Mondavi Center Playbill Issue 2: OCT 2012 by Mondavi Center

Anniversary

2012—13 Issue 2: OCT 2012

Season Sponsors

• lang lang, piano p. 5 • rising stars of opera p. 11 • alexander string quartet p. 17 • the dancer films live event p. 22 • stanley clarke trio p. 25 • akram khan company p. 28 • From the top with host christopher o’riley p. 34 • Eddie izzard p. 36 • In Conversation with Steve wozniak p. 38

Program

We’ve lifted health care to an art form. Who better to create the perfect health plan but health care professionals with families of their own. So that’s just what we did. Fifteen years ago, UC Davis Health System, Dignity Health and NorthBay Healthcare System came together to create a quality alternative to national HMOs. The result is a health plan committed to improving the health and well-being of our community. So, if you are interested in getting just what the doctor ordered, give us a call.

As a founding partner, Western Health Advantage is proud to celebrate Mondavi Center’s 10th anniversary.

Anniversary

2012—13

A message from the chancellor

t is my pleasure to welcome you to the Robert and Margrit Mondavi Center for the Performing Arts, a genuine jewel of our UC Davis campus. In its 10 years of existence, the center has truly transformed our university and the Sacramento region.

Linda P.B. Katehi UC Davis Chancellor

Arts and culture are at the heart of any university campus, both as a source of learning and pleasure and of creative and intellectual stimulation. I have been fortunate to be a part of several campuses with major performing arts centers, but no program I have experienced exceeds the quality of the Mondavi Center. The variety, quality and impact of Mondavi Center presentations enhance the worldwide reputation of our great research university. Of course, this great Center serves many purposes. It is a place for our students to develop their cultural literacy, as well as a venue where so many of our wonderful faculty can share ideas and expertise. It is a world-class facility that our music, theater and dance students use as a learning laboratory. As a land grant university, UC Davis values community service and engagement, an area in which the Mondavi Center also excels. Through school matinees, nearly 100,000 K–12 students have had what is often their first exposure to the arts. And through the Center’s many artist residency activities, we provide up close and personal, life-transforming experiences with great artists and thinkers for our region. Thank you for being a part of the Mondavi Center’s 10th anniversary season.

Season Sponsors

MondaviArts.org

10th Anniversary Season sponsors

mondavi center Staff DON ROTH, Ph.D. Executive Director Jeremy Ganter Associate Executive Director

Corporate Partners Platinum

Programming Jeremy Ganter Director of Programming Erin Palmer Programming Manager Ruth Rosenberg Artist Engagement Coordinator

Gold

Lara Downes Curator: Young Artists Program Silver Office of Campus Community Relations

Bronze

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

The Andrew W. Mellon Foundation

For more information about how you can support the Mondavi Center, please contact: Mondavi Center Development Department 530.754.5438 2

Mondavi Center Presents Program Issue 2: oct 2012

Amanda Turpin Donor Relations Manager operations Herb Garman Director of Operations Greg Bailey Building Engineer

Jennifer Mast Arts Education Coordinator

Mark J. Johnston Lead Application Developer

AUDIENCE SERVICES Yuri Rodriguez House/Events Manager

MARKETING Rob Tocalino Director of Marketing

BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services

Fiore Event Design Hot Italian Hyatt Place Osteria Fasulo Seasons Watermelon Music

Elisha Findley Corporate & Annual Fund Officer

INFORMATION TECHNOLOGY Darren Marks Web Specialist/ Graphic Artist

Natalia Deardorff Assistant House/Events Manager

Anderson Family Catering & BBQ Boeger Winery Buckhorn Catering CaffĂŠ Italia Ciocolat El Macero Country Club

Alison Morr Kolozsi Director of Major Gifts & Planned Giving

ARTS EDUCATION Joyce Donaldson Associate to the Executive Director for Arts Education and Strategic Projects

Nancy Temple Assistant House/Events Manager

special thanks

DEVELOPMENT Debbie Armstrong Senior Director of Development

Mandy Jarvis Financial Analyst Russ Postlethwaite Billing System & Rental Coordinator

Will Crockett Marketing Manager Erin Kelley Senior Graphic Artist

production Donna J. Flor Production Manager Daniel J. Goldin Assistant Production Manager/Master Electrician Zak Stelly-Riggs Assistant Production Manager/Master Carpenter Christi-Anne Sokolewicz Senior Stage Manager, Jackson Hall Christopher Oca Senior Stage Manager, Vanderhoef Studio Theatre Michael T. Hayes Head Audio Engineer Jenna Bell Artist Services Coordinator Daniel B. Thompson Campus Events Coordinator, Theatre and Dance Department Liaison/Scene Technician Kathy Glaubach Music Department Liaison/Scene Technician

Morissa Rubin Senior Graphic Artist

Adrian Galindo Audio Engineerâ&#x20AC;&#x201D; Vanderhoef Studio Theatre/Scene Technician

Amanda Caraway Public Relations Coordinator

Gene Nelson Registered Piano Technician

TICKET OFFICE Sarah Herrera Ticket Office Manager

Head Ushers Huguette Albrecht George Edwards Linda Gregory Donna Horgan Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

Steve David Ticket Office Supervisor Susie Evon Ticket Agent Russell St. Clair Ticket Agent

Photo: Lynn Goldsmith

Robert and Margrit

Mondavi Center for the Performing Arts • UC Davis

A Message From Don Roth

Mondavi Center Executive Director

s we enter our second Mondavi Center decade, my hope is that we continue to always ask ourselves how we can keep getting better at what we do: providing the best mix of artists and art works; impacting the lives of those on campus and in the community; and helping audiences engage with, and students be educated about, the art we present. The above paragraph could also serve as a description for this first full month of our 10th Anniversary Season. The great artistry on display includes a solo recital by classical piano superstar Lang Lang; our good friends from the Alexander String Quartet kicking off a yearlong series exploring Schubert’s quartets; jazz bassist Stanley Clarke leading a dynamic trio that includes his Return to Forever bandmate Lenny White; and two imports from across the pond, the magnificent Akram Khan Company (which I highly recommend to those of you that enjoyed our U.S. premiere of Blanche Neige last season) and comedian Eddie Izzard, both making their Mondavi Center debuts. A major campus partnership with the UC Davis College of Engineering has made possible our evening with Apple co-founder and Silicon Valley philanthropist Steve Wozniak, a conversation which will be moderated by Dean Enrique Lavernia. It is wonderful that we can share in the fiftieth anniversary of this distinguished campus unit, and we appreciate their foresight in bringing the arts and sciences together for a very special evening. Finally, in our quest to help audiences and students engage with the arts, we are pleased to be able to offer two special free events during our tenth anniversary season opening celebration. First, the third annual Rising Stars of Opera concert, supported by our dear friend Barbara Jackson, is an enriching opportunity for audiences of all ages to be touched by wonderful operatic singing. And the next afternoon, we host the free Dancer Films Live Event, inspired by Jules Feiffer, the iconic American cartoonist, illustrator and artist. Audiences are encouraged to join former Merce Cunningham dancer Andrea Weber and jazz saxophonist Jane Ira Bloom onstage in this fun and interactive dance and film event. Thank you for joining us as we launch the Mondavi Center’s 10th Anniversary season.

Program Issue 2: oct 2012

in this issue: • lang lang, piano p. 5 • rising stars of opera p. 11 • alexander string quartet p. 17 • the dancer films live event p. 22 • stanley clarke trio p. 25 • akram khan company p. 28 • From the top with host christopher o’riley p. 34 • Eddie izzard p. 36 • In Conversation with Steve wozniak p. 38 • Mondavi Center policies and information p. 44

before the show

 O AH • 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.

Don Roth, Ph.D. Executive Director Mondavi Center for the Performing Arts, UC Davis

MondaviArts.org

Mondavi Center Presents Program Issue 2: oct 2012

Robert and Margrit

Mondavi Center for the Performing Arts • UC Davis

Lang Lang, piano

A Wells Fargo Concert Series Event Monday, October 1, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis Sponsored by

Individual support provided by John and Lois Crowe and Joyce and Ken Adamson.

PROGRAM Sonata No. 5 in G Major, K. 283 (K. 189h) Allegro Andante Presto

Mozart

Sonata No. 4 in E-flat Major, K. 282 (K. 189g) Adagio Menuetto I — Menuetto II Allegro

Sonata No. 8 in A Minor, K. 310 (K. 300d) Allegro maestoso Andante cantabile con espressione Presto

Intermission

Ballade No. 1 in G Minor, Op. 23 Ballade No. 2 in F Major, Op. 38 Ballade No. 3 in A-flat Major, Op. 47 Ballade No. 4 in F Minor, Op. 52

Chopin

Program is subject to change. 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.

MondaviArts.org

BALLET DIRECTOR

RON CUNNINGHAM ISSUE #6

PLAYWRIGHT

GREGG COFFIN ISSUE #7

TONY WINNER

FAITH PRINCE ISSUE #8 ACTOR

COLIN HANKS ISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDI ISSUE #16

BROADWAY STAR

MARA DAVI ISSUE #19

Available at Raley's, Nugget Markets and Barnes & Noble.

Mondavi Center Presents Program Issue 2: oct 2012

Program Notes Sonata No. 5 in G Major, K. 283 (K. 189h) (1775) Sonata No. 4 in E-flat Major, K. 282 (K. 189g) (1775) Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) Much of Mozart’s biography could be written in terms of his job hunts. From the time that Wolfgang was a teenager, he and Papa Leopold worked inordinately hard at placing the young musician in a prestigious position in one of Europe’s music capitals. January 1775 found father and 19-year-old son in Munich for the premiere of La Finta Giardiniera (The Pretended Gardener), an opera buffa commissioned by the Court Theater in that city, with which Mozart hoped to create enough of a stir to win a position on the musical staff of the Elector, Maximilian Joseph III. (Salzburg was then part of Bavaria and subject politically to the Elector of Munich.) The opera did not gain Mozart a place at court, however, and he and Leopold left Munich, disappointed, on March 6. In the months preceding the Munich venture or immediately after arriving in the Bavarian capital, Mozart composed a set of six piano sonatas (K. 279-284) to display to local music lovers there and for possible publication. The opening movement of the G Major Sonata (K. 283/189h) follows a crystalline sonata form, with a quiet main theme and a smooth subsidiary subject with gently pulsing syncopations. The brief central section is unrelated to the earlier thematic materials. The recapitulation reprises the themes with subtle but striking harmonic alterations. The sonata-form Andante takes as its principal subject an unpretentious melody saved from music-box banality by the perfection of its voicing and part-writing; the second theme is more animated in rhythm and scalar in contour. The expressive potential of the apparently simple main theme is revealed through its chromatic alterations and brooding character in the development so that its recapitulation seems less like a conventional formal return than an attempt to recapture a lost state of purity and innocence. The finale, another sonata structure, uses a bounding melody as its main theme and a strain in tiny circling phrases for its subsidiary subject. The main theme is treated in the development before a full recapitulation of the exposition’s materials rounds out the movement. The E-flat Major Sonata (K. 282/189g) is a product of the time when the form, style and architecture of the modern instrumental genres were still gestating. Rather than beginning with the vigorous quick-tempo movement in the clear-cut form that later came to characterize most works of this type, this Sonata first presents a rather pensive Adagio in loose sonata structure (i.e., the main theme is heard not to begin the recapitulation, but only as the very final gesture of the movement). Next comes a pair of minuets, the first (repeated to round out the movement), polite and genteel; the second, more fiery in character. The work concludes with another compact sonata-form essay of which William Glock wrote, “Here the pianist should sit with a sword at his side, all spirit and bravado.”

Sonata No. 8 in A Minor, K. 310 (K. 300d) (1778) Wolfgang Amadeus Mozart Mozart arrived in Paris, chaperoned by his mother, on March 23, 1778, hoping that the music lovers of the French capital would recognize his genius and reward him with an appropriate position. In May, it appeared that his foray into Parisian cultural life might be rewarded. He reported to his father that he had been offered the post of organist at Versailles, a job with light duties, six months leave per year and proximity to the royal family. His longing was not for the royal chapel, however, but for the opera house (and for a sweetheart, Aloysia Weber, whom he had met on the stop in Mannheim while journeying to Paris), and he refused the post. “After all, 2,000 livres is not such a big sum,” he rationalized in a letter to his furious father. Mozart’s stay in Paris grew sad. His mother fell ill in June and died the following month. He lingered in Paris, sorrowful and alone, until September 26, when, without the position he sought or the commissions he hoped to receive, he returned to Salzburg. Mozart’s motivation for composing the A Minor Piano Sonata (K. 310/300d) is unknown. He seems to have had no prospect for its publication or public performance and may have written it to play at private homes in his search for new pupils or to present at the occasional musical gatherings of his Mannheim friends in Paris. The Sonata’s nature, “dramatic and full of unrelieved darkness,” according to Alfred Einstein, suggests that Mozart composed the piece for himself rather than for any applause-seeking situation. The stormy opening movement revives the world of proto-Romantic expression that Mozart first entered with the “Little” G Minor Symphony of 1773 (K. 183) and which was to inform some of the greatest works of his maturity—Don Giovanni, G Minor Symphony (K. 550), G Minor Quintet, Requiem. The movement’s pervading sense of drama—its dynamic contrasts, unrelenting rhythms, expressive harmonies—mark an important advance in Mozart’s musical language. The Andante opens in a bright major key but soon shades into the minor, and in its middle section recalls the dramatic emotion of the preceding movement. The masterful alternation of major and minor, of light and shadow, of melancholy and hope pervades the gossamer textures of the concluding Presto.

The Four Ballades (1831, 1838, 1840–41, 1842) Frédéric Chopin (Born February 22, 1810, in Poland; Died October 17, 1849, in Paris) The first ideas for the Ballade No. 1 (G Minor, Op. 23) were sketched in May and June 1831, when Chopin was living anxiously in Vienna, almost unknown as a composer and only slightly appreciated as a pianist. By the time the work was completed four years later, however, he had achieved such fame and fortune in Paris that he could dedicate the piece to Baron de Stockhausen, the Hanoverian ambassador to France, whom he counted among his noble pupils. Schumann called this Ballade “the most spirited and daring work of Chopin” and reported that it was inspired by Mickiewicz’s Konrad Valenrod, a poetic epic concerning the battles between the pagan Lithuanians and the Christian Knights of the Teutonic Order. The work exhibits both the ingenious conflation of sectional, sonata and rondo forms and the voluptuous, wide-ranging harmonic palette that mark all of the Ballades.

MondaviArts.org

lang lang by jeff hudson Lang Lang is having another busy year. This summer, he helped carry the Olympic Torch in London (a 370-yard trot, wearing a commemorative t-shirt). Earlier in 2012, he donned an academic robe and received an honorary doctorate from the Manhattan School of Music. And, oh yes, in June, he marked his 30th birthday. He’s come quite a long way from the teenage wonder I heard at Freeborn Hall in November 2000. I can still picture Lang Lang at that recital, his eyes closed as his face glowed with a beatific smile, his hands dancing over the keyboard. I recall thinking he was impressive and also something of a showman. Some things never change. On the cover of Lang Lang’s recent album Liszt—My Piano Hero (Sony, 2011—issued just in time for the 100th anniversary of the composer’s birth), Lang Lang’s eyes are closed, and he’s wearing a blissful expression. Lang Lang’s reputation for a flashy stage presence has only grown through the years. When Lang Lang performed earlier this year at the Queen’s Diamond Jubilee Concert at Buckingham Palace, the critic for The Independent said the concert “confirmed him as the new Liberace of classical piano, unafraid of the grand gestures to match his striking outfits. ” The critic hastened to add that there were “many moments when his natural gifts overcame his showmanship.” And when Lang Lang played this year at the opera house in Chicago, the critic for classical station WFMT remarked on “a tendency to spectacle” that “has run through his phenomenal, almost 13-year career”—but then added, “when he wants to focus on his unique and breathtaking technical ability ... he can hold an audience as few others can.” And when Lang Lang played at Carnegie Hall in May, the New York Times review mentioned “his charismatic stage presence, passionate playing and astounding technique” as well as his “flamboyant tendencies,” adding, “he has recently been keen to prove that he is more than a virtuoso showman.” But really, should this come as a surprise? Lang Lang adores Liszt, and Liszt was a figure for whom artistry and ostentation famously went hand-in-hand. Let’s just say that for Lang Lang, a degree of splashy style is simply part of who he is. We’ve recently seen a slew of Lang Lang releases. In June, Deutsche Grammophon, his label for nearly a decade, issued The Complete Recordings, 2000–9, a 12-CD set. And, having already released The Best of Lang Lang in 2010, DG followed up quite logically with an album called The Very Best of Lang Lang this year.

Mondavi Center Presents Program Issue 2: oct 2012

further listening Lang Lang, however, moved to Sony in 2010, as a recording artist and “global brand ambassador,” promoting the company’s high-tech gizmos. He has a new album, due sometime this month, a recital disc featuring works by Chopin. P.S. He’ll also be appearing with the San Francisco Symphony on November 1-2, playing the Concerto No. 2 by Bartók.

