Mondavi Center Playbill Issue 5 Jan 2013 by Mondavi Center

Anniversary

2012—13 Issue 5: jan 2013 • Alexander String Quartet p. 5 • Ninety Miles p. 13 • Charlie Albright, piano p. 15 • Harry Belafonte p. 19 • Monterey Jazz Festival On Tour p. 20 • National Theatre of Scotland p. 25 • L.A. Dance Project p. 29 • Yo-Yo Ma, cello p. 36 Kathryn Stott, piano

Season Sponsors

Program

MondaviArts.org

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

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

Anniversary

2012—13

A message from the chancellor

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

Linda P.B. Katehi UC Davis Chancellor

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

Season Sponsors

MondaviArts.org

10th Anniversary Season sponsors

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

Corporate Partners Platinum

Becky Cale Executive Assistant Programming Jeremy Ganter Director of Programming Erin Palmer Programming Manager

Gold

Ruth Rosenberg Artist Engagement Coordinator 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

special thanks 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

Mondavi Center Presents Program Issue 5: jan 2013

ARTS EDUCATION Joyce Donaldson Associate to the Executive Director for Arts Education and Strategic Projects Jennifer Mast Arts Education Coordinator AUDIENCE SERVICES David Szymanski Audience Services Manager

DEVELOPMENT Debbie Armstrong Senior Director of Development 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 INFORMATION TECHNOLOGY Darren Marks Web Specialist/ Graphic Artist Mark J. Johnston Lead Application Developer MARKETING Rob Tocalino Director of Marketing Will Crockett Marketing Manager

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

Yuri Rodriguez House/Events Manager

Erin Kelley Senior Graphic Artist

Nancy Temple Assistant House/Events Manager

Morissa Rubin Senior Graphic Artist

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

Amanda Caraway Public Relations Coordinator

Gene Nelson Registered Piano Technician

TICKET OFFICE Sarah Herrera Ticket Office Manager

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

Natalia Deardorff Assistant House/Events Manager BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services Mandy Jarvis Financial Analyst Russ Postlethwaite Billing System & Rental Coordinator

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

Robert and Margrit

Mondavi Center for the Performing Arts • UC Davis

Program Issue 5: jan 2013

Photo: Lynn Goldsmith

in this issue:

A Message From Don Roth

Mondavi Center Executive Director

• Alexander String Quartet p. 5 • Ninety Miles p. 13 • Charlie Albright, piano p. 15

s we turn the corner halfway through the Mondavi Center’s 10th Anniversary Season, many of you have told us how much you have enjoyed the journey so far. January will continue that journey in fine fashion, with appearances from Mondavi Center favorites the Alexander String Quartet and Yo-Yo Ma; MC Debuts from Benjamin Millepied’s L.A. Dance Project, pianist Charlie Albright, the National Theatre of Scotland’s riotous production of The Strange Undoing of Prudencia Hart and the (very) distinguished speaker Harry Belafonte; as well as all-star jazz groups both small (the Ninety Miles trio in the Vanderhoef Studio Theatre) and large (Monterey Jazz Festival on Tour in Jackson Hall).

• Harry Belafonte p. 19 • Monterey Jazz Festival On Tour p. 20 • National Theatre of Scotland p. 25 • L.A. Dance Project p. 29 • Yo-Yo Ma, cello p. 36 Kathryn Stott, piano • Mondavi Center Policies and Information p. 44

We also have the privilege to host Worlds of Discovery and Loss: The Art of Migration, a cross-disciplinary collaboration with the Departments of Music and Theatre and Dance, UC Davis Humanities Institute and the Institute for Exploration in Theatre, Dance and Performance Art. A Festival like this can only happen on a university campus like ours, where the values of experimentation and collaboration are so deeply embedded. I encourage you to seek out these events to see the good work happening with our academic and artistic partners. No matter how much we are enjoying the current season, this time of year also finds us hard at work shaping the Mondavi Center’s upcoming 2013–14 season. We have been working daily since last summer to raise the bar even higher on the programs and artists we will be bringing to our region. With January comes the capstone of the programming process, the national Arts Presenters conference where we have the chance (Associate Executive Director Jeremy Ganter, Programming Manager Erin Palmer and I) to discover new artists, new projects by favorite artists, and to refine and put the finishing touches on a season of distinction, excitement and adventure. As we look ahead, we believe you will find 2013–14 another journey for which you will want to join us. For now, buckle in: the months ahead promise a rousing finish to this festive season. We are so grateful you have chosen to celebrate it with us.

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

before the show

 O AH • As a courtesy to others, please turn off all electronic devices. • If you have any hard candy, please unwrap it before the lights dim. • Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited. • Please look around and locate the exit nearest

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

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

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Mondavi Center Presents Program Issue 5: jan 2013

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

An Alexander String Quartet Series Event Sunday, January 6, 2013 • 2PM and 7PM

program

Vanderhoef Studio Theatre

String Quartet No. 23 in F Major, K. 590 (7PM only)

Individual support provided by Anne Gray and

Thomas and Phyllis Farver.

Question & Answer Session

Mozart

Allegro moderato Andante Menuetto: Allegretto Allegro

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

Sunday, January 6, 2013 • 7PM only Vanderhoef Studio Theatre

String Quintet in C Major, D. 956

With Members of the Alexander String Quartet

Question & Answer Sessions take place in the theater after the event.

Schubert

Allegro ma non troppo Adagio Scherzo: Presto—Trio: Andante sostenuto Allegretto

Program is subject to change. The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

MondaviArts.org

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YOU SEE ADVANCES

Mondavi Center Presents Program Issue 5: jan 2013

Program Notes String Quartet No. 23 in F Major, K. 590 (1790) Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) The story of Mozart’s visit to Berlin in the spring of 1789 has become part of the legend. It tells of how the music-loving King Friedrich Wilhelm II was desperate to receive Mozart, how the composer played before the king and queen and how he was rewarded with a golden snuffbox full of a hundred louis d’or and a commission to compose six string quartets for the king and six easy keyboard sonatas for his daughter. Mozart returned to Vienna but was able to complete only three of these quartets, thereafter nicknamed the “King of Prussia Quartets,” and then had to sell them for quick cash during the poverty of his final years. But the problem is that this tale appears to have been a complete fabrication on Mozart’s part: while Mozart did visit Berlin in May 1789, all the evidence suggests that the king did not receive him, gave him no gift and commissioned nothing. Faced with having to return to Vienna in utter defeat, Mozart borrowed money to pass off as the gift from the king and created the story of the commission. Certainly he did not seem to take the commission—if it ever existed—very seriously: he wrote one quartet immediately, two a year later, and then forgot about the whole thing, and when these quartets were published there was no hint of a royal dedication (in his biography of Mozart, Maynard Solomon discusses in some detail the implications of this distressing episode). It should not cause us to undervalue these quartets, but it does present them in a different light than the legend would have it. Of the three completed quartets, the Quartet in F Major heard in this concert was the last—it was composed in June 1790, more than a year after Mozart’s return from Berlin. Tradition has it that the cello-playing king had instructed Mozart to give a prominent part to the cello in these quartets, and this Mozart apparently tried to do (even if only as a way of preserving the fiction). But Mozart was not particularly interested in the cello as a melodic instrument. He was a “top-line” composer and giving the bass-line instrument an important thematic role violated his sense of what quartets should be. As a result, he was forced to reduce the stature of the second violin and viola and to sacrifice the interplay of four voices for a more brilliant, concertante style. And, perhaps even Mozart was unable to prolong the myth of the royal commission: by the time he wrote this quartet, the prominence of the cello had faded and—after the first movement—vanishes altogether. All of this background does not (and should not) prevent our enjoying the Quartet in F Major as the remarkable music that it is. Mozart worked very hard on this quartet: a number of sketches and worksheets survive, something unusual from a composer who usually wrote music in his head and committed it to paper only at the last minute. Many have remarked that this quartet is built on asymmetric phrases that give it unexpected expressive power, and it is also remarkable for its thematic concentration: the second movement, for example, is built on only one theme. A further measure of its concentration is that—just as in the Symphony No. 40 in G Minor— three of the four movements are in sonata form. The concertante style of the first movement is most evident in the dialogue between first violin and cello and the fact that cello has

the second subject. The development is short but concentrated, and after a lengthy recapitulation the movement seems to vanish with an almost offhand gesture. The Andante is not just monothematic—it is almost athematic: Mozart presents just a rhythm in the first two measures and then builds most of the movement from that rhythm. The asymmetry of themes is most evident in the third movement, where the opening phrase of the minuet is in seven bars and the opening of the trio in five (rather than the customary eight). The Allegro, full of contrapuntal brilliance, offers the first violin a concerto-like part. After so much dazzling music, the very ending is a masterpiece of understatement. —Eric Bromberger

String Quintet in C Major, D. 956 (1828) Franz Schubert (Born January 31, 1797, in Vienna; died November 19, 1828, in Vienna) Schubert’s String Quintet in C Major, universally acknowledged as one of the finest creations in all chamber music, dates from the miraculous final year of that composer’s brief life, 1828. That year saw the revision of the “Great” Symphony in C Major and the composition of the final three piano sonatas, the songs of the Schwanengesang collection, this quintet and the song “Der Hirt auf Dem Felsen,” completed in the weeks just prior to Schubert’s death on November 19. The date of the Quintet is difficult to pin down, but it was probably composed at the end of the summer; on October 2, Schubert wrote to one of his publishers that he had “finally turned out a Quintet for 2 violins, 1 viola and 2 violoncellos.” Many have been quick to hear premonitions of death in this quintet, as if this music—Schubert’s last instrumental work—must represent a summing up of his life. But it is dangerous to read intimations of mortality into music written shortly before any composer’s death, and there is little basis for such a conclusion here—although he was ill during the summer, Schubert did not know that he was fatally ill. Rather than being death-haunted, the Quintet in C Major is music of great richness, music that suffuses a golden glow. Some of this is due to its unusual sonority: the additional cello brings weight to the instrumental texture and allows one cello to become a full partner in the thematic material, a freedom Schubert fully exploits. Of unusual length (more than 50 minutes long), the Quintet also shows great harmonic freedom—some have commented that this music seems to change keys every two bars. The opening Allegro ma non troppo is built on three theme groups: the quiet violin theme heard at the very beginning, an extended duet for the two cellos and a little march figure for all five instruments. The cello duet is unbelievably beautiful, so beautiful that many musicians (certainly many cellists!) have said that they would like nothing on their tombstone except the music for this passage. But it is the march tune that dominates the development section; the recapitulation is a fairly literal repeat of the opening section, and a brief coda brings the movement to its close. Longest of the four movements, the Adagio is in ABA form. The opening is remarkable. The three middle voices—second violin, viola and first cello—sing a gentle melody that stretches easily over 28 bars; the second cello accompanies them with pizzicato notes, while high above, the first violin decorates the melody with quiet interjections of its own. The middle section, in F minor, feels agitated and MondaviArts.org

by jeff hudson

Over the past 10 years, the Alexander String Quartet has won a large and loyal local following by presenting composer-focused seasons of “serious concert music” at the Mondavi Center— complete cycles of the string quartets of Shostakovich and Beethoven and more limited surveys of Mozart, Brahms, Dvořák and (this year) Schubert. But their CD released last August, Gershwin and Kern, shows a somewhat different side of this favored foursome. On the new disc, they breeze their way through sweet arrangements (by Carl Davis) of American tunes from the 1930s by composers associated with the theater and New York City. The album includes George Gershwin’s “Summertime,” “It Ain’t Necessarily So” and three others and Jerome Kern’s “Smoke Gets In Your Eyes,” “The Way You Look Tonight” and four others. Some tracks feature the Spanish clarinetist Joan Enric Lluna, who alternates between silky smooth and suitably sassy playing (always in an elegant way). The album is on the ASQ’s FoghornClassics label. There are other recordings upcoming. A few months ago, the ASQ and mezzo-soprano Joyce DiDonato recorded Jake Heggie’s Into the Fire, which ASQ cellist Sandy Wilson describes as “almost a concert drama—a genre-bending 45-minute set of songs,” with a libretto by Gene Sheer. The piece was written for the ASQ and DiDonato to mark the ASQ’s 30th anniversary as a group. Heggie, you may recall, wrote the operas Moby-Dick and Dead Man Walking, both mounted by the San Francisco Opera. The recording of Into the Fire will be released later this year.

further listening In December, the ASQ was due to record another commission— “Patágon,” by Cindy Cox, who is on the music faculty at UC Berkeley. “It was also written to commemorate the ASQ’s 30th anniversary,” Wilson told me. This recording should be coming out in 2013 as well. Wilson added, “We also recorded the six Bartók quartets and the two Kodály quartets last July. These are currently in postproduction editing in preparation for release as a three-CD box set for FoghornClassics in spring 2013.” That music would also fit together as a set of four concert programs focusing on those two 20th century Hungarians, and of course the Bartók quartets are landmark works. I haven’t heard from the Mondavi Center management or the Alexander String Quartet regarding what the group might be playing here next season. But I wouldn’t be surprised … stay tuned.

