Mondavi Center Playbill Issue 3: NOV 2012

Anniversary

2012—13 Season Sponsors

Issue 3: nov 2012 Shakespeare’s Globe, Hamlet p. 4 ETHEL with special guest Todd Rundgren p. 11 Stephen Waarts, violin p. 15 B.B. King p. 20 Philharmonia Baroque p. 23 Dance Theatre of Harlem p. 28

Joshua Bell, violin p. 37 Ballet Folkórico de México de Amalia Hernández p. 43 David Sedaris p. 47 Jogja Hip Hop Foundation p. 48 One Man Star Wars Trilogy p. 50

Program

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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

I

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

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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

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Mondavi Center Presents Program Issue 3: NOV 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 Caffé 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 Engineer— 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

Robert and Margrit

Mondavi Center for the Performing Arts • UC Davis

Program Issue 3: NOV 2012

Photo: Lynn Goldsmith

in this issue:

A Message From Don Roth

• Shakespeare’s Globe, Hamlet p. 4 • ETHEL with special guest Todd Rundgren p. 11

Mondavi Center Executive Director

T

• stephen waarts, violin miles graber, piano p. 15 his month we are turning our attention to artistic royalty in a variety of forms.

•

• B.B. King p. 20 • Philharmonia Baroque p. 23

The King of the Blues, Blues Boy (a.k.a. B.B.) King, makes a welcome return to Jackson Hall in a command performance sure to bring a little bit of Mississippi— and a whole lot of the blues—to the Sacramento region.

• dance theatre of harlem p. 28

Palace intrigue doesn’t get richer than in Hamlet. The Mondavi Center is one of very few venues in the U.S. to host Shakespeare’s Globe from London and its acclaimed touring production of the Bard’s classic tale of the Prince of Denmark.

• BaLLet Folkórico de México de amalia Hernández p. 43

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•

Speaking of princes, our Focus on Opera series returns to Jackson Hall this season, kicking off with Mozart’s The Magic Flute and the trials of Prince Tamino.

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• joshua bell, violin sam haywood, piano p. 37

• Jogja hip hop foundation p. 48 • One man star wars trilogy with charles ross p. 50 • Mondavi Center policies and information p.56

And to round out our court, we welcome Todd Rundgren, Rock and Roll royalty by any measure, who continues to push the boundaries of music, this time in collaboration with string quartet ETHEL.

The balance of our busy November is filled with a diversity of equally regal artists that you will find only here at the Mondavi Center: the Bay Area’s Philharmonia Baroque performing an all-Beethoven program, with soloist Emanuel Ax playing a fortepiano built in Beethoven’s time; violin recitals from the well-known (Joshua Bell) and the soon-to-be well-known (Stephen Waarts); Indonesian rap—yes, you heard me right—delivered with a global perspective from Yogyakarta’s finest crew, Jogja Hip Hop Foundation; traditional dance, music and spectacle from Amalia Hernandez’s Ballet Folklorico de Mexico; America’s pre-eminent humorist David Sedaris; and an incredible voyage to a galaxy far, far away in Charles Ross’s One Man Star Wars Trilogy.

Of course, it is you, our adventurous, arts loving audiences that are the true royalty here at the Mondavi Center. Your willingness to share this artistic journey with us, month in and month out, reinforces our belief that the arts have the ability to connect and transform us all.

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

• An Evening with david sedaris p. 47

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, 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.

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Photo by Jeff Malet

Shakespeare’s Globe Hamlet

A Mondavi Center Just Added Event Thursday–Friday, November 1–2, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

There will be one intermission.

Hamlet by William Shakespeare Dominic Dromgoole, Artistic Director Sacha Milroy, Executive Producer Dominic Dromgoole and Bill Buckhurst, Directors Jonathan Fensom, Set and Costume Designer Laura Forrest-Hay, Original Score Bill Barclay, Composer/Arranger Paul Russell, Lighting Designer Siân Williams, Choreographer Kevin McCurdy, Fight Director Giles Block, Globe Associate—Text Glynn McDonald, Globe Associate—Movement Martin McKellan, Voice and Dialect Alison Convey, Assistant Director Chloe Stephens, Assistant Choreographer Ng Choon Ping, Assistant Text Work Paul Russell and Dave McEvoy, Production Managers Wills, Technical Manager Marion Marrs, Company Manager Peter Huntley, Touring Associate Eleanor Oldham and John Luckacovic, 2Luck Concepts, U.S. General Management Claire Godden, Shakespeare’s Globe Theatre, U.K. General Management

Shakespeare’s Globe Theatre U.S. Board: Audre D Carlin (life president), Jo Maitland Weiss (chair), Gerald H Cromack, Jim Dale MBE, Barry Day OBE, Peter Hilton, Alan Jones, Peter Kent CMG, Sara Mill er McCune, Shelley Parker, Natalie T Pray, Christie-Anne Weiss, Warren Whitaker and Neil Constable CEO, Shakespeare’s Globe.

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.

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Cast List Michael Benz, Hamlet Peter Bray, Rosencrantz / Marcellus / Prince Fortinbras / Osric Miranda Foster, Gertrude / Second Player / Player Queen /

Second Gravedigger Tom Lawrence, Horatio / Reynaldo / Captain Carlyss Peer, Ophelia / Voltemand Matthew Romain, Laertes / Bernardo / Guildenstern / Lucianus Christopher Saul, Polonius / Francisco / Player / First Gravedigger

/ Priest Dickon Tyrrell, Claudius / Ghost / First Player / Player King Other parts played by members of the company.

Program Notes Synopsis Guarding the castle at Elsinore, Marcellus and Bernardo tell Horatio that they have seen the ghost of the dead King Hamlet. The ghost reappears, and they decide they must tell the dead King’s son, Hamlet, about it. Hamlet is present at a reception being given by his uncle Claudius, who has just married Hamlet’s mother, Gertrude.

Claudius is sending ambassadors to Norway to stop a planned invasion by young Fortinbras. He gives Polonius’s son Laertes permission to return to France. Hamlet reflects on the hasty marriage and learns of the ghost’s visit. That night he meets the ghost, who reveals that King Hamlet was murdered by Claudius, and Hamlet willingly agrees to be the means of revenge. He warns Horatio and the others not to speak of what has happened, even if he should behave strangely.

Polonius bids farewell to Laertes and warns his daughter Ophelia against Hamlet’s courtship. Later, she tells Polonius of a strange visitation by Hamlet, and Polonius reports to the King and Queen that rejected love is the cause of Hamlet’s supposed madness. Hamlet’s fellow students Rosencrantz and Guildenstern arrive, invited by the King to find out what is wrong. Polonius arranges for Ophelia to meet Hamlet where he and Claudius can observe them. Hamlet and Ophelia argue, and Hamlet, having become suspicious about being observed, tells her she should go to a nunnery. Claudius is convinced that love is not the cause of Hamlet’s behavior and decides to send him abroad.

Meanwhile, traveling players have arrived, and Hamlet asks them to perform “The Murder of Gonzago” before the King, so that he and Horatio can judge Claudius’s guilt by his reaction. When one of the players enacts the poisoning of a king, Claudius leaves in high emotion. Gertrude asks to see Hamlet, and Polonius decides to hide in the room to hear what is said.

Hamlet arrives in his mother’s room and kills the person he discovers in hiding, thinking it to be Claudius but finding it to be Polonius.

He argues fiercely with Gertrude. The ghost appears, restraining Hamlet’s anger towards his mother and reminding him of the need for revenge. Claudius instructs Rosencrantz and Guildenstern to take Hamlet immediately to England.

Ophelia descends into madness. Laertes returns, blaming Claudius for his father’s death and is incensed to see Ophelia in this state.

Claudius persuades him that Hamlet is to blame. When Claudius receives a letter from Hamlet reporting his return to Denmark, he plots with Laertes to kill him. They arrange a duel in which Laertes’s sword will be unblunted and poisoned. Claudius will also poison a drink, which he will offer Hamlet. Gertrude arrives with the news that Ophelia has drowned.

Hamlet meets Horatio on returning to Elsinore. On the way, they see two men digging a grave, and Hamlet talks to the first, reflecting on the skulls he finds. They discover that the grave is for Ophelia.

Hamlet reveals himself to the funeral party, grappling with Laertes and proclaiming his love for Ophelia. Later, Hamlet tells Horatio how the trip to England was a subterfuge for his death, arranged by Claudius, and how he managed to escape.

Osric enters with news of the proposed fencing match, and Hamlet accepts the challenge. With Hamlet in the lead, Gertrude toasts him and drinks from the poisoned cup. Laertes wounds Hamlet with the poisoned rapier and is then wounded with it by Hamlet. Before he dies, Laertes blames Claudius, and Hamlet kills the King. Hamlet, close to death, passes the Danish succession to Fortinbras and instructs Horatio to tell his story.

—Synopsis adapted from Shakespeare’s Words by David Crystal and Ben Crystal, Penguin, 2002. www.shakespeareswords.com

Bill Barclay (composer and arranger) is music manager at the Globe, and his previous credits for the Globe include Much Ado About Nothing. Barclay is an American composer, actor and director. He has been a company member at Shakespeare & Company in Lenox, Massachusetts, for 10 seasons and its Resident Music Director from 2006–11. He is a member of the Resident Acting Company as well as a composer and director at the Actors’ Shakespeare Project in Boston (eight seasons). Barclay has performed and devised original work for the Mercury Theatre Company in Colchester and has performed, composed and lectured on the Music of the Spheres in theaters and universities throughout the United States. Winner of two Meet the Composer grants as well as a Fox Foundation Resident Actor Fellowship, the largest grant for actors in the U.S. Michael Benz (Hamlet) trained at RADA. He has previously appeared at Shakespeare’s Globe in As You Like It, A New World, Love’s Labour’s Lost and The Winter’s Tale. His other theater credits include: The Tempest (Theatre Royal Haymarket); Rosencrantz and Guildenstern are Dead (Chichester and Theatre Royal Haymarket); Hay Fever (West Yorkshire Playhouse); Romeo and Juliet (Royal Shakespeare Company); The American Clock, You May Go Now and The December Man (Finborough Theatre). His film credits include City Slackers.

His television credits include: BBC Prefaces to Shakespeare, Mike and Angelo, Little Lord Fauntleroy and JD Salinger Doesn’t Want to Talk.

Giles Block (Globe associate—text) has led the text work at Shakespeare’s Globe since 1999, and to date has been involved in more than 50 productions. This season he’ll add several new Shakespeare productions to the list. His directing credits at

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Shakespeare’s Globe include Antony and Cleopatra (1999), Hamlet (2000) and Troilus and Cressida (2005). His posts include associate director at Ipswich Theatre (1974-77); staff director at the National Theatre (1977-81); and director of platforms at the National Theatre (1981-84). His theater direction includes: The Fawn, She Stoops to Conquer (National Theatre), Macbeth, The Cherry Orchard, King Lear, Richard III, Hamlet, Skylight and Vincent in Brixton (Shochiku Company, Japan). In 2000, the Association of Major Theatres of Japan recognized Giles for services to the Japanese Theatre. In recent years, Giles has directed The Tempest, Henry V and The Comedy of Errors at the Blackfriars Theatre in Virginia.

Peter Bray (Rosencrantz / Marcellus / Prince Fortinbras / Osric) trained at Central School of Speech and Drama. His previous work for Shakespeare’s Globe includes A Midsummer Night’s Dream.

His theater credits include: The Boy from Centreville (Pleasance, Edinburgh Festival); Shooting Rats (Oval House Theatre); Moshing Lying Down (U.K. Tour); After Violence (Raynes Park Festival); Stories Project 2 (Southwark Playhouse); Blowing (fanSHEN Theatre Company); A Midsummer Night’s Dream (The Lord Chamberlain’s Men); Lion Boy workshop (Complicite); and The Heart of Robin Hood (Royal Shakespeare Company).

Bill Buckhurst’s (director) directing credits include A Midsummer Night’s Dream, Macbeth, Romeo and Juliet (Shakespeare’s Globe/UAE tour, Playing Shakespeare); Barbarians, Tinderbox (Tooting Arts Club); Hamlet, Much Ado About Nothing, A Midsummer Night’s Dream (Stafford Festival Shakespeare); Riff Raff (Arcola); The Vegemite Tales (West End/Riverside Studios); Normal (The Union); Penetrator, The Night Before Christmas (Theatre503). As assistant director, his credits include Get Santa! and Aunt Dan and Lemon (Royal Court). As an actor, his theater credits include seasons at the Royal Shakespeare Company, Royal Court, Shakespeare’s Globe, Propeller, Chichester, Northampton and Oxford Stage Company. His film and television credits include Skyfall, World War Z, New Tricks, Spooks, Collision, Murphy’s Law, EastEnders, Coronation Street, Holby, Bad Girls and As If. Ng Choon Ping (assistant text work) was trained at York University and the Central School of Speech and Drama. His credits for Shakespeare’s Globe include Henry V, The Taming of the Shrew, Richard III and Twelfth Night. He specializes in theater direction and actor training. He directed in Singapore for six years before coming to the U.K. and is experienced in Shakespeare, Greek and East Asian Classics. In 2011, he completed the King’s Head trainee director program in London, debuting with Pure O, a dark piece of comic new writing about Obsessive Compulsive Disorder.

Alison Convey’s (assistant director) credits as assistant director include The Madness of George III, Kean (Apollo Theatre and U.K. tour) and Arsenic and Old Lace (Salisbury Playhouse). Her credits as director include Three Loops of the Moon (Chichester Festival Theatre—rehearsed reading); Sweet Engineering of the Lucid Mind (Hen and Chickens Theatre and Old Red Lion Theatre—winner of Off Cut Festival 2010 Best Director Award); Playbites, One Flew Over the Cuckoo’s Nest (Oxford Playhouse); Amadeus (The North Wall); Pygmalion (Old Fire Station); The Country Wife (Brasenose Arts Festival) and The Sound of Music (Shimla, India).

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Dominic Dromgoole was appointed artistic director of Shakespeare’s Globe in 2006. Since 2006 the Globe has increased its diet of new work, has begun a small scale touring operation, which now travels all over the U.K. and Europe, has done two large scale tours of North America and its first across England, has initiated winter performances and has filmed many of its productions for distribution in cinemas and on DVD. During his time at Shakespeare’s Globe, Dromgoole has directed Shakespeare’s Henry V (2012), Hamlet (2011), Henry IV Parts 1 and 2 (2010), Love’s Labour’s Lost (2007 and 2009), Romeo and Juliet (2009), King Lear (2008), Coriolanus and Antony and Cleopatra (both 2006) as well as Trevor Griffiths’ new play A New World (2009). He was artistic director of the Oxford Stage Company, 1999-2005 and the Bush Theatre 1990-96, and Director of New Plays for the Peter Hall Company in 1996/7. In addition, Dromgoole has directed at the Tricycle Theatre, in the West-End and in America and Romania. He has written two books The Full Room (Methuen 2001) and Will and Me (Penguin 2006), has had a column in the New Statesman and The Guardian, and has written extensively for many journals, most often the Sunday Times.

Jonathan Fensom’s (set and costume designer) theater credits include Henry V, The Globe Mysteries, Much Ado About Nothing, Hamlet, Henry IV Parts 1 and 2, King Lear, Love’s Labour’s Lost (Shakespeare’s Globe); Goat (Traverse Theatre); Six Degrees of Separation, National Anthems (Old Vic); Brighton Beach Memoirs (Watford); Philadelphia, Here I Come! (Gaiety Theatre Dublin); A Midsummer Night’s Dream (Canada); Rain Man, Some Girls, Twelfth Night, Smaller, Blackbird (West End); Swan Lake (San Francisco Ballet); Journey’s End (West End and Broadway); The American Plan, Pygmalion (New York); The Homecoming, Big White Fog (Almeida Theatre); Happy Now?, The Mentalists, Burn, Citizenship, Chatroom (National Theatre); In the Club, Born Bad, In Arabia We’d All Be Kings, Abigail’s Party, What the Butler Saw (Hampstead Theatre); Duck, Talking to Terrorists, The Sugar Syndrome (Royal Court); Kindertransport, Breakfast with Emma (Shared Experience); The Tempest (Tron Theatre); Crown Matrimonial (Guildford, Tour); The Faith Healer (The Gate, Dublin and Broadway); God of Hell (Donmar); M.A.D., Little Baby Nothing (Bush Theatre); Be My Baby (Soho Theatre); Candide, Charley’s Aunt (Oxford Playhouse); Small Family Business, Little Shop of Horrors (West Yorkshire Playhouse); My Night With Reg, Dealer’s Choice (Birmingham Repertory); After the Dance, Hay Fever (Oxford Stage Company); So Long Life (Theatre Royal Bath) and Wozzeck (Birmingham Opera and European tour).

He was associate designer on Disney’s The Lion King, which premiered at the New Amsterdam Theatre on Broadway and has subsequently opened worldwide. His set design for Journey’s End was nominated for a Tony Award in 2007.

Miranda Foster (Gertrude / Second Player / Player Queen / Second Gravedigger) trained at Webber Douglas. Her previous credits at Shakespeare’s Globe include The God of Soho, Romeo and Juliet and The Bible. Her other theater credits include The Talented Mr. Ripley (Royal and Derngate, Northampton); Madagascar (Theatre503); Shraddha (Soho Theatre); Greenwash, The Marrying of Ann Leete, King Cromwell, Summer Again (Orange Tree Theatre); Born in the Gardens (Rose Theatre Kingston and Bath Theatre Royal); Shadow Language (Theatre503); Festen (U.K. Tour); The Memory of Water (Watford Palace Theatre); The Lucky Ones (Hampstead Theatre); Pera Palas (The Gate and National Theatre); Love You Too (Bush Theatre); The People Downstairs (Young Vic); Hamlet, As

You Like It (AFTLS U.S. tour); Blithe Spirit (Royal Exchange); Our Country’s Good, A Doll’s House (Leicester Haymarket); The Cherry Orchard (Aldwych); Gilgamesh, Schism in England, King Lear, Antony and Cleopatra, Neaptide, The Women, The Futurists, Pravda, The Government Inspector, Animal Farm, The Spanish Tragedy, Strider: The Story of a Horse and The Fawn (National Theatre). Her television credits include The Trial of Gemma Lang, Rosemary and Thyme, Dream Team, Where the Heart Is, The Bill, The Knock, Sharman, The Turnaround, Doctors, Holby, Brotherly Love, Casualty, Thin Ice, The Contractor, Cockles and The Merry Wives of Windsor. Her film credits include Beggar’s Belief.

Tom Lawrence (Horatio / Reynaldo / Captain) trained at Exeter University and RADA. His previous work for Shakespeare’s Globe includes Hamlet. His theater credits include Summer and Smoke (Apollo Theatre and Nottingham Playhouse); When We Are Married (West Yorkshire Playhouse); Oliver Twist (Library Theatre, Manchester); Death in Venice (Snape Maltings and Bregenz Festspielhaus); House and Garden (Salisbury Playhouse); Biloxi Blues (Vanburgh Theatre) and Forest Sale (Royal Opera House, Deloitte Ignite). Lawrence is a founder member of Punchdrunk, with which he has co-devised and performed in several site-specific productions, including the South Bank Show Best Theatre Award-nominated The Masque of the Red Death and Woyzeck, The House of Oedipus, The Cherry Orchard, The Black Diamond and The Firebird Ball. His film credits include Age of Heroes, Christ’s Dog, Isaac and Jack and Jill.

His television credits include Prefaces to Shakespeare: Hamlet, Silent Witness, Inspector Lynley, Doctors, The Rating Game and Ingham Investigates. His radio credits include Night of the Hunter (Sony Award Winner), To Sicken and So Die, Made in China, Dixon of Dock Green, Like An Angel and numerous readings for Poetry Please. He has made many recordings, including readings of All Quiet on the Western Front, Wild Abandon and The Collected Works of John Betjeman.