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

The Ballade No. 2 (F Major, Op. 38) was the product of 1838, when Chopin had retreated to Majorca with George Sand. The composition was dedicated to Schumann, whose review (“Hats off, gentleman! A genius!”) of the 1827 Variations on Mozart’s “Là ci darem la mano” was among the earliest recognitions of Chopin’s talent (Schumann dedicated his Kreisleriana of 1838 to Chopin in appreciation). Schumann claimed that the music was based on Mickiewicz’s Le Lac de Wallis, though Herbert Weinstock could find no such title in the poet’s catalog. Undeterred by the lack of a firm literary foundation, the Russian pianist and pedagogue Anton Rubinstein erected upon the Second Ballade the following slightly lurid program, so characteristic of the 19th-century quest to invest mere musical notes with referential import: “A field flower, a windstorm, the wind caressing the flower, stormy fight of the wind, pleading of the flower—the flower lies broken. Or, paraphrased, the flower can be regarded as a country lass, the wind as a knight.” The Ballade No. 3 (A-flat Major, Op. 47) was composed during the quiet and happy period he spent with George Sand in Paris in 1840– 41. The work was said to have been inspired by Mickiewicz’s Ondine, which Laurent Cellier paraphrased: “On the shores of a lake, a young man pledges fidelity to a young girl. Doubting the faithfulness of men, despite the protestations of her lover, she disappears and returns in the bewitching form of a water sprite. As soon as she tempts the young man, he succumbs to her charms. To expiate his sin, he is dragged to the bottom of the water and condemned to a breathless pursuit of the sprite, whom he can never catch.” The Ballade No. 4 (F Minor, Op. 52) dates from the summer of 1842, when Chopin was staying with Sand at her country villa in Nohant, some distance south of Paris in the province of Berry. No poetic source is known for the work, nor is one really needed for this music of drama and authority. The pianist and scholar Paul Badura-Skoda spoke of the music’s “real explosive power”; Chopin’s biographer Casimir Wierzynski called it “a true musical novel, boundlessly rich.” It is a fitting capstone to this superb collection of masterworks, of which Frédérick Niecks wrote, “None of Chopin’s compositions surpass in masterliness of form and beauty and poetry of content his Ballades. In them he attains the acme of his power as an artist.” —Dr. Richard E. Rodda

Lang Lang (piano), heralded as the “hottest artist on the classical music planet” by the New York Times and the “world’s ambassador of the keyboard” by the New Yorker, Lang Lang has played sold out concerts in every major city in the world. Lang Lang’s success has catapulted him into the world spotlight. In 2008, Lang Lang was featured in concert with jazz pianist Herbie Hancock at the 50th Annual Grammy Awards and was a featured performer at the Opening Ceremonies of the 2008 Beijing Olympics. In 2009, Lang Lang appeared in the Time’s annual list of the 100 Most Influential People in the World. Most recently, Lang Lang has been chosen as an official worldwide ambassador for the 2010 Shanghai Expo. Lang Lang is seen as a symbol of the youth and future of China, and is an inspiration to the 40 million classical piano students there. Therefore, Lang Lang has made it his mission to broaden the reach of classical music around the world, with a focus on children. In 2008, he established the Lang Lang International Music Foundation with the goal of expanding young audiences and inspiring the next generation of musicians through outreach programs. His biography, Journey of a Thousand Miles, published by Random House in 11 languages, was released to critical acclaim. As part of his commitment to the education of children, he released a version of his autobiography specifically for younger readers, entitled Playing with Flying Keys. Lang Lang has performed for numerous international dignitaries including the former Secretary-General of the United Nations Kofi Annan, Secretary-General Ban Ki-moon, President Barack Obama, George H. W. Bush, George W. Bush, William J. Clinton, Her Majesty Queen Elizabeth II, President Hu Jin-Tao of China, President Horst Koehler of Germany, H.R.H. Prince Charles, Russian President Vladimir Putin, French President Nicolas Sarkozy and Poland President Lech Kaczynski. Most recently, he performed for President Barack Obama and President Hu Jin-tao at the White House State Dinner and recently performed on the Queen’s Diamond Jubilee concert for Elizabeth II. In 2004, Lang Lang was appointed International Goodwill Ambassador to the United Nations Children’s Fund (UNICEF). As Chairman of the Montblanc de la Culture Arts Patronage Award Project, Lang Lang celebrates another aspect of arts commitment. He also currently serves on the Weill Music Institute Advisory Committee as part of Carnegie Hall’s educational program and is the youngest member of Carnegie Hall’s Artistic Advisory Board. He has been added as one of the 250 Young Global Leaders picked by the World Economic Forum and received the 2010 Crystal Award in Davos. In May 2011, Lang Lang received an Honorary Doctorate of Music from His Royal Highness The Prince of Wales at the Royal College of Music, and received his second Honorary Doctor Degree in Musical Arts at the Manhattan School of Music in May 2012. In December 2011, he was honored the highest prize awarded by the Ministry of Culture of the People’s Republic of China. In August 2012, he received the highest German civilian honor, the Order of Merit of the Federal Republic of Germany, in recognition of his distinguished services to music. For further information visit: www.langlang.com / www.langlangfoundation.org.

MondaviArts.org

WHAT DO YOU SEE? We see a child who deserves the best medical care. You see world leaders in children’s emergency medicine. With the region’s only level 1 pediatric trauma center and emergency department dedicated to children, UC Davis is the place for children needing emergency medical care. Here, experts specially trained in pediatric emergency medicine understand the nuances of caring for critically ill or injured children and are setting new standards for pediatric emergency careworldwide. If it’s your child, UC Davis is where you want to be. To learn more, visit YouSeeTheFuture.UCDavis.edu. For more information, call 800-2-UC DAVIS.

YOU SEE EXPERTISE

Mondavi Center Presents Program Issue 2: oct 2012

Rising Stars of Opera

San Francisco Opera Adler Fellows Mark Morash, Piano Sara Gartland, Soprano Sean Panikkar, Tenor UC Davis Symphony Orchestra

Photo by Kristina Sherk

Christian Baldini, Music Director & Conductor

A Mondavi Center Special Event Saturday, October 6, 2012 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis

program Program of songs and opera excerpts Members of the San Francisco Opera Adler Fellowship

Provided free to the community through the generosity

Intermission

of Barbara K. Jackson. Act I of La Traviata

Verdi

MondaviArts.org

program Notes First half of the program will be announced from the stage. Act I, La Traviata (1852–53) Giuseppe Verdi (Born October 10, 1813, in Le Roncole, Italy; died January 27, 1901, in Milan) Libretto by Francesco Maria Piave (Born May 18, 1810; died March 5, 1876) Marie Duplessis—or Alphonsine Plessis, as she was born on a farm in Normandy—was one of the most sparkling jewels in the tiara of the Parisian demi-monde for a short but notoriously brilliant period in the 1840s. Marie, disturbingly beautiful and abundantly blessed with grace, charm, wit and dignity, fell into the glamorous if unseemly life of the courtesan soon after she arrived in the French capital. The writer Jules Janin observed her one evening at the theater: “Amid the splendor of a benefit performance at the Opéra, we suddenly saw one of the great proscenium boxes opened, with a certain noise, and the beautiful Marie advanced, a bouquet in her hand. She was ravishingly coiffed, her radiant hair entwined with diamonds and flowers and pinned up with that studied grace that gives movement and life; her arms and décolletage were bare, and she wore necklaces, bracelets, emeralds. What was the color of the bouquet in her hand? I could not say: one needs the eyes of a young man and the imagination of a child to distinguish the color of the flower from the lovely face which bent over it ..." Marie loved gambling and horse races and riotous parties and demanded constant diversion. When a friend once advised her to take things easier, she replied, “If I do I shall die. Only a life of excitement can keep me alive.” After taking a series of high-born lovers, Marie married one of her noble admirers, Count Edouard Perregaux, but her reckless lifestyle had already cost her too dearly, and she died of consumption in March 1847; she was 23. Alexandre Dumas, son of the famous eponymous author of The Count of Monte Cristo and The Three Musketeers, met Marie in 1845 and lost his heart to her. (One of the most delicious Parisian rumors of the day had it that the young man’s illustrious father had also received Marie’s favors.) Alexandre’s frantic affair with Marie lasted only a few months, but included a memorably idyllic episode at a country house outside Paris. He was crushed when she left him (“I am not rich enough to love you as you would wish, and not poor enough to be loved as you would desire,” he wrote to her) and tried to staunch his feelings with a vigorous tour through Spain and North Africa in the company of his father. When he returned to Paris, he learned that Marie had died just a week earlier. “She was one of the last and few courtesans who had a heart. This is no doubt why she died so young,” he recalled 20 years later. “She did not lack wit or generosity.” Dumas vented his mingled love and sadness for Marie in a novel, La Dame aux camélias, in which she became Marguerite Gautier and was associated forever with the symbol of the camelia flower. The book spilled out of Dumas in just three weeks, but it did not expend his emotions, which also inspired him to write a play on the same subject in only eight days. The novel was published in 1848, but the sensibilities of the time forestalled the production of the drama until February 2, 1852, when it was premiered at the Thêátre des Vaudevilles. Many saw these tandem portraits of a loose woman as subversive tracts advocating free love and lax morals, but more progressive souls realized that La Dame aux camélias represented a distillation of the liberal ideas and the realistic examination of the life of the senses advocated by George Sand, Jules Janin, Alfred de Musset and other writers. The play La

Dame aux camélias became the sensation of the 1852 Paris season and has continued, both in its original version and in its English translation (as Camille), as a living part of the theatrical repertory. Giuseppe Verdi went to Paris in December 1851 with his companion, the singer Giuseppina Streponi, in order to finalize the contract with the Opéra for The Sicilian Vespers. Before leaving Paris in March, they attended a performance of La Dame aux camélias and were much moved by the tale. Verdi, widowed since 1840 and living without benefit of wedlock with Giuseppina, the mother of two illegitimate children, undoubtedly felt empathy with the play’s heroine and began considering Dumas’s play as a possible subject for an opera. He was dickering with the Teatro La Fenice in Venice at just that time about composing an opera to follow his wildly successful Rigoletto, premiered there in March 1851, and soon after signing the contract with the theater in May, settled on La Dame aux camélias as his next project. By August, the rights to Dumas’s drama had been secured, and Verdi’s dependable librettist Francesco Maria Piave (author of the books for Ernani, Macbeth, Rigoletto and La Forza del Destino) was engaged to rework the text for the opera house. There were some misgivings about Verdi’s proposal to depict a French prostitute on the operatic stage, but the composer, strongwilled and cognizant that the notoriety of the play would provide an eager audience for his opera, explained to his friend and business manager in Naples, Cesare De Sanctis, “It is a contemporary subject. Another might have avoided it on account of the costumes, the period and a thousand other foolish scruples, but I am delighted with the idea. Everyone groaned when I proposed putting a hunchback on the stage. Well, I enjoyed writing Rigoletto, and I am doing this opera with total pleasure.” Verdi worked through the autumn on the score of the Dumas opera, which he and Piave titled La Traviata (roughly, “The One Who Went Astray”), and continued composing while he was in Rome for the premiere of Il Trovatore on January 19, 1853. He completed the orchestration at his country home, Sant’Agata, near Busseto, despite being depressed by a painful bout of arthritis in his arms and the foul winter weather. The premiere was given at La Fenice on March 6, 1853, just one year after Verdi had first encountered Dumas’s drama in Paris. ACT I The action takes place in Paris and environs, circa 1850 A salon in Violetta Valery’s elegant house in Paris The curtain rises on a lively party in Violetta’s house. Viscount Gastone introduces Violetta to a young man, Alfredo Germont, who, Gastone tells her, has admired her from afar for some time. Gastone asks Alfredo to sing a drinking song. Alfredo begins the “Brindisi” (Libiamo ne’ lieti calici) and soon Violetta and all the guests join in. Music is heard from the adjoining ballroom, and Violetta suggests that the party go in and dance. As they move toward the door, she becomes faint. She claims to be all right and tells the guests she will join them in a few minutes. She notices that Alfredo has stayed behind. He warns her that she will kill herself if she persists with her present mode of living and then confesses that he has loved her since the day he first saw her a year before. Violetta says she is incapable of love and can only offer him friendship. Taking a flower from her corsage, however, she tells him to return to her when it has faded. “Tomorrow?” he asks. “Very well ... tomorrow.” He accepts the flower and departs. The guests reappear and take their leave. Violetta, alone, muses con’t on p. 13

Mondavi Center Presents Program Issue 2: oct 2012

on the night’s happenings and is surprised at how strangely Alfredo’s words have affected her (È strano! è strano!). She reveals her longing “to love and be loved” in the aria Ah, forse’è lui but soon dismisses these thoughts as hopeless folly for a woman of her sort. —Dr. Richard E. Rodda

San Francisco Opera Center 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 main-stage season. Each year, a select group of exceptionally gifted singers from Merola Opera Program is invited to continue their education as Adler Fellows. With Merola participants selected from a pool of more than 800 candidates, these young artists represent whom the classical music world can and should expect to see on celebrated opera house stages throughout the world in the very near future. Sheri Greenawald (San Francisco Opera Center director) has had a distinguished international operatic singing career as a soprano, noted in particular for her enormous range of roles. She has sung featured roles with San Francisco Opera, Metropolitan Opera, Lyric Opera of Chicago, Venice’s La Fenice, Munich State Opera, Paris’s Châtelet Theater, Welsh National Opera, Seattle Opera Company, Houston Grand Opera, Netherlands Opera, Santa Fe Opera, Los Angeles Opera, Naples’s Teatro San Carlos and Opera Theatre of St. Louis, among others. She has worked with most of opera’s great conductors and directors, and she is featured on several recordings, including singing the title role of Blitztein’s Regina conducted by John Mauceri and recorded on Decca. A graduate of the University of Northern Iowa, Greenawald completed the Professional Studies Program at the Juilliard School of Music and has received a Rockefeller Grant, NEA Grant and was Seattle Opera Association’s Artist of the Year in 1998. She has taught privately, was a visiting artist at the University of Charleston, an artist-in-residence at the University of Northern Iowa, the vocal coach of the Santa Fe Apprentice Program in 1999 and opera director of the program in 2000 and has given master classes with the Opera Theatre of St. Louis. She was also a professor of voice and opera at the Boston Conservatory, with a full vocal studio and specializing in coursework on English and American song repertory and has directed for the Opera Studio. Since 2002, she has served as director of San Francisco Opera Center and artistic director of the Merola Opera Program.

Mark Morash (piano) is a conductor and pianist originally from Halifax, Canada. He serves as the director of musical studies for San Francisco Opera Center where he has conducted for the Merola program, the Adler Fellow Showcase and Western Opera Theater. In recent years, he has also led performances of Rigoletto for Opera Colorado, Don Giovanni and The Turn of the Screw for the Lincoln Theater in Yountville and La Serva Padrona and Trouble in Tahiti for Opera Santa Barbara. San Francisco Opera Center performances have included The Barber of Seville, Albert Herring, Così fan tutte, Die Fledermaus, The Merry Wives of Windsor and Pasatieri’s The Seagull. As a collaborative pianist, Morash’s performances have taken him throughout Canada and the U.S. as well as to Japan and Russia. Artists with whom Morash has appeared include Michael Schade, Tracy Dahl, Leah Crocetto, Melody Moore and Elza van den Heever. He has accompanied numerous emerging singers in San Francisco Opera’s esteemed Schwabacher Debut recitals. He performed in the west coast premiere of Ned Rorem’s song cycle Evidence of Things Not Seen for Other Minds Music Festival. In addition to his work with young artists in San Francisco, Morash has been involved with the Opera Center of Pittsburgh Opera, Wolf Trap Opera, the Banff Centre and Hawaii Opera Theater as well as having taught at the University of Toronto. He has given master classes throughout the U.S. and Canada and most recently in New Zealand. Morash is a graduate of the University of Michigan, where he studied collaborative piano with Martin Katz. Sara Gartland (soprano) a former Adler Fellow, made her San Francisco Opera main stage debut last season singing Micaela in Carmen. She appeared as Barbarina (Le Nozze di Figaro) and Kate Pinkerton (Madama Butterfly) with San Francisco Opera in 2010, and as Suzel (L’Amico Fritz) with the 2009 Merola Opera Program, where she also performed in scenes as Gilda (Rigoletto) and Nannetta (Falstaff). Other recent engagements include performances with Utah Opera as Curley’s Wife in Of Mice and Men, and Des Moines Metro Opera as Alexandra in Blitzstein’s Regina, Opera Iowa as Norina (Don Pasquale), and the Ohio Light Opera as Elisabeth Bennet in the world premiere of Baker and Jacob’s Pride and Prejudice, Valencienne (The Merry Widow), and as Marianne (Romberg’s The New Moon). Gartland earned a master’s degree in vocal performance from the University of Colorado Boulder and a bachelor’s degree in vocal performance from the University of Wisconsin-Madison. She is a former Eastern Region finalist at the Metropolitan Opera National Council Auditions and fourth place winner of the Denver Lyric Opera Guild Competition. Sean Panikkar (tenor) is recognized for his “surpassing musicality and passion, commanding self-confidence and gorgeous expression.” The American tenor of Sri Lankan heritage made his Metropolitan Opera debut in the 2007-08 season under the baton of James Levine as Edmondo in Manon Lescaut (commercially available on DVD on EMI), and his European operatic debut as Gomatz in Mozart’s Zaïde at the Aix-en-Provence Festival in a production directed by Peter Sellars and conducted by Louis Langrée (commercially available on DVD on Opus Arte). During the present season, operatic engagements include a new production of The Magic Flute at Chicago Opera Theatre, Don con’t on p. 15 MondaviArts.org

an exclusive wine tasting experience of featured wineries for inner circle donors

2012—13 Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7–8 p.m. and during intermission if scheduled.

september Bonnie Raitt Justin Vineyards & Winery 18 San Francisco Symphony Chimney Rock Winery 27 october 6 Rising Stars of Opera Le Casque Wines 25 From The Top with Christopher O'Riley Oakville Station november Philharmonia Baroque Carol Shelton Wines 7 David Sedaris Senders Wines 16 December 5 Danú Boeger Winery january 18 Monterey Jazz Festival Pine Ridge Vineyards Yo-Yo Ma Robert Mondavi Winery 29 february Kodo ZD Wines 7 Itzhak Perlman Valley of the Moon Winery 16 march 7 Sarah Chang Michael David Winery 19 Jazz at Lincoln Center Ramey Wine Cellars April 5 Bobby McFerrin Groth Vineyards & Winery 19 Arlo Guthrie Trefethen Family Vineyards may 3 Christopher Taylor Flowers Winery David Lomelí Francis Ford Coppola Winery 23 Featured wineries

For information about becoming a donor, please call 530.754.5438 or visit us online: www.mondaviarts.org.

