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
Nancy Petrisko
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
COPPER
TICKET OFFICE MANAGER
Susie Evon
EVENT SUPERVISOR AND GROUP SALES COORDINATOR
4 MONDAVIART S.ORG
Ciocolat
Yuri Rodriguez
PUBLIC EVENTS MANAGER
Natalia Deardorff
ASSISTANT PUBLIC EVENTS MANAGER
Dawn Kincade
ASSISTANT PUBLIC EVENTS MANAGER
Kerrilee Knights
ASSISTANT PUBLIC EVENTS MANAGER
Nancy Temple
ASSISTANT PUBLIC EVENTS MANAGER
HEAD USHERS Huguette Albrecht Ralph Clouse Eric Davis John Dixon George Edwards Donna Horgan Paul Kastner Jan Perez Steve Matista FACILITIES
Russell St. Clair
PRODUCTION
TICKET AGENT
BUILDING ENGINEER
Christopher C. Oca
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
Rodney Boon
HEAD AUDIO ENGINEER
Wai Kit Tam
TECHNICIAN/ASSISTANT AUDIO ENGINEER
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
SENIOR DIRECTOR OF SUPPORT SERVICES
Mandy Jarvis
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Russ Postlethwaite
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Donna J. Flor
INFORMATION TECHNOLOGY
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API Global Transportation
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Jessica Miller
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SPECIAL THANKS
ARTIST SERVICES MANAGER
Ryan Thomas
TICKET OFFICE SUPERVISOR
MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS
Jenna Bell
Marlene Freid
DEVELOPMENT
BRONZE
ARTIST SERVICES
Joyce Donaldson ARTS EDUCATION COORDINATOR
OFFICE OF CAMPUS COMMUNITY RELATIONS
DIRECTOR OF OPERATIONS
AUDIENCE SERVICES
Jennifer Mast
SILVER
Herb Garman
ARTS EDUCATION DIRECTOR OF ARTS EDUCATION
GOLD
OPERATIONS
PRODUCTION MANAGER ASSISTANT PRODUCTION MANAGER SENIOR STAGE MANAGER, JACKSON HALL
APPLICATIONS ADMINISTRATOR & PCI COMPLIANCE COORDINATOR
IN THIS ISSU
A MESSAGE FROM THE EXECUTIVE DIRECTOR
ROBERT AND MARGRIT
MONDAVI CENTER FOR THE PERFORMING ARTS
DON ROTH, Ph.D. EXECUTIVE DIRECTOR
March is the single busiest month of the Mondavi Center season this year, with 21 performances over 31 days.
We begin the month with a long-awaited return engagement from soprano Renée Fleming and end it with debut performances by the acclaimed Third Coast Percussion ensemble. In between, we feature a typically diverse roster: Serial podcast creators Sarah Koenig and Julie Snyder on March 7; a St. Patrick’s Day celebration and beer tasting with Altan, Lúnasa and Tim O’Brien on March 17; and a Just Added performance from Lyle Lovett and Robert Earl Keen on March 25. Visit our website or grab a brochure tonight to see the full roster; I encourage you to try something new during this rich month of programs. March is also the month that we put the final touches on our forthcoming season—one that will continue our tradition of innovation and excellence.
I have a few important notes for our returning subscribers and those interested in becoming subscribers in the year ahead. Our renewal period for existing subscribers will run from the first week of April until the 30th. We’ll take a short break to get all subscribers seated, and then start selling new subscriptions in mid-May. Finally, single tickets will go on sale in early July, a full month earlier than in recent years. We will have more information both through the mail and in your email inbox. If you’re not sure you’ve signed up to be notified, you can do so through our website or call the ticket office at 866-754-2747.
I look forward to sharing some highlights of the 2016-17 season with you in the next issue of the Program Book. For now, enjoy the spoils of March! Sincerely,
Don
6 MONDAVIART S.ORG
8
Renée Fleming, soprano and Gerald Martin Moore, piano
11 Benoît Charest & Le Terrible Orchestre de Belleville / The Triplets of Belleville 14 Academy of St Martin in the Fields 20 Sarah Koenig and Julie Snyder 22 Igudesman & Joo 26 Altan & Lúnasa with Tim O’Brien 34 San Francisco Symphony / E.T. The Extra-Terrestrial 39 Patty Griffin, Sara Watkins & Anaïs Mitchell
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.
March 2016 Volume 3, No. 4
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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.
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www.mondaviarts.org. encoreartsprograms.com 7
Mondavi Center Presenting Program Wednesday, March 2, 2016 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY
Barbara K. Jackson
Renée Fleming appears by arrangement with IMG Artists, 7 West 54th Street, New York, NY 10019. Ms. Fleming records exclusively for Decca and Mercury Records (UK).
RENÉE FLEMING, soprano
GERALD MARTIN MOORE, piano
PROGRAM Frauenliebe und leben, Op. 42 Seit ich ihn gesehen Er, der Herrlichste von allen Ich kann’s nicht fassen Du Ring an meinem Finger Helft mir, ihr Schwestern Süsser Freund, du blickest An meinem Herzen Nun hast du mir den ersten Schmerz getan Five Songs O dolga budu ja, Op. 4, No. 3 (“Silence of the Secret Night”) Ne poy, krasavitsa, pri mne, Op. 4, No. 4 (“Sing to me no more, beautiful maiden”) Rechnaya lileya, Op. 8, No. 1 (“Water Lily”) Sumerki, Op. 21, No. 3 (“Twilight”) Vesenniye void, Op. 14, No. 11 (“Spring Waters”)
Schumann
FRAUENLIEBE UND LEBEN, OP. 42 (1840)
ROBERT SCHUMANN (1810-1856)
Rachmaninoff
INTERMISSION Five Songs “Higher” “Scream” “Hunger” “Morpheus” “You Gotta Go Home” Five Songs Das Bachlein, Op. 88, No. 1 (“You Brooklet”) Ruhe, meine Seele, Op. 21, No. 7 (“Be Still, My Soul”) Meinem Kinde, Op. 37, No. 3 (“To My Child”) Allerseelen, Op. 10 (“All Souls’ Day”) Zueignung (“Dedication”) 8 MONDAVIART S.ORG
PROGRAM NOTES
Patricia Barber
Strauss
Though not as renowned for his art songs (Lieder, in German) as his predecessor Franz Schubert—who wrote over 600—Robert Schumann made significant contributions to the genre over the course of his 40-year career. Songs were among Schumann’s first works: he started writing them at the age of 17, and over half his compositional output was written for voice. In 1837, Schumann had proposed marriage to the young Clara Wieck, the daughter of a prominent pianist in Leipzig. Schumann had first met Clara as a young man, when she was a child prodigy concertizing across Germany. What began as a friendship and mutual artistic admiration blossomed into passionate romance, though not all parties approved. Clara’s father thought Schumann, nine years Clara’s senior and not wellestablished as a composer, would only stand in the way of his plan to make Clara the foremost woman concert pianist of her generation. In an attempt to forbid their union, Wieck forbade all communication between Robert and Clara and refused his permission to marry. Robert and Clara ultimately petitioned the courts, which granted the pair permission to marry in 1840, a day shy of Clara’s 21st birthday. The year 1840 was a year of great artistic triumph for Schumann as well; in this one year, he composed over 130 art songs, including this cycle. In multiple ways, Schumann’s work closely reflected the life of its author. Schumann was noted for fixating on specific genres (e.g. works for solo piano, art songs, and orchestral works) for long periods of time before sinking into a state of deep mental fatigue. The composer’s journals and letters suggest that his general mood also vacillated wildly between bursts of manic energy and extreme lethargy. The cycle Frauenliebe und -leben (A
RENÉE FLEMING & GERALD MARTIN MOORE Woman’s Love and Life), perhaps Schumann’s most famous and most personal work for voice, came on the heels of his marriage to Clara. The deep adoration reflected in Adelbert von Chamisso’s poetry and Schumann’s music mirror the composer and wife’s devotion to one another as newlyweds. The first song in the cycle, “Seit ich ihn gesehen,” (“Since I Saw Him”) opens hesitantly, the truncated phrases in the piano suggesting the nervousness and blind stumbling of the narrator. Blind to all else besides her beloved, she has lost all joy in things she once treasured, preferring instead to weep. “Er, der Herrlichste von allen” (“He, the Most Magnificent of All”) celebrates the beauty of her beloved in both the music and text, the woman’s “bright and glorious star in the deep blue heavens.” Yet in her devotion she languishes, believing herself far beneath his love. The third song, “Ich kann’s nicht fassen, nicht glauben,” (“I Can’t Grasp or Believe It”) marks a turning point in the cycle, as we learn that the woman’s love is reciprocated. Schumann’s setting reflects a literal sense of disbelief, as the piano punctuates the fragmented recitativelike opening with crescendoing staccato chords. As Schumann has written it, even the woman’s “tears of unending happiness” are tinged with doubt. In the hymnlike melody of “Du Ring an meinem Finger,” (“Thou Ring on My Finger”) the woman’s disbelief gives way to joy as she presses her engagement ring to her lips, at last physical proof of her betrothed’s love for her. She returns to the ring in every other stanza, as if only its presence can reassure her that her dream has come true. In “Helft mir, ihr Schwestern,” (“Help Me, Ye Sisters”) both singer and pianist move nearly unceasingly, depicting the excited bustling of the bride and her sisters on her wedding day. Upward leaps in the vocal line express the bride’s irrepressible giddiness, as does her trill in her voice when referring to her bridegroom. One of the most passionate songs in the set, “Süsser Freund, du blickest,” (“Sweet Friend, Thou Gazest”) contrasts slow, tender intimacy with anxious talk of tears over a pulsing ostinato. Now married, the wife reveals to her husband her pregnancy, as blissful pillow talk gives way to dreaming. “An meinem Herzen, an meiner Brust” (“At My Heart, at My Breast”) finds the new mother lovingly holding her baby in her arms, the piano painting a vivid picture of mother rocking child to sleep. The final song of the cycle, “Nun hast du mir den ersten Schmerz getan,” (“Now Thou Hast Given Me, for the First Time, Pain”) brings about sudden tragedy as we hear the narrator in low, fragmented phrases, mourn for her dead husband. Harsh and dissonant, the piano writing in this song contrasts as sharply with the rest of the cycle as the life of the child contrasts with the husband’s deathly sleep. This dissonance remains through the end of the text, until Schumann repeats the opening bars of the first song. In this moment of agonizing loss, Schumann evokes the woman’s first look at her beloved, even as his body is lowered into the grave. Writing in her marriage diary, a newlywed Clara Schumann confessed, “The thought that one day I might lose him causes my mind to be completely confused—may heaven protect me from such misfortune, I couldn’t take it.” Tragically, Clara would lose Robert to disease and mental illness after only 16 years of marriage; she never remarried.
