Program
Western Health Advantage
season of performing arts
Jan–Feb 2016 Dave Douglas Quintet
featuring Jon Irabagon, Fabian Almazan, Linda Oh and Rudy Royston
FEB 19
WELCOME
A MESSAGE FROM THE CHANCELLOR The modern university experience should inspire both the intellect and the heart, and at UC Davis we are blessed with many such places that do each exceedingly well. At the top of the list must surely be our Robert and Margrit Mondavi Center for the Performing Arts, which for the past decade has been a beacon of outstanding entertainment and culture for UC Davis and the greater Sacramento region. Looking through the schedule for the upcoming season, you will find a rich array of artists and performances to choose from. The eclectic
LINDA P.B. KATEHI
UC DAVIS CHANCELLOR
range of entertainers who come through our campus to perform at the Mondavi are some of the most dynamic and exciting artists anywhere, from ground-breaking comedians to classical opera, much-loved writers, vocalists and more.
I know firsthand that your experience at
No matter what appeals to you, there are shows at the Mondavi Center in the upcoming season that will delight, inspire and captivate you and your families and friends. My husband and I make it a point to attend as many
the Mondavi will be
Mondavi Center events as possible and we hope to see you there during
highly rewarding
the 2015–16 season. Whether this is your first time visiting the center or
and memorable.
be highly rewarding and memorable.
you are coming back for more, I know firsthand that your experience will
Thank you for supporting the performing arts on our campus. Enjoy the show and please come back for more!
encoreartsprograms.com 3
SPONSORS SEASON SPONSOR
MONDAVI CENTER STAFF Don Roth, Ph.D.
EXECUTIVE DIRECTOR
Jeremy Ganter
ASSOCIATE EXECUTIVE DIRECTOR
Liz King
EXECUTIVE ASSISTANT
CORPORATE PARTNERS PLATINUM
Jenna Bell
ARTIST SERVICES MANAGER
ASSISTANT PRODUCTION MANAGER
Christi-Anne Sokolewicz Christopher C. Oca
DIRECTOR OF DEVELOPMENT
Liz King
EXECUTIVE ASSISTANT
MARKETING Rob Tocalino
DIRECTOR OF MARKETING
Dana Werdmuller
MARKETING MANAGER
Erin Kelley
ART DIRECTOR/SENIOR DESIGNER
Chloe Fox
DIGITAL MARKETING SPECIALIST
TICKET OFFICE Sarah Herrera
TICKET OFFICE MANAGER
Susie Evon
EVENT SUPERVISOR AND GROUP SALES COORDINATOR
Jessica Miller
TICKET OFFICE SUPERVISOR
Russell St. Clair
MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS
Adrian Galindo
Marlene Freid
Nancy Petrisko
COPPER
ARTIST SERVICES
PRODUCTION MANAGER
Joyce Donaldson
DEVELOPMENT
BRONZE
Donna J. Flor
DIRECTOR OF OPERATIONS
SENIOR STAGE MANAGER, JACKSON HALL
ARTS EDUCATION COORDINATOR
OFFICE OF CAMPUS COMMUNITY RELATIONS
Herb Garman
AUDIENCE SERVICES
Jennifer Mast
SILVER
PRODUCTION
ARTS EDUCATION DIRECTOR OF ARTS EDUCATION
GOLD
OPERATIONS
TICKET AGENT
AUDIENCE SERVICES MANAGER
Yuri Rodriguez
PUBLIC EVENTS MANAGER
Natalia Deardorff
ASSISTANT PUBLIC EVENTS MANAGER
Dawn Kincade
ASSISTANT PUBLIC EVENTS MANAGER
Kerrilee Knights
SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE
David M. Moon
EVENTS COORDINATOR/ LIAISON TO UC DAVIS DEPARTMENTS
Phil van Hest
MASTER CARPENTER/RIGGER
Eric Richardson
MASTER ELECTRICIAN
ASSISTANT PUBLIC EVENTS MANAGER
Rodney Boon
Nancy Temple
Wai Kit Tam
ASSISTANT PUBLIC EVENTS MANAGER
HEAD USHERS Huguette Albrecht Ralph Clouse Eric Davis John Dixon George Edwards Donna Horgan Paul Kastner Jan Perez Steve Matista FACILITIES Ryan Thomas
BUILDING ENGINEER
HEAD AUDIO ENGINEER ASSISTANT ELECTRICIAN
Daniel Villegas
ASSISTANT AUDIO ENGINEER
PROGRAMMING Jeremy Ganter
DIRECTOR OF PROGRAMMING
Erin Palmer
ASSISTANT DIRECTOR OF PROGRAMMING
Ruth Rosenberg
ARTIST ENGAGEMENT COORDINATOR
Lara Downes
CURATOR, YOUNG ARTISTS PROGRAM
SUPPORT SERVICES Debbie Armstrong
MEMBERSHIP
SENIOR DIRECTOR OF SUPPORT SERVICES
Debbie Armstrong
Mandy Jarvis
SENIOR DIRECTOR OF MEMBERSHIP
Jill Pennington
MEMBERSHIP RELATIONS SPECIALIST
FINANCIAL ANALYST
Russ Postlethwaite
BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR
INFORMATION TECHNOLOGY Paul Altamira
APPLICATIONS ADMINISTRATOR & PCI COMPLIANCE COORDINATOR
SPECIAL THANKS API Global Transportation 4 MONDAVIART S.ORG
Ciocolat
IN THIS ISSU
A MESSAGE FROM THE EXECUTIVE DIRECTOR
DON ROTH, Ph.D. EXECUTIVE DIRECTOR
As many of you know, I am passionate about great film. In my time at the center, we have remained committed to complementing our live performance schedule with screenings of films, often lesser-known, that deserve wider attention.
In the current season, we are presenting four projects pairing remarkable films with live musical accompaniment. It’s a “mini”-series we call Film + Music, which takes advantage of the unique properties of the Mondavi Center: the magnificent acoustics of Jackson Hall, our high-definition projection system and an audience that is eager for new artistic experiences. We begin the series January 15 with one of the finest, most important films ever made: Carl Theodor Dreyer’s The Passion of Joan of Arc. This 1928 silent film has been paired with numerous scores, from the original by Leo Pouget and Victor Alix to more modern versions by American singer-songwriter Cat Power. We will screen the film with accompaniment from the British a cappela ensemble Orlando Consort. The group’s choice of vocal music by mostly French composers from Joan’s time is a particularly compelling and resonant pairing.
In the early days, organ accompaniment was common for silent feature films. While we do not have an organ of our own in Jackson Hall, we are lucky to have a friend in Cameron Carpenter, who has designed his own International Touring Organ in collaboration with Marshall & Ogletree. Cameron will bring the ITO to the Mondavi Center for the first time on February 10, playing an improvised score to The Cabinet of Dr. Caligari (widely recognized as the first horror film) as well as a short recital of organ repertoire from J.S. Bach. The final two features are not silent films, but rather wellknown favorites, both of which were recognized by the Academy of Motion Pictures and Sciences for their incredible music. Benoit Charest’s Oscar-nominated score inspired director Sylvan Chomet’s animation style for the infectious The Triplets of Belleville. Charet and his hand-assembled, ninepiece Orchestra Terrible will recreate that hot jazz-inspired music with a screening of this animated classic on March 4. Finally, John Williams’ score for E.T. the Extra-Terrestrial won one of four Oscars for the Steven Spielberg classic. In this case we will have none other than the San Francisco Symphony on hand to recreate some movie magic. It should be a powerful pairing, and a fine way to close out this series – but bring your tissues. This family favorite is still a tearjerker!
6 MONDAVIART S.ORG
ROBERT AND MARGRIT
MONDAVI CENTER FOR THE PERFORMING ARTS
8
The Okee Dokee Brothers
9
The Orlando Consort
12 Company Wayne McGregor 19 Yamato 22 Royal Philharmonic Orchestra 27 Cirque Alfonse 29 Matt Taibbi 30 Cameron Carpenter 32 Philharmonia Baroque Orchestra 40 Ms. Lisa Fischer & Grand Baton 42 Dave Douglas Quintet 46 Russian National Orchestra 52 Juan Siddi Flamenco Santa Fe 56 Story Pirates
BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance. • As a courtesy to others, please turn off all electronic devices. • If you have any hard candy, please unwrap it before the lights dim. • Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited. Violators are subject to removal. • Please look around and locate the emergency exit nearest you. That exit may be behind, to the side or in front of you and is indicated by a lighted green sign. In the unlikely event of a fire alarm or other emergency, please leave the building through that exit. • As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may be seated in an alternate seat upon readmission while the performance is in progress. Readmission is at the discretion of Management. • Assistive Listening Devices and binoculars are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.
January 2016 Volume 3, No. 3
AN EXCLUSIVE WINE TASTING EXPERIENCE OF THESE FEATURED WINERIES FOR INNER CIRCLE DONORS
Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Gwendolyn Fairbanks, Ann Manning Seattle Area Account Executives Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Brett Hamil Online Editor Jonathan Shipley Associate Online Editor Jonathan Shipley Ad Services Coordinator Carol Yip Sales Coordinator
Paul Heppner President Mike Hathaway Vice President Marty Griswold Director of Business & Community Development
Complimentary wine pours in the Bartholomew Room for Inner Circle Donors: 7–8PM and during intermission if scheduled.
SEPTEMBER 30 WED
Mavis Staples and Joan Osborne PRIEST RANCH
OCTOBER 7 WED
Orquesta Buena Vista Social Club BROMAN CELLARS
NOVEMBER 19 THU
Akram Khan Company MINER’S LEAP
DECEMBER 12 SAT
Reduced Shakespeare Company BUCHER WINERY
JANUARY 23 SAT
Royal Philharmonic Orchestra GAUTHIER SELECT VINEYARDS
FEBRUARY 20 SAT
Russian National Orchestra BOUCHAINE VINEYARDS
MARCH 30 WED
Patty Griffin with Sara Watkins & Anaïs Mitchell BOEGER WINERY
APRIL 25 MON
Aimee Mann & Billy Collins V. SATTUI WINERY
MAY 11 WED
Yo-Yo Ma, cello | Kathryn Stott, piano ROBERT MONDAVI WINERY
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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2016 Encore Media Group. Reproduction without written permission is prohibited.
®
For information about becoming an Inner Circle donor, please call 530.754.5438 or visit us online:
www.mondaviarts.org. encoreartsprograms.com 7
A Hallmark Inn, Davis Children’s Stage Series Event Sunday, January 10, 2016 • 3PM Jackson Hall
SPONSORED BY:
THE OKEE DOKEE BROTHERS
“[Through the Woods] is at times moving, at times raucous, and always rooted in a simultaneous respect for the natural world and the rich musical traditions of Appalachian mountain music.” — The Washington Post
8 MONDAVIART S.ORG
As childhood friends growing up in Denver, Colorado, Joe Mailander and Justin Lansing were always exploring the outdoors. Whether it was rafting down their neighborhood creek or discovering hiking trails through the Rocky Mountains, Mailander and Lansing were born adventurers. Now, as the Grammy Awardwinning Okee Dokee Brothers, they have put this passion for the outdoors at the heart of their Americana folk music. Mailander and Lansing record and perform family music with a goal to inspire children and their parents to get outside and get creative. They believe this can motivate kids
“[The Okee Dokee Brothers] remind us of the American belief that we’re bound for better weather. Their album [Can You Canoe?] celebrates everyday explorers, young and old, who rediscover that notion daily” — NPR’s All Things Considered
to gain a greater respect for the natural world, their communities and themselves. The three-time Parents’ Choice Award winners have garnered praise from the likes of NPR’s All Things Considered and USA Today, and have been called “two of family music’s best songwriters”. Their nationwide fan base is drawn to their witty lyrics, strong musicianship and unique folk style. By appealing to the musical needs of the entire family and recognizing that kids deserve quality music, The Okee Dokee Brothers are working fulltime to advance the family music genre.
Friday, January 15, 2016 • 8PM Jackson Hall Presented in partnership with the UC Davis Department of Music Additional funding provided by the Mondavi Center Artistic Ventures Fund
THE ORLANDO CONSORT Matthew Venner, countertenor Mark Dobell, tenor
THE ORLANDO CONSORT
Angus Smith, tenor Donald Greig, baritone with Robert Macdonald, bass The Passion of Joan of Arc (La Passion de Jeanne d’Arc) (1928) Originally exhibited in Denmark as Jeanne d’Arc’s Lidelse og Død (Joan of Arc’s Suffering and Death) Running time: 96 minutes
CREDITS Director Carl Theodor Dreyer Script Carl Theodor Dreyer Historical Adviser Pierre Champion Cinematography Rudolf Maté Art Directors Hermann Warm and Jean Hugo Costumes Valentine Hugo Assistant Directors Paul La Cour and Ralph Holm
CAST Jeanne Renée Maria Falconetti Pierre Cauchon Eugène Silvain Jean D’Estivet André Berley Nicolas Loyseleur Maurice Schutz Jean Massieu Antonin Artaud Jean Lemaître Gilbert Dalleu Guillaume Erard Jean d’Yd Jean Beaupère Louis Ravet
The Passion of Joan of Arc VOICES APPEARED: SOUND AND VISIONS by Donald Greig ‘Voices appeared’ is Jeanne d’Arc’s gnomic explanation of how angels were made manifest to her. It aptly describes the paradox of a silent movie that is essentially a courtroom drama about a woman inspired by the sound of voices. It is also the starting point for our project. In common with many other great works of art, when Carl Theodor Dreyer’s La Passion de Jeanne d’Arc was first released, its qualities weren’t immediately recognized. It opened in Copenhagen in April 1928, though it wasn’t until October in that same year that it received its second premiere in Paris, and that only after changes insisted upon by the French church. Across the channel in England it was banned for a year because of its depiction of the brutality of the English soldier, ironic given that their real treatment of Joan was considerably worse. Of the reviewers, only Mordaunt Hall, writing in The New York Times, focused on the things for which the film is now known – its startling visual style and the central performance: France can well be proud of ... The Passion of Jeanne d’Arc, for while Carl Dreyer, a Dane, is responsible for the conspicuously fine and
imaginative use of the camera, it is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement. An historical context informed Dreyer’s choice of Joan of Arc as his subject. She was canonised in 1920 and in 1925 Joseph Delteil published a flamboyant biography of the new saint, the rights to which Dreyer acquired. Ultimately, he set Delteil’s text aside and instead devoted himself to his more familiar approach – research. His main source was the transcripts of the trial, edited by Jules Quicherat in the 1840s, from which all of the film’s dialogue comes. This commitment to authenticity extended to the design, and a staggering one million of the seven-million franc budget was given over to building the set. The production designer, Hermann Warm, had worked on the German Expressionist classic, The Cabinet of Dr Caligari, but Dreyer eschewed grand vistas of medieval architecture and townscapes in favor of closeups and fast editing, reducing the art direction to mere details glimpsed in the background. The producers were not best pleased and one can only assume Warm was considerably more irked. Much has been written about Dreyer’s visual rhetoric. The anachronistic use of irises to mask the image, a refusal to adhere to the conventions of screen direction in encoreartsprograms.com 9
looks and movement (well-established since the first decade of the 20th century), the concentration on close-ups to the exclusion of comprehensible spatial logic, and the low camera positions produce paralysing claustrophobia and confusion. Maria Renée Falconetti’s appearance is counted as one of the great screen performances, but part of its power is due to an effect first noted by Kuleshov, the Russian film director, who demonstrated that the spectator’s reading of an actor’s emotion is contingent on the surrounding shots. Falconetti’s face here becomes a second screen onto which we project our own psychic discomfort, thereby doubling the heroine’s emotional state. Music, no less than montage, contains the same potential power to construct meaning. With this in mind our initial task was to determine the emotional point of each scene and second-guess Dreyer’s intentions. Here we followed the tried-and-tested method of matching music to image that continues today, where the director and composer ‘spot’ the film, i.e. decide where the music cues should begin and end and its function. Sometimes the music we chose has a secondary, tangential relation to the scene – textual, historical, liturgical; and we have certainly not eschewed the more obvious clichés of film music – Mickey-Mousing as it is pejoratively known – where a dynamic or rhythmic motif coincides with specific action. But our guiding principle is that at all times the performance should serve and ultimately illuminate this extraordinary film. Exactly what kind of music Dreyer wanted to accompany screenings of La Passion de Jeanne d’Arc is unknown but the notion that he wanted his music to be appreciated in chaste silence is an exaggeration. He made the comment to Eileen Bowers, film curator of the Museum of Modern Art in New York City, and qualified it: he wasn’t happy with the scores that he had thus far heard. One only has to look at his next project, Vampyr (1932), a very different film in many ways (not least because it was the first time he worked with sound) to note a preference for a throughcomposed score. As the director, he would have had little control over the exhibition of his film, nor did he have any hand in the two scores written for its premieres. His thoughts about the 1951 version, cobbled together by Giuseppe Maria Lo Duca with music by J. S. Bach and Scarlatti amongst others, are well documented. Aside from what the film historian did to the careful compositions (the added sound strip involved cropping the image), Dreyer’s objections were 10 MONDAVIART S.ORG
twofold: firstly, the music was from the wrong era; secondly, the dynamic of the music was an ill-fitting fortissimo. A further criticism levelled by others at the Lo Duca version was that in using religious music the soundtrack misrepresented the anti-clerical argument of the film, yet this point was never made by Dreyer, and with good reason: Joan’s own faith is never in doubt and Dreyer himself argued that the priests were not so much hypocrites as misguided zealots. Hopefully our approach answers those specific points and might even have met with Dreyer’s approval. Certainly Dreyer makes the would-be composer’s task difficult. With no establishing shots at all - obvious moments for musical cues - and an almost schizophrenic alternation between rapid cutting (the film has 1,500 cuts in its 96 minutes) and still contemplation, most notably of Falconetti’s face, the rhythm of the film poses specific problems. All of which makes our choice of pre-existing music surprisingly appropriate. The tactus (beat) of this music remains broadly organic, as opposed to the enslaved cueing of modern scores (where computers dictate metronome speeds measured to the second decimal place). Our response echoes the practice of original silent-film accompaniment, though in place of a conductor we have an onscreen guide track. Ultimately, though, the film is the emotional prompt and the fluid flexibility of ensemble singing governs our performance. All of the music you will hear comes from the early years of the 15th century, the period of Joan’s brief life, though whether Joan herself would ever have heard it is an unanswerable question. Charles VII, her king, was so short of money that he could no longer afford his own travelling choir (given such circumstances it is hardly surprising that so many French-born composers took up offers of employment in Italy), whereas Philip the Good, Duke of Burgundy, was patron to Dufay and Binchois, and the Regent of France, the Duke of Bedford, was patron to John Dunstable. It seems likely that Joan would have encountered at least some of the repertoire. An assiduous attendee of Mass, her travels took her to many large towns and cities, like Orléans, Troyes and Blois, all of which had choral foundations of one sort or another. The early 15th century was a transitional period for polyphonic music. The earlier style is rooted in the 14th century represented here by Richard Loqueville’s Sanctus (used in the scene in the torture room) and Billart’s Salve Virgo virginum (for the final hectic crowd scenes). Parallel fifths, fourths and
octaves abound, as do the characteristic stark sixth-to-octave cadences. What will most strike the listener is the rhythmic interest and virtuosic flair in the upper parts which contrasts with the stolid plainchant in the accompanying voices. The later, more melodic style is evinced, not surprisingly, in the secular chansons – Dufay’s Je me complains (for which we have substituted words from the contemporary chronicler Christine de Pizan’s La Ditié de Jeanne d’Arc, written a year before Joan’s capture) and Gautier Libert’s haunting De Tristesse. Several other pieces display this sweeter, more consonant approach, such as Johannes De Lymburgia’s Descendi in hortum meum, and several instances of fauxbourdon – an improvised system of parallel first-inversion chords – which display a fondness for thirds and sixths characteristic of English music. For though England, France and Burgundy were almost constantly at war with each other, musical influence paid no heed to territorial boundaries. Indeed the English style, represented here by the Agincourt Carol and the anonymous O Redemptor, initiated the very transition from the earlier to the later styles. It was described by Martin Le Franc as the Contenance Angloise in his Le Champion des Dames, a work dedicated to Philip the Good, Duke of Burgundy, which elsewhere in its 24,000 verses made daring reference to Jeanne d’Arc, whom Philip had sold to the English. A final note on the performance of the music. It is now generally accepted that all of the music you will hear was performed by voices alone, even where it is untexted. Whatever one’s position on this musicological issue, the more intimate medium of five unaccompanied voices is particularly appropriate to the portrayal of a woman whose divine inspiration came in the form of the voices of St. Michael, St. Catherine and St. Margaret. For a scene-by-scene guide to the music to be performed, go to the event page on mondaviarts.org or visit www. orlandoconsort.com/scenebreakdown.htm
THE ORLANDO CONSORT New 2016 shows announced! THE ORLANDO CONSORT Formed in 1988 by the Early Music Network of Great Britain, the Orlando Consort rapidly achieved a reputation as one of Europe’s most expert and consistently challenging groups performing repertoire from the years 1050 to 1550. Their work successfully combines captivating entertainment and fresh scholarly insight; the unique imagination and originality of their programming together with their superb vocal skills has marked the Consort out as the outstanding leaders of their field. The Consort has performed at many of Britain’s top festivals (including the BBC Proms and the Edinburgh International Festival) and has in recent years made visits to France, the Netherlands, Belgium, Germany, Italy, Sweden, Poland, the Czech Republic, Estonia, the USA and Canada, South America, Singapore, Japan, Greece, Russia, Austria, Slovenia, Portugal and Spain. The Consort’s impressive discography for Saydisc, Metronome, Linn, Deutsche Grammophon and Harmonia Mundi USA includes a collection of music by John Dunstaple and The Call of the Phoenix, which were selected as Early Music CDs of the Year by Gramophone magazine in 1996 and 2003 respectively; their CDs of music by Compère, Machaut, Ockeghem, Josquin, Popes and Anti-Popes, Saracen and Dove and Passion have also all been short-listed. Their 2008 release of Machaut’s Messe de Notre Dame and Scattered Rhymes, an outstanding new work by the young British composer Tarik O’Regan and featuring the Estonian Philharmonic Chamber Choir, was short-listed for a BBC Music Magazine Award. The Dart of Love (January 2015) is their second recording in a series for Hyperion exploring the polyphonic songs of Guillaume de Machaut; the first release (Le Voir Dit) was selected by The New York Times critics as one of their favourite classical CD releases of 2013. The Consort’s performances also embrace the spheres of contemporary music and improvisation: to date they have performed over 30 world premières and they have created striking collaborations with the jazz group Perfect Houseplants and, for a project exploring historic Portuguese and Goan music, the brilliant tabla player Kuljit Bhamra. The Consort currently holds a residency at Nottingham University and recent concert highlights include their debut at New York’s Carnegie Hall. As well as presenting the ‘Voices Appeared’ project throughout 2015 and 2016, the Consort will be maintaining its busy schedule of recitals throughout the UK, Europe and the USA.
ADDED!
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e No On Sal
Indigo Girls
SUN, FEB 21 • 7PM
Indie folk rockers Emily Saliers and Amy Ray have spent 35 years performing together, producing 16 albums, earning seven Grammy nominations and one win for Best Contemporary Folk Album.
An Evening with Lyle Lovett & Robert Earl Keen FRI, MAR 25 • 8PM
Two of music’s most vibrant and iconic singer-songwriters rekindle shared memories while swapping songs on acoustic guitars and treating the audience to decades of music and friendship that all began in West Texas more than 30 years ago.
Circa
Beyond SUN, APR 17 • 3PM WED–SAT, APR 20–23 • 8PM Founded in 2006, Australia’s CIRCA offers a bold new vision of contemporary circus; a place where acrobatics and movement meld into a seamless whole. A celebration of the expressive possibilities of the human body at its extremes, Beyond is warm, surreal and unexpectedly moving.
Patricia Racette
Diva on Detour WED, MAY 8 • 8PM
LIMITED AVAILABILITY
Buy early for best seats!
Recognized around the world as one of today’s greatest opera sopranos, Patricia Racette got her start in cabaret. With the release of her first cabaret album, Diva on Detour, she brings her career full circle with an intimate evening of songs by Stephen Sondheim, Cole Porter, George Gershwin and Edith Piaf.
Tickets and more: mondaviarts.org encoreartsprograms.com 11
COMPANY WAYNE McGREGOR
Atomos
A Dance Series Event Wednesday, January 20, 2016 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY
Joe and Betty Tupin
ATOMOS
Concept, Direction and Set Wayne McGregor Choreography Wayne McGregor in collaboration with the dancers Music A Winged Victory For The Sullen Lighting Design Lucy Carter Film and Set Photography Ravi Deepres
Atomos is approximately 65 minutes in length with no intermission. Please wear the 3D glasses provided during the middle part of the performance while the screens are visible onstage.
Question & Answer Session following the performance moderated by Ruth Rosenberg, Artist Engagement Coordinator for the Mondavi Center, UC Davis 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.
12 MONDAVIART S.ORG
Costume Design Studio XO
DANCERS Catarina Carvalho Travis Clausen-Knight Alvaro Dule Dane Hurst* Louis McMiller Mbulelo Ndabeni* Daniela Neugebauer Anna Nowak James Pett Fukiko Takase* Jessica Wright Associate Director/Rehearsal Director Odette Hughes Rehearsal Assistant Catarina Carvalho Technical Director Christopher Charles Technical Manager Colin Everitt Production Electrician/Relighter Ashley Bolitho
Thanks to: Rosco, Production Resource Group UK Ltd. Atomos is co-produced by Sadler’s Wells, London, UK; Peak Performances @ Montclair State University, New Jersey, USA; Movimentos Festwochen der Autostadt in Wolfsburg, Germany; Festival Montpellier Danse 2014. Atomos is co-commissioned by Fondazione I Teatri, Reggio Emilia, Italy; Trinity Laban Conservatoire of Music and Dance, London, UK. Atomos is supported by The Idlewild Trust. Studio Wayne McGregor is supported by Arts Council England and is Resident Company of Sadler’s Wells, London. Wayne McGregor CBE is the Resident Choreographer of The Royal Ballet, Covent Garden. *Dane Hurst will be featured in this performance in place of Mbulelo Ndabeni. Fukiko Takase will not be performing due to injury.
