music is known for steady pulse, repetition and a fascination with canons; it combines rigorous structures with propulsive rhythms and seductive instrumental color. It also embraces harmonies of non-Western

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and American vernacular music (especially jazz). His studies have included the Gamelan, African drumming (at the University of Ghana) and traditional forms of chanting the Hebrew Scriptures.

Different Trains and Music for 18 Musicians have each earned him Grammy Awards, and his documentary video opera works—The Cave and Three Tales, done in collaboration with video artist Beryl Korot—have pushed the boundaries of the operatic medium. Over the years his music has significantly grown both in expanded harmonies and instrumentation, resulting in a Pulitzer Prize for his 2007 composition, Double Sextet. In 2008, Reich wrote his first piece for rock band set-up, 2x5, which premiered on the opening night of Manchester International Festival on a double-bill with German electronic music legends Kraftwerk. Reich is published by Boosey & Hawkes.

Yumiko Takeshima (costume design) was born in Asahikawa, Japan. She has performed as a principal dancer with Universal Ballet, Alberta Ballet, Feld Ballet NY and Het National Ballet and is currently Principal dancer with Dresden Semper Oper Ballet.

In 2002, she founded dancewear company YUMIKO and continues to design for it. She has designed costumes for Dawson’s A Million Kisses to my Skin, The Grey, 00:00, Morning Ground and Gentle Chapter (all Het National Ballet), Reverence (Marinsky Ballet), The Disappeared, Giselle and The World According to Us (Semper Oper Ballet), Sweet Spell of Oblivion and The Third Light (Royal Ballet of Flanders), A Million Kisses to my Skin and Faun(e) (English National Ballet), Dancing Madly Backwards (Norwegian National Ballet) and On the Nature of Daylight (gala piece). She has also designed for Jorma Elo’s Golden Partita (Basel Ballet) and Suit Murder (Finnish National Ballet), William Forsythe’s The Second Detail (Semper Oper Ballet), Krzysztof Pastor’s And the Rain Will Pass (Polish National Ballet) and Annabelle Lopez Ochoa’s Solitaire (Het National Ballet).

Jordan Tuinman (lighting and scenic design) was born in Rotterdam. Tuinman’s career began with a traineeship at Netherlands Dance Theatre’s technical department in 1999. He toured the world with all three NDT companies as a lighting technician, and was named Senior Lighting technician for NDT1 in 2003.

During this time, Tuinman worked with renowned choreographers Jiri Kylian, Hans van Manen, Lightfoot León and Ohad Naharin and designed lighting for various NDT workshops and Jorma Elo’s 1st Flash and Plan to A. Between 2005-07, Tuinman worked as stage manager and DSM when major Disney Broadway musicals The Lion King and Tarzan were performed in Holland. Since 2007, when Aspen Santa Fé Ballet performed 1st Flash, he has worked as a freelance lighting designer for companies including Royal New Zealand Ballet, Ballet BC, Croatian National Ballet, Ballet Basel and several theater and opera companies in The Netherlands.

Nancy Euverink (choreographer’s assistant) trained at the Ballet Academy of the Royal Conservatory in The Hague and Boston Ballet. In 1986, she was a Prix de Lausanne finalist and in the same year performed with Boston Ballet 2 and Boston Ballet. She joined Nederlands Dans Theatre II in 1987 and NDT I in 1989 and retired from the stage in 2007.

Euverink has had roles created on her and performed works by renowned choreographers such as Jirí Kylián, Mats Ek, William Forsythe, Ohad Naharin, Nacho Duato, Jorma Elo and Lightfoot León. She has created numerous ballets for Nederland Dans Theatre’s annual Choreographic Workshop, also creating her own sound designs, of which one was used in Jorma Elo’s Brake the Eyes for Boston Ballet. In March 2011, for Boston Ballet’s Elo Experience, Euverink created the sound design Tchaibits.

She has acted as ballet master with the Nederlands Dans Theatre for Jirí Kylián’s Petite Mort and Whereabouts Unknown and has assisted Lightfoot León in setting work for Norwegian National Ballet and Ballet Mainz. She has assisted Jorma Elo with the creation of several works at the Hubbard Street Dance Company, American Ballet Theater, San Francisco Ballet, Royal Danish Ballet, Norwegian National Ballet, Boston Ballet, Vienna State Opera Ballet, National Ballet of Canada, Stuttgart Ballet and Gothenburg Ballet, as well as staging Plan to A (Royal New Zealand Ballet and Ballet Basel) and Slice to Sharp (Stanislavski Ballet). She has also worked with Ballet Basel, Lyon Opera Ballet, National Ballet of Finland and State Ballet of Georgia acting as ballet master for Jirí Kylián.

Euverink received the award of achievement by Dancers-Foundation ’79 in January 2005. As of September 2011, she is Artistic Director of the Ballet Academy of the Royal Conservatory in The Hague.

Song of the Earth Sir Kenneth MacMillan (choreography) was born in Dunfermline on December 11, 1929.

MacMillan grew up in Great Yarmouth where he took lessons from Phyllis Adams. Training at at Sadler’s Wells (now Royal) Ballet School, he became a founder member of the Sadler’s Wells Theatre Ballet, for which he made his first experimental workshop ballets. Their success and their promise led Ninette de Valois to commission the Stravinsky ballet Dances.

MacMillan then danced with the Covent Garden Company, returning to Sadler’s Wells eventually abandoning dancing for choreography, and in The Barrow, he discovered the dramatic gifts of Lynne Seymour, who was to become his muse.

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scottish ballet

Other lighting design credits include Verdi Codes, Swan Lake, Running Red, La Traviata, Red Sweet, Boléro, Charlie and the Chocolate Factory, Carmen, A Song in the Dark, Silhouette, Milk & Honey, Alice in Wonderland, Giselle, Air, Spectre de la Rose, Golden Partita, La Valse, several remakes of both 1st Flash and Plan to A and gala performances including soloists from the Ballet Opéra de Paris, the Royal Ballet London and the Bolshoi Ballet Moscow.

During a period of remarkable creativity he created plotless ballets like Diversions and Symphony to big company works such as The Rite of Spring and Romeo and Juliet. MacMillan’s first full-length ballet was created in 1965 for Seymore and Christopher Gable, followed by Anastasia, Manon, Mayerling, Isadora and The Prince and the Pagodas.

MacMillan also created ballets in Stuttgart, served as Director of Ballet at the Deutsche Oper Berlin and was Artistic Associate of Houston Ballet. He directed plays and worked on award-winning television productions. His last choreography was for the National Theatre’s Carousel for which he won the Tony Award on Broadway.

He was much honored for his services to British ballet, culminating in his knighthood in 1983. In 1993, he was given a special Laurence Olivier Award for lifetime achievement.

MacMillan died in 1992. He is survived by his widow, the artist Deborah MacMillan, who realized the company’s new production of Anastasia in 1996 and is responsible for all revivals of his ballets.

Gustav Mahler (composer) was born in Kalist, Bohemia. In 1875, he was admitted to the Vienna Conservatoire where he studied piano under Julius Epstein. Subsequently, Mahler attended lectures given by Anton Bruckner at Vienna University. His first major attempt at composition came with Das Klagende Lied, which he entered in a competition as an opera (he later turned it into a cantata). However, he was unsuccessful, and turned his attention to conducting. After his first conducting job at Bad Hall, he took posts at a succession of increasingly larger opera houses. He then secured his first longterm post at the Hamburg Opera in 1891, where he stayed until 1897. He completed his Symphony No. 1 and the Lieder aus Des Knaben Wunderhorn during this period.

In 1897, Mahler converted from Judaism to Roman Catholicism in order to secure a post as artistic director of the prestigious Vienna Opera (Jews were virtually prohibited from holding the post at that time). For the next 10 years he stayed at Vienna, where he was noted as a great perfectionist. He ran the Opera for nine months of the year, spending the other three composing—he composed his symphonies two through eight. In 1907, he discovered he had heart disease, and he lost his job at Vienna, hounded out by a largely anti-Semitic press after trying to promote his own music, which was not well received on the whole. Indeed, not until the performance of his Symphony No. 8 in 1910 did Mahler have a true public success with his music. The pieces he wrote after that were not performed in his lifetime.

In 1907, Mahler received an offer to conduct the Metropolitan Opera in New York. He conducted a season there in 1908 and became conductor of the newly formed New York Philharmonic Orchestra the following year. Around this time, he completed Das Lied von der Erde and the Symphony No. 9, which turned out to be his last completed work. During his last visit to America in 1911, he fell seriously ill and was taken back to Vienna at his request. He died there from blood poisoning in May 1911 in Vienna.

MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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His designs for the ballet include Kenneth MacMillan’s Danses Concertantes, House of Birds, Noctambules, Agon, The Burrow, The Invitation, Las Hermanas, Song of the Earth, Manon, Mayerling, Orpheus (for The Royal Ballet), Benjamin Britten’s Prince of the Pagodas (for the Royal Opera House), Swan Lake (for the Berlin Opera House), Nureyev’s production of The Nutcracker, The Tempest and MacMillan’s production of Manon (for the Royal Ballet and the Paris Opera Ballet), Swan Lake (Vienna State Opera House), The Sleeping Beauty (La Scala, Milan, National Ballet of Canada, Vienna State Opera and London Festival Ballet), Raymonda (American Ballet Theatre, Zurich Opera House and Paris Opera Ballet), Manfred (Zurich Opera House), Don Quixote (Zurich, Berlin and Paris Opera Houses and International Ballet Festival, Boston) and Lynn Seymour’s Intimate Letters (Sadler’s Wells Royal Ballet).

Georgiadis’s designs for Orpheus and The Tempest won the London Evening Standard Ballet Award for the most outstanding achievement in 1982. Georgiadis’s designs for opera include Aida and The Trojans (Royal Opera), Medea (Frankfurt Opera House), Anna Bolena (Athens Opera House) and Don Giovanni (Athens Festival). He also designed for Aix-en-Provence Festival Mozart’s La Clemence de Tito and last year Chillea’s Adriana Lecouvreur for the Athens Opera. His designs for plays include Lysistrata (Royal Court), Montherlant’s La Reine Morte (Oxford Playhouse), Julius Caesar (Old Vic), Antony and Cleopatra (Prospect Theatre Company), All for Love (Prospect), Captain Brassbound’s Conversion (Haymarket) and more recently Pirandello’s As You Desire Me (for which he received the Carlos Koun Prize) and Schintzler’s Anatol. His costume designs for films include Euripides’s The Trojan Woman and the reconstruction of the Ballets Russes designs for Nijinksy. Georgiadis received the CBE at the 1984 Birthday Honours. He died in 2001.

John B Read (lighting design) was for 24 years lighting consultant to the Royal Opera and the Royal Ballet companies. He is largely responsible for establishing lighting as an integral part of dance presentation through his work with most major classical and contemporary ballet companies on four continents, including dance companies in Berlin, Paris, Stockholm, Milan, Australia and throughout North America.

Theater lighting in London includes Kafka’s The Trial at the National Theatre and On Your Toes, Song and Dance and Ibsen’s Ghosts in the West End.

He was lighting designer for several Britten premieres with the English Music Theatre and Opera groups; he lit many Royal Opera productions including Der Ring Der Niebelungen. Much of his dance work has been televised and is available on video and DVD.

scottish ballet

Nicholas Georgiadis (design) was born in Greece and in 1953 went to England. He studied architecture in Athens, New York, and the Slade School of Fine Art in London, where he went on to lecture on stage design.

he worked as a dance notator with Scottish Ballet and SWRB. In 1987, he was invited to join the Royal Ballet as its Principal Notator.

He has worked with many choreographers including Balanchine, MacMillan, Ashton, Darrell and Bintley, reproducing ballets for many companies abroad including Paris Opera Ballet, National Ballet of Canada, ABT, San Francisco Ballet, Boston Ballet, Bavarian State Opera Ballet, Hamburg Ballet, National Ballet of Hungary and La Scala Ballet, Milan. In 2008, he was made a Fellow of the Institute of Choreology.

Donald MacLeary (répétiteur) was born in Glasgow. He joined the Royal Ballet School at age 13 having had no ballet training at all. Three years later he joined the Sadler’s Wells Theatre Ballet, becoming a Soloist in 1954 and transferring to the main Covent Garden Company as a Principal in 1959.

Renowned as a danseur noble and an exemplary partner, his many principal roles included acclaimed performances in Romeo and Juliet, The Firebird, Cinderella, Song of the Earth and Symphonic Variations, and he partnered Margot Fonteyn, Svetlana Beriosova and Natalia Makarova among others. He was appointed Ballet Master in 1975, a post he retained until 1979, when he left to resume his dancing career as a guest with Scottish Ballet and other companies. He returned to the Royal Ballet as Répétiteur in 1981 and was appointed Répétiteur to the Principal Artists in 1985.

He returned to the stage as Catalabutte in Natalia Makarova’s The Sleeping Beauty in 2003. He retired in 2002 and continues to work as Guest Principal Répétiteur.

Scottish Ballet Staff Chief Executive/Executive Producer Artistic Director Ballet Mistress Ballet Mistress Company Manager Technical Manager Production Manager Chief Electrician Stage Manager Deputy Stage Manager Wardrobe Mistress Assistant Wardrobe Mistress

Cindy Sughrue Ashley Page Maria Jimenez Hope Muir John Aitken George Thomson Tim Palmer Matthew Strachan Susan May Hawley Sheelagh McCabe Mary Mullen Joanna McLean

Kings 2 Ends costumes made by Jackie Hallatt, Suzanne Parkinson and Brigitte Houston.

Headdresses made by Linda Rowland.

Song of the Earth costumes made by Scottish Ballet Wardrobe.

Masks by Robert Allsopp.

Dyeing by Gabrielle Firth.

Tights by Klaus Schreck.

Song of the Earth scenery constructed and painted by Scottish Opera.

Grant Coyle (répétiteur) was born in Australia and attended the Australian Ballet School and danced with companies in Australia and Germany. In 1976, he moved to London where he trained at the Institute of Choreology. After graduating in 1978, Printed on recycled paper. Please recycle this playbill for reuse.

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

k.d. lang and the Siss Boom Bang with Teddy Thompson A Mondavi Center Special Event Thursday, October 20, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis There will be one intermission.

Sponsored by

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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k.d. lang and the siss boom bang

k.d. lang and the Siss Boom Bang k.d. lang Joe Pisapia Daniel Clarke Fred Eltringham Joshua Grange Lex Price

k.d. lang and the Siss Boom Bang “I love going where I’m not supposed to go. I love being the underdog, I’ve always loved being the underdog. I love feeling like I’m starting at square zero again. I thrive on it,” says k.d. lang.

She’s talking about touring with her new band, the Siss Boom Bang, and the prospect of playing in some fresh settings, but the sentiment could just as well describe the making of Sing it Loud, her first record made entirely with a band of her own since the pair of albums with the Reclines that launched her career.

Highlights from those early cow-punk recordings were collected in Reintarnation (2006) while Recollection (2010) showcased the broad range of styles she explored thereafter. Last year, as she celebrated the 25th anniversary of her recording debut, lang found herself being pulled back to square zero, yearning to hear country music at sound checks and longing for the richly collaborative experience that comes from being part of a band.