FIVE SONGS (1890-1902)
SERGEI RACHMANINOFF (1873-1943) For most of the 19th century, German composers and poetry dominated the art song genre, though other nations, including Russia, had their own traditions of song. Russian classical art song (called romans, after the French romance) sprang largely from music of the Eastern Orthodox Church and diverse folk music traditions. While Russian composers such as Glinka and Dargomyzhsky wrote many great songs in the first half of the 19th century, and the Mighty Handful—a group of five nationalistic composers including Rimsky-Korsakov and Mussorgsky—wrote more than 500 songs between them, modern audiences gravitate toward the songs of those great melodists Tchaikovsky and Rachmaninoff. Sergei Rachmaninoff, a fiercely talented pianist and conservatory-trained composer, penned over 80 songs of varying depth and complexity. His education and skills as a performer led to small-scale compositions that were markedly rich in harmony and texture. He composed his first songs at the age of 17 (like Schumann), and would return to song for the next 25 years. “O dolga budu ja” (“Silence of the Secret Night”), one of Rachmaninoff’s first songs, captures the nervousness, excitement, and intoxication of new love from the vantage point of youth. Both buoyant and introspective, the song grows to a climax as chromatic, agitated chords clang around a bold and soaring vocal line. “Ne poy, krasavitsa, pri mne” (“Sing to me no more, beautiful maiden”), also from Op. 4, also concerns love and memory, though unlike “O dolga budu ja,” this song is etched in wistful melancholy. A piano intro evokes the singing of the titular maiden, which comes to an end as the narrator pleads, “Oh cease thy singing, maiden fair!” Her songs from “sorrowful Georgia” remind the singer of a time, place, and girl from “that other life and distant shores,” memories too painful to remember or forget. Rachmaninoff set “Rechnaya lileya” (“Water Lily”), a Russian translation of famed German poet Heinrich Heine, in late 1893, after returning to Moscow after a productive summer in the country. Like the water lily, the music itself is dainty and whimsical, highlighting Rachmaninoff’s gift for writing simple compositions despite his often lush use of the piano. While all artists need income to survive and hope to be paid for their work, Rachmaninoff very pointedly wrote his Op. 21 with a payday in mind. In a letter to a close friend dated April 1, 1902, Rachmaninoff revealed a sudden and shocking engagement to his cousin, Natalya Satina: “… At the end of this month I am being incautious enough to get married. … For God’s sake don’t come, I implore you. The fewer people there the better. … I shall … perhaps go to the country to write at least 12 songs before the wedding, so that there is something with which to pay the priests and to go abroad.” To circumvent the strict Canon Law of the Russian Orthodox Church (among other things, first cousins were not permitted to marry), Sergei and Natalya were wed in an army barracks where the clergy were decidedly more lax. The “12 songs” mentioned in the above letter would
become his Opus 21, which he completed in a hotel near Lucerne while on his honeymoon. The final song on this set, “Vesenniye vodï,” (“Spring Waters”), heralds the end of winter and the welcome arrival of spring. Fast swirls of notes depict the flowing streams, much like Schubert’s whirling figures in “Die Forelle.” The ebullient piano accompaniment reaches orchestral proportions as the waters cry, “Spring is on the way! Spring is on the way!”
FIVE SONGS (2002-2015)
PATRICIA BARBER (B. 1955)
Jazz has always been a core part of multi-talented musician Patricia Barber’s roots. Born into a musical family, Barber grew up listening to her mother, a blues singer, and her father, jazz saxophonist Floyd “Shim” Barber, perform in and around Chicago, a city with deep connections to jazz and the blues. At the turn of the 20th century, thousands of African Americans fled the South in search of a better life; over 75,000 settled in Chicago before the end of the 1920s. Despite these strong ties to jazz, Barber was reluctant to make it her career, once saying, “…becoming a jazz woman was a stupid thing for a smart woman to do.” With a career spanning decades, over a dozen albums, and the first Guggenheim Fellowship awarded for non-classical music composition, Patricia Barber continues to craft poignant original works and push the boundaries of genre. Renée Fleming met Patricia Barber at one of the latter’s concerts at Chicago’s Green Mill Jazz Club, Barber’s artistic home for over 20 years. Their mutual admiration led the two to collaborate on a multicity project, Higher, in 2015. Performing in Chicago, Washington, D.C., and New York City, Fleming and Barber blended jazz and classical sensibilities in a performance of Barber’s music described as a “profound synthesis” of the two musical languages. On this evening’s program, Fleming performs songs from albums recorded over the course of more than a decade, songs whose topics range from anger and disaffection to the serenity of letting a loved one go. Of Barber’s music, Fleming says, “When I was introduced to her work years ago, I was immediately struck by her uniquely sophisticated lyrics and her musical vocabulary, which, though idiomatically jazz, evokes art songs for me, and the intimacy she conveys in performance.” Barber responded, “When Renée sings my music, I am thrilled to discover that a musical ideal can be realized. She inspires me to reach higher…. What she brings to the music is her own beautiful, sterling voice and her own artistic way of doing it…. Hearing that instrument of hers in my song was … the realization of an ideal.” ©Andrew McIntyre, 2016
FIVE SONGS (1885-1935)
RICHARD STRAUSS (1864-1949)
In 1933, Strauss was appointed President of the Reichsmusikkammer (“Music Chamber of the Reich”), hoping that “through the goodwill of the new German government … something really good can be achieved.” One of the first actions he took in his new position was petitioning Josef Goebbels, the
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RENÉE FLEMING & GERALD MARTIN MOORE ruthless Nazi minister of propaganda, to extend the period of copyright for German authors and composers from thirty to fifty years by having the government sign the Berne Convention. As inducement, Strauss composed and dedicated to “Herrn Reichsminister Josef Goebbels” Das Bächlein (“You Brooklet”), a setting of a poem — its last line refers to “mein Führer” (simply “my leader” in German, but a word that had taken on far more sinister connotations by 1933) — that he thought was by Goethe but whose author is actually unknown. He orchestrated the song two years later, but it was not performed at that time. By 1935, the direction of the country under the Nazis had become clear, and Strauss (whose daughter-in-law, and thereby grandchildren, were Jewish) had become disillusioned with what he disparaged as “this kind of rubbish” and he resigned from the Reichsmusikkammer. He refused to allow Das Bächlein to be included when a complete edition of his songs was proposed during the war and deleted the original dedication when it was finally published in 1951. Despite this freighted history, Das Bächlein is a delightful song, descriptive, melodious and bright in mood. The poet and publisher Karl Friedrich Henckell (18641929) became known for espousing socialist causes as well as for such introspective verses as Ruhe, meine Seele (“Be Still, My Soul”), of which Strauss made an impressive setting in 1894; he used it to open his Op. 27, the set of four songs he wrote as a wedding gift for his bride, the gifted soprano Pauline von Ahna. When Strauss revised and orchestrated the song in 1948, at the end of his life and just three years after Germany’s defeat in World War II, its closing lines must have had a deep significance for him: These times are violent, Endangering heart and mind. Rest, rest, my soul, And forget what threatens you! Hermann von Gilm zu Rosenegg (1812-1864) was an Austrian civil servant who wrote religious polemics and lyrical poetry as avocations. Strauss’ first published collection of songs — Op. 10 of 1885 — was the Acht Gedichte aus “Letzte Blätter” von Hermann Gilm (“Eight Songs from the ‘Last Leaves’ of Hermann Gilm”), which included Allerseelen (“All Souls’ Day”), a lover’s affectionate remembrance on the day set aside every year (traditionally November 2) to recall the departed. Strauss’ setting of Meinen Kinde (“To My Child,” Op. 37 No. 3) to a text by the German writer, author of children’s books and piano teacher Gustav Falke (18531916), was published in 1898. The opening song of Op. 10, Zueignung (“Dedication”), on a poem by Rosenegg, helped established Strauss’ reputation as a Lieder composer and has remained one of his most frequently performed vocal pieces. ©Richard Rodda, 2016
