Mondavi Center 14-15 Program Book 3

Program January–February 2015 Wendy Whelan JAN 24 Photo by Christopher Duggan

Timeless music all the time .

91.7 FM 88.9 FM Sonora/Grovela nd S a c r a m 88.7 FM ento Sutte r/Yuba C ity

WELCOME

A MESSAGE FROM THE CHANCELLOR

It is always a thrill to anticipate the upcoming season at the Robert and Margrit Mondavi Center for the Performing Arts, and I know everyone will find something to savor on the 2014-15 calendar.

Thanks to the tremendous generosity of the legendary winemaker and his wife, as well as our beloved Barbara Jackson and the vision of former UC Davis Chancellor Larry Vanderhoef, we have all come to love the Mondavi Center as the artistic heart and soul of our campus and a venue that enriches the entire region.

LINDA P.B. KATEHI

UC DAVIS CHANCELLOR

In my five years as Chancellor, among the most moving experiences I’ve had were when I was able to sit with an enraptured Mondavi Center audience and take in some of the extraordinary artists and speakers we have been able to bring to its stage.

We have all come to love the Mondavi

Every Mondavi Center season seems to top the one just before, and this year has the added bonus of more innovative and non-traditional classical music performances, thanks to year one of a three-year grant

Center as the artistic

from the Andrew W. Mellon Foundation.

heart and soul of our

We are blessed on our campus to have such a world-class venue that

campus and a venue

not only attracts brilliant and enjoyable performers from around the

that enriches the entire region.

world, but also serves as a showcase for so many talented UC Davis students, artists and faculty.

I’m glad you took the time to be part of this exciting season and hope you enjoy the experience.

encoreartsprograms.com 3

SPONSORS CORPORATE PARTNERS

PLATINUM

MONDAVI CENTER STAFF Don Roth, Ph.D.

EXECUTIVE DIRECTOR

BUSINESS SERVICES

Jeremy Ganter

Debbie Armstrong

ASSOCIATE EXECUTIVE DIRECTOR

Jill Pennington

EXECUTIVE ASSISTANT

PROGRAMMING Jeremy Ganter

GOLD

DIRECTOR OF PROGRAMMING

Erin Palmer

ASSISTANT DIRECTOR OF PROGRAMMING

Ruth Rosenberg

ARTIST ENGAGEMENT COORDINATOR

SILVER

Lara Downes OFFICE of CAMPUS COMMUNITY RELATIONS

CURATOR: YOUNG ARTISTS PROGRAM

ARTS EDUCATION Joyce Donaldson

Osteria Fasulo Seasons

Ciocolat

Watermelon Music

El Macero County Club 4 MONDAVIARTS .ORG

Debbie Armstrong SENIOR DIRECTOR OF DEVELOPMENT

FACILITIES Herb Garman

TICKET AGENT

Russell St. Clair TICKET AGENT

PRODUCTION Donna J. Flor

PRODUCTION MANAGER

Christi-Anne Sokolewicz SENIOR STAGE MANAGER, JACKSON HALL

Christopher C. Oca

DIRECTOR OF OPERATIONS

SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE

Greg Bailey

Phil van Hest

BUILDING ENGINEER

MASTER CARPENTER

AUDIENCE SERVICES

MARKETING

LEAD APPLICATION DEVELOPER

Rob Tocalino

DIRECTOR OF MARKETING

Erin Kelley

PUBLIC EVENTS MANAGER

ART DIRECTOR & SENIOR GRAPHIC ARTIST

Nancy Temple

Sarah Schaale

ASSISTANT PUBLIC EVENTS MANAGER

Boeger Winery

DEVELOPMENT

Susie Evon

Rodney Boon

Yuri Rodriguez

API Global Transportation

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

TICKET OFFICE SUPERVISOR

Mark J. Johnston

AUDIENCE SERVICES MANAGER

SPECIAL THANKS

Russ Postlethwaite

Steve David

ARTS EDUCATION COORDINATOR

Marlene Freid

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

FINANCIAL ANALYST

TICKET OFFICE MANAGER

Dale Proctor

Jennifer Mast

COPPER

Mandy Jarvis

Sarah Herrera

INFORMATION TECHNOLOGY

DIRECTOR OF ARTS EDUCATION

BRONZE

SENIOR DIRECTOR OF SUPPORT SERVICES

TICKET OFFICE

MASTER ELECTRICIAN HEAD AUDIO ENGINEER

Jenna Bell

ARTIST SERVICES MANAGER

Adrian Galindo

AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE/STAGE TECHNICIAN

Jan Lopez

EVENT COORDINATOR

DIGITAL MARKETING MANAGER

HEAD USHERS

Dana Werdmuller

Huguette Albrecht Ralph Clouse Eric Davis John Dixon George Edwards Donna Horgan Paul Kastner Jan Perez Mike Tracy Janellyn Whittier Terry Whittier

MARKETING MANAGER

IN THIS ISSU

A MESSAGE FROM THE EXECUTIVE DIRECTOR

DON ROTH, Ph.D. EXECUTIVE DIRECTOR

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

9 Itzhak Perlman and Rohan De Silva

At UC Davis the start of the New Year also coincides with the start of a new academic quarter. In the months ahead, our deep ties to UC Davis come to the fore in intriguing partnerships that reveal the diversity of academic interests on this great campus, and some interesting ways those interests can intersect with the arts.

14 Gregory Porter

The Department of Music is a frequent, and natural, partner in collaboration. Its many wonderful ensembles are regulars in both Jackson Hall and the Vanderhoef Studio Theatre, and the free Shinkoskey Noon Concert Series we present with the department, offers a mid-day artistic respite for the Davis community. Our bi-annual festivals have become a showplace for artistic expression on campus. This year’s installment, entitled Music and Words, explores the relationship between notes and texts, with composer-in-residence Melinda Wagner, and performances by visiting artists So Percussion and UC Davis’s own Empyrean Ensemble and Bob Ostertag. We are pleased to be joined in this event by the Nelson Gallery (soon to be Shrem Museum); more information about all the (mostly free) Festival events is available at arts.ucdavis.edu/music-and-words

18 Wendy Whelan

Of course, our collaborations on campus go beyond the performing arts. For example, in March, the Mondavi Center partners with the Department of Native American Studies to bring Inuit throat-singer and activist Tanya Tagaq. In addition to Tagaq’s two performances on March 14 and 15, Professor Jessica Bissett Perea has developed a two-day symposium digging into many issues including Inuit people’s ongoing experiences with colonialism, food insecurities, and the role creative and performing arts play in social justice movements.

One of the highlights of the two days will be a demonstration of traditional Inuit throat singing with Tagaq and her cousin Celina Kalluk, at the C.N. Gorman Museum, who are themselves hosting an exhibition of Inuit sculpture.

Finally, on a campus so closely identified with the sciences, we are proud to be the only U.S. site to host “Sketches of Science: Photo Sessions with Nobel Laureates,” a display of 50 large portraits of Nobel Laureates holding their own drawings based on their discoveries. The exhibit will be free to the public in the Mondavi Center’s Lobby from 11:00 a.m. to 3:00 p.m. Tuesdays through Saturdays, and one hour before and after each Mondavi Center performance, January 6–28. We are grateful that Chancellor Linda Katehi selected the Mondavi Center as the venue for this wonderful exhibition.

Finally, we are glad to continue our presentation of the keynote speaker for the Campus Community Book Project. This campuswide, year-long event provides us all with an opportunity to think deeply about important issues, and this year’s speaker, Dr. Temple Grandin, has so much resonance on a campus renowned for its animal sciences program and work on Autism.

6 MONDAVIARTS .ORG

16 Nada Bakos

22 Tomáš Kubínek 25 The Ukulele Orchestra of Great Britain 28 Les 7 Doigts de la Main 30 Temple Grandin 32 Orchestre de la Suisse Romande 38 Brian Jagde and Craig Terry

BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance.

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

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

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

Violators are subject to removal.

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

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

• Assistive Listening Devices and opera glasses are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.

January – February 2014 Volume 2, No. 3

an exClusiVe Wine tasting experienCe of tHese featured Wineries for inner CirCle donors

2012—13 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold Seattle Sales Director Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartsprograms.com

Paul Heppner Publisher Marty Griswold Associate Publisher Leah Baltus Editor-in-Chief Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Amanda Townsend Events Coordinator www.cityartsonline.com

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

september FRI oCtober FRI

19

24

noVember THU

13

Ellis Marsalis, Jr. and Delfeayo Marsalis Cakebread Cellars Akram Khan Company Justin Vineyards & Winery Academy of Ancient Music Hestan Vineyards

deCember FRI

5

January SAT

24

Wendy Whelan boeger Winery

february FRI

13

Orchestre de la Suisse Romande robert mondaVi Winery

marCH SAT april THU may FRI

28

16

8

Cantus putaH Creek Winery

Three Acts, Two Dancers, One Radio Host sCribe Winery Arlo Guthrie frank family Vineyards Academy of St. Martin in the Fields Chamber Ensemble todd taylor Wines

Paul Heppner President Mike Hathaway Vice President Erin Johnston Communications Manager Genay Genereux Accounting Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2014 Encore Media Group. Reproduction without written permission is prohibited.

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For information about becoming a donor, please call 530.754.5438 or visit us online:

www.mondaviarts.org. encoreartsprograms.com 7

The lives we touch inspire us When Azadeh was diagnosed with cancer at age 7, doctors in her native Iran cautioned that her chances of survival were minimal.

Still her mother brought her halfway around the world to UC Davis, where four years of treatments and surgeries took their toll on her body and her childhood, but ultimately reversed the disease.

Azadeh might have turned away from her grueling past. Instead she chose to embrace it. Today, as a volunteer for support programs at UC Davis Comprehensive Cancer Center, she helps other young people facing similar cancer challenges. Here, she offers others not only access to practical resources, but also something more profound: a survivor’s understanding and empathy.

To learn more about Azadeh’s enduring strength and the region’s one National Cancer Institutedesignated comprehensive cancer center, visit cancer.ucdavis.edu One team. One choice.

One UC Davis.

THE REGION’S

NCI-DESIGNATED COMPREHENSIVE CANCER CENTER

ITZHAK PERLMAN, violin ROHAN DE SILVA, piano

LISA MARIE MAZZUCCO

A Wells Fargo Concert Series Event Saturday, January 17, 2015 • 8PM Jackson Hall

SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Hansen Kwok Jerry and Helen Suran

JOHN BEEBE

ITZHAK PERLMAN Undeniably the reigning virtuoso of the violin, Itzhak Perlman enjoys superstar status rarely afforded a classical musician.

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

Having performed with every major orchestra and at venerable concert halls around the globe, Itzhak Perlman was granted a Kennedy Center Honor in 2003 by the John F. Kennedy Center for the Performing Arts in celebration of his distinguished achievements and contributions to the cultural and educational life of the United States.

He has performed multiple times at the White House, most recently in 2012 at the invitation of President Barack Obama and Mrs. Obama, for Israeli President and Presidential Medal of Freedom honoree

Shimon Peres; and at a State Dinner in 2007, hosted by President George W. Bush and Mrs. Bush, for Her Majesty The Queen and His Royal Highness Prince Philip, The Duke of Edinburgh. In 2009, Mr. Perlman was honored to take part in the Inauguration of President Obama, premiering a piece written for the occasion by John Williams alongside cellist Yo-Yo Ma, clarinetist Anthony McGill and pianist Gabriela Montero, for an audience of nearly 40 million television viewers in the United States and millions more throughout the world.

Born in Israel in 1945, Mr. Perlman completed his initial training at the Academy of Music in Tel Aviv. He came to New York and soon was propelled to national recognition with an appearance on the Ed Sullivan Show in 1958. Following his studies at the Juilliard School with Ivan Galamian and Dorothy DeLay, he won the prestigious Leventritt Competition in 1964, encoreartsprograms.com 9

which led to a burgeoning worldwide career. Since then, Itzhak Perlman has established himself as a cultural icon and household name in classical music.

Mr. Perlman has further delighted audiences through his frequent appearances on the conductor’s podium.

He has performed as conductor with the New York Philharmonic, Chicago Symphony, Philadelphia Orchestra, Boston Symphony, National Symphony, San Francisco Symphony, Los Angeles Philharmonic, and the symphony orchestras of Dallas, Houston, Pittsburgh, Seattle, Montreal and Toronto, as well as at the Ravinia and Tanglewood festivals. He was Music Advisor of the St. Louis Symphony from 2002 to 2004 where he made regular conducting appearances, and he was Principal Guest Conductor of the Detroit Symphony from 2001 to 2005. Internationally, Mr. Perlman has conducted the Berlin Philharmonic, Royal Concertgebouw Orchestra, London Philharmonic, English Chamber Orchestra, and the Israel Philharmonic.

The 2014-15 season takes Mr. Perlman to both new and familiar major centers around the world, including two special and much-anticipated appearances in New York. In Fall 2014, he performs opening-gala concerts with the Los Angeles Philharmonic and Gustavo Dudamel in a tribute to John Williams, with the National Arts Centre Orchestra of Ottawa and Pinchas Zukerman, and with the Dallas Symphony Orchestra and Jaap van Zweden. He makes recital appearances with pianist and longtime collaborator Rohan De Silva in Boston, Toronto, San Francisco, and Los Angeles and especially looks forward to returning to Avery Fisher Hall at Lincoln Center for his first New York recital appearance in seven years. His conducting appearances include the Israel Philharmonic with Daniil Trifonov as soloist, Houston Symphony, and Seattle Symphony. Mr. Perlman continues to celebrate the rich tradition of Jewish and klezmer music this season with a 20thanniversary return of his highly popular In the Fiddler’s House program in a muchanticipated appearance at Carnegie Hall in March 2015.

Further to his engagements as violinist and conductor, Mr. Perlman is increasingly making more speaking appearances.

Recent and upcoming engagements 10 MONDAVIARTS .ORG

ITZHAK PERLMAN AND ROHAN DE SILVA including the Salk Institute in San Diego on the centennial anniversary of Dr. Salk’s birth, Orlando at Rollins College, Greensboro at Guilford College, Palm Beach at the Society of the Four Arts and Chicago with the Jewish United Fund.

A major presence in the performing arts on television, Itzhak Perlman has been honored with four Emmy Awards, most recently for the PBS documentary Fiddling for the Future, a film about Mr. Perlman’s work as a teacher and conductor for the Perlman Music Program. In 2004, PBS aired a special entitled Perlman in Shanghai that chronicled a historic and unforgettable visit of the Perlman Music Program to China, featuring interaction between American and Chinese students and culminating in a concert at the Shanghai Grand Theater and a performance with 1,000 young violinists, led by Mr. Perlman and broadcast throughout China. His third Emmy Award recognized his dedication to klezmer music, as profiled in the 1995 PBS television special In the Fiddler’s House, which was filmed in Poland and featured him performing with four of the world’s finest klezmer bands.

Mr. Perlman has entertained and enlightened millions of TV viewers of all ages on popular shows as diverse as The Late Show with David Letterman, Sesame Street, The Frugal Gourmet, The Tonight Show, and various Grammy Awards telecasts. His PBS appearances have included A Musical Toast and Mozart by the Masters, as well as numerous Live From Lincoln Center broadcasts such as “The Juilliard School: Celebrating 100 Years.” In 2008, he joined renowned chef Jacques Pépin on Artist’s Table to discuss the relationship between the culinary and musical arts, and lent his voice as the narrator of “Visions of Israel” for PBS’s acclaimed Visions series. Mr. Perlman hosted the 1994 U.S. broadcast of the Three Tenors, Encore! live from Dodger Stadium in Los Angeles. During the 78th Annual Academy Awards in 2006, he performed a live medley from the five film scores nominated in the category of Best Original Score for a worldwide audience in the hundreds of millions. One of Mr. Perlman’s proudest achievements is his collaboration with film composer John Williams in Steven Spielberg’s Academy Award-winning film Schindler’s List, in which he performed the violin solos. He can also be heard as the

violin soloist on the soundtrack of Zhang Yimou’s film Hero (music by Tan Dun) and Rob Marshall’s Memoirs of a Geisha (music

by John Williams).

In 2008, Itzhak Perlman was honored with a Grammy Lifetime Achievement Award for excellence in the recording arts. His recordings regularly appear on the best-seller charts and have garnered sixteen Grammy Awards. Mr. Perlman’s most recent releases include Eternal Echoes: Songs & Dances for the Soul (Sony), featuring a collaboration with acclaimed cantor Yitzchak Meir Helfgot in liturgical and traditional Jewish arrangements for chamber orchestra and klezmer musicians; a recording of Mendelssohn piano trios (Sony) with cellist Yo-Yo Ma and pianist Emanuel Ax; and a recording for Deutsche Grammophon with Mr. Perlman conducting the Israel Philharmonic. Other recordings reveal Mr. Perlman’s devotion to education, including Concertos From My Childhood with the Juilliard Orchestra under Lawrence Foster (EMI) and Marita and Her Heart’s Desire, composed and conducted by Bruce Adolphe (Telarc). Further recordings over the past decade have included a live recording with pianist Martha Argerich performing Beethoven and Franck sonatas (EMI); Cinema Serenade featuring popular hits from movies with John Williams conducting (Sony); A la Carte, a recording of short violin pieces with orchestra (EMI) and In the Fiddler’s House, a celebration of klezmer music (EMI) that formed the basis of the PBS television special. In 2004, EMI released The Perlman Edition, a limitededition 15-CD box set featuring many of his finest EMI recordings as well as newly compiled material, and RCA Red Seal released a CD entitled Perlman Rediscovered, which includes material recorded in 1965 by a young Itzhak Perlman.

Mr. Perlman has a long association with the Israel Philharmonic and has participated in many groundbreaking tours with this orchestra from his homeland.

In 1987, he joined the IPO for historymaking concerts in Warsaw and Budapest, representing the first performances by this orchestra and soloist in Eastern bloc countries. He again made history as he joined the orchestra for its first visit to the Soviet Union in 1990, and was cheered by audiences in Moscow and Leningrad who

thronged to hear his recital and orchestral performances. This visit was captured on a PBS documentary entitled Perlman in Russia, which won an Emmy. In 1994, Mr. Perlman joined the Israel Philharmonic for their first visits to China and India.

Over the past decade, Mr. Perlman has become more actively involved in music education, using this opportunity to encourage gifted young string players. Alongside his wife Toby, his close involvement in the Perlman Music Program has been a particularly rewarding experience, and he has taught full-time at the Program each summer since its founding in 1993. Mr. Perlman currently holds the Dorothy Richard Starling Foundation Chair at the Juilliard School.

Numerous publications and institutions have paid tribute to Itzhak Perlman for the unique place he occupies in the artistic and humanitarian fabric of our times. Harvard, Yale, Brandeis, Roosevelt, Yeshiva and Hebrew universities are among the institutions that have awarded him honorary degrees. He was awarded an honorary doctorate and a centennial medal on the occasion of Juilliard’s 100th commencement ceremony in May 2005.

President Reagan honored Mr. Perlman with a Medal of Liberty in 1986, and in December 2000, President Clinton awarded Mr. Perlman the National Medal of Arts.

His presence on stage, on camera, and in personal appearances of all kinds speaks eloquently on behalf of the disabled, and his devotion to their cause is an integral part of Mr. Perlman’s life.

