Mondavi Center 15 -16 Program Book 2 by Mondavi Center

season of performing arts

Novâ&#x20AC;&#x201C;Dec 2015 In Conversation with Zadie Smith NOV 6

Program

Western Health Advantage

WELCOME

A MESSAGE FROM THE CHANCELLOR The modern university experience should inspire both the intellect and the heart, and at UC Davis we are blessed with many such places that do each exceedingly well. At the top of the list must surely be our Robert and Margrit Mondavi Center for the Performing Arts, which for the past decade has been a beacon of outstanding entertainment and culture for UC Davis and the greater Sacramento region. Looking through the schedule for the upcoming season, you will find a rich array of artists and performances to choose from. The eclectic

LINDA P.B. KATEHI

UC DAVIS CHANCELLOR

range of entertainers who come through our campus to perform at the Mondavi are some of the most dynamic and exciting artists anywhere, from ground-breaking comedians to classical opera, much-loved writers, vocalists and more.

I know firsthand that your experience at

No matter what appeals to you, there are shows at the Mondavi Center in the upcoming season that will delight, inspire and captivate you and your families and friends. My husband and I make it a point to attend as many

the Mondavi will be

Mondavi Center events as possible and we hope to see you there during

highly rewarding

the 2015–16 season. Whether this is your first time visiting the center or

and memorable.

be highly rewarding and memorable.

you are coming back for more, I know firsthand that your experience will

Thank you for supporting the performing arts on our campus. Enjoy the show and please come back for more!

encoreartsprograms.com 3

SPONSORS SEASON SPONSOR

MONDAVI CENTER STAFF Don Roth, Ph.D.

EXECUTIVE DIRECTOR

Jeremy Ganter

ASSOCIATE EXECUTIVE DIRECTOR

Liz King

EXECUTIVE ASSISTANT

CORPORATE PARTNERS PLATINUM

Liz King

EXECUTIVE ASSISTANT

MARKETING Rob Tocalino

DIRECTOR OF MARKETING

Dana Werdmuller

MARKETING MANAGER

Erin Kelley

ART DIRECTOR/SENIOR DESIGNER

Chloe Fox

DIGITAL MARKETING SPECIALIST

TICKET OFFICE Sarah Herrera

TICKET OFFICE MANAGER

Susie Evon

EVENT SUPERVISOR AND GROUP SALES COORDINATOR

Jessica Miller

TICKET OFFICE SUPERVISOR

Russell St. Clair TICKET AGENT

MEMBERSHIP Debbie Armstrong SENIOR DIRECTOR OF MEMBERSHIP

Jill Pennington

MEMBERSHIP RELATIONS SPECIALIST

SPECIAL THANKS API Global Transportation 4 MONDAVIART S.ORG

Ciocolat

Jenna Bell

ARTIST SERVICES MANAGER

ASSISTANT PRODUCTION MANAGER

Christi-Anne Sokolewicz Christopher C. Oca

DIRECTOR OF DEVELOPMENT

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

Adrian Galindo

Marlene Freid

Nancy Petrisko

COPPER

ARTIST SERVICES

PRODUCTION MANAGER

Joyce Donaldson

DEVELOPMENT

BRONZE

Donna J. Flor

DIRECTOR OF OPERATIONS

SENIOR STAGE MANAGER, JACKSON HALL

ARTS EDUCATION COORDINATOR

OFFICE OF CAMPUS COMMUNITY RELATIONS

Herb Garman

AUDIENCE SERVICES

Jennifer Mast

SILVER

PRODUCTION

ARTS EDUCATION DIRECTOR OF ARTS EDUCATION

GOLD

OPERATIONS

AUDIENCE SERVICES MANAGER

Yuri Rodriguez

PUBLIC EVENTS MANAGER

Natalia Deardorff

ASSISTANT PUBLIC EVENTS MANAGER

Dawn Kincade

ASSISTANT PUBLIC EVENTS MANAGER

Kerrilee Knights

ASSISTANT PUBLIC EVENTS MANAGER

Nancy Temple

ASSISTANT PUBLIC EVENTS MANAGER

HEAD USHERS Huguette Albrecht Ralph Clouse Eric Davis John Dixon George Edwards Donna Horgan Paul Kastner Jan Perez Steve Matista FACILITIES Ryan Thomas

BUILDING ENGINEER

SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE

Phil van Hest

MASTER CARPENTER

Rodney Boon

HEAD AUDIO ENGINEER

PROGRAMMING Jeremy Ganter

DIRECTOR OF PROGRAMMING

Erin Palmer

ASSISTANT DIRECTOR OF PROGRAMMING

Ruth Rosenberg

ARTIST ENGAGEMENT COORDINATOR

Lara Downes

CURATOR, YOUNG ARTISTS PROGRAM

SUPPORT SERVICES Debbie Armstrong

SENIOR DIRECTOR OF SUPPORT SERVICES

Mandy Jarvis

FINANCIAL ANALYST

Russ Postlethwaite

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

INFORMATION TECHNOLOGY Paul Altamira

APPLICATIONS ADMINISTRATOR & PCI COMPLIANCE COORDINATOR

IN THIS ISSU

A MESSAGE FROM THE EXECUTIVE DIRECTOR

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

DON ROTH, Ph.D. EXECUTIVE DIRECTOR

This month we mourn the passing of Chancellor Emeritus Larry Vanderhoef whose vision made possible this wonderful performing arts center. We are grateful to Maril Revette Stratton for so beautifully capturing Larry’s essence and achievements in the memorial found on page seventeen of this program book.

8 Spot 10 Zadie Smith 12 San Francisco Symphony

For many years, the American Bach Soloists, under the direction of Jeffrey Thomas, a distinguished member of the UC Davis music faculty, has performed an unparalleled version of Handel’s Messiah each December. It has become a holiday tradition in the Sacramento region.

18 Akram Khan Company

In many parts of Europe, J.S. Bach’s Christmas Oratorio is the more common holiday tradition. We asked Maestro Thomas if he would perform Bach’s masterpiece this December, and he enthusiastically agreed. I think you will find the Christmas Oratorio as uplifting and inspiring, as dramatic and beautiful as Handel’s great oratorio and truly worthy of a place in our holiday offerings. Please join us as we begin this new holiday tradition in Jackson Hall.

28 Pink Martini

One more thing: I want to draw attention to the faculty moderators on tap this month as part of our Speakers Series. This series shines a light on major cultural figures (in this issue, see author Zadie Smith and T.V. creator Vince Gilligan), often in conversation with one of our distinguished UC Davis faculty members. It is a testament to the talent at our University that we are able to engage moderators every bit as interesting as the visiting speakers with whom they will share the Jackson Hall stage.

Zadie Smith will be interviewed by English Professor Yiyun Li, an award-winning author in her own right, former MacArthur fellow and, like Smith, a member of Granta’s prestigious Best American Authors under 40 list. Vince Gilligan will engage with Colin Milburn, the Gary Snyder Chair in Science and the Humanities whose interests include science fiction, gothic horror, the history of biology, the history of physics, nanotechnology, video games, and the digital humanities. I know you will find the dialogue between these faculty members and our visiting speakers fascinating, enriching and unique, the kind of event that reflects the unique character of being a performing arts center on the campus of a great research university. Happy Holidays,

6 MONDAVIART S.ORG

22 Orpheus Chamber Orchestra

32 Vince Gilligan 34 Reduced Shakespeare Company 36 American Bach Soloists

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 emergency exit nearest you. That exit may be behind, to the side or in front of you and is indicated by a lighted green sign. 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 be seated in an alternate seat upon readmission while the performance is in progress. Readmission is at the discretion of Management. • Assistive Listening Devices and binoculars 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.

November–December 2015 Volume 3, No. 2

AN EXCLUSIVE WINE TASTING EXPERIENCE OF THESE FEATURED WINERIES FOR INNER CIRCLE DONORS

Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Kim Love Design and Production Artists Marty Griswold Director of Business & Community Development Mike Hathaway Sales Director Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Brieanna Bright, Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Seattle Area Account Executives Carol Yip Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartssf.com

Paul Heppner President Mike Hathaway Vice President

Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7–8PM and during intermission if scheduled.

SEPTEMBER 30 WED

Mavis Staples and Joan Osborne PRIEST RANCH

OCTOBER 7 WED

Orquesta Buena Vista Social Club BROMAN CELLARS

NOVEMBER 19 THU

Akram Khan Company MINER’S LEAP

DECEMBER 12 SAT

Reduced Shakespeare Company BUCHER WINERY

JANUARY 23 SAT

Royal Philharmonic Orchestra GAUTHIER SELECT VINEYARDS

FEBRUARY 20 SAT

Russian National Orchestra BOUCHAINE VINEYARDS

MARCH 30 WED

Patty Griffin with Sara Watkins & Anaïs Mitchell BOEGER WINERY

APRIL 25 MON

Aimee Mann & Billy Collins V. SATTUI WINERY

MAY 11 WED

Yo-Yo Ma, cello | Kathryn Stott, piano ROBERT MONDAVI WINERY

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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2015 Encore Media Group. Reproduction without written permission is prohibited.

For information about becoming an Inner Circle donor, please call 530.754.5438 or visit us online:

www.mondaviarts.org. encoreartsprograms.com 7

A Hallmark Inn, Davis Children’s Stage Series Event Sunday, November 1, 2015 • 3PM Jackson Hall

SPONSORED BY:

INDIVIDUAL SUPPORT FROM

Anne Gray Pre-Performance Talk: 7PM Scott Foglesong, Chair of Musicianship and Music Theory, San Francisco Conservatory of Music. Scott Foglesong has prepared an extensive audio history of SFS recordings, available at sfsymphony.org. He is on the faculty of the Fall Freshman Program at UC Berkeley and the Fromm Institute for Lifelong Learning at USF. A Contributing Writer to the Symphony’s program book, he also serves as Program Annotator for the California Symphony and the New Hampshire Music Festival, and he was previously program annotator for the Philharmonia Baroque Orchestra. As a pianist and commentator, he has been heard on radio shows such as West Coast Weekend and My Favorite Things.

Sibelius

Violin Concerto Sibelius in D Minor, Op. 47 Allegro moderato Adagio di molto Allegro ma non troppo Leonidas Kavakos, violin INTERMISSION Symphony No. 3 Schumann in E-flat Major, Op. 97, Rhenish Lebhaft Scherzo: Sehr mässig Nicht schnell Feierlich Lebhaft 12 MONDAVIART S.ORG

Michael Tilson Thomas, Music Director and Conductor

PROGRAM NOTES THE SWAN OF TUONELA (FROM FOUR LEGENDS FROM THE KALEVALA), OP. 22, NO.2

JEAN SIBELIUS (1865-1957)

PROGRAM The Swan of Tuonela, Op. 22, No. 2

SAN FRANCISCO SYMPHONY

Following an ill-fated attempt at an opera on the Kalevala, a collection of ancient Finnish epic myths, and energized by a study of Franz Liszt’s symphonic poems, Sibelius embarked on another Kalevalainspired project in the autumn of 1895. This time he turned his attention to the exploits of the reckless young Lemminkäinen, a sort of cross between Don Juan (with whom the composer himself compares the hero), the young Siegfried, and Osiris. Sibelius decided to string together a series of orchestral tapestries in a suite of four movements, each based loosely on various episodes from Lemminkäinen’s picaresque adventures. Something about the shift in focus clearly liberated Sibelius’ imagination to produce the most fertile, confident, and colorful writing for orchestra thus far in his career.

Leonidas Kavakos, violin

The Swan of Tuonela originated, according to Sibelius’ report, as the prelude to his abandoned opera The Building of the Boat. Though his final revision suppressed the brief program descriptions heading each manuscript, a line found in the score for the Swan is worth quoting: “Tuonela, the land of death, the hell of Finnish mythology, is surrounded by a large river with black waters and a rapid current on which the Swan of Tuonela floats majestically, singing. ”This music is a marvel of sustained mood, extremely limited in its palette yet intensely evocative all the same. Sibelius darkens his sound world by omitting flutes, clarinets (but retaining the timbre of bass clarinet), and trumpets. Against a vaporous, ascending shimmer of muted string chords beginning in A minor, the mournful voice of a solo English horn cries out. Shades of Wagner’s Tristan und Isolde may be heard, yet this opening is also unmistakably Sibelian in the long unfolding of asymmetrical, triplet-inflected melody that seems it could stretch

SAN FRANCISCO SYMPHONY into infinity. Sibelius creates a sense of stasis, of mythic time, to which, almost imperceptibly, are added subtle nuances, as in the dripping sounds of pizzicato violins immediately before the brief outburst of C major from horns and harp (some momentary penetration of Tuonela’s eternal gloom?) or the fateful upward ostinato of harp bass toward the end. The Swan clearly partakes of a fin-de-siècle spirit of Symbolism (a parallel swan imagery also being present in the poetry of Yeats), with its painterly, lugubrious haze. But the well-known swan motif carried an intensely personal significance for the composer as well; it would recur in an epiphany that inspired the glorious “swan hymn” theme of the Fifth Symphony’s final movement. In The Swan of Tuonela, frequently performed as a stand-alone piece, many have come to recognize the first full flowering of Sibelius’ unique genius. —Thomas May

the instrument and the pain of his farewell to his “dearest wish” and “overriding ambition.” While it is true that the Sibelius is one of the really smashing virtuoso concertos, it would be a mistake to associate it with the merely virtuosic tradition represented by the concertos of, say, Tchaikovsky, Bruch, and perhaps even the elegant Mendelssohn. Sibelius’ first movement, with

its daring sequence of disparate ideas, its quest for the unity behind them, its bold substitute of a cadenza for a conventional development, its recapitulation that continues to explore, rearrange, and develop, its wedding of violinistic brilliance to compositional purposes, is one that bears the unmistakable stamp of the symphonist. The second and third movements proceed from a lesser level of structural

The magic of

CONCERTO IN D MINOR FOR VIOLIN AND ORCHESTRA, OP. 47

JEAN SIBELIUS (1865-1957)

From Bach to Bartók, many of the great keyboard concertos have been written by composers for themselves. More of the famous violin concertos have been written for others to play. Sibelius wrote his for a kind of ghostly self. He was a failed violinist. He had begun lessons late, at fourteen, but then “the violin took me by storm, and for the next ten years it was my dearest wish, my overriding ambition, to become a great virtuoso.” In fact, aside from the double handicap of his late start and the provincial level of even the best teaching available in Finland, he had neither the physical coordination nor the temperament for such a career. In 1890-91, when he was in Vienna studying composition with Robert Fuchs and Karl Goldmark, he played in the conservatory orchestra (its intonation gave him headaches), and on January 9, 1891, he auditioned for the Philharmonic. “When he got back to his room,” we read in Erik Tawaststjerna’s biography, “Sibelius broke down and wept. Afterwards he sat at the piano and began to practice scales.” With that he gave up, though a diary entry in 1915 records a dream of being twelve and a virtuoso. His Violin Concerto is, in any event, imbued both with his feeling for

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WITH THE

DEC 6

Holiday Brass

Witness the amazing precision, power, and brilliant virtuosity of the San Francisco Symphony brass! Experience selections ranging from baroque masterpieces written for the soaring cathedrals of Europe, to contemporary favorites including “Sleigh Ride,” “Silent Night,” and “Joy to the World.”

DEC 9–10

DEC 17–19

WITH THE SF SYMPHONY

WITH THE SF SYMPHONY AND CHORUS

A Classic Christmas

Handel’s Messiah

This program of traditional carols and songs performed by the Symphony is sure to make musical memories anew. Hear violinist Elena Urioste perform Vaughan Williams’ The Lark Ascending. Plus, enduring favorites from the Nutcracker Suite, and treasured carols including “Deck the Hall.”

The Grammy Award-winning SF Symphony Chorus joins the SF Symphony for a performance of Handel’s famous work featuring the beloved “Hallelujah” Chorus. Dec 19 supported by

for a complete holiday lineup, visit:

sfsymphony.org/holiday 415-864-6000 holidays with the symphony sponsors Official Magazine Partner

Concerts at Davies Symphony Hall. Programs, artists, and prices subject to change. *Subject to availability. Box Office Hours Mon–Fri 10am–6pm, Sat noon–6pm, Sun 2 hours prior to concerts Walk Up Grove Street between Van Ness and Franklin

TICKETS START AT

$15

SAN FRANCISCO SYMPHONY Michael Tilson Thomas Music Director and Conductor Herbert Blomstedt Conductor Laureate Donato Cabrera Resident Conductor Ragnar Bohlin Chorus Director Vance George Chorus Director Emeritus

FIRST VIOLINS

Alexander Barantschik Concertmaster Naoum Blinder Chair Nadya Tichman Associate Concertmaster San Francisco Symphony Foundation Chair Mark Volkert Assistant Concertmaster 75th Anniversary Chair Jeremy Constant Assistant Concertmaster Mariko Smiley Paula & John Gambs Second Century Chair Melissa Kleinbart Katharine Hanrahan Chair Yun Chu Sharon Grebanier Naomi Kazama Hull In Sun Jang Yukiko Kurakata Catherine A. Mueller Chair Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen

SECOND VIOLINS

Dan Carlson Principal Dinner & Swig Families Chair Paul Brancato Acting Associate Principal Audrey Avis Aasen-Hull Chair John Chisholm Acting Assistant Principal Dan Nobuhiko Smiley The Eucalyptus Foundation Second Century Chair Raushan Akhmedyarova David Chernyavsky Cathryn Down Darlene Gray Amy Hiraga Kum Mo Kim Kelly Leon-Pearce Elina Lev Isaac Stern Chair Chunming Mo Polina Sedukh Chen Zhao Sarah Knutson†

VIOLAS

Jonathan Vinocour Principal Yun Jie Liu Associate Principal Katie Kadarauch Assistant Principal John Schoening Joanne E. Harrington & Lorry I. Lokey Second Century Chair Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young

CELLOS

Michael Grebanier Principal Philip S. Boone Chair Peter Wyrick Associate Principal Peter & Jacqueline Hoefer Chair Amos Yang Assistant Principal Margaret Tait Lyman & Carol Casey Second Century Chair Barbara Andres The Stanley S. Langendorf Foundation Second Century Chair Barbara Bogatin Jill Rachuy Brindel Gary & Kathleen Heidenreich Second Century Chair Sébastien Gingras David Goldblatt Christine & Pierre Lamond Second Century Chair Carolyn McIntosh Anne Pinsker

BASSES

Scott Pingel* Principal Jeremy Kurtz-Harris† Acting Associate Principal Stephen Tramontozzi Assistant Principal Richard & Rhoda Goldman Chair S. Mark Wright Lawrence Metcalf Second Century Chair Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen

FLUTES

Tim Day Principal Caroline H. Hume Chair Robin McKee Associate Principal Catherine & Russell Clark Chair Linda Lukas Alfred S. & Dede Wilsey Chair Catherine Payne Piccolo

OBOES

Eugene Izotov Principal Edo de Waart Chair Christopher Gaudi† Acting Associate Principal Pamela Smith Dr. William D. Clinite Chair Russ deLuna English Horn Joseph & Pauline Scafidi Chair

CLARINETS

Carey Bell Principal William R. & Gretchen B. Kimball Chair Luis Baez Associate Principal & E-flat Clarinet David Neuman Jerome Simas Bass Clarinet

BASSOONS

Stephen Paulson Principal Steven Dibner Associate Principal Rob Weir Steven Braunstein Contrabassoon

HORNS

Robert Ward Principal Nicole Cash Associate Principal Bruce Roberts Assistant Principal Jonathan Ring Jessica Valeri Kimberly Wright*

TRUMPETS

Mark Inouye Principal William G. Irwin Charity Foundation Chair Mark Grisez† Acting Associate Principal Peter Pastreich Chair Guy Piddington Ann L. & Charles B. Johnson Chair Jeff Biancalana

TROMBONES

Timothy Higgins Principal Robert L. Samter Chair Timothy Owner† Acting Associate Principal Paul Welcomer John Engelkes Bass Trombone

TUBA

Jeffrey Anderson Principal James Irvine Chair

HARP

Douglas Rioth Principal

TIMPANI

Michael Israelievitch† Acting Principal Marcia & John Goldman Chair

PERCUSSION

Jacob Nissly Principal Raymond Froehlich Tom Hemphill James Lee Wyatt III

KEYBOARDS

Robin Sutherland Jean & Bill Lane Chair Margo Kieser Principal Librarian Nancy & Charles Geschke Chair John Campbell Assistant Librarian Dan Ferreira Assistant Librarian

*On Leave Acting member of the San Francisco Symphony

†

The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

encoreartsprograms.com 15

SAN FRANCISCO SYMPHONY ambition, which does not mean, however, that the Adagio is anything other than one of the most moving pages Sibelius ever achieved. In the finale, which Donald Francis Tovey called “a polonaise for polar bears,” the rhythm becomes more and more giddily inventive, especially in the matter of the recklessly across-the-beat bravura embellishment the soloist fires across the themes. Drama builds and the concerto ends in utmost and syncopated brilliance. —Michael Steinberg

