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MARCH 2014
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ONE T EAM , O NE C H O IC E
WELCOME
A MESSAGE FROM THE CHANCELLOR
It is my pleasure to welcome you to the 2013–14 season at the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis. This year we honor the legacy of Robert Mondavi on the occasion of what would have been his centennial. An expert winemaker, a wise businessman, a philanthropist and patron of the arts—Robert contributed immeasurably to his industry, the University and the community. The generous philanthropic support of both Robert and Margrit leaves more than buildings; it enhances the quality of life for
LINDA P.B. KATEHI
UC DAVIS CHANCELLOR
many generations to come. It is an ongoing testament to this vision that the Mondavi Center serves as a welcoming community gathering place. Truly, it is a crossroads where cultures from around our nation and the world come together: at once a source of learning and entertainment, a place of creative and intellectual stimulation and a venue for celebrating classics and exploring new pieces.
The Mondavi Center is a generous contributor to the quality of life in the region— a beautiful tribute to its namesakes.
The impact of Mondavi Center programs goes beyond the events in the venue itself. Many of the artists and speakers featured in Jackson Hall or the Vanderhoef Studio Theatre also venture out onto our campus and into our community. This exchange of ideas and expertise, the up close and personal experiences that can only happen during artist residencies, create inspiration and stimulation that benefit us all. Rich conversations radiate from the seats in the hall to the lobby or the rehearsal room and continue on to homes, cafés and other places in our community. This sort of dialogue ensures that the Mondavi Center stands firmly as a generous contributor to the quality of life in the region—a beautiful tribute to its namesakes. Thank you for being a part of the Mondavi Center’s season.
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MONDAVI CENTER STAFF Don Roth, Ph.D.
EXECUTIVE DIRECTOR
Jeremy Ganter
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Joyce Donaldson
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Lara Downes
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HEAD USHERS Huguette Albrecht Ralph Clouse Eric Davis George Edwards Donna Horgan Paul Kastner Jan Perez Mike Tracy Janellyn Whittier Terry Whittier
The art of performance draws our eyes to the stage
Sometimes the most meaningful communication happens without dialogue. Great performances tell us that we are not alone with our emotions. Mondavi Center, thank you for inspiring us.
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IN THIS ISSU
A MESSAGE FROM THE EXECUTIVE DIRECTOR
DON ROTH, Ph.D. EXECUTIVE DIRECTOR
Arts lovers around the Sacramento valley are well aware that the Mondavi Center presents more than 100 performances—from superstars like Diana Krall to discoveries like Theo Bleckmann— each and every year. What is less obvious, but no less important, is the work we do to provide the young people of our region a chance to connect with the arts—work that reflects the UC Davis commitment to bettering the world around it. At a time when school finances have starved the arts out of many schools, this part of our mission seems more critical with each passing day.
Since our opening, more than 250,000 school children from 14 Northern California counties have experienced a school matinee in the Mondavi Center. As John Updike said, “Art offers … a certain breathing room for the spirit.” That is precisely the kind of impact we hope to have on the children who attend our matinees; even if they don’t become regular arts patrons, we want them to have art in their lives.
Fortunately, the artists we bring to the Mondavi Center are as committed to education as they are to performance. When a world-class conductor like David Robertson lifts the spirits of more than 1,000 fifth graders in a joyful take on Copland’s Appalachian Spring; when jazz trombonist Delfeayo Marsalis works with middle schoolers on improvisational skills; when Yo-Yo Ma takes time out of his touring to teach cello master classes; when Harry Belafonte inspires a classroom of UC Davis freshmen with tales of his work with Martin Luther King, Jr.—they are providing life-changing experiences for the students involved. Another unique role we play is supporting the growth of aspiring young artists through our Young Artists Competition (YAC) and the Mondavi Center SFJAZZ High School All-Stars program. For more than half a dozen years, YAC has celebrated budding classical musicians and provided the winner a spot on our Debut Series. The dedicated young jazz musicians in the High School All-Stars program work closely with mentors in Sacramento and San Francisco and culminate their experience with performances on stages from Jackson Hall to the new SFJAZZ Center. Our third focus in arts education is providing professional development for teachers. Each year, 12 teachers from around the region participate in a year-long program, learning to use Shakespeare’s work as a teaching tool in their classrooms. Their final exam? A performance under the stars at Shakespeare’s Globe Theatre in London. For those teachers, now close to 100 in number, this program is transformational, both personally and professionally, and thousands of their students have benefited from this work. So, as you sit in Jackson Hall, I encourage you to reflect on the work the Mondavi Center does behind the scenes, in our schools and around our towns, work to ensure that the arts remain a vibrant part of our lives and our children’s lives. 6 MONDAVIARTS .ORG
ROBERT AND MARGRIT
MONDAVI CENTER FOR THE PERFORMING ARTS
8
Young Artists Competition Winners Concert
10 St. Petersburg Philharmonic 16 Sangam 20 Ballet Flamenco Eva Yerbabuena 22 Caladh Nua 26 Scharoun Ensemble 30 Brian Greene 32 Academy of St. Martin in the Fields 38 Les Ballets Trockadero de Monte Carlo 48 CIRCA
BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance. • 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. Violators are subject to removal. • 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 readmitted to his/her ticketed seat while the performance is in progress. • Assistive Listening Devices and opera glasses are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.
March 2014 Volume 1, No. 4
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YOUNG ARTISTS COMPETITION WINNERS CONCERT
Sunday, March 2, 2014 • 2PM Jackson Hall THERE WILL BE ONE INTERMISSION.
INDIVIDUAL SUPPORT PROVIDED BY
John and Lois Crowe Mary B. Horton and Barbara K. Jackson
Young Artists Division: INSTRUMENTALISTS Robert Chien SAN JOSE, CA Nathan Le NORTHRIDGE, CA Boxianzi Ling SAN FRANCISCO, CA Samuel Primack LODI, CA Elizabeth Vo-Phamhi SAN BRUNO, CA
Young Artists Division: PIANISTS Alex Chien SAN JOSE, CA Ann Deng EL DORADO HILLS, CA Ryan Jung WINSTON-SALEM, NC Eleanor Lee TUSCALOOSA, AL David Nie SUGAR LAND, TX Patrick Pan HOUSTON, TX Andrew Sung YORBA LINDA, CA Derek Wang NEEDHAM, MA
Founders Division: PIANISTS Nathan Cheung STANFORD, CA Wesley Chu BOSTON, MA Sherry Kim EVANSTON, IL Siyao Li CLEVELAND, TN Tiffany Liu CINCINNATI, OH Tong Wang BOSTON, MA TianPeng Yu LOS ANGELES, CA Sarina Zhang NEW YORK, NY
Special thanks to the jurors of the Ninth Annual Mondavi Center Young Artists Competition Christian Baldini: UC Davis Symphony Orchestra Lara Downes: Mondavi Center Joel Harrison: American Pianists Association Cindy Hwang: Concert Artists Guild Charles Letourneau: IMG Artists and Napa Valley Festival del Sole John Perry: Distinguished Artist and Teacher The Mondavi Center Young Artists Competition is directed by Mondavi Center artist-in-residence Lara Downes, who founded the competition in 2004 with the generous support of founding sponsors John and Lois Crowe, Mary B. Horton and Barbara K. Jackson. The Young Artists Competition attracts pre-professional young musicians at the highest level from throughout the United States, offering scholarships and performance opportunities for pianists, instrumentalists, chamber ensembles and vocalists ages 10–22. 8 MONDAVIARTS .ORG
PRESENTS:
ർൺඋආංඇൺ ൻඎඋൺඇൺ
Ron Cunningham’s Spectacular
Accompanied by live music and full chorus with George Balanchine’s
Aඅඅൾඋඈ Bඋංඅඅංൺඇඍൾ
March 27-30, 2014
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PROGRAM Overture to The Barber of Seville Rossini Violin Concerto No. 2 in G Minor, Op. 63 Prokofiev Allegro moderato Andante assai Allegro, ben marcato INTERMISSION Symphony No. 2 in E Minor, Op. 27 Rachmaninoff Largo: Allegro moderato Allegro molto Adagio Allegro vivace 10 MONDAVIARTS .ORG
OVERTURE TO THE BARBER OF SEVILLE (1816)
GIOACCHINO ROSSINI
(Born February 29, 1792 in Pesaro, Italy Died November 13, 1868 in Paris) In 1815, the Neapolitan impresario Domenico Barbaja hired a 23-year-old musician from Pesaro to direct two musical theaters in Naples and write one new opera every year. The duties seemed imposing for one so young, but Gioacchino Rossini had already penned a baker’s dozen of operas, and he was quickly becoming one of Italy’s best-known composers. His first work for Naples was a historical piece, Elisabetta, Regina d’Inghilterra (“Elizabeth, Queen of England”), and it created enough excitement that he was invited to Rome late in 1815 by Duke Francesco Sforza-Cesarini, manager of the Teatro di Torre Argentina, to produce two new operas in that city. The first was the opera seria Torvaldo e Dorliska, which failed completely at its premiere on December 26. The second venture, composed in less than three weeks to a libretto that Cesare Sterbini adapted from a comedy of Beaumarchais, was first mounted as Almaviva, ossia l’inutile Precauzione (“Almaviva, or The Useless Precaution”) on February 20, 1816 at the Argentina. Though it was not well received on opening night, the run of the production continued and audiences soon began to realize that this new opera was something special. A production in Bologna on August 19, the first occasion on which the opera was given the title Il Barbiere di Siviglia (which had been eschewed to avoid confusion with Paisiello’s eponymous opera), confirmed the work’s popularity with the public, and it quickly spread a wild contagion of “Rossini
BORGGREVE
ST. PETERSBURG PHILHARMONIC ORCHESTRA
Vilde Frang, violin
fever” across Europe and even to America, where the work was heard as early as 1819, in New York. The Barber of Seville, praised by Giuseppe Verdi as “the finest opera buffa in existence,” has never since been absent from the stage. Rossini was said to have based the original Overture to The Barber of Seville, appropriately enough, on Spanish themes. That piece, however, was lost in transit somewhere between Rome and Bologna, and Rossini, rather than recreating it or writing another one, simply replaced it with the instrumental preface he had composed for Elisabetta in Naples the year before, which in its turn had been adapted from the Overture to Aureliano in Palmira of 1813. “Persons with fantastic imaginations have rhapsodized on the Overture’s appositeness [to The Barber of Seville],” chided the noted early-20th-century American critic Henry Edward Krehbiel. “But when Rossini composed this music its mission was to introduce an adventure of the Emperor Aurelian in Palmyra in the third century of the Christian era ... Truly, the verities of time and place sat lightly on the Italian opera composers of a hundred years ago.” The Overture is launched with a stately slow introduction comprising several separated motivic gestures overlain with inchoate lyrical phrases. The main theme is quick in tempo and somewhat solemn in tenor, but this mood gives way to an ebullient second theme trotted out by the oboe. That wonderful engine of musical dynamism, the “Rossini Crescendo,” follows. There is no development section but rather a direct return to the main theme, here greatly truncated; second theme, crescendo and vigorous cadential chords bring this ageless Overture to a rousing close.
ST. PETERSBURG PHILHARMONIC ORCHESTRA VIOLIN CONCERTO NO. 2 IN G MINOR, OP. 63 (1935)
SERGEI PROKOFIEV
(Born April 23, 1891 in Sontzovka, Russia Died March 5, 1953 in Moscow) When Prokofiev returned to Russia late in 1933 after his long residency in the West, full of allegiance to the socialist cause, he dedicated his art to fulfillment of the dream of the Revolution. In his brief autobiography of 1946 he wrote: “It is the duty of the composer, like the poet, the sculptor or the painter, to serve his fellow men, to beautify human life and point the way to a radiant future. Such is the immutable code as I see it.” He had already mapped out (in an article for Izvestia in 1934) the stylistic direction that music should follow in order to achieve his lofty aim: “The question of what kind of music should be written at the present time is one that interests many Soviet composers today ... It is not easy to find the right idiom for this music. To begin with, it must be melodious; moreover, the melody must be simple and comprehensible, without being repetitive or trivial. Many composers have difficulty in composing any sort of melody; all the harder is it to compose a melody that has a definite function. The same applies to the technique and the idiom: they must be clear and simple, but not banal. We must seek a new simplicity.” Once back in his homeland, Prokofiev wasted no time in putting into practice his theory of creating music that would communicate simply and directly to listeners, and within three years, he wrote some of his most enduringly popular scores: Lt. Kijé, Romeo and Juliet, Peter and the Wolf and the Second Violin Concerto. The commission for the Concerto came from a group of admirers of the Belgian violinist Robert Soetens just at the time when Prokofiev was considering such a work, and the proposal was accepted quickly. The Second Concerto is music of warmth and lyricism, with barely more than a hint of the spiky harmonies, motoric rhythms and diablerie that marked many of his earlier works. Gerald Abraham assessed “Prokofiev’s formula for turning himself into a Soviet composer was to emphasize the lyric side of his nature at the expense of the witty and the grotesque and the brilliant sides.” Edward Downes thought this Concerto should be labeled neo-Romantic “or even neo-Mendelssohn.” The work has an undeniable emotional effect. It was an immediate success at its premiere in Madrid late in 1935, and so moved the Boston audience when Jascha Heifetz first played it in America two years later that many wept openly at the sentiment of the slow movement.
Heifetz called it one of the half dozen greatest concerted works ever written for the violin, grouping it with the examples of the form by Beethoven, Brahms, Tchaikovsky, Sibelius and Elgar. The work’s direct lyrical expression and clean formal lines are evident from its first gesture. The slightly melancholy main theme, built around a simple triadic configuration, is presented simply by the unaccompanied violin. The orchestra takes over the melody, allowing the soloist to apply to it some figurative arabesques which serve as the transition to the second subject. This theme, one of Prokofiev’s greatest melodic inspirations, is sung by the violin above a quiet, undulating accompaniment in the strings. The development section, an elaboration of the two main themes, achieves a masterful balance of flashing virtuosity, thematic manipulation and lyrical effusion. The recapitulation is begun by cellos and basses, and continues with the second theme soaring high into the soloist’s range. A brief coda, based on the main theme, brings the movement to a hushed, mysterious close. The second movement is one of the most rapt, transcendent inspirations of 20th-century music, and, like the opening movement, is unabashedly romantic and filled with a haunting, bittersweet emotion. The finale is in the traditional rondo form. Its theme is an ebullient dance melody that exudes some of the fiery spirit of a Gypsy fiddler.
SYMPHONY NO. 2 IN E MINOR, OP. 27 (1906-07)
SERGEI RACHMANINOFF
(Born April 1, 1873 in Oneg (near Novgorod), Russia Died March 28, 1943 in Beverly Hills, Calif.) How much Rachmaninoff’s life changed in just a half dozen years! The premiere of his First Symphony in 1897 was a complete failure, a total fiasco. The Russian nationalist composer César Cui ranted: “If there is a conservatory competition in Hell, Rachmaninoff would gain first prize for this Symphony.” RimskyKorsakov did not find it “at all agreeable.” Young Rachmaninoff—24—was plunged into a Stygian despair. For more than two years, he entertained the darkest thoughts and composed nothing. Then in 1900, he began consulting Dr. Nicholas Dahl, a physician specializing in the treatment of alcoholism through hypnosis. Dahl’s method of autosuggestion (and probably his enlightened conversation about music) restored the composer’s confidence and desire to work. Within a year, the grand Second Concerto was produced and successfully launched into the world, and Rachmaninoff was on his way to
international fame. By 1905, he was one of the most important figures in Russian music. Beside his prodigious talents as pianist and composer, Rachmaninoff was also a firstrate conductor, and when his stock began rising after the Second Concerto carried his name into important Russian circles, he was appointed opera conductor at the Moscow Imperial Grand Theater. As with his music, he found excellent success with his conducting, but he had understandable misgivings about the way it interfered with his creative ambitions. In an interview with Frederick H. Martens, he said, “When I am concertizing I cannot compose. When I feel like writing music I have to concentrate on that—I cannot touch the piano. When I am conducting I can neither compose nor play concerts. Other musicians may be more fortunate in this respect; but I have to concentrate on any one thing I am doing to such a degree that it does not seem to allow me to take up anything else.” There was much music in him that needed to be written, and he knew that a choice about the direction of his future work was imminent. By the beginning of 1906, he had decided to sweep away the rapidly accumulating obligations of conducting, concertizing and socializing that cluttered his life in Moscow in order to find some quiet place in which to compose. His determination may have been strengthened by the political unrest beginning to rumble under the foundations of the aristocratic Russian political system. The uprising of 1905 was among the first signs of trouble for those of his noble class (his eventual move to the United States was a direct result of the swallowing of his family’s estate and resources by the 1917 Revolution), and he probably thought it a good time to start looking for a quiet haven. A few years before, Rachmaninoff had been overwhelmed by an inspired performance of Die Meistersinger von Nürnberg he heard at the Dresden Opera. The memory of that evening and the aura of dignity and repose exuded by the city had remained with him, and Dresden, at that time in his life, seemed like a good place to be. Besides, the city was only two hours by train from Leipzig, where Arthur Nikisch, whom Rachmaninoff considered the greatest living conductor and who had shown an interest in his music, was music director. The decision to move to Dresden was made early in 1906, and by autumn the composer, his wife and their newborn daughter were installed in a small but smart house complemented by an attractive garden. They arrived quietly, and lived, as much as possible, incognito and in seclusion. When encoremediagroup.com 11
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he chanced to meet a Russian acquaintance on the street one day, Rachmaninoff pleaded, “I have escaped from my friends. Please don’t give me away.” The atmosphere in Dresden was so conducive to composition that within a few months of his arrival he was working on the Second Symphony, the First Piano Sonata, the Op. 6 collection of Russian folk songs and the symphonic poem The Isle of the Dead. The Second Symphony was unanimously cheered when it was premiered under the composer’s direction in St. Petersburg on January 26, 1908. The majestic scale of the Second Symphony is established at the outset by a slow, brooding introduction. The low strings and then the violins give out a fragmentary theme that generates much of the material for the entire work. A smooth transition to a faster tempo signals the arrival of the main theme, an extended and quickened transformation of the basses’ opening motive. The expressive second theme enters in the woodwinds. The development deals with the vigorous main theme to such an extent that the beginning of the formal recapitulation is engulfed by its surging sweep. The lovely second theme reappears as expected, again in the woodwinds. The coda resumes the energetic mood of the development to build to the fine climax which ends the movement. The second movement is the most nimble essay to be found in Rachmaninoff’s orchestral works. After two preparatory measures, the horns hurl forth the main theme, which bears more than a passing resemblance to the Dies Irae, the ancient chant from the Roman Catholic Mass for the Dead that haunted the composer for many years. The vital nature of the music, however, does not support any morbid interpretation. Eventually, the rhythmic bustle is suppressed and finally silenced to make way for the movement’s central section, whose skipping lines embody some of Rachmaninoff’s best fugal writing. Almost as if by magic, the opening scherzo returns amid a full-throated cry from the brass. Once again, this quiets and the movement ends on a note of considerable mystery. The rapturous third movement, wrote Patrick Piggott, “is as romantic as any music in the orchestral repertory—if by romantic we mean the expression, through lyrical melody and richly chromatic harmony, of a sentiment which can only be described as love.” This is music of heightened passion that resembles nothing so much as an ecstatic operatic love scene. Alternating with the joyous principal melody is an important theme from the first movement, heard prominently in the central portion and the coda of this movement.
ST. PETERSBURG PHILHARMONIC ORCHESTRA The finale bursts forth in the whirling dance rhythm of an Italian tarantella. The propulsive urgency subsides to allow another of Rachmaninoff’s wonderful, sweeping melodic inspirations to enter. A development of the tarantella motives follows, into which are embroidered thematic reminiscences from each of the three preceding movements. The several elements of the finale are gathered together in the closing pages to produce the rich and sonorous tapestry appropriate for the life-affirming conclusion of this grand and stirring Symphony. ©2014 Dr. Richard E. Rodda
ST. PETERSBURG PHILHARMONIC ORCHESTRA
The first Russian symphony orchestra traces its history from 1882, when it was founded on the Order of Alexander III, as the Court Musicians’ Choir. At the beginning of the 20th century, the choir performed the symphonic poems Ein Heldenleben and Also sprach Zarathustra by Richard Strauss, Mahler’s First Symphony and Bruckner’s Ninth Symphony, Scriabin’s Poem of Ecstasy and Stravinsky’s First Symphony, for the first time in Russia. In those years, the orchestra was conducted by A. Nikisch, R. Strauss, A. Glazunov and S. Kussevitsky. In 1921, the orchestra had at its disposal the former Nobility Assembly Hall and thus the country’s first philharmonic was opened. Such conductors as B.Walter, F.Weingartner, H.Abendroth, O.Fried, E.Kleiber, P.Monteux and O.Klemperer as well as soloists V.Horowitz, J.Heifetz, Shostakovich and Prokofiev performed with the orchestra. In 1918, the orchestra presented the premiere of Prokofiev’s Classical Symphony, and in 1926—the First Symphony by Shostakovich. In 1934, the orchestra—the first in the country—was awarded the title “Honored orchestra of the Republic.” 1938 began what is referred to as the “Age of Mravinsky”—years of hard work earned the orchestra a place amongst the most prominent ensembles in the world. Since 1946, which marked the orchestra’s first historical trip abroad, the orchestra has regularly toured. A unique and creative alliance formed between D. Shostakovich and E. Mravinsky, to whom the composer dedicated his Eighth Symphony. Other important collaborations include those with K. Sanderling, A. Jansons and M. Jansons. During these years, the orchestra continued to work with leading conductors and soloists. Among the conductors were K. Kondrashin, E. Svetlanov, I. Markevich, Z. Mehta, L. Maazel, Ch. Munch and Ch. Bruck. Among the soloists
were G. Gould, V. Cliburn, S. Richter, E. Gilels, D. Oistrakh, L. Kogan, I. Stern and I. Menuhin. Since 1988, Yuri Temirkanov has led the orchestra. Recently, the orchestra has been ranked in the top 20 orchestras in the world (according to Gramophone magazine) has toured in Europe, Asia, America, and participated in prestigious music festivals in Lucerne, Italian MiTo, Verbier and Annecy. At the Grand Hall, the orchestra continues to introduce audiences to composers’ premieres: the works by Penderecki, Nono, Tishchenko, Slonimsky, Segerstam, Obukhov, Korngold, Rota and Desyatnikov. In the “Temirkanov Era,” the orchestra has been led by: C.M. Guilini, G. Solti, G. Rozhdestvensky, M. Jansons, K. Nagano, A. Wit, I. Marin, V. Jurowski, V. Sinaysky, I. Metzmacher, Jean-Claude Casadesus, M. Tabachnik and E. Krivin. The names of the soloists are no less sublime: I. Perlman, D. Norman, Yo-Yo Ma, E. Virsaladze, E. Leonskaya, E. Kissin, D. Matsuev, N. Lugansky, V. Feltsman, E. Grimaud, B. Berezovsky, G. Kremer, V. Repin, N. Gutman, M. Maysky, D. Geringas, A. Knyazev and E. Glennie. Exacting critics write about the orchestra with unswerving reverence: “The St. Petersburg Philharmonic Orchestra is not just the crowning glory of Russian culture, but also the best representative of the State—so it was under the czars, under Soviet rule, and remains so now ... Temirkanov has reached such a level of mutual understanding with the orchestra, that it seems to be a continuation of his hands... this orchestra has become an essential worldwide ambassador of the Russian symphonic school” (Le Figaro, 2013).