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

HOT ITALIAN MIDTOWN

Mondavi Center Presents Program Issue 5: jan 2013

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Alexander String Quartet

PUBLIC MARKET

dark; a trill leads back to the opening material, but now the two outer voices accompany the melody with runs and swirls that have suddenly grown complex. The third movement is a scherzo-and-trio, marked Presto. The bounding scherzo, with its hunting horn calls, is fairly straightforward, but the trio is quite unusual, in some surprising ways the emotional center of the entire Quintet. One normally expects a trio section to be gentle in mood, sometimes even a thematic extension of the scherzo. But this trio, marked Andante sostenuto and in the unexpected key of D-flat major, is spare, grave, haunting. Schubert sets it in 4/4 instead of the expected 3/4, and its lean lines and harmonic surprises give it a grieving quality quite different from the scherzo. The lament concludes, and the music plunges back into sunlight as the scherzo resumes. Many have heard Hungarian folk music in the opening of the Allegretto, with its evocation of wild gypsy fiddling. The second theme is one of those graceful little tunes that only Schubert could write; both themes figure throughout the movement, until finally another cello duet leads to a fiery coda ingeniously employing both main themes. The Quintet in C Major is one of the glories of the chamber music repertory and one of Schubert’s finest works. Yet he never heard a note of it. It lay in manuscript for years and was not performed until 1850, 22 years after his death. 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 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.

MondaviArts.org

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

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

september Bonnie Raitt Justin Vineyards & Winery 18 San Francisco Symphony Chimney Rock Winery 27 october 6 Rising Stars of Opera Le Casque Wines 25 From The Top with Christopher O'Riley Oakville Station november Philharmonia Baroque Carol Shelton Wines 7 David Sedaris Senders Wines 16 December 5 Danú Boeger Winery january 18 Monterey Jazz Festival Pine Ridge Vineyards 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.

Mondavi Center Presents Program Issue 5: jan 2013

10529-78289 License #577000881

Eugene Sor (cello) received his early musical training from renowned cello teacher Milly Rosner, earning degrees from San Francisco State University and University of California, Los Angeles. A passionate chamber musician, he furthered his studies as cofounder of the Chamberlain String Quartet, which served as assistant quartet-in-residence to the Alexander String Quartet at SFSU in the late 1990s. Sor has held posts with the Volta Quartet and the Adorno Ensemble, and he has also served as principal cellist of Stockton Symphony and San Francisco Chamber Orchestra. He currently serves as director of Crowden Center for Music in the Community, director of the Preparatory Orchestra at San Francisco Conservatory and resident conductor of Palo Alto Chamber Orchestra, while continuing frequent chamber music collaborations with the internationally acclaimed faculty at Crowden’s Summer Chamber Music Workshop and with his own group, the Sor Ensemble.

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-inresidence 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.

Orchestra, Hartford Symphony Orchestra, Music@Menlo and the University of British Columbia (where he was the Dal Grauer Lecturer in September 2006). In addition, Greenberg is a sought after lecturer for businesses and business schools and has recently spoken for such diverse organizations as S.C. Johnson, Canadian Pacific, Deutsches Bank, 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. Dr. 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.

The Alexander String Quartet is represented by BesenArts LLC 508 First Street, Suite 4W Hoboken, NJ 07030-7823 www.BesenArts.com The Alexander String Quartet records for FoghornClassics www.asq4.com

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

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Our corporate partnerships are designed to fit a business of any size.

• Tickets to Mondavi Center performances Enjoy benefits such as:

• Playbill advertising space reaching 70,000 Mondavi Center patrons each year • Recognition at sponsored events • Invitations to exclusive Mondavi Center receptions and events

Please contact Elisha Findley at (530) 754–5436 for more information.

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/.

Mondavi Center Presents Program Issue 5: jan 2013

Debut Ninety Miles

A Capital Public Radio Studio Jazz Series Event

David Sanchez, saxophone

Wednesday–Saturday, January 9–12, 2013 • 8PM

Stefon Harris, vibraphone

Vanderhoef Studio Theatre Sponsored by

Edward Simon, piano Ricky Rodriguez, bass Henry Cole, drums Eddy Mauricio Herrera, percussion

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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

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MARA DAVI ISSUE #19

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

Mondavi Center Presents Program Issue 5: jan 2013

Debut

Photo by Stan Giske

Charlie Albright, piano

A Debut Series Event Sunday, January 13, 2013 • 2PM Vanderhoef Studio Theatre

Individual support for the Debut Series artist residency program provided by Oren and Eunice Adair-Christensen.

program Two Impromptus from Op. 90 (D. 899) No. 2 in E-flat Major: Allegro No. 3 in G-flat Major: Andante

Schubert

Sonata No. 31 in A-flat Major, Op. 110 Moderato cantabile molto espressivo Allegro molto Adagio, ma non troppo—Arioso dolente— Fuga: Allegro, ma non troppo

Beethoven

Concert Arabesques on Themes from Johann Strauss’s The Beautiful Blue Danube

Schulz-Evler

Intermission Twelve Études, Op. 25 Chopin No. 1 in A-flat Major: Allegro sostenuto No. 2 in F Minor: Presto No. 3 in F Major: Allegro No. 4 in A Minor: Agitato No. 5 in E Minor: Vivace No. 6 in G-sharp Minor: Allegro (“Study in Thirds”) No. 7 in C-sharp Minor: Lento No. 8 in D-flat Major: Vivace No. 9 in G-flat Major: Allegro assai (“Butterfly”) No. 10 in B Minor: Allegro con fuoco No. 11 in A Minor: Lento — Allegro con brio (“The Winter Wind”) No. 12 in C Minor: Allegro molto con fuoco (“Ocean”) 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 Two Impromptus, Op. 90, Nos. 2 and 3 (D. 899) (1827) Franz Schubert (Born January 31, 1797, in Vienna; died November 19, 1828, in Vienna) Schubert composed his eight pieces titled Impromptu in the summer and autumn of 1827; they were completed by December. He did not invent the title. The term “Impromptu” had been current in Vienna since at least 1822, when the Bohemian-Austrian composer Johann Vorišek issued a set of brief, ternary-form works of extemporized nature under that name. Schubert was familiar with Vorišek’s pieces, as well as with the many independent piano works by Beethoven, Field, Tomašek and others that were flooding the market in the wake of the burgeoning piano manufacturing trade (and falling consumer prices) of those years. Schubert sold his eight Impromptus to Haslinger in Vienna, who agreed to publish them in small lots to test their acceptance. He issued the first two numbers of the series (in C minor and E-flat major) in 1828 as Schubert’s Op. 90, Nos. 1 and 2 with some success, but the composer’s death on November 19 of that year halted the project, and the remaining pair of Op. 90 Impromptus was not published until 1857 or 1858; the four others were issued at the end of 1839 by Diabelli as Op. 142. The E-flat major Impromptu (Op. 90, No. 2) contrasts an airborne triplet figuration in its outer sections with a waltz-like central passage of more fiery temperament. The crepuscular third Impromptu supports its long melodic flights with arpeggiated harmonies of the greatest finesse and subtlety. Sonata No. 31 in A-flat major, Op. 110 (1821) Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) Beethoven’s painful five-year court battle to secure custody of his nephew Karl from his brother Caspar’s dissolute widow (whom the composer disparaged as the “Queen of the Night”) finally came to an end early in 1820. He “won,” but lost the boy’s affection (Karl, half crazed from his uncle’s overbearing attention, tried, unsuccessfully, to kill himself); the case also exploded his pretension that he was of noble blood. Beethoven was further troubled by deteriorating health and a certain financial distress (he needed a loan from his brother Johann, a prosperous apothecary in Vienna, to tide him over that difficult period), so it is not surprising that he composed little during the time. With the resolution of his custody suit, however, he returned to creative work, and began anew the titanic struggle to embody his transcendent thoughts in musical tones. In no apparent hurry to dispel the rumors in gossipy Vienna that he was “written out,” he produced just one work in 1820, the Piano Sonata in E Major, Op. 109. The A-flat Sonata was dated on Christmas Day, 1821, and his last Piano Sonata, the Op. 111, appeared just three weeks later. The year 1822 was the most productive he had known in a decade: the Missa Solemnis was completed, as were the Overture to The Consecration of the House, most of the Diabelli Variations and a few smaller works, and substantial progress was made on the Ninth Symphony and the Op. 127 String Quartet. It was in the three piano sonatas which launched this burst of creativity that Beethoven first realized the essential technique—the complete fusion of sonata, variation and fugue—that fueled the soaring masterpieces of his last period.

Mondavi Center Presents Program Issue 5: jan 2013

The Op. 110 Sonata is one of the towering peaks of the piano literature. Or, perhaps more appropriately, one of its sublimely peaceful Alpine valleys, since its essence is halcyon rather than heaven-storming. In his fine book on Beethoven’s last decade, Martin Cooper noted that in this music the composer moved away “from the dramatic principle of contrast with its implicit idea of struggle. In its place we find a unified vision where music borrows nothing from the theater ... and aspires to its own unique condition. In this work, the rhetorical element is virtually non-existent.” The forms and balances of the movements of Beethoven’s late works were no longer subject to the traditional Classical models, but grew inexorably from the unique qualities and potentials of each individual composition. The opening movement of the Op. 110 Sonata is technically in sonata form, but one so seamlessly made and so consistently sun-bright in mood that unity rather than contrast is its dominant characteristic. Next comes an energetic movement in the spirit (though not the meter) of a scherzo whose thematic material was apparently inspired by two Austrian folksongs for which Beethoven had provided simple piano accompaniments in 1820. Closing the Sonata is a musical essay whose lyricism and ultimate gentleness belie its stupendous formal concept. A mournful scena, an arioso dolente, is given as the opening chapter, and leads without pause to the life-confirming retort of a tightly argued fugue. This fugue is not, however, one of those mighty, gnarled constructions that Beethoven employed elsewhere in his last years, but a pellucid, songful, joyous example of the form. The arioso, with its thrumming, chordal accompaniment, intrudes itself upon the undulant flow of the fugue and is again answered by Beethoven’s celebratory counterpoint, marked, on this last appearance, to be infused by the pianist “more and more with new life.”

Concert Arabesques on Themes from Johann Strauss’s The Beautiful Blue Danube Andrei Schulz-Evler (Born December 12, 1852, in Radom, Poland; died May 15, 1905, in Warsaw) “The universe of the waltz can be epitomized in about 15 minutes simply by playing The Beautiful Blue Danube,” according to Hans Fantel. “More eloquently, more concisely than any other work, it embodies the essence of the waltz in form and spirit.” Among the many versions in which The Beautiful Blue Danube has appeared is the flashy “Concert Arabesques” by the Polish pianist, teacher and composer Andrei Schulz-Evler. Schulz-Evler, born in 1852 at Radom, 60 miles south of Warsaw, studied at the Warsaw Conservatory and with Tausig in Berlin before joining the faculty of the Kharkov Music School in 1888. He composed songs and a modest number of piano works, but his posthumous reputation rests solely upon his flamboyant arrangement of Strauss’s immortal waltz. Twelve Études, Op. 25 (1837) Frédéric Chopin (Born February 22, 1810, in Zelazowa-Wola, Poland; died October 17, 1849, in Paris) Chopin’s first set of 12 Études was published as his Op. 10 in 1833 (with a dedication to Franz Liszt), though the individual pieces had been written two and three years earlier, around the time that the young composer left Warsaw for Vienna and Paris. The étude originally grew from the need for study pieces focusing on one