ROHAN DE SILVA Rohan De Silva’s partnerships with violin virtuosos Itzhak Perlman, Pinchas Zukerman, Cho-Liang Lin, Midori, Joshua Bell, Benny Kim, Kyoko Takezawa, Vadim Repin, Gil Shaham, Nadja SalernoSonnenberg, and Julian Rachlin have led to highly acclaimed performances at recital venues all over the world. With these and other artists he has performed at Carnegie Hall, Lincoln Center’s Avery Fisher Hall and Alice Tully Hall, the Kennedy Center, Library of Congress, Philadelphia Academy of Music, Ambassador Theater in Los Angeles, Concertgebouw in Amsterdam, Wigmore Hall in London, Suntory Hall in Tokyo, the Mozarteum in Salzburg and encoreartsprograms.com 11

ITZHAK PERLMAN AND ROHAN DE SILVA La Scala in Milan and Tel-Aviv, Israel. His festival appearances include the Aspen, Interlochen, Manchester, Ravinia and Schleswig-Holstein festivals, the Pacific Music Festival in Sapporo, Japan, and the Wellington Arts Festival in New Zealand. He performs frequently with Itzhak Perlman and was seen with Mr. Perlman on PBS’ Live from Lincoln Center broadcast in early January 2000. In September 2009, Mr. De Silva performed with Mr. Perlman in Mexico City and in recital at the Moscow

Conservatory. Mr. De Silva and Mr. Perlman recently performed at the State Dinner for Her Majesty Queen Elizabeth II and His Royal Highness Prince Philip, Duke of Edinburgh, hosted by President George W. Bush and Mrs. Bush at the White House. Mr. De Silva regularly tours the Far East with Mr. Perlman, and in October 2011, they traveled to Asia for performances in China, Hong Kong and Taiwan. At the invitation of President Barack Obama and Mrs. Obama, Mr. De Silva and Mr. Perlman returned

FURTHER LISTENING

by Jeff Hudson

ITZHAK PERLMAN Itzhak Perlman likes talking: to his audience, from the stage, and to reporters. So here’s the great violinist, in his own words, from multiple 2014 interviews.

— Regarding his television appearances on The Ed Sullivan Show in 1958, when Perlman was a 13-year old boy-wonder violinist on crutches (he had polio at age 4), Perlman told the Hartford Courant: “(Sullivan) was a showman … What’s amazing is that it was truly a variety show, from great artists to animal trainers.

Nothing was off-limits … You had monkeys jumping through a hoop, then you had me. It was everything.”

— Regarding his singing, Perlman told The Ann Arbor News: “I sang once on a recording for 19 seconds with (tenor Placido) Domingo and (conductor James) Levine. It was a very short career. My farewell debut. Nineteen seconds of fame.”

— Regarding his custom of waiting until the last minute to announce which pieces will be on a recital program, Perlman admitted to The Ann Arbor News: “This has been going on for years. I’m notorious for it. I say ‘Leave me alone, I’ll come to you next week.’ Believe it or not, my pianist does not know the program yet, either.”

— Regarding his custom of devoting the last third of a recital to “Additional Works to be Announced from the Stage” (some would say “encores;” Perlman has recorded an entire album of them), Perlman told the Tampa Bay Times: “I want to make sure that everything is nice and fresh. That’s why I give myself permission to choose something at the last minute.” But he stressed that he and his longtime recital partner Rohan De Silva are not sight reading: “It’s stuff that we know, part of the violin recital repertoire, played by fiddle players for encore purposes. I think this repertoire is so attractive. I just love it.”

— Regarding how he approaches classic works that he has performed on countless occasions, Perlman told the Tampa Bay Times: “The minute you concentrate on the music, then you have freshness all the time. The danger is just to play something you have played a long time, and just do it like you usually do. That’s the kiss of death...I don’t know how many times I’ve played the Beethoven Violin Concerto.

How do you maintain interest and not get bored? Go to the music. Every time I play it, I hear something else.”

JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

12 MONDAVIARTS .ORG

to the White House in June 2012, where they performed at an Official Dinner for Israeli President and Presidential Medal of Freedom honoree Shimon Peres. In 2012-13, Mr. De Silva performed with Mr. Perlman in a recital tour of South America, with stops in Brazil, Peru and Argentina. They also appeared in Ottawa, Montreal, and in cities across the United States.

Mr. De Silva, a native of Sri Lanka, began his piano studies with his mother, the late Primrose De Silva, and with the late Mary Billimoria. He spent six years at the Royal Academy of Music in London as a student of Hamish Milne, Sydney Griller, and Wilfred Parry. While in London, he received many awards including the Grover Bennett Scholarship, the Christian Carpenter Prize, the Martin Music Scholarship, the Harold Craxton Award for advanced study in England, and, upon his graduation, the Chappell Gold Medal for best overall performance at the Royal Academy. Mr. De Silva was the first recipient of a special scholarship in the arts from the President’s Fund of Sri Lanka. This enabled him to enter The Juilliard School, where he received both his Bachelor and Master of Music degrees, studying piano with Martin Canin, chamber music with Felix Galimir, and working closely with violin pedagogue Dorothy DeLay. He was awarded a special prize as Best Accompanist at the 1990 Ninth International Tchaikovsky Competition in Moscow. He received the Samuel Sanders Collaborative Artist Award presented to him by Itzhak Perlman at the 2005 Classical Recording Foundation Awards Ceremony at Carnegie Hall.

Mr. De Silva joined the collaborative arts and chamber music faculty of The Juilliard School in 1991, and in 1992 was awarded honorary Associate of the Royal Academy of Music. In 2001, he joined the faculty at the Ishikawa Music Academy in Japan, where he gives master classes in collaborative piano. Mr. De Silva was additionally on the faculty of the Perlman Music Program from 2000-2007. Radio and television credits include The Tonight Show with Midori, CNN’s Showbiz Today, NHK Television in Japan, National Public Radio, WQXR and WNYC in New York, and Berlin Radio. He has recorded for Deutsche Grammophon, CBS/SONY Classical, Collins Classics in London, and RCA Victor.

14–15

ADDED! Blues at the Crossroads WED, FEB 4

The Soul of the Blues featuring Irma Thomas, Lee Fields, Eric Krasno, Alecia Chakour and The Dynamites

Soul music, a perfect marriage of gospel and R&B, took over America’s airwaves for much of the ‘60s. This national tour features songs from the legends of soul—James Brown, Sam Cooke, Ray Charles, Aretha Franklin, Marvin Gaye, Curtis Mayfield and more—performed by artists who know how to do it right.

Buddy Guy

Robot Planet Rising

An Intergalactic Nemesis Live-Action Graphic Novel

WED, MAR 4

Three actors voice dozens of characters, a Foley artist creates sound effects and a pianist plays a cinematic score while more than 1,250 comic book panels are projected on a huge movie screen in the telling of this raucous sci-fi adventure.

WED, APR 8

Buddy Guy’s list of accomplishments is as profound as his signature guitar sound: Rock and Roll Hall of Fame inductee, a chief influence to rock titans like Hendrix, Clapton, and Vaughan, a pioneer of Chicago’s fabled West Side sound, and a living link to that city’s halcyon days of electric blues.

Jane Lynch THU, APR 9

See Jane Sing

Jane Lynch cut her theatrical teeth at Second City, Steppenwolf, and “many church basements” all over Chicago. Best known for her role as Sue Sylvester in Glee, she also had career-defining roles in Best in Show and The 40-Year-Old Virgin. Expect musical comedy and a not-too-serious exploration of American standards.

ow!

N e l a S On

Bill Frisell and the Joshua Light Show FRI, APR 24

Guitar in the Space Age!

Bill Frisell mines the catalog of guitar-based music from the ‘50s and ‘60s: The Byrds, The Ventures, The Astronauts, Chet Atkins, and more. Paired with the Joshua Light Show, the originator of analog light shows for The Who and Jimi Hendrix in the ‘60s, the result is an explosive mix of art and musical performance.

Pick

3 Save 10%

A full list of the 2014–15 season is available at mondaviarts.org

GREGORY PORTER

SHAWN PETERS

A Capital Public Radio Jackson Hall Jazz Series Event Monday, January 19, 2015 • 7PM SPONSORED BY

OFFICE of CAMPUS COMMUNITY RELATIONS

Gregory Porter, vocals Yohsuke Satoh, saxophone Chip Crawford, piano Aaron James, bass Emanuel Harrold, drums

14 MONDAVIARTS .ORG

GREGORY PORTER Ever-dapper in his Kangol Summer Spitfire hat, suit jacket and woodenwristband Nixon watch, Gregory Porter is discussing his new single. A rolling piano, organ and brass-powered soul-jazz number, it’s called “Musical Genocide.” It’s a provocative title—was that intentional?

“Well…” begins this Grammy-winning singer/songwriter/entertainer with a chuckle. “It’s a provocative title in the sense that unfortunately the word carries significance in our history—and still does.

So I meant it to be provocative in that way. But as the first lines say: ‘I do not agree, this is not for me…’”

So while, yes, “on a larger level I’m talking about that,” Porter’s song has typically multiple layers. “Musical Genocide” isn’t the only song on his acclaimed third album Liquid Spirit that talks about the record industry. “If you manufacture everything; if you shy away from the organic artist who’s gone through something in his life to try to figure out music; if you’re only going for

the sexiest, newest thing … Well, that’ll be the death of blues, of soul … So that’s what I mean.”

Luckily, this charismatic Californian is here to breathe life, and vitality, and fun, and excitement, and passion and honesty into the musical genres he has loved from boyhood, ever since Nat “King” Cole entered his heart. It’s the central message of the album’s title: Porter is here with Liquid Spirit, offering up a replenishing, satisfying brew. As the 200,000 fans who’ve bought his albums in Germany will attest, or as the British listeners who have heard him light up the airwaves at 6 Music and BBC Radio 2 will agree, or as the lucky crowds who’ve seen him at Cheltenham Jazz Festival or playing with Gilles Peterson or his set just before Stevie Wonder at Calling Festival can vouchsafe: you can drink deep of Gregory Porter. And the best kind of intoxication will follow.

As the lyrics to his foot-stomping, highclapping title track have it: “Un-reroute the rivers, let the dammed water be, there’s some people down the way that’s thirsty, so let the liquid spirit free…’”

GREGORY PORTER It’s a sentiment that’s of a piece with the slow burning success of Liquid Spirit, released last autumn as the first fruits of Porter’s new worldwide deal with Blue Note Records, and now back in the U.K. mainstream charts and nearing the Top 10.

“The word-of-mouth quality of this record, and even my first two, is a positive thing in a way,” affirms this big-voiced, bighearted man who’s as adept at covers of “The ‘In’ Crowd” and jazz standard “I Fall In Love Too Easily” as he is at singing his own compositions. “When you say the people are thirsty—they want something. And not speaking narcissistically, everything they want is contained in me! But I do know that people are thirsting for something musical. And they come to me after a concert and say: ‘where you been?’ And sometimes,” he acknowledges with a grin, “I think they don’t even mean me—it’s a feeling they get inside once they hear something I’ve done.”

Where he’s been is slowly, measuredly building his craft. It’s a work ethic— dogged, patient, respectful—that Porter learned at his mother’s knee in Bakersfield, California. A single parent to eight children, and a “storefront minister”, she’s paid tribute to on the simple, elegant, brushedsnares album track “When Love Is King”: “He lifted up the underneath, all of his wealth he did bequeath … of hungry children first He’d think to pull their lives up from the brink…”

“These are all concerns she’s had, the philosophies she instilled in me. If there was somebody on the edge who needed just a little help to get back, whether spiritually, food, housing, clothing … That was her thing. She was a storefront minister who wanted to go where people are dazed and confused and lost. Kids walking around who didn’t know where their daddy was. She wanted to go where there was trouble.”

Often times that trouble rolled right up to the Porter kids’ front door. The Klu Klux Klan was active in Bakersfield, and young Gregory and his brothers regularly ran the gauntlet of racial hate.

“It was intense,” he says simply. “But my mother protected us and shielded us from that— psychologically as well. But at the same time we still had cool friends, basketball games and summer league. So there were two kinds of worlds going on.”

There were also many musical words.

Bakersfield was an epicentre of country music. But its mostly migrated population— from Texas, Louisiana, Arkansas, Mississippi—had also brought with it gospel, blues, rhythm and blues, jazz, soul.

“I was singing that music of a bygone era with these old church members that my mother would associate with. And that still informs my music. Liquid Spirit is directly from that.”

This rich mixture goes some way to explaining the power and impact of Porter’s music. But he’s the first to admit that it also means it can be confusing to purists.

“I’m fully aware that everything I do doesn’t adequately please jazz traditionalists,” he says with a shrug. But he likes it that way, likes being able to appeal to the Cheltenham Jazz crowds and the younger fans of Peterson, the respected, genre-hopping DJ doyen.

“I laugh at the mix of people who show up at shows. I realize I have to give them all something, and something for all of

I’m fully aware that everything I do doesn’t adequately please jazz traditionalists them exists in me. There are songs that a 68-year-old grandma likes. And there are hard-hitting, more bass- and funk-infused things. That’s part of my vocabulary as well.

And I don’t do them as a separate part of the show; they co-mingle and co-exist. Which is something I’ve done with everything, racially, politically. I’m trying to find that happy medium.”

All of which has conspired to take Gregory Porter a long way from Bakersfield. These days he lives in Brooklyn with his wife and 18-month-old son. But, actually, mostly he lives on the road.

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GREGORY PORTER “It’s intense,” he nods of the familial absence that’s been amplified by the international success of Liquid Spirit. “It’s intense,” he repeats. “I go home and he tries not to let me go the day that I’m there. He knows that if I have a 5 a.m. wake-up for a flight, he knows I’m up and liable to be gone for two, three weeks. And that’s a long time in his memory. That’s half his life!

“But one thing I’ve realized is that with all three of these records, I don’t shy away from uncomfortable or painful situations in my life. So that’s the emotions that that brings. Today I was working on a song called “Cornbread And Caviar Dreams,” which is about my son. My wife is Russian, and of course my mother made great cornbread,” he laughs. “So that’s painful. But I’m figuring it out. I want him to hear the

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message in “When Love Was King.” I hope he has thought and empathy for other people, and mutual respect. He has some say in this record.”

And true to his positive mindset, Porter uses the separation, and the traveling, and alchemizes it into something magical on stage.

“In a way, jetlag and the punishing schedule can actually take me there more,” he says of his onstage mindset. “The band will be like, ‘Greg, you ain’t got to sing that hard!’ But that feeling of exhaustion makes me think of my family or my mother or a situation or a struggle. When I sing ‘Work Song’ it makes me think of my mother and how hard she worked. And it makes me work harder.”

And when he’s not working, this stylish man is relaxing by entertaining in another way.

“I love cooking, and I love having friends over. I think of music in the same way I think about food, in the serving aspect: you put a plate of food in front of a friend and it feels good, they’re nourished. I think about music like that.

And the things that I’m good at are these nourishing things: music, food. I used to be into massage. Giving, not receiving!

And then some other things that you don’t need to know about!” he adds with a hearty laugh.

But in the end it always comes back to the music. For Gregory Porter the songs, and their messages, and their power, literally are the be-all and end-all.

“I’m trying to come honestly, really trying to be unpretentious. I’m trying to be appealing, even as a jazz artist, to the nonjazz head. Trying to speak to them as well. I want to speak to the human heart.

“And I’m gonna keep on trying to do my thing,” he smiles. “Really, I’m married to music. And whether people keep on buying my records or not, or keep on coming to the shows or not, I’m still gonna sing. I’m amazed and thankful and blown away that I’ve had these opportunities.

But if they take it away, I’m cool. I’ve still got my songs,” Porter concludes, beaming expansively. “I swear to God I am cool!”

That he is. They don’t come much cooler than Gregory Porter.

A Distinguished Speakers Series Event Wednesday, January 21, 2015 • 8PM

INDIVIDUAL SUPPORT PROVIDED BY

Lawrence Shepard

Question and Answer Session following the performance moderated by Flagg Miller, Associate Professor, Religious Studies, UC Davis Flagg Miller focuses on cultures of modern Muslim reform in the Middle East and especially Yemen. His forthcoming book, The Audacious Ascetic: What Osama bin Laden’s Sound Archive Reveals about Al-Qaeda (Hurst Publishers, spring 2015), examines over 1,500 audiotapes that were formerly deposited in bin Laden’s home in Kandahar, Afghanistan. He has been the sole researcher to study and publish findings on what remains the largest collection of bin Laden’s declassified personal documents.

In Conversation with

NADA BAKOS

NADA BAKOS Nada Bakos, a former Central Intelligence Agency (CIA) analyst, was on the team charged with analyzing the relationship between Iraq, Al-Qaeda and 9/11. During the war, Bakos served as a Targeting Officer in the Counterterrorism Center. As an analyst at the CIA, she wrote and contributed to key intelligence reports from the front lines in Iraq, reports delivered to the White House, Congressional leaders and Department of Defense. After leaving the CIA, Bakos applied her ability to assess and respond to complex national security issues to identifying business risks for Seattle-based Starbucks Corporate, where she translated these risks into actionable strategic communications plans in support of the company’s global expansion. Bakos has worked with C-level corporate executives, senior level government officials, and front-line technical teams to help them understand

the business- or security-related context to deploying new processes and technologies.

After 20 years in the intelligence field and corporate world, Bakos is currently focused on national security issues, illicit networks and regional stability around the world.

Bakos most recently appeared in the Emmy Award-winning HBO documentary Manhunt: The Search for Bin Laden explaining her role in tracking down the terrorist.

Bakos began as an analyst in the aftermath of the terrorist attacks of 9/11 and later transitioned to the National Clandestine Service, where the spies work. As an analyst, she had the rare opportunity to work with some unbelievably smart and perceptive people, men and women who can discern pertinent pieces of information in volumes of data and make sense of them in a clear and concise manner, working at speeds and under pressures that few others likely experience. As Bakos’ career transitioned from

an analyst to a Targeting Officer following Abu Musab al-Zarqawi, her career path was full of unanticipated and unimaginable possibilities.

As a manager in the Targeting organization, Bakos’ action arm was quite often the Special Forces teams and the CIA’s targeting teams set up to meet their unique requirements for ‘high value, actionable’ intelligence. Their targeting work focused on compiling “intelligence” collected holistically to create “targeting packages” against specific individuals and organizations vs. whack-a-mole targeting.

Unlike previous wars, traditional tactical battlefield intelligence wasn’t always actionable, intel had to be rooted out from multiple sources and pieced together. It is here that Bakos’ unique skill set thrived in mining and interpreting these nontraditional pieces of “intelligence” that eventually played a major role in capturing the most wanted man in history. encoreartsprograms.com 17

A Dance Series Event Saturday, January 24, 2015 • 8PM Question and Answer Session following the performance moderated by: Ruth Rosenberg, Artist Engagement Coordinator for the Mondavi Center, UC Davis

WENDY WHELAN

Restless Creature

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 Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco and was the recipient of numerous awards and honoraria.

RESTLESS CREATURE Wendy Whelan Kyle Abraham Joshua Beamish Brian Brooks Alejandro Cerrudo World Premiere at Jacob’s Pillow Dance Festival, Becket, MA, USA on Wednesday, August 14, 2013

EXECUTIVE PRODUCERS Sunny Artist Management, Inc. Wendy Whelan PRODUCERS Ilter Ibrahimof Valérie Cusson CO-PRODUCER The Joyce Theater Foundation CO-COMMISSIONERS Carolina Performing Arts Jacob’s Pillow Dance Festival The Joyce Theater Foundation CREATIVE DIRECTOR David Michalek LIGHTING DESIGN Joe Levasseur COSTUME DESIGN Karen Young PRODUCTION MANAGER Davison Scandrett STAGE MANAGER Meredith Belis PROJECT MANAGER Courtney Ozaki Moch 18 MONDAVIARTS .ORG

CHRISTOPHER DUGGAN

PROGRAM EGO ET TU (2013)

CHOREOGRAPHY Alejandro Cerrudo PERFORMERS Alejandro Cerrudo and Wendy Whelan MUSICAL WORKS “Monologue” from Perfect Sense and “The Twins (Prague)” by Max Richter “Orphée’s Bedroom” by Philip Glass “We (Too) Shall Rest” by Ólafur Arnalds “Intermezzo II” by Gavin Bryars Atlantic Screen Group [Max Richter, “Perfect Sense”], Universal Music Publishing Group [Max Richter, “The Twins (Prague)”]; ©1993, 1984 Dunvagen Music Publishers Inc. Used by Permission [Philip Glass, “Orphée’s Bedroom”]; Nettwerk One Music Group [Ólafur Arnalds]; European American Distributors Company [Gavin Bryars]

CONDITIONAL SENTENCES (2015)

CHOREOGRAPHY Joshua Beamish PERFORMERS Joshua Beamish and Wendy Whelan MUSICAL WORKS “Partita No. 2 in C Minor BMV 826” by J.S. Bach from Glenn Gould Plays Bach

THE SERPENT AND THE SMOKE (2013)

CHOREOGRAPHY Kyle Abraham PERFORMERS Kyle Abraham and Wendy Whelan MUSICAL WORKS “#304” and “#320” by Hauschka & Hildur Guðnadóttir Music used by permission: Music Sales Corporation, G. Schirmer, Inc.; Touch Music

FIRST FALL (2012)

CHOREOGRAPHY Brian Brooks PERFORMERS Brian Brooks and Wendy Whelan MUSICAL WORKS “1957 Award Montage” “November 25, Ichigaya” “1962: Body Building” “Mishima/Closing” “String Quartet No.3 (‘Mishima’)” by Philip Glass from Brooklyn Rider plays Philip Glass ©1993, 1984 Dunvagen Music Publishers Inc. Used by Permission.