YURI TEMIRKANOV
“When Yuri Temirkanov conducts, it seems we are immersed in a magical world that would be lost to us if it were not for the great conductor, one of the last giants of the past century” (Le Monde, 2012). During the 2013–14 Season, artistic director of the St. Petersburg Philharmonic Yuri Temirkanov celebrates a double anniversary: his 75th birthday as well as 25 years as conductor of the celebrated St. Petersburg Philharmonic Orchestra. Maestro is recognized as one of the leaders of the world ‘s conducting elite: “Speaking of currently performing artists, if Abbado is the epitome of class; Barenboim—charisma; Haitink—individuality; then Temirkanov is genius, unpredictability and polish” (Corriere della Sera, 2009). Maestro’s other recent engagements include conducting the Royal Stockholm Philharmonic Orchestra at the concert honoring Nobel Prize winners (2009), the performance in Rome with
the orchestra and chorus of the Academy of Santa Cecilia Verdi’s Requiem (2011), as well as the post of Music Director of the Teatro Regio di Parma, which the maestro accepted in 2009. World famous orchestras have been inviting maestro to collaborate with them for more than three decades. During the years 1979–98, Temirkanov worked with the London Royal Philharmonic Orchestra, at first as Principal Guest Conductor, and since 1992 as Principal Conductor. Maestro also directed the Baltimore Symphony Orchestra (2000–06), was the Principal Guest Conductor of the Dresden Philharmonic Orchestra (1992–97) and the Danish National Symphony Orchestra (1998–2008). However, Temirkanov states that his home has always been and still remains St. Petersburg, where he began his ascent as an artist to the top of the conductors’ Olympus. In 1967, as the graduate of the Leningrad Conservatory (class of Ilya Musin) and as the winner of the All-Union Conductors’ Competition, he performed in the Grand Hall of the Philharmonia for the first time. A year later, the 29-year-old musician conducted his own orchestra: the Leningrad Symphony Orchestra (now the St. Petersburg Symphony Orchestra). Collaboration strengthened the reputation of both the conductor and the orchestra, and they appeared in Amsterdam’s Concertgebouw and New York’s Carnegie Hall. Temirkanov’s name is closely linked with the revival of the Mariinsky (Kirov) Theatre. During the years 1976–88, maestro was the Artistic Director and Principal Conductor. During this time, the repertoire included performances of masterpieces such as Eugene Onegin and Queen of Spades by Tchaikovsky (as staged by Temirkanov, they are still performed by the theatre), War and Peace by Prokofiev, Peter I by Petrov and Dead Souls by Shchedrin. The orchestra began to tour the U.S., Japan and Europe, and once more, symphonic concerts with the orchestra of the theatre were resumed, including performances abroad. “How does Temirkanov manage to create a miracle in his interpretations every time? It’s a mystery. Genius—beyond the great sound flowing from whichever orchestra he may conduct, but especially when he performs with his St. Petersburg musicians,” noted the Italian critical review media in 2010. Since the beginning of the creative collaboration between the maestro and the St. Petersburg Philharmonic, a quarter of a century has passed. It has been 25 years, enriched by concerts in many countries of the world, participation in the most prestigious festivals and at the most famous venues. encoremediagroup.com 13
ST. PETERSBURG PHILHARMONIC ORCHESTRA FIRST VIOLIN
Lev Klychkov – Concertmaster Pavel Popov Alexander Zolotarev Yury Ushchapovsky Valentin Lukin Sergey Teterin Olga Rybalchenko Natalia Sokolova Olga Zarapina Ksenia Petrash Grigory Sedukh Alexey Vasilyev Alexander Rikhter Tatiana Makarova Maria Irashina-Pimenova Nikolay Tkachenko Mikhail Alexeev
SECOND VIOLIN
Ilya Kozlov – Principal Igor Zolotarev Tatiana Shmeleva Dmitrii Petrov Liubov Khatina Zhanna Proskurova Dmitry Koryavko Veronika Dygodyuk Irina Sukhova Nikolay Dygodyuk Ruslan Kozlov Konstantin Basok Anatoly Babitsky Elizaveta Petrova Olga Kotlyarevskaya
VIOLA
Andrey Dogadin – Principal Yury Dmitriev Alexey Bogorad Denis Gonchear Dmitry Kosolapov Konstantin Bychkov Tatiana Gromova Iosif Nurdaev Aleksandr Chizhov Leonid Lobach Yury Anikeev Alexey Koptev Elena Panfilova
CELLO
Dmitry Khrychev – Principal Nikolay Gimaletdinov Taras Trepel Sergey Chernyadyev Nikita Zubarev 14 MONDAVIARTS .ORG
Mikhail Slavin Yaroslav Cherenkov Nikolay Matveev Alexander Kulibabin Stanislav Lyamin Evgenii Kogan
DOUBLE BASS
Artem Chirkov – Principal Rostislav Iakovlev Oleg Kirillov Mikhail Glazachev Nikolay Chausov Alexey Ivanov Alexey Chubachin Nikolay Syray Arseny Petrov
TRUMPET
Igor Sharapov – Principal Vyacheslav Dmitrov Mikhail Romanov Alexey Belyaev
TROMBONE
Maxim Ignatyev – Principal Dmitry Andreev Denis Nesterov Vitaly Gorlitsky
TUBA
Valentin Avvakumov
PERCUSSION
Dmitry Klemenok Mikhail Lestov Valery Znamensky FLUTE Marina Vorozhtsova – Principal Konstantin Solovyev Ruben Ramazyan Dmitry Terentiev Alexander Mikhaylov Olga Viland Olesia Tertychnaia
FLUTE/PICCOLO
Ksenia Kuelyar-Podgaynova
OBOE
Ruslan Khokholkov – Principal Artsiom Isayeu Artsiom Trafimenka
ENGLISH HORN
Mikhail Dymsky
CLARINET
HARP
Anna Makarova
PIANO & CELESTA
Maxim Pankov LIBRARIAN
Leonid Voronov STAGE MANAGER
Alexander Novikov TECHNICIAN
Alexander Vinogradov EXECUTIVE DIRECTOR
Andrey Laukhin – Principal Valentin Karlov Denis Sukhov Nikita Lyutikov
Ilya Teplyakov
FOR OPUS 3 ARTISTS
David V. Foster PRESIDENT & CEO
BASS CLARINET
Earl Blackburn
Vitalii Rumiantcev
SENIOR VICE PRESIDENT, MANAGER, ARTISTS & ATTRACTIONS
BASSOON
Leonard Stein
Aleksei Dmitriev Sergey Bazhenov Mikhail Krotov
CONTRA BASSOON
Aleksei Siliutin
HORN
Igor Karzov Oleg Skrotsky Anatoly Surzhok Anatoly Musarov Nikolay Dubrovin Kirill Miron
SENIOR VICE PRESIDENT, DIRECTOR, TOURING DIVISION
Tania Leong ASSOCIATE
Irene Lönnblad
ASSOCIATE, TOURING DIVISION
John Pendleton
COMPANY MANAGER
Nadia Mokhoff TOUR MANAGER
Gerald Breault STAGE MANAGER
Among them, New York’s Carnegie Hall (in 2005 the orchestra was the first Russian orchestra to open the concert season), the Suntory Hall in Tokyo, Theatre des Champs-Elysees in Paris and London’s Barbican Hall, the Berlin Philharmonic, La Scala in Milan, Musikverein in Vienna and Amsterdam’s Concertgebouw. Needless to say, regular performances are held at the orchestra’s “home base”—the Grand Hall of the St. Petersburg Philharmonia. This anniversary season, Temirkanov has prepared a magnificent gift for the Philharmonia’s audience—he will conduct all the concerts of the First Series subscription. The program includes the music of maestro’s favorite composers: Tchaikovsky, Brahms, Beethoven, Stravinsky, Prokofiev and Shostakovich. The soloists are brilliant artists, many of whom have a long-standing history of cooperation with the conductor. “To be a conductor of an orchestra ... it’s the same thing as being a priest ... Brilliant music should elevate man above everyday life... Just as the doctor treats the body, music should heal the soul” (Yuri Temirkanov). Maestro’s creativity is recognized not only by the public and critics. The Italian critics, in particular, twice awarded him the prestigious Abbiati Prize “Best Conductor of the Year” (2003, 2007). Winner of the People’s Artist of the USSR State Prize, recipient of the Prize of the President of Russia, holder of the Order “For Services to the Fatherland” I degree, Commander of the Order of Star of Italy, an honorary member of the Academy of Santa Cecilia, Honorary doctor of the St. Petersburg Conservatory, an honorary citizen of St. Petersburg—is but a partial list of Temirkanov’s regalia. Life of a musician is not confined to just the concert stage. Among Maestro Temirkanov’s International Foundation for Cultural Initiatives projects are the Yevgeny Kolobov Prize Foundation, which was established for musicians of the Moscow “New Opera” theatre, scholarships for students of the St. Petersburg Conservatory and students of Central Special Music School. For more than a decade, the conductor directs the festival Arts Square, which—along with the St. Petersburg Philharmonia—involves the Mikhailovsky Theatre, the Musical Comedy Theatre and the Russian Museum. Unique in its concept, the festival gathers artists of the highest caliber in our city, confirming the status of St. Petersburg as one of the cultural capitals of Europe. The focal point of the 14th Festival is the celebration of Temirkanov’s 75th birthday and the 25th anniversary of his leadership of the St. Petersburg Philharmonic. The grand opening, conducted by Mariss Jansons and Nikolai Alexeev, will be in honor of the maestro, with
ST. PETERSBURG PHILHARMONIC ORCHESTRA a grand gala concert featuring Yuri Bashmet, Paata Burchuladze, Elisso Virsaladze, Natalia Gutman, Yevgeny Kissin, Denis Matsuev, Vadim Repin, Sayaka Shoji and Viktoria Yastrebova. Following will be concerts, in honor of the conductor, by musicians of his orchestra and pianists, winners of the International Queen Elizabeth Competition (2013). The hero of the day will perform at the Arts Square festival twice—with the St. Petersburg Symphony Orchestra and Julia Fischer— presenting a program of works by Sibelius and Mendelssohn, and also conducting the St. Petersburg Philharmonic, he will close the festival with a concert of Tchaikovsky’s music, which will feature fragments from the opera Eugene Onegin and the ballet The Nutcracker. “The rhythmic applause and standing ovations, discussions of encores in an excited whisper: these are ‘temirkanovites,’ a jubilant and most devoted army of fans of Yuri Temirkanov. They are the silent, applauding majority, filling the concert hall, wherever Yuri Temirkanov conducts. It always happens, at each and every one of his concerts.” (Il Giornale della Musica, 2011).
VILDE FRANG
Vilde Frang is the recipient of the 2012 Credit Suisse Young Artists Award and made her debut with the Vienna Philharmonic under Bernard Haitink at the Lucerne Summer Music Festival in September 2012. Noted particularly for her superb musical expression as well as her well-developed virtuosity and musicality, Frang has established herself as one of the leading young violinists of her generation. Highlights among her recent and forthcoming engagements include performances with Bayerischer Rundfunk Munich, Orchestre de Paris, Philharmonia, Sydney Symphony, Finnish Radio Symphony Orchestra, Toronto Symphony and the Basel Kammerorchester, as well as a major U.S. tour with the St. Petersburg Philharmonic and Yuri Temirkanov. She appears as a recitalist and chamber musician at festivals in Schleswig-Holstein, Mecklenburg-Vorpommern, Rheingau, Lockenhaus, Gstaad, Verbier and Lucerne. Amongst her collaborators were Gidon Kremer, Yuri Bashmet, Martha Argerich, Julian Rachlin, Leif Ove Andnes and Maxim Vengerov; and together with Anne-Sophie Mutter she has toured in Europe and the U.S., playing Bach’s Double Concerto with Camerata Salzburg. The 2013–14 Season will see an extensive recital tour with her recital partner Michail Lifits— including performances in London, Geneva, Amsterdam and Milan. This also includes a
residency focusing on the Mozart Violin Sonatas at the Park Avenue Armory in New York. Frang is an exclusive Warner Artist and her recordings have received high praise from critics and audiences alike. Her concerto recording debut received the Edison Klassiek Award and a Classic BRIT Award for Best Newcomer. Her recital disc was equally praised and was selected as “Editor’s Choice” by Classic FM Magazine and “Diapason d’Or” by Diapason Magazine as well as being awarded
the Echo Klassik Award. Her most recent release, featuring concertos by Tchaikovsky and Carl Nielsen, received the Deutsche Schallplattenpreis and was named Editor’s Choice by Gramophone Magazine. Born in 1986 in Norway, Frang has studied at the Barratt Due Music Institute in Oslo with Kolja Blacher at Musikhochschule Hamburg and Ana Chumachenco at the Kronberg Academy. She plays the 1709 “Engleman” Stradivari, lent by Nippon Music Foundation.
FURTHER LISTENING by Jeff Hudson
THE ST. PETERSBURG PHILHARMONIC, YURI TEMIRKANOV and VILDE FRANG I still get goosebumps recalling the St. Peterburg Philharmonic Orchestra’s previous visit to the Mondavi Center in 2011, when Yuri Temirkanov opened the concert by leading the orchestra in a thrilling performance of the Russian Easter Overture by Rimsky-Korsakov. I was sitting upstairs, and quickly realized I was hearing a truly remarkable performance ... (Afterwards, I checked reviews from other cities where they’d played on that tour, and found I was by no means the only one bowled over by the orchestra’s performance of that piece). Tonight, Temirkanov (who turned 75 in December) and the St. Peterburg Philharmonic Orchestra (which Temirkanov has led for 25 years) return with more Russian music: the Symphony No. 2 of Rachmaninoff, and the Violin Concerto No. 2 by Prokofiev. Temirkanov has recorded the Rachmaninoff Second at least three times. The most recent recording—from 1994, with the St. Petersburg Philharmonic, on RCA—is easy to find. But if you dig around a bit, you can also try Temirkanov’s 1978 recording with the Royal Philharmonic Orchestra (EMI/Angel), as well as a 1977 recording with the USSR State Symphony (part of a box set of Temirkanov’s recordings from the 1960s through the 1980s, on the Brilliant Classics label). I wasn’t able to spot a recording of
Temirkanov conducting the Prokofiev Violin Concerto No. 2—though I did find references to performances (including one in England with violinist Vilde Frang, tonight’s soloist). Frang is a young (not yet 30) performer from Norway, and she’s recorded the Prokofiev Violin Concerto No. 1 (with the Sibelius Violin Concerto, EMI, 2010) as well as the Nielsen and Tckaikovsky Violin Concertos (EMI, 2012). Temirkanov and the St. Petersburg Philharmonic have many recordings featuring other composers, including a 2011 release featuring Tchaikovsky (Swan Lake) and Rachmaninoff (Symphonic Dances); a 2010 release featuring Prokofiev (Romeo and Juliet and Cinderella), and a 2010 release featuring Shostakovich (Symphony No. 7, Leningrad)—all for Signum. Also available: a 2008 release recorded live at the Proms, featuring Lang Lang in the Rachmaninoff Piano Concerto No. 3 (Telarc); and a 2007 release featuring the Shostakovich Symphony No. 13 (“Babi Yar,” RCA). And while we understandably associate Temirkanov and the St. Petersburg Philharmonic with all things Russian, remember that Temirkanov was with the Royal Philharmonic Orchestra in London form 1992 to 1998, and the Baltimore Symphony Orchestra in this country from 1999 to 2006.
JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
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SANGAM
Charles Lloyd, tenor saxophone, alto saxophone, bass flute, alto flute, tarogato, piano, percussion Zakir Hussain, tabla, voice, percussion Eric Harland, drums, percussion, piano
A Crossings Series Event Friday, March 7, 2014 • 8PM Jackson Hall
16 MONDAVIARTS .ORG
In May 2004 at the Lobero Theater in Santa Barbara, Calif., Charles Lloyd presented an event headlined Homage to Billy Higgins, honoring the memory of an old friend and a superlative musician. A screening of Dorothy Darr’s documentary Home, showing Higgins and Lloyd conversing informally, with and without instruments, in the last months of the drummer’s earthly life, was followed by the performance of a trio brought together for the occasion. Lloyd, with his raft of reeds—tenor, alto, flutes, tarogato—was joined by his resourceful quartet drummer Eric Harland and by Indian tabla virtuoso Zakir Hussain. This music revisits that performance—a first coming-together of what has since become the Sangam trio, Lloyd’s “other” band, a new configuration of special importance to the saxophonist. As the listener will quickly gather, Sangam is an exciting, celebratory group. Charles Lloyd is inclined to give the credit to all the good will Higgins is beaming down from Devachan, but the positive energy radiating from the interplay of Hussain’s hand drums and Harland’s jazz traps should not be underestimated. Zakir’s and Eric’s frequently breathtaking exchanges—a rush of purring, jewel precision beats—energize Lloyd’s own playing. “When the spirit is blowing, I know I have to hoist my sails to catch the breeze,” Lloyd says, a typically gnomic remark that hints both at the character of his uniquely buoyant, floating sound and the way in which he leads this group (as many Lloyd bands before it), by encouraging the music to emerge naturally—carrying him, and all participants, with it. Over the years, many musicians have hailed
Charles Lloyd as an enlightened bandleader, but it is almost misleading to talk about “leading” at all in this context. Sax-soloist-and-accompanists is not the model in the Sangam group; mutual inspiration elevates the band, as ideas are hurled, often gleefully, between the three musicians. Lloyd: “Nobody takes the solo spotlight, we’re all helping each other. In the moment, one of us will trigger something and somebody’s got it and gone with it. Next thing you know, we’re opening this whole other ballet together, with these little waterfalls and things coming down. It’s hard to talk about without the language to describe the creative reservoir.” Sangam, a word of multiple definitions, signifies confluence, a meeting place, a gathering or coming-together, literally or metaphorically. Triveni sangam, which was nearly this album’s title, means a three-way junction or meeting of three rivers, which merge and flow as one. Flow—free and unimpeded flow—is of central importance to the members of the group. Zakir Hussain enthuses about the freedom he has found inside it. “What’s great for me is the space the maestro allows us to have. Eric and I are not like two colts being reined in: we’re allowed to canter and gallop. In the Indian classical format, there is also improvisational freedom, yet even if I’m playing with a great master like Ali Akhbar Khan or Ravi Shankar, there are still conventions that have to be honored. Sometimes you have to tiptoe, you have to tread carefully because it is expected of you, and in the tradition. But this master,” he extends a hand towards Lloyd, “with his stadium-
SANGAM sized heart, is always saying ‘Go for it! Don’t hold yourself back! If the mood is upon you and the moment is there, by all means seize it.’ It is a great blessing for me to have that kind of encouragement and it makes it possible to have this three-way triveni, tipali, three-faceted discussion, and take the journey together. Every day it is different, every day there are new topics to talk about in the music—philosophizing, gossiping, laughing or singing together. So far every concert has been spontaneously creative and simply a great joy.” Around the table: hearty agreement. Although a basic plan of action had been loosely discussed prior to the concert, there were no rehearsals for the Lobero gig, nor was there a set list. “I was a little apprehensive,” Zakir admits, “because the drums of the tabla are pitched, and I wasn’t sure what pitches were needed. I said ‘What key do you want the tabla in?’ and Charles said, ‘Oh, just tune to the key of the universe.’ I thought, ‘Hmm, let’s see. The universe hums in B-flat, so ...’” Zakir, as Charles Lloyd remarks, “has got a lot of tones,” and the absence of a conventional harmony instrument is scarcely felt. If piano is called for in the course of the set, Lloyd himself can play it thoughtfully, undemonstratively; so too can Harland (Eric takes over from Charles at the transition between “Nataraj” and Zakir’s song “Guman”), and the tabla has both a melodic and rhythmic function. Hussain plays bass runs with his left hand, sometimes interjecting playful quotes à la Sonny Rollins (Rollins’“St. Thomas” seems to blend with Lloyd’s “Sombrero Sam” in the tabla solo at the end of “Tales of Rumi,” soon followed by a more inscrutable snippet of Rossini’s famous overture). Over the curve of time, Charles Lloyd has become one of the most distinctive voices in music. Instantly recognizable, he nonetheless has many ways of singing his song. On ballads, free or otherwise, he is given to subtle phrasing and shadings, with a way of worrying a line that often links his personal expressive idiom to the blues and to the tender soliloquies of Lester Young. Yet when the emotional temperature rises, keening, soaked-in-the-spirit tenor cries predominate, clearly springing from the same source that Coltrane’s once did. And when he plays the alto today, a horn he set aside for almost four decades, critics claim to perceive, in his bubbling melodic invention, connections to Ornette—not unfeasibly, I suppose, since Lloyd and Coleman were peers and jamming partners in California in the pre-free-jazz years of the late 1950s. Lately, Lloyd’s been easing the tenor into the alto’s range as well. With any of his horns, using strings of arpeggios like calligraphic embellishment, he can sing of places far
beyond “jazz,” even though his jazz roots are firmly, even impeccably, anchored. Back in Memphis, Tennessee, Lloyd’s childhood friends included Phineas Newborn (“our local sound mystic”) and Booker Little, who shared his love of Duke Ellington, Charlie Parker and Billie Holiday. They also shared a musical hunger too intense to be satiated by any single genre, however rich: “We used to listen to everything. We listened to Bartók, because it had to do with modernity, but we also saw how he was taking folk themes and working with them. Well, that’s what Howlin’ Wolf and Junior Parker and Johnny Ace were dealing with in their music, too: the transformation of the folk song. That’s the subject of the blues! See, there was no secondclass citizenship in our world of spirit.” Jazz, blues, folk and 20th century composition were all absorbed, but there were no grounds, Lloyd reasoned, for a player to limit his listening to “Western” forms. In his mid-60s band with Gabor Szabo, Charles Lloyd urged the Hungarian guitarist to take heed of raga, and Ravi Shankar in particular. To his group with Keith Jarrett and Jack DeJohnette (1966–69) he played tapes of North Indian khayal singers Salamat and Nazakat Ali Khan, a palpable influence on Lloyd recordings including Journey Within. Further musicalphilosophical reinforcement came from Sufi teacher-singer-veena player Hazrat Inayat Khan’s book The Mysticism of Sound and Music (also regarded as a key text by Karlheinz Stockhausen, interestingly). In the early 1970s sarod player Aashish Khan and his tabla-playing brother Pranesh Khan made contributions to Lloyd’s work. And more recently, the duets with Billy Higgins brought guimbri, Indian and Guinean hand drums and more into an improvised music that took its inspirational energies from everywhere and asked the reasonable question, Which Way is East? Well, who better to address it than a player with African, Native American, Asian and European forebears, genetically predisposed to be a “world” musician! Sangam, then, represents not a change of direction but a crystallization of ideas that have been part of Lloyd’s musical thought for a long time. As this album opens, we find Lloyd dancing ecstatically (“on one foot”) with the tarogato, the Hungarian folk instrument shaped like a wooden soprano sax, which Gustav Mahler famously deployed for the “Shepherd’s Tune” when directing Wagner’s Tristan und Isolde. Charles Lloyd’s improvisation seems to direct the instrument, intuitively, toward its deep Arab-Magyar origins, although the out flung net of the percussionists draws in a wider range of reference. I asked Zakir Hussain about the encoremediagroup.com 17
SANGAM rhythmic constructions he’s creating inside the improvisations. Does he still think in terms of Indian rhythm cycles when playing with jazz musicians? “No, in this group I don’t want to tie myself down with that. I’m thinking ‘pulse.’ My ears are listening to Eric’s bass drum and ride cymbal which sometimes set the pulse that we follow.” Lloyd too describes Harland as the band’s “heartbeat”—“and sometimes there’s a groove we’ll want to dwell in for a while, but most of the time we are moving. Constantly moving. Even the 4/4 is very fluid. Random tonalities appear. Patterns are always evolving. Almost every third or fourth bar is different rhythmically.” Eric Harland: “Everything Zakir plays has this feeling of freedom and authenticity about it. No matter where you go, he is able to be right there in the centre of it with the full force and flavour of his musical identity. And, of course, he’s grown up with different complex rhythms since he was a child, so it is completely natural for him to play through any metric modulation. It’s really an honor to be in a situation where I can have these dialogues with such a master musician. I’m learning a lot about tabla and Indian music, just by breathing in his rhythms.” It has to be said, though, that Harland is also giving back a great deal. Unquestionably one of the most arresting and fluent young drummers in jazz today, he has already played with McCoy Tyner, Pharoah Sanders, Ravi Coltrane, Joshua Redman, Betty Carter, Joe Henderson, Wynton Marsalis and more. Playing kit drums in dialogue with tabla in Lloyd’s trio poses specific acoustical and dynamic challenges as well as musical challenges, but Harland is able to play low volume drums without any loss of emotional power, continually adjusting the pressure of sticks on the drumheads to draw forth differentiated tones and interact compellingly with Hussain. “He’s playing hand drums disguised as a drum kit,” says Zakir approvingly. Eric Harland was only 12 years old when the power of Coltrane’s A Love Supreme hit him like a thunderbolt: “That was when I knew what I wanted to do.” He locked himself away and tried to play like a wilder Elvin, “swinging the whole drum set.” Like Coltrane, he takes the musical-spiritual quest seriously: the Texan drummer has been a theology student as well as a student of jazz, and is also an ordained minister. “I was raised in a primarily Baptist family, but All—or God—can’t be constrained within a certain form of religion. It encompasses everything, and religion is just a way that people can grasp to express themselves in that genre. Different religions 18 MONDAVIARTS .ORG
are like different forms of music: this form, that form. I like to study different forms of religious teaching, but most of all my wish is to follow the will of God.” A common bond between the three group members is a very inclusive attitude toward matters of the spirit. Although born into a Muslim family, Zakir Hussain attended a Catholic school as a child in India and evokes Hindu mythology—Krishna, Shiva, Ganesha— when talking about the roots of music. Charles Lloyd has long been a student of Vedanta, which argues for the essential unity of all religions, but like Harland has also examined many strands of faith—hence, indeed, the salute to Islamic poet Rumi, at whose funeral, in 1273, it is reported, Christians, Jews, Buddhists, Hindus and Muslims mourned together. Charles Lloyd first heard Eric Harland in New York in September 2001, in a week in which religious tolerance was at low ebb in international relations. Lloyd’s quintet—with John Abercrombie, Geri Allen, Larry Grenadier and Billy Hart—had been booked to open at the Blue Note club on Sept. 11. Instead, the players watched smoke rise from the ruins of the Twin Towers, and the club was blacked out for three days. They were finally able to play on the Friday. After their set, a group of New Yorkbased musicians played in a morale-boosting jam band, Eric Harland among them. Lloyd, whose ear for gifted drummers is unerring, knew at once that he was hearing one of the special ones. The following year Eric joined the Charles Lloyd Quartet, the latest in a long line of great Lloyd drummers that has included Roy Haynes, Tony Williams, Pete La Roca, Paul Motian, Jack DeJohnette and Jon Christensen, as well as Higgins and Hart. Two months after meeting Harland, Charles Lloyd played in duo with Zakir Hussain at an SFJAZZ “Sacred Space” concert in San Francisco’s Grace Cathedral. “It was really beautiful,” Wanda Sabir wrote in the San Francisco Bay View, “watching Lloyd play tenor, floating among the notes Hussain created with his hands.” Although the concert had sold out a month in advance, with rumours rife, in an edgy season, that Al Qaeda was about to detonate the Golden Gate Bridge, there had been concern that the audience might stay away. “People were scared to come in from Marin. Zakir got on the microphone and said that music was about building bridges, not destroying them. In the end, we were oversubscribed.” Zakir Hussain has been building musical bridges for many years. His earliest collaborations with sarod master Ali Akbar Khan and saxophonist John Handy, made
when he was just 20, raised the bar for transcultural experiments of enduring value that have included such projects as Shakti, the Diga Rhythm Band (formed by Hussain with the Grateful Dead’s Mickey Hart), Hussain’s 1986 ECM album Making Music (with Hariprasad Chaurausia, Jan Garbarek, and John McLaughlin), and the ongoing Tabla Beat Science (with Bill Laswell, Ustad Sultan Khan and others)—all of this work has helped Western listeners find a point of entry into Indian classical music. Hussain studied with his father, the great Ustad Alla Rakha, and was touring by the time he was 13. He has since played with all the master musicians of the Indian classical idiom and, more than any other tabla player, he has opened new ground both inside and outside his tradition, with his capacity to execute complex musical ideas with supreme clarity and his determination to explore all the possibilities offered by his instrument. Composer Michael Robinson recently asked Zakir Hussain how Indian music has lasted more than a thousand years, both intact and ever-changing. Hussain’s reply is illuminating, and parallels with jazz, a younger music: “We have a loophole in our music. We are at one time told that we have to be very traditional and maintain the old, do it justice, not water it down. And in the same breath we are told ‘and you must improvise.’ If you are going to improvise you are going to run into areas which are alien, which are new and fresh. Are they ‘non-traditional’ or ‘traditional?’ The thought is there, and it’s one of the reasons this music has survived. We are allowed to create.” Fresh creation inside Lloyd’s trio extends to Hussain’s very touching singing on Guman, a song with a message. “It’s not a piece purely initiated by me. Eric brings his things to it, the Master brings his things, and I bring mine. I guess in a way it’s a prayer for man to recognize that he is only a man. You’re not born with the knowledge you have. You learned it from someone, who learned it from someone else. Without the teacher, the guru, you are not who you are. So there is no sense in ‘pride’.” Some of the melodies Lloyd offers here we have encountered before: Little Peace, the oldest of them, goes all the way back to his 1964 album Discovery!, Hymn To The Mother appears on both 1995’s All My Relations, and 2002’s Lift Every Voice, while Tales of Rumi first surfaced on the Canto album of 1996. All of these pieces are transfigured and transformed in the new trio context, captured for the very first time in this absorbing music from the Lobero Theater. —Steve Lake
4
A Chevron World Stage Series Event Tuesday, March 11, 2014 • 8PM Jackson Hall SPONSORED BY
LLUVIA (RAIN)
Original Idea by: Eva Yerbabuena Choreography: Eva Yerbabuena Musical Direction: Paco Jarana Stage Design: Vicente Palacios Lighting Design: Florencio Ortiz Sound Design: Manu Meñaca Costume Design & Costume Making: López de Santos Sign Language Teacher: José Tirado López Eva Yerbabuena says that Lluvia (“Rain”) is “born on a gray day of pure melancholy,” and in it she has endeavored to explore her beginnings. Her origins are love in pure solitude, she says. Not that she doesn’t believe in another type of love, more wonderful and effusive, but the love she is tapping into and expressing in Lluvia is the type that forces you to get to know part of your essence you didn’t know existed. To the extent it reflects who she really is, her essence, she predicts that some people who believe they know her will feel a little uncomfortable. This work “is a tribute to melancholy and coldness, to being alive, to the endlessness of life.”
PROGRAM
El sin fin de la vida (Trémolo) Peldaño (transición) Barro (taranta) Soledades (milonga) Palabras rotas (frecuencias) La querendona (tanguillos) DEDICATED TO MY GRANDPARENTS, CONCHA RÍOS & JOSÉ GARRIDO
Lluvia de sal (alegrías) Llanto (solea) POEM “EL SILENCIO HACE DAÑO CUANDO ES PURO” WRITTEN FOR THIS SHOW BY HORACIO GARCÍA
20 MONDAVIARTS .ORG
BALLET FLAMENCO EVA YERBABUENA
PHOTO CREDIT
Lluvia (“Rain”)
RUBEN MARTIN
THE ARTISTS
DANCERS
Eva Yerbabuena Lorena Franco Mercedes de Córdoba Christian Lozano Eduardo Guerrero
MUSICIANS Paco Jarana, guitar Jose Valencia, singer Enrique “El extremeño,” singer Juan José Amador, singer Antonio Coronel, percussion
TECHNICAL & STAFF Gabriel Portillo, costume design & maker Fernando Martín, lighting design & lights Manu Meñaca, sound Daniel Estrada, stage manager Maria Molina, production and management
EVA YERBABUENA Eva Yerbabuena was born in Frankfurt in 1970, but returned to her parents’ homeland, Granada, when she was 2 weeks old. She formed her company in 1998. Since then she has choreographed six award-winning shows: Eva (Eva, 1998), 5 Mujeres 5 (Five Women Five, 2000), La Voz del Silencio (The Voice of Silence, 2002), A Cuatro Voces (Four Voices, 2004), El Huso de la Memoria (The Spindle of Memory, 2006), Lluvia (Rain, 2009), Cuando yo era ... (When I was ... 2010), and Federico según Lorca (Federico according to Lorca, 2011). The company also has three assemblage pieces in their repertoire: A Cal y Canto (2005), Santo y Seña (2007) and Yerbabuena (2009). Eva has travelled the world with her company. The first flamenco dancer invited to perform in the Sydney Opera
BALLET FLAMENCO House, she has also performed in Paris’s Theâtre de la Ville, London’s Sadler’s Wells and Barbican Theatre, the New York City Center, Opera de Dusseldorf and Sao Paolo’s Teatro Municipal. Recent country tours have included Brazil, Chile and the United States and city dates in Seoul, London, New Delhi, Lima and Tokyo. Yerbabuena’s work draws on the teaching of her maestros: Enrique “El Canastero,” Angustillas “La Mona,” Mariquilla, Mario Maya and Johannes García, who taught her choreography and movement in Cuba. Pina Bausch has also been a decisive influence. Before forming her company, she collaborated with many figures in the flamenco world. Her professional career began in 1985 in Rafael Aguilar’s show Diquela de la Alhambra. She then joined Paco Moyano’s company, taking roles in Ausencia, A Tomar Café and De Leyenda. Guest appearances with major flamenco figures included Mario Maya, Merche Esmerelda and Manolete, Javier Latorre and Joaquin Cortés, and went hand in hand with commissions outside flamenco. Carolyn Carlson commissioned a piece for the 1999 Venice Biennale. In 2001 Eva was invited by Pina Bausch to dance in Wuppertal (Germany) at her company’s 25th anniversary celebrations alongside Mikhail Baryshnikov, MarieClaude Pietragalla and Ana Laguna. Since then, Eva has performed annually at Wuppertal. In 1997 she made her first screen appearance in Flamenco Women (1996), a documentary by filmmaker Mike Figgis. She worked with him again in Hotel (2001) and the same year appeared in Stomp’s award-winning IMAX Pulse (2001). In 2008 she performed in the Teatro Español’s gala homage to Pedro Almodóvar. In 2010, she worked with Carlos Saura in his Flamenco (2010). Accolades and awards have included the Premios Flamenco Hoy critics’ award for the best bailaora of 1999, 2000 and 2001; Time Out’s award for London’s best female dance performance of 2001; the Seville Bienal de Flamenco’s Giraldillo award for Best Bailaora and Performer in 2002 and Best Dance in 2006; MAX Stage Arts Awards as best female dancer in 2004, 2005 and 2010, when, for the second time, she won the Max for the year’s best dance show. Lifetime honors
include the Spanish Ministry of Culture’s Premio Nacional de Danza in 2001, the Andalusian Medalla de Cultura in 2007 and Premio Compás del Cante, which cited her “lifetime achievement, transmission and international projection of her art” in 2010. Most recently, she has been awarded with MAX Stage Arts Awards as best dancer in Federico according to Lorca and best spectacle with When I was ...
After one year of absence due to the birth of her second daughter, Eva Yerbabuena came back on tour with different performers in November 2012. The company visited India and started a national and international tour that takes them over different American, French and Spanish cities. After closing down 17th Festival de Jerez, she performed with her new show in 10th London Flamenco Festival, Ay!
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The mission of the The Office of Campus Community Relations (OCCR) is to ensure the attention to those components of the campus community that affect community, campus climate, diversity and inclusiveness.
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CALADH NUA
Traditional Music of Ireland A Mondavi Center Special Event Monday, March 17, 2014 • 8PM Jackson Hall SPONSORED BY
CALADH NUA Lisa Butler, Lead Vocals and Fiddle Eoin O’Meachair, Banjo and Whistles, Backing Vocals Derek Morrissey, Button Accordion Paddy Tutty, Bodhrán (Irish Drum) and Lead Fiddle Colm O’Caoimh, Guitar, Backing Vocals REPERTOIRE WILL BE SELECTED FROM THE FOLLOWING AND ANNOUNCED FROM THE STAGE:
Slide Set (Instrumental) Traditional / Arranged by Caladh Nua INDIVIDUAL SUPPORT PROVIDED BY
Wayne and Jacque Bartholomew
Cad é sin don té sin (Song) Traditional / Arranged by Caladh Nua The Banks of The Lee (Song) Traditional / Arranged by Caladh Nua The Gold Rush / Terry Teehans (Instrumental) Bill Monroe / Traditional / Arranged by Caladh Nua The Windmill Set (Instrumental) Traditional / Arranged by Caladh Nua The Cruel Lowland Maid (Song) Traditional / Arranged by Caladh Nua The Gravel Walks (Instrumental) Traditional / Arranged by Caladh Nua
22 MONDAVIARTS .ORG
CALADH NUA PROGRAM NOTES CAD É SIN DON TÉ SIN This song has its origin in Donegal and is a favorite of the group. It portrays a man happy to live life as he pleases. The title translates as “Since it’s no one’s concern, no one should care”—in other words—mind your own business!
THE CRUEL LOWLAND MAID This song was brought to our attention while playing at a music festival in Carrigon-Bannow, Co. Wexford, where we had the pleasure of meeting the great American singer Sara Grey. She informed us that it is a variant of a 19th century British Broadside, printed in Ryle, which listed the author as G. Brown. Sara learned it from the singing of Mr. Hanford Hayes from Northern New England, Maine. The song is also known as The Lovely Lowland Maid and does not seem to be widely known.
THE BANKS OF THE LEE This is an Irish traditional song that Lisa got from Patricia Rogers, a singer from Annaggasan, a small village in Co. Louth.
Proud Supporter of the Robert and Margrit MONDAVI CENTER for the Performing Arts UCDAVIS
THE WINDMILL SET This set starts with a tune composed by Ciaran Tourish called The Windmill. Paddy and Derek have long associated this tune with many sessions in the Dungarvan area of County Waterford. The second tune in the set, Larry’s Favourite, Colm learned from the Clare fiddle player Michelle O‘Brien. The tune was composed by the late Paddy O’Brien, from Portroe near Nenagh in County Tipperary. The final tune of the set, “The Commodore,” was composed by Billy McComiskey and Brendan Mulvihill when they were both part of the band The Irish Tradition, based in Washington D.C. in the early ’70s and ’80s.
CALADH NUA — (pronounciation: Coll-ah Noo-Ah; meaning ‘New Harbour’ or ‘New Haven’) is a tightly-knit, vibrant and talented band with its origins deeply rooted in the southeastern counties of Ireland. Comprising of five versatile musicians and singers playing a wide selection of instruments—from banjo to fiddle, guitar to bodhrán and tin whistle to button accordion—the band has captured the essential qualities of traditional Irish music and balanced them finely with an innovative contemporary styling.
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CALADH NUA Through a series of international tours and festivals across the globe, which saw the band take the stage in cities such as Paris, Vienna, Copenhagen, Berlin, Mumbai and Vancouver, and having been invited to play for the former irish president Mary McAleese, at her residence in Ireland, Caladh Nua has cast a uniquely captivating net of Irish music and song to an ever receptive and increasing worldwide audience. With a long list of TV and radio work under their belt, and two highly acclaimed albums already in the bag (Next Stop and Happy Days) Caladh Nua’s musicians are as accomplished off-stage as they are on. Performing a vast repertoire of haunting songs and evocative tunes the band continues to lead their listeners on a musical escapade through a soundscape of their own creation.
THE BAND COLM O’CAOIMH The mediaeval city of Kilkenny is synonymous with the meeting of culture and tradition. It was here in an artistically nurturing environment that Colm O’Caoimh took his first tentative steps in music through classical piano and violin. But it was his intrinsic passion and love for Irish music which eventually drew Colm, a fluent Irish speaker, to the guitar. Taking the long-tested and circuitous route of weekend fleadhs and national festivals the world soon opened up to his evident talents. Through a distinctive and unfaltering style influenced by guitarists such as Jim Murray and John Blake, his abilities were soon in popular demand. Following a successful tour with the Celtic Legends dance show Colm joined forces with virtuoso accordionist Mick McAuley and fiddler Winifred Horan of Solas to tour and record a highly-acclaimed album. His solidly imaginative playing and delicate finger-style is described as being both the backbone and powerhouse of Caladh Nua.
DEREK MORRISSEY It is said that we take our greatest influences from those closest to us. And so it was when the late Maurice Morrissey asked his 7 year old grandson if he would like to play Irish music. Since the first moment Derek Morrissey, from the small West Waterford village of Ballymacarbry, cradled an accordion in his young hands, a love affair with Irish music was born. This love was further enhanced in 24 MONDAVIARTS .ORG
the rustic setting of Coolnasmear, an area just outside of Dungarvan, under the guidance and encouragement of the maestro accordion player, Bobby Gardiner—a man whom Derek still holds in the highest regard as a teacher and mentor. According to Derek: “Coolnasmear was the best place a musician could ask to grow up. Under the control of Michael Marrinan, there were accordion lessons every Friday, band practices on Saturday and sessions in the local hall every Sunday. It was a fantastic learning ground for any musician.” With influences such as Bobby Gardiner, Mickey Dalton, Benny McCarthy, Martin O’Connor, Jackie Daly and Mick McAuley, Derek has long been inspired by both the music of his locale and further afield. From humble beginnings in the bucolic setting of West Waterford, Derek has toured the world with the shows Dance Through The Ages and Celtic Legends, gracing the stages of cities through Kuwait, Romania, Portugal, Switzerland, France and beyond.
the fiddle which saw her fledge from a gifted youngster to a highly acclaimed performer, through dedicated practice and immersion in both local and national sessions. It was through these sessions that Lisa’s highly lyrical voice was first reluctantly presented to the world. Although having sung in choirs throughout her school days it was her fiddle playing which was crowned as an All-Ireland winner in 1996. Since then she has been acclaimed not only as a musician of the highest caliber but also as the owner of one of the most lyrical voices in contemporary traditional music. Her vocals have been described as having the ability to present songs, both old and new, in a style interpreted with sympathetic and intuitive emotion. With a degree in music under her belt and having qualified as a primary school teacher, Lisa is perfectly poised to present her musical knowledge and undoubted talents to appreciative audiences around the world and to the next generation who follow in her shining wake.