RENEÉ FLEMING Renée Fleming is one of the most acclaimed singers of our time. In 2013, President Obama awarded her America’s highest honor for an individual artist, the National Medal of Arts. Winner of the 2013 Best Classical Vocal Grammy Award, she has sung at momentous occasions around the world, from the Nobel Peace Prize ceremony to performances in Beijing during the 2008 10 MONDAVIART S.ORG
Olympic Games. In 2014, she became the first classical singer ever to perform “The Star-Spangled Banner” at the Super Bowl. In 2012, in another historic first, she sang on the balcony of Buckingham Palace in the Diamond Jubilee Concert for HM Queen Elizabeth II. In 2009, Fleming was featured in the televised We Are One: The Inaugural Celebration at the Lincoln Memorial concert for President Obama. She has performed for the United States Supreme Court, and in 2014, she celebrated the 25th anniversary of the fall of the Berlin Wall in a televised concert at the Brandenburg Gate. Another distinction was bestowed in 2008 when, breaking a precedent, Fleming became the first woman in the 125-year history of the Metropolitan Opera to solo headline an opening night gala. On New Year’s Eve 2015, Fleming appeared in the title role in a new production of The Merry Widow at the Metropolitan Opera. In April, she made her Broadway theater debut in Living on Love, for which she was nominated for a Drama League Award. Fleming won her fourth Grammy Award for her album Poèmes. Recipient of 14 Grammy nominations to date, she has recorded everything from complete operas and song recitals to an album of indie rock covers, Dark Hope, the jazz album Haunted Heart and the movie soundtrack of The Lord of the Rings: The Return of the King. Known for bringing new audiences to classical music and opera, Fleming has sung not only with Luciano Pavarotti and Plácido Domingo but also with Elton John, Sting, Lou Reed, Josh Groban, Joan Baez and even the Muppets. With a multimedia profile rare among contemporary opera singers, Fleming has hosted a wide variety of television and radio broadcasts, including the Metropolitan Opera’s Live in HD series for movie theaters and television, and Live from Lincoln Center on PBS. She was the subject of an HBO Masterclass documentary, and has been a frequent guest on Prairie Home Companion on National Public Radio. In 2013, she joined with the John F. Kennedy Center for the Performing Arts to present American Voices, a concert and 3-day festival celebrating the best American singing in all genres. The festival was the subject of a Great Performances documentary on PBS in January. Her book The Inner Voice was published by Viking Penguin in 2004, and released in paperback by Penguin the following year. An intimate account of her career and creative process, the book is now in its 12th printing, and it is also published in France, the United Kingdom, Germany, Japan, and Russia. Fleming is a champion of new music and has performed works by a wide range of contemporary composers, including recent compositions by Anders Hillborg, Henri Dutilleux, Brad Mehldau, André Previn, and Wayne Shorter. In 2010, Fleming was named the first-ever creative consultant at Lyric Opera of Chicago. She recently curated the creation of a world-premiere opera based on the best-seller Bel Canto for Lyric Opera’s 2015-2016 season. She is currently a member of the Board of Trustees of the Carnegie Hall Corporation, the Board of Sing for Hope, and the Artistic Advisory Board of the Polyphony Foundation. Among her
awards are the Fulbright Lifetime Achievement Medal, the Chevalier de la Légion d’Honneur, Germany’s Cross of the Order of Merit, Honorary Membership in the Royal Academy of Music, Sweden’s Polar Music Prize, and honorary doctorates from Duke University, Harvard University, Carnegie Mellon University, the Eastman School of Music, and The Juilliard School. www. reneefleming.com
GERALD MARTIN MOORE
PIANO
Gerald Martin Moore is a highly sought-after singing teacher and a vocal consultant. He has worked closely with Renée Fleming for many years since first collaborating on the production of Alcina with William Christie at the Palais Garnier in Paris. He then went on to work with Fleming on many subsequent roles, Decca recordings and recitals, and he toured South America with her in 2012. Other leading artists he has prepared for roles and recordings include Natalie Dessay, Joyce DiDonato, Marie McLaughlin, Elina Garanca, and Sarah Connolly. He has worked in such houses as Covent Garden, La Scala, the Metropolitan Opera, Aixen-Provence, Edinburgh and Glyndebourne Festival, San Francisco, Opera de Bastille, Champs-Elysees and Chatelet in Paris. An authority on vocal technique, Gerald is a regular broadcaster and was honored with an hour-long special interview on BBC Radio 3’s Voices, focused particularly on American singers and child stars. For OPERA magazine, he interviewed Beverly Sills on the technique of coloratura singing. Moore may currently be heard as a regular host of the Metropolitan Opera Quiz. He is also in demand as a judge for prestigious vocal competitions, including the Metropolitan Opera regional auditions. In addition to voice teaching, Moore has assisted William Christie and Les Arts Florissants, preparing the soloists for productions and recordings including Handel’s Orlando, Semele and Alcina, and Mozart’s Die Zauberflote, Le Nozze di Figaro and Die Entfuhrung. He similarly assisted Sir Charles Mackerras at the Edinburgh Festival for Mozart’s Idomeneo and La Clemenza di Tito, Donizetti’s Maria Stuarda, together with Rossini’s Zelmira, Adelaide di Borgogna and La Donna del Lago conducted by Maurizio Benini. As a specialist in ornamentation, Moore has composed countless embellishments for leading singers, notably in his role as vocal consultant to Opera Rara and Decca. An additional area of specialty is the neglected French repertoire of Delibes, Thomas, Gounod, Meyerbeer, and Massenet. Moore is featured as a vocalist with soprano Rebecca Caine in a cabaret evening they created and recorded as an album, celebrating legendary stars of the British musical stage, entitled Leading Ladies. He is a frequent recitalist, most notably with Fleming. He has performed before such dignitaries as President Obama and the First Lady, President Clinton and Secretary of State Hilary Clinton, HRH Prince Charles, Justice Ruth Bader Ginsburg and UN Secretary General Kofi Annan.
BENOÎT CHAREST & LE TERRIBLE ORCHESTRE DE BELLEVILLE
The Triplets of Belleville A Film + Music and Director’s Choice Event Friday, March 4, 2016 • 8PM Jackson Hall The Triplets of Belleville A Cine-Concert Benoît Charest, Composer-Conductor Featuring The Triplets of Belleville a film by Sylvain Chomet and Le Terrible Orchestre de Belleville with composer Benoît Charest Dan Thouin keyboard Michael Emeneau percussion Morgan Moore bass Bryan Head drums Bruno Lamarche saxophone Maxime St-Pierre trumpet Sheffer Bruton trombone Company Manager David Etienne Savoie The Triplets of Belleville Rated PG-13 by the MPAA © 2003 LES ARMATEURS, PRODUCTION CHAMPION, VIVI FILM, FRANCE 3 CINEMA, RGP FRANCE AND SYLVAIN CHOMET. ALL RIGHTS RESERVED Licensed in the United State through Sony Pictures Classics. Exclusive Worldwide Touring Management by: David Lieberman/Artists Representatives P.O. Box 10368, Newport Beach, CA 92658 www.dlartists.com
THE FILM It has been more than a decade since the release of the Franco-Quebecois animated movie, The Triplets of Belleville. Many still remember this film, its resounding success and incredible soundtrack which was acclaimed many times at the Oscars, the Genie Awards and the French Césars. This much beloved animated film is screened as composer Benoît Charest leads Le Terrible Orchestre de Belleville in the live performance of his original score for the film, including his Academy Award-nominated best song “Belleville Rendez-vous.” In the spirit of the film, Le Terrible Orchestre de Belleville immediately transports audiences to the exciting streets of 1920s Paris and Le Jazz Hot. The musical ensemble is made up of eight musicians with wacky instruments, reminiscent of 1930s France. The terrific Belleville Orchestra blends live music and cinema, enticing audiences into their colorful Parisian period cabaret.
THE STORY Adopted by his near-sighted grandmother Madame Souza, Champion is a lonely little boy. Noticing that the lad is never happier than on a bicycle, Madame Souza puts him through a rigorous training process. Years go by and Champion becomes worthy of his name. Now he is ready to enter the world-famous cycling race, the Tour de France. However, during this cycling contest two mysterious, square-shouldered henchmen in black kidnap Champion. Madame Souza and her faithful dog Bruno set out to rescue him.