“I always felt like there was a part of me that wanted to continue the cow-punk thing,” says lang, who has won four Grammy Awards in the U.S. and eight Juno Awards in her native Canada.

“But I didn’t want to push it. It’s something that has to arise naturally. And this was just the year. I felt it in the back of my soul. I kept thinking I was going to find this guitar player who was a lyricist and more rock-oriented. And then Joe appeared.”

Sensing the direction she was headed in, Gord Reddy, a member of lang’s road crew, arranged for her to meet Joe Pisapia when she played Nashville’s Ryman Auditorium. “The second I laid eyes on him, I just instantly felt something,” she recalls. After the tour, she emailed Joe and he sent her some material. She felt an immediate connection and jumped on a plane to Nashville—a highly uncharacteristic move for lang, who admits, “I’m usually more deliberate and premeditated than that.” They met for coffee and before the day was out, the pair had written two songs for the album, “The Water’s Edge” and “Perfect Word.”

“I just really struck gold when I found Joe,” marvels lang, who co-produced Sing it Loud with him. “When he writes, that boy will go off like a kid. When you write from a place of naïveté or childlike expression, it’s the best because it erases the restraints of self-consciousness. Generally you pre-edit yourself, but he erases that. There’s a freedom, a liberty.”

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Vocals, Guitar Guitar, Backing Vocals Keyboards, Backing Vocals Drums, Backing Vocals Guitar, Pedal Steel Guitar, Backing Vocals Bass

Finding Pisapia, who also plays numerous instruments on the album and serves as the Siss Boom Bang’s musical director, was just the first in a string of serendipitous moments that nudged lang along on her new journey. Guitarist Joshua Grange and keyboardist Daniel Clarke had played with lang on the tour for Watershed, her last studio album, which bowed in the Top 10 of the Billboard 200 in 2008. She knew they would suit her new project. “They’re extraordinarily talented—and good looking, too,” she says with a smile.

Pisapia brought in bassist Lex Price, but they were still in search of a drummer. Clarke suggested Fred Eltringham (The Wallflowers), whom he had been working with, and the band was complete. The sessions began over Fourth of July weekend at Middletree Studios in Nashville, marking the first recordings at Pisapia’s new backyard studio. They planned on just tracking three songs that lang had written with Grange and Clarke—“I Confess,” “Habit of Mind” and “Sorrow Nevermore”—but wound up recording eight tracks in a mere three days.

“The second the band walked in, the energy was palpable,” remembers lang. “This music called for the immediacy, rawness, and communication that happens when it goes down live. To me, live off the floor vocally is where I feel my most confident because, again, the editor’s not there. You’re completely coming from a spontaneous place where you have to perform. Tony Bennett and I recorded Wonderful World live off the floor and Drag was pretty much done the same way. When you’re given the opportunity to just record a moment, that’s ultimate for me.”

She found the environment conducive to exploring new ways of singing. “It was like being given wings,” she says. “I could go from an extraordinarily soft, vulnerable sounding vocal technique to really loud, almost shouting. To have a vocal situation that can handle that sort of dynamic is rare.”

As she traded the finely calibrated subtleties of her recent work for a more visceral approach, it seemed only natural to make “Sing it Loud,” a song Pisapia had written several years ago, the title track.

“I think we all feel like outsiders,” observes lang. “Part of us feels like we really don’t fit in anywhere, and I think that’s great. That part of us should be celebrated.”

After the album was mixed, lang gave a copy to her best friend, asking for feedback. Her friend’s take on it: “It starts off like a k.d. lang record. You’re thinking: ‘this is a beautiful, typical k.d. lang record’—and then, siss, boom, bang, the band kicks in!” It was another a-ha moment for lang, who realized the phrase described her new band to a T.

In the course of making Sing it Loud, lang and Pisapia frequently swapped song ideas via their iPhones. While working together on a chord progression one day, lang suddenly remembered their exchange about another potential song, “Sugar Buzz.” She pulled out her phone, started singing the lyrics they had been texting back and forth, and everything just came together. From the lighthearted “Sugar Buzz,” which likens a lover to the rush that comes from consuming too much sugar, to the wordplay of “Habit of Mind” to the striking version of Talking Heads’ “Heaven,” Sing it Loud is infused with warmth and humor.

“It’s one of those things I had nothing to do with. It was really a magical instant where you’re just part of it,” says lang. “I would have to say that Sing it Loud is actually probably the pinnacle of my creative life because it happened so fast, so naturally and with so much joy.”

“It’s just music. I think I took it so seriously at certain points in my life that it took away the joy and the spontaneity,” she says.

“That’s what I’m talking about when I say ‘I’ve lost my edge’ in ‘Habit of Mind.’ I always felt like there was a huge portion of k.d. lang that was based in humor and somehow I kind of forgot that truckload. Now I’ve found it again.”

www.facebook.com/kdlang

k.d. lang and the siss boom bang

The collection kicks off with “I Confess,” which is the lead single.

“I’d been feeling a big connection to my Roy Orbison days. Roy’s music left an indelible mark on me and I really wanted to write a song that had that kind of Orbison swagger, but take it a bit more to the contemporary side,” explains lang, who won the first of her four Grammy Awards for her 1987 duet with Orbison, “Crying.”

www.kdlang.com www.twitter.com/kd_sissboombang

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MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Rising Stars of Opera Resident Artists of the San Francisco Opera Adler Fellowship UC Davis Symphony Orchestra Christian Baldini, music director and conductor Eugene Brancoveanu, baritone

A Mondavi Center Special Event Friday, October 21, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis Individual support provided by Barbara K. Jackson

There will be one intermission.

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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rising stars of opera

Rising Stars of Opera Piano Program of Opera Highlights and Song Works

Members of the San Francisco Opera Adler Fellowship

Allen Perriello, Piano Program will be announced from the stage.

Intermission Overture to I vespri siciliani

Giuseppe Verdi

“Largo al factotum” from Il barbiere di Siviglia

“Wenn mein Schatz Hochzeit macht” from Lieder eines fahrenden Gesellen (Songs of a Wayfarer)

Gioacchino Rossini

Gustav Mahler

“Within this frail crucible of light”

from Act II of The Rape of Lucretia, Op. 37

Benjamin Britten

“Hai già vinta la causa” and “Vedrò mentr’io sospiro” from Act III of Le nozze di Figaro, K. 492

Wolfgang Amadeus Mozart

Program is subject to change.

Program Notes Overture to I vespri siciliani Giuseppe Verdi (Born October 10, 1813, in Busseto; died January 27, 1901, in Milan.)

By the mid-1850s Verdi was one of the most popular musicians in the world, having recently composed the very successful operas Rigoletto, Il trovatore and La traviata. I vespri siciliani (originally titled Les vêpres siciliennes) was commissioned for the Paris Universal Exhibition of 1855, and it is the least performed of all the operas Verdi wrote in the 50 years between Rigoletto and his death in 1901. The story’s action centers on the efforts of 13thcentury Sicily to free itself from the French occupation, with a romantic involvement between members of the opposing sides.

Because of political reasons, the opera was initially not performed much in Italy. At the time of composition Italy was in the midst of its unification, which took place in 1861 when Rome was declared capital of the new kingdom. After this date, many of Verdi’s operas were reinterpreted as Risorgimento works with hidden revolutionary messages. The Risorgimento was the political and social movement that helped Italy become a single unified state. As a result, the motto “Viva VERDI” was used as an acronym for “Viva Vittorio Emanuele Re D’Italia” (long live Victor Emmanuel King of Italy).

The opera is remembered for its very elaborate ballet episode, a 30-minute number called “The Four Seasons,” and for its remark-

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able overture, which the UCDSO is performing tonight. Francis Toye, Verdi’s first English biographer, wrote: “Undoubtedly the best thing about the opera is the overture, perhaps the most successful written by the composer, which is both vigorous and ingenious.”

The overture begins with a very quiet introduction in which the strings ask a simple question; the drum answers in a laconic fashion, after which the winds comment sympathetically. It eventually evolves organically into a very uplifting finale that is as energetic as it is exciting.

—Christian Baldini “Largo al factotum” (“I Am the Busiest Man in Town”) from The Barber of Seville (1816) Gioacchino Rossini (Born February 29, 1792, in Pesaro; died November 13, 1868, in Paris) Count Almaviva is in love with Rosina, ward and prospective bride of the mean and suspicious old Dr. Bartolo, and sings a serenade below her window. Figaro, the Barber of Seville, enters noisily upon the scene with his famous aria, describing the virtues of himself and his profession, and offering his services as jack-of-all trades in arranging a liaison between Almaviva and Rosina.

MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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“Within this frail crucible of light” from Act II of The Rape of Lucretia, Op. 37 (1946) Benjamin Britten (Born November 22, 1913, in Lowestoft, Suffolk, England; died December 4, 1976, in Aldeburgh, Suffolk, England)

Mahler was 23 in 1883 when he was appointed to his first important post: assistant conductor at the Opera House in Kassel.

He took up his new duties late that summer, and soon met another young artist who had also just joined the staff—Johanna Richter, a blue-eyed, flaxen-haired singer who immediately became the center of young Gustav’s attentions. An affair (whose intimate details Mahler gallantly guarded) soon sprang up between conductor and soprano. Each of Mahler’s love affairs was marked by a seething, obsessive emotional turmoil, and this encounter was no different. On New Year’s Day 1885, he wrote to his friend Friedrich Löhr about Johanna, “She is everything that is lovable in this world. I would shed my last drop of blood for her.” His enthusiasm was apparently not fully requited—the affair ran a bumpy course and ended when Johanna refused to marry him.

This bitter personal fruit had the sweet seed of artistic inspiration hidden inside, however, since the first work of Mahler’s maturity, the Lieder eines fahrenden Gesellen (Songs of a Wayfarer) grew directly from his experience in Kassel.

Following the brilliant premiere of Peter Grimes at Covent Garden, London in June 1945, Britten was commissioned by Glyndebourne Opera to write a work suited to the straitened resources of postwar England. He chose as a subject the ancient Roman figure of Lucretia as realized in André Obey’s 1931 play Le Viol de Lucrèce (The Rape of Lucretia), which was worked into a libretto by the English poet, journalist and dramatist Ronald Duncan. Britten scored his opera for a chamber orchestra of 13 players and eight vocal soloists: the Etruscan prince Tarquinius; the Roman generals Collatinus and Junius; Collatinus’s wife, Lucretia; two servants of Lucretia; and a Male Chorus and Female Chorus who comment on the action. In the opera, Tarquinius, Collatinus and Junius are stationed near Rome, but have received word that the wives of all the Roman commanders have been unfaithful to them save only Lucretia. Tarquinius, whom the Male and Female Chorus have recounted “treats the proud city as if it were his whore,” takes Lucretia’s devotion to her husband as a challenge to his wooing, and heads to Rome to “prove Lucretia chaste.” While she sleeps and dreams of Collatinus, Tarquinius steals into her bedroom and sings the aria “Within this frail crucible of light” while the Female Chorus voices her hope for Lucretia not to awake. Tarquinius kisses Lucretia. She responds drowsily, dreaming that it is her husband’s caress, but then she awakens, realizes her danger and tries to fight off Tarquinius. She cannot. After Tarquinius leaves, Lucretia orders her servant to tell Collatinus of the attack. He hurries to his wife, but she says that she cannot live with her shame. She plunges a dagger into her breast and dies.

Mahler wrote his own texts for these songs, modeling them closely on the poems of Des Knaben Wunderhorn (The Youth’s Magic Horn); the early-19th-century collection of German folk poems by Achim von Arnim and Clemens Brentano provided much inspiration for him during the years of his early creative maturity. Like those of the Arnim-Brentano collection, Mahler’s poems are simple, direct expressions of strong emotions, filled with images of nature and country life. This framework allowed Mahler a rich range of moods through the ironic juxtaposition of distraught, modern, civilized man with the sunny, humble joys of peasant life, and he returned to this theme many times throughout his creative life.

The opening song, “Wenn mein Schatz Hochzeit macht” (“My Sweetheart’s Wedding Day”), is divided into three parts, beginning and ending with the same mournful strain. The central section is given over to bright evocations of spring flowers and chirruping birds. It also contains the cycle’s first reference to “blue,” the color of Johanna Richter’s eyes.

rising stars of opera

“Wenn mein Schatz Hochzeit macht” (“My Sweetheart’s Wedding Day”) from Songs of a Wayfarer (1883-85) Gustav Mahler (Born July 7, 1860, in Kalist, Bohemia; died May 18, 1911, in Vienna)

“Hai già vinta” and “Vedrò mentr’io sospiro” (“You’ve Won Your Case Already” and “Am I to See a Lackey of Mine Happy?”) from The Marriage of Figaro, K. 492 (1786) Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) Count Almaviva is determined to force his amorous advances upon Susanna, maid to the Countess. Susanna agrees to a nocturnal assignation with him, but as she leaves their interview, she meets Figaro, her fiancé and the Count’s valet, and tells him that she is arranging a joke on the Count. The Count vows to frustrate his servant’s planned marriage by insisting that Figaro marry the housekeeper Marcellina in lieu of repayment of a debt to her, or by encouraging Antonio, the gardener and Susanna’s uncle, not to give his consent to the union, or through his own ingenuity.

The Count expresses his rage that his servant should gain his heart’s desire while he, a nobleman, should be stymied.

—Dr. Richard E. Rodda

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MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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—Sacramento Magazine (2010)

rising stars of opera

Texts and Translations

Rossini: “Largo al factotum” from The Barber of Seville La ran la lera, la ran la la.

La ran la lera, la ran la la.

La ran la lera, la ran la la.

La ran la lera, la ran la la.

Largo al factotum della città, largo!

I am the busiest man in the town,

La ran la, la ran la, la ran la, la!

La ran la, la ran la, la ran la, la!

Presto a bottega, chè l’alba è già, presto!

Off to my shop I must go at the dawn.

La ran la, la ran la, la ran la, la.

La ran la, la ran la, la ran la, la.

Ah, che bel vivere,

Yes, there’s a livelihood,

Che bel piacere

Yes, there’s a fine trade,

Che bel piacere

No trade so fine!

Per un barbiere, di qualità,

For I’m a barber,

Di qualità!

First in my line!

Ah, bravo Figaro, bravo, bravissimo, bravo!

My name is Figaro, take heed.

La ran la, la ran la, la ran la, la.

La ran la, la ran la, la ran la, la.

Fortunatissimo per verità!

No one to equal me, no one indeed.

La ran la, la ran la, la ran la, la.

La ran la, la ran la, la ran la, la.

Pronto a far tutto, la notte, il giorno

Ready from daylight into the evening,

Sempre d’intorno in giro sta.

That’s what a barber always must be.

Miglior cuccagna per un barbiere,

But of all trades a barber’s the finest;

Vita più nobile, no, non si dà.

There’s not a man more important than me.

La, la ran la, la ran la, la ran la.

La, la ran la, la ran la, la ran la.

