Mondavi Center Playbill Issue 4: Dec 2012

Anniversary

2012—13 Issue 4: DEC 2012 • • • • • •

Charles Bradley and Menahan Street Band p. 5 Alexander String Quartet p. 8 Danú p. 12 Lucy Guerin Untrained p. 15 Cantus p. 19 American Bach Soloists Holiday Concert p. 25

• San Francisco Symphony p. 38

Season Sponsors

Program

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Anniversary

2012—13

A message from the chancellor

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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

Anderson Family Catering & BBQ Atria Senior Living Boeger Winery Buckhorn Catering CaffĂŠ Italia Ciocolat

El Macero Country Club Fiore Event Design Hot Italian Hyatt Place Osteria Fasulo Seasons Watermelon Music

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 4: dec 2012

Alison Morr Kolozsi Director of Major Gifts & Planned Giving Elisha Findley Corporate & Annual Fund Officer Amanda Turpin Donor Relations Manager operations Herb Garman Director of Operations Greg Bailey Building Engineer

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

INFORMATION TECHNOLOGY Darren Marks Web Specialist/ Graphic Artist

Jennifer Mast Arts Education Coordinator

Mark J. Johnston Lead Application Developer

AUDIENCE SERVICES David Szymanski Audience Services Manager

MARKETING Rob Tocalino Director of Marketing

Yuri Rodriguez House/Events Manager

Will Crockett Marketing Manager

Nancy Temple Assistant House/Events Manager

Erin Kelley Senior Graphic Artist

Natalia Deardorff Assistant House/Events Manager

special thanks

DEVELOPMENT Debbie Armstrong Senior Director of Development

BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services Mandy Jarvis Financial Analyst Russ Postlethwaite Billing System & Rental Coordinator

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

Photo: Lynn Goldsmith

Robert and Margrit

Mondavi Center for the Performing Arts • UC Davis

A Message From Don Roth

Mondavi Center Executive Director

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t the Mondavi Center, we are proud to present some of the finest artists working in every genre. The performances you experience in Jackson Hall and the Vanderhoef Studio Theatre are often born of remarkable stories. We do our best to give you a rounded picture of our artists through our website, playbills, Facebook page and many engagement activities (which include our popular Pre-Performance Talks and postperformance Question & Answer sessions). But often, the stories are so extraordinary, that it is worth pausing for a moment to call attention to them. This month, we have two shows that illustrate this need.

A Brooklyn Tale: Charles Bradley, as a young resident of my native Brooklyn, had the good fortune to witness one of James Brown’s legendary 1962 performances at Harlem’s Apollo Theatre. Inspired by the Godfather of Soul, he spent the better part of his life bouncing between jobs, always finding work, but never finding success as an artist.

After being discovered leading a James Brown cover band, Bradley released his first album, No Time for Dreaming, at the age of 62. Rolling Stone proclaimed it one of the 10 best releases of 2011. Come see Charles Bradley living his dream on December 1.

You don’t have to be the Grinch to enjoy non-holiday fare this month. For example, you can look to our Vanderhoef Studio Theatre, where our first Studio Dance performances feature Lucy Guerin’s Untrained, which pairs two trained dancers with two newbies attempting to dance the same work. You can also catch the Alexander String Quartet continuing their Schubert series, or a screening of Carol Reed’s remarkable 1948 film, The Fallen Idol.

All of us at the Mondavi Center wish you a very happy holiday season.

We look forward to celebrating a remarkable 2013 with you all.

Issue 4: dec 2012

in this issue: • Charles Bradley and Menahan Street Band p. 5 • Alexander String Quartet p. 8 • Danú p. 12 • Lucy Guerin Untrained p. 15 • Cantus p. 19 • American Bach Soloists Holiday Concert p. 25 • San Francisco Symphony p. 38 • Mondavi Center Policies and Information p. 48

A Tale from the Front: It is Christmas Eve on the front lines, World War I. A German soldier begins to sing a Christmas carol; a British soldier recognizes the tune and joins in. Soon, soldiers on both sides lay down their arms, creating an informal truce as they share songs together to celebrate their common humanity amidst the horrors of war. The marvelous a cappella group Cantus relives this story in song and prose in All is Calm on December 8.

The holidays are an ideal time to share stories and the arts, and the holiday spirit is abundant in our programming in December. For the first time, the San Francisco Symphony brings a holiday program, which includes a screening of the animated film The Snowman and a singalong of the season’s favorites. Danú shares a traditional Irish Christmas, replete with step dancing, fiddles and the beautiful voice of Muireann Nic Amhlaoibh. And we turn a new page in our relationship with the American Bach Soloists, which will present a new holiday program featuring Vivaldi’s Gloria and the San Francisco Girls Chorus.

Program

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.

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

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Mondavi Center Presents Program Issue 4: dec 2012

MC

Debut

Photo by Kisha Bari

Charles Bradley and Menahan Street Band

A Chevron American Heritage Series Event Saturday, December 1, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Charles Bradley and Menahan Street Band Charles Bradley, Vocals Michael Deller, Organ

Sponsored by

Homer Steinweiss, Drums Nicholas Movshon, Bass Thomas Brenneck, Guitar David Guy, Trumpet Freddy Deboe, Tenor Saxophone

Individual support provided by Joe and Betty Tupin.

Pre-Performance Talk Saturday, December 1, 2012 • 7PM Jackson Hall, Mondavi Center, UC Davis Speaker: Cory Combs, Director of Outreach, Music and Enrichment, The Nueva School

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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WHAT DO YOU SEE? We see the youngest lives saved.

You see your child in the best possible hands.

As the region’s nationally ranked, comprehensive children’s hospital, UC Davis saves the lives ofchildren every day. Here, parents find family-centered care from world-renowned health-care experts on the leading edge of pediatric medicine. With state-of-the-art neonatal, pediatric and pediatric cardiac intensive care units and a host of pediatric specialists available 24-hours a day, UC Davis offers expert care close to home – bringing families peace of mind.

To learn more, visit YouSeeTheFuture.UCDavis.edu. For more information, call 800-2-UC DAVIS.

YOU SEE REASSURANCE

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Charles Bradley is no stranger to hard times. Born in Gainesville, Florida, in 1948 and raised in Brooklyn, Bradley spent the better part of his childhood living on the streets. One of the more optimistic moments of his childhood came in 1962, when his sister took him to see James Brown at the Apollo. With his newfound inspiration came an urgent desire to get off the streets and make something of himself.

Bradley made his way out of Brooklyn via Job Corps, a federal program for helping underprivileged families. His job placement took him to Bar-Harbor, Maine, where he learned to cook. After nine years cooking for 3,500 people a day, being harassed by local police officers and having no musical outlet, Bradley decided to leave Wassaic and head west in search of a dream.

Bradley spent more than 20 years in California, making his living as a chef, all the while playing music on the side. Things seemed to be looking up for Bradley, but just as he was about to put a down payment on his first house, he was laid-off from his job of 17 years.

Being fired forced him to re-evaluate his life out west. Ultimately, he decided to come home to Bushwick, Brooklyn, to be with his family again.

Bradley finally found an audience when he began making appearances in local Brooklyn clubs performing his James Brown routines under the alter ego “Black Velvet.” At 51, he was finally making a life for himself back home. His musical career was moving forward, but he was to be tested once again.

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

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

Bradley awoke in his mother’s house one morning to the sounds of police sirens. He was devastated to find that his brother had been shot and killed. Life did not seem worth living anymore.

Bradley was down and out when Gabriel Roth of Daptone Records happened upon him performing his Black Velvet act at the Tarheel Lounge in Bed-Stuy. Roth recognized his raw talent and brought Bradley out to Staten Island to meet Thomas Brenneck, songwriter and guitarist for the Bullets. The two hit it off and began working together. They released two singles on Daptone under the name Charles Bradley and the Bullets, but the Bullets soon dismantled in order to form the afrobeat-influenced Budos Band.

In time, they became close friends and Bradley confided his life story to Brenneck. The young producer was moved when he heard Bradley tell the painful story of his brother’s death. Brenneck said, “Charles, we gotta put that story to music.” Brenneck had put together a small bedroom studio and was working on instrumentals with a new group soon to be named the Menahan Street Band. Many late-night writing and recording sessions later, he and Brenneck completed their first full-length record, No Time For Dreaming. Charles always knew he was born to entertain, but in the making of this record he discovered a proclivity for songwriting as well.

The record was a labor of love for both Bradley and Brenneck. In 2011, No Time for Dreaming was released on Dunham Records.

Bradley has been touring with the Menahan Street Band and honing his passion as a singer and an entertainer. If you know him today, then you know one of the most loving, humble, honest and genuine human beings you will ever know. Bradley spent most of his life dreaming of a better one, and now there is no more time for dreaming, just time for singing, dancing and loving.

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Alexander String Quartet

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

An Alexander String Quartet Series Event

Program

Sunday, December 2, 2012 • 2PM and 7PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis

Individual support provided by Anne Gray and

String Quartet No. 15 in G Major, D. 887 Allegro molto moderato Andante un poco moto Scherzo: Allegro vivace Allegro assai

Schubert

Thomas and Phyllis Farver.

There will be one intermission in the 2 p.m. performance.

Question & Answer Session Sunday, December 2, 2012 • 7PM only Vanderhoef Studio Theatre, Mondavi Center, UC Davis With Members of the Alexander String Quartet Question & Answer Sessions take place in the theater after the event.

7PM only String Quartet No. 21 in D Major, K. 575 Allegretto Andante Menuetto: Allegretto Allegretto

Mozart

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 String Quartet No. 15 in G Major, D. 887 (1826) Franz Schubert (Born January 31, 1797, in Vienna; died November 19, 1828, in Vienna) Schubert wrote his 15th and final string quartet in the unbelievably short span of 11 days (June 20–30, 1826). Mozart himself would have been hard-pressed to get a work of this breadth done in so brief a time. The Quartet in G Major is in every way a striking piece of music: in length (it stretches out to 45 minutes even when some of the most important repeats are omitted); in scope (its huge sonorities, often underpinned by violent tremolos, frequently suggest orchestral writing); and key relationships. Schubert was a master of the ingenious modulation, and this quartet’s quicksilvery shifts of tonality mirror the flickering moods within the music itself. This is mercurial music—elusive, haunting and finally very moving.

From a near-silent beginning, the Allegro molto moderato suddenly bursts to life on great chords, sharply-dotted rhythms and jagged thematic edges. Within its first instants, the music pitches uneasily between G major and G minor and over orchestra-like tremolos, the opening idea (derived from the jagged edges of the introduction) is announced pianissimo by first violin and cello. The gracefully syncopated second subject arrives as a chordal melody, and—curiously—the rest of the exposition consists of a set of variations on this theme. The development at first concentrates on the opening idea then resumes the variations on the second subject. The movement drives to a close that returns to the powerful (and harmonically unstable) manner of the very beginning. The Andante un poco molto opens conventionally—the cello tune in the opening measures is pure Schubert—but suddenly come great rips of sound, discordant cries from the first violin over harmonically ambiguous tremolos in the lower voices. Agitated, dark and almost shrill, these passages break in throughout the movement, which finally resolves peacefully.

The Scherzo, in B minor, is reminiscent of the scherzo of the “Great” C Major Symphony—it bristles with energy as individual voices leap out of the general bustle. In complete contrast, the trio section is a laendler, and the languorous lilt of its main idea—introduced by the cello—brings an interlude of calm; the sudden jump back to the needle-sharp entrances of the scherzo is dramatic. The finale— Allegro assai—has been described as a perpetual-motion movement.

Actually, it is a tarantella-like rondo that rides exuberantly along its 6/8 meter. Schubert supplies contrasting episodes along the way (smoothly making the 6/8 meter sound like 3/4 in the process), but it is the dancing opening music that finally takes the quartet to its energetic close.

Schubert apparently never heard this quartet. There is speculation that its opening movement might have been performed at the famous Schubertiad in March 1828, but even the best evidence is conjectural, and there is no convincing suggestion of a performance during his lifetime. The Quartet in G Major appears to have been consigned to the silence of dusty shelves, where it remained until it was premiered by the Hellmesberger Quartet in Vienna on December 8, 1850, 22 years after its composer’s death.

String Quartet No. 21 in D Major, K. 575 (1789) Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) In the spring of 1789, Mozart made an extended visit to Berlin. His fortunes in Vienna had waned, and he hoped that in the musicloving King Friedrich Wilhelm II he might find a royal patron who would understand his worth and commission new music. Mozart returned to Vienna early in June with the news that the trip had been in all ways a success: he had performed before the king and queen, who were so enthralled by his playing that on the spot the king commissioned a set of six quartets and six easy keyboard sonatas for his daughter. Mozart even had the money in hand to confirm his story.

Yet this inspiring tale, which has been part of the Mozart legend for two centuries, remains a troubling episode because the evidence suggests that it never happened. There is no record of a royal reception at Potsdam (the king in fact refused to meet Mozart and sent him instead to the court Kapellmeister), and scholars have come to the uncomfortable conclusion that Mozart—humiliated and unable to face returning to Vienna in shame—made up the whole story of the commission and borrowed money so that he could pass it off as the king’s payment. He made a great show of starting to compose the cycle of quartets, but soon lost interest and wrote only three of the projected six. These were eventually published with no mention of a royal dedication.

These three quartets, inevitably (if ironically) known as the “King of Prussia” Quartets, feature unusually prominent parts for the cello. The king was an amateur cellist, and—the story went—Mozart gave that instrument a leading role as a bow to his royal patron. Mozart actually began work on the Quartet in D Major, K. 575 on the way back to Vienna from Berlin and had it done about the time he arrived home.

The quartet is full of refined and agreeable music, but the surprise is how restrained this music is. Three of its movements are marked Allegretto, a marking that implies not just a tempo slower than Allegro but also a more relaxed and playful character; further, both the first and second movements are marked sotto voce, suggesting a subdued presentation. The first violin immediately introduces the main theme of the opening Allegretto, and its rising-and-falling shape will recur in a number of forms. The second subject is announced by the cello (characteristically, it is marked dolce), and the music proceeds in sonata form, with a fairly literal recapitulation and a short coda. The Andante is music of inspired simplicity. Mozart sometimes sets the three upper voices against the cello here, and these unison sonorities contribute to the movement’s atmosphere of clarity and simplicity.