First Fall was commissioned by Damian Woetzel for the 2012 Vail International Dance Festival in Vail, Colorado.

WENDY WHELAN COMPANY WENDY WHELAN was born and raised in Louisville, Kentucky, where at the age of three she began taking dance classes with Virginia Wooton, a local teacher. At age eight she performed as a mouse with the Louisville Ballet in its annual production of The Nutcracker. Joining the Louisville Ballet Academy that year, she began intense professional training. In 1981, she received a scholarship to the summer course at the School of American Ballet (SAB), the official school of New York City Ballet and a year later she moved to New York to become a fulltime student there.

She was invited to become a member of the New York City Ballet corps de ballet in 1986 and was promoted to principal dancer in 1991. Whelan has performed a wide spectrum of the Balanchine repertory and worked closely with Jerome Robbins on many of his ballets. She has originated featured roles in 13 ballets for Christopher Wheeldon, as well as in the ballets of William Forsythe, Alexei Ratmansky, Wayne McGregor, Jorma Elo, Shen Wei, Jerome Robbins and Twyla Tharp. In 2007, Whelan was nominated for an Olivier Award and a Critics Circle Award for her performances with Morphoses/ Wheeldon Company. She has been a guest artist with The Royal Ballet and with the Kirov Ballet. She received the 2007 Dance Magazine Award, and in 2009 was given a Doctorate of Arts, honoris causa, from Bellarmine University. In 2011, she was honored with both the Jerome Robbins Award and a Bessie Award for her Sustained Achievement in Performance.

In 2012, Whelan began developing new collaborative projects. Her inaugural project, Restless Creature, which premiered at Jacob’s Pillow Dance Festival in August of 2013, is a suite of four duets, created by and danced with four of todays most cutting edge contemporary dancer/ choreographers, Kyle Abraham, Joshua Beamish, Brian Brooks and Alejandro Cerrudo. Restless Creature will travel to London and Vail in 2014 and will tour in the US starting in January 2015. Whelan was recently appointed an Artistic Associate at New York’s City Center and for two years beginning November 1,

2014, City Center will be her home for developing future projects. She resides in New York City with her husband, the artist David Michalek.

2013 MacArthur Fellow, KYLE ABRAHAM, began his dance training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an MFA from NYU Tisch School of the Arts. In November 2012, Abraham was named the newly appointed New York Live Arts Resident Commissioned Artist for 2012–2014. Just one month later, Alvin Ailey American Dance Theater premiered Abraham’s newest work, Another Night at New York’s City Center to rave reviews.

That same year, Abraham was named the 2012 Jacob’s Pillow Dance Award recipient and 2012 USA Ford Fellow.

Abraham received a prestigious Bessie Award for Outstanding Performance in Dance for his work in The Radio Show, and a Princess Grace Award for Choreography in 2010. The previous year, he was selected as one of Dance Magazine’s 25 To Watch for 2009, and received a Jerome Travel and Study Grant in 2008. His choreography has been presented throughout the United States and abroad, most recently at On The Boards, South Miami-Dade Cultural Arts Center, REDCAT, Philly Live Arts, Portland’s Time Based Arts Festival, Jacob’s Pillow Dance Festival, Danspace Project, Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Fall for Dance Festival at New York’s City Center, Montreal, Germany, Jordan, Ecuador, Dublin’s Project Arts Center, The Okinawa Prefectural Museum & Art Museum located in Okinawa, Japan, The Andy Warhol Museum and The KellyStrayhorn Theater in his hometown of Pittsburgh, PA. In addition to performing and developing new works for his company, Abraham.In.Motion, Abraham recently premiered The Serpent and The Smoke, a new pas de deux for himself and acclaimed Bessie Award-winning dancer and New York City Principal, Wendy Whelan as part of Restless Creature at Jacob’s Pillow Dance Festival. In 2011, OUT Magazine labeled Abraham as the “best

and brightest creative talent to emerge in New York City in the age of Obama”.

Kyle would like to extend his special thanks to Denis Robert Hurlin and Ellen Denise, Rena Butler, Chalvar Monteiro, Rachelle Rafailedes, Risa Steinberg, and Alexandra Wells for their assistance and feedback.

JOSHUA BEAMISH founded MOVE: the company in 2005 and his works have since extensively toured throughout North America, Europe, Asia and Africa.

Outside of the company, he has created in collaboration with The Royal Ballet, New York City Ballet Principal Ashley Bouder for The Ashley Bouder Project, The National Ballet of Canada’s YOUdance, Compania Nacional de Danza de Mexico, Cape Dance Company/South Africa, the Royal Winnipeg Ballet, Toronto Dance Theatre, Ballet Kelowna and Kansas City’s Wylliams/Henry Contemporary Dance, among others. Joshua choreographed for the CBC Radio Canada reality series Ils Dansent, the Opening Ceremonies of the 2011 International Children’s Winter Games, the Cultural Olympiads for both the 2010 and the 2012 Olympics and with Cirque du Soleil for World EXPO Shanghai.

He has worked closely with Paul Becker as an Assistant Choreographer or Performer in Warner Brother’s The Wicker Man with Nicholas Cage, New Line’s Code Name: The Cleaner, Nickelodeon’s Jinxed, The CW’s HELLCATS and VH1’s Totally Awesome with Chris Kattan of Saturday Night Live. He also appeared in Nickelodeon’s Spectacular and in the ABC series Life As We Know It with Kelly Osbourne.

Joshua is the recipient of artistic residencies throughout North America, including the Banff Centre, Jacob’s Pillow and a term as the National Incubator Artist for the American Dance Institute in Washington, DC. He is an alumni of the New York Choreographic Institute, an affiliate organization of New York City Ballet and the School of American Ballet, and a Jerome Robbins Foundation grantee. Notable recent presentations include The Royal Opera House in London, New York’s Guggenheim Museum and a 24-dancer evening for MOVE: the company commissioned by the Bangkok International Festival encoreartsprograms.com 19

WENDY WHELAN to celebrate 50 years of Canadian and Thai political relations. In 2012, Joshua performed in Jacob’s Pillow’s 80th Anniversary improvisation project From the Horses Mouth: The Men Dancers at Jacob’s Pillow, alongside dance legends Arthur Mitchell and Lar Lubovitch. Joshua is a current member of The Joyce Theatre’s Young Leader’s Circle Committee.

Joshua would like to extend his special thanks to Joanna and Brian Fisher, Deborah Wingert Arkin, Cathy Eilers, Larry Henry, Ella Baff, Chalvar Monteiro, Pablo Francisco Ruvalcaba Tovar, Erin Fogarty, Kyle Abraham, Risa Steinberg, Joshua Green and Chelsea Beamish.

Choreographer BRIAN BROOKS was awarded with a 2013 Guggenheim Fellowship. He is a proud recipient of the NY City Center Fellowship (2012–2013), the Jerome Robbins New Essential Works grant (2013), and the Joyce Theater’s Artist Residency (2013–2014).

His interest in choreography emerged at a young age while growing up in Hingham, MA, and was supported with a scholarship to train at Boston’s Jeannette Neill Dance Studio when he was 17. Since moving to New York City in 1994, he has danced with numerous choreographers, including three years with daredevil Elizabeth Streb.

His dance group, the Brian Brooks Moving Company, has been presented throughout the U.S., South Korea and in Germany, and was presented by BAM in their 2013 Next Wave Festival.

The company will be presented by The Joyce Theater in June 2015. Other NYC presentations have included repeat engagements at Dance Theater Workshop (currently NYLiveArts), a world premiere at the Lincoln Center Out of Doors Festival, as well as presentations in the Fall for Dance festival at NY City Center and performances in the Works and Process series at the Guggenheim Museum. For three consecutive years, Brooks has been commissioned by Damian Woetzel at the Vail International Dance Festival to create new works featuring dancers from NYC Ballet. Brooks choreographed director Julie Taymor’s production of A Midsummer Night’s Dream (2013), which was the inaugural performance at Theatre for a New Audience’s Brooklyn home. As a guest 20 MONDAVIARTS .ORG

artist, Brooks has created new dances at schools including The Juilliard School, The Boston Conservatory, Skidmore College, Barnard College of Columbia University, Alfred University, and the University of Maryland at College Park. He has served as part-time faculty at both Rutgers University and Princeton University, and was a Teaching Artist at the Lincoln Center Institute from 1999 to 2012.

ALEJANDRO CERRUDO was born in Madrid, Spain and trained at the Real Conservatorio Profesional de Danza de Madrid. His professional career began in 1998 and includes work with Victor Ullate Ballet, Stuttgart Ballet and Nederlands Dans Theater 2. Cerrudo joined Hubbard Street Dance Chicago in 2005, was named Choreographic Fellow in 2008, and became the company’s first Resident Choreographer in 2009. Fifteen works choreographed to date for Hubbard Street include collaborations with the Chicago Symphony Orchestra, The Second City and Nederlands Dans Theater 2. These pieces and additional commissions are in repertory at companies around the U.S. as well as in Australia, Denmark, Germany and the Netherlands; touring engagements have brought his work still further abroad, to audiences in Algeria, Canada, Morocco and Spain. In March 2012, Pacific Northwest Ballet invited Cerrudo to choreograph his first work for the company, Memory Glow, upon receiving the Joyce Theater Foundation’s second Rudolf Nureyev Prize for New Dance.

Additional honors include an award from the Boomerang Fund for Artists (2011), and a Prince Prize for Commissioning Original Work from the Prince Charitable Trusts (2012) for his acclaimed, first eveninglength work, One Thousand Pieces. Cerrudo was recently announced the 2014 USA Donnelley Fellow by United States Artists.

JOE LEVASSEUR (Lighting Designer) has collaborated with many dance and performance artists including John Jasperse, RoseAnne Spradlin, Sarah Michelson, David Dorfman, Jodi Melnick, Beth Gill, Maria Hassabi, Ishmael HoustonJones, LeeSaar the Company, Anna Sperber, Megan Sprenger and Christopher Williams. He has received two Bessie

awards for his design work, and in 2009 his Drop Clock installation was featured in the lobby of Dance Theater Workshop (now New York Live Arts). In 2010, he showed a collection of original paintings at Performance Space 122.

DAVID MICHALEK (Creative Director) is an artist who takes the concept and techniques of portraiture as the starting point for the creation of his works in a range of mediums, on both a large and small scale. While earning a Bachelor of Arts in English Literature from U.C.L.A., Michalek worked as an assistant to noted photographer Herb Ritts. Beginning in the mid1990s, he began his professional photographic career working as a portrait artist for various publications, such as The New Yorker, Vanity Fair, Interview, and Vogue. Concurrently, Michalek began to delve into performance, installation, and multidisciplinary projects. Since giving up commercial photography in 1998, his work has been shown nationally and internationally with recent public art and solo exhibitions at the Brooklyn Museum, the Los Angeles Music Center, Harvard University, Sadler’s Wells Theatre, Trafalgar Square, Opera Bastille, Venice Biennale, Yale University, The Kitchen, Lincoln Center for the Performing Arts, and at the Edinburgh Festival Summerhall with the Richard DeMarco Foundation. He also collaborated on the visual art component of two stage works with Peter Sellars: Kafka Fragments, presented as part of Carnegie Hall’s 2005–2006 season, and St. François d’Assise, presented at the Salzburg Festival and Paris Opera. Additional film and video work for theater includes collaborations with The Tallis Scholars; John Malpede and Los Angeles Poverty Department, and with the Brooklyn Philharmonic in a project for The Brooklyn Museum’s Music Off the Walls series. He is a visiting faculty member at Yale Divinity School, where he lectures on religion and the arts. Michalek lives in New York with his wife Wendy Whelan, principal dancer of New York City Ballet.

DAVISON SCANDRETT (Production Manager) has supervised lighting and technical production for more than 1,000 performances in 46 states and 23 countries during the past 10 years. In addition to

serving as Director of Production for the Merce Cunningham Dance Company from 2008–2012, his credits in the dance field include works by Miguel Gutierrez, Joanna Haigood, Jennifer Monson, Sarah Michelson, Rashaun Mitchell, Silas Riener, Pam Tanowitz, and Rebecca Lazier. His lighting designs have been seen at Paris Opera Ballet, BAM, Joyce Theater, NYLA, BAC, Danspace Project, , Lublin Dance Fesitval (Poland), Tanz im August (Germany), Charleroi Danses (Belgium), Institute of Contemporary Art, Walker Art Center, O Miami Poetry Festival, and On the Boards. He was the recipient of a 2007 New York Dance & Performance Bessie Award for his collaboration with Sarah Michelson and Parker Lutz on the visual design of DOGS.

KAREN YOUNG (Costume Designer) has designed costumes for numerous dance and video art projects, and has recently been teaching at Rhode Island School of Design. Costume design for video art include Eve Sussman’s 89 Seconds at Alcazar and The Rape of the Sabine Women, Matthew Barney’s Cremaster 5, Toni Dove’s Lucid Possession, and David Michalek’s Slow Dancing and Portraits in Dramatic Time. Recent design for performance includes projects with the Martha Graham Dance Company, American Ballet Theater, Keigwin + Co., Armitage Gone Dance, Pam Tanowitz, Morphoses, Dusan Tynek, Third Rail Project’s highly acclaimed Then She Fell, and the upcoming off-Broadway show Fighting Gravity.

RESTLESS CREATURE is the inaugural work of the Wendy Whelan New Works Initiative, and is made possible by a creative residency space grant provided by the Baryshnikov Arts Center. Presentations of Restless Creature are made possible by the MetLife Community Connections Fund of the New England Foundation for the Arts’ National Dance Project. Major support for National Dance Project is provided by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

Restless Creature and the Wendy Whelan New Works Initiative is made possible by the generous support of: Founders’ Circle: *Diana and Joe DiMenna, *Mary Jo and Ted Shen; Producers’ Circle: *Ian Archer-

Watters, *Stephen Reidy, *Catherine and Mark Slavonia; Partners’ Circle: *Charles and Debbie Adelman, *Kerry Clayton and Paige Royer, *Stuart H. Coleman, Esq., *Judith M. Hoffman, and *Michèle and Steven Pesner; Patrons: Jody and John Arnhold, Margo Krody and Mitchell J. Blutt, Mary Sharp Cronson, Barry Friedberg and Charlotte Moss, New York Community Trust/Wallace Special Projects Fund, Jon L. Stryker and Slobodan Randjelović.

Additional support from Gillian Attfield, Davis S. Brown, Joseph P. Doherty, Hilda Kraker, and Fred and Irene Shen.

thoughtful home remodeling

*Denotes a Founding Sponsor of the Wendy Whelan New Works Initiative

Ms. Whelan wishes to express her gratitude to Donya Bommer, Diana DiMenna, and Mary Jo and Ted Shen for their unwavering belief and support; Ilter Ibrahimof, David Persky, Valérie C Cusson, Courtney Ozaki and Sunny Artist M Management; Linda Shelton, Martin Y Wechsler, Cathy Eilers, Katy Myers, Margaret Hollenbeck, and the Joyce CM Theater Foundation; Mikhail Baryshnikov, MY Georgiana Pickett, Eleanor Wallace, and CY the Baryshnikov Arts Center; Peter Martins, Katherine E. Brown, Julia Rosenfeld, and CMY the New York City Ballet; Rose Caiola, Erin K Fogarty, and Manhattan Movement & Arts Center; Hubbard Street Dance Chicago; Wilhelm Burmann, Zvi Gotheiner, and all of the teachers who have brought inspiration with their vision of dance; and to these individuals: Ian Archer-Watters, Ella Baff, Peter Boal, Dr. Philip Bauman, Dr. Srino Bharam, Siobhan Burns, Rena Butler, Claire Chase, Francesco Clemente, James Gallegro, Jill Johnson, Ana Lopez, David Michalek, Marika Molnar, Chalvar Monteiro, Wendy Perron, Dr. Marc Philippon, Pauline Reyniak, Michelle Rodriguez, Risa Steinberg, Alexandra Wells, Deborah Wingert Arkin, Damian Woetzel, and Karen Young.

10

years of beautiful design and quality building

WORLDWIDE REPRESENTATION: Sunny Artist Management, Inc. sunnyartistmanagement.com restlesscreature.com

430 F Street Ste. B phone | 530.750.2209 fax | 530.750.3151 Davis, CA 95616 www.makdesignbuild.com lic. | 840316

PRESS REPRESENTATIVE: Blake Zidell & Associates

encoreartsprograms.com 21

A Hallmark Inn, Davis Children’s Stage Series Event Sunday, January 25, 2015 • 3PM

SPONSORED BY

TOMÁŠ KUBÍNEK

Certified Lunatic and Master of the Impossible TOMÁŠ KUBÍNEK In the past year Tomáš Kubínek has appeared as the headline performer at the First International Congress of Fools in Moscow, has played to capacity crowds in a twomonth tour across Italy and has performed a sold-out run at London’s prestigious Royal Festival Hall Purcell Theater as the featured solo-artist of the London International Mime Festival.

He has performed in over 30 countries in appearances at theaters, opera houses, international festivals of theatre and humor, in television specials, and on Broadway.

Tomáš Kubínek - (toh-mawsh koo-beeneck), was born in Prague and at the age of three was smuggled out of the country by his parents to escape the 1968 Soviet invasion of Czechoslovakia. After two months in a refugee camp in Austria, the Kubínek family was granted asylum in Canada and it was there, in St. Catharines, Ontario, that Tomáš witnessed his first circus. He became passionately interested in clowns, circus, theater, and magic and his perplexed yet well-adjusted parents took him to see every show that passed through town.

22 MONDAVIARTS .ORG

At age nine he presented his first performance before a circle of elderly magicians. By age 13 he had an agent and was performing sleight-of-hand in coffeehouses between folk-music acts, and while still in his teens, he made his circus debut with a Brazilian clown duo as the rear half of a two-person horse. There was no turning back...

Working any and all jobs related to showbiz, the enterprising young Kubínek was able to save money and travel to Europe to study with some of the world’s greatest teachers of theatre including; Monika Pagneaux, Pierre Byland, Jacques Lecoq and Boleslav Polívka. These studies, combined with many years of independent experimentation in the art of live performance, gave birth to his unique style of work.

Besides his solo work, Kubínek has enjoyed collaborating with other artists.

He has been featured on Czech National Television with the celebrated actor and clown Boleslav Polivka on Mr. Polivka’s annual TV specials and with writer and comedian Frank van Keeken he has performed in numerous guerilla-style

absurdist theater sketches at the HBO Workspace in Los Angeles.

Kubínek has also appeared with the U.S. theatrical circus Circus Flora on numerous occasions. As “guest villain”, he masterminded an elephant kidnapping, terrorized spectators and later plummeted 40 feet into the ring after fencing on the highwire with Tino Wallenda of The Flying Wallendas.

In 1991/92, with Britain’s The Right Size physical theatre company, Kubínek created and performed Moose, a surreal comedy about three men braving the elements of the Arctic Tundra. The play toured Europe for one year and received Time Out Magazine’s #1 Critic’s Choice Award.