aspect of keyboard technique, but Chopin’s examples lifted the genre from that of a simple pedagogical vehicle to a richly expressive concert form with a single, sustained mood. The Études are the first works in which Chopin’s fully formed genius is evident. His second set of Études, Op. 25, appeared in 1837, with a dedication to the Countess Marie d’Agoult, Liszt’s mistress and mother of Cosima, later Richard Wagner’s second wife. The English pianist and writer on music Robert Collet explained why the Études are among the most characteristic and perfect of Chopin’s creations: “Here, Chopin’s more obvious limitations, his lack of sense of the monumental, either seem to be unimportant or to be positive virtues; in these works, he never attempts anything basically unsuited to his natural genius. They are in some ways the most universal of his works; to an unusual degree, they transcend barriers of time and nationality … It is difficult to think of any music of the decade around 1830 that has dated less.” Clara Schumann wrote that the Étude No. 1 of Op. 25 (A-flat major) embodied the playing of Chopin himself: “Imagine that an Aeolian harp possessed all the musical scales and that the hand of the artist were to cause them all to intermingle in all sorts of fantastic embellishments, yet in such a way as to leave everywhere audible a deep fundamental tone and a soft continuously singing upper voice, and you will get the right idea of Chopin’s playing.” An “aeolian harp,” incidentally, is a lyre-like object whose delicate strings are set in motion by the force of the wind to give forth faint, indiscriminate sounds, a sort of chordophonic analogue of wind chimes. No. 2 (F minor) was composed during a visit in 1836 to Dresden, where Robert Schumann heard Chopin play it and described the piece as “charming, dreamy and soft as a child singing in its sleep.” No. 3 (F major) was once known as the “Cartwheel” because of its fast, repetitive rhythms and strong accents. No. 4 (A minor) is an exercise in agitated and persistent syncopation. No. 5 (E minor) is delicate and nimble, with many broad arches of melody that sweep up the keyboard and back down again. The moto perpetuo stream of parallel intervals in the right hand of No. 6 (G-sharp minor) has earned it the nickname “Study in Thirds.” No. 7 (C-sharp minor) begins with a deeply felt recitative and reaches great heights of emotional expression. The celebrated 19th-century virtuoso Hans von Bülow said that the Étude No. 8 (D-flat major), a fearsome study in parallel sixths, “might honestly be called ‘the pianist’s indispensable.’ As a remedy for stiff fingers before performing in public, playing it through six times is recommended for even the most expert pianists.” The charming sobriquet of the Étude No. 9 (G-flat major)—“Butterfly” — denotes the music’s aerial grace but diminishes its subtlety of sonority and ingenuity of figuration. Herbert Weinstock wrote, “The last three Études of Op. 25 are giants, tone poems large in extension, massive in concept, and wholly masculine in poetic content. They would by themselves make it essential to recognize Chopin as great.” The furious, triplet-driven music of the outer sections of No. 10 (B minor) is thrown into bold relief by the movement’s serene, lyrical central episode. Of the Étude No. 11 (A minor), known as “The Winter Wind,” Eric Harrison wrote, “This is one of the greatest storm-pictures, natural or emotional, ever conceived; the introduction sees its approach and utters a prayer for safety. It has lulls, but increases in violence to the end.” There is an almost Beethovenian urgency and grandeur in the Étude No. 12 (C minor). Weinstock advised that “it must not be played as one reasonably imagines the delicate, ailing Chopin to have played it, but as Chopin meant it to be played. It was for years, and with reason, known as the ‘Ocean’ Étude, and there is a vast tidal power

in it. No neuroticism here, nothing covert or androgynous, but strength designed and controlled in the creation of a sovereign and conquering beauty.” —Dr. Richard E. Rodda Charlie Albright (piano) is a winner of the prestigious 2010 Gilmore Young Artist Award and the 2009 Young Concert Artists International Auditions. Albright made his Washington, D.C. and New York recital debuts to critical acclaim. Hailed as “among the most gifted musicians of his generation” by The Washington Post, he was praised for his “jaw-dropping technique and virtuosity meshed with a distinctive musicality” by The New York Times. Over the past two seasons, Albright has already made his orchestral debuts with the Boston Pops with conductor Keith Lockhart, Seattle Symphony with conductor Gerard Schwarz, Phoenix and Lansing Symphonies and with Alondra de la Parra at the San Francisco Symphony. Continuing his blazing successes, Albright appears as soloist with the Fort Smith, Hilton Head, Great Falls and Whatcom Symphonies; in a three-recital series spanning two seasons of Schubert works at the Isabella Stewart Gardner Museum in Boston and at the ShortGrass Music Festival. He made his recital debuts at Merkin Hall in New York and the Kennedy Center in Washington, D.C. in the Young Concert Artists Series, which featured the premiere of ‘Til It Was Dark by YCA Composer Chris Rogerson. In addition, Albright has performed in recital at the Morgan Library & Museum, Buffalo Chamber Music Society, Krannert Center for the Performing Arts and as part of Gilmore’s Rising Stars Series and the Irving S. Gilmore International Keyboard Festival. Albright has collaborated five times with cellist Yo-Yo Ma including at a 10-year anniversary remembrance of 9/11 attacks concert in a performance of Messiaen’s Quartet for the End of Time, at a Harvard University ceremony at which Senator Ted Kennedy received an honorary degree, in an event commemorating the 60th anniversary of the Universal Declaration of Human Rights honoring Nobel laureate Toni Morrison; at the Aspen Institute’s “Citizen Artistry” conference at the Danny Kaye Playhouse in New York and with the Silk Road Project. Albright was the youngest artist-in-residence on Performance Today last season, which included a week of performances and interviews. In addition, his debut CD Vivace was released by CAPC Music in February 2011. Winner of the 2011 Louis Sudler Prize in the Arts from Harvard University, Albright was also named artist-in-residence for Harvard University’s Leverett House, a position once filled by another Harvard-educated musician, cellist Yo-Yo Ma. At the 2009 Vendome Prize Piano Competition in Lisbon, Portugal, he was awarded a Vendome Virtuoso Prize and the Elizabeth Leonskaya Special Award. Born in Centralia, Washington, Albright began piano lessons at the age of three. Albright earned an Associate of Science degree at Centralia College while he was also in high school and was the first classical pianist accepted to the new Harvard College/New England Conservatory joint program, completing his bachelor’s degree as a premed and economics major at Harvard in 2011 and a master of music degree in piano performance at the New England Conservatory in 2012 with Wha-Kyung Byun. He is currently in the artist diploma program at the Juilliard School. Albright is a Steinway Artist.

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Harry Belafonte

by jeff hudson

I’m just wild about Harry—and have been for more than 50 years. Credit my parents. They bought Belafonte’s famous Calypso album around the time it was released in 1956—which was also the year I was born. That album’s bright red cover, with Belafonte’s beaming (yet somehow purposeful) smile was part of the apartments my parents lived in as they completed college. Before I could read, I knew most of the lyrics to “Day-O” (“Banana Boat Song”), though I doubt I understood the adult implications. I just liked the chorus (“Daylight come and I want to go home”) and the references to bananas. When my dad was a grad student at Columbia University circa 1960, and we lived in Harlem, Belafonte was on top of the world, giving concerts at Carnegie Hall. He’d grown up in Harlem himself, so there was a neighborhood aspect to his celebrity as well. Preparing this essay, I recognized the cover art for Mark Twain and Other Folk Favorites (his 1954 LP debut) as part my childhood ... the song “Man Piaba” is something I still hum. I likewise recognized the album Belafonte (also from 1956). Clearly, my parents liked the man’s music—and having grown up listening to it, it holds a special place in my life as well.

further listening —The early albums (mentioned above), that identified him with the calypso style and made him a star. —The albums exploring other genres, including Harry Belafonte Sings the Blues (1958), My Lord, What a Morning (gospel, 1959), Swing Dat Hammer (chain gang work songs, 1960), Belafonte Sings Songs of Love (1968) and the Christmas albums (several over the years). —The concert albums, including two recorded at Carnegie Hall (1959, 1960), and subsequent live discs, culminating in An Evening with Harry Belafonte (1997), which became an album, a PBS television show, a VHS video and later a DVD. —The movie-related material, ranging from Carmen Jones (a musical, 1954, the singing was dubbed) to the Western Buck and the Preacher (1972) to several documentaries, now on DVD. —Belafonte’s autobiography My Song (2011), in which he describes his activism in the Civil Rights movement and other causes, in addition to surveying his career as a singer and actor. It’s available as a book, e-book and audio book. Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise and Sacramento News and Review.

Belafonte’s numerous recordings basically sort into several categories:

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

Q&A Question & Answer Session Moderator: Lorena Oropeza

• Locally owned and operated since 1996 • • We stock over 20,000 print music titles • • We offer “guaranteed lowest price” on our huge and diverse inventory of instruments •

Watermelon Music

207 E Street • Davis • C A • 9 5616 • 53 0.7 5 8.4010 M-F • 10-7 • Sa • 10-6 • Su 12-6 • www.watermelonmusic.com 18

Mondavi Center Presents Program Issue 5: jan 2013

Lorena Oropeza is an associate professor of history at UC Davis. She is the author of ¡Raza Sí! ¡Guerra No!: Chicano Protest and Patriotism During the Viet Nam Era and a co-editor of the anthology Enriqueta Vasquez and the Chicano Movement: Writings from El Grito del Norte. She is currently writing a book entitled The Kingdom of Adobe: Tijerina, the Alianza, and the Struggle for Land in New Mexico, which looks at land-grant politics in the state during the 1960s using the themes of memory and history. When she is not at Davis, she lives in Richmond, California, with her husband John and their two sons, Armando and JuanMiguel.

Debut Harry Belafonte

A Distinguished Speakers Series Event Thursday, January 17, 2013 • 8PM Jackson Hall Sponsored by humanities institute

Individual support provided by Lor and Nancy Shepard.

Question & Answer Session Moderator: Lorena Oropeza, Associate Professor, Department of History, UC Davis Question & Answer Sessions take place in the theater after the event.

Harry Belafonte has had an inordinately successful career as an artist and activist. His album Calypso was the first LP to sell more than one million records. As the first black producer in television, Belafonte earned a coveted Emmy Award. Similarly, Belafonte is well known for his lifelong commitment to human rights around the world. Dr. Martin Luther King, Jr., with whom Belafonte shared a deep and abiding affection, said of his friend, “Belafonte’s global popularity and his commitment to our cause is a key ingredient to the global struggle for freedom and a powerful tactical weapon in the Civil Rights movement here in America.” Belafonte was also a prominent contributor to the ending of the oppressive apartheid government of South Africa and for the release of his friend Nelson Mandela after 27 and a half years of incarceration. Belafonte has been honored many times by many diverse groups, including an appointment as UNICEF Goodwill Ambassador in 1987 and a 1994 National Medal of Arts from President Clinton. Belafonte’s much anticipated memoir My Song was released in October 2011, along with an HBO debut of the critically acclaimed bio-documentary Sing Your Song later that same month. Belafonte has four children—Adrienne, Shari, David and Gina, eight grandchildren and two great grandchildren. He resides in New York City with his wife Pamela.

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Debut Monterey jazz festival on tour

Photos by r.r. jones

55th Anniversary Celebration

A Capital Public Radio Jackson Hall Jazz Series Event Friday, January 18, 2013 â&#x20AC;˘ 8PM Jackson Hall

There will be one intermission. Dee Dee Bridgewater, Vocals Sponsored by

Christian McBride, Bass and Musical Director Benny Green, Piano Lewis Nash, Drums Chris Potter, Saxophones Ambrose Akinmusire, Trumpet

Individual support provided by Tony and Joan Stone.

Mondavi Center Presents Program Issue 5: jan 2013

Program Notes The Monterey Jazz Festival, the longest continuously running jazz festival in the world, has presented nearly every major jazz star—from Billie Holiday and Louis Armstrong to Esperanza Spalding and Trombone Shorty—since it was founded in 1958. World renowned for its artistic excellence, sophisticated informality and longstanding mission to create and support year-round jazz education and performance programs in local, regional, national and international venues, Monterey Jazz Festival continues this commitment in 2013 with its third North American tour. Featuring critically acclaimed, Grammy-winning jazz artists, the all-star band consists of bassist and musical director Christian McBride, vocalist Dee Dee Bridgewater, saxophonist Chris Potter, trumpeter Ambrose Akinmusire, pianist Benny Green and drummer Lewis Nash. Held every third full weekend in September on the Monterey County Fairgrounds, the Monterey Jazz Festival is a three-day celebration of music, commissioned jazz compositions, in-depth conversations with artists, panel discussions, workshops, exhibitions, clinics and an international array of food, shopping and festivities spread throughout 20 acres. A nonprofit organization, Monterey Jazz Festival now budgets more than $600,000 annually for jazz education. Cutting-edge educational components include the Traveling Clinician and Latin Jazz Programs; the Festival’s Summer Jazz Camp; the Instrument and Sheet Music Library; the Digital Education Music Project; the Monterey County High School All-Star Bands and the Next Generation Jazz Festival— which draws thousands of the most talented young musicians from across the country and around the world to Monterey each spring. The Artist-In-Residence Program, a key component of Monterey Jazz Festival’s philosophy of bringing leading jazz performers to work with students throughout the year, includes their appearance at the Next Generation Jazz Festival, Summer Jazz Camp and the Monterey Jazz Festival, both in performance and instruction. A leader in jazz education, the Festival has also presented the winning bands from its high school competition since 1971, and has showcased talented young musicians in an all-star student big band, now called the Next Generation Jazz Orchestra. Throughout the years, many legendary and influential artists—including Ray Brown, Ron Carter, Max Roach, Dizzy Gillespie and Benny Golson—have mentored and performed with the all-star students, often premiering original works written for the band. Some of the alumni of the group include Ambrose Akinmusire, Joshua Redman, Patrice Rushen, Dave Koz, Eric Marienthal, Gordon Goodwin, Larry Grenadier and Benny Green, to name a few. Previous Monterey Jazz Festival tours have crisscrossed the United States. In 2008, the 50th Anniversary All-Star Band made a 10-week, 54-date tour across 22 states, and featured the leaders of the past, present and future with four-time Grammy winner Terence Blanchard on trumpet; Grammy winner James Moody on saxophone; musical director Benny Green on piano; Derrick Hodge on bass; Kendrick Scott on drums; and five-time Grammy nominee, vocalist Nnenna Freelon. In 2010, Monterey Jazz Festival on Tour played a six-week, 34-date tour through 17 states and featured the nine-time Grammynominated and NEA Jazz Master Kenny Barron on piano; Grammy-

nominated violinist Regina Carter; Grammy-winning guitarist Russell Malone; Grammy-winning vocalist Kurt Elling; bassist Kiyoshi Kitagawa; and Grammy-nominated drummer Johnathan Blake. Acknowledgements Produced by Absolutely Live Entertainment, LLC Producer, Danny Melnick Associate Producer, Tracy Reid Artistic Director, Tim Jackson for Monterey Jazz Festival Road Manager & Sound Engineer, Richard Battaglia Assistant Road Manager, Brian Wolff Booking Agency, Ted Kurland Associates Absolutely Live Entertainment LLC 48 West 21st Street, Suite 1005 New York, NY 10010 absolutelylive.net