Mondavi Center Presents Program Issue 2: oct 2012

Giovanni at Pittsburgh Opera, La rondine and Otello at the Metropolitan Opera, and the tenor’s first Rodolfo in La bohème with Fort Worth Opera. On the concert stage, Panikkar joins the Baltimore Symphony Orchestra for Händel’s Messiah and sings Alfredo in scenes from La traviata with the UC Davis Symphony Orchestra. The tenor debuted last season with Opera Boston in the title role of Berlioz’ Béatrice et Bénédict, at the Glimmerglass Festival as The Leader in Kurt Weill’s Lost in the Stars and at San Diego Opera singing Narraboth in Salome. Pannikar was featured in return engagements at Pittsburgh Opera as Nadir in Les pêcheurs de perles, New Orleans Opera as Narraboth in Salome, and at Washington National Opera in a new production of Nabucco under the baton of music director Philippe Auguin. Highlights of recent seasons include Salome both at Washington National Opera in the company’s new Francesca Zambello production and at the Saito Kinen Festival in performances conducted by Omer Meir Wellber, a debut at Santa Fe Opera as Kodanda in a new production of Menotti’s rarely produced The Last Savage directed by Ned Canty and conducted by George Manahan, Cassio in a new production of Otello, conducted by Graeme Jenkins and directed by Tim Albery, to open the Winspear Opera House at the Dallas Center for the Performing Arts, Ricky Ian Gordon’s The Grapes of Wrath at Pittsburgh Opera and with the American Symphony Orchestra in his Carnegie Hall debut, and both Lensky in Eugene Onegin and Count Almaviva in The Ghosts of Versailles with the Opera Theatre of Saint Louis. His numerous appearances at the Metropolitan Opera feature performances of Tybalt in Roméo et Juliette sharing the stage with Hei-Kyung Hong and Piotr Beczala under the baton of Plácido Domingo, Arturo in Lucia di Lammermoor conducted by Marco Armiliato, and Brighella in Ariadne auf Naxos led by Kirill Petrenko. A graduate of the San Francisco Opera Adler Fellowship Program, Panikkar’s many performances with that Company include roles in The Queen of Spades, Le Pauvre Matelot, The Maid of Orleans, Manon Lescaut, Tristan und Isolde, Fidelio, Norma and Die Zauberflöte. Symphonic performances include Mendelssohn’s Elijah with Michael Christie and the Phoenix Symphony, Mahler’s Das Lied von der Erde with the Saint Paul Chamber Orchestra at the Ojai Festival, and The Tristan Project with Esa-Pekka Salonen, Peter Sellars and the Los Angeles Philharmonic. www.seanpanikkar.com The UC Davis Symphony Orchestra is committed to presenting concerts at the highest artistic level. They also pride themselves in collaborating with living composers, and performing works by students, faculty and artists-in-residence. Established in 1959, the orchestra has performed in California, Canada, Australia, French Polynesia, Spain 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 remarkable opportunities for UC Davis students. The UC Davis Symphony Orchestra is a resident ensemble of Jackson Hall at the Mondavi Center. For more information on the 2012–13 season, see the schedule at www. mondaviarts.org.

Christian Baldini (music director and conductor) has worked as a conductor with numerous orchestras and ensembles around the world, including the BBC Symphony Orchestra in London, The Munich Radio Symphony Orchestra, Buenos Aires Philharmonic, the San Francisco Contemporary Music Players, Plural Ensemble (Spain) and 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.” 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 came to UC Davis, where he is an assistant professor of music. He regularly appears as a guest conductor with ensembles and orchestras in Europe, the U.S. and South America. Forthcoming projects include conducting engagements with the English Chamber Orchestra in London. Baldini is a composer, and his compositions have 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), Bayerischer Rundfunk (Bayern Radio) as well as on the National Classical Music Radio of Argentina. He has also conducted and recorded contemporary Italian music for the RAI Trade label. His 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), Ossia International Competition (Rochester, NY, 2008), Daegu Chamber Orchestra International Competition (South Korea, 2008), and the Sao Paulo Orchestra International Conducting Competition (Brazil, 2006). For more information about Professor Baldini, visit www. christianbaldini.info.

MondaviArts.org

A performance-based haunted house and costume dance party. Thursday-Sunday Tuesday-Wednesday

October 25-28 October 30-31

HAunted House 7:30-10:30 p.m. with start times every 15 minutes dAnce pArty 7:30-Midnight Various locations at Wright Hall

tickets $15 (or $10 for dance only) pG-13 All tickets sold only at Main Theatre, Wright Hall box office before the show. costuMe rentAls the enchanted cellar

530.752.0740 rcfemling@ucdavis.edu

Th e aTr e dan c e .u c daviS.e du 16

Mondavi Center Presents Program Issue 2: oct 2012

Alexander String Quartet Zakarias Grafilo and Frederick Lifsitz, Violins Paul Yarbrough, Viola Sandy Wilson, Cello Robert Greenberg, Lecturer (2PM concert only)

An Alexander String Quartet Series Event Sunday, October 7, 2012 • 2PM and 7PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis

program String Quartet No. 8 in B-flat Major, D. 112 Schubert (7PM only) Allegro non troppo Andante sostenuto Menuetto: Allegro Presto

Individual support provided by Anne Gray and Thomas and Phyllis Farver.

Question & Answer Session Sunday, October 7, 2012 • 7PM only Vanderhoef Studio Theatre, Mondavi Center, UC Davis Moderator: Members of the Alexander String Quartet Question & Answer Sessions take place in the theater

String Quartet No. 12 in C Minor, D. 703 “Quartettsatz” Intermission (2PM only) String Quartet No. 13 in A Minor, D.804 “Rosamunde”

Allegro ma non troppo Andante Menuetto: Allegretto Allegro moderato

after the event.

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Program Notes

String Quartet No. 12 in C Minor, D. 703 “Quartettsatz” (1820)

String Quartet No. 8 in B-flat Major, D. 112 (1814) Franz Schubert (Born January 31, 1797, in Vienna; died November 19, 1828, in Vienna)

Schubert composed the Quartettsatz—that title, which did not originate with Schubert, means simply “quartet movement”—in December 1820, when he was just a few weeks short of his 24th birthday. He had apparently planned to write a standard fourmovement quartet, but completed only the first movement and a 41-measure fragment of what would have been an Andante second movement. No one knows why he set so promising a work aside and left it unfinished, but—like the “Unfinished” Symphony—the surviving movement is significant enough by itself to stand as a satisfying whole. Curiously, the Allegro assai opening movement of this quartet is similar to the first movement of the “Unfinished” Symphony: both feature the same sort of double-stroked opening idea in the first violins, both are built on unusually lyric ideas and both offer unexpected key relations between the major theme-groups. In fact, the key relationships are one of the most remarkable aspects of the quartet: it begins in C minor with the first violin’s racing, nervous theme, and this quickly gives way to the lyric second idea in A-flat major, which Schubert marks dolce. The quiet third theme—a rocking, flowing melody—arrives in G major. As one expects in Schubert’s mature music (and the 23-year-old who wrote this music was a mature composer), keys change with consummate ease, though one surprise is that the opening idea does not reappear until the coda, where it returns in the closing instants to hurl the movement to its fierce conclusion. Listed as the 12th of Schubert’s 15 string quartets, the Quartettsatz is generally acknowledged as the first of his mature quartets. The first 11 had been written as Hausmusik for a quartet made up of members of Schubert’s own family: his brothers played the violins, his father, the cello and the composer, the viola. Because he was writing for amateur musicians in those quartets, Schubert had kept the demands on the players relatively light—his cellist-father in particular was given a fairly easy part in those quartets. But in the Quartettsatz and the three magnificent final quartets, Schubert felt no such restrictions. The Quartettsatz, which makes enormous technical demands (including virtuoso runs for the first violin that whip upward over a span of three octaves), was clearly intended for professional performers.

Schubert was the youngest son of a prodigiously musical family. Father Franz Theodor was an amateur cellist of modest gifts, and the composer’s brothers Ignaz and Ferdinand both played the violin. Young Franz was a fine violinist but preferred to play viola in string quartets (as did Mozart, Beethoven and Dvořák), perhaps because it let him be right at the center of the harmony. The Schubert family members formed a string quartet in 1811, when the composer was 14, and played together for three years, performing—for themselves only—quartets by Haydn, Mozart, Beethoven and many others. One of the “others” was Schubert himself, for the boy was already composing. Of his 15 string quartets, the first eight were written for the family quartet. The Quartet in B-flat Major performed on this concert, sometimes called the Eighth Quartet, was the last of these, and some scholars feel that it is the first of Schubert’s quartets to show characteristics of his mature style. He wrote it in the space of nine days (September 5–13, 1814), carefully noting the date of completion after each movement. He was 17 years old, and one month later he would write the song “Gretchen am Spinnrade,” one of his first masterpieces. The form of this quartet is quite conventional, though already Schubert shows some of the harmonic freedom that would mark his greatest work. The first violin alone immediately announces the main theme of the Allegro ma non troppo, and this melody quickly appears in the other voices. The exposition is unusually long, and Schubert makes extensive use of triplets in the development; in the manuscript he proudly noted after the final bar that he had written this movement in four-and-a-half hours. The Andante sostenuto caused Schubert more difficulty; he began the next day, September 6, but this movement took four days to complete. A duet of second violin and viola announce the first subject, in G minor, but Schubert moves to F major for the second theme, and the development takes him through at least three more keys. The minuet dances sturdily; its gentle trio section is marked dolce. The concluding Presto belongs largely to the first violin: lower voices provide the shifting harmony while the first violin dances athletically above them. Listeners may recognize, both rhythmically and thematically, some pre-echoes of the scherzo of Schubert’s “Great” C Major Symphony, written 11 years later. Schubert completed this quartet on September 13, 1814, and doubtless it was performed within days by the family quartet. And there it remained for years. The first public performance took place in Vienna on February 23, 1862, 48 years after it was composed. The quartet was published the following year as Schubert’s Opus 168.

Mondavi Center Presents Program Issue 2: oct 2012

String Quartet No. 13 in A Minor, D. 804 (1824) "Rosamunde" The year 1823 was devastating for Schubert. He had become ill the previous fall (every indication is that he had contracted syphilis), and by May he had to be hospitalized. Much weakened (and with his head shaved as part of the hospital treatment), he required the rest of the year simply to regain strength to function, and early in 1824 he turned to chamber music. His friend Franz von Schober described him in February: “Schubert now keeps a fortnight’s fast and confinement. He looks much better and is very bright, very comically hungry and writes quartets and German dances and variations without number.” But—despite Schober’s hopes— Schubert had not made a triumphant return to life and strength. Instead, he entered the new year with the bittersweet knowledge that although he may have survived that first round of illness, he would never be fully well again. Schober was right, though, that his friend returned to composing with chamber music. Schubert first wrote the Octet, and then in

February and March 1824, he composed two extraordinary quartets: the Quartet in A Minor heard on this program and the Quartet in D Minor, nicknamed Death and the Maiden. The Quartet in A Minor was first performed on March 14 by a quartet led by the violinist Ignaz Schuppanzigh, one of Beethoven’s close friends. It is nearly impossible to define the quality that makes this quartet—and much of Schubert’s late music—so moving. His lyricism has now been transformed by a new emotional maturity, and a quality of wistfulness, almost sadness, seems to touch even the music’s happiest moments. Schubert’s biographer Brian Newbould draws attention to the fact that this quartet takes some of its themes from Schubert’s own songs, and the texts of those songs furnish a clue to the quartet’s emotional content. This music is also full of harmonic surprises (keys change suddenly, almost like shifts of light) and is marked by a complex and assured development of themes. The Quartet in A Minor may lack the dramatic, hard-edged impact of Death and the Maiden, but many consider it Schubert’s finest quartet. From its first instant, the Allegro ma non troppo shows the hand of a master. The accompaniment—a sinuous, winding second violin line over pulsing viola and cello—is static, and Newbould points out that this is precisely the form of the accompaniment of Schubert’s great song “Gretchen am Spinnrade” (1814), which begins with the words Meine Ruh’ ist hin: “My peace is gone, My Heart is sore, I shall find it never and nevermore.” Over this, the first violin’s long-lined main melody seems to float endlessly, beginning to develop and change harmonically even before it has been fully stated. The remarkable thing about this “lyric” theme is that it can be developed so effectively as an “instrumental” theme: its long flow of melody is finally interrupted by a fierce trill motto in the lower strings that will figure importantly in the development. A second theme, shared by the two violins, is similar in character to the opening idea and this movement— which arcs over a very long span—finally concludes with the trill motto. Listeners will recognize the theme of the Andante as a Schubert favorite, though this one is not from a song; he had already used this poised melody in his incidental music to Rosamunde and would later use it in one of the piano Impromptus. This song-like main idea remains simple throughout (it develops by repetition), but the accompaniment grows more and more complex and soon there are swirling voices and off-the-beat accents beneath the gentle melody. The Menuetto opens with a three-note figure from the cello’s deep register, and that dark, expectant sound gives this movement its distinct character. Newbould notes that Schubert took the theme of the trio section from his 1819 song “Die Götter Griechenlands,” where it sets Schiller’s nostalgic lament Schöne Welt, wo bist du?: “Beautiful world, where are you?” The minuet returns, and this movement dances solemnly to its close The A-major tonality of the finale may come as a surprise, given the gravity of the first three movements, but it does make an effective conclusion. This Allegro moderato is a rondo in which all three themes have a dancing character, though at moments one feels the wistfulness of the earlier movements creeping into the music’s otherwise carefree progress. Full of energy, this movement is also marked by Schubert’s careful attention to detail: in the parts, he notes with unusual care the phrasing, accents and dynamic shadings and contrasts that give this music its rich variety.

The Alexander String Quartet has performed in the major music capitals of five continents, securing its standing among the world’s premier ensembles over three decades. Widely admired for its interpretations of Beethoven, Mozart and Shostakovich, the quartet has also established itself as an important advocate of new music through more than 25 commissions and numerous premiere performances. The Alexander String Quartet is a major artistic presence in its home base of San Francisco, serving there as directors of the Morrison Chamber Music Center at the School of Music and Dance in the College of Arts and Humanities at San Francisco State University and Ensemble in Residence of San Francisco Performances. The Alexander String Quartet’s annual calendar of concerts includes engagements at major halls throughout North America and Europe. The quartet has appeared at Lincoln Center, the 92nd Street Y and the Metropolitan Museum in New York City; Jordan Hall in Boston; the Library of Congress and Dumbarton Oaks in Washington; and chamber music societies and universities across the North American continent. Recent overseas tours have brought them to the U.K., Czech Republic, Netherlands, Italy, Germany, Spain, Portugal, Switzerland, France, Greece, the Republic of Georgia, Argentina and the Philippines. The many distinguished artists to collaborate with the Alexander String Quartet include pianists Menahem Pressler, Gary Graffman, Roger Woodward, Jeremy Menuhin and Joyce Yang; clarinetists Eli Eban, Charles Neidich, Joan Enric Lluna and Richard Stoltzman; cellists Lynn Harrell, Sadao Harada and David Requiro; violist Toby Appel; and soprano Elly Ameling. Among the quartet’s more unusual collaborations have been numerous performances of Eddie Sauter’s seminal Third Stream work, Focus, in collaboration with Branford Marsalis, David Sánchez and Andrew Speight. A particular highlight of last season was a celebratory concert presented by San Francisco Performances in February 2012 marking the quartet’s 30th anniversary. For the occasion, San Francisco Performances commissioned a new work by Jake Heggie, Camille Claudel: Into the Fire, a work for string quartet and mezzo-soprano; the Alexander was joined in the world premiere by Joyce DiDonato. Other highlights of the 2011–12 season included two multiple concert series for San Francisco Performances, one presenting the complete quartets of Bartók and Kodály and the other music of Schubert; a Dvořák series for Mondavi Center; and a continuing annual series at Baruch College in New York City, this season featuring the Bartók cycle. Other important series include Concerts International in Memphis, the Tuesday Evening Concert Series in Charlottesville, the Asheville Chamber Music Series and the inaugural concert of a new chamber music series at the Capitol Theatre for Ruth Eckerd Hall in Clearwater, Florida. They also continue their annual residencies at Allegheny College and St. Lawrence University, this year in collaboration with the Crane School of Music at SUNY Potsdam. The Alexander String Quartet’s 25th anniversary (as well as the 20th anniversary) of its association with New York City’s Baruch College as Ensemble in Residence was celebrated through a performance by the ensemble of the Shostakovich string quartet cycle. Of these performances at the Baruch Performing Art Center Engelman Recital Hall, The New York Times wrote, “The intimacy of the music came through with enhanced power and poignancy in the Alexander quartet’s vibrant, probing, assured and aptly volatile performances ... Seldom have these anguished, playful, ironic and masterly works seemed so profoundly personal.” The Alexander was also awarded Presidential

—Eric Bromberger

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AUTHOR’S TALK

ISABEL WILKERSON The Warmth of Other Suns: The Epic Story of America’s Great Migration February 12, 2013 8 PM–9:30 PM Jackson Hall ROBERT AND MARGRIT MONDAVI CENTER FOR THE PERFORMING ARTS To purchase tickets, please visit mondavicenter.ucdavis.edu or call the Mondavi Center Box Office at (530) 754-2787. CAMPUS COMMUNITY BOOK PROJECT The Campus Community Book Project was initiated after September 11th to promote dialogue and build community by encouraging diverse members of the campus and surrounding communities to read the same book and attend related events. The book project advances the Office of Campus Community Relations’ mission to improve both the campus climate and relations, to foster diversity and to promote equity and inclusiveness. For more information about the Campus Community Book Project and other events visit occr.ucdavis.edu/ccbp2012/.

