Mondavi Center Playbill Issue 6: feb 2013

Anniversary

2012—13 Issue 6: feb 2013 • Worlds of Discovery and Loss: The Art of Migration p. 5 • Kodo p. 8 • Cirque Mechanics: Birdhouse Factory p. 12 • Isabel Wilkerson p. 14 • Itzhak Perlman, violin Rohan De Silva, piano p. 17 • Russian National Orchestra p. 23 • Robert Randolph Presents the Slide Brothers p. 29 • Pilobolus Dance Theatre p. 32

Season Sponsors

Program

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We’ve lifted health care to an art form.

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

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

Anniversary

2012—13

A message from the chancellor

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

Linda P.B. Katehi UC Davis Chancellor

Arts and culture are at the heart of any university campus, both as a source of learning and pleasure and of creative and intellectual stimulation. I have been fortunate to be a part of several campuses with major performing arts centers, but no program I have experienced exceeds the quality of the Mondavi Center. The variety, quality and impact of Mondavi Center presentations enhance the worldwide reputation of our great research university.

Of course, this great Center serves many purposes. It is a place for our students to develop their cultural literacy, as well as a venue where so many of our wonderful faculty can share ideas and expertise. It is a world-class facility that our music, theater and dance students use as a learning laboratory.

As a land grant university, UC Davis values community service and engagement, an area in which the Mondavi Center also excels.

Through school matinees, nearly 100,000 K–12 students have had what is often their first exposure to the arts. And through the Center’s many artist residency activities, we provide up close and personal, life-transforming experiences with great artists and thinkers for our region.

Thank you for being a part of the Mondavi Center’s 10th anniversary season.

Season Sponsors

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10th Anniversary Season sponsors

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

Corporate Partners Platinum

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

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Mondavi Center Presents Program Issue 6: feb 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

Yuri Rodriguez House/Events Manager

Erin Kelley Senior Graphic Artist

Nancy Temple Assistant House/Events Manager

Amanda Caraway Public Relations Coordinator

Natalia Deardorff Assistant House/Events Manager

TICKET OFFICE Sarah Herrera Ticket Office Manager

BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services

Steve David Ticket Office Supervisor

Mandy Jarvis Financial Analyst Russ Postlethwaite Billing System & Rental Coordinator

Susie Evon Ticket Agent Russell St. Clair Ticket Agent

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 Adrian Galindo Audio Engineer— Vanderhoef Studio Theatre/Scene Technician Gene Nelson Registered Piano Technician Head Ushers Huguette Albrecht George Edwards Linda Gregory Donna Horgan Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

Robert and Margrit

Mondavi Center for the Performing Arts • UC Davis

Program Issue 6: feb 2013

Photo: Lynn Goldsmith

in this issue:

A Message From Don Roth

Mondavi Center Executive Director

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f Groundhog Day is any indicator, February is when we start to wake from winter’s slumber and get a first, hopeful glimpse of spring. In the same spirit of discovery and optimism, I would like to shine the light on a project that illuminates the Mondavi Center’s unique role as an arts presenter on a university campus.

Since its launch in 2002, the Campus Community Book Project has engaged the UC Davis community on a variety of subjects, from international relations to food policy, all with the intent of facilitating a shared experience among our highly diverse population of faculty, staff, students and community members. The Mondavi Center is proud to partner with the Office of Campus and Community Relations to present the featured author as a speaker each year.

I am particularly excited this year to welcome Pulitzer Prizewinning journalist Isabel Wilkerson on February 12. For me, her narrative history, The Warmth of Other Suns, is one of the truly great and revelatory books of our young century, reflecting on events of the last century which continue to impact us today. In focusing on the Great Migration, which saw almost six million African Americans move north and west from the South between 1915 and 1970, she enlightens us not only about that experience about the universal immigrant experience. It is a story that has largely gone untold, and one to which Wilkerson brings intelligence and humanity. I am certain her talk will be infused with those same traits.

For more information on the Campus Community Book Project, visit http://occr.ucdavis.edu/ccbp2012/.

P.S. If you have not purchased your 10th anniversary season poster yet, featuring the lovely artwork of Jules Feiffer, do not wait! They are now for sale online at mondaviarts.org.

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

• Worlds of Discovery and Loss: The Art of Migration p. 5 • Kodo p. 8 • Cirque Mechanics: Birdhouse Factory p. 12 • Isabel Wilkerson p. 14 • Itzhak Perlman, violin Rohan De Silva, piano p. 17 • Russian National Orchestra p. 23 • Robert Randolph Presents the Slide Brothers p. 29 • Pilobolus Dance Theatre p. 32 • Mondavi Center Policies and Information p. 44

before the show

O AH • As a courtesy to others, please turn off all electronic devices.

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

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

• Please look around and locate the exit nearest

you. That exit may be behind, 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 6: feb 2013

Worlds of Discovery and Loss: The Art of Migration

Calder Quartet Photo by Tyler Boye

Mayumi Hama

Empyrean Ensemble

Presented by the Mondavi Center the UC Davis Humanities Institute and the Departments of Art Studio, Performance Studies, Music, Theatre and Dance and Sociology.

Wednesday–Sunday, January 30–February 3, 2013 Mondavi Center, UC Davis

Christian Baldini

Worlds of Discovery and Loss: The Art of Migration Migration takes many forms. Worlds of Discovery and Loss: The Art of Migration looks at the creative worlds generated by migration and tries to locate various boundaries, both real and imagined. Invited visual and performing artists and scholars, including Composer-in-Residence Lei Liang, will share their work and explain how their experience has been affected by cultural and geographical migration. Join us as we create a place where different traditions collide, intersect and flourish.

Mondaviarts.org/migration.

Full program notes are available in the Art of Migration Festival program book, available at all the concerts listed on the following page or at the Mondavi Center’s Information Desk, located in the Yocha Dehe Grand Lobby.

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Mondavi Center Presents Program Issue 6: feb 2013

Worlds of Discovery and Loss: The Art of Migration Festival Schedule

Drawing on Migrations

Calder Quartet (Program I)

Wednesday–Sunday, January 30–February 3, 2013 Yocha Dehe Grand Lobby

Saturday, February 2, 2013 • 8PM Vanderhoef Studio Theatre

An exhibition of large-scale works on paper and small objects in the Mondavi Center’s Lobby. Open to ticketed patrons one hour prior to performances.

Stranger, Beware …

Saturday, February 2, 2013 • 10:30PM Vanderhoef Studio Theatre

Chan Park

Korean p’ansori

A night of European cabaret with Bella Merlin, Department of Theatre & Dance.

Wednesday, January 30, 2013 • 8PM Vanderhoef Studio Theatre

Calder Quartet (Program II) Shinkoskey Noon Concert

Calder Quartet • Rootstock Percussion • Mayumi Hama, marimba Thursday, January 31, 2013 • 12:05PM Yoche Dehe Grand Lobby

Sunday, February 3, 2013 •2PM Vanderhoef Studio Theatre

UC Davis Symphony Orchestra Christian Baldini, music director and conductor featuring Mayumi Hama, marimba

Panel Discussion: Art and Migration Thursday, January 31, 2013 • 2PM Yoche Dehe Grand Lobby

Sunday, February 3, 2013 • 7PM Jackson Hall

Migration and Other Projects

Author Talk: Isabel Wilkerson on her book The Warmth of Other Suns

Thursday, January 31, 2013 • 8PM Vanderhoef Studio Theatre

Tuesday, February 12, 2013 • 8PM Jackson Hall

A presentation by M.F.A. candidates in the Department of Theatre & Dance, with support from Institute for Exploration in Theatre, Dance and Performance.

Empyrean Ensemble: Art of Migration Kurt Rohde and Mika Pelo, directors Matilda Hofman, conductor Friday, February 1, 2013 • 8PM Vanderhoef Studio Theatre

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Kodo

Photo by Takashi Okamoto

One Earth Tour 2013: Legend

A World Stage Series Event Thursday, February 7, 2013 • 8PM Jackson Hall Part One Kaden

Composed by Tamasaburo Bando

Monochrome

Composed by Maki Ishii

Ibuki

Composed by Motofumi Yamaguchi

Intermission Part Two Onidaiko

Traditional, arranged by Kodo

Tsukimachi

Composed by Tamasaburo Bando & Shogo Yoshii

O-daiko

Traditional, arranged by Kodo

Yatai-bayashi

Traditional, arranged by Kodo

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

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Mondavi Center Presents Program Issue 6: feb 2013

Ibuki (1996) Composed by Motofumi Yamaguchi

One Earth Tour 2013: Legend Tamasaburo Bando, Artistic Director Performers Masaru Tsuji Masami Miyazaki Mitsuru Ishizuka Kenzo Abe Masayuki Sakamoto Shogo Yoshii Tsuyoshi Maeda Rai Tateishi Shogo Komatsuzaki Yuta Sumiyoshi Yosuke Inoue Tetsumi Hanaoka Akiko Ando Staff Katsuhiro Kumada, Lighting Designer Martin Lechner, Technical Director/Lighting Operator Tatsuya Dobashi, Stage Manager Kazuki Imagai and Satoshi Nakano, Assistant Stage Managers Jun Akimoto, Company Manager Yuki Kosuge and Chie Akimoto, Assistant Stage Managers

Ibuki literally means “to release breath,” and not only refers to the breathing of animals but also to the stirrings of life itself. Using bamboo flutes, hirado-daiko and cymbals, this piece was composed as an homage to all living things.

Onidaiko Traditional, arranged by Kodo Onidaiko (demon drumming) is a tradition upheld in numerous locales around Sado Island, and this particular piece is based on the style native to the village of Iwakubi. Onidaiko was traditionally performed as an integral part of festivals, performed as an offering in hopes of abundant crops and good health. Through the course of their tireless dancing, the young demon dancers transcend their human form and become almost deities. It is this boundless energy and essence of the divine that we try to express on stage.

Tsukimachi Composed by Tamasaburo Bando & Shogo Yoshii Tsukimachi literally means “waiting for the moon.” Since the days of the lunar calendar, people have looked to the night sky in anticipation of the moon, and what better way to pass the time waiting than playing taiko? Surrender your dancing soul to the taiko, and the beat will echo out like the roaring sea or the wind on a moonlit night.

Kitamaesen Co., Ltd., Kodo Management IMG Artists, North American Management O-daiko Traditional, arranged by Kodo

Program Notes Kaden (2012) Composed by Tamasaburo Bando Tamasaburo Bando has been working with Kodo since 2001, and Kaden reflects his desire to make something “timeless to be handed on to the future generations.” The title refers to a soloist freely creating an image among other sounds, taken from the musical term cadenza. It also alludes to “Fushikaden” (The Flowering Spirit), the 15th-century classic text by Zeami, the founder of Noh theater.

Monochrome (1977) Composed by Maki Ishii Weaving constant rhythmic patterns together with highly irregular ones, Monochrome develops spirally to an exciting climax by blending the sounds of the roped shime-daiko, miya-daiko, hirado daiko and a gong. The listener might even interpret the sounds as colors. Kodo has performed this piece for more than three decades, but for this program the ensemble presents it in a new arrangement.

Measuring 120 cm across, the tree used to make the O-daiko lived for centuries, and the powerful sounds that emanate from within possess a deep tranquility yet tremendous intensity. Feel the vibrations throughout your entire body when three drummers, each with their own distinct character, pour every ounce of body and soul into the mighty drum.

Yatai-bayashi Traditional arranged by Kodo Every winter in Chichibu, Saitama Prefecture, an all-night festival is held featuring richly decorated two-story yatai (carts) pulled from village to village. The people hauling the yatai are urged on by the powerful beating of the taiko, concealed in the cramped first story of the carts. This gave rise to a technique of drumming while seated.

Based on this festival piece, Kodo’s Yatai-bayashi serves as a splendid finale to today’s program.

The following pieces are based on these regional traditional performing arts: Onidaiko: Iwakubi Onidaiko (Sado, Niigata) Tsukimachi: Hachijo Daiko (Hachijo Island, Tokyo) Yatai-bayashi: Chichibu Yatai-bayashi (Chichibu, Saitama) MondaviArts.org

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Photograph John Kokoska

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Mondavi Center Presents Program Issue 6: feb 2013

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present to you Kodo One Earth Tour 2013: Legend, my first work as the new artistic director for Kodo.

In this production, I wanted to create a performance that pays homage to the profound expressions of Kodo to date, adds splendor and levity and harmonizes all elements into a single flow that undulates throughout the program. I have also composed new pieces in the hopes that they will be passed on to future generations. In these days of tremendous challenge and difficulty, my aim is simply to create a performance that will transport the audience into an inspiring alternate reality, even if just for a brief spell.