Rasori e pettini, lancette e forbici

Brushes and combs for you,

Al mio comando tutto qui sta,

scissors and razors too,

V’è la risorsa poi del mestiere

Patches and powders, best that are made;

Colla donnetta, col cavaliere.

Shave you and blister you,

Ah, che bel vivere,

bleed you and bandage you,

Che bel piacere,

If it’s a case for surgical aid.

Che bel piacere

And I may tell you, I can be useful

Per un barbiere di qualità, di qualità!

To pretty ladies and their admirers!

Tutti mi chiedono, tutti mi vogliono,

Everyone sends for me, everyone calls for me,

Donne, ragazzi, vecchi, fanciulle;

Married or single, youthful or aged;

Qua la parrucca...presto la barba...

Periwig powdered...shave in a hurry...

Qua la sanguigna, presto il biglietto!

Quick with a lancet, quick with a letter!

Figaro, Figaro, Figaro, Figaro!

Figaro, Figaro, Figaro, Figaro!

Ahimè! ahimè! che furia! ahimè! che folla!

And all are so insistent and so impatient!

Uno alla volta per carità!

For mercy’s sake, please, one at a time!

Figaro! son qua.

Figaro! I’m here. continued on page 24

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rising stars of opera

Rossini: “Largo al factotum” from The Barber of Seville continued Ehi, Figaro...son qua,

Hey, Figaro...I’m here,

Figaro qua, Figaro là,

Figaro here, Figaro there,

Figaro qua, Figaro là,

Figaro quick, Figaro slow,

Figaro su, Figaro giù,

Figaro high, Figaro low,

Figaro su, Figaro giù!

Figaro come, Figaro go!

Pronto prontissimo

Lord, how they hurry me,

Son come il fulmine,

Lord, how they flurry me,

Sono il factotum della città, della città!

I am the busiest man in the town, in the town!

Ah, bravo Figaro,

Ah, brave Figaro,

Bravo, bravissimo!

Bravo, bravissimo!

A te fortuna, a te fortuna, a te fortuna

You’ll make your fortune before you have

non mancherà.

done.

La, la ran la, la ran la, la ran;

La, la ran la, la ran la, la ran;

A te fortuna, a te fortuna, a te fortuna non mancherà!

You’ll make your fortune before you have done!

Sono il factotum della città!

I am the busiest man in the town!

Mahler: “Wenn mein Schatz Hochzeit macht” from Songs of a Wayfarer

Wenn mein Schatz Hochzeit macht,

My sweetheart’s wedding day,

Fröhliche Hochzeit macht,

merry wedding day,

Hab ich meinen traurigen Tag!

is a dismal one for me!

Geh ich in mein Kämmerlein,

I go into my little room,

Dunkles Kämmerlein!

my dark little room!

Weine! Wein! um meinen Schatz,

And I weep, I weep for my love,

Um meinen lieben Schatz!

for my dearest love!

Blümlein blau, Blümlein blau!

Little blue flower, little blue flower!

Verdorre nicht, verdorre nicht!

Do not wither, do not wither!

Vöglein süss, Vöglein süss!

Sweet little bird, sweet little bird!

Du singst auf grüner Heide.

You are singing in the green meadow.

Ach! Wie ist die Welt so schön!

Oh, how beautiful is the world!

Ziküht! Ziküht!

Chirp, chirp!

Singet nicht, blühet nicht,

Do not sing, do not blossom,

Lenz ist ja vorbei,

Spring is gone,

Alles singen ist nun aus.

All singing is now over.

Des Abends, wenn ich schlafen geh,

At night when I go to bed,

Denk ich an mein Leide, an mein Leide!

I think of my sorrow, my sorrow!

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rising stars of opera

Britten: “Within This Frail Crucible of Light” from The Rape of Lucretia

TARQUINIUS Within this frail crucible of light Like a chrysalis contained Within its silk oblivion.

How lucky is this little light, It knows her nakedness And when it’s extinguished It envelops her as darkness Then lies with her at night.

Loveliness like this is never chaste; If not enjoyed, it is just waste!

Wake up, Lucretia!

FEMALE CHORUS No! sleep and outrace Tarquinius’ horse And be with your Lord Collatinus.

Sleep on, Lucretia! Sleep on, Lucretia!

TARQUINIUS As blood red rubies Set in ebony Her lips illumine The black lake of night.

To wake Lucretia with a kiss Would put Tarquinius asleep awhile.

(He kisses Lucretia.)

FEMALE CHORUS Her lips receive Tarquinius, She dreaming of Collatinus.

And desiring him draws down Tarquinius And wakes to kiss again and...

(Lucretia wakes.)

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Mozart: “Hai già vinta” and “Vedrò mentr’io sospiro” from The Marriage of Figaro, K. 492 Hai già vinta la causa! cosa sento!

You’ve won your case already! What’s that?

In qual laccio cadea? Perfidi, io

Here’s a trap! Treacherous pair,

voglio di tal modo punirvi, a piacer

I’ll punish you and exact such a penalty!

mio la sentenza sarà. Ma se pagasse

But supposing he should pay off old Marcellina?

la vecchia pretendente? Pagarla! in

Pay her? How could he?

qual maniera? E poi v’è Antonio che

Besides Antonio will not give Susanna

all’incognito Figaro ricusa di dare

in marriage to Figaro, who doesn’t even

una nipote in matrimonio. Coltivando

know who his parents are. It will help

l’orgoglio di questo mentecatto...tutto

my plan to foster the old zany’s pride.

giova a un raggiro...il colpo è fatto.

The die is cast!

Vedrò mentr’io sospiro,

Am I to see a lackey of mine

Felice un servo mio!

happy whilst I sigh in vain?

E un ben che invan desio

Is he to possess the object

Ei posseder dovrà?

of my frustrated desire?

Vedrò per man d’amore

Must I see the one who stirred

Unita a un vile oggetto

my affection, alas, unrequited,

Che in me destò un affetto

by love’s agency

Che per me poi non ha?

to a clodhopper united?

Vedrò mentr’io sospiro, etc.

Am I to see a lackey of mine, etc.

Vedrò, vedrò, vedrò, vedrò?

Am I, am l?

Ah, no! Lasciarti in pace

Oh no! I shall not give you

Non vo’ questo contento,

that satisfaction.

Tu non nascesti, audace,

You were not born, you upstart,

Per dare a me tormento,

to torment me so

E forse ancor per ridere

nor to mock me neither

Di mia infelicità!

in my misery!

Già la speranza sola

Only the hope

Delle vendette mie

of vengeance

Quest’anima consola,

consoles me

E giubilar mi fa.

and fills me with exultation.

Ah, no! Lasciarti in pace, etc.

Oh, no! I shall not give you, etc.

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Under the leadership of Sheri Greenawald, San Francisco Opera Center is dedicated to promoting the stars of our operatic future.

For more than 25 years they have prided themselves on looking ahead, recognizing, cultivating and nurturing the finest talent.

Their track record speaks for itself. Past Adler Fellows include Ruth Ann Swenson, Mark Delavan, Carol Vaness, Patricia Racette, Brian Asawa, Deborah Voigt and Dolora Zajick. Don’t you wish you could be in the group of people who all whisper “I knew them when...”? Tonight you are on the ground floor to see the up and coming singers that San Franciscans are already talking about.

History San Francisco Opera’s numerous affiliate educational and training programs were started under the directorship of Kurt Herbert Adler beginning in 1954. In 1982, the Opera’s third general director, Terence A. McEwen, created the San Francisco Opera Center to oversee and combine the operation and administration of these programs. Providing a coordinated sequence of performance and study opportunities for young artists, the San Francisco Opera Center represents a new era in which young artists of major operatic potential can develop through intensive training and performance, under the aegis of a major international opera company.

Adler Fellows Founded in 1977 as the San Francisco Affiliate Artists-Opera Program, Adler Fellowships are performance-oriented residencies for the most advanced young singers and coach/accompanists.

Under the guidance of San Francisco Opera General Director David Gockley and Opera Center Director Sheri Greenawald, the Adler Fellowship Program offers intensive individual training and roles of increasing importance in San Francisco Opera’s mainstage season. Each year, a select group of exceptionally gifted singers from Merola Opera Program is invited to continue their education as Adler Fellows. As with Merola participants selected from a pool of more than 800 candidates, these young artists represent what the classical music world can and should expect to see on celebrated opera house stages throughout the world in the very near future.

Alumni from the Program Former Adler Fellows include sopranos Nicolle Foland, Nancy Gustafson, Mary Mills, Patricia Racette, Ruth Ann Swenson and Deborah Voigt; mezzo-sopranos Zheng Cao and Dolora Zajick; countertenor Brian Asawa; baritone David Okerlund; and bassbaritones Monte Pederson and John Relyea.

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rising stars of opera

san francisco Opera Center San Francisco Opera Center presents the highest calibre of international singers and pianists/coaches assembled in a resident artist program. Discover this select group of extraordinary artists as they take the stage, demonstrating why San Francisco Opera always has the best talent to unveil.

Christian Baldini (conductor) has worked as a conductor with numerous orchestras and ensembles around the world including the BBC Symphony Orchestra in London, Buenos Aires Philharmonic (Argentina), the San Francisco Contemporary Music Players, Plural Ensemble (Spain) and also as an opera conductor for the Aldeburgh Festival (United Kingdom). After he conducted the Sao Paulo Symphony Orchestra (OSESP, Brazil), critic Arthur Nestrovski from the Folha de Sao Paulo praised this “charismatic young conductor” who “conducted by heart Brahms’s First Symphony, lavishing his musicality and leaving sighs all over the hall and the rows of the orchestra.”

Baldini is also a composer, and his music has been performed throughout Europe, South America, North America and Asia by orchestras and ensembles including the Orchestre National de Lorraine (France), Southbank Sinfonia (London), New York New Music Ensemble, Memphis Symphony Orchestra, Daegu Chamber Orchestra (South Korea), Chronophonie Ensemble (Freiburg), and the International Ensemble Modern (Frankfurt). His music appears on the Pretal Label and has been broadcast on SWR (German Radio) as well as in the National Classical Music Radio of Argentina. He has also conducted and recorded contemporary Italian music for the RAI Trade label.

Baldini’s work has received awards in several competitions including the top prize at the Seoul International Competition for Composers (South Korea, 2005), the Tribune of Music (UNESCO, 2005), the Ossia International Competition (Rochester, NY, 2008), the Daegu Chamber Orchestra International Competition (South Korea, 2008) and the Sao Paulo Orchestra International Conducting Competition (Brazil, 2006). He has been an assistant conductor with the Britten-Pears Orchestra (England) and a cover conductor with the National Symphony Orchestra (Washington, D.C.). After teaching and conducting at the State University of New York in Buffalo, Baldini is now assistant professor of music at the University of California, Davis, where he is music director of the UC Davis Symphony Orchestra. He regularly appears as a guest conductor with ensembles and orchestras on both sides of the Atlantic. Forthcoming projects include conducting engagements with the English Chamber Orchestra in London.

UC Davis Symphony Orchestra is committed to presenting repertoire from different periods and styles at the highest artistic level. We pride ourselves also in performing works by students, faculty and visiting composers. Established in 1959, the orchestra has performed in California, Canada, Australia, French Polynesia, and France. As of 2011, the UCDSO has grown to approximately 100 members. The orchestra’s endowment was established in 1992 thanks to the generous support of many individuals, and it continues to assure access to excellent teachers, soloists, instruments and music, and it provides us with remarkable opportunities for our students. The UC Davis Symphony Orchestra is a resident ensemble of Jackson Hall at the Robert and Margrit Mondavi Center for the Performing Arts, Davis, California. In a typical season the orchestra performs seven to eight concerts. For more information on the 2011–12 season, please see the schedule at www.mondaviarts.org or at the orchestra’s website: www.music.ucdavis.edu/symphony.

MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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capradio.org

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Eugene Brancoveanu’s (baritone) virile voice and superior stagecraft have earned him critical acclaim in both North America and Europe. Following recent performances of San Francisco Opera’s The Little Prince, the San Francisco Chronicle lauded “the superb cast as being led by extravagantly gifted baritone Eugene Brancoveanu as the Pilot. With his unforced charisma, vocal clarity, and total heft, Brancoveanu managed the tricky feat of doing most of the show’s heavy lifting.”

In 2011-12, Brancoveanu sings as soloist in Carmina Burana with the Fresno Philharmonic Orchestra and continues his extensive recital career, performing with Brookings Harbor Friends of Music. In the 2010-11 season he appeared with the Philadelphia Orchestra, New World Symphony and New York Philharmonic at Carnegie Hall, in Michael Tilson Thomas’s The Thomashevskys conducted by the composer. He also returned to the Santa Cruz County Orchestra in Beethoven’s Symphony No. 9 and sang as soloist in Carmina Burana with Spokane Symphony Orchestra.

rising stars of opera

Help Us Reach Our Goal and Support Our Students!

From March 24 to April 4, 2012, the UC Davis Symphony Orchestra will perform in four cities in Spain: Madrid, Granada,Valencia and Barcelona—including the famous Palau de la Música Catalana in Barcelona. This is a vital experience for its students and an expensive undertaking. Because these are difficult economic times, we are offering every student in the orchestra a $1,000 Scholarship to help them attend the tour, and we need your help to make this possible. We have already raised $30,000, which is half of our goal. If you can and would like to further help the orchestra meet its fundraising goal for this subsidy (we have approximately $27,000 left to fulfill our goal) please contact the College of Letters and Science Development Director, Debbie Wilson, at 530.754.2221 or at dbwilson@ucdavis.edu.

Moskau, Tscherkomuschki at Staatstheater Stuttgart. He held a prestigious appointment as an Adler Fellow at San Francisco Opera for two seasons, directly following his critically acclaimed summer 2004 performances of Tarquinius in The Rape of Lucretia with the company’s Merola Opera Program. With San Francisco Opera he has performed Christian in Un ballo in maschera, Marullo in Rigoletto, Moralès in Carmen, Frank in Die Fledermaus, Fiorello in Il barbiere di Siviglia and the Innkeeper and the Captain in Manon Lescaut.

Originating the role of Marcello in Baz Luhrmann’s Broadway production of La Bohème, the honorary Tony Award winner is also a recipient of a 2004 LA Stage Alliance Ovation Award for his performances of this production in Los Angeles. Other career highlights include performing the role of Nicomedes in the rarely heard Lou Harrison opera Young Caesar, for Ensemble Paralèlle; a recital as part of the prestigious Schwabacher Debut Recital Series; the title role in Le nozze di Figaro with the International Music Festival in Gut-Immling, Germany; and the title role in Philip Glass’s Orphée with the Universität Mozarteum Salzburg. Brancoveanu’s numerous performances with the Romanian State Opera include the Count in Le nozze di Figaro, the title role in Don Giovanni, Silvio in I Pagliacci, Figaro in Il barbiere di Siviglia, Escamillo in Carmen and Uberto in La serva pedrona.

Brancoveanu is a graduate of the American Institute of Musical Studies in Graz and the Universität Mozarteum Salzburg. He is a recent winner of the National Young Opera Singer Competition in Leipzig, the International Music Award in Leonberg and the International Opera contest “Ferruccio Tagliavini.”