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Perfect for your next:  Holiday Party  Cocktail Reception  Company Mixer  Family Reunion  Retirement Party  or Special Occasion 102 F Street, Davis | (530) 750-1801 www.seasonsdavis.com

Mondavi Center Presents Program Issue 2: oct 2012

Voted “Best Place to Eat Before a Mondavi Center Performance.” —Sacramento Magazine (2010)

Medals in honor of their longstanding commitment to the arts and education and in celebration of their two decades of service to Baruch College. The Alexander String Quartet added considerably to its distinguished and wide-ranging discography over the past decade. Recording exclusively for the FoghornClassics label, the Alexander’s release (June 2009) of the complete Beethoven cycle was described by Music Web International as performances “uncompromising in power, intensity and spiritual depth,” while Strings Magazine described the set as “a landmark journey through the greatest of all quartet cycles.” The FoghornClassics label released a three-CD set (Homage) of the Mozart quartets dedicated to Haydn in 2004. Foghorn released a six-CD album (Fragments) of the complete Shostakovich quartets in 2006 and 2007 and a recording of the complete quartets of Pulitzer Prize-winning San Francisco composer Wayne Peterson was released in 2008. BMG Classics released the quartet’s first recording of the Beethoven cycle on its Arte Nova label to tremendous critical acclaim in 1999. The ASQ’s three newest releases on FoghornClassics in the spring of 2012 include works by Brahms, Gershwin, Kern, Beethoven and new commissions from Paul Chihara, Veronika Krausas and Michael Gandolfi. A forthcoming Bartók/Kodály cycle recorded on the renowned Ellen M. Egger matched quartet of instruments built by San Francisco luthier Francis Kuttner will be released in the fall. Recent Alexander premieres include Rise Chanting by Augusta Read Thomas, commissioned for the Alexander by the Krannert Center and premiered there and simulcast by WFMT radio in Chicago. The quartet has also premiered String Quartets Nos. 2 and 3 by Wayne Peterson and works by Ross Bauer (commissioned by Stanford University), Richard Festinger, David Sheinfeld, Hi Kyung Kim and a Koussevitzky commission by Robert Greenberg. The Alexander String Quartet was formed in New York City in 1981 and the following year became the first string quartet to win the Concert Artists Guild Competition. In 1985, the quartet captured international attention as the first American quartet to win the London International String Quartet Competition, receiving both the jury’s highest award and the Audience Prize. In 1995, Allegheny College awarded Honorary Doctor of Fine Arts degrees to the members of the quartet in recognition of their unique contribution to the arts. Honorary degrees were conferred on the ensemble by St. Lawrence University in 2000. Robert Greenberg was born in Brooklyn, New York, in 1954, and has lived in the San Francisco Bay area since 1978. Greenberg received a B.A. in music, magna cum laude, from Princeton University in 1976. In 1984, Greenberg received a Ph.D. in music composition, with distinction, from the University of California, Berkeley, where his principal teachers were Andrew Imbrie and Olly Wilson in composition and Richard Felciano in analysis. Greenberg has composed more than 45 works for a wide variety of instrumental and vocal ensembles. Recent performances of his works have taken place in New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy and the Netherlands, where his Child’s Play for String Quartet was performed at the Concertgebouw of Amsterdam.

Recent commissions have been received from the Koussevitzky Foundation in the Library of Congress, the Alexander String Quartet, San Francisco Contemporary Music Players, Strata Ensemble, San Francisco Performances and the XTET ensemble. Greenberg is a board member and an artistic director of Composers, Inc., a composers collective/production organization based in San Francisco. Greenberg has performed, taught and lectured extensively across North America and Europe. He is currently music historian-in residence with San Francisco Performances, where he has lectured and performed since 1994, and a faculty member of the Advanced Management Program at the University of Pennsylvania’s Wharton School of Business. He has served on the faculties of the University of California, Berkeley; California State University, East Bay; and the San Francisco Conservatory of Music, where he chaired the Department of Music History and Literature from 1989–2001 and served as the Director of the Adult Extension Division from 1991–96. Greenberg has lectured for some of the most prestigious musical and arts organizations in the United States, including the San Francisco Symphony (where for 10 years he was host and lecturer for the Symphony’s nationally acclaimed “Discovery Series”), the Ravinia Festival, Lincoln Center for the Performing Arts, Van Cliburn Foundation, Chautauqua Institute (where he was the Everett Scholar in Residence for the summer of 2006), Dallas Symphony Orchestra, Hartford Symphony Orchestra, Music@ Menlo and the University of British Columbia (where he was the Dal Grauer Lecturer in September 2006). In addition, Greenberg is a sought after lecturer for businesses and business schools, and has recently spoken for such diverse organizations as S.C. Johnson, Canadian Pacific, Deutsches Bank, University of California/Haas School of Business Executive Seminar, the University of Chicago Graduate School of Business, Harvard Business School Publishing, Kaiser-Permanente, Strategos Institute, Quintiles Transnational, Young Presidents’ Organization, World Presidents’ Organization and the Commonwealth Club of San Francisco. Greenberg has been profiled in The Wall Street Journal, the Times of London, Los Angeles Times, Christian Science Monitor and San Francisco Chronicle. For many years Greenberg was the resident composer and music historian to National Public Radio’s Weekend All Things Considered and presently plays that role on Weekend Edition, Sunday with Liane Hansen. In 2003, the Bangor (Maine) Daily News referred to Greenberg as “the Elvis of music history and appreciation,” an appraisal that has given him more pleasure than any other. Greenberg is currently writing a book on opera and its impact on Western culture, to be published by Oxford University Press. In 1993, Greenberg recorded a 48-lecture course, How to Listen to and Understand Great Music for the Teaching Company/SuperStar Teachers Program, the preeminent producer of college-level courses-on-media in the United States. Twelve further courses— Concert Masterworks, Bach and the High Baroque, The Symphonies of Beethoven, How to Listen to and Understand Opera, Great Masters, The Operas of Mozart, The Life and Operas of Verdi, The Symphony, The Chamber Music of Mozart, The Piano Sonatas of Beethoven, The Concerto and The Fundamentals of Music—have been recorded since, totaling more than 500 lectures.

Greenberg has received numerous honors, including three Nicola de Lorenzo Composition Prizes and three Meet-The-Composer Grants.

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The Dancer Films Live Event Featuring Andrea Weber and Jane Ira Bloom

Debut

A Mondavi Center Special Event

Andrea Weber, Dancer

Sunday, October 7, 2012 • 3PM

Jane Ira Bloom, Soprano Sax

Jackson Hall, Mondavi Center, UC Davis

Jeff Denson, Bass Adam Kolker, Bass Clarinet and Flute John Santos, Congas and Bongo Christian Tamburr, Vibes Tristian Goik, Animation

The Dancer Films are a collection of very short films based on legendary cartoonist Jules Feiffer’s beloved character, the modern Dancer—with a live dancer. Audiences may remember The Dancer (she hasn’t aged), or may be meeting her for the first time. Cool men, bad weather and stultifying past Presidents sometimes foil her efforts to dance; she springs back with an irrepressible desire to express herself as she navigates the complicated, bracing and rapturous world in which we all reside.

Mondavi Center Presents Program Issue 2: oct 2012

Judy Dennis (director) and Ellen Dennis (producer), filmmakers and twin sisters, created The Dancer Films after decades of adventures in the mainstream of American and international film, television, theater and dance. As director, producer, casting director or manager, they have worked with the preeminent artists of their time, ranging from Alan J. Pakula, Terrence Malick, Andrzej Wadja and Harold Pinter to Peter Brook, Mikhail Baryshnikov, Twyla Tharp and Diamanda Galas. They’ve contributed to Oscar/Emmy/Obie/ Peabody award-winning projects and have worked on 150 plays and with 150 dance companies in the great theaters of the world. They have traveled with work to six continents and to HBO. Their first film together traveled from New York’s Museum of Modern Art to Ucan Superge Women’s Film Festival in Ankara, Turkey. Highlights: Festival Producer, Season of Cambodia (current) and Producer, six seasons, New York City Center Fall for Dance (Ellen); Director, PATRIOTIC, New Directors/New Films and Episode 603 of OZ (Judy). Jules Feiffer (writer) is a cartoonist, playwright, screenwriter, children’s book author and illustrator. From Village Voice editorial cartoons to his plays and screenplays including Little Murders and Carnal Knowledge, Feiffer’s satirical outlook has defined us politically, sexually and socially for more than 50 years. He was the first cartoonist commissioned by The New York Times to create comic strips for its Op-Ed page. His children’s books include A Room With A Zoo, The Man In The Ceiling, The Odious Ogre and The Phantom Tollbooth. Honors include Pulitzer Prize and George Polk Award for his cartoons; Obie Award; Academy Award for animation of his cartoon satire Munro; Lifetime Achievement Awards from Writers Guild of America and National Cartoonist Society; major retrospectives at the New York Historical Society, Library of Congress and School of Visual Arts.

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Andrea Weber (dancer) was a dancer with Merce Cunningham Dance Company through its final eight years, performing roles in more than 25 works. Andrea received her BFA from the Juilliard School under the direction of Benjamin Harkarvy. She has danced and taught for Canadian-based Coleman Lemieux & Compagnie, participating in the Manitoba and Gros Morne Project, and joined them this summer for a project in Banff National Park. She has assisted and staged Lila York’s works on ballet companies throughout the United States and in Denmark. Andrea was a collaborator in Anne Carson’s Possessive Used As Drink (ME) and has also danced with Jessica Lang, Jonah Bokaer and Charlotte Griffin. She has been a faculty member at the Merce Cunningham Dance Studio, Brown University and American Dance Festival. Jane Ira Bloom (composer), a Guggenheim Fellow in music composition and soprano saxophone luminary, has performed at Carnegie Hall, Jazz at Lincoln Center, MOMA, the Kennedy Center, United Nations, Smithsonian’s Einstein Planetarium and at jazz festivals worldwide. She has received commissions from American Composers Orchestra, St. Luke’s Chamber Ensemble; Pilobolus, Paradigm and Philadanco dance companies; and from dancer/ choreographer Carmen deLavallade. Awards include Mary Lou Williams Women In Jazz Award for lifetime service to jazz, the Jazz Journalists Award for Soprano Sax and the Charlie Parker Fellowship for Jazz Innovation. Bloom is the first musician commissioned by the NASA Art Program. She is a professor at New School for Jazz & Contemporary Music.

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stanley clarke

by jeff hudson

When the most recent incarnation of Return to Forever visited the Mondavi Center in September 2011, the highlight of the concert (at least for me and many others) was the thrilling bass solo by Stanley Clarke. Clarke credits his early years with that band—he was barely 20 when Return to Forever formed—for launching him as a solo artist in the 1970s. In those days, it was rare for a bass player to become a band leader. “Going on stage as a bass player is a total natural thing now,” Clarke said earlier this year. “But (back) then, for the bass player to play shows and release an album, it was a no-no.” Even though he was bucking the standard practices of those times, Clarke’s high profile within Return to Forever and his early solo albums for the Epic label (recently reissued as a set by Sony/Legacy) put him on the map. Clarke said earlier this year that “My solo albums developed from my playing with Return to Forever. The first Return to Forever records were acoustic,

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but then we had an electric period. Playing the electric bass was completely different for me, like going from the piano to the trumpet—two different worlds.” This year marks the 40th anniversary of the first Return to Forever album, and we are fast approaching the 40th anniversary of Clarke’s solo debut. Clarke’s early discs came quickly—a new album almost every year through 1980. Clarke is probably best known for School Days (1976). Clarke told an interviewer this year that “One of my friends said that everyone should have a ‘career song,’ and I would say that ‘School Days’ might be just that for me. It’s kind of a bass anthem. Wherever I go and play, anywhere in the world, people still wants to hear that song.” It was on the set list for Return to Forever’s concert here last year, and it still sounds strong. Nowadays, there’s generally a space of a few years between Clarke’s releases, but he’s hardly resting on his laurels. His 2010

disc, The Stanley Clarke Band (on the Heads Up label), finds Clarke on electric bass. And as the album’s title indicates, Clarke shares the spotlight with the other musicians in the group. The album picked up the 2011 Grammy for Best Contemporary Jazz Album. Clarke has also become a morning person. (Hey, it happens when you reach a certain age—even if you’re a jazz musician.) “I’m a real early bird these days,” he said in an interview earlier this year. “When I was younger it was different; you’d spend all night hanging out in clubs and get up at midday, but I don’t do that too much now. I get up early, I like to exercise. I live in the mountains with my wife and kids right near the coast and I like to run out up on the mountains; it’s incredible.”

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

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Pre-Performance Talk Speaker: Cory Combs Cory Combs is an educator, historian, lecturer, bassist and composer living in the San Francisco Bay area. He earned his bachelor’s and master’s degrees from the Eastman School of Music, where he studied classical performance, jazz and composition. He is currently director of outreach, music and enrichment at the Nueva School. He previously served as director of education at SFJAZZ, the nonprofit organization behind the San Francisco Jazz Festival. Additionally, he served as music director at Waldorf High School in San Francisco and directed the jazz program at the American Festival of the Arts in Houston, Texas. He continues to be an active guest clinician and educator at colleges and high schools.

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Mondavi Center Presents Program Issue 2: oct 2012

Combs has presented frequent lectures on music history and culture throughout San Francisco and nationally, including the Asian Art Museum, Pacific Asian Museum, Jewish Community Center, Davies Symphony Hall, Herbst Theater, City College, San Francisco Public Library, San Francisco State University and on KQED Forum. He has released three CDs under his name, which have all received positive reviews in DownBeat and All About Jazz. His CD Valencia was listed as one of the 10 best CDs of the year by All About Jazz.

Stanley Clarke Trio Featuring Lenny White and Ruslan Sirota

A Capital Public Radio Jackson Hall Jazz Series Event Wednesday, October 10, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Sponsored by

Individual support provided by Tony and Joan Stone.

Pre-Performance Talk Wednesday, October 10, 2012 • 7PM Jackson Hall, Mondavi Center, UC Davis Speaker: Cory Combs, Director of Outreach, Music and Enrichment, The Nueva School

Stanley Clarke (bass), a 2011 and 2012 Grammy Award winner, became the first bassist in history who could double on acoustic and electric bass with equal ferocity and the first bassist ever to headline tours, selling out shows worldwide. A veteran of more than 40 albums, he won the 2011 Best Contemporary Jazz Album Grammy Award for The Stanley Clarke Band. Clarke cofounded the seminal fusion group Return to Forever with Chick Corea and Lenny White. This year Return to Forever won a Grammy Award and Latin Grammy for Best Jazz Instrumental Album, Forever, and concluded a highly successful worldwide RTF reunion tour. Born in Philadelphia, Clarke has been a constant force of nature in American music since the early 1970s with the success of the jazz-fusion group Return to Forever. That accomplishment gave way to a number of extremely successful solo albums for Clarke. Along the way, he has collaborated with Quincy Jones, Stan Getz, Art Blakey, Paul McCartney, Keith Richards, Aretha Franklin, Stevie Wonder, Chaka Khan, the Police, Jeff Beck, Herbie Hancock and many more and has shared the stage with Bob Marley and Miles Davis. Clarke’s creativity has been recognized and rewarded in every way imaginable. He was Rolling Stone’s very first Jazzman of the Year and bassist winner of Playboy’s Music Award for 10 straight years. In 2011, he was honored with the prestigious Miles Davis Award at the Montreal Jazz Festival for his body of work.

