Lawrence Brownlee, tenor and Eric Owens, bass-baritone Program

PROGR A M

Lawrence Brownlee, tenor and Eric Owens, bass-baritone Myra Huang piano MONDAY, MARCH 11, 2019 • 7PM Jackson Hall, UC Davis Sponsored by

Presented in tribute to Barbara K. Jackson, a founding philanthropist of the Mondavi Center, whose support helped make this concert possible.

Barbara K. Jackson 1918–2018 Pre-Performance Talk: 6PM • Jackson Hall Speaker: Kevin Doherty, Morning Classical Host, Capital Public Radio

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R O B E R T A N D M A R G R I T M O N DAV I C E N T E R F O R T H E P E R F O R M I N G A R T S P R E S E N T S

Lawrence Brownlee, tenor and Eric Owens, bass-baritone Myra Huang piano PROGRAM

“Se vuol ballare” from Le nozze di Figaro

Eric Owens, bass-baritone

Wolfgang Amadeus Mozart (1756–1791)

“Il mio tesoro” from Don Giovanni Mozart

Lawrence Brownlee, tenor “Infelice! E tuo crevedi” from Ernani

Eric Owens, bass-baritone

Guiseppe Verdi (1813–1901)

“Voglio dire” from L’elisir d’amore

Lawrence Brownlee, tenor

Gaetano Donizetti (1797–1848)

Eric Owens, bass-baritone

“Una furtiva lagrima” from L’elisir d’amore Donizetti

Lawrence Brownlee, tenor “Le veau d’or” from Faust

Eric Owens, bass-baritone

Charles François Gounod (1818–1893)

“Ah! mes amis” from La Fille du Régiment Donizetti

Lawrence Brownlee, tenor “Au fond du temple saint” from Les Pêcheurs de Perles

Lawrence Brownlee, tenor

Georges Bizet (1838–1875)

Eric Owens, bass-baritone

INTERMISSION

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

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TRADITIONAL SPIRITUALS All Night, All Day

Lawrence Brownlee, tenor

Traditional (arr. Damien Sneed)

Deep River Eric Owens, bass-baritone

Traditional (arr. Hall Johnson)

Come By Here

Lawrence Brownlee, tenor

Traditional (arr. Damien Sneed)

Give Me Jesus

Traditional

Eric Owens, bass-baritone

He’s Got the Whole World in His Hand

Lawrence Brownlee, tenor

Eric Owens, bass-baritone

(arr. Margaret Bonds and Craig Terry)

AMERICAN POPULAR SONGS

Song of Songs Lawrence Brownlee, tenor

Harold Vicars and Clarence Lucas (arr. Craig Terry)

Eric Owens, bass-baritone

Lulu’s Back in Town Lawrence Brownlee, tenor

Harry Warren and Al Dubin (arr. Craig Terry)

Dolores Lawrence Brownlee, tenor

Frank Loesser and Louis Alter (arr. Craig Terry)

Eric Owens, bass-baritone

Some Enchanted Evening

Eric Owens, bass-baritone Through the Years

Lawrence Brownlee, tenor

Eric Owens, bass-baritone

Richard Rodgers and Oscar Hammerstein

Vincent Youmans and Edward Heyman

GOSPEL FAVORITES

I Don’t Feel No Ways Tired

Lawrence Brownlee, tenor

James Cleveland

Every Time I Feel the Spirit

Lawrence Brownlee, tenor

Eric Owens, bass-baritone

Traditional

Lawrence Brownlee and Eric Owens appear by arrangement with IMG Artists, 7 West 54th Street, New York, NY 10019. Tel: 212.994.3500.

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PROGRAM NOTES “SE VUOL BALLARE” (“IF YOU FEEL LIKE DANCING”) FROM THE MARRIAGE OF FIGARO (1785-1786) WOLFGANG AMADEUS MOZART (Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna) The philandering Count Almaviva has targeted as his next conquest his wife’s maid, Susanna, before her impending marriage to his valet, Figaro. The Count’s intentions are clear to Figaro and his fiancée, however, so Figaro sings the slyly ironic Se vuol ballare (“If you feel like dancing, my dear Count, I’ll call the tune”) to announce that he will frustrate the machinations of his boss.

“IL MIO TESORO” FROM DON GIOVANNI (1787) WOLFGANG AMADEUS MOZART At the beginning of the opera, Don Giovanni slays the Commendatore during an attempt to abduct his daughter, Donna Anna. Anna’s fiancé, Don Ottavio, vows vengeance on the murderer. In Act II, Ottavio has an encounter with a disguised figure he believes to be Giovanni, but who reveals himself to be Giovanni’s valet, Leporello. Leporello offers a nervous explanation and escapes. Ottavio sings of his love for Anna in the aria Il mio tesoro before leaving to present his evidence of Giovanni’s guilt to the authorities.

“INFELICE! E TUO CREVEDI” FROM ERNANI (1844) GIUSEPPE VERDI (Born October 10, 1813 in Le Roncole, Italy Died January 27, 1901 in Milan) Elvira has been promised in a political marriage to the aged Spanish grandee Silva, whom she does not love. Ernani, the man she wishes to marry, promises to save her from the match. Another suitor, Don Carlos, the King of Castile, comes to Elvira in disguise and tries to make love to her. Ernani suddenly appears, but so does Silva, who laments his situation in Infelice! E tuo credevi — Unhappy man! And you believed yours such a beautiful, immaculate lily.

“VOGLIO DIRE” AND “UNA FURTIVA LAGRIMA” FROM L’ELISIR D’AMORE (“THE ELIXIR OF LOVE”) (1832) GAETANO DONIZETTI The gentle villager Nemorino is in love with Adina, and he is upset by her apparent indifference to him. In hope of enhancing his attractiveness to her, he buys a bottle of “magic love elixir”—actually, just cheap Bordeaux—from the quack Dr. Dulcamara. In the sprightly duet Voglio dire (“I mean the marvelous elixir that awakens love”), Nemorino expresses his thanks and Dulcamara candidly reveals his eagerness to get out of town before his scheme is discovered. Nemorino is mobbed by young girls (who have just learned that his recently deceased uncle has left Nemorino his fortune), and thinks that he detects a hint of jealousy in Adina. When she

still remains aloof, however, he sings of his feelings in the poignant aria Una furtiva lagrima (“A furtive tear”). Adina relents and admits her love. The couple are betrothed as the curtain falls.

“LE VEAU D’OR” (“THE GOLDEN CALF”) FROM FAUST (1852–1859) CHARLES FRANÇOIS GOUNOD (Born June 17, 1818 in St. Cloud Died October 18, 1893 in Paris) The aged Faust has signed away his soul to the devil, Mephistopheles, in exchange for the return of his long-lost youth. Faust and Mephistopheles set out on their adventures and come to a village fair, where Wagner, a young soldier, is singing a comic song about a rat. Mephistopheles cuts him off.

“I can sing a better song than that,” he boasts, and launches into a cynical aria (“The Golden Calf”) about mankind’s worship of Mammon.

“AH! MES AMIS” FROM LA FILLE DU RÉGIMENT (“THE DAUGHTER OF THE REGIMENT”) (1839) GAETANO DONIZETTI (Born November 29, 1797 in Bergamo, Italy Died there April 1, 1848) Maria, a girl of uncertain parentage, was found on a battlefield and raised by the French 21st Regiment. During the French campaign into the Tyrolean Alps, Maria falls in love with a local villager, Tonio, who saved her from slipping over a dangerous precipice when she was picking flowers. French soldiers arrest Tonio, thinking he is a spy because of his lurking about camp to catch a glimpse of Maria, but she clears him of any guilt by explaining that he saved her life. Maria and Tonio declare their love. The soldiers insist that Maria may only marry a member of the regiment, however, so Tonio enlists and greets his new comrades in the aria Ah! mes amis.

“AU FOND DU TEMPLE SAINT” (“AT THE FOOT OF THE HOLY TEMPLE”) FROM LES PÊCHEURS DE PERLES (“THE PEARL FISHERS”) (1863) GEORGES BIZET (Born October 25, 1838 in Paris Died June 3, 1875 in Bougival, near Paris) The Pearl Fishers is set in some mythical time on a wild beach on the island of Ceylon. The hunter Nadir comes to visit, and he is invited to stay by his friend Zurga, chief of the village.

They recall their last trip together, on which they happened upon a temple where Léïla, a beautiful young priestess, was conducting a religious ceremony. Both men had fallen in love with her, but, in the duet Au fond du temple saint they promise to avoid her lest she should trouble their friendship. Later, Nadir reveals that he had broken that vow, and as the tale unfolds, Nadir and Léïla plan to run off together but they are stopped by Zurga, who allows them to flee when he discovers (through the improbable plot device of a necklace he had given to her) that Léïla had saved his life many years before.