EOIN O’MEACHAIR
The old saying goes “better late than never” and in the case of Paddy Tutty, Caladh Nua’s lead fiddle player, this saying rings thankfully true. As a self-described “late bloomer,” Paddy only started learning fiddle at the age of 17 but fans of traditional music will be eternally glad he did. Self taught but coming from a musical background where his uncles played fiddle and his grandfather was Tommy Norris the late, great fiddler from the Dungarvan area of the County Waterford, Paddy was forced to play catch up, which he has done to the admiration of all who hear him play. Paddy Tutty is a man of many talents, another of which is his virtuosic talents as a bodhrán player. After a recent concert in Canada one reporter described his playing as having “lifted a melody from the drum which was an intricate combination of rhythm and tone that left the audience holding its breath”—high praise indeed. But his pedigree doesn’t end there. Selfeffacing, Paddy has described himself as a “humble carpenter,” a noble claim until one learns that this “humble carpenter” is also a craftsman of note who designs and makes ALL of his own instruments. More recently Paddy claims to have become excited by the challenge of adding backing vocals to his repertoire of talents. It’s certain that this new challenge is one which a man of his ability and expertise will adopt quickly and only enhance his standing as a musician and artist of quality and renown.
With a list of musical awards as long as a late-night session Eoin O’Meachair is Caladh Nua’s gifted and highly accomplished banjo and whistle player. Born in the town of Carlow on the banks of the River Barrow, Eoin is steeped in the music and culture of Ireland. A fluent Irish speaker and recipient of many National plaudits, Eoin has been playing music from the age of 13. Having grown up on a diet of festivals and fleadhs, Eoin started demonstrating his talents at an early age: winning several Leinster titles at the Fleadh Ceoil na hÉireann and as a member of the winning instrumental group at the All-Ireland Readoiri finals in 1989. Since those early days this master banjo player has honed his skills to near perfection in tours which have seen him traverse the globe from the UK, Switzerland, Ethiopia and the Caribbean island of Trinidad to the far eastern countries of China and Japan. Now, as the oldest member of the band, he lists his musical influences as ranging from Mary Bergin and Gerry O’Connor to Paddy Moloney and David McNevin.
LISA BUTLER To put it simply, music and singing is Lisa Butler’s raison d’etre and is the arc which has defined her life to date. Born in Carlow town into a family steeped in music, Lisa first picked up a fiddle at the tender age of 8. It was through the medium of
PADDY TUTTY
John SteinBeck Adapted by FrAnk GAlAti Directed by Granada Artist-in-residence MileS AnDerSon Based on the novel by
Library of Congress, Prints & Photographs Division, FSA/OWI Collection, LC-USF34- 009667-E
Main TheaTre, WrighT hall Thu, March 6 - SaT, March 8, 8pM Thu, March 13 - SaT, March 15, 8pM Sun, March 9 & 16, 2pM general $17/19; STudenTS, children & SeniorS $12/14 TickeTS & info 530.754.2787
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A Mondavi Center Special Event Tuesday, March 18, 2014 • 8PM Jackson Hall
Sponsored by
PROGRAM Clarinet Quintet in A Major, K. 581 Mozart Allegro Larghetto Menuetto Allegretto con variazioni Czech Suite in D Major, Op. 39 Dvořák arr. Schäfer Praeludium (Pastorale): Allegro moderato Polka: Allegretto grazioso Menuett (Sousedská): Allegro giusto Romanze: Andante con moto Finale (Furiant): Presto
INTERMISSION Septet in E-flat Major for Beethoven Strings and Winds, Op. 20 Adagio: Allegro con brio Adagio cantabile Tempo di Menuetto Tema con Variazioni Scherzo: Allegro molto e vivace Andante con moto alla Marcia: Presto
26 MONDAVIARTS .ORG
SCHAROUN ENSEMBLE CLARINET QUINTET IN A MAJOR, K. 581 (1789)
WOLFGANG AMADEUS MOZART
(Born January 27, 1756 in Salzburg, Austria; Died December 5, 1791 in Vienna) The jewels in the crown of Mozart’s œuvre for clarinet are—without question—the Quintet for clarinet and strings, K. 581, and the Clarinet Concerto, K. 622, both composed for his friend, Anton Stadler. By 1789, Stadler had risen far above the station of “arme Schlucker,” as Mozart described him in 1782, and became well established in Viennese musical life. In 1787, he and his brother were appointed to the K. K. Hofkapelle, where they received the considerable annual salary of 400 florins. From Mozart’s entry in his “Verzeichnüss aller meiner Werke,” we know that K. 581 was completed on September 29, 1789, for Stadler. Unfortunately, the autograph has been lost, but various bits of evidence relating both to K. 581 and to K. 622 can be pieced together to produce a convincing version of what the composer intended. Without question, Stadler possessed a special clarinet, a basset clarinet, capable of playing a third lower than a conventional clarinet. The shape and design of the instrument was revealed on discovery of programs in Riga, containing illustrations of Stadler’s instrument. Mozart made liberal use of these low notes in both works, usually through extended arpeggiation, and occasionally in melodic figures. The range spans more than three octaves and allows the clarinet to act as a soprano as well as a baritone, often alternating between the two in a sort of uncanny operatic dialogue. The Quintet was first performed on December 22, 1789, in a concert for the Tonkünstler-Societät in Vienna’s Hoftheater,
naturally, with Stadler playing the clarinet. The work can certainly be included among the most beloved of Mozart’s compositions. It manages to encompass everything that chamber music should. As the clarinet moves in and out of the ensemble, one minute a part of the “tutti” texture, the next, a glorious soloist, we listen to Mozart’s unending inventiveness and complete mastery: music that is intimate, varied, expressive, humorous, perfectly balanced and always engaging. —Eric Hoeprich (2013)
CZECH SUITE IN D MAJOR, OP. 39 (1879)
ANTONÍN DVOŘÁK
(Born Sept. 8, 1841 in Nelahozeves, Czechoslovakia Died May 1, 1904 in Prague) ARRANGED BY ULF-GUIDO SCHÄFER
In April 1879, Dvořák undertook a piece intended as a sort of pendant to the two Serenades (E Major for Strings and D Minor for Winds) and the Slavonic Dances. He at first envisioned the new work in the form of another serenade, and sketched for it a march and a minuet (following the Classical tradition, he had begun and ended the D Minor Serenade with a march.) He abandoned that idea in favor of an orchestral suite, however, and composed its five movements quickly during the ensuing weeks. The piece, titled Czech Suite, was given its first hearing on May 16 by Adolf Cech and the Czech Theater Orchestra, a performance that also included the premiere of the Slavonic Dances in their orchestral versions. The evening was a success, but the new work presented Dvořák with a thorny problem. According to his recent business agreement, the publication rights for the Czech Suite should go to Simrock. The composer, however, had some time before promised the score
SCHAROUN ENSEMBLE to Schlesinger, another Berlin publisher, and was loath to break his word. He came up with a solution, of sorts, by calling the new Suite “Op. 39” rather than by its more accurate opus number, 52, and thus passing it off as a composition ante-dating his contract with Simrock. Turn-about being fair play, however, several years later Simrock published some of Dvořák’s early works as later (and presumably more valuable) pieces: the Op. 38 Symphonic Variations were inflated to Op. 78; the F Major Symphony was transformed from Op. 24 into Op. 76; and the Op. 27 String Quartet in E Major became Op. 80. As with other of his works of this period (Slavonic Dances, A major String Sextet, E-flat Quartet, Slavonic Rhapsodies, Mazurek for Violin), the Czech Suite is deeply imbued with the spirit and style of the music of Dvořák’s native Bohemia. It opens with a movement titled both Praeludium (perhaps in homage to the work’s formal predecessors of the Baroque era) and Pastorale, an apt indication of its unruffled mood and sylvan sweetness. There follow two national dances: the first is a wistful realization of the Polka; the other is given both its Western and Eastern names: Menuett and Sousedská. Following the practice of Mozart in Eine kleine Nachtmusik and the great K. 361 Gran Partita for Winds, Dvořák called the slow movement of this work Romanze. The Suite closes with a Furiant, the dance type brought so successfully into the orchestral realm by Smetana’s splendid nationalist opera The Bartered Bride, which premiered 13 years before in 1866. The arrangement of the Czech Suite for Octet is by Ulf-Guido Schäfer, who has served as Principal Clarinet of the German Chamber Philharmonic and Radio Philharmonic of North German Radio and a member of Hamburg’s Ensemble Acht. ©2014 Dr. Richard E. Rodda
SEPTET IN E-FLAT MAJOR FOR STRINGS AND WINDS, OP. 20 (1799–1800)
LUDWIG VAN BEETHOVEN
(Born Dec. 16, 1770 in Bonn Died March 26, 1827 in Vienna) The Septet, Op. 20 was Beethoven’s most popular work during his lifetime. Even before it was published, it had gained a reputation through circulating manuscript copies, and the score was in great demand as soon as it was printed by Hoffmeister in 1802. To make the music available to the widest range of music lovers and amateur performers, arrangements by many hands for all manner of instrumental ensembles were concocted and sold to an eager public. Versions for
piano (two or four hands), string quartet, guitar duet and even wind band appeared, and the composer himself rescored the work as the Trio for Piano with Clarinet (or Violin) and Cello, and issued it in 1803 as his Op. 38. For the three decades after its composition, the Septet was played in homes and concerts and meeting halls more frequently than any other music by Beethoven, and it was one of the chief vehicles that spread his fame during the early years of the 19th century. “They liked this Septet,” Beethoven understated in a letter to Hoffmeister. Beethoven apparently modeled his Septet on Mozart’s Divertimento in D Major (K. 334). Both works are in six movements (one of which is a substantial set of variations), share a similar musical style and are more closely related in form and mood to the lighthearted serenade than to the weighty symphony. The slow introduction opening the Septet is more decorative than expressive, and presents the full ensemble of three winds and four strings, one of the most euphonious groupings in chamber music. The main body of the first movement is in sonata form, with a dashing main theme (initiated by the violin) nicely balanced by a legato second subject, given by the strings in chordal texture. The development section is largely concerned with the main theme, and offers several showy turns to the violinist. The recapitulation follows apace, with the themes given in richer settings than on their initial appearances. The second movement is a long-limbed song in three-part form (A–B–A). The serene main theme is entrusted to the clarinet, while the movement’s central section is characterized by more animated rhythmic motion and greater interchange among the instruments. Beethoven borrowed the theme of the following Minuet from his Piano Sonata in G Major, Op. 49, No. 2, which was completed in 1796, three years before the Septet was begun but not published until 1802. The chipper Minuet proper surrounds an enchanting trio in which the horn and clarinet indulge in brilliant flashes of virtuosity. The fourth movement is a set of variations on a theme once identified as a folk tune from the lower Rhine, Ach Schiffer, lieber Schiffer (“O Sailor, Dear Sailor”). Later evidence suggests, however, that Beethoven may have invented the melody. So great was its popularity because of the wide distribution of the Septet that Andreas Kretzchmer identified it (and its accreted words) as a traditional tune, and included it in his 1838 collection of German Folk Songs. The five variations on the folk-like theme that comprise this movement allow all the instruments to contribute appropriate musical embroidery, and, in one minor-tonality episode, to lend the
The Mondavi Center Thanks Andrew W. Mellon Foundation’s Support of Initiatives in
Classical Music
S
ince 2012, the Andrew W. Mellon Foundation has supported the Mondavi Center in initiatives to engage audiences more deeply with Classical Music. These have included activities by composers, symphonic and other classical musicians in residence to connect with community members and UC Davis students, not only in the concert hall but in schools, senior centers and dorms. Projects to re-work traditional concert formats, such as our cabaret-style “Studio Classics” also have received Mellon’s generous support. Through this grant, we have been able to develop the Aggie Arts internship program, an in-depth experience in arts leadership training for UC Davis students. At the Mondavi Center, we believe in the power of classical music and the musicians who create it and are deeply appreciative of the Mellon Foundation’s support of these programs to tap into that power.
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movement a moment of deeper expression. The Scherzo is airy in texture and spirited in mood, with a sparkling flourish from the violin in its highest register. The closing movement begins with a somber introduction, the passage in the Septet most prophetic of Beethoven’s works of later years, but the mood changes with the fast tempo so that the sunny finale may bring this bubbling and infectious Septet to its genial close. ©2014 Dr. Richard E. Rodda Founded in 1983 by members of the Berlin Philharmonic Orchestra, the SCHAROUN ENSEMBLE is one of Germany’s leading chambermusic organizations. With its wide repertoire, ranging from composers of the Baroque period by way of Classical and Romantic chamber music to contemporary works, the Scharoun Ensemble has been inspiring audiences in Europe and overseas for more than a quarter of a century. Innovative programming, a refined tonal culture and spirited interpretations are hallmarks of the ensemble, which performs in a variety of instrumental combinations. The permanent core of the Scharoun Ensemble is a classical octet (clarinet, bassoon, horn, two violins, viola, cello and double bass), made up entirely of members of the Berlin Philharmonic. When called for, the ensemble brings in additional instrumentalists as well as noted conductors. The Scharoun Ensemble has prepared and presented various programmes under the direction of Claudio Abbado, Sir Simon Rattle, Daniel Barenboim and Pierre Boulez. It has also performed with singers including Thomas Quasthoff, Annette Dasch, Simon Keenlyside and Barbara Hannigan, and, for interdisciplinary projects, the ensemble has engaged such artists as Fanny Ardant, Loriot and Dominique Horwitz. Bridging the gap between tradition and the modern is the Scharoun Ensemble’s principal artistic focus. It has given world premieres of many 20th- and 21st-century compositions while dedicating itself with equal passion to the interpretation of works from past centuries. Among the cornerstones of its repertoire are Franz Schubert’s Octet D. 803, with which the ensemble made its public debut in 1983, and Ludwig van Beethoven’s Septet Op. 20. Cultivating an active contact with today’s composers has been a matter of special interest to the Scharoun Ensemble since its inception. György Ligeti, Hans Werner Henze, Pierre Boulez, György Kurtág and Wolfgang Rihm have accompanied the group on its artistic journey, as have composers of the younger generation including9/23/13 Jörg Widmann 9:21 AM and Matthias Pintscher. Complementing the Scharoun Ensemble’s brisk international concert activity is its annual
SCHAROUN ENSEMBLE residence at and artistic directorship of the Zermatt Festival, founded in 2005. Along with concerts by major artists, each summer’s festival includes musical workshops offering young musicians the chance to work with the members of the Scharoun Ensemble. Lending his name to the Scharoun Ensemble is the architect of its musical home. In designing the Berlin Philharmonie, Hans Scharoun (1893-1972) created a concert hall that was unique in the world, undertaking a synthesis between innovation and awareness of tradition and opening up new approaches to artistic communication—ideals to which the Scharoun Ensemble is also committed.
Members of the Scharoun Ensemble Berlin WOLFRAM BRANDL was born in Würzburg in 1975. Before joining the first-violin section of the Berlin Philharmonic, he had been leader of the Federal Youth Orchestra. He received his first violin lessons from his father when he was 9. A scholarship from the Jürgen Ponto Foundation enabled him to continue his studies with Uwe-Martin Haiberg at the Academy of the Arts in Berlin. He has appeared as a soloist with various orchestras and has received a number of awards not only for these appearances but also for his work as a member of the Trio Echnaton. Violinist RACHEL SCHMIDT completed her musical studies with Valery Klimov at the Hochschule für Musik in Saarbrücken and with Thomas Brandis at the Universität der Künste in Berlin. The winner of numerous competitions, she received further encouragement as a scholar at the Villa Musica of the German state of Rhineland-Palatinate and in master courses given by Ruggiero Ricci, Ida Haendel and Isaac Stern. Rachel Schmidt joined the Berlin Philharmonic in 2001 and became a member of the Scharoun Ensemble in 2010.
MICHA AFKHAM was born in Freiburg im Breisgau in 1979 and was 5 years old when he received his first violin lessons. He studied the viola with Hatto Beyerle in Hanover and later with Tabea Zimmermann at the Hanns Eisler Academy of Music in Berlin. More than once he has won Germany’s Jugend Musiziert Competition and was also a prizewinner at the International Viola Competition at Bled in Slovenia. He has held scholarships from the Musikleben Foundation, the Villa Musica and the Karajan Academy in Berlin. Numerousmasterclasses with artists of the stature of Yuri Bashmet, Wolfram Christ, Serge
Collot and Herman Krebbers have completed his artistic training. As a chamber recitalist, Micha Afkhamhas performed with Isabelle Faust, Tabea Zimmermann, Boris Pergamenschikow and Claudio Bohorquez, among others. He has also appeared with Gidon Kremer and the Beaux Arts Trio at the Chamber Music Connects the World Festival and with Emmanuel Pahud at Salonde-Provence. He has been a member of the Berlin Philharmonic since 2004 and joined the Scharoun Ensemble in 2006. The cellist RICHARD DUVEN was born in Cologne in 1958 and studied with Daniel Cahen in Wuppertal and with Wolfgang Boettcher in Berlin. He gained his earliest experience as an orchestral player with the Young German Philharmonic and the German Chamber Philharmonic. While still a student he won the German University Competition in Munich in 1983 and in Berlin in 1984. The following year he was a prizewinner in the International Chamber Music Competition in Florence. Three years later Richard Duven became a member of both the Berlin Philharmonic and the 12 Cellists. He is also the cellist of the Scharoun Ensemble, which whom he has made numerous recordings, including a new recording of Schubert’s “Trout” Quintet with Alfred Brendel.
PETER RIEGELBAUER was born in Central Franconia and studied with Georg Hörtnagel in Nuremberg and with Rainer Zepperitz in Berlin. He gained a scholarship from the Berlin Philharmonic’s Orchestral Academy and even during this early period was already taking part in the orchestra’s concerts, becoming a permanent member in 1981. Two years later he and seven of his colleagues formed the Scharoun Ensemble of Berlin. He has been a member of the BPO’s board since 1997. ALEXANDER BADER learned to play the piano before studying the clarinet at the Academy of the Arts in Berlin. Among the teachers who had a particularly formative influence on him are Manfred Preis and Peter Rieckhoff. In 1990, while he was studying for his soloist’s diploma at the State Academy of Music in Karlsruhe, he became a member of the German Chamber Philharmonic in Bremen. In 1998 he and the orchestra’s other wind soloists received an Echo Classics Award. He joined the Komische Oper in Berlin in 2002 as the house’s principal clarinetist, while at the same time appearing regularly with the Bavarian State Opera in Munich and the Munich Philharmonic, among others. Alexander Bader became a member of the Berlin Philharmonic in 2006. Since 1994 he has additionally taken an interest in historically-informed performance practice
on period instruments, in which capacity he has appeared on a regular basis with ensembles such as the Concentus Musicus of Vienna, the Balthasar Neumann Ensemble and the Academy of Ancient Music in Berlin. He joined the Scharoun Ensemble at the start of the 2006–07 Season.
MARKUS WEIDMANN studied the bassoon with Klaus Thunemann at the Academy of Music in Hanover. Between 1993 and 1995 he held a scholarship with the Berlin Philharmonic’s Orchestral Academy, during which time he studied with Stefan Schweigert. Before joining the Berlin Philharmonic, he played with the European Union Youth Orchestra, the Kiel Philharmonic and the South-West German Philharmonic in Konstanz. As a chamber musician, Markus Weidmann has also appeared with the Gutenberg Ensemble and the Philharmonic Octet. He has been a member of the Scharoun Ensemble since 2006. The horn player STEFAN DE LEVAL JEZIERSKI was born in Boston in 1954 and began his music studies at the North Carolina School of the Arts in 1970. From 1972 he studied under Myron Bloom at the Cleveland Institute of Music, where in 1975 he won the Cleveland Institute of Music Competition with his performance of Mozart’s Horn Concerto K447 in the city’s Severance Hall. The orchestra was made up of members of the Cleveland Orchestra, with whom he appeared in numerous concerts and on tour during his final year as a student. He completed his studies in Cleveland in 1976 and immediately joined the Kassel Staatstheater Orchestra as principal horn player. Two years later he was engaged by Herbert von Karajan and the Berlin Philharmonic and quickly found himself working with almost every leading conductor. Both as a soloist and as a chamber musician, Stefan de Leval Jezierski has performed throughout Europe, Asia and America. In 1983 he and seven of his colleagues formed the Scharoun Ensemble of Berlin. In 1992 he became a founding member of the Berlin Haydn Ensemble and since 1995 has been principal horn with the Berlin Philharmonic’s Wind Octet. In September 2000 he gave the world premiere of Thomas M. Sleeper’s Horn Concerto in Miami, Florida, with the Miami Festival Orchestra. A recording of the work, which is dedicated to him, was released in 2003. His development as a musician is charted by countless recordings, including gramophone records, CDs, videos, television broadcasts and live recordings. In addition to his career in classical music, Stefan de Leval Jezierski is an enthusiastic jazz musician. He also enjoys playing tennis. encoremediagroup.com 29
BRIAN GREENE
Explaining the Elegant Universe
A Distinguished Speakers Series Event Thursday, March 20, 2014 • 8PM Jackson Hall PRESENTED IN COLLABORATION WITH THE
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Lawrence and Nancy Shepard Post-Performance Q&A Moderated by Andreas Albrecht, Professor and Chair, Department of Physics, UC Davis
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Andreas Albrecht is a leading theoretical cosmologist. He received his Ph.D. from the University of Pennsylvania in 1983 where, with Paul Steinhardt, he wrote one of the original papers on “new” or “slow roll” inflation. Slow roll inflation has since become the dominant phenomenological theory of the early universe and has passed numerous observational tests with flying colors. Albrecht is known for his pioneering work on dark energy theory and phenomenology, including key contributions on the Dark Energy Task force and related work to determine the best future probes of cosmic acceleration. Albrecht moved from a Professorship at Imperial College to UC Davis in 1998 to build the cosmology program there. He is now Physics Department Chair at UC Davis. He is a Fellow of both the American Physical Society and the Institute of Physics. His ongoing research program embraces a wide range of challenges posed by our search for a deeper understanding of the universe.