Both themes of this sonata-form movement sing gracefully, and the sotto voce marking at the opening might apply to the entire movement.

There is more unison writing in the Menuetto, though the second strain breaks the melodic line nicely between the three upper voices in turn. By contrast, Mozart turns the trio section over to the cello, which sings its graceful song as the upper strings accompany.

The concluding Allegretto is the most contrapuntal—and the most impressive—of the four movements. It begins with something quite unusual in Mozart’s music—a main theme that is clearly derived from the main theme of the first movement. He then offers extended polyphonic treatment of this singing idea, sometimes setting it in close canon between the various voices, at other times varying this simple melody in surprising ways—his music flows and sparkles and seems constantly to be in the process of becoming something new. In its good spirits, intelligence and utter ease, it is music fit for a king (even if it wasn’t actually written for one).

—Eric Bromberger

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

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

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The Alexander String Quartet has performed in the major music capitals of five continents, securing its standing among the world’s premier ensembles over three decades. Widely admired for its interpretations of Beethoven, Mozart and Shostakovich, the quartet has also established itself as an important advocate of new music through more than 25 commissions and numerous premiere performances. The Alexander String Quartet is a major artistic presence in its home base of San Francisco, serving there as directors of the Morrison Chamber Music Center at the School of Music and Dance in the College of Arts and Humanities at San Francisco State University and Ensemble in Residence of San Francisco Performances.

The Alexander String Quartet’s annual calendar of concerts includes engagements at major halls throughout North America and Europe.

The quartet has appeared at Lincoln Center, the 92nd Street Y and the Metropolitan Museum in New York City; Jordan Hall in Boston; the Library of Congress and Dumbarton Oaks in Washington; and chamber music societies and universities across the North American continent. Recent overseas tours have brought them to the U.K., Czech Republic, Netherlands, Italy, Germany, Spain, Portugal, Switzerland, France, Greece, the Republic of Georgia, Argentina and the Philippines. The many distinguished artists to collaborate with the Alexander String Quartet include pianists Menahem Pressler, Gary Graffman, Roger Woodward, Jeremy Menuhin and Joyce Yang; clarinetists Eli Eban, Charles Neidich, Joan Enric Lluna and Richard Stoltzman; cellists Lynn Harrell, Sadao Harada and David Requiro; violist Toby Appel; mezzo-soprano Joyce DiDonato; and soprano Elly Ameling. Among the quartet’s more unusual collaborations have been numerous performances of Eddie Sauter’s seminal Third Stream work, Focus, in collaboration with Branford Marsalis, David Sánchez and Andrew Speight.

A particular highlight of the 2012–13 season was a celebratory concert presented by San Francisco Performances marking the quartet’s 30th anniversary. For the occasion, San Francisco Performances commissioned a new work by Jake Heggie, Camille Claudel: Into the Fire, a work for string quartet and mezzo-soprano; the Alexander was joined in the world premiere by Joyce DiDonato. Highlights of the current season include multi-concert Schubert projects for San Francisco Performances, Mondavi Center and Baruch College in New York, as well as a series of programs for San Francisco Performances interweaving observations of the Britten centennial and the 75th anniversary of the outbreak of World War II. They also continue their annual residencies at Allegheny College and St. Lawrence University in collaboration with the Crane School of Music at SUNY Potsdam. There are also performances at Amherst College, Duke University and an unusual collaboration in an all-Shostakovich program in collaboration with the poet Carolyn Fourché reading from her works at Seton Hall University.

The Alexander String Quartet added considerably to its distinguished and wide-ranging discography over the past decade. Recording exclusively for the FoghornClassics label, their recording of music of Gershwin and Kern was released in the summer of 2012, and this past spring there was a recording of the clarinet quintet of Brahms and a new quintet from César Cano, in collaboration with Joan Enric Lluna, as well as a disc in collaboration with the San Francisco Choral Artists. Coming up are the combined string quartet cycles of Bartók and Kodály (recorded on the renowned Ellen M. Egger matched quartet of instruments built by San Francisco luthier

Francis Kuttner) and a multidisc Brahms album. The Alexander’s 2009 release of the complete Beethoven cycle was described by Music Web International as performances “uncompromising in power, intensity and spiritual depth,” while Strings Magazine described the set as “a landmark journey through the greatest of all quartet cycles.”

The FoghornClassics label released a three-CD set (Homage) of the Mozart quartets dedicated to Haydn in 2004. Foghorn released a six-CD album (Fragments) of the complete Shostakovich quartets in 2006 and 2007, and a recording of the complete quartets of Pulitzer Prize-winning San Francisco composer Wayne Peterson was released in the spring of 2008. BMG Classics released the quartet’s first recording of the Beethoven cycle on its Arte Nova label to tremendous critical acclaim in 1999.

Other recent Alexander premieres include Patagón by Cindy Cox and Rise Chanting by Augusta Read Thomas, commissioned for the Alexander by the Krannert Center and premiered there and simulcast

by WFMT radio in Chicago. The quartet has also premiered String Quartets Nos. 2 and 3 by Wayne Peterson and works by Ross Bauer (commissioned by Stanford University), Richard Festinger, David Sheinfeld, Hi Kyung Kim and a Koussevitzky commission by Robert Greenberg.

The Alexander String Quartet was formed in New York City in 1981 and the following year became the first string quartet to win the Concert Artists Guild Competition. In 1985, the quartet captured international attention as the first American quartet to win the London International String Quartet Competition, receiving both the jury’s highest award and the Audience Prize. In 1995, Allegheny College awarded Honorary Doctor of Fine Arts degrees to the members of the quartet in recognition of their unique contribution to the arts. Honorary degrees were conferred on the ensemble by St. Lawrence University in May 2000.

Robert Greenberg was born in Brooklyn, New York, in 1954, and has lived in the San Francisco Bay area since 1978. Greenberg received a B.A. in music, magna cum laude, from Princeton University in 1976. In 1984, Greenberg received a Ph.D. in music composition, with distinction, from the University of California, Berkeley, where his principal teachers were Andrew Imbrie and Olly Wilson in composition and Richard Felciano in analysis.

Greenberg has composed more than 45 works for a wide variety of instrumental and vocal ensembles. Recent performances of his works have taken place in New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy and the Netherlands, where his Child’s Play for String Quartet was performed at the Concertgebouw of Amsterdam.

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

Recent commissions have been received from the Koussevitzky Foundation in the Library of Congress, the Alexander String Quartet, San Francisco Contemporary Music Players, Strata Ensemble, San

Francisco Performances and the XTET ensemble. Greenberg is a board member and an artistic director of Composers, Inc., a composers’ collective/production organization based in San Francisco.

Greenberg has performed, taught and lectured extensively across North America and Europe. He is currently music historian-in residence with San Francisco Performances, where he has lectured and performed since 1994, and a faculty member of the Advanced Management Program at the University of Pennsylvania’s Wharton School of Business. He has served on the faculties of the University of California, Berkeley; California State University, East Bay; and the San Francisco Conservatory of Music, where he chaired the Department of Music History and Literature from 1989–2001 and served as the Director of the Adult Extension Division from 1991–96. Greenberg has lectured for some of the most prestigious musical and arts organizations in the United States, including the San Francisco Symphony (where for 10 years he was host and lecturer for the Symphony’s nationally acclaimed “Discovery Series”), the Ravinia Festival, Lincoln Center for the Performing Arts, Van Cliburn Foundation, Chautauqua Institute (where he was the Everett Scholar in Residence for the summer of 2006), Dallas Symphony Orchestra, Hartford Symphony Orchestra and Music@ Menlo and the University of British Columbia (where he was the Dal Grauer Lecturer in 2006). In addition, Greenberg is a sought after lecturer for businesses and business schools, and has recently spoken for such diverse organizations as S.C. Johnson, Canadian Pacific, Deutsches Bank, the University of California/Haas School of Business Executive Seminar, the University of Chicago Graduate School of Business, Harvard Business School Publishing, KaiserPermanente, the Strategos Institute, Quintiles Transnational, the Young Presidents’ Organization, the World Presidents’ Organization and the Commonwealth Club of San Francisco.

Greenberg has been profiled in The Wall Street Journal, the Times of London, Los Angeles Times, Christian Science Monitor and San Francisco Chronicle. For many years Greenberg was the resident composer and music historian to National Public Radio’s Weekend All Things Considered and presently plays that role on Weekend Edition, Sunday with Liane Hansen.

In 2003, the Bangor (Maine) Daily News referred to Greenberg as “the Elvis of music history and appreciation,” an appraisal that has given him more pleasure than any other. Greenberg is currently writing a book on opera and its impact on Western culture, to be published by Oxford University Press.

In 1993, Greenberg recorded a 48-lecture course, How to Listen to and Understand Great Music for the Teaching Company/SuperStar Teachers Program, the preeminent producer of college-level courses-on-media in the United States. Twelve further courses— Concert Masterworks, Bach and the High Baroque, The Symphonies of Beethoven, How to Listen to and Understand Opera, Great Masters, The Operas of Mozart, The Life and Operas of Verdi, The Symphony, The Chamber Music of Mozart, The Piano Sonatas of Beethoven, The Concerto and The Fundamentals of Music—have been recorded since, totaling more than 500 lectures.

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Danú

Photo by John D. Kelly

An Nollaig in Éirinn (Christmas in Ireland)

A Mondavi Center Special Event Wednesday, December 5, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Danú Muireann Nic Amhlaoibh, Lead Vocals, Flute & Whistles Benny McCarthy, Button Accordion & Melodeon Donal Clancy, Guitar & Vocals Liam Flanagan, Fiddle and Tenor Banjo Éamon Doorley, Irish Bouzouki and Backing Vocals

There will be one intermission.

Martin O’Neill, Bodhran (Irish Drum) and Piano Guest Irish Step Dancers Program Repertoire will be selected from the following songs and announced from the stage.

All songs are arranged by Danú.

The Wexford Carol (Song) Traditional Apples in Winter/The Frost is all Over (Jig, Instrumental) Traditional Oiche Chiuin/Silent Night (Song) Traditional Christmas Eve (Reel, Instrumental) Traditional Angels We Have Heard on High (Song) Traditional Le Coinnle na N’Aingeal/The Candles of Angels (Song) Traditional Scartaglen Slide Set (Instrumental) Traditional The Boys Of Barr na Straide (Song) Traditional Kilfenora Jigs Set (Instrumental) Traditional Polka Selection (Instrumental) Traditional Breton Lullaby (Instrumental) Traditional The Parting Glass (Song) Traditional

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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Mondavi Center Presents Program Issue 4: dec 2012

Program Notes The Wexford Carol This very old Christmas carol has been a favorite in Ireland for many years. It is in English, and the song tells us about the holy story.

Apples in Winter/The Frost is all Over Two lovely traditional Irish jigs with beautiful titles that depict great images of winter time and the Christmas season.

Oiche Chíuín/Silent Night “Silent Night” is a song that is known the world over. We perform it as “Oiche Chiuin” in the Irish language and follow it into the English version where we encourage everybody to join in and sing along with us.

Christmas Eve “Christmas Eve” reel is probably the most well-known Christmas tune in Ireland. It would not be Christmas time for Irish musicians without “Christmas Eve” the reel.

Angels We Have Heard on High This is another favorite Christmas carol that everyone can sing along. The song is a great favorite in Ireland during the season of Christmas.

Le Coinnle na N’Aingeal This beautiful Irish song translates as “The Candles of Angels” and is a lovely song about the old Irish tradition of candle lighting in people’s windows as a sign of welcome.

Scartaglen Slide Set Scartaglen is a village in the beautiful Sliabh Luachra area, which borders Counties Cork and Kerry. The first type is a “Slide” and it is followed by some great reels, “The Hunters Purse” and “The Reconciliation.”

Danú, the acclaimed Irish ensemble, celebrates a traditional Irish Christmas with An Nollaig in Éirinn. Celtic music lovers around the globe have been thrilled by the ensemble’s virtuoso players on fiddle, flutes, button accordion, percussion and the gorgeous voice of Muireann Nic Amhlaoibh. Winner of major awards from the BBC and Irish Music Magazine, Danú returns to the U.S. in December 2012 with special guests and a glorious celebration of Christmas from their homeland.

In Ireland, the festival of Christmas has for centuries been celebrated by traditional Irish music and song. There are many musical tributes that pay homage to early Irish traditions such as The Laden Table, placing a candle in a window and touring from house to house on St. Stephen’s Day. An Nollaig in Éirinn: Christmas in Ireland is a Celtic music celebration that warms the heart.

Danú has seven CDs and one DVD, which are all available in stores or online Danú Debut, 1997 Think Before You Think, 2000 All Things Considered, 2002 The Road Less Traveled, 2003 Up In the Air, 2004 When All Is Said and Done, 2005 One Night Stand (DVD) 2005 Seanchas, 2010 Baylin Artists Management www.baylinartists.com

instruments • accessories • sheet music • lessons • rentals • repairs

The Boys of Barr na Stráide This is a great song from County Kerry which mentions “Hunting for the Wren” as sung in the last line of each verse. The wren hunt is an ancient tradition in Ireland which takes place on December 26, St. Stephens Day, a great day of music, song and celebration.

Kilfenora Jigs Set Kilfenora is a beautiful village in County Clare. This jig is named after the village and played commonly in Ireland by traditional musicians.

Polka Selection Irish polkas are mostly associated with the Munster region in southern Ireland.

Breton Lullaby This is a beautiful Breton dance tune that we arranged as a lullaby.

We got this from a great musician named Ronan Pellen from Brittany in France, a Celtic region also.

The Parting Glass This song is one of Ireland’s greatest farewell songs and is always sung at the end of the evening.