Their quest takes them across the ocean to a giant megalopolis called Belleville where they meet a trio of eccentric jazz-era divas, the renowned “Triplets of Belleville.” The three musichall stars decide to take Madame Souza and Bruno under their wing. The motley sleuths follow the clues to an underground speakeasy, where they entertain the crowd. And, thanks to Bruno’s brilliant sense of smell, the chase is on! But will they succeed in beating the devilish plans of the evil French mafia?
SYLVAIN CHOMET
DIRECTOR
Sylvain Chomet was born in 1963 in MaisonsLafitte, France. In 1982, he graduated from high school specializing in art and in 1987 received a diploma from the prestigious comic-strip studio at Angoulême (France). In 1986, he published his first book-length comic, Secrets of the Dragonfly (Futuropolis) and drew an adaptation of a Victor Hugo novel, Bug-Jargal, in collaboration with Nicolas de Crécy. Moving to London to work as an animator at the Richard Purdum studio in September 1988, he established a London-based freelance practice working on commercials for clients such as Swissair, Principality, Swinton, Renault, and more. In 1991, Chomet started work on his first animated film project, The Old Lady and the Pigeons, with backgrounds designed by Nicolas de Crécy. In 1992, he wrote the script for a comic entitled The Bridge in Mud (Glénat), a sciencefiction and historical saga, now in its fourth episode. The following year, he wrote the story Léon-la-Came, drawn by Nicolas de Crécy and serialized in A SUIVRE magazine. The book version encoreartsprograms.com 11
BENOÎT CHAREST & LE TERRIBLE ORCHESTRE DE BELLEVILLE was published by Casterman in 1995. It won the René Goscinny Prize in January 1996. Since 1993, Chomet has been based in Canada. He spent 1995 and 1996 finishing his short film The Old Lady and the Pigeons. This film won the Cartoon d’Or prize, the Grand Prize at the Annecy Festival, a BAFTA, the Audience Prize and the Jury Prize at the Angers Premiers Plans Festival and received nominations for both the French Césars and for the Oscars. In early 1997, Chomet published Ugly, poor and sick, again with Nicolas de Crécy. The book version (Casterman) won the Alph-Art Best Comic Prize at the Angoulême Comic Strip Festival in 1997.
BENOÎT CHAREST
COMPOSER, CONDUCTOR (AND GUITARIST) Benoît “Ben” Charest, the Oscar-nominated composer from Montreal, has written over 20 film scores, including 2003’s award-winning Triplets of Belleville. Charest studied at McGill and Montreal universities before learning his trade touring as a sideman with various bands. A versatile composer and accomplished jazz guitarist, Charest regularly performed with some of Montreal’s finest musicians, and in 1992, he wrote his first score for a National Film Board of Canada documentary. He is presently writing music for his jazz organ trio and touring with Le Terrible Orchestre de Belleville.
GUILLAUME BRIAND
SOUND ENGINEER
Guillaume Briand, became a musician when he discovered his passion for the art of sound. At age 17, he decided to follow his heart and began his career working as a sound engineer at Production Jeun-Est, Foufounes électriques, le Grand Bambou, Spectra, Cabaret Latulipe and Cabaret Juste Pour Rire. He has traveled the world, creating soundscapes and mixing instrumentation in France, Italy, China, the United States, Singapore and Germany where he worked with percussionist and hybrid artist Merlin Ettore. On tour with the extreme heavy metal group, Unexpect, out of Montreal, he has performed his sonic magic in stadiums throughout Europe. He also performs as a Technical Director for touring shows, especially the poetic musicalizations of Queen Ka and cine-concert, The Triplets of Belleville.
MEMBERS OF THE ORCHESTRE
DAN THOUIN
KEYBOARD
When he first sat behind the family organ Daniel Thouin was seven. Ten years later he was studying classical piano. Soon he started flirting with the jazz scene. Then, he took an interest in electronica and pop music, collaborating with the likes of Mara Tremblay, Yann Perreau and Marie-Jo Thério, 12 MONDAVIART S.ORG
and touring with Jason Bajada and Ghislain Poirier. In 2002, Thouin assembled the Large Ensemble, an all-star local group mixing jazz and rock. Informed by Miles Davis’ late 60s experiments, Thouin used the band to flex their improvisational muscles.
MORGAN MOORE
BASS
Morgan Moore received a Juno award for his work on Ranee Lee’s album Live at Upstairs and has performed with such notables as Sophie Milman, Oliver Jones, Nikki Yanofsksy, Rob Lutes, Kaba Horo, John Day, Ben Charest, James Gelfand, and Marianne Trudel. Being one of the first-call Montreal bassists has given him the opportunity to play with such international artists as Mark Murphy, Phil Dwyer, Jimmy Cobb, Nate Smith, Sheila Jordan and many others.
BRUNO LAMARCHE
SAXOPHONIST
Saxophonist and multi-instrumentalist Bruno Lamarche has been known in Canada and Europe for more than 20 years. He has had the honor of working with luminaries such as Buddhakick, Félix Stüssi, Ray Anderson, Bernard Primeau, Joel Miller, Ben Monder, Philip Catherine, Christine Duncan, Kurt Rosenwinkel, Don Thompson and of course, Benoît Charest. His wide ranging career has seen him perform with Altsys, Dixieband, ONJM, and Jazzlab. A recognized arranger, Lamarche earned a Bachelor of Jazz Performance at McGill University where he also received the Marion Magor Memorial Scholarship and the James McGill Award.
MICHAEL EMENEAU
PERCUSSION
Michael Emeneau has worked professionally as a vibraphonist, producer, re-mixer, and arranger for 25 years, playing such diverse genres as jazz, rock, drum & bass, salsa, techno, country, Hindustani, gospel, baroque and orchestral music. During this time he has produced 16 albums, recorded on another 150, composed music for eight films, toured internationally, and lived on three continents. As a solo recording artist he has released a series of highly acclaimed solo CDs on the boutique record labels, Hearts of Space, Daikini, and Six Degrees records. Currently he is a member of Ben Charest’s Orchestre Terrible de Belleville, and Tur Malka featuring Canadian jazz vocal legend Karen Young.
MAXIME ST-PIERRE
TRUMPET
As a member of many scholarly music bands
such as Cegep St-Laurent, Montreal University, Vic Vogel, Dems Christianson and Montreal Jazz Big Band, Maxime St-Pierre became a solid trumpeter. He has also worked with many popular singers and groups, among them Jean Jean-Pierre Ferland, Daniel Belanger, Jean Leloup, Michel Legrand, Yannick Rieu, The Temptations, The Four Tops, Michel Cusson Wild Unit, Eva! Manigat, La Bande aMagoo and Kappa.
BRYAN HEAD
DRUMS
Los Angeles-based drummer and percussionist Bryan Head has performed and recorded with such varying artists as Roger Hodgson of Supertramp, Foreigner, surf legend Dick Dale, Julian Lennon, Shelby Lynne, The Plimsouls, Abandoned Pools, Peter Case and John Doe of X.
SHEFFER BRUTON
TROMBONE
Sheffer Bruton is a Los Angeles native who began playing trombone in high school. Bruton started his professional career at age 19 playing acid jazz and funk/rock gigs in Pasadena, California. He attended Cal State Los Angeles and then the University of Southern California where he studied classical music theory, music history, jazz theory, and performance. He has performed and/or recorded with artists such as Bobby Caldwell, Big Bad Voodoo Daddy, Kinky, G Love and Special Sauce and Ozomatli as well as multiple movie and television sound tracks. He has also appeared in movies and television as both an actor and performer, most recently in the movie Whiplash. He currently lives in Los Angeles and is a freelance studio musician, teacher, music educator, and loving husband and father to his wife Maria and their children Milagro, Tristan, and Alexi.
DAVID-ETIENNE SAVOIE PRODUCTION MANAGER Throughout the years, David-Etienne Savoie has worked as a production manager and main controller on many international projects, such as Lhasa de Sela (180 concerts worldwide, four in the U.S.), Patrick Watson (400 concerts worldwide, three in the U.S. and 15 with a symphonic orchestra), Amadou and Mariam (300 concerts throughout the world, three in the U.S.), Afrocubism (60 concerts around the world, two in the U.S.), Omara Portuondo (20 concerts around the world) and finally 150 concerts with Raul Paz. He has toured Europe with artists such as Arthur H, The Roots, Matthew Herbert, Pierre Lapointe, Ariane Moffat, Champion, Jean-Louis Murat, Bertrand Belin and many more.
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.