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SPIRITUALS AND GOSPELS A spiritual is a type of religious folksong that is most closely associated with the enslavement of African people in the American South. The songs proliferated in the last few decades of the eighteenth century leading up to the abolishment of legalized slavery in the 1860s. The African American spiritual constitutes one of the largest and most significant forms of American folksong.

The term “spiritual” is derived from the King James Bible translation of Ephesians 5:19: “Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord.” The form has its roots in the informal gatherings of African slaves in “praise houses” and outdoor meetings called “brush arbor meetings,” “bush meetings,” or “camp meetings” in the eighteenth century.

At the meetings, participants would sing, chant, dance and sometimes enter ecstatic trances. Spirituals also stem from the “ring shout,” a shuffling circular dance to chanting and handclapping that was common among early plantation slaves. An example of a spiritual sung in this style is “Jesus Leads Me All the Way,” sung by Reverend Goodwin and the Zion Methodist Church congregation and recorded by Henrietta Yurchenco in 1970.

In Africa, music had been central to people’s lives: Music making permeated important life events and daily activities.

However, the white colonists of North America were alarmed by and frowned upon the slaves’ African-infused way of worship because they considered it to be idolatrous and wild.

As a result, the gatherings were often banned and had to be conducted in a clandestine manner. The African population in the American colonies had initially been introduced to Christianity in the seventeenth century. Uptake of the religion was relatively slow at first. But the slave population was fascinated by Biblical stories containing parallels to their own lives and created spirituals that retold narratives about Biblical figures like Daniel and Moses. As Africanized Christianity took hold of the slave population, spirituals served as a way to express the community’s new faith, as well as its sorrows and hopes. © Library of Congress

AMERICAN POPULAR SONGS SONG OF SONGS (1914) Music by Harold Vicars (Born in 1876 in London Died in 1922 in Providence, Rhode Island) Lyrics by Clarence Lucas (Born October 19, 1866 on the Six Nations Reserve in Ontario, Canada Died July 2, 1947 in Paris)

Harold Vicars, after his studies at King’s College, London and in Germany, established his reputation in his native England as an opera and music theater conductor and songwriter (he published under the pseudonym “Moya”) before moving to New York around 1910, where he worked as an orchestrator and music director for several Broadway productions before his death in 1922. Vicars is best remembered for his Song of Songs (1914), a setting of an English version by the Canadian composer, lyricist, conductor and music educator Clarence Lucas of the French lyrics for Maurice Vaucaire’s Chanson d’un Coeur Brisé (“Song of a Broken Heart”).

LULU’S BACK IN TOWN (1935) Music by Harry Warren (Born December 24, 1893 in Brooklyn, New York Died September 22, 1981 in Los Angeles) Lyrics by Al Dubin (Born June 10, 1891 in Zurich, Switzerland Died February 11, 1845 in New York City) Harry Warren was among those who polished Hollywood’s luster during the golden age of the movie musical. Warren, born (as Salvatore Antonio Guaragna) into an impoverished but music-loving Italian immigrant family in Brooklyn in 1893, taught himself piano and drums, and toured as a drummer with a brass band to carnivals up and down the East Coast as a teenager. After serving in the Navy at the end of World War I, he found work in New York as a silent-film pianist and song plugger for Tin Pan Alley. Warren quickly developed his innate ability as a tunesmith, and he turned out many songs (Nagasaki was the most successful) and contributed to the Shuberts’ revue Artists and Models of 1927 before succumbing in 1931 to the glittering allure of Hollywood. Darryl F. Zanuck hired Warren to write the music for the upcoming Warner Bros. musical Forty-Second Street, and he turned out an unforgettable score that included Shuffle Off to Buffalo, You’re Getting To Be A Habit With Me, Young and Healthy and the title song. Warren was one of Hollywood’s most successful—and prolific—songwriters for the next three decades, providing music for more than 60 feature films that introduced a wealth of fondly remembered songs: We’re in the Money, Boulevard of Broken Dreams, Lullaby of Broadway, Sweet and Low, Jeepers Creepers, You Must Have Been a Beautiful Baby, Chattanooga Choo-Choo, September in the Rain, There Will Never Be Another You, On the Atcheson, Topeka and the Santa Fe, That’s Amore, An Affair to Remember and scores more.

Lulu’s Back in Town was introduced by leading man Dick Powell as a cab driver who aspires to be a singer in the 1935 Warner Bros. screen musical Broadway Gondolier. The lyrics are by Broadway and Hollywood veteran Al Dubin, who collaborated with Warren on such other hits as Forty-Second Street, We’re in the Money, I Only Have Eyes for You, Lullaby of Broadway and Shuffle Off to Buffalo.

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DOLORES (1941) Music by Frank Loesser (Born June 29, 1910 in New York City Died there July 28, 1969) Lyrics by Louis Alter (Born June 18, 1902 in Haverhill, Massachusetts Died November 8, 1980 in New York City) Frank Loesser established a modest reputation as a lyricist in his native New York City before heading to Hollywood in 1936, where he scored his first hit the following year with Moon of Manakoora, written with composer Alfred Newman for the Dorothy Lamour picture Hurricane. Loesser started writing both music and lyrics with the 1939 Paramount film Seventeen, and went on to contribute songs to dozens of feature films, earning five Academy Award nominations and winning an Oscar in 1949 for Baby, It’s Cold Outside. He was lured back to New York in 1948 to provide music and lyrics for Where’s Charley?, which ran for 792 performances, made the irresistible Once in Love with Amy a hit, and led to Loesser’s next show—Guys and Dolls, which won five Tonys, including one for Best Musical, ran for three years, and continues to be regarded as one of the greatest American musicals. The Most Happy Fella followed in 1956 (five Tony nominations) and How to Succeed in Business Without Really Trying (seven Tonys, a Pulitzer Prize and a Grammy) in 1961.

Two weeks after Loesser died in 1969, Abe Burrows, author of the books for Guys and Dolls and How to Succeed, wrote, “Frank was one of the song men in the musical theater who ‘did it all,’ a man with the technique and talent to cover the whole range of what is needed to get a musical show on. Frank Loesser ranks with the greatest.”

Loesser composed Dolores for the 1941 Paramount comedy Las Vegas Nights, in which Frank Sinatra made his brief film debut singing I’ll Never Smile Again with the Tommy Dorsey Orchestra. (The film’s star, Bert Wheeler, introduced Dolores on screen with Dorsey’s band.) The lyrics are by pianist and songwriter Louis Alter, who, like Loesser, made his career on both coasts. Dolores earned Loesser the first of his five Oscar nominations.

“SOME ENCHANTED EVENING” FROM SOUTH PACIFIC (1949) Music by Richard Rodgers (Born June 28, 1902 in Hammels Station, Long Island, New York Died December 30, 1979 in New York City) Lyrics by Oscar Hammerstein II (Born July 12, 1895 in New York City Died August 23, 1960 in Doylestown, Pennsylvania) Oscar Hammerstein II based his book for South Pacific on James Michener’s Pulitzer Prize-winning collection of short stories Tales of the South Pacific (1946), which he drew from observations and anecdotes he collected as a U.S. Navy officer stationed in the Solomon Islands during World War II. South Pacific, with one of Richard Rodgers’ most memorable scores,

opened at the Majestic Theatre in New York on April 7, 1949 with a cast headed by Mary Martin as Nellie Forbush, a spunky but unsophisticated Navy nurse from Little Rock, Arkansas, and the great Metropolitan Opera baritone Ezio Pinza as Emile de Becque, a prosperous French planter long resident in the South Seas. The show won ten Tony Awards and the Pulitzer Prize for Drama, and ran on Broadway for nearly five years. Set on a U.S. Navy base in the South Pacific during 1942, the plot shows how Emile and Nellie fall in love despite the difference in their backgrounds and ages. In Some Enchanted Evening, Emile, keenly aware of his passing years and not wanting to lose this new-found love, sings to Nellie of the importance of following their feelings.