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Anniversary 2012–13

’Tis the Season

San Francisco Symphony Family Concert The Snowman FRI, DEC 21

Danú: An Nollaig in Éirinn (Christmas in Ireland) Wed, DEC 5

Gift Certificates Available!

Cantus: All Is Calm The Christmas Truce of 1914 Sat, DEC 8

American Bach Soloists Holiday Concert SUN, DEC 16

10th Anniversary Season Sponsors

Tickets and more: mondaviarts.org • 866.754.2787

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Mondavi Center Presents Program Issue 4: dec 2012

MC

Debut Lucy Guerin Untrained

A Studio Dance Series Event Thursday–Saturday, December 6–8, 2012 • 8PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis

Untrained Lucy Guerin, Concept and Direction Performers: Michael Dunbar, Alisdair Macindoe, Ross McCormack, Jake Shackleton

Each performance will be preceded by a screening of selections from The Dancer Films.

Cusp by Duplo Remote, Music Matt Scott, Production Manager and Film Realisation Michaela Coventry, Producer

Question & Answer Session

Harold Norris, H-Art Management, North American Agent

Moderators Dec. 6: Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center, UC Davis Dec. 7: Nita Little, Performance Studies doctoral candidate, Department of Theatre and Dance, UC Davis Dec. 8: David A. Hawkins, Professor of Neurobiology, Physiology and Behavior, College of Biological Science, UC Davis Question & Answer Sessions take place in the theater 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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Director’s Notes Untrained has had several incarnations now in different contexts and with different casts. It has been shown at several major Australian festivals and has also been presented internationally. Last year we toured it to 17 regional and country areas in Australia, picking up different untrained men in towns along the way.

The cast for the 2008 premiere season was two men that I knew, my brother-in-law Simon Obarzanek and his friend Ross Coulter, both visual artists from Melbourne. Since then I have mostly found the untrained through an audition process. Surprisingly for me, when I think through my lists of friends and acquaintances, very few of them could be considered “untrained!” When holding these auditions, initially I found it quite difficult to articulate what I was looking for. Someone who can move well? Someone who is uncoordinated and interesting? A regular bloke? Though it is very clear when I see it. It’s the same thing I look for in trained dancers, I think.

Someone who is able to give us a glimpse into their personal world without too much artifice or reserve. Someone who can “be themselves” on stage.

When we auditioned for this latest U.S. cast, as one can imagine, we were inundated with applicants. After all, a paid trip to the States with the chance to perform at BAM in New York and Davis in California was a very attractive proposition to a lot of men. Out of 79 applicants we auditioned 38, and Jake and Michael were successful.

This necessity to update the cast regularly stems from the fact that one of the things Untrained is about is how training affects each man’s approach to performing. The performers respond to a list of written instructions, and it is surprising how quickly the untrained men adapt to being on stage. They don’t necessarily become good dancers, but they begin to learn the timing and finesse of the trained performer. It is delightfully refreshing to work with people who have no experience of theater. One man asked me if he could just run down the street and get some Kentucky Fried Chicken 20 minutes before curtain because he was a bit hungry. Another got terribly sunburned and had a few beers before the show, things a seasoned performer would (mostly) never do. They wear their costumes home and answer their mobile phones during rehearsal. But pretty soon they lose their credibility as “untrained,” and sadly we must say good-bye.

Initially in Untrained, I was interested in how non-dancers dealt with choreographed dance steps. It brought up the question of what we mostly respond to in a performance. Is it dancers doing remarkable, virtuosic things that we as audience members could never achieve; or the visible efforts and real attempts by people like ourselves, who try something to the best of their ability? Is it admiration or empathy that delights us?

Over the course of remounting the work, which takes one week, all the performers contribute to the pool of instructions that make up the work, so that the skills and interests of each individual are represented. Many of these show not only the differences in how the men dance, but in how they do many other things in which none of them are trained. For the dancers, it seems that their thinking and the way they tackle almost everything is explored through the connection they have with their bodies and how it has been trained. For the non-dancers, it’s a leap into the unknown requiring courage and a sense of humor, with no experience to draw on to achieve the tasks.

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We feel admiration for the dancers and non-dancers alike, for different reasons. But whether they can dance or not, what clearly emerges is a portrait of each man, arrived at through an examination of their physical selves.

Lucy Guerin (director) was born in Adelaide, Australia, and graduated from the Centre for Performing Arts in 1982 before joining the companies of Russell Dumas (Dance Exchange) and Nanette Hassall (Danceworks). She moved to New York in 1989 for seven years, where she danced with Tere O’Connor Dance, the Bebe Miller Company and Sara Rudner and began to produce her first choreographic works.

She returned to Australia in 1996 and worked as an independent artist, creating new dance works including Two Lies, Robbery Waitress on Bail, Heavy and The Ends of Things. In 2002, she established Lucy Guerin Inc. in Melbourne to support the development, creation and touring of new works with a focus on challenging and extending the concepts and practice of contemporary dance.

Recent works include Untrained, Human Interest Story and Conversation Piece. Guerin has toured her work extensively in Europe, Asia and North America as well as to most of Australia’s major festivals and venues. She has had works commissioned by Chunky Move, Dance Works Rotterdam, Ricochet (U.K.) and Mikhail Baryshnikov’s White Oak Dance Project (U.S.) among many others and has been invited to create a new work for the Lyon Opera Ballet in 2013. Her many awards include the Sidney Myer Performing Arts Award, a New York Dance and Performance Award (a “Bessie”), several Green Room Awards, a Helpmann Award and an Australian Dance Award.

Michael Dunbar (performer) originally trained as a communication designer at RMIT University in Melbourne and then completed a Ph.D. in Communication Studies in 2009. Dunbar’s research explored the contribution of communication design within interaction design projects, reframing its role from designer of surface aesthetics to co-shaper of broader product or service experience. Dunbar is currently a freelance interaction designer applying his experience-centered approach to the design of digital products and services. He recently worked with Smartface and The Song Room to design an iPad application that transforms classrooms into collaborative music recording studios, allowing students to learn music by recording and mixing samples into songs. In Untrained, his debut dance performance, Dunbar takes his exploration of experience, aesthetics and collaboration into personally uncharted territory, excited about its challenges and discoveries.

Alisdair Macindoe (performer) is a Melbourne-based dancer and choreographer who trained in dance at the VCA. He has performed in works for Chunky Move (Connected, Assembly, Black Marrow and I Like This), Antony Hamilton (Drift), Leigh Warren and Dancers (Seven) and Lucy Guerin Inc. (Conversation Piece, Untrained, Human Interest Story), along with pieces by Katrina Lazarof, Lina Limosani, Nat Cursio Inc, Jo Lloyd, Gerard Van Dyke, Underpass, Bare Bones Collective, BalletLab and Coby Orger. Macindoe has also performed his own creations, including Bromance and 525600LOVE.

Ross McCormack (performer) graduated from the New Zealand School of Dance in 2001 and worked with Douglas Wright Dance Company and the Royal New Zealand Ballet. In 2003, he joined Australian Dance Theatre and in 2005, was awarded a Helpmann Award for his performance in Held. McCormack joined Les Ballets C dela B in 2004 to work with Alain Platel in Belgium and has worked with the company for the past seven years. In 2007, McCormack worked with Lisi Estaras, an Argentinean director/choreographer inside Les Ballets, for the production Patagonia. In 2008, he created Symbiotic a graduation work at the New Zealand School of Dance.

In 2009, he was commissioned to create his first full-length work, Nowhere Fast, for Dance North (Australia), which recently toured to the Macua Festival in Hong Kong. In 2010, McCormack returned to Belgium to work with Alain Platel and Les Ballets on Out Of Context, a work in dedication to Pina Bausch. He is now based in New Zealand and Australia and continues to tour with Les Ballets C del a B. In 2011, McCormack performed with Chunky Move in Connected.

Jake Shackleton (performer) attended the University of Melbourne’s Conservatorium of Music (2000–03) where he studied classical piano. After working a few different odd jobs here and there, a prosperous career in music seemed unlikely, so Jake returned to study in 2008. In 2011, Shackleton graduated with a Bachelor of Environmental Science (Chemistry) and a Bachelor of Business (Management) from the Royal Melbourne Institute of Technology (RMIT). He currently works as an environmental engineer for the Port of Melbourne Corporation, ensuring that shipping operations are conducted in an environmentally responsible manner. In his work Shackleton also helps develop long-term solutions to the impacts of climate change on the Port of Melbourne and to promote ideas that reduce the Port’s carbon footprint. Pianist to environmental engineer seems like an unlikely transition, and Jake is looking forward to keeping future employers baffled by adding (un)trained dancer to his resume.

Lucy Guerin Inc. is an Australian dance company established in Melbourne in 2002 to create and tour new dance works. Renowned for the skill and originality of its small group of performers, it is a flexible organization dedicated to challenging and extending the art of contemporary dance. The company is committed to the exploration of everyday events and the redefinition of the formal concerns of dance. New productions are generated through an experimental approach to creative process and may involve voice, video, sound, text and industrial design as well as Guerin’s lucid physical structures. Crucially, this is always a choreographic exploration, striving for visual, emotional and physical revelations that could not be generated or communicated in any other art form than dance.

Lucy Guerin Inc. has been a major influence on the growing identity of Australian dance, which stems from the company’s programmatic research into choreographic practice supported through several initiatives. Pieces for Small Spaces is its annual curated program for new dance works by emerging choreographers in Melbourne. First Run provides an opportunity for artists to share their current practice through studio showings of first-draft works. The company also offers workshops with local and international artists, presents one-off special events and maintains an artist-in-residence and secondment program.

Lucy Guerin, Artistic Director Michaela Coventry, Executive Producer Laura Levitus, Assistant Producer Board Members: Cory Parfett (Chair), Elly Bloom, Michaela Coventry, Lucy Guerin, Peter McCoy, Lorrae Nicholson, Sarah Miller, Chloe Munro and Gary Rothville lucyguerininc.com

Lucy Guerin Inc. would like to thank Ross Coulter, Antony Hamilton, Simon Obarzanek and Byron Perry, the original cast of Untrained.

This tour was supported by Arts Victoria. In 2012, Lucy Guerin Inc. has been supported by the Australia Council for the Arts, Arts Victoria, City of Melbourne, Besen Family Foundation, Ian Potter Foundation, Sidney Myer Fund and the Angior Family Foundation.

Question & Answer Session Moderators Ruth Rosenberg (12/6) is the artist engagement coordinator for the Mondavi Center, UC Davis. She started her career as a dancer, performing with the Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco before founding her own company, the Ruth Rosenberg Dance Ensemble.

She is a recipient of numerous awards and honoraria, including a Dance Fellowship and five choreography grants from the Sacramento Metropolitan Arts Commission.

Nita Little (12/7) is internationally recognized as a pioneer in improvisational dance. She participated in the emergence and development of Contact Improvisation in 1972. She has been exploring the embodied mind in the physics of motion, creative action and the performance of presence ever since.

Little tours worldwide teaching technical and creative skills through improvisational techniques. Now a doctoral candidate in Performance Studies, her writing furthers the work of physical philosophy into a mind-body pedagogy for dancers.

David A. Hawkins (12/8) is a professor of Neurobiology, Physiology and Behavior in the College of Biological Science, UC Davis. He works in the Human Performance Laboratory, where he studies the basic structure and function of the musculoskeletal system and its influence on human movement performance and develops tools and interventions based on this information that can be used to increase human quality of life by increasing physical performance capabilities while minimizing the risk of injury.

The Dancer Films

The Dancer Films are a collection of very short films based on legendary cartoonist Jules Feiffer’s beloved character, the modern Dancer—with a live dancer.

Audiences may remember The Dancer (she hasn’t aged) or may be meeting her for the first time. Cool men, bad weather and stultifying past Presidents sometimes foil her efforts to dance; she springs back with an irrepressible desire to express herself as she navigates the complicated, bracing and rapturous world in which we all reside.

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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 4: dec 2012

Cantus Theater LattĂŠ Da

Photo by Curtis Johnson

All is Calm: The Christmas Truce of 1914

A Mondavi Center Special Event Saturday, December 8, 2012 • 8PM Jackson Hall, Mondavi Center, UC Davis

Aaron Humble, Tenor Paul J. Rudoi, Tenor Gary Ruschman, Tenor Shahzore Shah, Tenor David Walton, Tenor Adam Reinwald, Baritone Matthew Tintes, Baritone Chris Foss, Bass Timothy C. Takach, Bass Actors: Matt Rein, David Roberts, Alan Sorensen

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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cantus

by jeff hudson

Cantus returns to Jackson Hall this evening with All Is Calm—a thoughtful piece they presented here in December 2009. Ever since I attended that performance, I’ve been turning over these questions in my mind: Is it a concert with a storyline and dramatic interludes? Or is it a play, with an abundance of singing? Personally, I think it’s (more than anything) the kind of performance that once formed the foundation of live radio broadcasts back in the day, before television, augmented with visuals for the benefit of those of us in the seats (as compared to those listening to radios at home, using their imaginations to “see” the pictures).

“Swing Low, Sweet Chariot,” “Ezekiel Saw de Wheel” and of course the title track. There are several historic arrangements by Henry Burleigh, the black singer from Erie, Pennsylvania, who served as personal assistant to Antonín Dvořák in the 1890s during the Czech composer’s three-year sojourn in America—Dvořák would often ask Burleigh to sing spirituals at his home in the evening and encouraged Burleigh to write the old traditional songs down and publish them.

There is, of course, an album version of All Is Calm, which came out in 2008. But Cantus has quite a few other albums as well:

—The Christmas albums, and there are several of them. Christmas with Cantus dates from 2011, while the two volumes of Comfort and Joy date from 2004 and 2005, respectively. And, of course, All Is Calm is a Christmas album as well, albeit of a somewhat different stripe.

—That Eternal Day (2011). A collection of American music that includes several classic Negro spirituals (“He Never Said a Mumberlin’ Word,” “Been in the Storm”), hymns like “In The Sweet By and By,” choral works written in New England in the 1700s by self-taught composer William Billings (who earned a very modest living tanning hides) and jazz vocalist Bobby McFerrin’s setting of Psalm 23, dedicated to his mother.