In 1997 and 1999 Kubínek played limited engagement runs at Broadway’s New Victory Theater. Both runs sold out in advance and received rave reviews from audiences and critics alike. The New York Times lauded his work as “Absolutely expert and consistently charming!”

In 2000 with director and writer Jim Jackson, Kubínek co-created and starred in Bed, a performance about the nightmarish adventures of an insomniac cabaret artist imprisoned in his hotel room.

In 2003, the play Bed was adapted to the screen and became the film Tucked into Bedlam which aired nationally in the U.S. and Canada on both Bravo! and CBC and was voted one of the top cultural specials of the year to be produced in Canada.

While touring with his solo work, Kubínek teaches master classes for theatre students and professionals and occasionally writes and directs new works, collaborating on pieces for solo artists and theater companies. In 2000, he co-created and directed Not Yet, At All, a one-woman show starring Edith Tankus. He later wrote and directed the play .all god’s children. for three Portuguese actors from the company Teatrinho and most recently co-created and starred in Denmark in Don’t Let Me Down playing a wealthy businessman opposite Louise Hayes, a published Danish poet who has down syndrome and who played his angel.

In the summer of 2009, Kubínek was artist-in-residence as guest of The John Michael Kohler Arts Center in Sheboygan, Wisconsin. He created, directed, and hosted The Big Sheboygan Shebang, an amazing vaudevillian extravaganza featuring over 200 local performers, two horses, and a boa constrictor. The performance celebrated the history, people, and culture or Sheboygan and played to a sold-out audience in the historic Weill Center for the Performing Arts.

His most recent work Professor Kubínek meets The Symphony features Kubínek as a special guest artist with symphony orchestras. The performance was commissioned by The University of Iowa’s Hancher Auditorium and had its premiere tour of five cities in Iowa and Nebraska this winter with both Orchestra Iowa and the Omaha Symphony. The performance will continue to tour to symphony orchestras around the world.

Kubínek is the recipient of international awards including The Moers Comedy Prize from The International Comedy Arts Festival in Germany, The Schneestern Award from the International Festival of Humor in Arosa, Switzerland, and The Samuel Beckett Theatre Award from The Dublin Theater Festival in Ireland. ad proofs.indd 1 He now resides in rural Connecticut.

For more information, please visit www.kubinek.com.

WM 080613 mondavi 1_3s.pdf

Hyatt Place UC Davis

The only hotel located on Campus We are a proud corporate sponsor of the Robert and Margrit Mondavi Center for the Performing Arts

Enjoy the show!

173 Old Davis Road, Davis CA 95616

HP 080213 mondavi 1_3s.pdf

encoreartsprograms.com 23

MArch 8, 2015

7:00pM

university and Alumni choruses, with the uc davis symphony orchestra Jeffrey Thomas, conductor uc davis symphony orchestra || Christian Baldini, music director Mary wilson, soprano wesley rogers, tenor davis chorale, Allison Skinner, director

vaughan williams: A Song of Thanksgiving Mendelssohn: Verleih’ uns Frieden vaughan williams: Toward the Unknown Region herbert howells: Hymnus Paradisi $8 StudentS & Children, $12/15/17 AdultS | StAndArd SeAting All tickets Are AvAilAble through the MondAvi center’s ticket office, www.MondAviArts.org or viA (530) 754-2787.

A With a Twist Series Event Wednesday, January 28, 2015 • 8PM SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Wayne and Jacque Bartholomew The Ukulele Orchestra of Great Britain ® George Hinchliffe Kitty Lux Jonty Bankes Peter Brooke Turner Will Grove-White Leisa Rea David Suich Richie Williams

THE UKULELE ORCHESTRA OF GREAT BRITAIN KIRILL SEMKOW

The Ukulele Orchestra of Great Britain, that’s the one featuring founders George Hinchliffe and Kitty Lux, has already enjoyed touring in the United States several times. For those who have not yet encountered it, the essential point is that it is an original musical ensemble featuring only ukuleles of various sizes and registers, accompanied by just the natural voices of the performers.

Harsher critics have stated the opinion that the Ukulele Orchestra formed their repertoire based on any music considered inappropriate for the instrument, with a “shopping trolley dash through genres” and musical history. For this U.S. tour the original Ukes chose from their exploration of American folk and blues, heavy metal, bebop and jazz, punk, reggae, electronic dance music and even Chinese melodies gleaned from their 2014 tour of China.

In Europe and America, the Orchestra are best known for playing versions of famous rock songs and film themes, sometimes changing these so that the expectations of the audience are subverted.

Sometimes a rock song will be changed into a jazz idiom, or sometimes several songs which are known from different genres are combined in one “soup of contrasts”.

The founding brief for the group was to have fun and “not to lose money”. Incredibly, throughout its thirty year career, the group has succeeded in both not losing money AND incidentally making millions of dollars. It has been seen worldwide by audiences including members of the British Royal Family and other crowned heads of Europe, at the Houses of Parliament in London, and by many millions of

television and online viewers. In one territory, the Orchestra has played to audiences which comprise sixty percent of the population!

When The Ukulele Orchestra of Great Britain (may one say that this is the one featuring the owners George Hinchliffe and Kitty Lux) began in 1985, the public opinion was that an orchestra consisting entirely of ukuleles in different sizes was a strange concept. This was something that attracted the founders. The Orchestra members at that time had experience of many kinds of music and yet had become tired of the conventions of the music business world as well as the conventions of performance and genre stereotyping which were prevalent at that time.

The idea was to make something fresh and entertaining, both modern and old-fashioned, in a different style which deviated from the current performance fashion. People liked the result.

Today, after many years, the Orchestra finds that wherever they go, people are now playing ukuleles, often in groups. Many of these enthusiasts tell the Orchestra that they were inspired to play the instrument after seeing and hearing this, the original Ukulele Orchestra.

And now there are many ukulele orchestras, some acknowledging the pioneering work of the UOGB, others claiming ignorance of this rich history, but none of them existing before this, the original Ukulele Orchestra.

In 2015, The Ukulele Orchestra of Great Britain will celebrate sixteen million minutes of “ukuleleation”, having been “on the road” for thirty years and counting.

While it is not normally in the nature of these artists from Britain to “blow their own trumpets”, or in this case to “pluck their own ukuleles”, it is undeniably a fact that The Ukulele Orchestra of Great Britain (you know, the one featuring George Hinchliffe and Kitty Lux) has become not only a national institution, but also a worldwide phenomenon.

Among their many international concerts and festival appearances, they have “Sold Right Out” twice at Carnegie Hall in New York, twice at The Royal Albert Hall in London, and also at Sydney Opera House in Australia.

The Orchestra has been invited by the British Broadcasting Corporation to play live on air for BBC Radio 3 (the classical music channel) as well as for BBC Radio 1 (the rock, Electronic Dance Music and youth music channel) and live on other BBC channels many times. They have taken part in “The Electric Proms” (in a collaboration with The Kaiser Chiefs), and the BBC Promenade Concerts at the Royal Albert Hall in London (“The Proms”), where they were the “fastest selling late night prom in history”, selling many thousands of tickets for the prestigious Royal Albert Hall in London very quickly.

At this concert the Ukulele Orchestra performed “Jerusalem” and other classics of the “Last Night of the Proms”, the celebrated 120-year-old concert series which launched in 1895. Around 2,000 ukulele players in the audience joined the Orchestra in playing passages from Beethoven’s 9th Symphony. A DVD of this 2010 BBC Prom concert at The Royal Albert Hall is available to order from the website, www.ukuleleorchestra.com For those who wish to perform with the Orchestra in the encoreartsprograms.com 25

comfort of their own homes, chords and words to accompany the Ukes during their 2012 Sydney Opera House concert are available on this DVD. The Orchestra has recorded and released records, CDs and DVDs on its own independent label, as well as with CBS, Sony, Discethnique, Longman, Volume, Tachyon and The Ministry of Sound, as well as appearing on Jools Holland’s Hootenany.

Original compositions and songs by the Orchestra have been used on television, in film, and in radio plays, as well as in performance by other musicians. They have collaborated with the British Film Institute in providing music for silent films and

also musically with Madness, Robbie Williams, Ant & Dec, Yusuf Islam (Cat Stevens), Stefan Raab, Rainer Hersch and a full symphony orchestra performing at the Royal Festival Hall in London. Beatle George Harrison was a well known fan who established contact and played with the Orchestra.

In addition to performing at theatres and concert halls, the Orchestra has also packed the crowds in at rock festivals such as Glastonbury, The Big Chill, WOMAD, The Electric Picnic, and before 170,000 people in Hyde Park, as well as playing in seven cathedrals in England and Wales. The group has been commissioned to write commemorative

concerts, e.g. The Cecil Sharp 100 Year Memorial Concert in 2012 and The 100 Year World War One Memorial Concert in 2014 for Birmingham Town Hall.

One unique feature of this, the original Ukulele Orchestra, is that although there are many examples of collaboration, they have remained a determinedly independent concern. Relying on their own resources and an email list of tens of thousands they continue to run their own recording, publishing projects and to eschew mainstream advertising and record companies.

Celebrity fans include Sir Paul McCartney, David Bowie, Monty Python’s Michael Palin, Brian Eno, Amanda Palmer, Neil Gaiman, George Benson, Joe Brown and Bette Midler.

FUN FACTS:

The UC Davis Office of Campus Community Relations is a proud supporter of the Mondavi Center

The mission of the The Office of Campus Community Relations (OCCR) is to ensure the attention to those components of the campus community that affect community, campus climate, diversity and inclusiveness.

http://occr.ucdavis.edu 26 MONDAVIARTS .ORG

The Orchestra was asked to provide music for broadcasts about the World Cup. The Orchestra has played WOMAD festivals in two continents and in two different centuries.

The Orchestra has performed many times at London’s 100 Club, joining the venue’s history with The Sex Pistols, Louis Armstrong, Billie Holliday, Glen Miller, BB King, Muddy Waters, The Who, The Kinks, Metallica and The Rolling Stones.

The Orchestra maintains its independence, in relation to record companies, management, publishing and touring and has its own CDs, DVDs, mailing list of tens of thousands, Youtube channel, etc.

The Orchestra has been a crossword clue in the New Musical Express, the newspaper which was for many years the key publication for popular music in the UK. In addition to performing at Carnegie Hall in New York on more than one occasion, the Orchestra has performed at The Carnegie Hall in Shetland, the islands midway between Scotland and Norway.

The Orchestra has performed in the arctic, at the Polar Jazz Festival in Svalbard, but also in Tasmania, North and South Islands of New Zealand, and on both the east and west coasts of Australia.

The Orchestra has many “catch phrases” which audiences find entertaining. “A world tour with only hand luggage,” for example, referring to the fact that ukuleles are small instruments. Every concert from the first to the present day, has begun with the announcement: “Good evening Ladies and Gentlemen, we ARE the Ukulele Orchestra of Great Britain.” For English speakers, the stress on the word “Are” is a little amusing, suggesting as it does that the orchestra is politely explaining to someone who perhaps thought that a different group was on stage, and that in order to clear up any confusion, they are confirming that they truly are the members of the Orchestra.

A typical ukulele orchestra concert will feature songs sung by each member of the orchestra so that the audience can get to know each person on stage. Often a fast piece will be followed by a

THE UKULELE ORCHESTRA OF GREAT BRITAIN slow piece in order to maintain variety, and a rock song will perhaps be followed by classical music.

The concept is that if a “level field” is maintained by playing only the one kind of instrument, then all kinds of music can be played quite easily without the variety appearing to be chaotic. One important task of any musical group is to maintain unity with variety, integrity with difference, many voices all working in the same direction. This orchestra is made up of performers who are different from each other, and with very different musical backgrounds, experiences and performing styles. The ukulele brings them all together. Mr Hinchliffe says that the work of the orchestra is like a pencil line drawing rather than a multi-coloured painting. The palette is limited but the possibilities are endless. The ukulele in the hands of the orchestra is said to be like an iceberg; visible above the water, but with much more hidden beneath; there are spiritual dimensions which are far larger and which are not immediately seen. Within the limitations and the simplicity of the humble starting point of the orchestra, there are many possibilities for exploration and variation. It may be the case that the very nature of limitation (in this case to the sounds of the ukulele) enables wider variations to be pursued (which might seem too extreme in a less limited context). Perhaps the limitation stimulates freedom within a defined context. Too much variety could be confusing, too many limitations could become tiresomely familiar.

With their combination of “unity and variety, and simultaneous individualism and collectivism” the orchestra is able to make the best of the overriding vision as well as the individual talents and personalities in the orchestra.

Because the music is played on only ukuleles in different sizes, the conventions of any given genre might not be present. Sometimes the music sounds like folk music, sometimes, like a music without a tradition. The sounds of the instruments are not typical for most of the music played.

The arrangements of the music are specially made, often by the Director and Founder, George Hinchliffe, or by other members of the group. The focus is to bring out the spirit of the music, to be faithful to the musical notes, while actually changing the style or genre of the music by the mere fact of playing it on ukuleles. Audiences have reported that the music of the orchestra is variously moving, funny, stomping, thought-provoking, surprising, or inducing the audience by sheer infectious spirit to “tap their toes” along with the beat.

PERFORMERS

GEORGE HINCHLIFFE

• • • • • •

Founding member and director of the orchestra.

Born and grew up in Sheffield.

Studied in Leeds.

Started playing the ukulele in 1960.

Founded the ukes in 1985.

Has worked with Michael Nyman, Mary Wells,

• • • •

Brian Eno, The British Youth Choir, Ron Geesin, The Anjaana Asian Music Group of Bradford, Snake Davis and the Alligator Shoes.

Was a noteur for Fairground Organs.

Writes and arranges for the orchestra, including the original music in “Ukulelescope”, and “Dreamspiel.”

Has recorded several solo CDs. Lives in Kent.

KITTY LUX

• • • • • • • • • •

Founding member and director of the orchestra.

Born and grew up in London.

Studied in Leeds.

Started playing the ukulele in 1982.

Founded the ukes in 1985.

Has worked with Impact Theatre, Brendan Croker, The Mekons, The Gang of Four.

Performed and recorded with her bands: Sheeny and the Goys, Really, The Sirens.

Has released several CDs. Worked in engineering and architecture gaining a Queen’s Award to industry.

Lives in London.

JONTY BANKES

• The member of the orchestra who, in addition to playing the bass ukulele, whistles virtuosically.

• Born in Branston, Lincolnshire.

• Grew up in Lincolnshire.

• Started playing the ukulele as a youngster playing George Formby.

• Joined the ukes in 1992.

• Has worked with Ray Davis, John Mayall, Lousiana Red and Chuck Berry.

• Was a London bus driver.

• Plays with his own rock group in Hamburg where he lives.

• Has appeared on numerous CDs with other artists.

PETER BROOKE TURNER

• The tallest member of the orchestra.

• Born in Lisbon, Portugal.

• Grew up in the Soviet Union, Brazil, America, Finland and Italy.

• Started playing the ukulele in 1989.

• Joined the ukes in 1995.

• Has worked with Des O-Connor, Jules Holland, Shaking Stevens and Vic Reeves.

• Lent his uke to Tiny Tim for a London gig.

• Usually enters the Eurovision Song Contest.

• Fronted his own “Ukulele Kings” uke rock group.

• Has released several solo CDs. • Lives in Kent.

WILL GROVE-WHITE

• • • • • • •

The youngest member of the orchestra.

Born in London.

Grew up in Sheperd’s Bush, London.

Studied in Manchester.

Started playing the ukulele in 1986.

Joined the ukes in 1991.

Had to have written permission to take the day off school to appear on TV with the ukes.

• Has won several Royal TV Society awards for his documentaries.

• Fronts his own “Will Grove-White and the Others” band.

• Has released several solo CDs. • Lives in London.

LEISA REA

• The member of the orchestra who has also trained doctors in the theatre of the patient encounter.

• Born and grew up in Manchester.

• Was educated in Wales and Yorkshire.

• Started playing the ukulele in 1990.

• Joined the ukes in 2005 as deputy.

• Has worked with many comedy greats.

• Was originally a guitarist.

• Has appeared in comedy and music shows including Adams and Rea. • Lives in London.

DAVID SUICH

• The member of the orchestra with the longest hair.

• Born in Erith, Kent.

• Grew up in London.

• Studied in Leeds.

• Started playing the ukulele in 1980.

• Joined the ukes in 1985.

• Has worked with Rik Mayall, Malcolm Hardy.

• Also known as “Joe Bazouki”, a Glastonbury Festival compere over 20 years.

• Fronted his own groups including “Friends of the Monster” and “The Missing Puddings,” and supported “Screaming Lord Sutch.”

• Has released several solo CDs. • Lives in London.

RICHIE WILLIAMS

• One of the original members of the orchestra, and also the one of the latest additions to the lineup, having had over a decade of absence.

“Time off for good behaviour.”

• Born in Bootle.

• Grew up and studied in Liverpool.

• Started playing the guitar aged 6. Played at the Cavern Club with Thin Lizzy.

• Joined the ukes in 1986 and again in 2003.

• Was a roadie for Frank Zappa and Status Quo. • Has worked with Mary Wells, Martha Reeves, Edwin Starr, Ben E. King, Snake Davis and the Alligator Shoes.

• Worked with many other bands including his “Three Men and a Bass.”

• Has his own recording studio and a collection of vintage guitars.

• Lives in Dorset. www.ukuleleOrchestra.com Twitter: @theUkes Facebook: UkuleleOrchestraofGB Youtube: UkuleleOrchestra U.S. Tour Management: ARTS MANAGEMENT GROUP, INC., 130 West 57th St., New York, NY 10019 encoreartsprograms.com 27

LES 7 DOIGTS DE LA MAIN

Séquence 8 SYLVIE ANN PARE

A Marvels Series Event Sunday, February 8, 2015 • 8PM

“The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed.” —C. G. Jung Séquence 8 carries emotional dynamics to a point of explosion and propulsion. In this show we find emotions so heightened they spring into action, relationships that transform and evolve until they create actual velocity. Set not in a specific time or place but rather on a vertical canvas of sorts, this acrobatic dance and theatre piece contemplates the role of the “other,” and how we define ourselves through and against it.

CREDITS CREATION AND PRODUCTION Les 7 doigts de la Main Direction and Choreography Shana Carroll and Sébastien Soldevila On Stage Eric Bates, Ugo Dario, Colin Davis, Devin Henderson, Alexandra Royer, Maxim Laurin, Camille Legris, Tristan Nielsen Co-Production Les Nuits de Fourvière/Département du Rhône, Lyon (Fr) TOHU (Montréal, Canada) With the support of the programme d’Aide à la coproduction du Conseil des arts et des lettres du Québec Assistant to the Directors and Stage Manager Sabrina Gilbert Set and Props Design Anne-Séguin Poirier Costume Design Manon Desmarais Light Design Nol Van Genuchten Acrobatic Design Sébastien Soldevila Acrobatic Equipment Design Alexandre Lemay, Danny Zen Original Music Seth Stachowski Remix Nans Bortuzzo Music Dr. Opin, Liza Ekdahl, Ben Harper, Chinese Man, That Handsome Devil, C2C, Tunng, Tosca, The Mountain Goats, Jónsi & Alex 28 MONDAVIARTS .ORG

PRODUCTION Production Director Jérémie Niel Technical Direction Guy Lévesque Acrobatic Coaches Jérôme Le Baut, André St-Jean, Émilie Bonnavaud Physiothérapist Hugo Rioux Voice Coach Linda Benoy Trumpet Coach Hubert Côté Translation, Adaptation and Diction Coach Michel Vézina Head Rigger Robert Ouellette Support to Rigging and Construction Stéphane Beauchet Light Operator Élaine Ducasse Texts John Carroll, Shana Carroll, Colin Davis, Sébastien Soldevila, Michel Vézina.