COMPANY WAYNE McGREGOR ATOMOS
Atomising bodies, movement, film, sound and light into miniature shards of intense sensation, Atomos is a work by cuttingedge contemporary choreographer Wayne McGregor. Known for his unique, tenacious questioning across the interface of art and science and through the body and mind, McGregor has remained at the forefront of contemporary arts for the past 20 years. Ten incredible dancers perform McGregor’s unique style - sculptural, rigorous, jarring and hauntingly beautiful. He is accompanied by a team of sensational artists including longtime collaborators lighting designer Lucy Carter and filmmaker Ravi Deepres, along with costumes by the ground-breaking designers of wearable technologies, Studio XO. Neo-classical ambient composers A Winged Victory For The Sullen provide the soaring score. Company Wayne McGregor is a Resident Company of Sadler’s Wells and winner of the South Bank Show Award for Dance, The International Theatre Institute’s Award for Excellence in International Dance, The Movimentos Award and the Critics’ Circle Award.
lives, their minds and their movements, as a necessity. Think for a moment about what you know that is not a part of a relation to other people. Then think about your own body and who and what have grown it, made it real and present. Sensors now trace and track the responses each body has to others and make data of what we feel in another’s presence. The deep experience of these constitutive others in one’s very experience of space and life is perhaps the material of the art.
As with many of Wayne McGregor’s works, Atomos has an innovation built into its creation process. In this case, the dancers worked with the presence of an artificially intelligent, life size, digitally rendered ‘body’ in the studio. This body mimics the growth and movement that makes bodies, well, bodies. It is compelling to be with - kinaesthetically compelling, not just aesthetically. You see, Wayne McGregor has long been concerned to explore the edges of what it is to be
2015–2016
Campus Community Book Project
The Divide:
American Injustice in the Age of the Wealth Gap By Matt Taibbi
PROGRAM NOTES by James Leach
WHAT IS A BODY? What are the irreducible elements of the human? What are the atoms that together make humanity present? Awareness of others, empathy, memories of our entwined lives, the obligations and connections that emerge as part of the relations between us? And then what is a body, a human body, other than the site and possibility of these relations? We feel bodies. They have presence. Their stance, position, intention, emotion, desire, reach, shame, passion, expansion and contraction are recognisable and compelling because this movement, this life, is already part of the common shared space. The only way the self is known and experienced is with others, as presences or absences. The material that the company creates has this quality. Wayne McGregor manipulates and organises, challenges and plays with the edges of what we know about bodies as human entities. Here is a manipulation of something that is about what it is to be constituted in and by the social presences of others. Bodies do not and cannot finish at the skin because they reach into others’
Author's Visit
8 PM, February 3, 2016 Mondavi Center for the Performing Arts For a complete list of related CCBP program events, please visit occr.ucdavis.edu/ccbp2015/index.html. To purchase tickets, visit www.mondaviarts.org or call 530-754-2787.
encoreartsprograms.com 13
COMPANY WAYNE McGREGOR with another body, what is elicited by the presence of other bodies, and how they affect movement, change and emotion in us. By introducing an entity that elicits response without being human, mimicking some aspects of the human without representing a human form, his company has been able to discover (more) of what the intelligences and understandings are that bodies have of others’ presences; what elements they have, what atoms might be combined and recombined to make a dance. Wayne McGregor offers an exploration of the intelligence of the body. With his dancers he explores the body in its ability to elicit response, to feel and know, to move and be moved, with and around others. What speaks to us is a recognition of our own thinking, presence, effect and humanity, organized in ways that ask questions of that inner knowing, of our body as human movement. McGregor insists the body is fascinating. He insists it is intelligent. It thinks, solves, makes and creates. He strives to recognize and organize this intelligence – an intelligence that is in and between the dancers, emergent from the relation not the individual. His work both reveals and challenges our sense of what it is to be a human with others, a body that is always there in its concern with, constitution by, and presence among our own and other kinds. Thinking is also movement. James Leach is a social anthropologist who works in Papua New Guinea, and more recently, with Studio Wayne McGregor on the Arts and Humanities Research Council funded project ‘Enhancing Choreographic Objects’. He is Professor and Australian Research Council Future Fellow at the University of Western Australia.
COMPANY WAYNE McGREGOR Company Wayne McGregor was founded in 1992 and became the instrument upon which McGregor evolved his drastically fast and articulate choreographic style. The company became a byword for his radical approach to new technology – incorporating animation, digital film, 3D architecture, electronic sound and virtual dancers into the live choreography. In Nemesis (2002), dancers duelled with prosthetic steel arm extensions to a soundtrack incorporating mobile phone conversations; in AtaXia (2004), McGregor’s fellowship with the Experimental Psychology department of Cambridge University fuelled the choreography; in Entity (2008), choreographic agents were imagined to a soundscape created by Coldplay collaborator Jon Hopkins and Joby Talbot. FAR (2010) saw 14 MONDAVIART S.ORG
cutting edge design (Random International) fused with choreography mined from a radical cognitive research process; and in UNDANCE (2011), Eadweard Muybridge’s pursuits of movement were brought to life on the stage in a tripartite collaboration with Mark-Anthony Turnage and Mark Wallinger. Biometric data and an artificially intelligent “11th dancer” informed the creation of Atomos (2013), while a decade of collaborative research into creativity and dance-making was exhibited in Thinking with the Body – Mind and Movement in the work of Wayne McGregor | Random Dance at London’s Wellcome Collection in 2013. Company Wayne McGregor is Resident Company of Sadler’s Wells, London. Wayne McGregor is Resident Choreographer of The Royal Ballet. In January 2011, McGregor was awarded a CBE (Commander of the Order of the British Empire) for Services to Dance. www.waynemcgregor.com @WayneMcGregor www.facebook.com/WMRandomDance
WAYNE McGREGOR
DIRECTOR AND CHOREOGRAPHER Wayne McGregor is a multi-awardwinning British choreographer and director, internationally renowned for his collaborations across dance, film, music, visual art, technology and science. He is Artistic Director of Studio Wayne McGregor and Resident Choreographer of The Royal Ballet. He is Professor of Choreography at Trinity Laban Conservatoire of Music and Dance and has an Honorary Doctor of Science degree from Plymouth University. McGregor has created new works for Paris Opera Ballet, San Francisco Ballet, Stuttgart Ballet, New York City Ballet, Australian Ballet, Zurich Ballet, English National Ballet, NDT1 and Rambert Dance Company among others. His works are also in the repertories of the leading ballet companies in the world including the Bolshoi, Royal Danish Ballet, National Ballet of Canada, Boston Ballet, Joffrey Ballet, Alvin Ailey American Dance Theater and Mariinsky Ballet. Most recently he premiered Tree of Codes for Company Wayne McGregor, Woolf Works for The Royal Ballet, Kairos for Zurich Ballet, and presented Thinking with the Body at Wellcome Collection, an exhibition exploring his collaborative enquiry into choreographic thinking. McGregor’s work has earned him three Critics’ Circle Awards, two Time Out Awards, two South Bank Show Awards, two Olivier Awards, a prix Benois de la Danse and a Critics’
Prize at the Golden Mask Awards. In 2011, McGregor was awarded a CBE (Commander of the Most Excellent Order of the British Empire) for Services to Dance.
A WINGED VICTORY FOR THE SULLEN
MUSIC
A Winged Victory For The Sullen is the collaboration between Stars Of The Lid founder, Adam Bryanbaum Wiltzie, and Los Angeles composer, Dustin O’Halloran. On May 24, 2007, in Bologna, Italy, Wiltzie was on tour and playing with the late Mark Linkous and Sparklehorse, on what would be their final European tour. That night Wiltzie invited friend and colleague Francesco Donadello to see the concert, and Donadello’s guest this evening was composer Dustin O’Halloran. Through a strange twist of backstage conversations, a curious friendship began that now has brought forth an offspring of truly curative compositions for the world to savour. The duo agreed to leave the comfort zone of their home studios and develop the recordings with the help of large acoustic spaces, including the famed Grunewald Church in Berlin and the historic East Berlin DDR radio studios along the River Spree. The final result was seven landscapes of harmonic imagination. Since 2011, they have toured the world playing almost 100 concerts, and last year they caught the ear of Wayne McGregor. McGregor used the music as warm up for his Random dancers, realizing they were the perfect fit to fill the musical side of Atomos.
LUCY CARTER
LIGHTING DESIGN Lucy Carter’s many collaborations with Wayne McGregor include: UNDANCE, FAR, Dyad 1909, Entity, Amu, AtaXia, Nemesis, Digit01 (Studio Wayne McGregor); Raven Girl, Live Fire Exercise, Limen, Infra, Chroma, Qualia (Royal Ballet, London); Borderlands (San Francisco Ballet); Dido and Aeneas and Acis and Galatea (Royal Opera/Royal Ballet); Outlier (New York City Ballet); Dyad 1929 (Australian Ballet); Kirikou and Karaba (musical); L’Anatomie de la Sensation, Genus (Paris Opéra Ballet); Skindex and Renature (Netherlands Dance Theatre); 2 Human (ENB); Yantra and Nautilus (Stuttgart Ballet); Chroma (Bolshoi, Canadian National Ballet, San Francisco Ballet, Royal Danish Ballet); Infra (Joffrey Ballet, Chicago). Current and Recent Opera: Wasp Factory by Ben Frost, text by David Pountney based on the novel by Iain Banks (Bregenz Festival, Linbury at the ROH and Berlin Hebbel Theatre); Grimes on the Beach (Aldeburgh Festival 2013) dir. Tim Albery; Lohengrin
March 13, 2016 Jackson Hall, Mondavi center
7:00 pM
Christian Baldini, conductor
Mozart: Kyrie in D Minor Mozart: Ave verum corpus Beethoven: Elegischer Gesang Beethoven: Symphony No. 9 (“Choral”) $10 StuDeNtS & ChilDreN, $20 ADultS | StANDArD SeAtiNg
all tickets are available through the Mondavi center’s ticket office, www.Mondaviarts.org or via (530) 754-2787.
(Welsh National Opera and Warsaw); Maria Stuarda (Opera North) dir. Antony McDonald; The Adventures of Mr Broucek (Opera North and Scottish Opera) director John Fulljames; Parthenogenis (ROH2) director Katie Mitchell; SUM (ROH2) with director Wayne McGregor. She received the Knight of Illumination Award for Dance 2008 for Chroma.
RAVI DEEPRES
916-852-5466 ApiLimos.com TCP 31349-A
16 MONDAVIART S.ORG
FILM
Ravi Deepres is an award-winning film and photographic artist whose work is influenced by the resonances of space which impact profoundly on human behavior from a subconscious and psychological perspective, resulting in highly choreographic and kinetic works. His ideas are formulated through conceptual approaches to documentary, narrative and aesthetics, complemented by interests in issues of identity, history, science and technology. He often combines different artistic mediums and approaches in collaboration with select designers to create multi-faceted and expressively layered works. His photographic and film work has been commissioned and exhibited in solo and group shows across the UK and internationally at Hatton Gallery, Magnum Photos, Impressions Gallery, Ikon Touring, Cornerhouse, The Lowry, Rencontres d’Arles, Royal Opera House Ignite 08 and Guangzhou Photography Festival. He has collaborated extensively with Wayne McGregor as well as other choreographers, directors and institutions including Saburo Teshigawara, Michael Clark and Phyllida Lloyd, creating innovative conceptual collaborative work for the Palais Garnier, Royal Opera House, Edinburgh Festival and in theatres and festivals around the world. Deepres was winner of the prestigious Great North Run Moving Image commission, made in collaboration with Bafta-winning filmmaker Michael Baig Clifford. In 2012, he was commissioned by The London Organising Committee of the Olympic and Paralympic Games (LOCOG) and The Royal Opera House to create a new film for The Olympic Gala ceremony curated by McGregor. Other commissions have been created for Channel 4, BBC1, Mute Records, Capture4 season, ICA and Chicks On Speed. The filmic creations for Atomos were made with artistic and technical long-term collaborators Luke Unsworth and Steven Spencer, with photographic and animation assistance by Alicia Clarke and Evy Dutheil.
COMPANY WAYNE McGREGOR STUDIO XO
COSTUME DESIGN Studio XO is a fashion and technology company that creates and engineers interactive fashion experiences at the crossroads of the digital-physical revolution. They have established themselves as leaders in the wearable technology market and pioneers in “the internet of everything” for the body. Studio XO technologies are set to disrupt the way we consume clothing in the next decade. In 2011, XO set up their fashion laboratory in London with a portfolio of fashioned systems and clothing components. Studio XO collaborates with the arts, entertainment, gaming and fashion industries to develop strategically positioned ‘Hero’ technologies. Studio XO delivers interactive and transformative clothing to generation digital. Their knowledge of fashioned technology confirms their position as leaders in this emerging market. Studio XO’s clients include Philips Lighting, Philips Design, The Wellcome Trust, UK Sport, University Of The Arts, Tord Brontje, Sir Clive Sinclair and the Black Eyed Peas. They have recently been announced as part of TechHaus, the technical division of Lady Gaga’s Haus of Gaga.
DANCERS
CATARINA CARVALHO Catarina Carvalho was born in Lisbon. She studied at the École Supérieure de Danse de Cannes Rosella Hightower, with a scholarship from the Ambrosoli Foundation (Zurich). After graduating, Carvalho joined Ballet du Rhin and performed works by Bertrand d’At. She also worked with Javier de Frutos, Vasco Wellenkamp, Benvindo Fonseca, Cézar Moniz and Rui Horta, among others. Carvalho joined Company Wayne McGregor in 2008 and became Rehearsal Assistant in 2013. She assisted Wayne McGregor in Dyad 1909, Future Self and Outlier, and restaged Entity for the Ballet Junior de Genève in 2014. She has taught for numerous dance schools and companies, including Trinity Laban, Greenwich Dance Agency (GDA), and most recently Les Etés de la Danse Summer School in Paris. In 2013, she choreographed for the Laban Centre for Advanced Training (CAT) students’ final year show. She is a certified BASI Pilates Mat work teacher. She has been collaborating with Nina Kov since 2010, when she performed Divide by Zero, a solo piece with the interactive visual artists collective
Hellicar & Lewis. Most recently they created Vuong 10, a full-length piece that integrates live dance and musical performances.
TRAVIS CLAUSEN-KNIGHT Born in Cape Town, South Africa, Travis Clausen-Knight moved to England and later graduated from the Arts Educational School, Tring Park in 2009. While in training, he won several awards for dance and choreography within the school and outside it, including the National Youth Ballet and the International Competition of Dance in Spoleto, Italy. Since graduating, ClausenKnight has performed with Matthew Bourne’s world tour of Swan Lake and featured in the 3D film of the production. He was involved in Michael Clark’s residency at Tate Modern in 2011, and also performed with Tavaziva Dance in their remount of Double Take and their recent creation Sensual Africa. His other credits include work with A.D. Dance and Combination Dance. Clausen-Knight joined Company Wayne McGregor in 2013.
ALVARO DULE Alvaro Dule was born in Albania and grew up in Italy. After winning a Prix de Lausanne scholarship, he graduated in 2007 from the State Ballet Academy of the John Cranko School in Stuttgart, Germany and from an Italian high school. In the same year, he joined Zurich Ballet under the direction of Heinz Spoerli, where he performed soloist roles of the classical repertoire including Swan Lake, The Nutcracker, La Sylphide and Don Quixote, as well as contemporary works by William Forsythe, Heinz Spoerli, Nacho Duato and Uwe Scholz. In 2009, he joined the National Ballet of Portugal under the direction of Vasco Wallenkamp and interpreted a number of soloist roles in the classical repertoire. From 2010 to 2011, he worked with Matteo Levaggi, who choreographed several roles for him that he danced at the International Ballet Festival of Miami and the Belgrade Dance Festival. In 2011, Dule joined Aterballetto and danced many works by Mauro Bigonzetti, who created a piece, Intermezzo, for him. Whilst with this company, Dule choreographed two pieces presented in the Young Choreographers evening. Dule joined Company Wayne McGregor in 2013. In 2014, he was awarded the Leonide Massine Dance Prize (Positano) as Dancer of the Year on the contemporary scene. For the last few years he has been studying History and Philosophy at the University of Modena (Italy).
DANE HURST Dane Hurst was born in South Africa and was named Best Male Dancer of the Year at Critics Circle National Dance Awards (2014), nominated for Best Emerging Dancer of the Year (2006), was recipient of Spotlight Male Dancer of the Year Award (2007), voted third in Dance Europe Magazine’s Top 100 Dancers and nominated for Outstanding Male Performance (Modern) by the Critics Circle for the National Dance Awards in 2012. Hurst has choreographed for Ctrl.Alt.Shift/ Sadler’s Wells Aids awareness campaign (2008), received a Place Prize commission (2010), and created site-specific works for the INTRANSIT Festival (2011). Since 2010, he has choreographed works for Rambert’s Evening of New Choreography including The Window, Jeremiah, Primitive, Reminiscence and O’dabo. He has also choreographed and starred in Primitive the Aesthetica Short Film Festival Best Dance Film for 2015 and the MAMA’S Award winning Anima Mundi (Kinetika Art Fair, London, 2012). Hurst has recently received choreographic commissions from Barbican, Richmix, Wilton’s Music Hall, Dulwich Picture Gallery and graduated from University of Kent and Central School of Ballet with a Masters degree in Choreography in 2014. Hurst is currently a guest artist with Company Wayne McGregor.
LOUIS McMILLER Louis McMiller was born in the UK in 1990 and started dancing at the age of seven. He graduated from The Royal Ballet School in 2010 with a Professional Diploma in Dance. He danced in the Annual Performances at The Royal Opera House and in his graduate year toured Japan and performed in many productions with The Royal Ballet. He is a model with Nevs Model Agency and has also been a model for Abercrombie & Fitch. In 2012, he was a finalist in the ‘ShortList Model Search with Premier Model Management and DKNY’. He has been featured in several editorials and fashion films including Country of Milan by Marcel Burlon, USED, NOWNESS and Flaunt magazine (cover), as well as campaigns for New York designer Patrik Ervell and Westfield Shopping Centre. McMiller joined Company Wayne McGregor in 2010.
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COMPANY WAYNE McGREGOR DANIELA NEUGEBAUER
JAMES PETT
Born in Switzerland, Daniela Neugebauer started her professional dance training with Cathy Sharp in Basel, after which, in 1997, she joined the Ballet School of John Neumeier in Hamburg. She continued her studies at Codarts Rotterdam, University of the Arts, from 2001 to 2005. During those years she was a recipient of the Migros-Genossenschafts-Bund scholarship in Switzerland, which supported her as an exceptional student with her studies. Neugebauer was an apprentice with with Paul Selvin Norton, Itzik Galili, Dylan Newcomb and others before joining Ballet Gulbenkian in Lisbon, for whom she danced in productions by Paulo Ribeiro, Marie Chouinard and Didy Veldman. In 2006, she joined Dance Works Rotterdam under the direction of Ton Simons and took leading roles in choreographies by Simons, Stephen Petronio, Dana Casperson and Sjoerd Vreugdenhil among others. She also worked several times with Vaclav Kunes, joining the Pablo Ventura Dance Company in Switzerland for one production. From 2012 to 2014, she studied Social Sciences at the Open University and is currently enrolled in a foundation course in Design. Neugebauer joined Company Wayne McGregor in 2010.
James Pett competed as a gymnast for ten years, representing Great Britain at the World Gymnastrada in Austria in 2007. He trained at Trinity Laban Conservatoire of Music and Dance, graduating in 2011 with a first class BA (Hons) degree, and was awarded The Marion North Award for outstanding achievement in performance. In 2009, he performed at the Roundhouse in Underdrome, choreographed by Darren Johnston, and worked with Gill Clarke OBE on Amidst for the In The Moment Festival. In 2010, he worked with Patricia Lent on a revival of Merce Cunningham’s Scramble, dancing the original Cunningham solo. The following year, he worked with Kerry Nicholls on Ave Maris Stella, a collaborative piece with Meridian Brass that was performed at the Royal Festival Hall celebrating the 60th anniversary of the 1951 Festival of Britain. From 2011-2013, Pett danced for Richard Alston Dance Company. During this time he also performed in Dance Umbrella 2011, working with Robert Cohan on a revival of In Memory and, in 2012, The Bride and the Bachelors exhibitions at the Barbican Centre working with Jeannie Steele on a collective of Cunningham’s works. Pett joined Company Wayne McGregor in 2013.
ANNA NOWAK Anna Nowak was born in Łódź, Poland. In 2001, she was awarded the prize for Best Ballet School Graduate in Poland and a Prime Minister’s Science Scholarship for the highest achieving students in the same year. She graduated from the National Music Academy of Frédéric Chopin with honors, earning an MA degree in Art with a specialization in dance teaching. From 2001-2007, Nowak danced with the Polish National Ballet, taking solo roles in all the classical repertoire as well as neoclassical and contemporary works by Jirí Kylian, John Cranco and George Balanchine. Nowak teaches at several dance companies and schools, and has collaborated with the National University of Music in Warsaw. In 2013, she choreographed FLUX for the Malta Festival in Poland and V3 at Kings Place in London. She has studied Environment, International Development and Globalization at the Open University. She is currently being mentored by Nadine Patel from the British Council, deepening her understanding of the role of the arts in creating and strengthening cross-cultural relations in the globalized world. Nowak joined Company Wayne McGregor in 2008.
18 MONDAVIART S.ORG
JESSICA WRIGHT Jessica Wright was born in Nottingham and trained at Central School of Ballet, London, before going to work with theensemblegroup and Mobius Dance. In 2005, she was selected to join D.A.N.C.E., an interdisciplinary program based in Brussels, Aix-en-Provence and Dresden and directed by Wayne McGregor, William Forsythe, Angelin Preljocaj and Frédéric Flamand. During this time she performed as a guest dancer with the Forsythe Company in Human Writes and with Ballet Preljocaj in an installation at the Centre Pompidou, Paris and danced in new works by McGregor and Flamand. Since joining Company Wayne McGregor, she has been part of the creation of Entity, Dyad 1909, FAR, UNDANCE, Atomos and Tree of Codes. In 2005, Wright began collaborating with Morgann Runacre-Temple, creating dance films and interactive performances. Out of Hand, their first short, was selected for the Cobravision Shorts final. Mishandled (2011) was produced by MJW Productions, One Etunim (2012) was commissioned by Dance Ireland and The Keeper (2013) was shown in Random Works at Kings Place, London. Wright joined Company Wayne McGregor in 2008.
ODETTE HUGHES
ASSOCIATE DIRECTOR
Odette Hughes joined Company Wayne McGregor in June 1997, becoming the company’s Rehearsal Director in 2000. Hughes is now responsible for the company’s everyday artistic supervision, overseeing performances and directing rehearsals. Hughes was First Assistant Choreographer to McGregor on Harry Potter and the Goblet of Fire (2004). She worked as Rehearsal Director on Michel Ocelot’s musical, Kirikou et Karaba, which McGregor directed, and on The Royal Ballet’s Engram and English National Opera’s Salome, both choreographed by McGregor. She assisted McGregor on his production of Dido and Aeneas at La Scala, Milan, and has restaged numerous McGregor ballets including Eden|Eden for the San Francisco Ballet (2006); Genus for the Paris Opera Ballet (2009); Dyad 1929 for the Australian Ballet Theatre (2013); and the multi-award-winning Chroma for the National Ballet of Canada (2010) and the Bolshoi Ballet (2011). She has also restaged McGregor’s contemporary pieces for various education establishments. In addition, Hughes has taught numerous workshops and masterclasses both nationally and internationally, and has extensive experience in community and outreach work for all age and abilities, including commissioned work with the Centres for Advanced Training at the Lowry, the Trinity Laban Conservatoire of Music and Dance and the Northern School of Contemporary Dance; and with the students at École de Danse de Genève. Hughes was appointed Associate Director in 2007.