Brian Greene is a physicist who has been working on quantum gravity and unified theories for nearly two decades. He is widely recognized for a number of groundbreaking discoveries in the field and also for his lucid presentations of cutting-edge research to scientists and fellow physicists as well as to general audiences. His books, The Elegant Universe and The Fabric of the Cosmos, both spent six months on The New York Times bestsellers list and have received much critical acclaim. The Elegant Universe was a Pulitzer Prize finalist and the winner of the 2000 Aventis Prize for Science Books. It has sold more than a million copies worldwide and has been translated into 35 languages. In its starred review of The Fabric of the Cosmos, Publishers Weekly hailed “Greene’s unparalleled ability to translate higher mathematics and its findings into everyday language and images, through the adept use of metaphor and analogy, and crisp, witty prose.” The New York Times concurred, saying that Greene’s book “sends the reader’s imagination hurtling through the universe on an astonishing ride,” and The Washington Post calls Greene “the single best explainer of abstruse concepts in the world today.” It became a 4-part NOVA miniseries in 2011. Dr. Greene’s book, Icarus at the Edge of Time, is a futuristic retelling of the Icarus myth. The Wall Street Journal described it as “terrific” and Seed magazine called it “moving and successful” and “beautifully illustrated.” Greene became the first physicist to edit the prestigious series The Best American Science and Nature Writing, 2006. In his introduction, Greene wrote, “Willful ignorance of science is not okay. We are living through a radical cultural shift, one in which science and technology play an increasingly pervasive role in everyday life ... A scientifically literate public is, plainly, increasingly vital.” Professor Greene received his undergraduate training at Harvard University where he graduated Summa Cum Laude in 1984. He went on to graduate school at Oxford University as a Rhodes Scholar and received his doctorate in 1986. From 1987–90, he was a postdoctoral fellow at Harvard, and in 1990 he joined the faculty of Cornell University as an assistant professor. By 1995 he had been promoted to tenured associate and then full professor, along the way winning an Alfred P. Sloan Foundation
Fellowship and a National Science Foundation Young Investigator Award. In 1996, Professor Greene left Cornell to join Columbia University, where he holds a full professorship in both the Physics and the Mathematics Departments. He has lectured in more than 25 countries at both a general and a technical level. His research interests focus on the quantum mechanical properties of space and time. In 1990, Dr. Greene and a Harvard colleague discovered mirror symmetry—a remarkable property of string theory that has launched a vibrant field of research in both mathematics and physics. In 1993 and subsequently in 1995, Dr. Greene and his colleagues discovered topology change. Whereas Einstein’s general relativity shows that the fabric of space can stretch in time (resulting in our expanding universe), it does not allow the fabric to rip. To the contrary, Dr. Greene and his colleagues showed that in string theory—by including quantum mechanics—the fabric of space can tear, establishing that the universe can evolve in far more dramatic ways than Einstein had envisioned. Greene’s “elegant universe” and study of string theory have been widely profiled by the media, including a one-hour segment on ABC’s Brave New World series on Nightline, The News Hour with Jim Lehrer, CNN, Charlie Rose, The Colbert Report, Seed Magazine, Scientific American, USA Today, The New York Times, Conan O’Brien and The Late Show with David Letterman. Currently, Greene is co-director of Columbia’s ISCAP (Institute for Strings, Cosmology, and Astroparticle Physics) and is leading a research program studying the cosmological implications of string theory. In the Fall of 2003, Dr. Greene hosted the three-part NOVA special The Elegant Universe, which won an Emmy Award and a 2004 Peabody Award for broadcast excellence. The NOVA website received nearly two million hits during the three day airing of the show. He also cofounded the first annual World Science Festival, a weeklong extravaganza that enabled the general public to explore science, from cutting edge research to works in theater, film, and the arts inspired by scientific ideas. The hugely successful festival was held in New York City in 2008 and hosted more than visitors. AFC120,000 011614 MC044 1_3s.indd Dr. Greene’s latest New York Times bestseller, The Hidden Reality: Parallel Universes and the Deep Laws of the Cosmos, was published in January 2011.
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ACADEMY OF ST. MARTIN IN THE FIELDS
Joshua Bell, Music Director and Violin LISA MARIE MAZZUCCO
A Wells Fargo Concert Series Event Saturday, March 22, 2014 • 8PM
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Joyce and Ken Adamson Overture to The Marriage of Figaro, K. 492
Mozart
Violin Concerto in D Major, Op. 77 Brahms Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace INTERMISSION Symphony No. 3 Beethoven in E-flat Major, Op. 55, “Eroica” Allegro con brio Marcia funèbre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto 32 MONDAVIARTS .ORG
OVERTURE TO THE MARRIAGE OF FIGARO, K. 492 (1786)
(Born Jan. 27, 1756 in Salzburg Died Dec. 5, 1791 in Vienna) On April 12, 1782, Pietro Metastasio, dean of 18th-century Italian opera librettists, died in Vienna. The following year, the poet Lorenzo da Ponte, a Venetian-born Jew who converted to Catholicism as a young man and took priestly orders but lived a life profligate enough to be dubbed “a kind of minor Casanova” by Mozart’s biographer Eric Blom, arrived in the Imperial City to fill the void. He was so successful that he was named poet to the Imperial Theaters the following year by Emperor Joseph II, whose taste in opera ran more to the traditional Italian variety than to its more prosaic German counterpart. Mozart, who claimed to his father to have searched through “hundreds of plays” to find a subject for a new opera, met da Ponte in 1783 and the writer agreed to furnish him with a new libretto. That promise bore no immediate fruit, but in 1785 Mozart approached da Ponte again with the idea that a recent satiric comedy of manners called La Mariage de Figaro by the French writer Beaumarchais might well make a fine opera buffa. Mozart threw himself into the work’s preparations, and the premiere, on May 1, 1786 in Vienna’s
Burgtheater, proved to be a fine success— the audience demanded the immediate encores of so many of its numbers that the performance lasted nearly twice as long as anticipated. Intrigues against both Mozart and da Ponte, however, managed to divert the public’s attention to other operas, and The Marriage of Figaro was seen only eight more times during the year. It was not given in Vienna at all in 1787, though its stunning success in Prague led to the commissioning of Don Giovanni for that city. The noted American critic Henry Edward Krehbiel (1854–1923) called the Overture to The Marriage of Figaro “the merriest of opera overtures ... putting the listener at once into a frolicsome mood.” It was the last part of the score Mozart wrote, and captures perfectly its aura of sparkling good spirits and fast action.
VIOLIN CONCERTO IN D MAJOR, OP. 77 (1878)
JOHANNES BRAHMS
(Born May 7, 1833 in Hamburg Died April 3, 1897 in Vienna) “The healthy and ruddy colors of his skin indicated a love of nature and a habit of being in the open air in all kinds of weather; his thick straight hair of brownish color came nearly down to his shoulders. His clothes and
boots were not of exactly the latest pattern, nor did they fit particularly well, but his linen was spotless ... [There was a] kindliness in his eyes ... with now and then a roguish twinkle in them which corresponded to a quality in his nature which would perhaps be best described as good-natured sarcasm.” So wrote Sir George Henschel, the singer and conductor who became the first music director of the Boston Symphony Orchestra, of his friend Johannes Brahms at the time of the composition of his Violin Concerto. Brahms at 45 was coming into the full efflorescence of his talent and fame. The 20-year gestation of the First Symphony had finally ended in 1876, and the Second Symphony came easily only a year later. He was occupied with many songs and important chamber works during the years of the mid-1870s, and the two greatest of his concertos, the B-flat for piano and the D major for violin, were both conceived in 1878. Both works were ignited by the delicious experience of his first trip to Italy in April of that year, though the Piano Concerto was soon laid aside when the Violin Concerto became his main focus during the following summer. After the Italian trip, he returned to the idyllic Austrian village of Pörtschach (site of the composition of the Second Symphony the previous year), where he composed the Violin Concerto for his old friend and musical ally, Joseph Joachim. The first movement is constructed on the lines of the Classical concerto form, with an extended orchestral introduction presenting much of the movement’s main thematic material before the entry of the soloist. The last theme, a dramatic strain in stern dotted rhythms, ushers in the soloist, who plays an extended passage as transition to the second exposition of the themes. This initial solo entry is unsettled and anxious in mood and serves to heighten the serene majesty of the main theme when it is sung by the violin upon its reappearance. A melody not heard in the orchestral introduction, limpid and almost a waltz, is given out by the soloist to serve as the second theme. The vigorous dotted-rhythm figure returns to close the exposition, with the development continuing the agitated aura of this closing theme. The recapitulation begins on a heroic wave of sound spread across the entire orchestra. After the return of the themes, the bridge to the coda is made by the soloist’s cadenza. With another traversal of the main theme and a series of dignified cadential figures, this grand movement comes to an end. The rapturous second movement is based on a theme that the composer Max Bruch said was derived from a Bohemian folk song. The melody, intoned by the oboe, is initially presented in the colorful sonorities of wind choir without strings.
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After the violin’s entry, the soloist is seldom confined to the exact notes of the theme, but rather weaves a rich embroidery around their melodic shape. The central section of the movement is cast in darker hues, and employs the full range of the violin in its sweet arpeggios. The opening melody returns in the plangent tones of the oboe accompanied by the widely spaced chords of the violinist. The finale is an invigorating dance whose Gypsy character pays tribute to two Hungarianborn violinists who played important roles in Brahms’ life: Eduard Reményi, who discovered the talented Brahms playing piano in the bars of Hamburg and first presented him to the European musical community; and Joseph Joachim. The movement is cast in rondo form, with a scintillating tune in double stops as the recurring theme. This movement, the only one in this Concerto given to overtly virtuosic display, forms a memorable capstone to one of the greatest concerted pieces of the 19th century. As John Horton wrote, “That Brahms should have ventured upon a Violin Concerto in D with the sound of Beethoven’s, as interpreted by Joachim, in his ears was in itself an act of faith and courage; that he should have produced one of such originality, sturdily independent of its mighty predecessor yet worthy to stand beside it, is one of the triumphs of Brahms’ genius.”
SYMPHONY NO. 3 IN E-FLAT MAJOR, OP. 55, “EROICA” (1803–1804) LUDWIG VAN BEETHOVEN
(Born Dec. 16, 1770 in Bonn Died March 26, 1827 in Vienna) The year 1804—the time Beethoven finished his Third Symphony—was crucial in the modern political history of Europe. Napoleon Bonaparte had begun his meteoric rise to power only a decade earlier, after playing a significant part in the recapture in 1793 of Toulon, a Mediterranean port that had been surrendered to the British by French royalists. Britain, along with Austria, Prussia, Holland and Spain, was a member of the First Coalition, an alliance that had been formed by those monarchial nations in the wake of the execution of Louis XVI to thwart the French National Convention’s ambition to spread revolution (and royal overthrow) throughout Europe. In 1796, Carnot entrusted the campaign against northern Italy, then dominated by Austria, to the young General Bonaparte, who won a stunning series of victories with an army that he had transformed from a demoralized, starving band into a military juggernaut. He returned to France in 1799 as First Consul of the newly established Consulate, and put in place
TSJ 080813 who 1_3v.pdf
measures to halt inflation, instituted a new legal code, and repaired relations with the Church. It was to this man, this great leader and potential savior of the masses from centuries of tyrannical political, social and economic oppression, that Beethoven intended to pay tribute in his majestic E-flat Symphony, begun in 1803. The name “Bonaparte” appears above that of the composer on the original title page. Napoleon proclaimed himself Emperor of France in 1804 and was crowned, with the new Empress Josephine, at Notre Dame Cathedral on Dec. 2, an event forever frozen in time by David’s magnificent canvas in the Louvre. Beethoven, enraged and feeling betrayed by this usurpation of power, roared at his student Ferdinand Ries, who brought him the news, “Then is he, too, only an ordinary human being?” The ragged hole in the title page of the score now in the library of the Gesellschaft der Musikfreunde in Vienna bears mute testimony to the violent manner in which Beethoven erased Napoleon from this Symphony. He later inscribed it, undoubtedly with much sorrow, “To celebrate the memory of a great man.” The “Eroica” (“Heroic”) is a work that changed the course of music history. There was much sentiment at the turn of the 19th century that the expressive and technical possibilities of the symphonic genre had been exhausted by Haydn, Mozart, C.P.E. Bach and their contemporaries. It was Beethoven, and specifically this majestic Symphony, that threw wide the gates on the unprecedented artistic vistas that were to be explored for the rest of the century. In a single giant leap, he invested the genre with the breadth and richness of emotional and architectonic expression that established the grand sweep that the word “symphonic” now connotes. For the first time, with this music, the master composer was recognized as an individual responding to a higher calling. No longer could the creative musician be considered a mere artisan in tones, producing pieces within the confines of the court or the church for specific occasions, much as a talented chef would dispense a hearty roast or a succulent torte. After Beethoven, the composer was regarded as a visionary— a special being lifted above mundane experience—who could guide benighted listeners to loftier planes of existence through his valued gifts. The modern conception of an artist—what he is, his place in society, what he can do for those who experience his work— stems from Beethoven. Romanticism began with the “Eroica.” The vast first movement opens with a brief summons of two mighty chords. At least four thematic ideas are presented in the exposition.
ACADEMY OF ST. MARTIN IN THE FIELDS The development is a massive essay progressing through many moods, all united by a titanic sense of struggle. It is in this central portion of the movement and in the lengthy coda that Beethoven broke through the boundaries of the 18th-century symphony to create a work not only longer in duration but also more profound in meaning. The beginning of the second movement—“Marcia funèbre” (“Funeral March”)—with its plaintive, simple themes intoned over a mock drum-roll in the basses, is the touchstone for the expression of tragedy in instrumental music. A development-like section, full of remarkable contrapuntal complexities, is followed by a return of the simple opening threnody. The third movement is a lusty scherzo; the central section is a rousing trio for horns. The finale is a large set of variations on two themes, one of which (the first one heard) forms the bass line to the other. The second theme, introduced by the oboe, is a melody that also appears in the finale of Beethoven’s ballet The Creatures of Prometheus, Contradanse No. 7 and Variations and Fugue, Op. 35. The variations accumulate energy, and just as it seems the movement is whirling toward its final climax, the music comes to a full stop before launching into an Andante section that explores first the tender and then the majestic possibilities of the themes. A brilliant Presto led by the horns concludes this epochal work. ©2014 Dr. Richard E. Rodda
ACADEMY OF ST. MARTIN IN THE FIELDS
The Academy of St Martin in the Fields is renowned for its polished and refined sound, rooted in outstanding musicianship. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, and working without a conductor, the Academy gave its first performance in its namesake church on 13th November 1959. Originally directed by Sir Neville from the leader’s chair, the collegiate spirit and flexibility of the original small, conductor-less ensemble remains an Academy hallmark. This tradition continues today with virtuoso violinist Joshua Bell as its Music Director. With over 500 recordings to date, the Academy is one of the most recorded chamber orchestras in the world. The orchestra received their first gold disc for their recording of Vivaldi’s Four Seasons in 1969 with the 2007 recording with Joshua Bell reaching No.1 on the Billboard Classical Chart. Their soundtrack for the film Amadeus won 13 gold discs alone, while in 1996 The English Patient picked up an Academy Award© for Best Music, with a soundtrack performed by the Academy. In March 2013 the orchestra and Joshua Bell released their first
ACADEMY OF ST. MARTIN IN THE FIELDS VIOLIN I
BASSOON
ORCHESTRAL ADMINISTRATION TRAINEE
Joshua Bell Harvey de Souza Miranda Playfair Katie Stillman Amanda Smith Helen Paterson Jeremy Morris Matthew Ward
Gretha Tuls Gavin McNaughton Timothy Brown Nicholas Hougham Stephen Stirling Emma Whitney
Kim Perkins
VIOLIN II
TRUMPET
Laura Luckhurst
Martin Burgess Jennifer Godson Rakhi Singh Mark Butler Richard Milone Katie Littlemore
HORN
Mark David Michael Laird
TIMPANI
Ellie Swithinbank
EDUCATION & OUTREACH MANAGER/CREATIVE PRODUCER EDUCATION AND ADMINISTRATION ASSISTANT
Rosie Chapman
CHARITABLE GIVING MANAGER INDIVIDUAL GIVING MANAGER
Cecilia Sala
MARKETING MANAGER
Adrian Bending
Stephanie Cotter
HARPSICHORD
Rebecca Driver Media Relations
Robert Smissen Fiona Bonds Martin Humbey Alexandros Koustas
THE ACADEMY OF ST MARTIN IN THE FIELDS ADMINISTRATION
BOARD OF DIRECTORS
CELLO
Sir Neville Marriner CBE
VIOLA
Stephen Orton John Heley Martin Loveday William Schofield
DOUBLE BASS
Lynda Houghton Cathy Elliott
FLUTE
Michael Cox Sarah Newbold
OBOE
James Johnstone
DIRECTOR OF ARTISTIC PLANNING AND OPERATIONS
Paul Aylieff Chairman Heather Benjamin Elizabeth Bennett Sir Peter Coulson Christopher Cowie Peter Dart David Hung Douglas Mackie Catherine Morgan Simon Morris Richard Skinner Harvey de Souza
DIRECTOR OF EXTERNAL DEVELOPMENT
DEVELOPMENT BOARD
LIFE PRESIDENT
MUSIC DIRECTOR
Joshua Bell
PRINCIPAL GUEST CONDUCTOR
Murray Perahia KBE
ACADEMY STAFF Gabriel van Aalst Katy Shaw
CONCERTS AND RECORDINGS MANAGER
Christopher Cowie Rachel Ingleton
Ina Wieczorek
CLARINET
Katy Jones
Fiona Cross Tom Lessels
PR CONSULTANT
ORCHESTRA PERSONNEL MANAGER
ORCHESTRA MANAGER AND LIBRARIAN
Katherine Adams
Paul Aylieff Peter Dart Gareth Davies Christine Jasper Alan Kerr Trevor Moross CHAIRMAN
Peter Stott
If you are interested in receiving information about future performances by the Academy, please e-mail info@asmf.org or visit www.asmf.org
FOR OPUS 3 ARTISTS PRESIDENT & CEO
David V. Foster
VICE PRESIDENT, SENIOR DIRECTOR, ARTISTS & ATTRACTIONS BOOKING, MANAGER, ARTISTS & ATTRACTIONS
Robert Berretta
SENIOR VICE PRESIDENT, DIRECTOR, TOURING DIVISION
Irene Lönnblad
ASSOCIATE, ATTRACTIONS
Kay McCavic
Leonard Stein
Lauren Tesoriero
ASSOCIATE, TOURING DIVISION TOUR MANAGER STAGE MANAGER
Gerald Breault
ACADEMY OF ST. MARTIN IN THE FIELDS recording on Sony Classical under his leadership, Beethoven’s Symphonies 4 and 7. The Academy played its first tour in Europe in 1967. Today, they perform some 100 concerts around the world each year, with as many as 15 tours each season. The Academy and Academy Chamber Ensemble will be touring throughout 2013-14, visiting venues across the UK, Europe and USA. Principal Guest Conductor Murray Perahia leads a European tour in November and December while Joshua Bell leads a major tour of the US in March 2014. In tandem with its concerts and tours, the Academy continues to present a variety of pre-show talks, events and open rehearsals. Outward Sound, the Academy’s community and learning programme, brings innovative,
music-making opportunities to participants of all ages, backgrounds and abilities who otherwise may not have access to music. The orchestra’s repertoire for the 2013/2014 Season’s six-concert London series includes symphonies by Beethoven, Stravinsky, Haydn and Mozart, cantatas by Bach and Vaughan Williams’ Lark Ascending, the 1971 recording of which was one of the Academy’s best-selling releases. The highlight of this season will be the 90th birthday of Sir Neville Marriner, featuring a celebratory concert at London’s Royal Festival Hall where Sir Neville, Murray Perahia and Joshua Bell will all perform. The Academy’s US tours are supported by the American Friends of the Academy of St Martin in the Fields. If you would like to join
FURTHER LISTENING by Jeff Hudson
THE ACADEMY and JOSHUA BELL When I interviewed Joshua Bell back in January 2011, he indicated that he would soon be branching out in new directions. “I’m starting to move toward conducting,” he told me. “I’ve now directed a couple of Beethoven symphonies—the Fourth and the Seventh— and there are a lot of great symphonic works I’d like to tackle and direct.” In May 2011, The Academy of St. Martin in the Fields announced that Joshua Bell would become their new music director. And in March 2013, they released their first album in that relationship—the Fourth and Seventh Symphonies by Beethoven—to favorable reviews. This evening, Bell leads a performance of Beethoven’s Third Symphony (Eroica). Bell will also be the soloist in the Brahms Violin Concerto. We’ve heard Bell perform Brahms chamber works here in the past; this time, we will hear him in a larger context, as violinist and leader of the orchestra. I’ve heard that another Academy/Bell recording is in the works, and might be released later this year. You can also check out the Bell/Academy recording of the everpopular Vivaldi Four Seasons (2011, on the Sony label). This spring, The Academy will also be marking the 90th birthday of Sir Neville
Marriner, who founded the orchestra in 1958. Marriner’s birthday is April 15, and there will be celebratory concerts in Germany and at the orchestra’s namesake church in London. There will also be a concert at the Royal Festival Hall, with Sir Neville, Joshua Bell and Murray Perahia (who has been associated with The Academy as pianist got 35 years, and as principal guest conduct since 2000) appearing onstage together for the first time. Marriner, incidentally, conducted an album of orchestral works by San Francisco composer Gordon Getty in 2010, recorded with The Academy (on the Pentatone label, distributed by Naxos). Bell—who has performed at Mondavi several times during the past eleven years— continues to record and perform on his own —last October, he released a holiday season album, “Musical Gifts,” which is another in a series of Joshua Bell and Friends projects (with Bell collaborating on different musical partners on the various tracks). One other thing that Bell mentioned back in 2011: “I’d like to write solo violin sonata that would be good enough for future generations to look at.” I’ll have to ask him about that when I get an opportunity to interview him again.
JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
36 MONDAVIARTS .ORG
our American Friends, please send an email to afasmf@gmail.com for more details. For more information, please visit www.asmf. org. You can follow the Academy on Facebook, Google+ and on Twitter at @ASMForchestra
JOSHUA BELL
Often referred to as the “poet of the violin,” Joshua Bell’s stunning virtuosity, beautiful tone and charismatic stage presence have brought him universal acclaim. An Avery Fisher Prize recipient, Bell recently received the New York Recording Academy Honors. As the first person appointed Music Director of the Academy of St. Martin in the Fields (ASMF) since Sir Neville Marriner formed the orchestra in 1958, their first CD under Bell’s leadership of Beethoven’s 4th and 7th symphonies debuted at #1 on the Billboard Classical chart. A holiday-themed CD, Musical Gifts, featuring collaborations with Chris Botti, Kristin Chenoweth, Chick Corea, Alison Krauss, Gloria Estefan, Renée Fleming and others was released in October. Season highlights include a European and U.S. tour with ASMF, performances with the Houston, Dallas and St. Louis symphonies. Bell also performs the Brahms concerto with Paavo Järvi conducting the Vienna Philharmonic, and Sibelius with Gustavo Dudamel conducting the Los Angeles Philharmonic. A U.S. recital tour, a Kennedy Center performance with the National Symphony Orchestra and dates with the Los Angeles Philharmonic round out the season. Bell’s 2007 incognito subway station performance resulted in a provocative Washington Post Pulitzer Prize-winning story examining art and context. The conversation continues with the new Annick Press illustrated children’s book, The Man With the Violin. As a soloist, chamber musician, and conductor, Bell has recorded more than 40 CDs garnering Grammy, Mercury, Gramophone and Echo Klassik awards. Recent releases include French Impressions with pianist Jeremy Denk, At Home With Friends, Vivaldi’s The Four Seasons, and Tchaikovsky’s Violin Concerto with the Berlin Philharmonic. His discography encompasses the major violin repertoire in addition to John Corigliano’s Oscar-winning soundtrack, The Red Violin. Born in Bloomington, Indiana, Bell received his first violin at age four and at 12 began studying with Josef Gingold, at Indiana University. Two years later, Bell came to national attention with Riccardo Muti and the Philadelphia Orchestra and at age 17, made his Carnegie Hall debut. Bell plays the 1713 Huberman Stradivarius.
LES BALLETS TROCKADERO DE MONTE CARLO A With A Twist Series Event Thursday, March 27, 2014 • 8PM Jackson Hall SPONSORED BY
LES BALLETS TROCKADERO DE MONTE CARLO FEATURING
and
Varvara Bratchikova Nadia Doumiafeyva Lariska Dumbchenko Helen Highwaters Nina Immobilashvili Natalie Kleptopovska Sonia Leftova Ida Nevasayneva Maria Paranova Eugenia Repelskii Moussia Shebarkarova Alla Snizova Olga Supphozova Maya Thickenthighya Gerd Tord Yakatarina Verbosovich Giuseppina Zambellini
Jacques d’Aneils Roland Deaulin Pepe Dufka Nicholas Khachafallenjar Stanislas Kokitch Andrei Leftov Ivan Legupski Sergey Legupski Vladimir Legupski Vyacheslav Legupski Mikhail Mypansarov Boris Nowitsky Velour Pilleaux Yuri Smirnov Innokenti Smoktumuchsky Kravlji Snepek Pavel Tord
Eugene McDougle GENERAL DIRECTOR
38 MONDAVIARTS .ORG
Tory Dobrin
ARTISTIC DIRECTOR
Isabel Martinez Rivera ASSOCIATE DIRECTOR
L ES BALLETS TROCKADERO DE MONTE CARLO LE LAC DES CYGNES (SWAN LAKE, ACT II) Music by Pyotr Ilyich Tchaikovsky Choreography after Lev Ivanovich Ivanov Costumes by Mike Gonzales Decor by Jason Courson Lighting by Kip Marsh Swept up into the magical realm of swans (and other birds), this elegiac phantasmagoria of variations and ensembles in line and music is the signature work of Les Ballets Trockadero. The story of Odette, the beautiful princess turned into a swan by the evil sorcerer, and how she is nearly saved by the love of Prince Siegfried, was not so unusual a theme when Tchaikovsky first wrote his ballet in 1877—the metamorphosis of mortals to birds and visa versa occurs frequently in Russian folklore. The original Swan Lake at the Bolshoi Theatre in Moscow was treated unsuccessfully; a year after Tchaikovsky’s death in 1893, the St. Petersburg Maryinsky Ballet produced the version we know today. Perhaps the world’s best-known ballet, its appeal seems to stem from the mysterious and pathetic qualities of the heroine juxtaposed with the canonized glamour of 19th century Russian ballet.
Benno: Innokenti Smoktumuchsky
PAS DE DEUX or MODERN WORK TO BE ANNOUNCED GO FOR BAROCCO Music by J.S. Bach Choreography by Peter Anastos Costumes by Mike Gonzales Lighting by Kip Marsh Stylistic heir to Balanchine’s Middle-BlueVerging-On-Black-and-White Period, this ballet has become a primer in identifying stark coolness and choreosymphonic delineation in the new (neo) neo-new classic dance. It has been called a wristwatch for Balanchine clock-time. FIRST MOVEMENT (MODERATO)
Maya Thickenthighya and Giusepina Zambellini with Nadia Doumiafeyva, Natalie Kleptopovska, Helen Highwaters, Eugenia Repelskii SECOND MOVEMENT (ADAGIO)
Maya Thickenthighya and Giusepina Zambellini THIRD MOVEMENT (ALLEGRO)
ALL
INTERMISSION
(QUEEN OF THE) SWANS:
Varvara Bratchikova, Nadia Doumiafeyva, Helen Highwaters, Nina Immobilashvili, Natalie Kleptopovska, Sonia Leftova, Maria Paranova, Maya Thickenthighya (ALL OF WHOM GOT THIS WAY BECAUSE OF)
Von Rothbart: Yuri Smirnov (AN EVIL WIZARD WHO GOES ABOUT TURNING GIRLS INTO SWANS)
INTERMISSION
SCENE 2
The reception. THE WHITE LADY:
Ida Nevasayneva (LEFT OVER FROM ACTS 1 AND 2, SHE IS SOMETIMES A STATUE, SOMETIMES A GHOST, ALWAYS AN ENIGMA) BRIDESMAIDS:
Henriette
Guiseppina Zambellini Nadia Doumiafeyva Alla Snizova Olga Supphozova
Clemence Hortense Stefanie
FRIENDS OF THE GROOM:
Moussia Shebarkarova and Vyacheslav Legupski Fifi and Bernard
(WHO FALLS IN LOVE WITH)
Odette: Lariska Dumbchenko
SCENE 1
The entrance of the Bridesmaids and their departure for the wedding.
Anais and Francois
(FRIEND AND CONFIDANT TO)
Prince Siegfried: Vyacheslav Legupski
betrothed to Raymonda (a young Hungarian noblewoman), abandons her to join the Crusades against the Saracens. In his absence, Abdourahman (a Saracen Emir), woos Raymonda. When she rejects him, he attempts to abduct her. De Brienne, assisted by The White Lady (Raymonda’s Fairy Godmother), slays Abdourahman and marries Raymonda. The Trockadero ignores all of these plot intrigues and presents the happy ending.
RAYMONDA’S WEDDING A TRADITIONALLY CONFUSING DIVERTISSEMENT IN TWO SCENES
Music by Alexander Glazunov Choreography after Marius Petipa Costumes by Mike Gonzales and Ken Busbin Decor by chas. b. slackman Lighting by Kip Marsh Raymonda, a ballet in three acts and 15 scenes based on the scenario by L. Pashkova, has baffled audiences since its premiere at the Maryinsky (then Kirov, now Maryinsky) Theater in 1898. The plot, which loses something in translation, is as follows:
Sonia Leftova and Andrei Leftov Zsa Zsa and Laslo
Natalie Kleptopovska and Nicholas Khachafallenjar Magda and Beranger
Nina Immobilashvili and Stanislas Kokitch THE BRIDE:
Raymonda
Yakatarina Verbosovich
THE GROOM:
Count Jean de Brienne Mikhail Mypansarov
Count Jean de Brienne (a knight), encoremediagroup.com 39
COMPANY HISTORY
Voted Best Dessert in Yolo County 6 Years in a Row • Breakfast • Lunch • High Tea • Catering • Weddings Bring in your Mondavi ticket stub to receive a 15% discount on your purchase.
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Founded in 1974 by a group of ballet enthusiasts for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and en travesti, LES BALLETS TROCKADERO DE MONTE CARLO first performed in the late-late shows in OffOff Broadway lofts. The TROCKS, as they are affectionately known, quickly garnered a major critical essay by Arlene Croce in The New Yorker, and combined with reviews in The New York Times and The Village Voice, established the Company as an artistic and popular success. By mid 1975, the TROCKS’ inspired blend of their loving knowledge of dance, their comic approach, and the astounding fact that men can, indeed, dance en pointe without falling flat on their faces, was being noted beyond New York. Articles and notices in publications such as Variety, Oui, The London Daily Telegraph, as well as a Richard Avedon photo essay in Vogue, made the Company nationally and internationally known. The 1975–76 Season was a year of growth and full professionalization. The Company found management, qualified for the National Endowment for the Arts Touring Program, and hired a full-time teacher and ballet mistress to oversee daily classes and rehearsals. Also in this season, they made their first extended tours of the United States and Canada. Packing, unpacking, and repacking tutus and drops, stocking giant-sized toe shoes by the case; running for planes and chartered buses all became routine parts of life. Since those beginnings, the TROCKS have established themselves as a major dance phenomenon throughout the world. They have participated in dance festivals in Bodrum (Turkey), Bogota, Holland, Finland, San Luis Potosi, Madrid, Montreal, New York City, Paris, Lyon, Rome, Spoleto, Turin, and Vienna. There have been television appearances as varied as a Shirley MacLaine special, the Dick Cavett Show, What’s My Line?, Real People, On-Stage America, with Kermit and Miss Piggy on their show Muppet Babies, and a BBC Omibus special on the world of ballet hosted by Jennifer Saunders. There have been solo specials on national networks in Japan and Germany, as well as a French television special with Julia Migenes. A documentary was filmed and aired internationally by the acclaimed British arts program, The South Bank Show. The Company was featured in the PBS program The Egg, which was about arts in America, winning an Emmy Award for the director, and appeared in a segment of Nightline in December 2008. Several 9/3/13 4:13 PM performances were taped by a consortium
L ES BALLETS TROCKADERO DE MONTE CARLO of Dutch, French and Japanese TV networks at the Maison de la Danse in Lyon, France, for worldwide broadcast and DVD distribution. Awards that the TROCKS have won over the years include: best classical repertoire from the prestigious Critic’s Circle National Dance Awards (2007) (UK), the Theatrical Managers Award (2006) (UK) and the 2007 Positano Award (Italy) for excellence in dance. In December 2008, the TROCKS appeared at the 80th anniversary Royal Variety Performance, to aid of the Entertainment Artistes’ Benevolent Fund, in London, attended by members of the British royal family. The TROCKS’ numerous tours have been both popular and critical successes—their frenzied annual schedule has included 10 tours to Australia and New Zealand, 28 to Japan (where their annual summer tours have created a nationwide cult following and a fan club), nine to other parts of Asia, 12 to South America, three to South Africa, and 74 tours of Europe, including 21 tours of the United Kingdom. In the United States, the Company has become a regular part of the college and university circuit in addition to regular dance presentations in cities in 49 states. The Company has appeared in more than 34 countries and 500 cities worldwide since its founding in 1974. Increasingly, the Company is presenting longer seasons, which have included extended engagements in New York City (at the Joyce Theater) Amsterdam, Athens, Auckland, Bangkok, Barcelona, Beijing, Berlin, Brisbane, Buenos Aires, Caracas, Cologne, Dusseldorf, Edinburgh, Glasgow, Hamburg, Hong Kong, Johannesburg, Lisbon, London, Lyon, Madrid, Melbourne, Moscow (at the famed Bolshoi Theater), Paris (at the Chatelet Theater and Folies Bergere), Perth, Rome, Singapore, Sydney, Tokyo, Vienna and Wellington. The Company continues to appear in benefits for international AIDS organizations such as DRA (Dancers Responding to AIDS) and Classical Action in New York City, the Life Ball in Vienna, Austria, Dancers for Life in Toronto, Canada, London’s Stonewall Gala and Germany’s AIDS Tanz Gala. In addition, The TROCKS have given, or participated in special benefit performances for Connecticut Ballet Theater, Ballet Hawaii, Indianapolis Ballet Theater, Rochester City Ballet, Dancers in Transition (NYC), Sadler’s Wells Theater in London and the Gay and Lesbian Community Center and Young Audiences/Arts for Learning Organization, and the Ali Forney Center, benefiting homeless gay youths in New York City. In 2009, the TROCKS gave a benefit performance for Thailand’s Queen Sirikit’s Scholarship Fund in Bangkok, which helps finance schooling for children of impoverished Thai families. The benefit helped raise more than $400,000.
The original concept of LES BALLETS TROCKADERO DE MONTE CARLO has not changed. It is a Company of professional male dancers performing the full range of the ballet and modern dance repertoire, including classical and original works in faithful renditions of the manners and conceits of those dance styles. The comedy is achieved by incorporating and exaggerating the foibles, accidents, and underlying incongruities of serious dance. The fact that men dance all the parts—heavy bodies delicately balancing on
toes as swans, sylphs, water sprites, romantic princesses, angst-ridden Victorian ladies— enhances rather than mocks the spirit of dance as an art form, delighting and amusing the most knowledgeable, as well as novices, in the audiences. For the future, there are plans for new works in the repertoire: new cities, states and countries to perform in; and for the continuation of the TROCKS’ original purpose: to bring the pleasure of dance to the widest possible audience. They will, as they have done for nearly 40 years, “Keep on Trockin’.”
Looking for a “relax and enjoy life” club? At El Macero, we believe that a busy life deserves the rewards of a club that unwinds and de-stresses. Our walkable 18 holes can be played all at once or in short loops, and there’s always room on the tee sheet to play on a whim. To keep healthy, Chef serves up homemade goodness made from scratch, the pool is heated year ‘round, and we prefer our yoga on the lawn under the trees. This is a place of mutual respect, where families are welcome and friendships are nurtured. Most importantly, we believe what we do at our club matters just as much as what we don’t do…and that’s how life is best lived.
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(530) 753.3363 | ElMaceroCC.org encoremediagroup.com 41
MEET THE ARTISTS VARVARA BRATCHIKOVA People’s Artist and Cat’s Meow, Varvara was educated at the Revanchist Institute. She began her career as Pistachia in V. Stolichnaya’s production of the The Nutcracker and achieved stardom as Odette/ Odile/Juliet/Giselle/Aurora in the famous Night of the 1000 Tsars. Her repertoire encompasses nearly all the works she appears in. NADIA DOUMIAFEYVA No one who has seen Heliazpopkin will soon forget the spiritual athleticism of Nadia Doumiafeyva, a child of Caucasus who changed her name for show business reasons. Her fiery attack combined with lyric somnolence produce confusion in audiences the world over, especially when applied to ballet. LARISKA DUMBCHENKO Before defecting to the West, Lariska’s supreme agility aroused the interest of the Russian space program and in 1962 she became the first ballerina to be shot into orbit. Hurtling through the stratosphere, she delivered handy make-up tips to an assembled crowd of celebrities back on earth, including the now legendary.... “Whitney Houston, we have a problem....” HELEN HIGHWATERS has defected to America three times and been promptly returned on each occasion—for “artistic reasons.” Recently discovered “en omelette” at the Easter Egg Hunt in Washington, D.C., she was hired by the Trockadero, where her inexplicable rise to stardom answers the musical question: Who put the bop in the bopshibop shibop? NINA IMMOBILASHVILI, for more years than she cares to admit, has been the Great Terror of the international ballet world. The omniscient and ubiquitous Immobilashvili is reputed to have extensive dossiers on every major dance figure, living and or dead. This amazing collection has assured her entree into the loftiest choreographic circles; the roles she has thus been able to create are too numerous to mention. We are honored to present this grand dame in her spectacular return to the ballet stage. NATALIE KLEPTOPOVSKA, originally a dresser to a great ballerina, began her career when, one night, she locked her mistress in the armoire and danced in her place. Although hailed by her critics for her wonderful technique, she fooled no one. She was immediately sought after by companies and impresarios alike, but decided instead to spend some time on 42 MONDAVIARTS .ORG
L ES BALLETS TROCKADERO DE MONTE CARLO her acting. Now she is both a technical and a dramatic ballerina. The whereabouts of her former mistress is not known.
SONIA LEFTOVA, “The Prune Danish of Russian Ballet,” abandoned an enormously successful career as a film actress to become a Trockadero ballerina. Her faithful fans, however, need not despair as most of her great films have been made into ballets: the searing “Back to Back,’” the tear-filled “Thighs and Blisters,” and the immortal seven-part “Screams from a Carriage.” Because of her theatrical flair, Sonia has chosen to explore the more dramatic aspects of ballet, causing one critic to rename her Giselle, “What’s my Line?” IDA NEVASAYNEVA, socialist Real ballerina of the working peoples everywhere, comes flushed from her triumphs at the Varna Festival, where she was awarded a specially created plastic medal for Bad Taste. Comrade Ida became known as a heroine of the Revolution when, after effortlessly boureeing through a minefield, she lobbed a loaded toeshoe into a capitalist bank.
cloaked in an enigma (complete with zip-out lining). A consummate actress, she has danced the part of Little Miss Markova and the title role of Glinka’s Popoy-the Sailor Man.
OLGA SUPPHOZOVA made her first public appearance in a KGB lineup under dubious circumstances. After a seven-year-to-life hiatus, she now returns to her adoring fans. When questioned about her forced sabbatical, Olga’s only comment was “I did it for Art’s sake.” Art said nothing however.
MAYA THICKENTHIGHYA’s radioactive properties prevented her from appearing with the Trockadero until her recent release from a special sanitarium on the Black Sea. A brilliant virtuoso in the Moscow style, Madame Thickenthighya’s torque was applied to the running of Generator 14 near the Gorsky Dam during the period of her political disgrace. She is, this season, reinstated to her unique position in the ballet world.
The magic of
MARIA PARANOVA’s remarkable life story, only now coming to light after 19 dark years in near hopeless conviction that she was Mamie Eisenhower, will never fully be told. The discovery of her true identity (at a Republican fundraiser in Chicago) brought her to the attention of the Trockadero where she is slowly recovering her technical powers. EUGENIA REPELSKII The secrets of Mme Repelskii’s beginnings lie shrouded behind the Kremlin wall. In fact, no fewer than six lie in the wall (in jars of assorted sizes). Dancing lightly over pogroms and other sordid reorganizational measures, Eugenia has emerged as a ballerina nonpareil whose pungency is indisputable. Among her colleagues in the West, she is known as the Odessa Chihuahua. MOUSSIA SHEBARKAROVA A celebrated child prodigy back in the Brezhnev era, Moussia Shebarkarova astounded her parents at the age of 2 by taking a correspondence course in ballet. Sadly, due to the unreliable Russian postal system, she has only just graduated. ALLA SNIZOVA enjoyed great success as a baby ballerina at the mere age of 9. Being a child prodigy, she developed serious allergy problems and could only perform short pieces. Known as the “little orphan,” Miss Snizova joined the Trockadero on tour, appearing
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GERD TORD Lyrical, lissome, long-legged Gerd, “The Chernobyl Cherub,” has produced frissons in audiences on every continent but two with her ineffable delicacy and refinement. This limber gamine has captivated hearts since her auspicious debut as Talyusha, the Left Nostril, in the ballet drawn from “The Nose” by N. Gogol. She is renowned for her portrayal of sensitive tortured neurotic ladies and other kvetches. YAKATARINA VERBOSOVICH Despite possessing a walk-in wardrobe so large that it has its own postal code, Yakatarina remains a true ballerina of the people. Indeed, she is so loved in her native Russia that in 1993 the grateful citizens of Minsk awarded her the key to the city. That might well have remained the “golden moment” of this great ballerina’s career had they not subsequently changed the locks.
WM 080613 mondavi 1_3s.pdf
GIUSEPPINA ZAMBELLINI created many original roles in St. Petersburg where she was the last of a long line of Italian etoiles to appear at the Maryinsky Theater. It was her dazzling triumph in the role of “Electricity” in the extravagant “Excelsior” in her native Milan that brought her fame. However, no less electrifying was the lineup of perfectly trained elephants, performing like the present day Rockettes. Unfortunately, Mlle Zambellini’s jealous scenes over the publicity given to these elephants and their ensuing popularity with the public, caused numerous problems. She subsequently refused to appear again in this role. JACQUES D’ANIELS was originally trained as an astronaut before entering the world of ballet. Strong but flexible, good-natured but dedicated, sensible but not given to unbelievable flights of fantastic behavior, Mr. d’Aniels is an expert on recovering from ballet injuries (including the dreaded “Pavlova’s clavicle”). ROLAND DEAULIN Having invented the concept of the “bad hair year” or “annus hairibilis,” French-born Roland now devotes his spare time to selling his new line of Michael Flatley Wigs on the QVC shopping channel. PEPE DUFKA The ballet world was rocked to its foundations last month when Pepe Dufka sued 182 of New York’s most ardent ballet lovers for loss of earnings. Mr. Dufka claims that 19 years of constant exposure to rotten fruit and vegetables has led to painful and prolonged bouts of leafmould, cabbage 8/6/13 12:09 PM root fly, and bottom end rot. Sadly, this historic court case comes too late for a former colleague, whose legs were recently crushed
44 MONDAVIARTS .ORG
L ES BALLETS TROCKADERO DE MONTE CARLO by a genetically modified avocado and he will never dance again.