Graphic Design Studio Pastis Assistant for Set up and Props Camille Boyer Commissioning Partners Printemps des Comédiens (Montpellier, France), Arts Emerson (Boston, USA), Live Arts Festival (Philadelphia, USA), La Strada (Graz, Austria), Monaco Dance Forum (Monaco), Teatro Circo Price (Madrid, Spain), CE Works (Japan).

With the support of Conseil des arts et des lettres du Québec, Conseil des Arts du Canada and Conseil des arts de Montréal.

Special Thanks Pierre Masse, Brian Dubé de Dubé Juggling, Roger Hobden, Eisa Davis, Keith Roche, Corinne Deeley, Anna Vicente, Richard Piquet, John Carroll, Danny Zen, Hugo Rioux, Cam, Alex, Tri, Devin, Colin, Eric, Max, Ugo.

LES 7 DOIGTS DE LA MAIN LES 7 DOIGTS DE LA MAIN translates literally as “the 7 fingers of the hand.” It is a twist on a French idiom (“the five fingers of the hand”) used to describe distinct parts united tightly, moving in coordination towards one common goal. Here it refers to the seven founding directors of the company (Isabelle Chassé, Shana Carroll, Patrick Léonard, Faon Shane, Gypsy Snider, Sébastien Soldevila and Samuel Tétreault) who, by combining their distinct talents and experiences, work towards their common artistic goals with the beautifully awkward dexterity of a seven-fingered hand.

Founded in Montréal in 2002, Les 7 Doigts de la Main’s initial goal was to bring circus to a human scale. They began as artists on stage, creating collectively, and soon branched out, expanding their creative talents as directors, choreographers, writers and coaches, passing on their collaborative and unique 7 Fingers process to a new generation of circus artists.

Out of this emerged Loft, Traces, La Vie, Psy, Fibonacci Project, Patinoire, A Muse, and Séquence 8. A relaxed and funky artist’s loft, a bunker, purgatory, or a psychiatrist’s office, an international collaboration of cultures or a solo clown show, each show offers a distinct setting and yet carries the same 7 finger-print.

Celebrating their tenth anniversary this year, Les 7 Doigts de la Main are constantly developing new shows back home in Montréal, applying their unique brand of hands-on creativity to all their ventures.

From a young age, ALEXANDRA ROYER was drawn to sports, the more extreme the better. At eight, she moved with her family to Morocco and began classical horseback riding. Upon her return from Morocco, at age 11, she signed up for the Circus School of Québec City. She explored many circus disciplines while continuing horseback riding and equestrian vaulting. In 2008, she entered the National Circus School of Montréal. After training in Russian bar and other disciplines, she graduated in 2011 with a specialty in aerial hoop and won the Gold Medal at SOLyCIRCO (Germany). Alexandra’s extensive travels have fostered her open spirit and autonomous nature. Her strength as an artist lies in the mix of energy and elegance in her performance.

ERIC BATES has always been a juggler.

Circus has been a major part of his life since his days of being a rugby captain, competitive skier, and football player. In 2008, his life

took a serious turn when he abandoned his studies at McGill University and entered the National Circus School in Montréal, in what was decidedly for Eric one of the best choices of his life. Harmonica, chess, cooking, breakdance, skateboarding…beyond his specialty of cigar-box juggling—for which he is considered one of the best in the world—Eric is an active jack of many trades.

Raised in a family who welcomed the arts, DEVIN HENDERSON was barely five years old when he entered the San Francisco School of Circus Arts. Within two years, he advanced to the Chinese acrobatics classes with Master Lu Yi, and a year later, at age eight, he performed in his first professional show. After spending much time at the San Francisco School of Circus Arts, Devin entered Montréal’s National Circus School, where he perfected a duo number with Colin Davis, his partner for over 12 years. A lover of sports, food, and especially of film, Devin frequently creates short movies about circus. On stage, Devin hopes to share his passion for circus, instilled in him for as long as he can remember.

Surrounded by the arts from a young age (his father was the founder of the San Francisco Mime Troupe), COLIN DAVIS discovered circus by watching the Pickle Family Circus. At 11, he decided to give it a shot, and entered the San Francisco School of Circus Arts. He so enjoyed learning Chinese acrobatics that he then chose to further his training in Montréal.

With his partner Devin, he entered the National Circus School for three more years of intensive training. An accomplished musician, Colin has been playing instruments since he was 11, with a particular passion for the trumpet. A high-level acrobat, Colin aspires, through his fertile imagination, to invoke laughter as well as tears.

From a young age, TRISTAN NIELSEN showed perseverance in almost everything he tried. He signed up for a circus program offered through his school at age 12, and by 19 had already participated in two tours with the established youth troupe Circus Smirkus, and spent a season with the Zoppé Family Circus. After spending two months at the San Francisco Circus Center, Tristan felt ready to take his hand to hand level further, and at 20, he entered the National Circus School of Montréal. It was there that he met partner

Camille Legris. Despite their initial language barrier, the two found a common ground in their love of hand to hand, and together created a dynamic and accomplished act.

CAMILLE LEGRIS began gymnastics at age five. At 15, her walls covered with medals, she was named Athlete of the Year in her native town in Québec. After watching Cirque du Soleil on television, Camille enrolled at the National Circus School of Montréal. She studied at the circus school for seven years, performing along the way in special events and professional shows. Camille trained with hand to hand partner Tristan under the guidance and coaching of 7 Fingers artists Sébastien and Emilie. The duo found strengths in their differences and developed an acrobatic and artistic harmony.

UGO DARIO discovered circus at age eight in a recreational circus school in France. Immediately impassioned, he tried every discipline he could, obtaining a solid foundation in circus before moving to Central France to attend l’Ecole de Cirque Châtellerault. In 2008, the young artist traveled to Montréal, and entered the National Circus School of Montréal, where he and partner Maxim specialized in Korean Board.

Ugo graduated in 2011, and quickly joined Les 7 doigts de la Main, participating in the Cabaret of the Completement Cirque Festival before embarking on the new creation. Ugo is also a brown belt in karate, and is a painter, graffiti artist, photographer, and musician.

A multi-disciplinary artist, he believes that dance and theatre should be integrated with circus, and it is in this way he wishes to give his performances his personal mark.

A highly active child, MAXIM LAURIN dabbled in theatre, magic, and circus before enrolling in Montréal’s National Circus School at age 11. Placed in an intensive collegial circus program, Maxim trained in acrobatics, dance, theatre, and trapeze while completing his academic studies. At 16, Maxim was sent by the National Circus School to France for a workshop. There he met future partner Ugo, with whom he decided to specialise in Korean Board. Maxim graduated from school in 2011 and immediately joined the 7 Fingers. Maxim strives for constant artistic renewal, and aims to find his own way of being a circus artist. encoreartsprograms.com 29

Campus Community Book Project

TEMPLE GRANDIN

ROSALIE WINARD

A Distinguished Speakers Series Event Tuesday, February 10, 2015 • 8PM

SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Lawrence Shepard OFFICE of CAMPUS COMMUNITY RELATIONS

Question and Answer Session Moderated by Beth Ruyak, Insight Host, Capital Public Radio When Beth Ruyak landed her first job as a reporter more than thirty years ago, she knew she had found a career. What she couldn’t have imagined, is the people she would meet, miles she would travel and how curious the journey would be.

Beth’s first boss called her the “neophyte newsie” but he taught her the basics of broadcast writing and how to take the work one-interview-at-a-time. She found her way from newsrooms in Minnesota to California, and still, the career kept her moving. Covering news, sports, science, health, arts and entertainment, Beth worked as a reporter, anchor, producer, and writer. She hosted daytime television, magazine shows, special events and live coverage.

Among the highlights of her career: sideline reporting from five Olympic Games and Super Bowl XXV, traversing Europe for three Tour de France bicycle races (becoming the first woman television journalist to cover the event), co-hosting The Home Show, and guest co-hosting Good Morning America. Her news, sports and health reporting have earned Emmy awards and opportunities to interview, learn from, and tell stories about people all over the world.

As host of Insight Beth delights in the opportunity to communicate and converse in the region she calls home. People ask her about the differences between television and radio broadcasting; she says she tries to fill in the visuals with language, sounds, voice and imagination. To Beth, being part of the Capital Public Radio team is a privilege, an adventure and a great reason to go to work every day. Of course, so is the dance as she calls it, with the guests and audience on Insight.

30 MONDAVIARTS .ORG

BIOGRAPHY Dr. Temple Grandin was born in Boston, Massachusetts. Temple’s achievements are remarkable because she was an autistic child. At age two she had no speech and all the signs of severe autism. Fortunately, her mother defied the advice of the doctors and kept her out of an institution. Many hours of speech therapy, and intensive teaching enabled Temple to learn speech. As a teenager, life was hard with constant teasing. Mentoring by her high school science teacher and her aunt on her ranch in Arizona motivated Temple to study and pursue a career as a scientist and livestock equipment designer.

Dr. Temple Grandin obtained her B.A. at Franklin Pierce College in 1970. In 1974, she was employed as Livestock Editor for the Arizona Farmer Ranchman and also worked for Corral Industries on equipment design. In 1975, she earned her M.S. in Animal Science at Arizona State University for her work on the behavior of cattle in different squeeze chutes. Dr. Grandin was awarded her Ph.D. in Animal Science from the University of Illinois in 1989 and is currently a Professor at Colorado State University.

She has done extensive work on the design of handling facilities. Half the cattle in the U.S. and Canada are handled in equipment she has designed for meat plants. Other professional activities include developing animal welfare guidelines for the meat industry and consulting with McDonald’s, Wendy’s International, Burger King, and other companies on animal welfare.

DR. TEMPLE GRANDIN Following her Ph.D. research on the effect of environmental enrichment on the behavior of pigs, she has published several hundred industry publications, book chapters and technical papers on animal handling plus 63 refereed journal articles in addition to ten books. She currently is a professor of animal sciences at Colorado State University where she continues her research while teaching courses on livestock handling and facility design.

Her book, Animals in Translation was a New York Times best seller and her book Livestock Handling and Transport, now has a fourth edition which was published in 2014. Other popular books authored by Dr. Grandin are Thinking in Pictures, Emergence Labeled Autistic, Animals Make Us Human, Improving Animal Welfare: A Practical Approach, The Way I See It, and The Autistic Brain.

Dr. Grandin has received numerous awards including the Meritorious Achievement Award from the Livestock Conservation Institute, named a Distinguished Alumni at Franklin Pierce College and received an honorary doctorate from McGill University, University of Illinois, and Duke University. She has also won prestigious industry awards including the Richard L. Knowlton Award from Meat Marketing and Technology Magazine and the Industry Advancement Award from the American Meat Institute and the Beef Top 40 industry leaders and the Lifetime Achievement Award from The National Cattlemen’s Beef Association. Her work has also been recognized by humane groups and she received several awards. HBO has recently premiered a movie about Temple’s early life and career with the livestock industry.

The movie received seven Emmy awards, a Golden Globe, and a Peabody Award. In 2011, Temple was inducted into the Cowgirl Hall of Fame.

Dr. Grandin is a past member of the board of directors of the Autism Society of America. She lectures to parents and teachers throughout the U.S. on her experiences with autism. Articles and interviews have appeared in The New York Times, People, Time, National Public Radio, 20/20, The View, and the BBC. She was also honored in Time Magazine’s 2010 “The 100 Most Influential People in the World.” In 2012, Dr. Grandin was inducted into the Colorado Women’s Hall of Fame. She now resides in Fort Collins, Colorado.

IMPACT STATEMENT OF DR. GRANDIN’S WORK Dr. Temple Grandin has had a major impact on the meat and livestock industries worldwide.

Listed below are six specific examples that document this influence.

Design of Animal Handling Facilities – Dr. Grandin is one of the world’s leaders in the design of livestock handling facilities. She has designed livestock facilities throughout the United States and in Canada, Europe, Mexico, Australia, New Zealand and other countries. In North America, almost half of all cattle processing facilities include a center track restrainer system that she designed for meat plants. Her curved chute systems are used worldwide and her writings on the flight zone and other principles of grazing animal behavior have helped many producers to reduce stress during handling. Temple has also designed an objective scoring system for assessing handling of cattle and pigs at meat plants. This system is being used by many large corporations to improve animal care.

Industry Consulting – Dr. Grandin has consulted with many different industry organizations each year for the past ten years. These efforts represent the majority of her time as she has a part-time appointment at Colorado State University but a thriving business as a consultant. The majority of her work is involved with large feedlots and commercial meat packers. She has worked with Cargill, Tyson, JBS Swift, Smithfield, Seaboard, Cactus Feeders, and many other large companies.

Her company also does design work for many ranches. She was also involved with several major packing companies. Her consulting has led to work with companies such as Wendy’s International, Burger King, Whole Foods, Chipotle, and McDonald’s Corporation, where she has trained auditors regarding animal care at processing plants. She also has consulted with organic and natural livestock producers on animal care standards. The animal handling guidelines that she wrote for the American Meat Institute are being used by many large meat buying customers to objectively audit animal handling and stunning.

Research – Dr. Grandin maintains a limited number of graduate students and conducts research that assists in developing systems for

animal handling and, in particular, with the reduction of stress and losses at the packing plant.

She has published her research in the areas of cattle temperament, environmental enrichment of pigs, livestock behavior during handling, reducing dark cutters and bruises, bull fertility, housing dairy cattle and effective stunning methods for cattle and hogs.

Media Exposure – Dr. Grandin has provided worldwide media exposure for the livestock industry and, in particular, with issues relating to animal care. She has appeared on television shows such as 20/20, 48 Hours, CNN’s Larry King Live, 60 Minutes, and has been featured in People Magazine, The New York Times, Forbes, U.S. News and World Report, and Time. Interviews with Dr. Grandin have been broadcast on National Public Radio (NPR) and she has been taped for similar shows in Europe. She was named one of Time Magazine’s 100 Most Influential People. HBO has made a movie about her life starring Claire Danes.

Outreach – Dr. Grandin maintains an appointment with Cooperative Extension at Colorado State where she has been active in making presentations to Colorado ranchers and farmers as well as those interested in the packing industry.

She is sought after to discuss issues of quality assurance. Privately, she has developed her own website (www.grandin.com) which has been expanded to include information on livestock handling in addition to information relative to the design of handling systems. A section on bison handling and one in Spanish have been popular.

Over 2,000 people visit the website every month and approximately 1,000 download significant amounts of information. As many as 1,431 files were downloaded daily and over 42,000 have been downloaded in a single month. The website has been accessed by people from over 50 countries worldwide. She also did a TED talk in 2010 entitled, “The World Needs All Kinds of Minds.”

International Activities – It is clear from the wide variety of information accessed via the website, presentations made in international settings and interest in livestock handling systems developed

by Dr. Grandin that her work has reached an international audience. She typically travels to make presentations internationally 3-5 times annually.

encoreartsprograms.com 31

ORCHESTRE DE LA SUISSE ROMANDE

Nikolai Lugansky, piano A Western Health Advantage Orchestra Series Event Friday, February 13, 2015 • 8PM

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PROGRAM “Ibéria” from Debussy Images for Orchestra Par les rues et par les chemins Les parfums de la nuit Le matin d’un jour de fête Rhapsody on a Rachmaninoff Theme of Paganini for Piano and Orchestra, Op. 43 INTERMISSION The Song of the Nightingale Stravinsky The Fête in the Emperor of China’s Palace The Two Nightingales Illness and Recovery of the Emperor of China Suite No. 2 from Ravel Daphnis et Chloé Daybreak — Pantomime — General Dance 32 MONDAVIARTS .ORG

Charles Dutoit, conductor

“IBÉRIA” FROM IMAGES FOR ORCHESTRA (1905-1908) CLAUDE DEBUSSY

(Born August 2, 1862, in St. Germain-en-Laye, near Paris Died March 25, 1918, in Paris) The year 1908 was a difficult one for Debussy — one of the succession of difficult years that comprised the last decade and a half of his life. The success of his only completed opera, Pelléas et Mélisande of 1902, had catapulted him into the public consciousness as an important musical personality, but the effect of that notoriety on Debussy was not so salutary as might be expected. It meant that he could no longer play the reclusive bohemian, composing what he liked, when he liked. Fame increased the demand for both his music and his personal appearances, and to fulfill the former, he undertook an ambitious agreement with the publisher Jacques Durand that imposed heavy creative obligations upon him. Though Debussy frequently found Durand’s demands difficult to meet, the works he produced during the succeeding years were among his greatest — La Mer, Jeux, the Images for Orchestra and most of the important piano compositions. He satisfied the calls for his personal appearances with several strenuous European concert tours in which he conducted his own works.

Concerning those trips, he wrote in a letter to his wife, “Everything annoys me. My nerves are on edge and I find that a composer of music is required to excel in those qualities of toughness possessed by a traveling salesman.”

The reason that Debussy gave so much time to these wearing activities was, of

course, money. He had abandoned his first wife, Lilly, in 1904, and her subsequent suicide attempt created a good deal of animosity among the Parisian public toward the composer. The judgment at their divorce hearing went against him, with the result that he was harassed by lawsuits regarding his first wife for the rest of his life. At the same time he left Lilly, Debussy had taken up with Emma Bardac; they were married in 1908. She had expected a large inheritance from a wealthy uncle on his death in 1907, but it turned out she had been disinherited, probably because of her liaison with this composer who could barely support himself. The financial burden of two marriages plus the birth of a daughter to his second wife made seeking all available work mandatory for Debussy. In addition to his familial and financial problems, those years also saw a severe decline in Debussy’s health. In January 1909, his plans for several concerts in England were cancelled because of the first signs of an illness that was diagnosed later in the year as cancer.

Morphine and cocaine to ease the pain helped him to continue — after a fashion.

Following a February concert in London, he wrote to Durand, “Arrived here Thursday, have been ill all the time. The concert today went off admirably. It only depended on me to secure an encore for L’Après-midi d’un faune, but I could hardly stand up — a very bad posture for conducting anything.”

That such a brilliant work as Ibéria could arise out of such difficult circumstances is a tribute to Debussy’s artistic spirit and creative diligence. Equally remarkable is how clearly

ORCHESTRE DE LA SUISSE ROMANDE he captured the atmosphere of the land across the Pyrenees, despite the fact that he had spent only a single afternoon in Spain during his entire life — to attend a bull fight in San Sebastian. Manuel de Falla, Spain’s great composer, wrote admiringly of Ibéria, “The entire piece down to the smallest detail makes one feel the character of Spain.” Ibéria, which Debussy included as the second of his three Images for Orchestra (the other two are Gigues and Rondes de Printemps), is in three movements. The first, Par les rues et par le chemins (“On the Highways and the Byways”), establishes the Spanish inspiration of the work with a rhythm dominated by tambourine and castanets. The opening melody suggested to Falla “village songs heard in the bright, scintillating light.” A martial middle section dominated by the horns follows, and leads to the return of the opening melody. The second movement, evocatively titled Les parfums de la nuit (“Fragrances of the Night”), is a dreamy nocturne, but one presented with detailed precision. The finale, Le matin d’un jour de fête (“A Holiday Morning”), celebrates a festival day amid the sounds of strumming guitars (pizzicato strings) and church bells. The movement represents, Debussy wrote, “the whole rising feeling, the awakening of people and of nature.”

composed much of his own music. Notable among his oeuvre are the breathtaking Caprices for Unaccompanied Violin, works so difficult that even today they are accessible only to the most highly accomplished performers. The last of the Caprices, No. 24 in A minor, served as the basis for compositions

by Schumann, Liszt and Brahms, and was also the inspiration for Rachmaninoff’s Rhapsody on a Theme of Paganini. Rachmaninoff’s work is a series of variations on this theme, which is characterized as much by its recurrent rhythm (five short notes followed by a longer one) as by its melody. Taking his cue from the Paganini legend, Rachmaninoff combined another melody with that of the demonic violinist — the Dies Irae (“Day of Wrath”) from the Requiem Mass for the Dead.