Dee Dee Bridgewater (vocals), a multi-talented, two-time Grammy-winning vocalist and Tony Award-winning actress, has had an illustrious career. Since her New York debut in 1970, she has appeared with the Thad Jones and Mel Lewis Orchestra, Sonny Rollins, Dizzy Gillespie, Dexter Gordon, Max Roach, Roland Kirk and many more. As an actress, she has appeared on stages around the world, which include her Tony-winning performance as Glinda the Good Witch in The Wiz on Broadway and her Laurence Olivier Award-nominated portrayal of Billie Holiday in Stephen Stahl’s Lady Day in London. She has also appeared in Sophisticated Ladies, Cosmopolitan Greetings, Black Ballad, Carmen Jazz and Cabaret. As host of NPR’s Jazzset, Bridgewater presents today’s best jazz artists in performance on stages around the world. Over the course of her career, she has recorded many albums, including homages to Horace Silver, Kurt Weil and the Grammy Award-winning albums Dear Ella (1997), Eleanora Fagan (1915–59) and To Billie with Love from Dee Dee (2010). Bridgewater made her first appearance at the Monterey Jazz Festival in 1973 with the Thad Jones/Mel Lewis Orchestra. Christian McBride (bass, musical director), a three-time Grammy Award-winning bassist, has been at the forefront of jazz since the early 1990s. As one of the most in-demand bassists in the world, he has recorded and performed with a wide range of artists, including Freddie Hubbard, Pat Metheny, Joshua Redman, Joe Henderson, Betty Carter, Roy Haynes, Benny Green, Kathleen Battle, Diana Krall, Dave Brubeck, Jimmy Smith, Joe Lovano, McCoy Tyner, George Duke, Sting, Chick Corea, Chris Botti, James Brown, Queen Latifah, Carly Simon, Sonny Rollins, Roy Haynes and many more. As a recording artist, McBride has many projects that have released albums for the Verve, Warner Brothers and Mack Avenue labels, including the critically acclaimed Kind of Brown (2009) recorded with his group Inside Straight and Grammy-winning The Good Feeling (2011), his first big band recording as a leader, arranger and conductor. As a jazz educator and mentor, he serves as the artistic director at the Jazz Aspen Snowmass summer program and is the codirector of the Jazz Museum in Harlem and has held artistic director, creative chair and artist-in-residence positions at the Henry Mancini and Brubeck Institutes, the Berklee College of Music, Stanford Jazz Workshop, the Los Angeles Philharmonic and the Detroit and Monterey Jazz Festivals. Christian has appeared at the Festival eight times since 1994.

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Sunday, March 10, 2013 JackSon hall, Mondavi center

7:00 pM

Elgar: The Dream of Gerontius University Chorus | Jeffrey Thomas, conductor UC Davis Symphony Orchestra | Christian Baldini, music director Sacramento Opera Chorus D. Kern Holoman, conductor emeritus Kendall Gladen, mezzo-soprano (Angel) Wesley Rogers, tenor (Gerontius) $8 StudentS & children, $12/15/17 adultS | Standard Seating Tickets are available through the Mondavi Center Box Office | 530.752.2787 | mondaviarts.org

Mondavi Center Presents Program Issue 5: jan 2013

Benny Green (piano) was born in New York in 1963, grew up in Berkeley, California, and as a teenager, worked with Eddie Henderson and Chuck Israels. Arriving in New York City in 1982 and studying with Walter Bishop Jr., Green worked with Betty Carter from 1983–87, and then played in Art Blakey’s Jazz Messengers through 1989. After working with Freddie Hubbard’s quintet, Oscar Peterson chose Benny as the first recipient of the City of Toronto’s Glenn Gould International Protégé Prize in Music in 1993, the same year he joined Ray Brown’s trio. In 1997, Benny resumed his freelance career, leading his own trios, accompanying singers like Diana Krall and concentrating on solo piano performances. As a leader, Green has recorded many albums for the Criss Cross, Blue Note, Toshiba and Telarc labels and has appeared on more than 100 recordings with many artists, including Betty Carter, Art Blakey & the Jazz Messengers, Freddie Hubbard, Bobby Watson, Milt Jackson, Diana Krall, Ray Brown and more. Green acted as the musical director for Monterey Jazz Festival’s 50th Anniversary Tour in 2008 and was a featured performer with Dizzy Gillespie All-Star Big Band in 2010. Green continues to be an in-demand guest artist, leading workshops and master classes at such educational institutions and music clinics as the Juilliard School, Interlochen, the Monk Institute, Eastern Washington State University, Jazz Camp West, Snow College, Centrum and the Brubeck Institute. A longtime Monterey artist, Benny made the first of his eight performances at the Festival (as a 15-year-old in 1978) as the pianist in the Next Generation Jazz Orchestra. Lewis Nash (drums) grew up in Phoenix, Arizona, and by the age of 18, he was a first-call sideman for visiting musicians. He moved to New York in 1980 to join Betty Carter’s band. Since then, Nash’s versatility has made him one of the most in-demand drummers of the past several decades—recording and touring with Tommy Flanagan, Oscar Peterson, Sonny Rollins, Ray Brown, Gerald Wilson, Horace Silver, Ron Carter, Hank Jones, Benny Carter, Milt Jackson, Art Farmer, McCoy Tyner, Joe Lovano, Christian McBride, Branford Marsalis, Wynton Marsalis, Pat Martino, Clark Terry, Diana Krall, Joe Williams, Nancy Wilson and many others, and has made three recordings as a leader. Recognized as one of the foremost brush stylists of his generation, Nash is also renowned for his passion and dedication to jazz education, fostering the careers of a long list of younger players and has served as a clinician and educator at schools, workshops and major educational jazz festivals worldwide. In 2012, Jazz in Arizona opened The Nash, a non-profit, 2,600 square-foot performance space in Phoenix, named in his honor. Nash has appeared at the Festival twice since 2001.

Ambrose Akinmusire (trumpet) was born in Oakland, attended Berkeley High School and was a member of the 1999 and 2000 Monterey Jazz Festival High School All-Star Band. At 19, Steve Coleman hired Ambrose in his Five Elements band for an extensive European tour. Akinmusire moved to New York City in 2000 to attend the Manhattan School of Music, performing with Lonnie Plaxico, Stefon Harris, Josh Roseman, Vijay Iyer, Charlie Persip, the Mingus Big Band and the SFJazz Collective along the way. In 2005, he returned to the West Coast for a master’s degree at UCLA and simultaneously attended the Thelonious Monk Institute of Jazz, where he studied with Terence Blanchard, Herbie Hancock, Wayne Shorter, Billy Childs and Gary Grant. After graduation in 2007, Akinmusire won the Thelonious Monk International Jazz Competition and the Carmine Caruso International Jazz Trumpet Solo Competition in the span of one week. After performing live and making appearances on recordings with Steve Coleman, Vijay Iyer, Alan Pasqua, Walter Smith III, Josh Roseman, Esperanza Spalding, Aaron Parks, Jimmy Heath, Jason Moran, Terri Lyne Carrington, Ron Carter, Jason Moran, Wallace Roney, Herbie Hancock, Wayne Shorter and more, Akinmusire released When The Heart Emerges Glistening on Blue Note Records in 2011. The New York Times wrote that Ambrose’s quintet “seems destined for much wider recognition” and named When The Heart Emerges Glistening as its top CD of the year. The Los Angeles Times said “Akinmusire sounds less like a rising star than one that was already at great heights and just waiting to be discovered.” Akinmusire was Monterey’s Artist-In-Residence in 2012 and has made four appearances at the Festival since the 1990s.

Chris Potter (saxophone), a Grammy-nominated saxophonist who DownBeat magazine called “one of the most studied (and copied) saxophonists on the planet,” is a potent improviser and is the youngest musician ever to win Denmark’s Jazzpar Prize. Born in Chicago in 1971 and raised in Columbia, South Carolina, he has recorded 19 albums as a leader for the Criss Cross, Concord, Koch, Emercy, Verve and Storyville labels. As a sideman, Potter has appeared on more than 100 others with a wide variety of artists including Herbie Hancock, John Scofield, the Mingus Big Band, Jim Hall, Dave Douglas, Ray Brown and many others. Over the years, he has been a regular member of Paul Motian’s Electric Bebop Band, Steely Dan and bassist Dave Holland’s groups, including Holland’s Monterey Quartet, which also featured pianist Gonzalo Rubalcaba and drummer Eric Harland at Monterey’s 50th Anniversary in 2007. His most recent membership is with Pat Metheny’s Unity Band, Pat’s first group in 30 years to feature a saxophonist. Making an appearance with the Unity Band at the 55th Monterey Jazz Festival in 2012, Metheny said: “He is one of the greatest musicians I have ever been around.” Potter made the first of his eight Festival appearances in 1997.

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Mondavi Center Presents Program Issue 5: jan 2013

Debut National Theatre of Scotland

Photo by Drew Farrell

The Strange Undoing of Prudencia Hart

A Mondavi Center Special Event Wednesday–Friday, January 23–25, 2013 • 8PM Saturday, January 26, 2013 • 2PM & 8PM Vanderhoef Studio Theatre

There will be one intermission. Individual support provided by Tony and Joan Stone.

The Strange Undoing of Prudencia Hart Cast (in alphabetical order) Annie Grace Melody Grove Alasdair Macrae Paul McCole David McKay Creative Team David Greig, Writer Wils Wilson, Director Georgia McGuinness, Designer Alasdair Macrae, Composer and Musical Director Janice Parker, Movement Director Anne Henderson, Casting Director Production Team Gary Morgan, Stage Manager Emma Callander, Staff Director and Assistant Stage Manager Liz Smith, Press & Marketing Consultant

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ull up a chair and wet your whistle for an evening of anarchic theater, live music and strange goings-on.

Following a sold-out run at the 2011 Edinburgh Festival Fringe and a Scottish tour where it received glowing reviews, was nominated in four categories for the 2011 Critics’ Awards for Theatre in Scotland (CATS) and won the Best Music and Sound Award, The Strange Undoing of Prudencia Hart returns for a worldwide tour beginning in 2012. The Strange Undoing of Prudencia Hart takes theater into pubs and other unlikely venues, where stories are told, retold, sung and passed on. So now is the time to share a lock in with the National Theatre of Scotland’s company of actors and musicians. Indulge in an evening of supernatural storytelling, music and theater inspired by the Border Ballads, Robert Burns and the poems of Robert Service. Writer David Greig, director Wils Wilson and composer Alasdair Macrae spent a weekend in an old pub in Kelso in the Scottish Borders researching the Border Ballads for this show. It had been the coldest winter for many years, and maybe it was the unique atmosphere in the pub that night, or maybe it was the knee deep snow outside, but no one wanted the evening to end. So at midnight the landlord locked the doors, and they found themselves in a lock in. Deep in the wee hours, one old man told a story about another group of people who’d come to look for songs a few years back and about how one of them, a woman, had never after been seen again. It was a story, which he said was “one hundred and ten percent true,” of love, music and the Devil. It was the story of The Strange Undoing of Prudencia Hart, and it is that tale that will be told to you, if you have the nerve to hear it. Prudencia Hart, a 28-year-old academic and collector of folk songs, has devoted her life to the study of folk material. On the night of a conference in Kelso, she came to town to collect song material for her thesis, titled Paradigms of Emotional Contact in The Performance and Text of Traditional Folk Song in Scotland 1572–1798. She gets caught up in a lock in with a bunch of locals, and that’s when she hears of the existence of a song beyond song ... the original song ... the uncollected song ... the song of undoing and she sets out to find it. What Prudencia doesn’t know is that the song of undoing belongs to the Devil. The wild journey through the night takes her into and out of different supernatural and natural realms always looking for the song until finally, she discovers it and is undone. She returns to the pub ... where ... in the last and culminating act of the lock in ceilidh, she sings the song of her own undoing. It is a spell binding and intimate experience for the audience as they are part of the performance with the actors right next to them, sometimes sitting at their table. They could be called upon to be involved in the action while the show happens all around them. Music and song are major elements, so on occasions the audience joins in with the singing and dancing, but sometimes they just sit and watch, like a conventional audience. The National Theatre of Scotland cannot be held responsible in the event of any member of the audience losing their head, their heart or their very self during the course of the performance.