THROUGH THE YEARS (1932) Music by Vincent Youmans (Born September 27, 1898 in New York City Died April 5, 1946 in Denver) Lyrics by Edward Heyman (Born March 14, 1907 in New York City Died October 16, 1981 in Jalisco, Mexico) Vincent Youmans, born in New York in 1898, picked up his musical knowledge while working as a song plugger for the Tin Pan Alley firm of J.H. Remick, where he met George Gershwin. Youmans enlisted in the Navy during World War I, and wrote his first hit—Hallelujah—while playing piano in a band at the Great Lakes Naval Station. John Philip Sousa, then directing bands for both the Army and Navy, liked the number, played it often, and included it in the repertory for both ensembles. Youmans returned to Remick after the war, and, with Gershwin’s encouragement, wrote his first Broadway show, Two Little Girls in Blue, in 1922; Ira Gershwin provided the lyrics. Wildflower of 1923 (with Oscar Hammerstein II and Otto Harbach as collaborators) was a solid success, running for 447 performances. Youmans followed Wildflower with two of the 1920s’ biggest hits—No, No, Nanette (1925) and Hit the Deck (1927)—but his annual shows of the next five years fared poorly, and in 1933 he headed for Hollywood to score Flying Down to Rio for RKO (the screen debut of Fred Astaire and Ginger Rogers). The following year he developed tuberculosis, and moved to the then-pure air of Denver to recuperate. He longed for a return to the theater, but his health continued to deteriorate, and he died in Denver on April 5, 1946. Through the Years is the title song (and only remnant) of Youman’s eponymous musical of 1932, his last complete score for Broadway. The lyrics are by Edward Heyman, who wrote for stage and film and created the words for such hits as Body and Soul, When I Fall in Love and For Sentimental Reasons. ©2019 Dr. Richard E. Rodda

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TEXTS AND TRANSLATIONS

Mozart: “Se vuol ballare” from Le nozze di Figaro Bravo, signor padrone!

Ora incomincio a capir il mistero, e a veder schietto tutto il vostro progetto!

A Londra, è vero?

Voi ministro, io corriero, e la Susanna ... segreta Non sara, non sarà—Figaro il dice!

Bravo, signor master!

Now I have begun to understand the mystery, And to see clearly Your whole plan!

We’re going to London, right?

You as a minister, I as a courier, And Susanna ... secretly It won’t be so, it won’t be so—Figaro says it!

Se vuol ballare, signor contino, il chitarrino le suonero, si, se vuol venire nella mia scuola, la capriola le insegnero, si.

If you would dance, signor Count, I’ll play the tune on my little guitar.

If you will come to my dancing school I’ll gladly teach you the capriole.

Sapro, sapro, ma piano, meglio ogni arcano.

You will learn quickly every dark secret,

dissimulando scoprir porto.

L’arte schermendo, l’arte adoprando, di qua pungendo, di la scherzando, tutte le macchine rovesciero.

you will find out how to dissemble.

The art of stinging, the art of conniving, fighting with this one, playing with the one, all of you’re schemes I’ll turn inside out.

Se vuol ballare, ecc.

If you would dance, etc.

Mozart: “Il mio tesoro” from Don Giovanni Il mio tesoro intanto Andate a consolar, E del bel ciglio il pianto Cercate di asciugar.

Meanwhile go and console My dearest, darling girl; See if you can dry the tears From her precious little eyes.

Ditele che i suoi torti A vendicar io vado: Che sol di stragi e morti Nunzio vogl’io tornar.

Tell her that I’ve gone away To avenge her every wrong, And that I’m coming back again To tell her of his death.

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Verdi: “Infelice! E tuo crevedi” from Ernani Che mai vegg’io! What is this I see!

Nel penetral più sacro di mia magione; The innermost dark part of my home, presso a lei che sposa esser dovrà d’un Silva, That you the bridesmaid of Silva due seduttori io scorgo? Is found with two seducers?

Entrate, olà, miei fidi cavalieri. Entranced, my faithful knights, Sia ognun testimon del disonore, You both dishonorably witness, dell’onta che si reca al suo signore. The shame that falls upon your lord. (to himself) Infelice! E tuo credevi Unhappy man! And you believed yours sì bel giglio immacolato! such a beautiful, immaculate lily!

Del tuo crine fra le nevi, Instead dishonor falls suddenly piomba invece il disonor. on your white head.

Ah, perchè l’etade in seno, Ah, why has age kept giovin core m’ha serbato! a youthful heart in my breast?

Mi dovean gli anni almeno The years should at least far di gelo ancora il cor. have made my heart of ice also.

Donizetti: “Voglio dire” from L’elisir d’amore NEMORINO Voglio dire, lo stupendo I mean the marvelous elisir che desta amore. elixir that awakens love.

DULCAMARA Ah! sì, sì, capisco, intendo. Oh, yes, yes, I understand, I follow you.

Io ne son distillatore. I am the distiller.

NEMORINO E fia vero? Can it be true?

DULCAMARA Sì, se ne fa gran consumo, Yes, it’s being used gran consumo in questa età. a lot nowadays.

NEMORINO Oh! fortuna! e ne vendete? Oh, what luck! And do you sell it?

DULCAMARA Ogni giorno a tutto il mondo. Every day to the whole world.

NEMORINO E qual prezzo ne volete? And how much do you want for it?

DULCAMARA Poco assai. Very little.

NEMORINO Poco? Little?

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DULCAMARA Cioè, secondo. That is, it depends.

NEMORINO Un zecchin — null’altro ho qua. One zecchino — that’s all I have here.

DULCAMARA È la somma che ci va That’s the amount you need.

NEMORINO Ah! prendetelo, dottore, Oh, take it, doctor, ah! prendetelo, dottore. oh, take it, doctor.

DULCAMARA (taking out a bottle) Ecco il magico liquore. Here is the magic liquor.

NEMORINO Obbligato, ah! sì obbligato! Much obliged, oh yes much obliged!

Son felice, son contento. I am happy, I am pleased.

L’elisire di tal bontà, A blessing on the person benedetto chi ti fa! who makes an elixir of such goodness!

Obbligato, ah! sì obbligato! Much obliged, oh yes much obliged!

Son felice, son contento. I am happy, I am pleased.

L’elisire di tal bontà, A blessing on the person benedetto chi ti fa! who makes an elixir of such goodness!

DULCAMARA (aside) Nel paese che ho girato Travelling round the countryside più d’un gonzo ho ritrovato, I’ve met more than one simpleton, nel paese che ho girato travelling round the countryside più d’un gonzo ho ritrovato … I’ve met more than one simpleton …

NEMORINO Obbligato, ah! sì obbligato! Much obliged, oh yes much obliged!

Son felice, son beato. I am happy, I am fortunate.

L’elisire di tal bontà, A blessing on the person benedetto chi ti fa! who makes an elixir of such goodness!

DULCAMARA ... ma un eguale in verità ... but truly, one to equal this non si trova, non si dà, would be hard to find, non si trova, ecc. would be hard to find, etc.

NEMORINOS Obbligato, ah! sì obbligato! ecc. Much obliged, oh yes much obliged! etc.

DULCAMARA Ma un eguale in verità, ecc. But truly, one to equal this, etc.

(The doctor is about to go.)

NEMORINO Ehi! dottore, un momentino, Hey, doctor, just a moment, un momentino, un momentino. just a moment.

In qual modo usar si puote? How should I use it?

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DULCAMARA Con riguardo, pian pianino, With care, very, very gently, la bottiglia un po’ si scuote, shake the bottle a little, poi si stura, ma si bada then uncork it, but mind che il vapor non se ne vada, that it doesn’t evaporate, che il vapor non se ne vada. that it doesn’t evaporate.

NEMORINO Ben … Fine …

DULCAMARA Dunque al labbro lo avvicini … Then bring it to your lips …

NEMORINO Ben ... Fine …

DULCAMARA … e lo bevi a centellini … … and sip it …

NEMORINO Ben … Fine …

DULCAMARA … e l’effetto sorprendente … and the astounding effect non ne tardi a conseguir, rip will quickly be apparent.

NEMORINO Sul momento? Immediately?

DULCAMARA A dire il vero, To tell the truth, necessario è un giorno intero. it needs a whole day. (aside) Tanto tempo sufficiente Just enough time per cavarmela e fuggir. for me to get out and escape.

NEMORINO E il sapore? And the flavor?

DULCAMARA Eccellente. Lovely.

NEMORINO Eccellente? Lovely?

DULCAMARA Eccellente. Lovely. (aside) È Bordò, non elisir. It’s claret, not elixir.

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NEMORINO Obbligato, ah! sì obbligato! Much obliged, oh yes much obliged!

Son felice, son contento. I am happy, I am pleased.

L’elisire di tal bontà, A blessing on the person benedetto chi ti fa! who makes an elixir of such good effect!

Obbligato, obbligato! ecc. Much obliged, much obliged! etc.

DULCAMARA Gonzo eguale in verità, ecc. Truly a simpleton to equal this, etc.

(Nemorino is about to leave.)

Giovinotto! Ehi! Ehi! Young man! Hey, hey!

NEMORINO Signore? Sir? DULCAMARA Sovra ciò, silenzio, sai? On this matter, keep quiet, you understand?

Silenzio, silenzio. Keep quiet, keep quiet.

Oggidì spacciar l’amore Nowadays hawking love è un affar geloso assai. is a very delicate business.