The Rhapsody, a brilliant showpiece for virtuoso pianist, is a set of 24 variations. The work begins with a brief, eight-measure introduction followed, before the theme itself is heard, by the first variation, a skeletal outline of the melody reminiscent of the pizzicato opening of the variation-finale of Beethoven’s “Eroica” Symphony. The theme, 24 measures in length, is stated by the unison violins. The following variations fall into three groups, corresponding to the fast–slow–fast sequence of the traditional three-movement concerto.

RHAPSODY ON A THEME OF PAGANINI FOR PIANO AND ORCHESTRA, OP. 43 (1934)

IGOR STRAVINSKY

SERGEI RACHMANINOFF

(Born April 1, 1873, in Oneg [near Novgorod], Russia Died March 28, 1943, in Beverly Hills, California) The legend of Nicolò Paganini has haunted musicians for nearly two centuries. Gaunt, his emaciated figure cloaked in priestly black, Paganini performed feats of wizardry on the violin that were simply unimagined until he burst upon the European concert scene in 1805. Not only were his virtuoso pyrotechnics unsurpassed, but his performance of simple melodies was of such purity and sweetness that it moved his audiences to tears. So far was he beyond the competition that he seemed almost, well, superhuman. Perhaps, the rumor spread, he had special powers, powers not of this earth. Perhaps, Faust-like, he had exchanged his soul for the mastery of his art.

The legend (propagated and fostered, it is now known, by Paganini himself) had begun.

Paganini, like most virtuoso instrumentalists of the 19th century,

THE SONG OF THE NIGHTINGALE (1917)

(Born June 17, 1882, in Oranienbaum, near St. Petersburg Died April 6, 1971, in New York City) In 1908, Stravinsky was in St. Petersburg, receiving orchestration lessons and artistic inspiration from Nikolai Rimsky-Korsakov.

Perhaps prompted by Rimsky’s fantasy opera of a year earlier, Le Coq d’or, Stravinsky began a stage piece called Le Rossignol (“The Nightingale”), based on Hans Christian Andersen’s tale “The Emperor of China’s Nightingale,” but completed only the first act before he accepted Serge Diaghilev’s irresistible commission for The Firebird.

Stravinsky’s subsequent work for the Ballet Russe kept him from returning to Le Rossignol until the summer of 1913, when Diaghilev offered to produce the opera during his next Ballet Russe season. Stravinsky completed the score the following spring, and Pierre Monteux conducted the work’s premiere at the Paris Opéra on May 26, 1914.

Act I of Le Rossignol takes place at “The Edge of a Wood by the Seashore.” A fisherman

sings of the nightly visits of the Nightingale and the beauty of its songs (performed from the orchestra pit by a coloratura soprano).

The bird’s music that evening, however, is interrupted by the arrival of a group of Palace officials, who invite the Nightingale to sing for the Emperor of China. The party returns to the Palace with the Nightingale. Act II is set in the Palace, which, according to Andersen’s description, is “festively adorned. The walls and the flooring, which were of porcelain, gleamed in the rays of a thousand golden lamps. The most glorious flowers, which could ring like bells, had been placed in the passages. There was a running to and fro and a through draft, so that all the flowerbells rang loudly.” The Emperor is moved to tears by the Nightingale’s song. Suddenly, three Japanese envoys enter and present the Emperor with a mechanical nightingale. The real Nightingale flies away. The toy’s warbling does not please the Emperor, however, who instructs the authentic avian musician to continue. He is so displeased when he discovers that the Nightingale is gone that he banishes it from his kingdom. In the distance, the fisherman sings of the approach of death.

In Act III, the Emperor is mortally ill, haunted by lurking specters representing his good and bad deeds. The Nightingale returns and its singing restores the ruler’s health. The Emperor shows himself in full ceremonial robes to his astonished court. The voice of the fisherman is again heard off-stage singing of sunrise and birdsong.

Stravinsky wove his symphonic poem from the music of the second and third acts of the opera, using only the fisherman’s song from Act I. He eliminated some connecting passages, repeated other episodes to achieve structural balance, and did considerable reorchestration, but maintained the dramatic progression of the story to produce the score’s three sections, played without pause: The Fête in the Emperor of China’s Palace, The Two Nightingales and Illness and Recovery of the Emperor of China.

SUITE NO. 1 FROM DAPHNIS ET CHLOÉ (1909-1912)

MAURICE RAVEL

(Born March 3, 1875, in Ciboure, France Died December 28, 1937, in Paris) Ravel’s ballet opens in a meadow bordering a sacred wood on the island of Lesbos. Greek youths and maidens enter with wreaths and encoreartsprograms.com 33

flowers to place at the altar of the Nymphs as the shepherd Daphnis descends from the hills. His lover, Chloé, crosses the meadow to meet him. The girls are attracted to the handsome Daphnis and dance seductively around him, inciting Chloé’s jealousy.

Chloé, in turn, becomes the object of the men’s advances, most particularly a crude one from the clownish goatherd Dorcon.

Daphnis’ jealousy is now aroused and he challenges Dorcon to a dancing contest, the prize to be a kiss from Chloé. Dorcon performs a grotesque dance and Daphnis easily wins Chloé’s kiss. The crowd leads Chloé away. Daphnis’ attention is suddenly drawn to shouts of alarm from the woods.

Pirates have invaded. Daphnis rushes off to protect Chloé, but she returns and is captured. In Scene Two, set on a rugged seacoast, the brigands lead Chloé, hands bound, into their hideaway. She pleads for her release. When the chief refuses, the sky grows dark and the god Pan, arm extended threateningly, appears upon the nearby mountains. The frightened pirates

flee, leaving Chloé alone. Scene Three is again set amid the hills and meadows of the ballet’s first scene. It is sunrise. Chloé has been rescued and she appears and throws herself into Daphnis’ arms. The old shepherd Lammon explains to them that Pan has saved Chloé in remembrance of his love for the nymph Syrinx. In gratitude, Daphnis and Chloé re-enact the ancient tale, in which Syrinx is transformed into a reed by her sisters to save her from the lustful pursuit of Pan, who then made a flute from that selfsame reed — the pipes of Pan — upon which to play away his longing. Daphnis and Chloé join in the joyous general dance that concludes the ballet.

From the complete ballet, Ravel extracted two Suites comprising some two-thirds of the work’s length. The Second Suite parallels the action of the ballet’s final Scene: Daybreak, Pantomime of the adventure of Pan and Syrinx, and the concluding General Dance. ©2015 Dr. Richard E. Rodda

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CHARLES DUTOIT Captivating audiences throughout the world, Charles Dutoit is one of today’s most soughtafter conductors, having performed with all the major orchestras on most stages of the five continents.

Presently Artistic Director and Principal Conductor of the London Royal Philharmonic Orchestra, he recently celebrated his 30-year artistic collaboration with the Philadelphia Orchestra, who in turn, bestowed upon him the title of Conductor Laureate. He collaborates every season with the orchestras of Chicago, Boston, San Francisco, New York and Los Angeles and is also a regular guest on the stages in London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, and Shanghai, amongst others.

His more than 200 recordings for Decca, Deutsche Grammophone, EMI, Philips and Erato have garnered multiple awards and distinctions including two Grammys.

For 25 years , Charles Dutoit was Artistic Director of the Montréal Symphony Orchestra, a dynamic musical team recognized the world over.

From 1991 to 2001, he was Music Director of the Orchestre National de France and in 1996, was appointed Principal Conductor and soon thereafter, Music Director of the NHK Symphony Orchestra (Tokyo). He is today Music Director Emeritus of this Orchestra.

He was for 10 years Music Director of the Philadelphia Orchestra’s season at the Mann Music Center and for 21 years, at the Saratoga Performing Arts Center.

Charles Dutoit’s interest in the younger generation has always held an important place in his career and he has successively been Music Director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan as well as the Canton International Summer Music Academy in Guangzhou. In 2009, he became Music Director of the Verbier Festival Orchestra.

When still in his early 20’s, Charles Dutoit was invited by Von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden, the Metropolitan Opera in New York, Deutsche Oper in Berlin, the Rome Opera and Teatro Colón in Buenos Aires.

In 1991, he was made Honorary Citizen of the City of Philadelphia, in 1995, Grand Officier de l’Ordre national du Québec, in 1996, Commandeur de l’Ordre des Arts et

ORCHESTRE DE LA SUISSE ROMANDE des Lettres by the government of France and in 1998, he was invested as Honorary Officer of the Order of Canada.

In 2007, he received the Gold Medal of the city of Lausanne, his birthplace and in 2014, he was given the Lifetime Achievement Award from the International Classical Music Awards.

He holds Honorary Doctorates from the Universities of McGill, Montréal, Laval and the Curtis School of Music.

A globetrotter motivated by his passion for history and archaeology, political science, art and architecture, he has traveled in all 196 nations of the world.

NIKOLAI LUGANSKY Nikolai Lugansky, already a major artist, has been hailed as the “next” in a line of great Russian pianists by his former teacher, the renowned pedagogue, Tatiana Nikolaeva.

He has been described as “a pianistic phenomenon of exceptional class” by the Netherlands’ NRC Handelsblad and as “riveting” and “stand out” by London’s Telegraph.

Known for his superb interpretations of Rachmaninoff, Mr. Lugansky has been a prizewinner in several international competitions, including the International Bach Competition in Leipzig in 1988, the All-Union Rachmaninoff Competition in 1990, and the Tchaikovsky International Competition in 1994.

He made his American debut at the Hollywood Bowl in 1996 as a part of a tour with the Kirov Orchestra and Valery Gergiev.

Mr. Lugansky has appeared with major symphony orchestras worldwide, including the Orchestre National de France, the Orchestre de Paris, the Philharmonia, London Philharmonic, BBC Symphony and Russian National Orchestras; the Berlin, Milan, City of Birmingham, Chicago and San Francisco symphony orchestras; the Monte Carlo, Dresden, Los Angeles, Munich, Rotterdam, St. Petersburg and Tokyo philharmonics; and the Philadelphia, Royal Concertgebouw in repertoire as diverse as Rachmaninov, Prokofiev, Brahms, Beethoven, Mozart, Schumann, Grieg, Chopin, Ravel, Tchaikovsky and Liszt.

The list of distinguished conductors with whom he has worked includes Paavo Berglund, Herbert Blomstedt, Riccardo Chailly, Charles Dutoit, Christoph Eschenbach, Valery Gergiev, Marek Janowski, Neeme Järvi, Paavo Järvi, Vladimir Jurowski, Emmanuel Krivine, Sir Charles Mackerras, Kurt Masur, Kent Nagano,

ORCHESTRE DE LA SUISSE ROMANDE FIRST VIOLINS

Bogdan Zvoristeanu, CONCERTMASTER Abdel-Hamid El Shwekh, ASSISTANT CONCERTMASTER Medhat Abdel-Salam Yumiko Awano Caroline Baeriswyl Linda Bärlund Elodie Bugni Theodora Christova Cristina Draganescu Yumi Kubo Dorin Matea Florin Moldoveanu Bénédicte Moreau Muriel Noble Hisayuki Ono Yin Shen Marie Sirot

SECOND VIOLINS

Sidonie Bougamont, PRINCIPAL François Payet-Labonne, PRINCIPAL Jonas Erni, ASSISTANT PRINCIPAL Rosnei Tuon, ASSISTANT PRINCIPAL Kerry Benson Florence Berdat Claire Dassesse Gabrielle Doret Véronique Kümin Ines Ladewig Claire Marcuard Eleonora Ryndina François Siron Claire Temperville-Clasen David Vallez Cristian Vasile

VIOLA

Frédéric Kirch, PRINCIPAL Elçim Özdemir, PRINCIPAL Emmanuel Morel, ASSISTANT PRINCIPAL Barry Shapiro, ASSISTANT PRINCIPAL Hannah Franke Hubert Geiser Stéphane Gonties Denis Martin Stella Rusu Tsubasa Sakaguchi Verena Schweizer Catherine Soris-Orban Yan-Wei Wang

CELLO

François Guye, PRINCIPAL Stephan Rieckhoff, PRINCIPAL Hilmar Schweizer, ASSISTANT PRINCIPAL Cheryl House, ASSISTANT PRINCIPAL Jakob Clasen Laurent Issartel Olivier Morel Caroline Siméand-Morel Silvia Tobler Son Lam Trân Willard White

DOUBLE BASS

Héctor Sapiña Lledó, PRINCIPAL Bo Yuan, PRINCIPAL Jonathan Haskell, ASSISTANT PRINCIPAL Alain Ruaux, ASSISTANT PRINCIPAL Mihai Faur Adrien Gaubert Gergana Kusheva Trân Cléna Stein Steven Zlomke

FLUTE

Sarah Rumer, PRINCIPAL Loïc Schneider, PRINCIPAL Robert Thuillier, ASSISTANT PRINCIPAL

FLUTE / PICCOLO

Jane Elliott-Maillard Jerica Pavli

OBOE

Christopher Bouwman, PRINCIPAL Jérôme Capeille, PRINCIPAL Vincent Gay-Balmaz, ASSISTANT PRINCIPAL Alexandre Emard Sylvain Lombard

ENGLISH HORN

Alexandre Emard Sylvain Lombard

CLARINET

Dmitry Rasul-Kareyev, PRINCIPAL Michel Westphal, PRINCIPAL Benoît Willmann, ASSISTANT PRINCIPAL Camillo Battistello Guillaume Le Corre

SOPRANO CLARINET

Benoît Willmann

BASS CLARINET

Camillo Battistello Guillaume Le Corre

BASSOON

Céleste-Marie Roy, PRINCIPAL Afonso Venturieri, PRINCIPAL Francisco Cerpa Román, ASSISTANT PRINCIPAL Vincent Godel Katrin Herda

CONTRA BASSOON

Vincent Godel Katrin Herda

FRENCH HORN

Jean-Pierre Berry, PRINCIPAL Julia Heirich, PRINCIPAL Isabelle Bourgeois, ASSISTANT PRINCIPAL Pierre Briand Clément Charpentier-Leroy Jacques Robellaz

TRUMPET

Olivier Bombrun, PRINCIPAL Stephen Jeandheur, PRINCIPAL Gérard Métrailler, ASSISTANT PRINCIPAL Claude-Alain Barmaz Laurent Fabre

TROMBONE

Matteo De Luca, PRINCIPAL Alexandre Faure, PRINCIPAL Andrea Bandini, ASSISTANT PRINCIPAL Edouard Chappot

BASS TROMBONE

Laurent Fouqueray

TUBA

Pierre Pilloud, PRINCIPAL

TIMPANIST

Yves Brustaux, PRINCIPAL Olivier Perrenoud, PRINCIPAL

PERCUSSION

Christophe Delannoy, ASSISTANT PRINCIPAL Michel Maillard Michael Tschamper

HARP

Notburga Puskas, PRINCIPAL

STUDENTS FOR DIPLOMA OF ADVANCED STUDIES

Fumi Nakamura, VIOLIN Louise Mercier, VIOLA Xiang Ji, FRENCH HORN

GENERAL STAGE MANAGER Guillaume Bachellier MUSICIANS MANAGER Grégory Cassar STAGE MANAGER Marc Sapin ORCHESTRA TECHNICIANS Auréline Sevin, Frédéric Broisin ORCHESTRAL MANAGEMENT ASSISTANT Mariana Cossermelli

FOR OPUS 3 ARTISTS

David V. Foster, PRESIDENT AND CEO Leonard Stein, SENIOR VICE PRESIDENT, DIRECTOR, TOURING DIVISION Irene Lönnblad, ASSOCIATE, TOURING DIVISION John Pendleton, COMPANY MANAGER Don Irving, STAGE MANAGER

ORCHESTRE DE LA SUISSE ROMANDE Sakari Oramo, Mikhail Pletnev, Jukka Pekka Saraste, and Yuri Temirkanov. He also regularly appears at some of the world’s most distinguished festivals, including the BBC Proms, La Roque d’Anthéron, Verbier, Baden Baden, Salzburg, Edinburgh International Festival and the Kissinger Sommerfest.

Upcoming engagements include debuts with the Boston Symphony, New York

Philharmonic, duo recitals with partners Leonid Kavakos and Vadim Repin as well as solo recitals in Switzerland, Portugal, Spain, France and the United Kingdom culminating in London’s Wigmore Hall.

In North America, his recent activities have included a cross-country tour with the St. Petersburg Philharmonic and Yuri Temirkanov, the Montréal and National Symphony in Washington D.C. Mr. Lugansky

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Current and Upcoming Exhibitions Our America: The Latino Presence in American Art September 21, 2014 – January 11, 2015 The Provoke Era: Japanese Photography from the Collection of SFMOMA October 12, 2014 – February 1, 2015 Arte Mexicano: Legacy of the Masters October 12, 2014 – February 1, 2015 Toulouse-Lautrec and La Vie Moderne: Paris 1880 – 1910 February 1, 2015 – April 26, 2015

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has featured with the Pittsburgh and Cincinnati symphonies both at home and on tour in Europe.

An acclaimed recording artist, he has recently signed an exclusive deal with the Naïve-Ambroisie label, whose first release of solo Liszt works is now available and has led Le Monde to write that “Nikolai Lugansky has entered the inner circle of great Lisztians.” His next recording for Naïve featuring Rachmoninoff’s two piano sonatas is due for release in September.

His previous release, an all-Chopin recital for Onyx was described by The Guardian as “unquestionably thrilling,” and in October of 2010 Deutsche Grammophon released a disc of chamber music recorded together with Vadim Repin with whom he has developed a long-lasting and fruitful musical partnership which won the 2011 Edison Klassiek Award and the Chamber Music category award of the 2011 BBC Music Magazine Awards.

His recordings on Warner Classics label have garnered the Diapason d’Or for the complete Chopin Études in 2000, Rachmaninoff Preludes and Moments Musicaux in 2001 and Chopin Preludes in 2002. He was awarded the Preis der deutschen Schallplattenkritik and the ECHO Klassik 2005 for his recording of Rachmaninoff Piano Concertos 1 & 3, and his recording of Tchaikovsky Piano Concerto No. 1 for Pentatone Classics won Gramophone Editor’s Choice (February 2004). His other releases include Prokofiev Sonatas 4 & 6 and selections from Romeo and Juliet, Rhapsody on a Theme of Paganini with the City of Birmingham Symphony Orchestra and Sakari Oramo coupled with “Variations on a theme by Corelli,” and “Variations on a theme by Chopin,” and Rachmaninoff Piano Concertos 2 & 4. In fall 2005, Warner Classics released his first disc of Beethoven Sonatas that includes the “Moonlight” and “Appassionata” sonatas. Nikolai Lugansky and Alexander Kniazev won the 2007 ECHO Klassik Award for their recording of works

by Chopin and Rachmaninov released in January of that year.

Mr. Lugansky studied at the Central School of Music in Moscow, where his principal teachers included the renowned pianist and teacher Tatiana Nikolaeva, and the current director of the Tchaikovsky School of Music in Moscow, Sergei Dorensky.

ORCHESTRE DE LA SUISSE ROMANDE The Orchestre de la Suisse Romande is an internationally renowned symphonic ensemble founded in 1918. Its history is intimately linked to Ernest Ansermet. Over the years, it has built its reputation on the basis of its historic recordings and its interpretation of French and Russian music of the 20th century.

A former mathematics teacher, Ernest Ansermet, launched the OSR during his collaboration with the Ballets Russes of Sergei Diaghilev. Initially comprised of 62 musicians contracted for six months per year, the OSR performed in Geneva, Lausanne and in other cities in the French-speaking part of Switzerland.

It survived the Great Depression of 1929 and, in 1934, the unexpected (and fortunately temporary) withdrawal of support by the Société Suisse de Radiodiffusion. In 1937, while scouting a summer home for the OSR, Ansermet became the instigator of the Lucerne Festival. He single-handedly held the reins of his ensemble for almost 50 years. Amongst his successors, we can cite Armin Jordan, who was perceived as his spiritual heir, and Marek Janowski.