Glynn MacDonald (Globe associate—movement) trained in the Alexander Technique at the Constructive Teaching Centre in 1972.

She has worked with the Actors’ Centre and the Field Day Theatre Company in Ireland, Dramaten in Stockholm, Norskspillersforbund in Norway, Holback Engstheatre in Denmark, Bremen Opera Company in Germany and in Poland, Switzerland, Japan, Australia and the U.S. Since 1997, she has been resident director of movement at Shakespeare’s Globe on all theater productions. In 2002, she directed Transforming September 11th at the Linbury Studio, Royal Opera House for Peace Direct. She works for Globe Education, giving movement workshops for schools, undergraduates and Continuing Professional Development for teachers. For the last six years, she has worked on Playing Shakespeare with Deutsche Bank, Globe Education’s flagship project, which 16,000 students attend annually.

She heads the Movement Department for the Conservatory Training Program for Rutgers University at Shakespeare’s Globe. She also works on the Jette Parker Young Artists program at the Royal Opera House.

Kevin McCurdy (fight director) trained at the Welsh College of Music and Drama, where he is a resident teacher. His previous credits at Shakespeare’s Globe include Hamlet, As You Like It, We the People, The Frontline, Helen, Troilus and Cressida and Macbeth. His other theater credits include A Midsummer Night’s Dream, Romeo and Juliet, The Three Musketeers, Bloody Mary and The Virgin Queen, The Caucasian Chalk Circle, Of Mice and Men, Twelfth Night, Sleeping Beauty, Dick Whittington, A View From the Bridge, The Bystanders,

The Pirates of Penzance, Phaedra, Taboo, Things We Do For Love, Maid Marian and Her Merry Men, The Mikado, Badfinger, Closer, Woyzeck, Il Trovatore, Die Fledermaus, Oliver!, Botticelli’s Bonfire, House and Garden, Jack and the Beanstalk, Quadrophenia, Killer Joe, Beauty and the Beast, Women Beware Women, Cyrano de Bergerac, Richard III and Treasure Island. His television credits include The Chosen, Belonging, The Bench, The Story of Tracey Beaker, Hearts of Gold, Carrie’s War, Young Dracula, Doctor Who Christmas Special, Pobol Y Cwm, Y Pris, Alys and Gwaith Cartref. His feature film credits include The Big I Am, Season of the Witch and John Carter of Mars.

Martin McKellan’s (voice & dialect) previous work for Shakespeare’s Globe includes Henry V, The God of Soho, Hamlet, As You Like It, Doctor Faustus and Anne Boleyn. His recent theater credits include The Madness of George III, Our Private Life (Royal Court); The History Boys (National Tour); When We are Married (Garrick Theatre); Joseph K (Gate); Enjoy (Gielgud Theatre and National Tour); The Rocky Horror Show (National Tour); Timings (King’s Head); Sisters and Alice (Sheffield Crucible) and Breed (Theatre503). His other theater credits include Alphabetical Order (Hampstead Theatre); The History Boys (West Yorkshire Playhouse and National Tour); Lord Arthur Savile’s Crime (National Tour); The Lord of the Rings (Theatre Royal, Drury Lane); This Much is True (Theatre503); Riflemind (Trafalgar Studios); The Laramie Project (Sound Theatre); Single Spies (National Tour); A Model Girl (Greenwich Theatre); My Matisse (Jermyn St Theatre); Rocky Horror Show (Comedy Theatre); Our House (National Tour); Christine (New End Theatre); The Arab Israeli Cookbook (Tricycle Theatre); A Small Family Business (Watford Palace); Candida (Oxford Stage Company); The Importance of Being Earnest (National Tour) and You Might As Well Laugh (New End Theatre).

Carlyss Peer (Ophelia / Voltemand) trained at RADA. Her previous work for Shakespeare’s Globe includes A Midsummer Night’s Dream (Playing Shakespeare with Deutsche Bank). Her other theater credits include The Rivals (Peter Hall Company U.K. Tour and Theatre Royal Haymarket); Les Liaisons Dangereuses (Salisbury Playhouse), and her credits with the National Youth Theatre include The Master and Margarita (Lyric Hammersmith); Cell Sell (Soho Theatre). Her television credits include Eternal Law, Doctors, Silent Witness, Missing and Holby City.

Matthew Romain (Laertes / Bernardo / Guildenstern / Lucianus) trained at Bristol Old Vic Theatre School. His theater credits include The Recruiting Officer (Donmar Warehouse); Privates on Parade, See How They Run, Trelawny of the ‘Wells’, My Fair Lady (Pitlochry Festival Theatre); Onassis (Novello Theatre/Derby Theatre); Alma Mater (Augustine’s, Edinburgh) and The Shape of Things (Arts Theatre).

Paul Russell’s (lighting designer and production manager) theater lighting credits include Liberty (Shakespeare’s Globe/Lifeblood Productions), Love’s Labour’s Lost (Shakespeare’s Globe on tour Korea), Hard Times (The Watermill directed by Guy Retallack); Trainspotting, Backstroke in a Crowded Pool, Cardboys, One Flea Spare (Bush Theatre); My Mother Said I Never Should (Tour and Young Vic); Peribanez (Arts Theatre Cambridge); Closer (Royal National Theatre/Tour); Not a Game For Boys, Herons, Mother Teresa is Dead (Royal Court Theatre); Exquisite Sister, Four Nights in Knaresborough (West Yorkshire Playhouse); Romeo and Juliet (Young Vic Theatre); M. Butterfly (Singapore Repertory Theatre).

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Mondavi Center Presents Program Issue 3: NOV 2012

Christopher Saul (Polonius / Francisco / Player / First Gravedigger / Priest) trained at Rose Bruford College. His theater credits include King Lear, The Canterbury Tales, Julius Caesar, The Two Gentlemen of Verona, A Servant to Two Masters, Richard II, Henry IV Parts 1 & 2, The Comedy of Errors, The Thebans, Columbus, Breaking the Silence, The Merry Wives of Windsor, Man is Man, Richard III, Hamlet, Henry V (Royal Shakespeare Company); Oedipus (National Theatre); An Inspector Calls, Goodbye Gilbert Harding (National Tour); When the World Was Green, More Grimm Tales, As I Lay Dying, Twelfth Night, Waiting for Godot (Young Vic); Night Songs (Royal Court); The Crucible (Abbey, Dublin); The Comedy of Errors, Romeo and Juliet (English Shakespeare Company); ’Tis Pity She’s a Whore (West Yorkshire Playhouse); A Voyage Round My Father, Othello (Salisbury Playhouse); As You Like It (Sheffield Crucible); Fiddler on the Roof (Original Production, Tour and Her Majesty’s) and seasons at Oxford Playhouse, Leeds Playhouse, Liverpool Playhouse, Everyman Theatres and Newcastle Playhouse. His television credits include Doctors, Judge John Deed, The Bill, London’s Burning, Coronation Street, Grange Hill, Between the Lines, One Foot in the Grave, Never Come Back, Brookside, Casualty, Poirot, Small Zones, Watching, Bust, Pericles, The Professionals, Doctor Who and Triangle. His film credits include Sahara, Wilt, Mountbatten: The Last Viceroy and Mr Right. His radio credits include The Archers, White Horse Hill, BBC English Repertory Company and Listen with Mother. He is a regular narrator for the National Geographic Channel.

Siân Williams (choreographer) trained at the London College of Dance and Drama. She founded The Kosh dance theater company with Michael Merwitzer. Williams has worked as choreographer for Shakespeare’s Globe since 1999, as Movement Director for the Royal Shakespeare Company and is a member of The Factory theater company. Her choreography credits include The Glass Slipper, Oh! What a Lovely War (Northern Stage); The Snow Queen (The Rose Theatre, Kingston); You Can’t Take It With You (Royal Exchange, Manchester); The Storeroom (The Kosh); Hamlet, All’s Well That Ends Well, Much Ado About Nothing, Anne Boleyn, The Mysteries, The Comedy of Errors, Henry V (Shakespeare’s Globe); Macbeth, A Midsummer Night’s Dream (Globe Education); The Merchant of Venice (Royal Shakespeare Company); Adolph Hitler: My Part in His Downfall (Rho Delta); The Magic Flute and The Rake’s Progress (Royal College of Music).

Her directing credits include productions for The Kosh and The Handsomest Drowned Man (Circus Space). Her performing credits include all of The Kosh productions, The Odyssey (The Factory); the role of Grisette in La Traviata (Opera North); The Tempest, The Storm, A Midsummer Night’s Dream and Timon of Athens (Shakespeare’s Globe). Williams is currently choreographer for Shakespeare’s Globe productions in 2012 and for Café Chaos (The Kosh).

Chloe Stephens (assistant choreographer) specializes in movement and devised theater. After completing a B.A. in drama and theater arts at Goldsmiths College, she set up performance company SKIPtheatre with Charlotte Croft and Laura Hemming-Lowe.

Her previous credits for Shakespeare’s Globe include Henry V. Her collaborative productions include Arts Council-funded tour of The Mermaid’s Curse (Porlock and East Prawle); So...? (charity shop, Leytonstone); Decadence and Descendants (empty mansion house, Mayfair); Departure: 3 (Union Theatre & Shunt); 35 Albury Street (empty house, Deptford); Fill Up Full Stop (Camden People’s Theatre) and (Glastonbury Festival). She is currently completing the M.A. Movement Studies course at Central School of Speech and Drama while developing a new piece of theater for children, initiated with the support of the Unicorn Theatre.

Dickon Tyrrell (Claudius / Ghost / First Player / Player King) trained at Liverpool University, the National Youth Theatre and the Royal Welsh College of Music and Drama. His previous work at Shakespeare’s Globe includes Othello, Henry VIII and Anne Boleyn.

His other theater credits include Rutherford and Son (Northern Stage); Animal Farm (Derby Playhouse); The Romans in Britain (Sheffield Crucible); Harvest (The Royal Court and National Tour); The Merchant of Venice (UK tour, Japan, Malaysia, America and China); Henry IV Parts I & II, Richard II, Richard III, Julius Caesar, The Devil is an Ass (Royal Shakespeare Company); Major Barbara (Peter Hall Company); Romeo and Juliet, Dracula, A Midsummer Night’s Dream (Northern Broadsides); Ninagawa’s Peer Gynt (Barbican London, Manchester, Norway and Japan); Much Ado About Nothing (West End); The Plough and the Stars (West Yorkshire Playhouse); and Seven Doors (Gate Theatre). His television credits include Law and Order, The Bill, The Trial of Tony Blair, Coronation Street, Simon Schama’s Rough Crossings; Aberfan, Coup!, Doctors, Peak Practice, Harry and Spender. His directing credits include Mammals, Harvest (Royal Welsh College of Music and Drama) and As You Like It (Oxford School of Drama). His radio credits include Antony and Cleopatra and Major Barbara. Dickon has also featured in a music video for The Beautiful South.

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Mondavi Center Presents Program Issue 3: NOV 2012

MC

Debut

with special guest Todd Rundgren Tell Me Something Good

A Crossings Series Event

Tonight’s program and order will be announced from the stage.

Saturday, November 3, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Pre-Performance Talk Saturday, November 3, 2012 • 7PM

ETHEL’s solo repertoire to include: Octet 1979 Spiegel im Spiegel Selection from Quartet Set

Judd Greenstein, 2011 Arvo Pärt, arr. R. Farris, 1978 Lou Harrison, 1972

Jackson Hall, Mondavi Center, UC Davis Speaker: A member of Ethel

There will be one intermission.

Todd Rundgren’s solo repertoire and ETHEL/Rundgren collaborative repertoire may include: I Saw the Light Flamingo Zen Archer Stood Up Soul Brother Black Maria Lord Chancellor’s Nightmare Song

Todd Rundgren Todd Rundgren, arr. P. Brantley Todd Rundgren, arr. P. Brantley Todd Rundgren, arr. R. Farris Todd Rundgren, arr. D. Lawson Todd Rundgren, arr. R. Farris Gilbert and Sullivan, arr. D. Lawson

Todd Rundgren appears courtesy of Panacea Entertainment.

ETHEL endorses the Avid/Sibelius family of software solutions.

ETHEL endorses the beyerdynamic family of microphones.

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.

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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 27 San Francisco Symphony Chimney Rock Winery 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 16 David Sedaris Senders Wines 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 16 Itzhak Perlman Valley of the Moon Winery 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 23 David Lomelí Francis Ford Coppola Winery Featured wineries

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

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Mondavi Center Presents Program Issue 3: NOV 2012

Program Notes As each generation comes into its prime, it affects the contemporary musical environment, bringing in elements of the sounds it grew up with. These days, we are surrounded by references to the culture and sounds of the 1970s; the era of funk, glam rock, early minimalism, the bi-centennial, Watergate and the Vietnam War. The 1970s was a restless, intelligent, dissatisfied time—a decade of contradictions, a decade of loss, a decade of discovery. This vibrant program brings ETHEL and special guest Todd Rundgren together as they draw material—and inspiration—from the sounds and scenes of “the Me Decade.”

ETHEL, acclaimed as “one of the most exciting quartets around” (Strad Mag) and “a necessary jet of cold water in the contemporary classical scene” (Pitchfork.com), has been a post-classical pioneer since it was founded in 1998. ETHEL invigorates contemporary concert music with exuberance, intensity, imaginative programming and exceptional artistry. With an eye on tradition and an ear to the future, ETHEL is a leading force in concert music’s reengagement with musical vernaculars, fusing diverse traditions into a vibrant sound that resonates with audiences the world over. The New York City-based quartet comprises Ralph Farris (viola), Dorothy Lawson (cello), Kip Jones (violin) and Tema Watstein (violin).

ETHEL ETHEL’s 2012–13 season commences with a nationwide tour of Tell Me Something Good, a celebration of the culture and sounds of the 1970s featuring rock icon Todd Rundgren. Other highlights include a preliminary performance/workshop of ETHEL’s Documerica as part of the Park Avenue Armory’s week-long Under Construction series in New York City; the world premiere in the Netherlands of Cross Avenue, a new work by composers Jeroen Strijbos and Rob van Rijswijk; collaborative projects and concerts with virtuoso guitarist Kaki King; ongoing performances with Native American flutist Robert Mirabal; appearances as the official house band of TEDxManhattan; and newly commissioned works by Mary Ellen Childs, Jerod Impichchaachaaha’ Tate, Ulysses Owens Jr., James “Kimo” Williams, Hannis Brown, Lainie Fefferman and Dan Friel.

Off-stage, ETHEL continues to receive acclaim for its third album, Heavy (Innova Recordings, 2012), which has been described as “another beautiful reality of contemporary music” (All About Jazz).

Over the past three years, ETHEL has premiered more than 50 new works by 20th-and 21st-century composers, including pieces that were commissioned by the quartet or composed by ETHEL. Recent premieres and noteworthy performances include Phil Kline’s SPACE at the gala reopening of Alice Tully Hall; RADIO by Osvaldo Golijov at the debut of WNYC Radio’s Jerome L. Greene Space; ETHEL’s TruckStop: The Beginning at BAM’s Next Wave Festival; ETHEL Fair: The Songwriters at opening night of Lincoln Center’s Out of Doors Festival; WAIT FOR GREEN with choreography by Annie-B Parson, commissioned by arts World Financial Center; ETHEL’s HonBiBaekSan by Dohee Lee at Meet the Composer’s 3-City Dash Festival; ETHEL’s HomeBaked series featuring commissioned works by emerging NYC composers Andy Akiho, Anna Clyne, Judd Greenstein and Matt Marks, as well as premieres by Rick Baitz and Randall Woolf at the Tribeca New Music Festival; and works by contemporary music luminaries such as Julia Wolfe, John Zorn, Steve Reich, John King, Raz Mesinai, David Lang, Scott Johnson, Kenji Bunch, Don Byron, Marcelo Zarvos and Evan Ziporyn.

ETHEL has initiated innovative collaborations with an extraordinary community of international artists that include David Byrne, Bang on a Can, Kaki King, Ursula Oppens, Loudon Wainwright III, STEW, Ensemble Modern, Jill Sobule, Dean Osborne, Howard Levy, Joshua Fried, Andrew Bird, Iva Bittová, Colin Currie, Thomas Dolby, Jeff Peterson, Steve Coleman, Stephen Gosling, Jake Shimabukuro and Polygraph Lounge. ETHEL has appeared as a guest artist on a dozen music labels and was recently featured on A Map of the Floating City

by Thomas Dolby (2012); The Duke by Joe Jackson (2012); John the Revelator: A Mass for Six Voices by Phil Kline (Cantaloupe Music, 2008) with vocal group Lionheart; and the Grammy Award-winning Dedicated to You: Kurt Elling Sings the Music of Coltrane and Hartman (Concord Records, 2009). The quartet also serves as the Ensemblein-Residence at the Grand Canyon Music Festival as part of the Native American Composers Apprenticeship Project. ETHEL recorded Oshtali: Music for String Quartet (Thunderbird Records, 2010), the first commercial recording of American Indian student works.

For more information, please visit www.ethelcentral.org.

Todd Rundgren (electric guitar, acoustic guitar, ukulele and piano) is A Wizard, A True Star. The title of Rundgren’s 1973 solo album aptly sums up the contributions of this multi-faceted artist to state-of-the-art music. As a songwriter, video pioneer, producer, recording artist, computer software developer, conceptualist and, most recently, interactive artist (re-designated TR-i), Rundgren has made a lasting impact on both the form and content of popular music.

Born and raised in Philadelphia, Rundgren began playing guitar as a teenager going on to found and front the Nazz, the quintessential 1960s cult group. In 1969, he left the band to pursue a solo career, recording his debut offering, the legendary Runt. But it was the seminal Something/Anything? (1972), on which he played all the instruments, sang all the vocal parts and acted as his own producer, that catapulted Rundgren into the superstar limelight, prompting the press to unanimously dub him “Rock’s New Wunderkind.” It was followed by such landmark LPs as The Hermit of Mink Hollow and A Wizard, A True Star, as well as such hit singles as “I Saw The Light,” “Hello It’s Me,” “Can We Still Be Friends” and “Bang The Drum.”

In 1974, Rundgren formed Utopia, an entirely new approach to the concept of interactive musicianship and embarked on an extensive round of touring and recording. Standout Utopia offerings included Oops! Wrong Planet, Adventures in Utopia and Oblivion. Along the way, Utopia combined technical virtuosity and creative passion to create music that for millions defined the term “progressive rock.”

Rundgren’s myriad production projects include albums by Patti Smith, Cheap Trick, the Psychedelic Furs, Meatloaf, XTC, Grand Funk Railroad and Hall & Oates. Rounding out his reputation as rock’s Renaissance Man, Rundgren composed all the music and lyrics for Joe Papp’s 1989 off-Broadway production of Joe Orton’s Up Against It (the screenplay commissioned by the Beatles for what was meant to have been their third motion picture). He also has composed the music for a number of television series, including Pee Wee’s Playhouse and Crime Story.

In 1998, Rundgren debuted his new PatroNet technology, which for the first time allowed fans of a musical artist to subscribe directly to the artist’s musical output via the Internet. This caps a long history of groundbreaking early multimedia “firsts,” including: • 1978: The first interactive television concert, broadcast live over the Warner/QUBE system in Columbus, Ohio (the home audience chose each song.in real time during the concert by voting via QUBE’s 2-way operating system).

• 1978: The first live nationally broadcast stereo radio concert (by microwave), linking 40 cities around the country.