For this performance, in addition to Kodo’s standard hanten (traditional Japanese coat), I have also introduced some original costumes with additional fun and flair. I hope that both seasoned fans and first-time audience members will enjoy the entirety of this program.

Moving forward, I will continue to devote myself to the role of Kodo artistic director. I hope that many people will take this opportunity to see the performance, and that the audience will become even more fond of the ensemble.

—Tamasaburo Bando, Artistic Director Kodo, the taiko drumming pioneers from Japan’s remote and inspiring Sado Island, have powerful mastery over their instruments.

It’s a power that can be tender or explosive, delicate or thunderous.

Since they burst onto the world scene in 1981, the group has roused and moved audiences around the globe, touring for months out of the year and playing thousands of concerts, performing in nearly every venue of note—from Amsterdam’s Concertgebouw to Carnegie Hall, from Disney Hall to Lincoln Center, from Paris’s Palais Garnier to the Berlin Philharmonie. Though steeped in tradition, Kodo turns traditional Japanese music into a stunning spectacle and a vibrant expression of artistic excellence.

Under the artistic direction of Japanese Living National Treasure and revered Kabuki icon Tamasaburo Bando, the taiko performing arts ensemble is further refining its carefully considered stagecraft, combining the centuries-old techniques that Tamasaburo has absorbed from a lifetime on stage with the vigorous, joyful vision of taiko Kodo has developed over the decades, a vision that extends beyond music into movement and costume.

Kodo has thoughtfully transformed the percussive music of Japan’s rural festivals and rituals of harvest and renewal. The ensemble evokes the age-old celebrations of the agricultural cycle, yet pairs ancient pieces with new compositions by respected Japanese composers—from jazz pianists to Kabuki masters—and by Kodo members. Their vision has inspired performing arts ensembles worldwide, including Blue Man Group, with whom Kodo recently collaborated on a piece that garnered an International Emmy nomination. Founders of Cirque de Soleil traveled to Sado to learn from Kodo, incorporating elements into their classic piece, Mystère.

Kodo has worked with musical lights from respected Chinese composer Tan Dun to Corsican vocal ensemble A Filetta, from the Tokyo Philharmonic to the Paris Opera. Whatever the source or inspiration, Kodo devotes long hours of intense rehearsal to each piece, demanding total commitment and profound creative drive.

The group unites this sharp focus with a dedication to a way of life; alongside rigorous rehearsing, members run long distances to train

for the physical challenges of drumming. They raise rice using old hand methods, practice traditional arts like the tea ceremony and build ecoconscious furniture. It is part and parcel of Kodo’s mission: To promote and develop Japan’s vibrant yet sometimes neglected traditions, roots inextricably entwined with an older way of life.

This way of life still persists on Sado. Lying many miles off of Japan’s western coast, the large island was once the destination for exiles, outspoken thinkers and artists deemed politically dangerous to Japan’s rulers. It became a quiet artistic, isolated hub where tradition met the forefront of Japanese culture. Today, it retains many practices of an age lost in modern, urban Japan, from the old ways of brewing much sought-after sake to celebrations of the harvest with masked dances and stirring drums.

When Kodo’s founders came to Sado in the late 1960s, they were searching for a place to make a new kind of community, a new haven for art. They were swayed by its beauty and by the strength of these roots. They lived communally, worked and played music together, turning taiko from a musical form played at festivals into high and highly athletic art. After the group debuted in Berlin and spent most of the 1980s on tour, its founding members returned to their island home to establish Kodo Village. Now a vibrant arts hub, the village houses the ensemble and its apprentices and plays host each year to an annual Earth Celebration, a music and arts festival that brings together the many sounds and cultures Kodo encounters during its months on the road.

This urge to embrace the world’s art influences Kodo’s compositions and has helped them hone their presentation of their home country’s distinctive roots. It has won them acclaim worldwide, and demonstrated the great flexibility and power of Japanese music and art. www.kodo.or.jp Tamasaburo Bando is a leading Kabuki actor and the most popular and celebrated onnagata (an actor specializing in female roles) currently on stage. His profound aesthetic sense has been demonstrated across numerous platforms as he received high acclaim for his many artistic endeavors. His stage direction of productions such as Romeo & Juliet and Kaijin Besso garnered accolades, while as a movie director he demonstrated his artistic prowess in the films Gekashitsu, Yume no Onna and Tenshu Monogatari, which caused a splash in the arts world. In April 2012, Bando assumed the position of Kodo’s artistic director. In September 2012, he was recognized as an Important Intangible Cultural Property Holder (“Living National Treasure”).

In November 2003, the first Kodo performance directed by Tamasaburo Bando, “Kodo One Earth Tour Special,” was held. The production was created over the course of two years with Bando making five visits to Sado Island for rehearsals. In 2006, the first on-stage collaboration between Tamasaburo Bando and Kodo was realized in Amaterasu, a musical dance play based on a Japanese myth. It featured Bando as the sun goddess Amaterasu and Kodo as the gods of the story who express themselves through music and dance. This performance was a catalyst for Kodo to break new ground in taiko expression. In August 2007, encore performances were held at Kabukiza Theater in Tokyo. The year 2009 marked the debut performances of Kodo Dadan, a production which boldly portrays the essence of drumming. In February 2012, four days of sold-out Dadan performances took place at Théâtre du Châtelet in Paris, France. This same year, Bando became Kodo’s artistic director and his first new work Kodo One Earth Tour 2012–2013: Legend will tour throughout Japan and U.S. until June 2013.

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Photo by Maike Schulz

Cirque Mechanics Birdhouse Factory

A Marvels Series Event Sunday, February 10, 2013 • 3PM Jackson Hall

Artists Sagiv Ben Binyamin, Elisabeth Carpenter, Jesse Dryden, Aloysia Gavre, Thayr Harris, Wes Hatfield, Frederic Lemieux-Cormier, Elena Lev, Patrick McGuire, Lindsay Orton, Ganchimeg Oyunchimeg, Alexandre Pivaral, Nelson Pivaral, Steven Ragatz, Michael Redinger, Goulia Rozyeva, Cody Russell, Viktoria Shvarstmann, Russ Stark, Owen Winship

There will be one intermission.

Stage Technicians Ryan Cook, Dave Freitag, Karl Gillick, Janeen Johnson, Duane Lashua, Blake Manship, Anthony Powers, Kevin Rogers, Josh Thompson, Claudette Waddle Heather Basarab, Lighting Designer Rex Camphuis, Co-Director Sound Designer Sam and Sandra Payne, Co-Directors Michael “Tex” Redinger, Acrobatic Designer Cody Westheimer and Julia Newmann, Composers

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 Birdhouse Factory, a nostalgic tale set in a 1930s Depression-era widget factory transformed by the resourcefulness and creativity of the American worker, toured the United States and Europe inspiring and entertaining audiences and critics. Birdhouse Factory is performed by an international touring cast of 10 artists and supported by a technical crew of five. The Birdhouse Factory stage brings together cast members from Israel, Russia, Canada, Guatemala, Mongolia, the U.S. and Turkmenistan who collaborate to perform astounding acrobatic feats while telling a story of hope.

Cirque Mechanics Cirque Mechanics was founded in 2004 by Boston native and German Wheel artist Chris Lashua, after the success of his collaborative project with the Circus Center of San Francisco, Birdhouse Factory. Cirque Mechanics quickly established itself as a premier American circus, with its unique approach to performance, inspiring storytelling and innovative mechanical staging.

Cirque Mechanics, although inspired by modern circus, finds its roots in the mechanical and its heart in the stories of American ingenuity. The shows, rooted in realism, display a raw quality, rarely found in modern circus that makes their message timeless and relevant. The stories are wrapped in circus acrobatics, mechanical wonders and a bit of clowning around.

Chris Lashua (director) has spent his life on or around wheels.

After nearly a decade of professional bicycle freestyle competitions and performance, he found himself at China’s famed Wu Ciao festival in 1992, where he won a bronze medal and a place on Cirque du Soleil’s Japan tour of Fascination. Lashua’s obsession with wheels led him to perform inside one, a German Wheel, and as the opening act of Cirque du Soleil’s Quidam in 1996.

Aloysia Gavre (co-director and choreographer), an early member of the San Francisco-based Pickle Family Circus, has been a movement, dance and circus enthusiast most of her life. Gavre is also cofounder of Cirque School L.A., a place for “anybody with any body” to explore the circus arts.

Steven Ragatz (writer and artist), an original Birdhouse Factory cast member and collaborator, has been entertaining audiences with his juggling, physical comedy, stilt walking and general antics for the past three decades. As a 10-year veteran of Cirque du Soleil, Ragatz has toured throughout North, South and Central America as well as Asia and Europe performing multiple juggling acts as well as an eclectic array of characters. His television credits include The Tonight Show with Jay Leno, The Rosie O’Donnell Show and The Today Show.

He has enjoyed seasonal appearances with the Indianapolis and Detroit symphonies, juggling in front of live orchestras.

Sean Riley (set designer and aerial rigging designer) is a designer, rigger and sculptor living in San Francisco. Concentrating his performance design on site-specific and experimental work, Riley creates functional, architectural and lighting installations. Riley’s lighting design for Ta IA Brugera was featured at Documeta 11 and the MMK in Frankfurt. His theater installations can be seen all over the U.S. When not creating for himself, Riley keeps the San Francisco area lifting and flying safely through rigging company Gravity Design Inc. Riley is presently the brave and charismatic host of National Geographic’s adventure show, World’s Toughest Fixes.

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

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

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MC

Debut Isabel Wilkerson The Warmth of Other Suns

Photo by Joe Henson

UC Davis Campus Community Book Project

A Mondavi Center Special Event Tuesday, February 12, 2013 • 8PM Jackson Hall

Sponsored by Office of Campus Community Relations

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

Isabel Wilkerson, the Pulitzer Prize-winning journalist and bestselling author, spent 15 years interviewing more than 1,200 people to write The Warmth of Other Suns, her award-winning work of narrative nonfiction that tells the epic story of three people who made the decision of their lives in what came to be known as the Great Migration.

Toni Morrison calls the book “profound, necessary and a delight to read.”

Tom Brokaw praises it as “an epic for all Americans who want to understand the making of our modern nation.” Reviewers have acclaimed it as “a massive and masterly account” (The New York Times Book Review), “a deeply affecting, finely crafted and heroic book” (The New Yorker) and “a brilliant and stirring epic” (The Wall Street Journal).

Wilkerson is a gifted and passionate speaker who has addressed the topics of migration, social justice, urban affairs and 20th century history at universities across the country and in Europe. She has appeared on national programs such as CBS’s 60 Minutes, PBS’s Charlie Rose, NPR’s Fresh Air with Terry Gross, NBC’s Nightly News, MSNBC, C-SPAN and others.

She has lectured on narrative writing at the Nieman Foundation at Harvard University and has served as Ferris Professor of Journalism at Princeton University and as the James M. Cox Jr. Professor at Emory University. She is currently professor of journalism and director of narrative nonfiction at Boston University.

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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Wilkerson won the Pulitzer Prize for her work as Chicago Bureau Chief of The New York Times in 1994, making her the first black woman in the history of American journalism to win a Pulitzer Prize and the first African-American to win for individual reporting in the history of American journalism. She won for her pieces on the rural heartache of the Midwest floods and her profile of a 10-year-old boy growing up with a man’s obligations on the South Side of Chicago.

Wilkerson also won a George Polk Award and a John Simon Guggenheim Fellowship for her research into the Great Migration.

She was named Journalist of the Year by the National Association of Black Journalists.

The Great Migration, the focus of her book, was one of the biggest underreported stories of the 20th century. It lasted from 1915–70, involved six million people and was one of the largest internal migrations in U.S. history. It changed the country, North and South. It brought us John Coltrane, Thelonious Monk, Toni Morrison, August Wilson, Bill Russell, Motown, Denzel Washington, Michelle Obama— all children or grandchildren of the Great Migration. It changed the cultural and political landscape of the United States, exerting pressure on the South to change and paving the way toward equal rights for the lowest caste people in the country. During the Great Migration, Wilkerson’s own parents journeyed from Georgia and southern Virginia to Washington, D.C., where she was born and reared.

The Warmth of Other Suns became a New York Times and national bestseller. It won the 2010 National Book Critics Circle Award for Nonfiction, 2011 Anisfield-Wolf Award for Nonfiction, 2011 Hillman Book Prize, 2011 Lynton History Prize from Harvard and Columbia universities, 2011 Heartland Prize for Nonfiction, Stephen Ambrose Oral History Prize, Independent Literary Award for Nonfiction,

Horace Mann Bond Book Award from Harvard University, NAACP Image Award for Best Literary Debut and was shortlisted for the 2011 Pen-Galbraith Literary Award for Nonfiction and the Dayton Literary Peace Prize.