The OSR’s collaboration with the Radio Suisse Romande, which began in the 1930s, helped it to become known quickly, as did its recordings with the Decca label starting in the 1940s, a collaboration that would produce more than 100 albums under its founder. At a rate of 5 to 6 vinyl records per year, these recordings were often made at night immediately after concert or opera performances. Ever since, the OSR has collaborated with numerous labels, most recently with PentaTone for the complete symphonies of Anton Bruckner. Also of note is the new collaboration with Chandos.

The OSR’s tours have contributed to increasing its renown ever since they began in the 1940s (Edinburgh Festival in 1949).

The OSR initially travelled within Europe and then on the West Coast of the United States in 1966, the Montréal World’s Fair and New York in 1967, and finally Asia in 1968.

From its earliest days, the OSR has promoted contemporary music. The list of the names of composers whose works it has premiered is long and impressive: Benjamin Britten, Claude Debussy, Arthur Honegger, Frank Martin, Darius Milhaud, Igor Stravinsky and then later William Blank, MichaelJarrell, Heinz Holliger and Peter Eötvös.

Today, the OSR comprises 113 full-time musicians. It appears regularly around

the world, continuously making debut appearances in new venues (for example, the Concertgebouw in Amsterdam in 2006, the Teatro alla Scala in Milan in 2010, the Philharmonic in St. Petersburg in 2012). In addition to its symphonic activities, the OSR has also traditionally participates in opera

performances at the Grand Théâtre of Geneva, and organizes an entire program for young audiences.

The arrival of Neeme Järvi has opened a new chapter in its history, defined by the Estonian master’s personality, his legendary musical flair, and his taste for wide-ranging repertoire.

FURTHER LISTENING

by Jeff Hudson

THE ORCHESTRE DE LA SUISSE ROMANDE, CHARLES DUTOIT, AND NIKOLAI LUGANSKY Translated literally, the Orchestre de la Suisse Romande (OSR) means “the Orchestra of French-speaking Switzerland,” the western part, adjacent to (surprise!) France.

The OSR organized in 1918, and since then, they have had only nine music directors.

This remarkable statistic reflects the long tenure of founding music director Ernest Ansermet, who held the post from 1918 until 1967, almost 50 years.

Charles Dutoit, who conducts the Orchestre de la Suisse Romande on their current American tour, was born in 1936 in Lausanne (in French-speaking Switzerland), and Dutoit studied conducting under the famous French conductor Charles Munch at Tanglewood in Massachusetts. (You can find out lots more about Munch in UC Davis’ own Professor D. Kern Holoman’s readable and well-regarded biography Charles Munch, published by Oxford in 2012.)

Charles Dutoit has not been one of the OSR’s music directors, but his association with the OSR goes back nearly five decades—he first appeared with the orchestra as a young guest conductor in 1959.

You may recall Dutoit’s appearance at the Mondavi Center with the Royal Philharmonic Orchestra in January 2012. The program was a Berlioz overture, the Fifth Piano Concert of Saint-Saëns (with pianist Jean-Yves Thibaudet, a noted interpreter of Saint-Saëns), and the Tchaikovsky Fifth Symphony.

Dutoit likes early 20th Century material; all the music on tonight’s program with the OSR was composed between 1905 and 1934. And the Rachmaninoff rhapsody was written while the composer was living in Switzerland.

This time around, Dutoit is working with pianist Nikolai Lugansky, a Russian-born pianist who’s big on the Rachmaninoff. Lugansky is the artistic director of the Tambov Rachmaninov Festival. He appeared at the new Ivanovka Rachmaninov Festival last year (with the Russian National Orchestra under Mikhail Pletnev), and he has played at the Rachmaninov Estate. (“Rachmaninoff,” “Rachmaninov”: it’s just nonstandardized Romanization.)

Lastly: a public statement by Dutoit (who rarely gives interviews, but made this remark to a young arts correspondent in India in 2013): “Some audiences are better prepared to go to a concert than others. They play a big role in the success of a concert. If they are not concentrating, or if they talk, or look for bon bons, or if their phone rings, it’s difficult to concentrate. In my case the audience is behind me, so I can’t see them. But I can feel them. If they are not concentrating, then I can feel that, too, and the performance starts to get less interesting.”

JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.

encoreartsprograms.com 37

Mondavi Center Presenting Program Wednesday, February 18, 2015 • 8PM Jackson Hall, UC Davis INDIVIDUAL SUPPORT PROVIDED BY

Barbara K. Jackson

BRIAN JAGDE, tenor CRAIG TERRY, piano PROGRAM

PROGRAM NOTES

Ständchen, D. 957, No. 4 Schubert Stille Tränen from Schumann Kerner Lieder, Op. 35, No. 10 Die Mainacht, Op. 43, No. 2

Brahms

Blindes Schauen, dunkle Wolf Leuchte from Spanisches Liederbuch Ich bin der Welt abhanden Mahler gekommen from Rückert Lieder The Holy Sonnets of John Donne, Op. 35

Britten

O, my blacke Soule!

Better my heart O might those sighes and teares Oh, to vex me What if this present Since she whom I loved At the round earth’s imagined corners Thou hast made me Death, be not proud

INTERMISSION To Her, Op. 38, No. 2

Rachmaninoff

It Cannot Be, Op. 34, No. 7 Oh No, I Beg You, Do Not Leave, Op. 4, No. 1 The Harvest of Sorrow, Op. 4, No. 5 Alone Again, Op. 26, No. 9 Traum durch die Dämmerung, Op. 29, No. 1

Strauss

Breit über mein Haupt, Op. 19, No. 2 Allerseelen, Op. 10, No. 8 Heimliche Aufforderung, Op. 27, No. 3 Zueignung, Op. 10, No. 1 38 MONDAVIARTS .ORG

FIVE GERMAN SONGS

In April 1825, Ludwig Rellstab, a prominent music critic in Berlin and a writer of high ambitions, descended upon Vienna to try to convince Beethoven to set some of his poems, perhaps even one of his opera librettos. Rellstab got along as well as anyone could with the stone-deaf curmudgeon, but Beethoven never set a syllable of his poetry. (Rellstab did a little better by Beethoven, however, since it was he who described the Piano Sonata in C-sharp minor, Op. 27, No. 2 as “a vision of a boat on Lake Lucerne by moonlight,” a sobriquet that has since inextricably attached itself to the music.) Rellstab’s poems found their way into Schubert’s hands (perhaps through Beethoven’s amanuensis Anton Schindler, who may have arranged Schubert’s visit to the dying Beethoven in spring 1827), and were the catalyst for ten of his last songs, including Ständchen (“Serenade”), seven of which the Viennese publisher Tobias Haslinger (with the help of Schubert’s devoted brother, Ferdinand) bundled together in spring 1829 with six songs to Heine’s verses and one to Seidl’s under the conventionally sentimental title Schwanengesang (“Swan Song”). John Reed, in his indispensable The Schubert Song Companion, called the manner in which the Serenade’s phrases swell and then decline “to a whisper of desire … as purely sensuous a moment as can be found in all Schubert.”

In the autumn of 1840, soon after his marriage to Clara, Robert Schumann (18101856) set fourteen verses by the German poet, physician and medical writer Justinus Kerner. Kerner pursued his parallel literary and medical interests from the time he was a student at the University of Tübingen, authoring studies on animal magnetism, the effect of the botulinum toxin, and the

mineral waters of Bad Wildbad, as well as novels, poems and book-length accounts of his own life. He couched most of his poems in the naturalistic images so beloved of the German Romantics, treating his subjects with moods that ranged from the naïve rusticity of folksong to the longing of amorous verse, often touched by deep melancholy or even grotesqueness. Schumann set five of Kerner’s poems when he was seventeen, and returned to them thirteen years later during his annus mirabilis of song in 1840, grouping twelve of them together in his Op. 35 collection, published the following year; the other two were included in his Op. 127 and Op. 142.

Stille Tränen (Op. 35, No. 10, “Silent Tears”) is a nocturnal reverie whose melancholy mood is distilled in the song’s eloquent piano postlude.

Though Johannes Brahms (1833-1897) is most widely famed as an instrumental composer, more than half of his opus numbers are devoted to vocal works — solo songs, song cycles, duets, quartets, cantatas, folksong arrangements, canons, psalms, choral pieces both accompanied and unaccompanied.

He was greatly experienced regarding vocal performance, appearing frequently as piano accompanist in song recitals and conducting choruses in Germany and in Vienna with great success, and his texted music is rooted directly in the sound and nature of the human voice.

(Choral conducting was the only vocation at which he ever held a regular job.) Brahms’ output of original solo songs totaled nearly 200 separate items to texts by some sixty authors; his folksong arrangements add half again that number of pieces to his catalog.

Mainacht (“May Night,” 1866) sets a text by Ludwig Christoph Hölty, a founder and leader of a group of young writers at Göttingen University, the Göttinger Dichterbund, who dedicated their work to the emerging Romantic ideals of love, nature, lyricism and sentiment.

BRIAN JAGDE AND CRAIG TERRY In October 1889, Hugo Wolf (1860-1903), the greatest German composer of songs after Schubert, began setting Spanish Renaissance poems that had been translated into German by Emmanuel Geibel and Paul Heyse; by April, he had completed the 44 songs of his Spanisches Liederbuch (“Spanish Songbook”). The collection includes Blindes Schauen, Dunkle Leuchte (“Blinded Sight, Dark Light”), Heyse’s German rendering of Vista ciega, luz oscura by the late-15th-century Spanish poet Rodrigo Cota de Manquaque, a furious expression of the spurned lover invoking the conventional Renaissance conceit of literary antonyms: dark/light, dying/life, joyful/weeping.

Friedrich Rückert was Professor of Oriental Literature at Erlangen and Privy Counselor for King Friedrich Wilhelm IV at Berlin from 1841 to 1848. In the summer of 1901, when he escaped from the pressures of directing the Vienna Court Opera to his country retreat at the village of Maiernigg on the Wörthersee in Carinthia, Gustav Mahler (1860-1911) made orchestral settings of six of Rückert’s poems and added two more three years later. Among the five of these songs that he published as a set in 1905 is Ich bin der Welt abhanden gekommen (“I Have Lost Touch with the World”), which is both a vocal analogue to the transcendent introspection of the Adagietto of the Fifth Symphony, on which he was also engaged during those years, and a preview of the resigned, peaceful acceptance that closes both the Ninth Symphony and Das Lied von der Erde (“The Song of the Earth”).

premiered on November 21st, the exact date of Purcell’s death, at a commemorative concert in Wigmore Hall, London; the following day, Britten’s birthday (and, fortuitously, the feast day of St. Cecilia, the patron saint of music), the composer and his life partner, tenor Peter Pears, introduced the Donne Sonnets, which were heavily influenced in their structure and word setting by the music of Purcell.

John Donne (1572-1631) wrote his nineteen Holy Sonnets — also known as the Divine Meditations or Divine Sonnets — between 1609 and 1617, during a period of personal, spiritual and financial hardship that encompassed the death of his wife, whom he commemorated in Since She Whom I Loved Hath Paid Her Last Debt; they circulated in manuscript copies during Donne’s life but were not published until 1633, two years after his death. Their creation occurred during his difficult and deeply considered conversion from Roman Catholicism to Anglicanism, which finally resulted in his reluctant acceptance of holy orders in his new religion in 1615 (at the insistence of King James I), and they codified his thoughts about the interaction of the fragile and transient physical life of the penitent believer and the hope for eternal salvation. Britten chose to set

nine of Donne’s poems for tenor and piano in a manner that indicated, according to the composer’s biographer Imogen Holst (daughter of composer Gustav Holst), that “he would never have set a cruel subject to music without linking the cruelty to the hope of redemption.” The first five of Britten’s Holy Sonnets contemplate the sinful life, supplications and death of the believer, the sixth evokes the melancholy of Donne’s lament for his departed wife, and the last three provide the hope of resurrection.

FIVE SONGS

SERGEI RACHMANINOFF (Born April 1, 1873, in Oneg [near Novgorod], Russia Died March 28, 1943, in Beverly Hills, California) In September 1906, Rachmaninoff selected six verses by living Russian writers to set as his Songs, Op. 38. In the second number of the collection — To Her, to a poem by Andrey Bely — Rachmaninoff matched the poet’s Symbolist tendencies with music of decided modernity, touched by Impressionism and often ambiguous in harmony, and entrusted the piano with much of the weight of the emotional expression.

It Cannot Be (1912, Op. 34, No. 7), a setting of a poem by the St. Petersburg poet and student of ancient Mediterranean civilizations Apollon

THE HOLY SONNETS OF JOHN DONNE, OP. 35

BENJAMIN BRITTEN

(Born November 22, 1913, in Lowestoft, Suffolk, England Died December 4, 1976, in Aldeburgh, Suffolk, England)

Britten came to international prominence with the opera Peter Grimes, premiered with great success by the Sadler’s Wells Company in London on June 7, 1945. Germany had surrendered exactly one month before, and the ghastly human toll of the concentration camps was just then coming to be realized. Soon after Grimes had been launched, Britten went on a short tour as accompanist for violinist Yehudi Menuhin at concerts in Belsen and other of the camps, and the works he undertook when he returned to England — The Holy Sonnets of John Donne and the Second String Quartet — bear a seriousness of expression indelibly touched by the conditions the composer had witnessed. The works, however, were not intended primarily as musical tracts on the tragic aftermath of war, but rather as tributes to Henry Purcell, the revered English composer whose 250th death anniversary was being observed throughout the country in 1945.

The song cycle was completed in August and the Quartet in October; the latter was encoreartsprograms.com 39

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Maykov, is an expression of profound despair at the death of a loved one.

Among Rachmaninoff’s earliest songs is Oh No, I Beg You, Do Not Leave of 1891, to a poem by Dmitri Merezhkovsky, which seems to have been the creative manifestation of his infatuation with one “Darling Anna,” as he called her, the Gypsy wife of Peter Lodizhensky, one of the many new friends he made at that time as his talent and ambition gave him entrée into fashionable Moscow society.

The Harvest of Sorrow, composed in 1893, the year after Rachmaninoff graduated from the Moscow Conservatory, was based on a poem

by Leo Tolstoy, who also inspired from him a half-dozen other songs, a choral work and a symphonic poem (Prince Rostislav).

Alone Again (1906, Op. 26, No. 9), which finds a subtle irony in the lover’s melancholy during verdant springtime, is a setting of a text by the poet and novelist Ivan Alekseyevich Bunin, the first Russian to receive a Nobel Prize for Literature.

FIVE SONGS

RICHARD STRAUSS

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(Born June 11, 1864, in Munich Died September 8, 1949, in Garmisch-Partenkirchen) Otto Julius Bierbaum was a journalist, novelist and poet whose accomplishments included establishing an artistic cabaret in Berlin in 1900 for which Arnold Schoenberg wrote a number of humorous and satirical songs (Brettl-Lieder).

Strauss’ reverie Traum durch die Dämmerung (“Dreaming Through the Twilight,” Op. 29, No. 1) is one of three settings he made of poems by Bierbaum in June 1895.

Adolf Friedrich von Schack was a German poet, diplomat, translator and historian of art and literature. In 1888, Strauss set the sensual poem Breit’ über mein Haupt dein schwarzes Haar (“Spread Over My Head Your Black Hair”) from Schack’s 1883 collection, Lotosblätter (“Lotus Leaves”).

Hermann von Gilm zu Rosenegg was an Austrian civil servant who wrote religious polemics and lyrical poetry as avocations. Strauss’ first published collection of songs — Op. 10 of 1885 — was the Acht Gedichte aus “Letzte Blätter” von Hermann Gilm (“Eight Songs from the ‘Last Leaves’ of Hermann Gilm”), which included Allerseelen (“All Souls’ Day”), a lover’s affectionate remembrance on the day set aside every year (traditionally November 2) to recall the departed. The opening song of Op. 10, Zueignung (“Dedication”), helped established Strauss’ reputation as a Lieder composer and has remained one of his most frequently performed vocal pieces.

John Henry Mackay was born in Scotland in 1864 but spent most of his life in Germany, where he gained notoriety for his anarchistic writings and his support of what was then known

BRIAN JAGDE AND CRAIG TERRY as “homosexual emancipation.” He also wrote passionate lyrical poetry, and in 1894 Strauss included two of his verses (Morgen and Heimliche Aufforderung) in the set of four songs (Op. 27) that he wrote as a wedding gift for his bride, soprano Pauline von Ahna. Heimliche Aufforderung (Op. 27, No. 3, “Secret Invitation”) is one of Strauss’ most openly sensuous and suggestive creations. ©2015 Dr. Richard E. Rodda

BRIAN JAGDE

American Brian Jagde is quickly emerging as one of the top new lyric tenors to watch.

This season, Mr. Jagde returns to the San Francisco Opera as Cavaradossi in Tosca and Opera San Antonio as Narraboth in Salome, and makes his debuts at the Royal Opera House Covent Garden as Pinkerton in Madama Butterfly, Portland Opera as Don José in Carmen and the Palau de les Arts Reina Sofia in Valencia as Ismaele in Nabucco.

A graduate of the San Francisco Opera’s Adler Fellowship Program, Mr. Jagde’s main stage appearances there have included Cavaradossi, Pinkerton, Joe in La Fanciulla del West, Janek in The Makropulos Case and Vitellozzo in Lucrezia Borgia.

Other recent engagements have included his debut at the Metropolitan Opera in Arabella, Don José in Carmen at Opéra de Limoges, Cavaradossi at the Santa Fe Opera and Deutche Oper Berlin, Alfredo in La Traviata at Opera Grand Rapids and with the Orlando Philharmonic, Rodolfo in concert performances of La bohéme with Lorin Maazel and the Müncher Philharmoniker, Pinkerton at the Virginia Opera and Minnesota Opera, Rodolfo at Lorin Maazel’s Castleton Festival and Syracuse Opera, and his European debut as the title role in Werther at the Teatr Wielki Opera Poznan in Poland. He has also made appearances at Opera New Jersey, Chautauqua Opera, Opera Company of the Highlands, and Des Moines Metro Opera.

Mr. Jagde holds Bachelor and Master of Music Degrees in Voice and Opera Studies from The Purchase College-Conservatory of Music.

The second-prize winner at the 2012 Operalia Competition with Placido Domingo, Mr. Jagde won accolades for his interpretations of WagnerStrauss repertoire with the Birgit Nilsson Prize.

vocalists as Stephanie Blythe, Christine Brewer, Nicole Cabell, Sasha Cooke, Eric Cutler, Giuseppe Filianoti, Joseph Kaiser, Kate Lindsey, Danielle De Niese, Susanna Phillips, Patricia Racette, Catherine Wyn-Rogers, Hugh Russell, Garrett Sorenson, and Amber Wagner. He has collaborated as a chamber musician with members of the Metropolitan Opera Orchestra, the Lyric Opera of Chicago Orchestra, the Gewandhaus Orchester, the Berlin Philharmonic, the Vienna Philharmonic, and the Pro Arte String Quartet.

Mr. Terry made his Carnegie Hall debut in 2000 and has also performed at Avery Fisher Hall, Alice Tully Hall, the Kennedy Center for the Performing Arts, and the Metropolitan Museum of Art. Recent performances include recitals with Patricia Racette at the Ravinia Festival, 54Below in New York, and the Winspear Opera House in Dallas, Christine Brewer for the Celebrity Series of Boston and the Gilmore Keyboard Festival, Stephanie Blythe at both the American Songbook series at Jazz at Lincoln Center and the Ravinia Festiival, Giuseppe Filianoti in his American Recital Debut on the Harriman-Jewell Series in Kansas City, Susanna Phillips and Dimitri Pittas at the Tokyo City Opera House under the auspices of the Metropolitan Opera, Nicole Cabell in St. Petersburg, Russia, Kate Lindsey at both

Rockefeller University and Smith College, and Ms. Phillips at Alice Tully Hall. In 2008, he was twice featured as soloist with the Chicago Philharmonic, performing piano concertos of Chopin and Mendelssohn. In March 2010, he made his conducting debut at Lyric Opera of Chicago, leading student matinee performances of “L’Elisir d’Amore,” and in 2012 made his LOC stage debut as Jake in Showboat. Mr. Terry was also featured in a Live from Lincoln Center national broadcast on PBS with Stephanie Blythe in April 2013. Mr. Terry’s 2013-2014 season schedule includes recitals with Stephanie Blythe, Christine Brewer, Nicole Cabell, Joyce DiDonato, Kate Lindsey, Ana Maria Martinez, Patricia Racette, Hugh Russell, and Heidi Stober as well as chamber music concerts with members of the Lyric Opera of Chicago Orchestra.