SYMPHONY NO. 3 IN E-FLAT MAJOR, OP. 97, RHENISH

ROBERT SCHUMANN (1810-1856)

More than a natural phenomenon, the Rhine has been a political object and the cradle of legend and poetry, and, though it rises in Switzerland and drains into the North Sea in the Netherlands, the Germans have always thought of the river as very much their own. Schumann and the Rhineland were new to each other in 1850. Except for a period of study at Heidelberg, a winter in Vienna, and occasional travels with his wife, Clara, he had lived in his native Saxony all his life. When his friend Ferdinand Hiller left his conducting post in Düsseldorf, he proposed Schumann as his successor. On March 31, 1850, Schumann formally accepted his appointment as Düsseldorf’s Municipal Music Director. When he arrived that September, he had much to look forward to. The Düsseldorfers did everything they could to make their new music director feel welcome, unleashing an exhausting round of speeches, serenades, celebratory concerts, banquets, and balls. But the Düsseldorf venture would quickly turn into disaster. Clearly unequal to the requirements of his position, Schumann was asked to resign in October 1852. The matter was smoothed over for the moment, but a year later he had conducted his last concert. Always subject to depressions and the survivor of more than one suicide attempt, Schumann threw himself into the Rhine on February 27, 1854, and was rescued and committed into Dr. Richarz’s hospital at Endenich, where he died two-and-a-half years later. But all that is another story. The Rhenish Symphony, which Schumann composed between November 2 and 16 MONDAVIART S.ORG

December 9, 1850, reflects his optimism in the face of new challenges and a fresh start among a people more outgoing than any he had known and whose ebullience delighted him. Schumann begins with one of his most glorious themes, a powerfully forwardthrusting idea, part of whose energy is in its artful cross rhythm. The tension generated at the outset pervades the entire movement, and the opening theme itself is never absent for long. The spirit of the movement, characterized by minimal contrast and relaxation, is signature Schumann, as is the highly individual touch of introducing new material at the end. The Scherzo is an agreeably galumphing country dance, with a secondary idea shared by the main part of the movement and its rather brooding trio. “Morning on the Rhine” was Schumann’s original title for the Scherzo. The pace relaxes still more for the next piece. It is not really a slow movement, but something more by way of a middletempo intermezzo, an original genre with Schumann. Then comes the symphony’s first truly slow music. In September 1850, the Schumanns made the thirty-mile trip to Cologne to witness the installation of Cardinal Archbishop von Geissel in the cathedral. Schumann was stunned by the cathedral, the largest Gothic building in northern Europe, and he was excited by the splendor of the ceremony. The fourth movement of the Rhenish Symphony is his musical monument to a building that was almost as much a national totem as the river by which it stands. He reserves the sound of trombones for this tone picture and (with effective restraint) for the finale. This fifth movement begins by being uncomplicatedly cheery; only gradually does it reveal itself as a kind of extension or completion of the cathedral section. As it moves to its brilliant close, it makes allusion as well to the symphony’s opening. —Michael Steinberg PROGRAM NOTES © 2015 SAN FRANCISCO SYMPHONY

THE SAN FRANCISCO SYMPHONY The San Francisco Symphony gave its first concerts in 1911 and has grown in acclaim under a succession of

distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and Michael Tilson Thomas, who assumed his post in 1995. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award, and the United States’s Grammy. Each year the Symphony offers Adventures in Music, the longest running education program among this country’s orchestras, which brings music to every child in grades one through five in San Francisco’s public schools. In 2006, the San Francisco Symphony launched the multimedia Keeping Score on PBS-TV and the web. For more information, go to www.sfsymphony.org.

MICHAEL TILSON THOMAS

MUSIC DIRECTOR, CONDUCTOR

Michael Tilson Thomas first conducted the San Francisco Symphony in 1974 and has been Music Director since 1995. A Los Angeles native, he studied at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at nineteen and working with Stravinsky, Boulez, Stockhausen, and Copland at the famed Monday Evening Concerts. He was pianist and conductor for Piatigorsky and Heifetz master classes and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth. In 1969, Tilson Thomas won the Koussevitzky Prize and was appointed Assistant Conductor of the Boston Symphony. He went on to become the BSO’s Associate Conductor, then Principal Guest Conductor. He has also served as Director of the Ojai Festival, Music Director of the Buffalo Philharmonic, as a Principal Guest Conductor of the Los Angeles Philharmonic, and co-Artistic Director of Japan’s Pacific Music Festival. Formerly Principal Conductor of the London Symphony Orchestra, he now serves as Principal Guest Conductor. He currently serves as Artistic Director of the New World Symphony, which he founded in 1988. He is a Chevalier des Arts et des Lettres of France, and in 2010 was awarded the National Medal of Arts by President Barack Obama.

IN MEMORIAM

LARRY N. VANDERHOEF We will miss him deeply. A soft-spoken administrator whose management mantra was “listen, listen, listen,” Chancellor Emeritus Larry N. Vanderhoef passed away October 15 at the age of 74. He’d led UC Davis for 25 years—first as provost/executive vice chancellor (1984–1994) and then as chancellor (1994–2009). That quarter-century is arguably the period of UC Davis’ greatest physical and academic growth.

“The Mondavi Center is indeed the house that Larry built, and for 14 seasons it has brought joy to hundreds of thousands of people,” said Don Roth, Mondavi Center executive director. “Without the vision of Chancellor Emeritus Larry Vanderhoef, our lives here would be so much poorer. We have lost a friend to the arts and to us all.” The first in his family to complete high school and one of the very few in his Wisconsin factory town to make his way to college, he understood the life-changing opportunities a good education can provide. “The best decision I ever made was to

“Larry Vanderhoef was many things over the course of his richly productive life—a pragmatic visionary, “Without the vision of Chancellor Emeritus an academic Larry Vanderhoef, our lives here would be so diplomat, a tireless much poorer. We have lost a friend to the arts institution builder and to us all.” —Don Roth who devoted himself to realizing get out of the pool hall and into the the potential of an extraordinary classroom,” he told Sacramento intellectual community,” said former Magazine in 2006. Overcoming the UC President Richard Atkinson. lack of academic role models and guideposts early in his life, he became And he was a wing-and-a-prayer an outspoken advocate for access to risk-taker whose vision and quiet higher education. persistence saw the transformational Mondavi Center for the Performing In leading UC Davis through state Arts through from dream to reality. budget cuts, the aftermath of He announced at his 1994 inauguration campus and national tragedies and other challenges, Larry Vanderhoef that the campus would build such a developed a reputation for being a center—despite UC President Jack principled, approachable leader. He Peltason’s sage advice to never was willing to make tough decisions, promise anything unless you’re and remained passionate about the absolutely certain you can deliver. university’s mission to make people’s “You’re a slow learner,” President lives better. Peltason told him after the speech.

“The campus has lost a beloved leader, one who gave a quartercentury of his life and more to UC Davis,” said Chancellor Linda P.B. Katehi. “He built a strong foundation for our university’s service to the state, nation and world.” At the heart of it, he made sure people knew that they, and their work, mattered. Really, truly mattered. He accomplished so much for UC Davis and took so little credit— Midwest modest to the core. He was extraordinarily, and quietly, kind in ways that deeply touched people. “No one person has made a greater imprint on what we today know as a very special university, a gem in our region,” said State Sen. Lois Wolk (D-Davis). “But his greatest impact may have been on the tone he set for human interaction at the university and our public discourse. No matter who you were, an employee, student, academic colleague, elected official, international honoree, he treated one and all with respect and understanding. This is a legacy we will all need to work hard to continue.” The Davis Enterprise, in an October 18 editorial, agreed: “More than any single individual, Larry Vanderhoef left his mark on UC Davis, helping to make it the very special place it is. Thank you for everything, Larry. We will miss you so much.”

SAN FRANCISCO SYMPHONY

FURTHER LISTENING by Jeff Hudson

THE SAN FRANCISCO SYMPHONY and LEONIDAS KAVAKOS If you feel like you might have heard Leonidas Kavakos play the Sibelius Violin Concerto before – you’re right. Kavakos performed the piece in Jackson Hall in April 2005 with the Kirov Orchestra of the Mariinsky Theatre, under the baton of Valery Gergiev. (I was present on that occasion, and came away impressed.) The Sibelius concerto seems to be a favorite with Kavakos, and his recent performances of the piece have drawn much praise. In January and February, Kavakos performed it with the Berlin Philharmonic (Simon Rattle conducting) as part of the orchestra’s residency at London’s Barbican Hall. Reviewers tossed around terms like “mesmerizing” and “heroic,” and described Kavakos’ playing as a combination of “diabolical fire and crystalline ice” (The Guardian). And on May 1 of this year, Kavakos took the Sibelius home, so to speak, performing the concerto (again with the Berlin Philharmonic, Simon Rattle conducting) at the Megaron Concert Hall in Athens. (Kavakos was born in Greece.) Kavakos regularly performs the Sibelius concerto, and his 1991 recording with Osmo Vänskä and the Lahti Symphony Orchestra won the Gramophone Award for Concerto of the Year. Kavakos won the Artist of the Year award from Gramophone in 2014. He also released a recording (on Decca) of Brahms violin sonatas with pianist Yuja Wang who’s performed at the Mondavi Center several times. She’ll be back in Jackson Hall with the Russian National Orchestra in February. The San Francisco Symphony, under conductor Michael Tilson Thomas (who has been leading the orchestra since 1995), has a longstanding fondness for Sibelius as well. I vividly recall MTT leading the SFS through a revelatory reading of the Sibelius Fourth Symphony in Jackson Hall in May 2009. The San Francisco Symphony recorded a 4-CD box set of the Sibelius symphonies under conductor Herbert Blomstedt on Decca back in the 1990s. And the San Francisco Symphony, under Michael Tilson Thomas, has released several noteworthy albums this year on their SFS Media label. In July, they released the first recording of John Adams’ Absolute Jest (which the San Francisco Symphony commissioned). The album also included an older Adams piece, Grand Pianola Music with the composer conducting, joined by pianists Marc-André Hamelin and Orli Shaham. On a more traditional note, the SFS released a Tchaikovsky disk in May, featuring the Symphony No. 5 and the Romeo and Juliet Fantasy-Overture, marking the 175th anniversary of Tchaikovsky’s birth. On November 13, SFS Media releases a Beethoven recording featuring Piano Concerto No. 3 with Emanuel Ax (no stranger to the Mondavi Center), and the Mass in C major featuring the SFS Chorus, with vocal soloists Joélle Harvey, Kelley O’Connor, William Burden, and Shenyang. This is the Orchestra’s second Beethoven recording with Emanuel Ax. His performance of the Piano Concerto No. 4 with MTT and the SFS was released on SFS Media in 2011. JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

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LEONIDAS KAVAKOS

VIOLIN

Born and brought up in a musical family in Athens, where he still lives, Leonidas Kavakos studied at the Hellenic Conservatory with Stelios Kafantaris, one of the three important mentors in his life, together with Josef Gingold and Ferenc Rados. By the age of 21, Kavakos had won the Sibelius Competition in 1985, and the Paganini and Naumburg competitions in 1988. He followed this with the firstever recording of the original version of Sibelius’ Violin Concerto, which won a Gramophone award for Concerto of the Year in 1991. He was named Gramophone’s 2014 Artist of the Year. An exclusive artist with Decca Classics, Kavakos received the ECHO Klassik award for Instrumentalist of the Year in 2013 for his recording of the complete Beethoven violin sonatas with Enrico Pace. Other Decca recordings include the Brahms Violin Concerto with the Leipzig Gewandhaus Orchestra and Riccardo Chailly, and Brahms’ violin sonatas with Yuja Wang. This season Kavakos and Wang tour Europe and the US. His recording of Mendelssohn’s Violin Concerto with Camerata Salzburg received an ECHO Klassik for Best Concerto Recording award in 2009. Kavakos has always retained strong links with his native Greece. For fifteen years he curated a chamber music cycle at the Athens Concert Hall (Megaron). For the past three years, he has curated an annual violin and chamber music masterclass in Athens. Kavakos plays the 1724 “Abergavenny” Stradivarius violin.

Stem cells got me back on my feet. Arsenia Harrison isn’t one to let disease get in the way of what she wants to accomplish. Still in pain after two major surgeries for peripheral artery disease, Arsenia turned to the experts at UC Davis. There she joined an innovative study that uses one’s own stem cells to help regenerate blocked blood vessels in the leg. Today, Arsenia is walking, jogging and playing with her grandkids pain-free – not to mention pursuing her degree and starting her own business – all with boundless positivity.

See Arsenia’s story at healthierworld.ucdavis.edu

A Dance Series Event Thursday, November 19, 2015 • 8PM Jackson Hall

Question and Answer Session Following the performance moderated by Ruth Rosenberg, Artist Engagement Coordinator for the Mondavi Center, UC Davis

AKRAM KHAN COMPANY

kaash

Ruth Rosenberg oversees community and campus engagement with the Mondavi Center’s touring artists. Artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990-2001, she also performed with the Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco and was the recipient of numerous awards and honoraria.

kaash

(REVIVAL OF THE 2002 FULL-LENGTH WORK)

World premiere: 28th March 2002, Maison des Arts, Créteil (France) Original tour: 133 shows, 65 venues, 23 countries Closed on 7th February 2004 at Théâtre de la Ville, Paris (France) Saturday 22 November 2014 – Open Dress Rehearsal Trinity Laban Conservatoire of Music and Dance, London Friday 12 December 2014 – Revival Premiere MC2: Grenoble (France)

Akram Khan teamed up with the celebrated talents of Anish Kapoor and Nitin Sawhney to present his company’s first full-length evening work in 2002. “Hindu Gods, black holes, Indian time cycles, tablas, creation and destruction” were the starting points for this work. Danced by a strong international cast of performers, kaash (Hindi word for “if only”) continued Akram Khan’s quest to build bridges between the worlds of contemporary dance and the Indian classical dance form Kathak. “As our first full-length company piece back in 2002, where I had the great opportunity to collaborate with Anish Kapoor and Nitin Sawhney, kaash holds a very special place in our journey and in our hearts, and I am excited that it is now our first ever revival. Our new fivestrong cast of international performers will shed another light and energy on the piece, focused on physicality and precision, that I believe still has all its relevance today.” –Akram Khan 20 MONDAVIART S.ORG

ARTISTIC TEAM

Artistic Direction and Choreography Akram Khan Composer Nitin Sawhney Set Design Anish Kapoor Lighting Design Aideen Malone Costume Design Kimie Nakano Additional Music ‘Spectre’ by John Oswald played by The Kronos Quartet Voice Akram Khan, B C Manjunath Sound recording Bernhard Schimpelsberger Produced by Farooq Chaudhry Performed by Kristina Alleyne, Sadé Alleyne, Sung Hoon Kim, Nicola Monaco, Sarah Cerneaux Rehearsal Director Andrej Petrovic With the support of Eulalia Ayguade Farro, Moya Michael and Yen-Ching Lin Technical Director Richard Fagan

Technicians Alex Castro, Peter Swikker/Paolo Zanin Tour Manager Mashitah Omar MATERIAL ORIGINALLY DEVISED AND PERFORMED BY (2002-2004)

Akram Khan, Rachel Krische, Moya Michael, Inn Pang Ooi, Shanell Winlock and Eulalia Ayguade Farro

kaash was originally created with the generous support of Southbank Centre (London), Tramway (Glasgow), Vooruit (Gent), Sampad (Birmingham), DanceEast (Ipswich), Maison des Arts de Créteil, Wexner Center for the Arts at The Ohio State University with support from the Doris Duke Charitable Foundation. kaash was also created with generous support from The Quercus Trust, The Jerwood Space and Birmingham DanceXchange. The 2014 revival of kaash was supported by a residency at Trinity Laban Conservatoire of Music and Dance, London. Akram Khan is an Associate Artist of Sadler’s Wells, London. SUPPORTED BY ARTS COUNCIL ENGLAND

AKRAM KHAN Akram Khan is one of the most celebrated and respected dance artists today. In just over a decade he has created a body of work that has contributed significantly to the arts in the United Kingdom and abroad. His reputation has been built on the success of imaginative, highly accessible and relevant productions such as DESH, iTMOi, Vertical Road, Gnosis and zero degrees. An instinctive and natural collaborator, Khan has been a magnet to world-class artists from other cultures and disciplines. His previous collaborators include the National Ballet of China, actress Juliette Binoche, ballerina Sylvie Guillem, choreographer/dancer Sidi Larbi Cherkaoui, singer Kylie Minogue, visual artists Anish Kapoor, Antony Gormley and Tim Yip, writer Hanif Kureishi and composers Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost. Khan’s work is recognised as being profoundly moving, in which his intelligently crafted storytelling is effortlessly intimate and epic. Described by the Financial Times as an artist “who speaks tremendously of tremendous things”, a recent highlight of his career was the creation of a section of the London 2012 Olympic Games Opening Ceremony that was received with unanimous acclaim. Khan has been the recipient of numerous awards throughout his career including the Laurence Olivier Award, the Bessie Award (New York Dance and Performance Award), the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award, the Herald Archangel Award at the Edinburgh International Festival, the South Bank Sky Arts Award and six Critics’ Circle National Dance Awards. Khan was awarded an MBE for services to dance in 2005. He is also an Honorary Graduate of Roehampton and De Montfort Universities, and an Honorary Fellow of Trinity Laban. Khan is an Associate Artist of Sadler’s Wells, London.

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NITIN SAWHNEY Nitin Sawhney is arguably the busiest, most versatile and sought after composer and producer around. As the holder of six honorary doctorates and three fellowships, he is now signed to Reservoir Publishing, and has worked with a host of celebrated artists including Paul McCartney and Sting.

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AKRAM KHAN COMPANY He has made nine studio albums, for which he has been nominated for a Mercury Music prize, won a MOBO, two BBC Radio 3 awards and a Southbank Show award. He has also received two Ivor Novello nominations. He has scored over 50 films for cinema and television, with an Ivor Novello nomination for best score, leading to his much acclaimed orchestral music to the BAFTA-nominated BBC series, The Human Planet, Mira Nair’s film The Namesake, three film scores for live performance by the London Symphony Orchestra, two acclaimed video game scores and composition for the Olivier Award-winning theatrical and dance productions with Complicite and Akram Khan. Sawhney scored Deepa Mehta’s adaptation of Salman Rushdie’s book Midnight’s Children, Alfred Hitchcock’s early silent movie The Lodger, Khyentse Norbu’s film Vara: A Blessing, and Ridley and Tony Scott’s Japan in a Day. He more recently scored Polio Wars and a documentary The Real Nelson Mandela. Sawhney released OneZero in June 2013. This project is a live cut to vinyl and is a retrospective session consisting of tracks taken from his nine-album back catalogue, and a preview of tracks from his forthcoming album, Dystopian Dream to be released in early November. Sawhney hosts his own show for BBC Radio 2 – Nitin Sawhney Spins the Globe, the next series is to be aired in March 2015. Sawhney composed for the BBC’s five-part TV series Wonders of the Monsoon which aired in October 2014.

ANISH KAPOOR Anish Kapoor is one of the most influential sculptors of his generation. He was born in Bombay in 1954 and lives and works in London. He studied at Hornsey College of Art (1973–77) followed by postgraduate studies at Chelsea School of Art, London (1977–78). Recent major solo exhibitions include Sakıp Sabancı Museum, Istanbul (2013); Martin-Gropius-Bau, Berlin (2013); Museum of Contemporary Art, Sydney (2012); Le Grand Palais, Paris (2011); Mehboob Studios, Mumbai and National Gallery of Modern Art, New Delhi (2010); Royal Academy of Arts (2009) and the Turbine Hall, Tate Modern, London (2002). He represented Britain at the 44th Venice Biennale (1990), for which he was awarded the Premio Duemila. He won the Turner Prize 22 MONDAVIART S.ORG

in 1991 and has honorary fellowships from the London Institute and Leeds University (1997), the University of Wolverhampton (1999) the Royal Institute of British Architecture (2001) and the University of Oxford (2014). His major permanent commissions include Cloud Gate (2004) for the Millennium Park in Chicago and Orbit for the London 2012 Olympic Park. In 2013 Ark Nova, the world’s first inflatable concert hall, was launched for the Lucerne Festival in Japan. He was elected Royal Academician in 1999, awarded the Premium Imperiale in 2011 and the Padma Bhushan in 2012. He was knighted in the Queen’s Birthday Honours in 2013.