It was named to more than 30 Best of the Year lists, including The New York Times 10 Best Books of the Year, Amazon’s 5 Best Books of 2010 and Best of the Year lists in The New Yorker, The Los Angeles Times, Washington Post, Boston Globe, Philadelphia Inquirer, The Economist, Seattle Times, San Francisco Examiner, Newsday, Salon, The Daily Beast, Christian Science Monitor, O Magazine, Publishers Weekly, Kirkus Reviews, Entertainment Weekly and a dozen others.

The San Francisco Chronicle wrote “Not since Alex Haley’s Roots has there been a history of equal literary quality where the writing surmounts the rhythmic soul of fiction, where the writer’s voice sings a song of redemptive glory as true as Faulkner’s southern cantatas.”

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Mondavi Center Presents Program Issue 6: feb 2013

A Mondavi Center Special Event Saturday, February 16, 2013 • 8PM Jackson Hall

Individual support provided by Bob and Barbara Leidigh.

Photo by John Beebe

Photo by Lisa-Marie Mazzucco

Itzhak Perlman, violin Rohan De Silva, piano

PROGRAM Sonata No. 1 for Violin and Piano in D Major, Op. 12, No. 1

Allegro con brio

Theme and Variations: Andante con moto

Rondo: Allegro

Beethoven

Sonata for Violin and Piano in A Major

Allegro ben moderato

Allegro

Recitativo—Fantasia: Ben moderato—Molto lento

Allegretto poco mosso

Franck

Intermission Sonata in G Minor, “Devil’s Trill”

Larghetto

Allegro energico

Grave — Allegro assai

Tartini

Additonal works to be announced from the stage.

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

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Mondavi Center Presents Program Issue 6: feb 2013

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Program Notes Sonata No. 1 for Violin and Piano in D Major, Op. 12, No. 1 (1798) Ludwig van Beethoven (Born December 16, 1770, in Bonn, died March 26, 1827, in Vienna) Beethoven took some care during his first years after arriving in Vienna from his native Bonn in November 1792 to present himself as a composer in the day’s more fashionable genres, one of which was the sonata for piano nominally accompanied, according to the taste of the time, by violin. Mozart had addressed the form in 42 works, some of which moved beyond the convention that expected the keyboard to dominate the string instrument toward a greater equality between the partners. Beethoven continued on this tack so decisively that, despite their conservative structure and idiom, his first three string sonatas, Op. 12 of 1798, presage the full parity that marks the 19th-century duo sonata. The Op. 12 Sonatas are products of Beethoven’s own practical experience as both pianist and violinist, an instrument he had learned while still in Bonn and on which he took lessons shortly after settling in Vienna with the noted performer (and, later, great champion of his chamber music) Ignaz Schuppanzigh. In view of their gestating friendship, it was fitting that Schuppanzigh and the composer presented one of the Op. 12 Sonatas at a public concert benefiting the singer Josefa Duschek on March 29, 1798.

An abundance of themes shared with conversational equality by the participants opens the D Major Sonata: a heroic unison motive; quietly flowing scales in the piano supporting a striding phrase in the violin; and several related ideas in quicker rhythms cobbled from conventional scale and chord patterns. Tension accumulates in the transition, and is relaxed for the second theme, a scalar melody gently urged on by syncopations. The closing material begins with strong block chords, which return to mark the start of the brief development section. A full recapitulation of the exposition’s themes, appropriately adjusted as to key, gives formal and expressive balance to the movement. The Andante takes as its theme a tender melody presented in alternate periods by the piano and the violin. Four variations follow, the third of which drops into a somber minor mode for some dramatic strains that hint at the musical worlds Beethoven was soon to explore.

The finale is a large, thematically rich rondo that takes as its principal subject a bounding melody of opera buffa jocularity.

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

No evidence of any work on the proposed sonata for Cosima has ever come to light, and it was not until 20 years later that he first entered the realm of chamber music with his Piano Quintet of 1879.

Franck’s next foray into the chamber genres came seven years after the Quintet with his Sonata for Violin and Piano, which was composed as a wedding gift for his friend and Belgian compatriot,

the dazzling virtuoso Eugène Ysaÿe, who had been living in Paris since 1883 and befriending most of the leading French musicians; Ysaÿe first played the piece privately at the wedding ceremony on September 28, 1886. In tailoring the Sonata to the warm lyricism for which Ysaÿe’s violin playing was known, Franck created a work that won immediate and enduring approval, and which was instrumental in spreading the appreciation for his music beyond his formerly limited coterie of students and local devotees. The formal premiere, given by Ysaÿe and pianist Léontine Bordes-Pène at the Musée moderne de peinture in Brussels on December 16, 1886, was an extraordinary event, of which Franck’s pupil Vincent d’Indy left the following account: “It was already growing dark as the Sonata began. After the first Allegretto, the players could hardly read their music. Unfortunately, museum regulations forbade any artificial light whatever in rooms containing paintings; the mere striking of a match would have been an offense. The audience was about to be asked to leave but, brimful of enthusiasm, they refused to budge. At this point, Ysaÿe struck his music stand with his bow, demanding, ‘Let’s go on!’ Then, wonder of wonders, amid darkness that now rendered them virtually invisible, the two artists played the last three movements from memory with a fire and passion the more astonishing in that there was a total lack of the usual visible externals that enhance a concert performance.”

The quality of verdant lyricism that dominates Franck’s Sonata is broken only by the anticipatory music of the second movement and the heroic passion that erupts near the end of the finale. The work opens in a mood of twilit tenderness with a main theme built largely from rising and falling thirds, an intervallic germ from which later thematic material is derived to help unify the overall structure of the Sonata. The piano alone plays the second theme, a broad melody given above an arpeggiated accompaniment never shared with the violin. The movement’s short central section, hardly a true development at all, consists only of a modified version of the main theme played in dialogue between violin and piano. The recapitulation of the principal and secondary subjects (dolcissima ... semper dolcissima ... molto dolcissima — “sweetly ... always sweetly ... very sweetly,” cautions the score repeatedly) rounds out the form of the lovely opening movement.

The quick-tempo second movement fulfills the function of a scherzo in the Sonata, though its music is more in the nature of an impetuous intermezzo. Two strains alternate to produce the movement’s form. One (“scherzo”) is anxious and unsettled, though it is more troubled than tragic; the other (“trio”) is subdued and rhapsodic. They are disposed in a pattern that yields a fine balance of styles and emotions: scherzo — trio — scherzo — trio — scherzo.

The third movement (Recitativo — Fantasia) begins with a cyclical reference to the third-based germ motive that opened the Sonata. The violin’s long winding line in the Recitativo section is succeeded by the Grecian purity of the following Fantasia, one of the most chaste and moving passages in the entire instrumental duet literature.

The main theme of the finale is so richly lyrical that its rigorous treatment as a precise canon at the octave is charming rather than pedantic. When the piano and violin do eventually take off on their own paths, it is so that the keyboard may recall the chaste melody of the preceding Fantasia. Other reminiscences are woven into the movement — a hint of the third-based germ motive in one episode, another phrase from the Fantasia — which unfolds as a free rondo around the reiterations of its main theme in a variety of keys. The Sonata is brought to a stirring climax by a grand motive that strides across the closing measures in heroic step-wise motion.

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Sonata in G Minor, “Devil’s Trill” (ca. 1750) Giuseppe Tartini (Born April 8, 1692, in Pirano, Istria, Italy; died February 26, 1770, in Padua) For a man whose letters reveal him to be a person of great warmth, tenderness, sensibility, fastidiousness and personal modesty, Giuseppe Tartini led a rather checkered life. Born in 1692 in Pirano, Italy, Tartini was destined by his parents for a clerical career, but he fled the cloister in 1708 and traveled to Padua without formally renouncing his candidacy for the priesthood. The following year his name appeared among the law students of Padua, though his greatest local reputation was for his prowess as a swordsman. In 1710, he obtained permission to marry by apparently concealing his clerical status, and found himself in enough trouble that he had to leave his new wife to take up secret asylum at a monastery in Assisi. Tartini is said to have studied music in Assisi, and by 1714, he had found employment as a violinist in the opera orchestra at Ancona. A year later he was pardoned by the Paduan authorities and reunited with his wife, but left her again only months later when he determined to perfect his violin technique in self-exile after hearing a performance by the virtuoso Francesco Veracini. By 1720, Tartini had established a considerable reputation as a performer, and he returned to Padua to take up a position at St. Anthony’s Basilica. His contract allowed him to accept outside engagements, the most extended of which was a three-year residency in the distant city of Prague (1723‑26) that may have been prompted by the paternity suit of a Venetian noblewoman. Returned to Padua, Tartini wrote a violin tutor and established a school of violin instruction in 1727–28 which counted among its pupils such prominent musicians as Nardini and Paganelli.

An arm injury of unknown cause forced Tartini to abandon the violin in 1740, and thereafter he was absorbed with composition and the study of the acoustical bases of musical theory, which he expounded in flawed treatises published in 1754 and 1767. He died in Padua of gangrene in 1770, only a year after his childless wife had passed away.

Tartini related the story of his “Devil’s Trill” Sonata: “One night I dreamed I had made a pact with the devil for my soul. Among other things, I gave him my violin to see if he could play. How great was my astonishment on hearing a sonata so wonderful and so beautiful, as I had never even conceived in my boldest flights of fantasy. I felt enraptured, transported, enchanted; my breath failed me, and—I awoke. I immediately grasped my violin in order to retain, in part at least, the impression of my dream. In vain! The music which I at that time composed is indeed the best that I ever wrote, and I call it the ‘Devil’s Trill,’ but the difference between it and that which so moved me is so great that I would have destroyed my instrument and said farewell to music forever if it had been possible for me to live without the enjoyment it affords me.”

The finale, the music of Tartini’s dream, alternates a drowsy passage depicting his sleep with a brilliant dance-like strain containing the double-stopped trill that gives the piece its name. Twice more this musico-hallucinogenic progression is heard before the movement culminates in a cadenza for the violinist. The two movements that precede this extraordinary tone painting show that Tartini was as adept at writing touching aria-like melodies and nimble cross-string passages as at evoking the nether world with tone.

—Dr. Richard E. Rodda

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Mondavi Center Presents Program Issue 6: feb 2013

Itzhak Perlman (violin) is undeniably the reigning virtuoso of the violin and enjoys superstar status rarely afforded a classical musician.

Beloved for his charm and humanity as well as his talent, he is treasured by audiences throughout the world who respond not only to his remarkable artistry, but also to the irrepressible joy of making music, which he communicates.

In January 2009, Perlman was honored to take part in the inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing with clarinetist Anthony McGill, pianist Gabriela Montero and cellist Yo-Yo Ma. In December 2003, the John F. Kennedy Center for the Performing Arts granted Perlman a Kennedy Center Honor celebrating his distinguished achievements and contributions to the cultural and educational life of our nation. In May 2007, he performed at the State Dinner for Her Majesty The Queen and His Royal Highness The Duke of Edinburgh, hosted by President George W. Bush and Mrs. Bush at the White House.

Perlman’s 2012–13 season will take his performances as soloist to both new and familiar major centers throughout the world. In the fall of 2012, he appeared with the Boston Symphony Orchestra on a play/conduct program for the Orchestra’s opening night; immediately thereafter, he joined the New York Philharmonic at Avery Fisher Hall under Music Director Alan Gilbert in its season opening concert, to be televised on PBS’s Live From Lincoln Center. In October 2012, Perlman traveled to South America for recitals in Peru, Brazil and Argentina with pianist and frequent collaborator Rohan De Silva. Other highlights of his 2012–13 season include the release of his new album Eternal Echoes on Sony Classical and various performances in support of the album, including Boston and New York. He will make an extensive tour of recitals and orchestral appearances in cities across North America including Los Angeles, San Francisco, Montreal, Kansas City, Sarasota, Houston, Las Vegas and Seattle.

In addition to his many orchestral and recital appearances throughout the world, Perlman performs as conductor with leading orchestras. He was music advisor of the St. Louis Symphony from 2002–04, and he was principal guest conductor of the Detroit Symphony from 2001–05.

He has performed as conductor with the New York Philharmonic, Chicago Symphony, Philadelphia Orchestra, Boston Symphony, National Symphony, Los Angeles Philharmonic, St. Paul Chamber Orchestra and the symphony orchestras of San Francisco, Dallas, Houston, Pittsburgh, Seattle, Montreal, Atlanta and Toronto, as well as at the Ravinia and OK Mozart festivals. Internationally, Perlman has conducted the Berlin Philharmonic, Concertgebouw Orchestra, London Philharmonic, English Chamber Orchestra and the Israel Philharmonic.