NEMORINO Oh! Oh! DULCAMARA Sicuramente, è un affar geloso assai: Certainly, it’s a very delicate business: impacciar se ne potria the authorities could be embarrassed un tantin le Autorità. by it just a little.

Dunque, silenzio. So keep quiet.

NEMORINO Ve ne do la fede mia: I give you my word: ne anche un’anima il saprà. not a soul shall know about it.

DULCAMARA Silenzio. Keep quiet.

NEMORINO Ve ne do la fede mia. I give you my word.

DULCAMARA Silenzio. Keep quiet.

NEMORINO Ve ne do la fede mia: I give you my word: nè anche un’anima il saprà. not a soul shall know about it.

DULCAMARA Va, mortale fortunato; Go, lucky man; un tesoro t’ho donato: I have given you a treasure: tutto il sesso femminino tomorrow all the women in the world te doman sospirerà, rip. will be sighing for you, etc.

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NEMORINO Ah! dottor, vi do parola Oh, doctor: I give you my word ch’io berrò per una sola; that I shall be drinking for one alone; nè per altra, e sia pur bella, nor for any other, however beautiful, nè una stilla avanzerà. will a single drop be left.

Veramente amica stella Truly a friendly star ha costui mandato qua, ecc. sent this man here, etc.

DULCAMARA (aside) Ma doman di buon mattino But early tomorrow morning ben lontan sarò di qua, rip. I shall be far away from here.

Donizetti: “Una furtiva lagrima” from L’elisir d’amore Una furtiva lagrima A furtive tear Negli occhi suoi spuntò ... escaped from her eye ...

Quelle festose giovani Those merry maidens Invidiar sembrò ... she seemed to envy ...

Che più cercando io vo’! Why do I seek further?

M’ama, sì, m’ama, lo vedo. She loves me, she loves me, I can see.

Un solo istante i palpiti If I could but feel the beating Del suo bel cor sentir ... of her dear heart for one instant ...

I miei sospir confondere mingle my sighs for a little Per poco a’ suoi sospir! ... with hers! ...

I palpiti, i palpiti sentir! If I could feel that beating!

Confondere i miei co’ suoi sospir! And mingle my sighs with hers!

Cielo, si può morir; Oh, heaven, I could die then, Di più non chiedo, non chiedo. Ah! nor ask anything more.

Cielo, etc. Oh, heaven, etc.

Di più non chiedo. I ask nothing more.

Si può morir, si può morir d’amor. One could die, could die of love.

Gounod: “Le veau d’or” from Faust Le veau d’or est toujours debout; The golden calf still stands upright; On encense its might Sa puissance is extolled D’un bout du monde à l’autre bout! from one end of the world to the other!

Pour féter l’infâme idole, To celebrate the shameful idol, Rois et peuples confondus, king and commoner together, Au bruit sombre des écus to the murky chink of money Dansent une ronde folle dance a mad round Autour de son piédestal! ... about its pedestal, Et Satan conduit le bal! and Satan leads the dance!

Le veau d’or est vainqueur des dieux; The golden calf has vanquished the gods; Dans sa gloire dérisoire in its grotesque glory Le monstre abjecte insulte aux cieux! the abject monster affronts the heavens!

Il contemple, ô rage étrange! It sees — oh, strange lunacy! — A ses pieds le genre humain the human race at its feet, Se ruant, le fer en main, flinging themselves, weapon in hand, Dans le sang et dans la fange in the blood and filth, Où brille l’ardent métal! where the burning metal shines, Et Satan conduit le bal! and Satan leads the dance!

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Donizetti: “Ah! mes amis” from La Fille du Régiment Ah! mes amis, quel jour de fête!

Je vais marcher sous vos drapeaux.

L’amour qui m’a tourné la tête désormais me rend un héros.

Ah! quel bonheur, oui, mes amis, je vais marcher sous vos drapeaux.

Ah, my friends, what a day for celebrating!

I shall march under your flags.

Love, which has turned my head, from now on is making me into a hero.

Ah, what happiness, yes, my friends, I shall march under your flags.

Oui, celle pour qui je respire, à mes voeux a daigné sourire, et ce doux espoir de bonheur trouble ma raison et mon coeur!

Ah! Mes amis, quel jour de féte je vais marcher sous vos drapeaux.

Yes, she for whom I live and breathe has deigned to smile upon my vows, And this sweet hope of happiness has shaken my head and my heart.

Oh, my friends, what a happy day!

I’m going to march beneath your colors.

Pour mon âme quel destin!

J’ai sa flamme et j’ai sa main!

Jour prospère! Me voici militaire et mari!

Ah! Pour mon âme quel destin!

J’ai sa flamme et j’ai sa main.

What a fortune for my heart!

I have her love and her hand!

Oh, lucky day! Here am I, A soldier and a husband!

Ah, what a future for my heart!

I have her love and her hand.

Bizet: “Au fond du temple saint” from Les Pêcheurs de Perles NADIR Au fond du temple saint, paré de fleurs et d’or, Une femme apparaît ... je crois la voir encor.

At the foot of the holy temple, adorned with flowers of gold, A woman appeared ... I think I see her still.

ZURGA Une femme apparaît ... je crois la voir encor.

A woman appeared ... I think I see her still.

NADIR La foule prosternée, The prostrate crowd La regarde étonnée Looks at her in amazement Et murmure tout bas: And murmurs softly: Voyez, c’est la déesse See, it is the goddess Qui dans l’ombre se dresse Who rises up in the shadows Et vers nous tend les bras. and extends her arms to us.

ZURGA Son voile se soulève, Her veil lifts, Ô vision, ô rêve! O vision, o dream!

La foule est à genoux.

The crowd is on its knees.

NADIR and ZURGA Oui, c’est elle Yes, it is she, C’est la déesse plus charmante et plus belle, It is the most charming and beautiful goddess, Oui, c’est elle, c’est la déesse qui descend parmi nous Yes, it is she, it is the goddess come down among us, Son voile se soulève et la foule est à genoux. Her veil lifts and the crowd is on its knees NADIR Mais, à travers la foule elle s’ouvre un passage. But she forces her way through the crowd.

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ZURGA Son long voile déjà nous cache son visage.

Her long veil already hides her face from us.

NADIR Mon regard, hélas, la cherche en vain.

My eyes, alas, search for her in vain.

ZURGA Elle fuit!

She vanishes!

NADIR Elle fuit!

Mais dans mon âme soudain Quelle étrange ardeur s’allume?

She vanishes!

But suddenly, in my heart, What strange ardor is kindled?

ZURGA Quel feu nouveau me consume?

What new fire consumes me?

NADIR Ta main repousse ma main.

Your hand spurns my hand.

ZURGA Ta main repousse ma main.

Your hand spurns my hand.

NADIR De nos coeurs l’amour s’empare Et nous change en ennemis.

Love seizes our hearts, And turns us into enemies.

ZURGA Non, que rien ne nous sépare.

No, let nothing separate us.

NADIR Non, rien!

No, nothing!

ZURGA Que rien ne nous sépare.

Let nothing separate us.

NADIR Non, rien!

No, nothing!

ZURGA Jurons de rester amis.

Let us swear to remain friends.

NADIR Jurons de rester amis.

Let us swear to remain friends.

NADIR and ZURGA Oh, oui, jurons de rester amis!

Oui, c’est elle, c’est la déesse En ce jour qui vient nous unir Et fidèle à ma promesse, Comme un frère je veux te chérir!

Je veux te chérir!

C’est elle, c’est la déesse, Qui vient en ce jour nous unir!

Qui vient nous unir!

Oui, partageons le même sort, Soyons unis jusqu’à la mort!

Oh yes, let us swear to remain friends!

Yes, it is she, it is the goddess Who comes to unite us this day, And faithful to my promise, I want to love you as a brother!

I want to love you as a brother!

It is she, it is the goddess Who comes to unite us this day, Who comes to unite us!

Yes, let us share the same destiny, Let us be united until death.

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ABOUT THE ARTISTS LAWRENCE BROWNLEE, TENOR Named 2017 “Male Singer of the Year” by both the International Opera Awards and Bachtrack, American-born tenor Lawrence Brownlee has been hailed by The Guardian as “one of the world’s leading bel canto stars.” Brownlee captivates audiences and critics around the world, and his voice has been praised by NPR as “an instrument of great beauty and expression … perfectly suited to the early 19thcentury operas of Rossini and Donizetti,” ushering in “a new golden age in high male voices” (The New York Times).

Brownlee also serves as artistic advisor at Opera Philadelphia, helping the company to expand their repertoire, diversity efforts and community initiatives.