• 1979: The opening of Utopia Video Studios, a multi-million dollar state-of-the-art facility. The first project produced by Rundgren there was Gustav Holst’s The Planets, commissioned by RCA SelectaVision as the first demonstration software for its new videodisc format.

• 1980: Creation of the first color graphics tablet, which was licensed to Apple and released as The Utopia Graphics Tablet.

• 1981: Time Heals, the first music video to utilize state-of-the-art compositing of live action and computer graphics (produced and directed by Todd), becomes the second video to be played on MTV (after Video Killed the Radio Star).

• 1982: The first live national cablecast of a rock concert (on the USA Network), simulcast in stereo to more than 120 radio stations.

• 1982: The first two commercially released music videos, one of which was nominated for the first ever Grammy awarded for “Best Short Form Video” in 1983.

• 1992: The release of No World Order, the world’s first interactive record album on CD-i. Also the first commercially available music downloads via CompuServe.

• 1994: The release of The Individualist, the world’s first full-length Enhanced CD. • 1995: The world’s first interactive concert tour.

• 1998: Launches PatroNet, the world’s first direct artist subscription service.

ETHEL gratefully acknowledges its supporters: The Board of ETHEL’s Foundation for the Arts; the Aaron Copland Fund for Music; American Composer’s Forum; the Amphion Foundation; Argosy Foundation; Bloomberg Philanthropies; the Carnegie Corporation of New York; CECArtsLink; Chamber Music America; the Gladys Krieble Delmas Foundation; the Double-R Foundation; the Greenwall Foundation; the Murray Hidary Foundation; the Jerome Foundation; LEF Foundation; Meet the Composer’s Commissioning Music/USA; Meet the Composer’s Cary New Music Performance Fund, Meet the Composer’s Creative Connections Program; Mid Atlantic Arts Foundation through USArtists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation; the Multi-Arts Production Fund, a program of Creative Capital supported by the Rockefeller Foundation; the National Endowment for the Arts; the Netherland-America Foundation, the New York State Council on the Arts; New York Community Trust, the New York City Department of Cultural Affairs; the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors; the James E. Robinson Foundation; the Fan Fox and Leslie R. Samuels Foundation; the September 11th Fund; Sibelius Software and the A.Woodner Fund.

Early last year Rundgren performed his iconic 1973 album A Wizard, A True Star in concert in its entirety for the first time ever, and recently did the same with a double bill: Todd & Healing. His latest two studio albums, Todd Rundgren’s Johnson, a collection of classic Robert Johnson songs, and reProduction, covers of songs Todd has produced for other artists. This past summer he toured with Ringo Starr for the third time.

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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.

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Mondavi Center Presents Program Issue 3: NOV 2012

MC

Debut Stephen Waarts, violin Miles Graber, piano

A Debut Series Event Sunday, November 4, 2012 • 2PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis Individual support for the Debut Series artist residency program provided by Oren and Eunice Adair-Christensen.

Individual support provided by Mary B. Horton.

program Sonata No. 8 for Violin and Piano in G Major, Op. 30, No. 3 Allegro assai Tempo di Minuetto, ma molto moderato e grazioso Allegro vivace

Beethoven

Sonata for Violin and Piano Allegro vivo Intermède: Fantasque et léger Finale: Très animé

Debussy

Valse-Scherzo for Violin and Piano, Op. 34

Tchaikovsky

Intermission Sonata No. 1 for Violin and Piano in A Minor, Op. 105 Mit leidenschaftlichem Ausdruck Allegretto Lebhaft

Schumann

Sonata No. 6 for Unaccompanied Violin in E Major, Op. 27, No. 6 Ysaÿe Selections from Porgy and Bess, arr. Heifetz Summertime A Woman Is a Sometime Thing

Gershwin

Fantaisie Brillante on Themes from Gounod’s Faust for Violin and Piano, Op. 20

Wieniawski

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.

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program notes Sonata No. 8 for Violin and Piano in G Major, Op. 30, No. 3 (1802) Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) In the summer of 1802, Beethoven’s physician ordered him to leave Vienna and take rooms in Heiligenstadt, today a friendly suburb at the northern terminus of the city’s subway system, but two centuries ago a quiet village with a view of the Danube across the river’s rich flood plain. It was three years earlier, in 1799, that Beethoven first noticed a disturbing ringing and buzzing in his ears, and he sought medical attention for the problem soon thereafter. On the advice of his doctor, Beethoven left the noisy city for the quiet countryside with the assurance that the lack of stimulation would be beneficial to his hearing and his general health. On October 6, 1802, following several months of wrestling with his diminishing hearing (and a constant digestive distress), Beethoven penned the so-called “Heiligenstadt Testament.”

Intended as a will written to his brothers (it was never sent, though he kept it in his papers to be found after his death), it is a cry of despair over his fate. “O Providence—grant me at last but one day of pure joy,” he lamented. But—and this is the miracle—he not only poured his energy into self-pity, he also channeled it into music.

The Symphonies Nos. 2-5, a dozen piano sonatas, the Fourth Piano Concerto and Triple Concerto, Fidelio, three violin and piano sonatas (Op. 30), many songs, chamber works and keyboard compositions were all composed between 1802 and 1806.

Beethoven had completed the three Op. 30 Sonatas for Piano and Violin by the time he returned from Heiligenstadt to Vienna in the middle of October 1802. The Sonata No. 3, in G major, is the most compact and cheerful such piece in his creative output. The main theme of the opening sonata-form movement balances a frisky motive in rolling scale steps with a more lyrical idea. The second theme is full of incident, with mercurial shifts of harmony, a halfdozen thematic fragments, sudden changes of dynamics and sharply accented notes. The trills and bustling rhythmic activity that close the exposition are carried into the development section, which provides only a brief formal deflection before a full recapitulation of the exposition’s materials rounds out the movement. The second movement is music grown from song rather than dance, sweet and lyrical and gracious, then returns to its lovely opening strain throughout in the manner of a refrain. The finale is a genial rondo filled with sunny vivacity and sparkling passagework.

Sonata for Violin and Piano (1916–17) Claude Debussy (Born August 2, 1862, in St. Germain-en-Laye, near Paris; died March 25, 1918, in Paris) For the Violin Sonata’s inspiration, style and temperament, Debussy looked back far beyond the Impressionism of his earlier works to the elegance, emotional reserve and textural clarity of the music of the French Baroque. The form of the Sonata’s first movement is tied together by the iterations of the simple falling triadic motive given by the violin at its initial entrance. Various episodes separate the motive’s returns, some passionate, some exotically evocative in their

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Mondavi Center Presents Program Issue 3: NOV 2012

sliding intervals, some deliberately archaic in their open-interval harmonies. The spirit and wit of the Italian commedia dell’arte are evoked in the Intermède, which is instructed to be played “with fantasy and lightness.” The finale begins with a ghost of the first movement’s opening theme before proceeding to a modern mutation of the traditional rondo form, which takes as its subject a violin melody in flying triplets that Debussy borrowed from his Ibéria. The composer noted that this theme “is subjected to the most curious deformations, and ultimately leaves the impression of an idea turning back upon itself, like a snake biting its own tail.” The music exudes energy bordering on enervation and seems almost to have expended its strength as the final measures approach but finds sufficient reserve to mount a quick but brilliant close.

Valse-Scherzo for Violin and Piano, Op. 34 (1877) Peter Ilyich Tchaikovsky (Born May 7, 1840, in Votkinsk, Russia; died November 6, 1893, in St. Petersburg) Tchaikovsky composed his tuneful and brilliant Valse-Scherzo early in 1877 for Joseph Kotek, a recent violin graduate of the Moscow Conservatory who had taken a composition class with Tchaikovsky at the school and developed a strong affection for both the man and his music. There is more waltz than scherzo in the Valse-Scherzo, one of Tchaikovsky’s many splendid examples of the most popular and elegant dance form of his day. The piece takes as its main theme a lilting strain given by the violin after a few preludial gestures from the orchestra. A complementary episode of considerable technical challenge for the soloist intervenes before the main theme returns to round out the work’s first section. The center of the piece (the “trio” of Tchaikovsky’s scherzo form) is occupied by music of a more thoughtful nature and culminates in a cadenza that serves as a bridge to the recall of the opening music which closes this delightful composition.

Sonata No. 1 for Violin and Piano in A Minor, Op. 105 (1851) Robert Schumann (Born June 8, 1810, in Zwickau, Germany; died July 29, 1856, in Endenich, near Bonn) In September 1850, the Schumanns left Dresden to take up residence in Düsseldorf, where Robert assumed the post of municipal music director. He was welcomed to the city with a serenade, a concert of his works, a supper and a ball. Though he had been cautioned a few years before by his friend Felix Mendelssohn that the local musicians were a shoddy bunch, he was eager to take on the variety of duties that awaited him in the Rhenish city, including conducting the orchestra’s subscription concerts, leading performances of church music, giving private music lessons, organizing a chamber music society and composing as time allowed. Despite Schumann’s promising entry into the musical life of Düsseldorf, it was not long before things turned sour. His fragile mental health, his ineptitude as a conductor and his frequent irritability created a rift with the musicians, and the orchestra’s governing body presented him with the suggestion that, perhaps, his time would be better devoted entirely to composition. Schumann, increasingly unstable though at first determined to stay, complained to his wife, Clara, that he was being cruelly treated. Proceedings were begun by the orchestra

committee to relieve him of his position, but his resignation in 1853 ended the matter. By early the next year, Schumann’s reason had completely given way. On February 27, he tried to drown himself in the Rhine, and a week later he was committed to the asylum in Endenich, where he lingered with fleeting moments of sanity for nearly two-and-a-half years. His faithful Clara was there with him when he died on July 29, 1856, at the age of 46.

Though Schumann’s tenure in Düsseldorf proved difficult and ended sadly, he enjoyed there one of his greatest outbursts of creativity—nearly one-third of his compositions were written in the city. His two Sonatas for Violin and Piano (A minor and D minor) were composed in a rush during the autumn of 1851 (September 12-16 and October 26-November 2). A restless theme, marked “with passionate expression,” opens the A minor Sonata. The music brightens as it enters its formal second theme area, though its melodic content continues to be spun from the same motives. Rapid harmonic changes lend an unsettled quality to the development section. After a full recapitulation, the movement ends abruptly in the anxious, minor-mode manner in which it began. The Allegretto, more a pleasant intermezzo than an emotional slow movement, takes as its principal theme a three-part melody: the outer phrases are sweet and lyrical; the center one, quick-moving and staccato. Two short episodes, one reminiscent of the lyrical strain, the other of the staccato phrase, separate the returns of the main theme. The sonataform finale resumes the restless mood of the opening movement, though the level of tension here is heightened by the music’s fast tempo and tightly packed imitative texture. Episodes in brighter tonalities provide some expressive contrast, but the Sonata ends with agitated cadential gestures that reaffirm the work’s pervasive anxious mood.

Sonata No. 6 for Unaccompanied Violin in E Major, Op. 27, No. 6 (1924) Eugène Ysaÿe (Born July 16, 1858, in Liège, Belgium; died May 12, 1931, in Brussels) Though he was famed internationally as a supreme master of the violin (in his book on The Art of Violin Playing), the noted scholar and performer Carl Flesch called him “the most outstanding and individual violinist I have ever heard in my life”), Ysaÿe also composed a sizeable number of original works, most of them for his own instrument. He was never formally trained in the discipline, but he had a natural talent for composition that manifested itself in a Romantic virtuoso style in his early works (notably eight violin concertos which were never published and are virtually unknown) and in the utilization of progressive techniques in his later creations. His smaller pieces for violin and piano are regular recital items, but his most admired compositions are the six Sonatas for Unaccompanied Violin (Op. 27), which he was inspired to compose after hearing Joseph Szigeti play a Bach solo sonata in 1924. These Sonatas are in an advanced stylistic idiom influenced by the modern music of France and call for feats of technical mastery that rival those required by the Solo Caprices of Paganini.

his performing career. Ysaÿe’s flamboyant work, almost constantly in double-stops, evokes the rhapsodic Gypsy style of Quiroga’s homeland.

Selections from Porgy and Bess (1935) George Gershwin (Born September 26, 1898, in Brooklyn, New York; died July 11, 1937, in Hollywood, California) Arranged by Jascha Heifetz (1899-1987) During a retreat in October and November 1944 at Harbor Island in San Diego Bay to recover from two years of constant concertizing and touring throughout America and the theaters of war to play for the troops, Jascha Heifetz transcribed several of the most beloved numbers from Gershwin’s Porgy and Bess for violin and piano.

Gershwin was a friend and a frequent guest when Heifetz lived in New York in the late 1920s (rumor had it that he may have been interested in one of Heifetz’s daughters), and the violinist’s arrangements respectfully retain the substance and the character of the vocal originals. Heifetz did suit them to his luminous and impeccable style, however, with frequent double-stops, quickly shifting registers, and occasional virtuoso flourishes between phrases.

Fantaisie Brillante on Themes from Gounod’s Faust for Violin and Piano, Op. 20 (1868) Henryk Wieniawski (Born July 10, 1835, in Lublin, Poland; died March 31, 1880, in Moscow) Henryk Wieniawski was one of the most accomplished musical artists of the mid-19th century—Anton Rubinstein called him “without a doubt the greatest violinist of his time.” He was known for the richness of his tone, the perfection of his technique and the fiery Slavic temperament that electrified his playing. The two concertos are the most important of his four dozen compositions, but several of his smaller pieces are familiar items in the violin literature: The Fantaisie Brillante on Themes from Gounod’s “Faust” of 1868 is not just a virtuoso showpiece, but also a testament to the instant popularity that greeted Gounod’s opera following its premiere in Paris just nine years before.

—Dr. Richard E. Rodda

The one-movement Sonata No. 6 was dedicated to the Spanish violinist Manuel Quiroga, who toured Europe and America with great success until a street accident in New York in 1937 ended

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Voted “Best Place to Eat Before a Mondavi Center Performance.”

—Sacramento Magazine (2010)

Stephen Waarts, age 16, started his violin studies in the Bay Area at age five and piano studies at eight. After graduating from both high school and the San Francisco Conservatory Preparatory at 14, he is currently pursuing a bachelor of music at the prestigious Curtis Institute of Music in Philadelphia. Since age 11, Waarts has been performing with numerous professional and community orchestras all over the world, playing a large repertoire including many rarely performed violin concertos. Winner of numerous international violin competitions, including the Menuhin Competition, Spohr Competition and Sarasate Competition, Waarts has received acclaim on several continents for his soulful and poetic playing, his artistry, unique tone and true virtuosity. On his prize winning performances the UK’s Daily Telegraph commented “... something special ... not just the mechanical wonder, but a soul.” And the Strad magazine, “from the first note … I was hooked, and within a few bars I was moved to tears from … such an experience is rare …

Although it is possible to analyze it (Waarts’s playing) ... perhaps it is better not to try … truly poetic and sincere.”

Waarts has performed in Germany, Spain, Norway, Russia and at venues in numerous states in the U.S. including at New York’s Carnegie Hall, in San Francisco and Los Angeles, as well as at hundreds of concerts in the Bay Area. He has played, often multiple times, more than 25 concertos, with the Staatskapelle Weimar Orchestra, Navarra Symphony, Kostroma Symphony, San Francisco Chamber Orchestra, Los Angeles Jewish Symphony, Fremont Symphony, Symphony Parnassus, Redwood Symphony, Silicon Valley Symphony, Saratoga Symphony, Solano Symphony, Prometheus Symphony and a multitude of others. Fairfield’s Daily Republic commented: “Even in a region rich in musical talent, young Waarts is an exceptional talent.” The Los Angeles-based reviewer Baruch Cohon says: “Hands down hit of the evening was the young violinist Stephen Waarts ... masterful performance ... he (the composer) would have been overjoyed ...” The San Mateo Daily Journal said: “the emotionevoking quality of his sound, brings me to tears with that rare beauty” and “extraordinary technique.”

At the Curtis Institute in Philadelphia, Waarts studies violin with celebrated violinist and master teacher Aaron Rosand, and he continues there his studies in piano and composition. Since 2005, Waarts has been a student at the studio of world-renowned Bay Area violin pedagogue Li Lin, with whom he continues his close collaboration. Concurrently, since 2009, Waarts has studied with Alexander Barantschik, Concertmaster of San Francisco Symphony, and with Baroque violinist Elizabeth Blumenstock and since 2010, he is also a student at the Perlman Music Program, headed by Itzhak Perlman. Waarts started his music education with violin lessons as part of a Suzuki violin program with Krishnabai Lewis and continued lessons with Jenny Rudin. He started piano studies with Steve Lightburn and since 2006, he continued them with Irina Sharogradski. A passionate chamber music player, Waarts has been part of the Music at Menlo program led by David Finckel and Wu Han for four summers since 2005, and he continues his chamber playing at the Curtis Institute and at the Perlman Program. During Waarts’s frequent visits to his Bay Area home he continues working with local orchestras and volunteering recitals at local retirement communities.

Waarts is also an enthusiastic mathematician (having won many national math awards) and a visual artist. In the rest of his free time he enjoys reading, table tennis, swimming, card games and playing with his friends, including his younger sister and twin brother.

Find out more about Waarts at www.stephenwaarts.com

Miles Graber received his musical training at the Juilliard School, where he studied with Anne Hull, Phyllis Kreuter, Hugh Aitken and Louise Behrend. He has lived in the San Francisco Bay Area since 1971, where he has developed a wide reputation as an accompanist and collaborative pianist for instrumentalists and singers. He has performed with numerous solo artists, including Sarah Chang, Cho-Liang Lin, Camilla Wicks, Axel Strauss, Mimi Stillman and Judith LeClair. Graber currently performs frequently with violinists Christina Mok and Mariya Borozina, flutists Gary Woodward, Amy Likar and Ai Goldsmith and clarinetist Tom Rose. He is a member of the chamber groups Trio Concertino, MusicAEterna, Sor Ensemble and the new music group Sounds New. Graber has been associated with such ensembles as the New Century Chamber Orchestra, Midsummer Mozart, Oakland-East Bay Symphony, Berkeley Symphony, California Symphony, Santa Rosa Symphony, Oakland Lyric Opera, Berkeley Opera and Opera San Jose. He has accompanied master classes by such artists as Midori, Joseph Silverstein, Nadja Salerno-Sonnenberg, Pamela Frank, Alexander Barantchik, James Galway, Lynn Harrell and Yo-Yo Ma. He has been a frequent performance accompanist and chamber player with members of San Francisco Symphony, San Jose Symphony, Berkeley Symphony, California Symphony, Santa Rosa Symphony, San Francisco Symphony Youth Orchestra, Oakland-East Bay Youth Orchestra and UC Berkeley Symphony. He is on the faculty of the Crowden School in Berkeley, and he regularly coaches and accompanies students of the Young Musicians Program at UC Berkeley. He is currently a staff accompanist at the San Domenico Conservatory in San Anselmo, the San Francisco Conservatory of Music and Northern California Flute Camp in Carmel Valley.

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B.B. King

A Mondavi Center Just Added Event Sunday, November 4, 2012 • 7PM Jackson Hall, Mondavi Center, UC Davis

B.B. King, since he started recording in the late 1940s, has released more than 60 albums many of them considered blues classics, like the definitive live blues album Live At The Regal (1965) and collaboration with Bobby “Blue” Bland, Together For The First Time (1976).

Over the years, King has had two number one R & B hits, “Three O’Clock Blues” (1951) and “You Don’t Know Me” (1952) and four number two R & B hits, “Please Love Me” (1953) and “You Upset Me Baby” (1954), “Sweet Sixteen, Part I” (1960) and “Don’t Answer The Door, Part I” (1966).

King’s most popular crossover hit, “The Thrill Is Gone” (1970), went to number 15 pop.