A UC Davis Health System Marvels Series Event Friday, January 22, 2016 • 8PM Jackson Hall SPONSORED BY:
YAMATO
THE DRUMMERS OF JAPAN Takeru Matsushita Akiko Ogawa Mika Miyazaki Midori Tamai Tetsuro Okubo Tomoko Kawauchi Marika Nito Saori Higashi Gen Hidaka Hisato Fukuda Madoka Higashi
YAMATO
Bakuon: Legend of the Heartbeat
Jun Kato Subaru Imai Kenta Ono Haruki Matsumoto Masaya Futaki
“BAKUON” - LEGEND OF THE HEARTBEAT The heartbeat that pulses through the human body A sound that will continue to beat to the end of humanity This sound, overflowing with energy, Tells the ancient tale that continues from the distant past to the eternal future Passed on from one generation to another, The series of this sound which never pauses even for a moment Spins a yarn that must not be permitted to pause even today The activities of people So many ways to live As long as the human world exists, this roaring sound, Even today on the threshold of heaven and earth Reverberates
WHAT IS BAKUON? The theme of our new program is “the story of a strong, passionate, and continuous beat.” The story is based on the sound of the heartbeat in every one of us. This sound of the heartbeat is continuous, from our birth and growth to our day-to-day existence. Above all, we who carry this sound are the protagonists in this story of today, which is but a brief moment in the endlessness of time. In all that exists between the blue sky and green earth, throughout all that is vividly visible in this world, our hearts are continuously beating. Although it may be quiet, it is a strong pulse. Inspired by this sound, we weave this beat into our story – the story of Yamato. Each beat from the taiko drums in Yamato represents who we are. It is our history, a life’s story of sweat and tears, and the endless memories recorded in the sound of every person’s heart who is gathered here. Alas, though our place in this vast storyline may appear insignificant, we still endeavor to inscribe a new page into the story! encoreartsprograms.com 19
YAMATO PROGRAM 1. 羽撃 Habataki - Wingbeat Since you have been put on this earth you muster your courage and flap your wings heading for the sky. You can’t cower in the nest forever. Now is the time. Now is the moment. Fly! The combination of shimedaiko and okedodaiko create the beat and the okedodaiko drummer dances a powerful dance on the stage. This is a composition that makes you feel the energy of a challenge with the image of the moment of flying off into the sky. 2. 千鳴 Sen-nari - Thousand sound My sound is one beat. Your sound is one beat. Anyone’s sound is one beat. The beats echo here, there and everywhere. A thousand sounds reverberate in unison to finally create one sound. On the stage, the quiet sound of the Taiko drum gives the premonition that something is about to be come into being. The shimedaiko, which is the smallest of the Japanese Taiko drums, can express a wide range of sounds which make you feel the appeal and potential of the Japanese Taiko drum as an instrument. You can feel the synchronization of the hearts of the drummers who mutually put their emotions into each beat of the shimedaiko. 3. 魂 Tamashy - Spirit All living things on the earth have a soul. I listen carefully to its voice and strike. The sound of my strike is a prayer for the repose of souls. My sound is a song that delights in the first cry of life. The sound of the odaiko directly echoes in people’s hearts. To put it simply, even if a person takes hold of a drumstick and beats the skin of a Taiko drum, it won’t make a good sound. Skill is required to make the Taiko drum resound but feelings are more important than anything. There will be no reverberation if there are no feelings and feelings exist within reverberation. The sound of the odaiko; the sound of the drummer. Feelings worthy of the soul sound in unison with the members of the audience. 4. 壱徹-桜吹雪 Ittetsu-Sakura- Fubuki If you think about it, the strength of a man is to head towards a single path. 20 MONDAVIART S.ORG
The cherry tree gets through the winter and produces a momentary bloom. The resolute falling dance of the blossom is exactly the same as the path on which men must live. No complaining, no grumbling, simply devote yourself to this way of life. Enshrined before the odaiko, the drummer faces off. There is no way out and there can be no deception. Believing in the time spent repeatedly practicing, the drummer strikes. As the cherry blossom that embodies the way of life that the Japanese deem acceptable dances to the ground, the odaiko rings out wholeheartedly. Intermission 5. 極上 Gokujyoh - The best I will sing again today. Born under the heavens, tramping the plains, beyond the farthest reaches of the land to celebrate the best festival; the festival of life. The voice and words have a soul, too. Voice and words without a soul do not resonate. The sound of singing reverberates. Off the walls, the floor, the ceiling. Off the sky, off the land, off the trees in the forest. Off the water, off the wind, off time. Off the minds and bodies of the people gathered here today in this moment. 6. 楽打 Rakuda - Happy drumming You walk and walk but never arrive – people’s lifetimes consist of boisterous merrymaking. It’s OK to take it easy. It’s OK to have fun. Are you having fun? Playing the Taiko drums is physically hard. The body becomes toned through daily training and at the same time, the spirit also becomes toned. All the drummer’s energy is poured into the performance and the drummer sends out the overflowing power from their bodies to the audience topped with a smile. When this is accomplished, the energy of the smile returns. 7. 我楽多 Garakuta - Scrap toys Saying this is odds and ends at best does not mean I am being particularly petulant. It’s just little old me and there are things I want to do, things I want to say. Even odds and ends have half a soul. It is difficult to say that the instrument called a chappa plays the leading role. However, it is not an instrument that we can do without. It seems unnecessary but is actually important,
seems jarring yet pleasant and seems unpleasant to the eye yet you cannot dislike it. 8. 爆音綺譚 Bakuon - The biggest sound The beat of the heart that resides in the human body. The sound that never pauses while there is life. As long as the human world exists, this roaring sound will never pause. YAMATO members concentrate all their efforts for this last piece of the program with dozens of small and large Taiko drums. The heartbeat that pulses through the body of the drummer is expressed in the sound of the Japanese Taiko drums. The tale of the heartbeat spun by YAMATO begins here. *The program is subject to change.
YAMATO - THE DRUMMERS OF JAPAN Yamato was founded by Masa Ogawa in 1993 in Nara, ‘the land of Yamato” which is said to be the birthplace of Japanese culture. Presently based in Asuka Village, Nara Prefecture, Yamato travels all over the word with Japan’s traditional Wadaiko drums, putting its very souls into the unusual instruments, whose sound stirs the hearts of people everywhere. In the village of Asuka, a place with more than a thousand years of history and culture, Yamato seeks new expression with Wadaiko as its backbone. They think of the sound of the drums - made of animal skin and ancient trees, some of which are more than 400 years old - as a pulse or heartbeat (Shin-on), the center of life and the source of power which pulsates within the human body. Like the strong and sturdy heartbeats of a lonely runner with a sleek and powerful body, Yamato attempts to create the energy of life, which envelops the audience and performers. What one feels when surrounded by the sound of Wadaiko, brought out by these highly trained performers, is what the Japanese call “Tamashy”, translated as soul, spirit, and psyche - the basic elements of life. It is something which is invisible and intangible but whose existence is certainly felt. The pulse, carried down from antiquity, will resonate within all the bodies gathered at any given performance. “Go anywhere if invited and make the world a little more happy” is the group’s motto. With 150-200 performances a year worldwide, Yamato takes their motto very seriously. From “Yamato-no-kuni” to the World. And from the world to “Yamato-no-kuni” again. We continue our journey.
MASA OGAWA
REPRESENTATIVE OF YAMATO, DRUM MUSIC COMPOSER, STAGE DIRECTOR He was born in 1967 and raised in Nara prefecture. He came across Japanese drumming when he was trying to become a glass artist after graduating from the Art Department of Kyoto Seika University in 1991. Since then, he worked with several Japanese drum performance groups, and he established Japanese Drum Yamato in 1993. Yamato has progressed as a group that has given 3,000 performances in 53 countries. He composes, choreographs, and works on theatrical designs of all the music that is performed by Yamato. He took charge of theatrical design as well as overall staging, in order to complete the powerful and visually beautiful performance that combines traditional instruments with new music, which found a new direction for Japanese drum music that had been considered only as Japanese traditional music. As a result, Yamato’s stage has gained a high reputation from around the world. He has performed as a core member since the establishment. Currently, he provides music to other groups and instructs how to play Japanese drums for all age levels. In recent years, he has produced a Yamato show in cooperation with Asukamura and Nara prefecture, Yamato’s home base. He is contributing to the revitalization of the local culture.
We mourn the passing of our dear friend and supporter YVONNE LeMAITRE (1940-2015) encoreartsprograms.com 21
ROYAL PHILHARMONIC ORCHESTRA
Pinchas Zukerman, conductor and violin
An Orchestra Series Event Saturday, January 23, 2016 • 8PM Jackson Hall SPONSORED BY:
INDIVIDUAL SUPPORT PROVIDED BY
Helen and Jerry Suran Ralph and Clairelee Leiser Bulkley
PROGRAM Serenade for Strings in E Minor, Op. 20 Elgar Allegro piacevole Larghetto Allegretto Violin Concerto No. 5 in A Major, K. 219, “Turkish” Mozart Allegro aperto Adagio Tempo di Menuetto — Allegro — Tempo di Menuetto INTERMISSION Symphony No. 1 in C Minor, Op. 68 Brahms Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Adagio — Allegro non troppo, ma con brio
PROGRAM NOTES
SERENADE FOR STRINGS IN E MINOR, OP. 20 (1892)
EDWARD ELGAR (1857-1934)
The Serenade for Strings is one of Elgar’s most familiar short orchestral works. In its present form, the piece was completed in May 1892, but it was almost certainly derived from the now-lost Three Pieces for String Orchestra that Elgar composed in 1888, just after leaving his position as music director at the Powick Lunatic Asylum, where he not only conducted the band made up of inmates and attendants, but also composed sheaves of quadrilles for their use at five shillings each. (His superior believed that the quadrille was the only type of music the residents of the establishment could appreciate.) The manuscript has 22 MONDAVIART S.ORG
disappeared, but the program leaflet recording the Pieces’ performance by the Worcester Amateur Instrumental Society, conducted by Reverend Edward Vine Hall, shows the tempo markings of the movements to have been very similar to those of the Serenade. In addition, it seems unlikely that the composer would have let the Three Pieces vanish completely, of which he once said, “I like ’em — best thing I ever did.” The Serenade was first heard publicly at the Hereford Festival on April 7, 1893, though it had been given an earlier reading by the Ladies’ Orchestral Class in Worcester that Elgar trained and conducted during those years. (The work was not played professionally until 1896, in Antwerp.) In his biography of Elgar, Percy Young wrote that the Serenade was finished to celebrate the third wedding anniversary of the composer and his wife, Alice, his chief prod,
ROYAL PHILHARMONIC ORCHESTRA critic and inspiration throughout his life (he virtually stopped composing after she died in 1920), a contention supported by a line in the manuscript of the piano duet transcription of the piece that notes, “Braut [German for ‘bride’ — his term of affection for Alice] helped a great deal to make these little tunes.” Elgar retained a deep fondness for the String Serenade, referring to it often in later life as his favorite among his works. It was the last piece he recorded, on August 29, 1933, only six months before his death. Though the movements of the Serenade bear no descriptive titles, those of the earlier Three Pieces could well serve to summarize their characters: “Spring Song,” “Elegy” and “Finale.” Though nominally in the key of E minor, the first movement is more wistful and nostalgic than grave in mood. The opening theme, swaying, almost playful in nature, is succeeded by a more earnestly lyrical melody in the middle section with some dialogue between solo and ensemble. The initial strain returns to close the movement. The nocturnal Larghetto grows from a long, tender melody supported by a rich accompaniment that becomes more active as the music unfolds. The closing Allegretto, one of those inimitable Elgarian creations combining vigor and languor, recalls a theme from the opening movement in its closing pages to round out this touching miniature masterwork.
VIOLIN CONCERTO NO. 5 IN A MAJOR, K. 219, “TURKISH” (1775)
WOLFGANG AMADEUS MOZART (1756-1791)
Mozart’s five authentic Violin Concertos were all products of a single year — 1775. At nineteen he was already a veteran of five years’ experience as concertmaster of the archiepiscopal court in Salzburg, for which his duties included not only playing but also composing, acting as co-conductor with the keyboard player (modern orchestral conducting was not to originate for at least two more decades), and soloing in concertos. It was for this last function that Mozart wrote these concertos. He was, of course, a quick study at everything he did, and each of these works builds on the knowledge gained from its predecessors. It was with the last three (K. 216, 218, 219) that something more than simple experience emerged, however, because it was with these compositions that Mozart indisputably entered the era of his musical maturity. These are his earliest pieces now regularly heard in the concert hall, and the last one, No. 5 in A major, is the greatest of the set. The opening movement is in sonataconcerto form, but has some curious structural
experiments more associated with the music of Haydn than with that of Mozart. After the initial presentation of the thematic material by the orchestra, for example, the soloist is introduced with the surprising device of a brief, stately Adagio. When the Allegro tempo resumes, the soloist plays not the main theme already announced by the ensemble, but a new lyrical melody for which the original main theme becomes the accompaniment. More new material fills the remainder of the exposition. The development section is invested with passages of dark harmonic color which cast expressive shadows across the generally sunny landscape of the movement and lend it emotional weight. The recapitulation calls for restrained, elegant virtuosity from the soloist. The second movement is a graceful song in sonatina form (sonata-allegro without development). The final movement is an extended rondo in the style and rhythm of a minuet.
SYMPHONY NO. 1 IN C MINOR, OP. 68 (1855-1876)
JOHANNES BRAHMS (1833-1897)
Brahms, while not as breathtakingly precocious as Mozart, Mendelssohn or Schubert, got a reasonably early start on his musical career: he had produced several piano works (including two large sonatas) and a goodly number of songs by the age of nineteen. In 1853, when Brahms was only twenty, Robert Schumann wrote an article for the widely distributed Neue Zeitschrift für Musik, his first contribution to that journal in a decade, hailing his young colleague as the savior of German music, the rightful heir to the mantle of Beethoven. Brahms was extremely proud of Schumann’s advocacy and he displayed the journal with great joy to his friends and family when he returned to his humble Hamburg neighborhood after visiting Schumann in Düsseldorf, but there was the other side of Schumann’s assessment as well, that which placed an immense burden on Brahms’ shoulders. Brahms was acutely aware of the deeply rooted traditions of German music extending back not just to Beethoven, but beyond him to Bach and Schütz and Lassus. He knew that, having been heralded in a widely publicized article by Schumann, his compositions, especially a symphony, would have to measure up to the standards set by his forebears. At first he doubted that he was even able to write a symphony, feeling that Beethoven had nearly expended all the potential of that form, leaving nothing for
future generations. “You have no idea,” Brahms lamented, “how it feels to hear behind you the tramp of a giant like Beethoven.” Encouraged by Schumann to undertake a symphony, Brahms made some attempts in 1854, but he was unsatisfied with the symphonic potential of the sketches, and diverted them into the First Piano Concerto and the German Requiem. He began again a year later, perhaps influenced by a performance of Schumann’s Manfred, and set down a first movement, but this music he kept to himself. Seven years passed before he sent the movement to Clara, Schumann’s widow, to seek her opinion. She was pleased with this C minor sketch and encouraged him to finish the rest so that it could be performed. Brahms, however, was not to be rushed. Eager inquiries from conductors in 1863, 1864 and 1866 went unanswered. It was not until 1870 that he hinted about any progress at all beyond the first movement. The success of the superb Haydn Variations for orchestra of 1873 seemed to convince Brahms that he could complete his initial symphony and in the summer of 1874, he began two years of labor — revising, correcting, perfecting — before he signed and dated the score of the First Symphony in September 1876. The first movement begins with a slow introduction energized by the heartbeat of the timpani. The violins announce the upward-bounding main theme in the faster tempo that launches a magnificent, seamless sonata form. The second movement starts with a placid, melancholy song led by the violins. After a mildly syncopated middle section, the bittersweet melody returns. The brief third movement, with its prevailing woodwind colors, is reminiscent of the pastoral serenity of Brahms’ halcyon earlier Serenades. The finale begins with an extended slow introduction based on several pregnant thematic ideas, and concludes with a noble chorale intoned by trombones and bassoons. The finale proper begins with a new tempo and a broad hymnal theme and progresses in sonata form without a development section. The work closes with a majestic coda in the brilliant key of C major featuring the trombone chorale of the introduction in its full splendor. ©2015 Dr. Richard E. Rodda
encoreartsprograms.com 23
ROYAL PHILHARMONIC ORCHESTRA ROYAL PHILHARMONIC ORCHESTRA Patron: HRH The Duke of York, KG Pinchas Zukerman, Principal Guest Conductor and Violin Soloist
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24 MONDAVIART S.ORG
Founded in 1946 by Sir Thomas Beecham, the Royal Philharmonic Orchestra (RPO) has enjoyed more than sixty-five years of success worldwide, giving first-class performances of a wide range of musical repertoire with artists of the highest calibre. Under the inspired leadership of Artistic Director and Principal Conductor Charles Dutoit, the Orchestra continues to flourish, maintaining and building on a demanding schedule of performances, tours, community and education work, and recordings. Throughout its history, the Orchestra has been directed by a number of distinguished conductors, including Rudolf Kempe, Antal Doráti, André Previn, Vladimir Ashkenazy and, more recently, Daniele Gatti. Today, the Orchestra enjoys the support of highranking conductors, with Artistic Director and Principal Conductor Charles Dutoit supported by Pinchas Zukerman as Principal Guest Conductor and Grzegorz Nowak as Principal Associate Conductor. Central to the Royal Philharmonic Orchestra’s thriving concert schedule is its prestigious annual series at Southbank Centre’s Royal Festival Hall. In the 2013–2014 series the Orchestra worked with artists such as Charles Dutoit, Pinchas Zukerman, Kirill Karabits, Stephen Hough, John Lill, Steven Isserlis and classical guitarist John Williams. At Cadogan Hall, the Orchestra’s London home in Chelsea, the intimate and luxurious surroundings provide the perfect concert atmosphere, with forthcoming performances featuring Grzegorz Nowak, Natasha Paremski, Tasmin Little, Freddy Kempf and Allen Vizzutti. Completing the Orchestra’s program of London concerts is a series of monumental performances at the iconic Royal Albert Hall, ranging from large-scale choral and orchestral works to themed evenings of well-known repertoire. The Orchestra prides itself on its comprehensive regional touring program, offering regular performances at established residencies in Croydon, Northampton, Lowestoft, Reading, Crawley, Ipswich, High Wycombe, Aylesbury, Dartford, Guildford and Cambridge, as well as other venues across the UK. Internationally, the Orchestra is also in high demand, undertaking several major tours each year. Recent engagements have included residencies in Azerbaijan and Shanghai, regular visits to Spain and Italy,
concerts in Oman, Russia, France, Germany and Austria and an extensive tour of Japan, Taiwan, South Korea and China with Charles Dutoit and Yuja Wang. The 2013–2014 season began with the fourth year of the Orchestra’s annual residency in Montreux, Switzerland, where it gave performances under Charles Dutoit and soloists including Martha Argerich, Kirill Gerstein and Renaud Capuçon. Further engagements that season included a performance in St. Petersburg in honor of Yuri Temirkanov’s 75th birthday, a three-week tour of the USA with Pinchas Zukerman, and further tours to Spain, Italy, Germany and Poland with artists including Maria João Pires, Nicole Cabell and Arabella Steinbacher. This year marks the 20th anniversary of the Royal Philharmonic Orchestra’s vibrant community and education program RPO resound, which is one of the most diverse and celebrated programs in the UK. Since its inception in 1993, specially trained musicians from the Orchestra have worked alongside accomplished project leaders to deliver thousands of pioneering projects and sessions, enabling greater access to and engagement with world-class music-making in the wider community. Using music as a powerful and inspirational tool, RPO resound is unique in the breadth and range of participant groups with which it works – from homeless shelters to hospices, youth clubs to prisons and from early years to higher education. Frequently found in the recording studio, the RPO records extensively for film and television. As well as enjoying a long partnership with many of the major commercial record companies, the Orchestra owns its own record label with an extensive catalogue.
PINCHAS ZUKERMAN
CONDUCTOR AND VIOLIN Pinchas Zukerman has remained a phenomenon in the world of music for over four decades. His musical genius, prodigious technique and unwavering artistic standards are a marvel to audiences and critics. Devoted to the next generation of musicians, he has inspired younger artists with his magnetism and passion. His enthusiasm for teaching has resulted in innovative programs in London, New York, China, Israel and Ottawa. The name Pinchas Zukerman is equally respected as violinist, violist, conductor, pedagogue and chamber musician.
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THE ORCHESTRA Zukerman’s 2015-2016 season includes over 100 worldwide performances, bringing him to multiple destinations in North and South America, Europe, Asia and Australia. In his seventh season as Principal Guest Conductor of the Royal Philharmonic Orchestra in London, he leads the ensemble in concerts at home in the United Kingdom as well as on an extensive U.S. tour. Additional orchestral engagements include the Boston, Chicago, San Francisco, Dallas and New World Symphonies, and Orpheus Chamber Orchestra for tour dates including New York’s Carnegie Hall. Overseas, he visits the Mariinsky, Korean Chamber and San Carlo Orchestras, tours with Salzburg Camerata and Staatsphilharmonie Rheinland-Pfalz and returns to Australia for appearances with the Queensland Symphony Orchestra in Brisbane and West Australian Symphony Orchestra in Perth. Recital appearances in the United States, United Kingdom, France and Australia, and tours with the Zukerman Trio in the US, Italy, Spain, Australia, Japan and throughout South America round out the season. In 2016, he begins his tenure as Artist-in-Association with the Adelaide Symphony Orchestra. Over the last decade, Zukerman has become as equally regarded a conductor as he is an instrumentalist, leading many of the world’s top ensembles in a wide variety of the orchestral repertoire’s most demanding works. A devoted and innovative pedagogue, Zukerman chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music, where he has pioneered the use of distance-learning technology in the arts. In Canada, where he served as Music Director of the National Arts Centre Orchestra for the past 17 seasons, he established the NAC Institute for Orchestra Studies and the Summer Music Institute encompassing the Young Artists, Conductors and Composers Programs. Born in Tel Aviv in 1948, Zukerman came to America in 1962 where he studied at The Juilliard School with Ivan Galamian. He has been awarded the Medal of Arts, the Isaac Stern Award for Artistic Excellence and was appointed as the Rolex Mentor and Protégé Arts Initiative’s first instrumentalist mentor in the music discipline. Zukerman’s extensive discography contains over 100 titles, and has earned him two Grammy awards and 21 nominations. This season sees the release of Brahms’s Symphony No. 4 and Double Concerto with the National Arts Centre Orchestra and cellist Amanda Forsyth, recorded in live performances at Ottawa’s Southam Hall.
FIRST VIOLINS
Clio Gould Leader Duncan Riddell Leader Tamás András Sulki Yu Judith Templeman Shana Douglas Kaoru Yamada Kate Suthers Andrew Klee Kay Chappell Anthony Protheroe Erik Chapman Jonathan Lee Rosemary Wainwright
SECOND VIOLINS
Andrew Storey Elen Hâf Richards Jennifer Christie Charlotte Ansbergs Jennifer Dear Peter Graham Stephen Payne Manuel Porta Charles Nolan Sali-Wyn Ryan Siân McInally
VIOLAS
Abigail Fenna Liz Varlow Michelle Bruil Chian Lim Esther Harling Jonathan Hallett Felix Tanner Andrew Sippings
CELLOS
Helen Keen John Roberts Tim Watts
CLARINETS
Katherine Lacy Katy Ayling
BASS CLARINET
Katy Ayling
BASSOONS
Jonathan Davies Helen Storey Fraser Gordon
CONTRABASSOON
Fraser Gordon
FRENCH HORNS
Laurence Davies Samuel Jacobs Kathryn Saunders Phil Woods Andrew Fletcher
TRUMPETS
James Fountain Adam Wright Mike Allen Niall Keatley
TROMBONES
Matthew Gee Matthew Knight
BASS TROMBONE
Tim Gill Jonathan Ayling Chantal Webster Roberto Sorrentino Niamh Molloy William Heggart Shinko Hanaoka Rachel van der Tang
Roger Argente
DOUBLE BASSES
Stephen Quigley Martin Owens Gerald Kirby
Anthony Alcock Chris West David Broughton David Gordon Benjamin Cunningham John Holt
TUBA
Kevin Morgan
TIMPANI
Matt Perry
Ginny Parks 530-908-8264 bre 01932261
Lisa Haass 530-219-6180 bre 01485271
Jamie Madison 530-574-0596 bre 01485166
Katy Norlin 530-300-0115 bre 01939391
Karen Waggoner 530-263-7177 bre 01415264
movingtodavis.com
PERCUSSION
HARP
Suzy Willison-Kawalec
FLUTES
Emer McDonough Joanna Marsh Helen Keen
The Davis Real Estate Center encoreartsprograms.com 25
Copyright © UC Regents, Davis campus, 2015. All rights reserved.
I’m savoring life’s simple pleasures again. When throat cancer struck Jeff Mauerman he lost something most of us take for granted – the ability to swallow food and drink. The retired engineer and home brewing enthusiast was forced to take all nourishment through a tube in his abdomen. It seemed no one could help, until UC Davis doctors developed a revolutionary new swallow expansion device that restored Jeff’s ability to once again enjoy the fruits of his labor.
See Jeff’s story at healthierworld.ucdavis.edu
A UC Davis Health System Marvels Series Event Sunday, January 31, 2016 • 3PM Jackson Hall
SPONSORED BY
THE TROUPE
Antoine Carabinier Lépine, acrobat Julie Carabinier Lépine, dancer Arthur Casaubon, acrobat Jonathan Casaubon, acrobat Francis Roberge, acrobat Alain Carabinier, actor Josianne Laporte, musician André Gagné, musician David Simard, musician, musical composer
THE CREATORS
Alain Francoeur, director David Boulanger, musical composer Nicolas Descôteaux, lighting concept & production director
TIMBER! You can almost smell the fresh-cut pine logs and the sweat of lumberjacks as you watch them jiving to a traditional folk soundtrack. The young circus troupe hails from a small town called Saint-Alphonse-Rodriguez and they have clearly drawn upon their country roots to find inspiration and energy for this unique creative project. TIMBER! is clearly off the beaten track. The show’s creators designed unusual acrobatic apparatus inspired directly from the forestry resources available on their real-life family farm. The experience feels and smells authentic. The artists perform incredible feats of aerial acrobatics that are directly inspired by the natural raw materials of the forest and the equipment used on the farm. The atmosphere is hyper-festive. The talented acrobats and musicians create a colorful, energetic scene where we can witness epic feats of agility and strength, inspired by the exploits of the first North-American lumberjacks, loggers and farmers.
CIRQUE ALFONSE
TIMBER! CIRQUE ALFONSE
Cirque Alfonse grew out of the need to look back fondly at the past. A desire to have more time for family, friends and shared moments took hold. Our shows embody this wish to relive those lively evenings of our childhood filled with the sounds of traditional music for jigs, tap-dancing and playing the spoons, when everyone had a great time dancing the night away. Established in 2005, Cirque Alfonse is a fresh and innovative addition to Quebec’s circus tradition. Having worked with the most renowned “nouveau cirque” companies of Quebec and Europe, the company’s founding members are all well experienced in the circus world. Comprised of a team of professional acrobats (graduates from the National Circus School in Montreal), a professional dancer, an ex-skiing champion and three hot versatile musicians, this audacious group of young performers is blazing a creative path that no one had yet thought to explore. In an inspired look to the future with a nod to tradition, Cirque Alfonse has dared to blend the artistry and the techniques of contemporary circus with traditional Quebecois music and some of the liveliest aspects of Quebec’s traditions and folklore. Cirque Alfonse produced its first production, La Brunante, in 2006 and the production met with enthusiastic response becoming the spark for the creation of TIMBER! Following the run of La Brunante, the company members each went off to pursue their own solo careers, performing with Sweden’s Cirkus Cirkör, Switzerland’s Cirque Starlight and Montreal’s 7 Fingers, Cirque Éloize, Cirque du Soleil, and dance company Bouge de là, before embarking on the creation of TIMBER! in 2010.