AIDEEN MALONE Aideen Malone has been a Lighting Designer since 1994 working extensively in theatre, dance and opera. Some of the other companies she has collaborated with are; English Touring Opera, Nottingham Playhouse, Theatre Rites, Clod Ensemble, Theatre Centre, Theatre O, Discover Children’s Centre, Salida Productions, Arc Dance, Guilhall School of Music and Drama, Yellow Earth, Mercury Theatre, Cleanbreak, Young Vic, Gate Theatre, Hackney Music Development Trust, Angika Dance Company, Theatre Royal Manchester, Unicorn Theatre, Royal and Derngate, Turtle Key Arts, Sadhana Dance Company, Bush Theatre, Bristol Old Vic, Paco Pena, Yasmin Vardimon Co., Red Cape Theatre, Smith Dance Theatre, Southbank Centre, Flying Cloud, Bristol Old Vic and The Rose Theatre Kingston. Malone has been a freelance Lighting Designer and Tutor at Academy of Live and Recorded Arts since 2006. She is also a Director of Junction, who designs lighting sculptures and installations.

KIMIE NAKANO Kimie Nakano studied literature at Musashino University in Tokyo, theatre costume at Ecole Nationale Supérieure des Arts et Techniques du Théâtre in Paris and holds a theatre design MA at Wimbledon College of Art in London. Nakano has recently designed costumes for Akram Khan Company’s revival of kaash, Dust, Akram Khan’s piece for English National Ballet’s Lest We Forget, for Vertical Road/The Rashomon Effect (Akram Khan for the National Youth Dance Company) and for

TOROBAKA, Khan’s new duet with flamenco star Israel Galván. Previous designs for Akram Khan Company include set and costumes for Vertical Road, costumes for Gnosis and iTMOi, costume supervision for DESH. Other set and costume designs for dance include Carmen for The Lithuanian National Opera and Ballet Theatre (choreographer Didy Veldman), The Little Prince choreographed by Didy Veldman (Les Grands Ballets Canadiens de Montréal). Nakano has also collaborated with Eda Megumi on 8:15 (Rambert Dance Company) and with Megumi Nakamura on Sand Flower (Maastricht Festival Award). Her costume designs include Now Is (Edinburgh International Festival) and Timeless for Aditi Mangaldas, The Mustard Seed choreographed by Miguel Altunaga (Rambert Dance Company), Premieres Plus Carlos Acosta, Mural Study for Van Huynh Company and A Thousand Shepherds (choreographer Jose Agudo). Set and costume designs for opera and theatre include Yabu no Naka (modern noh/ kyogen play, Tokyo Art Festival Award) directed by Mansai Nomura, Ali to Karim (U.S. Tour) directed by Hafiz Karmali, Pas, Pas moi, va et vient (Beckett, Festival Theatre National Populaire – Lyon), The Oslo Experiment (Stratos Oslo), 2 Graves (Arts Theatre and Edinburgh Festival), La Nuit du Train de la Voie Lactée directed by Hirata Oriza (Theatre de Sartrouville – CDN), Dream Hunter directed by Carmen Jacobi, and Michael Morpugo’s Kensuke Kingdom (Polka Theatre Company). In film, she was assistant costume designer on the film 8 and a half Women by Peter Greenaway and was in charge of production and costumes for the short film Basho starring Yoshi Oida. Nakano’s directorial credits include Snow, a workshop with three blind singers at the ENO studio. She has also designed 800 costumes for Shadow of Memory, the commemoration of the 20th anniversary of the Rwanda genocide, and is currently working on the set and costumes for Tristan und Isolde for Longborough Festival Opera 2015 (director Carmen Jakobi). Nakano strives to create intercultural projects for the stage, workshops and films, to promote different world cultures.

DANCERS KRISTINA ALLEYNE Born in London and originally trained as an athlete, Kristina Alleyne trained at the BRIT School of Performing Arts and Technology (BRITS) 2003-05 and Northern School of Contemporary Dance (NSCD) based in Leeds 2005-08. Her dance experience started through hip hop where she joined such companies as Boy Blue Entertainment and international company Dance2Xcess. After completing her postgraduate diploma with postgraduate dance performance company Verve, she moved on to work and tour with such companies and choreographers as Tavaziva Dance, Arthur Pita, Ijad Dance and Technology Company, African Company Fritti, Retina Dance Company, Henri Oguike Dance Company, Helen Parlor, ACE Dance and Music, Chisato Minamimura (sign language) and Thomas Michael Voss (Tango). In 2011, she joined Akram Khan Company for its production iTMOi (in the mind of igor), has performed at the London 2012 Olympics Opening Ceremony in the section choreographed by Akram Khan and has led workshops internationally as part of A.K.C.T., a non-profit created by Akram Khan and Farooq Chaudhry. In 2014, she joined Sadé Alleyne to launch KRISTINA & SADÉ ALLEYNE company for education. The Company has worked with The Brits School of Performing Arts and Technology, UK CAT Schemes, Sandringham School, Turnstyles, Vocab Dance Company and London Studio Centre’s Saturday Associate Programme. In the summer of 2014, KRISTINA & SADÉ ALLEYNE led sessions at The Birds College, Get Better Leisure, Sanjuta Banerjee Youth Groups, Aakash Odedra with Aditi Mangaldas and Vienna’s ImPulsTanz Festival 2014.

SADÉ ALLEYNE formally trained as an athlete for Enfield and Haringey. Her first experience of dance was with hip hop companies Boy Blue Entertainment and Dance 2Xess. She trained at the BRITS School (London 2004) encoreartsprograms.com 23

AKRAM KHAN COMPANY

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and at the Northern School of Contemporary Dance (Leeds 2008). Since graduating, she has worked with Tavaziva Dance, IJAD Dance and Vocab Dance Company, both UK and international performances. Alleyne has worked as a Performer and Rehearsal Director for companies Ace Dance and Music (Birmingham) and State of Emergency (London). She has worked with choreographers Vincent Mantsoe, Luyanda Sidya, Andlie Sotyia, Douglas Thorpe, Akiko Kitamura and Gregory Vuyani Maqoma. She joined Akram Khan Company in 2012 on the Vertical Road tour. She performed with the Company at the London 2012 Olympic Games Opening Ceremony, and toured the 2013 production of iTMOi and the autumn 2014 production of “kaash”. She also leads many workshops internationally as part of A.K.C.T. In 2014, she joined forces with Kristina Alleyne to launch KRISTINA & SADÉ ALLEYNE Education. The Company is currently working with The Brits School, Vocab Dance Company, UK CAT Schemes, Sandringham School, London Studio Centre’s Saturday Associate Programme and The Birds College. In the summer of 2014, KRISTINA & SADÉ ALLEYNE led sessions at GET BETTER Leisure, Sanjuta Banerjee Youth Groups, Aakash Odedra with Aditi Mangaldas and Vienna’s ImPulsTanz Festival 2014.

SUNG HOON KIM was born in Seoul, Korea. He graduated from the Korean National University of Art with an MA in Dance Performance. Since 2004 he has been a member of the Laboratory Dance Company in Seoul. He teaches extensively, and has performed and choreographed for numerous festivals and international venues, including Korea. kaash is his fourth production with Akram Khan Company after iTMOi, bahok and Vertical Road. 430 F Street Ste. B phone | 530.750.2209 fax | 530.750.3151 Davis, CA 95616 www.makdesignbuild.com lic. | 840316

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NICOLA MONACO started his training in dance at the age of 19 in Italy where he studied contemporary dance

and ballet. In 2001, he attended the professional course of Aterballetto under the direction of Mauro Bigonzetti. At the end of his training he immediately joined the dance company Artemis Danza directed by Monica Casadei where he stayed for two seasons. In 2003, he had the opportunity to work for awarded Dutch dance company Emio Greco/PC where he stayed until 2008 taking part in the latest creations of the company and dancing in the repertory touring worldwide. In 2009, he moved to London and collaborated with choreographers Akram Khan, Gregory Maquoma, Tom Dale, The Featherstonehaughs and Shobana Jeyasingh Dance Company. In the meanwhile, he started his own research as choreographer performing for the Arcola Theatre and the Place Theatre. In 2010, he worked as rehearsals director and dancer for the production Petra Rocks choreographed by Dina Abu Amdan in Amman (Jordan). In 2012, he started collaborations with the University of Malta as guest teacher and as rehearsal director for the Mavin Khoo Dance Company directed by Mavin Khoo.

SARAH CERNEAUX was born in La Réunion Island and was raised in France where she started street dance at the age of 18. After working as a computer engineer for Alcatel Inc. she decided to redirect her career path to focus on dancing. She then joined the James Carles’ dance school in Toulouse. She passed her E.A.T. (Technical Aptitude Exam) in Contemporary and Jazz dance in 2003. After completing her degree she moved to Paris and continued learning with teachers Corinne Lanselle, Carolyn Carlson, Julyen Hamilton and Junior Almeida. She has worked with Abou Lagraa Company (2006-2014), Christine Bastin (2008), D.A.D.R. Company (2009-2011), Vincent Mantsoé Company (2009-2012) and Maryse Delente Company (2012-2013) among others. She moved to London in 2014 and started to work with Liz Roche Company in Dublin. She joined Akram Khan Company in 2014.

December 5, 2015 Jackson Hall, Mondavi center

7:00 pm

University chorus

Jeffrey Thomas, conductor

Uc Davis Symphony Orchestra Christian Baldini, music director

Whitbourn: Son of God Mass

Garrett Hagwood, saxophone, and Don Scott Carpenter, organ

Vaughan Williams: Fantasia on Christmas Carols Vaughan Williams: Fantasia on Greensleeves $10 StudentS & Children, $20 AdultS | StAndArd SeAting All ticketS Are AvAilAble thrOUgh the mOnDAvi centerâ&#x20AC;&#x2122;S ticket Office, www.mOnDAviArtS.Org Or viA (530) 754-2787.

A Concert Series Event Wednesday, December 2, 2015 • 8PM Jackson Hall Pre-Performance Talk: 7PM Orpheus Chamber Orchestra members in conversation with D. Kern Holoman, Professor of Music, emeritus, Music Department, UC Davis D. Kern Holoman is Professor of Music, emeritus, at the University of California, Davis, and conductor emeritus of the UC Davis Symphony Orchestra. Among Holoman’s scholarly books and articles are the Catalogue of the Works of Hector Berlioz (Bärenreiter, 1987), Berlioz (Harvard, 1989), the Societé des Concerts du Conservatoire, 1828–1967 (California Press, 2007), and Charles Munch (Oxford, 2012). His books for students and the general public include Writing About Music (California, 3rd edn. 2014) and The Orchestra: A Very Short Introduction (Oxford, 2012). Educated at Duke and Princeton Universities, he joined the faculty of the University of California, Davis, in 1973 and retired, 40 years later, in 2013. Holoman served on the international commission Berlioz 2003 and was a co-author of its several publications. He was made chevalier of the French Ordre des Arts et des Lettres in 1989, and officier in 1999; in 2010 he was named Honorary Member of the American Musicological Society. He continues to teach classes and conduct at UCD, and maintains a busy calendar of public speaking engagements elsewhere.

PROGRAM Concerto Grosso Handel in D Major, Op. 6, No. 5 Grave – Allegro – Presto – Largo – Allegro – Menuet (Un poco larghetto)

Divertimento from Stravinsky Le baiser de la fée for arr. Violin and Orchestra Sitkovetsky Sinfonia Swiss Dances and Waltz Scherzo Pas de deux: Adagio, Variation and Coda Valse-Scherzo for Violin and Orchestra, Op. 34 INTERMISSION

Tchaikovsky

Gli Uccelli (The Birds) Respighi Prelude (after Pasquini): Allegro moderato – Allegro – Vivo – Allegretto – Tempo I The Dove (after De Gallot): Andante espressivo The Hen (after Rameau): Allegro vivace The Nightingale (anon. English): Andante mosso The Cuckoo (after Pasquini): Allegro 26 MONDAVIART S.ORG

ORPHEUS CHAMBER ORCHESTRA

Augustin Hadelich, violin

PROGRAM NOTES CONCERTO GROSSO IN D MAJOR, OP. 6, NO. 5 (1739)

GEORGE FRIDERIC HANDEL (1685-1759)

Between 1738 and 1740, when Handel was beginning to commit his attention fully to oratorio, he produced a series of splendid concertos that could be used either as intermission features or for independent performance. The Organ Concertos, Op. 4 (1738) and Op. 7 (1740), were intended specifically for his own performance between the parts of his oratorios. The Concerti Grossi, Op. 6 of September-October 1739 could serve a similar function (they did so during Handel’s oratorio series later that season) or they could be played by anyone who acquired the music. Handel made the Op. 6 Concerti Grossi available for general purchase by subscription, the only of his instrumental compositions to be so published. The works became popular

so quickly that Walsh, Handel’s publisher, reported the following April, “[They] are now played in most public places with the greatest applause.” The Concerto No. 5 in D Major is a reworked expansion of the overture that Handel originally provided for his Ode for St. Cecilia’s Day to a text by Dryden in 1739. (The name day of Cecilia, the patron saint of music, has traditionally been observed on November 22nd since at least the 17th century.) The majestic, dotted-rhythm Grave that opens the Concerto and the following Allegro in fugal style, which constitute the Ode’s overture in their alternate versions, follow the form and manner of the French overture. The Menuet with two variations that closes the Concerto was originally appended to the Ode’s overture. Three movements intervene in the Concerto: a brilliant Presto in swinging triple meter; a touching Largo; and an Allegro spiced with trills and stuttering repeated notes.

ORPHEUS CHAMBER ORCHESTRA DIVERTIMENTO FROM LE BAISER DE LA FÉE (“THE FAIRY’S KISS”) FOR VIOLIN AND ORCHESTRA (1928)

PETER ILYICH TCHAIKOVSKY (1840-1893)

The Fairy’s Kiss originated in a commission in 1927 from the wealthy actress and dancer Ida Rubinstein, who wanted to establish a ballet company in Paris but was having difficulty assembling a suitable repertory because of the exclusive rights that Diaghilev held to so many recent works for his Ballet Russe. Taking the bull by the horns, she sent the artist Alexandre Benois to Stravinsky (in essence, Diaghilev’s resident composer) with his idea for a ballet based on the music of Peter Tchaikovsky for the new company. Stravinsky, who admired Tchaikovsky as the greatest of all Russian composers, was responsive to the Rubinstein-Benois proposal and he accepted the commission. He set to work as soon as possible so that the production could be ready to commemorate the 35th anniversary of Tchaikovsky’s death, in November 1928. For the music of The Fairy’s Kiss, Stravinsky adapted several of Tchaikovsky’s songs and piano pieces, and, for the story, he turned to a tale of Hans Christian Andersen, The Ice Maiden. The story tells of a fairy’s magic kiss bestowed upon an infant on the day of his birth. Twenty years later, on his wedding day, the day of the young man’s greatest happiness, the fairy returns with a second kiss and bears the young man off to eternity to preserve his joy forever. Stravinsky identified the young man with Tchaikovsky and the fairy with the Muse of music. Thus The Fairy’s Kiss became an allegory of “a mystic influence that bespeaks the whole world of this great artist,” wrote Stravinsky. Stravinsky chose about half of the complete ballet for inclusion in the Divertimento. Its four movements correspond to the following incidents in the plot: I. Sinfonia: The fairy kisses the child and disappears; II. Swiss Dances and Waltz: A village fair; betrothal of the young man; III. Scherzo: The fairy leads the young man to a well where his betrothed is playing round games with her friends; IV. Pas de deux: The young man and his betrothed; Variation: The betrothed alone; Coda: The young man left alone as his betrothed leaves to try on her wedding veil.

Early in 1876, Karl von Meck, who made himself rich by spanning Russia’s vast spaces with railway lines, died, leaving his widow, Nadezhda, with a great fortune, two railroads and twelve children. Mme. von Meck largely withdrew from public life and sought solace in travel, in her family, in seeing that her husband’s legacy was properly managed, and in music. Among the few visitors she admitted was Nikolai Rubinstein, pianist, conductor and director of the Moscow Conservatory, who was discreet and sympathetic and keenly aware of her ability to help his institution. Mme. von Meck asked Rubinstein to recommend a violinist she could accompany at the piano at home and on her travels, and he suggested a recent graduate of the Conservatory named Joseph Kotek. Kotek was immediately engaged at a splendid salary. In addition to his violin training at the Conservatory, Kotek had also been a student in Tchaikovsky’s composition class, and he had developed a strong affection for both the man and his music. It was through Rubinstein and Kotek that Mme. von Meck came to know not only of Tchaikovsky’s work but also of his financial difficulties, a result of both his meager salary and his generosity to his friends. She became enthralled with his music and determined to help him, and before the end of the year she had commissioned him to make an arrangement of a piece of his (it is unknown which one) for her to play with Kotek. “Allow me to express my gratitude for the swift execution of my commission,” she wrote to him on December 30th. “Your music makes life easier and more pleasant.” “Thank you most sincerely for the kind and flattering things which you have been good enough to write me,” he replied. Other exchanges followed, increasingly more personal and revealing on both sides, and by spring 1877, she had offered to support Tchaikovsky with a generous annual pension that would allow him to quit his irksome teaching job at the Moscow Conservatory to devote himself entirely to composition. Though the two never met, their correspondence and financial arrangement continued for the next thirteen years.

IGOR STRAVINSKY (1882-1971) ARRANGED BY DMITRI SITKOVETSKY (BORN IN 1954)

VALSE-SCHERZO FOR VIOLIN AND ORCHESTRA, OP. 34 (1877)

It was early in 1877 that Tchaikovsky composed his tuneful and brilliant ValseScherzo for Violin and Orchestra. The piece was written for Kotek, and may well have been associated with the quickly developing relationship with Mme. von Meck, but documentary evidence on that point is lacking. Though the Valse-Scherzo was intended for Kotek, circumstances prevented him from giving its first performance. Nikolai Rubinstein scheduled a concert of Tchaikovsky’s music for September 20, 1878 at the Paris Exhibition that was to include the First Piano Concerto (with Rubinstein also serving as soloist), The Tempest, the Sérénade Mélancolique and the Valse-Scherzo. Kotek, however, was just then starting a new position teaching violin at the Berlin Hochschule für Musik, so the honor of the premiere of the Valse-Scherzo fell to the Polish violinist Stanislaw Barcewicz, another student of Tchaikovsky at the Moscow Conservatory. Kotek and Tchaikovsky remained friends: Kotek gave technical advice on the Violin Concerto and often acted as intermediary with Mme. von Meck in financial matters, and the composer paid a special visit to the violinist in 1885, when Kotek was dying of tuberculosis, at age 29, in a sanatorium at Davos, Switzerland. There is more waltz than scherzo in the Valse-Scherzo, one of Tchaikovsky’s many splendid examples of the most popular and elegant dance form of his day. The piece takes as its main theme a lilting strain given by the violin after a few preludial gestures from the orchestra. A complementary episode of considerable technical challenge for the soloist intervenes before the main theme returns to round out the work’s first section. The center of the piece (the “trio” of Tchaikovsky’s scherzo form) is occupied by music of a more thoughtful nature, and culminates in a cadenza that serves as a bridge to the recall of the opening music which closes this delightful composition.