But King, as well as the entire blues genre, is not radio oriented. His classic songs such as “Payin The Cost To Be the Boss,” “Caldonia,” “How Blue Can You Get,” “Everyday I Have the Blues” and “Why I Sing the Blues” are concert (and fan) staples.

King was born Riley B. King on September 16, 1925, on a cotton plantation in Itta Bene, Mississippi, just outside the Mississippi Delta town of Indianola.

He used to play on the corner of Church and Second Street for dimes and would sometimes play in as many as four towns on a Saturday night. With his guitar and $2.50, he hitchhiked north to Memphis in 1947 to pursue his musical career. Memphis was the city to which every important musician of the South gravitated and which supported a large, competitive musical community, where virtually every black musical style was heard. King stayed with his cousin Bukka White, one of the most renowned rural blues performers of his time, who schooled King further in the art of the blues.

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.

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King’s first big break came in 1948, when he performed on Sonny Boy Williamson’s radio program on KWEM out of West Memphis.

This led to steady performance engagements at the Sixteenth Avenue Grill in West Memphis and later to a 10 minute spot on black staffed and managed radio station WDIA. King’s Spot, sponsored by Pepticon, a health tonic, became so popular that it was increased in length and became the Sepia Swing Club. Soon, King needed a catchy radio name. What started out as Beale Street Blues Boy was shortened to Blues Boy King, and eventually B.B. King. Incidentally, King’s middle initial “B” is just that; it is not an abbreviation.

“I’m me,” King told Time magazine in 1969. “Blues is what I do best.

If Frank Sinatra can be the best in his field, Nat King Cole in his, Bach and Beethoven in theirs, why can’t I be great and known for it, in blues?”

In the mid-1950s, while King was performing at a dance in Twist, Arkansas, a few fans became unruly. Two men got into a fight and knocked over a kerosene stove, setting fire to the hall. King raced outdoors to safety with everyone else, but then realized that he left his $30 guitar inside, so he rushed back inside to retrieve it, narrowly escaping death. When he later found out that the fight had been over a woman named Lucille, he decided to give the name to his guitar. Each one of King’s guitars since that time has been called Lucille.

In 1969, B.B. was chosen by the Rolling Stones to open 18 American concerts for them; Ike and Tina Turner also played on 18 shows.

King also made the first of his numerous appearances on Johnny Carson’s The Tonight Show. In 1970, King premiered in Las Vegas at Caesar’s Palace and at the Royal Box in the American Hotel in New York City as well as on The Ed Sullivan Show.

Soon after his number one hit, “Three O’Clock Blues,” King began touring nationally, and he has never stopped, performing an average of 125 concerts a year. In 1956, King and his band played an astonishing 342 one-night stands. From the chitlin circuit with its small town cafes, ghetto theaters, country dance halls and roadside joints to jazz clubs, rock palaces, symphony concert halls, college concerts, resort hotels and prestigious concert halls nationally and internationally, King has become the most renowned blues musician of the past 60 years.

King’s technique is nonetheless complex, featuring delicate filigrees of single string runs punctuated by loud chords, subtle vibratos, and “bent” notes. The technique of rock guitar playing is to a large degree derived from King’s playing.

Over the years, King has developed one of the world’s most readily identified guitar styles. He borrowed from Lonnie Johnson, Blind Lemon Jefferson, T-Bone Walker and others integrating his precise vocal-like string bends and his left hand vibrato, both of which have become indispensable components of rock guitarist vocabulary. His economy, his every-note-counts phrasing, has been a model for thousands of players including Eric Clapton, George Harrison and Jeff Beck.

King has mixed traditional blues, jazz, swing, mainstream pop and jump into a unique sound. His singing is richly melodic, both vocally and in the “singing” that comes from his guitar. In King’s words, “When I sing, I play in my mind; the minute I stop singing orally, I start to sing by playing Lucille.

“I’m trying to get people to see that we are our brother’s keeper, I still work on it. Red, white, black, brown, yellow, rich, poor, we all have the blues.

“From my own experience, I would say to all people but maybe to young people especially black, white or whatever color, follow your own feelings and trust them; find out what you want to do, and do it and then practice it every day of your life and keep becoming what you are despite any hardships and obstacles you meet.”

King has influenced Eric Clapton, Mike Bloomfield, Albert Collins, Buddy Guy, Freddie King, Jimi Hendrix, Otis Rush, Johnny Winter, Albert King and many others while being influenced by Charles Brown, Lowell Fulsom, Elmore James, Blind Lemon Jefferson, Jimmy Rushing, T-Bone Walker, Bukka White and others.

In the early 1970s, B.B. toured Ghana, Lagos, Chad and Liberia under the auspices of the United States State Department, besides playing the major jazz festivals around the world.

King was inducted into the Blues Foundation Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 1987, where Sting of the Police made the induction speech. King was the recipient of the 1986 National Association for Campus Activities Hall of Fame Award.

King was Blues Act of the Year in 1985, 1987 and 1988 Performance Award Polls. He is a founding member of the John F. Kennedy Performing Arts Center. King received the Grammy “Lifetime Achievement Award” in 1987. He won the Lifetime Achievement Award from the Blues Foundation in 1997. King has received four honorary doctorates: Tougaloo (Mississippi) College (L.H.D.) in 1973; Yale University (D. Music) in 1977; Berklee College of Music (D. Music) in 1982 and Rhodes College of Memphis (D. Fine Arts) in 1990. In 1992, he received the National Award of Distinction from the University of Mississippi.

On May 3, 1991, “B.B. King’s Blues Club” opened in Memphis and also at the Universal City Walk in Los Angeles in 1994, and although King resides in Las Vegas, he plans to play at his clubs at least four times a year. A B.B. King Blues Club opened in New York’s Times Square’s E-Walk in early 2000.

In 1996, the CD-ROM On The Road With B.B. King: An Interactive Autobiography was released to rave reviews including an “A-” in Entertainment Weekly. Also in 1996, King’s autobiography Blues All Around Me (written with David Ritz) was published and won second prize in the prestigious Eighth Annual Ralph J. Gleason Music Book Awards. The biography The Arrival of B.B. King by Charles Sawyer was published in 1980 by Doubleday.

In 1997, MCA released King’s album Deuces Wild with King in tandem with 13 legendary artists. The lineup included Eric Clapton, the Rolling Stones, Bonnie Raitt, Willie Nelson, Joe Cocker, Tracy Chapman, Mick Hucknall (Simply Red), Dr. John, Marty Stuart, D’Angelo, David Gilmore & Paul Carrick and Heavy D. Deuces Wild became King’s second gold album. In 1999, B.B. King released Let the Good Times Roll, his tribute to Louis Jordan. “Louis Jordan was a great musician,” says King, “and in my opinion, was way ahead of his time. As people get to know him, they will realize what a great contribution he left to the music of today.”

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philharmonia baroque

further listening

by jeff hudson

Over the past three decades, Philharmonia Baroque has issued quite a few albums under conductor Nicholas McGegan—and pianist Emanuel Ax has released even more recordings, featuring both orchestral and chamber works, going back into the 1970s. Here are a few highlights from recent years and decades past: —Philharmonia Baroque launched its own label a few years ago, and earlier this year it issued a two-disc album featuring the rarely encountered Handel opera Atalanta, written in 1736 (to celebrate the marriage of Prince of Wales) and premiered in Covent Garden.

—Last year, Philharmonia’s label also issued one of the most popular and frequently recorded works in the Baroque repertoire: Vivaldi’s Four Seasons. The soloist was Philharmonia’s concertmaster Elizabeth Blumenstock (who’s appeared in Davis many times with the American Bach Soloists). There are three other Vivaldi concertos on the album as well.

—Last year, Philharmonia Baroque also issued (for the first time) some historic recordings with the late mezzo Lorraine Hunt Lieberson, dating from the 1990s. She sings arias

by Handel, as well as Nuits d’Ete by Hector Berlioz. Davis audiences will recall that Lorraine Hunt Lieberson sang in Jackson Hall during the opening week of concerts at the Mondavi Center in October 2002. She died, age 52, in 2006.

—Tonight’s concert features Ax on a historic fortepiano—the sort of keyboard that existed when Beethoven wrote the Concerto No. 4 in 1805–6. In the 1990s, Ax also recorded the two Chopin piano concertos on an 1851 Erard keyboard—the kind of instrument that Chopin played—under the baton of Sir Charles Mackerras with the Orchestra of the Age of Enlightenment. And if you’re looking for Ax performing these works on a modern piano, he recorded the Beethoven concertos with the Royal Philharmonic Orchestra under Andre Previn and Chopin concertos with the Philadelphia Orchestra under Eugene Ormandy.

—Ax also has an interest in newer music, and in March of this year he performed Morton Feldman’s Piano and Orchestra— an unconventional 1975 piece that the composer described as one of his “still-life titles”—at Carnegie Hall with the San Francisco Symphony under Michael Tilson Thomas. No word thus far whether a recording of that performance will be issued.

—Ax has a new recital album scheduled for release sometime around the time of this concert. It will feature music by Josef Haydn, Robert Schumann (whose music Ax played when he visited Mondavi in 2010) and Aaron Copland, organized around the concept of theme-and-variations.

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

—Emanuel Ax has released multiple albums over the decades with cellist Yo-Yo Ma, covering sonatas by Beethoven, Brahms, Rachmaninoff, Prokofiev and others—well worth looking up.

Then in 2010, Ax and Ma partnered for the first time with Itzhak Perlman for an album featuring the two Mendelssohn piano trios.

PPT Pre-Performance Talk Moderator: Don Roth, Ph.D. Don Roth is the executive director of the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis. A native of New York City, Roth joined the Mondavi Center in June 2006, arriving from the Aspen Music Festival and School, where he served as president from 2001–06. His tenure at the Mondavi Center has seen the initiation of new artistic and educational partnerships with the San Francisco Symphony and the Curtis Institute; the development of residencies by world-renowned companies such as Shakespeare’s Globe and the St. Louis Symphony; the launching of a program to increase interest in Classical Music funded by a major Andrew W. Mellon Foundation grant; and the beginnings of the popular “Just Added” events. Previously Roth served as president of the St. Louis Symphony and of the Oregon Symphony and as general manager of the San Francisco Symphony.

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Currently, Roth serves as the co-chair of Sacramento Mayor Kevin Johnson’s regional arts initiative, “For Arts’ Sake.” Roth is also an overseer of the Curtis Institute of Music and a member of the Directors Council (emeritus Board) of the League of American Orchestras. He has chaired numerous panels for the National Endowment for the Arts and chaired the Orchestra League’s Management Fellowship Program. Roth has served as a member of the Executive Committee of the Board of Directors of the Sacramento Philharmonic. Roth holds a doctorate from the University of Texas with a specialty in AfricanAmerican History. He has written about popular music for Rolling Stone and Texas Monthly.

Philharmonia Baroque orchestra Nicholas McGegan, music director and conductor

Photo by Harald Haugan

Photo by Randi Beach

Photo by Randi Beach

Emanuel Ax, fortepiano

A Western Health Advantage Orchestra

program

Series Event Wednesday, November 7, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis Sponsored by

Concerto No. 4 for Fortepiano and Orchestra in G Major, Op. 58 Allegro moderato Andante con moto Rondo: Vivace Emanuel Ax, fortepiano

Beethoven

Intermission

Individual support provided by Shipley and Dick Walters.

Pre-Performance Talk Wednesday, November 7, 2012 • 7PM Jackson Hall, Mondavi Center, UC Davis

Twelve Contredanses for Orchestra, WoO 14 Symphony No. 4 in B-flat Major, Op. 60 Adagio – Allegro vivace Adagio Menuetto: Allegro vivace – Trio: Un poco meno allegro

Allegro ma non troppo

Speaker: Nicholas McGegan in conversation with Don Roth, Executive Director, Mondavi Center, UC Davis.

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.

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Program Notes Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) Ludwig van Beethoven was born in Bonn, then an independent electorate. His baptismal certificate is dated December 17, 1770, and he died in Vienna on March 26, 1827. He began work on his Fourth Piano Concerto in 1805 and completed the score early the next year.

He was soloist in its first performance, a private one in March 1807 at the Vienna town house of Prince Franz Joseph von Lobkowitz (the Symphony No. 4 was introduced on the same occasion). He made his last appearance as a concerto soloist in the first public performance of this music, which was part of the famous Akademie in the Theater an der Wien on December 22, 1808, when the Fifth and Pastoral symphonies and the Choral Fantasy had their premieres along with the first hearings in Vienna of the Mass in C major and the concert aria “Ah! perfido,” not to forget one of Beethoven’s remarkable solo improvisations. The first North American performance was given on February 4, 1854, at the Boston Odeon by Robert Heller with Carl Bergmann conducting the Germania Musical Society. The orchestra consists of flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. The second movement is for strings only, and the trumpets and drums make their first appearance in the finale. Emanuel Ax plays the cadenzas by Beethoven.

Beethoven wrote the Symphony No. 4 in the summer and early fall of 1806. As noted above, it was first performed in March 1807, in Vienna. The first performance in the United States was given on November 24, 1849, by the New York Philharmonic Society, Theodor Eisfeld conducting.

Concerto No. 4 for Fortepiano and Orchestra in G Major, Op. 58 Charles Rosen remarks in The Classical Style that “the most important fact about the concerto form is that the audience waits for the soloist to enter, and when he stops playing they wait for him to begin again.” Most of the Fourth Piano Concerto’s early listeners would have expected Beethoven to begin his new concerto as he began his previous ones and virtually all others they knew, that is, with a tutti lasting a couple of minutes and introducing several themes, after which the soloist would make a suitably prepared entrance.

Concerto is a form of theater. Beethoven, an experienced and commanding pianist, had a keen feeling for that, and his first three piano concertos (not counting the one he wrote as a boy of 13) and his Violin Concerto, all of which had been heard in Vienna by the spring of 1807, make something quite striking of the first solo entrance.

The older Beethoven grew, the more imaginative he became. In the Triple Concerto, a beautiful, problematic and unpopular work that was completed a couple of years before the Fourth Piano Concerto, the cello enters with the first theme, but a breath later than you expect and with a magical transformation of character. In the Violin Concerto, the solo arises spaciously from the receding orchestra; after that comes the Emperor Concerto, where right at the beginning three plain chords provoke three grand fountains of broken chords, trills and scales. But it is here, in this most gently spoken and poetic of all his concertos, that Beethoven offers his most radical response to Rosen’s Law—to begin with the piano alone. It is a move without

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precedent. What is also remarkable is how rarely Beethoven, imitated so often and in so many things, has been copied in this stroke.

What the piano says is as remarkable as its saying anything at all at this point. Sir Donald Tovey recalled Sir George Henschel “happening to glance at a score of the Missa solemnis, open at its first page, putting his finger upon the first chord and saying, ‘Isn’t it extraordinary how you can recognize any single common chord scored by Beethoven?’” The orchestra’s exordial chord in the Emperor is an example, and so is the soft, densely voiced dolce chord with which the piano begins the Concerto in G major. The whole brief phrase is arresting in its subtle rhythmic imbalance, but the still greater wonder is the orchestra’s hushed, sensitive and far seeing, harmonically remote response. The persistent three note upbeat makes this music tender cousin to the Fifth Symphony (in progress at the same time though completed only two years later). The rhythmic elasticity of the first solo and orchestra statement and response foreshadows an uncommon range of pace.

The second movement has become the concerto’s most famous. Its comparison to Orpheus taming the wild beasts with his music was for years attributed to Liszt, though more recently the musicologist Owen Jander has pointed out that it was Adolph Bernard Marx “who first began to bring the Orpheus program of the Fourth Piano Concerto into focus” in his Beethoven biography of 1859. Even earlier than that, in his book On the Proper Performance of All of Beethoven’s Works for Piano (1842), Beethoven’s pupil Carl Czerny had suggested that “in this movement (which, like the entire concerto, belongs to the finest and most poetical of Beethoven’s creations) one cannot help thinking of an antique dramatic and tragic scene, and the player must feel with what movingly lamenting expression his solo must be played in order to contrast with the powerful and austere orchestral passages.”

In this second movement, the orchestra is loud, staccato, in stark octaves. The piano is soft, legato, songful, richly harmonized. At the end, after a truly Orphic cadenza—and Beethoven almost persuades us that he invented the trill expressly for this moment—the orchestra has learned the piano’s way. Only the cellos and basses remember their opening music, but just briefly, and their mutterings are pianissimo.

Until the conclusion of this sublime andante, this is Beethoven’s most quietly scored piano concerto. In the finale, which takes a charmingly Haydnesque, oblique approach to the question of how to resume the work after the evocative scene just played, trumpets and drums appear for the first time. Not that this movement is in any way grand; rather, it is lyrical and witty. It is also, with its two sections of violas, given to outrageously lush sounds—one more surprise in this most subtle, suggestive and multi-faceted of Beethoven’s concertos.

Symphony No. 4 in B flat-Major, Op. 60 Beethoven’s work on the Fifth Symphony brackets that on the Fourth. Robert Simpson discusses their relationship in his illuminating booklet on the Beethoven symphonies for the BBC Music Guides: “[The B-flat major symphony] is highly compact, as the C minor was going to be, yet lighter in character, as if Beethoven, unsure how to release the thing that roared in his head like a caged tiger, turned his attention to less obstreperous inhabitants of his extraordinary domain. If the Eroica is like a noble stallion, the C minor and B-flat symphonies might be thought of as belonging to the cat family, the one fierce, the other lovable, but both sharing compact suppleness of movement, a dangerous lithe economy that makes them akin, and together, different from their predecessor. The Fourth belongs to the Fifth—and ever so much as in the Stygian darkness of its introduction, abruptly obliterated by vivid light.”

It has often been observed that Beethoven’s even numbered symphonies and concertos tend to be more lyrical, less aggressive than their odd-numbered neighbors. To Robert Schumann, the Fourth Symphony was “a slender Grecian maiden between two Nordic giants.” Beethoven spent the summer of 1806 at the Silesian estate in Grätz of Prince Carl von Lichnowsky, one of the most steadfast and knowledgeable of the composer’s admirers during his early years in Vienna. It was through Lichnowsky that Beethoven met Count Franz von Oppersdorff, to whom he eventually dedicated the new symphony. Oppersdorff maintained an excellent orchestra, insisting that all persons employed in his household be proficient on some instrument.

As Haydn did in most of his last symphonies and as in his own first two, Beethoven begins with a slow preface, and, while the key signature does not admit it, the music is actually in B-flat minor. The most musical of the guests at the Palais Lobkowitz in 1807 would have been more aware than most of us today of just how slowly this music moves—not so much in terms of notes per minute as in the passage of events. The harmony stands all but still, and the effect of suspended motion is underlined by the pianissimo that lasts—as Beethoven stresses four times—unbroken through the first 12 measures. Those 12 measures lead us, with exquisitely wrought suspense, back to the beginning. The five octaves of B-flat are sounded just a bit more emphatically than before, but the continuation is the same, a pianissimo expansion of the note G-flat. The effect of the G-flat is delicately dissonant, unstable, and the first time Beethoven resolves it quite normally down a half step to F, the note that has the most powerful magnetic pull back toward home, to B-flat. This time, however, Beethoven treats the G-flat as though it were in no need of resolution and continues by submitting to its own magnetic pull in the direction of B-natural, which, in the context of a universe whose center has been defined as B-flat, comes across as an absolutely reckless excursion.

moments of lyric song, but most of the orchestra is impatient to get on and to get back. The task of getting back to the home key and the first theme sends Beethoven into one of his most wonderful passages, in which wit and mystery are deliciously combined.