THE TROUPE
ANTOINE CARABINIER LÉPINE
ACROBAT
Antoine Carabinier Lépine received his diploma from the École nationale de cirque de Montréal in the year 2000. A multidisciplinary artist and virtuoso, he excels on the German wheel, the Cyr wheel, general acrobatics, juggling and music. Over the past 11 years, Carabinier Lépine has collaborated on numerous shows and artistic projects: Cirque Éloize’s Nomade and Cirque Orchestra, Cirkus Cirkör’s show 99% Unknown, the Cirque du Soleil’s Celebrity Cruise Project, Maskarade by the Copenhagen Royal Opera and Traces by the troupe 7 doigts de la Main.
JULIE CARABINIER LÉPINE
DANCER
Julie Carabinier Lépine hails from the town of Saint-Alphonse-Rodriguez. At the age of 8 she was initiated into the world of classical ballet, but she later became fascinated by modern dance and theatre. She signed up for the LADMMI contemporary dance school, where in 2003 she received her diploma in contemporary dance interpretation. She went on to dance for noted choreographers Sonia Biernath, Manuel Roque, Mélanie Demers, Amélie Lévesque Demers and for the dance company Bouge de là with Hélène Langevin, as well as the Mandala Sitù company. Carabinier Lépine developed a passion for the tango of Argentina and she loved to sing, until she discovered the circus! In 2007, she left on a European tour with the Swiss circus company Salto Natale, and since then she has participated in several other projects. encoreartsprograms.com 27
CIRQUE ALFONSE ARTHUR CASAUBON
ALAIN CARABINIER
ACROBAT
ACTOR
Arthur Casaubon made his debut in TIMBER! with Cirque Alfonse at the age of six weeks at Festival Montréal Complètement Cirque in 2011. He then toured with Vague de Cirque in Gaspésie in the fall of 2011. Since then, he performed in more than 300 shows in the German cabarets while traveling the world with Cirque Alfonse. He is growing up touring with his family, and is always eager to get on stage with TIMBER!, where every night is a surprise!
Alain Carabinier was born in Switzerland and his early years were busy with competitive alpine skiing and soccer. He travelled around the world before settling down in SaintAlphonse-Rodriguez, where he actively participates in the community life of this small town of the Lanaudière region of Québec. Carabinier is a soccer trainer and a wall paper hanger.
JONATHAN CASAUBON
Josianne Laporte started studying and practicing classic percussion at the age of eight. After receiving her diploma in Music from the Université du Québec à Montréal (UQAM) in 2001, she went on tour with the musicians Gino Vanelli, Dan Bigras and Isabelle Boulay. For five years, she travelled around the world as a musician in Cirque Éloize’ show Nomade. Over the last several years, Laporte has gained much experience in numerous television shows. She was also part of the music group François Roy et les As de la Frime, an up-and-coming rock group that received second prize at the Festi Rock Festival of Richmond. In 2006, she participated in creating Cirque Alfonse’s La Brunante show.
ACROBAT
From the age of 7, Jonathan Casaubon has been somersaulting and perfecting his flips in the family garden. From a very young age, Jonathan was a regular at his neighborhood gymnastics club, and within a few years of coaching he was able to reach competitive levels. He went on to practice this discipline for the next 10 years of his life. Soon after obtaining his diploma in 2000 from the École nationale de cirque de Montréal, specializing in teeterboard and trampoline, Casaubon flew off to Switzerland to teach the circus arts before joining the Starlight Circus as circus artist and work as Assistant to the Artistic Director during 4 years. Casaubon then joined the Cirque du Soleil where he developed into a highly regarded multidisciplinary artist. In 2007, he participated in the Salto Natale show of the prestigious Swiss circus Knie and he later collaborated on the Trace show presented by the troupe Les 7 doigts de la main.
FRANCIS ROBERGE
ACROBAT
Francis Roberge was born in a small hamlet named Tewkesbury, in the Quebec City region. One of his earlier jobs was on a horse farm where he acquired many different trades, some related to lumberjacks. His love of rafting drove him to become a guide and to be part of the Canadian national team. Always willing to push beyond his limits and challenge himself, he became captivated with the circus arts and started his training at the Quebec City Circus School where he specialized in hand to hand, banquine and axe handling. He then gained experience with different projects and shows like the 400th anniversary of Quebec City, Ex Machina, Les Chemins Invisibles and Compagnie Rasposo.
28 MONDAVIART S.ORG
JOSIANNE LAPORTE
MUSICIAN
ANDRÉ GAGNÉ
MUSICIAN
André Gagné is a musician and singer from the Lanaudière region of the province of Quebec. This region has been named “the national capital of call and response singing”. He studied Jazz Guitar at the StLaurent College. He is a founding member of the traditional Quebecois music group La Giroflée, with whom he has travelled on tour throughout his native Quebec as well as in Europe, with their recent album J’ai dans la mémoire. In 2006, Gagné participated in creating the first circus show of the troupe Alfonse, La Brunante, including the musical arrangements. He is very pleased to join the Alfonse team once again for its latest opus, TIMBER!
DAVID SIMARD
MUSICIAN, COMPOSER A native of Lac-St-Jean, David Simard is a multi-instrumentalist who specializes in traditional Quebec music. After discovering the music of other countries, including that of Ireland and France, he decided to focus on the music of his ancestors. In 2010, he earned his college degree study in jazz-guitar technique and traditional music at the Lanaudière
Regional College in Joliette Quebec. Whether on the banjo, guitar, dobro or the violin, Simard mainly juggles between jazz and old fiddle tunes of yesteryear.
THE CREATORS
ALAIN FRANCOEUR
DIRECTOR
Alain Francoeur has a Bachelor of Arts in Dramatic Arts from the UQAM in 1986. He first worked as a dance artist and an actor in experimental theatre before moving on to becoming director and choreographer. Francoeur is interested in the interdisciplinary aspects of art and of the performing arts in his artistic development and creativity. In 1988, he joined the celebrated theatre troupe Carbonne 14 as a performance artist in their show called Le Dortoir. He later danced for several other companies. Francoeur directed the well-loved show Cirque Orchestra by Cirque Éloize, and he also created choreographies for several dance troupes, among them L’Agora de la danse of Montréal. He also directed Cirque Alfonse’s La Brunante, TIMBER! and BARBU electro trad cabaret’ show.
DAVID BOULANGER
MUSICAL COMPOSITION
David Boulanger studied violin and jazz interpretation at the Saint-Laurent College before joining the traditional music group La part du quêteux, a show which won the Best Album award for Traditional Music at the Folk Canadian Music Awards in 2007. He went on to work with the famous Quebec group La Bottine souriante as a violinist. He joined the Cirque Alfonse in 2006.
NICOLAS DESCÔTEAUX
LIGHTING DESIGN AND PRODUCTION MANAGEMENT Since the day he received his diploma from the theatre program of the Sainte-Thérèse College in 1992, Nicolas Descôteaux has designed more than sixty lighting creations. He has worked with internationally renowned creators and artists such as Robert Lepage, Marie Chouinard, Kristian Fredric, Denis Marleau and Daniele Finzi Pasqua. Recently, Descôteaux worked on several creative projects with the Cirque Eloize and the Cirque du Soleil.
MATT TAIBBI
The Divide: American Injustice in the Age of the Wealth Gap Campus Community Book Project A Downey Brand Speaker Series Event Wednesday, February 3, 2016 • 8PM Jackson Hall SPONSORED BY:
Syphax serves on the boards of Federal Home Loan Bank of San Francisco, Norcal Mutual Insurance Company, Medicus Insurance Company, Valley Vision, American Leadership Forum, and California Department of Insurance’s Task Force on Supplier Diversity and Board Governance. Syphax is the Emmy Award-winning host and co-executive producer of PBS affiliate KVIE’s weekly public affairs program Studio Sacramento.
MATT TAIBBI OFFICE of CAMPUS COMMUNITY RELATIONS
INDIVIDUAL SUPPORT FROM
The Lawrence Shepard Family Fund Question and Answer Session following the presentation moderated by Scott Syphax, Chief Executive Officer of The Nehemiah Companies; Host and Co-Executive Producer of Studio Sacramento, on PBS affiliate KVIE. Scott Syphax is the Chief Executive Officer of The Nehemiah Companies—a Sacramento based national social enterprise and real estate development corporation. Syphax leads the development team of Township 9— a 2,300 unit master-planned, smart-growth community in downtown Sacramento. As CEO of Nehemiah, he manages the Nehemiah Community Reinvestment Fund, which has leveraged over $880 million in projects to spur development in low-income and underserved communities.
Matt Taibbi is the author of The Divide, the “impossible to put down” (The New York Times) new book that uncovers America’s wealth gap. In his talks, Taibbi paints an alarming portrait of contemporary American life— where our basic rights are now determined by our wealth or poverty—and provides a way forward against this urgent crisis. In The New York Times bestseller The Divide: American Injustice in the Age of the Wealth Gap, Matt Taibbi takes readers on a galvanizing journey through both sides of our new system of justice—the untouchably wealthy and the criminalized poor. As he narrates these incredible stories, he draws out and analyzes their common source, and unveils what we need to do to stand up against the troubling trend of the Divide. In a review of the book for BoingBoing, Cory Doctorow wrote: “Taibbi’s spectacular financial reporting for Rolling Stone set him out as the best running commentator on the financial crisis and its crimes, and The Divide—beautifully illustrated by Molly Crabapple—shows that at full length, he’s even better.” Taibbi is also the author of Griftopia, one of the most entertainingly quotable, scathing,
and illuminating histories of the economic crisis. In 2008, he won the National Magazine Award for his columns in Rolling Stone. He is also the author of The Great Derangement: A Terrifying True Story of War, Politics and Religion.
THE DIVIDE: AMERICAN INJUSTICE IN THE AGE OF THE WEALTH GAP Over the last two decades, America has been falling deeper and deeper into a statistical mystery: Poverty goes up. Crime goes down. The prison population doubles. Fraud by the rich wipes out 40 percent of the world’s wealth. The rich get massively richer. No one goes to jail. In search of a solution, Matt Taibbi discovered the Divide, the seam in American life where our two most troubling trends—growing wealth inequality and mass incarceration—come together, driven by a dramatic shift in American citizenship: Our basic rights are now determined by our wealth or poverty. In this talk, Taibbi takes takes audiences on a galvanizing journey through both sides of our new system of justice—the worlds of the untouchably wealthy and the criminalized poor. Through astonishing—and enraging—accounts of the high-stakes capers of the wealthy and nightmare stories of regular people caught in the Divide’s punishing logic, Taibbi lays bare one of the greatest challenges we face in contemporary American life: surviving a system that devours the lives of the poor, turns a blind eye to the destructive crimes of the wealthy, and implicates us all.
encoreartsprograms.com 29
Wednesday, February 10, 2016 • 8PM Jackson Hall
PROGRAM Works by J.S. Bach The Cabinet of Dr. Caligari (improvised score)
THE CABINET OF DR. CALIGARI (1921) Originally titled Das Cabinet des Dr. Caligari Running time: 67 minutes
CREDITS Director Robert Wiene Script Carl Mayer, Hans Janowitz Cinematography Willy Hameister Production Design Walter Reimann, Walter Röhrig, Hermann Warm Set Decoration Hermann Warm
CAMERON CARPENTER The Cabinet of Dr. Caligari
Costumes Walter Reimann
CAST Dr. Caligari Werner Krauss Cesare Conrad Veidt Francis Friedrich Feher Jane Olsen Lil Dagover Dr. Olsen Rudolf Lettinger
THE CABINET OF DR. CALIGARI
By Jaimey Fisher It is difficult to grasp today what an impact The Cabinet of Dr. Caligari had on global culture, cinematic and otherwise, in the early 1920s – probably not until the blockbuster system that emerged over fifty years later with Jaws and Star Wars was there any film phenomenon like it. For example, “caligarisme” became a term in France, thus a neologism in the large film market and broader culture of Germany’s (then) sworn enemy. In fact, Dr. Caligari was reported to have run continuously in a Paris cinema for seven years, a record not equaled until the 1970s. It might be the only non-US film to ever have such an impact outside of its home country and, indeed, worldwide. Unlike either Jaws or Star Wars – both genre films mostly regurgitating while mildly innovating -- The Cabinet of Dr. Caligari was at the same time an art film and introduced to the world a new film style, an entire aesthetic known as “expressionism.” Based 30 MONDAVIART S.ORG
on the important modernist art movement (painting, theater, music, etc.), expressionism deliberately diverged from the sort of realism that still dominates Hollywood. The movement highlighted how the mind can distort reality, distortions famously realized in Caligari’s jagged, angled, spiky sets and exaggeratedly stilted acting. Perhaps the film’s greatest legacy is its inaugurating the modern psychological horror film – Roger Ebert called it “the first true horror film” and the unethical, mad, and/or murderous scientist-doctor is still very much with us. There had been films geared to scare before, but few had realized Caligari’s fusion of small-town normalcy with vividly visualized psychological edginess, decadence, and degeneration (nor had its few predecessors been anywhere near as popular). It also did not hurt that, as in the most effective horror films, Caligari seemed to be critiquing, at least symbolically, the society around it, particularly in querying the madness of the mammoth war that had just ended (and that would all too soon reignite). It is, of course, not a coincidence that this phenomenal impact and influence of Caligari transpired in the so-called silent era, before dialogue became central to cinema. The global film market was quite different then, and Hollywood still had serious competitors because, without dialogue, films could be distributed in any number of different cultures untroubled by subtitling or synchronization. In fact, in the wake of Caligari and the wave of copy-cat films after it, Germany came to be seen as Hollywood’s primary competitor -- an amazing achievement for a country and industry laid low by surrender, the end
of its monarchy, and economic devastation during World War I. Hollywood’s answer was, then as now, to import many of Germany’s most talented filmmakers, crews, and actors, including, just from Caligari, super-producer Erich Pommer and actor Conrad Veidt, who went on to play in, among others, Casablanca. The term “silent cinema” is, of course, a misnomer: films were regularly played with accompanying music and even sometimes with lecturers. Then as now, a crucial part of the “picture show” was an audio-visual experience, and the Mondavi Center has the pleasure of offering live music with films as a part of its Film + Music series. Jaimey Fisher studied German literature and thought at Stanford University, at the Freie Universität Berlin, and at Cornell University, where he received his Ph.D. with an emphasis in German intellectual history as well as in Film and Video Studies. Professor Fisher teaches courses at UC Davis in German and Cinema and Digital Media, on topics ranging from Bertolt Brecht to contemporary European cinema.
CAMERON CARPENTER, ORGAN The 2012 recipient of the coveted Bernstein Award (Schleswig-Holstein) Cameron Carpenter is “one of the rare musicians who changes the game of his instrument… He is a smasher of cultural and classical music taboos. He is technically the most accomplished organist I have ever witnessed… And most important of all, the most musical.” (The Los Angeles Times) A virtuoso composer-performer unique among keyboardists, Carpenter’s approach
CAMERON CARPENTER
THE INTERNATIONAL TOURING ORGAN True to its name, Cameron Carpenter’s International Touring Organ isn’t stationary. Since its debut last year, it has become Carpenter’s instrument of choice, quickly eclipsing the pipe organ. “It’s where my heart lies,” he says. The International Touring Organ is the eighth organ by Marshall & Ogletree, the Needham, Massachusetts organ builders redefining the digital organ as an instrument of artistic significance. Its concept is simple: innovate the relationship between organ and organist. While the uniqueness of each pipe organ is part of its collective magic, this makes it impossible to perform the same music regardless of where the
organist plays, as any violinist can do through a relationship of years with a single instrument. Therefore Marshall & Ogletree has sampled sounds from many traditional pipe organs, including many of Carpenter’s favorite instruments – from the cathedral to the Wurlitzer. These come together in an organ designed not for size, limitless variety, or to model any particular pipe organ, but rather to make a great organ internationally mobile – an idea impractical or impossible by other means. The true scale of its ambitiousness can be seen in its console and extensive touring sound system. These insure the organ’s consistency from venue to venue, both as the home instrument of the artist it was built for and an ultimate acoustical experience for the listener. “One of the things that is so important about this touring organ, and one of its great trump cards— one of the things that the pipe organ can never provide — is a sense of psychological home,” Carpenter says. “I can call up sounds from the organ that in some sense first made me want to do what I’m doing.” The entire organ assembles in less than three hours and travels in a single large truck; identical European and American sound systems (housed in Berlin, Germany and Needham, MA) make it internationally mobile. Its sound system is a massive complex of specially sourced sound support and amplification equipment housed in mobile, location-adaptable touring cases. The organ console is assembled manually and hydraulically from only six modular parts, and like the sound system, travels in purpose-built robust touring cases. A maverick in the traditional world of organ building, Marshall & Ogletree shot to prominence in 2003 with their Opus 1 at Trinity Church Wall Street in New York City, a landmark organ controversial for having replaced the former Aeolian-Skinner pipe organ damaged by debris on September 11, 2001. Uniquely among organ builders, the firm’s principals are also acclaimed organists – Douglas Marshall, a competition-winning former student of Virgil Fox, and David Ogletree, a Curtis Institute graduate.
(Sam Nelson Photography)
Kammerphilharmonie under the direction of Alexander Shelley. Of Carpenter the composer, DIE WELT’s Manuel Brug writes: “Carpenter… is proving himself to be a clever eclecticist, who understands to entertain with much finesse, and admits with a wink that he is ‘annoyed by intellectual music’.” His Music for an Imaginary Film was published in spring of 2014. With combined millions of hits on YouTube and numerous television, radio and press features including CNN The Next List, CBS Sunday Morning, BBC Radio 3, ARD, ZDF, NDR Kultur, The New York Times, The New Yorker, The Wall Street Journal and many others, he is the world’s most visible organist. Having completed the first part of the Album Tour ‘14 during the summer in Europe playing the International Touring Organ, Carpenter and his new instrument returns to the USA to continue performances on the ITO from Fall into Spring of 2015 before the next European tour begins. After the first European concert which featured Carpenter at two organ consoles, a reviewer clearly removed any dispute of competition: “But who has won this memorable Vienna competition between pipe organ and digital organ? The answer is obvious: Cameron Carpenter. Like always this magician thrills the audience with furor. No matter what instrument he is playing.” - Suddeutsche Zeitung, Vienna, Austria
Photo: Washington Post
to the organ is smashing the stereotypes of organists and organ music while generating a level of acclaim, exposure, and controversy unprecedented for an organist. His repertoire spans the complete works of J. S. Bach and Cesar Franck, hundreds of transcriptions of non-organ works, his original compositions, and his collaborations with jazz and pop artists - an extraordinary diversity he brings to his international audiences. As a keyboard prodigy, he performed Bach’s Well-Tempered Clavier at age 11 before joining the American Boychoir School in 1992 as a boy soprano. During his four years of high school studies at The North Carolina School of the Arts, he made his first studies in orchestration and orchestral composition, and transcribed for the organ more than 100 major works, including Gustav Mahler’s complete Symphony No. 5. Carpenter continued composing after moving to New York City in 2000 to attend The Juilliard School. While at Juilliard he composed art songs; the symphonic poem Child of Baghdad (2003) for orchestra, chorus and Ondes Martenot; his first substantial works for solo organ; and numerous organ arrangements of piano works by Chopin, Godowsky, Grainger, Ives, Liszt, Medtner, Rachmaninoff, Schumann, and others. Carpenter received a Master’s Degree from The Juilliard School in New York in 2006. The same year, he began his worldwide organ concert tours, giving numerous debuts at venues including The Royal Albert Hall, the Leipzig Gewandhaus, Melbourne Town Hall, Tschaikowsky Hall in Moscow, Davies Hall in San Francisco and many others. His first album for Telarc, the Grammy-nominated Revolutionary (2008), was followed in 2010 by the critically acclaimed full length DVD and CD Cameron Live! In August 2014, Sony Classical released If You Could Read My Mind, which was recorded on his International Touring Organ. The disc combines a variety of Carpenter’s famous transcriptions and settings of classical and modern music, including a cycle of “song treatments” ranging from the American Songbook to present day, with a world premiere recording of his new work for organ, Music for an Imaginary Film (2013). In March of 2014, the “extravagantly talented” (The New York Times) Carpenter launched his International Touring Organ (ITO,) in a daylong festival at Lincoln Center’s Alice Tully Hall. Edition Peters became his publisher in 2010, beginning the ongoing release of his original works with Aria, Op. 1 (2010). His first major work for organ and orchestra, The Scandal, Op. 3, was commissioned by the Cologne Philharmonie (KölnMusic GmbH) and premiered on New Year’s Day 2011 by the Deutsche
Cameron Carpenter’s International Touring Organ.
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PHILHARMONIA BAROQUE ORCHESTRA
30th Anniversary Celebration Nicholas McGegan, music director and conductor Susan Graham, mezzo-soprano Friday, February 12, 2016 • 8PM Jackson Hall SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY
Barbara K. Jackson Pre-Performance Talk Friday 7PM • Jackson Hall Speakers: Nicholas McGegan, Music Director and Conductor, in conversation with Don Roth, Executive Director, Mondavi Center, UC Davis Don Roth is the executive director of the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis. A native of New York City, Roth joined the Mondavi Center in June 2006, arriving from the Aspen Music Festival and School, where he served as president from 2001–06. His tenure at the Mondavi Center has seen the initiation of new artistic and educational partnerships with the San Francisco Symphony and the Curtis Institute; the development of residencies by world-renowned companies such as Shakespeare’s Globe and the St. Louis Symphony; the launching of initiatives to increase interest in classical music funded by a major Andrew W. Mellon Foundation grant; and the beginnings of the popular Just Added events. Under his leadership, engagement with UC Davis faculty and students has increased through programs such as the free student ticket program and bi-annual festivals with UC Davis Music and other departments. Previously Roth served as president of the St. Louis and Oregon Symphonies and as general manager of the San Francisco Symphony.