—The new release, On the Shoulders of Giants, which came out on October 23. This survey ranges from ancient choral masters (Thomas Tallis, Claudio Monteverdi), up through German standards (Schubert, Schumann, Mendelssohn) to Americans like Stephen Foster, Randall Thompson and Leonard Bernstein. You’ll also find the “Finlandia Hymn” by Sibelius, “MLK” (adapted from U2), and “Zikr” by Bollywood composer A.R. Rahman.

—While You Are Alive (2008). A set of contemporary choral works incorporating poetry, including the first recording of several works and a multi-part piece commissioned by Cantus.

—Deep River (2003). A blast-from-the past (dating from the days when Cantus had 12 singers, rather than nine), this album features spirituals, spirituals, spirituals, in a handsome a cappella format.

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Mondavi Center Presents Program Issue 4: dec 2012

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

Program Prelude Carols for Male Voices, arr. Ralph Vaughan Williams

“God Rest You Merry”

“As Joseph Was A-walking”

“The First Noel”

“The Lord at First”

“Coventry Carol”

“I Saw Three Ships”

The Return to Battle “Auld Lang Syne” Scottish Folk Tune, arr. Timothy C. Takach Epilogue “The Last Post” English Bugle Call

“Silent Night” (Reprise) Franz Gruber, arr. Erick Lichte All songs harmonized by Cantus except where noted.

Pause

Prologue

“Will Ye Go to Flanders?”

Scottish Folk Song, arr. Erick Lichte The Optimistic Departure “Come on and Join” (Alexander’s Ragtime Band)

Irving Berlin “God Save the King” English Traditional “It’s a Long Way to Tipperary”

Jack Judge and Harry Williams “Les Godillots”

Paul Briollet and Eugene Rimbault,

based on traditional French song The Grim Reality “Pack Up Your Troubles” George Henry and Felix Powell

“The Old Barbed Wire” English Traditional

“I Want to Go Home” Lieut. Gitz Rice “Deutschlandlied” Franz Joseph Haydn

“Keep the Home-Fires Burning” Ivor Novello Christmas “Christmas in the Camp” Harrington and Scott

“We Wish You a Merry Christmas” English Traditional Carol

“Die Wacht am Rhein”

Karl Wilhelm

“Christmas Day in the Cookhouse” Traditional English

“O Tannenbaum” German Carol, arr. Timothy C. Takach The Truce “Silent Night” Franz Gruber, arr. Erick Lichte

“Angels We Have Heard on High” French Traditional

“Bring a Torch” Jeannette, Isabella, French Carol

“In Dulci Jubilo” German Carol

“Wassail” Erick Lichte, based on traditional texts

“Minuit chrétiens” (“O Holy Night”) Adolph Adam, harm. Erick Lichte

“Will Ye Go to Flanders?” (Reprise) Scottish Folksong, arr. Erick Lichte

“Wie schön leuchtet der Morgenstern” Philip Nicolai, arr. Erick Lichte

“Good King Wenceslas” Piae Cantionis

Program Notes Creating All is Calm: The Christmas Truce of 1914 I studied World War I in high school and college, but I don’t remember reading about the Christmas Truce in any of my textbooks. If I had, I certainly would have remembered. This extraordinary event took place in 1914, the first year of the war, and was never repeated.

Thousands of men put down their guns and left their trenches to meet their enemies in No Man’s Land. They exchanged gifts of tobacco, rum and chocolates; even photographs of loved ones. They sang songs, played a game of soccer and buried each other’s dead.

Upon orders from above, they eventually returned to their trenches and re-instigated a war that would last four more years.

So why did I not learn of this remarkable event? The propaganda machine of war is powerful, and news of soldiers fraternizing across enemy lines would put a human face on the Germans and readily undermine public support for the war. The heroes of this story are the lowest of the ranks—the young, the hungry, the cold and the optimistic—those who acted with great courage to put down their guns, overcoming a fear that placed a gun in their hands in the first place. Their story puts a human face on war, and that’s the story I hope to tell.

In 2005, I attended a Cantus Christmas concert. I was struck by not only their remarkable sound, but also how their work was pushing the boundaries of chamber music in the ways Theater Latté Da was pushing the boundaries of musical theater. I approached Cantus about collaborating on a piece about the Christmas Truce. They immediately said yes, and our work began.

I am interested in creating performance where the content dictates the form. In the creative process I continually ask myself: If the characters were left to their own devices, how would they tell their story?

What language, what tools were available to them? There was our answer—radio. Radio was critical to military operations; it was the primary means of mass communication and mass entertainment. Our piece would be a radio musical drama, using only the tools of radio: music and text. The music ranges from trench songs to patriotic and sentimental tunes, as well as Christmas music from the participating countries. The text is taken from a wide range of sources including letters, journals, official war documents, poetry and grave stone inscriptions—even an old radio broadcast.

One of the reasons I love working in the theater versus film or television is because the theater is a two-way street. It asks the audience to engage their imagination in order to complete the story. So, here are the words and the songs of these remarkable men. Completing the story, putting a human face on war—well, that’s up to you.

To the thousands of men who changed history, thank you. May we do your story justice.

—Peter Rothstein MondaviArts.org

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People Cited Private Frank Bass, 9th Battalion Norfolk Regiment Robert Burns, 7th Queen’s Own Cameron Highlanders Dick Barron, 2nd London Mounted Brigade Winston Churchill, First Lord of the Admiralty Private W. T. Colyer, Artists’ Rifles Corporal John Fergusen, Seaforth Highlanders Count Gleichen, Brigadier General, 15th Brigade Captain Sir Edward Hulse, Scots Guards Hugo Klemm, 133rd Saxon Regiment Maurice Laurentin, Commandant 6e Compagnie Francis Edward Ledwidge, Royal Inniskilling Fusiliers Second Lieutenant Geoffrey Lillywhite, Royal Engineers George Littlefair, Durham Light Infantry Private Tom Macdonald, 9th Battallion Royal Sussex Regiment Patrick MacGill, London Irish Regiment Lt. General C.F.N. Macready, British Army Private Peter McGregor, 14th Battallion Argyle &

Sutherland Highlanders Albert Moren, 2nd Queen’s Regiment Sgt. G. H. Morgan, Royal Warwickshire Regiment Oberstleutnant Johannes Niemann, 133rd Royal Saxon Regiment Wilfred Owen, Manchester Regiment Second Lieutenant Arthur Pelham-Burn, 6 Gordon Highlanders Pope Benedict XV Jack Rogers, Sherwood Foresters Siegfried Sassoon, Royal Welch Fusiliers Private Frank Sumpter, London Rifle Brigade Private Jack Sweeney, 1st Battallion, Lincolnshire Regiment G. T. Forrestier-Walker, Brigadier General Frank and Maurice Wray, London Rifle Brigade

Matt Rein (actor) Hometown: Minneapolis, MN. Stage Credits: The Guthrie Theater, Park Square Theatre, Illusion Theater and Children’s Theatre Company.

David Roberts (actor) Hometown: St. Paul, MN. Stage Credits: Jungle Theater, Theater Latté Da, Commonweal Theatre, Minnesota Jewish Theatre, Plymouth Playhouse, Theater Mu, Children’s Theater Company and Illusion Theater.

Alan Sorensen (actor) Hometown: Minneapolis, MN. Stage Credits: Mixed Blood, Park Square, Gremlin, Frank Theatre, Minneapolis Musical Theatre, History Theatre, Starting Gate, Bloomington Civic Theatre, TRP and the Minnesota Opera.

Aaron Humble (tenor) Hometown: Kent, OH. Education: M.M. and D.M. Indiana University; BM Millikin University. All Degrees in Vocal Performance and Literature.

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Mondavi Center Presents Program Issue 4: dec 2012

Paul Rudoi (tenor) Hometown: Keene, NH. Education: B.M. Vocal Performance, The Hartt School.

Gary Ruschman (tenor) Hometown: Erlanger, KY. Education: M.M., San Francisco Conservatory of Music; B.M., Northern Kentucky University.

Shahzore Shah (tenor) Hometown: Chicago, IL; then Stillwater, MN. Education: B.M. Vocal Performance, B.M. Music Education, B.A. French, Lawrence University Conservatory of Music.

David Walton (tenor) Hometown: Nashville, TN. Education: M.M. Vocal Performance, University of Mississippi; B.M.E. Music Education, Harding University.

Adam Reinwald (baritone) Hometown: Eugene, OR. Education: B.M. in Vocal Music Education, St. Olaf College.

Matthew Tintes (baritone) Hometown: Fargo, ND. Education: M.M. Vocal Performance, University of Wisconsin—Madison; B.M. Secondary Vocal Music Education, North Dakota State University.

Chris Foss (bass) Hometown: Council Bluffs, IA. Education: M.M. Choral Conducting, University of Nebraska; B.M. Commercial Music, Millikin University.

Timothy C. Takach (bass, arranger) Hometown: Lake Zurich, IL; then Eden Prairie, MN. Education: B.A. in Music Theory/Composition, B.A. in Studio Art, St. Olaf College.

Erick Lichte (arranger) Hometown: Appleton, WI. Education: B.M. in Music Education, St. Olaf College.

Peter Rothstein (playwright, director) Hometown: Grand Rapids, MN. Directing Credits: Guthrie Theater, Children’s Theatre Company, The Playwrights’ Center, Illusion Theater, Minnesota Jewish Theatre, Ten Thousand Things and the Minnesota Opera.

Cantus, acclaimed as “the premier men’s vocal ensemble in the United States” (Fanfare), is known worldwide for its trademark warmth and blend and its engaging performances of music ranging from the Renaissance to the 21st century. The Washington Post has hailed the ensemble’s sound as having both “exalting finesse” and “expressive power” and refers to its music making as “spontaneous grace.” Cantus performs more than 70 concerts each year both in national and international touring, as well as in its home of Minneapolis-St. Paul, Minnesota. Past performances have brought Cantus to the stages of the Kennedy Center, UCLA, San Francisco Performances, Atlanta’s Spivey Hall, Bravo! Vail Valley Music Festival and New York’s Merkin Concert Hall, to name just a few. During the 2012–13 season, Cantus makes its first trip to the Middle East with appearances in Muscat, Oman, Dubai and UAE, along with performances in Chicago, Washington, D.C. and Dallas/Fort Worth among numerous other North American engagements.

As one of the nation’s few full-time men’s ensembles, Cantus has grown in prominence with its distinctive approach to creating music.

Working without a conductor, the members of Cantus rehearse and perform as chamber musicians, each contributing to the entirety of the artistic process.

Committed to the expansion of the vocal music repertoire, Cantus actively commissions new music for men’s voices including work from Nico Muhly, Lee Hoiby, Steven Sametz, Kenneth Jennings, Peter Hamlin, Edie Hill and Robert Kyr. Cantus has received commissioning grants from the National Endowment for the Arts, American Composers Forum and Chamber Music America.

Cantus has a rich history of collaborations with other performing arts organizations, including the Saint Paul Chamber Orchestra, the Boston Pops, James Sewell Ballet and the Minnesota Orchestra. Each holiday season in partnership with Theater Latté Da, the ensemble continues to tour its celebrated presentation of All is Calm: The Christmas Truce of 1914 throughout the country. The ensemble is heard frequently on public radio including Performance Today, their annual Thanksgiving program Thanksgiving with Cantus and two recent performances on A Prairie Home Companion with Garrison Keillor.

Cantus is the recipient of numerous awards, including Chorus America’s highest honor, the Margaret Hillis Award for Choral Excellence (2009), as well as Chorus America’s Education Outreach Award (2011). Cantus was also the 2010–11 Artist in Residence on Minnesota Public Radio and American Public Media’s Performance Today.

Integral to the Cantus mission is its commitment to preserve and deepen music education in the schools. Cantus works with more than 5,000 students each year in masterclass and workshop settings across the country. Now in its fifth year, the award-winning High

School Residency program brings Cantus into Minnesota schools several times a year at no charge for mentoring with a culminating public concert in the spring.

Cantus has released 14 albums on its own self-titled label, each to considerable acclaim. Of That Eternal Day (2010), The New York Times said, “The Cantus recording offers many satisfactions, none greater than a touching, ineffably simple performance of The 23rd Psalm (dedicated to my mother) by Bobby McFerrin.” The newest Cantus recording, On the Shoulders of Giants, was released in October.

Theater Latte Da is a Twin Cities-based musical theater company recognized for its ability to connect artists, audiences and communities through diverse stories that resonate with our current world.

Committed to innovative musical theater, Theater Latté Da’s bold approach expands the genre by originating new works, radically reinventing classics from the musical theater canon and experimenting with unusual forms, musical styles and storytelling techniques.

Founded in 1998 by Artistic Director Peter Rothstein and Music Director Denise Prosek, Theater Latté Da boasts an impressive history of work that has received significant popular and critical acclaim including 50 main stage productions, with eight world premieres, a new works initiative and a student matinee program for teens. For more information, please visit www.LatteDa.org.

Recordings available at today’s concert On the Shoulders of Giants (2012). There are artists who have left an indelible mark in music with works that are both timeless and instantly recognizable. On the Shoulders of Giants includes repertoire that spans nearly a thousand years from “Sederunt”—one of the first known works of polyphony—to U2’s “MLK,” along with works by Sibelius, Mendelssohn, Schubert and Randall Thompson.

Christmas with Cantus (2011). The men of Cantus bring the sounds of the holidays to you and your family. Including audience favorites “Do You Hear What I Hear,” “Carol of the Bells,” “Noël Nouvelet,” “Have Yourself a Merry Little Christmas” and of course the Franz Biebl “Ave Maria,” this collection of songs old and new is full of light and life.

That Eternal Day (2010). This recording is a wonderful collection of American sacred music. Including audience favorites “There’s a Meetin’ Here Tonight,” “Wanting Memories” and new arrangements of “Keep Your Lamps,” “Sweet By and By” and “Simple Gifts,” this program is emotionally invigorating and musically fulfilling.