The Adagio is an expansive, rapt song; rarely does Beethoven insist so often on the direction cantabile. Before the song begins, we hear a measure of ticking accompaniment in the second violins. What is characteristic of Beethoven is the refusal of that accompaniment to disappear. It remains an insistent presence and a fascinating foil to the flowing melodies. Not until the Ninth would Beethoven again write a symphony with a really slow movement.

Concerned with bringing the scherzo in step with the expanding scale of the symphony as a whole, Beethoven makes an extra trip around the scherzo-trio-scherzo cycle. In the finale, certain of the characters from the first movement reappear, newly costumed, but this last Allegro (ma non troppo) is a more relaxed kind of movement than the first (Allegro vivace).

Having mentioned Schumann, we can end with some good words of his: “Yes, love [Beethoven], love him well, but never forget that he reached poetic freedom only through long years of study, and revere his never ceasing moral force. Do not search for the abnormal in him, but return to the source of his creativeness. Do not illustrate his genius with the Ninth Symphony alone, no matter how great its audacity and scope, never uttered in any tongue. You can do as much with his First Symphony, or with the Greek like slender one in B-flat major!”

—Michael Steinberg Michael Steinberg, the San Francisco Symphony’s program annotator from 1979–99 and a contributing writer to the Symphony’s program book until his death in 2009, was one of the nation’s pre-eminent writers on music. His books are available at the Symphony Store in Davies Symphony Hall and at sfsymphony.org/store. The notes on Beethoven’s Piano Concerto No. 4 and Symphony No. 4 are copyright © San Francisco Symphony and reprinted by permission.

Beethoven finds his way back to the threshold of his proper harmonic home—not, of course, without adventure and suspense—and the first entrance of the trumpets and drums helps push the music into a quick tempo. The material is of an almost studied neutrality. The life of this ebullient allegro resides in the contrast between passages when the harmonies change slowly (as they mostly do) and others in which harmonic territory is traversed at a great rate, in the syncopations, the sudden fortissimo outbursts and in such colorful details as the stalking half notes in pianissimo. The development ventures a few

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Nicholas McGegan is loved by audiences and orchestras for performances that match authority with enthusiasm, scholarship with joy and curatorial responsibility with evangelical exuberance. He has been music director of Philharmonia Baroque Orchestra for 26 years and was Artistic Director of the International Handel Festival Göttingen for 20 years.

He has been a pioneer in the process of exporting historically informed practice beyond the world of period instruments to conventional symphonic forces, guest-conducting orchestras including the Chicago, St. Louis, Toronto and Sydney symphonies, the Cleveland and Philadelphia orchestras, the New York, Los Angeles and Hong Kong philharmonics and the Northern Sinfonia and the Scottish Chamber Orchestra, as well as opera companies including Covent Garden, San Francisco, Santa Fe and Washington.

Born in England, McGegan was educated at Cambridge and Oxford.

He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.” His awards also include the Halle Handel Prize; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen; and an official Nicholas McGegan Day, declared by the Mayor of San Francisco in recognition of his distinguished work with the Philharmonia Baroque.

Visit McGegan on the web at www.nicholasmcgegan.com.

Emanuel Ax was born in Lvov, Poland, and moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. Additionally, he attended Columbia University, where he majored in French. Ax captured public attention in 1974, when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975, he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize.

new works from composers Thomas Adés, Peter Lieberson and Stephen Prutsman for three recital programs presented in each of those cities with colleagues Yo-Yo Ma and Dawn Upshaw. In addition to this large-scale project, recent tours included performances in Asia with the New York Philharmonic on its first tour with Music Director Alan Gilbert and European tours with both the Chamber Orchestra of Europe and James Conlon as well as the Pittsburgh Symphony with Manfred Honeck.

Ax has been an exclusive Sony Classical recording artist since 1987.

Due for release later this year is a new recital disc of works from Haydn to Schumann to Copland reflecting their different uses of the “variation” concept.

Recent releases include Mendelssohn Trios with Yo-Yo Ma and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. Ax has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. His other recordings include the concertos of Liszt and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla and the premiere recording of John Adams’s Century Rolls with the Cleveland Orchestra for Nonesuch. In the 2004–5 season, Ax also contributed to an International Emmy Award-winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz.

As Artist-in-Residence with the New York Philharmonic for the 2012–13 season, he will appear in multiple weeks at Lincoln Center with repertoire ranging from Bach to Christopher Rouse in addition to a spring tour with the orchestra to Europe. He will return to the orchestras in Los Angeles, St. Louis, Atlanta, Detroit, Washington and Pittsburgh where he is a beloved regular.

Highlights of the 2011–12 season included return visits to the symphonies of Boston, Houston, Toronto, Philadelphia, Pittsburgh, Detroit and Cincinnati; New York and Los Angeles philharmonics and San Francisco Symphony, with which he collaborated in the “American Mavericks” festival presented in San Francisco, Ann Arbor and Carnegie Hall. As curator and participant with the Chicago Symphony for a two-week spring residency “Keys to the City,” he performed multiple roles as leader and collaborator in a festival celebrating the many varied facets of the piano.

In recognition of the bicentenaries of Chopin and Schumann in 2010 and in partnership with London’s Barbican, Amsterdam’s Concertgebouw, New York’s Carnegie Hall, the Los Angeles Philharmonic and the San Francisco Symphony, Ax commissioned

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Innovative Make Over Coming Fall 2012

www.hallmarkinn.com (800)753-0035

Philharmonia Baroque orchestra Nicholas McGegan, music director and conductor Emanuel Ax, fortepiano Philharmonia’s musicians perform on historically accurate instruments.

Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN Katherine Kyme, concertmaster Johann Gottlob Pfretzschner, Mittenwald, 1791 Elizabeth Blumenstock Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Jolianne von Einem Rowland Ross, Guildford, England, 1979; after Antonio Stradivari, Cremona Lisa Grodin Laurentius Storioni, Cremona, 1796 Tyler Lewis Timothy Johnson, Hewitt, Texas, 2009; after A. Stradivari Carla Moore † Johann Georg Thir, Vienna, 1754 Maxine Nemerovski Timothy Johnson, Bloomington, Indiana, 1999; after A. Stradivari Sandra Schwarz Johannes Cuypers, Portsmouth, England, 1789; after A. Stradivari David Sego Josephus Pauli, Linz, 1785 Laurie Young Stevens Rowland Ross, London, 1995; after A. Amati Noah Strick Celia Bridges, Cologne, 1988 Sara Usher Desiderio Quercetani, Parma, 2001; after A. Stradavari Lisa Weiss Anonymous, London; after Testore Alicia Yang Richard Duke, London, 1762

VIOLA Anthony Martin * Ægidius Kloz, Mittenwald, 1790 David Daniel Bowes Richard Duke, London, c. 1780 Maria Ionia Caswell William Old, Falmouth, England, 1895 Ellie Nishi Ægidius Klotz, Mittenwald, 1790 Aaron Westman Dmitry Badiarov, Brussels, 2003 VIOLONCELLO Tanya Tomkins * Joseph Panormo, London, 1811 Phoebe Carrai Anonymous, Italy, c. 1690 Paul Hale Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Robert Howard Anonymous, Venice, 1750 William Skeen Anonymous, Holland, c. 1680 DOUBLE BASS Kristin Zoernig * Joseph Wrent, Rotterdam, Holland, 1648 Michelle Burr Anonymous, Tyrol, 1790 Farley Pearce Armando Altavilla, Naples, 1924; after F. Gagliano FLUTE Janet See * R. Tutz, Innsbruck, 1989; after H. Grenser, c. 1790

OBOE Marc Schachman * Sand Dalton, Lopez Island, Washington, 1993; after Floth, c. 1800 Gonzalo Ruiz H. A. Vas Dias, Decatur, Georgia, 1988; after C. A. Grenser, Dresden, c. 1780 CLARINET Eric Hoeprich * A. Grenser, Dresden, c. 1785 Diane Heffner Daniel Bangham, Cambridge, England, 1993; after H. Grenser, Dresden, c. 1810 BASSOON Andrew Schwartz * Guntram Wolf, Kronach, Germany, 2007; after Grenser Kate van Orden Peter de Koningh, Hall, Holland, 1985; after Grenser, Dresden, c. 1800 HORN R. J. Kelley * M. A. Raoux, Paris, 1850 Paul Avril Richard Seraphinoff, Bloomington, Indiana, 1998; after A. Halari, Paris, 1825

TIMPANI Kent Reed * Anonymous, England, c. 1840 FORTEPIANO Emanuel Ax Johann Fritz, Vienna, c. 1805-10; restored by Edwin Beunk and Johan Wennink, Enschede, Holland, 2002 * Principal † Principal 2nd Violin

TOURING STAFF Michael Costa, Executive Director David Daniel Bowes, Music Librarian E. J. Chavez, Stage Coordinator Rose Frazier, Artistic Intern Janine Johnson, Keyboard Technician Alexander Kort, Stage Manager Jeffrey Phillips, Artistic Administrator

TRUMPET John Thiessen * Rainer Egger, Basel, 2003; after J. L. Ehe III, Nuremburg, 1746 Fred Holmgren Fred Holmgren, Massachusetts, 2004; after J. L. Ehe III, Nuremburg, 1746

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Photo by Rachel Neville

Dance Theatre of Harlem

A Dance Series Event Friday, November 9, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Dance Theatre of Harlem Arthur Mitchell and Karel Shook, Founders Virginia Johnson, Artistic Director Laveen Naidu, Executive Director Keith Saunders, Ballet Master Elizabeth England, General Manager

Sponsored by Office of Campus Community Relations

There will be two intermissions.

Dance Theatre of Harlem Company: Michaela DePrince, Chyrstyn Fentroy, Jenelle Figgins, Emiko Flanagan, Alexandra Jacob, Ashley Murphy, Lindsey Pitts, Gabrielle Salvatto, Ingrid Silva, Stephanie Williams, Fredrick Davis, Da’ Von Doane, Taurean Green, Jehbreal Jackson, Dustin James, Francis Lawrence, Anthony Savoy and Samuel Wilson Arthur Mitchell, Artistic Director Emeritus

Question & Answer Session With members of the Dance Theatre of Harlem Moderated by Halifu Osumare, Associate Professor and Director of African American and African Studies, UC Davis.

Question & Answer Sessions take place in the performance hall after the event.

Dance Theatre of Harlem is supported in part by public and private funds from: The Andrew W. Mellon Foundation Thompson Family Foundation The Ford Foundation Bloomberg Philanthropies The Carl & Lilly Pforzheimer Foundation The Rockefeller Foundation NYC Cultural Innovation Fund The Shubert Foundation NYC Department of Cultural Affairs in Partnership with City Council New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature National Endowment for the Arts Upper Manhattan Empowerment Zone

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.

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PROGRAM Gloria (World Premiere: October 20, 2012) Robert Garland, Choreography Francis Poulenc, Music Pamela Allen-Cummings, Costume Design and Execution Roma Flowers, Lighting

When Love (World Premiere: October 2, 2012) Helen Pickett, Choreography Philip Glass, Music Charles Heightchew, Costumes Gary Kleinschmidt, Original Artwork for Fabric Mark Stanley, Lighting Kellye A. Sanders, Assistant to the Choreographer Emiko Flanagan, Dustin James

“Gloria in excelsis Deo” The Company “Laudamus te” Michaela Deprince, Samuel Wilson, Jenelle Figgins, Taurean Green “Domine Deus, Rex caelestis” Da’ Von Doane Ashley Murphy Chyrstyn Fentroy, Lindsey Pitts, Ingrid Silva, Stephanie Williams, Frederick Davis, Dustin James, Francis Lawrence, Anthony Savoy “Domine Fili unigenite” Chyrstyn Fentroy, Lindsey Pitts, Ingrid Silva, Stephanie Williams Frederick Davis, Dustin James, Francis Lawrence, Anthony Savoy “Domine Deus, Agnus Dei” Ashley Murphy Da’ Von Doane Michaela Deprince, Samuel Wilson, Jenelle Figgins, Taurean Green “Qui sedes” The Company Harlem has rich cultural legacy that includes music, (jazz, hip-hop), and literature (the Harlem Renaissances’ Zora Neale Hurston and Langston Hughes to name a few). Not as well known, but equally vibrant, is its spiritual legacy. Gloria stands as a tribute to that history and legacy that still abides in the community of Harlem.

The choreographer dedicates this work to the Abyssinian Baptist Church in Harlem, and its current Pastor, the Reverend Calvin Otis Butts III. Gloria was developed in part at Vineyard Arts Project: Ashley Melone, Founder and Artistic Director.

The children performing in this piece are appearing courtesy of Sacramento Ballet.

Pause

Insistent time maps our days. But when we are in love we surrender to unbridled time. What we share together during this span seems “out of time.” And then, too suddenly, time shifts into focus again.

An imprint of what we shared lingers, and traces of remembrances float into view. Yes, we crawl, walk, run and love in time. But in these brief, wondrous periods we experience timeless love, and we dance our being.

—Helen Pickett Music: Knee 5 from Einstein on the Beach The choreographer wishes to thank Thomas F. DeFrantz.

When Love was created as part of Harlem Dance Works 2.0, and was funded by the Rockefeller Foundation.

Intermission The Lark Ascending (World premiere: 1972) (Dance Theatre of Harlem Premiere: October 2012) Alvin Ailey, Choreography Elizabeth Roxas Dobrish, Staging Ralph Vaughan Williams, Music Bea Feitler, Costumes Chenault Spence, Lighting Gabrielle Salvatto, Fredrick Davis Jenelle Figgins, Taurean Green Emiko Flanagen, Stephanie Williams, Alexandra Jacob, Lindsey Pitts Anthony Savoy, Dustin James, Jehbreal Jackson, Francis Lawrence To Vaughan Williams, with his intense love of the English countryside that he knew in his youth, the lark represented the heart’s rapture and the soul’s aspiration. A miniature violin concerto in all but name, the composer called it a “Romance” when he completed it in 1920, after beginning it before war broke out in 1914. The violin rises and soars aloft above a delicate orchestral accompaniment, followed by a short folk song-like middle section, and then the soloist again takes wing. Some lines from a poem by George Meredith are inscribed on the score and aptly define the music’s rhapsodic character: Singing till his heaven fills Tis love of earth that he instils And ever winging up and up Our valley is his golden cup And he the wine which overflows To lift us with him as he goes.

(Poems and Lyrics of the Joys of Earth by Noel Goodwin) The restaging and performance of The Lark Ascending has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.

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Pause Black Swan Pas de Deux (Dance Theatre of Harlem Premiere: November 9, 2012) Staged by Anna-Marie Holmes after Marius Petipa and Nicholas Sergeyev Pyotr Illyich Tchaikovsky, Music Costumes Courtesy of Boston Ballet Peter D. Leonard, Lighting Michaela Deprince, samuel wilson

“Mother Popcorn” and “Superbad” performed by James Brown Courtesy of Dynatone Publishing Company By arrangement with Warner Special Products “Baby, Baby, Baby” and “Call Me” performed by Aretha Franklin Courtesy of Pronto Music and Fourteenth Hour Music, Inc. By arrangement with Warner Special Products “I Got the Feelin’” performed by James Brown By arrangement with Fort Knox Music, Inc. Return was commissioned by Arthur Mitchell and Dance Theatre of Harlem.

Anna-Marie Holmes first learned this pas de deux in St Petersburg, Russia, from Natalia Dudinskaya (her coach and teacher), who was famous for her interpretation of Swan Lake. She performed the full Swan Lake internationally and was the first dancer in Holland to perform both the white and black Swan. It was in Holland that she worked with Karl Shook, before he came back to New York to help Arthur Mitchell build Dance Theater of Harlem. New to Dance Theatre of Harlem, the Black Swan pas de deux, usually performed in the third act of Swan Lake, is a universal favorite and a showcase for bravura classical technique.

Intermission Return (World Premiere: September 21, 1999) Robert Garland, Choreography James Brown, Alfred Ellis, Aretha Franklin and Carolyn Franklin, Music Pamela Allen-Cummings, Costume Design and Execution Roma Flowers, Lighting “Mother Popcorn” Michaela Deprince Ingrid Silva, Alexandra Jacob, Chyrstyn Fentroy, Stephanie Williams and Jenelle Figgens Da’ Von Doane Samuel Wilson, Dustin James, Francis Lawrence, Jehbreal Jackson and Anthony Savoy “Baby, Baby, Baby” Stephanie Williams, Anthony Savoy Chrystyn Fentroy, Francis Lawrence, Alexandra Jacob and Dustin James “I Got The Feelin’” Samuel Wilson, Michaela Deprince, Dustin James Jenelle Figgins, Jehbreal Jackson, Ingrid Silva “Call Me” Chrystyn Fentroy, Francis Lawrence The Company “Superbad” Da’ Von Doane The Company 30

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Question & Answer Session Moderator: Halifu Osumare Halifu Osumare is associate professor and director of African American and African Studies at UC Davis. She has been involved with dance and black popular culture internationally for more than 30 years as a dancer, choreographer, teacher, administrator and scholar. She is a former soloist with the Rod Rodgers Dance Company of New York in the early 1970s and is the founding director of the current Malonga Casquelourd Center for the Arts in Oakland. As a scholar, she was a 2008 Fulbright Scholar, teaching at the University of Ghana, Legon’s Department of Dance Studies and conducting research on the effects of hip-hop culture in the capital city of Accra. Her second book The Hiplife in Ghana: West African Indigenization of Hip-Hop (Palgrave Macmillan, 2012) is the result. Her first book, The Africanist Aesthetic in Global Hip-Hop: Power Moves (2007), established her as one of the foremost authorities on hip-hop internationally. Having taught and researched in Malawi, Kenya, Ghana and Nigeria, her work has spanned traditional African performance to contemporary African American dance and performance.

About Dance Theatre of Harlem Dance Theatre of Harlem is a leading dance institution of unparalleled global acclaim that uses the art form of classical ballet to change people’s lives. Through performances by its internationally acclaimed Company, training in its world-class school and participation in its multi-faceted arts education program, Dance Theatre of Harlem has made a difference in the world for 43 years.

Virginia Johnson (artistic director) was a founding member of Dance Theatre of Harlem and its principal ballerina over a career that spanned nearly 30 years. After retiring in 1997, Johnson founded Pointe Magazine where she was editor-in-chief for 10 years.

A native of Washington, D.C., Johnson began her training with Therrell Smith and studied with Mary Day at the Washington School of Ballet. She graduated from the Academy of the Washington School of Ballet and was University Scholar in the School of the Arts at New York University before joining Dance Theatre of Harlem.

Inspired by the example of Dr. Martin Luther King, Jr. to bring new opportunity to the lives of the young people in the Harlem neighborhood in which he grew up, Arthur Mitchell and the late Karel Shook founded Dance Theatre of Harlem in the basement of a church in 1969. Mitchell, who had found success as a principal dancer with the renowned New York City Ballet, understood the power of training in a classical art form to bring discipline and focus to a challenged community. Dance Theatre of Harlem’s unprecedented success, as a racially diverse company, school and source of arts education was built on creating innovative and bold new forms of artistic expression. Through these varied artistic interactions, our ambassadors have helped to build character and have provided valuable life skills to countless people in New York City, across the country and around the world.

Johnson is universally recognized as one of the great ballerinas of her generation and is perhaps best known for her performances in such ballets as Giselle, A Streetcar Named Desire and Fall River Legend.

She has received such honors as a Young Achiever Award from the National Council of Women, Outstanding Young Woman of America, the Dance Magazine Award, a Pen and Brush Achievement Award, the Washington Performing Arts Society’s 2008–09 Pola Nirenska Lifetime Achievement Award and the 2009 Martha Hill Fund MidCareer Award.

Now under the leadership of a second generation of artists inspired by Arthur Mitchell’s vision, Artistic Director Virginia Johnson, founding member/former prima ballerina, and Executive Director Laveen Naidu, former school director/choreographer, our goal for the 21st century is to build community, inspire and uplift through the power of art.