He proudly possesses four Emmy Awards and 15 Grammy Awards. He performed at the 2006 Academy Awards and at the Juilliard School Centennial gala, broadcast nationally on Live from Lincoln Center. One of Perlman’s proudest achievements is his collaboration with film score composer John Williams in Steven Spielberg’s Academy Awardwinning film Schindler’s List, in which he performed the violin solos.

Perlman devotes considerable time to education, both in his participation each summer in the Perlman Music Program and his teaching at the Juilliard School, where he holds the Dorothy Richard Starling Foundation Chair. He was awarded an honorary doctorate and a centennial medal on the occasion of Julliard’s 100th commencement ceremony in May 2005.

Perlman records for EMI/Angel, Sony Classical/Sony BMG Masterworks, Deutsche Grammophon, London/Decca, Erato/Elektra International Classics and Telarc. www.itzhakperlman.com Mr. Perlman appears by arrangement with IMG Artists.

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Rohan De Silva’s (piano) partnerships with violin virtuosos Itzhak Perlman, Cho-Liang Lin, Midori, Joshua Bell, Benny Kim, Kyoko Takezawa, Vadim Repin, Gil Shaham, Nadja Salerno-Sonnenberg and Julian Rachlin have led to highly acclaimed performances at recital venues all over the world. With these and other artists he has performed at Carnegie Hall, Lincoln Center’s Avery Fisher Hall and Alice Tully Hall, the Kennedy Center, Library of Congress, Philadelphia Academy of Music, Ambassador Theater in Los Angeles, Concertgebouw in Amsterdam, Wigmore Hall in London, Suntory Hall in Tokyo, the Mozarteum in Salzburg and La Scala in Milan and TelAviv, Israel. His festival appearances include the Aspen, Interlochen, Manchester, Ravinia and Schleswig-Holstein festivals, the Pacific Music Festival in Sapporo, Japan, and the Wellington Arts Festival in New Zealand. He performs frequently with Perlman and was seen with him on PBS’s Live from Lincoln Center broadcast in 2000. In 2009, De Silva performed with Perlman in Mexico City and in recital at the Moscow Conservatory. De Silva and Perlman recently performed at the State Dinner for Her Majesty Queen Elizabeth II and His Royal Highness The Prince Philip, Duke of Edinburgh, hosted by President George W. Bush and Mrs. Bush at the White House. De Silva regularly tours the Far East with Perlman, and in October 2011, they traveled to Asia for performances in China, Hong Kong and Taiwan. At the invitation of President Barack Obama and Mrs. Obama, De Silva and Perlman returned to the White House in June 2012, where they performed at an Official Dinner for Israeli President and Presidential Medal of Freedom honoree Shimon Peres. In 2012–13, De Silva performs with Perlman in a recital tour of South America, with stops in Brazil, Peru and Argentina.

They will also appear in Ottawa, Montreal and in cities across the U.S. De Silva, a native of Sri Lanka, began his piano studies with his mother, the late Primrose De Silva and with the late Mary Billimoria. He spent six years at the Royal Academy of Music in London as a student of Hamish Milne, Sydney Griller and Wilfred Parry. While in London, he received many awards including the Grover Bennett Scholarship, Christian Carpenter Prize, Martin Music Scholarship, Harold Craxton Award for advanced study in England and, upon his graduation, the Chappell Gold Medal for best overall performance at the Royal Academy. De Silva was the first recipient of a special scholarship in the arts from the Presidents Fund of Sri Lanka. This enabled him to enter the Juilliard School, where he received both his bachelor and master of music degrees, studying piano with Martin Canin, chamber music with Felix Galimir and working closely with violin pedagogue Dorothy DeLay. He was awarded a special prize as Best Accompanist at the 1990 Ninth International Tchaikovsky Competition in Moscow.

He received the Samuel Sanders Collaborative Artist Award presented to him by Perlman at the 2005 Classical Recording Foundation Awards Ceremony at Carnegie Hall.

De Silva joined the collaborative arts and chamber music faculty of the Juilliard School in 1991, and in 1992, was awarded honorary Associate of the Royal Academy of Music. In 2001, he joined the faculty at the Ishikawa Music Academy in Japan, where he gives masterclasses in collaborative piano. Additionally, De Silva was on the faculty of the Perlman Music Program from 2000–07. Radio and television credits include The Tonight Show with Midori, CNN’s Showbiz Today, NHK Television in Japan, National Public Radio, WQXR and WNYC in New York and Berlin Radio. He has recorded for Deutsche Grammophon, CBS/Sony Classical, Collins Classics in London and RCA Victor.

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Mondavi Center Presents Program Issue 6: feb 2013

Russian National Orchestra Giancarlo Guerrero, conductor Daniil Trifonov, piano

A Western Health Advantage Orchestra Series Event Sunday, February 17, 2013 • 7PM Jackson Hall

Sponsored by

Program Overture to The Bartered Bride

Smetana

Piano Concerto No. 1 in B-flat Minor, Op. 23 Tchaikovsky

Allegro non troppo e molto maestoso — Allegro con spirito

Andantino semplice — Prestissimo

Allegro con fuoco Daniil Trifonov, piano Intermission

Individual support provided by Dolly and David Fiddyment.

Symphony No. 6 in D Major, Op. 60, B. 112

Allegro non tanto

Adagio

Scherzo. Furiant: Presto

Finale: Allegro con spirito

Dvořák

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 Overture to The Bartered Bride (1863) Bedřich Smetana (Born March 2, 1824, in Leitomischl, Bohemia; died May 12, 1884, in Prague) The story of The Bartered Bride derives from the personalities, customs and lore of the Czech countryside. The lovers Hans and Marie are prevented from marrying by her father, who has secured a more lucrative nuptial arrangement from the village matchmaker, Kezal. Kezal has engaged Marie to the half-wit Wenzel, son of the second marriage of Micha, a wealthy landowner. Hans makes sure that the marriage contract specifies Marie must wed the son of Micha and then pockets the money that Kezal promised him for breaking his betrothal to Marie. With a plot twist worthy of Gilbert and Sullivan, Hans reveals that he is also the son of Micha—by Micha’s first marriage—and claims Marie as his wife. Wenzel, his mind unhinged at the thought of marriage, appears in a bear costume and has to be dragged away while the couple and the villagers celebrate the upcoming wedding.

The effervescent Overture (“a grand Allegro” said Smetana) was written before the rest of the opera and served as the source of themes later used to identify some of the work’s characters and situations. The boisterous opening melody represents the matchmaker Kezal, the vibrant dance strain (announced by the first entry of the full orchestra after a scurrying fugato passage in the strings) accompanies the signing of the marriage contract and a lyrical theme (given sweetly by oboes in duet) is associated with Hans. The Bartered Bride Overture is a sparkling jewel set into the never-too-large tiara of comic opera, a bubbling prelude that Donald Tovey praised as creating “the liveliest possible comic atmosphere— such as has no overture since Mozart’s Figaro.”

Piano Concerto No. 1 in B-flat Minor, Op. 23 (1874–75) Peter Ilyich Tchaikovsky (Born May 7, 1840, in Votkinsk, Russia; died November 6, 1893, in St. Petersburg) At the end of 1874, Tchaikovsky began a piano concerto with the hope of having a success great enough to allow him to leave his irksome teaching post at the Moscow Conservatory. By late December, he had largely sketched out the work, and he sought the advice of Nikolai Rubinstein, director of the Moscow Conservatory and an excellent pianist. Tchaikovsky reported the interview in a letter: “On Christmas Eve 1874, Nikolai asked me to play the Concerto in a classroom of the Conservatory. We agreed to it. I played through the work. There burst forth from Rubinstein’s mouth a mighty torrent of words. It appeared that my Concerto was utterly worthless, absolutely unplayable; the piece as a whole was bad, trivial, vulgar.”

Tchaikovsky was furious, and he stormed out of the classroom. He made only one change in the score: he obliterated the name of the original dedicatee—Nikolai Rubinstein—and substituted that of the virtuoso pianist Hans von Bülow, who was performing Tchaikovsky’s piano pieces across Europe. Bülow gladly accepted the dedication and asked to program the premiere on his upcoming American tour.

The Concerto created such a sensation when it was first heard, in Boston on October 25, 1875, that Bülow played it on 139 of his 172 concerts that season.

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Mondavi Center Presents Program Issue 6: feb 2013

Tchaikovsky’s First Piano Concerto opens with the familiar theme of the introduction, a sweeping melody nobly sung by violins and cellos above thunderous chords from the piano. Following a decrescendo and a pause, the piano presents the snapping main theme— Tchaikovsky said that this curious melody was inspired by a tune he heard sung by a blind beggar at a street fair. The clarinet announces the lyrical, bittersweet second theme. The simplicity of the second movement’s three-part structure (A–B–A) is augured by the purity of its opening—a languid melody in the solo flute. The center of the movement is of very different character, with a quick tempo and a swift, balletic melody. The languid theme and moonlit mood of the first section return to round out the movement. The crisp rhythmic motive presented immediately at the beginning of the finale and then spun into a complete theme by the soloist dominates much of the movement. In the theme’s vigorous full-orchestra guise, it has much of the spirit of a robust Cossack dance. To balance the vigor of this music, Tchaikovsky introduced a romantic melody first entrusted to the violins. The dancing Cossacks repeatedly advance upon this bit of tenderness, which shows a hardy determination. The two themes contend, but the flying Cossacks have the last word.

Symphony No. 6 in D Major, Op. 60 (1880) Antonín Dvořák (Born September 8, 1841, in Nelahozeves, Bohemia; died May 1, 1904, in Prague) On November 16, 1879, Dvořák was in Vienna for a performance by the Philharmonic Orchestra and conductor Hans Richter of his Slavonic Rhapsody No. 3, “which was very well received,” he reported. “I was called before the audience. I was sitting beside Brahms at the organ and Richter pulled me forward. I had to come out. I must tell you that I won the sympathy of the whole orchestra at a stroke and that, of all the new pieces they had tried, and Richter told me that there had been 60, my Rhapsody was liked the best.

Richter actually embraced me on the spot and was very happy, as he said, to know me and promised that the Rhapsody would be repeated at a special concert at the Opera House. I had to assure the Philharmonic that I would send them a symphony for the next season. The day after the concert, Richter gave a banquet at his house, to which he invited all the Czech members of the orchestra.

It was a grand evening which I shall not easily forget for as long as I live.”

By 1880, Dvořák had already completed five symphonies—all unpublished—but he did not feel them representative of his best achievements, so he chose to write a new work for Vienna. He could not take up the score until the following August, but once begun he progressed rapidly on it: the sketch was completed in just three weeks and the orchestration in another three (on October 15, 1880), though the composer’s student and biographer Karel Hoffmeister noted that the music “had been slowly maturing in Dvořák’s mind.”

Dvořák took the score at once to Vienna to play at the piano for Richter, who, the composer wrote to his friend Alois Goebl, “liked it very much indeed, so that after every movement he embraced me.” The premiere, by Richter and the Philharmonic, was set for December 26.

Shortly before the scheduled premiere date, Richter informed Dvořák that the performance would have to be postponed because there was no time to rehearse and perform the music in the Philharmonic’s busy schedule. (The Philharmonic was, and is, a self-governing orchestra whose members are mainly employed as the ensemble of

the Vienna Opera. Their heavy commitments allow them to give only a limited number of concerts every season.) The premiere was put off until March, Richter counseling that introducing such a grand and worthy new work during the frivolous carnival season of January and February was inappropriate. Pleading personal and family problems, however, Richter once again canceled the first performance, and Dvořák started to ask some questions of his Viennese friends.

It seemed that there was sufficient anti-Czech feeling in those politically volatile days of the Dual Monarchy to cause local resentment against a young Czech composer who would have two important premieres in successive years. Dvořák, who had no taste for such quintessentially Viennese political machinations, gave the honor of the Symphony’s premiere to the Prague Philharmonic and conductor Adolf Cech, with whom he had played in the viola section of the orchestra of the National Provisional Theater in Prague early in his career. The work was first heard on March 25, 1881, in Prague. Despite his difficulties in getting the Symphony produced, Richter remained its ardent champion. Dvořák inscribed the score with a dedication to the conductor and had his publisher, Simrock, send him one of the first copies. “On my return from London I find your splendid work awaiting me, whose dedication makes me truly proud,” Richter wrote to Dvořák in January 1882. “Words do not suffice to express my thanks; a performance worthy of this noble work must prove to you how highly I value it and the honor of the dedication.” Richter finally conducted the Symphony on May 15, 1882, in London.