The 2018–19 season starts with two evenings of duets with bass-baritone Eric Owens at the Van Cliburn Foundation, followed by a night of arias at Amsterdam’s famed Concertgebouw. Operatic engagements this season include two role debuts in North American houses, singing Nadir in Bizet’s The Pearl Fishers with Houston Grand Opera and Ilo in Rossini’s Zelmira with Washington Concert Opera, as well as returns to several international opera houses, performing in La Cenerentola at Opéra national de Paris, La sonnambula at Opernhaus Zürich and Deutsche Oper Berlin, and I Puritani at Opéra Royal de Wallonie-Liège. His season also features a 17-stop US tour with bass-baritone Eric Owens performing at the Seattle Symphony, Philadelphia Chamber Music Society, the Los Angeles Philharmonic, and more, as well as a performance at Carnegie Hall in March 2019 with Jason Moran and Alicia Hall Moran as part of “Migrations: The Making of America—A Citywide Festival.”

Highlights from last season included returns to the Royal Opera House-Covent Garden, Opernhaus Zürich, Lyric Opera of Chicago, Bayerische Staatsoper, and Opéra national de Paris, as well as the world premiere and recital tour of a new song cycle, Cycles of My Being. The cycle centers on what it means to be an African American man living in America today, touching on the recent series of tragic deaths and the Black Lives Matter movement, and was composed by Tyshawn Sorey, with lyrics by Terrance Hayes, both of whom are MacArthur ‘Genius’ Grant Winners. Co-commissioned by Opera Philadelphia, Carnegie Hall and Lyric Opera of Chicago’s Lyric Unlimited, Cycles of My Being had its world premiere in Philadelphia before moving on to Chicago, San Francisco, Carnegie Hall and more. The piece was hailed by the San Francisco Chronicle as “a work of both anguish and optimism, at once accusatory and stirring ... whose traversal feels like a descent into a maelstrom followed by the emergence out the other side,” while the Chicago Tribune praised how “Sorey’s music allows Brownlee to do what he does best—to soar effortlessly into the vocal stratosphere, nail perfectly placed high notes and invest them with expressive meaning.”

One of the most in-demand singers around the world, Brownlee has performed with nearly every leading international opera house and festival, as well as major orchestras including the Berlin Philharmonic, Philadelphia Orchestra, Chicago Symphony, New York Philharmonic, Accademia di Santa Cecilia, Boston Symphony, Cleveland Orchestra, San Francisco Symphony and the Bayerische Rundfunk Orchestra.

In addition, Brownlee has appeared on the stages of the top opera companies around the globe, including the Metropolitan Opera, Teatro alla Scala, the Bavarian State Opera, Royal Opera House-Covent Garden, The Vienna State Opera, Opéra national de Paris, Opernhaus Zürich, the Berlin State Opera, the Gran Teatre del Liceu Barcelona, Teatro Real Madrid, Théâtre Royale de la Monnaie, and the festivals of Salzburg and Baden Baden. Broadcasts of his operas and concerts—including his 2014 Bastille Day performance in Paris, attended by the French President and Prime Minister— have been enjoyed by millions.

Brownlee’s latest album, Allegro Io Son, received a Critic’s Choice from Opera News, among numerous other accolades, and followed his previous Grammy-nominated release on Delos Records, Virtuoso Rossini Arias, which prompted New Yorker critic Alex Ross to ask “is there a finer Rossini tenor than Lawrence Brownlee?” The rest of his critically acclaimed discography and videography is a testament to his broad impact across the classical music scene. His opera and concert recordings include Il barbiere di Siviglia with the Bayerische Rundfunk Orchestra, Armida at the Metropolitan Opera, Rossini’s Stabat Mater with Accademia di Santa Cecilia, and Carmina Burana with the Berlin Philharmonic. He also released a disc of African-American spirituals entitled Spiritual Sketches with pianist Damien Sneed, which the pair performed at Lincoln Center’s American Songbook series, and which NPR praised as an album of “soulful singing” that “sounds like it’s coming straight from his heart to yours.”

Brownlee is the fourth of six children and first discovered music when he learned to play bass, drums, and piano at his family’s church in Youngstown, Ohio. He was awarded a Masters of Music from Indiana University and went onto win a Grand Prize in the 2001 Metropolitan Opera National Council auditions. Alongside his singing career, Brownlee is an avid salsa dancer and an accomplished photographer, specializing in artist portraits of his on-stage colleagues. A die-hard Pittsburgh Steelers and Ohio State football fan, Brownlee has sung the National Anthem at numerous NFL games. He is a champion for autism awareness through the organization Autism Speaks, and he is a lifetime member of Kappa Alpha Psi fraternity Inc., a historically black fraternity committed to social action and empowerment.

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ERIC OWENS, BASS-BARITONE Bass-baritone Eric Owens has a unique reputation as an esteemed interpreter of classic works and a champion of new music. Equally at home in orchestral, recital, and operatic repertoire, Owens brings his powerful poise, expansive voice, and instinctive acting faculties to stages around the world.

In the 2018–19 season, Owens returns to Lyric Opera of Chicago to make his role debut as the Wanderer in David Poutney’s new production of Wagner’s Siegfried. He also stars as Porgy in James Robinson’s new production of Porgy and Bess at the Dutch National Opera and makes his role debut as Hagen in Götterdämmerung at the Metropolitan Opera conducted by Philippe Jordan. Concert appearances include the world premiere of David Lang’s prisoner of the people at the New York Philharmonic conducted by Jaap van Zweden, the King in Aïda at the Chicago Symphony Orchestra conducted

by Riccardo Muti, Verdi’s Requiem with the Minnesota Orchestra, and Mozart’s Requiem with Music of the Baroque.

Owens will also go on a multi-city recital tour with tenor Lawrence Brownlee.

Owens launched the 2017–18 season with his role debut as Wotan in David Pountney’s new production of Wagner’s Die Walküre. He also sang Filippo II in Verdi’s Don Carlo at Washington National Opera, Don Basilio in Rossini’s Il Barbiere di Siviglia at Houston Grand Opera, and the Forester in Janáček’s The Cunning Little Vixen at the Glimmerglass Festival, where he served as artist-in-residence and artistic advisor.

Concert appearances included Rossini’s Stabat Mater with the Chicago Symphony Orchestra conducted by Riccardo Muti, Verdi’s Requiem with both the National Symphony Orchestra led by Gianandrea Noseda and the Nashville Symphony Orchestra, and Mendelssohn’s Elijah with Music of the Baroque.

The 2016–17 season featured Owens in his role debut as Wotan in David Pountney’s new production of Wagner’s Das Rheingold at the Lyric Opera of Chicago. He sang a trio of operas at the Metropolitan Opera that included the Met premiere of Kaijo Saariaho’s L’amour de Loin, a new production of Rusalka under Sir Mark Elder, and a revival of Idomeneo conducted by James Levine, all of which were broadcast through the Met’s Live in HD series. Concert highlights included joining Alan Gilbert and the New York Philharmonic for performances as Wotan in Das Rheingold and of Beethoven’s Ninth Symphony, which he also performed at the Cincinnati May Festival as its artist-in-residence, a gala celebrating the Metropolitan Opera’s 50th Anniversary at Lincoln Center, and performances as Orest in Strauss’s Elektra at the Verbier Festival and Méphistophélès in Berlioz’s La Damnation de Faust with the New Zealand Symphony Orchestra. He also gave a recital at the Cleveland Art Song Festival, performed dual recitals with Susanna Phillips at the Washington Performing Arts and Lawrence Brownlee at the Lyric Opera of Chicago and William Jewell College, and appeared with the Chicago Symphony’s Negaunee Music Institute to present an interactive recital for incarcerated youth alongside Riccardo Muti and Joyce DiDonato.

Owens has created an uncommon niche for himself in the ever-growing body of contemporary opera works through his determined tackling of new and challenging roles. He received great critical acclaim for portraying the title role in the world premiere of Elliot Goldenthal’s Grendel with the Los Angeles Opera, and again at the Lincoln Center Festival, in a production directed and designed by Julie Taymor. Owens also enjoys a close association with John Adams, for whom he performed the role of General Leslie Groves in the world premiere of Doctor Atomic at the San Francisco Opera, and of the Storyteller in the world premiere of A Flowering Tree at Peter Sellars’ New Crowned Hope Festival in Vienna and later with the Los Angeles Philharmonic. Doctor Atomic was later recorded and received the 2012 Grammy for Best Opera Recording. Owens made his Boston Symphony Orchestra debut under the baton of David Robertson in Adam’s El Niño.