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PROGRAM George Frideric Handel (1685-1759) Overture to An Occasional Oratorio, HWV 62 Maestoso Allegro Adagio March Arias from Ariodante, HWV 33 “Scherza infida” “Dopo note” Susan Graham, mezzo-soprano Water Music Suite No. 1 in F Major, HWV 348 Ouverture: Largo – Allegro – Adagio e staccato – Allegro Air Minuet Bourrée Hornpipe Allegro Alla Hornpipe INTERMISSION Ballet Music from Oreste, HWV A11 Arias from Alcina, HWV 34 “Mi lusinga il dolce affetto” “Sta nell’ircana” Susan Graham, mezzo-soprano Music for the Royal Fireworks, HWV 351 Ouverture: Adagio – Allegro – Lentement – Allegro Bourrée La Paix: Largo alla siciliana La Réjouissance: Allegro Menuets I & II
PHILHARMONIA BAROQUE ORCHESTRA PHILHARMONIA BAROQUE ORCHESTRA: 30TH ANNIVERSARY CELEBRATION No composer does celebrations better than Handel. And there could be no more fitting repertoire to celebrate Nicholas McGegan’s thirtieth year with Philharmonia than the repertoire he has championed his entire career. The synergy between Handel’s musical style and McGegan’s interpretations creates an ebullience born of joie de vivre, yet both can also mine the depths of profound emotion and introspection. This program is a sampling of Handel’s best-known works, including an unlikely first performance by Philharmonia: the Music for the Royal Fireworks. It seems impossible that such a popular work could have been be missing from our repertoire until now, but it just may be that McGegan was saving it for something special—like his own apotheosis. The leading operatic roles in Handel’s operas were sung by mezzo-sopranos, and the appearance of Susan Graham, one of the world’s foremost mezzos, further cements the relationship between composer and performer. Of course, Handel’s leading male roles were often—but not exclusively—sung by castratos, men who were surgically altered to preserve their pre-pubescent voices. Graham possesses the natural vocal qualities so admired in these singers: a clarionclear tone, flexible agility in fast passages, extraordinary breath control, and, above all, dramatic expression of the pageant of emotions that is the hallmark of Baroque opera. Handel wrote An Occasional Oratorio in the midst of the Jacobite Rebellion, the attempt to overthrow the Hanoverian King George II in favor of putting Prince Charles Edward Stuart (aka “Bonnie Prince Charlie”) on the English throne. The trumpet fanfares of the majestic opening, the festive Allegro in the style of a concerto grosso, and the triumphant concluding march all seem a bit premature, as the outcome of the conflict was still undecided at the time of its first performance on February 14, 1746. It was not a celebration of victory, but a musical rally for the loyalists, whose ultimate victory at the Battle of Culloden would not take place until April 16. The celebrated Water Music and Royal Fireworks Music both arose from the sumptuous outdoor festivities of England’s Georgian courts. According to The Daily Courant of July 19, 1717, King George I boarded an open barge about eight o’clock for an evening cruise with his noble entourage up the Thames from Whitehall to
Chelsea. Alongside, another barge of some fifty musicians played “the finest Symphonies, compos’d express for this Occasion, by Mr. Hendel [sic].” The king reportedly liked this music so well that he requested it to be played three times both going and coming, even though the return trip began after two in the morning. Unlike the background music for a noble dinner party, The Fireworks Music was specifically composed for public celebrations of the Peace of Aix-la-Chapelle, which ended the War of the Austrian Succession in 1748. Though King George II opined that “it ought to consist of no kind of instrument but martial instruments,” Handel added strings to double the parts of the 24 oboes, 9 horns, 9 trumpets, three sets of timpani, 12 bassoons and a contrabassoon, and serpent [ancestor of the tuba] specified in the score. Even the daytime public rehearsal the previous week drew a ticket-buying audience of more than 12,000. The works themselves reflect their circumstances of performance. The twenty movements of the Water Music, now grouped into suites according to their keys, were a sort of Baroque jukebox from which the musicians or their royal patron could pick and choose throughout their eight-hour sojourn. The F Major Suite reflects contains the current national styles and popular dances of the day: the French overture and bourrée, the international minuet, the fast-slow-fast configuration of Italian concertos, and the home-grown English hornpipe. The five movements of the Fireworks Music, on the other hand, were ordered for a single performance in Green Park, preceding, not during, a fireworks display. The Overture, as in the Water Music, begins with the characteristic pompous dotted rhythms of the French overture, but instead of the customary fugue to follow the opening Adagio, Handel writes an Allegro in the style of an Italian concerto grosso, exploiting the contrast between fanfares by three trumpets alternating with three French horns, and three oboes with two bassoons, each on a separate part. At the heart of the work are two movements specific to the occasion. Peace (La Paix) is represented by the gentle lilt of the siciliana (a favorite setting for themes of pastoral serenity), while Rejoicing (La Réjouissance) returns to the spirit of the initial fanfares. When Handel lost the use of the King’s Theatre in the Haymarket, longtime home of his Italian opera productions in London, to the rival Opera of the Nobility in 1734, his misfortune had a brighter side. The new theater at Covent Garden to which he moved the non-defecting remnant of his
company was equipped with state-of-the art stage machinery and a dance troupe with renowned French dancer Marie Sallé. This gave him opportunities to create works with magical effects and ballet entractes such as those ending each act of Oreste, a pasticcio mostly cobbled together from his earlier works. The dance music, however, was entirely new, composed in the fashion of the French court galanterie. Cast in the two-reprise form of AABB and simply scored for oboes doubling the violins, often in the three-voice texture favored by Lully, the collection of gavottes, minuets, and other dances give a French stylistic accent to the otherwise Italianate work. Although Oreste has slipped into oblivion, its companion operas that season, Ariodante and Alcina continued to exploit the new resources for theatrical spectacle afforded by the new theater and Handel’s new superstar castrato, Giovanni Carestini. Graham’s arias in the program were composed for the celebrated Carestini, described by Dr. Burney as “the fullest, finest, and deepest counter-tenor [castrato, not a falsettist in the modern sense] that has perhaps ever been heard.” The title role in Handel’s Ariodante illustrates the variety of arias allocated to the leading man. His contemplation of suicide, Scherza infida, is a plaintive melody accompanied by muted strings, pizzicato bass, and solo bassoon. In the end, Ariodante returns as a knight in shining armor, literally, hailing the sun in Dopo notte with a flurry of coloratura designed to exploit Carestini’s two-octave range The opera Alcina is a tale of knighthood and sorcery, based on the popular Italian Renaissance epic, Ariosto’s Orlando furioso. After discovering that the “man” he thought was a rival is actually his abandoned lady-love in drag, the knight Ruggiero wistfully sings a lyrical aria di cantabile of his fear that he may have just abandoned her yet again. Later resolving to vanquish the sorceress Alcina once and for all, he likens himself to an angry tigress in a cave awaiting the hunter, trading horn-calls with the French horns while the strings shudder with fear and agitation. McGegan, Graham, and Philharmonia: Handel has never had it so good. Bruce Lamott, director Philharmonia Chorale
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PHILHARMONIA BAROQUE ORCHESTRA
Lauded by The New York Times as “America’s leading period instrument ensemble” and celebrating its 35th season, Philharmonia Baroque orchestra has been dedicated to authentic performances of Baroque, Classical and early Romantic music on original instruments since its inception in 1981. Under the leadership of Music Director Nicholas McGegan, Philharmonia was named Ensemble of the Year by Musical America in 2004. The Orchestra performs an annual subscription season in the San Francisco
Bay Area and is regularly heard on tour in the United States and around the world. The Orchestra has its own professional chorus, the Philharmonia Chorale, under the leadership of Bruce Lamott. It welcomes eminent guest artists including mezzo-soprano Susan Graham, countertenor David Daniels, fortepianist Emanuel Ax, violinist Rachel Podger, and guest conductors such as Jordi Savall, Masaaki Suzuki, and Trevor Pinnock. Philharmonia’s recent U.S. tour appearances include Lincoln Center’s Mostly Mozart Festival, the Tanglewood Festival, the Ravinia Festival, the Great Performers series at Lincoln Center,
FURTHER LISTENING by Jeff Hudson
PHILHARMONIA BAROQUE ORCHESTRA
WITH NICHOLAS MCGEGAN AND SUSAN GRAHAM
This season marks Nicholas McGegan’s 30th anniversary as conductor of the Philharmonia Baroque Orchestra (PBO) - a remarkable tenure. When McGegan came onboard, the PBO did about a dozen concerts a year in the Bay Area – nowadays, they give nearly 40 concerts annually, and go out on tour (in addition to their Northern California schedule). McGegan and the PBO have also built up a very impressive discography. For decades, I have been inordinately fond of their two-CD set covering the twelve Concerti Grossi of Arcangelo Corelli, recorded in 1989-1990, and still available. And McGegan and the PBO recorded a bunch of vocal works by Handel, including the oratorios Susanna, Theodora, and Judas Maccabaeus, as well as discs of opera arias for Handel’s celebrated singers Cuzzoni, Durastanti, Senesino, and Montagnana. (Naturally, they also recorded Messiah, in a three-CD version… Handel would revise portions of Messiah to take advantage of the best singers available for a particular performance, in the PBO/McGegan release, you can program your CD player to pick your favorite from among the several versions). McGegan and the PBO celebrated his 30th anniversary with a performance last fall of a long-lost, 300-year-old serenata by Alessandro Scarlatti, The Glory of Spring – a lavish work composed to celebrate the birth of a Hapsburg prince. Alas, the prince died in infancy, and The Glory of Spring was put away for centuries. McGegan and the PBO recorded it for future release. In addition to his skills as a conductor and harpsichordist, McGegan is a witty speaker with a treasure trove of knowledge (musical and literary) with an irreverent sense of humor. Asked earlier this year why women never played the clarinet in the 1800s, McGegan slyly replied “There’s a lovely, wicked line from Thomas Hardy, I think in ‘Under the Greenwood Tree,’ where someone says, ‘You can tell by the shape of them that clarinets were not made for the service of the Lord.’ ” Susan Graham appeared at Mondavi with the PBO and McGegan in 2009, a luminous performance of Purcell’s Dido and Aeneas marking the 350th anniversary of the composer’s birth. This year, Graham appears in the wake of her November appearance at the Metropolitan Opera as the doomed Countess Geschwitz in the notorious (but artistically admired) 1935 opera by Alban Berg, Lulu. (The title character is a voracious femme fatale, who meets her end when she goes on a date with Jack the Ripper). JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE, AND SACRAMENTO NEWS AND REVIEW.
34 MONDAVIART S.ORG
the International Chamber Orchestra Festival in Minnesota, Carnegie Hall in New York, the Festival del Sole in California’s Napa Valley, and Walt Disney Concert Hall in Los Angeles. Internationally, the Orchestra has performed at the BBC Proms in London, Snape Maltings, and the Concertgebouw in Amsterdam. Philharmonia appeared as the featured orchestra at the International Handel Festival in Gottingen, Germany, in 1999, 2001, 2002 and 2005. The Orchestra has had numerous successful collaborations with celebrated composers and choreographers. In November 2006, to mark its 25th season and the 20th anniversary of Nicholas McGegan’s tenure as music director, Philharmonia premiered its first commissioned work, a one-act opera by Jake Heggie with a libretto by Gene Scheer entitled To Hell and Back. ln collaboration with the Mark Morris Dance Group, Philharmonia gave the U.S. premieres of the highly acclaimed productions of G.F. Handel’s Acis and Galatea, Henry Purcell’s King Arthur, and Jean-Philippe Rameau’s balletopera Plaée. Philharmonia has also collaborated with many Bay Area performing arts groups, such as Alonzo King’s LINES Ballet, American Conservarory Theater, San Francisco Girls Chorus, and Chanticleer. In 2011, Philharmonia launched its own recording label, Philharmonia Baroque Productions. Its first release was an archival performance of mezzo-soprano Lorraine Hunt Lieberson singing Berlioz’s Les Nuits d’ete and Handel arias. Subsequently, its recording of Haydn’s Symphonies No. 104 “London”, No. 88, and No. 101 “The Clock” was nominated for a Grammy Award for Best Orchestral Performance. Recent releases include highlights from Handel’s Teseo and three Haydn symphonies, Nos. 57, 67, and 68. Prior to the launch of Philharmonia Baroque Productions, the Orchestra made 32 highly praised recordings for harmonia mundi, Reference Recordings, and BMG. Its recording of the Handel oratorio Susanna received a Grammy nomination and a 1991 Gramophone Magazine Award for the best Baroque vocal recording. Classical KDFC continues to broadcast unreleased Philharmonia concert recordings the second Sunday of every month from 8 - 9 PM. KDFC is the radio home of Philharmonia Baroque Orchestra. Philharmonia Baroque Orchestra was founded by harpsichordist and early music pioneer Laurette Goldberg.
PHILHARMONIA BAROQUE ORCHESTRA NICHOLAS McGEGAN
WAVERLEY FUND MUSIC DIRECTOR PHILHARMONIA BAROQUE ORCHESTRA Celebrating his 30th season at the Philharmonia podium, Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (London Independent) and “an expert in 18th-century style” (The New Yorker) — is increasingly recognized for his probing and revelatory explorations of music of all periods. He is Music Director of Philharmonia Baroque Orchestra, Principal Guest Conductor of the Pasadena Symphony and, beginning in 2014, Artist in Association with Australia’s Adelaide Symphony. Through 30 years as its music director, McGegan has established the San Franciscobased Philharmonia Baroque Orchestra and Philharmonia Chorale as one of the world’s leading period-performance ensembles, with notable appearances at Carnegie Hall, the London Proms, the Amsterdam Concertgebouw, and the International Handel Festival, Göttingen where he was artistic director from 1991 to 2011. Throughout his career, McGegan has defined an approach to period style that sets the current standard: serious and intelligent, but never dogmatic. More recently, Philharmonia Baroque is branching out under his leadership. Calling the group’s recent recording of the Brahms Serenades “a truly treasurable disc,” James R. Oestreich in The New York Times made special note of the performance’s “energy and spirit.” The recording, said Voix des Arts, offers “evidence that ‘period’ instruments are in no way inhibited in terms of tonal amplitude and beauty. These are … exceptionally beautifully played performances.” McGegan’s ability to engage players and audiences alike has made him a pioneer in broadening the reach of historically informed practice beyond the world of period ensembles to conventional symphonic forces. His guest conducting appearances with major orchestras — including the New York, Los Angeles, and Hong Kong Philharmonics; the Chicago, Milwaukee, St. Louis, Toronto and Sydney Symphonies; the Cleveland and the Philadelphia Orchestras; and the Northern Sinfonia and Scottish Chamber Orchestra — often feature Baroque repertoire alongside Classical, Romantic, 20th-century and even brand new works: Mendelssohn, Sibelius, Britten, Bach and Handel with the Utah Symphony; Poulenc and Mozart with the City of Birmingham Symphony Orchestra; Mahler
and Mozart with the Pasadena Symphony Orchestra; and the premiere, in 2012, of Stephen Hough’s Missa Mirabilis with the Indianapolis Symphony Orchestra, paired with Haydn, Brahms and Mendelssohn. His position in Pasadena, effective with the 2013-14 season, provides the opportunity to conduct a wider range of his favorite repertoire, including Dvořák, Britten, Elgar, Mahler, Brahms and Wagner. In Adelaide, he led composer-driven festivals, beginning with two weeks devoted to Beethoven. Active in opera as well as the concert hall, McGegan was principal conductor of Sweden’s perfectly preserved 18th-century Drottingholm Theater from 1993 to 1996. He has also been a frequent guest conductor with opera companies including Covent Garden, San Francisco, Santa Fe and Washington. McGegan has enjoyed a long collaboration with groundbreaking choreographer Mark Morris, notably the premiere performances of Morris’s production of Rameau’s Platée at the Edinburgh Festival and L’Allegro at Ravinia and the Mostly Mozart Festival in New York. In 2014 McGegan rejoined the Mark Morris Dance Group, along with Philharmonia Baroque Orchestra and Chorale and renowned soloists for the premiere and touring performances of Morris’s new production of Handel’s Acis and Galatea in an arrangement by Mozart. His discography of more than 100 releases includes the world premiere recording of Handel’s Susanna, which garnered both a Gramophone Award and a Grammy nomination, and recent issues of that composer’s Solomon, Samson and Acis and Galatea (the little-known version adapted by Felix Mendelssohn). He is also credited with the first performance in modern times of Handel’s masterly but mislaid Gloria. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia Baroque Orchestra has recently released five acclaimed archival recordings in addition to the Brahms: Beethoven’s Symphonies 4 and 7, Berlioz’s Les Nuits d’été and selected Handel arias with the late Lorraine Hunt Lieberson; Haydn Symphonies No. 88, 101 and 104, nominated for a Grammy Award; Vivaldi’s Four Seasons and other concerti with Elizabeth Blumenstock as violin soloist; and Handel’s Atalanta with soprano Dominique Labelle in the title role. McGegan is committed to the next generation of musicians, frequently conducting and coaching students in residencies and engagements at Yale University, the Juilliard School, Harvard University, the Colburn School, Aspen Music Festival and School, and the Music Academy of the West. In 2013 he delivered the commencement address and was awarded the
honorary degree of Doctor of Music by the San Francisco Conservatory of Music. Born in England, Nicholas McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music, London. He was made an Officer of the Most Excellent Order of the British Empire (OBE) in the Queen’s Birthday Honours for 2010 “for services to music overseas.” His awards also include the Halle Handel Prize; an honorary professorship at Georg-August University, Göttingen; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen, an honorary doctorate from the San Francisco Conservatory of Music, and an official Nicholas McGegan Day, declared by the Mayor of San Francisco in recognition of his distinguished work with Philharmonia.
SUSAN GRAHAM
MEZZO-SOPRANO
Grammy Award-winner Susan Graham — “America’s favorite mezzo” (Gramophone) — achieved international stardom within a few years of her professional debut. Her operatic roles span four centuries, from Monteverdi’s Poppea to Jake Heggie’s Sister Helen Prejean (Dead Man Walking), which was written especially for her, and her recital repertoire is equally wideranging. As one of today’s foremost interpreters of French vocal music, the Texas native was awarded the French government’s “Chevalier de la Legion d’Honneur.” Graham kicks off the 2015/16 season with a solo recital in Washington, DC, and a concert with Mercury Baroque in Houston. She then makes a much-anticipated return to the Metropolitan Opera to sing Countess Geschwitz in a new production of Berg’s Lulu by artist-director William Kentridge, and for a revival of Strauss’s Die Fledermaus in the role of Prince Orlovsky. A string of European concert dates follows, including Britten at Teatro Real Madrid and recitals at London’s Wigmore Hall, Glasgow’s Royal Conservatoire of Scotland, and the Vienna Konzerthaus. Stateside, Graham appears with the Philharmonia Baroque Orchestra in San Francisco; with Michael Tilson Thomas and the San Francisco Symphony for Brahms’s Alto Rhapsody; at the Celebrity Series of Boston for a program that includes Schumann, Mahler, and Ravel; with the Orchestra of St. Luke’s at Carnegie Hall; and with the New York Philharmonic at Avery Fisher Hall. The mezzo later returns to Carnegie Hall to headline a special evening of music called “Susan Graham & Friends.” Graham enjoyed early success in “trouser” roles like Mozart’s Cherubino (Le nozze di encoreartsprograms.com 35
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INDELIBLY DAVIS
A Quarter-Century of UC Davis Stories…and Backstories by LARRY N. VANDERHOEF “This lively and highly readable book is a distinctly different kind of memoir. Larry Vanderhoef makes UC Davis and its remarkable people the heart of his account of 25 years as a provost and chancellor—a choice that is beautifully vindicated by the power and insight of these stories.”
DAVIS Backstories LIBLY Stories…and INDE of UC Davis er-Century A Quart
—Patricia Pelfrey, UC historian and author LARRY N.
EF
VANDERHO
“The backstories of decision-making are what make this an intriguing must-read for all Aggies and truly for anyone who cares about higher education.” —Bob Dunning, Davis Enterprise columnist
Available in hard cover ($29.95) at all UC Davis Stores (http://ucdavisstores.com), The Avid Reader Davis (http://avidreaderbooks.com/) and the Mondavi Center Gift Shop, and digitally, with video extras, via UC’s eScholarship website (http://escholarship.org/ uc/ucdavischancelloremeritus_books)
36 MONDAVIART S.ORG
Figaro), before mastering his more virtuosic parts and the title roles of Handel’s Ariodante and Xerxes. She triumphed in Richard Strauss’s iconic mezzo roles, Octavian (Der Rosenkavalier) and the Composer (Ariadne auf Naxos), which brought her to prominence with all the world’s major opera companies. She also created the female leads in the Metropolitan Opera’s premiere productions of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy, and later returned to the Met in the title role of Susan Stroman’s staging of Lehár’s The Merry Widow. Her signature role of Dido in Berlioz’s epic Les troyens — recently heralded by The New York Times as “sumptuous, regal and impassioned” — was reprised in a David McVicar-helmed staging at San Francisco Opera. Graham made her musical theater debut in a new production of Rodgers & Hammerstein’s The King and I at the Théâtre du Châtelet in Paris, and has headlined gala concerts at Lyric Opera of Chicago and the Los Angeles Opera. Following the mezzo’s conquests in Berlioz’s Béatrice et Bénédict in Lyon and Massenet’s Chérubin at Covent Garden, new productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust, Massenet’s Werther, and Offenbach’s La belle Hélène and The Grand Duchess of Gerolstein were mounted for her in New York, London, Paris, Chicago, San Francisco, Santa Fe, and elsewhere. Her command of French music has also led to regular appearances with the world’s foremost orchestras. She has performed Berlioz with the Los Angeles Philharmonic, London Symphony, and the Orchestre Révolutionnaire et Romantique, and recently rejoined her frequent collaborator, pianist Malcolm Martineau, for a West Coast recital tour. Graham’s extensive and distinguished discography features oratorios and song cycles by Berlioz, Ravel, and Chausson, as well as solo albums that include her Grammy Awardwinning album of Ives songs. Among her additional honors are Musical America’s Vocalist of the Year and an Opera News Award.
PHILHARMONIA BAROQUE ORCHESTRA TEXTS AND TRANSLATIONS “SCHERZA INFIDA” FROM ARIODANTE, HANDEL
LIBRETTO ADOPTED ANONYMOUSLY FROM A WORK BY ANTONIO SALVI
Scherza infida in grembo al drudo, io tradito a morte in braccio per tua colpa ora men vò.
Mà a spezzar l’indegno laccio, ombra mesta, e spirto ignudo, per tua pena io tornerò.
Mock me, faithless one, in your lover’s arms. Betrayed by you, I lie in the arms of death. But to break these unworthy bonds, for your sentence I shall return, a sad ghost and a naked spirit.
“DOPO NOTTE” FROM ARIODANTE, HANDEL
LIBRETTO ADOPTED ANONYMOUSLY FROM A WORK BY ANTONIO SALVI
Dopo notte atra e funesta, splende in ciel più vago il sole e di gioia empie la terra.
After a dark and terrible night, the sun shines more brightly in the sky and fills the earth with joy.
Mentre in orrida tempest il mio legno è quasi assort, giunge in porto e ‘l lida afferra.
My ship, having been almost engulfed in the dreadful storm, gains harbor and reaches the shore.
“MI LUSINGA IL DOLCE AFFETTO” FROM ALCINA, HANDEL RICCARDO BROSCHI, LIBRETTIST
Mi lusinga il dolce affetto con l’aspetto del mio bene. Pur chi sa? Temer conviene che m’inganni amando ancor. Ma se quella fosse mai che adorai e l’abbandono, infedele, ingrate io sono, son crudele e traditor.
Sweet passion tempts me at the appearance of my beloved. But who knows? I fear that by loving once more, I deceive myself. But if it ever should come to pass that I adore and yet abandon her, unfaithful, ungrateful am I, I am cruel and a traitor.
“STA NELL’IRCANA” FROM ALCINA, HANDEL RICCARDO BROSCHI, LIBRETTIST
Sta nell’ircana pietroso tana tigre sdegnosa, e incerta pende se parte, o attende il cacciatore. Dal teso strale guarder si vuole ma poi la prole lascia in periglio. Freme e l’assale, desio di sangue pieta del figlio poi vince amor.
In her stony Caspian lair The fierce tiger stands, unsure whether to flee, or await the hunter She wants to defend herself from his arrow, but that would leave her offspring in danger. She trembles and struggles between her taste for blood and her duty to her young; then love prevails.
encoreartsprograms.com 37
THE PLAYERS AND THEIR INSTRUMENTS Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.
VIOLIN
Elizabeth Blumenstock Concertmaster Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust Egon & Joan von Kaschnitz Concertmaster Chair Jolianne von Einem Rowland Ross, Guildford, England, 1979; after Antonio Stradivari, Cremona Susan B. Levy Chair Lisa Grodin Paulo Antonio Testore, Contrada, Larga di Milano, 1736 Katherine Kyme Carlo Antonio Testore, Milan, 1720 Tyler Lewis Anonymous, Italy c. 1800 Carla Moore † Johann Georg Thir, Vienna, 1754 Maxine Nemerovski Timothy Johnson, Bloomington, Indiana, 1999; after A. Stradivari
VIOLONCELLO
William Skeen * Anonymous, Northern Italy, c. 1680 Phoebe Carrai Anonymous, Italy, c. 1690 Osher Cello Chair Endowment Paul Hale Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Zheng Cao Memorial Cello Chair Robert Howard Anonymous, Venice, 1750
DOUBLE BASS
Kristin Zoernig * Joseph Wrent, Rotterdam, Holland, 1648 Timothy Spears Anonymous, Germany
OBOE
David Sego Josephus Pauli, Linz, 1785
Marc Schachman * H. A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710 Principal Oboe Chair In Memory of Clare Frieman Kivelson and Irene Valente Angstadt
Noah Strick Celia Bridges, Cologne, 1988
Gonzalo Ruiz Joel Robinson, New York, 1990; after Saxon models, c. 1720
Lisa Weiss Anonymous, London; after Testore
Michael DuPree H. A. Vas Dias, Decatur, Georgia, 1995; after T. Stanesby, England, c. 1700
Gabrielle Wunsch Lorenzo Carcassi, Florence, 1765 Alicia Yang Richard Duke, London, 1762
VIOLA
Maria Ionia Caswell * Anonymous, Mittenwald, c. 1800 David Daniel Bowes Richard Duke, London, c. 1780 Ellie Nishi Anonymous, Germany, 18th Century Aaron Westman Francis Beaulieu, Montreal, 2012, after Bros. Amati, Cremona, c. 1620
BASSOON
Andrew Schwartz * Guntram Wolf, Kronach, Germany, 2008 Kate van Orden Peter de Koningh, Hall, Holland, 1978; after Prudent, c. 1760
CONTRABASSOON
John Thiessen * Rainer Egger, Basel, Switzerland, 2003; after Johann Leonhard Ehe III, Nuremberg, 1746 Kathryn Adduci Rainer Egger, Basel, Switzerland, 2006; after L. Ehe, Nuremburg, 1748 Fred Holmgren Fred Holmgren, Massachusetts, 2005; after J. L. Ehe III
TIMPANI
Kent Reed * Pete Woods, Aldershot, England, 1996; after 18th-century continental, hand tuned
THEORBO
David Tayler * Andreas von Holst, Munich, 2004; after Magno Tieffenbrucker, Venice, 1610
HARPSICHORD
Hanneke van Proosdij * John Phillips, Berkeley, 2010, after Johann Heinrich Gräbner, Dresden, 1722; generously lent by Peter & Cynthia Hibbard * Principal † Principal 2nd Violin
PHILHARMONIA TOURING STAFF Courtney Beck Executive Director Paolo Brooks Stage Manager E. J. Chavez Stage Equipment Coordinator Myles K. Glancy Production Manager Thomas Malone Keyboard Technician Jeff Phillips Artistic Administrator
Damian Primis Paul White, St. Albans, Hertfordshire, England, 1992; after Kaspar Tauber, Vienna, c. 1800
Elizabeth Shribman General Manager
SERPENT
William Skeen Music Librarian
Douglas Yeo Baudouin, Paris, c. 1812
HORN
R. J. Kelley * Richard Seraphinoff, Bloomington, Indiana, 2006; after J. C. Hofmaster, London, c. 1740 Paul Avril Richard Seraphinoff, Bloomington, Indiana, 1997; after J. W. Haas, Nuremberg, c. 1720 Alexandra Cook Richard Seraphinoff, Bloomington, Indiana, 2000; after J. W. Haas
38 MONDAVIART S.ORG
TRUMPET
THE NIELLO COMPANY, PROUD PARTNER OF THE MONDAVI CENTER.