The Symphony No. 6 splendidly combines elements of the symphonic tradition as transmitted by Brahms with what Otakar Šourek called Dvořák’s “process of idealization” of Czech folk music.

This characteristic style of Dvořák, uniting two great streams of concert and vernacular music, richly illumines the Symphony’s opening movement. The influence of Brahms (particularly of his Second Symphony of 1878) is clear in the music’s sylvan sonorities, motivic development and careful control of the ebb and flow of the lines of tension, while the folk quality is heard in the tunefulness of the themes and the many harmonic plangencies. Music so rich in reference is bound to excite the imagination of certain commentators, and the composer’s biographer Otakar Šourek heard in this movement “the humor and pride, the optimism and passion of the Czech people come to life, and in it breathes the sweet fragrance and unspoiled beauty of Czech woods and meadows.”

Following the first movement are a lovely Adagio and a fiery Furiant, filled with the same powerful shifting accents borrowed from Bohemian dance that enliven so many of the Slavonic Dances. The bracing last movement, according to Hans-Hubert Schönzeler, “is the most convincing finale Dvořák ever wrote.”

—Dr. Richard E. Rodda

The Russian National Orchestra was founded by the conductor and pianist Mikhail Pletnev in 1990, following sweeping changes in the former U.S.S.R. Under his artistic leadership, the orchestra soon achieved international renown and established its hallmarks of innovation and excellence. In 2008, a panel of international critics named the Russian National Orchestra as one of the world’s top orchestras. In recognition of both its artistic quality and its pioneering structure, the Russian Federation recently awarded the Russian National Orchestra the first-ever grant to a nongovernmental orchestra.

The orchestra is a frequent guest in the music capitals of Europe, Asia and the Americas. After the Russian National Orchestra’s 1996 début at the BBC Proms in London, the Evening Standard wrote, “They played with such captivating beauty that the audience gave an involuntary sigh of pleasure.” They have been described as “a living symbol of the best in Russian art” (Miami Herald) and “as close to perfect as one could hope for” (ClassicsToday). Recently the RNO was called “the most important cultural story of our time” (International Piano). A regular visitor to the Schleswig-Holstein, Gstaad and Rheingau festivals, the Russian National Orchestra is also the founding orchestra of the Napa Valley Festival del Sole, the Festival of the Arts BOCA in Florida and the Singapore Sun Festival.

In 2009, the orchestra launched its own annual festival in Moscow.

Gramophone magazine called the first Russian National Orchestra CD release in 1991, of music by Tchaikovsky, “an awe-inspiring experience; should human beings be able to play like this?” More than 70 recordings have followed since, mostly on the Deutsche Grammophon and PentaTone labels. The charity recording of Prokofiev’s Peter and the Wolf and Beintus’s Wolf Tracks, conducted by Kent Nagano and narrated by Sophia Loren, Bill Clinton and Mikhail Gorbachev, won a 2004 Grammy Award, the first such recognition for any Russian orchestra.

Giancarlo Guerrero (conductor) is the music director of the Nashville Symphony Orchestra (NSO) and concurrently holds the position of principal guest conductor of the Cleveland Orchestra Miami Residency. Last year, Guerrero led the Nashville Symphony to a Grammy win for a second consecutive year with the recording of American composer Joseph Schwantner’s Concerto for Percussion and Orchestra. His previous recording with the orchestra of Michael Daugherty’s Metropolis Symphony and Deux Ex Machina won three 2011 Grammy Awards, including the category of Best Orchestral Performance. A fervent advocate of new music and contemporary composers, Guerrero has collaborated with and championed the works of several of America’s most respected composers, including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Michael Daugherty, Roberto Sierra and Richard Danielpour.

In the 2012–13 season, Guerrero makes debuts with the BBC Symphony Orchestra, Deutsches Symphonie Orchester Berlin and Norwegian Radio Orchestra. He returns to the Boston, Indianapolis and Toronto Symphony Orchestras, Philadelphia Orchestra for both its subscription season and at Vail, Brussels Philharmonic, Polish National Radio Symphony Orchestra, Sao Paulo State Symphony Orchestra and to Australia for performances with the Adelaide Symphony and Auckland Philharmonia. An advocate for young musicians and music education, Guerrero now returns annually to Caracas, Venezuela to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s lauded El Sistema music program. This season he will also work with the student orchestras of Curtis Institute and the Colburn School.

In recent seasons, Guerrero appeared with many of the major North American orchestras, including the symphony orchestras of Baltimore, Boston, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Milwaukee, San Diego, Seattle, Toronto, Vancouver, the Philadelphia Orchestra and the National Symphony in Washington, D.C.; as well as at several major summer festivals, including the Los Angeles Philharmonic at the Hollywood Bowl, Cleveland Orchestra at Blossom Music Festival, and Indiana University summer orchestra festival. He is also establishing an increasingly visible profile continued on p. 26

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in Europe, where his upcoming engagements will include a debut appearance with the London Philharmonic Orchestra. Last season, he led a five-city European tour with the Monte Carlo Philharmonic.

Early in his career, Guerrero worked regularly with the Costa Rican Lyric Opera and in recent seasons has conducted new productions of Carmen, La Bohème and Rigoletto. Future plans include productions at the Houston Grand Opera and Marseille Opera. In February 2008, he gave the Australian premiere of Osvaldo Golijov’s one-act opera Ainadamar at the Adelaide Festival, to great acclaim.

In June 2004, Guerrero was honored with the Helen M. Thompson Award by the American Symphony Orchestra League, which recognizes outstanding achievement among young conductors nationwide.

Guerrero holds degrees from Baylor and Northwestern universities. He was previously the Music Director of the Eugene Symphony in Oregon. From 1999 to 2004, Guerrero served as Associate Conductor of the Minnesota Orchestra, where he made his subscription debut in March 2000 leading the world premiere of John Corigliano’s Phantasmagoria on the Ghosts of Versailles. Prior to his tenure with the Minnesota Orchestra, he served as music director of the Táchira Symphony Orchestra in Venezuela.

Daniil Trifonov (piano), born in Nizhniy Novgorod in 1991, is one of the brightest names of the next generation of pianists. His reputation for outstanding performances, musical insight and expressive intensity has already surpassed the attention he received when, during the 2010–11 season, he won medals at three of the most prestigious competitions in the music world: the Chopin Competition in Warsaw (Third Prize), the Rubinstein Competition in Tel Aviv (First Prize) and the Tchaikovsky Competition in Moscow (First Prize and Grand Prix). Jury members and observers at these competitions included Martha Argerich, Krystian Zimerman, Van Cliburn, Emanuel Ax, Nelson Freire, Yefim Bronfman and Valery Gergiev.

Gergiev personally awarded Trifonov the Grand Prix in Moscow, the award given to the best overall competitor in any of that competition’s categories.

In summer 2012, Trifonov made his debut at the major festivals of Europe. He performed at Verbier, Montreux, Tivoli, Edinburgh, Lockenhaus, Grafenegg, La Roque d’Anthéron and Klavier Festival Ruhr, while in the U.S. he will appear at Blossom, Ravinia and Chautauqua festivals.

In the 2012–13 season Trifonov made his debut with several prestigious international orchestras, including New York Philharmonic with Gilbert, Chicago Symphony with Dutoit, Boston Symphony with Guerrero, Cleveland Orchestra with Gaffigan, Philharmonia Orchestra with Maazel, Royal Philharmonic with Dutoit, Orchestre Philharmonique de Radio France with Znaider, Budapest Festival Orchestra with Takács-Nagy, Orchestra Nazionale di Santa Cecilia with Battistoni and returns to the London Symphony and Mariinsky Orchestra with Gergiev, Russian National Orchestra with Pletnev and Warsaw Philharmonic with Wit. Trifonov’s upcoming recitals include Washington’s Kennedy Center, New York’s Carnegie Hall (Stern Auditorium), Boston Celebrity Series, Berlin’s Kammermusiksaal der Philharmonie, Munich’ Herkulessaal, Amsterdam’s Concertgebouw, London’s Queen Elizabeth Hall and Wigmore Hall, Paris’s Auditorium du Louvre,

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Zurich’s Tonhalle and Lucerne Piano Festival, Brussels’s Palais de Beaux Arts, Schloss Elmau, Seoul Arts Center and many others.

Trifonov began his musical studies at the age of five. He studied at Moscow Gnesin School of Music in the class of Tatiana Zelikman (2000–09). From 2006–09, he also studied composition and has continued to write piano, chamber and orchestral music since then. Since 2009, he has studied piano at the Cleveland Institute of Music in the class of Sergei Babayan. In 2008, at the age of 17, he received awards at the Scriabin Competition of Moscow and at the San Marino International Competition. He also received a Guzik Foundation Career Grant in 2009 and toured the U.S. and Italy as a consequence of this.

In autumn 2012, Trifonov’s recording of Tchaikovsky Piano Concerto No.1 with Gergiev and the Mariinsky Orchestra, as well as a selection of solo piano music, was released on the Mariinsky label. His first CD was released on Decca in 2011, featuring a selection of Chopin solo piano works.

The Russian National Orchestra thanks the patrons who helped make the 2013 U. S. Tour possible, including Mr. and Mrs. Gerret Copeland, Ann and Gordon Getty, the Mikhail Prokhorov Foundation, HRH Prince Michael of Kent, Athena Blackburn, Barbara Roach, Russian Arts Foundation, Russian Life Magazine and Marianne and John Wyman. www.russianarts.org Management for Russian National Orchestra, Giancarlo Guerrero and Daniil Trifonov: Opus 3 Artists LLC • www.opus3artists.com

Russian National Orchestra Giancarlo Guerrero, conductor Daniil Trifonov, piano 2012 / 2013 U.S. TOUR ROSTER

Violin I Alexey Bruni Tatiana Porshneva Yana Gerasimova Natalia Anurova Edvard Yatsun Anatoly Fedorenko Alexey Sobolev Leonid Akimov Igor Akimov Vasily Vyrenkov Natalia Fokina Alexey Khutoryanskiy Olga Levchenko Violin II Sergey Starcheus Evgeny Feofanov Pavel Gorbenko Irina Simonenko Evgeny Durnovo Vladimir Teslya Svetlana Dzutseva Sergey Korolev Anna Panina Olga Vanina Elena Ermakova Violas Sergey Dubov Irina Sopova Sergey Bogdanov Olga Suslova Maria Goryunova Alexander Zhulev Ksenia Zhuleva Lev Leushin Artem Kukaev Cello Alexander Gotgelf Svetlana Vladimirova Olesya Gavrikova Maxim Tarnorutskiy Alexander Grashenkov Sergey Kazantsev Natalia Lyubimova

Double basses Gennady Krutikov Anton Vinogradov Miroslav Maximyuk Vasily Beschastnov Alexey Vlasov Alexey Vorobiev Flutes Maxim Rubtsov Konstantin Efimov Sergey Igrunov Nikolay Lotakov Oboes Olga Tomilova Vitaly Nazarov Pavel Kapitanchuk Andrey Rubtsov Clarinetes Nikolay Mozgovenko Dmitry Ayzenshtadt Dmitry Belik Oleg Zavologhin Bassoons Andrey Shamidanov Vladimir Markin Elizaveta Vilkovyskaya French horns Igor Makarov Alexey Serov Victor Bushuev German Bushuev Askar Bisembin Vladimir Slabchuk Trumpets Vladislav Lavrik Andrey Kolokolov Leonid Korkin Vladimir Pinyalov

Trombones Ivan Irkhin Dmitry Zheleznov Anatoly Fedotov Vyacheslav Pachkaev Tuba Dmitry Anakovskiy Percussions Dmitry Lukianov Alexander Suvorov Kirill Lukianenko Ilya Melikhov Leonid Lysenko Vladimir Kalabanov Harp Svetlana Paramonova Piano Leonid Ogrinchuk Stage Crew Alexey Dragun Vladimir Kireev Inspector/Librarian Valentin Teslya Logistic manager Amir Iliyasov For Opus 3 Artists David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists & Attractions Adelaide Docx, Associate Manager, Artists & Attractions John C. Gilliland III, Associate, Touring Division

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Dr. Milmon F. Harrison is an associate professor in and former director of the African American & African Studies Program at UC Davis. He began his college education at Sacramento City College before transferring to UC Davis where he completed his bachelor’s degree in sociology in 1994. He received his Ph.D. (also in sociology) from UC Santa Barbara in 1999. Harrison’s research and teaching areas include African American culture, sociology of religion with an emphasis on the black church in America, racial and ethnic relations in the U.S. and the sociology of culture with an emphasis on representations of race and of religion in popular culture.