Joshua Bell, music director and soloist An Orchestra Series Event Saturday, March 5, 2016 • 8PM
PROGRAM
SPONSORED BY:
Symphony No. 1 in D Major, Op. 25, “Classical” Prokofiev Allegro con brio Larghetto Gavotte: Non troppo allegro Finale: Molto vivace
INDIVIDUAL SUPPORT PROVIDED BY
Violin Concerto in D Major, Op. 35 Tchaikovsky Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Joshua Bell, violin
Jackson Hall
Hansen Kwok Joyce and Ken Adamson
INTERMISSION Violin Concerto, mv. II (codetta by Britten) Joshua Bell, violin
Schumann
Performances are given with the permission of the Britten Estate Ltd.
Symphony No. 8 in F Major, Op. 93 Beethoven Allegro vivace e con brio Allegretto scherzando Tempo di minuetto Allegro vivace The Academy of St Martin in the Fields’ March 2016 US tour is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields. Joshua Bell’s position as Music Director is supported by Klara and Larry A. Silverstein together with the American Friends of the Academy of St Martin in the Fields.
14 MONDAVIART S.ORG
photo: Ian Douglas
ACADEMY OF ST MARTIN IN THE FIELDS
ACADEMY OF ST MARTIN IN THE FIELDS PROGRAM NOTES
SYMPHONY NO. 1 IN D MAJOR, OP. 25, “CLASSICAL” (1916-1917) SERGEI PROKOFIEV (1891-1953)
Prokofiev’s penchant for using classical musical idioms was instilled in him during the course of his thorough, excellent training. When he was a little tot, his mother played Beethoven sonatas to him while he sat under the piano, he studied with the greatest Russian musicians of the time — Glière, Rimsky-Korsakov, Liadov, Glazunov, Tcherepnin — and he began composing at the Mozartian age of six. In 1917, Prokofiev based his own “Classical” Symphony, his first work in the form, on the Viennese models that had formed the core of his musical education. The work is in the four movements customary in Haydn’s symphonies, though at only fifteen minutes it hardly runs to half their typical length. The dapper first movement is a miniature sonata design that follows the traditional form but adds some quirks that would have given Haydn himself a chuckle — the recapitulation, for example, begins in the “wrong” key (but soon rights itself ) and occasionally a beat is left out, as though the music had stubbed its toe. A graceful, ethereal melody floating high in the violins is used to open and close the larghetto, with the pizzicato gentle middle section reaching a brilliant tutti before quickly subsiding. The third movement, a gavotte, comes not from the Viennese symphony but rather from the tradition of French Baroque ballet. The brilliant finale calls for remarkable feats of agility and precise ensemble from the performers.
VIOLIN CONCERTO IN D MAJOR, OP. 35 (1878)
PETER ILYICH TCHAIKOVSKY (1840-1893) In the summer of 1877, Tchaikovsky undertook the disastrous marriage that lasted less than three weeks and resulted in his emotional collapse and attempted suicide. He fled from Moscow to his brother Modeste in St. Petersburg, where he recovered his wits and discovered he could find solace in his work. He spent the late fall and winter completing his Fourth Symphony and the opera Eugene Onégin. The brothers decided that travel outside of Russia would be an additional balm to the composer’s spirit, and they duly installed themselves at Clarens on Lake Geneva in Switzerland soon after the first of the year. In Clarens, Tchaikovsky had already begun work on a piano sonata when he heard the colorful Symphonie Espagnole by the French
composer Edouard Lalo. He was so excited by the possibilities of a similar work for solo violin and orchestra that he set aside the sonata and immediately began a concerto of his own. By the end of April, the work was finished. Tchaikovsky sent the manuscript to Leopold Auer, a friend who headed the violin department at the St. Petersburg Conservatory and who was also Court Violinist to the Czar, hoping to have him premiere the work. Much to the composer’s regret, Auer returned the piece as “unplayable,” and apparently spread that word with such authority to other violinists that it was more than three years before the violin concerto was heard in public. It was Adolf Brodsky, a former colleague of Tchaikovsky at the Moscow Conservatory, who first accepted the challenge of this concerto when he premiered it with the Vienna Philharmonic in 1881. The concerto opens quietly with a tentative introductory tune. A foretaste of the main theme soon appears in the violins, around which a quick crescendo is mounted to usher in the soloist. After a few unaccompanied measures, the violin presents the lovely main theme above a simple string background. After an elaborated repeat of this melody, a transition follows that eventually involves the entire orchestra and gives the soloist the first opportunity for pyrotechnical display. The second theme begins a long build-up leading into the development, launched with a sweeping presentation of the main theme. The soloist soon steals back the attention with breathtaking leaps and double stops. The sweeping mood returns, giving way to a flashing cadenza as a link to the recapitulation. The flute sings the main theme before the violin it takes over, and all then follows the order of the exposition. The andante begins with a chorale for woodwinds that is heard again at the end of the movement to serve as a frame around the musical picture inside. On the canvas of this picture is displayed a soulful melody for the violin suggesting a Gypsy fiddler. The finale is joined to the slow movement without a break. With the propulsive spirit of a dashing Cossack Trepak, the finale flies by amid the soloist’s dizzying show of agility and speed.
VIOLIN CONCERTO, MV. II (CODETTA BY BRITTEN) (1853, 1957)
ROBERT SCHUMANN (1810-1856) ARRANGED IN 1957 FROM MOVEMENT II OF THE VIOLIN CONCERTO (WoO 23) BY BENJAMIN BRITTEN (1913-1976) In September 1850, Schumann became music
director for the city of Düsseldorf, where his duties included conducting the orchestra’s subscription concerts, leading performances of church music, giving private music lessons, organizing a chamber music society and composing, as time allowed. Things went well at first and Schumann enjoyed one of his most creative periods in Düsseldorf, but before long the situation turned sour. His fragile mental health, his ineptitude as a conductor, and his frequent irritability created a rift with the musicians. The orchestra’s governing body presented him with the suggestion that, perhaps, his time would be better devoted entirely to composition. Schumann, increasingly unstable though at first determined to stay, complained to his wife, Clara, that he was being cruelly treated. Proceedings were begun by the orchestra committee to relieve him of his position, but his resignation in 1853 ended the matter. By early 1854, Schumann’s reason had completely given way. On February 27th, he tried to drown himself in the Rhine, and a week later he was committed to an asylum in Endenich, where he lingered with fleeting moments of sanity for nearly two-and-a-half years. His faithful Clara was there with him when he died on July 29, 1856, at the age of 46. Among the products of Schumann’s last sad months in Düsseldorf was the Violin Concerto, composed in just two weeks in late September 1853. He had expected to perform the piece in Düsseldorf but his resignation scotched that plan, so he sent the concerto for evaluation regarding its technical aspects to his friend Joseph Joachim, one of the great virtuosos of his generation (and Schumann’s hoped-for soloist in the abandoned premiere). Joachim initially expressed his support for Schumann’s effort but he never played the piece publicly and even declared some passages “dreadful” after the composer’s death in 1856. Two years later Joachim tried out the piece privately for Johannes Brahms (who was to write a magnificent concerto for Joachim in 1878), and he found it so deficient that he refused to include it in the collected edition of Schumann’s works he was then preparing. The score remained unpublished until German musicologist Georg Schünemann discovered it in the Prussian State Library in 1937 and issued it over the objections of Eugenie, the Schumanns’ last surviving child. Georg Kulenkampff gave the premiere with the Berlin Philharmonic in November that year, but the work has rarely been heard since. In 1957, the superb British horn virtuoso Dennis Brain was killed in a car crash at age 36. One of Brain’s many musical friends encoreartsprograms.com 15
was Benjamin Britten — Brain had played the premiere of Britten’s Serenade for Tenor, Horn and Strings in 1943. As a memorial to Brain, Britten arranged the tender second movement of Schumann’s Violin Concerto for violin and string orchestra and titled it Elegy. Cellist Steven Isserlis discovered the score in the Britten archives a half-century later and took it to Joshua Bell (who made one of the few recordings of Schumann’s Concerto, with the Cleveland Orchestra in 2005), and he revived the Elegy for the 2015-2016 season of the Academy of St Martin in the Fields.