Recent successes include the role of Marcello in La bohème with Virginia Opera, Gonzalvo in Schreker’s Die Gezeichneten with Los Angeles Opera, the title role in Don Giovanni with Berkeley Opera, Yeletzky in Pique Dame with the Israeli Opera, singing as soloist in Carmina Burana with Santa Cruz County Symphony and with Peninsula Symphony Orchestra, an appearance in recital with California’s prestigious San Francisco Performances concert series, a return to San Francisco Opera as Belcore in L’elisir d’amore, Karnak in Lalo’s Le Roi d’ys with the American Symphony Orchestra, the Count in Le nozze di Figaro with Livermore Valley Opera and singing as soloist in Elijah with University of California, Davis. With the Los Angeles Philharmonic he continued his performing of Michael Tilson Thomas’s The Tomashevskys, a work which he premiered at Carnegie Hall in 2005-06, has reprised with the New World Symphony and the San Francisco Symphony and which he performed again at the Tanglewood Music Center under Seiji Ozawa in 2009.

Other highlights include his New York City Opera debut as Pandolfe in Cendrillon, the role of The Pilot in Portman’s The Little Prince for San Francisco Opera, soloist in Brahms’s Requiem with the Alabama Symphony Orchestra and in a concert of Bernstein repertoire with the Pacific Symphony Orchestra. He made his debut with San Francisco Opera in 2005-06 as Second Prisoner in Fidelio. Also that season he sang the role of Boris in Shostakovich’s

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HOTITALIAN.net

MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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El Macero Country Club •18-hole • Managed

championship golf course

by Troon Golf, the world leader in upscale Club management • Seasonal, • Meeting • Just

regional dining options

and event space for outside parties

a few minutes from UC Davis campus

To inquire about banquets or membership, please call or visit El Macero Country Club 530-753-3363

www.elmacerocc.org

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Photo by Glenn Ross

Debut

Hilary Hahn, violin Valentina Lisitsa, piano A Wells Fargo Concert Series Event Saturday, October 29, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis

There will be one intermission.

Sponsored by

further listening see p. 32

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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hilary hahn, violin

hilary hahn

further listening

by jeff hudson

Hilary Hahn made her formal debut as a recording artist in 1997 at age 17, starting with an album of Bach solo violin works for the Sony label.

The choice of Bach was intriguing, because while most music students nowadays learn selected Bach pieces early on, there are also several highly regarded musicians who consciously delay recording Bach’s music in a big way. Mstislav Rostropovich (b.1927) famously told interviewers in the 1990s he regretted the recordings of two Bach cello suites that he made before his 40th birthday, and added that he didn’t feel fully prepared to record the complete Bach cello suites until he was in his 60s. (You know what they say about Bach: the older you get, the better Bach’s music sounds.)

This writer takes no position regarding “the right age to record Bach.” I think Hahn’s 1997 album (Partitas 2 and 3 and Sonata No. 3) is delightful. Hahn told the public radio program St. Paul Sunday in 1999 that “Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure in double stops, bringing out the various voices where the phrasing requires it, crossing the strings so that there are not inadvertent accents, presenting the structure in such a way that it is clear to the listener without being pedantic—one cannot fake things in Bach.”

Hahn first visited Davis in November 1999, performing under the aegis of the former UC Davis Presents program (before the Mondavi Center was built). At the time, she was seven days short of her 20th birthday, and a very recent graduate (May 1999) of the Curtis Institute in Philadelphia.

Her career has gone up, up, up since that time. She picked up Grammy Awards for her 2001 recording of the Brahms and Stravinsky violin concertos (on the Sony label). She got another Grammy for her 2008 album (on Deutsche Grammophon) featuring the Schoenberg and Sibelius violin concertos.

She apparently likes to pair more traditional concertos with more modern concertos on her albums.

In 2010, Hahn released an album featuring the violin concerto by Jennifer Higdon (written for Hahn).

The Higdon concerto also won the Pulitzer Prize for Music. On the album, the Higdon is paired with the popular Tchaikovsky Violin Concerto. And she’s come back to Bach twice, with albums featuring Bach violin concertos and works by Bach for violin, voice and orchestra.

Hahn is also fond of You Tube and has posted various videos in recent years offering advice to musicians about chin rests for the violin, how to spot a good music teacher and so on.

Hahn’s website says she also like to write—her albums often feature liner notes that she has written, and her website includes a section “By Hilary” (which she insists is not a blog) that features essays about her travels and her thoughts that she posts from time to time.

There is also an ongoing Twitter account, with authorship credited to “the snitch that is international violinist Hilary Hahn’s instrument case. Rants, raves, snippets, tidbits, insider info—the full case study.”

Being a Twitter account, the posts are concise observations like “I am feeling ignored. The fingernail clippers I carry haven’t been used in weeks” and “Hilary has been watching movies for two days.”

She is a woman of her era, with an impish sense of humor to boot.

Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise and Sacramento News and Review.

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hilary hahn, violin

Hilary Hahn, violin Valentina Lisitsa, piano Works may not be performed in this order.

Sonata No. 1 for Unaccompanied Violin in G Minor, BWV 1001 Adagio Fuga (Allegro) Siciliana Presto

Bach

Sonata for Violin and Piano in A Major, Op. 12, No. 2 Allegro vivace Andante, più tosto allegretto Allegro piacevole

Beethoven

Scherzo for Violin and Piano in C Minor from the “F.A.E.” Sonata

Brahms

“Selected Shorts” from In 27 Pieces: The Hilary Hahn Encores Selections will be announced from the stage.

Speak, Memory Blue Curve of the Earth Memory Games Levitation Coming To Echo Dash Solitude d’automne Blue Fiddle Two Voices Whispering Mercy Bifu Torua

Lera Auerbach Tina Davidson Avner Dorman Søren Nils Eichberg Christos Hatzis Jennifer Higdon Bun-Ching Lam Paul Moravec Nico Muhly Einojuhani Rautavaara Max Richter Somei Satoh Gillian Whitehead

Hilary Hahn and Valentina Lisitsa appear by arrangement with IMG Artists.

Hilary Hahn’s recordings are available on Deutsche Grammophon and Sony Classical.

Hahn and Lisitsa will be on hand to personally autograph programs and recordings in the lobby following the performance.

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hilary hahn, violin

Program Notes Sonata No. 1 for Unaccompanied Violin in G Minor, BWV 1001 (before 1720) Johann Sebastian Bach (Born March 21, 1685, in Eisenach, Germany; died July 28, 1750, in Leipzig) Bach composed the set of three sonatas and three partitas for unaccompanied violin before 1720, the date on the manuscript, while he was director of music at the court of Anhalt-Cöthen, north of Leipzig. Though there is not a letter, preface, contemporary account or shred of any other documentary evidence extant to shed light on the genesis and purpose of these pieces, the technical demands that they impose upon the player indicate that they were intended for a virtuoso performer: Johann Georg Pisendel, a student of Vivaldi; Jean Baptiste Volumier, leader of the Dresden court orchestra; and Joseph Spiess, concertmaster of the Cöthen orchestra, have been advanced as possible candidates.

After the introduction of the basso continuo early in the 17th century, it had been the seldom-broken custom to supply a work for solo instrument with keyboard accompaniment, so the tradition behind Bach’s solo violin sonatas and partitas is slight. Johann Paul von Westhoff, a violinist at Weimar when Bach played in the orchestra there in 1703, published a set of six unaccompanied partitas in 1696, and Heinrich Biber, Johann Jakob Walther and Pisendel all composed similar works. All of those composers were active in and around Dresden. Bach visited Dresden shortly before assuming his post at Cöthen, and he may well have become familiar at that time with most of this music.

Though Bach may have found models and inspiration in the music of his predecessors, his works for unaccompanied violin far surpass any others in technique and musical quality.

Though the three violin partitas, examples of the sonata da camera (chamber sonata) or suite of dances, vary in style and structure, the three solo sonatas uniformly adopt the precedent of the more serious church sonata, the sonata di chiesa deriving their mood and makeup from the works of the influential Roman master Arcangelo Corelli. The sonatas follow the standard four-movement disposition of the sonata da chiesa—slow–fast–slow–fast—though Bach replaced the first quick movements with elaborate fugues and suggested certain dance-like buoyancy in the finales. The Sonata No. 1 in G minor opens with a deeply expressive Adagio whose mood of stern solemnity is heightened by considerable chromaticism and harmonic piquancy. The four-voice Fugue that follows appealed sufficiently to Bach that he transcribed it for both organ (BWV 539) and lute (BWV 1000). The G minor Sonata concludes with a lilting Siciliano and a moto perpetuo movement in two-part dance form.

Sonata for Violin and Piano in A Major, Op. 12, No. 2 (1798) Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) Beethoven took some care during his first years after arriving in Vienna from his native Bonn in November 1792 to present himself as a composer in the day’s more fashionable genres, one of which was the sonata for piano nominally accompanied, according to the taste of the time, by violin. Mozart had addressed the form

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in 42 works, some of which moved beyond the convention that expected the keyboard to dominate the string instrument toward a greater equality between the partners. Beethoven continued on this tack so decisively that, despite their conservative structure and idiom, his first three string sonatas, Op. 12 of 1798, presage the full parity that marks the 19th-century duo sonata. The Op. 12 sonatas are products of Beethoven’s own practical experience as both pianist and violinist, an instrument he had learned while still in Bonn and on which he took lessons shortly after settling in Vienna with the noted performer (and, later, great champion of his chamber music) Ignaz Schuppanzigh. In view of their gestating friendship, it was fitting that Schuppanzigh and the composer presented one of the Op. 12 sonatas at a public concert benefiting the singer Josefa Duschek on March 29, 1798.

The A major Sonata opens with a teasing two-note motive that tumbles downward through the piano’s range to constitute the first movement’s main theme and set the playful mood (one of Beethoven’s rarest emotions) for what follows. A melody buoyed upon a surprising harmonic excursion, emphasized by accented notes, provides the gateway to the second subject, a phrase of snappy, descending, neighboring tones that is first cousin to the main theme. Transformations of all three themes occupy the development section. The recapitulation provides another hearing of the thematic material before the movement ends, almost in mid-thought, with an airy coda spun from the main theme. Jelly d’Aranyi (1893-1966), the distinguished Hungarian violinist who inspired Ravel’s Tzigane in 1924, left a charming word-picture of the images conjured for her by the plaintive second movement: “The Andante has the most touching and wonderful dialogue. I can only imagine that St. Francis and St. Clara spoke of things like this when they met at Assisi, and which Beethoven alone could put into music, as he did so many conversations, each lovelier than the other.” The finale is an elegant rondo whose expressive nature is indicated by its heading: piacevole—agreeable and pleasant Scherzo for Violin and Piano in C Minor from the “F.A.E.” Sonata (1853) Johannes Brahms (Born May 7, 1833, in Hamburg; died April 3, 1897, in Vienna) In April 1853, the 20-year-old Johannes Brahms set out from his native Hamburg for a concert tour of Germany with the Hungarian violinist Eduard Reményi. The following month in Hanover they met the violinist Joseph Joachim, whom Brahms had heard give an inspiring performance of the Beethoven Concerto five years earlier in Hamburg. Brahms was at first somewhat shy in the presence of the celebrated virtuoso, but the two men warmed to each other when the young composer began to play some of his recent music at the piano. Before the interview was done, Joachim had been overwhelmed by his visitor: “Brahms has an altogether exceptional talent for composition, a gift which is further enhanced by the unaffected modesty of his character. His playing, too, gives every presage of a great artistic career, full of fire and energy...In brief, he is the most considerable musician of his age that I have ever met.”

The following summer, Brahms and Joachim spent eight weeks at Göttingen, discussing music, studying scores, playing chamber works together and setting the foundation for a creative friendship that would last for almost half a century. Joachim learned of Brahms’s desire to take a walking tour through the Rhine Valley,

On the last day of September 1853, Brahms met the Schumanns for the first time. “Here is one of those who comes as if sent straight from God,” Clara recorded in her diary. Brahms was introduced around town, and among those he befriended was the young composer and conductor Albert Dietrich, a favorite student of Schumann and a frequent visitor to his home. Joachim was scheduled for an appearance in Düsseldorf at the end of October to give the premiere of Schumann’s Fantasy for Violin and Orchestra (Op. 131) as part of the Music Festival of the Lower Rhine, with the composer conducting.

As a surprise for the violinist, Schumann, Dietrich and Brahms each agreed to write a movement of a sonata for violin and piano and then challenge Joachim to guess the respective authors.

Dietrich was assigned the opening movement, Schumann volunteered an intermezzo and finale, and Brahms offered to supply the scherzo. They dubbed the project the “F.A.E.” Sonata, after the phrase that Joachim had taken as his motto: Frei aber einsam (“Free but alone”). The music was finished quickly, assembled into a performing edition and inscribed with a reversedinitial dedication: “In Expectation of the Arrival of an honored and beloved Friend.” Joachim was delighted with the gift, played the entire Sonata through immediately with Clara at the keyboard, and correctly announced each movement’s composer without a moment of hesitation. He kept the score for the rest of his life, and only in 1906, just a year before his death, did he finally allow Brahms’ Scherzo to be published.

The Scherzo is Brahms’s earliest extant piece for violin and piano, though he had already composed at least one full sonata for that instrumental combination that either he or Schumann lost on its way to the publisher. The piece (“good fun—and harmless,” according to William Murdoch) follows the traditional three-part scherzo form, with a rather stormy C minor paragraph at the beginning and end surrounding a more lyrical central trio.

Brahms’ Scherzo was not only a charming memento of an important friendship, but was also further proof to Schumann that he had met a genius. On October 23, 1853, Schumann’s article New Paths appeared in the widely read journal that he edited, Neue Zeitschrift für Musik (“New Journal for Music”). “I thought that sooner or later,” Schumann wrote, “someone would and must appear, destined to give ideal expression to the spirit of the times...

And he has come, a young blood at whose cradle Graces and Heroes kept watch. His name is Johannes Brahms.” Brahms was famous from that day forward.

hilary hahn, violin

and he arranged a joint recital to raise enough money to finance the trip. Along with the proceeds of the gate, Joachim gave Brahms as a parting gift several letters of introduction, including one to Robert and Clara Schumann in Düsseldorf.

In 27 Pieces: The Hilary Hahn Encores At age 31, two-time Grammy Award-winning violinist Hilary Hahn has already made a lasting impact upon the violin repertoire, premiering two concertos written for her by American composers and championing both well- and lesser-known works in performance and recording. Hahn now delves deeper into the world of contemporary classical music, commissioning more than two dozen composers to write short-form pieces for acoustic violin and piano.

She will tour these new works over the 2011-12 and 2012-13 seasons and then record them. The project is called In 27 Pieces: The Hilary Hahn Encores.

This idea began to take shape nearly a decade ago, when Hahn noticed that new encore pieces were not being showcased as much as other types of contemporary works. Shorter pieces remain a crucial part of every violinist’s education and repertoire, and Hahn believed potential new favorites should be encouraged and performed as well.