His most recent publications include the book Righteous Riches: The Word of Faith Movement in Contemporary African American Religion published in 2005 by Oxford University Press. Righteous Riches was chosen an Outstanding Academic Title for 2006 by Choice Magazine. He is currently working on a few new projects, one of which concerns the history of “prosperity gospels” in American culture; another looks at the production of contemporary Black Gospel music.

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Harrison is involved in community service in the Sacramento area and often gives presentations at local organizations and functions.

MC

Debut Robert Randolph Presents the Slide Brothers

A Chevron American Heritage Series Event Friday, February 22, 2013 • 8PM

Calvin Cooke, Pedal Steel Guitar Chuck Campbell, Lap Steel Guitar

Jackson Hall

Darick Campbell, Drums

Sponsored by

Aubrey Ghent, Steel Guitar

Carlton Campbell, Drums Robert Randolph, Electric Steel Guitar

Individual support provided by Joe and Betty Tupin.

Pre-Performance Talk Friday, February 22, 2013 • 7PM Jackson Hall, Mondavi Center, UC Davis Speaker: Milmon F. Harrison, Associate Professor, African American & African Studies Program, UC Davis

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

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Robert Randolph

by jeff hudson

As a radio broadcaster, I lead a double life.

Under my own name, I’m an arts commentator on Capital Public Radio (90.9 FM in the Sacramento area), talking mostly about theater and classical music.

The style has become better known over the past 15 years due to an album series on the Arhoolie label—starting with the compilation Sacred Steel in 1997, and now extending over a dozen albums, plus a DVD. It’s high-energy stuff, and pretty loud, too.

The albums in this series feature many of the performers you’ll hear this evening.

But two or three Sunday mornings each month, you’ll find me one step down the dial on campus/community station KDVS (90.3 FM), hosting an old-school gospel program. In order to keep my identity as a gospel DJ distinct, I go by the air name Hibachi.

(There’s a story behind how I chose that name, but it’s too long to repeat here.)

Robert Randolph, coordinator of this evening’s performance, has released albums with his Family Band that venture into sacred steel, as well as funk and soul and yeah, a little Hendrix. (He’s also said to admire Sly and the Family Stone’s records from the 1960s.)

When spinning gospel discs, I favor the classics. I almost always manage to work in some tracks featuring great vocalists like Mahalia Jackson, Marian Anderson and Marion Williams and the fabulous vocal harmonies of the Soul Stirrers and the Fairfield Four.

And if this evening’s taste of sacred steel gets you curious about other interesting byways of gospel music, let me point out a sound you may not have encountered: trombone shout. We’re talking about brass ensembles that feature as many as a dozen slide trombones, which makes for a rich, lustrous, joyful sound.

Check out the album Saints’ Paradise on the Smithsonian/ Folkways label.

HOT ITALIAN MIDTOWN

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And I draw on sacred steel—the guitar-driven style featured on tonight’s program. Sacred steel is rooted in black Pentecostal churches in the South—the story goes that some churches didn’t have an organ, so they brought in slide guitars and amplifiers.

The result is music that has some kinship to traditional gospel (you’ll hear plenty of standards like “Amazing Grace”), electric blues and yeah, a little bit of Jimi Hendrix, too. (Or maybe we should say that Jimi heard some Sacred Steel in his youth and took on aspects that he liked.)

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further listening

PUBLIC MARKET

Mondavi Center Presents Program Issue 6: feb 2013

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

The Slide Brothers are Calvin Cooke, Chuck Campbell, Darick Campbell and Aubrey Ghent, each of whom was raised worshiping and performing in the Church of the Living God. They were an ad hoc family, traveling and learning from the other dominions in their communities in cities from Nashville to Chicago to Newark.

Calvin Cooke (pedal steel guitar) was born into a musical family in Cleveland, Ohio, in 1944 and would become known among the ranks of Nashville’s premier country steel guitarists as “the B.B. King of gospel steel guitar.” Cooke is hailed today as the most influential living pedal steel guitar master within the Sacred Steel tradition.

Chuck Campbell (lap steel guitar) began playing the lap steel guitar at the age of 12. At the age of 17 he became one of the first players to utilize the Pedal Steel guitar in the House of God Church, Keith Dominion. Chuck is renowned for his innovative approach to the instrument both technically and musically. His use of effects such as distortion, and wah pedal and his picking techniques enable him to emulate the human voice in an uncanny fashion.

Darick Campbell (drums) was the premier drummer of the General Assembly, the National Convocation of the House of God Church in Nashville, Tennessee. His choice of the Lap Steel is a reflection of the influences he has blended to become the most emotional player of The Campbell Brothers musical tour d’ force.

Aubrey Ghent (steel guitar) has also become a celebrated steel guitarist, preserving the Sacred Steel tradition and bringing it to a wider audience. Ghent’s unique skills became apparent at a very early age and local churches began inviting him to perform at services starting when he was only nine years old.

Robert Randolph (electric steel guitar) set the music world on fire in 2000 when he began playing his first club dates in New York City before audiences who had, for the most part, never before had any intersection with the Sacred Steel phenomenon. Randolph started playing the instrument as a church-going teenager in Orange, New Jersey. He was raised in the House of God Church, an African-American Pentecostal denomination that had been implementing steel guitars in services since the 1930s. Randolph’s own group, the Family Band, includes cousins Danyel Morgan, Marcus Randolph and John Ginty. Robert Randolph and the Family Band’s Live at the Wetlands, released in the fall of 2001, vividly captured the band’s live performance and set the stage for Unclassified, the studio debut that followed in 2003, introducing Randolph to an even wider audience. One new fan was veteran guitarist Eric Clapton, who brought the band out on tour and appeared on Robert Randolph’s third release, Colorblind, in 2006.

In 2010, Randolph teamed-up with producer T-Bone Burnett and released the album We Walk This Road, which featured guest appearances from Ben Harper, Leon Russell and Doyle Bramhall II. More recently, he unveiled Robert Randolph and the Family Band’s Live in Concert, a long-awaited follow-up for the fans of his acclaimed Live in the Wetlands recording. Today, Randolph finds himself back in the studio and returning to his roots. “By co-producing and presenting the new album from the Slide Brothers, I’m hoping that the story can finally be told,” he explains. “For 80 years this music has been hidden inside the churches and these older guys were not allowed to play anything else. Now we’re all hanging out with the Allman Brothers, Buddy Guy and B.B. King and can use gospel and mainstream music to tell our story.”

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Pilobolus Dance Theatre

Photo by John Kane

Program

A Just Added Event Sunday, February 24, 2013 • 3PM Jackson Hall

Automaton Skyscrapers Gnomen

Intermission All Is Not Lost Rushes

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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Pilobolus Is A Fungus

Film edited by Oriel Pe’er and Paula Salhany; Score by Keith Kenniff Automaton (2012) Created by Sidi Larbi Cherkaoui and Renée Jaworski in collaboration with Shawn Fitzgerald Ahern, Matt Del Rosario, Eriko Jimbo, Jordan Kriston, Jun Kuribayashi, Manelich Minniefee and Nile Russell Performed by Shawn Fitzgerald Ahern, Matt Del Rosario, Jun Kuribayashi, Eriko Jimbo, Jordan Kriston, and Nile Russell Music: “Apparat” by Max Richter John Kilgore and Renée Jaworski, Sound Design Mark Melvin, Set Construction Phoebe Katzin, Chiharu Jimbo, Sidi Larbi Cherkaoui and Renée Jaworski, Costumes Shelly Sabel, Lighting “Automaton” was commissioned by the American Dance Festival with support from the SHS Foundation and the Charles L. and Stephanie Reinhart Fund. “Automaton” was created through Pilobolus’s International Collaborators Project, which receives funding from the National Endowment for the Arts and the Litchfield County Friends of Pilobolus.

Traffic

Film edited by Paula Salhany; Score by Crystal Castles

Gnomen (1997) Choreographed by Robby Barnett and Jonathan Wolken in collaboration with Matt Kent, Gaspard Louis, Trebien Pollard and Mark Santillano Performed by Shawn Fitzgerald Ahern, Matt Del Rosario, Jun Kuribayashi and Benjamin Coalter Paul Sullivan, Music Matt Kent, Throat Singing Eileen Thomas, Costume Design and Construction David M. Chapman, Lighting This piece is dedicated to the memory of our friend and colleague Jim Blanc.

It was made possible in part by contributions from his family and friends as well as by a commission from the American Dance Festival with support from the Connecticut Commission on the Arts, the National Endowment for the Arts and the Philip Morris Companies, Inc., New Production Fund.

All Is Not Lost (2011) Created by OK Go, Pilobolus and Trish Sie in collaboration with Pilobolus dancers Shawn Fitzgerald Ahern, Winston Dynamite Brown, Matt Del Rosario, Andy Herro, Eriko Jimbo, Jordan Kriston, Jun Kuribayashi and Nile Russell Performed by Shawn Fitzgerald Ahern, Benjamin Coalter, Jun Kuribayashi, Eriko Jimbo, Jordan Kriston, Nile Russell OK Go, Music

Skyscrapers (2012) Based on original concept and choreography by Trish Sie for “Skyscrapers,” the music video for OK Go (2012).

Created by Trish Sie, Paula Salhany and Renée Jaworski in collaboration with Shawn Fitzgerald Ahern, Eriko Jimbo, Jordan Kriston, Jun Kuribayashi, Manelich Minniefee and Nile Russell Performed by Shawn Fitzgerald Ahern, Benjamin Coalter, Matt Del Rosario, Eriko Jimbo, Jordan Kriston and Nile Russell Music: “Skyscrapers,” written by Damien Kulash, performed by OK Go, courtesy of Paracadute Video: Paula Salhany Phoebe Katzin, Trish Sie, Costumes Shelly Sabel, Lighting This International Collaborators Project work is funded in part by the National Endowment for the Arts.

Starlings

Film by Dylan Winter; Score by Pyyramids

Phoebe Katzin, Costume Construction Michael Dostal and Shane Mongar, Lighting Creation of “All is Not Lost” is made possible by the O’Donnell Green Music and Dance Foundation.

Explosions

Film by Dumt & Farligt Rushes (2007) Choreographed by Inbal Pinto, Avshalom Pollak and Robby Barnett, based on original material developed with Talia Beck, Otis Cook, Josie M Coyoc, Matt Kent, Renée Jaworski and Andreas Merk, and created in collaboration with Andy Herro, Jeffrey Huang, Renée Jaworski, Jun Kuribayashi, Jenny Mendez, Manelich Minniefee, Edwin Olvera and Annika Sheaff Performed by Shawn Fitzgerald Ahern, Jun Kuribayashi, Matt Del Rosario, Eriko Jimbo, Jordan Kriston and Nile Russell Music by Eddie Sauter, Miles Davis, John Blow.

“Big Noise” from Winnetka, used by permission “Dukes of Dixieland” (www.dukesofdixieland.com), Arvo Part Avshalom Pollak and Inbal Pinto, Costumes Yoann Tivoli, Lighting Peter Sluszka, Film Animation

“Rushes” was co-commissioned by the American Dance Festival with support from the Doris Duke Awards for New Work and additional funding from the Andrew W. Mellon Foundation; by the Joyce Theater’s Stephen and Cathy Weinroth Fund for New Work; and by Ruth Eckerd Hall, Clearwater, Florida.

It was also made possible in part by generous contributions from the Office of Cultural Affairs, Consulate General of Israel in New York and from Jonathan M. Nadler.

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Pilobolus Dance Theatre Our primary goal, as a dance company, could be to make dances.

In fact, when we arrive at work in the morning, our chief concern is to spend time with people we admire ... and have fun. This was a founding impulse for the formation of the company 41 years ago, and it drives us still today. We decided a few years ago to test the limits of our group methods. Since then, we have invited a growing succession of inventive minds—with differing expertise but all with evident curiosity about human relationships and their physical expression—to join us in our collective process of making new things. To date, we have worked with Inbal Pinto and Avshalom Pollak, the MIT Distributed Robotics Laboratory, Maurice Sendak, Basil Twist, Art Spiegelman, Dan Zanes, Trish Sie and OK Go, Takuya Muramatsu, Radiolab, Sidi Larbi Cherkaoui and Michael Moschen— reinventors of engineering, journalism, storytelling, comics, music videos, puppetry, juggling and dance theater. The dances that remain are the traces of our relationships with them. As we convene again under the Pilobolus circus tent, we work, as always, to keep the faith as we envision our future: a community of artists who view the world as playfully as we possibly can.