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Mondavi Center Presents Program Issue 2: oct 2012

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An accomplished film and TV composer of more than 60 projects, his credits include Boyz N The Hood, the Tina Turner biopic What’s Love Got To Do With It, Romeo Must Die and The Transporter. He has garnered three Emmy nominations and a BMI Award for his scoring. Clarke heads his own record label, Roxboro Entertainment Group. Four artists were chosen for its first releases: Lloyd Gregory, Sunnie Paxson, Ruslan Sirota and Kennard Ramsey. Currently all artists are moving up the smooth jazz, indy charts and radio play charts. Clarke believes in giving back to help young musicians hone their skills. He and his wife Sofia established the Stanley Clarke Foundation 12 years ago as a charitable organization that offers scholarships to talented young musicians each year. Lenny White (drums), alternating between drummer and producer and always on the cutting edge of the music scene, has been continually pushing the musical envelope. As one of the founding fathers of the musical movement that became known as “fusion,” White earned a worldwide reputation as the drummer in the mid-1970s supergroup Return to Forever. In 2011 he won a Latin Grammy along with RTF’s Chick Corea and Stanley Clarke for their album Forever. They also won a Grammy Award for Best Jazz Instrumental Album in 2012. This was all in conjunction with a highly successful worldwide tour in 2010 and 2011 of the reunited RTF. White was still a teenager in 1967 when Jackie McLean asked the lanky left-hander to join his band. Within a year he had played on two of the most important fusion records ever made: Miles Davis’s Bitches Brew and Freddie Hubbard’s Red Clay. White established his rock and roll credentials in the Escovedo brothers’ Latin rock band Azteca in 1972.

Born in the Ukraine, Sirota was exposed early in his youth to American jazz and improvisation and now shows an intelligence and understanding of the genre way beyond his years. In 1990, his family moved to Israel, where he continued to study piano at the Bat-Yam music school. At 17, Sirota auditioned for the Berklee College of Music, where he received a full-tuition scholarship, and moved to Boston in 2000 with personal assistance from legendary vibraphonist Gary Burton. During his studies at Berklee, Sirota displayed growing interest in R&B, funk and soul music. In 2004, Sirota joined the Stanley Clarke Band and moved to Los Angeles, thus marking the beginning of his professional career. Since then, Sirota has been touring, performing and recording with major artists such as Dennis Chambers, Ne-Yo, Stanley Clarke, Marcus Miller, Chick Corea, Seal, Brian McKnight, Eric Benét, Rachelle Ferrell and Diane Warren. Although still playing with others, Sirota is focused on his self-titled debut solo album. Guest artists on the album include renowned pianists Chick Corea and George Duke as well as bassist Stanley Clarke. The album was released late in 2011 on the Roxboro Entertainment Group label. Sirota brings an unparalleled contribution to piano performances, not only on keyboard but with his profound melodic techniques on the acoustic piano. On the 2011 Grammy-winning album The Stanley Clarke Band, he wrote “Soldiers” and performs on almost all tracks.

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After Return to Forever’s split in 1977, White proved his individual mettle by recording three critically acclaimed jazz rock records on his own, contributing significantly to a new form of danceable jazzfunk that he describes as “progressive-pop.” His late-1970s bands, Best of Friends and Twennynine, are often cited as outstanding examples of a new transitional sound made famous by friends Earth, Wind & Fire. White’s versatility has attracted the attention of the finest jazz musicians, leading to collaborations with Joe Henderson, Woody Shaw, Gato Barbieri, Gil Evans, Stan Getz, Jaco Pastorius, Carlos Santana and RTF band mates Stanley Clarke, Al Di Meola and Chick Corea. Most notably, he worked with Corea on two straight-ahead jazz projects in the early 1980s, Griffith Park and the Grammy-nominated Echoes of an Era with vocalist Chaka Khan (both produced by White). At the other end of the spectrum, White again teamed up with bassist Marcus Miller (who had played on his 1978 Streamline record) for the drum-and-bass-dominated Jamaica Boys and Spike Lee’s School Daze soundtrack. White has excelled as a composer and producer, effectively bringing all genres together on a number of solo projects. He also recorded and produced a number of records for the Hip-Bop record label Ruslan Sirota (acoustic piano), a child prodigy now 27, has already traveled the world, playing with some of the biggest names in classical and pop music. Along with band members Stanley Clarke and Ronald Bruner, Jr., he won a 2011 Grammy for Best Contemporary Jazz Album for this collaboration on The Stanley Clarke Band.

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Akram Khan Company Vertical Road

Photo by Laurent Ziegler

Debut

A Dance Series Event

Vertical Road

Friday, October 12, 2012 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis

Question & Answer Session With members of Akram Khan Company, moderated by Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center, UC Davis Question & Answer Sessions take place in the performance hall after the event. Sponsored by COLAS

WARNING: Strobe Light, Smoke, Loud Sound Duration: approximately 70 minutes with no interval Tour details: www.akramkhancompany.net Akram Khan, Artistic Director & Choreographer Nitin Sawhney, Composer Jesper Kongshaug, Lighting Designer Kimie Nakano, Costume Designer Farooq Chaudhry, Producer Fabiana Piccioli, Technical Director Set conceived by Akram Khan, Kimie Nakano, Jesper Kongshaug Material devised and performed by Salah El Brogy, Yen-Ching Lin, Andrej Petrovic, Elias Lazaridis, Sung Hoon Kim, Sade Alleyne, Rudi Cole, Pauline De Laet

Co-produced by ADACH Ruth Little, Dramaturg Jess Gormley, Researcher Andrej Petrovic, Rehearsal Director Richard Fagan, Technical Coordinator Marcus Hyde, Sound Engineer Gillian Tan, Stage Manager Arthur Laurent, Tour Manager Conâ&#x20AC;&#x2122;t. on p. 29 Program is subject to change. 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. 28

Mondavi Center Presents Program Issue 2: oct 2012

Co-produced by ADACH (Abu Dhabi Authority for Culture and Heritage), Curve Leicester, Sadler’s Wells London, Theatre de la Ville Paris, National Arts Centre Ottawa, Mercat de les Flors Barcelona Produced during residencies at Curve, Leicester and DanceEast, Ipswich Supported by Arts Council England Special thanks to: Assis Carreiro, Paul Kerryson, Alistair Spalding, Béatrice Abeille Robin, Isadora Papadrakakis, Jayne Stevens, Su-Man Hsu, Paul Zivkovich, Young Jin Kim, Konstandina Efthymiadou, Eulalia Ayguade Farro, Nicola Monaco, Shanell Winlock, Mr. and Mrs. Khan, Ruth Barclay, Vicki Jacobs, Rachel Farrer, Tia-Monique Pilgrim and Ottilie Robin Sponsored by COLAS

Message from Hervé Le Bouc, Chairman and CEO of COLAS I met Akram Khan before I had ever actually seen his work. We both spoke of the paths we had taken, of our lives and of the meaning, the value of the social link created by roads. He explained to me the role of the human body as he sees it—a vector of communication, cultural memory and personal history. And, then, both of us began to see that our two worlds obviously shared the idea of forming links between people and peoples. From the confrontation of our ideas on diversity emerged a common image: the Vertical Road. That is also how this partnership came to be.

“More and more, I am pulled reluctantly towards a strong horizontal current, which is a place where time is moving at such high velocity that even our breath is forced to accelerate just in order for us humans to survive. And I have always believed that it is in our slow exhalation where the sense of this deep spiritual energy resides. In a world moving so fast, with the growth of technology and information, I am somehow inclined to move against this current, in search of what it might mean to be connected not just spiritually, but also vertically.” —Akram Khan

Akram Khan is an Associate Artist of MC2: Grenoble and Sadlers Wells, London in a special international co-operation 2 Luck Concepts, North American Executive Producer and general management www.2luck.com

Q&A Question & Answer Session Moderator: Ruth Rosenberg Ruth Rosenberg is the artist engagement coordinator for the Mondavi Center, overseeing residencies by touring artists, Pre-Performance Talks and Question & Answer sessions with the artists. She has organized in-depth residencies with such artists as Delfeayo Marsalis, ABT II and the Merce Cunningham and Limon dance companies. Rosenberg started her career as a dancer. Artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990-2001, she also performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco. She was the recipient of numerous awards and honors, including a Dance Fellowship and five choreography grants from the Sacramento Metropolitan Arts Commission. In 2008, she was included in Sacramento Magazine’s Power & Influence 100 and named a finalist for the Arts & Business Council’s Individual Leadership Award.

Vertical Road is Akram Khan’s latest contemporary ensemble work. Khan has assembled a cast of very special performers from across Asia, Europe and the Middle East. With a specially commissioned score by long-term collaborator, composer Nitin Sawhney, Vertical Road draws inspiration from the Sufi tradition and the Persian poet and philosopher Rumi. Exploring man’s earthly nature, his rituals and the consequences of human actions, Vertical Road becomes a meditation on the journey from gravity to grace. “I died from minerality and became vegetable; And from vegetativeness I died and became animal. I died from animality and became man. Then why fear disappearance through death? Next time I shall die Bringing forth wings and feathers like angels; After that, soaring higher than angels— What you cannot imagine, I shall be that.” —Rumi

In 2009–10, she served on Sacramento Mayor Kevin Johnson’s “For Arts’ Sake” Arts Initiative leadership team as arts education chair and currently co-chairs the Any Given Child Program/Professional Development committee.

MondaviArts.org

Akram Khan (artistic director and choreographer) is one of the most acclaimed choreographers of his generation working in England today. Born in London into a family of Bangladeshi origin, he began dancing at seven and studied with the renowned kathak dancer and teacher Sri Pratap Pawar. After studying contemporary dance and working on the X-Group project with Anne Teresa de Keersmaeker in Brussels, he presented his first solo works in the late 1990s, maintaining his commitment to classical kathak as well as developing modern work. He was choreographer-in-residence and later associate artist at the Southbank Centre London. Khan is currently an associate artist of MC2: Grenoble and Sadler’s Wells, London in a special international cooperation. DESH (2011), Khan’s first full-length contemporary solo, is a partly-autobiographical work which is at once intimate yet epic. Vertical Road (2010) is Khan’s new contemporary ensemble work and continues his ambition to explore the interfaces between different cultures and creative disciplines. He brings together a host of performers and artists from East and West. Vertical Road, as well as Khan’s recent creation Gnosis (2009), where he combined his classical Indian and contemporary dance roots, received critical acclaim and continue to tour worldwide. Khan’s notable company works are bahok (2008), originally produced in collaboration with National Ballet of China; Variations (2006), a production with London Sinfonietta in celebration of Steve Reich’s 70th birthday; ma (2004), with text by Hanif Kureishi; and Kaash (2002), a collaboration with artist Anish Kapoor and composer Nitin Sawhney. Besides his company work, Khan also created duets In-I (2008) with Oscar-winning actress Juliette Binoche, Sacred Monsters (2006) with internationally acclaimed dancer Sylvie Guillem and award-winning zero degrees (2005) with Sidi Larbi Cherkaoui in collaboration with Antony Gormley and Nitin Sawhney. In 2006, Khan was invited by Kylie Minogue to choreograph a section of her Showgirl concert, which opened in Australia that year. Khan has been the recipient of numerous awards throughout his career including the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award in New York (2011), the South Bank Sky Arts Award for Dance (2011, Gnosis) in the U.K. and The Age Critics’ Award for Best New Work (2010, Vertical Road) at the Melbourne Arts Festival. He was awarded an MBE for services to dance in 2005 and received an Honorary Doctorate of Arts from Roehampton and De Montfort universities. Nitin Sawhney (composer) is arguably the busiest, most versatile and most sought-after composer and producer alive today. Having recently signed a lucrative deal with Universal Publishing, he has made eight studio albums, for which he has been nominated for a Mercury Music prize, won a MOBO, two BBC Radio 3 awards and a South Bank Show award. He has scored more than 40 films for cinema and television, including Salman Rushdie’s new screenplay Midnight’s Children, Mira Nair’s film The Namesake, two film scores for live performance by the London Symphony Orchestra and biopics about Brian Epstein and Jean Charles De Menezes.

Mondavi Center Presents Program Issue 2: oct 2012

He has been a regular DJ with London club Fabric; performed around the world with leading orchestras and his band; composed extensively for renowned dancer Akram Khan, winning a New York Performance and Dance Award for best score for zero degrees; and has composed for many theatrical productions, including Olivier Award-winning work from Complicite’s A Disappearing Number. His career includes production and composition work with Sting, Cirque Du Soleil, Shakira, Paul McCartney, Jeff Beck, Tao Cruz, Imogen Heap, Anoushka Shankar and many others. He has also scored for videogames, including Sony Playstation’s number one game Heavenly Sword and the forthcoming Enslaved. He is currently scoring a major eight-part TV series for the BBC, Human Planet. As the recipient of four honorary doctorates from separate universities, fellowships from LIPA and Southbank University and considerable critical acclaim, he also acts as a patron to many educational establishments, is now a judge for the Ivor Novello Awards, BAFTA, BIFA and sits on the board of trustees for London’s Whitechapel Gallery and Somerset House. Recently he has been made an Associate Artist at the Sadler’s Wells. Farooq Chaudhry (producer), born in Pakistan, graduated from the London Contemporary Dance School in 1986. As a professional dance artist he worked in a variety of dance mediums in various European countries, the highlight being his time as a company member of the Belgian modern dance company Rosas during the mid-1990s. In 1988, he received an Asian Achievement Award for his work as a dancer. He retired from dancing in 1999, after which he completed an M.A. in Arts Management from City University in London. In 1999, Chaudhry teamed up with Akram Khan, and they founded Akram Khan Dance Company a year later. As the company producer, he has played a key role in forming innovative business models to support Akram Khan’s artistic ambitions as well as offering creative support during the development of Akram Khan’s projects. Chaudhry is a regular speaker in arts management and cultural entrepreneurship courses around the world. He is also the Chair of Dance U.K.’s Board and a member of the Strategic Advisory Committee for Clore Leadership Programme. In 2011, he became an honorary artistic advisor to Guangzhou Opera House in China. The French Ministry of Foreign Affairs acknowledged him in a list of the world’s top 100 cultural actors and entrepreneurs in 2008. Salah El Brogy (dancer) was born in Ismailia, Egypt. As a street dancer looking for something meaningful, he joined the Ismailia Folkloric Dance Troupe, where his professional dance career began. He worked with Reda Folkloric Dance Troupe, the biggest dance troupe in the Middle East, before moving to Cairo to pursue a diploma in dance. After graduating from the Contemporary Dance Theatre School in the Cairo Opera House, he became a member of its troupe as a soloist and has since started developing his own technique.

Yen-Ching Lin (dancer), born in Taiwan, studied at the Taipei National University of the Arts and the London Contemporary Dance School (LCDS), where she completed the postgraduate diploma program in 2003 and obtained an M.A. in Contemporary Dance in 2007. During her studies at LCDS Yen-Ching worked with choreographers Maresa von Stockert, Charles Lawrence, Jonathan Lunn and Jan de Schynkel. She was a member of a post-graduate company Edge05, joined the Bern Ballet in 2006 and danced for Hofesh Shechter Company from 2007–10.

Pauline De Laet (dancer), was born in Belgium and she graduated from the Kunsthumaniora Dans in Antwerp in 2007 and Rotterdamse Dance Academy in 2011. In 2007, she won the second prize dance and audience award at the 11th International Solo-Tanz-Theatre Festival in Stuttgart. She danced for Conny Janssen Danst in RUIS in 2009, Scapino Ballet Rotterdam in Ed Wubbe's Holland in 2010 and Retina Dance Company where she danced Layers Of Skin in 2011. She joined Akram Khan Company in 2012.

Andrej Petrovic (dancer and rehearsal director), born in Bojnice, Slovakia, graduated from the Dance Conservatory in Banska Bystrica before joining Študio Tanca Professional Dance Theatre/Zuzana Hájková. He is one of the co-founders of professional dance company Dajv/Marta Polákova. He has collaborated with Editta Braun Company in Salzburg, Fatou Traore in Brussels and Giorgio Barberio Corsetti and Fatore Kappa physical theater in Rome. More recently he graduated in dance teaching from the University of Music and Dramatic Arts in Bratislava and worked with Jean Abreu Dance Company in London and Jaroslav Vinarsky in Prague before joining the Akram Khan Company in 2007.

Jesper Kongshaug (lighting designer) was educated in the U.S. and has worked in theater, opera, ballet, art exhibitions and television. He has created unique lighting designs for the Royal Theatre in Copenhagen, most recently for Wagner’s Das Ring des Nibelungens Den Jyske Opera, Hotel Pro Forma, as well as theaters in Norway, Sweden and Germany. He has done architectural lighting design, most recently in Kastrup Copenhagen airport and Højbro Plads, a complete redesign of an old central square in Copenhagen.