Photo by Oliver Morris

As Dance Theatre of Harlem traverses its fifth decade, we remain committed to the excellence that has sustained us over the years.

At the same time, we dedicate ourselves to reaching new audiences with a message of self-reliance, self-expression and individual responsibility through the re-launch of the Dance Theatre of Harlem.

Arthur Mitchell (co-founder and artistic director emeritus) is known around the world for creating and sustaining the Dance Theatre of Harlem, the internationally acclaimed ballet company he co-founded with Karel Shook in 1969.

Following a brilliant career as a principal artist with the New York City Ballet, Mitchell dedicated his life to changing perceptions and advancing the art form of ballet through the first permanently established African American and racially diverse ballet company.

Born in New York City in 1934, Mitchell began his dance training at New York City’s High School of the Performing Arts, where he won the coveted annual dance award and subsequently a full scholarship to the School of American Ballet. In 1955, he became the first African American to become a permanent member of a major ballet company when he joined New York City Ballet. Mitchell rose quickly to the rank of Principal Dancer during his 15-year career with New York City Ballet and electrified audiences with his performances in a broad spectrum of roles. Upon learning of the death of Reverend Dr. Martin Luther King, Jr. and with financial assistance from Alva B. Gimbel, the Ford Foundation and his own savings, Mitchell founded Dance Theatre of Harlem with his mentor and ballet instructor Karel Shook.

With an illustrious career that has spanned more than 50 years, Mitchell is the recipient of the Kennedy Center Honors, National Medal of the Arts, MacArthur Foundation Fellowship, New York Living Landmark Award, Handel Medallion, NAACP Image Award and more than a dozen honorary degrees.

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Fredrick Davis (dancer) was born in New York City and moved to Chattanooga, Tennessee, and started his training at the age of 11 with a full scholarship for Ballet Tennessee. In 2004, he graduated from the Chattanooga High School Center for Creative Arts and moved back to New York City to continue his training with the Joffrey Ballet School. After completing three years with Joffrey, he was able to study with a full scholarship at summer intensives by American Ballet Theatre, Boston Ballet, North Carolina Dance Theatre, Ballet Academy East, Magnus Midwest Dance and Ballet Tennessee. Davis then joined Roxey Ballet Company, dancing in works such as Othello, Carmen, Diana and Actaeon and Sleeping Beauty. Soon after finishing his season with Roxey, Davis joined the Dance Theatre of Harlem. He has also worked as a freelancer with Ballet Fantastique, Benjamin Briones Ballet, Staten Island Ballet and Ajkun Ballet Theatre. Davis has participated in the Dance for America Tour, DTH Vision Gala, the Kennedy Center Honors, the Donald McKayle Tribute performance in Irvine, California, and the Paramount Theatre Gala in Seattle.

Michaela DePrince (dancer) was born in Sierra Leone, orphaned by the civil war there and adopted by an American family in New Jersey when she was four years old. She began dancing at the age of five, studying ballet, modern, tap and jazz at Dalia Hay’s Dance Academy in Cherry Hill, New Jersey. She began her formal ballet studies at the Rock School for Dance Education, where she continued her interest in other dance forms as well. While at the Rock School, she won both the Hope Award and the Junior Grand Prix at the Philadelphia Regional Youth America Grand Prix. From ages 11 to 13, DePrince studied ballet in Vermont with Vanina Wilson, Alaina Albertson-Murphy and Alexander Nagiba. She also studied with Daniel Seillier in Montreal and Arthur Mitchell at the Dance Theatre of Harlem’s Summer Intensive. She attended the American Ballet Theatre’s Summer Intensive in New York City when she was 13 and was named a National Training Scholar. DePrince was a participant in the 2010 International Ballet Competition in Jackson, Mississippi. As a finalist at the Youth America Grand Prix in New York City, she was awarded a scholarship to the Jacqueline Kennedy Onassis School of the American Ballet Theatre. She is also a two-year recipient of the Beverly G. Smith Scholarship at ABT and was featured in the documentary First Position. She has danced for Darrell Grand Moultrie, the Harlem School of the Arts Dance Benefit, the Francesca Harper Project in the 2011 Denise Jefferson Memorial, Ballet Vérité in the Levi HaLevi Memorial Concert, Daniel Ulbricht’s Dance Against Cancer Gala, De Dutch Don’t Dance’s production of Abdallah en de Gazelle van Basra and the South African Ballet Theatre, as well as the TV program Dancing with the Stars.

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Da’ Von Doane (dancer) began his training at the Salisbury Studio of Dance (now Salisbury Dance Academy), where he trained with Betty Webster, Tatiana Akinfieva-Smith and Elena Manakhova. As a member of the school’s regional dance company, the Eastern Shore Ballet Theatre, he performed various roles in annual productions of The Nutcracker, Coppélia, Scheherazade and the Polovtsian Dances¸ among others. Doane has attended summer intensives at the Kirov Academy of Ballet (Washington, D.C.) and the Atlantic Contemporary Ballet Theatre. At age 15, he returned to ACBT as a full-time academic student and trained there for four years. In 2008, Doane moved to New York City to join the Dance Theatre of Harlem and performed at the Jacob’s Pillow Dance Festival that summer. In 2009, Doane performed with Ballet Noir at East River Park as part of SummerStage and with Jacob’s Pillow once again. In 2009, he danced as part of Dance Theatre of Harlem with roles in the Joplin Dances, New Bach, the excerpt “Mother Popcorn,” Concerto In F, Fete Noir and South African Suite. And in 2009, he began touring with DTH as a part of its Dance for America Tour. As a guest artist, Doane has performed with the Classical Contemporary Ballet Theatre and with choreographer Ja’ Malik in E-moves Emerging Choreographers Showcase (2009). In 2010, Doane performed once again with Ballet Noir in the 200th Anniversary Chopin Celebration and the 2010 World Dance Gala in Kielce, Poland. In 2011, Doane danced roles in Glinka Pas de Trois, In the Mirror Of Her Mind and Contested Space.

Chyrstyn Fentroy (dancer) was born and raised in Los Angeles, where she trained with her mother Ruth Fentroy until the age of 17.

She then moved to New York City after being offered a scholarship to the Joffrey Ballet School trainee program. During her first year there, she was asked to join the Joffrey Ballet School Performance Company, in which she danced several principal roles in works such as Gerald Arpino’s Birthday Variations and Davis Robertson’s UnEquilibrium. Fentroy competed in the Youth America Grand Prix finals in New York in 2010 and 2011, and she was then asked to compete in the Beijing International Ballet and Choreography Competition. She has also had her contemporary choreography recognized in other competitions.

Jenelle Figgins (dancer) began her training at the Jones-Haywood School of Ballet, Dance Institute of Washington and Duke Ellington School of the Performing Arts. While training, she received scholarships to attend Dance Theatre of Harlem’s Kennedy Summer Intensive. She attended SUNY Purchase on partial scholarship and in 2011 received her B.F.A. with honors in dance. Following graduation, she attended Springboard Danse Montreal in 2011. Figgins has been featured in works by Sarah Mettin, Kevin Thomas, Emily Molnar, Twyla Tharp, Paul Taylor, George Balanchine, Nora Reynolds and Hinton Battle. She has danced professionally with Mettin Movement Collective, Collage Dance Collective and Les Grands Ballet Canadiens de Montréal.

Emiko Flanagan (dancer) is originally from Westlake Village, California. She received her early dance training from California Dance Theatre and attended summer programs at Pacific Northwest Ballet, Boston Ballet and San Francisco Conservatory of Dance. She continued her studies at UC Irvine as a B.F.A. student in Dance Performance. After her sophomore year, she took a leave of absence from school to be a trainee with the Joffrey Ballet in Chicago. The following year Flanagan was an apprentice with the Richmond Ballet for its 2010– 11 season and then spent one year in the Alonzo King LINES Ballet Training Program. She has performed in works by choreographers such as George Balanchine, William Forsythe, Salvatore Aiello, Jodie Gates, Alexei Kremnev and Keelan Whitmore.

Taurean Green (dancer) returned to Dance Theatre of Harlem in 2011 after eight seasons dancing with companies such as Pacific Northwest Ballet, City Ballet of San Diego and, most recently, Company C Contemporary Ballet. At DTH, Green danced featured roles in George Balanchine’s Agon and The Four Temperaments, Michael Smuin’s A Song for Dead Warriors and St. Louis Woman and Jerome Robbins’s Fancy Free, among others. At PNB, Green was featured in many Balanchine ballets as well as original works created for the company. In San Diego, he performed leading roles in Don Q, Apollo, A Midsummer Night’s Dream, The Four Seasons and La Bayadère and in San Francisco, Green had several original works set on him as well as reprised older works by noted choreographers such as Twyla Tharp and Lar Lubovitch.

Jehbreal Muhammad Jackson (dancer) began his formal training in ballet at age 10, being placed accidentally into the wrong classroom by an afterschool program advisor. He found his heart in classical and contemporary dance and studied at the Dallas Black Dance Academy, W. E. Greiner Middle School of the Exploratory and Performing Arts and the Booker T. Washington High School for the Performing and Visual Arts. Jackson is a graduate of the Juilliard School in New York under the direction of Lawrence Rhodes, where he performed the works of Alexander Ekman, Stijn Celis, Mark Morris, Jerome Robbins, William Forsythe and Ohad Naharin. Recently, Jackson performed as a guest with Ballet Noir NYC, sharing the stage with performers from American Ballet Theatre and the Polish National Ballet for their Chopin festival. In 2010, he performed with Keigwin + Company at the annual Fall for Dance festival at New York City Center. He has also been a featured vocalist with various jazz bands at Juilliard and embarked on a concert tour to Brazil.

Alexandra Jacob (dancer) began her first formal Vaganova ballet training at the age of eight at Berkeley City Ballet. Jacob also attended summer programs at the Dance Theatre of Harlem and Alonzo King LINES Ballet on scholarships. After graduating high school, she pursued an architecture degree at the California College of the Arts. Three years into her college career, she rediscovered her love for ballet and decided to return to New York in the fall of 2004 to attend the Joffrey Ballet School. She joined the Dance Theatre of Harlem in 2005. Jacob toured with the ensemble throughout the United States and internationally, performing featured roles

by Peter Pucci, Donald Byrd, Christopher L. Huggins, Lowell Smith and Arthur Mitchell.

Dustin James (dancer) began his dance training at age 11 in Houston and attended the city’s High School for the Performing and Visual Arts. While attending HSPVA, he also began studying at Houston Ballet’s Ben Stevenson Academy and became a member of Houston Ballet II for two years. While there, James was trained and coached by Claudio Muñoz as well as Lázaro Carreño, Phillip Broomhead and Priscilla Nathan-Murphy. After completing his training, James joined BalletMet Columbus, where he danced for four seasons and performed works by such choreographers as Stanton Welch, Darrell Grand Moultrie and Ma Cong.

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Francis Lawrence (dancer) studied at the Australian Ballet School, where he graduated with a diploma in dance. While at the school, he danced with the Australian Ballet and with its regional Dancers Company for two years. Upon arriving in the U.S., Lawrence joined New York Theatre Ballet for its 30th season in Cinderella and Dance/ Speak: The Life of Agnes de Mille and has danced for the Grand Rapids Ballet Company under the direction of Patricia Barker.

During his time in the company, he performed repertoire by George Balanchine, Twyla Tharp, José Limón, Paul Taylor, Ulysses Dove, Lew Christensen, David Parson and Mario Radacovsky. He has studied under programs offered by the Ailey School, Complexions and Hubbard Street, working with choreographers Pedro Ruiz, Dwight Rhoden and Desmond Richardson. Lawrence most recently worked with Olivier Weavers on Fragments, as well as a new work, The Couch.

Ashley Murphy (dancer) began her dance training at age three. She was enrolled in the pre-professional division at Carol Anglin Dance Center from 1993–2002, where she became a member of Louisiana Dance Theatre, an Honor Company of Regional Dance America. She has also performed for Shreveport Opera and Moscow State Ballet as well as in the premiere of William Joyce’s The Leaf Men and The Brave Good Bugs. She represented LDT in the Regional Dance America performance at the International Ballet Competition in Jackson, Mississippi, and attended summer programs at New York’s Joffrey Ballet School and the Ailey School. In 2002, Murphy trained and performed with Dance Theatre of Harlem’s Dancing Through Barriers Ensemble. The following year, she was accepted into the DTH company and toured throughout the United States and to Great Britain, Germany, Italy and Greece. Murphy has also taught for the DTH Pre-Professional Residency at the Kennedy Center. In 2011, she was chosen for a new work by Christopher L. Huggins that was commissioned for Dancers Responding to AIDS.

Lindsey Pitts (dancer) began her formal ballet training at Coleman Academy under the direction of Susan Clark and Judy Coleman.

She studied during summer intensives with Milwaukee Ballet, Atlanta Ballet, Orlando Ballet, Ballet Austin and the Ailey School.

She attended Butler University, where she received dual degrees in dance arts administration and strategic communications. Pitts began her professional career with Nashville Ballet’s second company, performing under the direction of Paul Vasterling in full-length ballets that included The Nutcracker, Giselle and Swan Lake.

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Gabrielle Salvatto (dancer) a native New Yorker born and raised in the Bronx, studied at the School of American Ballet and received her high school diploma from La Guardia H.S. of Music & Art and Performing Arts. She graduated from the Juilliard dance B.F.A. program, where she performed repertoire by Ohad Naharin, Jerome Robbins, Nacho Duato, Eliot Feld and José Limón.

Salvatto has since danced for Austin McCormick’s Company XIV and Sarah Berges Dance. Further training includes Hubbard Street, Complexions and Springboard Danse Montreal.

Anthony H. Javier Savoy, Jr. (dancer) began his formal training at the age of 15, studying at various schools in and around Maryland.

In 2004, he was accepted on full scholarship to train at Abigail Francisco School of Classical Ballet, working with artists such as Sascha Radestsky, Stephanie Walz and Lainie Munro. In 2006, Savoy was selected Maryland All-State Dancer and continued his training and studies at Point Park University on an Artistic Achievement Scholarship with a concentration in ballet. He has attended summer intensives at Earl Mosley’s Institute for the Arts, Point Park University, the Kirov Academy of Ballet, American Ballet Theatre and Dance Theatre of Harlem. In 2008, Savoy left Point Park University to pursue a more academic schedule at Anne Arundel Community College, working towards a B.F.A. with additional concentrations in biology and psychology. He has worked with choreographers Francesca Harper and Jason McDole and performed works

by Brian Reeder, Melissa Barak, Juan Carlos Peñuela and Robert Garland.

Ingrid Silva (dancer) began her formal ballet training at the age of eight at Dançando Para Não Dançar, the Deborah Colker School and Escola de Dança Maria Olenewa. She has also apprenticed with Company Grupo Corpo in Brazil. After entering the Univercidade da Cidade College, she decided to follow her passion and traveled to New York in 2007. That summer, she attended the Dance Theatre of Harlem Summer Intensive Program and afterwards joined the school’s Professional Training Program. She became a member of the Dance Theatre of Harlem in 2008. Silva has also performed with Armitage Gone! Dance performing GAGA-Gaku at the Joyce Theater in 2011.

Stephanie Williams (dancer) was born in Utah and raised in Texas, and had her early training at Dallas Dance Academy with Fiona Fairrie. Williams made her professional debut with Ben Stevenson’s Texas Ballet Theater in 2006-07, and she most recently danced as a company member with the Francesca Harper Project and Ballet Black. Williams was an apprentice with Complexions in 2009 and has studied during summers at the Juilliard School, Alonzo King LINES Ballet and Houston Ballet’s Ben Stevenson Academy. She was a fellowship recipient at the Ailey School a 2006 National Foundation on the Arts award winner 2006 Youth America Grand Prix Finalist and 2004 Texas Commission on the Arts Young Master.

Samuel Wilson (dancer) started dancing ballet at the age of 15 with the Peninsula Dance Theatre. Since then, he has danced in summer programs such as Summer Dance Lab in Walla Walla, Washington and American Ballet Theatre in Austin, Texas.

It wasn’t until 2003, when Wilson came to Dance Theatre of Harlem, that he started his professional career and joined the Dancing Through Barriers Ensemble. DTH has provided Wilson with the opportunity to perform in venues such as the White House, BET’s 106 & Park, Fox 5 News, the Kennedy Center and the Joyce Theater in New York. He has worked with world-renowned choreographers and studied under influential teachers like Arthur Mitchell and Eva Evdokimava. Wilson has also developed into a high caliber teacher and dance coach himself, working in ballet schools and summer programs such as Usdan Center for the Creative and Performing Arts and the Voorhees Ballet.

Keith Saunders (ballet master), a native of Baltimore, Maryland, began dancing in 1971 while a student at Harvard University.

He began his ballet training in 1973 at the National Center for Afro-American Artists in Dorchester, Massachusetts. Saunders joined Dance Theatre of Harlem in 1975 and continued his development under the tutelage of Arthur Mitchell, Karel Shook and William Griffith. He became a principal dancer with DTH and performed a wide range of roles throughout the company’s repertoire for more than 17 years. He also danced with France’s Ballet du Nord (1986) and BalletMet of Columbus, Ohio (1987–89).

As a guest artist, Saunders appeared with Boston Repertory Ballet, Maryland Ballet, Eglevsky Ballet, Ballethnic Dance Company and the David Parsons Company, among others. He has been a faculty member of the Dance Theatre of Harlem School, BalletMet Dance Academy (where he also served as education director), New Ballet School (now Ballet Tech) and the 92nd Street Y. In 2003, Saunders was guest artist-in-residence in the Dance Department at the University of Wyoming, and he taught and choreographed at its Snowy Range Dance Festival from 2003–8.

Saunders was appointed Dance Theatre of Harlem’s assistant ballet master in 1994 and ballet master in 1996. From 2004–10, Saunders was director of Dancing Through Barriers, Dance Theatre of Harlem’s international education and outreach initiative, in addition to directing the DTH Ensemble.

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Stravinsky:

Rite of

Sp r ing

Tr iple C o n c e r t o

Beethove n : Jolรกn Friedhoff, Friedhoff,violin violin Jolรกn A lexFriedhoff, Friedhoff, cello Mark cello Isaac Friedhoff, piano Isaac Friedhoff, piano

Sunday, November 18, 2012 โ ข 7:00 pm Jackson Hall, Mondavi Center $8 Students & Children, $12/15/17 Adults | Standard Seating

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Mondavi Center Presents Program Issue 3: NOV 2012

A Wells Fargo Concert Series Event Saturday, November 10, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Sponsored by

Photo by Ovidiu Micsik

Photo by Lisa Marie Mazzucco

Joshua Bell, violin Sam Haywood, piano

program Rondo for Violin and Piano in B Minor, Op. 70 (D. 895)

Schubert

Violin Sonata in A Major

Allegretto ben moderato

Allegro

Recitativo—Fantasia: Ben moderato—molto lento

Allegretto poco mosso

Franck

Intermission Individual support provided by John and Lois Crowe.

Sonata No. 2 for Violin and Piano in D Major, Op. 94a

Andantino

Scherzo: Allegretto

Andante

Allegro con brio

Prokofiev

Additional works to be announced from the stage.

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.

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joshua bell

by jeff hudson

When Joshua Bell visited the Mondavi Center in February 2011 with pianist Sam Haywood, Bell shared a few remarks during an interview that presaged much that has occurred during the subsequent year-and-a-half.

“I’m starting to move toward conducting,” Bell told me.

“I’ve now directed a couple of Beethoven symphonies— the 4th and the 7th—and there are a lot of great symphonic works I’d like to tackle and direct.”