—The Directors of Pilobolus, 2012

ilobolus is a modern performance company, founded in 1971, that to this day wears its revolutionary stripes on its sleeves. In keeping with its fundamentally collective creative process, Pilobolus Dance Theatre now curates and convenes groups of diverse artists to make inventive, athletic, witty, collaborative performance works on stage and screen using the human body as a medium for expression. Pilobolus makes art to build community. It teaches its groupbased creative process to performers and non-dancers alike through popular, unique educational projects and programs. This collection of activities is called the Pilobolus Institute. Pilobolus also applies its method of creative invention to a wide range of movement services for film, advertising, publishing, commercial clients and corporate events. This division is called Pilobolus Creative Services. The 2012 season marks Pilobolus’s 41st year. In keeping with the energy and spirit of its biological namesake—a phototropic fungus that thrives in farmyards—the company has continued to grow toward the light, expanding and refining its unique methods of collective creative production to assemble a repertoire of more than 100 choreographic works. While it has become a stable and influential force in the world of dance, Pilobolus remains as protean as ever, looking forward to the next 40 years of collaborating on the future.

P

Pilobolus is based in Washington Depot, Connecticut, and performs for stage, television and online audiences all over the world.

The company has appeared late at night on Late Night with Conan O’Brien, early in the morning on Sesame Street and in primetime as a feature on CBS’s 60 Minutes. Pilobolus has performed live shows in 64 countries and has received a number of prestigious honors, including the Berlin Critic’s Prize, the Scotsman Award, the Brandeis Award, a Primetime Emmy Award for outstanding achievement in cultural programming, the Samuel H. Scripps American Dance Festival Award for lifetime achievement in choreography and a TED Fellowship for performing a TED Talk in 2005. In 2010, Pilobolus was honored as the first collective to receive the Dance Magazine Award, which recognizes artists who have made lasting contributions to the field. Pilobolus works also appear in the repertories of

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American and European dance companies. In 2005, Pilobolus transferred its archive to Dartmouth College, where the company originated. Since then, the college has been growing the “living archive” with a series of new work commissions.

In 2007, to expand its collaborative practices, Pilobolus launched the International Collaborators Project, a series of collective choreographic projects with multi-disciplinary artists, such as writer and illustrator Maurice Sendak; Israeli choreographic team Inbal Pinto and Avshalom Pollak; remarkable American puppeteer Basil Twist; Pulitzer Prize-winning comic artist Art Spiegelman; Grammywinning American composer and musician Dan Zanes; Grammywinning band OK Go; the MIT Distributed Robotics Laboratory directed by Professor Daniela Rus; Japanese butoh choreographer Takuya Muramatsu; MacArthur “Genius” award-winning juggler Michael Moschen; and the Belgian-Moroccan choreographer Sidi Larbi Cherkaoui. This year, “All is Not Lost”—Pilobolus’s interactive video collaboration with OK Go, Google and Trish Sie—was nominated for a Grammy and received five Cannes Lion Awards.

After its renowned shadow theater performance on the 79th Annual Academy Awards, Pilobolus embarked on the creation of an eveninglength movement-theater piece titled Shadowland. It was created in collaboration with Steven Banks, head writer for the hit Nickelodeon show SpongeBob SquarePants and singer-songwriter David Poe, who wrote a rollicking score. To date, Shadowland has performed over 300 shows world-wide and is currently touring extensively around Europe.

Based on Pilobolus’s ability to communicate and illuminate ideas, it has engaged in a number of science-focused educational activities.

The most recent example of this is a live U.S. tour with WNYC’s wildly popular Radiolab, titled In The Dark. Pilobolus dancers collaborate with hosts Jad Abumrad and Robert Krulwich, comedian Demetri Martin and singer Thao Nguyen to explore stories of sight, blindness, light and dark.

Pilobolus Creative Services provide movement design and production for commercial applications in business and advertising. PCS has made television spots for Mobil, Ford, Toyota, Opel, Hyundai, Multicentrum, BBVA, Bidvest and Proctor and Gamble and created live events for IBM, McKinsey, United Technologies, Dupont, Merck and Google. In 2007, the company created and presented six acclaimed performances during the 79th Annual Academy Awards, as well as producing a series of original segments for the Oprah Winfrey Show and Late Night with Conan O’Brien. PCS has also produced two books for national distribution, Twisted Yoga and The Human Alphabet and releases an annual calendar of dance photography in collaboration with a number of noted American photographers. In spring 2009, one of eight spots created for the NFL Network was nominated for an Emmy Award in Sports, and the company’s website was nominated for a Webby Award in Best Photography.

Pilobolus has now spent 40 years engaged in a uniquely collective creative process. The Institute is a series of educational programs that apply that process for greater good, helping groups of any kind work better together and achieve greater common goals. It is the success of that enterprise that brings you all here this evening.

Institute programs are designed to explore the necessary conditions for this success, and use the art of collaborative choreography as a

model for creative thinking in any field. Through this process we begin to understand more generally the way groups can organize themselves to do things more efficiently and well. Recent projects include a series of workshops for Avon Corporation in partnership with Deloitte, classes at the Wharton School of the University of Pennsylvania, Dartmouth College’s Tuck School of Business and a program at the Babcock School at Wake Forest University. Every summer, the Institute offers several week-long adult workshops, as well as a kids camp, at our home in Washington Depot, Connecticut.

We are also proud to count 2012 as our 15th season of Movin’, a unique partnership with the Shubert Theater in New Haven, offering month-long choreographic programs for middle-school boys and girls. Based on Movin’s success, we have launched three programs for middle and high school students in New York City public schools during the ‘11-’12 school year. After co-founder Jonathan Wolken, the force of nature who gave Pilobolus its name, died in 2010, Pilobolus established the Jonathan Wolken Education Fund to help spread the spirit of Jonathan’s teaching and methods to students and artists of all ages through the Pilobolus Institute. More information about how you can be a part of the Institute’s work, the Jonathan Wolken Fund and all of Pilobolus’s activities can be found on our website: www.pilobolus.org. Come and join us soon.

Robby Barnett (artistic director) was born and raised in the Adirondack Mountains and attended Dartmouth College. He joined Pilobolus in 1971.

Michael Tracy (artistic director) was born in Florence and raised in New England, met the other Pilobolus founders at Dartmouth in 1969, becoming an artistic director after graduating magna cum laude in 1973. He toured with Pilobolus for 14 years—for eight as the only touring Director—and continues to choreograph and direct the company. He has set his work on the Joffrey, Ohio, Hartford, Nancy and Verona ballets and choreographed a production of Mozart’s Magic Flute with John Eliot Gardiner, the Monteverdi Choir and the English Baroque Soloists and a national tour production for the National Theater of the Deaf. Tracy taught at Yale University for two decades and lives in northwestern Connecticut.

Itamar Kubovy (executive director), after graduating from Yale with a degree in philosophy and before joining Pilobolus as its first executive director in 2004, ran theaters in Germany and Sweden, directed plays by John Guare, co-directed the 2002 season finale of The West Wing and made a film, Upheaval, starring Frances McDormand. At Pilobolus, Kubovy founded and co-curates the critically acclaimed International Collaborators Project, which opens the choreographic process to artists and thinkers from diverse fields. Recent collaborators include Inbal Pinto/Avshalom Pollak, Art Spiegelman, Basil Twist, the MIT Distributed Robotics Lab, the band OK Go, Steve Banks, the head writer of SpongeBob SquarePants, and European choreographer, Sidi Larbi Cherkaoui. Kubovy also evolved and heads up Pilobolus Creative Services, developing movement for film, advertising, publishing, commercial clients and corporate events and is one of the creators of Shadowland. In keeping with the company’s traditionally collective approach to creative work, Kubovy now focuses his efforts on securing the company’s transition into a sustainable laboratory that convenes creative minds to produce imaginative physical entertainment and distribute it on diverse platforms.

Lily Binns (co-executive director) is co-author of The Hungry Scientist Handbook (Harper Collins, 2008) and author of the fiction chapbook The First American Wilderness (JR Vansant, 2011).

Formerly, she worked as managing editor of Saveur magazine and as a book editor at Ten Speed Press.

Renée Jaworski (associate artistic director) received her B.F.A. from the University of the Arts in Philadelphia. After graduating, she worked with MOMIX, performing and teaching throughout the world, in addition to creating her own work in Philadelphia.

She began performing with Pilobolus in 2000, working on exciting projects such as the 79th Academy Awards. She has served as dance captain, master teacher, rehearsal director and most recently, director and choreographer for many of the company’s collaborations with artists and entities such as Dan Zanes, Steven Banks, Takuya Muramatsu, the rock band OK Go, Michael Moschen, RadioLab and Sidi Larbi Cherkaoui. In 2010, her alma mater honored her with the University’s Silver Star Alumni Award for work as an artist in the field of dance. Jaworski lives in Connecticut with her husband and daughter.

Matt Kent (associate artistic director) has worked with Pilobolus, Inc. since 1996, as a dancer, collaborator, creative director, choreographer and associate artistic director. Kent was Pilobolus’s head choreographer for Andre Heller’s Magnifico, a large-scale circus production, as well as the choreographer for a Sports Emmy-nominated teaser for Pilobolus’s collaboration with the NFL network and one of Pilobolus’s television appearances on Late Night with Conan O’Brien. Kent is one of the creators of the Pilobolus’s European hit Shadowland. Kent has performed in more than 24 countries and on Pilobolus’s appearance on the 79th Academy Awards. He is also a movement consultant for television and stage. Recent projects include Duncan Sheik’s latest musical Spring Awakening, Whisper House and zombie choreographer for AMC’s hit series The Walking Dead. Kent lives in Connecticut with his wife and two sons.

Shawn Fitzgerald Ahern (dancer), a country boy at heart, was born and raised in Dublin, New Hampshire. After graduating from rural public school and the Monadnock Performing Arts Academy, both located in New Hampshire, Ahern moved to Vienna, Austria, to continue his studies through dance and visual arts. He later returned to New Hampshire, where he worked in steel construction and pursued his undergraduate degree at Keene State College. He graduated magna cum laude from Keene as a theater and dance major under the mentorship of William Seigh. Shawn owes his passion for movement and for learning to the inspired instructors at MPAA, KSC and the American Dance Festival.

Benjamin Coalter (dancer) is from Hurricane, West Virginia. He began his undergraduate work in engineering and international affairs at Marshall University. During his second year at Marshall, a friend persuaded him to take a formal dance class. After a few classes he was hooked and continued training for the next five months under the direction of Ella Hay. That fall he switched majors, transferred and spent the next four years studying at the North Carolina School of the Arts. Coalter graduated in the spring of 2012 receiving his B.F.A. in contemporary dance. Coalter joined Pilobolus in the fall of 2012.

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Matt Del Rosario (dance captain) was born and raised in Hawaii. He began formal dance training at age 20 under the guidance of Paul Maley, who inspired him to get a B.F.A. in contemporary dance at the North Carolina School of the Arts.

Eriko (Erica) Jimbo (dancer) was born in Japan, raised all over the states and earned her B.F.A. in dance from North Carolina School of the Arts. Since then, she has been dancing professionally and broadening her dancing through aerial work, wushu, capoeira, hip hop, house, waacking, vogue, breakin, African, acrobatics, swing dance, hustle and more. She has a special passion for the NYC underground house and hip hop culture and often performs and engages in their events with her two crews: MAWU and FMinit. In 2009, she won House Dance International in the experimental category. Jimbo has traveled throughout the world to perform and teach, and aspires to continue exploring the globe while sharing her passion. She joined Pilobolus in August 2009.

Jordan Kriston (dancer) was born in Illinois and grew up in Phoenix, Arizona. She earned a B.F.A. in dance performance from Arizona State University while performing with Movement Source Dance Company of Phoenix. In 2006, she moved to Brooklyn, New York, to pursue a career in dance. During her time in New York, Kriston worked with H.T Chen and Dian Dong, Douglas Dunn and Karl Anderson. After auditioning twice, Kriston was thrilled to start a full-time position with Pilobolus Dance Theatre in August 2010.

She loves being part of the fungus!

Jun Kuribayashi (dancer and communication liaison) was born in Japan and raised in the U.S. since age five. His background includes competitive swimming, break dancing and capoeira. At age 22, he began learning dance technique at the University of Kansas, where he earned his B.F.A. He debuted professionally with MOMIX in 2004 and has since enjoyed his life performing all over the world with P7.

Kuribayashi joined Pilobolus in August 2004.

Nile H. Russell (dance captain) is originally from Baltimore, Maryland. In 2004, he received a B.A. in dance from Connecticut College, where he was fortunate enough to have the guidance of wonderful dancers and teachers such as Dan Wagoner, Lan Lan Wang, Jeff Rebudal, Robyne Watkin, Eddie Taketa and Jeremy Nelson. In 2002, Russell traveled to India to explore temple and architecture studies and Bharatanatyam dance. Since moving to New York in 2004, Russell has danced with Silver-Brown Dance, LeeSaar The Company, Luis Lara Malvacias, Stefanie Nelson Dance Group and Naganuma Dance. He joined the Pilobolus touring company in August 2009.