Of the project, she writes, “My initial goal was to expand the encore genre to embrace works of different styles. Because I was planning to play the commissioned pieces myself, it was important that the composers’ writing spoke to me in some way. I listened to a lot of contemporary classical music, for hours on end, often late into the night. I loved hearing things I had never heard before. I made nerve-wracking ‘cold calls’ to composers to ask them to participate in my project. I wasn’t sure what the reactions would be, but to my surprise, so many people were receptive that the project gained exhilarating momentum.

“It has been thrilling and an honor to get to know these composers as artists and to work with such different personalities and styles. Going into this project, I had no idea how much I would learn from it. Each composer brings his or her own musical language to the table. As a performer, the process of exploring these pieces is both challenging and exciting. The structure may be concise, but each work contains a wealth of expression.

“When composers put ideas down on paper, the aural world takes on a greater dimension. My hope is that these particular contributions will showcase the range of music being written today, while bringing enjoyment to listeners and performers alike.”

—Dr. Richard E. Rodda

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Hilary Hahn appears regularly with the world’s elite orchestras and on the most prestigious recital series in Europe, Asia, Australasia, and North and South America. In the 2010-11season, Hahn performed in fifty-six cities across four continents.

In the dozen years since she began recording, Hahn has released 11 feature albums on the Deutsche Grammophon and Sony labels, in addition to three DVDs, an Oscar-nominated movie soundtrack and more. One of Hahn’s recent concerto recordings, which paired Schoenberg and Sibelius, debuted at No. 1 and spent the next 23 weeks on the Billboard classical charts. This acclaimed album brought Hahn her second Grammy: the 2009 Award for Best Instrumental Soloist Performance with Orchestra. Her first Grammy win came in 2003 for her Brahms and Stravinsky concerto album.

hilary hahn, violin

Hilary Hahn (violin) is a 31-year-old violinist and two-time Grammy Award winner celebrated for her probing interpretations, technical brilliance and spellbinding stage presence. Extensive touring and acclaimed recordings over the past decade and a half have made Hahn one of the most sought-after artists on the international concert circuit.

Her 2011-12 season will feature her San Francisco Symphony debut, as well as debut performances with the Helsinki Philharmonic and the Colorado Symphony and recitals at Ravinia, Teatro de Colon in Buenos Aires and the Casals Festival.

Lisitsa has recorded three independently released DVDs, including her best-selling set of Chopin’s 24 Etudes, which long held the coveted #1 spot on the Amazon music video list. A champion in the use of new media, Lisitsa pushes traditional boundaries to reach out to audiences around the globe. With more than 28 million YouTube channel views, Lisitsa is one of the most soughtafter classical musicians on the web. Last summer, thousands of bedazzled music fans worldwide witnessed the live broadcast of Lisitsa’s practice sessions, allowing her to show a different aspect of her artistic persona. For two weeks, world audiences watched Lisitsa learn and prepare to the utmost detail almost four hours of new music in daily 14-hour long sessions. Similar initiatives followed for the recording sessions of her upcoming CDs, receiving the enthusiastic approval and support from fans around the world. In addition, Lisitsa has recently completed recordings of the complete concerti of Rachmaninoff and Rhapsody on a Theme of Paganini with the London Symphony Orchestra under conductor Michael Francis.

Hahn is also active on the contemporary classical music scene. In 1999, she premiered and recorded the violin concerto written for her by the American bassist and composer Edgar Meyer, and in 2009, she did the same with Jennifer Higdon’s violin concerto, also written for and dedicated to her. A recording of the Pulitzer Prizewinning Higdon concerto, paired with the Tchaikovsky violin concerto, was released on Deutsche Grammophon in 2010.

An avid writer, Hahn posts journal entries and information for musicians and concertgoers on her website (www.hilaryhahn. com). In video, she produces a YouTube channel (www.youtube. com/hilaryhahnvideos). Elsewhere, her violin case comments on life as a traveling companion, on Twitter (www.twitter.com/violincase). Hilary Hahn was born in Lexington, Virginia, in 1979.

Valentina Lisitsa (piano), whose multi-faceted playing has been described as “dazzling,” is at ease in a vast repertoire ranging from Bach and Mozart to Shostakovich and Bernstein. Her orchestral repertoire alone includes more than 40 concerti. She admits to having a special affinity for the music of Rachmaninoff and Beethoven and continues to add to her vast repertoire each season. In May 2010, Lisitsa performed the Dutch premiere of Rachmaninoff’s “New 5th” Concerto in her debut with the Rotterdam Symphony.

Previous highlights include debuts with the Chicago Symphony, Seattle Symphony, WDR Cologne, Seoul Philharmonic and the Pittsburgh Symphony, collaborating with conductors Manfred Honeck, Yannick Nézet-Séguin and Jukka-Pekka Saraste, among others.

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

So Percussion “We Are All Going in Different Directions” A John Cage Celebration A Studio Classics: Replay Series Event Saturday, October 29, 2011 • 8PM Sunday, October 30, 2011 • 2PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis Post-Performance Q&A Saturday, October 29, 2011 Moderated by Lara Downes, Artist in Residence, Mondavi Center, UC Davis (see page 42) Pre-Performance Talk Speakers: So Percussion members in conversation with Lara Downes, Artist in Residence, Mondavi Center, UC Davis Sunday, October 30, 2011 • 1PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis Additional support provided by

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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so percussion

So Percussion “We Are All Going in Different Directions” A John Cage Celebration Eric Beach Josh R. Quillen Adam Sliwinski Jason Treuting

With Guests:

Cenk Ergün, electronics Beth Meyers, viola

Credo in US (1942)

John Cage

Needles (2010)

Sō Percussion/Matmos

Imaginary Landscape #1 (1939)

John Cage

Use (with Cenk Ergün and Beth Meyers) (2009)

Cenk Ergün

Bottles from Ghostbuster Cook: The Origin of the Riddler (2011)

Dan Deacon

18’12”, a simultaneous performance of Cage works

Inlets (Improvisation II) (1977)

0’00” (4’33” No.2) (1962)

Duet for Cymbal (1960)

45’ for a speaker (1954)

John Cage

24 x 24 (with special guests) (2011)

Sō Percussion

Third Construction (1941)

John Cage

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so percussion

Program Notes John Cage’s artistic legacy is formidable.

His innovations and accomplishments are truly staggering: He wrote some of the first electric/acoustic hybrid music, the first significant body of percussion music, the first music for turntables, invented the prepared piano and had a huge impact in the fields of dance, visual art, theater and critical theory.

Somehow Cage’s prolific output seems not to stifle, but rather to spur creativity in others. He certainly deserves surveys, tributes and concert portraits during the centenary of his birth. But Sō Percussion wanted to do him honor by allowing his work and spirit to infuse our own.

We have chosen some of our favorite Cage pieces to present on this celebration concert. We believe that although they are historical in fact, each is stunningly present and even prophetic.

The pieces are woven in with new music: some by our close friends, and some of our own creation.

Tonight’s Cage Works Credo in US was Cage’s first collaboration with the dancer and choreographer Merce Cunningham. It was originally a dance drama satirizing middle-class dysfunction and blind patriotism in the midst of World War II. The use of random radio and record samples means that no two performances are exactly the same.

Imaginary Landscape #1 is credited by many as the first electric/ acoustic hybrid piece ever written in America. It is certainly the first piece written for turntables as instruments, predating hip-hop by many decades.

Inlets asks the performers to improvise using gurgling sounds of water in conch shells. It also utilizes the sounds of burning pinecones and a lone conch shell.

0’0” consists of a single instruction: “In a situation provided with maximum amplification (no feedback), perform a disciplined action.”

45’ for a Speaker is a text that appears in Silence, Cage’s seminal collection of writings and pieces. It is precisely written to be performed in 45 minutes, and essentially constitutes a collage of earlier lectures.

Duet for Cymbal is not a piece that Cage actually wrote, but a realization of his piece Cartridge Music that is suggested in the performance notes of the score. The performers make parts by layering transparencies with dots and circles over sheets with irregular shapes.

Third Construction is one of Cage’s most-often performed works: a densely constructed, astonishingly inventive piece of chamber music that calls on the performers to choose tin cans, pod rattles, cowbells and a number of other instruments. It is symmetrically structured in 24 sections of 24 measures each, a solution to the vexing problem of how to organize music without harmony, as well as the inspiration behind our own “24 x 24” on this program.

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So Percussion Since 1999, Sō Percussion has been creating music that explores all the extremes of emotion and musical possibility. It has not been an easy music to define. Called an “experimental powerhouse” by the Village Voice, “astonishing and entrancing” by Billboard and “brilliant” by the New York Times, the Brooklyn-based quartet’s innovative work with today’s most exciting composers and its own original music has quickly helped it forge a unique and diverse career.

Although the drum is one of humanity‘s most ancient instruments, Europe and America have only recently begun to explore its full potential, aided by explosions of influence and experimentation from around the world. In the 20th century, musical innovators like Edgard Varese, John Cage, Steve Reich and Iannis Xenakis brought these instruments out from behind the traditional orchestra and gave them new voice. It was excitement about these composers and the sheer fun of playing together that inspired the members of Sō Percussion to begin performing together while students at the Yale School of Music. Cage’s Third Construction wove elaborate rhythmic counterpoint using ordinary objects, while Reich’s Drumming harnessed African inspiration to ecstatic effect.

A blind call to David Lang, Pulitzer Prize-winning composer and co-founder of New York’s Bang on a Can Festival, yielded their first big commissioned piece, the so-called laws of nature, which appeared with Evan Ziporyn’s gamelan-inspired Melody Competition on their first album, entitled Sō Percussion. In the following years, the thrill of working with amazing composers would yield new pieces by Paul Lansky, Dan Trueman, Steve Reich, Steve Mackey, Fred Frith and many others.

For their next disc they tackled Drumming, one of the first (and few) percussion pieces of symphonic scope (well over an hour long). A landmark American work, Drumming fuses African aesthetics, western philosophical concepts and technologically inspired processes into a minimalist masterpiece. In 2010, Sō Percussion presented the U.S. premiere of Reich’s Mallet Quartet, written for the group and several other renowned percussion ensembles.

Sō Percussion’s third album, Amid the Noise, heralded a new direction: original music, written by member Jason Treuting.

Eager to expand their palette, the members experimented with glockenspiel, toy piano, vibraphones, bowed marimba, melodica, tuned and prepared pipes, metals, duct tape, a wayward ethernet port and all kinds of sound programming. The resulting idiosyncratic tone explorations were synchronized to Jenise Treuting’s haunting films of street scenes in Brooklyn and Kyoto. This ongoing work has resulted in exciting new projects such as the sitespecific Music For Trains in southern Vermont and Imaginary City, a sonic meditation on urban soundscapes commissioned by the Brooklyn Academy of Music’s 2009 Next Wave Festival in consortium with five other venues.

For the past several years, Sō Percussion has been joining the electronic duo Matmos for shows around the country and in Europe, exploring the sonic and theatrical possibilities of beer cans, hair clippers, ceramic bowls and dry ice. This collaboration culminated in Treasure State, released on Cantaloupe Music in 2010.

Sō Percussion has performed this unusual and exciting music all over the United States, with concerts at the Lincoln Center Festival, Carnegie Hall, Brooklyn Academy of Music, Stanford Lively Arts, Cleveland Museum of Art and many other venues.

In addition, recent tours to Russia, Australia, Italy, Germany, Spain and Ukraine have brought them international acclaim.

They won second prize overall and the Concerto Prize at the 2005 Luxembourg International Percussion Quartet Competition.

With an audience comprised of “both kinds of blue hair...elderly matron here, arty punk there” (as the Boston Globe described it), Sō Percussion makes a rare and wonderful breed of music that both instantly compels and offers rewards for engaged listening.

Edgy (at least in the sense that little other music sounds like this) and ancient (in that people have been hitting objects for eons), perhaps it doesn‘t need to be defined after all.

Sō Percussion would like to thank Pearl/Adams Instruments, Zildjian cymbals, Vic Firth drumsticks, Remo drumheads and Estey organs for their sponsorship.

Eric Beach, in addition to his work with Sō Percussion, performs often as a soloist and chamber musician. Studying with Robert Van Sice, he received his Bachelor of Music and Graduate Performance Diploma at the Peabody Conservatory, where he won the Yale Gordon Concerto Competition, and his Master of Music at the Yale School of Music. He also received a Fulbright fellowship and pursued additional study with Bernhard Wulff in Freiburg, Germany.

He has taught as Adjunct Professor of Percussion at the University of Bridgeport and in the Hearing and Undergraduate Percussion programs at the Yale School of Music.

so percussion

Sō Percussion is becoming increasingly involved in mentoring young artists. Starting in the fall of 2011, its members will be co-directors of a new percussion department at the Bard CollegeConservatory of Music. This top-flight undergraduate program will enroll each student in a double-degree (Bachelor of Music and Bachelor of Arts) course in the Conservatory and Bard College, and will expose them to both traditional western conservatory training and a variety of world traditions. The summer of 2009 saw the creation of the annual Sō Percussion Summer Institute on the campus of Princeton University. The Institute is an intensive two-week chamber music seminar for college-age percussionists.

For their latest festival, the four members of Sō Percussion served as faculty in rehearsal, performance and discussion of contemporary music to 26 students from around the world.

Adam Sliwinski has been a member of Sō Percussion since 2002.

During his time in Sō Percussion, he has had the opportunity to collaborate with some of today’s most exciting composers and performers, including Steve Reich, David Lang, Paul Lansky, Steve Mackey, Matmos, Kronos Quaret, Kneebody and many others.

He has performed at Carnegie Hall, Lincoln Center, the Brooklyn Academy of Music, Stanford Lively Arts, Cleveland Museum of Art and hundreds of other venues. Sliwinski has taught percussion both in masterclass and privately at more than 80 conservatories and universities in the U.S. and internationally. Along with the other three members of Sō Percussion, he serves as faculty at the annual Sō Percussion Summer Institute, which draws college-age percussion students from around the country.

Sliwinski has performed extensively as a soloist, both as percussionist and marimbist. In 2000, he was the alternate winner of the Sorantin Young Artist competition in San Angelo, Texas. His marimba playing has been described as “beautifully delineated” by the Cleveland Plain Dealer and “expertly parsed” by the Boston Globe. Adam also performs as a percussionist and conductor with the International Contemporary Ensemble, a group based in Chicago and New York.

Adam received his Bachelors in Music at the Oberlin Conservatory of Music studying with Michael Rosen. He received his Master of Music and Doctor of Musical Arts at the Yale School of Music with Robert Van Sice, where his thesis engaged the percussion music of Iannis Xenakis. Other teachers have included Jack Bell and Peggy Benkesar.

Jason Treuting, in addition to his work with Sō Percussion, performs in the duo Alligator Eats Fish with guitarist Grey McMurray.

He also improvises with composer/performer Cenk Ergun and in a duo setting with composer/guitarist Steve Mackey. His compositions are featured on Sō’s album Amid the Noise from Cantaloupe Music.Treuting received his Bachelor in Music at the Eastman School of Music where he studied percussion with John Beck and drum set and improvisation with Ralph Alessi, Michael Cain and Steve Gadd. He received his Master in Music along with an Artist Diploma from Yale University where he studied percussion with Robert Van Sice. He has also traveled to Japan to study marimba with Keiko Abe and Bali to study gamelan with Pac I Nyoman Suadin.