All Is Calm: The Christmas Truce of 1914 (2008). The Western Front, Christmas, 1914. Out of the violence comes a silence, then a song.

A German soldier steps into No Man’s Land singing “Stille Nacht.”

Thus begins an extraordinary night of camaraderie, music, peace. A remarkable true story, told in the words and songs of the men who lived it.

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Friday, december 7, 2012 Jackson Hall, mondavi center

7:00 pm

University Chorus | Jeffrey Thomas, conductor UC Davis Symphony Orchestra | Christian Baldini, music director and conductor Pacific Boychoir | Kevin Fox, director Mozart: Laudamus Dominum from Vesperae solennes de confessore, K. 339 Beethoven: Fantasia for Piano, Chorus, and Orchestra in C Minor, op. 80 Steven Bailey, piano Andrew Lloyd Webber: Requiem Shawnette Sulker, soprano Wesley Rogers, tenor $8 Students & Children, $12/15/17 Adults | Standard Seating

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American Bach Soloists Holiday Concert American Bach Soloists and American Bach Choir San Francisco Girls Chorus Mary Wilson, soprano Jeffrey Thomas, music director

GLORIA! A Baroque Christmas

A Mondavi Center Special Event Sunday, December 16, 2012 • 4PM Jackson Hall, Mondavi Center, UC Davis

Sponsored by

Gloria in D Major, RV 589

San Francisco Girls Chorus Brett Ruona, Cheryl Cain, Rita Lilly, sopranos William Sauerland, countertenor

Vivaldi

Concerto in G Minor, “Fatto per la notte di natale,” Op. 6, No. 8

Vivace—Grave • Allegro

Adagio—Allegro—Adagio • Vivace

Allegro • Largo (Pastorale ad libitum)

Corelli

Elizabeth Blumenstock & Tekla Cunningham, violins William Skeen, violoncello • Corey Jamason, harpsichord Intermission

In Nativitatem Domini Nostri Jesu Christi Canticum, H 414

Brett Ruona, Cheryl Cain, Rita Lilly, sopranos

Daniel Harper, tenor

M.A. Charpentier

Four Noëls H 534

A la venue de noël • Joseph est bien marié

Or nous dites, Marie • Où s’en vont ces gais bergers?

M.A. Charpentier

Laudate, pueri, Dominum, HWV 237

Mary Wilson, soprano

Handel

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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—Sacramento Magazine (2010)

AUTHOR’S TALK

ISABEL WILKERSON The Warmth of Other Suns: The Epic Story of America’s Great Migration February 12, 2013 8 PM–9:30 PM Jackson Hall ROBERT AND MARGRIT MONDAVI CENTER FOR THE PERFORMING ARTS To purchase tickets, please visit mondavicenter.ucdavis.edu or call the Mondavi Center Box Office at (530) 754-2787.

CAMPUS COMMUNITY BOOK PROJECT The Campus Community Book Project was initiated after September 11th to promote dialogue and build community by encouraging diverse members of the campus and surrounding communities to read the same book and attend related events. The book project advances the Office of Campus Community Relations’ mission to improve both the campus climate and relations, to foster diversity and to promote equity and inclusiveness.

For more information about the Campus Community Book Project and other events visit occr.ucdavis.edu/ccbp2012/.

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Program Notes Gloria in D Major, RV 589 Antonio Vivaldi (1678–1741) The course of Antonio Vivaldi’s professional career is well charted and rather uncomplicated. At the age of 25, he was ordained (leading to his subsequent nickname as the “Red Priest,” owing to his red hair) and began his appointment at the Pio Ospedale della Pietà, a home for abandoned children in Venice. He remained in the employ of that organization until the year before his death, despite occasional absences in order to follow his career as a successful composer of opera that took him to Mantua, Vienna and Prague. In his final year—his music having gone out of fashion— he moved to Vienna, primarily to take on a position as composer at the imperial court of Charles VI, Holy Roman Emperor. But shortly after his arrival, the emperor died, leaving Vivaldi without any solid source of steady income. Vivaldi died a pauper less than a year later.

His nearly four decades of service to the Ospedale brought fame to Vivaldi and to the orchestra and chorus that were under his direction. Boys at the orphanage were taught a trade and were forced to leave at the age of 15, but the girls received musical education and the most talented ones became members of the ensembles that performed for the public, and which quickly gained in reputation and esteem throughout Europe. Hundreds of compositions were written for the girls, whose abilities were astoundingly impressive.

In the chorus, the soprano, alto, and even tenor parts were sung by the young, budding virtuosi and bass parts were probably sung by older women, including one known as Anna dal basso. Another notion is that some of the tenor and bass choral parts would have been sung an octave higher by additional sopranos and altos.

Vivaldi showcases his charges in the solo movements of the Gloria, all set for soprano or alto. Several of the movements present nice details of text-expression. After the exuberant opening movement in D major, Vivaldi shifts to the more somber key of B minor for “Et in terra pax”; descending arpeggios in the strings over a throbbing bass line suggest a literal descent of peace from above, and moments of adventuresome chromatic harmony in the choral writing suggest that the attainment of peace may not be altogether easy. Later, in the “Domine fili,” the bass line repeats a stepwise descent through an octave, in the manner of a ground bass, suggesting the “descent” of Christ to human form alluded to in the text. More rich chromatic writing appears in “Qui tollis peccata,” evocative of the pain of sin. The opening material of “Gloria in excelsis” makes a brief return as the text reverts to praise and jubilation at “Quoniam tu solus.” This gives way to a double fugue on “cum sancto spiritu” for the final section; Vivaldi cribbed this fugue from a lesser-known compatriot, Ruggieri, adapting it not only in this Gloria, but in his other setting, RV 588, as well. Even if he was shy of creating his own contrapuntal structures, he shows a sure hand in adapting his colleague’s material; the fugue brings the Gloria as a whole to a fitting end.

—Alan Lewis and Jeffrey Thomas

Concerto Grosso in G Minor Op. 6, No. 8 “Fatti per la notte di natale” (Composed for the evening of the Nativity) Arcangelo Corelli (1653–1713) Arcangelo Corelli’s career flourished during one of Rome’s most artistically fertile periods. He was born in 1653 near Ravenna to a family of well-to-do landowners, and was sent to study the violin in Bologna, home of a number of famous string players who handed on the tradition to their young prodigies. By 1675, he had moved to Rome where he quickly established himself as one of the city’s greatest virtuosos and most celebrated musicians, known equally as a performer and composer. He earned further fame as an orchestral director who imposed exceptional discipline on his players. He led performances in the homes of Queen Christina of Sweden, Cardinal Benedetto Pamphili and Cardinal Pietro Ottoboni; and directed public concerts at civil ceremonies, religious services or private banquets. Throughout the 1680s and 1690s his works appeared in print at regular intervals, culminating in the celebrated Opus 5 sonatas.

The decades surrounding 1700 saw a rapid increase in the number of music publishers and music publications in Europe. Corelli was among the composers who most benefited from the expanded audience and wider dissemination of instrumental music. He was the first popular composer whose reputation derived from his publications, and because of them, his works became the earliest instrumental classics. The Opus 5 violin sonatas, for example, went through 42 editions and countless arrangements and parodies in the century from its publication to 1800. From about 1710, Corelli retired from public appearances and concentrated on selecting and revising pieces for the set of concertos that he would publish as Opus 6. The set was published in 1712 in Amsterdam, where they were beautifully engraved rather than printed from moveable type.

While Corelli certainly composed a vast quantity of chamber music, only his 12 concertos for two violins and violoncello—along with an Introduction and Sinfonia to Giovanni Lorenzo Lulier’s oratorio Santa Beatrice d’Este—are all that remain of his orchestral music.

Corelli’s collection of concerti grossi represents a lifetime of public performance, during which he may have composed well more than a hundred concertos. These 12 are in fact a set of individual movements, assembled by Corelli to form models of his concerto grosso style. Corelli repeatedly made improvements to his works, hardly being able to leave well enough alone. And all the Opus 6 concertos have more movements than a typical concerto, providing yet another reason to believe that they were assembled from various manuscripts. It is likely that any one of them derives material from as many previous sources as there are movements.

They are usually divided into two groups. The first eight are in the sonata da chiesa (church sonata) style, though only one—the socalled “Christmas concerto” with its final pastoral movement—has a tie to religious imagery or celebrations. The last four follow the format of the sonata da camera, indicated by the presence of dance movements. But such a division hardly does justice to either the heterogeneity or the kaleidoscopic variety of Opus 6. The style of the music reflects Corelli’s playing style: “learned, elegant, pathetic,” in the words of one contemporary. All the concertos are models of subtlety and nuance, and they share a singing, cantabile expressiveness that spurred a thousand imitations.

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In 1708, he wrote “[I am] fully aware of my own weaknesses, so that only recently, in spite of numerous, long drawn-out corrections, I scarcely had the confidence to put before the public eye those few works I entrusted to the printer.” Despite his humbleness, these concertos are brilliant examples of the oft-changing and contrasting elements that are so integral to Corelli’s compositional style. It is interesting to note the full title of the collection: Concerti Grossi con duoi Violini e Violoncello di Concertino obligati e duoi altri Violini, Viola e Basso de Concerto Grosso ad arbitrio, che si potranno radoppiare (Concerti grossi for two violins and violoncello in the obligatory solo group and two other violins, viola and bass in the orchestra [ripieno], which is optional and whose numbers may be increased). In other words, the elasticity of their scoring enables performances by as few as three or four players or as many as are available.

—Jeffrey Thomas and Michael Zweibach.

In Nativitatem Domini Nostri Jesu Christi Canticum is a motet or cantata based on a text from Luke 2:8-16. It is a typical pastorale, featuring a prelude depicting the calm of the night before the shepherds are told of the birth of Jesus. The text is a poetic paraphrase of Luke 2: 8-16. In a scene that reminds us of other settings by Bach and Handel, we are told by the Evangelist (sung as a soprano duet) about the visitation upon the shepherds by an angel. The angel (solo soprano) sings an especially lovely aria, accompanied by two violins and continuo. The shepherds then sing a rousing six-part chorus as they prepare to make their journey to the crib. The joy and exhilaration is reiterated in the following “march.” But the work’s most touching moment is the final movement. Despite the warnings of the Evangelist (this time sung by a tenor) that we are about to hear an “artless” but heartfelt song of adoration, it is hardly artless. Rather we hear three verses of one of the most beautiful, lilting and peaceful melodies to have come from Charpentier’s pen.

—Victor Gavenda and Jeffrey Thomas

In Nativitatem Domini Nostri Jesu Christi Canticum, H 414 (Song of the Birth of our Lord Jesus Christ) Marc-Antoine Charpentier (1643–1704) The exact date of Marc-Antoine Charpentier’s birth in Paris is lost to us, but it probably was around 1640, give or take a decade.

While still a youth he spent several years in Rome, studying with Carissimi, a composer best remembered today as the inventor of the oratorio. Charpentier brought back from Italy not only a fine sense of dramatic church music, but also a keen appreciation for the ability of music to depict intense emotions, particularly through the introduction of chromaticism. These characteristics, when blended with Charpentier’s native French taste for suave melody, dense, dissonant harmonies and a lively instrumental palette, produced a remarkable and distinctive musical language. The richness of his style did not go unnoticed by his contemporaries, whether for good (“Ninths and tritones glittered under his hands”) or for ill (“Such mournful chords grate on our ears”), but was a clear expression of his philosophy: “Diversity is the soul of music.”

After his return from Italy, Charpentier seems to have plunged headlong into Parisian musical life, in which he was enormously successful, even without ever holding an official post at court.

Around 1670 he began a fruitful collaboration with Molière, composing for the theatrical troupe which became (in 1680) the Comédie Française. He was employed during the 1680s by the Duchess of Guise, one of the most benevolent patrons of music in France. All the while, he steadily built his reputation as composer of church music, receiving commissions from a wide range of ecclesiastical establishments. For unknown reasons, Charpentier gravitated towards the Jesuits, composing occasional works for a number of their colleges and finally being named to the post of maître de musique for the principal Jesuit church in Paris, St. Louis. The church is still there (now called St. Paul-St. Louis), next to the St-Paul Métro stop in the Marais. The pinnacle of Charpentier’s career came in 1698, when he was appointed maître de musique of the Sainte-Chapelle. It is difficult to imagine now, when that exquisite building is embedded within a warren of offices which contain the bureaucracy of the French judicial system, but in those days the Sainte-Chapelle was the chapel of the royal palace on the Île de la Cité; only the director of music at the royal chapel at Versailles ranked higher. Here he remained until his death in 1704.

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Four Noëls H 534 A la venue de noël (At the Coming of Christmas) Joseph est bien marié (Joseph is Well Betrothed) Or nous dites, Marie (Now tell us, Mary) Où s’en vont ces gais bergers? (Where are those Happy Shepherds Going?)

Especially during the 17th and 18th centuries, French composers routinely prepared settings of Noëls, or Christmas carols.

Charpentier’s slightly senior colleagues—among them Jean-Nicolas Geoffroy (1633–94), Nicolas Gigault (1627–1707) and Nicolas Lebèque (1631–1702)—wrote arrangements for organ, a practice that was again taken up a generation or two later by Louis-Claude d’Acquin (1694–1772). Charpentier’s slightly younger colleague, Michel-Richard Delalande (1657–1726), composed a famous set of orchestral Symphonies des Noëls for the Chapelle Royale, the ensemble of singers, organists and instrumentalists who provided music for the royal chapel of the French kings. While it is uncertain whose orchestral settings came first, Charpentier’s simple harmonizations are a joy to hear. He captured both the lightness of their dance-like structures, while maintaining a quiet sobriety appropriate to the liturgy of the Christmas midnight mass.