An American Heritage Series Event Sunday, February 14, 2016 • 7PM Jackson Hall SPONSORED BY
OFFICE OF CAMPUS COMMUNITY RELATIONS
Lisa Fischer vocals J.C. Maillard musical director, arranger, guitar, SazBass, and backing vocals Thierry Arpino drums and percussion Aidan Carroll bass and backing vocals
LISA FISCHER
Ms. Lisa Fischer is stepping into the spotlight at last. After four decades of singing background for icons like the Rolling Stones, Tina Turner, Chaka Khan, and Nine Inch Nails, Fischer is finally offering her own humble, heartfelt song, accompanied by her inventive new band Grand Baton. The past 18 months have been a whirlwind, with performances at the Newport and Monterey Jazz Festivals, at the Hollywood Bowl, and in major cities all over the world. The unexpected success of the Oscarwinning documentary Twenty Feet from Stardom (2013) altered the course of Fischer’s musical journey. The film told her story, complete with clips of her 1991 Grammywinning R&B hit “How Can I Ease The Pain,” live footage of her legendary duets with Mick Jagger on “Gimme Shelter,” and glowing testimonials from famous colleagues like Sting, Patti Austin, and Chris Botti. It showcased her virtuosity and vulnerability, opened a window on her sometimes lonely life on the road, earned her a second Grammy award, and left audiences eager to see and hear more. Fischer set out on her first tour with no recordings or video to help book and promote shows, headlining first in small clubs, moving quickly to festivals and concert halls. Journalists, music business insiders, and supporters jumped in to spread the word. “Her glamorous-girl-next-door quality makes fans all over the world think she’s their own secret discovery.” (Broadway World) “A sublime experience,” “phenomenal times infinity,” “mind blowing,” “an intangible souvenir that 40 MONDAVIART S.ORG
MS. LISA FISCHER & GRAND BATON will remain in our hearts and minds forever.” (Facebook followers) “Transcendental!”(The Huffington Post) “She brought down the house in the single best show I’ve seen in the many years I’ve visited Birdland.” (The New York Times) “You know you’re in the presence of greatness when the hair on the back of your neck stands up. On her own stage, [Fischer] exuded supreme confidence. The display of vocal magic was mesmerizing . . . quiet and subtle until the mighty shout was unleashed . . . .” (The Edmonton Sun) “[A] wondrous instrument that can seamlessly blend classical, jazz, soul, gospel, rock and folk.” (Minneapolis Star Tribune). Fischer has found ideal co-conspirators in Grand Baton. The band’s organic fusion of African, Middle Eastern, and Caribbean rhythms, psychedelic soul, and progressive rock awakens and ignites Fischer’s flexibility and freedom of expression. “Collectively they bring amazing musicianship, hearts and souls and most importantly a sense of playfulness,” she says. “It’s a dream to be sonically surrounded with this kind of sensitivity and care.” The band has helped her realize her lifelong desire to make music that heals but still rocks the house. In performance, she draws from an eclectic palette of influences, whether putting her stamp on Led Zeppelin and Little Willie John or recasting rock anthems from her tours with the Stones and Tina Turner. While Fischer’s range is legendary, her greatest gift is the ability to connect, to reach the hearts of her listeners. Raised in the Fort Greene neighborhood of Brooklyn,
Fischer emerged from New York’s fervent studio scene in the early-1980s and quickly became session singer royalty. She paid her dues as a member of the Marvelettes before legendary vocalist Luther Vandross invited her to sing background with his touring band. He became her mentor and friend, nurturing her talent over a 20-year period until his untimely passing in 2005. During Fischer’s two decades working with Luther, her voice also powered albums by a constellation of music legends including Aretha Franklin, Bobby McFerrin, George Benson, Diana Ross, Laurie Anderson, Teddy Pendergrass, Dionne Warwick, Grover Washington, Billy Ocean, Melba Moore, Al Jarreau, Patti LaBelle, and other major recording artists. Fischer joined the Rolling Stones on tour for the first time for their 1989 Steel Wheels tour; she has graced their stage for 26 years. When the spotlight catches Fischer singing with Mick Jagger she is a quintessential rock and roll goddess, soaring above the band’s earthy groove. “It’s always a high point in the show for me,” says Mick. Keith Richards commends Fischer’s “amazing power, energy, and projection.” In 1991, in the midst of touring with both the Stones and Luther Vandross, Fischer recorded a solo album, So Intense, for Elektra Records. “I used members of my session singing community on the CD, so I felt surrounded by love,” she says. “The most difficult thing was finding the right music. It was also the most exciting thing.” The album featured Fischer’s songwriting collaborations with producer Narada Michael Walden on
both the Top 10 R&B hit “Save Me” and the number one and Grammy-winning R&B single “How Can I Ease the Pain.” Fischer also won the Grammy for “Best R&B Vocal Performance, Female,” an honor she shared with Patti LaBelle, whose award-winning project Burnin’ also featured Fischer on background vocals. Though she continued to record for soundtracks and various studio projects, Fischer’s career revolved around supporting other artists. Then, in 2011, the late Gil Friesen and director Morgan Neville approached Fischer when they began interviewing singers for Twenty Feet from Stardom, a feature-length documentary celebrating the contributions of background vocalists. Alongside vocal trailblazers like Darlene Love and Merry Clayton, Fischer candidly discussed the delicate balance between life and career, success and challenges, as well as the nuance of singing with other vocalists. “Ms. Fischer has become the unexpected star of Mr. Neville’s film,” said The New York Times. “She’s the empress of that world,” music legend Patti Austin declared in the film. “That’s a powerhouse voice. I think of her as a star,” said Sting. Between her down-toearth persona in interview footage, her vocal mastery in archival clips, and her multi-tracked performance of Samuel Barber’s “Sure on This Shining Night,” Fischer moved viewers with her voice, her soft-spoken charm, and her thought-provoking insights. “This movie is going to make Lisa Fischer a star,” said music industry pundit Bob Lefsetz. “And she deserves it, because she’s just that damn good.” Whether fronting her own band or supporting other artists, Fischer’s passion for music in all its forms leads her to constant growth and experimentation with different styles. She recorded the title track for Billy Childs’ all-star tribute to Laura Nyro, Map to the Treasure (2014), collaborated with Yo-Yo Ma and Gregory Porter, and co-created music with J.C. Maillard for the Alonzo King LINES Ballet. “It’s an exciting new chapter for an artist who had early career success but eschewed the trappings of celebrity in favor of the satisfaction of making honest music every night,” Broadway World observes. With spiritual truth-telling as her compass and loving kindness as her guide, Ms. Lisa Fischer is on a creative journey, destination unknown. “Inspiration is all around,” said Fischer in a recent interview with New York’s Daily News. “My heart is wide open and I’m in love with the thought of singing to anyone who wishes to listen.”
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A Capital Public Radio Jackson Hall Jazz Series Event Friday, February 19, 2016 • 8PM Jackson Hall
SPONSORED BY
Dave Douglas trumpet Jon Irabagon saxophone Fabian Almazan* piano Linda Oh double bass Rudy Royston drums/percussion *Fabian Almazan replaces Matt Mitchell for this performance. Pre-Performance Talk Friday 7PM • Jackson Hall Speaker: Cory Combs, Director of Outreach Music and Enrichment, The Nueva School Cory Combs is Director of Outreach, Music, and Enrichment for the Nueva School. He introduced initiatives such as digital music, digital filmmaking, jazz band, improvisation, rock band, and rock history. He served as SFJAZZ’s director of education, one of the preeminent artistic jazz performance and education programs in the United States.
THE QUINTET DAVE DOUGLAS
TRUMPET
Dave Douglas is a prolific trumpeter, composer, educator and entrepreneur from New York City known for the stylistic breadth of his work and for keeping a diverse set of ensembles and projects active simultaneously. That diversity has characterized his music since he emerged from the downtown scene in the mid-1980s. Since then, his unique contributions to improvised music have garnered distinguished recognition, including a Guggenheim Fellowship, an Aaron Copland award, two Grammy nominations and almost yearly mentions in readers’ and critics’ polls. Never willing to stand still, his career spans more than 40 recordings as a leader. While those projects extend from progressive chamber-jazz ensembles to straight-ahead combos, Douglas has always maintained his focus on the interplay between composer, ensemble and improviser. 42 MONDAVIART S.ORG
DAVE DOUGLAS QUINTET Among the projects currently active are his Quintet; Sound Prints, a quintet co-led with saxophonist Joe Lovano; Riverside, a quartet co-led with Chet Doxas; a duo with pianist Uri Caine; and High Risk, an electronic inspired quartet with Shigeto, Jonathan Maron and Mark Guiliana. The Dave Douglas Quintet, his signature ensemble, released its debut recording, Be Still, in September 2012 with singer Aoife O’Donovan. The album received critical praise, with The New York Times heralding it as “gorgeous and contemplative” and Fred Kaplan in Stereophile proclaiming it “one of the best-sounding new recordings that I’ve heard by anybody in quite a while.” A followup recording, Time Travel, was released in April 2013. In it, Troy Collins for AllAboutJazz.com wrote: “the quintet soars. . . Unconstrained by thematic concerns, Douglas demonstrates his all-encompassing aesthetic, revealing a broad capacity for expressionism.” Together with a new sextet album called Pathways, Be Still and Time Travel were packaged with a DVD of studio performances and music videos as well as unreleased tracks and outtakes and released as part of a commemorative 50th Birthday Recordings box set in September 2013. The group’s latest recording, Brazen Heart, was
released in October 2015. Among Douglas’ newer projects, Riverside puts a contemporary stamp on small group improvisation while evoking the dynamic ensembles led by clarinetist Jimmy Giuffre. Coled with Chet Doxas, Riverside blends a love for improvised music, bluegrass, sacred hymns and Appalachian music to create an aesthetic rooted in Americana and jazz. Writing for The New York Times, Nate Chinen suggested that, “this is a band that could easily keep going for a while without running out of options.” Present Joys, an album of ancient “shapenote” songs together with new compositions by Douglas in that vein marks his first duo collaboration with longtime friend Uri Caine. The album received many accolades upon its release with John Fordham awarding it four stars in the Guardian (UK) and calling it “alluring… a 2014 jazz highlight.” The most current of these projects is Sound Prints, an ensemble dedicated to exploring the work of legendary composer Wayne Shorter. Together with compositions by Douglas and co-leader Joe Lovano that evoke his work, the band is playing new charts written expressly for them by Shorter. The group’s debut Live at Monterey Jazz Festival will be released on Blue Note Records in April 2015.
In addition to writing works for the ensembles he leads, Douglas has received commissions from a variety of organizations including the Cologne Radio Symphony, the Trisha Brown Dance Company, the Lynn Shapiro Dance Company, Ictus, Birmingham Contemporary Music Group, Norddeutscher Rundfunk, Essen Philharmonie, The Library of Congress, Stanford University and most recently, Monash Art Ensemble, which premiered his piece Fabliaux in March 2014. Douglas has held several posts as an educator and impresario. From 2002 to 2012, he served as artistic director of the Workshop in Jazz and Creative Music at The Banff Centre in Canada. He is a co-founder and president of the Festival of New Trumpet Music, which celebrated its tenth anniversary in 2012. In 2013, he began his second year as International Jazz Artist in Residence at the Royal Academy of Music in London and launched his own Jazz Workshop, dedicated to enriching the musical experiences of younger players. In 2015, he joined the faculty at the New School in New York City. As an entrepreneur, Douglas founded Greenleaf Music, a full-service record company releasing his own recordings as well as albums by other artists in the jazz idiom. A pioneer among artist-run labels, his active ownership, hands-on approach to the business, innovative, artist-friendly practices and impeccable taste are on display as the company celebrates its tenth anniversary in 2015.
JON IRABAGON
SAXOPHONE
“Saxophonist Jon Irabagon is a subverter of the jazz form,” declares Martin Longley in his Irabagon feature in the August issue of The New York City Jazz Record. “He’s a revolutionary who’s secretly messing with the changes. He might be dismantling the music’s mechanics from the inside, but from the outside he can frequently persuade a crowd that he’s an old-school practitioner. There are few players who can so deftly stride from postbop to free improvisation, avant country to doom metal and then wander from chaotic collagespraying to sleek-blowing fluency.” The winner of the 2008 Thelonious Monk Saxophone Competition, Irabagon has since topped both the Rising Star Alto Saxophone and the Rising Star Tenor Saxophone categories in the DownBeat Magazine Critics’ Poll and been named one of Time Out New York’s 25 New York City Jazz Icons. Irabagon was also named 2012 Musician of the Year in The New York City Jazz Record. An integral member of such high-profile ensembles encoreartsprograms.com 43
DAVE DOUGLAS QUINTET as Mostly Other People Do The Killing and the Mary Halvorson Quintet, as well as an established bandleader in his own right, his list of current projects includes the bands Bryan & The Haggards and Mike Pride’s From Bacteria to Boys as well as a longstanding partnership with legendary drummer Barry Altschul and Dave Douglas’ new quintet. Irabagon’s own record label, Irabbagast Records, has currently released three of his efforts, including I Don’t Hear Nothin’ but the Blues Volume 2: Appalachian Haze (with Mike Pride and Mick Barr), Outright! Unhinged (with Ralph Alessi, Jacob Sacks, John Hebert and Tom Rainey) and It Takes All Kinds (featuring Mark Helias and Barry Altschul). 2015 will see the dual release of Behind the Sky (featuring Tom Harrell, Luis Perdomo, Yasushi Nakamura and Rudy Royston) as well as Irabagon’s first solo saxophone recording.
FABIAN ALMAZAN
PIANO
Pianist and composer Fabian Almazan, a native of Cuba now residing in New York City, found his musical roots as a child in his homeland of Havana where he first became involved in the classical piano tradition. When his parents could not afford to pay for private piano lessons, having fled Cuba in political exile to Miami, Florida, pianist Conchita Betancourt was gracious enough to impart free lessons for over three years. Thanks to Mrs. Betancourt’s exceeding generosity, Almazan was able to audition for the New World School of the Arts High School in Miami where he studied from 1998 to 2002. In 2002 Almazan was selected for the piano chair in the National 2002 Grammy High School Jazz Combo. The following year, Almazan won the piano chair for the newly up and running Brubeck Institute fellowship program based in northern California where he studied with Mark Levine and performed with Dave Brubeck and Christian McBride. In 2003, Almazan moved to New York City to study with Kenny Barron at the Manhattan School of Music. During the completion of his bachelor’s degree, Almazan immersed himself in the realm of orchestral composition studying instrumentation and orchestration with Mr. Giampaolo Bracali. Under Bracali’s tutelage, Almazan composed several pieces for orchestra and chamber ensembles. In the spring of 2009 Almazan received a master’s degree from Manhattan School of Music, selected as a recipient of the Michael W. Greene Scholarship, studying privately with Jason Moran. Almazan received the Cintas Foundation 2010/11 Brandon Fradd Award in Music 44 MONDAVIART S.ORG
Composition. The award has been granted to many Cuban artists who have gone on to play an influential role in the development of Cuban cultural heritage. Almazan was also selected as one of six composers to participate in the Sundance Composers’ Lab 2011 where he studied with such acclaimed film composers as Harry Gregson-Williams, Alan Silvestri, George S. Clinton, Christopher Young, Ed Shearmur and Peter Golub. Personalities, Almazan’s debut album, was released October 2011 and it featured Linda Oh, Henry Cole, Meg Okura, Megan Gould, Karen Waltuch and Noah Hoffeld. For the past four years Almazan has been the pianist for the Terence Blanchard Group and has toured North and South America, Asia and Europe extensively. Almazan has had the opportunity to share the stage with such artists as Linda Oh, Gretchen Parlato, John Hollenbeck, Paquito D’Rivera, Mark Guiliana, Christian Scott, Chris Dingman, David Sanchez, Stefon Harris and Ambrose Akinmusire among others.
LINDA OH
DOUBLE BASS Born in Malaysia, raised in Perth, Western Australia, Linda Oh started learning classical piano at age four and took up clarinet at eleven and bassoon at thirteen. At fifteen, Oh dabbled on electric bass, playing jazz in high school and community big bands while playing a lot of Red Hot Chili Peppers. In 2002, she was accepted into the Western Australian Academy of Performing Arts (WAAPA) and started taking lessons on double bass. She finished at WAAPA in 2005, receiving first-class honors, as well as the Bob Wyllie Scholarship (awarded to the best graduation recitalist) and the West Australian Youth Jazz Orchestra (WAYJO) Scholarship. Oh is also a recipient of the American Society of Composers, Authors and Publishers (ASCAP) Young Jazz Composers Award (2008), and composes for film, participating in the Broadcast Music, Inc. (BMI) Film Composing Workshop (2010). Oh received an honorary mention at the 2009 Thelonious Monk Composition Semi-finals and received the 2010 Bell Award for Young Australian Jazz Artist of the year. She was second at the BASS2010 competition in Berlin. Oh now lives in New York City, after completing her Masters degree at the Manhattan School of Music (where she now teaches bass in the precollege division). She has performed with the likes of Steve Wilson, Kenny Barron, Dave Douglas, Kevin Hayes and Cyrus Chestnut. Oh received a Jazz Gallery commission that was performed in 2012. She is also working
on a jazz quartet plus string quartet concept called “Concert in the Dark”, in which the musicians play with specific movements throughout the audience under very minimal lighting designed to enhance the listening experience and create a spatial surround sound effect. With three albums as a leader to her credit, Oh is both an in-demand side artist and an emerging bandleader. Both her self-released debut album, Entry, featuring Ambrose Akinmusire on trumpet and Obed Calvaire on drums, and her second outing, Initial Here (on Greenleaf Music), featuring Dayna Stephens (tenor sax), Fabian Almazan (piano), Rudy Royston (drums) and Jen Shyu (vocals) were met with warm reviews. And with The New York Times calling it “her most unassumingly assured” and Down Beat magazine lauding her “big presence on all cuts. . .” with “forceful playing that grounds the group. . .”, her third album, Sun Pictures, (again on Greenleaf Music) serves to solidify her growing stature as a player, composer and leader.
RUDY ROYSTON
DRUMS/PERCUSSION A native of Ft. Worth, Texas, Rudy Royston was raised in Denver, Colorado. He began playing drums and percussion as a toddler, playing in church and along with an eclectic array of LPs his siblings would have on rotation. The youngest of five, Royston attributes his musical interests and palate to his siblings and parents. Royston’s older brothers and sister were avid listeners of all genres of music, his mother a strong supporter, and his father the supervisor of shipping at an established children’s percussion instrument-making company. Royston’s brothers exposed him to a myriad of music, and his father would bring home slightly damaged percussion instruments. As a result, Royston grew up surrounded by bongos, rhythm sticks, xylophones, recorders, metallophones, glockenspiels, drums as well as many other percussion instruments. In the fourth grade, with his mother’s ceaseless support, Royston began studying music more formally, beginning his studies in reading and writing music. He continued his studies through middle and into high school— receiving some training on viola and tenor saxophone as well. While a sophomore in high school, Royston attended the Telluride Jazz Camp in Colorado on scholarship, where he studied jazz drum set for the first time with Duffy Jackson and Ed Soph. It was then Royston knew he would pursue music the rest of his life. He began studying classical and jazz repertoire, as well as marching percussion, rising to achieve
TOURS
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membership in top-notch city and statewide high school ensembles. Royston went on to study marching percussion, classical percussion and jazz performance at University of Northern Colorado, Metropolitan State College of Denver, and University of Denver. Royston graduated with honors from Denver University, where he received Bachelor of Arts degrees in Music and Poetry. He later received K-12 teaching credentials from Metropolitan State College of Denver. While in college, Royston began playing with well-regarded trumpeter Ron Miles, whom Royston deems his greatest teacher and music mentor. Already becoming a major figure in the Denver music scene, Royston performed with artists such as Fred Fuller, Dale Bruning, Laura Newman, Fred Hess, Dotsero, Leslie Drayton, Joe Keel, Nelson Rangell and Bill Frisell--with whom he still plays. Upon graduating college, Royston went on to play and record in the gospel, alternative rock and jazz scenes in Denver and around the United States. He taught music for ten years in public schools before relocating to the east coast in 2006 to pursue graduate studies in music at Rutgers University’s Mason Gross School of the Arts, studying jazz percussion with the great Victor Lewis. Royston quickly integrated into the New York music scene, performing with world-renowned artists such as Bill Frisell, Les McCann, Dave Douglas, Ben Allison, Jason Moran, JD Allen, Sean Jones, Greg Osby, Jennifer Holiday, Tia Fuller, Ravi Coltrane, Ralph Bowen, Bruce Barth, George Colligan, Don Byron, Tom Harrell, John Ellis, John Patitucci, Jenny Scheinman and the Mingus Big Band, to name a few. A lover of all genres of music, Royston continues to expand his horizons as he gains increasing recognition in the world of Jazz. Royston’s first album as leader, 303, was released in early 2014 on Greenleaf Music.
Join Friends of Mondavi Center volunteers for a FREE guided tour of the Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre and Yocha Dehe Grand Lobby. To reserve your space, call (530) 754-5399 or email: mctours@ucdavis.edu.
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An Orchestra Series Event Saturday, February 20, 2016 • 8PM Jackson Hall SPONSORED BY:
PROGRAM Overture to Genoveva, Schumann Op. 81 Piano Concerto No. 9 Mozart in E-flat Major, K. 271, “Jeunehomme” Allegro Andantino Rondo: Presto
RUSSIAN NATIONAL ORCHESTRA
Mikhail Pletnev
Artistic Director and Conductor
Yuja Wang piano
INTERMISSION Suite from Swan Lake, Tchaikovsky Op. 20 Scène Valse Danse des cygnes Scène Danse hongroise (Czardas) Danse éspagnole Danse napolitaine Mazurka
The Russian National Orchestra wishes to thank Ann and Gordon Getty, the Mikhail Prokhorov Foundation, Peter T. Paul, Athena T. Blackburn, Barbara Roach, Marianne Wyman, The Prince Michael of Kent Foundation and the Russian Arts Foundation for their major support of the 25th Anniversary U.S. Tour.
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PROGRAM NOTES OVERTURE TO GENOVEVA, OP. 81 (1847)
ROBERT SCHUMANN (1810-1856)
Schumann was a crucial figure in the history of 19th-century German music. Working in the decades after Beethoven’s death, when many musicians felt that the possibilities of the grand, abstract genres had been exhausted, he urged his fellow German composers not to succumb to the easy (and lucrative) temptation of cranking out vapid piano pieces and operatic transcriptions, but to search out renewed expressions of symphony and quartet and opera that would not only revere the great traditions of the nation’s artistic heritage but also reflect the expanded sensibilities of the Romantic age. As early as 1842, Schumann issued a call from his platform as editor of the influential periodical Neue Zeitschrift für Musik (“New Music Journal”) to continue the efforts begun by Carl Maria von Weber, then already dead sixteen years, to create a German opera as an alternative to the flood of Italian and French theatrical pieces washing across Europe. (“Canary-bird music,” he called these imports.)
He heeded his own advice and began casting about for a subject for an opera — Hamlet, Tristan, Mazeppa, Attila, Mary Queen of Scots, Wilhelm Meister and a clutch of others were considered and rejected. It was not until 1847 that he settled on Friedrich Hebbel’s 1843 dramatization of the legend of St. Genevieve, itself based on the version of 1799 by Ludwig Tieck, as the stuff of what proved to be his only completed opera. He asked his friend Robert Reinick to help prepare the libretto, but after a few false starts they disagreed, and Schumann turned to Hebbel himself. Upon his arrival in Dresden, however, Hebbel found the composer so distraught over the death of his sixteen-month-old son, Emil, that collaboration was futile. Schumann, a man of considerable literary pretensions, finally wrote his own libretto. In his biography of Schumann, Peter Ostwald summarized the plot of Genoveva: “Siegfried, a crusader, leaves his castle to go to war. He asks Golo, his trusted friend, to watch over his wife, Genoveva. Fearful and lonely, she invites Golo to comfort her by singing of her absent husband. The song excites both of them, and Golo takes advantage of Genoveva by trying to force himself on her. She refuses him. Humiliated and vengeful, Golo searches
photo: Norbert Kniat / DG
INDIVIDUAL SUPPORT PROVIDED BY
Grace and John Rosenquist
RUSSIAN NATIONAL ORCHESTRA out Siegfried, who has been wounded in battle, and tells him that his wife has been unfaithful. Siegfried believes him, and condemns Genoveva to death. After returning to his castle, however, he finds that Genoveva is innocent after all, and that his friend has betrayed him. Golo is banished and dies. The opera ends happily, with the lovers reunited and the populace rejoicing.” Schumann prettied up the end of the opera more than fact allowed. (George Bernard Shaw, during his early days as a London music critic, called the libretto “nakedly silly” and “pure bosh.”) The historical, fifth-century Genoveva (Genevieve) escaped the ax, but left her husband and went to Paris, where the religious order she established helped to feed the starving inhabitants during the siege of Childeric. Later, her prayers were credited with saving the city from attack by Attila the Hun, though she lost her life in the hostilities. She is the patron saint of Paris. Genevieve’s virtues of holiness and purity were essential to her canonization, but were hardly melodramatic fodder for the 19th-century stage. Genoveva was finally produced in 1850 in Leipzig after almost two years of delays, but it was only a succès d’estime, closing after just three performances and never successfully revived. The Overture, written in just five days — April 1-5, 1847 — during Schumann’s first burst of enthusiasm over Genoveva, remains the only part of the opera known to modern audiences. The Overture is his finest work in the genre, except for Manfred. It follows familiar sonata form, with a brooding, slow introduction leading to a vigorous main theme and a bounding contrasting melody in the horns that is one of Schumann’s greatest orchestral inventions.
PIANO CONCERTO NO. 9 IN E-FLAT MAJOR, K. 271, “JEUNEHOMME” (1777)
WOLFGANG AMADEUS MOZART (1756-1791) Though Mozart called Salzburg home for 26 years before moving to Vienna in 1781, he actually spent less than half of that time in his native town. His father, Leopold, packed the young prodigy off on his first tour when the boy was all of six years old; nine other tours followed during the next two decades. Mozart’s longest continuous stay in Salzburg after his infancy was from March 1775, when he returned from Munich following the premiere of his opera buffa La Finta Giardiniera for the Elector Maximilian III, until he undertook his journey to Mannheim and Paris in September 1777 in search of a permanent position in one of Europe’s music capitals. His frequent absences from Salzburg indicate his frustration with living in
the city of his birth, which he felt stifled his creativity with its conservatism and, especially, stymied his professional advancement with its lack of an opera house, the musical genre in which he longed to compose above all others. His “Salzburg Captivity,” as he called it, was ameliorated for a short time in January 1777 by a fresh musical breeze from the sophisticated city of Paris in the person of one Mlle. Jeunehomme (Mozart quaintly Germanized her name as “Jenomi”), a keyboard virtuoso then apparently concertizing in various countries. Mozart took the opportunity of Mlle. Jeunehomme’s visit to write for her a splendid keyboard concerto, which she probably played during her stay. He may have seen the lady again the following year in Paris, since his letter of April 5, 1778 from that city to Leopold states that she was there at that time. However, there is no further mention of her in Mozart’s correspondence, or anywhere else, for that matter — there is not another stitch of information about the elusive Mlle. Jeunehomme. The “Jeunehomme” Concerto begins with one of Mozart’s most surprising strokes of genius: for the only time in his concertos, the solo piano is heard in the introduction, a section otherwise always given by the orchestra alone in the 18th-century tradition. The opening movement contains at least four major themes and several subsidiary ones, yet another testament to the inexhaustible richness of Mozart’s melodic invention. The themes are extensively elaborated and interwoven by piano and orchestra as the music unfolds, especially in the full development section that occupies the movement’s center. The deeply expressive Andantino, Mozart’s first concerto movement in a minor key, could almost be “a tragic recitative from some opera by Gluck transferred from the voice to the strings and piano,” according to Wyzewa and Saint-Foix in their classic study of Mozart’s music. This movement also serves as an emotional foil for the brilliant Rondo that closes the Concerto. The returns of the finale’s bustling theme, which Mozart might have borrowed from a Symphony of the Bohemian composer Josef Mysliveczek of which his father was particularly fond, are separated by a long cadenza (Mozart’s original cadenzas for this work have survived) and an elegant Minuet with four variations.