GLI UCCELLI (“THE BIRDS”) (1927)

OTTORINO RESPIGHI (1879-1936)

Ottorino Respighi, born in 1879 into the family of a piano teacher in Bologna, was introduced to music by his father and progressed so rapidly that he began his professional training in violin, piano and encoreartsprograms.com 27

composition at age thirteen at the city’s respected Liceo Musicale. His principal teacher was the school’s director, Giuseppe Martucci, then Italy’s leading composer of orchestral music. Respighi was granted a leave from the Liceo in 1900 to play as a violist with the orchestra of the St. Petersburg Opera, and he took advantage of his time in Russia to arrange what he called “a few, but for me very important” lessons with Nikolai Rimsky-Korsakov, whose brilliant orchestral technique would prove to be a lasting influence. Respighi returned to Bologna the following year to complete his degree and then went to Berlin to study violin and composition with Max Bruch. After spending another season in St. Petersburg, he settled in Bologna in 1903, earning his living as a free-lance violinist and receiving his earliest notice as a composer. He was back in Berlin in 1908, teaching piano at a private school there and promoting his work so effectively that the renowned conductor Arthur Nikisch included his transcription of Monteverdi’s Lamento d’Arianna on a Philharmonic

ORPHEUS CHAMBER ORCHESTRA VIOLIN

Ronnie Bauch Martha Caplin Laura Frautschi* Liang-Ping How Joanna Jenner Renée Jolles Kyu-Young Kim Todd Phillips Richard Rood Eriko Sato Eric Wyrick

VIOLA

FLUTE

Elizabeth Mann Susan Palma Nidel

OBOE

Matthew Dine Stephen Taylor

CLARINET

Alan Kay

BASSOON

Frank Morelli

HORN

Maureen Gallagher Christof Huebner Nardo Poy Dov Scheindlin*

Julie Landsman Stewart Rose

CELLO

Carl Albach Louis Hanzlik

Eric Bartlett Melissa Meell Jonathan Spitz*

BASS

Jordan Frazier Donald Palma

TRUMPET

TIMPANI

Maya Gunji *Denotes Artistic Director

28 MONDAVIART S.ORG

concert. Respighi went home to Bologna in 1909 and four years later was appointed to the faculty of Rome’s Santa Cecilia Academy. He found his first great success, and his musical voice, with the opulent tone poem The Fountains of Rome of 1916. He was appointed director of the Academy in 1923 but found the administrative duties too intrusive on his creative work and resigned from the position three years later, though he did continue teaching privately for several more years. He toured internationally during the following years to conduct and occasionally appear as piano soloist in his works, but his demanding career took a toll on his health and a heart murmur was diagnosed in 1931. Respighi died of a heart attack in Rome on April 18, 1936. He was 56. Respighi had an abiding interest in the music of earlier times and edited many works by such venerable composers as Monteverdi, Frescobaldi, Tartini and Vitali for publication. Among the most charming of his works based on old models are the three sets of Ancient Airs and Dances (1917, 1924, 1932) and The Birds (1927), arrangements of Italian, French and English lute and keyboard pieces of the 16th, 17th and early 18th centuries. In his arrangements, which kept the original melodies and harmonies intact while enriching their textures and providing them with a tasteful orchestral garb, Respighi not only preserved the mood of these old courtly songs and dances — by turns wistful and robust — but also made them thoroughly modern in sonorous brilliance and musical continuity. The initial avian essay of The Birds (Prelude) draws upon the music of Bernardo Pasquini (1637-1710), the Italian Baroque organist, teacher and composer of oratorios and keyboard works, for the themes of its opening and closing sections. Fragments from later movements are previewed in its central portion. The Dove, filled with gentle ornamentations depicting the rustle of wings, is based on a piece by Jacques de Gallot, a little-known 17th-century lutenist and composer. The third movement (The Hen) derives from a famous clavecin work by Jean-Phillipe Rameau (1683-1764). The sweetly flowing Nightingale originated in a composition, according to the score, by “an anonymous 17th-century Englishman.” The

bright, chirruping finale (The Cuckoo) returns to the music of Pasquini, and ends with a reminiscence of the processional melody that opened the first movement of this delightful suite. ©2015 Dr. Richard E. Rodda

ORPHEUS CHAMBER ORCHESTRA The 2015-16 season marks Orpheus Chamber Orchestra’s 43rd year of making internationally acclaimed music, from classical to contemporary, while reinventing the way individuals and organizations across the world think about collaboration, outreach, and democratic leadership. Performing without a conductor, Orpheus integrates musicians into virtually every facet of the organization, including artistic and administrative decisions, by rotating musical leadership roles for each piece and running open forum rehearsals. With over 70 albums, collaborations with leading contemporary soloists, and more than 40 commissioned works as part of its history, Orpheus strives to expand the repertoire for chamber orchestra and continues to develop its international reputation through innovative projects and tours to Europe, Asia, and South America. Orpheus’ four-concert Signature Series at Carnegie Hall in 2015-16 includes performances with cellist Jan Vogler, violinists Mira Wang, Augustin Hadelich and Pinchas Zukerman, and pianist Khatia Buniatishvili, and new commissions from Paul Chihara, Harold Meltzer, Wolfgang Rihm, Dmitry Sitkovetsky. Orpheus travels to Germany, Cartagena and Japan. Domestic tours include performances in California, and Florida, as well as in Kansas City and Toronto among other cities. The Orpheus Process™, an original method that places democracy at the center of artistic execution, has been the focus of studies at Harvard, and of leadership seminars at Morgan Stanley and Memorial Sloan-Kettering Hospital. This approach is the basis of two education and engagement programs: Access Orpheus, which provides free learning opportunities, including in-class visits, tickets, and educational material for over 2,500 New York City public school students each year, and the Orpheus Institute, which teaches experiential training in collective leadership to the next generation of musicians, university students,

ORPHEUS CHAMBER ORCHESTRA musical entrepreneurs, and business leaders, through residencies at select universities and conservatories including Dartmouth College, the Interlochen Arts Academy, the University of Connecticut, and the University of Maryland. The Andrew W. Mellon Foundation awarded Orpheus a $400,000 grant in October 2014 for its new “Next Generation Orpheus” initiative. The grant will fund Orpheus’ efforts to promote diversity both on and off the stage, and will provide support for musician-led transitions from a founder-driven organization to the orchestra’s next generation.

Recent and upcoming worldwide appearances include the Badische Staatskapelle/Karlsruhe, BBC Philharmonic/ Manchester, BBC Symphony/London, Bournemouth Symphony, German Radio Philharmonic/Saarbrücken, Helsinki Philharmonic, Orchestre Philharmonique de Strasbourg, Orquesta Sinfónica Nacional de México, Orchestre Philharmonique de

Monte-Carlo, Festspiele MecklenburgVorpommern, NHK Symphony/Tokyo, Royal Scottish National Orchestra, RTE National Symphony Orchestra/Dublin, Stuttgart Radio Orchestra, and a highly acclaimed tour of China with the San Diego Symphony. Hadelich has collaborated with such renowned conductors as Roberto Abbado, Teddy Abrams, Marc Albrecht, Marin

AUGUSTIN HADELICH

VIOLIN

Continuing to astonish audiences with his phenomenal technique, poetic sensitivity, and gorgeous tone, Augustin Hadelich has established himself as one of the most sought-after violinists of his generation. His remarkable consistency throughout the repertoire, from Paganini, to Brahms, to Bartók, to Adès, is seldom encountered in a single artist. Composed for Hadelich, his recent premiere of David Lang’s 35-minute solo violin work, mystery sonatas, at Carnegie’s Zankel Hall in April 2014 was a resounding success. Standing alone in a single spotlight, he wove his way through the intricate difficulties of this awe-inspiring work with apparent ease. One week earlier, the Washington Post wrote a rave review for Tango Song and Dance, an originally conceived, multi-media recital premiered at Kennedy Center, featuring Hadelich, guitarist Pablo Villegas, and pianist Joyce Yang. In North America, Hadelich has also performed with the Saint Paul and Los Angeles chamber orchestras, the Boston Symphony, Cleveland Orchestra, New York Philharmonic, The Philadelphia Orchestra, and the Los Angeles Philharmonic, in addition to the symphonies of Atlanta, Cincinnati, Colorado, Dallas, Milwaukee, New Jersey, North Carolina, Oregon, San Diego, San Francisco, Utah, and Vancouver. Festival appearances include Aspen, Blossom, Bravo! Vail Valley, Britt, Chautauqua (where he made his American debut in 2001), Eastern Music Festival, the Hollywood Bowl, Marlboro, La Jolla’s SummerFest, Seattle Chamber Music, and Tanglewood.

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encoreartsprograms.com 29

Alsop, Herbert Blomstedt, Lionel Bringuier, Justin Brown, James Conlon, Christoph von Dohnányi, the late Rafael Frühbeck de Burgos, Alan Gilbert, Hans Graf, Mirga Gražinyte-Tyla, Giancarlo Guerrero, Miguel Harth-Bedoya, Jakub Hrusa, Christoph

König, Jahja Ling, Hannu Lintu, Andrew Litton, Cristian Macelaru, Jun Märkl, Sir Neville Marriner, Fabio Mechetti, Juanjo Mena, Ludovic Morlot, Sakari Oramo, Andrés Orozco-Estrada, Peter Oundjian, Vasily Petrenko, Michael Stern, Yan Pascal

FURTHER LISTENING by Jeff Hudson

ORPHEUS CHAMBER ORCHESTRA and AUGUSTIN HADELICH

In the mid-20th Century, American orchestras were often led by European-born conductors who favored a firm-handed approach, authority figures whose musical judgement was not to be questioned. Arturo Toscanini of the NBC Symphony Orchestra. Leopold Stowkowski of the Philadelphia Orchestra. George Szell of the Cleveland Orchestra. Their word, from the podium, was law. So when the Orpheus Chamber Orchestra was organized in New York in 1972 as a conductor-less ensemble, with the musicians reaching decisions on a consensus basis, eyebrows were raised. And as Orpheus prospered artistically, performing regularly at Carnegie Hall, critic Allan Kozinn marked the ensemble’s tenth anniversary with an article in The New York Times headlined “An Orchestra That Needs No Conductor.” Kozinn wrote “Orpheus has earned a reputation for performances that are not only enthusiastic and fresh, but which are often as well shaped and finely polished as many a more firmly established, conducted orchestra.” And in 2012 – the 40th anniversary of the Orpheus Chamber Orchestra – the conductor-less ensemble was profiled in an article (in the magazine All Things Strings) headlined “Fellowship of the Strings, the Orpheus Chamber Orchestra is Reinventing Group Dynamics: Even the Harvard School of Business is learning from its example.” Along the way, Orpheus has released something like 80 recordings (many for Deutsche Grammophon), starting with the standard chamber orchestra repertoire: symphonies and concertos by Haydn and Mozart, who wrote scores for smaller orchestras than later composers. But increasingly, Orpheus commissioned new works and sometimes collaborated with artists beyond the classical realm. Several of their recordings have been Grammy nominees or Grammy winners. Tonight, Orpheus works with violinist Augustin Hadelich, who performed the Beethoven Violin Concerto at the Mondavi Center in April 2013 with the San Francisco Symphony under conductor laureate Herbert Blomstedt. 2015 has been a busy year for Hadelich. He played debuts with the London Philharmonic, NHK Symphony (Tokyo), Danish National Orchestra and Minnesota Orchestra, and had return engagements with the New York Philharmonic, Philadelphia Orchestra and the orchestras in Baltimore, Houston, Karlsruhe, Saint Louis, Stuttgart and Toronto. Hadelich has a new recording featuring the Mendelssohn concerto and the second Bartók concerto. Hadelich recorded it in June 2014 with the Norwegian Radio Orchestra. Another recording released July of this year is the violin concerto by Henri Dutilleux (L’arbre des songes – “The Tree of Dreams”), which he recorded in November 2014 with the Seattle Symphony. JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

30 MONDAVIART S.ORG

Tortelier, Gilbert Varga, Edo de Waart, Kazuki Yamada, and Jaap van Zweden, among others. Also an enthusiastic recitalist, Hadelich’s numerous appearances include Carnegie Hall, The Frick Collection/ New York, Kennedy Center/Washington, D.C., Kioi Hall/Tokyo, the Louvre, and the chamber music societies of Detroit, Philadelphia, and Vancouver. His chamber music partners have included Inon Barnatan, Jeremy Denk, James Ehnes, Alban Gerhardt, Richard Goode, Gary Hoffman, Kim Kashkashian, Robert Kulek, Cho-Liang Lin, Midori, Charles Owen, Jon Kimura Parker, Cynthia Phelps, Vadim Repin, Mitsuko Uchida, Joyce Yang, and members of the Guarneri and Juilliard quartets. Hadelich’s first major orchestral recording, featuring the violin concertos of Jean Sibelius and Thomas Adès (Concentric Paths) with Hannu Lintu conducting the Royal Liverpool Philharmonic Orchestra, was released to great acclaim in March 2014 on the AVIE label. The disc has been nominated for a Gramophone Award, and was listed by NPR on their Top 10 Classical CDs of 2014. He has recorded three previous albums for AVIE: Flying Solo, a CD of masterworks for solo violin; Echoes of Paris, featuring French and Russian repertoire influenced by Parisian culture in the early 20th century; and Histoire du Tango, a program of violin-guitar works in collaboration with Pablo Villegas. A recent recording of the Mendelssohn Violin Concerto and Bartók’s Concerto No. 2 with the Norwegian Radio Orchestra under Miguel Harth-Bedoya was released on AVIE in July of 2015. The 2006 Gold Medalist of the International Violin Competition of Indianapolis, Hadelich is the recipient of an Avery Fisher Career Grant (2009), a Borletti-Buitoni Trust Fellowship in the UK (2011), and Lincoln Center’s Martin E. Segal Award (2012). The son of German parents, he was born and raised in Italy. A resident of New York City since 2004, he holds an artist diploma from The Juilliard School, where he was a student of Joel Smirnoff. He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.

ORPHEUS CHAMBER ORCHESTRA ARTISTIC DIRECTORS LAURA FRAUTSCHI

PERSONNEL COORDINATOR, VIOLIN

Laura Frautschi has established a reputation as a versatile musician with a strong commitment to contemporary as well as classical repertoire. She regularly performs as soloist and chamber musician throughout the United States and Asia, and collaborates frequently with living composers. She has given world premieres of violin concerti by leading American composers Lee Hyla and Augusta Read Thomas. Her recent chamber music activities include appearances at the Caramoor International Festival, Metropolitan Museum of Art, Wellseley Composer Conference, Moab and St. Bart’s Music Festivals. In addition, she is a concertmaster of the New York City Opera Orchestra, and has toured internationally as a concertmaster of the Orpheus Chamber Orchestra. Frautschi has also recorded numerous CDs and DVDs, and tours frequently with her piano trio Intersection. Her extensive discography ranges from Vivaldi’s Four Seasons with the Festival Strings Lucerne and Lee Hyla’s Violin Concerto with the Boston Modern Orchestra Project, to 20thcentury chamber works by Bernard Rands, Chen Yi, and Margaret Brouwer. Frautschi studied applied mathematics at Harvard College, and violin performance with Robert Mann at The Juilliard School.

as soloist with the Royal Concertgebouw Orchestra of Amsterdam, the Radio Symphony Orchestra of Berlin, the Paris Radio Philharmonic Orchestra and the Munich Philharmonic. Scheindlin has recorded extensively for EMI, Teldec, Auvidis, Col Legno, and Mode, and won the Gramophone Award in 2002 for the Arditti Quartet’s recording of Sir Harrison Birtwistle’s Pulse Shadows. As a member of the Arditti Quartet, he gave nearly 100 world premières, among them new works by Benjamin Britten, Elliott Carter, György Kurtág, Thomas Adès, and Wolfgang Rihm. He has also been broadcast on NPR, BBC, CBC, and on German, French, Swiss, Austrian, Dutch and Belgian national radio networks. Scheindlin was raised in New York City, where he studied with Samuel Rhodes and William Lincer at the Juilliard School. He has taught viola and chamber music at Harvard, Wilfrid Laurier University and Tanglewood. He has regularly participated in summer festivals such as Salzburg, Luzern, and Tanglewood, and has performed with the Chamber Music Society of Lincoln Center and the Met Chamber Ensembles. His chamber music partners have included members of the Juilliard, Alban Berg, Tokyo, and Borodin String Quartets, as well as concertmasters of many major symphony orchestras. He plays a viola made by Francesco Bissolotti in 1975.

JONATHAN SPITZ

DOV SCHEINDLIN

ARTISTIC COORDINATOR, CELLO THE LAURIE AND RICHARD BRUECKNER CELLO CHAIR

Acclaimed by the New York Times as an “extraordinary violist” of “immense flair,” Dov Scheindlin is a member of Orpheus Chamber Orchestra and an associate member of the Metropolitan Opera Orchestra. He has also been violist of the Arditti, Penderecki and Chester String Quartets. His chamber music career has brought him to 28 countries around the globe, and won him the Siemens Prize in 1999. He has appeared

Jonathan Spitz has established himself as one of the leading cellists in the New York area with his performances as a soloist, chamber musician, and orchestral principal. In recent seasons, Spitz has performed Dvorak’s Cello Concerto with the New Jersey Symphony and the Riverside Sinfonia, Bloch’s Schelomo with the Northeastern Pennsylvania Philharmonic, and the Haydn Sinfonia Concertante on a tour of Southeast Asia with the Orpheus Chamber Orchestra, and at the Bard Festival. His performance of the SaintSaens Cello Concerto at the OK Mozart

PROGRAMMING COORDINATOR, VIOLA

Festival was recently broadcast nationwide on NPR’s Performance Today. A highlight of this past season was his performances of Elgar’s Cello Concerto with the Northeastern Pennsylvania Philharmonic. An active chamber musician, Spitz is a founding member of the Leonardo Trio and has toured throughout the U.S. and Europe with that ensemble since 1985. He performed for three summers at the Marlboro Festival and has played concerts with Rudolf Serkin, Oscar Shumsky, Benita Valente, Bargemusic, the Boston Symphony Players and Parnassus. Spitz was recently appointed solo cellist of the American Ballet Theatre Orchestra. He is a member of the Orpheus Chamber Orchestra and performs with them on their international tours, Carnegie Hall series and numerous recordings. He is also principal cellist of the New Jersey Symphony Orchestra and the Bard Festival Orchestra. A graduate of the Curtis Institute, Spitz has studied with David Soyer, Felix Galimir, Karen Tuttle, Mischa Schneider and Robert Gardner. He has recorded for Deutsche Grammophon, Telarc, Nonesuch, Delos, CRI, XLNT and New World.

KRISTINE SPENSIERI

INTERIM EXECUTIVE DIRECTOR Kristine Spensieri was appointed Orpheus’ Interim Executive Director in June 2015. Prior to her appointment she had served as the Director of Finance for Orpheus since 2006, following positions in the for-profit sector at International Exhibits Transport in New York and, just prior to Orpheus, at Historic Salisbury Foundation, a non-profit preservation organization in North Carolina where she also owned and operated a 19th century antiques shop. Spensieri brings to Orpheus extensive experience in financial and strategic planning and team leadership and has been a presenter at webinars and workshops for the League of American Orchestras. She is a classically trained dancer, studied flute and continues to support all forms of the arts, animal rights and architectural preservation. Spensieri was born and raised in New York and received her degree from New York University.

encoreartsprograms.com 31

PINK MARTINI Holiday Show Featuring Storm Large

A Holiday Event Sunday, December 6, 2015 • 7PM Jackson Hall

SPONSORED BY

REDUCED SHAKESPEARE COMPANY A REDUCED HISTORY Since its pass-the-hat origins in 1981, the Reduced Shakespeare Company has created ten world-renowned stage shows, two television specials, several failed TV pilots, and numerous radio pieces, all of which have been performed, seen, and heard the world over. The company’s itinerary has included stops off-Broadway, at the White House, the Kennedy Center, Lincoln Center, London’s West End, Seattle Repertory Theatre, American Repertory Theatre and Montreal’s famed Just For Laughs Festival, as well as performances in Israel, Australia, New Zealand, Hong Kong, Japan, Malta, Singapore and Bermuda, plus countless civic and university venues throughout the USA, the UK, and Europe. RSC’s first three shows - The Complete Works of William Shakespeare (abridged), The Complete History of America (abridged), and The Bible: The Complete Word of God (abridged) - ran for nine years at the Criterion Theatre in Piccadilly Circus as London’s longest-running comedies. For years the RSC had more shows running in the West End than Andrew Lloyd Webber. They were also funnier. 38 MONDAVIART S.ORG

In 2016, in honor of the company’s 35th anniversary and the 400th anniversary of Shakespeare’s death, the RSC premieres its tenth stage show, William Shakespeare’s Long Lost First Play (abridged), at the Folger Shakespeare Theatre in Washington DC. In 2013 the “Bad Boys of Abridgment” unveiled The Complete History of Comedy (abridged) to critical and commercial acclaim at both Cincinnati Playhouse in the Park and Merrimack Repertory Theatre, as well as on national tours of the USA and UK. The Complete World of Sports (abridged) opened in 2010 at Merrimack Rep and after touring the USA and UK, ran at the Arts Theatre in London during the 2012 London Olympics. In 2011 came the world premiere of The Ultimate Christmas Show (abridged) which became Merrimack Repertory Theatre’s best-selling holiday show ever, and the third-best-selling show in MRT’s history. It also enjoyed a successful run at San Diego Repertory Theatre as well as multiple tours across the USA. The RSC applied its fast, funny and physical approach to World History in Western Civilization: The Complete Musical (abridged) [original title: The Complete Millennium Musical (abridged)], which

toured simultaneously in the US, UK and Australia. They condensed literature into a 90-minute roller-coaster ride in All the Great Books (abridged), which has played to great acclaim at the Kennedy Center, Pittsburgh Public Theatre, San Diego Repertory Theatre, Cincinnati Playhouse in the Park, Seattle’s ACT Theatre, and Alabama Shakespeare Festival, as well as Great Britain, Holland, Ireland, and Sweden (in Swedish!). They skewered the 186 greatest movies of all time Completely Hollywood (abridged), which has received critical kudos across the US and UK, as well as Belgium, Holland, Hong Kong, and Barbados. For TV, the RSC compressed the first five seasons of Lost into a ten-minute film called Lost Reduced, and was a Jeopardy! category in the 2005 and 2006 Tournaments of Champions. They wrote and starred in The Ring Reduced, a half-hour version of Wagner’s Ring Cycle for Channel 4 (UK), and reduced the Edinburgh Festival for BBC and the soap opera Glenroe for RTE Ireland. Shakespeare (abridged) aired on PBS and is available on DVD, as is America (abridged). For National Public Radio, the RSC has been heard on All Things Considered, Weekend Edition, Talk of the Nation, Day