—Jeffrey Thomas

Laudate, pueri, Dominum, HWV 237 (Praise the Lord, ye servants) George Frideric Handel (1685–1759) At the age of 21, George Frideric Handel embarked on an expedition that would prove enjoyable, enlightening, profitable and integral to his career. The Florentine prince Gian Gastone de’ Medici had invited Handel to visit Italy. He packed up his things in Hamburg—where he had been employed at the Hamburg Opera for two years and premiered his first two operas (with German librettos)—and in August 1706 began his journey to Florence, Rome, Naples and Venice. Italy was the center of European music, and one of the most valuable traits of Italian music was the expressive style in which its composers wrote for the voice. Italian vocal writing was characterized by its qualities of suppleness, expansive-

ness, flexibility and lyricism. Handel would quickly master the art, and Italian opera would become the bedrock of his career. But in Rome, where he spent most of his time from 1706–10, papal decrees had closed the public theaters since 1698, the ban not lifted until 1709. Nevertheless, the musical styles of opera, barely disguised, were manifested in concert performances and in particular through the Italian cantata.

Opera had already become Handel’s passion. His experiences at the Hamburg Opera and the intellectual and musical stimulation he enjoyed there with his friend and fellow composer Johann Mattheson had made permanent impressions. But now he was in Rome where opera was—at least for the time being—an unprofitable medium. The genre that would provide Handel with the most opportunity to grow and to succeed as a composer was the Italian cantata. In fact, Handel would compose more than a hundred such cantatas during the few years of his Italian journey. It was a popular genre, due in part to the constraints of the papal ban, and further supported by the patronage of foreign visitors and local aristocrats—ironically including church officials—who were eager to hear the considerable talent of Venetian singers put to good use, even if opera was out of the question. Performances of cantatas, which in some cases were actually operas in all ways except by name, were often presented in the “academies” held in the private theaters of discerning (and wealthy) patrons of the arts. These academies were the outgrowth of the scuole grandi (charitable fraternities) popular in Venice during the previous century.

A notable manifestation of the flexibility of Handel’s social and musical skills is the fact that he was engaged to compose music for the Roman Catholic liturgy within only a few months of his arrival in Rome. He was, of course, a rather staunch Lutheran, and remained so all of his life, not even conceding to the implications by the British monarchs (later in his life) that he should consider a conversion to the Church of England. The Latin church music he composed in Rome is superb. His lifelong reputation could have been set on the basis of the stunning “Dixit Dominus” alone, composed in 1707. But many more equally compelling works come from those years, including the “Laudate, pueri, Dominum” of 1707. It represents (perhaps intentionally?) a veritable catalogue of Italian musical forms, all masterfully employed by Handel. Each movement has a different texture including ritornello form (first movement), trio sonata texture (“Sit nomen Domini” and “Qui habitare facit”), typical imitative polyphony (“A solis ortu usque”), concerto grosso style (“Exclsus super omnes”), homophony (“Quis sicut Dominus”), continuo aria (“Suscitans a terra”) and the hybrid style of the final movement with its predictable return to the music of the first movement at the words “Sicut erat in principio” (“as it was in the beginning”).

—Jeffrey Thomas

Nevertheless, and operatic restrictions notwithstanding, Handel was in Italy to hone what would become his mature musical style, absorbing technique at every turn, developing his traits of adaptability and malleability and showing the Italians that he could one-up their skills and produce “Italian” music better than native composers. Perhaps recalling the intuitions he felt as a young boy, however, he was there for another reason, too. Donald Burrows, the most important living biographer of Handel, wrote that “Handel wanted to be where the music was, and where the patrons were”—that is certainly what he found.

One generous patron was the Marchese (later Prince) Francesco Maria Ruspoli, whose Roman palace and country estates were the venues for performances of Handel’s works. Handel had been engaged by Ruspoli between 1707–09 to compose a new secular cantata each week for performances every Sunday. But the Church scrutinized even these private productions. For example, in 1708 Ruspoli was commanded to replace a female singer with a castrato for the role of Mary Magdalene in a performance of Handel’s La Resurrezione. Among the other patrons for whom Handel wrote cantatas were members of the Accademia dell’Arcadia, a literary society that welcomed Rome’s best musicians, and the cardinals Benedetto Pamphili and Pietro Ottoboni. Handel was clearly at ease in the lush and privileged environs in which he found himself. And his talents and charm were met with unending opportunities to compose works including the great cantata, “Delirio amoroso,” to a text supplied by Cardinal Pamphili, who seems to have been quite taken by Handel’s musical gifts. Pamphili expressed some kind of generous affection for Handel in the form of an ode in which he compared Handel to Orpheus, which Handel shyly, but appreciatively, set to music.

10529-78289 License #577000881

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El Macero Country Club •18-hole • Managed

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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.

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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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Texts and Translations

Gloria in D Major, RV 589 Soprano I, Soprano II, Alto solos; SATB chorus; Trumpet; Oboe; Violin I & II; Viola; Basso continuo

Gloria in excelsis Deo.

Glory be to God in the highest.

Et in terra pax hominibus bonae voluntatis.

And in earth peace to men of good will.

Laudamus te; benedicimus te; adoramus te; glorificamus te.

We praise thee; we bless thee, we worship thee; we glorify thee.

Gratias agimus tibi

We give thanks to thee

propter magnam gloriam tuam.

for thy great glory.

Domine Deus, Rex coelestis, Deus Pater omnipotens.

Lord God, heavenly King, God the Father almighty.

Domine Fili unigenite Jesu Christe altissime:

Domine Deus, Agnus Dei, Filius Patris:

O Lord, the only-begotten Son Jesus Christ most high:

Qui tollis peccata mundi, miserere nobis: Qui tollis peccata mundi, suscipe deprecationem nostram:

Thou that takest away the sins of the world, have mercy upon us: Thou that takest away the sins of the world, receive our prayer:

Qui sedes ad dexteram Patris, miserere nobis:

Thou that sittest at the right hand of the Father, have mercy upon us:

Quoniam tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe:

Cum Sancto Spiritu in gloria Dei Patris. Amen.

For thou only art holy, thou only art the Lord, thou only art the most high, Jesus Christ:

Lord God, Lamb of God, Son of the Father:

With the Holy Ghost in the glory of God the Father. Amen.

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In Nativitatem Domini Nostri Jesu Christi Canticum, H 414 Soprano I, Soprano II, Alto, Tenor, Baritone solos; SSAATB chorus; Violin I & II; Basso continuo Prelude Recitative of the Evangelist Frigidæ noctis umbra totum orbem tegebat, The shade of the icy night covered all the et immersi jacebant omnes in somno profundo. earth and plunged everyone into a deep Pastores autem Judææ vigilabant sleep. And the shepherds of Judea kept super gregem suum. Et ecce Angelus Domini watch over their flocks. And, lo, an angel of stetit juxta eos, the Lord came and stood beside them, et claritas Dei circumfulsit eos. and the glory of the Lord shone about them.

Timuerunt autem pastores timore magno; Overcome were the shepherds with great fear; et dixit illis angelus: but then the angel said to them:

Air of the Angel Nolite timere, pastores; ecce enim annuntio Fear not, shepherds. For, behold now, vobis gaudium magnum quod erit omni populo: I bring good tidings of joy, which shall be to all people. quia natus est hodie Salvator vester in civitate David; For today in the city of David a Savior unto you is born. et hoc erit vobis signum: And to you shall this be the sign: invenietis infantem pannis involutum Ye shall find the babe all wrapped in swaddling clothes et reclinatum in præsepio. and lying within a manger.

Ite, ite, pastores, et adorate illum. Quickly go ye, shepherds, and there adore Him.

Chorus of the Shepherds Surgamus, properemus, festinemus, Arise now, let us hasten eamus usque Bethlehem. to go unto Bethlehem.

Ibi videbimus puerum qui natus est nobis. There shall we see the child who is born to us.

Ibi laudabimus et adorabimus There shall we offer praise and there adore him, Deum sub forma peccatoris velatum. God now in the form of a sinner lowly disguised.

Quid, quid moramur, quid cunctamur, o pastores in ertes? Why linger, why tarry? O shepherds, so drowsy?

March

Recitative of the Evangelist Euntes autem pastores pervenerunt Anon these humble shepherds did arrive at the place ad locum ubi puer natus erat, wherein the child had been born. et intrantes domum And when they were come into the house, invenerunt Mariam et Joseph they saw Mary and Joseph, et puerum involutum pannis and the child wrapped in swaddling clothes et reclinatum in præsepio. and lying in a manger.

Et procidentes adoraverunt eum, And kneeling there, they sang of inculto sed devoto carmine dicentes: their adoration in artless but devoted song of praise, saying: Air & Chorus of the Shepherds Salve, puerule, salve, tenellule, O nate parvule, quam bonus es.

Tu coelom deseris, tu mundo nasceris, nobis te’ut miseris assimiles.

O summa bonitas, excelsa deitas, vilis humanitas, fit hodie.

Aeternus nascitur, immensus capitur, et rei tegitur, sub specie.

Virgo puer pera, beata viscera, Dei cum opera, dant filium.

Gaude flos virginum, gaude spes hominum, fons lavans criminum proluvium.

Hail, little boy, hail, tender little one, O tiny baby, how good you are!

You have left heaven; you are born on the earth, to make yourself the same as wretched us.

O greatest good, highest deity has become today common humanity.

The eternal is born; the immense is encompassed, and is concealed in the cloak of matter.

Virgin child-bearer, blessed womb, through the work of God they give a son.

Rejoice, flower of virgins, rejoice, hope of mankind, fountain washing the slurry of sin.

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Laudate, pueri, Dominum, HWV 237 Soprano solo; SSATB chorus; Oboe I & II; Violin I & II; Viola I & II; Basso continuo

Laudate, pueri, Dominum; laudate nomen Domini.

Praise the Lord, ye servants; O praise the Name of the Lord.

Sit nomen Domini benedictum ex hoc nunc et usque in sæculum.

Blessed be the Name of the Lord from this time forth for evermore.

A solis ortu usque ad occasum laudabile nomen Domini.

The Lord’s Name is praised from the rising up of the sun unto the going down of the same.

Excelsus super omnes gentes Dominus, et super cælos gloria ejus.

The Lord is high above all nations and his glory above the heavens.

Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in cælo et in terra?

Who is like unto the Lord our God, that hath his dwelling so high, and yet humbleth himself to behold the things that are in heaven and earth?

Suscitans a terra inopem, et de stercore erigens pauperem: ut collocet eum cum principibus, cum principibus populi sui.

He taketh up the simple out of the dust, and lifteth the poor out of the mire; That he may set him with the princes, even with the princes of his people.

Qui habitare facit sterilem in domo, matrem filiorum lætantem.

He maketh the barren woman to keep house, and to be a joyful mother of children.

Gloria Patri, gloria Filio, et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

Glory to the Father, and to the Son, and to the Holy Ghost. As it was in the beginning, is now, and ever shall be; world without end. Amen.

—Psalm 113 (Latin Vulgate Psalm 112)

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American Bach Soloists and American Bach Choir Jeffrey Thomas, music director Trumpet Andreas Stoltzfus Rainer Egger, Basel, 2009; after Johann Leonhard Ehe II, Nuremberg 1746.

Oboe John Abberger H. A. Vas Dias, Decatur, GA; after Thomas Stanesby, Sr., London, circa 1700.

Meg Owens Bernard Schermer, Basel, 1996; after Jonathan Bradbury, London, circa 1720.

Recorder John Abberger Levin & Silverstein, Greenpond, NJ, 1988.

Meg Owens Rob Turner, Charlottesville, VA, 1980.

Violin Elizabeth Blumenstock (leader) Andrea Guarneri, Cremona, 1660. * Tekla Cunningham (principal second) Sanctus Seraphin, Venice, 1746.

Daria d’Andrea Anonymous, Neapolitan school, circa 1760.

Katherine Kyme Johann Gottlob Pfretzchner, Mittenwald, 1791.

Tyler Lewis Timothy Johnson, Hewitt, TX, 2009; after Stradivari, Cremona, 18th century.

Maxine Nemerovski Timothy Johnson, Bloomington, IN, 1999; after Stradivari, Cremona, 17th century.

David Wilson Timothy Johnson, Hewitt, TX, 2007; after Stradivari, Cremona, 18th century.

Janet Worsley Strauss Matthias Joannes Koldiz, Munich, 1733. * The 1660 Andrea Guarneri violin played by Ms. Blumenstock, is made available to her though the generosity of the Philharmonia Baroque Period Instrument Trust.

Viola Kathrine Kyme Anonymous, Germany, 18th century.

Jason Pyszkowski (principal) Jay Haide, El Cerrito, CA, 2008; after Giovanni Paolo Maggini, Brescia, circa 1580.

Clio Tilton Eric Lourme, Le Havre, France, 2009, after Brothers Amati, Cremona, 16th century.

Aaron Westman Francis Beaulieu, Montreal, 2012; after Brothers Amati, Cremona, circa 1620.

Violoncello Elisabeth Reed Anonymous, circa 1685.

William Skeen (continuo) Anonymous, Italy, circa 1680.

Contrabass Steven Lehning (continuo) Anonymous, Austria, circa 1830.

Organ Corey Jamason (continuo) John Brombaugh & Associates, OR, 1980.

Harpsichord Corey Jamason (continuo) John Phillips, Berkeley, CA; after Ruckers-Taskin, 1780.