SUITE FROM SWAN LAKE, OP. 20 (1875-1876)
PETER ILYICH TCHAIKOVSKY (1840-1893)
Act I of Swan Lake is a festival celebrating the coming of age of Prince Siegfried the following day, when he must choose a bride. Attracted by a flight of swans over the castle, Siegfried and his friends form a hunting party and leave the festivity. At the beginning of Act II, Siegfried arrives at the lake to see the swans, led by Odette, the Swan Queen, glide across the surface. Just as Siegfried is about to unleash his crossbow, Odette appears to him not in avian form, but as a beautiful princess. She tells him that she and the other swan-maidens live under a curse by the evil magician Rothbart which lets them take human shape just from midnight to dawn. The spell can be broken, she says, only by one who promises to love her and no other. Though Rothbart vows to undo them both, Siegfried promises his love to Odette. Act III is again set in the castle. Amid the birthday celebration, Rothbart, in disguise, suddenly enters with his daughter, Odile, who appears to Siegfried in the exact image of Odette. Odette, hovering at the window, tries to warn Siegfried of the deception, but to no avail. Siegfried asks for Odile’s hand in marriage. Rothbart and Odile exult in their vile triumph. Siegfried realizes he has been trapped. Odette seems doomed. In Act IV, Odette returns to the lake, prepared to kill herself. The other maidens urge her to wait for the Prince. He appears, and again vows his love to her, but she knows that Rothbart’s power can only be broken by death. She throws herself from the parapet of a lakeside fortress. Siegfried, his life meaningless without her, follows. Rothbart’s enchantment is destroyed by the power of love. At the final curtain, Odette and Siegfried are seen sailing off together on a beautiful, celestial ship, united forever. Tchaikovsky’s music for Swan Lake, which matches the grandeur, power and variety of the story’s libretto, was among the earliest ballet scores to elevate the dance to the level of serious drama by incorporating methods of operatic and symphonic design: it was probably the first ballet in which recurring themes were employed to evoke characters and situations, much in the manner of Wagner’s leitmotif technique; it balanced opposing tonal areas to depict the brilliant world of Siegfried’s castle and the mysterious setting of Odette’s lake; it carefully delineated the story’s dramatic progression through appropriate music, building to a sweeping apotheosis at the end. “[No] tragic ballet has surpassed Swan Lake in combining atmosphere (whether gay or sinister), feeling encoreartsprograms.com 47
(whether joyful or sorrowful), movement (whether swift or languorous) with the civilized grace and refinement of the elegant, artificial world of a highly stylized dance idiom,” wrote David Brown in his authoritative biography of Tchaikovsky. The opening Scéne introduces the haunting Swan Theme. The brilliant Valse is danced during Siegfried’s birthday festivities in Act I. The Dance of the Swans from Act II is performed by the maidens to an idyllic waltz melody. The Scene that opens Act II is based on the haunting oboe theme associated throughout the ballet with the swans. The Hungarian Dance (Czardas), Spanish Dance, Neapolitan Dance and Mazurka are among the nationality dances featured during the party scene in Act III. ©2015 Dr. Richard E. Rodda
RUSSIAN NATIONAL ORCHESTRA
The Russian National Orchestra has been in demand throughout the music world ever since its 1990 Moscow premiere. Of the orchestra’s 1996 debut at the BBC Proms in London, the Evening Standard wrote, “They played with such captivating beauty that the audience gave an involuntary sigh of pleasure.” More recently, they were described as “a living symbol of the best in Russian art” (Miami Herald) and “as close to perfect as one could hope for” (Trinity Mirror). They last toured in the US in 2013 and will return in February-March of 2016. The first Russian orchestra to perform at the Vatican and in Israel, the RNO maintains an active international tour schedule, appearing in Europe, Asia and the Americas. Guest artists performing with the RNO on tour include conductors Vladimir Jurowski, Nicola Luisotti, Antonio Pappano, Alan Gilbert, Carlo Ponti and Patrick Summers, and soloists Martha Argerich, Yefim Bronfman, Lang Lang, Pinchas Zukerman, Sir James Galway, Joshua Bell, Itzhak Perlman, Steven Isserlis, Dmitri Hvorostovsky, Simone Kermes and Renée Fleming, among many others. Popular with radio audiences worldwide, RNO concerts are regularly aired by National Public Radio in the United States and by the European Broadcasting Union. Gramophone magazine called the first RNO CD (1991) “an awe-inspiring experience; should human beings be able to play like this?” and listed it as the best recording of Tchaikovsky’s Pathétique in history. Since then, the orchestra has made more than 60 recordings for Deutsche Grammophon and PentaTone Classics, distinguishing the RNO as the only Russian ensemble with long-standing relationships with these prestigious labels, 48 MONDAVIART S.ORG
as well as additional discs with many other record companies. Conductors represented in the RNO discography include Founder and Music Director Mikhail Pletnev, Principal Guest Conductor Vladimir Jurowski, Kent Nagano, Alexander Vedernikov and Paavo Berglund. The RNO’s recording of Prokofiev’s Peter and the Wolf and Beintus’ Wolf Tracks, conducted by Kent Nagano and narrated by Sophia Loren, Bill Clinton and Mikhail Gorbachev, received a 2004 Grammy Award, making the RNO the first Russian orchestra to win the recording industry’s highest honor. A Spanish language version narrated by Antonio Banderas was released in 2007, following a Russian version narrated by actors Oleg Tabakov and Sergei Bezrukov, with Mandarin and other editions to follow. The orchestra’s Shostakovich cycle on PentaTone Classics is widely acclaimed as “the most exciting cycle of the Shostakovich symphonies to be put down on disc, and easily the best recorded.” (SACD.net) A regular visitor to the Schleswig-Holstein, Gstaad and Rheingau festivals, the RNO is also the founding orchestra of Napa Valley Festival del Sole, Festival of the Arts BOCA in Florida, and the Singapore Sun Festival, and resident orchestra for multiple seasons of the Tuscan Sun Festival in Cortona, Italy. The RNO launched its own annual festival in 2009 at Moscow’s Bolshoi Theater. The RNO is unique among the principal Russian ensembles as a private institution funded with the support of individuals, corporations and foundations in Russia and throughout the world. In recognition of both its artistry and path-breaking structure, the Russian Federation recently awarded the RNO the first ever grant to a non-government orchestra.
MIKHAIL PLETNEV
ARTISTIC DIRECTOR AND CONDUCTOR Mikhail Pletnev is an artist whose genius as pianist, conductor and composer enchants and amazes audiences around the globe. His musicianship encompasses a dazzling technical power and provocative emotional range, and a searching interpretation that fuses instinct with intellect. At the keyboard and podium alike, Pletnev is recognized as one of the finest artists of our time. Pletnev was Gold Medal and First Prize winner of the 1978 Tchaikovsky International Piano Competition when he was only 21, a prize that earned him early recognition worldwide. An invitation to perform at the 1988 superpower summit in Washington led to a friendship with Mikhail Gorbachev and the historic opportunity to make music in artistic freedom.
In 1990 Pletnev formed the first independent orchestra in Russia’s history. The risks of this step, even with Gorbachev’s endorsement, were enormous and it was Pletnev’s reputation and commitment that made his long-held dream a reality. Sharing his vision for a new model for the performing arts, many of the country’s finest musicians joined Pletnev in launching the Russian National Orchestra. Under his leadership, the RNO achieved in a few short years a towering stature among the world’s orchestras. Pletnev describes the RNO as his greatest joy and today serves as its Artistic Director and Principal Conductor. In 2006, he launched the Mikhail Pletnev Fund for the Support of National Culture, a non-profit organization that supports major cultural initiatives and projects, including the RNO’s annual Volga Tour and, in collaboration with Deutsche Grammophon, the Mikhail Pletnev Beethoven Project. As a guest conductor, Pletnev appears regularly with leading orchestras such as London’s Philharmonia Orchestra, Mahler Chamber Orchestra, Tokyo Philharmonic, Concertgebouw Orchestra, London Symphony Orchestra, Los Angeles Philharmonic and City of Birmingham Symphony Orchestra. In 2008 he was named first guest conductor of the Orchestra della Svizzera Italiana in Lugano, Switzerland. As a solo pianist and recitalist, Pletnev appears regularly in the world’s music capitals. His recordings and live performances have proved him to be an outstanding interpreter of an extensive repertoire. The London Telegraph remarked, “from Pletnev’s fingers and brain come ideas that vitalise the music and make it teem with freshness and wit. [He] made the music positively leap for joy.” The Times describes his playing as “born of a prodigious virtuosity of imagination outrageous in its beauty.” Pletnev’s recordings have earned numerous prizes, including a 2005 Grammy Award for the CD of his own arrangement, for two pianos, of Prokofiev’s Cinderella, recorded with Martha Argerich and Pletnev at the keyboards. He received Grammy nominations for a CD of Schumann Symphonic Etudes (2004) and for his recording of Rachmaninov and Prokofiev Piano Concertos No. 3 with the RNO and conductor Mstislav Rostropovich (2003). His album of Scarlatti’s Keyboard Sonatas (Virgin/EMI) received a Gramophone Award in 1996. BBC Music Magazine called the recording “piano playing at its greatest... this performance alone would be enough to secure Pletnev a place among the greatest pianists ever known.” In 2007 he recorded all of Beethoven’s piano concertos with Deutsche Grammophon, and
RUSSIAN NATIONAL ORCHESTRA the recording of concertos 2 and 4 was named “The Best Concerto Recording of 2007” by the Tokyo Record Academy. As a composer, Pletnev’s works include Classical Symphony, Triptych for Symphony Orchestra, Fantasy on Kazakh Themes and Capriccio for Piano and Orchestra. His unrivalled transcriptions for piano of Tchaikovsky’s Nutcracker Suite and Sleeping Beauty were selected, along with his performance of Tchaikovsky’s Second Piano Concerto and The Seasons, for the 1998 anthology “Great Pianists of the 20th Century” (Philips Classics). The son of musician parents, Pletnev was conducting and learning multiple instruments as a young child and entered the Moscow Conservatory as a teenager. Today he is one of Russia’s most respected and influential artists. An advisor on Russia’s Cultural Council, in 2007 Pletnev was awarded a Presidential Prize for his contributions to the artistic life of the country. Pianist, conductor, composer and cultural leader — all are significant facets of Mikhail Pletnev’s life as an artist. Yet he considers himself, simply, a musician.
Vienna Philharmonic under Valery Gergiev, as well as for appearances with the New York, Los Angeles, and Israel Philharmonics led by Charles Dutoit, Lionel Bringuier, and Zubin Mehta, respectively. A U.S. tour with Mikhail Pletnev and the Russian National Symphony showcases both the Mozart and Tchaikovsky’s Second Concerto, the latter of which she reprises with the Moscow Philharmonic and the Royal Concertgebouw Orchestra, in Amsterdam and Asia. In recital, Wang tours
France, Holland and Germany, and reunites with violinist Leonidas Kavakos for a complete Brahms sonata cycle at the Edinburgh Festival. Wang made her European concerto debut in 2003, and her North American concerto debut two years later. She appeared with the New York Philharmonic in Vail in 2006 and the Boston Symphony Orchestra in 2007. In 2008, she toured the U.S. with the Academy of St. Martin in the Fields, and the next year performed at Carnegie Hall with the YouTube
YUJA WANG
PIANO
A pianist who radiates palpable magnetism and a distinctly contemporary sensibility, Yuja Wang is an astounding artist whose awe-inspiring technique is matched only by her eloquence as a musician. Since her breakthrough debut with the Boston Symphony Orchestra in 2007 while still a student at the Curtis Institute of Music, she has established herself as an international sensation and a fixture among the world’s leading orchestras—including those of New York, London, Amsterdam, and Berlin— regularly joining them on tours of the Americas, Europe, and Asia. Championed early on by preeminent maestros including Gustavo Dudamel, Michael Tilson Thomas, and the late Claudio Abbado, she is one of today’s most sought after soloists, as well as a fiercely dedicated chamber musician, recitalist, and Grammy-nominated recording artist. To launch the 2015-16 season, Wang joins Tilson Thomas and the San Francisco Symphony on their “European Festivals Tour,” performing Beethoven and Bartók at London’s BBC Proms, the Edinburgh, Rheingau, Lucerne, and Enescu festivals, and in Amsterdam, Luxembourg, and Paris. She plays Messiaen’s Turangalila Symphony with the New York Philharmonic under Esa-Pekka Salonen and the Orquesta Sinfónica Simón Bolívar under Dudamel, both in Caracas and throughout Europe. Mozart’s “Jeunehomme” Concerto is on the program for her debut with the
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Symphony Orchestra under Tilson Thomas. She has now partnered with nearly all of the world’s foremost orchestras, including those of Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco and Washington; the London Symphony Orchestra; Orchestre de Paris; Royal Concertgebouw Orchestra; Berlin and Munich Philharmonics; Orquesta Nacional de España; Accademia di Santa Cecilia; Mariinsky Orchestra; the Israel and China Philharmonics; NHK Symphony; Melbourne and Sydney Symphonies; and
Orquesta Sinfónica Simón Bolívar. In 2011, she performed an outdoor concert for an audience of 25,000 with Daniel Barenboim and the Berlin Staatskapelle at the German capital’s Bebelplatz, and in 2013-14, she was the subject of a London Symphony Orchestra “Artist Portrait” series. In the 2014-15 season, she served as the Tonhalle Orchestra Zurich’s inaugural Artist-in-Residence. Wang has performed at Carnegie Hall every season since her celebrated recital debut in 2001 and frequently makes solo appearances in other
FURTHER LISTENING by Jeff Hudson
RUSSIAN NATIONAL ORCHESTRA
WITH MIKHAIL PLATNEV AND YUJA WANG
When the Russian National Orchestra was founded in 1990, the Soviet Union was still united (under President Mikhail Gorbachev), the first President Bush (George H.W.) was in the White House, and Yuja Wang was a toddler in China, and had not started piano lessons. Oh, how the world has changed. Through it all, the Russian National Orchestra, and pianist Yuja Wang, have carved impressive musical careers. The Russian National Orchestra (RNO) “went international” early on, becoming the first Russian orchestra to play at the Vatican and in Israel in 1991, and making its first coast-to-coast tour of the US in 1993. A recording contract with Deutsche Grammophon came in 1994, followed by a contract with Pentatone in 2002, and a Grammy Award in 2004. The RNO linked up with the Napa Valley Festival del Sole (where the winners of the Mondavi Center’s Young Artist Competition perform) in 2006, and was tabbed by Gramophone Magazine as one of the “world’s greatest orchestras” in 2008. The RNO’s discography focuses on Russian/Soviet composers (Tchaikovsky, Rachmaninoff, Prokofiev and Shostakovich). But they’ve also recorded works by Mozart and Beethoven, as well as music by Americans George Gershwin, Leonard Bernstein, and San Francisco’s Gordon Getty. In October 2015, the RNO released a seven-CD box set of Tchaikovsky symphonies; also a Scriabin album featuring the Symphony No. 1 and Poem of Ecstasy. The RNO is marking their 25th anniversary with a world tour during 2015-16. Founding conductor Mikhail Pletnev continues his parallel career as a pianist. He received a Grammy in 2005 for his CD (with Martha Argerich) of piano duos by Prokofiev and Ravel. Yuja Wang appeared twice at Mondavi in 2009, when she was (barely) 22. In May 2009, Wang appeared with the San Francisco Symphony, in an eye-opening performance of the moody Second Piano Concerto by Prokofiev (with a thunderous cadenza that the composer indicated should be performed in a manner “colossale”; Wang lived up to that description). Then she returned in November 2009 with the China National Orchestra, performing Rachmaninoff’s Second Piano Concerto (sometimes described as depicting “the soul of Russia”). Wang made her debut with the Berlin Philharmonic in May 2015, performing the Prokofiev Second Piano Concerto. (She’s also recorded that concerto with Simón Bolívar Symphony Orchestra of Venezuela, conducted by Gustavo Dudamel, better known in California as the conductor of the Los Angeles Philharmonic.) JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE, AND SACRAMENTO NEWS AND REVIEW.
50 MONDAVIART S.ORG
major cities throughout Asia, Europe and North America. As a chamber musician, she graces summer festivals worldwide, making regular appearances at Switzerland’s Verbier Festival. An exclusive Deutsche Grammophon artist since 2009, Wang has released three solo albums and two concerto recordings to date. Her debut release, Sonatas & Etudes, was nominated for a Grammy, won an International Piano Award, and saw Wang named Gramophone’s “Young Artist of the Year.” With her solo title Transformation, she took the 2011 ECHO Klassik Award for “Young Artist of the Year,” while her recording of Rachmaninoff concertos with Abbado and the Mahler Chamber Orchestra received a Grammy nomination for “Best Classical Instrumental Solo.” Next followed Fantasia, a collection of solo encores, and live accounts of Prokofiev and Rachmaninoff with Dudamel and the Orquesta Sinfónica Simón Bolívar. In 2014, Wang joined Kavakos to record the complete Brahms violin and piano sonatas for Decca Records, and she also appears on the award-winning soundtrack of the 2013 motion picture Summer in February. Her forthcoming recording on Deutsche Grammophon, Yuja Wang: Ravel with Bringuier and the Tonhalle Orchestra Zurich, was released in fall 2015. An artist who has intrigued the public both with her artistry and with her sense of style, Wang has been the subject of television documentaries and graced the pages of magazines ranging from arts and culture to fashion, including Italian Vogue, French Elle, and Chinese Marie Claire. She is a Steinway Artist and serves as a brand ambassador for Rolex. An internet sensation, she has multiple fan blogs dedicated to her, and a video of her playing Flight of the Bumblebee on YouTube has been viewed almost 4 million times. Born in Beijing in 1987, Wang began piano lessons at the age of six and went on to study with Ling Yuan and Zhou Guangren at Beijing’s Central Conservatory of Music. In 1999, she joined the Morningside Music summer program at Calgary’s Mount Royal College, and in 2001, she embarked on two years of study with Hung-Kuan Chen at Mount Royal College Conservatory. Following studies with John Perry at Aspen Music Festival and a win in the concerto competition, Wang became a student of Gary Graffman at Philadelphia’s Curtis Institute, graduating in 2008. Wang is the recipient of the 2006 Gilmore Young Artist Award and winner of the prestigious Avery Fisher Career Grant.
RUSSIAN NATIONAL ORCHESTRA THE ORCHESTRA FIRST VIOLINS
Alexey Bruni Concertmaster Maxim Khokholkov Assistant Concertmaster Anna Panina Natalia Anurova Alexey Khutoryanskiy Anatoly Fedorenko Natalia Fokina Alexey Sobolev Vasily Vyrenkov Leonid Akimov Igor Akimov Igor Vasilyev Olga Chepizhnaia Olga Levchenko Maria Mironova
SECOND VIOLINS
Sergey Starcheus Principal Evgeny Feofanov Assistant Principal Pavel Gorbenko Irina Simonenko Evgeny Durnovo Vladimir Teslya Svetlana Dzutseva Anastasia Khokholkova Ilya Pritulenko Saniya Kashkarova Sergey Shakin Irina Pershakova Olga Vanina
VIOLAS
Sergey Dubov Principal Irina Sopova Assistant Principal Sergey Bogdanov Sofiia Lebed Olga Suslova Ksenia Zhuleva Alexander Zhulev Maria Goryunova Lev Leushin Artem Kukaev Aleksandr Tatarinov
CELLO
Alexander Gotgelf Principal Svetlana Vladimirova Assistant Principal Olesya Gavrikova Maxim Tarnorutskiy Alexander Grashenkov Kirill Varyash Sergey Kazantsev Natalia Lyubimova Lidia Braun
DOUBLE BASSES
Rustem Gabdullin Principal Gennady Krutikov Assistant Principal Anton Vinogradov Alexey Vorobiev Miroslav Maximyuk Vasily Beschastnov Gennady Karasev
FLUTES
Maxim Rubtsov Principal Konstantin Efimov Assistant Principal Sergey Igrunov Nikolay Lotakov
OBOES
Olga Tomilova Principal Vitaly Nazarov Assistant Principal Stanislav Tokarev Andrey Ganin
CLARINETS
Nikolay Mozgovenko Principal Dmitry Aizenshtadt Assistant Principal Oleg Zavolozhin Dmitry Belik
BASSOONS
STAGE CREW
Andrey Shamidanov Principal Danila Iakovlev Assistant Principal Vladimir Markin Elizaveta Vilkovyskaia
Alexey Dragun Vladimir Kireev
FRENCH HORNS
Amir Iliyasov
Igor Makarov Principal Alexey Serov Assistant Principal Andrey Romanov Victor Bushuev Anton Afanasyev Dmitry Kuznetsov
TRUMPETS
Vladislav Lavrik Principal Leonid Korkin Assistant Principal Konstantin Grigorev Andrey Kolokolov
INSPECTOR/LIBRARIAN
Valentin Teslya
LOGISTIC MANAGER FOR OPUS 3 ARTISTS
David V. Foster President & CEO Leonard Stein Senior Vice President, Director, Touring Division Robert Berretta Vice President, Senior Director, Artists & Attractions Booking, Manager, Artists & Attractions Irene Lönnblad Associate, Touring Division Samantha Cortez Associate, Attractions Nadia Mokhoff Tour Manager John C. Gilliland III Assistant Tour Manager
TROMBONES
Ivan Irkhin Principal Vyacheslav Pachkaev Assistant Principal Sergey Koryavichev Tarasov Maxim Dmitry Anakovskiy - Tuba
PERCUSSION
Alexander Suvorov Principal Ilya Melikhov Assistant Principal Kirill Lukianenko Leonid Lysenko Vitaly Martyanov Iakov Karasev
HARP
Svetlana Paramonova
PIANO
Leonid Ogrinchuk
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A World Stage Series Event Saturday, February 27, 2016 • 8PM Jackson Hall
INDIVIDUAL SUPPORT PROVIDED BY
Patti Donlon
DANCERS Graciela Garcia Radha Garcia Illeana Gomez Eliza Llewellyn Stephanie Narvaez Carola Zertuche
MUSICIANS Jose “Chuscales” Valle Fajardo musical director Jose Cortes vocalist Coral De Los Reyes vocalist Kina Mendez vocalist Alex Conde pianist Michael Kott cellist Alejandro Pais Iriart guitarist
JUAN SIDDI FLAMENCO SANTA FE
The electrifying Juan Siddi Flamenco Santa Fe (JSFSF), founded in 2008 and under the arts management of Aspen Santa Fe Ballet since 2013, offers audiences a visually rich, emotionally immersive, and culturally authentic theatrical experience. Based in one of the nation’s great arts meccas of Santa Fe, NM, the veteran touring company enjoys regular home seasons at the historic Lensic Theater. Fourteen dancers and musicians—many hailing from Spain— flourish under lead dancer and artistic director Juan Siddi’s rigorous yet sensitive choreography that bears the flavor of his artistic roots in Barcelona and Granada. A well-curated program overlays genuine gypsy culture with contemporary flair, allowing for virtuosic flights in both music and dance. Juan Siddi Flamenco Santa Fe’s immersive experience in the passionate and disciplined world of flamenco is reaching loyal, and growing, audiences in Santa Fe, New Mexico, and beyond. Infusing old-world tradition with new attitude, Juan Siddi Flamenco Santa Fe perpetuates the rich heritage of a centuries-old art form. The remarkable 52 MONDAVIART S.ORG
JUAN SIDDI FLAMENCO SANTA FE ensemble of fourteen flamenco dancers, musicians, and singers is hand selected, with careful curation guided by the distinct aesthetic of artistic director/choreographer, Juan Siddi. The internationally renowned Siddi, an award-winning dancer, instructor, choreographer and performer, trained in Germany with strong artistic roots in Barcelona and Granada. His ensemble blends top-notch dancers and musicians from the U.S. or, steeped in authenticity, from Spain, as JSFSF is an active participant in a vibrant global flamenco network. The troupe arises out of Santa Fe’s flamenco mecca, where the transient gypsy tradition found a hospitable nesting ground. In 2008 Maria Benitez, the flamenco legend, passed the artistic torch to Siddi. Subsequently furious footwork has become a familiar Santa Fe sound, aligning JSFSF with the city’s top performing arts offerings. The company received strong community recognition when Juan Siddi was granted the Mayor’s Award for Excellence in the Arts. From its base in the American Southwest, the company has spread its wings, touring nationwide from Atlanta, Wisconsin, Ft. Lauderdale and Brooklyn, and overseas to Germany and Qatar. JSFSF has been featured in television broadcasts of NBC, Telemundo, and Al Jazeera. Over the years some of flamenco’s biggest names made guest appearances with JSFSF: singers Jose Cortes from France, Silverio
Heredia and Coral de Los Reyes from Spain, pianist Alex Conde from Valencia as well as dancer Carola Zertuche have performed with the company. JSFSF musical director Jose Valle Fajardo “Chuscales”, a native of Antequera, Spain, grew up in the tradition of the Gypsies as a protégé of Joaquin Fajardo and ardent admirer of Paco de Lucia. A trained dancer as well as a guitarist, Chuscales collaborated with some of Spain’s most outstanding flamenco artists before joining JSFSF, now, for six seasons. It is with great pride that Juan Siddi Flamenco Santa Fe announced, in January 2014, it’s joining the management structure of the esteemed Aspen Santa Fe Ballet. By operating under ASFB’s established arts umbrella, JSFSF stands to benefit from economies of scale and other business synergies, as well as a simpatico artistic alliance.