Mondavi Center Presents Program Issue 5: jan 2013

Annie Grace (actor) is a musician, singer and actor. She graduated from Glasgow School of Art. Her previous work for the National Theatre of Scotland includes Peter Pan. Other theater credits include A Little Bit of Northern Light (Scottish Opera), Para Handy (Open Book), Thank God for John Muir, Cyrano De Bergerac, Tir na Nog, Poker Alice (Òran Mór), The Heretic’s Tale, Jacobite Country (Dogstar), Tam O’Shanter (Perth Theatre/Communicado), Pinocchio (Arches), Mum’s the Word (Robert C Kelly), The Celtic Story (Wildcat), Homers (Traverse), The Accidental Death of an Accordionist, The Wedding (Right Lines) and Miniatures (Theatre Collective @ Highland). Grace was a founder member of the band Iron Horse with which she toured worldwide for several years. She has performed in many musical collaborations including The Unusual Suspects and, currently, Grace, Hewat & Polwart. Melody Grove (actor) trained at the Royal Scottish Academy of Music and Drama and graduated with the James Bridie Gold Medal for Acting 2009. Her theater credits include The Importance of Being Earnest (Lyric, Belfast), Of Mice and Men, The Importance of Being Earnest (Royal Lyceum, Edinburgh—nominated for the 2010 Ian Charleson Award), 2401 Objects (Analogue/Pleasance), Snow White and the Seven De’Wharffs (Macrobert), Room, One Night Stand, One Thousand Paper Cranes (Tron) and The Girls of Slender Means (Stellar Quines/Assembly Rooms). Films include A Stately Suicide, Venus and the Sun and Sisters. Her work for radio includes The Grapes of Wrath, The Great Gatsby, The Call of the Wild, The Voysey Inheritance, A Case for Paul Temple, The Vanishing, Of Mice and Men, La Princesse De Cleves and many short stories for BBC Radio 4. Audio books include The Importance of Being Emma and The Child Inside. Alasdair Macrae (actor, composer and musical director) is an actor, sound designer, musician, musical director and composer. He trained in Theatre Arts at Langside College, Glasgow. Macrae’s work as an actor for the National Theatre of Scotland includes Calum’s Road, Tall Tales for Small People, Peter Pan, Peeping at Bosch, Gobbo and HOME Caithness. Other acting credits include The Undersea World of Bubble McBea (Scottish Opera), Fergus Lamont (Communicado), Lost Ones, Invisible Man (Vanishing Point), Homers (Traverse) and Our Bad Magnet (Tron). Recent work as musical director, sound designer and composer includes Anna Karenina, Sleeping Beauty (Dundee Rep), The Bookie (Cumbernauld), The Government Inspector (Communicado), Little Red Riding Hood (Arches), The Beggar’s Opera (Vanishing Point/Royal Lyceum, Edinburgh/Belgrade, Coventry/Tramway), Subway (Vanishing Point), Interiors (Traverse/Vanishing Point/Festival Teatro Napoli) and Tam O’Shanter (Communicado/Perth Rep). Macrae has won a number of awards including, most recently, Best Music and Sound for The Strange Undoing of Prudencia Hart at the Critics’ Awards for Theatre in Scotland (CATS). He has also won a Herald Angel, two Fringe Firsts and two further CATS awards for Subway (2007) and The Government Inspector (2010). Paul McCole (actor) studied at Langside College, Glasgow, before working with Govan Theatre Works, a theater company for the unemployed. His theater credits include Ski Sluts from Glenshee (Theatre Works), Beyond the Pale (Theatre Tribe) Blood Wedding and Romeo and Juliet (Citizens, Glasgow). Film and television credits include Sunshine on Leith, Case Histories, Up There, Doors Open, Rab C Nesbitt, Limmy’s Show, Still Game, Deer Green Place, Crying With Laughter, Rebus, High Times, The Key and Taggart, plus the short films Blackout, Electric Blues, Killer, The Stain and Dignitas: The Movie. McCole also works with improvisation and sketch troupe

ImprovDogs who perform a monthly show in Glasgow and, with writing partner Gordon Munro, he performs in the stand-up musical duo, DiGNITAS. David McKay (actor) trained at Glasgow Arts Centre. His previous work for the National Theatre of Scotland includes Aalst. Other theater credits include The Apprentice (Òran Mór), Four Men and a Poker Game (Metis), The Tempest, Salvation (Tron), Wishing Tree, Damaged Goods (Wiseguise), One, Two, Hey! (Traverse), The Conquest of the South Pole (Raindog), Of Mice and Men (Brunton, Musselburgh), Shining Souls, Hansel and Gretel, The Lion the Witch and the Wardrobe (Citizens, Glasgow), As You Like It, The Games a Bogie (Scottish tour), Ten Days in May, Pals (Cumbernauld), Smugglers, Tellyitis, An’ Me Wi’ a Bad Leg Tae, When Hair Was Long and Time Was Short (Borderline),The Celtic Story, Harmony Row (Wildcat), The Big Move (Skint Knees), Wuthering Heights (Birds of Paradise) and Hair of the Dog (Dependency Culture).TV work includes Shoe Box Zoo, Looking After Jo-Jo, The Tales of Parahandy, Down Among the Big Boys, Justice Game, Down Where the Buffalo Go, Workhorses, Rab C Nesbitt, Stookie and Taggart. Film work includes Village on the Roof, The Gift, Neds, Ae Fond Kiss, Once Upon a Time in the Midlands, My Name is Joe, Les Miserables, Braveheart, Initiation, Close, Nightlife, Joyride, The Girl in the Picture and As Far As You’ve Come. David Greig (writer) is a playwright, screenwriter and director. His work for the National Theatre of Scotland includes One Day in Spring, Dunsinane, Peter Pan, The Bacchae and Gobbo. Other recent theater work includes Yellow Moon, The Monster in the Hall, The American Pilot, Midsummer, Miniskirts of Kabul, Damascus, Pyrenees, San Diego, Outlying Islands and The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union. Work with Suspect Culture includes 8000m, Lament and Mainstream. Translations and adaptations include Tintin in Tibet and King Ubu. Radio plays include The American Pilot, An Ember in the Straw and Being Norwegian. Screenplays and television work include M8 and Nightlife. The Traverse Theatre’s 2002 production of Outlying Islands won a Scotsman Fringe First, Herald Angel and Best New Play at the Critics’ Awards for Theatre in Scotland. San Diego (Edinburgh International Festival/Tron, Glasgow) won a Herald Angel and the award for Best New Play at the Tron Theatre Awards 2003. Greig has also won the John Whiting award and a Creative Scotland award. Wils Wilson (director) Work for the National Theatre of Scotland includes Gobbo (Best Production for Children & Young People, Critics’ Awards for Theatre in Scotland) and HOME Shetland (Best Music, Critics’ Awards for Theatre in Scotland). Wilson was cofounder and co-Artistic Director of wilson+wilson (1997-2007), creating site-specific art, installation and theater. Work included HOUSE, Mapping the Edge, News from the Seventh Floor and Mulgrave. Other recent directing credits include Manchester Lines (Manchester Library), Queen Bee (New Writing North/North East Theatre Consortium), Secret Heart, Eliza’s House (Manchester Royal Exchange), as well as work for Live Theatre, Newcastle-upon-Tyne, Bolton Octagon, the Gate Theatre, London, Midsommer Actors and BBC Radio Drama. Georgia McGuinness (designer) trained on the Motley Theatre Design Course. Her work for the National Theatre of Scotland includes The Miracle Man, Empty and 365. Other theater design credits include Midsummer, Perfect Days, Abandonment (Traverse), Arabian Nights (Royal Shakespeare Company), Curse of the Starving Class (Royal Lyceum, Edinburgh), Yarn (Grid Iron/Dundee Rep),

Helter Skelter (Tramway/Music at the Brewhouse), Crave (Paines Plough/Royal Court), Green Whale (Licketyspit), Arabian Nights (Young Vic and International tour), The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union, Sleeping Around, Crazy Gary’s Mobile Disco (Paines Plough), Caravan (National Theatre of Norway), Afore Night Come (Theatr Clwyd), The Importance of Being Earnest (Nottingham Playhouse), The Weavers (Gate), Twelfth Night (Central School of Speech and Drama), The Sunset Ship (Young Vic/National Gallery), Othello (Watermill), King and Marshall (Bloomsbury) and Four Saints in Three Acts (Trinity Opera). Janice Parker (movement director) is a choreographer, teacher and performer originally trained in Laban Movement. Her work with the National Theatre of Scotland includes Ménage à Trois and Truant. Other theater credits include Kes (Catherine Wheels), Age of Arousal (Stellar Quines/Lyceum, Edinburgh), The Girls of Slender Means (Stellar Quines/Assembly), The Killing Times, The Love Adventures of Geordie Cochrane, Willie Wastle (Rowan Tree), Exotic Hyper Space and Instant Travel to Pop Up Cities (Lung Ha’s). She also develops dance and cross-artform opportunities and performance for a wide range of individuals, companies and organizations across the U.K. and internationally. Her awards include a Herald Angel, an Unlimited Cultural Olympiad Commission for her recent production Private Dancer and a Creative Scotland Award. The National Theatre of Scotland It is our ambition to make incredible theater experiences for you, which will stay in your heart and mind long after you have gone home. We tirelessly seek the stories which need to be told and retold, the voices which need to be heard and the sparks that need to be ignited. We do this with an ever-evolving community of play-makers, maverick thinkers and theater crusaders. We try to be technically adventurous and fearlessly collaborative. We are what our artists, performers and participants make us. And with no stage of our own, we have the freedom to go where our audiences and stories take us. There is no limit to what we believe theater can be, no limit to the stories we are able to tell, no limit to the possibilities of our imaginations. All of Scotland is our stage, and from here we perform to the world. We are a theater of the imagination: a Theater Without Walls. For the latest information on all our activities, visit our online home at www.nationaltheatrescotland.com Follow us on Twitter @NTSonline and join in the conversation #PrudenciaHart. Find us on Facebook: NationalTheatreScotland

The National Theatre of Scotland is core funded by the Scottish Government. The National Theatre of Scotland, a company limited by guarantee and registered in Scotland (SC234270), is a registered Scottish charity SCO33377. Double M Arts & Events, LLC is the exclusive representative of the National Theatre of Scotland. For more information about touring opportunities for National Theatre of Scotland, please contact Michael Mushalla by phone (+1 347 280 3396) or email (mushalla@gmail.com).

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Mondavi Center Presents Program Issue 5: jan 2013

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

Debut L.A. Dance Project Benjamin Millepied, founding director

A Dance Series Event Saturday, January 26, 2013 â&#x20AC;˘ 8PM Jackson Hall

Pre-Performance Talk Saturday, January 26, 2013 â&#x20AC;˘ 7PM Jackson Hall Speaker: Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center Question & Answer Session With members of L.A. Dance Project Moderator: Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center Question & Answer Sessions take place in the theater after the event.

Moving Parts Benjamin Millepied, Choreographer Dancers: Charlie Hodges, Julia Eichten, Morgan Lugo, Nathan Makolandra, Amanda Wells Intermission Winterbranch Merce Cunningham, Choreographer Dancers: Charlie Hodges, Julia Eichten, Morgan Lugo, Nathan Makolandra, Amanda Wells Intermission Quintett William Forsythe, Choreographer Dancers: Julia Eichten, Charlie Hodges, Morgan Lugo, Nathan Makolandra, Amanda Wells

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Anniversary 2012–13

10th Anniversary Season Sponsors

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Kodo Feb 7 Cirque Mechanics Feb 10

Pilobolus Dance Theatre Feb 24  Cashore Marionettes MAR 15–17

roots and grooves Robert Randolph Presents the Slide Brothers Feb 22 Bobby McFerrin APR 5 Arlo Guthrie, solo APR 19 Medeski Martin & Wood with Joshua Light Show APR 20

Mondavi Center favorites Itzhak Perlman, violin FEB 16 Russian National Orchestra Feb 17 St. Louis Symphony Mar 17 Jazz at Lincoln Center Orchestra with Wynton Marsalis Mar 19 Alvin Ailey American Dance Theater Apr 29–30

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Acclaimed cartoonist Jules Feiffer’s Dancer celebrates the Mondavi Center’s 10th anniversary. More details on ordering this special edition poster at mondaviarts.org.