SYMPHONY NO. 8 IN F MAJOR, OP. 93 (1811-1812)
LUDWIG VAN BEETHOVEN (1770-1827)
In early October 1812, the Linzer Musikzeitung carried the following announcement: “We
have had the long-wished-for pleasure of having in our metropolis for several days the Orpheus and greatest musical poet of our time....” This “Orpheus” was Beethoven, and he had descended on Linz as the last stop in a summer spent taking the waters at Karlsbad, Franzensbrunn and Töplitz in an attempt to relieve various physical ailments. His interest in Linz, however, extended beyond the mineral baths into the private life of his younger brother, Johann. It seems that Johann had acquired a housekeeper, one Therese Obermeyer, and that her duties extended to, as the composer’s biographer Thayer put it, “something more.” Perhaps as much from jealousy as from moral indignation, the bachelor Beethoven did not approve of either the situation or this particular female (he later
FURTHER LISTENING by Jeff Hudson
JOSHUA BELL AND ACADEMY OF ST MARTIN IN THE FIELDS
With an initial three-year contract, Joshua Bell became the music director of the Academy of St Martin in the Fields in 2011. In 2013, the Academy released an album containing two Beethoven symphonies, the Fourth, and the Seventh. And Mondavi Center audiences saw Bell lead the orchestra in March 2014, a concert that included the Beethoven Third Symphony. At that time, Bell told this writer he’d like to do more Beethoven with the orchestra in years to come. Well, it’s 2016, and Bell and the Academy of St Martin in the Fields are still together. And they’re back in Jackson Hall with Beethoven’s Eighth Symphony on the program. Not to speculate (Bell isn’t talking), but Beethoven 3 typically runs about 48 minutes, and Beethoven 8 typically runs around 24 minutes. Which is just about the right amount of music to fill a CD. But like I said, I’m not speculating. Bell also discussed his future plans in a 2015 interview with Final Note magazine: — The next few years. “My life is planned for me already three years ahead of time, as far as concerts are concerned. I would like to expand my repertoire with the Academy of St Martin, record more of the Beethoven Symphonies and commission a few new works. I would love to spend more time composing — I write a lot of my own cadenzas and would like to take it a step further.” (He’s been saying this for several years – during a recital tour in 2011, he told this writer that he’d “like to write a solo violin sonata that would be good enough for future generations to look at.”) — His evolving style of leading the orchestra, sometimes playing from the first violin’s chair, sometimes from the podium. “I’m starting to do more from the podium and I have some concerts coming up where I will do both. There are advantages to leading from the violin... things you can show and do with the violin in your hand that are easier than with the stick — ways of inspiring the orchestra with the instrument. But I’m discovering that there are things that I can do to be more effective when I don’t have the violin as well. Leading from the violin is a great way to begin conducting because I think it’s the most organic and natural way to do it.” JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE, AND SACRAMENTO NEWS AND REVIEW.
16 MONDAVIART S.ORG
dubbed her “Queen of the Night”), and he took it upon himself, Thayer continued, “to meddle in the private concerns of his brother, which he had no more right to do than any stranger.” He stirred up a terrific row over this matter, and, after taking his concern to the local authorities, actually was awarded a decision to have Therese thrown out of town. Johann had had about enough by this time, and the upshot of all of Ludwig’s intrusions was that his younger brother married the housekeeper after all. Beethoven had been installed in an attractive room in Johann’s house overlooking the Danube and the surrounding countryside upon his arrival, and he worked on the Eighth Symphony throughout all this unnecessary domestic kerfuffle. Not the slightest hint of the turmoil crept into the music, however. It is actually the most humorous and “unbuttoned,” in the composer’s own description, of all his symphonies. At that time in his life (he was 42), Beethoven was immensely fond of a certain rough fun and practical jokes, and Sir George Grove believed that “the Eighth Symphony, perhaps more than any other of the nine, is a portrait of the author in his daily life, in his habit as he lived; the more it is studied and heard, the more will he be found there in his most natural and characteristic personality.” Certainly this work presents a different view of Beethoven than do its immediate neighbors, and it is this very contrast that helps to bring the man and his creations more fully into focus. The compact sonata form of the first movement begins without preamble. The opening theme, dance-like if a bit heavyfooted, appears immediately in vigorous triple meter; the second theme is built from short sequentially rising figures. The development section is concerned with a quick, octave-skip motive and a rather stormy treatment of the main theme. The second movement is a sonatina — a sonata form without a development section — based on a ticking theme in the woodwinds (actually an imitation of the metronome recently invented by Beethoven’s friend Johann Nepomuk Mälzel) and an impeccable music-box melody presented by the violins. The third movement is in the archaic form of the minuet; its central trio features horns and clarinets. The finale is joyous in mood and sonata-allegro in form, with enough repetitions of the main theme thrown in to bring it close to a rondo. ©2016 Dr. Richard E. Rodda
ACADEMY OF ST MARTIN IN THE FIELDS ACADEMY OF ST MARTIN IN THE FIELDS The Academy of St Martin in the Fields is one of the world’s premier chamber orchestras, renowned for its fresh, brilliant interpretations of the world’s most-loved classical music. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Through its live performances and vast recording output – highlights of which include the 1969 best-seller Vivaldi’s Four Seasons and the soundtrack to 1985’s Oscar-winning film Amadeus – the Academy quickly gained an enviable international reputation for its distinctive, polished and refined sound. Today the Academy is led artistically by Music Director and virtuoso violinist Joshua Bell, retaining the collegiate spirit and flexibility of the original small, conductorless ensemble which has become an Academy hallmark. Each year the Academy works with some of the most talented soloists and directors in the classical music scene, performing symphonic repertoire and ‘chamber music on a grand scale’ at prestigious venues throughout the world. Highlights of the Academy’s 2015/16 season include concerts and international tours with world-renown soloists, including cellist Steven Isserlis, violinist Julia Fischer and trumpeter Håkan Hardenberger. Music Director Bell leads tours of the U.K., Europe and the United States, Principal Guest Conductor Murray Perahia tours Germany and Europe and Life President Sir Neville Marriner takes the Academy to Asia with renowned pianist Angela Hewitt. In addition to a busy concert and touring schedule, the Academy continues to reach out to young people and adult learners through its learning and participation programs. This year’s projects include the Academy’s flagship Create, Cultivate, Orchestrate! workshops for primary and secondary school children; professional development partnerships with Southbank Sinfonia, the Guildhall School of Music and Drama and the Royal Northern College of Music; and working with some of London’s most vulnerable and homeless adults, creating opportunities for everyone to connect and create music with the orchestra. With over 500 recordings to date, the Academy is one of the most recorded chamber orchestras in the world. Recent highlights include the Academy’s first recording under Bell’s directorship, Beethoven Symphonies Nos. 4 & 7, which reached No. 1 on the Billboard Classical Albums Chart,
and the critically acclaimed Bach, which had the distinction of being Bell’s first-ever Bach concertos recording. Bell’s position as Music Director is supported by Klara and Larry A. Silverstein together with the American Friends of the Academy of St Martin in the Fields. The Academy’s March 2016 U.S. tour is supported by Maria Cardamone and Paul Matthews together with the American Friends of the Academy of St Martin in the Fields. The American Friends was founded in 1998 to support the work of the Academy around the world, particularly in the U.S. Find out more at www.asmf.org
JOSHUA BELL
MUSIC DIRECTOR AND VIOLIN Joshua Bell is among the most celebrated violinists of his era, renowned for his passion, restless curiosity and multifaceted musical interests. His scope is almost unparalleled, as he is equally at home as a soloist, chamber music, recording artist and orchestra leader. Bell was named the Music Director of the Academy of St Martin in the Fields in 2011, becoming the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958. Bell’s 2015 summer performances included a South American and European tour with the Academy of St Martin in the Fields, a tour to South Africa including appearances with the Johannesburg Philharmonic and Starlight Classics, performances in New York and Shanghai with the New York Philharmonic and summer festivals including Verbier, Tanglewood, Mostly Mozart and Saratoga. Bell kicked off the fall season performing with the Houston, St. Louis and Indianapolis Symphony orchestras, a U.S. recital tour with pianist Sam Haywood, a European tour with the Academy of St Martin in the Fields. Three concerts as guest soloist with the New York Philharmonic led by Alan Gilbert both ended the year and started 2016. The new year continues with a U.S. recital tour with Sam Haywood and concerts with the Academy of St Martin in the Fields. Orchestral dates include the Baltimore Symphony Orchestra’s Centennial season celebration conducted by Marin Alsop, appearances with the Orchestre de Paris conducted by Paavo Jarvi, and the London Symphony Orchestra. Bell then heads to Asia for a recital tour with Alessio Bax. After returning to Europe for a recital tour with Sam Haywood, he is back in the U.S. for a guest solo date with the Detroit Symphony followed by a tour of the Middle East with the Israel