REDUCED SHAKESPEARE COMPANY to Day, West Coast Live, and To The Best of Our Knowledge. The BBC World Service commissioned the six-part Reduced Shakespeare Radio Show. The Reduced Shakespeare Company Christmas was heard on Public Radio International. The RSC won the prestigious Shorty Award in New York City and the Delft Audience Award in Holland. They’ve also been nominated for an Olivier Award in London, two Helen Hayes Awards in Washington, DC, the SF Bay Area Theatre Critics Circle Award, and several podcast awards. RSC scripts are published in the US and UK, and translated into over a dozen languages.The RSC Radio Show, RSC Christmas, and Bible (abridged) are all available on CD and from iTunes. On April 23, 2014 the company set a Guinness World Record for the Highest Theatrical Performance at 37,000 feet aboard an EasyJet flight from London to Verona. The RSC also creates unique entertainments for corporate events, working with such companies as SkyTV, Time magazine, Motorola, and Rotary International. Hyperion published their irreverent reference book Reduced Shakespeare: The Complete Guide for the Attention-Impaired (abridged). The company established its own imprint Reduced Books to publish the comic memoir How The Bible Changed Our Lives (Mostly For The Better) in all e-book formats. The RSC Podcast, a free 20-minute audio glimpse of life backstage and on the road, is available every week at iTunes and www.reducedshakespeare.com

REED MARTIN

WRITER, PERFORMER, MANAGING PARTNER Reed Martin co-created and performed in the original productions of The Complete History of America (abridged), The Bible: The Complete Word of God (abridged), Western Civilization: The Complete Musical (abridged), All The Great Books (abridged), Completely Hollywood (abridged), The Complete World of Sports (abridged), The Ultimate Christmas Show (abridged), The Complete History of Comedy (abridged), and William Shakespeare’s Long Lost First Play (abridged). He also contributed additional material to The Complete Works of William Shakespeare (abridged). Martin is a managing partner of Reduced Shakespeare Company and has performed in London’s West End, at Lincoln Center

Theater, Kennedy Center, Seattle Repertory Theatre, American Repertory Theatre, Pittsburgh Public Theater, California Shakespeare Theatre, McCarter Theatre, Long Wharf Theatre, Old Globe Theatre, La Jolla Playhouse, Alabama Shakespeare Festival, The White House and Madison Square Garden, as well as in 12 foreign countries. He has performed at A.C.T. in San Francisco in Travesties by Tom Stoppard and The Government Inspector, as well as at the Magic Theatre in Moving Right Along, written and directed by Elaine May and featuring Marlo Thomas. He toured for two years as a clown/assistant ringmaster with Ringling Brothers/Barnum & Bailey Circus. His voice was heard in the animated feature film Balto and just about every other part of him was seen in the British film Carry On Columbus. He has written for the BBC, NPR, Britain’s Channel Four, RTE Ireland, Public Radio International, The Washington Post and Vogue magazine. With Austin Tichenor he coauthored the e-book How The Bible Changed Our Lives (Mostly For The Better), as well as Reduced Shakespeare: The Complete Guide For The Attention-Impaired (abridged), published by Hyperion. His work has been nominated for an Olivier Award in London, a Helen Hayes Award in Washington, D.C., and San Francisco Bay Area Theatre Critic’s Circle Award. He has a BA in Political Science/ Theatre from UC Berkeley, an MFA in Acting from UC San Diego and is a graduate of Ringling Brothers/Barnum & Bailey Clown College. A member of both the Dramatists Guild and The Stage Directors and Choreographers Society, Reed is also a former professional minor league baseball umpire. He lives in Northern California with his wife and two sons, all three of whom are much funnier than he is.

AUSTIN TICHENOR

WRITER, PERFORMER, MANAGING PARTNER Austin Tichenor is co-managing partner of the Reduced Shakespeare Company and has performed with them around the world, off-Broadway, in London’s West End, in the PBS version of The Complete Works of William Shakespeare (abridged), and at such theaters as the Kennedy Center, Lincoln Center, American Repertory Theatre, the Folger Shakespeare Theatre, Cincinnati Playhouse in the Park, Pittsburgh Public Theatre,

Merrimack Repertory Theatre, and Repertory Theatre of St. Louis. He’s the co-author of nine Complete (abridged) stage comedies, the half-hour film The Ring Reduced for UK’s Channel 4, the half-hour pilot The Week Reduced for TBS, the six episode Reduced Shakespeare Radio Show for the BBC World Service, the comic memoir How The Bible Changed Our Lives (Mostly For The Better) for all e-book platforms, and the irreverent reference book Reduced Shakespeare: The Complete Guide for the Attention-Impaired (abridged) for Hyperion Press. He also produces and hosts the weekly Reduced Shakespeare Company Podcast, which was named one of Broadway World’s Top Ten Podcasts for Theatre Fans. He has starred in the original productions of the nine RSC shows he co-wrote, performed with both the Oakland Symphony and the Los Angeles Philharmonic, and acted in the world premiere of In The Garden: A Darwinian Love Story with the Tony Award-winning Lookingglass Theatre Company in Chicago. On TV, he played recurring roles on 24, Alias, Felicity, Ally McBeal, and The Practice, and guest starred as Guys In Ties on The West Wing, The X-Files, ER, The Mentalist, Nip/Tuck, Gilmore Girls, and on many other hours of episodic television. He’s also performed his own material many times on NPR and the BBC. A lyricist and adaptor, he is an alumnus of the BMI Musical Theatre workshop and has written over a dozen plays and musicals for young audiences. His fulllength one-act Dancing on the Ceiling (an adaptation of Kafka’s “The Metamorphosis”) and adaptation of Frankenstein are both published by Broadway Play Publishing, and he’ll direct the world premiere of his adaptation of The New York Times bestselling author Jasper Fforde’s The Eyre Affair in 2016. Tichenor is a fifth-generation Californian who was born on the 54th anniversary of the San Francisco Earthquake and the 185th anniversary of Paul Revere’s Ride, which makes him older than he looks but short for his weight. He is a member of the Dramatists Guild, has a BA in History and Theatre from UC Berkeley and an MFA from Boston University. He currently lives in Chicago with his improviser and writer wife Dee Ryan, their two kids, and too many cats. encoreartsprograms.com 39

A Director’s Choice Event Sunday, December 13, 2015 • 4PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED IN HONOR OF

Friends of Mondavi Center

AMERICAN BACH SOLOISTS

Jeffrey Thomas, music director

AND BY

Dick and Shipley Walters

PROGRAM Weihnachts-Oratorium BWV 248 I-VI Johann Sebastian Bach (1685-1750)

J.S. Bach’s Christmas Oratorio

AMERICAN BACH SOLOISTS ~ AMERICAN BACH CHOIR Jeffrey Thomas, conductor Hélène Brunet, soprano Agnes Vojtko, alto Kyle Stegall, tenor Jesse Blumberg, baritone

AMERICAN BACH SOLOISTS VIOLIN I

Elizabeth Blumenstock, leader Noah Strick Jude Ziliak

VIOLIN II

Tatiana Chulochnikova, principal Katherine Kyme Holly Piccoli

VIOLA

Clio Tilton Ramón Negrón Pérez

FLUTE

Sandra Miller Mindy Rosenfeld

OBOE

John Abberger Debra Nagy Meg Owens Geoffrey Burgess

BASSOON

Dominic Teresi

TRUMPET

VIOLONCELLO

Justin Bland Melissa Rodgers William Harvey

VIOLONE

Paul Avril Loren Tayerle

ORGAN

Kent Reed

William Skeen, continuo Gretchen Claassen Steven Lehning, continuo Corey Jamason, continuo

HORN

TIMPANI

AMERICAN BACH CHOIR SOPRANO

Jennifer Brody Tonia d’Amelio Clare Kirk Allison Lloyd

ALTO

William Sauerland Daniel Cromeenes Celeste Winant

TENOR

Michael Jankosky Edward Betts Ryan Matos Mark Mueller

BASS

John Kendall Bailey Jefferson Packer Chad Runyon Hugh Davies

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AMERICAN BACH SOLOISTS The AMERICAN BACH SOLOISTS (“ABS”) were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and periodinstrument performers to bring this brilliant music to life. For more than two decades, Jeffrey Thomas has brought thoughtful, meaningful, and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists. Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. Fanfare Magazine proclaimed that “Thomas’ direction seems just right, capturing the humanity of the

music…there is no higher praise for Bach performance.” Critical acclaim has been extensive: The Washington Post named ABS “the best American specialists in early music…a flawless ensemble…a level of musical finesse one rarely encounters.” San Francisco Classical Voice declared “there is nothing routine or settled about their work. Jeffrey Thomas is still pushing the musical Baroque envelope.” And the San Francisco Chronicle has extolled the ensemble’s “divinely inspired singing.” The first public concerts were given in February 1990 at St. Stephen’s Church in Belvedere, where the ensemble serves as Artists-in-Residence. The debut of ABS’s first annual summer festival in Tiburon/Belvedere took place in 1993. By the fifth season, regular performances had been inaugurated in San Francisco and Berkeley, and as a result of highly successful collaborations with the Robert and Margrit Mondavi Center for the Performing Arts, ABS’s full concert seasons expanded to the Davis/Sacramento region

in 2005. As the audience increased, so the artistic direction of the ensemble expanded to include Bach’s purely instrumental and larger choral masterpieces, as well as music of his contemporaries and that of the early Classical era. In 1998, in conjunction with the Fifth Biennial Berkeley Festival & Exhibition, ABS established the American Bach Soloists & Henry I. Goldberg International Young Artist Competition as a way to foster emerging musicians who wish to pursue a career in early music. The Chorus of the American Bach Soloists has shone in repertoire from the Baroque and early Classical eras. With the inception of a Choral Series in 2004, these fine singers have been featured on programs exploring over five centuries of choral music. To acknowledge this splendid work, the American Bach Soloists announced in 2006 a new name for their choral ensemble: American Bach Choir. Critics have acclaimed their “sounds of remarkable transparency and body.” In July 2010, the American Bach Soloists inaugurated North America’s newest annual professional training program in Historically Informed Performance Practice. Drawing on their distinguished roster of performers, the AMERICAN BACH SOLOISTS ACADEMY offers unique opportunities to advanced conservatory-level students and emerging professionals to study and perform Baroque music in a multi-disciplinary learning environment. The Academy is held in the San Francisco Conservatory of Music’s exquisite new facilities in the heart of the city’s arts district. In 2013, to commemorate ABS music director Jeffrey Thomas’ 25-year tenure of inspired leadership, the American Bach Soloists created the Jeffrey Thomas Award to honor, recognize, and encourage exceptionally gifted emerging professionals in the field of early music.

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JEFFREY THOMAS

ARTISTIC AND MUSIC DIRECTOR JEFFREY THOMAS has directed and conducted recordings of more than 25 cantatas, the Mass in B Minor, St. Matthew Passion, Brandenburg Concertos,

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AMERICAN BACH SOLOISTS and works by Schütz, Pergolesi, Vivaldi, Haydn, and Beethoven. He has appeared with the Baltimore, Berkeley, Boston, Detroit, Houston, National, Rochester, Minnesota, and San Francisco symphony orchestras; with the Vienna Symphony and the New Japan Philharmonic; with virtually every American baroque orchestra; and in Austria, England, Germany, Italy, Japan, and Mexico. He has performed at the Santa Fe Chamber Music Festival, Spoleto USA Festival, Ravinia Festival, Saratoga Performing Arts Center, Berkeley Festival and Exhibition, Boston Early Music Festival, Bethlehem Bach Festival, Göttingen Festival, Tage Alte Musik Festival in Regensburg, E. Nakamichi Baroque Festival in Los Angeles, the Smithsonian Institution, and at the Brooklyn Academy of Music’s “Next Wave Festival,” and he has collaborated on several occasions as conductor with the Mark Morris Dance Group. Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street Journal as “a superstar among oratorio tenors,” Thomas’ extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics, and Arabesque. He is an avid exponent of contemporary music, and has conducted the premieres of new operas, including David Conte’s Gift of the Magi and Firebird Motel, and premiered song cycles of several composers, including two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities, and appeared with his own vocal chamber music ensemble, L’Aria Viva. Thomas currently hosts two shows on one of the nation’s premiere classical music radio stations, KDFC. Through worldwide streaming audio, he brings his experience and love for Baroque and choral music to a global audience. Educated at the Oberlin Conservatory of Music, Manhattan School of Music, and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San 42 MONDAVIART S.ORG

Francisco Early Music Society, and Southern Utah Early Music Workshops, presented master classes at the Eastman School of Music, the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College, and Washington University, been on the faculty of Lehigh University in Pennsylvania, and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis. He was a UC Davis Chancellor’s Fellow from 2001 to 2006; and the Rockefeller Foundation awarded him a prestigious Residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007, to work on his manuscript, “Handel’s Messiah: A Life of Its Own.”

HÉLÈNE BRUNET (soprano) is particularly reputed for her interpretations of the works of Handel and Mozart. A graduate of the University of Montreal in 2010 and the Montreal Conservatory of Music in 2011, she has studied under the direction of soprano Suzie LeBlanc and the countertenor Daniel Taylor as well as participated in several master classes, most notably with Dame Emma Kirkby, Charles Daniels and June Anderson. Brunet has also participated in many different international summer programs including the American Bach Soloists Academy, the Tafelmusik Baroque Summer Institute in Toronto, the Vancouver Early Music Festival, and the Festival Ensemble Stuttgart. Her recent projects include concerts with the Montreal Bach Festival, with Luc Beausejour’s Clavecin en Concert, with Jean-Marie Zeitouni and the Orchestre de chambre I Musici de Montréal, and with Matthias Maute and Ensemble Caprice. This spring, Brunet will be singing in Toronto and on tour at the Royal Opera House of the Chateau de Versailles with Opera Atelier in their production of Persée by Lully, as well as in a recital, accompanied by pianist Sarah Ristorcelli, recorded and broadcast by Radio-France in Paris. Brunet has also performed alongside several renowned ensembles and orchestras

including the Orchestre Métropolitain conducted by Yannick Nézet-Séguin, and the Studio de Musique Ancienne de Montréal. Brunet is featured in several recordings, including: Adagio: A Consideration of a Serious Matter(Analekta, 2013), Ave Maria (Analekta 2012), Vivaldi, Le Retour des Anges (Analekta, 2011), Messiah by Sven-David Sanström (Carus Records, 2010), and War Requiem (Hänssler Classic, 2008).

AGNES VOJTKO (mezzo-soprano) has established herself as a versatile and genuine artist in opera and on the concert stage. Born in Hungary, she completed a bachelor degree in music at the prestigious Franz Liszt Academy in Budapest. Later, she moved to the United States as a Fulbright Fellow to attend the Butler School of Music of The University of Texas at Austin, where she obtained the degree of Doctor in Musical Arts. Her vocal flexibility and magnetic dramatic presence are infused with the best from the Austro-Hungarian tradition and her American music training. A participant in the 2014 ABS Academy, she makes her debut with American Bach Soloists in Bach’s St. Matthew Passion (February and March, 2015). Her scholarly approach to earlier repertoire shows the span of her vocal versatility. She has sung with the Ars Classica Chamber Opera as Fidalma in Cimarosa’s The Secret Marriage, as Second Lady in Mozart’s The Magic Flute, as Cherubino in The Marriage of Figaro, as Zerlina in Don Giovanni, as well as Proserpina in L’Orfeo with the Budapest Chamber Opera, and as Nerone in L’incoronazione di Poppea with the Sarah and Ernest Butler Opera Center. Recent highlights of her solo concert activity also include Mahler’s Songs of the Wayfarer, Donald Crockett’s The Cinnamon Peeler, and Mozart’s Mass in C Minor. Vojtko’s talent and trajectory has earned her recognition at some of the most prestigious vocal competitions, including the Nyiregyhazi International Music Competition in Takasaki, Japan; the S. Mercadante International Singing Competition in Italy, the International Händel Competition in Hungary, the Händel Singing Competition in England, the Dallas

Opera Guild, and the W. Stenhammar International Vocal Competition in Sweden. Because of her accomplished performance at this last event she was invited to sing at the Gala Concert of the Cairo Opera, where the press praised her as “tall, slender, and beautiful, with a captivating mezzo timbre.” In 2006, Vojtko made her opera debut to critical acclaim with Opera in the Heights’ production of Norma as Adalgisa. The Houston press raved, calling her performance “a revelation … pouring out Adalgisa’s legato remorse or scaling the heights in ‘Mira, O Norma’... she’s a force to be reckoned with.” She has also appeared in Austin Lyric Opera’s Madame Butterfly as Ms. Pinkerton, and in several productions of the Sarah and Ernest Butler Opera Center, which include Menotti’s The Medium (as Mrs. Nolan), Puccini’s Suor Angelica (as La Badessa), the American Premiere of Luis Jaime Cortez’ La Tentación de San Antonio (as Helena), Tchaikovsky’s Eugene Onegin (as Olga), and Peter Brook’s La Tragédie de Carmen (as Carmen), for which she was nominated for an Austin Critics Table Award. It is because of her “rich voice” (The Austin Chronicle) that Vojtko delves into these roles with natural ease and grace.

KYLE STEGALL (tenor) - one of ABS’s newest members having participated in the ABS Academy in 2013 - enjoys a career spanning concert, opera, recital and chamber repertoire. In the 2012 season Stegall appeared as soloist with Simon Carrington, Joseph Flummerfelt, Masaaki Suzuki, Nicholas McGegan, and David Hill among others. In the coming season, Kyle looks forward to performances of the Evangelist in Bach’s St. John Passion with Mo. Suzuki in Alice Tully Hall and to Britten’s Serenade for Tenor, Horn and Strings at Mount Holyoke University. Engaged frequently as a concert soloist, recent appearances have included works such as Stravinsky’s Pulcinella, Bach’s Matthaeus-Passion, Handel’s Messiah and Alexander’s Feast, and many works of J.S. Bach such as his Mass in B Minor and various cantatas with ensembles such as Juilliard 415, Windsor Symphony Orchestra, and Yale Symphony Orchestra.

This summer Stegall tours Japan and Singapore with Mo. Suzuki singing as soloist in performances of Bach’s Mass in b minor. He will also appear with the Yale Voxtet in The People’s Republic of Myanmar before traveling to Suffolk, England to be in residence at the world-renowned BrittenPears Young Artist Programme. The program is part of the Aldeburgh Music Festival, and will feature Stegall in recitals of the music of Benjamin Britten and Franz Schubert with his frequent collaborator Steven McGhee. Stegall can also be seen as a soloist with the American Bach Soloists Festival in San Francisco singing Bach’s Mass in B minor, and Handel’s Esther. A zealous chamber musician and ensemble singer, Stegall recently made his University Musical Society debut in Ann Arbor, MI in collaboration with pianist Martin Katz singing the Brahms Liebeslieder Waltzes. He is also a founding member of Prometheus: an American Vocal Consort. He sings in Yale University’s Voxtet, an ensemble made up of professional graduate students in the Institute of Sacred Music, and as part of the professional choir at Trinity Church in Southport, CT. On the operatic stage, Stegall has been seen in Baroque, Classic, Romantic, and Contemporary repertoire. Notable among his roles are Arturo in Lucia di Lammermoor, Tamino in Die Zauberflöte, Flute in A Midsummer Night’s Dream, Laurie in Little Women, Le Chevalier Danois in Gluck’s Armide, and Little Bat in Susannah. Stegall received his Bachelor of Music degree from the University of Missouri School of Music in his hometown of Columbia under the tutelage of Ann Harrell. He then earned his Master of Music degree from the University of Michigan School of Music, Theatre and Dance where he was a pupil of Caroline Helton. He is now pursuing studies at Yale University’s School of Music under the guidance of James Taylor.