Full season of more than 70 performances: mondaviarts.org

Mondavi Center Presents Program Issue 5: jan 2013

L.A. Dance Project Curatorial Collective: Benjamin Millepied, Founding Director Dimitri Chamblas Charles Fabius Matthieu Humery Nico Muhly Company Charlie Hodges Julia Eichten Morgan Lugo Nathan Makolandra Amanda Wells Rick Murray, Lighting Director Will Knapp, Production Manager/Technical Director Kathryn Luckstone, Company Manager Charlie Hodges, Rehearsal Director Jenna Woods, Stage Manager

Program Notes Moving Parts (2012) Length: 27 minutes World Premiere: September 22, 2012, at the Walt Disney Concert Hall, Los Angeles, CA. Benjamin Millepied, Choreography Nico Muhly, Music Composition Christopher Wool, Visual Installation Kate and Laura Mulleavy (of Rodarte), Costume Design Roderick Murray, Lighting Design Lisa Liu, Violin Phil O’Connor, Clarinet Commissioned by Glorya Kaufman Presents Dance at the Music Center, Los Angeles, CA. Winterbranch (1964) Length: 23 minutes Premiere: March 21, 1964 Merce Cunningham, Choreography La Monte Young, Music “2 Sounds” Robert Rauschenberg, Décor and Costume Design Beverly Emmons, Lighting Design (based on concepts by Robert Rauschenberg) Jennifer Goggans, Staging (assisted by Robert Swinston) The concept for Winterbranch came from what Cunningham referred to as “facts in dancing.” Two such facts are the act of falling, and unless one stays on the ground, the subsequent act of rising. The dance began with Cunningham crawling slowly across the stage carrying a flashlight, followed by the dancers engaging in a series of falls, in both slow and fast motion, eventually clustering together to fall and rise as a cohesive group. Cunningham asked Rauschenberg

to think of the lighting as if it were nighttime, with automobile lights flashing in faces, reminiscent of walking along a dark highway. Rauschenberg dressed the dancers in sweat suits and sneakers, with black paint under their eyes. La Monte Young’s music for the piece, entitled “2 Sounds,” consisted of “the sound of ashtrays scraped against a mirror, and the other, that of pieces of wood rubbed against a Chinese gong.” Winterbranch is performed by LADP with the permission and cooperation of the Merce Cunningham Trust. Quintett (1993) Length: 26 minutes Premiere: October 9, 1993 at Opernhaus, Frankfurt am Main William Forsythe, Choreography (in collaboration with Dana Caspersen, Stephen Galloway, Jacopo Godani, Thomas McManus and Jone San Martin) Gavin Bryars, Music “Jesus’ Blood Never Failed Me Yet” (© Schott Music GmbH & Co. KG, Mainz) Stephen Galloway, Costume Design William Forsythe, Lighting Design Staging: William Forsythe, Stephen Galloway, Thomas McManus and Jone San Martin Lyrical, committed and moving, Quintett is a quiet masterpiece set to Gavin Bryars’s “Jesus’ Blood Never Failed Me Yet.” On stage filled with bright, white light, Quintett brilliantly evokes and develops Bryars’s themes of loss, hope, fear and joy. In Quintett the dancers set into motion a seamless flow of duets, solos and trios in counterpoint to the heartbeat of Gavin Bryars’s music. Weaving and tumbling, the dancers create an eddying force that grows in fluid, joyous complexity—a torrent containing, in its bright, vital vision, an awareness of its own eventual end. MondaviArts.org

Biographies Charlie Hodges (ballet master/dancer) is a former member of Phi Beta Kappa and a Mary Gates Research Scholar. Hodges graduated summa cum laude from the University of Washington earning high honors degrees in dance and architecture. He has performed extensively with the Sacramento Ballet, Imij-re and Twyla Tharp. He was voted the Best Male Dancer of 2003 by the European Critics Choice Awards, made his Broadway debut in 2006 in the Tharp musical Movin’ Out and won the 2010 Fred Astaire Award for Best Male Dancer on Broadway for the creation of his role, Marty in the Tharp/Sinatra musical Come Fly Away. He thanks Twyla for the last decade of learning and exploration and his husband Adam for his patience and support. He proudly celebrates his participation with LADP. Julia Eichten (dancer) grew up in Minnesota and received her B.F.A. from the Juilliard School. Upon graduation she received the Hector Zaraspe award for choreography. While at Juilliard she had the opportunity to perform works by Stijn Celis, Benjamin Millepied, Ohad Naharin, Alexander Ekman and Mark Morris. She has worked professionally with Camille A. Brown & Dancers and Aszure Barton & Artists. Julia is thrilled to be a part of L.A. Dance project with such wonderful and diverse artists. Morgan Lugo (dancer), a native of Wilmington, North Carolina, trained at North Carolina School of the Arts and recently graduated from SUNY Purchase. At Purchase, he had the opportunity to work with such choreographers as Lar Lubovitch, Doug Varone, Stephen Petronio and Paul Taylor. In 2011, during his final year at Purchase, Morgan made his professional debut with Morphoses under the direction of Lourdes Lopez and artistic director Luca Veggetti. He is excited to be a part of LADP and looks forward to its future! Nathan B. Makolandra (dancer) began dancing and choreographing in South Carolina. He is a recent graduate of the Juilliard School under the direction of Lawrence Rhodes. There, he performed the works of Alexander Ekman, Nacho Duato, Jerome Robbins, Bronsilava Nijinska, and Jose Limon. Nathan enjoys teaching and choreographing across the US, Canada and beyond. In addition, he choreographed a dance/music video for U.K. artist Richard Walters. Upon graduation, Nathan received the Hector Zaraspe Prize for Choreography. He is very excited for this opportunity!

Mondavi Center Presents Program Issue 5: jan 2013

Amanda Wells (dancer) began her formal dance training at the San Francisco Ballet School. She continued to train and perform with Boston Ballet and Richmond Ballet Company. Wells then relocated to attend NYU’s Tisch School of the Arts, and upon graduation joined the Stephen Petronio Company where she had the pleasure of creating new works, touring and teaching master classes across the U.S., Europe, Asia and Australia. Wells is thrilled to be a part of the inaugural season of LADP. Benjamin Millepied (founding director), born in Bordeaux, France, began his dance training at the age of eight with his mother Catherine, a former modern dancer. After studying classical ballet in France under Michel Rahn at the Conservatoire National de Lyon, Millepied came to New York City to study at the School of American Ballet in 1992. While at SAB, Millepied was the recipient of numerous prestigious awards, including the French Ministry of Culture’s “Bourse Lavoisier”, the “Prix de Lausanne” and the Mae L. Wien Award for Outstanding Promise. In 1995, Millepied joined the New York City Ballet, where he quickly rose to the rank of Principal Dancer by 2001. During his career at NYCB, Millepied danced lead roles in ballets by notable choreographers including George Balanchine, Jerome Robbins and Peter Martins. Millepied also originated roles in new works by Jerome Robbins, Peter Martins, Angelin Preljocaj, Mauro Bignozetti, Alexei Ratmanski and Christopher Wheeldon. In 1999 and 2002, he appeared in featured roles with the NYCB for the nationally televised Live From Lincoln Center broadcast. Millepied retired from NYCB in 2011. In addition to being a celebrated dancer, Millepied is also a renowned choreographer who has created works for some of the world’s most well-known dance companies and artists, including the New York City Ballet, Paris Opera Ballet, American Ballet Theater, Mikhail Baryshnikov, Mariinsky Ballet, Geneva Opera Ballet, Lyon Opera Ballet and Pennsylvania Ballet. Millepied’s works are regularly performed by dance companies around the world. In 2010, Millepied became a Chevalier in France’s prestigious Ordre des Arts et des Lettres (Order of Arts and Letters). Also in 2010, Millepied choreographed and starred in Darren Aronofsky’s award-winning feature film Black Swan, and he directed his first short film. In 2011, Millepied directed five short films for a multi-media performance entitled Portals. Benjamin is now directing on a regular basis. In 2011, Millepied became the face of Yves Saint Laurent’s new fragrance L’Homme Libre.

In 2012, Millepied directed the musical staging for the La Jolla Playhouse’s production of Hands On a Hardbody, which is scheduled to premiere on Broadway in New York City in the spring of 2013. In 2012, Millepied announced the creation of L.A. Dance Project, his new dance company. L.A. Dance Project’s inaugural performances, commissioned by the Music Center, feature a new work choreographed by Millepied with music by Nico Muhly, set design by artist Christopher Wool and costumes by Rodarte. L.A. Dance Project will tour the United States and internationally into 2013. Nico Muhly (composer) has composed a wide scope of work for ensembles, soloists and organizations, including the American Symphony Orchestra, Boston Pops, Carnegie Hall, Chicago Symphony, countertenor Lestyn Davies, violinist Hilary Hahn, choreographer Benjamin Millepied, New York City Ballet, New York Philharmonic, Paris Opéra Ballet, soprano Jessica Rivera and designer/illustrator Maira Kalman. Born in Vermont in 1981 and raised in Providence, Rhode Island, Muhly graduated from Columbia University with a degree in English literature. In 2004, he received a master’s in music from the Juilliard School, where he studied under Christopher Rouse and John Corigliano. His writings and full schedule can be found at www.nicomuhly.com. Rodarte (costume designers) was founded in Los Angeles by Kate and Laura Mulleavy. Kate and Laura have won numerous awards and accolades and were nominated for best costume design at the 16th Annual Critics’ Choice Movie Awards for their work in Black Swan. In March 2011, Rodarte: States of Matter, was on view at the MOCA, followed by Rodarte: Fra Angelico Collection exhibition at the LACMA. In May 2012, Kate and Laura designed costumes for the L.A. Philharmonic’s Don Giovanni production with set design by Frank Gehry. Roderick Murray (lighting designer) has been designing lighting and installations for performance both nationally and internationally since 1989. Moving Parts is Murray’s latest collaboration with Millepied, for whom he has designed the lighting on various projects since 2006. His designs for Millepied include four world premieres at venues in Europe and the U.S., including New York City Ballet, Lyon Opèra Ballet, ABT, Ballet du Grand Théâtre de Genève and the Lyon Festival de la Danse. Murray has also designed the lighting and environments for many important innovators in dance and choreography including Ralph Lemon, Kimberly Bartosik, Wally Cardona and Yanira Castro, as well as many other important artists, including Paul Simon, Sekou Sundiata and Susan Marshall. Christopher Wool (painter and photographer), born in Chicago in 1955, moved to New York in the 1970s. Since the mid-1980s, Wool’s work has been the subject of numerous international gallery and museum exhibitions, including a survey of his work at MOCA in Los Angeles in 1998. In 2013, the Solomon R. Guggenheim Museum in New York will present a major retrospective of the artist’s work.