NICHOLAS KHACHAFALLENJAR The demi-semi-hemi-character dancer from innermost Outer Tashkent, was awarded the Order of Stalin for his partnering techniques. Although no ballerina has ever lived to describe the thrill of his touch, he continues to astound the public (and elude the reliable police) with his brute strength. He is fondly known in the Trockadero as “Nicky the Crusher.” STANISLAS KOKITCH, “The Forgotten Man” of ballet, is hardly ever mentioned in reviews by critics or in discussions by devoted balletomanes despite having created several important roles in now forgotten ballets. He is the author of The Tragedy of My Life, an autobiography not at all reliable. ANDREI LEFTOV, “The Prune Danish of Russian Ballet”, abandoned an enormously successful career as a film actor to become a Trockadero premier danseur. His faithful fans, however, need not despair as most of his great films have been made into ballets: the searing “Back to Back,” the tear-filled ‘Thighs and Blisters,” and the immortal seven-part “Screams from a Carriage.” Because of his theatrical flair, Andrei has chosen to explore the more dramatic aspects of ballet, causing one critic to rename his Siegfried, “What’s my Line?” THE LEGUPSKI BROTHERS Ivan, Sergey, Vladirmir and Vyacheslau are not really brothers, nor are their names really Ivan, Sergey, Vladirmir or Vyacheslav nor are they real Russians, nor can they tell the difference between a pirouette and a jete...but...well... they do move about rather nicely ...and...they fit into the costumes. MIKHAIL MYPANSAROV soared into
prominence as the first defector whose leave-taking was accomplished at the virtual insistence of the defectees (although in subsequent days Mypansarov was accused of abandoning his joyous comrades for “a mountain of beer and an ocean of dollars”). His meteoric rise to stardom caused him to be named Official Bicentennial Porteur by a committee of New York balletomanes who singled out his winning smile and losing feet.
BORIS NOWITSKY has been with the greatest ballerinas of our time and he has even danced with some of them. One of
the first defective Russian male stars, he left the motherland for purely capitalistic reasons. Amazingly, between his appearances on television and Broadway, in movies, commercials, magazines and special events, and women’s nylons, he occasionally still has time to dance.
VELOUR PILLEAUX, whose political adaptability saw him through two world wars and numerous police actions, comes to America in conjunction with the release of his 10th cookbook, Ma Brie. When asked by an American reporter to describe his most exciting experience in ballet, M. Pilleaux referred to pages 48–55: the night he danced the Rose Adagio (en travesti) in Buenos Aires with four political figures, the names of whom he assured us we would recognize. YURI SMIRNOV At the age of 16, Yuri
ran away from home and joined the Kirov Opera because he thought Borodin was a prescription barbiturate. Luckily for the Trockadero he soon discovered that he didn’t know his arias from his elbow and decided to become a ballet star instead.
LES BALLETS TROCKADERO DE MONTE CARLO Box 1325, Gracie Station, New York City, NY 10028 www.trockadero.org DANCERS GERD TORD and PAVEL TORD
Bernd Burgmaier (ON LEAVE) OLGA SUPPHOZOVA and YURI SMIRNOV
Robert Carter MOUSSIA SHEBARKAROVA and VYACHESLAV LEGUPSKI
Paolo Cervellera NATALIE KLEPTOPOVSKA and NICHOLAS KHACHAFALLENJAR
Loic Consalvo SONIA LEFTOVA and ANDREI LEFTOV
Boysie Dikobe IDA NEVASAYNEVA and VELOUR PILLEAUX
Paul Ghiselin HELEN HIGHWATERS and VLADIMIR LEGUPSKI
Duane Gosa ALLA SNIZOVA and INNOKENTI SMOKTUMUCHSKY
Carlos Hopuy YAKATARINA VERBOSOVICH and ROLAND DEAULIN
Chase Johnsey GIUSEPPINA ZAMBELLINI and IVAN LEGUPSKI
Davide Marongiu NADIA DOUMIAFEYVA and KRAVLJI SNEPEK
Philip Martin-Nielson
INNOKENTI SMOKTUMUCHSKY is known only to the most cultured and refined balletomanes in the dark alleyways of St. Petersburg. Originally a promising dancerchoreographer, his only ballet, Le Dernier Mohicain, was stolen by the director of the company. In severe depression and shock, he burned his ballet slippers and fled to the sewers, only to surface these 40 years later.
Raffaele Morra
KRAVLJI SNEPEK comes to the Trockadero
Carlos Renedo
from his split-level birthplace in Siberia, where he excelled in toe, tap, acrobatic and Hawaiian. This good-natured Slav is famous for his breathtaking technique—a blend of froth and frou-frou centered on a spine of steel, painfully acquired at the hands and feet of his teacher, Glib Generalization, who has already trained many able dancers. As an artist in the classical, heroic, tragical mold, young Kravlji wrenched the heart of all who saw him dance Harlene, the Goat Roper in The Best Little Dacha in Sverdlovsk.
PAVEL TORD The recipient of this year’s Jean de Brienne Award, Pavel is particularly identified for his Rabelaisian ballet technique. A revolutionary in the art of partnering, he was the first to introduce crazy glue to stop supported pirouettes.
MAYA THICKENTHIGHYA and MIKHAIL MYPANSAROV
Carlos Miller LARISKA DUMBCHENKO and PEPE DUFKA EUGENIA REPELSKII and JACQUES D’ANIELS
Lawrence Neuhauser NINA IMMOBILASHVILI and STANISLAS KOKITCH
Alberto Pretto MARIA PARANOVA and BORIS NOWITSKY
COMPANY STAFF GENERAL DIRECTOR Eugene McDougle ARTISTIC DIRECTOR Tory Dobrin ASSOCIATE DIRECTOR /
Isabel Martinez Rivera Paul Ghiselin ASSOCIATE BALLET MASTER Raffaele Morra LIGHTING SUPERVISOR Emily McGillicuddy WARDROBE SUPERVISOR Ryan Hanson ASSOCIATE PRODUCTION MANAGER Barbara Domue SPECIAL PROJECTS Emily Rybinski Benish COSTUME DESIGNER Kenneth Busbin COSTUME DESIGNER (EMERITUS) Mike Gonzales COMPANY ARCHIVIST (EMERITUS) Anne Dore Davids STYLISTIC GURU Marius Petipa PROGRAM NOTES P. Anastos, et al. ACCOUNTING ASBA, Inc. ORTHOPEDIC CONSULTANT Dr. David S. Weiss PHOTOGRAPHERS Zoran Jelenic, Sascha Vaughan PRODUCTION MANAGER
BALLET MASTER
encoremediagroup.com 45
L ES BALLETS TROCKADERO DE MONTE CARLO LES BALLETS TROCKADERO DE MONTE CARLO, Inc. IS A NONPROFIT DANCE COMPANY CHARTERED BY THE STATE OF NEW YORK.
Eugene McDougle PRESIDENT Lucille Lewis Johnson VICE-PRESIDENT Vaughan de Kirby VICE-PRESIDENT Tory Dobrin SECRETARY/TREASURER ALL CONTRIBUTIONS ARE TAX-DEDUCTIBLE AS PROVIDED BY LAW. WWW.TROCKADERO.ORG PROGRAM SUBJECT TO CHANGE WITHOUT NOTICE. SPECIAL THANKS TO:
The Harkness Foundations for Dance and Theordore S. Bartwink, The Joyce Theater Foundation, Heather Knight, Stephanie Webb, Elena Kunikova, Charla Genn, Ludmila Raianova and Jenny Palmer, Liz Harler, Lina Yang, and Niels Gamm of IMG Artists.
PAOLO CERVELLERA
Birthplace: Cagliari, Italy. Training: English National Ballet School, American Ballet Theater School. Joined Trockadero: May, 2005.
LOIC CONSALVO
Birthplace: Middletown, New York. Training: Natasha Bar, School of American Ballet, Chautauqua Institution of Dance. Joined Trockadero: September, 2012. Previous company: North Carolina Dance Theater.
BOYSIE DIKOBE
Birthplace: Jacksonville, Florida. Training: Douglas Anderson School of the Arts, Nutmeg Conservatory, Joffrey Ballet School. Joined Trockadero: May, 2007 (rejoined February 2012). Previous companies: Eugene Ballet/Ballet Idaho, Florida Ballet, Dance Theatre of Harlem Ensemble, Diesel|Fusion Dance Theatre (Artistic Director).
Birthplace: Mulhouse, France. Training: Conservatory National Superieur (Lyon, France), Junior Ballet of Sundgau. Joined Trockadero: September, 2012. Previous company: Opera de Metz (France). Birthplace: Brits, South Africa. Training: South African Ballet Theatre School, The National School of the Arts, The Washington School of Ballet. Joined Trockadero: February, 2011. Previous companies: South African Ballet Theatre, Cape Town City Ballet.
PAUL GHISELIN
Music for Swan Lake, Les Sylphides, Go for Barocco Pas de Quatre, Raymonda’s Wedding and Paquita Is conducted by Pierre Michel Durand with the Czech Philharmonic Chamber Orchestra, Pavel Prantl, Leader WORLDWIDE REPRESENTATION BY:
IMG Artists Carnegie Hall Tower 152 West 57th Street, 5th Floor New York, NY 10019 Phone: 212-994-3500 Fax: 212-994-3550 www.imgartists.com
COMPANY BIOGRAPHIES
BERND BURGMAIER (ON LEAVE)
Birthplace: Riedlingen, Germany. Training: John Cranko School, Merce Cunningham Studio. Originally Joined Trockadero: January 2000. Previous Company: Merce Cunningham Repertory Group.
ROBERT CARTER
Birthplace: Charleston, South Carolina. Training: Robert Ivey Ballet School, Joffrey Ballet School. Joined Trockadero: November, 1995. Previous Companies: Florence Civic Ballet, Dance Theater of Harlem Ensemble, Bay Ballet Theater.
46 MONDAVIARTS .ORG
DAVIDE MARONGIU
Birthplace: Putignano (Bari), Italy. Training: San Carlo Opera House Ballet School. Joined Trockadero: November, 2012. Previous company: San Carlo Opera House Ballet Company, Naples Italy.
Birthplace: Chapel Hill, North Carolina. Training: Tidewater Ballet Academy, Joffrey Ballet School. Joined Trockadero: May 1995. Previous Companies: Ohio Ballet, Festival Ballet of Rhode Island.
DUANE GOSA
Birthplace; Chicago, Illinois. Training: University of Akron, Ailey School. Joined Trockadero; September 2013. Previous Companies: Jennifer Muller/The Works, Brooklyn Ballet, The Love Show.
CARLOS HOPUY
Birthplace: Havana, Cuba. Training: Escuela Nacional de Arte, Havana. Joined Trockadero: February, 2012 Previous companies: National Ballet of Cuba, National Ballet of Costa Rica, Ballet San Antonio. Awards: International Ballet Competitions in Havana (Gold medalist 1999, 2001, 2002), Nagoya (Gold medalist 2002), and Jackson, Mississippi (finalist, 2010).
CHASE JOHNSEY
Birthplace: Winter Haven, Florida. Training: Harrison Arts Center, Virginia School of the Arts. Joined Trockadero: April, 2004. Previous Company: Florida Dance Theatre. Named Dance Magazine’s 25 to Watch in 2008.
PHILIP MARTIN-NIELSON
CARLOS MILLER
RAFFAELE MORRA
Birthplace: Fossano, Italy. Training: Estudio de Danzas (Mirta & Marcelo Aulicio), Accademia Regionale di Danza del Teatro Nuovo di Torino. Joined Trockadero: May, 2001. Previous Company: Compagnia di Danza Teatro Nuovo di Torino.
LAWRENCE NEUHAUSER
Birthplace: St. Augustine, Florida Training: Boston Ballet, Virginia School of the Arts, Edge Performing Art Center. Joined Trockadero: September 2012. Previous Companies: DanceWorks Chicago, Brice Mousset Company.
ALBERTO PRETTO
Birthplace: Vicenza, Italy. Training: Academie de Danse Classique Princesse Grace, Monaco. Joined Trockadero: February 2011. Previous Companies: English National Ballet, Stadttheater Koblenz.
CARLOS RENEDO
Birthplace: Barcelona, Spain. Training: Jorge Fdez-Hidalgo Estudi de Dansa Barcelona, Steps on Broadway (NYC). Joined Trockadero: February, 2012. Previous companies: Metropolitan Opera Ballet, Steps Ensemble, Rebecca Kelly Ballet.
CIRCA
A Marvels Series Event Sunday, March 30, 2014 • 3PM Jackson Hall
S
Created by Yaron Lifschitz and the Circa Ensemble ENSEMBLE MEMBERS:
Nathan Boyle, Jessica Connell, Casey Douglas, Daniel O’Brien, Brittannie Portelli, Kimberley Rossi, Duncan West Director Yaron Lifschitz Producer Danielle Kellie Technical Director/Lighting Designer Jason Organ Costume Design Libby McDonnell USA Agent Tommy Kriegsmann, ArKtype MUSIC FEATURING MUSIC COMPOSED BY
Kimmo Pohjonen and Samuli Kosminen (Copyright Control/ TEOSTO) PERFORMED BY
Kronos Quartet/Kimmo Pohjonen/Samuli Kosminen from the album Uniko Courtesy of Hoedown Arts, Helsinki ADDITIONAL MUSIC AND SOUND COMPOSED BY
Purcell, Viñao, Múm and the cast
S Circa’s Helpmann award-winning ensemble creation, S is a full-throttle ride to the limits of the human body. Based on the 19th letter of the English Alphabet, S fuses group acrobatics with intimate emotions. Artistic Director Yaron Lifschitz was inspired to create an abstract work of power and joy—inspired by the curves, symmetries and plurality that are all attributes of this one letter. On a floating white diamond stage, seven extraordinary acrobats bend, fly, contort and hang—sometimes alone, and others in a tangle of bodies. Dramatic acrobatics, athletic aerial acts and powerful solos are all infused with raw immediacy and beauty. S features the world-renowned Circa ensemble with the intoxicating music of the Kronos Quartet to create a symphony of bodies.
CIRCA CIRCA ACKNOWLEDGES THE ASSISTANCE OF THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL, ITS ARTS FUNDING ADVISORY BODY AND THE QUEENSLAND GOVERNMENT THROUGH ARTS QUEENSLAND.
48 MONDAVIARTS .ORG
From Brisbane, Australia comes a bold new vision of contemporary circus. A blending of bodies, light, sound and skills. A place where acrobatics and movement meld into a seamless whole. A celebration
of the expressive possibilities of the human body at its extremes. Since 2006 Circa has toured to 28 countries across six continents. Circa’s work has been rapturously received by audiences, presenters and critics around the world. Critics have raved about Circa calling the work “stunning...exquisite... heartstopping” and “electrically charged.” Circa’s current touring shows span diverse contexts from works for families in traditional arts centers to European contemporary arts festivals. Its works are highly innovative genrebending pieces that stretch the practice and perceptions of circus. Circa features a full-time ensemble, a concentrated administrative team and a dedicated circus studio. Circa’s touring program in 2012 reached more than 145,000 audience members locally, nationally and internationally. Circa also runs a Training Centre with an impressive workshop program in Brisbane at our professional studio, in schools and with partners throughout Queensland and beyond. On top of our term based and oneoff training activities, Circa has an impressive track record of producing quality workshops for children, young people and adults in a range of community contexts. In 2012 Circa’s Training Centre programs reached an audience of more than 26,000 people.
CIRCA NATHAN BOYLE has been a natural performer his whole life. After terrorising his parents at a young age with handstands and cartwheels, his parents saw his passion for performing and acrobatics and enrolled him in gymnastics. His passion for acrobatics took him to sports acrobatics where he represented and won titles for New South Wales at many national championships. After accepting his position at The National Institute of Circus Arts, (NICA) Nathan specialised in cloudswing, adagio, bungee trapeze and teeterboard. A memorable moment for Nathan whilst at NICA was performing at an International Circus Festival (CIRCA festival) in Auch, France in 2009. Nathan joined Circa as a full-time ensemble member in 2011 and has since entertained audiences nationally and internationally. Some highlights for Nathan so far has been creating and world premiering S at Brisbane Festival and travelling around Australia performing CIRCA on the National Roadworks Tour in 2012. He is excited for all the new adventures still to come. JESSICA CONNELL completed a diploma in circus arts at the National Institute of Circus Arts (NICA) in Melbourne. Formerly a member of the Flying Fruit Fly Circus specializing in hula-hoops and aerials, Jessica spent five years performing around Australia in a variety of productions. She also contributed to A4’s first production, Downpour in 2009. In 2011 Jessica joined Circa where she was part of an eight-month season of Wunderkammer at the Chamäleon Theatre in Berlin. She then performed a threemonth Australian regional tour of the Helpmann Award-winning show CIRCA. Jessica says one of her highlights was world premiering S at the Brisbane Festival in September 2012, which was her first new creation with the company. Jessica is excited to continue touring with Circa in 2014. CASEY DOUGLAS was born in Perth, Western Australia. Right from the start, he was a hyperactive child playing all the sports possible, leading him to 10 years as a competitive gymnast.
After completing his degree at the National Institute of Circus Arts (NICA) he received a grant for a training project in France where he completed further studies with seven handstand professors from around the European Federation of Professional Circus Schools (FEDEC). On returning to Melbourne, Casey ran Hardy Street Productions, a Circus Training and Arts Centre before becoming a founding member of ThisSideUp Acrobatics. Where he performed in France, London, Edinburgh Fringe, Watch This Space and Galway International Art Festivals. ThisSideUp was also commissioned by the Sydney Festival to create Smoke and Mirror, which won Best New Australian Work, Best Cabaret Performer and Best New Score in the prestigious Helpmann Awards. Casey joined the Circa ensemble in 2012 and is looking forward to the new challenges Circa will bring his way, both for his mind and his body.
DANIEL O’BRIEN, born in 1992, has been physically active throughout his whole life, primarily focusing on his gymnastics training in his hometown and a few small gyms along the Queensland coastline. After high school Daniel made a decision to transition from the sport of gymnastics to a possible career in circus performance. He decided to move to Melbourne and study at the National Institute of Circus Arts (NICA), specialising in hand-balancing and aerial straps, where he gained his first experiences as a performer. Daniel spends his spare time feeding his unhealthy addiction to video games or reading whatever he can get his hands on. After attending NICA for three years, Daniel has fostered an immense passion for circus, honed his skills to a level that has allowed him to join Circa as an ensemble member, and is excited to see what new and exciting skills he can bring to the company in 2014. BRITTANNIE PORTELLI has more than 10 years experience in elite sport, and so had the perfect foundations to transition into circus. After competing internationally in both aerobic gymnastics and synchronized swimming, she wanted to combine her love for physical movement
with her passion for performing. She completed the three-year Bachelor Degree Program at the National Institute of Circus Arts (NICA) in 2010 where she specialised as an aerialist. Shortly after graduating, at the age of 20, she started working with Circa as a full-time ensemble member. Whilst at Circa, Britt has toured extensively and has many highlights including 3 Helpmann awards, an eightmonth season of Wunderkammer at the Chamaleon Theater in Berlin, an Australian tour of CIRCA and performing in New York City and Montreal. Britt was involved in the creation and premiere of S at the Brisbane Festival 2012 as well as one of the 14 acrobats to perform in the world premiere of Opus.
KIMBERLEY ROSSI grew up competing in athletics and playing representative AFL. After seeing one of Circa’s show’s, Kimberley joined Circa’s youth performance troupe Circa Zoo. After two years of training and performing Kimberley was given the opportunity to be the very first member of fast track, a program designed for young and aspiring performers within Circa. In 2011 Kimberley left Circa Zoo and fast track and became a full-time ensemble member. Since then Kimberley has toured numerous shows in various countries. One of her highlights was performing Wunderkammer at the Sydney Opera House. Kimberley is excited about her career with Circa and cannot wait to see what the future brings. DUNCAN WEST started his working life as a fireman, somewhere along the way he realised that the fun parts were climbing trees, breaking into peoples houses (helpfully, mostly to save babies), carrying people and anything involving a ladder. Seeking greener fields he briefly considered a career in petty larceny but instead segued smoothly (via numerous face plants) into circus. A relative newcomer to the circus world he follows bravely in the footsteps of his younger brother, jumping nervously at funny noises and giving in to the occasional urge to put strange things up his nose. He hopes to return to the Fire Brigade one day with many new and exciting skills to apply. Duncan appears courtesy of Fire and Rescue New South Wales encoremediagroup.com 49
THE ART OF GIVING The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives. Annual donations to the Mondavi Center directly support our operating budget and
are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.
For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.