Owens’s career operatic highlights include Alberich in the Metropolitan Opera’s Ring cycle directed by Robert Lepage; Orest in Patrice Chereau’s production of Elektra conducted by Esa-Pekka Salonen at the Met; the title role of Der Fliegende Höllander and Stephen Kumalo in Weill’s Lost in the Stairs at Washington National Opera; his San Francisco Opera debut in Otello conducted by Donald Runnicles; his Royal Opera, Covent Garden, debut in Norma; Vodnik in Rusalka and Porgy in Porgy and Bess at Lyric Opera of Chicago; the title role in Handel’s Hercules with the Canadian Opera Company; Aida at Houston Grand Opera; Rigoletto, Il Trovatore, and La Bohème at Los Angeles Opera; Die Zauberflöte for his Paris Opera (Bastille) debut; the title role of Macbeth at the Glimmerglass Festival; and Ariodante and L’Incoronazione di Poppea at the English National Opera. He sang Collatinus in a highlyacclaimed Christopher Alden production of Britten’s The Rape of Lucretia at Glimmerglass Opera. A former member of the Houston Grand Opera Studio, Owens has sung Sarastro, Mephistopheles in Faust, Frère Laurent, and Aristotle Onassis in the world premiere of Jackie O (available on the Argo label) with that company. He is featured on the Nonesuch Records release of A Flowering Tree. Owens is an avid concert singer, who collaborates closely with conductors such as Alan Gilbert, Riccardo Muti, Esa-Pekka Salonen, Sir Simon Rattle, Donald Runnicles and Franz Welser-Möst.

He has been recognized with multiple honors, including the Musical America’s 2017 “Vocalist of the Year” award, 2003 Marian Anderson Award, a 1999 ARIA award, second prize in the Plácido Domingo Operalia Competition, the Metropolitan Opera National Council Auditions, and the Luciano Pavarotti International Voice Competition. In 2017, the Glimmerglass Festival appointed him as its artistic advisor.

A native of Philadelphia, Owens began his musical training as a pianist at the age of 6, followed by formal oboe study at age 11 under Lloyd Shorter of the Delaware Symphony and Louis Rosenblatt of the Philadelphia Orchestra. He studied voice while an undergraduate at Temple University, and then as a graduate student at the Curtis Institute of Music. He currently studies with Armen Boyajian. He serves on the board of

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trustees of both the National Foundation for Advancement in the Arts and Astral Artistic Services. Starting in 2019, Owens becomes the co-chair of the Curtis Institute’s opera department.

MYRA HUANG, PIANO Acclaimed by Opera News as being “among the top accompanists of her generation,” and “... a colouristic tour de force,” by The New York Times, Grammy-nominated pianist Myra Huang performs in recitals and chamber music concerts around the world. Highly sought after for her interpretation of lieder and art song as well as her depth of musicianship and impeccable technique, she regularly performs with acclaimed opera singers around the world. Last season, she made her Wigmore Hall debut in London with tenor Nicholas Phan. She also toured with The Mariinsky Theater and Maestro Valery Gergiev throughout South America, performing as part of their art festival with bass Dmitry Grigoriev. This season, she performs recitals with singers Larry Brownlee, Nicholas Phan, Susanna Phillips, Eric Owens, Quinn Kelsey, Marjorie Owens, at Carnegie Hall, The Herbst Theatre, The Boston Celebrity Series, The Schubert Club, The Gilmore Festival, Shriver Hall, The Park Avenue Armory, The George London Foundation, and more.

Huang has served on the music staffs of the Washington National Opera, Houston Grand Opera, New York City Opera, and The Palau De Les Arts in Valencia, Spain. She worked closely with director Lorin Maazel and Zubin Mehta as an assistant conductor at the Palau De Les Arts. From 2011 to 2013, she served as the head of music staff at New York City Opera. She is a staff pianist for the Operalia competition, directed by Placido Domingo, performing at opera houses around the world such as Teatro alla Scala (Milan), The Royal Opera House (U.K.), The National Centre for the Performing Arts (Beijing) and Teatro Real in Madrid. She regularly teaches at young artist programs throughout the U.S. to train young opera singers and pianists.

Huang is an avid recitalist and recording artist. Her recordings have received critical acclaim from The New York Times, Gramophone UK, Opera News and The Boston Globe. Her most recent album, Gods and Monsters with tenor Nicholas Phan, was nominated for the “Best Classical Vocal Solo Album” category at the 2018 Grammy Awards. Of this album, Opera News stated that “Huang matches the tenor with pianistic arsenal of colors and attacks, controlled by her astonishing technique.” Her next album, Illuminations on the Avie label with tenor Nicholas Phan, and the award-winning Telegraph Quartet and the chamber ensemble The Knights, is scheduled to be released in April 2018. Other albums include Winter Words and Still Falls the Rain on the Avie label with Nicholas Phan, and Paysages on the Bridge label with soprano Susanna Phillips, all released to critical acclaim.

PRE-PERFORMANCE TALK SPEAKER KEVIN DOHERTY Morning Classical Host, Capital Public Radio Weekdays on CapRadio (88.9 FM), Kevin Doherty helps listeners wake up refreshed with his upbeat presentation as the station’s morning classical host. Kevin’s passion comes through from the radio booth and on the professional opera stage, where his baritone voice has been featured for two decades, most recently with Modesto’s Townsend Opera where he performed the role of Figaro in Rossini’s Barber of Seville. The native New Yorker received his bachelor’s degree in music from Ithaca College. As CapRadio’s classical music coordinator, Doherty curates the station’s appealing blend of familiar masterworks coupled with works by living composers and contemporary performers.

gateway Lawrence Brownlee and Eric Owens present an adventurous program that travels well outside the classical canon. In the inaugural issue of the Mondavi Center magazine, Gateway, Kevin Doherty (an operatic tenor himself) shares some provocative thoughts about the state of classical music, the canon and how diversity and a focus on living composers pays the ultimate respect to Beethoven’s legacy of innovation.

“Classical music is in dire need of a reboot. It’s time to breathe new life into an increasingly stale canon.

There, I said it.

Now hold on: before you cry “blasphemy,” hear me out. Just as Atlas was condemned to bear the weight of the entire world on his shoulders, so too is Beethoven burdened with the brunt of expectation to keep classical music “alive” for generations to come. What Beethoven did for music is undeniable, but many classical music aficionados have a hard time seeing past his accomplishments and the era he helped to usher in. Music has changed dramatically since the end of the Romantic period, and yet an entire century has gone by, and we are still reluctant to add new names to our list of masters ...

My hope is that more will show unabated enthusiasm to hear the diverse, dynamic and relevant music of living composers ... don’t miss your chance to be a part of history or simply enjoy great music that resonates with you in your time. And, in the process, perhaps Beethoven can rest easy knowing classical music is in good hands.”

Read Kevin Doherty’s full article, posted to the Mondavi Center blog and printed in Gateway magazine.

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COLORATURA CIRCLE

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.

$50,000 AND ABOVE James H. Bigelow Patti Donlon Wanda Lee Graves and Steve Duscha Barbara K. Jackson° M.A. Morris

IMPRESARIO CIRCLE $25,000–$49,999

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.

John and Lois Crowe* Ann and Gordon Getty Foundation Anne Gray William and Nancy Roe* The Lawrence Shepard Family Fund

VIRTUOSO CIRCLE

$16,500–$24,999 Simon L. Engel of HDE Laser Technologies, Inc. Nancy McRae Fisher Mary B. Horton*

MAESTRO CIRCLE

$11,000–$16,499 Dr. Jim P. Back Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley* Chan Family Fund Thomas and Phyllis Farver* Benjamin and Lynette Hart* Clarence and Barbara Kado Dean and Karen Karnopp*

Nancy Lawrence and Gordon Klein Cliff Popejoy Grace and John Rosenquist Raymond Seamans and Ruth Elkins Tony and Joan Stone Helen and Jerry Suran Rosalie Vanderhoef* Shipley and Dick Walters*

BENEFACTOR CIRCLE $7,500–$10,999

Susie and Jim Burton Michael and Kevin Conn Richard and Joy Dorf Catherine and Charles Farman Janlynn Fleener and Cliff McFarland Samia and Scott Foster Andrew and Judith Gabor

This list reflects donors as of January 1, 2019.

* Friends of Mondavi Center

Hansen Kwok Garry Maisel Alice Oi Gerry and Carol Parker William Roth Darell J. Schregardus, Ph.D. Yin and Elizabeth Yeh

†Mondavi Center Advisory Board Member

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° In Memoriam

PRODUCER CIRCLE $3,750 - $7,499

Carla F. Andrews Lydia Baskin* Daniel Benson Cordelia S. Birrell Jo Anne Boorkman* Karen Broido* California Statewide Certified Development Corp.