Philharmonic led by Michael Stern. An exclusive Sony Classical artist, Bell has recorded more than 40 CDs – garnering Grammy, Mercury, Gramophone and Echo Klassik awards— since his first LP recording at age 18 on the Decca Label. The highly anticipated 2014 release of the Bach album recorded with the Academy of St Martin in the Fields coincided with the October HBO YoungArts documentary special Joshua Bell: A YoungArts MasterClass. Bell and the Academy’s previous release of the Beethoven 4th and 7th symphonies debuted at #1 on the Billboard charts. Recent releases include Bell’s holiday CD, Musical Gifts From Joshua Bell and Friends, featuring collaborations with Chris Botti, Chick Corea, Gloria Estefan, Renée Fleming, Plácido Domingo, Alison Krauss and others. Other releases include French Impressions with pianist Jeremy Denk, featuring sonatas by SaintSaëns, Ravel and Franck, At Home With Friends, Vivaldi’s The Four Seasons with the Academy of St Martin in the Fields, The Tchaikovsky Concerto with the Berlin Philharmonic, as well as The Red Violin Concerto, The Essential Joshua Bell, Voice of the Violin, and Romance of the Violin which Billboard named the 2004 Classical CD of the Year, and Bell the Classical Artist of the Year. Bell received critical acclaim for his concerto recordings of Sibelius and Goldmark, Beethoven and Mendelssohn, and the Grammy Award-winning Nicholas Maw concerto. His Grammy-nominated Gershwin Fantasy premiered a new work for violin and orchestra based on themes from Porgy and Bess. Its success led to a Grammynominated Leonard Bernstein recording that included the premiere of the West Side Story Suite as well as the composer’s Serenade. Bell appeared on the Grammy-nominated crossover recording Short Trip Home with composer and double bass virtuoso Edgar Meyer, as well as a recording with Meyer of the Bottesini Gran Duo Concertante. Bell also collaborated with Wynton Marsalis on the Grammy-winning spoken word children’s album Listen to the Storyteller and Béla Fleck’s Grammy Award-winning recording, Perpetual Motion. Highlights of the Sony Classical film soundtracks on which Bell has performed include The Red Violin which won the Oscar for Best Original Score, the Classical Britnominated Ladies in Lavender, and the films Iris and Defiance. Seeking opportunities to increase violin repertoire, Bell has premiered new works by Nicholas Maw, John Corigliano, Aaron Jay Kernis, Edgar Meyer, Behzad Ranjbaran and Jay Greenberg. Bell also performs and has encoreartsprograms.com 17
ACADEMY OF ST MARTIN IN THE FIELDS recorded his own cadenzas to most of the major violin concertos. Perhaps the event that helped most to transform his reputation from “musician’s musician” to household name was his incognito performance in a Washington, D.C. subway station in 2007. Ever adventurous, Bell had agreed to participate in the Washington Post story by Gene Weingarten which thoughtfully examined art and context. The story earned Weingarten a Pulitzer Prize and sparked an international firestorm of discussion. The conversation continues to this day, thanks in part to the September, 2013 publication of the illustrated children’s book, The Man With The Violin by Kathy Stinson illustrated by Dušan Petričić from Annick Press. Bell has been embraced by a wide television audience with appearances ranging from The Tonight Show, Tavis Smiley, Charlie Rose, and CBS Sunday Morning to Sesame Street. In 2012, Bell starred in his sixth Live From Lincoln Center Presents broadcast titled: One Singular Sensation: Celebrating Marvin Hamlisch. Other PBS shows include Joshua Bell with Friends @ The Penthouse, Great Performances – Joshua Bell: West Side Story Suite from Central Park, Memorial Day Concert performed on the lawn of the U.S. Capitol, and A&E’s Biography. He has twice performed on the Grammy Awards telecast, performing music from Short Trip Home and West Side Story Suite. He was one of the first classical artists to have a music video on VH1 and was the subject of a BBC Omnibus documentary. Bell has appeared in publications ranging from The Strad and Gramophone to Time, The New York Times, People Magazine’s 50 Most Beautiful People, USA Today, The Wall Street Journal, GQ, Vogue and Reader’s Digest among many more. Growing up with his two sisters in Bloomington, Indiana, Bell was an avid computer game player. He placed fourth in a national tennis tournament at age 10, and still keeps his racquet close by. At age 4, he received his first violin after his parents, both mental health professionals, noticed him plucking tunes with rubber bands he had stretched around his dresser drawer handles. By 12, he was serious about the instrument, thanks in large part to the inspiration offered by Josef Gingold, his beloved teacher and mentor. Two years later, Bell came to national attention in his debut with Riccardo Muti and the Philadelphia Orchestra. His Carnegie Hall debut, an Avery Fisher Career Grant and a notable recording contract further confirmed his presence. In 1989, Bell received an Artist Diploma in Violin Performance from Indiana University 18 MONDAVIART S.ORG
where he currently serves as a senior lecturer at the Jacobs School of Music. His alma mater honored him with a Distinguished Alumni Service Award; he has been named an “Indiana Living Legend” and is the recipient of the Indiana Governor’s Arts Award. Bell has received many accolades: in 2013, he was honored by the New York Chapter of The Recording Academy; in 2012, by the National YoungArts Foundation, in 2011, he received the Paul Newman Award from Arts Horizons and the Huberman Award from Moment Magazine. In 2010, Bell was named Instrumentalist of the Year by Musical America and received the Humanitarian Award from Seton Hall University. In 2009, he was honored by Education Through Music and received the Academy of Achievement Award in 2008. He was awarded the Avery Fisher Prize in 2007 and was inducted into the Hollywood Bowl Hall of Fame in 2005. In 2003, Bell was invited to perform at the World Economic Forum for an audience of global leaders and was later recognized by that prestigious organization as a Young Global Leader. Convinced of the value of music as both a diplomatic and educational tool, he has performed for three U.S. Presidents and the President of China and he has devoted himself to several charitable causes, most notably Education Through Music, which has helped put instruments in the hands of thousands of kids in America’s inner cities. Bell serves on the artist committee of the Kennedy Center Honors, the New York Philharmonic Board of Directors, and Education Through Music. Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th century French bow by François Tourte. www.joshuabell.com
We mourn the passing of our dear friend and supporter MARTHA DICKMAN (1923-2016)
THE ORCHESTRA FIRST VIOLIN
Joshua Bell Harvey de Souza Miranda Playfair Amanda Smith Mark Butler Raja Halder Martin Gwilym-Jones Clare Hayes
SECOND VIOLIN
Jennifer Godson Clare Hoffman Winona Fifield Rebecca Scott Alicja Smietana Richard Milone
VIOLA
Fiona Bonds Alexandros Koustas Ruth Gibson Triona Milne
CELLO
FLUTE
Anna Wolstenhome Sarah Newbold
OBOE
Christopher Cowie Max Spiers
CLARINET
Nicholas Carpenter Emily Meredith
BASSOON
Paul Boyes Richard Skinner
HORN
Stephen Stirling Emma Witney Peter Francrombe Jo Hensel
TRUMPET
Mark David Paul Sharp
Stephen Orton William Schofield Judith Herbert Reinoud Ford
Adrian Bending
DOUBLE BASS
John Constable
Lynda Houghton Ben Russell
TIMPANI
HARPSICHORD ORCHESTRA MANAGER
Nigel Barratt
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MTT CONDUCTS MAHLER’S HILARY HAHN THE SONG OF THE EARTH IN RECITAL
MTT & SUSAN GRAHAM PRESENT BRAHMS
Michael Tilson Thomas conducts one of Mahler’s most emotionally complex, intimate works: the epic The Song of the Earth, featuring soloist Sasha Cooke “who sings with cut-glass precision and luminous depth” (San Jose Mercury News).
“America’s favorite mezzo” Susan Graham (Gramophone) joins Michael Tilson Thomas and the SF Symphony for a special presentation of Brahms’s sweeping Alto Rhapsody and more.
Featuring Sasha Cooke
Impetuous and authoritative, brilliant and beautiful” (The New York Times). Multi Grammy Award-winning violinist Hilary Hahn performs a recital of thrilling works from Mozart, Bach, and more. Presenting Sponsor Great Performers Series
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SARAH KOENIG and JULIE SNYDER
Binge-Worthy Journalism Backstage with the Creators of SERIAL A Downey Brand Speaker Series Event Monday, March 7, 2016 • 8PM Jackson Hall SPONSORED BY:
INDIVIDUAL SUPPORT PROVIDED BY
The Lawrence Shepard Family Fund PRESENTED IN PARTNERSHIP WITH
Davis Humanities Institute Question & Answer Session Following the performance with Sarah Koenig and Julie Snyder.
20 MONDAVIART S.ORG
BINGE-WORTHY JOURNALISM
BACKSTAGE WITH THE CREATORS OF SERIAL, SARAH KOENIG & JULIE SNYDER Launched in 2014, Serial became the fastest podcast to reach five million downloads in iTunes history. The first season of the podcast presented a 12-part series on one legal case, captivating an audience that downloaded the episodes more than 100 million times (and counting). In their live presentation, co-creators Sarah Koenig and Julie Snyder take the audience backstage in this cultural phenomenon, using some of their favorite tape to narrate personal stories about the ups and downs of creating a new form of modern storytelling.
SARAH KOENIG
HOST AND CO-CREATOR OF SERIAL Sarah Koenig is the host and co-creator of Serial. Launched in 2014, Serial is credited with bringing mainstream attention to the podcast format, and Koenig was named one of Time Magazine’s 2015 “The 100 Most Influential People.” Koenig started out as a newspaper reporter – her first reporting job was at her weekly hometown paper. She lived in Moscow, Russia for several years, where she worked for The New York Times. She returned to the U.S. and worked for the Concord Monitor in New Hampshire. She did stints as a crime reporter and as a political reporter – the same beats she’d continue to cover at the Baltimore Sun. In 2015, it was announced that Serial was awarded a 2014 Peabody Award. In 2004, she became a producer at the radio show This American Life (TAL). She’s guest hosted TAL several times, most memorably for the “No Coincidence, No Story” show, and she’s produced and reported some of TAL’s most popular shows, including “Switched at Birth,” “Dr. Gilmer and Mr. Hyde” and “Habeas Schmabeas,” a Peabody Award-winning show about Guantanamo Bay.