Josh R. Quillen, in addition to his work with Sō Percussion, has performed in steel drumming ensembles all over the country. He played with Len “Boogsie” Sharpe’s Phase II Pan Groove in Trinidad/ Tobago during Carnival in 2002. He has commissioned several new works for contemporary steel drum including Roger Zahab’s “I Still Dream” and “Pan Man” by Bruce J. Taub, the second of which was premiered in New York City in 2004. He has participated in premieres of pieces as part of the New Music Ensemble, Daedulus, under the direction of Roger Zahab. He has performed as a section percussionist with the Akron Symphony Orchestra and is well versed in marimba and multiple-percussion. A recent performance included a solo piece with the University of Akron Steel Drum Band accompanying the Ohio Ballet. Quillen studied with Robert Van Sice at Yale University (MM) as well as Dr. Larry Snider at the University of Akron (BM, ME). Quillen serves as the artistic director for the steel band at New York University.

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MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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So Percussion Moderator: Lara Downes Lauded by NPR as “a delightful artist with a unique blend of musicianship and showmanship” and praised by the Washington Post for her stunning performances “rendered with drama and nuance,” Lara Downes has won acclaim as one of the most exciting and communicative young pianists of today’s generation. Since making early debuts at Queen Elizabeth Hall in London and the Vienna Konzerthaus, this powerfully charismatic artist has appeared on many of the world’s most prestigious stages, including Carnegie Hall, Kennedy Center and Lincoln Center. Recent appearances include Portland Piano International, San Francisco Performances, University of Vermont Lane Series, American Academy Rome, El Paso Pro Musica Festival, Montreal Chamber Music Festival and the University of Washington World Series.

Downes’s unique performance style, praised as “a voyage of discovery” (Sacramento Bee), infuses repertoire both iconic and unfamiliar with passion, profound musicality, intellectual insight and humor. Her diverse performance works have received support from the NEA, the Barlow Endowment and American Public Media. Downes’s six solo recordings have met with tremendous critical and popular acclaim. Her latest CD, 13 Ways of Looking at the Goldberg (Tritone), was released in Fall 2011. Downes is a Steinway Artist.

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| mondaviarts.org

Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Cinematic Titanic The Original Creators of MST3K present: Doomsday Machine A With a Twist Series Event Friday, November 4, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

43

Saturday, November 19, 2011

7:00 pm

Vanderhoef Studio Theatre — Classical Cabaret Seating Empyrean Ensemble: Fabián Panisello Composer Portrait Fabián Panisello (artist-in-residence) is conductor of the Ensemble Plural in Madrid, and has been guest conductor of orchestras and ensembles, including musikFabrik of Cologne, Ensemble Contemporain of Lyon, Musiques Nouvelles of Brussels, and the Israel Contemporary Players of Tel-Aviv. Panisello has been commissioned by the National Orchestra of Spain and the Southwestern German Radio Symphony Orchestra. $8 Students & Children, $20 Adults.

SuNday, November 20, 2011

7:00 pm

Jackson Hall — Standard Seating UC Davis Symphony Orchestra Stravinsky: Berceuse and Finale from The Firebird Panisello: Violin Concerto Hrabba Atladottir, violin Fabián Panisello, guest conductor and artist-in-residence Strauss: Don Juan Verdi: Overture to I vespri siciliani $8 Students & Children, $12/15/17 Adults.

Tickets are available through the Mondavi Center Box Office 12–6 pm Monday–Saturday (530) 754.2787 | mondaviarts.org

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Doomsday Machine American spies discover the Chinese have built a weapon capable of destroying planet Earth, a “doomsday machine” if you will, and that they plan to use it within a matter of days. Immediately, Project Astra, a manned U.S. space mission to Venus, is taken over by the military and half of its all-male crew is replaced by women just hours before launch. The reason for this becomes apparent when, shortly after Astra leaves Earth’s orbit, said planet is completely destroyed (in a cataclysm of stock footage).

Will the crew of the Astra make it safely to Venus? Will the human race survive? Will you wish it didn’t once you’ve seen this movie?

Not when you watch with Cinematic Titanic! The riff light is on as they go head-to-head with this 1972 non-classic.

Cinematic Titanic is the new feature-length movie riffing show from the creator and original cast of Mystery Science Theatre 3000.

Like MST3K, the show was created by Joel Hodgson and features the same team that first brought the Peabody Award-winning cultclassic series to life: Trace Beaulieu (Crow, Dr. Forrester), J. Elvis Weinstein (Tom Servo, Dr. Erhardt), Frank Conniff (TV’s Frank), and Mary Jo Pehl (Pearl Forrester). Cinematic Titanic continues the tradition of riffing on “the unfathomable,” “the horribly great,” and the just plain “cheesy” movies from the past.

Founded in late 2007, Cinematic Titanic is an artist-funded and artist-owned and operated venture. With 10 feature-length DVDs (available in our store) and an ever-growing schedule of live shows, the CT crew is reconnecting with MSTies around the world as well as bringing new fans to the comedy art form first introduced by this group 20 years ago on television.

Trace Beaulieu was a founding writer/performer on Mystery Science Theater 3000 playing Dr. Forrester and Crow for the show’s first seven seasons as well as the feature film version of MST. Trace continues to work as both a performer and writer. As an actor, he has appeared on Freaks and Geeks (six episodes), The West Wing and several independent features. He was also the host of People Traps on Animal Planet. Trace’s writing credits include ABC’s America’s Funniest Home Videos, Fast Food Films on FX and authoring the popular comic book Here Come the Big People!. Trace is also a dedicated visual artist with pieces in many collections.

Visit his website for information about his new book, Silly Rhymes for Belligerent Children.

Frank Conniff played the beloved character TV’s Frank on MST3K for five seasons as well as writing on the show through that span.

Since moving to Los Angeles, Frank has worked as a writer/ producer on the ABC series The Drew Carey Show and Sabrina the Teenage Witch, HBO’s Perversions of Science and The New Tom Green Show on MTV. Frank has also worked extensively in animation as head writer for Nickelodeon’s Invader Zim and writer for Disney’s Twisted Fairy Tales. He has created both animated and live pilots for USA, Bravo, Nickelodeon and MTV. Frank also stays busy as a performer in TV roles, with his stand-up act and as creator and host of the live show/webcast series Cartoon Dump.

cinematic titanic

Cinematic Titanic

Minneapolis, opening for Christian rock bands. He then moved to Los Angeles and performed stand-up in comedy clubs across the country, becoming a regular performer on Late Night with David Letterman and Saturday Night Live and was selected to be on HBO’s Eighth Young Comedians Special. After talking a hiatus from standup and moving back to Minneapolis, Joel created MST3K, which he also hosted for five seasons. Joel has written several movies, including Disney’s Honey We Shrunk Ourselves with Nell Scovell.

Over the last 10 years, Joel has been a consultant with his brother, studio artist and designer Jim Hodgson, working on projects as diverse as ride theme-ing The Beatles Yellow Submarine (Sony), magic consultants for Sabrina, The Teenage Witch (ABC) and Penn and Teller’s Sin City Spectacular (FOX), supervising producers for the live event Robot Wars and Everything you need to Know (Discovery), and creative consulting on the game shows You Don’t Know Jack (ABC) and Smush (USA) as well as Jimmy Kimmel Live (ABC). Joel sporadically appears in the long running play Girly Magazine Party as well as Frank Conniff’s Cartoon Dump.

Mary Jo Pehl spent seven years as a writer and performer on MST3K, both in character roles and then regularly as the evil Pearl Forrester. She is a regular contributor to Minnesota Monthly, and she’s also written for the Minneapolis Star Tribune, Catholic Digest, Bon Appetit and PBS. Her work has also appeared in several anthologies, including Life’s A Stitch: The Best of Contemporary Women’s Humor and Travelers’ Tales: The Thong Also Rises. Mary Jo most recently co-hosted a weekly radio show in the Twin Cities.

In addition, her commentaries have aired on NPR’s All Things Considered and Weekend America and PRI’s The Savvy Traveler. She has appeared in various stage productions from New York to Los Angeles and most recently has been featured in Bad Seed in Los Angeles.

J. Elvis Weinstein began his stand-up career in Minneapolis at age 15. He was 17 when he became one of the founding writer/ performers on MST3K. He was the original voice of Servo and Gypsy and played Mad Scientist Dr. Lawrence Erhardt. Since moving to Los Angeles at age 20, he has worked as a writer/ producer on Freaks and Geeks (NBC), Malcolm and Eddie (UPN), Dead Last (WB), My Guide to Becoming a Rock Star (WB) and Talk Soup (E!). He was also the head writer on America’s Funniest Home Videos (ABC) and Later with Greg Kinnear (NBC). J. Elvis has also written drama pilots for HBO, UPN, Sony, and co-created and executive produced Fast Food Films for FX. He continues to perform as a stand-up comic and musician (he penned the Cinematic Titanic theme) and has written material for comedians Garry Shandling, Dennis Miller, Roseanne Barr and Louie Anderson.

Joel Hodgson started his comedy career while at Bethel College in

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Wr itte n b y Tom SToppard D irected b y Gran a d a Ar t i st-in- Res i d e n ce Thu-SaT Nov 17-19 8pm

m ichael Bar akiva | SuN Nov 20 2pm | Thu-SaT dec 1-3 8pm

M a i n T h e aT r e

T i c k e Ts & i n fo r M aT i o n: 53 0.754 . a r T S

Th e aTr e da N c e .u c dav iS. e d u

Produced by special arrangement with Samuel French, Inc. for permitted uses.

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Shakespeare Works when Shakespeare Plays A three-day workshop conference for teachers

at the Mondavi Center, UC Davis, January 13-15, 2012

“Here let us breathe, and haply institute A course of learning and ingenious studies.”

—The Taming of the Shrew

Teaching Artists from some of the world’s most respected Shakespeare Theaters share active and playful approaches that will enliven your teaching of Shakespeare.

This conference of hands-on workshops at the Mondavi Center, UC Davis, will also transform your teaching across the curriculum to support the VAPA standards.

The weekend is presented by the UC Davis School of Education and the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis in association with Globe Education (Shakespeare’s Globe, London) and the Shakespeare Theatre Association.

Register now for just $299: www.regonline.com/shakespeare_works After November 1, registration is $349. Limited openings will sell out fast.

Visit the Conference Website for more information: http://shakespeareplays.ucdavis.edu Invited Presenters: Shakespeare Festival/LA San Francisco Shakespeare Company Oregon Shakespeare Festival Bard on the Beach (Vancouver) American Shakespeare Center (Virginia) Shakespeare and Company (Lennox, Mass) Shakespeare’s Globe Education (London) Folger Shakespeare Theater

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MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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Mondavi Center

Corporate Partners Platinum

g n i v i g f o t r a e th Donors

Your generous donation allows us to bring world-class artists and speakers to the Sacramento Valley and energize and inspire tens of thousands of school children and teachers through our nationally recognized Arts Education programs.

In appreciation of your gift, you receive a host of benefits which can include: Priority Seating • Access to Donor-Only Events • Advance ticket sales for Just Added shows • Invitation to a cast party • Much, much more…

•

gold

Remember: Ticket sales cover only 40% of our costs.

silver Office of Campus Community Relations

For more information about how you can support the Mondavi Center, please contact: Mondavi Center Development Department 530.754.5438.

bronze

A Special Thank You

to our Blanche Neige Presenting Sponsors!

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

The Andrew W. Mellon Foundation

Lead Presenting Sponsor

Presenting Sponsor

EVENT & ADDITIONAL SUPPORT PARTNERS

Boeger Winery Ciocolat El Macero Country Club Hot Italian Hyatt Place

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Osteria Fasulo Seasons Restaurant Strelitzia Flower Company Watermelon Music

Dance Series Sponsor

Mondavi Center

Individual Supporters

MondaviCenter InnerCircle Inner Circle Donors are dedicated arts patrons whose leadership gifts to the Mondavi Center are a testament to the value of the performing arts in our lives.

Mondavi Center is deeply grateful for the generous contributions of the dedicated patrons who give annual financial support to our organization.

These donations are an important source of revenue for our program, as income from ticket sales covers less than half of the actual cost of our performance season.

Their gifts to the Mondavi Center strengthen and sustain our efforts, enabling us not only to bring memorable performances by worldclass artists to audiences in the capital region each year, but also to introduce new generations to the experience of live performance through our Arts Education Program, which provides arts education and enrichment activities to more than 35,000 K-12 students annually.

For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.

Impresario Circle $25,000 and up

John and Lois Crowe †* Barbara K. Jackson †* Friends of Mondavi Center virtuoso Circle $15,000 - $24,999

Joyce and Ken Adamson Ann and Gordon Getty Foundation Anne Gray †* Mary B. Horton* Grant and Grace Noda* William and Nancy Roe †* Lawrence and Nancy Shepard † Tony and Joan Stone † Joe and Betty Tupin †* Maestro Circle $10,000 - $14,999

Wayne and Jacque Bartholomew †* Ralph and Clairelee Leiser Bulkley* Oren and Eunice Adair-Christensen* Dolly and David Fiddyment † M. A. Morris* Shipley and Dick Walters* Benefactors Circle $6,000 - $9,999 California Statewide Certified Development Corporation Camille Chan † Cecilia Delury and Vince Jacobs † Patti Donlon † First Northern Bank † Samia and Scott Foster † Benjamin and Lynette Hart †* Dee and Joe Hartzog † Margaret Hoyt* Bill Koenig and Jane O’Green Koenig Garry Maisel † Stephen Meyer and Mary Lou Flint† Grace and John Rosenquist* Chris and Melodie Rufer Raymond and Jeanette Seamans Ellen Sherman Larry and Rosalie Vanderhoef †*

† Mondavi Center Advisory Board Member * Friends of Mondavi Center

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Producers Circle $3,000 - $5,999

Neil and Carla Andrews Hans Apel and Pamela Burton Cordelia Stephens Birrell Kay and Joyce Blacker* Neil and Joanne Bodine Mr. Barry and Valerie Boone Brian Tarkington and Katrina Boratynski Michael and Betty Chapman Robert and Wendy Chason Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Claudia Coleman Eric and Michael Conn Nancy DuBois* Stephen Duscvha and Wanda Lee Graves Merrilee and Simon Engel Catherine and Charles Farman Domenic and Joan Favero Donald and Sylvia Fillman Andrew and Judith Gabor Kay Gist Fredric Gorin and Pamela Dolkart Gorin Ed and Bonnie Green* Robert Grey Diane Gunsul-Hicks Charles and Ann Halsted Judith and Bill Hardardt* The One and Only Watson Lorena Herrig* Charley and Eva Hess Suzanne and Chris Horsley* Sarah and Dan Hrdy Dr. Ronald and Lesley Hsu Debra Johnson, MD and Mario Gutierrez Teresa and Jerry Kaneko* Dean and Karen Karnopp* Nancy Lawrence, Gordon Klein, and Linda Lawrence Greiner Heat, Air, and Solar Brian and Dorothy Landsberg Drs. Richard Latchaw and Sheri Alders Ginger and Jeffrey Leacox Claudia and Allan Leavitt Robert and Barbara Leidigh Yvonne LeMaitre John T. Lescroart and Lisa Sawyer Nelson Lewallyn and Marion Pace-Lewallyn Dr. Ashley and Shiela Lipshutz Paul and Diane Makley* In memory of Jerry Marr Janet Mayhew* Robert and Helga Medearis Verne Mendel* Derry Ann Moritz Jeff and Mary Nicholson Philip and Miep Palmer Gavin Payne Suzanne and Brad Poling 50