Elias Lazaridis (dancer) was born in Kavala, Greece. He started dancing at the age of eight in classical ballet. Elias was a keen athlete and participated in many international competitions, including winning 400m hurdle events. After high school he studied architecture, later to study dance in Athens, where he performed with the Greek National Opera and the Adlib Dances (Kat Valastur). After his graduation in 2004, he continued his research with Anne Teresa De Keersmaeker’s PARTS (Performing Arts Research and Training Studio) in Brussels. He is based in London and has performed with Hofesh Shechter and Eastman companies. Sung Hoon Kim (dancer) was born in Seoul, Korea. He graduated from the Korean National University of Art with an M.A. in Dance Performance. Since 2004, he has been a member of the Laboratory Dance Company in Seoul. He teaches extensively and has performed and choreographed for numerous venues and festivals around Korea and internationally. He joined the Akram Khan Company in 2009, touring with bahok. Sade Alleyne (dancer) formally trained as an athlete for Enfield and Haringey. Her first experience of dance was with hip-hop companies Boy Blue Entertainment and Dance 2Xess. Sade trained at the BRITS School (London, 2004) and at the Northern School of Contemporary Dance (Leeds, 2008). Since graduating, Sade has worked with Tavaziva Dance, IJAD Dance and Vocab Dance Company, both U.K. and international performances. Sade has worked as a performer and rehearsal director for companies Ace Dance and Music (Birmingham) and State of Emergency (London). Sade has worked with choreographers Vincent Mantsoe, Luyanda Sidya, Andlie Sotyia, Douglas Thorpe, Akiko Kitamura and Gregory Vuyani Maqoma. She joined the Akram Khan Company in 2012. Rudi Cole (dancer), dancing from an early age, decided between a career in water polo and dance, to attend the Northern School of Contemporary Dance at the age of 16. After graduating, he joined Company Thor in Brussels where he worked and toured internationally. Since then he has been involved in projects inside of Belgium and the UK and has worked with Akram Khan for the London 2012 Olympics Opening Ceremony.

Lighting design for the new Royal Playhouse earned Kongshaug the Danish Lighting Prize 2008 and Nordic Lighting Prize, Helsinki 2008. He won an invited architectural competition in collaboration with architects Erik Brandt Dam and Nicolai Bo Andersen of refurbishing the Kings Garden of Odense. Kongshaug teaches at Danmarks Designskole (Danish School for Design) and the National Danish Theatre School and acts as consultant for museums, the Tivoli Gardens, private firms and public institutions. He has created several high-profile large-scale light installations both outdoors and indoors, including the 13-km long Vinterlys (Winterlight) during Copenhagen European Cultural Capital 1996. His international works include extensive travels with Hotel Pro Forma’s Operation ORFEO, The Magic Flute in Boston Lyric Opera and the musical production of Hair, a Betty Nansen Theatre production at the Theatre Mogador in Paris, Rosenkavalier at Opera de Lyon in France, Le Grand Macabre at San Francisco Opera and L’Ecole des Femmes in Dramaten, Stockholm. In 2004, he did GOYA with Placido Domingo for Klangbogen Festival at Theater an der Wien, Vienna, where he returned in 2007 with Le Nozze di Figaro. He was lighting designer for Jesper Just Opera for Performa 05 in New York, Donna Karan Studio, La Traviata (2007), Stockholm Opera, Le nozze de Figaro (2008), Theater an der Wien, Don Carlos (2009), Royal Danish Opera and The Nutcracker (2009), The Royal Ballet. Kimie Nakano (costume designer) studied literature in Tokyo, theater costume at L’Ecole National Superieure des Arts et Techniques du Theatre in Paris and theater design at Wimbledon School of Art in London. She gained design-assisting experience at Opera de Paris and Saito Kinen Festival. She assisted in designing costume for films including 8 and a half Women. She designed for the award-winning Yabu no Naka (modern noh/kyogen play) directed by Mansai Nomura in Japan Art Festival 1999 and her collaboration with Megumi Nakamura’s Sandflower received the Gold award in the Maastricht Festival 2000 in Holland. Kimie’s international work as a designer includes Ali to Karim Tour (2008) directed by Hafiz Karmali, Pas, pas moi, va et vien for a MondaviArts.org

Beckett celebration at Theatre National Populaire—Lyon (2006), The Oslo Experiment at Stratos Oslo (2007) and in the U.K., 2 Graves at Arts Theatre and Edinburgh Festival (2006). Continuing to explore work in various media such as film, video, animation, installation and illustration, she designed for a short film Basho (2008).

Gillian Tan (stage manager) was born in Singapore and based in London and is a freelance Production and Stage Manager. With an extensive background in music and dance, she particularly enjoys working on devised, movement, musical and opera performances. Apart from working backstage, she is also pursuing a MA in Arts Administration and Cultural Policy at Goldsmiths.

Directorial credits in the U.K. include Snow (workshop working with three blind singers) for the ENO studio, 8:15 for the Rambert Dance Company and a collaboration with Eda Megumi, Sandflower in Den Haag.

Arthur Laurent (tour manager) was born in Paris. After majoring in cultural project management, he started working in film marketing and publicity with the French Film Office in Los Angeles, Pathé International in Paris and IFC Films in New York. In 2009, he was personal assistant to French actress Juliette Binoche on the New York run of In-I. He joined Akram Khan Company in 2010 to tour Vertical Road.

Fabiana Piccioli (technical director) studied philosophy at University La Sapienza di Roma. From 1999–2002, she worked as a dancer in Rome and Brussels. She then became technical coordinator and production manager at the Romaeuropa Festival before joining Akram Khan Company as technical manager in 2005. She was lighting designer for three of the company’s productions (Variations, bahok, Gnosis) and Svapnagata Festival, curated by Nitin Sawhney and Akram Khan at Sadler’s Wells. She also codesigned the set for bahok. Ruth Little (dramaturg) is a dramaturg, teacher, writer and former academic. She was literary manager at Griffin Theatre Company (Sydney), Out of Joint, Soho Theatre and the Royal Court Theatre and artistic associate at the Young Vic. Little is associate director of Cape Farewell, London. Jess Gormley (researcher) has been a researcher and dramaturge for Theatre de Complicite and is currently working on a Broadway musical of King Kong. She has just finished as trainee producer on Artangel’s latest feature film, The Arbor. She is currently assistant producer on a Channel 4 documentary entitled Guilty Pleasures and previously worked on four Three Minute Wonders for Tate Liverpool’s—Turner Prize 2007. She has a master’s in art history from the Courtauld Insititute of Art. Richard Fagan (technical coordinator) began his career in 1997 as an electrician for Stagecraft Productions and went on to manage the lighting department at Poole Arts Centre. He toured extensively as stage manager and production manager for the Garnet Foundation and later as lighting designer for The Nuffield Theatre, Southampton. In 2004, he joined the lighting department of the English National Opera. Fagan now works as a freelance lighting designer and technician for both corporate and theater productions. Some of his more recent work includes Art Admin’s How to Live and Akram Khan Company’s bahok. Marcus Hyde (sound engineer) started his career working with leading dance companies such as Michael Clark, Martha Graham and English National Ballet. He is passionate with classical music and has mixed most of the British orchestras including London Philharmonic, BBC Symphony and Concert Orchestra’s, English National Opera and the Vienna Philharmonic. He has also worked with many of the world’s greatest singers Signor Pavarotti, Carreras, Bocelli and Jesse Norman. He has toured with Rihanna and Pet Shop Boys. Hyde also undertakes many large commercial events, such as major car launches or award shows; sports events, Barcelona Olympics, Tour de France, The Vendee Globe, Wimbledon tennis and Tour D’Oman cycle event.

Mondavi Center Presents Program Issue 2: oct 2012

Akram Khan Company was founded in 2000 by choreographer Akram Khan and producer Farooq Chaudhry. Akram Khan Company journeys across boundaries to create uncompromising artistic narratives. Having established itself as one of the foremost innovative dance companies in the world, the company is renowned for its intercultural, interdisciplinary collaborations and for challenging conventional ideas of traditional dance forms. The dance language in each production is rooted in Akram Khan’s classical kathak and modern dance training and continually evolves to communicate ideas that are intelligent, courageous and new. Akram Khan Company tours extensively both within the United Kingdom and internationally at leading international festival and venues, performing a diverse range of programs including classical kathak solos, ensemble productions and artist-to-artist collaborations. The company has been awarded with several prestigious honors including the Olivier Award (2012, DESH), the U.K. Critics Circle National Dance Award (2011, Vertical Road), the South Bank Sky Arts Award for Dance (2010, Gnosis), the Age Critics Award for Best New Work (2010, Vertical Road) at the Melbourne Festival and the Helpmann Award for Best Choreography in Dance Work (2007, zero degrees) at the Sydney Festival. Company Productions Contemporary Work iTMOi (2013) DESH (2011) Vertical Road (2010) In-I (2008) bahok (2008) Sacred Monsters (2006) zero degrees (2005) Variations for Vibes, Strings & Pianos (2006) ma (2004) Kaash (2002) Related Rocks (2001) Rush (2000) Fix (2000) Loose in Flight (2000) Kathak Gnosis (2009) Third Catalogue (2005) Ronin (2003) Polaroid Feet (2001)

Akram Khan Company Vertical Road Program Credits

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From the Top with host Christopher O’Riley MC

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A Mondavi Center Special Event Thursday, October 25, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

From The Top can be heard on Capital Public Radio, Sundays at 3 p.m. This episode will air nationally in January, 2013.

From the Top is an independent non-profit organization that identifies, supports and celebrates the nation’s exceptional young classical musicians through media, live events, scholarships and education programs. From the Top prepares young musicians to connect with audiences, serve as positive role models and give back to their communities. These performers inspire the pursuit of excellence and encourage participation in the arts as an integral part of a vibrant and civil society. Based in Boston, From the Top was founded in 1999 by co-CEOs Gerald Slavet and Jennifer Hurley-Wales. Radio, Television and Online Media: From the Top on NPR, hosted by Christopher O’Riley, is one of the most popular weekly music programs on public radio and is heralded as “contemporary culture’s feel-good success story” (San Francisco Chronicle). The show reaches more than 700,000 loyal listeners on nearly 250 stations each week. In over a decade, From the Top has taped more than 250 episodes before live audiences in 35 states and featured more than 2,500 young artists, many of whom have now entered the professional music world. From the Top’s full radio archive, accompanied by photographs, video clips, a backstage blog series and written reflections from the performers, is available at fromthetop.org. The Emmy Award-winning PBS television series From the Top at Carnegie Hall is a fast-paced documentary-style show centered around the lives of phenomenal and inspiring young musicians. All 26 episodes and accompanying lesson plans are available at pbs.org/fromthetop. National Tour and Community Outreach: From the Top records its programs before live audiences in up to 20 cities annually. Approximately 3,500 students across the country experience the power of From the Top role models through classroom visits in conjunction with the national tour each year.

Mondavi Center Presents Program Issue 2: oct 2012

From the Top with host Christopher O’Riley Program adDendum Duo for Flute and Piano III. Lively, with bounce Annie Wu, flute Christopher O’Riley, piano

Copland

Zigeunerweisen (“Gypsy Airs”) for Violin and Piano, Op. 20 Alex Zhou, violin Christopher O’Riley, piano

Sarasate

Soirée de Vienne (“Evening in Vienna”) Concert Paraphrase of Waltz Themes from Johann Strauss’ Die Fledermaus for Piano Phoebe Pan, piano

Grünfeld

Prelude No. 15 in D-flat Major, Op. 28 (“Raindrop”) Alec Holcomb, guitar

Chopin

The Four Seasons of Buenos Aires III. Primavera Porteña The Angeles Trio Kristina Zlatareva, violin Ji Sun Jung, cello Jia Ying Dong, piano

Piazzolla

Program and repertoire subject to change. This episode will air nationally in January of 2013. From the Top may be heard locally on Capital Public Radio Sundays at 3:00 p.m. Check other listings and listen online at fromthetop.org. From the Top’s radio program is made possible through grants from the National Endowment for the Arts and the Jack Kent Cooke Foundation and support from U.S. Trust. It is also supported through the generous contributions of individuals and institutions as well as public radio stations. From the Top is an independent non-profit organization headquartered in Boston. From the Top’s founding partners are New England Conservatory and WGBH.

Annie Wu (flute) is 16 from Pleasanton, California, and attends Foothills High School. A student of Isabelle Chapuis, Wu won first place at the 2011 National Flute Association High School Soloist competition where she also received the award for Best Performance of a Newly Commissioned Work, “Three Beats for Beatbox Flute.” In addition to her musical pursuits, she enjoys painting, drawing and photography. Alex Zhou (violin) is 11 and from San Jose where he attends Country Lane Elementary School. He studies at San Francisco Conservatory of Music with Zhao Wei. He is the Junior Division Grand Prize Winner of the 2012 Mondavi Center Young Artists Competition. Aside from violin, he plays piano, and he enjoys playing badminton, ping-pong and swimming. Phoebe Pan (piano) is 15 and from Irvine where she is a student at Pacific Academy. She is a student with Yi Dong at Opus119 School of Music. She received the Junior Division Piano Award at the 2010 Mondavi Center Young Artists Competition as well as first place in the 2012 David D. Dubois Piano Competition. Outside of music, she enjoys spending time with her dog, Dakota.

Alec Holcomb (guitar) is 17 and from Franklin, Tennessee, where he attends Franklin High School. He studies with Andrew Zohn. Alec took first place in the 2012 Christopher Parkening Young Guitarist Competition at Pepperdine University in Malibu. He also plays electric guitar and really enjoys performing. The Angeles Trio is the Honors Piano Trio of the Colburn School of Music in Los Angeles and is coached by Mina Perry. Its members include 19-year-old violinist Kristina Zlatareva from Culver City, California, originally from Sofia, Bulgaria, a student of Danielle Belen; 18-year-old cellist Ji Sun Jung from Irvine, a student of Ronald Leonard and 18-year-old pianist Jia Ying Dong from El Monte, California, a student of Mina Perry. Joanne Robinson (announcer) has a broad arts and communications background. She has performed and toured with several children’s theater companies and worked on the production teams of two children’s television programs. In addition to being From the Top’s announcer, she serves as the organization’s graphic designer. You can follow Joanne’s adventures on tour with the show at our Green Room blog at fromthetop.org.

Jack Kent Cooke Young Artist Awards: Annually From the Top and the Jack Kent Cooke Foundation award scholarships to deserving young artists who have financial need. Since 2005, this program has provided more than $1.6 million in scholarships to 159 recipients.

Staff List Jennifer Hurley-Wales, co-CEO & Executive Producer Gerald Slavet, co-CEO & Executive Producer Wendy Perrotta, Executive Assistant Tom Voegeli, Producer Tim Banker, Producer & Radio Manager David Balsom, Tour Producer Tom Vignieri, Music Producer Elizabeth DeVore, Production Manager Kyle Moffat, Database Assistant Megan Lantz, Director of Jack Kent Cooke Scholarship Program Erin Nolan, Scholarship Program Assistant Linda Gerstle, Director of Education & Community Partnerships Johana Macdonald, Arts Leadership Program Manager Anne Gregory, Education Program Developer Erin Haran MacCurtain, Director of Marketing & Communications Robin Allen LaPlante, Marketing & Communications Manager Joanne Robinson, Graphic Designer & Radio Show Announcer Kate Gutierrez, Director of Development Kara Gavagan, Development Officer, Events & Stewardship Laura Cannata, Development Manager, Institutional Giving Nicole Wittlin, Development Manager, Individual Giving Dianne Collazo, Director of Finance & Administration Dorothy Zarren, Finance & Administration Associate Victor Gorospe, Manager of Information Systems David Guerrette, I.T. & Media Specialist Berred Ouelette, Technical Director John Servies, Sound Engineer David Forbes, Sound Engineer Volunteer Leadership Board of Directors Jeffrey Rayport, Chair John L. Pattillo, Vice Chair Stephen L. Symchych, Clerk Susan B. Cohen, David Feigenbaum, Corinne Ferguson, Jennifer Hurley-Wales, Beth S. Klarman, Elaine Lindley LeBuhn, Marie Pettibone Llewellyn, Gloria Rose, Stephen J. Shapiro, Gerald Slavet, Mark Volpe, Janet Whitla & Anthony Woodcock in memoriam: Francis O. Hunnewell, Founding Chair

Board of Overseers Elaine Lindley LeBuhn, Chair Susan Beckerman, Ishik Kubali Camoglu, Cynthia K. Curme, Richard Davis, Eran Egozy, Constance Freedman, Phil Griffin, John Humphrey, Betsy Kessler, Dicken Ko, Karen S. Levy, José Lopez, Nancy Lubin, Meredith McPherron, Linda Dyer Millard, Stephanie Perrin, Matt Pillar, Russell Ricci, Bonnie Rosenberg, Elizabeth Sikorovsky, Anthony Tjan, Peter Vinella, Robert Williams and Gabrielle Wolohojian

Photo by Wendy Lynch

Center for the Development of Arts Leaders: From the Top’s Center for the Development of Arts Leaders (CDAL) prepares and mentors young musicians across the country to be instruments of change in their communities. CDAL programs range from a halfday arts leadership orientation for all From the Top performers to community outreach events in schools across the country. In Boston, From the Top works with community partners on a year-long intensive Arts Leadership Program for high school musicians.

Christopher O’Riley (host/piano) has redefined the possibilities of classical music through media, contemporary music and innovative programming. In addition to hosting the From the Top radio and television programs and appearing with top orchestras and festivals around the world, O’Riley is also an interpreter of some of the most important popular music of our time. He lives by the Duke Ellington adage, “There are only two kinds of music, good music and bad.” O’Riley has performed two-piano arrangements of Astor Piazzolla’s tangos with Argentine pianist Pablo Ziegler and collaborated with choreographer Martha Clarke in a work which sets the staged stories of Anton Chekhov to the piano works of Alexander Scriabin. He has recorded two discs of his own re-imaginings of Radiohead songs, as well as those of singer/songwriter Nick Drake and a tribute to Elliot Smith. In 2009, he drew from the works of Nirvana, REM, Radiohead, Pink Floyd, Tori Amos, the Smiths, Cocteau Twins and Portishead among others in Out of My Hands. This year, O’Riley teamed up with cellist Matt Haimovitz on Shuffle.Play.Listen., a collaboration that plumbs the virtuosic possibilities of their instruments and blurs the boundaries between classical and pop music. O’Riley is a recipient of top prizes and awards from the Van Cliburn Competition and the Avery Fisher Career Grants. He is a graduate of the New England Conservatory in Boston.