His discography includes two recordings released in 2013: One with Patricia Racette, entitled Diva on Detour, and the other, entitled As Long As There Are Songs, with Stephanie Blythe.

Mr. Terry received a Bachelor of Music degree in Music Education from Tennessee Technological University, continued his studies at Florida State University and received a Master of Music in Piano Performance/Accompanying from the Manhattan School of Music where he was a student of pianist Warren Jones.

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CRAIG TERRY

A native of Tullahoma, Tennessee, pianist Craig Terry has launched an international career performing with some of the world’s leading singers and instrumentalists. Currently Mr. Terry is in his ninth season as Assistant Conductor, and has recently been named Music Director of the Ryan Opera Center at Lyric Opera of Chicago.

Previously, he served as Assistant Conductor at the Metropolitan Opera after joining its Lindemann Young Artist Development Program.

Mr. Terry has performed with such esteemed

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THE ART OF GIVING The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives.

Annual donations to the Mondavi Center directly support our operating budget and

are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.

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

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ENCORE CIRCLE

$600 - $1,499

The Aboytes Family Shirley and Mike Auman* Antonio and Alicia Balatbat Robert and Susan Benedetti Alan and Kristen Bennett Don and Kathy Bers* Muriel Brandt Marion Bray John and Christine Bruhn Manuel Calderon de la Barca Sanchez and Karen Zito Lynne Cannady and David Ford Dolores and Donald Chakerian Jack and Gale Chapman Sharon Cuthbertson* John and Cathie Duniway Doris Flint Gloria Freeman and Jerry L. Plummer Paul and E. F. Goldstene David and Mae Gundlach Paul and Nancy Helman Lenonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Mont Hubbard and Lyn Taylor Pat Hutchinson Barbara and Robert Jones Paula Kubo Ruth Lawrence John T. Lescroart and Lisa Sawyer Michael and Sheila Lewis* Gary and Jane L. Matteson Joy Mench and Clive Watson Nancy Michel Robert and Susan Munn* Don and Sue Murchison Bob and Kinzie Murphy Elaine Myer Linda Orrante and James Nordin Carol and John Oster Frank Pajerski Harriet Prato Evelyn and Otto Raabe Lawrence and Celia Rabinowitz J. and K. Redenbaugh C. Rocke Tracy Rodgers and Richard Budenz Heather and Jeep Roemer Tom and Joan Sallee Dwight E. and Donna L. Sanders Michael and Elizabeth Singer William and Jeannie Spangler Howard J. Spero and Charlene Sailer Elizabeth St. Goar Sherman and Hannah Stein Jan Stevens and Carole Cory Karen and Edward Street* Eric and Patricia Stromberg* Tony and Beth Tanke Captane and Helen Thomson Roseanna Toretto* Henry and Lynda Trowbridge* Helen and Robert Twiss Debbie and Stephen WadsworthMadeiros Louise Walker and Larry Walker Steven and Andrea Weiss Kandi Williams and Dr. Frank Jahnke Ardath Wood Paul Wyman Gayle K. Yamada and David H. Hosley Lynn and Karl Zender And 2 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

$300 - $599

Jose and Elizabeth Abad Mitzi Aguirre Ralph and Teresa Aldredge Thomas and Patricia Allen Elinor Anklin and George Harsch Beverly and Clay Ballard Cynthia Bates Paul and Linda Baumann Carol L. Benedetti Philip Bettens Bob and Diane Biggs Al Patrick and Pat Bissell Clyde and Ruth Bowman Elizabeth Bradford Dr. Margaret Burns and Dr. Roy W. Bellhorn Victor W. Burns Jackie Caplan Michael and Louise Caplan Bruce and Mary Alice Carswell* Amy Chen and Raj Amirtharajah Betty M. Clark Charles and Mary Anne Charles Cooper James Cothern David and Judy Covin Robert D. and Nancy Nesbit Crummey Kim Uyen Dao* Larry Dashiell and Peggy Siddons Dolores Dautherty Anne E. Duffey John and Pamela Eisele Janet Feil David and Kerstin Feldman Helen Ford Lisa Foster and Tom Graham Jennifer D. Franz Edwin and Sevgi Friedrich* Jeffrey and Marsha Gibeling Marvin and Joyce Goldman June and Paul Gulyassy, M.D. Darrow and Gwen Haagensen Sharon and Don Hallberg Robin Hansen and Gordon Ulrey Marylee Hardie David and Donna Harris Mary A. Helmich Roy and Diane Henrickson Jeannette E Higgs Kenneth and Rita Hoots* Steve and Nancy Hopkins Mun Johl Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung David Kalb and Nancy Gelbard Patricia Kelleher* Peter G. Kenner Ruth A Kinsella* Joseph Kiskis and Diana Vodrey Peter Klavins and Susan Kauzlarich Paul Kramer Carol Ledbetter Mr. and Mrs. Levin Barbara Levine Mel and Rita Libman Robert and Betty Liu The Lufburrow Family Jeffrey and Helen Ma Bunkie Mangum Pam Marrone and Mick Rogers Catherine McGuire Roland and Marilyn Meyer Alison L. Morr Beverly J. Myers, MD William and Nancy Myers Bruno Nachtergaele and Marijke Devos Bill and Anna Rita Neuman Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker John and Deborah Poulos

John and Alice Provost Lawrence and Norma Rappaport Rhonda Reed and Ken Gebhart Elizabeth and Eugene Renkin Judy and David Reuben* Sharon and Elliott Rose* Jane Rosenberg and Steve Deas Barbara and Dr. Alan Roth Bob and Tamra Ruxin Howard and Eileen Sarasohn John and Joyce Schaeuble Robert and Ruth Shumway James Smith Judith Smith Robert Snider Al and Sandy Sokolow Tim and Julie Stephens Judith and Richard Stern Pieter Stroeve, Diane Barrett and Jodie Stroeve Yayoi Takamura and Jeff Erhardt Virginia and Butch Thresh Dennis and Judy Tsuboi Robert Vassar Andy and Judy Warburg Rita Waterman Jack and Rita Weiss Charles White and Carrie Schucker Jim and Genia Willett Richard and Sally Yamaichi Iris Yang and G. Richard Brown Wesley and Janet Yates Ronald M. Yoshiyama Drs. Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous

MAINSTAGE CIRCLE

$100 - $299

Leal Abbott Mary Aften Susan Ahlquist David and Penny Anderson Val Anderson Chris Armanini Maria Balakshin George and Irma Baldwin Charlotte Ballard and Robert Zeff Diane and Charlie Bamforth* Elizabeth Banks Carole Barnes Lynn Baysinger* Malcolm Becker Marion S. Becker Merry Benard William and Marie Benisek Jane D. Bennett Linda and William Bernheim Bevowitz Family Boyd and Lucille Bevington Dr. Robert and Sheila Beyer Joan and Roy Bibbens* John and Katy Bill Terry Sandbek* and Sharon Billings* Sam and Caroline Bledsoe Fred and Mary Bliss Bill Bossart Brooke Bourland* Jill and Mary Bowers C and B Brandow Alf and Kristin Brandt Robert and Maxine Braude Dan and Mildred Braunstein* Elizabeth and Alan Brownstein Mike and Marian Burnham William and Karolee Bush Robert and Elizabeth Bushnell Joan and Edward Callaway Peter and Lorraine Camarco Lita Campbell* Jean Canary John and Nancy Capitanio William and Pauline Caple James and Patty Carey

Mike and Susan Carl Anne and Garry Carlson* Jan Carmikle Carolyn Chamberlain John and Joan Chambers* Dorothy Chikasawa* Richard and Arden Christian Gail Clark L. Edward and Jacqueline Clemens Linda Clevenger and Seth Brunner James and Linda Cline Stephan Cohen Stuart and Denise Cohen Sheri and Ron Cole Harold and Marjorie Collins Steve and Janet Collins Patricia Conrad Terry D. Cook Nicholas and Khin Cornes Fred and Ann Costello Cathy and Jon Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan John and Joanne Daniels Nita A. Davidson Relly Davidson Judy and David Day Lynne de Bie* Robert Diamond Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini* Marjean DuPree James Eastman Scarlet and Harvey Edber Eliane Eisner Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Lynette Ertel* Joy Fabiano Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Richard D. Farshler Cheryl Felsch Liz and Tim Fenton* Dave Firenze Kiernan and Marty Fitzpatrick David and Donna Fletcher Robert Fowles and Linda Parzych Louis Fox and Marnelle Gleason* Marion Franck and Bob Lew Anthony and Jorgina Freese Joel Friedman Larry Friedman and Susan Orton Kerim and Josie Friedrich Joan M Futscher Myra Gable Anne Garbeff* Peggy Gerick Gerald Gibbons and Sibilla Hershey Barbara Gladfelter Eleanor Glassburner Susan Goldstein Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart S Goodrich and M Martin Jeffrey and Sandra Granett Steve and Jacqueline Gray* Paul and Carol Grench Alex and Marilyn Groth Wesley and Ida Hackett* Jane and Jim Hagedorn Frank Hamilton William and Sherry Hamre Pat and Mike Handley Laurie and Jim Hanschu Robert and Susan Hansen Vera Harris Sally Harvey* Miriam and Roy Hatamiya Mary and Rand Herbert Larry and Elizabeth Hill Bette Hinton and Robert Caulk

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THE ART OF GIVING Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Michael and Margaret Hoffman Jeff Holcomb Herb and Jan Hoover David and Gail Hulse Lorraine Hwang Dr. and Mrs. Ralph B. Hwang Marta Induni Marion Jazwinski* Dr. and Mrs. Ronald C. Jensen Karen Jetter Jane and John Johnson* Michelle Johnston and Scott Arranto Warren and Donna Johnston Valerie Jones Jonsson Family Andrew and Merry Joslin James Anthony Joye Martin and JoAnn Joye* Fred and Selma Kapatkin Tim and Shari Karpin Jean and Steve Karr Yasuo Kawamura Phyllis and Scott Keilholtz* Charles Kelso and Mary Reed Michael Kent and Karl Jadney Robert and Cathryn Kerr Leonard Keyes Jeannette Kieffer Larry Kimble and Louise Bettner Kathryn and Leonard Goldberg Robert Kingsley and Melissa Thorme Dr. and Mrs. Roger Kingston Dorothy Klishevich John and Mary L. Klisiewicz* Jeannine Kouns Alan and Sandra Kreeger Marcia and Kurt Kreith Sandra Kristensen Lorenzo Kristov and Robin Kozloff Elizabeth and C.R. Kuehner Leslie Kurtz Cecilia Kwan Ray and Marianne Kyono

Kit and Bonnie Lam* Marsha M. Lang Anne Lawrence Leon E. Laymon Peggy Leander* Charlie and Joan Learned Marceline Lee and Philip Smith The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn A. Lewis Mary Ann and Ernest Lewis* Barbara Linderholm* Motoko Lobue Mary Lowry Henry Luckie Michael Luszczak Ariane Lyons Edward and Susan MacDonald Karen Majewski Alice Mak and Wesley Kennedy Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer Joseph and Mary Alice Marino David and Martha Marsh Dr. Carol Marshall J. A. Martin Vel Matthews Leslie Maulhardt Katherine Mawdsley* Harry and Karen McCluskey* Douglas McColm and Delores McColm Nora McGuinness* Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry DeAna Melilli Barry Melton and Barbara Langer The Merchant Family Fred and Linda Meyers* Beryl Michaels and John Bach Leslie Michaels and Susan Katt Lisa Miller

CORPORATE MATCHING GIFTS

Johnson Controls Foundation

We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.

ARTISTIC VENTURES FUND

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.

James H. Bigelow Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef

Sue and Rex Miller Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Irene Montgomery* Elaine and Ken Moody Amy Moore Marcie Mortensson Christopher Motley The Muller Family Terence and Judith Murphy Guity Myers* Margaret Neu* Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont* Keri Mistler and Dana Newell Nancy Nolte and James Little Marilyn Olmstead Dana K. Olson Jim and Sharon Oltjen Marvin O’Rear Jessie Ann Owens and Anne Hoffmann Bob and Elizabeth Owens Mike and Carlene Ozonoff* Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Niels Pedersen Henri and Dianne Pellissier* Mari Perla Ann Peterson and Marc Hoeschele Brenda Davis and Ed Phillips Pat B. Piper Jane Plocher Dr. Robert Poppenga and Amy Kapatkin Jeff and Marrilee Posner Jerry and Bernice Pressler Ed and Jane Rabin Jan and Anne-Louise Radimsky Olga Raveling Sandi Redenbach* Catherine Ann Reed Dr. and Mrs. James W. Reede Jr.

LEGACY CIRCLE

Francie F. Teitelbaum Julie A. Theriault, PA-C Brian Toole Robert and Victoria Tousignant Rich and Fay Traynham James E. Turner Nancy Ulrich* Ramon and Karen Urbano Ann-Caitlin Van Ph.D. Peter and Carolyn Van Hoecke Chris and Betsy Van Kessel Diana Varcados Bart and Barbara Vaughn* Merna and Don Villarejo Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Kim and James Waits Maxine Wakefield and William Reichert Carol Walden Vivian and Andrew Walker Walnut Creek Civic Arts League Valerie Boutin Ward Marny and Rick Wasserman Douglas West Kimberly West Martha S. West Robert and Leslie Westergaard* Edward and Susan Wheeler Jane Williams Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Phillip and Iva Yoshimura Verena Leu Young* Melanie and Medardo Zavala Darrel and Phyllis Zerger* Dr.Mark and Wendy Zlotlow And 48 who prefer to remain anonymous

PATRON LOYALTY INITIATIVE

Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.

We are grateful to the following donors who have made special gifts to the Mondavi Center’s Patron Loyalty Initiative. This project will provide MC leadership and staff with an important set of tools and analyses to assist our efforts to build the loyalty and commitment of our wonderful base of donors and subscribers.

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 Robert and Barbara Leidigh 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

Ralph & Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Anne Gray Garry Maisel

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 Development (530.754.5415 or djarmstrong@ucdavis. edu ).

Donor Listing as of 12/1/2014. We appreciate your support!

We apologize if we listed your name incorrectly.

Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.

44 MONDAVIARTS .ORG

Mrs. John Reese, Jr. Fred and Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Francis E. Resta Ralph and Judy Riggs* Dr. Ronald and Sara Ringen Jeannette and David Robertson Ronald and Morgan Rogers Richard and Alice Rollins Richard and Evelyne Rominger Teddy Wilson and Linda Roth Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Raymond Salomon Beverly “Babs” Sandeen and Marty Swingle Mark and Ita Sanders* Elia and Glenn Sanjume Polly and Fred Schack Leon Schimmel and Annette Cody Julie Schmidt* Janis J. Schroeder and Carrie L. Markel Bee Happy Apiaries Jenifer and Bob Segar Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Edward Shields and Valerie Brown Consuelo Sichon Jo Anne Silber Dan and Charlene Simmons Marion E. Small Jean Snyder Ronald and Rosie Soohoo* Roger and Freda Sornsen Marguerite Spencer Janet L. Spliman Miriam Steinberg and Ben Glovinsky Harriet Steiner and Miles Stern Johanna Stek Raymond Stewart Deb and Jeff Stromberg Fred Taugher and Paula Higashi* Dr. Stewart and Ann Teal

Stephen Meyer & Mary Lou Flint Randy Reynoso & Martin Camsey Bill and Nancy Roe Joan and Tony Stone Joe and Betty Tupin

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

ARTS EDUCATION STUDENT TICKET PROGRAM

Donald and Dolores Chakerian *Members of The Friends of Mondavi Center

Carole Pirruccello, John and Eunice Davidson Fund Sharon and Elliott Rose

DANCE FOR PARKINSON’S PROGRAM

Dr. & Mrs. Lowell L. Ashbaugh In Memory of Robert (Bob) Browner Thomas and Lynda Cadman Hugh Griffin Madeleine Kenefick Melourd and Carlo Lagdamen Sunny and Phyllis Lee Jean Malamud Mia McClellan David and Connie McKie

Sybil Miyamoto Frances and James Morgan Maureen and Harvey Olander Ronald and Maureen Olsen Daria and Mark Stoner June Tanihana Karen Todd-Wilson Larry Von Kaenel Leo Warmolts Sam and Lynne Wells

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.

14–15 ADVISORY BOARD MEMBERS Joe Tupin, Chair • Patti Donlon • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry Maisel • Sean McMahon • Stephen Meyer • Randy Reynoso • Grace Rosenquist • John Rosenquist • Joan Stone • Tony Stone • Larry Vanderhoef • Carol Wall HONORARY MEMBERS Barbara K. Jackson • Margrit Mondavi

EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Francie Lawyer, President, Friends of Mondavi Center • 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

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.

14–15 COMMITTEE MEMBERS Sharon Knox, Chair • Marta Altisent • Lauren Brink • Catherine Dao Nguyen • Jim Forkin • Jeremy Ganter • Carol Hess • Charles Hunt • Ian Koebner • Cameron Mazza • Eleanor McAuliffe • Kyle Monhollen • Gabrielle Nevitt • Erin Palmer • Erica Perez • Susan Perez • Don Roth • Burkhard Schipper • Rob Tocalino

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.

14–15 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Francie Lawyer, President Sandi Redenbach, Vice President Jo Ann Joye, Secretary Lydia Baskin, School Matinee Support Judy Fleenor, Mondavi Center Tours Karen Street, School Outreach Wendy Chason, Friends Events Kathy Bers, Membership Joyce Donaldson, Chancellor’s Designee, Ex-Officio Shirley Auman, Gift Shop, Ex-Officio

of Mondavi Center is an active donor-based volunteer organization that supports activities of Mondavi Center’s presenting program.

Membership in the Friends of Mondavi Center is open to all Mondavi Center annual fund donors. As a donor based volunteer organization, the mission of the Friends is to assist the presenting program with education, outreach, fundraising, and audience development. Primary to this mission is raising funds for over 1800 K-12 students each year to attend a Mondavi Center School Matinee. Friends also staff and manage the Gift Shop and Tours program, and provide free classroom talks prior to school matinees.

PLEASE CONTACT JENN MAST AT 530-754-5431 OR JMMAST@UCDAVIS.EDU FOR INFORMATION ON JOINING THESE EXTRAORDINARY, ARTS-LOVING MONDAVI CENTER PATRONS.

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POLICIES & INFORMATION TICKET EXCHANGE • Tickets must be exchanged at least one business day prior to the performance.

• Tickets may not be exchanged after the performance date.

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

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

• Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season. Balances may not be transferred between accounts.

• All exchanges subject to availability.

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

• No refunds.

• Prices subject to change.

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.

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

Please call 530.754.2787 or 866.754.2787.

STUDENT TICKETS UC Davis students are eligible for a 50% discount on all available tickets.

Proof Requirements: School ID showing validity for the current academic year.

Student ID numbers may also be used to verify enrollment.

Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on all available tickets. (Continuing education enrollees are not eligible.)

46 MONDAVIARTS .ORG

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 (AGE 17 AND UNDER) A ticket is required for admission of all patrons regardless of age. Any child attending a performance should be able to sit quietly through the performance. For events other than the Children’s Stage Series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend.

PRIVACY POLICY The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently.

We sometimes share names and addresses with other not-for-profit arts organizations.

If you do not wish to be included in our email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.

TOURS 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.

ACCOMMODATIONS FOR PATRONS WITH DISABILITIES The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements. Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances.

Requests for sign language interpreting, real-time captioning, Braille programs

and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests.

Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

OPERA GLASSES Opera glasses 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.

We’re proud to salute Mondavi Center for the Performing Arts.

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