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Lois and Dr. Barry Ramer David Rocke and Janine Mozée Roger and Ann Romani* Hal and Carol Sconyers* Tom and Meg Stallard* Karen and Jim Steidler Tom and Judy Stevenson Donine Hedrick and David Studer Jerome Suran and Helen Singer Suran* Rosemary and George Tchobanoglous Della Aichwalder Thompson Nathan and Johanna Trueblood Ken Verosub and Irina Delusina Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Cantor & Company, A Law Corporation* Bob and Joyce Wisner* Richard and Judy Wydick And six donors who prefer to remain anonymous Directors Circle $1,100 - $2,999 John and Kathleen Agnew Dorrit Ahbel Beulah and Ezra Amsterdam Russell and Elizabeth Austin Murry and Laura Baria* Lydia Baskin* Connie Batterson Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Robert Burgerman and Linda Ramatowski Davis and Jan Campbell David J. Converse, ESQ. Gail and John Cooluris Jim and Kathy Coulter* John and Celeste Cron* Terry and Jay Davison Bruce and Marilyn Dewey Martha Dickman* Dotty Dixon* Richard and Joy Dorf* Thomas and Phyllis Farver* Tom Forrester and Shelly Faura Sandra and Steven Felderstein Nancy McRae Fisher Carole Franti* Paul J. and Dolores L. Fry Charitable Fund Karl Gerdes and Pamela Rohrich Henry and Dorothy Gietzen Craig A. Gladen John and Patty Goss* Jack and Florence Grosskettler* Virginia Hass Tim and Karen Hefler Sharna and Myron Hoffman Claudia Hulbe

Ruth W. Jackson Clarence and Barbara Kado Barbara Katz* Hansen Kwok Thomas Lange and Spencer Lockson Mary Jane Large and Marc Levinson Edward and Sally Larkin* Hyunok Lee and Daniel Sumner Linda and Peter Lindert Angelique Louie Natalie and Malcolm MacKenzie* Stephen Madeiros Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Maria Manoliu Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Ken McKinstry Joy Mench and Clive Watson Fred and Linda J. Meyers* John Meyer and Karen Moore Eldridge and Judith Moores Barbara Moriel Patricia and Surl Nielsen Linda Orrante and James Nordin Alice Oi, In memory of Richard Oi Jerry L. Plummer Linda and Lawrence Raber* Larry and Celia Rabinowitz Kay Resler* Prof. Christopher Reynolds and Prof. Alessa Johns Thomas Roehr Don Roth and Jolán Friedhoff Liisa A. Russell Beverly “Babs” Sandeen and Marty Swingle Ed and Karen Schelegle The Schenker Family Neil and Carrie Schore Bonnie and Jeff Smith Wilson and Kathryn Smith Ronald and Rosie Soohoo* Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick Stratton Brandt Schraner and Jennifer Thornton Verbeck and friends Louise and Larry Walker Scott Weintraub Dale L. and Jane C. Wierman Paul Wyman Yin Yeh And five donors who prefer to remain anonymous

Mondavi Center Donors

Encore Circle $600 - $1,099

Gregg T. Atkins and Ardith Allread Drs. Noa and David Bell Marion Bray Don and Dolores Chakerian Gale and Jack Chapman William and Susan Chen Robert and Nancy Nesbit Crummey John and Cathie Duniway Shari and Wayne Eckert Doris and Earl Flint Murray and Audrey Fowler Gatmon-Sandrock Family Jeffery and Marsha Gibeling Paul N. and E. F. “Pat� Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Cynthia Hearden* Lenonard and Marilyn Herrmann Katherine Hess Barbara and Robert Jones Paula Kubo Frances and Arthur Lawyer* Gary and Jane Matteson Don and Sue Murchison Robert Murphy Richard and Kathleen Nelson Frank Pajerski John Pascoe and Susan Stover Jerry and Ann Powell* J. and K. Redenbaugh John and Judy Reitan Jeep and Heather Roemer Jeannie and Bill Spangler Sherman and Hannah Stein Les and Mary Stephens Dewall Judith and Richard Stern Eric and Patricia Stromberg* Lyn Taylor and Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Donald Walk, M.D. Geoffrey and Gretel Wandesford-Smith Steven and Andrea Weiss* Denise and Alan Williams Kandi Williams and Dr. Frank Jahnke Karl and Lynn Zender And three donors who prefer to remain anonymous

Orchestra Circle

$300 - $599 Michelle Adams Mitzi Aguirre Susan Ahlquist Paul and Nancy Aikin Jessica Friedman Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Fred Arth and Pat Schneider Al and Pat Arthur Shirley and Michael Auman* Robert and Joan Ball Beverly and Clay Ballard In memory of Ronald Baskin Delee and Jerry Beavers Robert Hollingsworth and Carol Beckham Carol L. Benedetti Donald and Kathryn Bers* Bob and Diane Biggs Al J. Patrick, Bankruptcy Law Center Elizabeth Bradford Paul Braun Rosa Maquez and Richard Breedon Joan Brenchley and Kevin Jackson Irving and Karen Broido* In memory of Rose Marie Wheeler John and Christine Bruhn Manuel Calderon De La Barca Sanchez Jackie Caplan Michael and Louise Caplan Anne and Gary Carlson Koling Chang and Su-Ju Lin Jan Conroy, Gayle Dax-Conroy, Edward Telfeyan, Jeri Paik-Telfeyan Charles and Mary Anne Cooper James and Patricia Cothern Cathy and Jon Coupal* David and Judy Covin Larry Dashiell and Peggy Siddons Thomas B. and Eina C. Dutton Micki Eagle Janet Feil David and Kerstin Feldman Sevgi and Edwin Friedrich* Dr. Deborah and Brook Gale Marvin and Joyce Goldman Stephen and Deirdre Greenholz Judy Guiraud Darrow and Gwen Haagensen Sharon and Don Hallberg Alexander and Kelly Harcourt David and Donna Harris Roy and Miriam Hatamiya Stephen and Joanne Hatchett Paula Higashi Brit Holtz Herb and Jan Hoover Frederick and B.J. Hoyt Pat and Jim Hutchinson* Mary Jenkin Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Nancy Gelbard and David Kalb Douglas Neuhauser and Louise Kellogg Charles Kelso and Mary Reed Ruth Ann Kinsella* Joseph Kiskis Judy and Kent Kjelstrom Peter Klavins and Susan Kauzlarich Charlene Kunitz Allan and Norma Lammers Darnell Lawrence and Dolores Daugherty Richard Lawrence Ruth Lawrence Carol and Robert Ledbetter Stanley and Donna Levin Barbara Levine Ernest and Mary Ann Lewis* Michael and Sheila Lewis* David and Ruth Lindgren

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Jeffrey and Helen Ma Pat Martin* Yvonne Clinton Mazalewski and Robert Mazalewski Sean and Sabine McCarthy Catherine McGuire Michael Gerrit Nancy Michel Hedlin Family Robert and Susan Munn* Anna Rita and Bill Neuman John and Carol Oster Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker Brenda Davis and Ed Phillips Bonnie A. Plummer* Deborah Nichols Poulos and Prof. John W. Poulos Harriet Prato John and Alice Provost J. David Ramsey Rosemary Reynolds Guy and Eva Richards Ronald and Sara Ringen Tracy Rodgers and Richard Budenz Sharon and Elliott Rose* Barbara and Alan Roth Marie Rundle Bob and Tamra Ruxin Tom and Joan Sallee Mark and Ita Sanders Eileen and Howard Sarasohn Mervyn Schnaidt Maralyn Molock Scott Ruth and Robert Shumway Michael and Elizabeth Singer Al and Sandy Sokolow Edward and Sharon Speegle Curtis and Judy Spencer Tim and Julie Stephens Pieter Stroeve, Diane Barrett and Jodie Stroeve Kristia Suutala Tony and Beth Tanke Butch and Virginia Thresh Dennis and Judy Tsuboi Ann-Catrin Van Ph.D. Robert Vassar Don and Merna Villarejo Rita Waterman Norma and Richard Watson Regina White Wesley and Janet Yates Jane Y. Yeun and Randall E. Lee Ronald M. Yoshiyama Hanni and George Zweifel And six donors who prefer to remain anonymous

Mainstage Circle $100 - $299 Leal Abbott Thomas and Betty Adams Mary Aften Jill Aguiar Suzanne and David Allen David and Penny Anderson Elinor Anklin and George Harsch Janice and Alex Ardans Debbie Arrington Shota Atsumi Jerry and Barbara August George and Irma Baldwin Charlotte Ballard and Bob Zeff Diane and Charlie Bamforth* Elizabeth Banks Michele Barefoot and Luis Perez-Grau Carole Barnes Paul and Linda Baumann Lynn Baysinger*

Claire and Marion Becker Sheri Belafsky Merry Benard Robert and Susan Benedetti William and Marie Benisek Robert C. and Jane D. Bennett Marta Beres Elizabeth Berteaux Bevowitz Family Boyd and Lucille Bevington Ernst and Hannah Biberstein Katy Bill Andrea Bjorklund and Sean Duggan Lewis J. and Caroline S. Bledsoe Fred and Mary Bliss Bobbie Bolden William Bossart Mary and Jill Bowers Alf and Kristin Brandt Robert and Maxine Braude Daniel and Millie Braunstein* Francis M. Brookey Linda Clevenger and Seth Brunner Mike and Marian Burnham Margaret Burns and Roy W. Bellhorn Victor W. Burns William and Karolee Bush Lita Campbell* Robert and Lynn Campbell Robert Canary John and Nancy Capitanio James and Patty Carey Michael and Susan Carl John and Inge Carrol Bruce and Mary Alice Carswell* Jan and Barbara Carter* Dorothy Chikasawa* Frank Chisholm Richard and Arden Christian Betty M. Clark Gail Clark L. Edward and Jacqueline Clemens James Cline Wayne Colburn Sheri and Ron Cole Steve and Janet Collins In honor of Marybeth Cook Nicholas and Khin Cornes Victor Cozzalio and Lisa Heilman-Cozzalio Lorraine Crozier Bill and Myra Cusick Elizabeth Dahlstrom-Bushnell* John and Joanne Daniels Nita Davidson Johanna Davies Voncile Dean Mrs. Leigh Dibb Ed and Debby Dillon Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val Docini and Solveig Monson Val and Marge Dolcini* Katherine and Gordon Douglas Anne Duffey Marjean Dupree Victoria Dye and Douglas Kelt David and Sabrina Eastis Harold and Anne Eisenberg Eliane Eisner Terry Elledge Vincent Elliott Brian Ely and Robert Hoffman Allen Enders Adrian and Tamara Engel Sidney England Carol Erickson and David Phillips Jeff Ersig David and Kay Evans Valerie Eviner Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Richard D. Farshler Liz and Tim Fenton Steven and Susan Ferronato Bill and Margy Findlay Judy Fleenor* Manfred Fleischer David and Donna Fletcher Glenn Fortini

MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

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Lisa Foster Robert Fowles and Linda Parzych Marion Franck and Bob Lew Anthony and Jorgina Freese Joel Friedman Larry Friedman Kerim and Josina Friedrich Joan M. Futscher Myra Gable Charles and Joanne Gamble Peggy E. Gerick Gerald Gibbons and Sibilla Hershey Louis J. Fox and Marnelle Gleason* Pat and Bob Gonzalez* Michael Goodman Susan Goodrich Louise and Victor Graf Jeffrey and Sandra Granett Jacqueline Gray* Donald Green Mary Louis Greenberg Paul and Carol Grench Alexander and Marilyn Groth June and Paul Gulyassy Wesley and Ida Hackett* Paul W. Hadley Jim and Jane Hagedorn Frank and Ro Hamilton William Hamre Jim and Laurie Hanschu Marylee and John Hardie Richard and Vera Harris Cathy Brorby and Jim Harritt Ken and Carmen Hashagen Mary Helmich Martin Helmke and Joan Frye Williams Roy and Dione Henrickson Rand and Mary Herbert Roger and Rosanne Heym Larry and Elizabeth Hill Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Michael and Peggy Hoffman Steve and Nancy Hopkins Darcie Houck David and Gail Hulse Lorraine J. Hwang Marta Induni Jane Johnson* Kathryn Jaramillo Robert and Linda Jarvis Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Pamela R. Jessup Carole and Phil Johnson SNJ Services Group Michelle Johnston and Scott Arranto Warren and Donna Johnston In memory of Betty and Joseph Baria Andrew and Merry Joslin Martin and JoAnn Joye* John and Nancy Jungerman Nawaz Kaleel Fred Kapatkin Shari and Timothy Karpin Anthony and Beth Katsaris Yasuo Kawamura Phyllis and Scott Keilholtz* Patricia Kelleher* Dave and Gay Kent Robert and Cathryn Kerr Gary and Susan Kieser Louise Bettner and Larry Kimble Ken and Susan Kirby Dorothy Klishevich Paulette Keller Knox Paul Kramer Dave and Nina Krebs Kurt and Marcia Kreith Sandra Kristensen Leslie Kurtz Cecilia Kwan Donald and Yoshie Kyhos Ray and Marianne Kyono Bonnie and Kit Lam* Angelo Lamola Marsha M. Lang Bruce and Susan Larock

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Harry Laswell and Sharon Adlis C and J Learned Marceline Lee Lee-Hartwig Family Nancy and Steve Lege Suzanne Leineke The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn A. Lewis Melvyn Libman Motoko Lobue Mary S. Lowry Henry Luckie Maryanne Lynch Ariane Lyons Ed and Sue MacDonald Leslie Macdonald and Gary Francis Thomas and Kathleen Magrino* Deborah Mah* Mary C. Major Vartan Malian Julin Maloof and Stacey Harmer Joan Mangold Bunkie Mangum Raymond and Janet Manzi Joseph and Mary Alice Marino Donald and Mary Martin J. A. Martin Mr. and Mrs. William R. Mason Bob and Vel Matthews Leslie Maulhardt Katherine F. Mawdsley* Karen McCluskey* John McCoy Nora McGuinness* Donna and Dick McIlvaine Tim and Linda McKenna Blanche McNaughton* Richard and Virginia McRostie Martin A. Medina and Laurie Perry Cliva Mee and Werner Paul Harder III DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland and Marilyn Meyer Leslie Michaels and Susan Katt Jean and Eric Miller Phyllis Miller Sue and Rex Miller Douglas Minnis Steve and Kathy Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Louise S. Montgomery Amy Moore Hallie Morrow Marcie Mortensson Christopher Motley Robert and Janet Mukai Bill and Diane Muller Terry and Judy Murphy Steve Abramowitz and Alberta Nassi Judy and Merle Neel Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell K. C. Ng Denise Nip and Russell Blair Forrest Odle Yae Kay Ogasawara James Oltjen Marvin O’Rear Jessie Ann Owens Bob and Beth Owens Mike and Carlene Ozonoff* Michael Pach and Mary Wind Charles and Joan Partain Thomas Pavlakovich and Kathryn Demakopoulos Dr. and Mrs. John W. Pearson Bob and Marlene Perkins Pat Piper Mary Lou Pizzio-Flaa David and Jeanette Pleasure Bob and Vicki Plutchok