A few weeks later (May 2011), the Academy of St. Martin in the Fields announced that Bell would become that orchestra’s new music director, giving Bell the opportunity to lead performances of any number of symphonic works (including, but not limited to, the violin concerto repertoire). And Bell led the Academy on a 15-city American tour in April 2012, including performances of (you guessed it) the Beethoven 4th and Beethoven 7th, as well as Beethoven’s Violin Concerto.

It soon became clear that Bell will lead the Academy in a manner similar to the way another violin-soloist-turnedmusic-director, Nadja Salerno-Sonnenberg, leads the Bay Area’s New Century Chamber Orchestra—from the concertmaster’s chair. As Allan Kozinn of The New York Times put it in his review of Bell and the Academy at Avery Fischer Hall in April, “As it turns out, the (conductor’s) position does not actually demand that he let the fiddle slip from his hands, let alone exchange it for a stick.” Bell was soloist in the Beethoven Violin Concerto on that program, “and led the orchestra standing, though as much with his head and upper torso as with his hands (even when he was not playing),” Kozinn wrote.

further listening The album also features Bell and Denk in the Violin Sonata

by César Franck (1886)—Franck wrote it for violinist Eugène Ysaÿe, whose pupils included Josef Gingold; Bell became Gingold’s pupil. In July, French Impressions picked up the ECHO Klassik Award for Best Chamber Music Recording (19th Century).

When Bell appears in recital, as he does tonight, he has the admirable trait of giving his recital partners equal billing. The French Impressions album cover include Denk’s name in the same font and point size as Bell’s.

This is likewise the situation tonight with Bell and pianist Sam Haywood, who is noted for his interpretations of Chopin. Haywood lives in the Lake District in northern England (where the pastoral scenery has influenced many artists, including poet William Wordsworth).

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

Last summer, Bell premiered a new double concerto (violin and bass) composed by Edgar Meyer (no stranger to the Mondavi stage) with performances at Tanglewood, Aspen and the Hollywood Bowl.

HOT ITALIAN MIDTOWN

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Bell also issued a new album last January—a recital disc titled French Impressions in partnership with pianist Jeremy Denk. The album’s content features half of the program that Bell and Denk performed here in Jackson Hall in 2010: the Sonata No. 1 for Violin and Piano in D Minor by Camille Saint-Saëns (Op. 75, from 1885), and the one-and-only Violin Sonata by Maurice Ravel (1923-27).

PUBLIC MARKET

Program Notes Rondo for Violin and Piano in B Minor, Op. 70 (D. 895) (1826) Franz Schubert (Born January 31, 1797, in Vienna; died November 19, 1828, in Vienna) The Rondo in B minor (D. 895), one of the handful of compositions that Schubert wrote for violin, was composed in October 1826 for the 20-year-old Czech virtuoso Josef Slavík, whom Chopin described as “the second Paganini.” Slavík arrived in Vienna early in 1826 after having established an excellent reputation in Prague, and he inspired from Schubert both this Rondo and the Fantasy in C major the following year. A performance of the Rondo by Slavík and pianist Carl Maria von Bocklet (to whom Schubert had dedicated the D major Piano Sonata, D. 850 of 1825) was arranged early in 1827 in the Viennese office of the publisher Domenico Artaria, who thought highly enough of the new work to publish it in April as Schubert’s Op. 70. “The whole piece is brilliant,” stated a review in the Wiener Zeitschrift. “The spirit of invention has here often beaten its wings mightily indeed and has borne us aloft with it. Both the pianoforte and violin require accomplished performers who must be equal to passages ... which reveal a new and inspired succession of ideas.”

The Rondo opens with a dignified introduction before launching into the principal theme, a melody of Hungarian flavor probably modeled on the songs and dances that Schubert heard when he served as music master to the Johann Esterházy family at their villa in Zelesz during the summer of 1824. The main theme returns twice to frame one episode given to some showy violin figurations and another one of more lyrical character. A dashing coda in the bright key of B major closes this handsome work.

Sonata for Violin and Piano in A Major (1886) César Franck Born December 10, 1822, in Belgium; Died November 8, 1890, in Paris) Franck first considered writing a violin sonata in 1859, when he offered to compose such a piece for Cosima von Bülow (née Liszt, later Wagner) in appreciation for some kind things she had said about his vocal music. He was, however, just then thoroughly absorbed with his new position as organist at Ste.-Clotilde, and was unable to compose anything that year except a short organ piece and a hymn. (His application to his duties had its reward—he occupied the prestigious post at Sainte-Clotilde until his death 31 years later.)

No evidence of any work on the proposed sonata for Cosima has ever come to light, and it was not until 20 years later that he first entered the realm of chamber music with his Piano Quintet of 1879. Franck’s next foray into the chamber genres came seven years after the Quintet with his Sonata for Violin and Piano, which was composed as a wedding gift for his friend and Belgian compatriot, the dazzling virtuoso Eugene Ysaÿe, who had been living in Paris since 1883 and befriending most of the leading French musicians; Ysaÿe first played the piece privately at the wedding ceremony on September 28, 1886.

In tailoring the Sonata to the warm lyricism for which Ysaÿe’s violin playing was known, Franck created a work that won immediate and enduring approval, and which was instrumental in spreading the appreciation for his music beyond his formerly limited coterie of

students and local devotees. The formal premiere, given by Ysaÿe and pianist Léontine Bordes-Pène at the Musée moderne de peinture in Brussels on December 16, 1886, was an extraordinary event, of which Franck’s pupil Vincent d’Indy left the following account: “It was already growing dark as the Sonata began. After the first Allegretto, the players could hardly read their music. Unfortunately, museum regulations forbade any artificial light whatever in rooms containing paintings; the mere striking of a match would have been an offense. The audience was about to be asked to leave but, brimful of enthusiasm, they refused to budge. At this point, Ysaÿe struck his music stand with his bow, demanding, ‘Let’s go on!’ Then, wonder of wonders, amid darkness that now rendered them virtually invisible, the two artists played the last three movements from memory with a fire and passion the more astonishing in that there was a total lack of the usual visible externals that enhance a concert performance.”

The quality of verdant lyricism that dominates Franck’s Sonata is broken only by the anticipatory music of the second movement and the heroic passion that erupts near the end of the finale. The work opens in a mood of twilit tenderness with a main theme built largely from rising and falling thirds, an intervallic germ from which later thematic material is derived to help unify the overall structure of the Sonata. The piano alone plays the second theme, a broad melody given above an arpeggiated accompaniment never shared with the violin. The movement’s short central section, hardly a true development at all, consists only of a modified version of the main theme played in dialogue between violin and piano. The recapitulation of the principal and secondary subjects (dolcissima ... semper dolcissima ... molto dolcissima — “sweetly ... always sweetly ... very sweetly,” cautions the score repeatedly) rounds out the form of the lovely opening movement. The quick-tempo second movement fulfills the function of a scherzo in the Sonata, though its music is more in the nature of an impetuous intermezzo. Two strains alternate to produce the movement’s form. One (“scherzo”) is anxious and unsettled, though it is more troubled than tragic; the other (“trio”) is subdued and rhapsodic. They are disposed in a pattern that yields a fine balance of styles and emotions: scherzo—trio—scherzo— trio—scherzo. The third movement (Recitativo—Fantasia) begins with a cyclical reference to the third-based germ motive that opened the Sonata. The violin’s long winding line in the Recitativo section is succeeded by the Grecian purity of the following Fantasia, one of the most chaste and moving passages in the entire instrumental duet literature. The main theme of the finale is so richly lyrical that its rigorous treatment as a precise canon at the octave is charming rather than pedantic. When the piano and violin do eventually take off on their own paths, it is so that the keyboard may recall the chaste melody of the preceding Fantasia. Other reminiscences are woven into the movement—a hint of the third-based germ motive in one episode, another phrase from the Fantasia—which unfolds as a free rondo around the reiterations of its main theme in a variety of keys. The Sonata is brought to a stirring climax by a grand motive that strides across the closing measures in heroic step-wise motion.

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Sonata No. 2 for Violin and Piano in D Major, Op. 94a (1942–43) Sergei Prokofiev (Born April 23, 1891, in Sontzovka, Russia; died March 5, 1953, in Moscow)

Joshua Bell (violin), often referred to as the “poet of the violin,” is one of the world’s most celebrated violinists. His stunning virtuosity, beautiful tone and charismatic stage presence have brought him universal acclaim.

Prokofiev conceived a special fondness for the flute during his stay in the 1920s in the United States, where he encountered what he called the “heavenly sound” of the French virtuoso Georges Barrère, solo flutist of the New York Symphony Orchestra and teacher at Juilliard. Two decades later, during some of the darkest days of World War II in the Soviet Union, Prokofiev turned to the flute as the inspiration for one of his most halcyon compositions. The Sonata for Flute and Piano in D major, his only such work for a wind instrument, was begun in September 1942 in Alma-Ata, where he and many other Russian artists had been evacuated as a precaution against the invading German armies. Indeed, the city served as an important movie production site for the country at that time, and Prokofiev worked there with director Sergei Eisenstein on their adaptation of the tale of Ivan the Terrible as a successor to their brilliant Alexander Nevsky of 1938. It was as something of a diversion from the rigors and subject matter of Ivan that Prokofiev undertook the Flute Sonata, telling his fellow composer Nikolai Miaskovsky that creating such a cheerful, abstract work during the uncertainties of war was “perhaps inappropriate at the moment, but pleasurable.”

Early in 1943, Prokofiev moved to Perm in the Urals, and it was in the relative calm of that city that the Sonata was completed during the summer. When the work was premiered in Moscow on December 7, 1943, by flutist Nikolai Kharkovsky and pianist Sviatoslav Richter, it drew as much attention from violinists as flutists, and David Oistrakh persuaded the composer to make an adaptation for violin, which that master string player and Lev Oborin introduced on June 17, 1944, as the Violin Sonata No. 2, Op. 94a. The D major Sonata has since come to be regarded equally as the province of wind and string recitalists.

Among numerous awards and honors, Bell is an Avery Fisher Prize recipient and Musical America’s 2010 Instrumentalist of the Year.

Recently appointed Music Director of the Academy of St. Martin in the Fields, he is the first person to hold this title since Sir Neville Marriner formed the orchestra in 1958.

Each of the Sonata’s four movements is erected upon a Classical formal model. The main theme of the opening sonata-form Andantino is almost wistful in the simplicity with which it outlines the principal tonality of the work. A transition of greater animation leads to the subsidiary subject, whose wide range and dotted rhythms do not inhibit its lyricism. In typical Classical fashion, the exposition is marked to be repeated. The development elaborates both of the themes and adds to them a quick triplet figure played by the violin to begin the section. A full recapitulation, with appropriately adjusted keys, rounds out the movement. The second movement is a brilliantly virtuosic scherzo whose strongly contrasting trio is a lyrical strain in duple meter. The Andante follows a three-part form (A–B–A), with a skittering central section providing formal balance for the lovely song of the outer paragraphs. The finale is a joyous rondo based on the dancing melody given by the violin in the opening measures.

—Dr. Richard E. Rodda

Summer of 2012 highlights include the premiere of Edgar Meyer’s new concerto for violin and double bass, which they perform at Tanglewood, Aspen and the Hollywood Bowl. Summer appearances include the Festival del Sole, Ravinia, Verbier, Salzburg, Saratoga and Mostly Mozart festivals. Bell launches the San Francisco Symphony’s fall season followed by orchestral performances in Philadelphia, Boston, Seattle, Cincinnati and Detroit. Additional fall highlights include a South African tour, an European tour with the Academy of St. Martin in the Fields and a recital tour with pianist Sam Haywood.

In 2013, Bell tours the U.S. with the Cleveland Orchestra, Europe with the New York Philharmonic and performs with the Tucson, Pittsburgh, San Diego, and Nashville symphony orchestras.

An exclusive Sony Classical artist, Bell has recorded more than 40 CDs garnering Mercury, Grammy, Gramophone and Echo Klassik awards. Recent releases include French Impressions with pianist Jeremy Denk, the eclectic At Home With Friends, the Defiance soundtrack, Vivaldi’s The Four Seasons and Tchaikovsky’s Violin Concerto with the Berlin Philharmonic. His discography encompasses critically acclaimed performances of most of the major violin repertoire in addition to John Corigliano’s Oscar-winning soundtrack, The Red Violin.

Born in Bloomington, Indiana, Bell received his first violin at age four and at 12 began studying with revered violinist Josef Gingold at Indiana University. Two years later, Bell came to national attention in his debut with Riccardo Muti and the Philadelphia Orchestra and, at age 17, made his Carnegie Hall debut. Bell’s extensive career has now spanned more than 30 years as a soloist, chamber musician, recording artist and conductor.

Joshua Bell performs on the 1713 Huberman Stradivarius.

Bell records exclusively for Sony Classical—a MASTERWORKS Label. www.joshuabell.com Bell appears by arrangement with IMG Artists, LLC Carnegie Hall Tower 152 West 57th Street, 5th Floor New York, NY 10019 www.imgartists.com Bell will personally autograph programs and recordings in the lobby following the performance.

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Sam Haywood (piano), a British pianist, has performed to critical acclaim all over the world. Alongside his busy solo and chamber music career, he is also a composer, transcriber and artistic director of the Solent Music Festival (www.solentmusicfestival.com).

Haywood is a regular duo partner to violinist Joshua Bell, with whom he has toured in the U.S., Canada, China, South America and throughout Europe. They have performed for the Vice Presidents of the U.S. and China. He also regularly appears with cellist Steven Isserlis and will be recording a CD of piano works by Julius Isserlis, Steven’s grandfather, for Hyperion. Haywood’s latest CD, Composers in Love, features a selection of works inspired by the objects of composers’ desires.

Chopin has been a central theme throughout Haywood’s musical life. To celebrate the composer’s bicentennial year he made the world premiere recording on Chopin’s own Pleyel piano of 1846. It has since been broadcast numerous times on BBC Radio 3. He used the same instrument to perform with Steven Isserlis at Lancaster House in the presence of HRH Princess Alexandra where Chopin performed on the exact date in front of Queen Victoria and Prince Albert in 1848. Haywood has also given private performances of Chopin for Princess Diana and more recently a Chopin seminar for TED. Following his early success in the BBC Young Musician of the Year competition, the Royal Philharmonic Society awarded him its prestigious Isserlis award. Haywood studied with Paul Badura-Skoda in Vienna, where he began his enduring passion for opera. At the Royal Academy of Music in London he was mentored by Maria Curcio, the renowned teacher and pupil of Artur Schnabel.

Outside the musical world he is passionate about nature, food, magic, literature and technology.

Haywood appears by arrangement with Ten Sixty Six Artist Management Flat 20, Cranford Lodge 80 Victoria Drive London, SW19 6HH, U.K.

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Illustration Courtesy of Stanford University

Directed by Granada Artist-in-Residence Barry McGovern Translated by Derek Mahon Written by euripiDes Thu-saT

nov 29-Dec 1 Dec 6-8 sun Dec 2

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Mondavi Center Presents Program Issue 3: NOV 2012

Ballet Folklórico de México de Amalia Hernández

A World Stage Series Event

Amalia Hernández, Founder ALIA HERNÁNDEZ

Sunday, November 11, 2012 • 7PM

Norma López Hernández and Viviana Basanta Hernández, Artistic Directors

Jackson Hall, Mondavi Center, UC Davis

Salvador López, General Director

Sponsored by

Program The Mayas

Office of Campus Community Relations

Individual support provided by William and Nancy Roe

Tixtla Plataform

Live Music: typical group

The Group Dance: El Toro—El Arrancazacate —La Iguana Revolution

Live Music: Mariachis Charreada

Live Music: Mariachis

The Rope Dance Tlacotalpan Festivity

Live Music: Jarochos

Intermission

Matachines The Danzon and the Jarana

Live Music: typical group Deer Dance Jalisco

Live Music: Mariachis 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.

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Program Notes The Mayas This is the story of a prince who left his loved one when he was bewitched by the Hunting Goddess. Based on the sacred books of the Mayas, Popol Vuh and Chilam Balam, this ballet combines three outstanding elements: the Myth of the Xtabay, Hunting Goddess, who likes to hunt and seduce men and carry them to the sacred forest; the legend of the three prince brothers, one of which mysteriously vanishes, which brings about the brothers’ vengeance to the other world and the religious beliefs of the Mayas.

It begins with the ceremonial dances of the Princess and her court, and the Prince with the Princess. The goddess interrupts dramatically and casts her spell. In the following scene, the Maidens of Nic Te, virgins who guard the Sacred Well, give council to the bereaved Princess and offers her the help of a sorceress who possesses magical powers to turn the water of the well into a love-potion. But, when the Princess offers the filter to the Prince, Xtabay creates a whirlpool that makes him refuse the drink.

Alone, at the edge of the forest, the Prince contemplates the goddess who dances the Dance of Seduction. Possessed, he goes into the forest where the Ceibas surround him. The priestesses of Xtabay slowly make him lose his mind.

Tixtla Plataform Modern Mexico began with the revolution in 1910. For the first time in the country’s history Mexico joined the men in their political struggle. The ballet is dedicated to the Soldaderas, the women who supported their men and even bore arms with them in Mexico’s fight for liberty.

Contrasted with the footsore men and women is a group of young aristocrats dancing European polkas’ and flirting unconcerned with the peoples’ fight for freedom a group of revolutionaries breaks up the party brandishing their weapons.

Now it is the peasants who dance in the aristocratic drawing room.

Juana Gallo, and Adelitas are dedicated to these two heroines. Then, the final song of the Revolution.

Tlacotalpan Festivity January 31 marks the celebration of the Candelaria Virgin. In the town of Tlacotalpan, stages are built in the main square where musicians and dancers of fandangoes are presented. The Mojigangas are huge figures representing characters alive and legends of the village.

In the midst of it, Caribean music, is played with Congas (drums), as in a mardi-gras celebration parade.

Fisher Dance The woodpeckerd bird The clown The Indian María The weeper The Cu Bird The fans The girl from Veracruz Veracruz Musicians The Coco song The angel The brown skinned girl The Bamba The moor The devil The Mange The little black boy

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Matachines The Matachines dance is danced in the North side of Mexico City, during the religious celebrations. It comes from the costume of the pre-Hispanic people to dance to their gods.

The Spaniards brought with the conquest the dances of the middle age that existed in Spain, and since the 16th Century, has been danced for Christian Gods. This is the way the dance of The Matachines was created, and it remains intact today.

The Danzon and the Jarana The Danzon is one of the traditional urban dances. The environment of the Danzon in Mexico precedes the assimilation of the Habanera and the Danza rhythms.

The Danzon is added to the qualitative accumulation of the blood and culture of different countries of Europe, Africa and the Antilles. The Danzon is the sum of the blood and culture of the towns, this is the reason of its immortality. It came to Mexico from the state of Yucatan, and extended to the Gulf of Mexico’s coast.

Its popularity is supported by the appearance of the first Mexican danzones such as the Great Nereidas´ Danzon.

The Mexican people’s approval of the rhythm is a consumed and persistent fact since the time that the Salon Mexico welcomes it in the Federal District, as well as other dance Halls.

Jarana It was inevitable that the implantation of the many different musical and dance traditions classified generally as “Spanish” among the differing traditions of the distinct people who occupied pre-conquest Mexico should produce an endless range of different styles in present day Mexican music and dance. One of the most interesting of these mixtures occurs in Yucatan. There the exotic exuberance of the Caribbean influence, so visible in Veracruz, that it has been largely ignored. Instead, the great dignity of ancient Mayan traditions has amalgamated with the music of 17th and 18th Century Spanish dances such as the Jota, Zapateado and above all the Sarabande. The dances of Yucatan have preserved the courtly elegance of early Spanish dance and acquired certain exotic, though always restrained, overtones. The sternness and aristocratic severity of Mayan artistic tradition has led Spanish Music in a direction contrary to that taken by similar music in Veracruz or the Huasteca.