COLORATURA CIRCLE $50,000 AND ABOVE
John and Lois Crowe *
Barbara K. Jackson†* Anonymous
†
Patti Donlon
†
IMPRESARIO CIRCLE $25,000 – $49,999
Friends of Mondavi Center Anne Gray †*
Wendell Jacob Larry and Rosalie Vanderhoef †*
VIRTUOSO CIRCLE $15,000 – $24,999
Joyce and Ken Adamson Ann and Gordon Getty Foundation 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 Wanda Lee Graves Dean and Karen Karnopp†* Hansen Kwok Nancy Lawrence, Gordon Klein, and Linda Lawrence†
Verne Mendel* M.A. Morris Gerry and Carol Parker Carole Pirruccello, John and Eunice Davidson Fund Grace and John Rosenquist† Dick and Shipley Walters* Anonymous
BENEFACTOR CIRCLE $6,500 – $9,999
Garry Maisel† Stephen Meyer and Mary Lou Flint† Suzanne and Brad Poling Randall E. Reynoso and Martin Camsey† Raymond Seamans Jerry and Helen Suran*
Camille Chan Michael and Betty Chapman† Eric and Michael Conn Cecilia Delury and Vince Jacobs† Samia and Scott Foster Benjamin and Lynette Hart* Lorena Herrig* Margaret Hoyt †
† Mondavi Center Advisory Board Member 50 MONDAVIARTS .ORG
* Friends of Mondavi Center
PRODUCERS CIRCLE
$3,250 – $6,499
Neil and Carla Andrews Jeff and Karen Bertleson Charitable Fund Hans Apel and Pamela Burton Daniel Benson Cordelia S. Birrell Neil and Joanne Bodine Brian Tarkington and Katrina Boratynski California Statewide Certified Development Corp. Cantor & Company, A Law Corporation Robert and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Claudia Coleman Martha Dickman* Nancy DuBois* Wayne and Shari Eckert Merrilee and Simon Engel Charles and Catherine Farman Ron Fisher and Pam Gill-Fisher* 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 John and Regina Hamel Judith and William Hardardt* Dee Hartzog Cameron and Clare Hasler-Lewis The One and Only Watson Charles and Eva Hess In Memory of Christopher Horsley* Ronald and Lesley Hsu Teresa Kaneko* Linda P.B. Katehi and Spyros I. Tseregounis Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Allan and Claudia Leavitt Robert and Barbara Leidigh Yvonne LeMaitre Joe and Shirley LeRoy Nelson Lewallyn and Marion Pace-Lewallyn Paul and Diane Makley* In Memory of Jerry Marr Grant and Grace Noda* Alice Oi Susan Strachan and Gavin Payne David Rocke and Janine Mozée Roger and Ann Romani* Hal and Carol Sconyers* Ellen Sherman Wilson and Kathryn Smith Tom and Meg Stallard* Tom and Judy Stevenson* Donine Hedrick and David Studer Rosemary and George Tchobanoglous Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Patrice White Robert and Joyce Wisner* Richard and Judy Wydick Yin and Elizabeth Yeh And 3 donors who prefer to remain anonymous
DIRECTOR CIRCLE
$1,250 – 3,249
Michelle Adams Ezra and Beulah Amsterdam Elizabeth and Russell Austin Laura and Murry Baria* Lydia Baskin* Drs. Noa and David Bell Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Rosa Marquez and Richard Breedon
Irving and Karen Broido* Robert Burgerman and Linda Ramatowski Jim and Susie Burton Davis and Jan Campbell Kyra and Ken Carson William and Susan Chen Simon Cherry and Laura Marcu Community Foundation for Greater New Haven David J. Converse, ESQ. Jim and Kathy Coulter* John and Celeste Cron* Terry and Jay Davison Bruce and Marilyn Dewey Dotty Dixon* DLMC Foundation Richard and Joy Dorf* Domenic and Joan Favero Sandra and Steven Felderstein Nancy McRae Fisher Doris and Earl Flint 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 John and Patty Goss* Jack and Florence Grosskettler* Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy In Honor of Barbara K. Jackson Ruth W. Jackson Clarence and Barbara Kado Barbara Katz Charlene R. Kunitz Mary Jane Large and Marc Levinson Frances and Arthur Lawyer* Hyunok Lee and Daniel Sumner Sally Lewis Lin and Peter Lindert David and Ruth Lindgren Spencer Lockson and Thomas Lange Angelique Louie Mr. and Mrs. Richard Luna Natalie and Malcolm MacKenzie* Debbie and Stephen WadsworthMadeiros Debbie Mah and Brent Felker* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Janet Mayhew* In memory of William F. McCoy Robert and Helga Medearis Joy Mench and Clive Watson John Meyer and Karen Moore Judith and Eldridge Moores Barbara Moriel Augustus and Mary-Alice Morr Patricia and Surl Nielsen John Pascoe and Sue Stover John and Misako Pearson Bonnie A. Plummer* Prewoznik Foundation Linda and Lawrence Raber* Lois and Dr. Barry Ramer John and Judith Reitan Kay Resler* Christopher Reynolds and Alessa Johns Tom Roehr Don Roth and Jolán Friedhoff Liisa Russell Ed and Karen Schelegle The Schenker Family
Neil and Carrie Schore Bonnie and Jeff Smith Ronald and Rosie Soohoo* Edward and Sharon Speegle Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick M. Stratton Edward Telfeyan and Jerilyn PaikTelfeyan Jennifer Thornton and Brandt Schraner Rovida Mott and Denise Verbeck Gretel and Geoffrey WandesfordSmith Dan and Ellie Wendin* Dale L. and Jane C. Wierman And 8 donors who prefer to remain anonymous
ENCORE CIRCLE
$600 – $1,249
The Aboytes Family Michael and Shirley Auman* Robert and Susan Benedetti Don and Kathy Bers* Muriel Brandt Dolores and Donald Chakerian John and Joan Chambers* Gale and Jack Chapman Robert D. and Nancy Nesbit Crummey Sharon Cuthbertson* John and Cathie Duniway John and Pamela Eisele Murray and Audrey Fowler Professor Andy and Wendy Huang Frank Paul and E. F. Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Lenonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Robert and Barbara Jones Paula Kubo Ruth Lawrence Dr. Henry Zhu and Dr. Grace Lee Michael and Sheila Lewis* Maria M. Manoliu Gary C. and Jane L. Matteson Don and Sue Murchison Bob and Kinzie Murphy Richard and Kathleen Nelson Linda Orrante and James Nordin Frank Pajerski Harriet Prato Larry and Celia Rabinowitz J. and K. Redenbaugh Ken Gebhart and Rhonda Reed Tracy Rodgers and Richard Budenz Jeep and Heather Roemer Tom and Joan Sallee Dwight E. and Donna L. Sanders Karen Zito and Manuel Calderon De La Barca Sanchez Shepard Gusfield Family Fund Betsy and Michael Singer Jeannie and Bill Spangler 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 Ardath Wood Paul Wyman The Yetman Family Karl and Lynn Zender And 4 donors who prefer to remain anonymous
ORCHESTRA CIRCLE
$300 – $599
Mitzi Aguirre Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Elinor Anklin and George Harsch Rick and Dian Baker Antonio and Alicia Balatbat* Cynthia Bates Delee and Jerry Beavers Carol Beckham and Robert Hollingsworth Carol L. Benedetti Al J. Patrick, Attorney at Law Elizabeth Bradford Paul Braun Margaret E. Brockhouse Christine and John Bruhn Jackie Caplan Michael and Louise Caplan Anne and Gary Carlson Bruce and Mary Alice Carswell* Amy Chen and Raj Amirtharajah John Chuchel Betty M. Clark James Cothern David and Judy Covin Larry Dashiell and Peggy Siddons Micki and Les Faulkin Julia and Jay-Allen Eisen Janet Feil David and Kerstin Feldman Helen Ford Lisa Foster and Tom Graham William E. Behnk and Jennifer D. Franz Gloria G. Freeman Sevgi and Edwin Friedrich* Marvin and Joyce Goldman Judy and Gene Guiraud Darrow and Gwen Haagensen Sharon and Don Hallberg Marylee Hardie Jacqueline Harris Miriam and Roty Hatamiya Cynthia Hearden* Paul and Nancy Helman Jeannette E. Higgs* Bryan Holcomb Kenneth and Rita Hoots* Steve and Nancy Hopkins Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Nancy Gelbard and David Kalb Peter Kenner Joseph Kiskis and Diana Vodrey Susan Kauzlarich and Peter Klavins Paul Kramer Allan and Norma Lammers Irene Lara Darnell Lawrence Carol Ledbetter Stanley and Donna Levin Barbara Levine Mary Ann and Ernest Lewis* Robert and Betty Liu The Lufburrow Family Jeffrey and Helen Ma Bunkie Mangum Pat Martin* Robert Mazalewski Catherine McGuire Roland and Marilyn Meyer Nancy Michel Marcie Mortensson Robert and Susan Munn* William and Nancy Myers Douglas Neuhauser and Louise Kellogg Bill and Anna Rita Neuman Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker Harry Phillips Jerry L. Plummer John and Deborah Poulos John and Alice Provost Evelyn and Otto Raabe
J. David Ramsey John and Rosemary Reynolds Guy and Eva Richards Dr. Ronald and Sara Ringen Sharon and Elliot Rose Alan and Barbara Roth Tamra and Bob Ruxin Mark and Ita Sanders* Eileen and Howard Sarasohn John and Joyce Schaeuble Barbara Sheldon James Smith Judith Smith Al and Sandy Sokolow Tim and Julie Stephens Karen Street* Pieter Stroeve, Diane Barrett and Jodie Stroeve Tony and Beth Tanke Cap and Helen Thomson Virginia Thresh Dennis and Judy Tsuboi Peter and Carolyn Van Hoecke Ann-Catrin Van Ph.D. Don and Merna Villarejo Charles and Terry Vines Rita Waterman Charles White and Carrie Schucker Jim and Genia Willett Richard and Sally Yamaichi Iris Yang and G.R. Brown Jane Yeun and Randall Lee Phillip and Iva Yoshimura Ronald M. Yoshiyama Drs. Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous
MAINSTAGE CIRCLE
$100 – $299
Leal Abbott M. Aften Jill and John Aguiar Dorrit Ahbel Susan Ahlquist Suzanne and David Allen Jacqueline Ames David and Penny Anderson Dawnie Andrak Alex and Janice Ardans Debbie Arrington Jerry and Barbara August George and Irma Baldwin Charlotte Ballard and Robert Zeff Diane and Charlie Bamforth* Elizabeth Banks Michele Barefoot and Luis PerezGrau Carole Barnes Paul and Linda Baumann Lynn Baysinger* Bee Happy Apiaries Mark and Betty Belafsky Merry Benard William and Marie Benisek Alan and Kristen Bennett Robert C. and Jane D. Bennett Mrs. Vilmos Beres Linda and William Bernheim Bevowitz Family Boyd and Lucille Bevington Dr. Robert and Sheila Beyer John and Katy Bill Andrea Bjorklund and Sean Duggan Sam and Caroline Bledsoe Fred and Mary Bliss Bill Bossart Brooke Bourland* Jill and Mary Bowers Alf and Kristin Brandt Robert and Maxine Braude Dan and Mildred Braunstein* Frank Brown, MD Valerie and David Brown Alan Brownstein 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 Helen Campbell Lita Campbell* Jean Canary Tony Cantelmi John and Nancy Capitanio Michael and Susan Carl Carolyn Chamberlain Dorothy Chikasawa* Richard and Arden Christian Gail Clark L. Edward and Jacqueline Clemens Bill and Linda Cline Stephan Cohen Stuart and Denise Cohen Wayne Colburn Sheri and Ron Cole Collected Works Gifts, LLC Steve and Janet Collins David Combies and Loretta Smith Patricia Conrad Terry and Marybeth Cook Nicholas and Khin Cornes Fred and Ann Costello Catherine Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan Fitz-Roy and Susan Curry Robert Bushnell, DVM and Elizabeth Dahlstrom-Bushnell John and Joanne Daniels Kim Uyen Dao* Judy and David Day Lynne de Bie* Carl and Voncile Dean Steven E. Deas Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* Richard Doughty Mr. and Mrs. John Drake Anne Duffey Marjean DuPree Harold and Anne Eisenberg Eliane Eisner Allen Enders Sidney England and Randy Beaton Roberta Erb Carol Erickson and David Phillips Nancy and Don Erman Lynette Ertel* Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Cheryl and David Felsch Liz and Tim Fenton* Joshua Fenton and Lisa Baumeister Steven and Susan Ferronato Dave Firenze Kieran and Marty Fitzpatrick David and Donna Fletcher Walter Ford Marion Franck and Bob Lew Anthony and Jorgina Freese Larry Friedman and Susan Orton Kerim and Josina Friedrich Joan Futscher Myra A. Gable Lillian Gabriel Claude and Nadja Garrod Peggy Gerick Gerald Gibbons and Sibilla Hershey Elizabeth Gibson Mary Lou and Robert Gillis Barbara Gladfelter Eleanor Glassburner Louis J. Fox and Marnelle Gleason* Pat and Bob Gonzalez* Michele Tracy and Dr. Michael Goodman
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THE ART OF GIVING Jeffrey and Sandra Granett Steve and Jacqueline Gray* Mary Louise Greenberg Paul and Carol Grench Alex and Marilyn Groth Wesley and Ida Hackett* Paul W. Hadley Jane and Jim Hagedorn Frank and Rosalind Hamilton William Hamre Pat and Mike Handley Jim and Laurie Hanschu Susan and Robert Hansen Vera Harris Sally Harvey* Buzz Haughton Mary Helmich Joan Williams and Martin Helmke Roy and Dione Henrickson Rand and Mary Herbert Eric Herrgesell, DVM Fred Taugher and Paula Higashi Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Michael and Margaret Hoffman David and Gail Hulse Eva Peters Hunting Patricia Hutchinson* Lorraine Hwang Marta Induni Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Mun Johl Phil and Carole Johnson Michelle Johnston and Scott Arranto Warren and Donna Johnston Valerie Jones Jonsson Family* Andrew and Merry Joslin James Anthony Joye Martin and JoAnn Joye* Fred and Selma Kapatkin Tim and Shari Karpin Yasuo Kawamura Phyllis and Scott Keilholtz* Charles Kelso and Mary Reed Dr. Michael Sean Kent Robert and Cathryn Kerr
Pat Kessler Jeannette Kieffer Gary and Susan Kieser Larry Kimble and Louise Bettner Dr. and Mrs. Roger Kingston Dorothy Klishevich* Mary Klisiewicz Paulette Keller-Knox Winston and Katy Ko Marcia and Kurt Kreith Sandra Kristensen Elizabeth and C.R. Kuehner Leslie Kurtz Cecilia Kwan Ray and Marianne Kyono Bonnie and Kit Lam* Marsha M. Lang Susan and Bruce Larock Leon E. Laymon Marceline Lee and Philip Smith The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn Lewis David and Susan Link Motoko Lobue Mary Lowry Henry Luckie Ariane Lyons Edward and Susan MacDonald Leslie Macdonald and Gary Francis Kathleen Magrino* Alice Mak and Wesley Kennedy Vartan Malian Joseph and Mary Alice Marino Pamela Marrone and Michael J. Rogers David and Martha Marsh J. A. Martin Bob and Vel Matthews Leslie and Michael Maulhardt Katherine Mawdsley* Sean and Sabine McCarthy Karen McCluskey* Nora McGuinness* Dr. Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry
CORPORATE MATCHING GIFTS
In Honor of Werner Paul Harder, II DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Fred and Linda J. Meyers* Beryl Michaels and John Bach Lisa Miller Phyllis Miller Sue and Rex Miller Douglas L. Minnis Kathy and Steve Miura* Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Elaine and Ken Moody Amy Moore Hallie Morrow Diane and William Muller Judith and Terry Murphy Elaine Myer Nachtergaele-Devos Judy and Merle Neel Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Jenifer Newell Keri Mistler and Dana Newell* Malvina and Eugene Nisman Nancy Nolte and James Little Dana K. Olson Jim and Sharon Oltjen Marvin O’Rear Bob and Elizabeth Owens Jessie Ann Owens Mike and Carlene Ozonoff* Pamela Pacelli Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Brenda Davis and Ed Phillips Pat Piper Drs. David and Jeanette Pleasure Jane Plocher Vicki and Bob Plutchok Mark Powers Jerry and Bea Pressler Dr. and Ms. Rudolf Pueschel
LEGACY CIRCLE
Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.
We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.
Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Bob and Barbara Leidigh Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Anonymous
ARTISTIC VENTURES FUND
John and Lois Crowe Patti Donlon Richard and Joy Dorf Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef
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, please contact Ali Morr Kolozsi, Director of Major Gifts and Planned Giving (530.754.5420 or amkolozsi@ucdavis.edu ).
Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. 52 MONDAVIARTS .ORG
Mary Superak Joyce Nao Takahashi Yayoi Takamura and Jeff Erhardt Stewart and Ann Teal* Julie A. Theriault, PA-C Janet and Karen Thome Brian Toole Robert and Victoria Tousignant Michael and Heidi Trauner Rich and Fay Traynham James Turner Barbara and Jim Tutt Robert and Helen Twiss Nancy Ulrich* Unda/Serat Family Chris and Betsy Van Kessel Robert Vassar Bart and Barbara Vaughn* Catherine Vollmer Rosemarie Vonusa* Carolyn Waggoner and Rolf Fecht* Kim and James Waits M. Wakefield and Wm Reichert Carol Walden Andy and Judy Warburg Valerie Boutin Ward Marny and Rick Wasserman Royce and Caroline Waters Dr. Fred and Betsy Weiland Jack and Rita Weiss Douglas West Martha S. West Robert and Leslie Westergaard* Edward and Susan Wheeler Linda K. Whitney Jean and Don Wigglesworth Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Heather Young Phyllis Young Verena Leu Young Sandra A. Zachery Melanie and Medardo Zavala Darrel and Phyllis Zerger* Sonya and Tim Zindel Dr. Mark and Wendy Zlotlow And 37 donors who prefer to remain anonymous
Thank you to the following donors for their program gifts during the past fiscal year:
Chevron/Texaco Matching Gift Fund DST Systems Morgan Stanley U.S. Bank
We applaud our Artistic Ventures Fund’s founding members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies and programs made available free to the public.
Edward and Jane Rabin Dr. Anne-Louise and Dr. Jan Radimsky Mary Ralli Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Sandra Erslsine Reese Fred and Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Francis Resta David and Judy Reuben* Al and Peggy Rice Stephen Michael Rico Jeannette and David Robertson Alice and Richard Rollins Richard and Evelyne Rominger Andrea G. Rosen Linda Roth and Teddy Wilson Cathy and David Rowen Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Dr. Terry Sandbek and Sharon Billings* Patsy Schiff Julie Schmidt Janis J. Schroeder and Carrie L. Markel Jenifer and Bob Segar Dan Shadoan and Ann Lincoln Nancy Sheehan and Rich Simpson Mamie Shen Jill and Jay Shepherd Valerie Brown and Ed Shields Jane and Ray Shurtz Consuelo Sichon Sandi and Clay Sigg Dan and Charlene Simmons P. and C. Simpson Marion E. Small Robert Snider Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Marguerite Spencer Stephen Sporer Miriam Steinberg Harriet Steiner and Miles Stern Raymond Stewart Deb and Jeff Stromberg
YOUNG ARTISTS COMPETITION AND PROGRAM
John and Lois Crowe Merrilee and Simon Engel
Mary B. Horton Barbara K. Jackson
ARTS EDUCATION STUDENT TICKET PROGRAM
Donald and Dolores Chakerian Members of The Friends of Mondavi Center Carole Pirruccello, John and Eunice Davidson Fund Sharon and Elliott Rose
DANCE FOR PARKINSON’S PROGRAM
Tom and Lynda Cadman Douglas Clarke In Memory of Virginia Fong Gerald Hayward William and Madeleine Kenefick John Springer and Melourd Lagdamen Phyllis and Sunny Lee Jean Malamud Joy McCarthy Mia McClellan
David and Connie McKie Edward Melia and Elaine Silver-Melia Sybil and Jerry Miyamoto Maureen and Harvey Olander Parkinson’s Association of Northern California Mary and Edward Schroeder Samuel and Lynne Wells John Whitted Barbara Wilson
UC DAVIS STUDENT MEMBERSHIP PROGRAM
Eric Joshua Smith
BOARDS & COMMITTEES
MONDAVI CENTER ADVISORY BOARD
The Mondavi Center Advisory Board is a support group of University Relations whose primary purpose is to provide assistance through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.
13–14 ADVISORY BOARD MEMBERS Joe Tupin, Chair • John Crowe, Immediate Past Chair Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry Maisel • Stephen Meyer • Randy Reynoso • Grace Rosenquist • John Rosenquist • Joan Stone • Tony Stone • Larry Vanderhoef HONORARY MEMBERS Barbara K. Jackson • Margrit Mondavi
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. 13–14 COMMITTEE MEMBERS Lee Miller • Jim Forkin • Erin Jackson • Sharon Knox • Eleanor McAuliffe • Marta Altisent • Charles Hunt • Gabrielle Nevitt • Burkhard Schipper • Christine Chang • Timothy Colopy • Daniel Friedman • Susan Perez • Lauren Perry • Don Roth • Jeremy Ganter • Erin Palmer • Becky Cale
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. 13–14 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Jo Anne Boorkman, President Sandi Redenbach, Vice President Jo Ann Joye, 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 Shirley Auman, Gift Shop, Ex-Officio
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
Friends
of Mondavi Center
is an active donor-based volunteer organization that supports activities of Mondavi Center’s presenting program.
Gift Shop at Mondavi Center The Gift Shop at the Mondavi Center is located in the southeast corner of the Yocha Dehe Grand Lobby. The Gift Shop is currently stocking new and festive holiday merchandise and is open prior to and during intermission for performances in Jackson Hall. Managed and staffed by Friends of Mondavi Center, the Gift Shop is a friendly gathering spot and perfect place to shop for a special gift. We hope to see you there! All profits from the Gift Shop help to support Mondavi Center’s Arts Education program. For more information regarding the Friends of Mondavi Center, call the Mondavi Center Arts Education Coordinator at 530.754.5431 encoremediagroup.com 53
POLICIES & INFORMATION TICKET EXCHANGE • Tickets must be exchanged at least one business day prior to the performance. • Tickets may not be exchanged after the performance date. • There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers. • If you exchange for a higher-priced ticket, the difference will be charged. The difference between a higher and a lowerpriced 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 $8 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.
Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.
CHILDREN (AGE 17 AND UNDER) A ticket is required for admission of all children regardless of age. Any child attending a performance should be able to sit quietly through the performance. For events other than the Children’s Stage Series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend.
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 email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.
GROUP DISCOUNTS
TOURS
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.
Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.
STUDENT TICKETS
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,
UC Davis students are eligible for a 50% discount on all available tickets. Proof Requirements: School ID showing validity for the current academic year. Student ID numbers may also be used to verify enrollment. Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on all available tickets. (Continuing education enrollees are not eligible.)
54 MONDAVIARTS .ORG
ACCOMMODATIONS FOR PATRONS WITH DISABILITIES
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