Ralph and Jane Pomeroy* Bea and Jerry Pressler Ann Preston Rudolf and Brigitta Pueschel Evelyn and Otto Raabe Edward and Jane Rabin Jan and Anne-Louise Radimsky Kathryn Radtkey-Gaither Lawrence and Norma Rappaport Evelyn and Dewey Raski Olga Raveling Dorothy and Fred Reardon Sandi Redenbach* Paul Rees Sandra Reese Martha Rehrman* Eugene and Elizabeth Renkin David and Judy Reuben* Al and Peggy Rice Joyce Rietz Ralph and Judy Riggs* David and Kathy Robertson Richard and Evelyne Rominger Andrea Rosen Catherine and David Rowen Paul and Ida Ruffin Michael and Imelda Russell Hugh Safford Dr. Terry Sandbek* and Sharon Billings* Kathleen and David Sanders* Glenn Sanjume Fred and Polly Schack John and Joyce Schaeuble Patsy Schiff Tyler Schilling Leon Schimmel and Annette Cody Fred and Colene Schlaepfer Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Rick Schubert Brian A. Sehnert and Janet L. McDonald Andreea Seritan Dan Shadoan and Ann Lincoln Ed Shields and Valerie Brown Sandi and Clay Sigg Joy Skalbeck Barbara Slemmons Marion Small Judith Smith Juliann Smith Robert Snider Jean Snyder Blanca Solis Roger and Freda Sornsen Marguerite Spencer Johanna Stek Raymond Stewart Karen Street* Deb and Jeff Stromberg Mary Superak Thomas Swift Joyce Takahashi Francie Teitelbaum Jeanne Shealor and George Thelen Julie Theriault, PA-C Virginia Thigpen Janet Thome Robert and Kathryn Thorpe Brian Toole Lola Torney and Jason King Michael and Heidi Trauner Rich and Fay Traynham James E. Turner Barbara and Jim Tutt Robert Twiss Ramon and Karen Urbano Chris and Betsy Van Kessel Bart and Barbara Vaughn* Richard and Maria Vielbig Charles and Terry Vines Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner* M. Therese Wagnon Carol Walden Caroline and Royce Waters Marya Welch* Dan and Ellie Wendin*

Douglas West Martha S. West Robert and Leslie Westergaard* Linda K. Whitney Jane Williams Marsha Wilson Linda K. Winter* Janet Winterer Michael and Jennifer Woo Ardath Wood Timothy and Vicki Yearnshaw Elaine Chow Yee* Norman and Manda Yeung Teresa Yeung Phillip and Iva Yoshimura Heather Young Phyllis Young Verena Leu Young* Melanie and Medardo Zavala Mark and Wendy Zlotlow And 47 donors who prefer to remain anonymous

CORPORATE MATCHING GIFTS Bank of America Matching Gifts Program Chevron/Texaco Matching Gift Fund DST Systems We appreciate the many Donors who participate in their employers’ matching gift program. Please contact your Human Resources department to find out about your company’s matching gift program.

Note: We are pleased to recognize the Donors of Mondavi Center for their generous support of our program.

We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5438 to inform us of corrections.

The Friends of Mondavi Center is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. When you join the Friends of Mondavi Center, you are able to choose from a variety of activities and work with other Friends who share your interests.

Friends of Mondavi Center are active volunteers!

We invite you to join Friends of Mondavi Center in activities that benefit Mondavi Center Arts Education. Volunteer to work in the Mondavi Center Gift Shop, give tours of the Mondavi Center and support school matinees through docent visits, docent guide writing and ushering.

You can also visit the Mondavi Center Gift Shop on October 29, 2011, for the Annual Brunch and Browse event to get an early start on your holiday shopping. This event is open to the public, and all profits from gift shop sales support Mondavi Center Arts Education.

Other Friends events during the 2011-2012 season include the Holiday Luncheon, Sunday Brunch and Garden Party, as well as three spotlight events. Many of these events raise funds for the School Matinee Ticket Program.

Upcoming new member social events include the Fall New Member Coffee, Tapas and Studio Jazz, a behind-the-scenes tour and luncheon, and a wine and cheese tasting. Volunteer opportunities for new members include staffing the membership table at Brunch and Browse and hosting a Cookies and Concert reception after a Sunday family performance.

For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431.

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Mondavi Center Staff DON ROTH, Ph.D. Executive Director Jeremy Ganter Associate Executive Director PROGRAMMING Jeremy Ganter Director of Programming Erin Palmer Programming Manager Ruth Rosenberg Artist Engagement Coordinator

AUDIENCE SERVICES Emily Taggart Audience Services Manager/ Artist Liaison Coordinator

DEVELOPMENT Debbie Armstrong Senior Director of Development

Yuri Rodriguez Events Manager

Ali Kolozsi Director of Major Gifts

Natalia Deardorff Assistant Events Manager Nancy Temple Assistant Public Events Manager

BUSINESS SERVICES Debbie Armstrong Senior Director of Support Lara Downes Curator: Young Artists Program Services ARTS EDUCATION Joyce Donaldson Associate to the Executive Director for Arts Educaton and Strategic Projects

Carolyn Warfield Human Resources Analyst

Jennifer Mast Arts Education Coordinator

Russ Postlethwaite Billing System Administrator

Mandy Jarvis Financial Analyst

MARKETING Rob Tocalino Director of Marketing

production Christopher Oca Stage Manager

Will Crockett Marketing Manager

Christi-Anne Sokolewicz Stage Manager

Erin Kelley Senior Graphic Artist Elisha Findley Corporate & Annual Fund Officer Morissa Rubin Senior Graphic Artist Amanda Turpin Donor Relations Manager Amanda Caraway Public Relations Coordinator Angela McMillon Development and Support Services Assistant TICKET OFFICE Sarah Herrera Ticket Office Manager FACILITIES Herb Garman Steve David Director of Operations Ticket Office Supervisor Greg Bailey Susie Evon Lead Building Maintenance Ticket Agent Worker INFORMATION TECHNOLOGY Darren Marks Programmer/Designer

Russell St. Clair Ticket Agent Head Ushers Huguette Albrecht George Edwards Linda Gregory Donna Horgan

Mark J. Johnston Lead Application Developer

Mondavi Center Advisory Board

Tim Kendall Programmer

Jenna Bell Production Coordinator Zak Stelly-Riggs Master Carpenter Daniel Goldin Master Electrician Michael Hayes Head Sound Technician Adrian Galindo Scene Technician Kathy Glaubach Scene Technician Daniel Thompson Scene Technician

Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance and the presenting program of the Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.

11-12 Season Board Officers John Crowe, Chair Joe Tupin, Patron Relations Chair Randy Reynoso, Corporate Relations Co-Chair Garry Maisel, Corporate Relations Co-Chair

Members Jeff Adamski Wayne Bartholomew Camille Chan John Crowe Lois Crowe Cecilia Delury Patti Donlon David Fiddyment Dolly Fiddyment Mary Lou Flint

Samia Foster Scott Foster Anne Gray Benjamin Hart Lynette Hart Dee Hartzog Joe Hartzog Barbara K. Jackson Vince Jacobs Garry P. Maisel Stephen Meyer

Randy Reynoso Nancy Roe William Roe Lawrence Shepard Nancy Shepard Joan Stone Tony Stone Joe Tupin Larry Vanderhoef Rosalie Vanderhoef

Ex Officio Linda P.B. Katehi, Chancellor, UC Davis Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis Jo Anne Boorkman, Friends of Mondavi Center Board Don Roth, Executive Director, Mondavi Center Erin Schlemmer, Arts & Lectures Chair

Arts & Lectures Administrative Advisory Committee

friends of Mondavi Center

The Arts & Lectures Administrative Advisory Committee is made up of interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

11-12 Executive Board

11-12 Committee Members Erin Schlemmer, Chair Prabhakara Choudary Adrian Crabtree Susan Franck Kelley Gove Holly Keefer

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Sandra Lopez Danielle McManus Bella Merlin Lee Miller Bettina Ng’weno Rei Okamoto

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Hearne Pardee Isabel Raab Kayla Rouse Hulleah Tsinhnahjinnie

Jo Anne Boorkman, President Laura Baria, Vice President Francie Lawyer, Secretary Jim Coulter, Audience Enrichment Jacqueline Gray, Membership Sandra Chong, School Matinee Support Martha Rehrman, Friends Events Leslie Westergaard, Mondavi Center Tours Phyllis Zerger, School Outreach Eunice Adair Christensen, Gift Shop Manager, Ex Officio Joyce Donaldson, Director of Arts Education, Ex Officio

Ticket Exchange •

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Tickets must be exchanged at least one business day prior to the performance.

Tickets may not be exchanged after your performance date.

There is a $5.00 exchange fee per ticket for non-subscribers and Pick 3 purchasers.

If you exchange for a higher priced ticket, the difference will be charged. The difference between a higher and a lower priced ticket on exchange is non-refundable.

Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season.

Balances may not be transferred between accounts.

All exchanges subject to availability.

All ticket sales are final for events presented by non-UC Davis promoters.

No refunds.

Parking

Accommodations for Patrons with Disabilities The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements.

Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance.

Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances.

Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last minute requests. Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

You may purchase parking passes for individual Mondavi Center events for $7 per event at the parking lot or with your ticket order.

Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.

Special Seating

Group Discounts

Assistive Listening Devices

Entertain friends, family, classmates or business associates and save!

Groups of 20 or more qualify for a 10% discount off regular prices.

Payment must be made in a single check or credit card transaction.

Please call 530.754.2787 or 866.754.2787.

Student Tickets (50% off the full single ticket price*) Student tickets are to be used by registered students matriculating toward a degree, age 18 and older, with a valid student ID card. Each student ticket holder must present a valid student ID card at the door when entering the venue where the event occurs, or the ticket must be upgraded to regular price.

Children (50% off the full single ticket price*) Child tickets are for all patrons age 17 and younger. No additional discounts may be applied. As a courtesy to other audience members, please use discretion in bringing a young child to an evening performance. All children, regardless of age, are required to have tickets, and any child attending an evening performance should be able to sit quietly through the performance.

Privacy Policy The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently. We sometimes share names and addresses with other not-for-profit arts organizations. If you do not wish to be included in our e-mail communications or postal mailings, or if you do not want us to share your name, please notify us via e-mail, U.S. mail, or telephone. Full Privacy Policy at MondaviArts.org.

POlicies

Policies and Information

Mondavi Center offers special seating arrangements for our patrons with disabilities. Please call the Ticket Office at 530.754.2787 [TDD 530.754.5402].

Assistive Listening Devices are available for Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID to be held at the Patron Services Desk until the device is returned.

Elevators The Mondavi Center has two passenger elevators serving all levels.

They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.

Restrooms All public restrooms are equipped with accessible sinks, stalls, babychanging stations and amenities. There are six public restrooms in the building: two on the Orchestra level, two on the Orchestra Terrace level and two on the Grand Tier level.

Service Animals Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times. Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.

*Only one discount per ticket.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 |

55

september 2011

december 2011

21

30

7–10 8

11

15 18

Return To Forever IV with Zappa Plays Zappa Ricky Skaggs and Kentucky Thunder

october 2011 1 2 6 8 13 19 20 21 24

29 29–30

Wayne Shorter Quartet Alexander String Quartet Yamato Jonathan Franzen San Francisco Symphony Scottish Ballet k.d. lang and the Siss Boom Bang Rising Stars of Opera Focus on Film: Thirty Two Short Films About Glenn Gould Hilary Hahn, violin So Percussion: “We Are All Going in Different Directions”: A John Cage Celebration

november 2011 4 5–6 7–8 9–11 12

12–13

14 14–15

mondavi center–

Tia Fuller Quartet Mariachi Sol de México de Jóse Hernàndez Lara Downes Family Concert: Green Eggs and Ham Blind Boys of Alabama Christmas Show American Bach Soloists: Messiah

january 2012 5 9 14–15

19 25–28 27 29 30

San Francisco Symphony Focus on Film: Platoon Alexi Kenney, violin and Hilda Huang, piano Soledad Barrio and Noche Flamenca Alfredo Rodriguez Trio Royal Philharmonic Orchestra Alexander String Quartet Focus on Opera: Tosca

february 2012

3 4 Cinematic Titanic Jennifer Johnson Cano, mezzo-soprano If God Is Willing and da Creek Don’t Rise 9 Hot 8 Brass Band 11–12 Trey McIntyre Project 14 and Preservation Hall Jazz Band 17 Lara Downes: 18 13 Ways of Looking at the Goldberg

Focus on Film: Salaam Bombay!

22 Growing Up In India: 25 A Film and Photo Exhibition

Oliver Stone Rachel Barton Pine, violin, with the Chamber Soloists Orchestra of New York Les Ballets Trockadero de Monte Carlo CIRCA Loudon Wainwright III & Leo Kottke Eric Owens, bass-baritone Chucho Valdés and the Afro-Cuban Messengers The Chieftains Overtone Quartet

Media Clips & More Info:

MondaviArts.org

MondaviArts.org

Rachel Barton Pine

530.754.2787

2 9 10–11 17–18 18 22

24–25 29

Angelique Kidjo Garrick Ohlsson, piano Curtis On Tour Ballet Preljocaj: Blanche Neige Alexander String Quartet Zakir Hussain and Masters of Percussion Circus Oz SFJAZZ Collective

april 2012 1

9 11 13 14–15 17 18–21 19–22

28

2

9 12 13

14

16–19

530.754.2787

| mondaviarts.org

march 2012

Young Artists Competition Winners Concert Focus on Opera: The Elixir of Love Sherman Alexie Bettye LaVette Zippo Songs: Poems from the Front Anoushka Shankar The Bad Plus The Improvised Shakespeare Company Maya Beiser: Provenance

may 2012

Call for Tickets!

56

2o11 12

866.754.2787 (toll-free)

San Francisco Symphony Chamber Ensemble Patti Smith New York Philharmonic ODC/Dance: The Velveteen Rabbit Focus on Opera: Lucia di Lammermoor Supergenerous: Cyro Baptista and Kevin Breit

mondavi center

2o11–12

Ballet Preljocaj: Blanche Neige Photo by Jean-Claude Carbonne

program Issue 2: oct-nov 2011 3

scottish ballet

15

k.d. lang and the siss boom bang

18

rising stars of opera

31

hilary hahn, violin

38

so percussion

43

cinematic titanic