Mike and Betty Chapman Wendy R. Chason* Sandy and Chris Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Bruce and Marilyn Dewey* Wayne and Shari Eckert* Allen and Sandy Enders Merrilee and Simon Engel Jolan Friedhoff and Don Roth In Memory of Henry (Hank) Gietzen In Memory of John C. Gist, Jr. Frederic and Pamela Gorin Ed and Bonnie Green* Charles and Ann Halsted John and Regi Hamel Judy Hardardt* Dee Hartzog Karen Heald and K.C. McElheney Donine Hedrick and David Studer Charles and Eva Hess In Memory of Christopher Horsley* In Memory of Flint and Ella In Memory of Nicolai N. Kalugin Teresa Kaneko* Barry and Gail Klein Jane and Bill Koenig Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Linda Lawrence Allan and Claudia Leavitt Robert and Barbara Leidigh Nelson Lewallyn and Marion Pace-Lewallyn David and Ruth Lindgren Diane M. Makley* Yvonne L. Marsh Eldridge and Judith Moores Barbara Moriel Misako and John Pearson Linda and Lawrence Raber* Joanna Regulska and Michael Curry Warren Roberts and Jeanne Hanna Vogel* Roger and Ann Romani Liisa A. Russell Carol J. Sconyers Kathryn R. Smith Tom and Meg Stallard* Tom and Judy Stevenson* Brian K. Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jeri Paik-Telfeyan In Memory of Trudy and Vera Betty° and Joe Tupin Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Claudette Von Rusten John Walker Patrice White Judy Wydick And 6 donors who prefer to remain anonymous

DIRECTOR CIRCLE $1,750 - $3,749

The Aboytes Family Ezra and Beulah Amsterdam Russell and Elizabeth Austin Drs. Noa and David Bell Robert and Susan Benedetti

Don and Kathy Bers* Edwin Bradley Richard Breedon, Pat Chirapravati, and Rosa Marquez Cantor & Company, A Law Corporation Margaret Chang and Andrew Holz Susan Chen Allison P. Coudert Jim and Kathy Coulter* Terry Davison Joyce Donaldson* Matt Donaldson and Steve Kyriakis Karl Gerdes and Pamela Rohrich David and Erla Goller Patty and John Goss Tim and Karen Hefler Sharna and Mike Hoffman Ronald and Lesley Hsu Martin and JoAnn Joye* Barbara Katz Nancy and John Keltner Robert and Cathryn Kerr Joseph Kiskis and Diana Vodrey Charlene R. Kunitz Thomas Lange and Spencer Lockson Mary Jane Large and Marc Levinson Francie and Artie Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert Richard and Kyoko Luna Family Fund Natalie and Malcolm MacKenzie* Debbie Mah* and Brent Felker Dennis H. Mangers and Michael Sestak Susan Mann Rick and Ann Mansker In Memory of Allen G. Marr Betty Masuoka and Robert Ono Gary S. May In Memory of William F. McCoy Sally McKee Mary McKinnon and Greg Krekelberg Katharine and Dan Morgan Craig Morkert Augustus B. Morr Rebecca Newland John Pascoe and Susan Stover J. Persin, R. Mott and D. Verbck Prewoznik Foundation John and Judith Reitan Kay Resler* Marshall and Maureen Rice Dwight E. and Donna L. Sanders Christian Sandrock Ed and Karen Schelegle Neil and Carrie Schore Arun K. Sen Bonnie and Jeff Smith Janet Shibamoto-Smith and David Smith Edward Speegle Les and Mary Stephens De Wall Maril R. and Patrick M. Stratton Geoffrey and Gretel Wandesford-Smith Dan and Ellie Wendin Dale L. and Jane C. Wierman Susan and Thomas Willoughby Paul Wyman Karen Zito and Manuel Calderon de la Barca Sanchez And 2 donors who prefer to remain anonymous

ENCORE CIRCLE $700 - $1,749

Shirley and Mike Auman* Laura and Murry Baria In Memory of Marie Benisek Muriel Brandt Davis and Jan Campbell Gayle Dax-Conroy In Memory of Jan Conroy Dotty Dixon* Anne Duffey John and Cathie Duniway Robert and Melanie Ferrando Doris Flint Dr. Jennifer D. Franz Paul N. and E.F. (Pat) Goldstene

Florence Grosskettler* Mae and David Gundlach Robin Hansen and Gordon Ulrey Leonard and Marilyn Herrmann B.J. Hoyt James and Nancy Joye Louise Kellogg and Douglas Neuhauser Paul Kramer Paula Kubo Ruth M. Lawrence Michael and Sheila Lewis* Robert and Betty Liu Shirley Maus Janet Mayhew Robert Medearis Roland and Marilyn Meyer Nancy Michel Robert and Susan Munn* Don and Sue Murchison Robert and Kinzie Murphy John and Carol Oster Bonnie A. Plummer Celia Rabinowitz C. Rocke Ms. Tracy Rodgers and Dr. Richard Budenz Tom and Joan Sallee William and Jeannie Spangler* Elizabeth St. Goar Sherman and Hannah Stein Karen and Ed Street* Eric and Pat Stromberg* Dr. Lyn Taylor and Dr. Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Rita and Jack Weiss Steven and Andrea Weiss* Kandi Williams and Frank Jahnke Gayle K. Yamada and David H. Hosley Wesley Yates Karl and Lynn Zender

Charles Kelso and Mary Reed Peter Kenner Ellen J. Lange Sevim Larsen Darnell Lawrence Carol Ledbetter Donna and Stan Levin Ernest and Mary Ann Lewis Robert and Patricia Lufburrow Sue MacDonald Bunkie Mangum Joan and Roger Mann Maria Manea Manoliu David and Martha Marsh Katherine F. Mawdsley* Susan and David Miller William and Nancy Myers Margaret Neu* Suzette Olson Frank Pajerski Sally Ozonoff and Tom Richey J. and K. Redenbaugh Eugene and Elizabeth Renkin David and Judy Reuben* Ron and Morgan Rogers Sharon and Elliott Rose* Bob and Tamra Ruxin Mark and Ita Sanders Roger and Freda Sornsen Tony and Beth Tanke Virginia Thresh Robert and Helen Twiss Ardath Wood Iris Yang and G. Richard Brown Chelle Yetman Jane Yeun and Randall Lee Ronald M. Yoshiyama Heather M. Young and Pete B. Quinby Verena Leu Young* Melanie and Medardo Zavala Drs. Matthew and Meghan Zavod

And 3 donors who prefer to remain anonymous

And 6 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

MAINSTAGE CIRCLE

Jose and Elizabeth Abad Susan Ahlquist Drs. Ralph and Teresa Aldredge Takashi Asano Andrew and Ruth Baron Paul and Linda Baumann Marie Beauchamp Carol L. Benedetti Jane D. Bennett Ernst Biberstein Robert Biggs and Diane Carlson Biggs Patricia Bissell and Al J. Patrick Clyde and Ruth Bowman Brooke and Clay Brandow Meredith Burns Marguerite Callahan Gary and Anne Carlson* Bruce and Mary Alice Carswell* Simon and Cindy Cherry Dr. Jacqueline Clavo-Hall Stuart and Denise Cohen Mr. and Mrs. David Covin Larry Dashiell and Peggy Siddons Daniel and Moira Dykstra Nancy and Don Erman Kerstin and David Feldman Helen Ford Lisa Foster and Tom Graham Edwin and Sevgi Friedrich* Marvin and Joyce Goldman Dan Gusfield Darrow and Gwen Haagensen Sharon and Don Hallberg* Marylee Hardie Dione and Roy Henrickson Zheyla and Rickert Henriksen Paula Higashi and Fred Taugher Roberta Hill Michael and Peggy Hoffman Rita and Ken Hoots Jan and Herb Hoover Robert and Marcia Jacobs Valerie Jones Weldon and Colleen Jordan Susan Kauzlarich and Peter Klavins

M. Aften Michelle Agnew Liz Allen* Jacqueline and James B. Ames Penny Anderson Nancy Andrew-Kyle* Elinor Anklin and Geo Harsch Alex and Janice Ardans Dee Jae Arnett Antonio and Alicia Balatbat* Charlotte Ballard and Robert Zeff Charlie and Diane Bamforth Michele Barefoot and Luis Perez-Grau Dawn Barlly Carole Barnes Jonathan and Mary Bayless Lynn Baysinger* Delee and Jerry Beavers Lorna Belden and Milton Blackman Merry Benard Robert Bense and Sonya Lyons Kellyanne D. Best Dr. Louise Bettner Bevowitz Family Dr. Robert and Sheila Beyer Elizabeth A. Bianco Roy and Joan Bibbens* John and Katy Bill Sharon Billings* and Terry Sandbek Caroline and Lewis Bledsoe Fredrick Bliss and Mary Campbell Bliss Brooke Bourland* Barbara E. Bower Jill and Mary Bowers Verne and Jerry Bowers Melody Boyer and Mark Gidding Dan and Mildred Braunstein* Valerie Brown and Edward Shields Rose Burgis Dr. Margaret Burns and Dr. W Roy Bellhorn William and Karolee Bush Kent and Susan Calfee Edward Callahan The Richard Campbells Nancy and Dennis Campos* James and Patty Carey Ping Chan*