JESSE BLUMBERG (baritone) is equally at home on opera, concert, and recital stages, performing repertoire from the Renaissance and Baroque to the 21st century. His performances have included the world

premiere of Ricky Ian Gordon’s The Grapes of Wrath at Minnesota Opera, Agostino Steffani’s 17th-century opera Niobe, Regina di Tebe at the Boston Early Music Festival, Bernstein’s MASS at London’s Royal Festival Hall, and appearances with New York City Opera, Pittsburgh Opera, Utah Opera, and Boston Lyric Opera. Recital highlights include appearances with the Marilyn Horne Foundation and New York Festival of Song, and performances of Schubert’s Die schöne Müllerin and Winterreise with pianist Martin Katz. He has performed major works with American Bach Soloists, Los Angeles Master Chorale, Oratorio Society of New York, Apollo’s Fire, Berkshire Choral Festival, TENET/Green Mountain Project, and on Lincoln Center’s American Songbook series. Additionally, he has given the world premieres of Ricky Ian Gordon’s Green Sneakers, Lisa Bielawa’s The Lay of the Love and Death, Conrad Cummings’ Positions 1956, and Tom Cipullo’s Excelsior, and has collaborated with several other renowned composers as a member of the Mirror Visions Ensemble. In the 20142015 season, Mr. Blumberg returns to Boston Early Music Festival in November for Pergolesi chamber operas, and in January for a European concert tour of Niobe, Regina di Tebe. He will also return to American Bach Soloists, Boston Baroque, and Apollo’s Fire, and will make debuts in the spring with Hawaii Opera Theatre and Atlanta Opera. His 2013-2014 season included debuts with Kentucky Opera, Opera Omnia, and Boston Baroque, and a return to Minnesota Opera for Mozart’s Die Zauberflöte. Mr. Blumberg’s extraordinary singing has been recognized in several competitions, and he was awarded Third Prize at the 2008 International Robert Schumann Competition in Zwickau, becoming its first American prizewinner in over thirty years. He received a Master of Music degree from the CollegeConservatory of Music at the University of Cincinnati and received undergraduate degrees in History and Music from the University of Michigan. He is also the founder and artistic director of Five Boroughs Music Festival, which brings chamber music of many genres to every corner of New York City. encoreartsprograms.com 43

AMERICAN BACH SOLOISTS TRANSLATIONS BWV 248I JAUCHZET, FROHLOCKET! AUF, PREISET DIE TAGE SCORING Soli: S A T B, Chorus: S A T B, Tromba I-III, Timpani, Flauto traverso I/II, Oboe I/II, Oboe d’amore, Violino I/II, Viola, Continuo (+ Violoncello, Fagotto) FIRST PERFORMANCE 25 December 1734

TEXT Unknown poet, probably Christian Friedrich Henrici (Picander); Luke 2:1, 3-7; “Wie soll ich dich empfangen,” verse 1: Paul Gerhardt 1653; “Gelobet seist du, Jesu Christ,” verse 6: Martin Luther 1524; “Vom Himmel hoch, da komm ich her,” verse 13: Martin Luther 1535. OCCASION Christmas Day

1. Coro Jauchzet, frohlocket! auf, preiset die Tage, Tromba I-III, Timpani, Flauto Rühmet, was heute der Höchste getan! traverso I/II, Oboe I/II, Violino I/II, Lasset das Zagen, verbannet die Klage, Viola, Continuo Stimmet voll Jauchzen und Fröhlichkeit an! Dienet dem Höchsten mit herrlichen Chören, Laßt uns den Namen des Herrschers verehren! 2. Recitativo T Evangelista Continuo Es begab sich aber zu der Zeit, daß ein Gebot von dem Kaiser Augusto ausging, daß alle Welt geschätzet würde. Und jedermann ging, daß er sich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zur Stadt David, die da heißet Bethlehem; darum, daß er von dem Hause und Geschlechte David war: auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß sie gebären sollte. 3. Recitativo A Nun wird mein liebster Bräutigam, Oboe d’amore I/II, Continuo Nun wird der Held aus Davids Stamm Zum Trost, zum Heil der Erden Einmal geboren werden. Nun wird der Stern aus Jakob scheinen, Sein Strahl bricht schon hervor. Auf, Zion, und verlasse nun das Weinen, Dein Wohl steigt hoch empor! 4. Aria A Bereite dich, Zion, mit zärtlichen Trieben, Oboe d’amore I, Violino I, Den Schönsten, den Liebsten bald bei dir zu sehn! Continuo Deine Wangen Müssen heut viel schöner prangen, Eile, den Bräutigam sehnlichst zu lieben! 5. Choral Wie soll ich dich empfangen Flauto traverso I/II in octava e Und wie begegn’ ich dir? Oboe I/II e Violino I col Soprano, O aller Welt Verlangen, Violino II coll’Alto, Viola col O meiner Seelen Zier! Tenore, Violoncello col Basso, O Jesu, Jesu, setze Continuo Mir selbst die Fackel bei, Damit, was dich ergötze, Mir kund und wissend sei! 6. Recitativo T Evangelista Continuo Und sie gebar ihren ersten Sohn und wickelte ihn in Windeln und legte ihn in eine Krippen, denn sie hatten sonst keinen Raum in der Herberge. 7. Choral S & Recitativo B Er ist auf Erden kommen arm, Oboe d’amore I/II, Continuo Wer will die Liebe recht erhöhn, Die unser Heiland vor uns hegt? Daß er unser sich erbarm, Ja, wer vermag es einzusehen, Wie ihn der Menschen Leid bewegt? Und in dem Himmel mache reich, Des Höchsten Sohn kömmt in die Welt, Weil ihm ihr Heil so wohl gefällt, Und seinen lieben Engeln gleich. So will er selbst als Mensch geboren werden. Kyrieleis! 8. Aria B Großer Herr, o starker König, Tromba I, Flauto traverso I, Liebster Heiland, o wie wenig Violino I/II, Viola, Continuo Achtest du der Erden Pracht! Der die ganze Welt erhält, Ihre Pracht und Zier erschaffen, Muß in harten Krippen schlafen. 9. Choral Ach mein herzliebes Jesulein, Tromba I-III, Timpani, Flauto Mach dir ein rein sanft Bettelein, traverso I/II in octava e Oboe I/ Zu ruhn in meines Herzens Schrein, II e Violino I col Soprano, Violino Daß ich nimmer vergesse dein! II col Tenore, Viola col Tenore, Continuo

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Triumph, rejoicing, rise, praising these days now, Tell ye what this day the Highest hath done! Fear now abandon and banish complaining, Join, filled with triumph and gladness, our song! Serve ye the Highest in glorious chorus, Let us the name of our ruler now honor! Evangelist It occurred, however, at the time that a decree from the Emperor Augustus went out that all the world should be enrolled. And everyone then went forth to be enrolled, each person unto his own city. And then as well Joseph went up from Galilee from the city of Nazareth into the land of Judea to David’s city which is called Bethlehem, because he was of the house and of the lineage of David to be enrolled there with Mary, who was betrothed to be his wife, and she was pregnant. And while they were in that place, there came the time for her to be delivered. Now is my dearest bridegroom rare, Now is the prince of David’s stem As earth’s redeeming comfort Here born in time amongst us. Now will shine bright the star of Jacob, Its beam e’en now breaks forth. Rise, Zion, and abandon now thy weeping, Thy fortune soars aloft. Prepare thyself, Zion, with tender affection, The fairest, the dearest soon midst thee to see! Thy cheeks’ beauty Must today shine much more brightly, Hasten, the bridegroom to love with deep passion. How shall I then receive thee And how thy presence find? Desire of ev’ry nation, O glory of my soul! O Jesus, Jesus, Set out for me thy torch, That all that brings thee pleasure By me be clearly known. Evangelist And she brought forth her first-born son and wrapped him in swaddling cloths and laid him within a manger, for they had no other room in the inn for them. He is to earth now come so poor, Who will the love then rightly praise Which this our Savior for us keeps? That he us his mercy show Yea, is there one who understandeth How he by mankind’s woe is moved? And in heaven make us rich The Most High’s Son comes in the world Whose health to him so dear is held, And to his own dear angels like. So will he as a man himself be born now. Kyrieleis! Mighty Lord, O strongest sovereign, Dearest Savior, O how little Heedest thou all earthly pomp! He who all the world doth keep, All its pomp and grace hath fashioned, Must within the hard crib slumber. Ah my belove’d Jesus-child, Make here thy bed, clean, soft and mild For rest within my heart’s own shrine, That I no more fail to be thine!

TRANSLATIONS BWV 248II UND ES WAREN HIRTEN IN DERSELBEN GEGEND SCORING Soli: S A T B, Chorus: S A T B, Flauto traverso I/II, Oboe d’amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo FIRST PERFORMANCE 26 December 1734

1. Sinfonia Flauto traverso I/II, Oboe d’amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo 2. Recitativo T Continuo

3. Choral Flauto traverso I/II in octava e Oboe d’amore I/II e Violino I col Soprano, Oboe da caccia I e Violino II coll’Alto, Oboe da caccia II e Viola col Tenore, Continuo

4. Recitativo T S Violino I/II, Viola, Continuo

5. Recitativo B Oboe d’amore I/II, Oboe da caccia I/II, Continuo

6. Aria T Flauto traverso I, Continuo

7. Recitativo T Continuo 8. Choral Flauto traverso I/II in octava e Oboe d’amore I/II e Violino I col Soprano, Oboe da caccia I e Violino II coll’Alto, Oboe da caccia II e Viola col Tenore, Continuo 9. Recitativo B Oboe d’amore I/II, Oboe da caccia I/II, Continuo

10. Aria A Flauto traverso I, Oboe d’amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo 11. Recitativo T Continuo 12. Coro Flauto traverso I/II, Oboe d’amore I/II, Oboe da caccia I/II, Violino I/II, Viola, Continuo 13. Recitativo B Continuo

14. Choral Flauto traverso I/II, Oboe d’amore I/ II, Oboe da caccia I/II, Violino I/II, Viola, Continuo

TEXT Unknown poet, probably Christian Friedrich Henrici (Picander); Luke 2:8-14; “Ermuntre dich, mein schwacher Geist,” verse 9: Johann Rist 1641; “Schaut, schaut, was ist für Wunder dar,” verse 8: Paul Gerhardt 1667; “Wir singen dir, Emmanuel,” verse 2: Paul Gerhardt 1656. OCCASION Second Day of Christmas (St. Stephen)

Evangelista Und es waren Hirten in derselben Gegend auf dem Felde bei den Hürden, die hüteten des Nachts ihre Herde. Und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet um sie, und sie furchten sich sehr.

Evangelist And there were shepherds in that very region in the field nearby their sheepfolds, who kept their watch by night over their flocks. And see now, the angel of the Lord came before them, and the glory of the Lord shone round about them, and they were sore afraid.

Brich an, o schönes Morgenlicht, Und laß den Himmel tagen! Du Hirtenvolk, erschrecke nicht, Weil dir die Engel sagen, Daß dieses schwache Knäbelein Soll unser Trost und Freude sein, Dazu den Satan zwingen Und letztlich Friede bringen!

Break forth, O beauteous morning light, And bring day to the heavens! Thou shepherd folk, be not afraid, For thee the angel telleth That this the helpless little boy Shall be our comfort and our joy, Here for to conquer Satan And peace at last to bring us!

Evangelista Und der Engel sprach zu ihnen: Engel Fürchtet euch nicht, siehe, ich verkündige euch große Freude, die allem Volke widerfahren wird. Denn euch ist heute der Heiland geboren, welcher ist Christus, der Herr, in der Stadt David.

Evangelist And the angel spake unto them: Angel Be not afraid, see now, I proclaim to you news of great gladness, which all the nations of the world will learn. For to you today is the Savior born, who is Christ, the Lord, in the city of David.

Was Gott dem Abraham verheißen, Das läßt er nun dem Hirtenchor Erfüllt erweisen. Ein Hirt hat alles das zuvor Von Gott erfahren müssen. Und nun muß auch ein Hirt die Tat, Was er damals versprochen hat, Zuerst erfüllet wissen.

What God to Abraham did promise, This hath he to the shepherd choir Revealed and proven. A shepherd all this once before Of God to learn was destined; And now as well a shepherd must The deed of yore he promised us Be first to see completed.

Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verweilet, Eilt, das holde Kind zu sehn! Geht, die Freude heißt zu schön, Sucht die Anmut zu gewinnen, Geht und labet Herz und Sinnen!

Joyful shepherds, haste, ah hasten, Ere ye here too long should tarry, Haste, the gracious child to visit! Go, your gladness is too fair, Seek his grace’s inspiration, Go and comfort heart and spirit.

Evangelista Und das habt zum Zeichen: Ihr werdet finden das Kind in Windeln gewickelt und in einer Krippe liegen.

Evangelist And let this be your sign: ye will discover the babe in swaddling clothes there wrapped and in a manger lying.

Schaut hin, dort liegt im finstern Stall, Des Herrschaft gehet überall! Da Speise vormals sucht ein Rind, Da ruhet itzt der Jungfrau’n Kind.

Look there, he lies in manger drear Whose power reacheth ev’rywhere! Where fodder once the ox did seek, There resteth now the Virgin’s child.

So geht denn hin, ihr Hirten, geht, Daß ihr das Wunder seht: Und findet ihr des Höchsten Sohn In einer harten Krippe liegen, So singet ihm bei seiner Wiegen Aus einem süßen Ton Und mit gesamtem Chor Dies Lied zur Ruhe vor!

So go then there, ye shepherds, go, That ye this wonder see: And when ye find the Highest’s Son Within an austere manger lying, Then sing to him beside his cradle In tones that sweetly ring And with assembled choir This song of slumber bring!

Schlafe, mein Liebster, genieße der Ruh, Wache nach diesem vor aller Gedeihen! Labe die Brust, Empfinde die Lust, Wo wir unser Herz erfreuen!

Sleep now, my dearest, enjoy now thy rest, Wake on the morrow to flourish in splendor! Lighten thy breast, With joy be thou blest, Where we hold our heart’s great pleasure!

Evangelista Und alsobald war da bei dem Engel die Menge der himmlischen Heerscharen, die lobten Gott und sprachen:

Evangelist And suddenly there was with the angel the multitude of the host of heaven, there praising God and saying:

Die Engel Ehre sei Gott in der Höhe und Friede auf Erden und den Menschen ein Wohlgefallen.

The Angel Glory to God in the highest and peace on the earth now and to mankind a sign of favor.

So recht, ihr Engel, jauchzt und singet, Daß es uns heut so schön gelinget! Auf denn! wir stimmen mit euch ein, Uns kann es so wie euch erfreun.

‘Tis meet, ye angels, sing and triumph, That we today have gained such fortune! Up then! We’ll join our voice to yours, We can as well as ye rejoice.

Wir singen dir in deinem Heer Aus aller Kraft, Lob, Preis und Ehr, Daß du, o lang gewünschter Gast, Dich nunmehr eingestellet hast.

We sing to thee amidst thy host With all our strength, laud, fame and praise, That thou, O long desiréd guest, Art come into this world at last.

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AMERICAN BACH SOLOISTS TRANSLATIONS BWV 248III HERRSCHER DES HIMMELS, ERHÖRE DAS LALLEN SCORING Soli: S A T B, Chorus: S A T B, Tromba I-III, Timpani, Flauto traverso I/II, Oboe I/II, Oboe d’amore I/II, Violino I/II, Viola, Continuo FIRST PERFORMANCE 27 December 1734

TEXT Unknown poet, probably Christian Friedrich Henrici (Picander); Luke 2:15-20; “Gelobet seist du, Jesu Christ,” verse 7: Martin Luther 1524; “Fröhlich soll mein Herze springen,” verse 15: Paul Gerhardt 1653; “Laßt Furcht und Pein,” verse 4: Christoph Runge 1653. OCCASION Third Day of Christmas (St. John, Apostle and Evangelist)

1. Coro Herrscher des Himmels, erhöre das Lallen, Tromba I-III, Timpani, Flauto traverso I/II, Laß dir die matten Gesänge gefallen, Oboe I/II, Violino I/II, Viola, Continuo Wenn dich dein Zion mit Psalmen erhöht! Höre der Herzen frohlockendes Preisen, Wenn wir dir itzo die Ehrfurcht erweisen, Weil unsre Wohlfahrt befestiget steht!

Ruler of heaven, give ear to our stammer, Let these our weary refrains bring thee pleasure, As thee thy Zion with psalms doth exalt! Hear thou our hearts, though, exultant with praises, As we to thee here our homage now render, For our salvation stands strong and secure!

2. Recitativo T Evangelista Continuo Und da die Engel von ihnen gen Himmel fuhren, sprachen die Hirten untereinander:

Evangelist And when the angel went away from them up to heaven, said the shepherds one to another:

3. Coro Die Hirten Flauto traverso I/II, Violino I, Oboe d’amore Lasset uns nun gehen gen Bethlehem und die Geschichte sehen, die I e Violino II col Soprano, Oboe d’amore II da geschehen ist, die uns der Herr kundgetan hat. coll’Alto, Viola col Tenore, Continuo

The Shepherds “Let us now go quickly to Bethlehem and this event now witness which hath here taken place, that which the Lord made known to us.”

4. Recitativo B Er hat sein Volk getröst’, Flauto traverso I/II, Continuo Er hat sein Israel erlöst, Die Hülf aus Zion hergesendet Und unser Leid geendet. Seht, Hirten, dies hat er getan; Geht, dieses trefft ihr an! 5. Choral Dies hat er alles uns getan, Flauto traverso I/II in octava e Oboe I/II e Sein groß Lieb zu zeigen an; Violino I col Soprano, Violino II coll’Alto, Des freu sich alle Christenheit Viola col Tenore, Continuo Und dank ihm des in Ewigkeit. Kyrieleis! 6. Aria (Duetto) S B Herr, dein Mitleid, dein Erbarmen Oboe d’amore I/II, Continuo Tröstet uns und macht uns frei. Deine holde Gunst und Liebe, Deine wundersamen Triebe Machen deine Vatertreu Wieder neu. 7. Recitativo T Evangelista Continuo Und sie kamen eilend und funden beide, Mariam und Joseph, dazu das Kind in der Krippe liegen. Da sie es aber gesehen hatten, breiteten sie das Wort aus, welches zu ihnen von diesem Kind gesaget war. Und alle, für die es kam, wunderten sich der Rede, die ihnen die Hirten gesaget hatten. Maria aber behielt alle diese Worte und bewegte sie in ihrem Herzen. 8. Aria A Schließe, mein Herze, dies selige Wunder Violino solo, Continuo Fest in deinem Glauben ein! Lasse dies Wunder, die göttlichen Werke, Immer zur Stärke Deines schwachen Glaubens sein! 9. Recitativo A Ja, ja, mein Herz soll es bewahren, Flauto traverso I/II, Continuo Was es an dieser holden Zeit Zu seiner Seligkeit Für sicheren Beweis erfahren. 10. Choral Ich will dich mit Fleiß bewahren, Flauto traverso I/II in octava e Oboe I/II e Ich will dir Violino I col Soprano, Violino II coll’Alto, Leben hier, Viola col Tenore, Continuo Dir will ich abfahren, Mit dir will ich endlich schweben Voller Freud Ohne Zeit Dort im andern Leben. 11. Recitativo T Evangelista Continuo Und die Hirten kehrten wieder um, preiseten und lobten Gott um alles, das sie gesehen und gehöret hatten, wie denn zu ihnen gesaget war.

He brought his people hope, He hath his Israel redeemed, His help from Zion he hath sent us And all our suff’ring ended. See, shepherds, this thing hath he done; Go, this thing go and see! This hath he all for us brought forth, His great love to manifest; Rejoice thus all Christianity And thank him in eternity. Kyrieleis! Lord, thy mercy, thy forgiveness, Comforts us and sets us free. Thy most gracious love and favor, Thy most wonderful affection Here make thy paternal faith New again. Evangelist And they went forth quickly and found there both Mary and Joseph, and the child lying in the manger. When they, however, had ceased their looking, they spread forth the saying which had been told unto them concerning this child. And all to whom it came wondered at the story which had been reported to them by the shepherds. But Mary kept to herself then all these sayings, and she pondered them within her heart. Keep thou, my heart now, this most blessed wonder Fast within thy faith alway! And let this wonder, these godly achievements, Ever as comfort Of thy feeble faith abide! Oh yes, my heart shall ever cherish All it at this most gracious time To its eternal bliss With certain signs of proof hath witnessed. I will thee steadfastly cherish, For thy sake My life make, In thee I will perish, With thee will I one day hover Full of joy For alway There when life is over. Evangelist And the shepherds then turned back again, glorifying and praising God for all the things which they had seen and had heard, just as it had been told to them.

12. Choral Seid froh dieweil, Flauto traverso I/II in octava e Oboe I/II e Daß euer Heil Violino I col Soprano, Violino II coll’Alto, Ist hie ein Gott und auch ein Mensch geboren, Viola col Tenore, Continuo Der, welcher ist Der Herr und Christ In Davids Stadt, von vielen auserkoren.

Be glad this while, For now your health Is here as God and as a man born to you, The one who is The Lord and Christ In David’s city, out of many chosen.