Soprano Jennifer Brody Cheryl Cain (soloist) Tonia D’Amelio Julia Earl Rita Lilly (soloist) Allison Zelles Lloyd Diana Pray Brett Ruona (soloist) Alto/Countertenor Jesse Antin James Apgar Daniel Cromeenes Katherine McKee William Sauerland (soloist) Tenor John Davey-Hatcher Daniel Harper (soloist) Andrew Morgan Colby Roberts Bass John Kendall Bailey Hugh Davies Jefferson Packer Jere Torkelsen

San Francisco Girls Chorus Brandon Brack, interim music director Soprano I Lucie Bhisitkul, Juliette Bobrow, Emma Fulweiler, Evelyn Goessling, Phoebe Hicks, Tess Luhmann, Caroline Miskovsky, Juliana Wilczynski Soprano II Livia Camperi, Charlotte Ensley, Gwen Luhmann, Elise Mills, Michelle Pavlova, Isabelle Rim, Oona Sullivan-Marcus, Darya Verzhbinsky, Sarah Vinnett Alto I Laine Aro, Teresa Dayrit, Emma Gould, Anna Gray, Katie Jonckheer, Becka Padgett, Juliette Saux Alto II Sarah Ancheta, Charlene De Joya, Maya Greenhill, Alessandra Hee, Evie Hidysmith, Margaret Martin, Michelle Pang 34

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The American Bach Soloists (ABS) and American Bach Choir were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and music director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to bring this brilliant music to life. Critical acclaim has been extensive: The Wall Street Journal named ABS “the best American specialists in early music … a flawless ensemble … a level of musical finesse one rarely encounters.”

San Francisco Classical Voice declared “there is nothing routine or settled about their work. Thomas is still pushing the musical Baroque envelope.” The American Bach Soloists present an annual subscription series with performances in Belvedere, Berkeley, Davis and San Francisco. Their annual holiday performances of Handel’s Messiah—presented each December before capacity audiences since 1992—have become a Bay Area tradition. Each season culminates with the American Bach Soloists Festival, held every summer in July in the spectacular facilities of the San Francisco Conservatory of Music. Components of the annual summer Bach Festival include the Masterworks Series, Chamber Music Series, Distinguished Artist Series, Academy-in-Action Series, free Lecture and Master Class Series and public Colloquia on a variety of topics. In addition to their regular subscription season, the American Bach Soloists have been presented at some of the world’s leading early music and chamber music festivals and have appeared worldwide from Santa Fe to Hong Kong and Singapore.

San Francisco Girls Chorus, founded in 1978, is a regional center for music education and performance for girls and young women, ages 5–18. Each year 400 singers from 45 Bay Area cities participate in this internationally recognized program, deemed “a model in the country for training girls’ voices” by the California Arts Council. The organization consists of a professional level performance, recording and touring ensemble and the Alumnae Chorus; the four-level Chorus School training program and a Preparatory Chorus for 5-7 year olds. Annually, its dedicated young artists present season concerts, tour nationally or internationally and appear with respected partner organizations, including San Francisco Symphony and San Francisco Opera.

SFGC’s 30th Anniversary season, 2008–09, culminated in a performance at President Barack Obama’s swearing-in ceremony and a debut concert at Alice Tully Hall at New York’s Lincoln Center.

The Girls Chorus has won many honors, including, the prestigious Margaret Hillis Award in 2001, given annually by Chorus America to a chorus that demonstrates artistic excellence, a strong organizational structure and a commitment to education. Other awards include three ASCAP awards for Adventurous Programming in 2001, 2004 and 2011 and five Grammy awards.

Jeffrey Thomas (music director) has brought thoughtful, meaningful and informed perspectives to his performances as artistic and music director of the American Bach Soloists for more than two decades. He has directed and conducted recordings of more than 25 cantatas, the Mass in B Minor, Brandenburg Concertos, St. Matthew Passion, harpsichord concertos, Handel’s Messiah and works by Schütz, Pergolesi, Vivaldi, Haydn and Beethoven.

Fanfare magazine has praised his series of Bach recordings, stating that “Thomas’ direction seems just right; capturing the humanity of the music … there is no higher praise for Bach performance.” Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street Journal as “a superstar among oratorio tenors,” Thomas’s extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics and Arabesque. Thomas is also an avid exponent of contemporary music and has conducted the premieres of new operas, including David Conte’s Gift of the Magi and Firebird Motel, and premiered song cycles of several composers, including two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities and appeared with his own vocal chamber music ensemble, L’Aria Viva. He has collaborated on several occasions as conductor with the Mark Morris Dance Group. Educated at the Oberlin Conservatory of Music, Manhattan School of Music and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society and Southern Utah Early Music Workshops, presented master classes at the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College and Washington University, been on the faculty of Lehigh University in Pennsylvania and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis.

He was a UC Davis Chancellor’s Fellow from 2001 to 2006; the Rockefeller Foundation awarded him a prestigious Residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007, to work on his manuscript, Handel’s Messiah: A Life of Its Own. Thomas serves on the board of Early Music America and hosts two public radio programs on Classical KDFC.

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AMERICAN BACH SOLOISTS

by jeff hudson

If you enjoy this evening’s concert by the American Bach Soloists—and if you like Handel’s setting of Psalm 113 (“Laudate, pueri, Dominum”) with soprano Mary Wilson in particular—you may want to watch for an upcoming album that the American Bach Soloists and Wilson will be putting together.

The projected album will be an all-Handel affair, featuring “Laudate, pueri, Dominium” as well as the Handel motet “Silete Venti” (a piece that Handel penned when he was a young man in his 20s visiting Rome; the American Bach Soloists will be performing “Silete Venti” next May in Belvedere, Berkeley, San Francisco and in Davis at Davis Community Church). Rounding out this projected disc will be Handel’s setting of the “Gloria” (not to be confused with the Vivaldi setting on tonight’s program). The Handel “Gloria” was long considered to be lost, but a copy was found in the Royal Academy of Music’s library in 2001, bound in a collection of arias.

Jeffrey Thomas, music director of the American Bach Soloists, told me that “the all-Handel program for the album fits Mary Wilson’s voice to a ‘t’.”

Thomas is also very happy with the American Bach Soloists Festival and Academy, held last July. “For a number of years, we held summer festival concerts in Belvedere (southern Marin), and we repeated some of those concerts at the Mondavi Center in Davis for a while,” Thomas said. “Gradually, our idea for summer concerts evolved into the Bach festival we now have in the beautiful venue at the San Francisco Conservatory of Music. It

further listening is geared toward young emerging professionals—the cream of the crop of the early music specialists from around the country who are just beginning their careers. Working with these young professionals has been a joy for me, because in addition to some wonderful performances in July, we have found several new permanent members for the American Bach Soloists!”

As you have doubtless noticed, today’s concert does not feature Handel’s famous oratorio Messiah—a piece that the American Bach Soloists have performed in Jackson Hall annually each December since 2002. Think of it as a “change of pace”—you’ll also find that most theater companies also give Scrooge an occasional rest, even if they have a tradition of presenting A Christmas Carol most years in December. The Mondavi Center hasn’t announced plans for the 2013–14 season, so it’s too soon to say what music the American Bach Soloists will perform in Jackson Hall a year hence. But given the longstanding popularity of Messiah over 200-plus years, I have a strong hunch that you’ll be hearing Messiah again in Jackson Hall. (And remember: Messiah premiered in Dublin April 1742, and the first London performance was in March 1743; it was only later that the piece became strongly associated with the Christmas season in the minds of audiences.)

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

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Mary Wilson (soprano) is acknowledged as one of today’s most exciting young artists.

Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News). Receiving consistent critical acclaim from coast to coast, “she proves why many in the opera world are heralding her as an emerging star. She is simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing. She literally stole the spotlight ...” (Arizona Daily Star).

In high demand on the concert stage, she has most-recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Jacksonville Symphony, Dayton Philharmonic, VocalEssence and at the Hollywood Bowl. She has worked with conductors including Jeffrey Thomas, Bernard Labadie, Nicholas McGegan, Martin Pearlman, Martin Haselböck, JoAnn Falletta, Michael Stern, Anton Armstrong, Philip Brunelle and Leonard Slatkin. An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with American Bach Soloists, Musica Angelica, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival, Philharmonia Baroque, Brooklyn Academy of Music, the Casals Festival and the Carmel Bach Festival. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle Songs Old and New written especially for her by Ned Rorem. She was named an Emerging Artist by Symphony Magazine in 2004 in the publication’s first ever presentation of promising classical soloists on the rise.

On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro and Gilda in Rigoletto. She has created leading roles in North American and world premiere performances of Dove’s Flight, Glass’ Galileo Galilei and Petitgirard’s Joseph Merrick dit L’Elephant Man. She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Mississippi Opera, Southwest Opera, Brooklyn Academy of Music and the Goodman Theatre. Also an accomplished pianist, Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota and Washington University in St. Louis, Missouri. She currently resides in Memphis, Tennessee, with her husband and son.

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San Francisco Symphony Michael Tilson Thomas, music director Donato Cabrera, conductor Pacific Boychoir, Kevin Fox, director

The Snowman

A Hallmark Inn, Davis Children’s Stage Series Event

Anderson

Jackson Hall, Mondavi Center, UC Davis

A Christmas Festival

Do You Hear What I Hear?

arr. Simeone

Sponsored by

Children’s Christmas Medley

arr. Sharon

Connor/Bennett & Tepper/Gardner

Sleigh Ride

Anderson

Selections from The Nutcracker, Op. 71

March

Dance of the Reed Flutes

Russian Dance

Waltz of the Snowflakes

Tchaikovsky

Friday, December 21, 2012 • 7PM

Baker & Regney

Intermission The Snowman Blake

(Film directed by Dianne Jackson and Jimmy T. Murakami) Carol Sing-Along

Frosty, the Snowman

Santa Claus is Coming to Town

Nelson/Rollins Coots

Jingle Bells

Pierpont arr. Finnegan

Rudolph, the Red-Nosed Reindeer

Marks arr. Ployhar

Texts begin on p. 40.

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 This evening, along with the animated classic The Snowman, we hear a variety of music for the holidays. Most of it is well known and needs no introduction. Here are a few words on some of the composers: Leroy Anderson (1908–75) composed engaging tunes such as “The Syncopated Clock” and such oddities as “The Typewriter,” whose orchestration calls for a manual keyboard probably found most readily today in your grandmother’s attic or on eBay. If you like tunes that work their way into your memory and stay there, Leroy Anderson is your man. “A Christmas Festival” is an arrangement (from 1950) of holiday hits. “Sleigh Ride” is a perennial favorite.

Piotr Ilyich Tchaikovsky (1840–93) is among our most durable composers. He possessed an amazing well of melody and brilliant powers of orchestration, and those are the characteristics most evident in his suite from the ballet The Nutcracker, first heard in 1892. The March is the ballet’s opening music. The dances are from the second act, in which Clara and her prince, having been magically transported to the Land of Sweets, are entertained by a succession of performers.

The Snowman first aired on British television in 1982 and was an immediate sensation. Based on a children’s book by Raymond Briggs, it was nominated for an Oscar for Best Animated Short Film. The movie includes no dialogue and needs none: The music, by composer Howard Blake, comments on the action with the deft timing and good humor of a master storyteller. The only words we hear in the film’s roughly half-hour duration are in a song, “Walking on Air,” sung as boy and Snowman fly toward the North Pole.

We’re getting ahead of the story. About that boy. He lives in the country with his parents, far from neighbors and friends. One morning he awakens to find the world white with falling snow. Delighted, he runs outdoors and fashions a snowman. That night he gazes out his window and sees the snowman come to life. The two of them cavort through the house. The snowman is a joker. He terrifies the family cat. Aiming for a more natural look to the smile the boy has drawn on his face, he tries out father’s dentures. Their adventures continue outdoors with a spin on a motorbike. Racing through the forest and across snowy fields, they rouse rabbits, fox and horse. All this is preamble to the treat the snowman has in store. He takes the boy’s hand and, together, they lift off, flying through the sky. Their destination: Santa’s home and workshop. The boy meets Santa and the reindeer, and as a souvenir of the visit he receives a scarf, which he drapes around his neck. All good things end, and as the snowman takes him in tow they return home. The next morning, the sun has emerged from the clouds. The air is clear. The snowman has melted.

Was it a dream? One would think so, were it not for the scarf that remains behind.

The Snowman by Raymond Briggs by arrangement with Snowman Enterprises Ltd. Also see thesnowman.co.uk.

Special thanks to the San Francisco Symphony’s Holiday Series Media Partners, SF Chronicle | SFGate.com, Comcast, 96.5 KOIT Radio and San Francisco Municipal Transportation Agency.

The San Francisco Symphony gave its first concerts in December 1911. Its music directors have included Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award and the United States’s Grammy. For RCA Red Seal, Michael Tilson Thomas and the SFS have recorded music from Prokofiev’s Romeo and Juliet, Berlioz’s Symphonie fantastique, two Copland collections, a Gershwin collection, Stravinsky ballets (Le Sacre du printemps, The Firebird and Perséphone) and Charles Ives: An American Journey. Their cycle of Mahler symphonies has received seven Grammys and is available on the Symphony’s own label, SFS Media. Some of the most important conductors of the past and recent years have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein and Sir Georg Solti, and the list of composers who have led the Orchestra includes Stravinsky, Ravel, Copland and John Adams. The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and Godfather III. For two decades, the SFS Adventures in Music program has brought music to every child in grades 1–5 in San Francisco’s public schools. SFS radio broadcasts, the first in the U.S. to feature symphonic music when they began in 1926, today carry the Orchestra’s concerts across the country. In a multimedia program designed to make classical music accessible to people of all ages and backgrounds, the SFS has launched Keeping Score on PBS-TV, DVD, radio and at the website keepingscore.org.

San Francisco Symphony recordings are available at sfsymphony.org/ store, as is the book Music for a City, Music for the World, a history recounting the Symphony’s first century.

Donato Cabrera is San Francisco Symphony Resident Conductor and Wattis Foundation Music Director of the SFS Youth Orchestra. He made his symphony debut in 2009, conducting on short notice in a program that included works of Mozart and Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition. In 2002, he was a Herbert von Karajan conducting fellow at the Salzburg Festival.