Merce Cunningham (choreographer, 1919–2009) was a leader of the American avant-garde throughout his 70-year career and is considered one of the most important choreographers of our time. With an artistic career distinguished by constant experimentation and collaboration with groundbreaking artists from every discipline, Cunningham expanded the frontiers of dance and contemporary visual and performing arts. Cunningham’s lifelong passion for innovation also made him a pioneer in applying new technologies to the arts. Born in Centralia, Washington, on April 16, 1919, Cunningham began his professional dance career at 20 with a six-year tenure as a soloist in the Martha Graham Dance Company. In 1944, he presented his first solo show and in 1953, formed the Merce Cunningham Dance Company as a forum to explore his groundbreaking ideas. Together with John Cage, his partner in life and work, Cunningham proposed a number of radical innovations, chief among them that dance and music may occur in the same time and space but should be created independently of one another. They also made extensive use of chance procedures, abandoning musical forms, narrative and other conventional elements of dance composition. For Cunningham, the subject of his dances was always dance itself. An active choreographer and mentor to the arts world throughout his life, Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts (1990), the MacArthur Fellowship (1985), Japan’s Praemium Imperiale (2005) and the British Laurence Olivier Award (1985). Always forward thinking, Cunningham established the Merce Cunningham Trust in 2000 and developed the precedent-setting Legacy Plan prior to his death to ensure the preservation of his artistic legacy. Jennifer Goggans (ballet master, Winterbranch) began dancing in her hometown of Owensboro, Kentucky, continued her studies at the Nutmeg Ballet and received her B.F.A. in dance from SUNY Purchase. She has performed with the Louisville Ballet, MOMIX, Chantal Yzermans, Christopher Williams and was a member of the Merce Cunningham Dance Company from 2000 until its closure in 2011. Goggans became a faculty member of the Merce Cunningham Studio in 2005 and was named Assistant to the Director of Choreography in 2011. She has staged Cunningham works for the Augusta Ballet, Verb Ballet, Yale Dance Theater, Los Angeles Dance Project and the Paris Opera Ballet. Goggans has also studied fashion design at the Fashion Institute of Technology. William Forsythe (choreographer), raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York and San Francisco. In 1984, he began a 20-year tenure as director of the Ballet Frankfurt, where he created works such as Artifact (1984), Impressing the Czar (1988) and Limb’s Theorem (1990) among many others. After the closure of the Ballet Frankfurt in 2004, Forsythe established a new, more independent ensemble whose works include Three Atmospheric Studies (2005), You made me a monster (2005), Human Writes (2005), Heterotopia

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(2006), The Defenders (2007), Yes we can’t (2008) and I Don’t Believe in Outer Space (2008). Forsythe’s most recent works are developed and performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of virtually every major ballet company in the world, including the Kirov Ballet, New York City Ballet, San Francisco Ballet, National Ballet of Canada, England’s Royal Ballet and Paris Opera Ballet. Awards received by Forsythe and his ensembles include the New York Dance and Performance Bessie Award (1988, 1998, 2004, 2007) and London’s Laurence Olivier Award (1992, 1999, 2009). Forsythe has been conveyed the title of Commandeur des Arts et Lettres (1999) by the government of France and has received the German Distinguished Service Cross (1997), the Wexner Prize (2002) and the Golden Lion (2010). Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind, ARTANGEL (London), Creative Time (New York), and the City of Paris. His performance, installation and film works have been presented in numerous museums and exhibitions. In collaboration with media specialists and educators, Forsythe has developed new approaches to dance documentation, research and education such as his 1994 computer application Improvisation Technologies: A Tool for the Analytical Dance Eye, developed with the Zentrum für Kunst und Medientechnologie. As an educator, Forsythe is regularly invited to lecture and give workshops at universities and cultural institutions. He is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds an Honorary Doctorate from the Juilliard School in New York. Forsythe is also a current A.D. White Professor-at-Large at Cornell University (2009–15). Thomas McManus (ballet master, Quintett) was born in 1963 in the U.S. Coming from a farm on the great plains of Illinois, Mcmanus is a graduate of the North Carolina School of the Arts. His early work and experience in New York included improvisational performances at Westbeth Studios, dancing with a Chamber Ballet repertory company, a season with American Ballet Theater II and the Broadway musical Cats. A desire to live and work in Europe led him to Germany where he danced from 1986–99 with William Forsythe and the Ballet Frankfurt, taking part in most of the newly created ballets during that time. Since 1999, he has been a member of the performance group “commerce,” which he founded together with Nik Haffner. He is currently choreographing for many different venues, teaches Forsythe repertory to major ballet companies and teaches improvisation workshops all over Europe and America. Stephen Galloway (ballet master, Quintett), an accomplished dancer and designer, was a principal dancer with choreographer William Forsythe’s Frankfurt Ballet from 1986–2004 and in 1990 was appointed head costume designer/style coordinator. Galloway has been the art director for fashion houses such as Issey Miyake and has staged fashion shows for Yves Saint Laurent, Costume National, Versace and Miyake. He has been a creative consultant and choreographer for the Rolling Stones world tours and music videos since 1997. His costume work has been seen internationally in productions by American Ballet Theatre, Paris Opera, La Scala Opera and many film opera and television projects across Europe and the Far East. Galloway often collaborates with artists and photographers

Mondavi Center Presents Program Issue 5: jan 2013

Inez van Lamsweerde and Vinoodh Matadin on editorial and fashion campaigns for Harper’s Bazaar, French, American and German Vogue, V and W Magazines, Calvin Klein and Gucci. He has been awarded a Bessie, a Sir Laurence Olivier and a Nijinsky Award for his work as a dancer and costume designer with the Frankfurt Ballet. He released his first music CD From This Day On in 2002. The follow-up, THE RETURN OF LUBRIOUS, was released in 2009. He is also the editor of BRAVE!, an innovative quarterly published in Germany since spring 2009. Jone San Martin (ballet master, Quintett) is a dancer/choreographer, born in Donostia, San Sebastian, Spain. She studied with Mentxu Medel in San Sebastian, then at the Institut del Teatre in Barcelona and at Mudra International in Brussels. After working at several companies, including the Compañía Nacional de Danza in Madrid, Ulmer Theater in Germany and with Jacopo Godani in Brussels, she joined the Ballett Frankfurt in 1992 under the direction of William Forsythe. She has been a member of the Forsythe Company since 2004. Gavin Bryars (composer) is one of Britain’s leading composers. He was born in Yorkshire in 1943. His first musical reputation was as a jazz bassist working in the-mid 1960s with improvisers Derek Bailey and Tony Oxley. His first major work as a composer was “The Sinking of the Titanic” (1969) which was originally released along with “Jesus’ Blood Never Failed Me Yet” on Brian Eno’s Obscure Label, and re-recorded for release in 1996 on Crepuscule Records. Over the last decade his compositions have ranged widely. Bryars’ works have been used by such choreographers as Lucinda Childs, Maguy Marin and in 1989 by William Forsythe in Act I (and later Act III) of Slingerland. In 1993, Forsythe used the composition “Jesus’ Blood Never Failed Me Yet” for Quintett. Bryars is professor of music at Leicester Polytechnic and musical associate at the Leicester Haymarket Theatre. Charles Fabius (L.A. Dance Project Curatorial Collective), a graduate of the Royal Academy Utrecht (The Netherlands) in Musicology and Theatre History, started his career as music editor in his native country. He moved to Paris, where he co-founded the Paris Opera School for young singers, Ecole d’Art Lyrique, in 1979. He became artistic program director at the Paris Grand Opera in 1983. Through the 1990s, he ran a prominent artist management agency from Paris, managing the worldwide career of Robert Wilson. He has been decorated by the French government with the Chevalier des Arts et des Lettres. In 2001, he moved to New York City as artistic and executive director of the Byrd Hoffman Water Mill Foundation, leading a major building and capital campaign. The newly-redesigned Watermill Center for the Arts and the Humanities opened in 2006 as a year-round facility. Since 2007, Fabius has been consulting producer for performing arts projects at the Solomon R. Guggenheim Museum, New York.

Graham and Alwin Nikolais. In 1994, he choreographed Soli-Bach, working with Jean-Paul Gaultier, Andy Goldsworthy, Jean le Gac and composer Heiner Goebbels. In 1996, Chamblas met Mathilde Monnier, the current director of the Centre Chorégraphique National de Montpellier. They collaborated on several shows, including Stop Stop Stop with writer Christine Angot. Together with Mathilde Monnier, Dimitri created the “research and writing residence,” an occasion for artists to create personal creative space outside of the traditional production process. Chamblas is the co-founder of EDNA with the choreographer Boris Charmatz. Together they have organized events, performances and exhibitions all over the world. Their duet “A bras le Corps” has been performed on every continent in world-renowned theaters and festivals. In 2002, Chamblas partnered with producer Jean-Jacques Cabuy and Karen Barel to found SAME, a company that produces video music, commercials, web content and other audiovisual works. SAME has offices in Paris, Brussels and Los Angeles. In 2011, Chamblas and Millepied began a film producing partnership, which remains active and ongoing. Matthieu Humery (L.A. Dance Project Curatorial Collective) was appointed vice president and specialist head of sale of the photographs department for Christie’s New York in 2007. During his tenure at Christie’s, Humery has overseen the sales of the Fremont Collection, the Elfering Collection and the Collection of Bruce and Nancy Berman’s Photographs by Diane Arbus (part I) and William Eggleston (part II). In the spring of 2008, the photographs department achieved the most successful season of sales for any photographs auction week, establishing world records for works by Irving Penn and Henri Cartier-Bresson. In the fall of 2008, Humery orchestrated Christie’s first-ever sale of contemporary photography, which set world records for artists Alec Soth and Louise Lawler. Prior to Christie’s Humery worked from 2001–05 in Paris and New York as a specialist in photographs, contemporary art and 20th century design and has since been consultant to numerous organizations, notably the Magnum Agency, Luma Foundation and Watermill Foundation/ Robert Wilson Art Collection. Humery holds master’s degrees in art history from both the Free University in Berlin and the Sorbonne, where he is currently working towards his Ph.D.

L.A. Dance Project Staff Will Knapp, Production Manager Kathryn Luckstone, Company Manager Christopher D. Macdougall PLLC, Legal Counsel Jenna Woods, Stage Manager Charlie Hodges, Rehearsal Director Lydia Harmon, Costumer Made possible with support from Van Cleef & Arpels.

Dimitri Chamblas (L.A. Dance Project Curatorial Collective) grew up in the Franco-Swiss Alps. Captivated by dance, he joined the Paris Opera’s celebrated dance school at age 10. He studied contemporary dance at the Conservatoire National de Lyon, where he learned the methods of such artists such as Merce Cunningham, Martha

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Yo-Yo Ma, Cello Kathryn Stott, Piano

A Wells Fargo Concert Series Event Tuesday, January 29, 2013 • 8PM Jackson Hall

Sponsored by

Individual support provided by John and Lois Crowe.

Suite Italienne Introduzione: Allegro moderato Serenata: Larghetto Aria: Allegro Tarantella: Vivace Minuetto e Finale: Moderato—Molto vivace

Stravinsky

Three Pieces Chôros No. 5, “Alma Brasileira”

Villa-Lobos arr. Calandrelli

“Oblivion”

Piazzolla arr. Yamamoto

“Dansa Negra”

Guarnieri arr. Calandrelli

Siete Canciones Populares Españolas , G. 40 El Paño Moruno: Allegretto vivace Seguidilla Murciana: Allegro spiritoso Asturiana: Andante tranquillo Jota: Allegro vivo Nana (Berceuse): Calmo e sostenuto Canción: Allegretto Polo: Vivo

de Falla

Intermission

“Louange à l’Éternité de Jésus” from Quatuor pour la fin du Temps

Messiaen

Brahms Sonata No. 3 in D Minor, Op. 108 Allegro arr. for cello and piano Adagio Un poco presto e con sentimento Presto agitato 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. 36

Mondavi Center Presents Program Issue 5: jan 2013

Program Notes Suite Italienne (1932) Igor Stravinsky (Born June 17, 1882, in Oranienbaum, Russia; died April 6, 1971, in New York City) So successful was the premiere of the Violin Concerto in D that Igor Stravinsky wrote for violinist Samuel Dushkin, on October 23, 1931, in Berlin, that the composer and violinist received invitations to present the piece all over Europe, from Florence to London to Madrid. The resulting series of concerts made Stravinsky realize, however, that a good performance of the Concerto demanded both a first-rate orchestra and an adequate number of rehearsals, circumstances that could not be taken for granted in all cities, so for a subsequent tour with Dushkin he devised several recital pieces for violin and piano that would enable them to play almost anywhere without difficulty. The centerpiece of the tour program was the Duo Concertant of 1931–32, but to round out the concert together they arranged excerpts from some of his ballets, including The Firebird, The Fairy’s Kiss, Petrushka and The Nightingale. (Dushkin extracted the violin parts from the orchestral scores; Stravinsky made the piano arrangements.) The best known of this set of transcriptions is the Suite Italienne, derived from Stravinsky’s luminous score for Pulcinella, the 1920 ballet based on works of Giovanni Battista Pergolesi (1710–36), a musical meteor who flashed briefly across the Italian artistic firmament during the early years of the 18th century and created several important instrumental and operatic pieces that laid the foundations of the Classical style. In 1933, Stravinsky arranged the Suite Italienne for cello and piano. The plot of Pulcinella was based on an 18th-century manuscript of commedia dell’arte plays that Diaghilev discovered in Naples. Stravinsky provided the following synopsis: “All the local girls are in love with Pulcinella; but the young men to whom they are betrothed are mad with jealousy and plot to kill him. The minute they think they have succeeded, they borrow costumes resembling Pulcinella’s to present themselves to their sweethearts in disguise. But Pulcinella—cunning fellow!—had changed places with a double, who pretends to succumb to their blows. The real Pulcinella, disguised as a magician, now resuscitates his double. At the very moment when the young men, thinking they are rid of their rival, come to claim their sweethearts, Pulcinella appears and arranges all the marriages. He himself weds Pimpinella, receiving the blessing of his double, who in his turn has assumed the magician’s mantle.” Though the Suite Italienne is a sort of vest-pocket version of the original ballet, it fully captures the wit, insouciance and joie de vivre that place this music among the most delicious of all Stravinsky’s creations.