Deer Dance The Yaqui people, excellent hunters have stayed away from the Spanish influence and constitute the only aboriginal tribe of the country which conserves its original autonomy. Free from any racial mingling and modern cultures the Yaquis continue hunting with bows and arrows, cultivating the land according to their ancestor’s methods and celebrating their ritual dances with their same hermetic fervor.

The Deer Dance forms a part of the rite at the time that is organized as the preparation of the hunt and it produces, with an astonishing fidelity, the movements of the persuade prey. Because of its oldness, and for its present mastery of execution, it constitutes one of the best examples of imitative magic.

Jalisco The state of Jalisco is the land of Charros, Chinas and Mariachis. Since the last century is has become a symbol of Mexican nationality. The Charros of Jalisco are known for their high spirits and joyous grasping of life. Jalisco’s folklore captures the soul of Mexico in its sensual music, refined dances and dazzling costumes. This ballet closes every performance of the Ballet Folklorico’s Touring Company. It opens with a Mariachi parade playing lively sones at the start of a fiesta. In the background is the traditional gazebo found in all the small towns of Mexico. During the fiesta merry songs and dances, such as The Snake, El Tranchete, La Negra and El Jarabe Tapatío and the famous Mexican Hat Dance, are performed. At the end of the performance the dancers salute the audience, throwing colorful paper streamers to them.

The Ballet Folklórico de México was founded in 1952 by Amalia Hernandez. The Ballet was initiated by performing a weekly program on television, sponsored by the Mexican government. Since 1959, it is being permanently presented at the Palace of Fine Arts, foremost stage for Art Mexico City. The institution has two main artistic companies called The First Company and the Resident Company: both alternate tours and performances in Mexico and abroad. They have already performed more than five thousand presentations. The music, dance and costume of Mexican folklore united to the talent of their artists have achieved national and international success.

Amalia Hernández (dancer and choreographer) embarked at a very early age on a never ending quest to rescue the dancing traditions of Mexico. The vital search became a basic need to reflect not only in Mexico but the rest of the world, the beauty of the Universe in motion which started with the pre-Colombian civilizations and grew with the Hispanic influences of the Viceroyal era up to the popular strength of the Revolutionary years.

Hyatt Place is a proud sponsor of The robert and margrit Mondavi Center for the performing arts, UC Davis

Hyatt Place UC Davis 173 Old Davis Road Extension Davis, CA 95616, USA Phone: +1 530 756 9500 Fax: +1 530 297 6900 www.HyattPlaceUCDavis.com

In 1954, Hernández started a series of presentations that credited her as the Cultural Representative of Mexico to the world at large. The present time fades before your eyes and thus commences our journey through the past. The Lords of Heaven and Earth come back to life, the Jaguars, the Gods born of human flesh, thirty different cultures that blossomed in centuries once, leaving behind a trail of color in which Hernández was inspired to create the Ballet Folklorico of Mexico.

In International success achieved during the first tours and maintained through the 50 years of incessant artistic endeavors, is always manifested in the excellence of the productions and serves as a portrait of Mexico’s folklore in every city that the Company visits around the world.

Complimentary Mondavi Dessert Special

This is how, starting from the 1960s, Amalia Hernández and the Ballet Folklórico of Mexico have developed 40 ballets, composed of 76 folk dancers. The music, technical perfection, sophisticated wardrobe and original choreography, create this singular character of the Ballet.

Amalia Hernández and the Ballet Folklórico of Mexico have been distinguished with more than 400 awards in recognition to their artistic merits.

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El Macero Country Club •18-hole • Managed

championship golf course

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

regional dining options

and event space for outside parties

a few minutes from UC Davis campus

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

www.elmacerocc.org

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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Photo by Anne Fishbein

An Evening with David Sedaris

A Just Added Event Friday, November 16, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Sponsored by

There will be a Question & Answer Session in the performance hall following the lecture.

David Sedaris With sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-eminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today.

Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim and When You Are Engulfed in Flames, each of which became a bestseller.

There are a total of seven million copies of his books in print, and they have been translated into 25 languages. He was the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’s pieces appear regularly in The New Yorker and have twice been included in “The Best American Essays.”

His newest book, a collection of fables entitled Squirrel Seeks Chipmunk: A Modest Bestiary (with illustrations by Ian Falconer), was published in September 2010 and immediately hit The New York Times Bestseller Fiction List. His next book is Let’s Explore Diabetes with Owls and will be published in late spring 2013.

He and his sister, Amy Sedaris, have collaborated under the name “The Talent Family” and have written half-a-dozen plays that have been produced at La Mama, Lincoln Center and The Drama Department in New York City. These plays include Stump the Host, Stitches, One Woman Shoe, which received an Obie Award, Incident at Cobbler’s Knob and The Book of Liz, which was published in book form by Dramatists Play Service.

Sedaris’s original radio pieces can often be heard on This American Life, distributed nationally by Public Radio International and produced by WBEZ. Sedaris has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His latest audio recording of new stories (recorded live) is David Sedaris: Live for Your Listening Pleasure (November 2009).

You can follow Sedaris on Facebook at www.facebook.com/davidsedaris.

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.

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MC

Debut Jogja Hip Hop Foundation

A Crossings Series Event Thursday–Saturday, November 29–December 1, 2012 • 8PM

Jogja Hip Hop Foundation Yogyakarta, Indonesia

Vanderhoef Studio Theatre, Mondavi Center, UC Davis Muh Marzuki, (Kill the DJ) Director, Rapper Yanu Prihaminanto, (Ki Ageng Gantas) Rapper and Producer Sponsored by

Balance Perdana Putra, (Balance) Rapper and Producer Heri Wiyoso, (M2MX) Rapper Vanda Verena Kartikasari, (Vanda) DJ Candra Bernhard Suandi, Film Maker Aulia Anindita, Manager

Question & Answer Session

Suzanne La, Center Stage Company Manager

With members of Jogja Hip Hop Foundation Moderators: Henry Spiller, Chair, UC Davis Department of Music Katherine In-Young Lee, Assistant Professor, Ethnomusicology, UC Davis Department of Music Sarah Geller, Ph.D. Candidate in Ethnomusicology, UC Davis Department of Music

If there were still any doubt that hip-hop is a truly global culture, look no further than Indonesia’s Jogja Hip Hop Foundation (JHF).

Question & Answer Sessions take place in the performance hall after the event.

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.

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Jojga Hip Hop Foundation samples poems, wishes and curses in a mix with literary Javanese texts and colloquial riffs.Their musical hooks are pinned to global rhythms, traditional gamelan music and a love of language. Their songs speak out about corruption, shout for social justice and have been taken up as anthems in public demonstrations and rallies.

Recognized as one of Southeast Asia’s foremost collectives, JHF was established to promote diversity and pluralism. After few small projects, JHF started the Indonesian poetries project in 2006 then produced the albums Poetry Battle 1 (2007) and Poetry Battle 2 (2008). Both incorporate poetry and oral literature dating from the 18th century and contemporary poetry they reinterpret for a new audience, reinvigorating an interest in the country’s rich past. In other instances JHF has successfully merged these ancient texts with Islamic teachings to exemplify the spirit of syncretism and plurality.

On a national scale, the group has experimented with other Indonesian languages to create songs about anti-corruption. JHF engages various socio-political and cultural issues while aesthetically continuing to ground their work in popular and historical Javanese sources. They expand the Javanese-ness of their hip-hop in ways beyond their lyrics. Their hip-hop sounds are extremely hybrid.

Founded by Marzuki Mohammad aka Kill the DJ in 2003, JHF is an umbrella for Yogyakarta-based hip-hop crews that mostly use traditional Javanese language. Even though the name might sound formal, JHF operates in a more communal way rather than as a formal institution. JHF is best known for three crews: Jahanam, Rotra and Kill the DJ; a bunch of Javanese rude boys standing still in the crossculture.

Talking about Yogyakarta It is almost impossible to leave Yogyakarta out of a discussion of Indonesian culture. It is a small province, the smallest among the four other provinces in Java, yet its pivotal role is enormous. It is the place where almost all signifiers of Javanese cultural production— such as gamelan, wayang kulit (shadow puppetry), wayang orang, court dance, oral literature, etc.—were developed for centuries, long before the dawn of the colonial age. And they eventually took part in shaping the national Indonesia as a modern idea.

At the same time, Yogyakarta is not an enclosed and sterile space.

Its glorified history is also strengthened by its post-independence function, which was to serve as the city of education. For decades, Yogyakarta has built a strong foundation for the growth of educational institutions, making it one of the most dynamic and youthful urban cities in Indonesia.

—Ugoran Prasad An artist and independent researcher, Ugoran Prasad is a playwright and dramaturg in residence with Teater Garasi Yogyakarta as well as program manager at the Indonesian Society for the Performing Arts. He is a performing lyricist of Melancholic Bitch, a Yogyakarta-based shadow pop band.

He was also featured in the first JHF Poetry Battle album. He was a visiting scholar at the Performance Studies Department at New York University and a fellow of the Asian Cultural Council in 2011.

Center Stage Diplomacy doesn’t just happen in conference rooms or at embassies.

It can burst out in classrooms and studios, on town greens and beside historic landmarks, in coffee shops and arts centers, moving from person to person, between artist and arts lover. From June–December 2012, 10 different contemporary performing arts ensembles from Haiti, Indonesia and Pakistan are making independent month-long tours in the U.S. as part of Center Stage.

Residencies include performances, workshops, discussions, peopleto-people exchanges and community gatherings. This public-private partnership is the largest public diplomacy effort to bring foreign artists to American stages in recent history.

Keep up with Center Stage and find additional information about Papermoon Puppet Theatre at www.CenterStageUS.org, on Facebook (www.facebook.com/CenterStagePage) and Twitter (@centerstage).

Special thanks to Rachel Cooper and Asia Society.

Question & Answer Session Moderators: Henry Spiller, chair, Department of Music, UC Davis, is an ethnomusicologist whose research focuses on Sundanese music and dance from West Java, Indonesia.

Katherine In-Young Lee, assistant professor, Ethnomusicology, joined the UC Davis Department of Music faculty in July 2012.

Sarah Geller is a Ph.D. candidate in Ethnomusicology. She teaches African American Music at UC Davis and is currently writing her dissertation on hip-hop in America.

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MC

Debut One-Man Star Wars® Trilogy Written and Performed by

CHARLES ROSS

A With a Twist Series Event Friday, November 30, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Written and Performed By Charles Ross Christine Fisichella, Stage Manager Mike Schaldemose, Lighting Design SL Feldman & Associates, Press Representative and General Management TJ Dawe, Director

One Man Star Wars Trilogy performed with permission of Lucasfilm Ltd. All ‘Star Wars’ elements property of Lucasfilm Ltd. All rights reserved.

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.

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Program Notes I grew up in the northern British Columbia city of Prince George, a city of long winters. Between Halloween and Easter, I saw a lot of movies. My dad would bring videos home like Sinbad the Sailor, Clash of the Titans and Das Boot. He also took me to see Star Wars at the age of six. I cried when it was over. These were the days of Star Wars, Star Trek, E.T. and Close Encounters of the Third Kind. They were also the days when it was an event that a movie would air on TV for the first time. I taped over Shogun (my father bought the VCR specifically to record the mini-series) to have A New Hope in my possession. I would wake every morning at 5:30 to watch Star Wars before my family got up. I managed this for an entire winter before I guess my mom noticed, but it was too late: The story was imprinted on my brain.

My acting “career” started early. More than one family dinner at restaurants would end with me being sent to wait in the car. When my folks split we moved south to Nelson, B.C., near the U.S. border. At 13, I beat the school jazz band in a talent show by doing impressions of the teachers. I was a fairly responsible kid and tried to follow my interest in science, but at 17, I landed my first theater job and “responsibility” went out the window. I was so happy to be doing what I loved. I had to move to a neighboring town for the summer, during which I lost 70 pounds of baby fat. A year later I graduated and left Nelson for the University of Victoria.

After university, I worked as an actor for four years. I worked as a historical interpreter and for theater companies in B.C. and Nova Scotia.

For lengths of time, I had difficulty finding work, as many actors do.

I’ve always been a bit pigheaded, and my frustration just strengthened my resolve to create something on my own. I can’t say exactly how the whole idea began to use the myth of Star Wars for a show. The world owns the story in a sense; it’s moved so many people, and for some it’s a sacred relationship they have with it. I found just such a fan in my friend TJ Dawe; we attended university at the same time. I remember playing a Frisbee game: When one threw the Frisbee they had to say a line from one of the Star Wars films, and when the other caught it, he had to say the next line. Neither of us beat the other. Our friendship grew into collaboration: I wrote many treatments of One-Man Star Wars Trilogy, and TJ directed me through an arduous rehearsal process. I just never knew if people would get it.

Many moments led to the success of One-Man Star Wars Trilogy. I first performed it in Toronto for a group of strangers, afterwards in Kamloops, B.C., then it went to the Toronto Fringe Festival in 2002.

Later that winter I had an impromptu performance when I went to backpack through Turkey. In 2003, I toured from Orlando, Forida, to Vancouver, B.C. During the Orlando Fringe I met Chicago producer Dan Roche. We exchanged emails, and six months later I was performing at Chicago’s Noble Fool Theatre.

I wonder sometimes: Is this legitimate theater or novelty theater? My show draws out all types. Am I a legitimate geek or a novelty geek?

Watching the same film every day for six months could certainly be called a monumental waste of time. I guess you need to make negatives into positives. I have performed to theater houses of one person in 2003 (a low point) and in 2005 at Star Wars Celebration III for 3,500 ecstatic SW fans (a definite high point). I’ve performed benefit shows for small theater companies, cancer and AIDS research and forest fire victims. It isn’t always easy being a full-time theater geek with a legitimate piece of novelty theater to show the world, but I wouldn’t trade this for anything. Never underestimate the power of little choices you make everyday; take a chance, the worst that can happen is failure. Failure is nothing more than a momentary hurdle in a long

series on the road to success. As the saying goes: Success is often little more than an opportunity to fail at greater and greater things.

And, to Lisa Hebden, my hero and reason for doing this. I hope you like the show.

Charles Ross (performer and author), best known as the mastermind behind the infamous One-Man Star Wars Trilogy and One-Man Lord of the Rings, is a Canadian actor who has followed his heart and his career from one side of the continent to the other. Since first performing his One-Man Star Wars Trilogy in Toronto in 2001, Ross has brought countless audiences, both large and small, to their feet with his surprisingly unique shows. Word of Ross’s one-of-a-kind talent has spread across North America, from Toronto, Atlanta and Boston to Chicago, San Diego and Vancouver. To mark the release of Star Wars: Episode 3: Revenge of the Sith, Charles was honored to perform at Lucasfilm’s official movie release convention, Celebration 3. Even the likes of Vin Diesel and Sir Ian McKellan have taken in his performances with rave reviews.

TJ Dawe (director) is a Vancouver-based writer/performer. He has toured the fringe festival circuits numerous times and toured extensively throughout North America and Australia. He received a Jessie Richardson Award for Best New Play or Musical in 1998 for Tired Cliches. In 2001, Dawe received the Just For Laughs Comedy Award in Montreal for The Slipknot and was remounted at the Just For Laughs On the Edge series, which also featured Scott Thompson of the Kids in the Hall. Dawe was the winner of the Best Male Performer award at the 2002 Orlando International Fringe Festival. His solo shows are influenced by Spalding Gray, Daniel MacIvor and George Carlin. He has frequently been likened to Lord Buckley, Jerry Seinfeld and Eric Bogosian. Although he uses elements of stand-up comedy, his shows are very theatrical, exploring serious subjects and using music and physical theater.

Michael Schaldemose (lighting design), received the coveted Larry Lillo Award for Outstanding Direction for Kvetch by Steven Berkoff, a Way Off Broadway production. He has also been honored with Jessie nominations for Outstanding Lighting Design and Outstanding Set Design. Schaldemose is a Fringe veteran, appearing in more than 70 international festivals; produced daring and original works across Canada, in the U.S., London and Sweden. With WOB, he directed and co-created Bonnie Dangerously: Fast Times With That Guy Clyde, a shameless hussy production that earned two Jessie nominations including Outstanding Production. A graduate from the theater design program at the University of Victoria, Schaldemose is a freelance designer and director on the Vancouver scene. He is presently Technical Director of Presentation House Theatre in North Vancouver. In recent years he has written, produced and directed new works focused on the development of a new cinematic theatrical form culminating in this summer’s action adventure The Conspiracy.

Christine Fisichella (production stage manager) has toured nationally with Footloose, Color Me Dark, Goldrush!, Romeo and Juliet.

Regional: A Class Act, The Play About the Baby, Runaway Home (The Studio Theatre); Hansel and Gretel (The Children’s Theatre Company); Barefoot in the Park, Rounding Third, The Honey Harvest (Kentucky Repertory Theatre); Twelfth Night, The Rehearsal, The Last Night of Ballyhoo (Alabama Shakespeare Festival) and Romance, Romance!

(Caldwell Theatre Company). She is proud to be a member of Actors’ Equity since 1998.

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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 above 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 Garry 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

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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* Richard and Joy Dorf 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 John and Magda Hooker 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 Barbara D. Webster 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 Mark E. Ellis and Lynn Shapiro 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 Dr. and Mrs. John Eisele Mark E. Ellis and Lynn Shapiro Leslie Faulkin 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 Peter Klavins and Susan Kauzlarich 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 Martha Bryant 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

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James and Patty Carey Michael and Susan Carl Hoy Carman Jan Carmikle, '87 '90 Bruce and Mary Alice Carswell* John and Joan Chambers Caroline Chantry and James Malot Dorothy Chikasawa* Rocco Ciesco Gail Clark L. Edward and Jacqueline Clemens 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* John and Margaret Drake 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

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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 In memory of Betty and Joseph Baria 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 Robert and Patricia Lufburrow 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

Mondavi Center Presents Program Issue 3: NOV 2012

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 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 Ashley Prince 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* Douglas West Martha S. West Robert and Leslie Westergaard* Susan Wheeler 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 employers’ matching gift program. Please contact your Human Resources department to find out about your company’s matching gift program.

Note: We are pleased to recognize the Donors of Mondavi Center for their generous support of our program. We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5438 to inform us of corrections.

Globe Education Academy for Teachers 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: The Globe Education Academy for Teachers.

The Globe Education Academy is comprised of three segments:

We are currently recruiting for the 2013 Globe Education Academy for Teachers.

Applications are available online at MondaviArts.org or by calling Mondavi Center Arts Education, 530-754-5431.

Applications must be received or postmarked by December 17, 2012.

Please mail them to:

The first segment, in Spring 2013, will feature UC Davis faculty and Globe Education practitioners from London presenting three workshops at UC Davis designed to deepen the understanding of Shakespeare and his work and the applications, connections and relationships that his work inspires.

The second segment, in June 2013, is comprised of a two-week residency in London, England, to study at Shakespeare’s Globe.

The third and final segment, in November 2013, will take place at the Mondavi Center, UC Davis. Participating teachers and students will showcase scenes from a Shakespeare play and share in a final day of celebration.

Joyce Donaldson Director of Arts Education Mondavi Center, UC Davis One Shields Avenue Davis, CA 95616 Applicants will be notified of their acceptance by January 11, 2013.

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 Lee Miller, 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. 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 • 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

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Policies and Information Ticket Exchange •

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

Tickets may not be exchanged after 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.

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Mondavi Center Presents Program Issue 3: NOV 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

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.