$350 - $699

* Friends of Mondavi Center

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$125 - $349

†Mondavi Center Advisory Board Member

°In Memoriam

Bonnie and LeRoy Chatfield Gail Clark Linda Clevenger and Seth Brunner James and Linda Cline Sheri and Ron Cole Steve and Janet Collins Terry D. Cook Sheila Cordrey* Larry and Sandy Corman Nicholas and Khin Cornes Fred and Ann Costello James Cothern Cathy Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Herb and Lois Cross Tatiana Cullen Kim Uyen Dao Joy and Doug Daugherty Nita A. Davidson Relly Davidson Judy and Mike Davis Fred Deneke and James Eastman Joan and Alex DePaoli Carol Dependahl-Ripperda Sabine Dickerson; Marietta Bernoco Linda and Joel Dobris Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* Gordon and Katherine Douglas Jerry and Chris Drane Leslie A. Dunsworth Noel Dybdal Karen Eagan Laura Eisen and Paul Glenn Sidney England and Randy Beaton Carol Erickson and David Phillips Wallace Etterbeek Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Janet Feil Cheryl and David Felsch Joshua Fenton and Lisa Baumeister John and Henni Fetzer Robin and Jeffrey Fine Curt and Sue Ann Finley Dave and Donna Fletcher Richard Fletcher Glenn Fortini Daphna Fram Marion Franck and Robert Lew Elaine A. Franco Anthony and Jorgina Freese Marlene J. Freid* Larry Friedman and Susan Orton Kerim and Josie Friedrich Myra Gable Sean Galloway Anne Garbeff* Nancy Gelbard and David Kalb P.E. Gerick Patrice and Chris Gibson* Barbara Gladfelter Ellie Glassburner Marnelle Gleason* and Louis J. Fox Mark Goldman and Jessica Tucker-Mohl Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart Joyce Gordon Karen Governor Halley Grain Sandra and Jeffrey Granett Jim Gray and Robin Affrime Stephen and Deirdre Greenholz Paul and Carol Grench Don and Eileen Gueffroy Abbas Gultekin and Vicky Tibbs Wesley and Ida Hackett* Myrtis Hadden Ann and Charles Haffer Bob and Jen Hagedorn Jane and Jim Hagedorn Kitty Hammer William and Sherry Hamre M. and P. Handley Jim and Laurie Hanschu Bob and Sue Hansen Alexander and Kelly Harcourt Marie Harlan* Sally Harvey* Anne and Dave Hawke Mary A. Helmich Penny Herbert and Jeff Uppington Rand and Mary Herbert Dr. Calvin Hirsch Pamela Holm Jack Holmes and Cathy Neuhauser

Elizabeth Honeysett Sarah and Dan Hrdy Pam Hullinger David Kenneth Huskey Lorraine J Hwang L. K. Iwasa Stephen Jacobs and Diane Moore Dr. and Mrs. Ron Jensen Mun Johl Gary and Karen Johns* Don and Diane Johnston Michelle Johnston and Scott Arrants D.M. Jonsson Family Andrew and Merry Joslin Shari and Timothy Karpin Patricia Kelleher* Michael S. Kent Sharmon and Peter Kenyon Leonard Keyes Nicki King Roger and Katharine Kingston Ruth Ann Kinsella* Camille Kirk Bob and Bobbie Kittredge Don and Bev Klingborg John and Mary Klisiewicz* Michael Koltnow Kerik and Carol Kouklis Sandra and Alan Kreeger Marcia and Kurt Kreith Sandra Kristensen Cynthia and Roy Kroener C.R. and Elizabeth Kuehner Kupcho-Hawksworth Trust Leslie Kurtz Laura and Bill Lacy Kit and Bonnie Lam* Allan and Norma Lammers Marsha Lang Larkin Lapides Diane and Renzo Lardelli Nancy Lazarus and David Siegel Peggy Leander* Evelyn A. Lewis Jeff Lloyd Motoko Lobue Dr. Joyce A. Loeffler Mary Lowry Karen Lucas* Melissa Lyans and Andreas Albrecht Ariane Lyons Jeffrey and Helen Ma Judy Mack* David and Alita Mackill Karen Majewski Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer T. Mann Pam Marrone and Mick Rogers J. A. Martin Leslie Maulhardt* Carole Mayer Keith and Jeanie McAfee Karen McCluskey* and Harry Roth* James and Jane McDevitt Nora McGuinness* John and Andrea McKenna Tim and Linda McKenna Martin A. Medina and Laurie Perry Linda and Joe Merva Cynthia Meyers Beryl Michaels and John Bach Leslie Michaels and Susan Katt Jean and Eric Miller Lisa Miller Sue and Rex Miller Kei and Barbara Miyano Vicki and Paul Moering Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* R. Noda Jay and Catherine Norvell Bob Odland and Charlotte Kelly Jeri and Clifford Ohmart Jim and Sharon Oltjen In Memory of Robert Orlins Mary Jo Ormiston* John and Nancy Owen Jessie Ann Owens Mike and Carlene Ozonoff Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos

Dianne J. Pellissier Erin Peltzman Ann Peterson and Marc Hoeschele Jill and Warren Pickett Jane Plocher Mrs. Merrilee A Posner Harriet Prato Otto and Lynn Raabe Olga Raveling Sandi Redenbach* and Ken Gelatt Fred and Martha Rehrman* Francis Resta Russ and Barbara Ristine Jeannette and David Robertson Denise Rocha Mary and Ron Rogers Carol and John Rominger Richard and Evelyne Rominger Janet Roser Shery and John Roth Cathy and David Rowen* Cynthia Jo Ruff* Paul and Ida Ruffin Dagnes/Vernon Ruiz Jacquelyn Sanders Elia and Glenn Sanjume Fred and Pauline Schack John and Joyce Schaeuble Patsy Schiff Leon Schimmel and Annette Cody Dan Shadoan and Ann Lincoln Jay and Jill Shepherd Bruce Sheridan Jeanie Sherwood Jennifer L. Sierras Jo Anne S. Silber Teresa Simi Robert Snider and Jak Jaras Jean Snyder Ronald and Rosie Soohoo Curtis and Judy Spencer Dolores and Joseph Spencer Marguerite Spencer Alan and Charlene Steen Tim and Julie Stephens Judith and Richard Stern Deb and Jeff Stromberg A Supporter George and June Suzuki Yayoi Takamura Stewart and Ann Teal Julie A. Theriault, PA-C Virginia Thigpen Bud and Sally Tollette Ann Tom Victoria and Robert Tousignant` Justine Turner* Ute Turner* Sandra Uhrhammer* Peter Van Hoecke Ann-Catrin Van Barbara Smith Vaughn* Marian and Paul Ver Wey Elizabeth Villery Richard Vorpe and Evelyn Matteucci Craig Vreeken and Lee Miller Maxine Wakefield and William Reichert Carol L. Walden Andrew and Vivian Walker Naomi J Walker Andy and Judy Warburg Don and Rhonda Weltz* Doug West Martha West Robert and Leslie Westergaard* Nancy and Richard White* Mrs. Jane Williams Sharon and Steve Wilson Janet G. Winterer Suey Wong* Jean Wu Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Phillip and Iva Yoshimura Phyllis and Darrel Zerger* Marlis and Jack Ziegler Timothy and Sonya Zindel Linda and Lou Ziskind Dr. Mark and Wendy Zlotlow And 27 donors who prefer to remain anonymous

Artistic Ventures Fund

We applaud our Artistic Ventures Fund members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies, and programs made available free to the public.

James Bigelow Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf Nancy McRae Fisher Wanda Lee Graves and Steve Duscha Anne Gray Barbara K. Jackson° Rosalie Vanderheof

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.

Wayne and Jacque Bartholomew Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Nancy Dubois° Anne Gray Benjamin and Lynette Hart L. J. Herrig Estate° Mary B. Horton Margaret Hoyt Barbara K. Jackson° Roy and Edith Kanoff° Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Ruth R. Mehlhaff° Joy Mench and Clive Watson Trust Verne Mendel Kay Resler Hal° and Carol Sconyers Joe and Betty° Tupin Lynn Upchurch 1 Anonymous 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 Nancy Petrisko, Director of Development, 530.754.5420 or npetrisko@ucdavis.

Thank you to the following donors for their special program support.

Young Artists Competition and Program

Jeff and Karen Bertleson Karen Broido John and Lois Crowe Merrilee and Simon Engel Mary B. Horton Barbara K. Jackson° Debbie Mah Linda and Lawrence Raber

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. * Friends of Mondavi Center

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†Mondavi Center Advisory Board Member

°In Memoriam