From 2005–08, he was associate conductor of the San Francisco Opera. He has assisted in productions at the Metropolitan Opera, Lyric Opera of Chicago and Los Angeles Philharmonic and has served as an assistant conductor at the Ravinia, Spoleto (Italy) and Aspen music festivals and the Music Academy of the West. Last summer Cabrera led the SFS Youth Orchestra on an acclaimed tour of Europe, including performances at the Berlin Philharmonie and the Rheingau Music Festival. This season he returns for his second year as Music Director of the Green Bay Symphony Orchestra, makes debuts with the Elgin Symphony Orchestra and Grand Rapids Symphony and returns to the Orquesta Clásica de Santa Cecilia in Madrid and the California Symphony. Since 2008, he has returned each year to conduct symphonic and operatic repertory with the Orquesta Sinfónica de Concepción, in Concepción, Chile. Dedicated to music education and community outreach, Cabrera has worked

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with the young artist programs of the San Francisco Opera, Lyric Opera of Chicago and Portland Opera and was a frequent conductor of Young People’s Concerts with the New Jersey Symphony. In 2009, he was one of eight participants in the Bruno Walter National Conductor Preview. He has been recognized as a Luminary by the Friends of Mexico Honorary Committee for his contributions to the Bay Area’s Mexican community. Donato Cabrera holds a bachelor’s degree in music from the University of Nevada, Reno; a master’s degree in conducting from the University of Illinois; and has pursued graduate studies in conducting at Indiana University and the Manhattan School of Music.

Pacific Boychoir made its San Francisco Symphony debut in 2002 in Mahler’s Symphony No. 3 and is heard with the SFS on the Grammy-winning recording of that work conducted by Michael Tilson Thomas, as well as the Grammy-winning recording of Mahler’s Symphony No. 8. Based in Oakland, the Pacific Boychoir Academy was founded in 1998 with six boys and today involves more than 160 boys in seven choirs. In addition to an after-school training program, the PBA operates a day school and is the only choir school in the western U.S. Pacific Boychoir has performed with the Berkeley Symphony, American Bach Soloists, Youth Orchestra of the Americas, Lithuanian State Orchestra, National Symphony Orchestra of Brasil, Marcus Shelby Jazz Orchestra, Johannesburg Festival Orchestra, Vienna Boys Choir and many other ensembles.

The choir has toured throughout the U.S. and to Australia, New Zealand, eastern and western Europe, South America, South Africa, China and Russia. The choir’s recordings feature Bach’s Cantata 150, Britten’s Ceremony of Carols and two of Bach’s “Lutheran” Masses.

For That Promised Land, a recording of American spirituals, the Boychoir was honored by the Friends of Negro Spirituals and the Academy of Gospel Music Awards; most recently the choir released Show Me the Way, its second collection of spirituals from America’s choral heritage. This season Pacific Boychoir performs with the San Francisco Symphony, Oakland East Bay Symphony and the Simón Bolívar Symphony Orchestra of Venezuela.

Kevin Fox, Founding Artistic Director of the Pacific Boychoir Academy, holds a degree in music from Wesleyan University in Connecticut, where he received the Lipsky Prize for outstanding scholarship in choral studies. He studied music at Oxford University and choral conducting at Westminster Choir College in Princeton.

Fox worked for the American Boychoir and has sung with the choirs of Trinity Church New Haven, Trinity Church Princeton, American Bach Soloists, Philharmonia Baroque Chorale and the Grace Cathedral Choir in San Francisco, where he also has served as Interim Assistant Choirmaster.

Sing-aLong Texts

Frosty the Snowman Frosty the snowman Was a jolly, happy soul, With a corncob pipe and a button nose And two eyes made out of coal.

Frosty the snowman Is a fairy tale, they say.

He was made of snow, But the children know How he came to life one day.

There must have been some magic In that old silk hat they found, For when they placed it on his head He began to dance around!

Oh, Frosty the snowman Was alive as he could be.

And the children say He could laugh and play Just the same as you and me.

Thumpety thump thump, Thumpety thump thump, Look at Frosty go!

Thumpety thump thump, Thumpety thump thump, Over the hills of snow!

Santa Claus Is Coming To Town Oh! You better watch out, You better not cry, You better not pout, I’m telling you why: Santa Claus is coming to town!

He’s making a list, He’s checking it twice, He’s gonna find out Who’s naughty or nice.

Santa Claus is coming to town!

He sees you when you’re sleeping, He knows when you’re awake.

He knows when you’ve been bad or good, So be good for goodness sake!

So...You better watch out, You better not cry You better not pout, I’m telling you why.

Santa Claus is coming to town.

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Jingle Bells Dashing through the snow In a one-horse open sleigh, O’er the fields we go Laughing all the way (ha, ha, ha)!

Bells on bobtail ring, Making spirits bright.

What fun it is to ride and sing A sleighing song tonight!

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

Jingle bells, jingle bells, Jingle all the way!

Oh what fun it is to ride In a one-horse open sleigh-eigh!

(Repeat) A day or two ago, I thought I’d take a ride And soon Miss Fanny Bright Was seated at my side.

The horse was lean and lank.

Misfortune seemed his lot— We fell into a drifted bank And then we got upsot.

Jingle bells, jingle bells Jingle all the way.

Oh, what fun it is to ride In a one-horse open sleigh.

(Repeat)

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Rudolph, the Red-Nosed Reindeer Rudolph the red-nosed reindeer Had a very shiny nose.

And if you ever saw it, You would even say it glows.

All of the other reindeer Used to laugh and call him names.

They never let poor Rudolph Join in any reindeer games.

Complimentary Mondavi Dessert Special

Then one foggy Christmas Eve, Santa came to say: “O, Rudolph, with your nose so bright, Won’t you guide my sleigh tonight?”

Then how the reindeer loved him As they shouted out with glee, “Rudolph the red-nosed reindeer, You’ll go down in history.”

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San Francisco Symphony Michael Tilson Thomas, Music Director and Conductor Donato Cabrera, Resident Conductor Ragnar Bohlin, Chorus Director Vance George, Chorus Director Emeritus Herbert Blomstedt, Conductor Laureate First Violins Alexander Barantschik Concertmaster Naoum Blinder Chair Nadya Tichman Associate Concertmaster San Francisco Symphony Foundation Chair Mark Volkert Assistant Concertmaster 75th Anniversary Chair Jeremy Constant Assistant Concertmaster Mariko Smiley Paula & John Gambs Second Century Chair Melissa Kleinbart Katharine Hanrahan Chair Yun Chu Sharon Grebanier Naomi Kazama Hull In Sun Jang Yukiko Kurakata Catherine A. Mueller Chair Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen Second Violins Dan Nobuhiko Smiley Principal Dinner & Swig Families Chair Dan Carlson Associate Principal Audrey Avis Aasen-Hull Chair Paul Brancato Assistant Principal John Chisholm The Eucalyptus Foundation Second Century Chair Raushan Akhmedyarova David Chernyavsky Cathryn Down Darlene Gray Amy Hiraga Kum Mo Kim Chunming Mo Kelly Leon-Pearce Polina Sedukh Isaac Stern Chair Robert Zelnick Chen Zhao Sarah Knutson†

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Violas Jonathan Vinocour Principal Yun Jie Liu Associate Principal Katie Kadarauch Assistant Principal John Schoening Joanne E. Harrington & Lorry I. Lokey Second Century Chair Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young Cellos Michael Grebanier Principal Philip S. Boone Chair Peter Wyrick Associate Principal Peter & Jacqueline Hoefer Chair Amos Yang Assistant Principal Margaret Tait Lyman & Carol Casey Second Century Chair Barbara Andres The Stanley S. Langendorf Foundation Second Century Chair Barbara Bogatin Jill Rachuy Brindel Gary & Kathleen Heidenreich Second Century Chair Sébastien Gingras David Goldblatt Christine & Pierre Lamond Second Century Chair Carolyn McIntosh Anne Pinsker

Mondavi Center Presents Program Issue 4: dec 2012

Basses Scott Pingel Principal Larry Epstein Associate Principal Stephen Tramontozzi Assistant Principal Richard & Rhoda Goldman Chair S. Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen Flutes Tim Day Principal Caroline H. Hume Chair Robin McKee Associate Principal Catherine & Russell Clark Chair Linda Lukas Alfred S. & Dede Wilsey Chair Catherine Payne Piccolo Oboes William Bennett Principal Edo de Waart Chair Jonathan Fischer* Associate Principal Christopher Gaudi† Acting Associate Principal Pamela Smith Dr. William D. Clinite Chair Russ deLuna English Horn Joseph & Pauline Scafidi Chair Clarinets Carey Bell Principal William R. & Gretchen B. Kimball Chair Luis Baez Associate Principal E-flat Clarinet David Neuman Jerome Simas Bass Clarinet

Bassoons Stephen Paulson Principal Steven Dibner Associate Principal Rob Weir Steven Braunstein Contrabassoon Horns Robert Ward Principal Jeannik Méquet Littlefield Chair Nicole Cash Associate Principal Bruce Roberts Assistant Principal Jonathan Ring Jessica Valeri Kimberly Wright Trumpets Mark Inouye Principal William G. Irwin Charity Foundation Chair Justin Emerich† Acting Associate Principal Peter Pastreich Chair Guy Piddington Ann L. & Charles B. Johnson Chair Jeff Biancalana Trombones Timothy Higgins Principal Robert L. Samter Chair Paul Welcomer John Engelkes Bass Trombone Tuba Jeffrey Anderson Principal James Irvine Chair Harp Douglas Rioth Principal Timpani David Herbert Principal Marcia & John Goldman Chair

Percussion James Lee Wyatt III Acting Principal Raymond Froehlich Tom Hemphill Victor Avdienko† Keyboards Robin Sutherland Jean & Bill Lane Chair John D. Goldman President Brent Assink Executive Director John Kieser General Manager Nan Keeton Director of External Affairs John Mangum Director of Artistic Planning Oliver Theil Director of Public Relations Rebecca Blum Orchestra Personnel Manager Margo Kieser Orchestra Librarian Nancy & Charles Geschke Chair John Campbell Assistant Librarian Dan Ferreira Assistant Librarian Joyce Cron Wessling Manager, Tours and Media Production Rob Doherty Stage Manager Dennis DeVost Stage Technician Roni Jules Stage Technician Michael Olague Stage Technician

*On Leave †Acting member of the San Francisco Symphony The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

Pacific Boychoir Kevin Fox, Artistic Director

Henry Abrahamson

Jacob Itsekson

Julian Nesbitt

Calvin Achorn

Kayman Jeffley

Noah Patton

Johannes Aplyn

Avi Kabir

Ian Pitman

James Applegate

Peter Kenton

Daniel Pliskin

Adam Arega

David Kerns

Zachary Presberg

Amado Becerra

Atom Lai Costa

Andrew Reinfranck

Christopher Berning

Matthew Lee

Christian Ricco

Noah Boonin

Owen Liquori

Tenzin Rosson

Andre Boucher

Evan Losito

Max Ruiz

Jeroen Breneman

Jack Lundquist

Zachary Salsburg-Frank

Liam Cochrane

William Lundquist

Aaron Sanchez

Harrison Coorey

Nicholas Main

Abraham Sanchez

Maxim Culbeaux

Gregory Martin

Nathan Savant

Daniel DeBare

Aidan Mattingly-App

David Schneidinger

Neil Evans

Draven McGill

Cap Sharon

Ryan Eyre

Ocean Milan

Sam Siegel

Quinn Freidenburg

William Mitchell

Brendan Singer

Theo Frey

Cameron Miya

Christopher Singer

Spencer Fulweiler

Milo Mohr

Oscar Thompson

Julian Gandhi

Lakin Moser

Bryan Tierney

Eric Getreuer

Thomas Mosley

Elliot Vaughan

George Goodhead

Michael Mueller

Jameson Wang

Matthew Gray

Leo Nakamura

Jared Werlein

Derrick Hill

Henry Nelson

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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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Mondavi Center Presents Program Issue 4: dec 2012

Neil and Carla Andrews Jeff and Karen Bertleson Cordelia S. Birrell California Statewide Certified Development Corporation Neil and Joanne Bodine Mr. Barry and Valerie Boone Brian Tarkington and Katrina Boratynski Robert and Wendy Chason Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Claudia Coleman Eric and Michael Conn Nancy DuBois* Merrilee and Simon Engel Charles and Catherine Farman Andrew and Judith Gabor Henry and Dorothy Gietzen Kay Gist in memory of John Gist Ed and Bonnie Green* Robert and Kathleen Grey Diane Gunsul-Hicks Charles and Ann Halsted Judith and William Hardardt* Dee and Joe Hartzog The One and Only Watson Charles and Eva Hess Suzanne Horsley* Dr. Ronald and Lesley Hsu Jerry and Teresa Kaneko* Dean and Karen Karnopp* Nancy Lawrence, Gordon Klein and Linda Lawrence Brian and Dorothy Landsberg Ed and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Claudia and Allan Leavitt Yvonne LeMaitre Shirley and Joseph LeRoy Nelson Lewallyn and Marion Pace-Lewallyn Dr. Clare Hasler-Lewis and Cameron Lewis 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 Cathy Brorby and Jim Harritt

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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 Jeannette Higgs 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 Frank Kieffer Gary and Susan Kieser Larry Kimble and Louise Bettner Bob and Bobbie Kittredge Dorothy Klishevich Mary Klisiewicz 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

Mondavi Center Presents Program Issue 4: dec 2012

Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland and Marilyn Meyer Fred and Linda J. Meyers* Leslie Michaels and Susan Katt Eric and Jean Miller Lisa Miller Phyllis Miller Sue and Rex Miller Douglas Minnis Kathy and Steve Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer 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 Margaret Neu* 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 Carol Marie White 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.

Gift Shop

at Mondavi Center The Gift Shop at Mondavi Center is located in the southeast corner of the Yocha Dehe Grand Lobby. The Gift Shop is currently stocking new and festive merchandise for this holiday season at affordable prices and is always open prior to Jackson Hall performances. Managed and staffed

by Friends of Mondavi Center, the Gift Shop is a friendly gathering spot and perfect place to shop for a special gift. Shopping at Mondavi Center this holiday season is convenient and will add enjoyment to your Mondavi Center experience.

All profits from the Gift Shop help to support Mondavi Center’s Arts Education program.

The Friends of Mondavi Center is an active donorbased volunteer organization that supports activities of Mondavi Center’s presenting program.

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 • Kelley 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 4: dec 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.