MondaviArts.org

Eddie Izzard MC

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A Mondavi Center Just Added Event Friday, October 26, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Eddie Izzard, already one of the most acclaimed comics of his generation, is developing an equally stellar reputation as a film, television and stage actor. Izzard will next be seen in the Syfy Channel’s buccaneer classic Treasure Island starring as Long John Silver opposite Elijah Wood as Ben Gunn. Most recently, Izzard lent his voice to Disney’s animated feature Cars 2 opposite Owen Wilson. Last year, Believe: The Eddie Izzard Story received an Emmy Award nomination. The original documentary, culled from thousands of hours of footage, recounts his rise to fame from his early influences to now. Last year, Izzard was seen on Broadway in David Mamet’s Race and in the independent film Every Day, opposite Liev Schreiber, Helen Hunt and Carla Gugino. Other recent film roles include Valkyrie opposite Tom Cruise, MGM’s animated film Igor, Ocean’s Thirteen and Ocean’s Twelve opposite George Clooney and Brad Pitt, Julie Taymor’s Across the Universe, as well as lending his voice to Jerry Seinfeld’s Bee Movie. In 2011, Izzard became the first solo stand-up comedian to appear at the Hollywood Bowl in his hugely successful show Eddie Izzard: Stripped to the Bowl. In 2008, he embarked on

Mondavi Center Presents Program Issue 2: oct 2012

the largest comedy tour of his career, Stripped. In five months, he performed in 34 cities across the United States including three nights at New York’s legendary Radio City Music Hall. Upon his return to the U.K., he broke box office records by selling out a five-week tour in London’s West End in less than 48 hours. The Stripped tour returned to the U.S. for a run of arenas including a sellout show at Madison Square Garden. In 2005, Izzard demonstrated his musical flair in Romance and Cigarettes, a Coen Brothers production directed by John Turturro, starring Susan Sarandon and Kate Winslet. In 2004, he was seen in the mystical western Blueberry, alongside Kenneth Branagh and Zoe Wannamaker and he delighted children and adults alike as the voice of the “Sand Fairy” in Disney’s Five Children and It. In 2001, Izzard enjoyed great success in the U.S. and U.K. for his portrayal of Charlie Chaplin in Peter Bogdanovich’s The Cat’s Meow. His big-screen debut was alongside Bob Hoskins and Robin Williams in the 1996 movie Secret Agent. Other highlights in his feature film career include appearing in The Avengers with Sean Connery and Velvet Goldmine with Ewan McGregor. Izzard’s credits also include All the Queen’s Men, The Revenger’s Tragedy and as the voice of Nigel in the animated Disney movie The Wild. On television, Izzard starred in and served as producer on the critically acclaimed FX Network show The Riches opposite Minnie Driver. He also had a guest starring role in the final season of Showtime’s United States of Tara. Izzard has been hailed as one of the foremost stand-ups of his generation. His bizarre, tangential, absurd and surreal comic narratives are lauded for their creativity and wit. Izzard’s comedic musings have earned him top awards from Time Out and the Perrier Panel. Live at the Ambassadors received an Olivier Award nomination for Outstanding Achievement. He won the British Comedy Award for Top Stand-Up Comedian in 1993 and 1996 and Dress to Kill earned him a New York Drama Desk Award and two Emmys. Izzard’s stage appearances include David Mamet’s Race and The Cryptogram, the title role in Marlowe’s Edward II, 900 Oneonta and A Day in the Death of Joe Egg in London and on Broadway which won him a handful of awards, including a Tony nomination for Best Actor. Since his first stage appearance on London’s West End in 1993 in the one-man show Live at the Ambassadors, Izzard has inhabited a unique world of his own “carefully crafted rubbish.” Live at the Ambassadors was followed by a succession of critically acclaimed shows including Unrepeatable (1994), Definite Article (1996), Glorious I (1997), Dress to Kill (1998) and Circle (2000).

Anniversary 2012–13

Single Tickets on sale NOW! B.B. King Arlo Guthrie, solo Jazz at Lincoln Center Orchestra with Wynton Marsalis Itzhak Perlman, violin Dance Theatre of Harlem ETHEL with Todd Rundgren Shakespeare’s Globe: Hamlet David Sedaris Pilobolus Dance Theatre Plus much more!

10th Anniversary Season Sponsors

Izzard recently ran 1,100 miles through England, Wales, North Ireland and Scotland for charity. He raised $250,000 for Sports Relief, which helps the less fortunate in Britain and poor countries worldwide.

Tickets and more: mondaviarts.org • 866.754.2787

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In Conversation with Steve Wozniak Moderated by Dean Enrique Lavernia, UC Davis College of Engineering

Photo by Michael Bulbenko

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A Distinguished Speakers Series Event Monday, October 29, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis Presented in collaboration with the UC Davis College of Engineering as part of its 50th anniversary. Sponsored by

Steve Wozniak “The Woz” Co-founder, Apple Computer, Inc. Chief Scientist, Fusion-IO A Silicon Valley icon and philanthropist for more than 30 years, Steve Wozniak has helped shape the computing industry with his design of Apple’s first line of products, the Apple I and II, and influenced the popular Macintosh. In 1976, Wozniak and Steve Jobs founded Apple Computer, Inc. with Wozniak’s Apple I personal computer. The following year, he introduced his Apple II personal computer, featuring a central processing unit, keyboard, color graphics and floppy disc drive. The Apple II was integral in launching the personal computer industry.

Individual support provided by Lor and Nancy Shepard. There will be a Question & Answer Session in the performance hall following the lecture.

In 1981, he went back to UC Berkeley and finished his degree in electrical engineering/computer science. For his achievements at Apple Computer, Wozniak was awarded the National Medal of Technology by President Reagan in 1985, the highest honor bestowed on America’s leading innovators.

Mondavi Center Presents Program Issue 2: oct 2012

In 2000, he was inducted into the Inventors Hall of Fame and was awarded the prestigious Heinz Award for Technology, The Economy and Employment for single-handedly designing the first personal computer and for then redirecting his lifelong passion for mathematics and electronics toward lighting the fires of excitement for education in grade school students and their teachers. Through the years, Wozniak has been involved in various business and philanthropic ventures, focusing primarily on computer capabilities in schools and stressing hands-on learning and encouraging creativity for students. Making significant investments of both his time and resources in education, he adopted the Los Gatos School District, providing students and teachers with hands-on teaching and donations of state-of-the-art technology equipment. He founded the Electronic Frontier Foundation and was the founding sponsor of the Tech Museum, Silicon Valley Ballet and Children’s Discovery Museum of San Jose. Wozniak currently serves as Chief Scientist for Fusion-IO and is a published author with the release of his New York Times best-selling autobiography, iWoz: From Computer Geek to Cult Icon, in 2006 by Norton Publishing. His television appearances include reality shows Kathy Griffin: My Life on the D-List, ABC’s Dancing with the Stars and The Big Bang Theory.

Enrique Lavernia (moderator) returned as dean to the UC Davis College of Engineering after serving as the provost and executive vice chancellor of UC Davis from January 2009 to December 2010. He joined the campus in 2002 as dean of the College of Engineering, where he was also promoted to Distinguished Professor in 2007. Prior to his arrival in Davis, Lavernia served as Chair and Chancellor’s Professor in the Department of Chemical Engineering and Materials Science at UC Irvine. Lavernia is a Fellow of the American Association for the Advancement of Science, American Society of Mechanical Engineers, ASM International and the Alexander von Humboldt Foundation. Named Presidential Young Investigator by the National Science Foundation, Lavernia also received a Young Investigator Award from the Office of Naval Research. In 2011, he received the Hispanic Engineer National Achievement Award (HEENAC) and the Society for the Advancement of Chicanos and Native Americans in Science (SACNAS) Distinguished Scientist Award. Lavernia is the recipient of the 2013 Edward DeMille Campbell Memorial Lectureship and the 2013 ASM International Gold Medal Award. Lavernia earned his B.S. with honors in Solid Mechanics from Brown University and his M.S. in Metallurgy and Ph.D. in Materials Engineering from the Massachusetts Institute of Technology.

Founded in 1962, the College of Engineering at UC Davis has awarded more than 21,000 graduate and undergraduate degrees. The college has more than 200 faculty, including 12 members of the prestigious National Academy of Engineering (NAE), 45 recipients of PECASE/CAREER awards, and numerous fellows. Our researchers collaborate with numerous partners at UC Davis, including those from the School of Medicine, the School of Veterinary Medicine and the Graduate School of Management. Our global industry and government partners include many from Silicon Valley, the Bay Area and the Sacramento Region. Annual research expenditures at the College of Engineering total more than $90 million (2010-11). UC Davis Engineering is consistently ranked among the Top 20 U.S. public university engineering programs (U.S. News & World Report 2011). UC Davis Engineering’s key research strengths are in energy, environment and sustainability; engineering in medicine; and information technology and applications.

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The Art of Giving Mondavi Center Donors are dedicated arts patrons whose 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. Gifts to the Mondavi Center strengthen and sustain our efforts, enabling us not only to bring memorable performances by world-class 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.

Donors Producers Circle $3,250 – $6,499

Impresario Circle $25,000 and up John and Lois Crowe †* Barbara K. Jackson †* virtuoso Circle $15,000 – $24,999 Joyce and Ken Adamson Friends of Mondavi Center Ann and Gordon Getty Foundation Anne Gray †* Mary B. Horton* 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* Thomas and Phyllis Farver* Dolly and David Fiddyment Robert and Barbara Leidigh Mary Ann Morris* Carole Pirruccello, John and Eunice Davidson Fund Larry and Rosalie Vanderhoef †* Dick and Shipley Walters* And one donor who prefers to remain anonymous Benefactors Circle $6,500 – $9,999

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

Camille Chan † Michael and Betty Chapman † Cecilia Delury and Vince Jacobs † Patti Donlon † Wanda Lee Graves Samia and Scott Foster Benjamin and Lynette Hart †* Lorena Herrig Margaret Hoyt * Bill Koenig and Jane O'Green Koenig Greiner Heating and A/C, Inc. Hansen Kwok Gary Maisel Stephen Meyer and Mary Lou Flint † Randall E. Reynoso † and Martin Camsey Grace and John Rosenquist Raymond Seamans Jerome Suran and Helen Singer Suran *

† Mondavi Center Advisory Board Member * Friends of Mondavi Center

Mondavi Center Presents Program Issue 2: oct 2012

Neil and Carla Andrews Jeff and Karen Bertleson Cordelia S. Birrell California Statewide Certified Development Corporation Neil and Joanne Bodine Mr. Barry and Valerie Boone Brian Tarkington and Katrina Boratynski 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* Merrilee and Simon Engel Charles and Catherine Farman Andrew and Judith Gabor Henry and Dorothy Gietzen Kay Gist in memory of John Gist Ed and Bonnie Green* Robert and Kathleen Grey Diane Gunsul-Hicks Charles and Ann Halsted Judith and William Hardardt* Dee and Joe Hartzog The One and Only Watson Charles and Eva Hess Suzanne Horsley* Dr. Ronald and Lesley Hsu Jerry and Teresa Kaneko* Dean and Karen Karnopp* Nancy Lawrence, Gordon Klein, and Linda Lawrence Brian and Dorothy Landsberg Ed and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Claudia and Allan Leavitt Yvonne LeMaitre Shirley and Joseph LeRoy Nelson Lewallyn and Marion Pace-Lewallyn Dr. Ashley and Shiela Lipshutz Paul and Diane Makley* Kathryn Marr Verne Mendel* Jeff and Mary Nicholson Grant and Grace Noda* Alice Oi Philip and Miep Palmer Gerry and Carol Parker Susan Strachan and Gavin Payne Sue and Brad Poling Lois and Dr. Barry Ramer David Rocke and Janine Mozée Roger and Ann Romani* Hal and Carol Sconyers* Ellen Sherman Wilson and Kathryn R. Smith Tom and Meg Stallard* Tom and Judy Stevenson* Priscilla Stoyanof and David Roche David Studer and Donine Hedrick Nancy and Robert Tate Rosemary and George Tchobanoglous 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 Patrice White Robert and Joyce Wisner* Richard and Judy Wydick And three donors who prefer to remain anonymous

Directors Circle $1,250– $3,249 Ezra and Beulah Amsterdam Russell and Elizabeth Austin In Honor of Barbara K. Jackson Murry and Laura Baria* Lydia Baskin In Memory of Ronald Baskin* Drs. Noa and David Bell Daniel R. Benson Kay and Joyce Blacker* Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Patricia Brown* Robert Burgerman and Linda Ramatowski Jim and Susie Burton Davis and Jan Campbell David J. Converse, ESQ. Jim and Kathy Coulter* John and Celeste Cron* Jay and Terry Davison Bruce and Marilyn Dewey Martha Dickman* Dotty Dixon* Wayne and Shari Eckert Sandra and Steven Felderstein Nancy McRae Fisher Carole Franti* Paul J. and Dolores L. Fry Charitable Fund Christian Sandrock and Dafna Gatmon Karl Gerdes and Pamela Rohrich Fredric Gorin and Pamela Dolkart Gorin Patty and John Goss* Jack and Florence Grosskettler* In Memory of William F. McCoy Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy Ruth W. Jackson Clarence and Barbara Kado Barbara Katz Joshua Kehoe and Jia Zhao Thomas Lange and Spencer Lockson Mary Jane Large and Marc Levinson Hyunok Lee and Daniel Sumner Lin and Peter Lindert David and Ruth Lindgren Angelique Louie Natalie and Malcolm MacKenzie* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Janet Mayhew* Ken McKinstry Mike McWhirter Joy Mench and Clive Watson John Meyer and Karen Moore Eldridge and Judith Moores Barbara Moriel Augustus and Mary-Alice Morr Patricia and Surl Nielsen John and Misako Pearson Bonnie A. Plummer* Prewoznik Foundation Linda and Lawrence Raber* Kay Resler* Christopher Reynolds and Alessa Johns Tom Roehr Don Roth and Jolán Friedhoff Liisa Russell Beverly "Babs" Sandeen and Marty Swingle Ed and Karen Schelegle The Schenker Family Neil and Carrie Schore Bonnie and Jeff Smith

Ronald and Rosie Soohoo* Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick Stratton Brandt Schraner and Jennifer Thornton Denise Verbeck and Rovida Mott Donald Walk, M.D. Louise and Larry Walker Geoffrey and Gretel Wandesford-Smith Weintraub Family Dale L. and Jane C. Wierman Paul Wyman Yin and Elizabeth Yeh And eight donors who prefer to remain anonymous

Encore Circle $600 – $1,249 Michelle Adams Mitzi Aguirre Paul and Nancy Aikin Gregg T. Atkins and Ardith Allread Merry Benard Donald and Kathryn Bers* Marion Bray Rosa Marquez and Richard Breedon Irving and Karen Broido* Dolores and Donald Chakerian Gale and Jack Chapman William and Susan Chen John and Cathie Duniway Doris and Earl Flint Murray and Audrey Fowler Dr. Deborah and Brook Gale Paul and E. F. Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey John and Katherine Hess Barbara and Robert Jones Mary Ann and Victor Jung Robert Kingsley and Melissa Thorme Paula Kubo Charlene Kunitz Frances and Arthur Lawyer* Dr. Henry Zhu and Dr. Grace Lee Kyoko Luna Debbie and Stephen Wadsworth-Madeiros Maria M. Manoliu Gary C. and Jane L. Matteson Catherine McGuire Robert and Helga Medearis Suzanne and Donald Murchison Robert and Kinzie Murphy Linda Orrante and James Nordin Frank Pajerski John Pascoe and Susan Stover Jerry L. Plummer and Gloria G. Freeman Larry and Celia Rabinowitz J. and K. Redenbaugh John and Judith Reitan Jeep and Heather Roemer Tom and Joan Sallee Jeannie and Bill Spangler Edward and Sharon Speegle Elizabeth St. Goar Sherman and Hannah Stein Les and Mary Stephens De Wall Judith and Richard Stern Eric and Patricia Stromberg* Lyn Taylor and Mont Hubbard Roseanna Torretto* Henry and Lynda Trowbridge* Steven and Andrea Weiss* Denise and Alan Williams Kandi Williams and Dr. Frank Jahnke Ardath Wood Bob and Chelle Yetman Karl and Lynn Zender And three donors who prefer to remain anonymous Orchestra Circle $300 – $599 Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Fred Arth and Pat Schneider Michael and Shirley Auman*