Chôros No. 5, “Alma Brasileira” (“Brazilian Soul”) (1925) Heitor Villa-Lobos (Born March 5, 1887, in Rio de Janeiro, Brazil; died November 17, 1959, in Rio de Janeiro) The Chôros No. 5 is from a series of 16 works by Villa-Lobos bearing that title that are scored for varied instrumentation ranging from solo guitar to full orchestra combined with mixed chorus. The term derived from the popular bands of Rio de Janeiro that originated in the mid-19th century that freely mixed winds, guitars and simple percussion instruments. Their repertory at first comprised polkas, waltzes and other European imports, but later came to be

associated with such characteristic Brazilian dances as the maxixe, tango brasileiro and samba. Villa-Lobos believed that these bands epitomized Brazilian native music, and he attempted to capture their essence in his series of Chôros. The composer wrote, “The most interesting aspects of the Chôros No. 5 are the irregular rhythmic and melodic formulas, giving an impression of a rubato, or a melody with a ritardando. This seems to cause a slight delay or pause, which is exactly the practice of the seresteiros [street musicians].”

“Oblivion” (1984) Astor Piazzolla (Born March 11, 1921, in Mar Del Plata, Argentina; died July 5, 1992, in Buenos Aires) In 1984, Astor Piazzolla, greatest master of the modern tango, went to Rome to compose the score for director Marco Bellocchio’s screen version of Luigi Pirandello’s drama Enrico IV, starring Marcello Mastroianni and Claudia Cardinale. “The theme in Henry IV,” wrote John Humphreys Whitfield of the University of Birmingham, England, “is madness, which lies just under the skin of ordinary life and is, perhaps, superior to ordinary life in its construction of a satisfying reality. The play finds dramatic strength in its hero’s choice of retirement into unreality in preference to life in the uncertain world.” Bellocchio thought that Piazzolla found “a very strong point of contact” in the character of the king, which he captured in the deeply nostalgic number “Oblivion” written for the film.

“Dansa Negra” (1937) Camargo Guarnieri (Born February 1, 1907, in São Paulo, Brazil; died January 13, 1993, in São Paulo) Camargo Guarnieri, the Brazilian composer of Italian ancestry, traced the origin of “Dansa Negra” (“Negro Dance”) to a 1937 visit to the eastern Brazilian region of Bahia, when he witnessed an outdoor candomblé ceremony, which syncretizes traditional African religions, Brazilian spiritualism and Roman Catholicism. The shape of the “Dansa Negra”—soft at beginning and end, loud at the center— follows the composer’s approach, observation and departure from the ritual.

Siete Canciones Populares Españolas, G. 40 (Seven Popular Spanish Songs) (1914) Manuel de Falla (Born November 23, 1876, in Cádiz, Spain; died November 14, 1946, in Alta Gracia, Argentina) When Falla was preparing his opera La Vida Breve (The Brief Life) for its first Paris performance, at the Opéra Comique on December 30, 1913 (it had been premiered in Nice on April 1), he received two requests—one from the soprano Luisa Vela, who was performing the leading role of Salud in the cast of La Vida Breve; the other, from a Greek singing teacher. Vela was planning a series of solo recitals during the coming months, and she asked Falla to provide some songs in Spanish style for her programs; the Greek singing teacher wanted advice about the appropriate accompanimental style for some melodies from his homeland. Falla experimented with setting one of the Greek songs, and discovered that he could extrapolate a suitable harmonic idiom from the implications of the melody itself. He tried

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out this new technique in the songs he was preparing for Vela, which he had decided would be settings of seven popular indigenous melodies culled from various regions of Spain. The Siete Canciones Populares Españolas were largely completed by the time he retreated to Spain in 1914 in the face of the German invasion of France; he and Vela gave their premiere at the Ateneo in Madrid on January 14, 1915. El Paño Moruno (The Moorish Cloth) comes from Murcia in southeastern Spain. Seguidilla Murciana, also from the province of Murcia, is a popular dance song in quick triple time. Asturiana is a lament from the northern region of Asturias. The Jota, mainly associated with the central province of Aragon, is one of the most familiar of Spanish dance forms. Nana is an Andalusian lullaby. Canción (Song) exhibits the pattern of mixed rhythmic stresses that characterizes much of Spain’s indigenous music. Polo, Andalusian in origin, evokes the Gypsy world of flamenco.

“Louange à l’Éternité de Jésus” (“Praise to the Eternity of Jesus”) from Quatuor pour la fin du Temps (Quartet for the End of Time) (1940–41) Olivier Messiaen (Born December 10, 1908, in Avignon; died April 28, 1992, in Paris) When World War II erupted across Europe in 1939, Messiaen, then organist at Trinity Cathedral, a teacher at the École Normale de Musique and the Schola Cantorum and a composer of rapidly growing reputation, was called up for service but deemed unfit for military duty because of his poor eyesight. He was instead first assigned as a furniture mover at Sarreguemines and then as a hospital attendant at Sarrabbe before ending up with a medical unit in Verdun, where he met Henri Akoka, a clarinetist with the Strasbourg Radio Orchestra, and Etienne Pasquier, cellist in an internationally renowned string trio with his brothers, violinist Jean and violist Pierre. The Germans invaded France in May 1940 and all three musicians were captured the following month and sent to a prisoner-of-war camp—Stalag VIIIA—at Görlitz, Silesia (now in Poland). At Stalag VIIIA, they met the violinist Jean Le Boulaire, who had graduated from the Paris Conservatoire but spent much of his life in military service (and who would become a successful actor under the name Jean Lanier after the war). Though Messiaen later recalled “the cruelty and horror of the camp,” conditions were not nearly as bad at Görlitz as in the Nazis’ desolate and deadly concentration camps: he and his musician friends were in no immediate mortal danger (except from lack of food), the camp had such amenities as a library and a theater and the commander encouraged stage and musical performances to occupy the prisoners with preparations and entertainment. One of the German officers, a music-loving lawyer named Karl-Albert Brüll who was fluent in French, found a battered piano for the theater and instruments for Le Boulaire and Pasquier, and supplied Messiaen with manuscript paper, writing materials and a quiet place to work, where he composed a trio for his fellow prisoners that served as the seed for one of the most remarkable pieces in the chamber repertory—the Quartet for the End of Time. Messiaen wrote of Praise to the Eternity of Jesus, the work’s fifth movement, “Jesus is here considered as one with the Word. A long phrase, infinitely slow, by the cello, expiates with love and reverence on the everlastingness of the Word.”

Mondavi Center Presents Program Issue 5: jan 2013

Sonata No. 3 in D Minor, Op. 108 (1886–88) Johannes Brahms (Born May 7, 1833, in Hamburg; died April 3, 1897, in Vienna) Arranged for cello and piano For many years, Brahms followed the sensible practice of the Viennese gentry by abandoning the city when the weather got hot. He spent many happy summers in the hills and lakes of the Salzkammergut, east of Salzburg, but in 1886, his friend Joseph Widmann, a poet and librettist of considerable distinction, convinced Brahms to join him in the ancient Swiss town of Thun, 25 kilometers south of Bern in the foothills of the Bernese Alps. Brahms rented a flower-laden villa on the shore of Lake Thun in the nearby hamlet of Hofstetten and settled in for a long, comfortable summer. Brahms began the Sonata in D minor, Op. 108, originally for violin and piano, at Hofstetten during the summer of 1886, but composed most of the score during his sojourn two years later. Cello and piano share equally the thematic material of the Sonata’s opening movement: the cello presents the principal subject, a lyrical inspiration marked by long notes that give way to quick neighboring tones; the piano’s arching second theme is superbly constructed from a two-measure motive of step-wise motion followed by a hesitant dotted-rhythm gesture. The development section is largely occupied with a discussion of the main theme. A full recapitulation and an ethereal coda grown from the main theme close the movement. The Adagio is one of Brahms’s most endearing creations, an instrumental hymn of delicately dappled emotions, touching melody and suave harmonies that caused Peter Latham to note in his biography of the composer, “Brahms wrote nothing more gracious than these Sonatas, in which he never seeks grandeur and woos rather than compels.” The third movement (which the score instructs should be played “con sentimento”) replaces the traditional scherzo with an intermezzo of precisely controlled intensity and masterful motivic development. The sonata-form finale resumes the darkly expressive eloquence of the opening movement with its impetuous main theme. A chordal subject initiated by the piano provides contrast, but the unsettled mood of the first theme remains dominant through the remainder of the movement. —Dr. Richard E. Rodda

Yo-Yo Ma’s (cello) many-faceted career as a cellist is testament to his continual search for new ways to communicate with audiences and to his personal desire for artistic growth and renewal. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. His discography includes more than 75 albums, including more than 15 Grammy award winners. Ma serves as the artistic director of the Silk Road Project, an organization he founded to promote the study of cultural, artistic and intellectual traditions along the ancient Silk Road trade routes. Since the project’s inception, more than 60 works have been commissioned specifically for the Silk Road Ensemble, which tours annually. Ma also serves as the Judson and Joyce Green Creative Consultant to the Chicago Symphony Orchestra’s Institute for Learning, Access and Training. His work focuses on the transformative power music can have in individuals’ lives and on increasing the number and variety of opportunities audiences have to experience music in their communities. Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at the age of four, attended the Juilliard School and in 1976, graduated from Harvard University. He has received numerous awards, among them the 2001 National Medal of Arts, the 2006 Sonning Prize, the 2008 World Economic Forum’s Crystal Award, the 2010 Presidential Medal of Freedom, the 2011 Kennedy Center Honors and the 2012 Polar Music Prize. Ma serves as a UN Messenger of Peace and a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. For additional information: www.yo-yoma.com, www.silkroadproject.org and www.opus3artists.com. Kathryn Stott (piano) was born in Lancashire, England and studied at the Yehudi Menuhin School with Vlado Perlemuter and Nadia Boulanger, then at the Royal College of Music in London with Kendall Taylor. A prize winner at the Leeds International Piano Competition in 1978, she has performed as a concerto soloist throughout Britain, across Europe and in Hong Kong, Japan and Australia. She has given the premiere of many works, including concertos by Sir Peter Maxwell Davies, Graham Fitkin and Michael Nyman. She is a frequent solo recitalist and as a chamber musician has long-standing partnerships with Yo-Yo Ma, Christian Poltéra, Natalie Clein, Guy Johnston, Valeriy Sokolov and Noriko Ogawa. She also collaborates with younger artists such as the Doric Quartet and baritone Audun Iversen. A visiting professor at both the Royal Academy of Music in London and Chetham School of Music, Manchester, Stott has directed and performed in several major festivals and concert series including, in Manchester, Fauré and the French Connection in 1995 (after which the French Government appointed her Chevalier dans l’Ordre des Arts et des Lettres), the Piano 2000 and Piano 2003 festivals and Incontri in Terra di Siena. She is currently artistic director of the Manchester Chamber Concert Music Society.

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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

Mondavi Center Presents Program Issue 5: jan 2013

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

MondaviArts.org

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

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 5: jan 2013

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 Barbara Mortkowitz 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 employersâ&#x20AC;&#x2122; matching gift program. Please contact your Human Resources department to find out about your companyâ&#x20AC;&#x2122;s matching gift program. Note: We are pleased to recognize the Donors of Mondavi Center for their generous support of our program. We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5438 to inform us of corrections.

Friends

of Mondavi Center The Friends of Mondavi Center is an active donorbased volunteer organization that supports activities of the Mondavi Center’s presenting program. When you join the Friends of Mondavi Center, you are able to choose how you’d like to help. For example, the Audience Enrichment Committee: Members assist the Mondavi Center Public Relations Coordinator with outreach that occurs on campus and in the community. These activities involve distributing materials or participating in community events as a representative of Mondavi Center. Committee members also plan and coordinate adult education activities to complement Mondavi Center programs and take photos at Arts Education and Friends events.

For information on becoming a member of Friends of Mondavi Center, visit mondaviarts.org/friends, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431.

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

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

Tickets must be exchanged at least one business day prior to the performance. Tickets may not be exchanged after the performance date. There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers. If you exchange for a higher-priced ticket, the difference will be charged. The difference between a higher and a lower-priced ticket on exchange is non-refundable. Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season. Balances may not be transferred between accounts. All exchanges subject to availability. All ticket sales are final for events presented by non-UC Davis promoters. No refunds.

Parking You may purchase parking passes for individual Mondavi Center events for $7 per event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.

Group Discounts Entertain friends, family, classmates or business associates and save! Groups of 20 or more qualify for a 10% discount off regular prices. Payment must be made in a single check or credit card transaction. Please call 530.754.2787 or 866.754.2787.

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

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

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

*Only one discount per ticket.

Mondavi Center Presents Program Issue 5: jan 2013

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

175_06032 7.25x9.25 4C

The art of performance draws our eyes to the stage

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

MondaviArts.org

Rachel Barton Pine

530.754.2787

866.754.2787 (toll-free)