13. Coro Herrscher des Himmels, erhöre das Lallen, Tromba I-III, Timpani, Flauto traverso I/II, Laß dir die matten Gesänge gefallen, Oboe I/II, Violino I/II, Viola, Continuo Wenn dich dein Zion mit Psalmen erhöht! Höre der Herzen frohlockendes Preisen, Wenn wir dir itzo die Ehrfurcht erweisen, Weil unsre Wohlfahrt befestiget steht!

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TRANSLATIONS BWV 248IV FALLT MIT DANKEN, FALLT MIT LOBEN SCORING Soli: S A T B, Chorus: S A T B, Corno da caccia I/II, Oboe I/II, Violino I/II, Viola, Continuo FIRST PERFORMANCE 1 January 1735

TEXT Unknown poet, probably Christian Friedrich Henrici (Picander); Luke 2:21; “Jesu, du mein liebstes Leben,” verse 1: Johann Rist 1642; “Hilf, Herr Jesu, laß gelingen,” verse 15: Johann Rist 1642. OCCASION New Year’s Day (Feast of the Circumcision)

1. Coro Fallt mit Danken, fallt mit Loben Corno da caccia I/II, Oboe I/II, Violino I/ Vor des Höchsten Gnadenthron! II, Viola, Continuo Gottes Sohn Will der Erden Heiland und Erlöser werden, Gottes Sohn Dämpft der Feinde Wut und Toben. 2. Recitativo T Evangelista Continuo Und da acht Tage um waren, daß das Kind beschnitten würde, da ward sein Name genennet Jesus, welcher genennet war von dem Engel, ehe denn er im Mutterleibe empfangen ward. 3. Recitativo B & Choral S Immanuel, o süßes Wort! Violino I/II, Viola, Continuo Mein Jesus heißt mein Hort, Mein Jesus heißt mein Leben. Mein Jesus hat sich mir ergeben, Mein Jesus soll mir immerfort Vor meinen Augen schweben. Mein Jesus heißet meine Lust, Mein Jesus labet Herz und Brust. Jesu, du mein liebstes Leben, Meiner Seelen Bräutigam, Komm! Ich will dich mit Lust umfassen, Mein Herze soll dich nimmer lassen, Der du dich vor mich gegeben An des bittern Kreuzes Stamm! Ach! So nimm mich zu dir! Auch in dem Sterben sollst du mir Das Allerliebste sein; In Not, Gefahr und Ungemach Seh ich dir sehnlichst nach. Was jagte mir zuletzt der Tod für Grauen ein? Mein Jesus! Wenn ich sterbe, So weiß ich, daß ich nicht verderbe. Dein Name steht in mir geschrieben, Der hat des Todes Furcht vertrieben. 4. Aria S Flößt, mein Heiland, flößt dein Namen Oboe solo, Continuo Auch den allerkleinsten Samen Jenes strengen Schreckens ein? Nein, du sagst ja selber nein. (Nein!) Sollt ich nun das Sterben scheuen? Nein, dein süßes Wort ist da! Oder sollt ich mich erfreuen? Ja, du Heiland sprichst selbst ja. (Ja!) 5. Recitativo B & Choral S Wohlan, dein Name soll allein Violino I/II, Viola, Continuo In meinem Herzen sein! Jesu, meine Freud und Wonne, Meine Hoffnung, Schatz und Teil, So will ich dich entzücket nennen, Wenn Brust und Herz zu dir vor Liebe brennen. Mein Erlösung, Schmuck und Heil, Hirt und König, Licht und Sonne, Doch, Liebster, sage mir: Wie rühm ich dich, wie dank ich dir? Ach! wie soll ich würdiglich, Mein Herr Jesu, preisen dich? 6. Aria T Ich will nur dir zu Ehren leben, Violino solo I/II, Continuo Mein Heiland, gib mir Kraft und Mut, Daß es mein Herz recht eifrig tut! Stärke mich, Deine Gnade würdiglich Und mit Danken zu erheben! 7. Choral Jesus richte mein Beginnen, Corno da caccia I/II, Oboe I/II, Violino I/ Jesus bleibe stets bei mir, II, Viola, Continuo Jesus zäume mir die Sinnen, Jesus sei nur mein Begier, Jesus sei mir in Gedanken, Jesu, lasse mich nicht wanken!

Fall and thank him, fall and praise him At the Highest’s throne of grace! God’s own Son Will of earth the Savior and Redeemer be now, God’s own Son Stems our foe’s great wrath and fury. Evangelist And when eight days were accomplished that the child be circumcised, was his name then called Jesus, which was so named by the angel, before he was conceived within his mother’s womb. Immanuel, O sweetest word! My Jesus is my shield, My Jesus is my being. My Jesus is to me devoted, My Jesus shall I ever hold Before my eyes suspended. My Jesus is my joyful rest, My Jesus soothes my heart and breast. Jesus, thou, my life beloved, Of my soul the bridegroom true, Come! I would now with joy embrace thee, My heart shall nevermore release thee, Thou who didst for me surrender To the bitter cross’s tree! Ah! Take me to thyself! E’en in my dying shalt thou my Most cherished treasure be; In need, in dread and sore distress I’ll look and yearn for thee. What cruelty at last can death then hound me with? My Jesus! When I die here, I know that I shall never perish. Thy name is written deep within me, It hath the fear of death now banished. Doth, my Savior, doth thy name have E’en the very smallest kernel Of that awful terror now? No, thyself thou sayest “No.” (No!) Ought I now of death be wary? No, the gentle word is here! Rather, ought I greet it gladly? Yes, O Savior, thou say’st “Yes.” (Yes!) O joy, thy name shall now alone Within my bosom dwell! Jesus, my true joy and pleasure, My true treasure, share and hope, Thus will I call thy name with rapture When breast and heart for thee with love are burning. My salvation, crown and health, But, dearest, tell me now: How thee to praise, how thee to thank. King and shepherd, sun and radiance, Ah, how shall I worthily, My Lord Jesus, give thee praise? I would but for thine honor live now; My Savior, give me strength of will, That this my heart with zeal may do. Strengthen me Thy mercy worthily And with gratitude to honor! Jesus order my beginning, Jesus bide alway with me, Jesus bridle my intention, Jesus be my sole desire, Jesus be in all my thinking, Jesus, let me never waver.

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AMERICAN BACH SOLOISTS TRANSLATIONS BWV 248V EHRE SEI DIR, GOTT, GESUNGEN SCORING Soli: S A T B, Chorus: S A T B, Oboe d’amore I/II, Violino I/II, Viola, Continuo FIRST PERFORMANCE 2 January 1735

TEXT Unknown poet, probably Christian Friedrich Henrici (Picander);Matthew 2:1-6; “Nun, liebe Seel, nun ist es Zeit,” verse 5: Georg Weissel 1642; “Ihr Gestirn, ihr hohlen Lüfte,” verse 9: Johann Franck 1655. OCCASION Sunday after New Year’s Day

1. Coro Ehre sei dir, Gott, gesungen, Oboe d’amore I/II, Violino I/II, Viola, Dir sei Lob und Dank bereit. Continuo Dich erhebet alle Welt, Weil dir unser Wohl gefällt, Weil anheut Unser aller Wunsch gelungen, Weil uns dein Segen so herrlich erfreut.

Glory to thee, God, be sung now, Thee be praise and thanks prepared, Thee exalteth all the world, For our good is thy desire, For today Is our ev’ry wish accomplished, For us thy favor brings such splendid joy.

2. Recitativo T Evangelista Continuo Da Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodis, siehe, da kamen die Weisen vom Morgenlande gen Jerusalem und sprachen.

Evangelist Now when Jesus was born in Bethlehem in the land of Judea in the days when Herod was the king, behold, there came the wise men from the East to Jerusalem, who said:

3. Coro & Recitativo A Die Weisen Oboe d’amore I/II, Violino I/II, Viola, Wo ist der neugeborne König der Jüden? Continuo Sucht ihn in meiner Brust, Hier wohnt er, mir und ihm zur Lust! Wir haben seinen Stern gesehen im Morgenlande und sind kommen, ihn anzubeten. Wohl euch, die ihr dies Licht gesehen, Es ist zu eurem Heil geschehen! Mein Heiland, du, du bist das Licht, Das auch den Heiden scheinen sollen, Und sie, sie kennen dich noch nicht, Als sie dich schon verehren wollen. Wie hell, wie klar muß nicht dein Schein, Geliebter Jesu, sein!

The Wise Men Where is the newborn babe, the king of the Jews? Seek him within my breast, He dwells here, mine and his the joy! We have seen his star in the east and are come now to give him worship. Blest ye, who have this light now witnessed, It is for your salvation risen! My Savior, thou, thou art that light, Which to the nations shall shine also, And they, they do not know thee yet, As they e’en now would pay thee honor. How bright, how clear must then thy rays, Belove’d Jesus, be!

4. Choral Dein Glanz all Finsternis verzehrt, Oboe d’amore I/II e Violino I col Soprano, Die trübe Nacht in Licht verkehrt. Violino II coll’Alto, Viola col Tenore, Leit uns auf deinen Wegen, Continuo Daß dein Gesicht Und herrlichs Licht Wir ewig schauen mögen! 5. Aria B Erleucht auch meine finstre Sinnen, Oboe d’amore solo, Continuo Erleuchte mein Herze Durch der Strahlen klaren Schein! Dein Wort soll mir die hellste Kerze In allen meinen Werken sein; Dies lässet die Seele nichts Böses beginnen. 6. Recitativo T Evangelista Continuo Da das der König Herodes hörte, erschrak er und mit ihm das ganze Jerusalem. 7. Recitativo A Warum wollt ihr erschrecken? Violino I/II, Viola, Continuo Kann meines Jesu Gegenwart euch solche Furcht erwecken? O! solltet ihr euch nicht Vielmehr darüber freuen, Weil er dadurch verspricht, Der Menschen Wohlfahrt zu verneuen. 8. Recitativo T Evangelista Continuo Und ließ versammlen alle Hohepriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren werden. Und sie sagten ihm: Zu Bethlehem im jüdischen Lande; denn also stehet geschrieben durch den Propheten: Und du Bethlehem im jüdischen Lande bist mitnichten die kleinest unter den Fürsten Juda; denn aus dir soll mir kommen der Herzog, der über mein Volk Israel ein Herr sei. 9. Aria (Terzetto) S A T Ach, wenn wird die Zeit erscheinen? Violino solo, Continuo Ach, wenn kömmt der Trost der Seinen? Schweigt, er ist schon würklich hier! Jesu, ach so komm zu mir! 10. Recitativo A Mein Liebster herrschet schon. Oboe d’amore I/II, Continuo Ein Herz, das seine Herrschaft liebet Und sich ihm ganz zu eigen gibet, Ist meines Jesu Thron. 11. Choral Zwar ist solche Herzensstube Oboe d’amore I/II e Violino I col Soprano, Wohl kein schöner Fürstensaal, Violino II coll’Alto, Viola col Tenore, Sondern eine finstre Grube; Continuo Doch, sobald dein Gnadenstrahl In denselben nur wird blinken, Wird es voller Sonnen dünken.

48 MONDAVIART S.ORG

Thy light all darkness doth consume, The gloomy night to day transform. Lead us upon thy pathways, That we thy face And glorious light For evermore may witness! Illumine, too, my gloomy spirit, Illumine my bosom With the beams of thy clear light! Thy word shall be my brightest candle In all the works which I shall do; My soul shall this keep from all wicked endeavor. Evangelist And thus when Herod the king had heard this, he trembled, and with him the whole of Jerusalem. Wherefore would ye be frightened? Can my dear Jesus’ presence then in you such fear awaken? Oh! Should ye not by this Instead be moved with gladness, That he thereby hath pledged To make anew mankind’s well-being! Evangelist And assembling all the high priests and scribes from amongst the people, did he then inquire of them, where the birth of Christ was supposed to happen. And they said to him: “In Bethlehem in the land of Judea; for even thus is it written by the prophet: ‘And thou, Bethlehem, in the land of Judea art by no means the least among the princes of Judah; for from thee shall to me come the ruler, who shall over my people Israel be master.’” Ah, when will that time appear then? Ah, when will his people’s hope come? Hush, he is already here! Jesus, ah, then come to me! My dearest ruleth now. The heart which his dominion loveth And gives itself to him entirely Shall be my Jesus’ throne. Though in truth my heart’s poor lodging Is no lovely royal hall, Rather but a dreary chamber, Yet, when once thy mercy’s beams Bring to it the merest glimmer, It seems as though with sun to shimmer.

TRANSLATIONS BWV 248VI HERR, WENN DIE STOLZEN FEINDE SCHNAUBEN SCORING Soli: S A T B, Chorus: S A T B, Tromba I-III, Timpani, Oboe I/II, Oboe d’amore I/II, Violino I/II, Viola, Continuo FIRST PERFORMANCE 6 January 1735

TEXT Unknown poet, probably Christian Friedrich Henrici (Picander); Matthew 2:7-12; “Ich steh an deiner Krippen hier,” verse 1: Paul Gerhardt 1656; “Ihr Christen auserkoren,” verse 4: Georg Werner 1648. OCCASION Epiphany

1. Coro Herr, wenn die stolzen Feinde schnauben, Tromba I-III, Timpani, Oboe I/II, Violino I/ So gib, daß wir im festen Glauben II, Viola, Continuo Nach deiner Macht und Hülfe sehn! Wir wollen dir allein vertrauen, So können wir den scharfen Klauen Des Feindes unversehrt entgehn. 2. Recitativo T B Evangelista Continuo Da berief Herodes die Weisen heimlich und erlernet mit Fleiß von ihnen, wenn der Stern erschienen wäre? und weiset sie gen Bethlehem und sprach: Herodes Ziehet hin und forschet fleißig nach dem Kindlein, und wenn ihr’s findet, sagt mir’s wieder, daß ich auch komme und es anbete. 3. Recitativo S Du Falscher, suche nur den Herrn zu fällen, Violino I/II, Viola, Continuo Nimm alle falsche List, Dem Heiland nachzustellen; Der, dessen Kraft kein Mensch ermißt, Bleibt doch in sichrer Hand. Dein Herz, dein falsches Herz ist schon, Nebst aller seiner List, des Höchsten Sohn, Den du zu stürzen suchst, sehr wohl bekannt. 4. Aria S Nur ein Wink von seinen Händen Oboe d’amore I, Violino I/II, Viola, Stürzt ohnmächtger Menschen Macht. Continuo Hier wird alle Kraft verlacht! Spricht der Höchste nur ein Wort, Seiner Feinde Stolz zu enden, O, so müssen sich sofort Sterblicher Gedanken wenden. 5. Recitativo T Evangelista Continuo Als sie nun den König gehöret hatten, zogen sie hin. Und siehe, der Stern, den sie im Morgenlande gesehen hatten, ging für ihnen hin, bis daß er kam und stund oben über, da das Kindlein war. Da sie den Stern sahen, wurden sie hoch erfreuet und gingen in das Haus und funden das Kindlein mit Maria, seiner Mutter, und fielen nieder und beteten es an und täten ihre Schätze auf und schenkten ihm Gold, Weihrauch und Myrrhen. 6. Choral Ich steh an deiner Krippen hier, Oboe I/II e Violino I col Soprano, Violino O Jesulein, mein Leben; II coll’Alto, Viola col Tenore, Continuo Ich komme, bring und schenke dir, Was du mir hast gegeben. Nimm hin! es ist mein Geist und Sinn, Herz, Seel und Mut, nimm alles hin, Und laß dirs wohlgefallen! 7. Recitativo T Evangelista Continuo Und Gott befahl ihnen im Traum, daß sie sich nicht sollten wieder zu Herodes lenken, und zogen durch einen andern Weg wieder in ihr Land.

Lord, when our boastful foes blow fury, Help us to keep our faith unshaken And to thy might and help to look! We would make thee our sole reliance And thus unharmed the cutting talons And clutches of the foe escape. Evangelist Then did Herod summon the wise men in secret, and with diligence he learned from them when the star was to appear. And he sent them forth to Bethlehem and said: Herod Go ye forth and search with diligence for the baby, and when ye find him, bring me word, that I as well may come and worship him. Thou liar, seek nought but the Lord’s destruction, Lay ev’ry cunning snare And pitfall for our Savior; He, whose great pow’r no man can gauge, Abides in hands secure. Thy heart, thy lying heart e’en now, Along with all its guile, to God’s own Son Whom thou dost strive to fell is fully known. But a wave of his own hand will Bring down feeble human might. Here is all dominion mocked! Speak the Highest but one word, His opponents’ pride to finish, Oh, then surely must at once Change its course all mortal purpose. Evangelist And as soon as they had heard the king, they went their way. And lo, the star, which in the East they had seen already, went before their way, until it came and stood above that place where the baby was. And when they saw the star, they rejoiced with great gladness and went into the house and found there the baby with Mary, his mother, and fell before him and worshipped him and opened up their treasures then and gave to him gold, incense, and myrrh. I stand before thy cradle here, O Jesus-child, my being, I come now, bring and offer thee What thou to me hast given. Take all! It is my spirit, will, Heart, soul and mind, take all to thee, And let it serve thy pleasure! Evangelist And God then warned them in a dream that they should not go again unto Herod, and they went by another way back to their country.

8. Recitativo T So geht! Genug, mein Schatz geht nicht von hier, Oboe d’amore I/II, Continuo Er bleibet da bei mir, Ich will ihn auch nicht von mir lassen. Sein Arm wird mich aus Lieb Mit sanftmutsvollem Trieb Und größter Zärtlichkeit umfassen; Er soll mein Bräutigam verbleiben, Ich will ihm Brust und Herz verschreiben. Ich weiß gewiß, er liebet mich, Mein Herz liebt ihn auch inniglich Und wird ihn ewig ehren. Was könnte mich nun für ein Feind Bei solchem Glück versehren! Du, Jesu, bist und bleibst mein Freund; Und werd ich ängstlich zu dir flehn: Herr, hilf!, so laß mich Hülfe sehn!

Then go! ‘Tis well, my treasure leaveth not, He bideth here with me, I will not ever let him leave me. His arm will in his love With soft affection’s warmth And deepest tenderness embrace me; He shall remain my faithful bridegroom, I will my breast and heart assign him. I know full well he loveth me, My heart, too, loves him fervently And shall alway adore him. What harm to me could any foe Amidst such fortune do now? Thou, Jesus, art fore’er my friend; And when in fear I cry to thee: “Lord, help!,” let me thy help behold!

9. Aria T Nun mögt ihr stolzen Feinde schrecken; Oboe d’amore I/II, Continuo Was könnt ihr mir für Furcht erwecken? Mein Schatz, mein Hort ist hier bei mir. Ihr mögt euch noch so grimmig stellen, Droht nur, mich ganz und gar zu fällen, Doch seht! mein Heiland wohnet hier.

Now may ye boastful foes be frightened; what fear can ye in me awaken? My store, my hoard is here by me. Be ye unbounded in your fury And threaten me with utter ruin, Beware, my Savior dwelleth here!

10. Recitativo S A T B Was will der Höllen Schrecken nun, Continuo Was will uns Welt und Sünde tun, Da wir in Jesu Händen ruhn? 11. Choral Nun seid ihr wohl gerochen Tromba I-III, Timpani, Oboe I/II, Violino I/ An eurer Feinde Schar, II, Viola, Continuo Denn Christus hat zerbrochen, Was euch zuwider war. Tod, Teufel, Sünd und Hölle Sind ganz und gar geschwächt; Bei Gott hat seine Stelle Das menschliche Geschlecht.

What hope hath hell’s own terrors now, What harm will world and sin us do, While we in Jesus’ hands rest sure? Now are ye well avenged Upon your hostile host, For Christ hath fully broken All that which you opposed. Death, devil, hell and error To nothing are reduced; With God hath now its shelter The mortal race of man.