Shane Mongar (director of production) is originally from Chattanooga Tennessee.

Kristin Helfrich (technical director) holds a bachelor’s of arts in lighting design and photography from Columbia College in Chicago.

She started working for Pilobolus in 2008 as the production stage manager. Prior positions include production manager for the Kelly Strayhorn Theater in Pittsburgh, Pennsylvania, production manager and lighting supervisor for Deeply Rooted Dance Theater in Chicago and assistant lighting designer and master electrician for the National Playwrights Festival at the Eugene O’Neill Theater Center in New London, Connecticut.

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Mike Faba (lighting supervisor) has worked as the production stage manager and lighting supervisor for the Kate Weare Company as well as Radiolab Live: In The Dark, a collaboration between WNYC’s Radiolab and Pilobolus. Faba was the lighting supervisor for Martha Clarke’s Angel Reapers and spent two summers working as the master electrician at the American Dance Festival. Faba is a graduate of the Professional Theater Arts Training Program in Lighting Design at the Seattle Repertory Theater and holds a B.A. in drama from Vassar College.

Sarah Fujiwara (production stage manager) holds a bachelor’s degree from CSU Fullerton in stage management and lighting design.

Her past credits include RENT Off-Broadway, Jacob’s Pillow Dance, Houses on the Moon Theatre Company and the Signature Theatre Company. She is excited to be a part of the Pilobolus family.

Inbal Pinto (choreographer) was born in Israel in 1969. She studied graphic design at the Bezalel Academi in Jerusalem. As a dancer, she first joined the Bat Sheva Ensemble and then the senior Bat Sheva Company. In 1990, she began her career as a choreographer. In 1997 and 1998, she was invited to the American Dance Festival to take part in its International Choreographers Program. In 2000, Pinto won a Bessie—a New York Dance and Performance Award for her creation Wrapped. Pinto also created the choreography for theater plays The Chairs and Romeo and Juliet. In 2000, she was given the Ministry of Culture Award for Dance and the Tel Aviv Municipality Award for Artistic Achievements. Since 1992, Pinto has been working with Avshalom Pollak, with whom she founded the Inbal Pinto Dance Company.

Avshalom Pollak (choreographer) was born in Israel in 1970. He was trained as an actor and graduated from the Nissan Nativ Drama School, Tel-Aviv. Pollak acted in a large number of films and TV programs as well as many theatrical plays at the Habimah National Theater, the Cameri Theater, Gesher Theater and Haifa Municipal Theater (Romeo in Romeo and Juliet; Casssio in Othello; Valere in The Miser; Tuzenbach in Three Sisters; Phillip in Orphans and more).

Since 1992, Pollak has been working with Inbal Pinto, with whom he founded the Inbal Pinto Dance Company. Together, they have created, choreographed and designed works to be performed by the company.

Sidi Larbi Cherkaoui (choreographer) has worked for theaters, opera and dance companies including the Ballets de Monte-Carlo, Sadler’s Wells in London, the Grand Theatre of Geneva and Les Ballets C. de la B. His choreographies have earned a series of awards including a Benois de la Danse, two Laurence Olivier Awards and two National Dance Awards. In 2008 and 2011, Tanz magazine proclaimed him Choreographer of the Year. In 2010, he founded his own company Eastman, where he created Play with Shantala Shivalingappa and Babel(words) with Damien Jalet and Antony Gormley and in 2011 TeZukA, a piece for 15 dancers and musicians inspired by the Japanese manga author Osamu Tezuka. In 2012, he premiered Puz/zle at the Avignon Festival.

OK Go (composers and creative collaborators) has been called “the first post-internet band” and is at the forefront of an emerging class of independent creative entrepreneurs making art that is both digital and physical. OK Go’s self-produced videos have been viewed more than 175 million times on YouTube. The band’s critically acclaimed release Of the Blue Colour of the Sky has garnered much praise, with a 4-star review in People Magazine and the Alternative Press writing that “it fills you with hope for the next decade’s musical offerings.”

Their previous project with Pilobolus, made in collaboration with Google Japan and Trish Sie, was an innovative HTML5 video for “All Is Not Lost,” which was nominated for a Grammy and won five Cannes Golden Lions awards. Their other recent award-winning videos include “Needing/Getting” (debuted at the Super Bowl and since viewed nearly 21 million times), a collaboration with Sesame Street, a fan-favorite pairing with the Muppets. Last year, they released the live album 180/365 on their newly launched independent label, Paracadute. They are currently writing and recording music for their fourth full-length album, due in 2013.

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

Trish Sie (choreographer), with a background in modern dance, ballet, ballroom dancesport and music, conceptualizes, creates, choreographs and directs projects for film, television and the internet. She collaborated with OK Go to conceive and produce several of OK Go’s music videos, including the Grammy-winning “treadmill video” and the “dog video.” In 2012, “All is Not Lost,” her collaboration with Pilobolus, OK Go and Google, was nominated for a Grammy and won five Cannes Lions awards.

Artistic Directors: Robby Barnett and Michael Tracy Associate Artistic Directors: Renée Jaworski and Matt Kent Dancers: Shawn Fitzgerald Ahern, Benjamin Coalter, Matt Del Rosario, Eriko Jimbo, Jordan Kriston, Jun Kuribayashi and Nile H. Russell Itamar Kubovy, Executive Director Lily Binns, Co-Executive Director, Development Susan Mandler, General Manager Shane Mongar, Director of Production Kristin Helfrich, Production Manager Kirsten Leon, Company Manager Jun Kuribayashi, Communication Liaison Emily Kent, Institute Coordinator Mike Faba, Lighting Supervisor Sarah Fujiwara, Production Stage Manager Matt Del Rosario, Co-Dance Captain Nile Russell, Co-Dance Captain Neil Peter Jampolis, Éminence Gris/Lighting Designer Karen Feys, Director of Sales Dani Venokur, Associate Marketing Director Mary Canter, Associate Producer Madeline Orton, Assistant to the Co-Executive Director AJ Radford, Assistant to the Executive Director Mary Hawvermale, Administrative Assistant Oriel Pe’er, Videographer IMG Artists, U.S. Touring, www.imgartists.com

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

www.pilobolus.org

Pilobolus's International Collaborators Project is supported by a major award from the National Endowment for the Arts, which believes that a great nation deserves great art, and by the American Dance Festival with support from the SHS Foundation.

Complimentary Mondavi Dessert Special

Pilobolus is a tax-exempt, not-for-profit corporation, supported in part by funds from the Department of Economic and Community Development/ Connecticut Office of the Arts and the Connecticut Arts Endowment Fund, and by grants from the Beyer Foundation, the Diebold Foundation, the Gilman Foundation, Goldman Sachs Gives, Greater Hartford Arts Council, the Harkness Foundation for Dance, Jean and Julien Levy Foundation for the Arts, Inc., the George L. and Grace A. Long Foundation, the NewAlliance Foundation, the William and Alice Mortensen Foundation, Newman’s Own Foundation, the Edward C. and Ann T. Roberts Foundation, the Shubert Foundation, the Silver Mountain Foundation and the Xerox Foundation. If you wish to contribute to Pilobolus, please call or write us.

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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 worldclass artists to audiences in the capital region each year, but also to introduce new generations to the experience of live performance through our Arts Education Program, which provides arts education and enrichment activities to more than 35,000 K-12 students annually.

Legacy Circle During this 10th Anniversary season, we are pleased to announce the creation of the Mondavi Center Legacy Circle, an honorary society that recognizes our supporters who have remembered the Center in their estate plans. These gifts make a difference for the future of performing arts, and we are most grateful.

Please join us in thanking our founding Legacy Circle members: Wayne and Jacque Bartholomew John and Lois Crowe Anne Gray Margaret E. Hoyt Barbara K. Jackson Jerry and Marguerite Lewis Don McNary Verne E. Mendel Hal and Carol Sconyers Anonymous

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

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If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation.

If you are interested in learning about planned giving opportunities to help the Mondavi Center bring performing arts to future generations, please contact Ali Morr Kolozsi, Director of Major Gifts and Planned Giving (530) 754-5420 or amkolozsi@ucdavis.edu.

Donors 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 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 *

Producers Circle $3,250 – $6,499 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 † Mondavi Center Advisory Board Member * Friends of Mondavi Center

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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* DLMC Foundation 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

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Mondavi Center Presents Program Issue 6: feb 2013

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 nine donors who prefer to remain anonymous

Encore Circle $600 – $1,249 Aboytes Family 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 The Shepard Family The Shepard Gusfield Family 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 Amy Chen and Raj Amirtharajah 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 Robert and Sheila Beyer 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 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*

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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 Peggy Leander 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

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Kathleen Magrino* Debbie Mah and Brent Felker* Alice Mak and Wesley Kennedy Renee Maldonado* Vartan Malian Julin Maloof and Stacey Harmer Joan Mangold Marjorie March Joseph and Mary Alice Marino Pamela Marrone and Mick Rogers Dr. Carol Marshall Donald and Mary Martin J. A. Martin Bob and Vel Matthews Leslie Maulhardt Katherine Mawdsley* Karen McCluskey* Doug and Del McColm Nora McGuinness* Donna and Dick McIlvaine Tim and Linda McKenna R. Burt and Blanche McNaughton* Richard and Virginia McRostie Martin A. Medina and Laurie Perry Cliva Mee and Paul Harder Julie Mellquist Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland and Marilyn Meyer Fred and Linda J. Meyers* Beryl Michaels and John Back 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 Jessie Ann 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*

Mondavi Center Presents Program Issue 6: feb 2013

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 Johanna Stek 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 Henry and Judy Wolf 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

In memory of Larry Young Larry Young and Nancy Edwards Phyllis Young Verena Leu Young Medardo and Melanie Zavala Drs. Matthew and Meghan Zavod Phyllis and Darrel Zerger* Sonya and Tim Zindel Mark and Wendy Zlotlow And 44 donors who prefer to remain anonymous

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

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

Mondavi Center

School Matinees Mondavi Center’s Target® School Matinee Series offers an extraordinary opportunity for students to experience the magic of live performance first hand. We have designed these matinee performances to complement and enhance K–12 curriculum, giving students entertaining, as well as informative, access to world class multi-cultural, multi-disciplinary artists.

Featured School Matinee

Cashore Marionettes: Simple Gifts

February – May 2013

Monday–Friday, March 18–22 11am & 1pm Recommended for grades 4–12

Monday, February 11 – Cirque Mechanics Birdhouse Factory Monday, February 25 – Pilobolus Dance Theatre Friday, March 15 – St. Louis Symphony Monday–Friday, March 18–22 – Cashore Marionettes Tuesday, April 30 – Alvin Ailey American Dance Theater Wednesday, May 8 – Compañía Mazatlán Bellas Artes Monday, May 13 – Les 7 Doigts de la Main Friday, May 17 – Curtis 20/21 Ensemble Monday, May 20 – Lara Downes and the Davis High School

Orchestra Gertrude McFuzz

Cashore Marionettes return to the Mondavi Center with their treasured Simple Gifts, a wonderful collection of marionette masterworks that are stunning in their beauty, creativity and humanity. Set to classical music by such composers as Beethoven, Vivaldi and Copland, Simple Gifts presents comic and poignant stories taking the audience on an imaginative journey exploring a range of themes and emotions.

While the marionettes teach characterbuilding with precise gestures and realistic props, their movements are so convincing, the illusion so powerful, that the result is an unforgettable theatrical experience.

Ticket information and order form link available at www.mondaviarts.org/education/matinees 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

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

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Policies and Information Ticket Exchange •

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

Tickets may not be exchanged after the performance date.

There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers.

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

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

Balances may not be transferred between accounts.

All exchanges subject to availability.

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

No refunds.

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

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

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

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

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

Please call 530.754.2787 or 866.754.2787.

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

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

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

*Only one discount per ticket.

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Mondavi Center Presents Program Issue 6: feb 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 or TDD 530.754.5402.

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

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

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

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

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

Lost and Found Hotline 530.752.8580

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The art of performance draws our eyes to the stage

Our community’s commitment to arts and culture says a lot about where we live. It brings us together from the moment the lights go down and the curtains come up.

Mondavi Center, we applaud this production.

Davis Main • 340 F St. • 530-756-7660 South Davis (Safeway) • 2121 Cowell Blvd. • 530-792-8530 Covell Market Place • 1431 W. Covell Blvd. • 530-297-3720

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