JUAN SIDDI FLAMENCO SANTA FE JUAN SIDDI
ARTISTIC DIRECTOR
Flamenco master Juan Siddi, described in the Santa Fe New Mexican as “a bundle of beautiful energy tempered by technique and taste” perpetuates an authentic version of a centuries-old art form. He has forged his memorable brand both as a solo artist and as artistic director of Juan Siddi Flamenco Santa Fe. His high-profile presence in Santa Fe, where he teaches, choreographs and performs, garnered him the Mayor’s Award for Excellence in the Arts in 2011. Born and raised in Frankfurt of mixed heritage (Italian father, Spanish mother) Siddi was early immersed in flamenco culture, whose sonorous music he heard at home. Influential teachers were Rebeca Carmona (Darmstadt) and la Tani (Barcelona). Debuting at the precocious age of nine, six years later Siddi was a soloist in tablaos, memorably at Al Andalus, Frankfurt’s important flamenco center. By 18, Siddi was dancing and choreographing for Compañia Flamenca Alhama and Noches de Amor, performing in Vienna, Berlin and Zurich; at the prestigious Bienal de Flamenco in Sevilla; and in a command performance attended by His Majesty Juan Carlos King of Spain. He then became principal male dancer with Rafael Cortés, for five years, giving concerts throughout Europe. At the invitation of Maria Benitez, Siddi took his first steps in the U.S., joining her Santa Fe Teatro Flamenco troupe in 2002. Extensive U.S. touring was capped by performances at New York City’s Joyce Theater. Siddi was principal dancer/ choreographer for a farewell production: “Maria Benitez: Yesterday, Today & Tomorrow.” He regularly appears as a guest artist with Theatre Flamenco San Francisco, with whom he has toured in California and Mexico, and with American Bolero Dance Company in New York City where he is a frequent guest performer/choreographer. In 2007 Siddi launched his own company, performing in summer seasons in Santa Fe and completing two national tours, as well as overseas, to Quatar. Broadcast performances include NBC, Telemundo, and Al Jazeera. In 2014, Siddi accepted the warm invitation to join the management team of Aspen Santa Fe Ballet, boding for a positive future.
DANCERS GRACIELA GARCIA
(dancer) was born and raised in Española, NM. She started her flamenco training in 1997 with Benigna Sanchez Duty and later attended the Festival Flamenco Internacional in Albuquerque on full scholarship. Since then, Garcia has had the privilege to study with some of the most highly acclaimed flamenco artists such Matilda Corral Omayra Amaya, Mercedes Amaya, Juana Amaya, La Farruca, Concha Vargas, Adela Campallo, Rafaela Carrasco and Angel Muñoz, Eva Yerbabuena and Pastora Galvan. Garcia became a member of Alma Flamenca and performed in Fiesta Flamenca at the Festival Flamenco Internacional. Garcia earned a Master’s degree in Education from New Mexico Highlands University and a Bachelor of Arts degree in Anthropology and Latin American Studies from the University of Rochester.
RADHA GARCIA
(dancer/violinist) was born in Calcutta, India, but has lived most of her life in Santa Fe, NM. Arts, music and dance were at the core of her childhood upbringing. She was drawn to flamenco at the age of six and had the opportunity to study with outstanding teachers including Inmaculada Ortega, Joaquin Ruiz, Mario Maya and others invited by Maria Benitez to teach at Institute for Spanish Arts. She also studied in Spain at the Amor de Dios School of Flamenco in Madrid. As a young teenager, her first mentor was Juan Siddi; several years later she was asked to join his company and is now entering her third season as a performer. With Siddi, she has toured the US, traveled to the Middle East and performed at the Maria Benitez Cabaret Theater in Santa Fe. She lives in San Francisco where she continues her flamenco studies.
ILLEANA GOMEZ
(dancer) began her training in Laredo, Texas, with Mina Gutierrez Hachar and has since studied with flamenco artists in Spain and New York. In 2003 she debuted with Flamenco Fuego de San Antonio and Tierra
Adentro Cuadro Flamenco. After moving to Albuquerque in 2006 to study at the Conservatory of Flamenco Arts, she joined Alma Flamenca and the Yjastros. Soon after earning her MFA in Dance with a concentration in Flamenco from the University of New Mexico, Gomez joined Juan Siddi Flamenco Santa Fe. This is her fifth season dancing with Juan Siddi Flamenco Santa Fe.
ELIZA LLEWELLYN
(dancer) began studying ballet at age three in New Orleans. Her first flamenco training came in New Mexico under Maria Benitez, Martin Santangelo and Soledad Barrio, and later in Mexico with Raul Salcedo and Marisol Moreno. In 2002, she moved to Spain to pursue advanced studies at Granada’s prestigious Centro Flamenco de Estudios Escenicos Mario Maya. She also studied with master teachers in Seville and then Madrid at the renowned flamenco academy Amor De Dios. In 2006, she joined Theatre Flamenco of San Francisco. This will be Llewellyn’s fifth season with Juan Siddi Flamenco Santa Fe.
STEPHANIE NARVAEZ (dancer),
from Boston, made her debut at age eight under the tutelage of Clara Ramona y Ramon de Los Reyes. She continued her studies with Omayra Amaya, El Torombo, Farruquito, Carmen Ledesma and Manuela Rios, among many others. Since graduating from New York University, Narvaez continues to enrich her flamenco studies while living in Madrid and Seville. Narvaez is based in San Francisco where she performs and teaches. She’s entering her sixth season with the Juan Siddi Flamenco Santa Fe.
CAROLA ZERTUCHE (guest
dancer) was born in Torreon, Mexico. She began her dance career in Mexico City’s Tablao Meson de Triana, where she studied with Manolo Vargas and Pilar Rioja. She then moved to Spain to study with renowned artists including Ciro, Belen Maya, Andres Marin, Israel Galvan and encoreartsprograms.com 53
JUAN SIDDI FLAMENCO SANTA FE jota master Pedro Azorin, and perform with the company Los Tarantos. In 1998 Zertuche moved to San Francisco to continue her dance career as a performer, choreographer and teacher. Zertuche has toured throughout Mexico, the U.S. and the Middle East, showcasing her work in Flamenco Festivals in Monterrey, Mazatlan and Mexico City. Zertuche has received numerous nominations and awards for her talents and contributions to flamenco in the Bay Area including two nominations for the Isadora Duncan Award for Outstanding Achievement in Performance both as a soloist and an ensemble. The San Francisco Bay Guardian named her one of the top 12 dance performances of the year. Along with her role as Artistic Director for Theatre Flamenco of San Francisco, Zertuche continues teaching flamenco dance classes at her dance studio, La Solea, in San Francisco. This is her sixth season with Juan Siddi Flamenco Santa Fe.
MUSICIANS JOSE “CHUSCALES” VALLE FAJARDO
(musical director) was born in Antequera, Spain, to a traditional gypsy family and grew up seeing family and friends perform in the caves of Sacromonte, one of the legendary cradles of flamenco. His guitar instruction began at age six with his uncle Joaquin Fajardo and Maestro Agustinillo. Famed guitarist Paco de Lucia was his mentor. A musician of consummate skill, Chuscales has enjoyed a storied career as an elite flamenco guitarist, composer and recording artist. He has performed for the princes of Spain, and appeared in a number of films including, most recently, The Spanish Table (2010), El Payo (2010) and Españoles en el Mundo - Nuevo Mexico (2013). He received the Dora More Award for outstanding sound design and composition in 2010, 2009 and 2007, and an Isadora Duncan Award for composition, arrangement and direction in 2011 and 1997. This is his sixth season with Juan Siddi Flamenco Santa Fe.
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JOSE CORTES
(vocalist) was born in the south of France to a renowned Spanish gypsy family from Almeria. He began his career at age ten in Jerez de la Frontera where he won the “Premio del Joven Aficionado del Cante Flamenco” accompanied by guitarist Terremoto Hijo. During his formative years, Cortes was immersed in the flamenco world with such great artists as Terremoto, Pansequito, Camaron de la Isla, Moraito Chico and Tomatito. He has shared the stage with many noted flamenco artists and has sung for workshops of lead dancers and choreographers Carmen Ledesma, Israel Galvan, Angelita Gomez and Javier Latorre. A veteran of international tours in Europe, the Middle East, Australia, Canada and Mexico, he moved to the United States in 2010. He is a sought-after cantor (deep song singer), appearing with flamenco artists such as Jason McGuire, Ricardo Diaz, Yaelisa (Caminos Flamencos), Carola Zertuche (Teatro Flamenco), Fanny Ara, Melissa Cruz, Cristina Hall, Jesus Munoz, Jesus Montoya, Antonio de Jerez, and Pedro Cortes. He has also toured the U.S. with Juan Siddi Flamenco Santa Fe.
CORAL DE LOS REYES (vocalist) is a
gypsy born in Jerez de la Frontera, Spain. De los Reyes belongs to a traditional flamenco family known as gitanos rubio (blonde Gypsies). De los Reyes began performing at a young age in the Teatro Villamarta. From 1986 - 96 she recorded a number of albums showcasing varying musical styles, while maintaining the essence of flamenco and her Andalucian roots. In 1998, she moved to Frankfurt to work with Magna Mata Flamenco and Compañia Maria Serrano, touring throughout Europe and Asia. Now back in her native city, Jerez de la Frontera, De los Reyes collaborates with artists and musicians, performing diverse styles that fuse boleros with rumba and bulerias, and express the pure, deep feelings of flamenco from Jerez. This is de los Reyes’ fourth season with Juan Siddi Flamenco Santa Fe.
KINA MENDEZ
(vocalist) was born into the Mendez clan of gypsy artists of Jerez de la Frontera, Spain, and influenced by her aunt, legendary singer La Paquera de Jerez. Her career began with Manuel Morao’s company and led her to work with Mario Maya and tour internationally with Salvador Tavora’s productions of Carmen and Carmina Burana. She has shared the stage with renowned flamenco artists including Manuel Agujetas, El Grilo and la Macanita. Her debut recording, De Sevilla a Jerez, was released in 2009. Mendez has been a featured artist in the XIV Festival de Jerez, the Zahara Flamenco Al Andaluz and the Festival Semana Flamenca. Her explosive, expressive presence on stage and her dynamic vocal range has made her a sought-after performer both in Spain and in the U.S. This is her third season with Juan Siddi Flamenco Santa Fe.
ALEX CONDE
(pianist) started playing piano at six. By age 12, he was performing flamenco and classical piano throughout Spain and France. Conde studied classical music in Spain at the Jose Iturbi Conservatory and later the Joaquin Rodrigo Conservatory of Music. Increasingly interested by jazz and world music, he enrolled at L’Aula de Musics del Liceu de Barcelona, where he studied with Jon Urrutia. In 2007, he moved to Boston to attend Berklee College of Music on scholarship. Since then he has performed in Europe, the U.S., Canada and Latin America with his group Jazz Flamenco in engagements at the Panama Jazz Festival, Eurojazz Mexico, and Atlantic Jazz Festival in Halifax, Canada. Since 2009 Conde has been living in San Francisco and has worked with Theatre Flamenco of San Francisco and Clara Ramona Flamenco Company. He teaches classical piano and traditional jazz at the Community Music Center, OSA School for the Arts, and Berkeley’s Crowden Music Center. This will be Conde’s fourth season with Juan Siddi Flamenco Santa Fe.
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MICHAEL KOTT
(cellist) is one of the world’s most beloved cellists. Best known for his work with Taos Pueblo native Robert Mirabal in Music From A Painted Cave (PBS Videos), Kott performed throughout the world with artists such as Peter Buffet, Akon, Marc O’Connor, Victor L. Wooten, Zuleikha, Consuelo and Luz and Mary Youngblood. The expansion of the modern cello is reflected in Kott’s experiments in electronica: 2Humans +the cosmos, Michael Kott Intergalactic, Dream Jungle and Desert Dwellers. Kott is portrayed as an angel/ shaman/sage in Victor L. Wooten’s The Music Lesson - A Spiritual Search of Growth through Music (Penguin Books) and is interviewed in Life is What You Make It by Peter Buffet (Harmony Press). This is his fifth season with Juan Siddi Flamenco Santa Fe.
ALEJANDRO PAIS IRIART (guitarist) was
born in Buenos Aires. Self taught in the music of guitarists Sabicas, Paco de Lucia and Moranito, Iriart began studying flamenco with Luis Campos and later with El Entri, Pedro Cuadra and Ramon Amador. He worked as an assistant instructor at University of New Mexico under Eva Encinias and has performed in venues around the U.S. and Argentina with such artists as “Chuscales,” Jose Cortes, Kina Mendez, Coral de los Reyes and Francisco “yiyi” Orozco. This is his third season with Juan Siddi Flamenco Santa Fe.
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A Hallmark Inn Children’s Stage Series Event Sunday, February 28, 2016 1PM & 3PM Jackson Hall SPONSORED BY:
STORY PIRATES Conan O’Brien lends a hand to the Story Pirates at a Los Angeles benefit
Story Pirates visit The Daily Show with Jon Stewart
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Story Pirates celebrates creative writing by students from coast to coast in a loud, hilarious sketch comedy musical performed by professional improvisers and musicians. The show is based entirely on stories written by elementary school students, and part of the show is made up on the spot by the kids in the audience! Story Pirates will delight and surprise with puppets, enlivening songs and outrageous sketches, all the while motivating kids to pick up a pencil and write down their own fantastic adventures. Story topics run the gamut, from kung fu ninja babies fighting crime to cats flying and tickle monsters who rule the world. Story Pirates has been committed to providing high quality arts education to children since 2003. Their Play/Write Program began as a pilot in a single lowincome Harlem school and has grown to become a nationally respected creative
writing and drama curriculum in place annually at over 200 schools across the country. Their assemblies and performances have been recognized and sponsored by partners such as Penguin Books, theaters like the Kennedy Center in Washington D.C., and on respected television programs such as The Daily Show on Comedy Central. Story Pirates’ curriculum focuses on core elements of national standards for Arts Education and English Language Arts, while providing rich cultural experiences that push the boundaries of traditional enrichment to tackle substantive educational goals like vocabulary development, story structure, revision, and confident self-expression. Over the past eleven years, Story Pirates has invited tens of thousands of students to see their own words and ideas come to life on stage, and watched as, one by one, these children began to call themselves writers.
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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THE ART OF GIVING Wallace Etterbeek Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Cheryl Felsch Liz and Tim Fenton* Curt and Sue Finley Kieran and Marty Fitzpatrick Dave and Donna Fletcher Glenn Fortini Dr. and Mrs. Clifford Fowler Marion Franck and Robert Lew Barbara and Ed Frankel Anthony and Jorgina Freese Larry Friedman and Susan Orton Joan M. Futscher Myra A. Gable Sean Galloway Anne Garbeff* Peggy Gerick Barbara Gladfelter Eleanor Glassburner Marnelle Gleason and Louis Fox* Pat and Bob Gonzalez* Victor and Louise Graf Sandra and Jeffrey Granett Steve and Jacqueline Gray Stephen and Deirdre Greenholz M.C.B. Greenwood Paul and Carol Grench John Griffing and Shelley Mydans Alex and Marilyn Groth Jane and Jim Hagedorn Frank Hamilton Katherine Hammer William and Sherry Hamre Mike and Pat Handley Jim and Laurie Hanschu Robert and Susan Hansen Alexander and Kelly Harcourt Vera Harris The Hartwig-Lee Family Sally Harvey* Miriam and Roy Hatamiya Mary A. Helmich Mary and Rand Herbert Larry and Elizabeth Hill Bette Hinton and Robert Caulk Dr. Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges J. Hoehn* Jack Holmes and Cathy Neuhauser Herb and Jan Hoover
Lorraine J. Hwang Gordon and Jenny Isakson Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Karen Jetter Karen and Gary Johns Michelle Johnston and Scott Arrants Warren and Donna Johnston Jonsson Family Andrew and Merry Joslin James Anthony Joye Shari and Tim Karpin Anthony and Beth Katsaris Yasuo Kawamura Gailen L. Keeling Susan L. Keen Patricia Kelleher* Michael Kent and Karl Jadney Leonard Keyes Jeannette Kieffer Larry Kimble and Louise Bettner Katy King-Goldberg and Lenny Goldberg Roger and Katharine Kingston Patricia Kite* Bob and Bobbie Kittredge Dorothy Klishevich John and Mary Klisiewicz* The Krauthoefers Sandy and Alan Kreeger Marcia and Kurt Kreith Kris Kristensen Sandra Kristensen C.R. and Elizabeth Kuehner Leslie Kurtz Kit and Bonnie Lam* Marsha M. Lang Susan and Bruce Larock Charlie and Joan Learned Steve and Nancy Lege Joel and Jeannette Lerman Ernest and Mary Ann Lewis Evelyn Lewis Barbara Linderholm* Motoko Lobue Mary Lowry Henry Luckie Ariane Lyons Sue MacDonald David and Alita Mackill Karen Majewski Vartan Malian and Nova Ghermann Joseph and Mary Alice Marino
ARTISTIC VENTURES FUND
Pam Marrone and Mick Rogers David and Martha Marsh Dr. Carol Marshall J. A. Martin Harry Matthews and Lorraine Jensen Leslie Maulhardt Katherine F. Mawdsley* Keith and Jeanie McAfee Harry and Karen McCluskey* Ben and Edna McCoy Nora McGuinness* Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry Barry Melton and Barbara Langer Sharon Menke The Merchant Family Fred and Linda Meyers* Gerrit Michael Beryl Michaels and John Bach Leslie Michaels and Susan Katt Jean Miller Lisa Miller Sue and Rex Miller Kathy and Steve Miura* Sybil and Jerry Miyamoto Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Elaine and Ken Moody Amy Moore James Morris The Muller Family Dr. B.J. Myers Guity Myers* Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* Drs. Bonny Neyhart and Michael Goodman Jay and Catherine Norvell Dana Olson Jim and Sharon Oltjen Mary Jo Ormiston* Bob and Elizabeth Owens M.B. and Carlene Ozonoff Michael Pach Erin Peltzman Ross and Karen Peters Jane Plocher
We applaud our Artistic Ventures Fund’s members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies, and programs made available free to the public.
Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf
Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef
Thank you to the following donors for their special program support.
YOUNG ARTISTS COMPETITION AND PROGRAM John and Lois Crowe Merrilee and Simon Engel
Mary B. Horton Barbara K. Jackson
John W. Poulos and Deborah Nichols Poulos Jerry and Bernice Pressler Ed and Jane Rabin Jan and Anne-Louise Radimsky Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Catherine Reed Mary C. Reed and Charles D. Kelso Dr. and Mrs. James W. Reede Jr. Sandra Erskine Reese Michael Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Mr. and Mrs. Francis Resta Maureen Rice Ralph and Judy Riggs* Dr. Ron and Sara Ringen Louise Robbins and Mark Buchanan Jeannette and David Robertson Maria-lee Rodriguez John and Carol Rominger Richard and Evelyne Rominger Linda Roth Cynthia Jo Ruff* Paul and Ida Ruffin Dagnes/Vernon Ruiz Laurie and Mike Salter Dee Samuels and Joel Shawn Fred and Polly Schack Patsy Schiff Leon Schimmel and Annette Cody Darell J. Schregardus, Ph.D. Janis J. Schroeder and Carrie L. Markel Drs. Julie and Stephen Shacoski Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Jeanie Sherwood Jo Anne S. Silber Ronald and Rosie Soohoo* Roger and Freda Sornsen William Stanglin Alan and Charlene Steen Harriet Steiner and Miles Stern Johanna Stek Judith and Richard Stern Raymond Stewart Eugene Stille Daria and Mark Stoner James E. Sutton and Melissa A. Barbour
Fred Taugher and Paula Higashi Francie F. Teitelbaum Julie A. Theriault, PA-C Virginia Thigpen Ronald and Linda Tochterman Brian Toole Robert and Victoria Tousignant Michael and Heidi Trauner Rich and Fay Traynham Allen and Heather Tryon James E. Turner Nancy Ulrich* Ramon and Karen Urbano Dr. Ann-Catrin Van Chris and Betsy van Kessel Diana Varcados Bart and Barbara Vaughn* Carol and Larry von Kaenel Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Jim and Kim Waits Maxine Wakefield and William Reichert Vivian and Andrew Walker Andy and Judy Warburg Valerie Boutin Ward Leo Warmolts Marny and Rick Wasserman Douglas West Kimberly West Martha West Robert and Leslie Westergaard* Edward and Susan Wheeler Nancy and Richard White* Mrs. Jane Williams Janet G. Winterer Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Norman and Manda Yeung Phillip and Iva Yoshimura Verena Leu Young* Melanie and Medardo Zavala Darrel and Phyllis Zerger* Marlis and Jack Ziegler Dr. Mark and Wendy Zlotlow And 49 donors who prefer to remain anonymous
*Friends of Mondavi Center
LEGACY CIRCLE
Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.
Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Yvonne LeMaitre
Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Lynn Upchurch Anonymous
If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation. If you are interested in learning about planned giving opportunities, please contact Debbie Armstrong, Sr. Director of Memberships (530.754.5415 or djarmstrong@ucdavis.edu).
We appreciate your support! Note: Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. 60 MONDAVIART S.ORG
BOARDS & COMMITTEES
MONDAVI CENTER ADVISORY BOARD The Mondavi Center Advisory Board is a support group of University Relations whose primary purpose is to provide assistance through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.
2015-16 ADVISORY BOARD MEMBERS Tony Stone, Chair • Jim Bigelow • John Crowe • Patti Donlon • Phyllis Farver• Janlynn Fleener • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry P. Maisel • Randy Reynoso • Nancy Roe • Grace Rosenquist • John Rosenquist • Lor Shepard • Joan Stone • Joe Tupin • Carol Wall
EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis Ralph J. Hexter, Provost & Executive Vice Chancellor, UC Davis Susan Kaiser, Dean, Division of Humanities, Arts, & Cultural Studies, College of Letters & Sciences, UC Davis Don Roth, Executive Director, Mondavi Center, UC Davis Sharon Knox, Chair, Arts & Lectures Administrative Advisory Committee Francie Lawyer, Chair, Friends of the Mondavi Center
THE ARTS & LECTURES ADMINISTRATIVE ADVISORY COMMITTEE is made up of interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season. 2015–16 ADVISORY BOARD Sharon Knox, Chair • Trisha Barua • Lauren Brink • Jochen Ditterich • Yevgeniy Gnedash • Carol Hess • Petr Janata • Ian Koebner • Kyle Monhollen • Thomas Patten • Erica Perez • Alina Pogorelov • Hannah Sada • Sudipta Sen • Su-Lin Shum • Michelle Wang • Gina Werfel • Amy Yip
THE FRIENDS OF MONDAVI CENTER is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431. 2015–16 FRIENDS EXECUTIVE BOARD Francie Lawyer, President Leslie Westergaard, Vice President Jo Ann Joye, Secretary COMMITTEE CHAIRS: Wendy Chason, Friends Events Shirley Auman, Gift Shop Eunice Adair, Membership Judy Fleenor, Mondavi Center Tours Karen Street, School Matinee Support Lynne de Bie, School Matinee Ushers/ Front of House Liaison Lynette Ertel, School Outreach Joyce Donaldson, Director of Arts Education, Ex-Officio
School Matinees AT MONDAVI CENTER
S
chool Matinees at the Mondavi Center, UC Davis have long supported California’s Visual and Performing Arts Standards, providing an enjoyable educational experience for our region’s K–12 students. The new Common Core Standards in English language arts compel students to systemically grow their knowledge base in reading, speaking, writing and listening. Live performance is ideally positioned to support the current challenges of how learning is achieved under CCCSS as well by creatively addressing cultural sensibilities, inventive multi-media movement and emotionally challenging theater and music. It balances academic curriculum in a very personal way. This year’s School Matinees: Julie Fowlis • OCT 23 Cirque Mechanics • OCT 26 Spot • NOV 2 Alexander String Quartet • NOV 2 The Okee Dokee Brothers • JAN 11 Yamato • JAN 22 Story PIrates • FEB 29 Third Coast Percussion • APR 1
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POLICIES & INFORMATION TICKET EXCHANGES • Tickets must be exchanged over the phone or in person at least one business day prior to the performance. (Closed Sundays) • Returned tickets will not scan valid at the door. • A $5 per ticket exchange fee may apply. • Tickets may not be exchanged or donated after the performance date. • For tickets exchanged for a higher priced ticket, the difference will be charged. The difference between a higher and lower priced exchanged ticket is not refundable. • Gift certificates will not be issued for returned tickets. • Event credit may be issued to subscribers and donors for all Mondavi Center Presenting Program events and expire June 30 of the current season. Credit is not transferable. • All exchanges are subject to availability. • All ticket sales are final for events presented by non-UC Davis promoters. • PRICES SUBJECT TO CHANGE. • NO REFUNDS.
PARKING You may purchase parking passes for individual Mondavi Center events for $9 per event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.
all available tickets. (Continuing education enrollees are not eligible.) Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.
YOUTH TICKETS (AGE 17 AND UNDER) Youth are eligible for a 50% discount on all available tickets. For events other than the Children’s Stage series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend. A ticket is required for admission of all children regardless of age. Any child attending a performance should be able to sit quietly through the performance.
PRIVACY POLICY The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently. We sometimes share names and addresses with other not-for-profit arts organizations. If you do not wish to be included in our email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.
GROUP DISCOUNTS
TOURS
Entertain friends, family, classmates or business associates and save! Groups of 10 or more qualify for a 10% discount off regular prices. Payment options with a deposit are available. Please call 530.754.4658.
Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.
STUDENT TICKETS
The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements. Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and
UC Davis students are eligible for a 50% discount on all available tickets. Proof Requirements: School ID showing validity for the current academic year. Student ID numbers may also be used to verify enrollment. Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on
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ACCOMMODATIONS FOR PATRONS WITH DISABILITIES
prices for all performances. Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests. Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.
BINOCULARS Binoculars are available for Jackson Hall. They may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID be held until the device is returned.
ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available for Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID to be held at the Patron Services Desk until the device is returned.
ELEVATORS The Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.
RESTROOMS All public restrooms are equipped with accessible sinks, stalls, babychanging stations and amenities. There are six public restrooms in the building: two on the Orchestra level, two on the Orchestra Terrace level and two on the Grand Tier level.
SERVICE ANIMALS Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times. Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.
LOST AND FOUND HOTLINE 530.752.8580
Music touches the heart From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.
We’re proud to salute Mondavi Center for the Performing Arts.
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