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PRODUCER CIRCLE

$3,500 - $6,999

Neil and Carla Andrews Hans Apel and Pamela Burton Daniel Benson Jeff and Karen Bertleson Charitable Fund James H. Bigelow† Cordelia S. Birrell Irving and Karen Broido* California Statewide Certified Development Corp. Mike and Betty Chapman Robert and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Richard and Joy Dorf* Nancy DuBois* Allen Enders Merrilee and Simon Engel Catherine and Charles Farman Kay Gist GiveLocalNow BIG Day of Giving Ed and Bonnie Green* Diane Gunsul-Hicks Charles H. and Ann W. Halsted John and Regi Hamel Judith and William Hardardt* Dee Hartzog Donine Hedrick and David Studer Charles and Eva Hess In Memory of Christopher Horsley* Teresa Kaneko* 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 Nelson Lewallyn and Marion Pace-Lewallyn David and Ruth Lindgren Paul and Diane Makley* In Memory of Allen G. Marr Judith and Eldridge Moores Katharine and Dan Morgan Alice Oi Miep Palmer John and Misako Pearson Roger and Ann Romani* Hal and Carol Sconyers* Wilson and Kathryn Smith Tom and Meg Stallard* Tom and Judy Stevenson* Brian Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jerilyn Paik-Telfeyan Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Jeanne Hanna Vogel and Warren G. Roberts Claudette Von Rusten John Walker and Marie Lopez The One and Only Watson Patrice White Richard and Judy Wydick Yin and Elizabeth Yeh And 5 donors who prefer to remain anonymous

DIRECTOR CIRCLE

$1,500 - $3,499

The Aboytes Family Beulah and Ezra Amsterdam Russell and Elizabeth Austin Chris and Andie Bandy Laura and Murry Baria* Lydia Baskin* Drs. Noa and David Bell Don and Kathy Bers* Jo Anne Boorkman* Neil and Elizabeth Bowler Edwin Bradley Linda Brandenburger Susie and Jim Burton Davis and Jan Campbell Cantor & Company, A Law Corporation Randy Cobb Allison Coudert Jim and Kathy Coulter* John and Celeste Cron* Robert D. and Nancy Nesbit Crummey Terry and Jay Davison Bruce and Marilyn Dewey Martha C. Dickman* Dotty Dixon* Matt Donaldson and Steve Kyriakis Wayne and Shari Eckert* Domenic and Joan Favero Jolan Friedhoff and Don Roth Karl Gerdes and Pamela Rohrich Erla and David Goller John and Patty Goss* Jack and Florence Grosskettler Dr. Clare Hasler-Lewis and Cameron Lewis Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy Ronald and Lesley Hsu In Memory of Flint and Ella Ruth W. Jackson Martin and JoAnn Joye* Clarence and Barbara Kado Barbara Katz John and Nancy Keltner Charlene R. Kunitz Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Francie and Artie Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert Palma Lower and Sue Cipolla Richard and Kyoko Luna Natalie and Malcolm MacKenzie* Debbie Mah and Brent Felker* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield Rosa Marquez and Richard Breedon Yvonne L. Marsh Shirley Maus* Janet Mayhew* In Memory of William F. McCoy Helga and Bob Medearis Stephen Meyer and Mary Lou Flint Barbara Moriel Augustus Morr *Friends of Mondavi Center

R. Mott, J. Persin, D. Verbeck Robert Ono and Betty Masuoka John Pascoe and Sue Stover Bonnie A. Plummer Prewoznik Foundation Linda and Lawrence Raber* Kay Resler* Christopher Reynolds and Alessa Johns In Memory of Guy E. Richards, Jr. Tom Roehr Liisa Russell Christian Sandrock and Dafna Gatmon Ed and Karen Schelegle Neil and Carrie Schore Bonnie and Jeff Smith Edward and Sharon Speegle Les and Mary Stephens De Wall Maril R. and Patrick Stratton Geoffrey and Gretel WandesfordSmith Dan and Ellie Wendin Dale and Jane Wierman Gayle K. Yamada and David H. Hosley And 6 donors who prefer to remain anonymous

ENCORE CIRCLE

$600 - $1,499

Chris Armanini Michael and Shirley Auman* Antonio and Alicia Balatbat* Robert and Susan Benedetti In Memory of Marie Benisek Patricia Bissell Muriel Brandt Manuel Calderon de la Barca Sanchez and Karen Zito Carole Cory and Jan Stevens Don and Dolores Chakerian Jack and Gale Chapman Simon Cherry Sharon Cuthbertson* Anne Duffey John and Cathie Duniway Robert and Melanie Ferrando Ron Fisher and Pam Gill-Fisher Doris Flint Audrey Fowler Jennifer D. Franz E. F. and Paul Goldstene Tom Graham and Lisa Foster David and Mae Gundlach Robin Hansen and Gordon Ulrey Karen Heald Paul and Nancy Helman Leonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Patricia Hutchinson* Vince Jacobs and Cecilia Delury Robert D. and Barbara F. Jones Louise Kellogg and Douglas Neuhauser Paula Kubo Ruth Lawrence Michael and Sheila Lewis* Robert and Betty Liu Gary C. and Jane L. Matteson Joy Mench and Clive Watson Roland and Marilyn Meyer Nancy Michel Robert and Susan Munn* Don and Sue Murchison Bob and Kinzie Murphy John and Carol Oster

Frank Pajerski Jacqueline Proett Lawrence and Celia Rabinowitz J. and K. Redenbaugh Jack and Judy Reitan C. Rocke Heather and Jeep Roemer Sharon and Elliott Rose* Barbara and Dr. Alan Roth Tom and Joan Sallee Dwight E. and Donna L. Sanders Michael and Elizabeth Singer William and Jeannie Spangler* Howard Spero and Charlene Sailer Elizabeth St. Goar Sherman and Hannah Stein Karen and Edward Street* Eric and Patricia Stromberg Yayoi Takamura and Jeff Erhardt Lyn Taylor and Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Helen and Robert Twiss Louise and Larry Walker Jack and Rita Weiss Steven and Andrea Weiss* Kandi Williams and Dr. Frank Jahnke Ardath Wood Paul Wyman Karl and Lynn Zender And 2 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

$300 - $599

Mitzi Aguirre Drs. Ralph and Teresa Aldredge Elinor Anklin and George Harsch Beverly and Clay Ballard Paul and Linda Baumann Carol Beckham Carol Benedetti Jane D. Bennett Linda and William Bernheim Robert and Diane Biggs Bobbie and Barry Bolden Elizabeth Bradford John and Christine Bruhn Jan Carmikle Bruce and Mary Alice Carswell* Carolyn and Brian Chamberlain Charles and Mary Anne Cooper Nicholas and Khin Cornes James Cothern Marie Coughlin David and Judy Covin Kim Uyen Dao* Larry Dashiell and Peggy Siddons Daniel and Moira Dykstra Harvey Edber Ann M. Evans and David J. Thompson Janet Feil David and Kerstin Feldman Helen Ford Edwin and Sevgi Friedrich* Deborah and Brook Gale Nancy Gelbard and David Kalb Marvin and Joyce Goldman Douglas Gramlow Robert and Kathleen Grey June and Paul Gulyassy, M.D. Darrow and Gwen Haagensen Wesley and Ida Hackett* Sharon and Don Hallberg Marylee Hardie

Roy and Dione Henrickson Jeannette E Higgs Michael and Margaret Hoffman Steve and Nancy Hopkins Mun Johl Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Susan Kauzlarich and Peter Klavins Peter Kenner Robert Kingsley and Melissa Thorme Ruth A. Kinsella* Joseph Kiskis and Diana Vodrey Paul Kramer Darnell Lawrence Dixie Laws Carol Ledbetter Randall Lee and Jane Yeun Stanley and Donna Levin Barbara Levine Robert and Patricia Lufburrow Jeffrey and Helen Ma Bunkie Mangum Andrea and Kurt McDuffie William and Nancy Myers Margaret Neu* Rebecca Newland Sally Ozonoff and Tom Richey Sue and Jack Palmer John and Barbara Parker Henri and Dianne Pellissier Ann Peterson and Marc Hoeschele Jerry L. Plummer and Gloria Freeman C. and C. Powell Harriet Prato John and Alice Provost Fred and Martha Rehrman* David and Judy Reuben* Tracy Rodgers and Richard Budenz Ron and Morgan Rogers Tamra Ruxin Hugh Safford John and Joyce Schaeuble David Scheuring James Smith Judith Smith Al and Sandy Sokolow Tim and Julie Stephens Pieter Stroeve, Diane Barrett and Jodie Stroeve Tony and Beth Tanke Stewart and Ann Teal* Virginia and Butch Thresh Dennis and Judy Tsuboi Robert Vassar and Sandra Burgner Rita Waterman Charles White and Carrie Schucker Drs. Elliott Wong and Yvonne Otani Richard and Sally Yamaichi Iris Yang and G. Richard Brown Janet and Wesley Yates Ronald M. Yoshiyama Heather M. Young and Peter B. Quinby Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous

MAINSTAGE CIRCLE

$100 - $299

Leal Abbott Mary Aften Matthew and Michelle Agnew Susan Ahlquist

David and Penny Anderson Val Anderson Peter and Margaret Armstrong Maria Balakshin Charlotte Ballard and Dr. Robert Zeff Diane and Charlie Bamforth Carole Wolff Barnes Jonathan Bayless Lynn Baysinger* Marion S. Becker Bee Happy Apiaries Merry Benard Mark Berman and Lynn Simon Bevowitz Family Dr. Robert and Sheila Beyer Elizabeth Bianco Roy and Joan Bibbens* Ernst Biberstein John and Katy Bill Sharon Billings and Terry Sandbek* Lewis and Caroline Bledsoe Fred and Mary Bliss Brooke Bourland* Jill and Mary Bowers Clyde and Ruth Bowman Dan and Mildred Braunstein* Valerie Brown and Edward Shields Alan and Beth Brownstein Martha Bryant* Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy W. Bellhorn William and Karolee Bush Robert and Elizabeth Bushnell Peter and Lorraine Camarco Lita Campbell Jean Canary and Glen Erickson John and Nancy Capitanio William and Pauline Caple James and Patty Carey Michael and Susan Carl John and Joan Chambers Dorothy Chikasawa* Carol Christensen* Craig Clark and Mary Ann Reihman Gail Clark Linda Clevenger and Seth Brunner James and Linda Cline Stuart and Denise Cohen Sheri and Ron Cole Harold and Marj Collins Steve and Janet Collins Terry D. Cook Craig and Joyce Copelan Larry and Sandy Corman Catharine Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan Nita A. Davidson Judy and David Day Lynne de Bie* Esther Delozier* Kathryn Demakopoulos and Thomas Pavlakovich Stephen and Dlorah DeZerega Joel and Linda Dobris Audrey Dodds Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* James Eastman and Fred Deneke Jelmer Eerkens and Anastasia Panagakos Eliane Eisner Sidney England and Randy Beaton Carol Erickson and David Phillips

encoreartsprograms.com 51

THE ART OF GIVING Nancy and Don Erman Lynette Ertel* Wallace Etterbeek Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Cheryl Felsch Liz and Tim Fenton Curt and Sue Finley Kieran and Marty Fitzpatrick Dave and Donna Fletcher Glenn Fortini Dr. and Mrs. Clifford Fowler Marion Franck and Robert Lew Barbara and Ed Frankel Anthony and Jorgina Freese Larry Friedman and Susan Orton Joan M. Futscher Myra A. Gable Sean Galloway Anne Garbeff* Peggy Gerick Barbara Gladfelter Eleanor Glassburner Marnelle Gleason and Louis Fox* Pat and Bob Gonzalez* Victor and Louise Graf Sandra and Jeffrey Granett Steve and Jacqueline Gray* Stephen and Deirdre Greenholz M.C.B. Greenwood Paul and Carol Grench John Griffing and Shelley Mydans Alex and Marilyn Groth Jane and Jim Hagedorn Frank Hamilton Katherine Hammer William and Sherry Hamre Mike and Pat Handley Jim and Laurie Hanschu Robert and Susan Hansen Alexander and Kelly Harcourt Vera Harris The Hartwig-Lee Family Sally Harvey* Miriam and Roy Hatamiya Mary A. Helmich Mary and Rand Herbert Larry and Elizabeth Hill Bette Hinton and Robert Caulk Dr. Calvin Hirsch and Deborah Francis

Frederick and Tieu-Bich Hodges J. Hoehn* Jack Holmes and Cathy Neuhauser Herb and Jan Hoover Lorraine J. Hwang Gordon and Jenny Isakson Dr. and Mrs. Ronald C. Jensen Karen Jetter Karen and Gary Johns Michelle Johnston and Scott Arrants Warren and Donna Johnston Jonsson Family Andrew and Merry Joslin James Anthony Joye Shari and Tim Karpin Anthony and Beth Katsaris Yasuo Kawamura Gailen L. Keeling Susan L. Keen Patricia Kelleher* Michael Kent and Karl Jadney Leonard Keyes Jeannette Kieffer Larry Kimble and Louise Bettner Katy King-Goldberg and Lenny Goldberg Roger and Katharine Kingston Bob and Bobbie Kittredge Dorothy Klishevich John and Mary Klisiewicz* The Krauthoefers Sandy and Alan Kreeger Marcia and Kurt Kreith Kris Kristensen Sandra Kristensen C.R. and Elizabeth Kuehner Leslie Kurtz Melourd Lagdamen Kit and Bonnie Lam* Marsha M. Lang Susan and Bruce Larock Charlie and Joan Learned Steve and Nancy Lege Joel and Jeannette Lerman Ernest and Mary Ann Lewis Evelyn Lewis Barbara Linderholm* Motoko Lobue Mary Lowry Henry Luckie Ariane Lyons

ARTISTIC VENTURES FUND

Sue MacDonald David and Alita Mackill Karen Majewski Vartan Malian and Nova Ghermann Joseph and Mary Alice Marino Pam Marrone and Mick Rogers David and Martha Marsh Dr. Carol Marshall J. A. Martin Leslie Maulhardt Katherine F. Mawdsley* Keith and Jeanie McAfee Harry and Karen McCluskey* Ben and Edna McCoy Nora McGuinness* Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry Barry Melton and Barbara Langer Sharon Menke The Merchant Family Fred and Linda Meyers* Gerrit Michael Beryl Michaels and John Bach Leslie Michaels and Susan Katt Jean Miller Lisa Miller Sue and Rex Miller Sybil and Jerry Miyamoto Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Elaine and Ken Moody Amy Moore The Muller Family Dr. B.J. Myers Guity Myers* Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* Drs. Bonny Neyhart and Michael Goodman Jay and Catherine Norvell Dana Olson Jim and Sharon Oltjen Bob and Elizabeth Owens M.B. and Carlene Ozonoff Michael Pach Erin Peltzman Ross and Karen Peters

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

Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf

Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef

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

YOUNG ARTISTS COMPETITION AND PROGRAM John and Lois Crowe Merrilee and Simon Engel

Mary B. Horton Barbara K. Jackson

Jane Plocher John W. Poulos and Deborah Nichols Poulos Jerry and Bernice Pressler Evelyn and Otto Raabe Ed and Jane Rabin Jan and Anne-Louise Radimsky Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Catherine Reed Mary C. Reed and Charles D. Kelso Dr. and Mrs. James W. Reede Jr. Sandra Erskine Reese Michael Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Mr. and Mrs. Francis Resta Maureen Rice Ralph and Judy Riggs* Dr. Ron and Sara Ringen Louise Robbins and Mark Buchanan Jeannette and David Robertson Maria-lee Rodriguez John and Carol Rominger Richard and Evelyne Rominger Linda Roth Cynthia Jo Ruff* Paul and Ida Ruffin Dagnes/Vernon Ruiz Laurie and Mike Salter Dee Samuels and Joel Shawn Fred and Polly Schack Patsy Schiff Leon Schimmel and Annette Cody Janis J. Schroeder and Carrie L. Markel Drs. Julie and Stephen Shacoski Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Jeanie Sherwood Jo Anne S. Silber Ronald and Rosie Soohoo* Roger and Freda Sornsen William Stanglin Harriet Steiner and Miles Stern Johanna Stek Judith and Richard Stern Raymond Stewart Eugene Stille Daria and Mark Stoner

James E. Sutton and Melissa A. Barbour Fred Taugher and Paula Higashi Francie F. Teitelbaum Julie A. Theriault, PA-C Virginia Thigpen Ronald and Linda Tochterman Brian Toole Robert and Victoria Tousignant Rich and Fay Traynham Allen and Heather Tryon James E. Turner Nancy Ulrich Ramon and Karen Urbano Dr. Ann-Catrin Van Chris and Betsy van Kessel Diana Varcados Bart and Barbara Vaughn* Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Jim and Kim Waits Maxine Wakefield and William Reichert Vivian and Andrew Walker Andy and Judy Warburg Valerie Boutin Ward Leo Warmolts Marny and Rick Wasserman Douglas West Kimberly West Martha West Robert and Leslie Westergaard* Edward and Susan Wheeler Nancy and Richard White* Mrs. Jane Williams Janet G. Winterer Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee Norman and Manda Yeung Phillip and Iva Yoshimura Verena Leu Young* Melanie and Medardo Zavala Marlis and Jack Ziegler Dr. Mark and Wendy Zlotlow And 46 donors who prefer to remain anonymous

*Friends of Mondavi Center

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 Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Yvonne LeMaitre

Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Lynn Upchurch 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 Debbie Armstrong, Sr. Director of Memberships (530.754.5415 or djarmstrong@ucdavis.edu).

We appreciate your support! Note: Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. 52 MONDAVIART S.ORG

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.

2015-16 ADVISORY BOARD MEMBERS Tony Stone, Chair • Jim Bigelow • John Crowe • Patti Donlon • Phyllis Farver• Janlynn Fleener • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry P. Maisel • Seán McMahon • Randy Reynoso • Nancy Roe • Grace Rosenquist • John Rosenquist • Lor Shepard • Joan Stone • Joe Tupin • Larry Vanderhoef • Carol Wall

EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis Ralph J. Hexter, Provost & Executive Vice Chancellor, UC Davis Susan Kaiser, Dean, Division of Humanities, Arts, & Cultural Studies, College of Letters & Sciences, UC Davis Don Roth, Executive Director, Mondavi Center, UC Davis Sharon Knox, Chair, Arts & Lectures Administrative Advisory Committee Francie Lawyer, Chair, Friends of the Mondavi Center

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. 2015–16 ADVISORY BOARD Sharon Knox, Chair • Trisha Barua • Lauren Brink • Jochen Ditterich • Yevgeniy Gnedash • Carol Hess • Petr Janata • Ian Koebner • Kyle Monhollen • Thomas Patten • Erica Perez • Alina Pogorelov • Hannah Sada • Sudipta Sen • Su-Lin Shum • Michelle Wang • Gina Werfel • Amy Yip

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. 2015–16 FRIENDS EXECUTIVE BOARD Francie Lawyer, President Leslie Westergaard, Vice President Jo Ann Joye, Secretary COMMITTEE CHAIRS: Wendy Chason, Friends Events Shirley Auman, Gift Shop Eunice Adair, Membership Judy Fleenor, Mondavi Center Tours Karen Street, School Matinee Support Lynne de Bie, School Matinee Ushers/ Front of House Liaison Lynette Ertel, School Outreach Joyce Donaldson, Director of Arts Education, Ex-Officio

School Matinees AT MONDAVI CENTER

chool Matinees at the Mondavi Center, UC Davis have long supported California’s Visual and Performing Arts Standards, providing an enjoyable educational experience for our region’s K–12 students. The new Common Core Standards in English language arts compel students to systemically grow their knowledge base in reading, speaking, writing and listening. Live performance is ideally positioned to support the current challenges of how learning is achieved under CCCSS as well by creatively addressing cultural sensibilities, inventive multi-media movement and emotionally challenging theater and music. It balances academic curriculum in a very personal way. This year’s School Matinees: Julie Fowlis • OCT 23 Cirque Mechanics • OCT 26 Spot • NOV 2 Alexander String Quartet • NOV 2 The Okee Dokee Brothers • JAN 11 Yamato • JAN 22 Story PIrates • FEB 29 Third Coast Percussion • APR 1

mondaviarts.org/education encoreartsprograms.com 53

POLICIES & INFORMATION TICKET EXCHANGES • Tickets must be exchanged over the phone or in person at least one business day prior to the performance. (Closed Sundays) • Returned tickets will not scan valid at the door. • A $5 per ticket exchange fee may apply. • Tickets may not be exchanged or donated after the performance date. • For tickets exchanged for a higher priced ticket, the difference will be charged. The difference between a higher and lower priced exchanged ticket is not refundable. • Gift certificates will not be issued for returned tickets. • Event credit may be issued to subscribers and donors for all Mondavi Center Presenting Program events and expire June 30 of the current season. Credit is not transferable. • All exchanges are subject to availability. • All ticket sales are final for events presented by non-UC Davis promoters. • PRICES SUBJECT TO CHANGE. • NO REFUNDS.

PARKING You may purchase parking passes for individual Mondavi Center events for $9 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.

all available tickets. (Continuing education enrollees are not eligible.) 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.

YOUTH TICKETS (AGE 17 AND UNDER) Youth are eligible for a 50% discount on all available tickets. 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. 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.

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 10 or more qualify for a 10% discount off regular prices. Payment options with a deposit are available. Please call 530.754.4658.

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

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

54 MONDAVIART S.ORG

ACCOMMODATIONS FOR PATRONS WITH DISABILITIES

prices for all performances. Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests. Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

BINOCULARS Binoculars are available for Jackson Hall. They may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID be held until the device is returned.

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

Music touches the heart From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.

Weâ&#x20AC;&#x2122;re proud to salute Mondavi Center for the Performing Arts.