Frederic and Dian Baker Beverly and Clay Ballard Delee and Jerry Beavers Carol Beckham and Robert Hollingsworth Mark and Betty Belafsky Carol L. Benedetti Bob and Diane Biggs Dr. Gerald Bishop Al Patrick and Pat Bissell Donna Anderson and Stephen Blake Fred and Mary Bliss Elizabeth Bradford Paul Braun Margaret E. Brockhouse Christine and John Bruhn Manuel Calderon De La Barca Sanchez Jackie Caplan Michael and Louise Caplan Anne and Gary Carlson Frank Chisholm Betty M. Clark Wayne Colburn Mary Anne and Charles Cooper James and Patricia Cothern David and Judy Covin Robert Crummey and Nancy Nesbit Crummey Larry Dashiell and Peggy Siddons Sue Drake* Thomas and Eina Dutton Leslie Faulkin Dr. and Mrs. John Eisele Janet Feil David and Kerstin Feldman Lisa Foster and Tom Graham Sevgi and Edwin Friedrich* Marvin and Joyce Goldman Judy and Gene Guiraud Darrow and Gwen Haagensen Sharon and Don Hallberg Marylee Hardie David and Donna Harris Roy and Miriam Hatamiya Cynthia Hearden* Mary Helmich Lenonard and Marilyn Herrmann Fred Taugher and Paula Higashi Darcie Houck B.J. Hoyt Pat and Jim Hutchinson* Don and Diane Johnston Weldon and Colleen Jordan Nancy Gelbard and David Kalb Ruth Ann Kinsella* Joseph Kiskis Kent and Judy Kjelstrom Allan and Norma Lammers Darnell Lawrence Ruth Lawrence Carol Ledbetter The Lenk-Sloane Family Dr. and Mrs. Stanley Levin Ernest and Mary Ann Lewis* Michael and Sheila Lewis* Sally Lewis Melvyn Libman Jeffrey and Helen Ma Bunkie Mangum Pat Martin* Yvonne Clinton-Mazalewski and Robert Mazalewski Gerrit Michael Nancy Michel Hedlin Family Robert and Susan Munn* William and Nancy Myers Bill and Anna Rita Neuman K. C. N Dana K. Olson John and Carol Oster Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker John and Deborah Poulos Jerry and Ann Powell* Harriet Prato John and Alice Provost J. David Ramsey John and Rosemary Reynolds Guy and Eva Richards Sara Ringen

Tracy Rodgers and Richard Budenz Sharon and Elliott Rose* Bob and Tamra Ruxin Dwight E. and Donna L. Sanders Mark and Ita Sanders* Eileen and Howard Sarasohn John and Joyce Schaeuble Robert and Ruth Shumway Michael and Elizabeth Singer Judith Smith Robert Snider Al and Sandy Sokolow Tim and Julie Stephens Karmen Streng Pieter Stroeve, Diane Barrett and Jodie Stroeve Kristia Suutala Tony and Beth Tanke Cap and Helen Thomson Virginia Thresh Dennis and Judy Tsuboi Peter Van Hoecke Ann-Catrin Van, Ph.D. Robert Vassar Rita Waterman Jeanne Wheeler Charles White and Carrie Schucker James and Genia Willett* Iris Yang and G. Richard Brown Wesley and Janet Yates Jane Yeun and Randall 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 John and Jill Aguiar Susan Ahlquist The Akins Jeannie Alongi David and Penny Anderson Valerie Jeanne Anderson Elinor Anklin and George Harsch Alex and Janice Ardans Debbie Arrington Jerry and Barbara August Alicia Balatbat* George and Irma Baldwin Charlotte Ballard and Robert Zeff Charles and Diane Bamforth* Elizabeth Banks Michele Barefoot and Luis Perez-Grau Carole Barnes Connie Batterson Paul and Linda Baumann Lynn Baysinger* Janet and Steve Collins Robert and Susan Benedetti William and Marie Benisek Alan and Kristen Bennett Robert C. and Jane D. Bennett Mrs. Vilmos Beres Bevowitz Family Boyd and Lucille Bevington John and Katy Bill Andrea Bjorklund and Sean Duggan Sam and Caroline Bledsoe Bobbie Bolden William Bossart Brooke Bourland* Mary A. and Jill Bowers Alf and Kristin Brandt Robert and Maxine Braude Dan and Millie Braunstein* Edelgard Brunelle* Linda Clevenger and Seth Brunner Don and Mary Ann Brush Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy W. Bellhorn Victor W. Burns William and Karolee Bush John and Marguerite Callahan Lita Campbell* John and Nancy Capitanio James and Patty Carey Michael and Susan Carl Jan Carmikle, '87 '90 Bruce and Mary Alice Carswell* Dorothy Chikasawa* Rocco Ciesco Gail Clark L. Edward and Jacqueline Clemens

MondaviArts.org

James Cline Stephan Cohen Stuart Cohen Sheri and Ron Cole Harold E. Collins Janet and Steve Collins David Combies Ann Brice Rose Conroy Terry Cook Nicholas and Khin Cornes Fred and Ann Costello Catherine Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Mrs. Shauna Dahl Robert Bushnell, DVM and Elizabeth Dahlstrom-Bushnell* John and Joanne Daniels Nita Davidson Mary H. Dawson Judy and David Day Carl and Voncile Dean Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* Anne Duffey Marjean DuPree John Paul Dusel Jr. Harold and Anne Eisenberg Eliane Eisner Robert Hoffman Allen Enders Randy Beaton and Sidney England Carol Erickson and David Phillips Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Ophelia and Michael Farrell Richard D. Farshler Eric Fate Liz and Tim Fenton Steven and Susan Ferronato Bill and Margy Findlay Dave Firenze Kieran and Marty Fitzpatrick Bill and Judy Fleenor* David and Donna Fletcher Alfred Fong Glenn Fortini Marion Franck and Bob Lew Frank Brown Andrew and Wendy Frank Marion Rita Franklin* William E. Behnk and Jennifer D. Franz Anthony and Jorgina Freese Larry Friedman Kerim and Josina Friedrich Joan M. Futscher Myra A. Gable Lillian Gabriel Charles and Joanne Gamble Tony Cantelmi Peggy Gerick Patrice and Chris Gibson* Mary Gillis Eleanor Glassburner Louis J. Fox and Marnelle Gleason* Pat and Bob Gonzalez* Michele Tracy and Dr. Michael Goodman Victor and Louise Graf Jeffrey and Sandra Granett Steve and Jacqueline Gray* Tom Green David and Kathy Greenhalgh Paul and Carol Grench Alex and Marilyn Groth Janine Guillot and Shannon Wilson June and Paul Gulyassy Wesley and Ida Hackett* Jane and Jim Hagedorn Frank and Rosalind Hamilton William and Sherry Hamre Pat and Mike Handley Jim and Laurie Hanschu N. Tosteson-Hargreaves Michael and Carol Harris Richard and Vera Harris Cathy Brorby and Jim Harritt Sally Harvey* Sharon Heath-Pagliuso Paul and Nancy Helman Martin Helmke and Joan Frye Williams Roy and Dione Henrickson Rand and Mary Herbert Eric Herrgesell, DVM Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges

Michael and Margaret Hoffman Garnet Holden Mr. and Mrs. Hoots Herb and Jan Hoover Steve and Nancy Hopkins David and Gail Hulse Eva Peters Hunting Lorraine Hwang Marta Induni Jane and John Johnson* Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Carole and Phil Johnson Steve and Naomi Johnson Michelle Johnston and Scott Arranto Warren and Donna Johnston Andrew and Merry Joslin Martin and JoAnn Joye* Fred and Selma Kapatkin Shari and Tim Karpin Anthony and Elizabeth Katsaris Yasuo Kawamura Phyllis and Scott Keilholtz* Patricia Kelleher* Charles Kelso and Mary Reed Dave Kent Dr. Michael Sean Kent Robert and Cathryn Kerr Gary and Susan Kieser Larry Kimble and Louise Bettner Bob and Bobbie Kittredge Dorothy Klishevich Paulette Keller Knox Paul Kramer Nina and David Krebs Marcia and Kurt Kreith Sandra Kristensen Leslie Kurtz Cecilia Kwan Don and Yoshie Kyhos Ray and Marianne Kyono Corrine Laing Bonnie and Kit Lam* Marsha M. Lang Susan and Bruce Larock Leon E. Laymon Marceline Lee The Hartwig-Lee Family Nancy and Steve Lege Joel and Jeannette Lerman Evelyn A. Lewis David and Susan Link Motoko Lobue Henry Luckie Linda Luger Ariane Lyons Edward and Susan MacDonald Leslie Macdonald and Gary Francis Kathleen Magrino* Debbie Mah and Brent Felker* Alice Mak and Wesley Kennedy Renee Maldonado* Vartan Malian Julin Maloof and Stacey Harmer Joan Mangold Marjorie March Joseph and Mary Alice Marino Pamela Marrone and Mick Rogers Dr. Carol Marshall Donald and Mary Martin J. A. Martin Bob and Vel Matthews Leslie Maulhardt Katherine Mawdsley* Karen McCluskey* Doug and Del McColm Nora McGuinness* Donna and Dick McIlvaine Tim and Linda McKenna R. Burt and Blanche McNaughton* Richard and Virginia McRostie Martin A. Medina and Laurie Perry Cliva Mee and Paul Harder Julie Mellquist Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland and Marilyn Meyer Fred and Linda J. Meyers* Leslie Michaels and Susan Katt Eric and Jean Miller Lisa Miller Phyllis Miller Sue and Rex Miller Douglas Minnis Kathy and Steve Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer

Mondavi Center Presents Program Issue 2: oct 2012

Lloyd and Ruth Money Mr. and Mrs. Ken Moody Amy Moore Hallie Morrow Marcie Mortensson Robert and Janet Mukai The Muller Family Terence and Judith Murphy Steve Abramowitz and Alberta Nassi Judy and Merle Neel Sandra Negley Nancy and Chris Nelle Romain Nelsen Jack Holmes and Cathy Neuhauser Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell Jenifer Newell Janet Nooteboom Forrest Odle Jim and Sharon Oltjen Marvin O'Rear Mary Jo Ormiston* Bob and Elizabeth Owens Mike and Carlene Ozonoff* Thomas Pavlakovich and Kathryn Demakopoulos Bob and Marlene Perkins Ann Peterson and Marc Hoeschele Harry Phillips Pat Piper Drs. David and Jeanette Pleasure Jane Plocher Bob and Vicki Plutchok Bea and Jerry Pressler Diana Proctor Dr. and Ms. Rudolf Pueschel Evelyn and Otto Raabe Edward and Jane Rabin Dr. Anne-Louise and Dr. Jan Radimsky Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Mrs. John Reese, Jr. Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Francis Resta David and Judy Reuben* Al and Peggy Rice Joyce Rietz Ralph and Judy Riggs* Peter Rodman Richard and Evelyne Rominger Barbara and Alan Roth Cathy and David Rowen Chris and Melodie Rufer Paul and Ida Ruffin Francisca Ruger Kathy Ruiz Michael and Imelda Russell Hugh and Kelly Safford Dr. Terry Sandbek and Sharon Billings* Fred and Polly Schack Patsy Schiff Tyler Schilling Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Brian A. Sehnert and Janet L. McDonald Andreea Seritan Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Ed Shields and Valerie Brown The Shurtz Dr. and Mrs. R.L. Siegler Sandra and Clay Sigg Marion E. Small Brad and Yibi Smith James Smith Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Marguerite Spencer Miriam Steinberg Harriet Steiner and Miles Stern Raymond Stewart Ed and Karen Street* Deb and Jeff Stromberg Yayoi Takamura Constance Taxiera* Stewart and Ann Teal* Francie F. Teitelbaum Julie A. Theriault, PA-C Janet and Karen Thome Brian Toole Lola Torney and Jason King Robert and Victoria Tousignant Benjamen Tracey and Beth Malinowski Michael and Heidi Trauner

Rich and Fay Traynham Elizabeth Treanor Mr. Michael Tupper James E. Turner Barbara and Jim Tutt Liza Tweltridge Robert Twiss Mr. Ananda Tyson Nancy Ulrich* Gabriel Unda Ramon and Karen Urbano Chris and Betsy Van Kessel Diana Varcados Bart and Barbara Vaughn* Richard and Maria Vielbig Don and Merna Villarejo Charles and Terry Vines Catherine Vollmer Rosemarie Vonusa* Evelyn Matteucci and Richard Vorpe Carolyn Waggoner* Carol Walden Andrew and Vivian Walker Anthony and Judith Warburg Marny and Rick Wasserman Caroline and Royce Waters Dan and Ellie Wendin* Martha S. West Robert and Leslie Westergaard* Linda K. Whitney Mrs. Jane L. Williams Marsha L. Wilson Janet Winterer Dr. Harvey Wolkov Jennifer and Michael Woo Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Norman and Manda Yeung Sharon and Doyle Yoder Phillip and Iva Yoshimura Heather Young Larry Young and Nancy Edwards Verena Leu Young Medardo and Melanie Zavala Drs. Matthew and Meghan Zavod Phyllis and Darrel Zerger* Sonya and Tim Zindel Mark and Wendy Zlotlow And 44 donors who prefer to remain anonymous

CORPORATE MATCHING GIFTS Bank of America Matching Gifts Program Chevron/Texaco Matching Gift Fund DST Systems U.S. Bank We appreciate the many Donors who participate in their employersâ&#x20AC;&#x2122; matching gift program. Please contact your Human Resources department to find out about your companyâ&#x20AC;&#x2122;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.

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.

Globe Education Academy The Los Rios Community College District; the School Of Education, UC Davis; the Mondavi Center, UC Davis; and Shakespeare’s Globe in London are partners in a professional development initiative that provides in-depth learning opportunities for selected drama and English teachers of grades 7–12 and community colleges in the Sacramento region. Now in its sixth year, participants in this collaborative project are immersed in the world of Shakespeare both at UC Davis and in London. They participate in workshops presented by Shakespeare’s Globe Theatre practitioners, and from faculty at UC Davis. The Academy travels to Shakespeare’s Globe in London for two weeks in the summer to work with Globe Education and celebrates their extraordinary experience with a festival day of theatre on stage with their students at the Mondavi Center in the fall. In 2012, the Academy studied Henry V.

Congratulations to the following teachers of the 2012 Globe Education Academy!

Bernadette Cranmer Granite Bay High School, Roseville Joint Union High School District Lori DeLappe Sacramento City College, Los Rios Community College District Katie Gagnon Rodriquez High School, Fairfield-Suisun Unified School District Kimberly Karver Whitney High School, Rocklin Unified School District

Joe Monroe St. Michael’s Episcopal Day School, private school Roxanne Morgan American River College, Los Rios Community College District Geri Neylan Kimball High School, Tracy Joint Unified School District Tim O’Donnell River City High School, Washington Unified School District

Carrie Pilon Harper Junior High School, Davis Joint Unified School District Lynne Ruvalcaba Hiram Johnson High School, Sacramento City Unified School District Elise Wallace Natomas Charter School Performing and Fine Arts Academy, Natomas Unified School District Marni Webb American River College, Los Rios Community College District

Mondavi Center Advisory Board

The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music 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. 12–13 Advisory board Members Joe Tupin, Chair • John Crowe, Immediate Past Chair Wayne Bartholomew • Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray • Benjamin Hart • Lynette Hart • Vince Jacobs • Stephen Meyer • Randall Reynoso • Joan Stone • Tony Stone • Larry Vanderhoef Honorary Members: Barbara K. Jackson • Margrit Mondavi Ex Officio: Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Jo Anne Boorkman, President, Friends of Mondavi Center • Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis • Erin Schlemmer, Chair, Arts & Lectures Administrative Advisory Committee

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

12–13 Friends Executive Board & standing committee chairs: Jo Anne Boorkman, President • Sandi Redenbach, Vice President • Francie Lawyer, Secretary • Jim Coulter, Audience Enrichment • Lydia Baskin, School Matinee Support • Leslie Westergaard, Mondavi Center Tours • Karen Street, School Outreach • Martha Rehrman, Friends Events • Jacqueline Gray, Membership • Eunice Adair Christensen, Gift Shop Manager, Ex Officio • Joyce Donaldson, Chancellor’s Designee, Ex-Officio

Arts & Lectures Administrative Advisory Committee 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.

12–13 committee members:

Erin Schlemmer • Jim Forkin • Erin Jackson • Sharon Knox • Maria Pingul • Prabhakara Choudary • Charles Hunt • Lee Miller • Gabrielle Nevitt • Schipper Burkhard • Carson Cooper • Daniel Friedman • Kelly Gove • Aaron Hsu • Susan Perez • Don Roth • Jeremy Ganter • Erin Palmer MondaviArts.org

Policies and Information Ticket Exchange • • • • • • • •

Tickets must be exchanged at least one business day prior to the performance. Tickets may not be exchanged after the performance date. There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers. If you exchange for a higher-priced ticket, the difference will be charged. The difference between a higher and a 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 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.

Group Discounts 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*) Children’s 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.

*Only one discount per ticket.

Mondavi Center Presents Program Issue 2: oct 2012

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.

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

Elevators The Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.

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

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

Lost and Found Hotline 530.752.8580

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The art of performance draws our eyes to the stage

Our community’s commitment to arts and culture says a lot about where we live. It brings us together from the moment the lights go down and the curtains come up. Mondavi Center, we applaud this production. Davis Main • 340 F St. • 530-756-7660 South Davis (Safeway) • 2121 Cowell Blvd. • 530-792-8530 Covell Market Place • 1431 W. Covell Blvd. • 530-297-3720

MondaviArts.org

Rachel Barton Pine

530.754.2787

866.754.2787 (toll-free)