JULIE SNYDER
CO-CREATOR OF SERIAL AND SENIOR PRODUCER, THIS AMERICAN LIFE Julie Snyder has been the guiding force behind two of the most successful ventures in audio broadcasting. She is the co-creator of the podcast Serial, which debuted in October 2014 and has been downloaded more than 100 million times, the most listened-to podcast in the history of the form. She is also the senior producer of the public radio show This American Life, heard by more than four million listeners a week. Snyder began working at This American Life (TAL) in 1997 – almost from its inception – and along with host Ira Glass, has set the editorial agenda for the program, winning four Peabody awards along the way. She has produced many of TAL’s most entertaining and memorable episodes, including “24 Hours at the Golden Apple,” and “Notes on Camp,” while also heading up the program’s most ambitious and topical programs, notably shows covering the wars in Iraq and Afghanistan, health care reform and urban violence in Chicago. In 2013, Snyder began talking with her TAL colleague Sarah Koenig about trying something new: making a show that doesn’t follow the usual format of a different story every week, but instead making a show where they would cover one story over the course of an entire season. At the time, smart phone technology was making podcasts more accessible for the public and the ondemand nature of podcast listening meant listeners could follow a story in a serialized way, following each chapter of the story as it unfolded week by week. The format was appealing to both Koenig and Snyder, because it meant they could use all the tools of narrative journalism to report an in-depth story that featured twists, turns, tangents and suspense along the way. After a year of reporting, with Koenig as host/reporter and Snyder as editor, Serial became an overnight sensation. Slate headlined a story “Serial is Like Nothing I’ve Ever Heard or Watched Before.” Buzzfeed wrote “Serial is the year’s best new crime drama (and it’s not on TV).” The New Yorker called Serial “the podcast we’ve been waiting for.” In 2015, it was announced that Serial was awarded a 2014 Peabody Award. Currently Snyder and Koenig are hard at work creating Serial Season Two.
encoreartsprograms.com 21
A Hyatt Place, UC Davis With A Twist Series Event Wednesday, March 16, 2016 • 8PM Jackson Hall SPONSORED BY:
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Wanda Lee Graves
IGUDESMAN & JOO And Now Mozart… AND NOW MOZART...
VIRTUOSOS IN MUSIC AND COMEDY SHRED THE CLASSICS FOR FUN If Trey Parker and Matt Stone played the violin and piano, if Penn and Teller performed music instead of magic and if Seth MacFarlane had a twin, they would be the brilliantly outrageous Igudesman and Joo. Violinist Aleksey Igudesman and pianist Hyung-Ki Joo are the inventive comic duo whose hilarious mix of music, pop culture and pure zaniness has won them fans of all ages and cultures worldwide. As evidence, their YouTube sketches have attracted close to 40 million viewers. Highly trained musicians, their inspired silliness can start with Rachmaninoff or Liszt and find its way through martial arts, movie classics, rock, hip hop, folk, heavy metal and disco, step dancing and Monty Python’s Ministry of Silly Walks. Igudesman and Joo share the subversive comedic sensibilities of such influences as South Park, Saturday Night Live, Ricky Gervais and the Portlandia team. “There’s no real definition for what we do,” 22 MONDAVIART S.ORG
says Igudesman. “It’s a kind of theatrical comic event that works on multiple levels.” As an antidote to the stuffiness of most concerts, Igudesman and Joo transform the concert stage into a musical Pee-wee’s Playhouse, where the three Bs can be Bach, Beethoven and Bond, James Bond. Igudesman and Joo don’t just play the violin with a vibrating milk frother or use wood blocks to tickle the ivories, they do it with dazzling virtuosity. The result, as Vanity Fair puts it: “the craziest, most hysterically funny music ever.” Their comic and musical madness has also developed a huge celebrity following. Rock and Roll Hall of Famer Billy Joel jumped on stage for an encore performance with them at Carnegie Hall. John Malkovich rocked in his Bach skit. Terry Jones of Monty Python has said the duo “brings surrealism to the concert hall and takes its trousers down.” Literally, as Igudesman often performs in boxer shorts. In 2016, they return to the U.S. for a 20-city tour of their hit show And Now Mozart… which may or may not include any Mozart.
The concert opens with “Photographer,” a piece that plays on the annoying disturbances that can ruin a concert. Of course, Igudesman and Joo take full advantage of the interruption. “We revel in the magic that happens when things get out of hand,” observes Joo. In addition to the ingenious musical mashups that have become their concert calling cards, the show also includes such sketches as “Music Police,” in which Igudesman accuses Joo of speeding through Chopin and devolves into a rapid-fire, tour de force of styles, composers and techniques, from Tchaikovsky to Philip Glass. The pair’s loving but humorous homage to Gershwin, “Spanish Fly Rhapsody,” features Igudesman flamenco dancing and a tall tale about a guy named George. “Violaerobics,” is a fitness workout for the audience inspired by Richard Simmons with a leotard-clad Joo leading the festivities. The second half highlights the subliminal random thoughts of a pianist playing
Schubert, from “did I leave the iron on?” to “why didn’t I practice this difficult piece a lot more?”. “Navigation,” an ode to Siri and GPS systems, guides Igudesman through a musical performance. Leaving no genre untouched, “Cars & Fiddles” takes country and western music for a ride. “Gravity” seems to defy the laws of physics by removing seemingly essential parts of the piano and then throws in head banging heavy metal for good measure. Oh, and about Mozart, perhaps he will show up in the duo’s now classic assault on Gloria Gaynor’s “I Will Survive.” And, while most of the concert is played for laughs, Igudesman and Joo do show off their considerable musical chops with compositions of their own or from the classical repertoire. Ironically, if Igudesman and Joo weren’t such gifted serious musicians they wouldn’t be quite as funny. Their talent and extensive musical knowledge give them the freedom to be reverently irreverent. The two met as teenagers, training at the prestigious Yehudi Menuhin School in Surrey, England. Each has a distinguished solo career, composing, arranging and performing with orchestras and chamber groups worldwide, as well as working on film scores and mentoring young musicians. The successful collaboration was born out of a desire to create a concert that they would actually want to attend. “Aleksey and I have a ping-pong relationship,” Joo says. “Ideas get flung back and forth quickly though it often takes a long time before a sketch is really ready to present to an audience. The performances’ seeming spontaneity is the result of shows crafted with the utmost precision.” Ultimately, Igudesman and Joo often quote the motto they have tattooed on their biceps. “We are never making fun of music. We are having fun with music.” All right, they don’t have the tattoos but they do believe, as their hero Victor Borge said, ”Laughter is the shortest distance between two people.” For Igudesman and Joo, music simply provides the vehicle.
ALEKSEY IGUDESMAN
VIOLIN
Best known as a violinist and composer, Aleksey Igudesman has also established himself as an actor, comedian and filmmaker. His richly varied violin duets have earned admiration for capturing the essence of diverse musical languages in a uniquely clever and joyful way. A native of St. Petersburg, Russia, Igudesman was accepted into the Yehudi encoreartsprograms.com 23
IGUDESMAN & JOO
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Menuhin School in Surrey, England, at age 12. There he met Hyung-ki Joo, his comedy partner-to-be, bonding over a mutual passion for dead composers and deadpan humor. Their first joint performance was of Igudesman’s “Bastard Sonata.” The violinist continued his studies with Boris Kuschnir at the Vienna Conservatoire. He has enjoyed a productive career playing, composing, and arranging for his string trio Triology, recording several CDs for BMG, teaching master classes, and performing with Bobby McFerrin, Julian Rachlin, Janine Jansen, Joshua Bell, Gidon Kremer, and John Malkovich, among others. A prolific composer, Igudesman has written pieces performed by ensembles and orchestras worldwide—including the New York Philharmonic, the Chicago Symphony Orchestra and the Seattle Symphony Orchestra—and he often appears with them as a guest soloist and conductor. For his zesty mix of Celtic, Eastern European and Latin American music and poetry “Violins of the World,” he has teamed with some of the world’s best-known violin virtuosi as well as Sir Roger Moore. Igudesman has frequently collaborated on movies with Academy Award-winning composer Hans Zimmer, including Sherlock Holmes, nominated for an Oscar for Best Original Score, and Madagascar 3. Together with Zimmer, he co-wrote the soundtrack for Jealous of the Birds, which took home the Grand Prize for Best Original Score at the Rhode Island International Film Festival. The violinist also directed, produced and starred in the feature-length mockumentary Noseland, screened at 14 international festivals. It won the Most Entertaining Documentary award at the Doc Miami International Film Festival. Additionally, he appeared in Everything You Always Wanted to Know About Classical Music. Igudesman plays on a 1717 Santo Seraphin violin, kindly loaned to him by Erste Bank. His compositions are published by Universal Editions.
HYUNG-KI JOO
PIANO
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24 MONDAVIART S.ORG
Pianist and composer Hyung-ki Joo has appeared as a soloist and in chamber ensembles worldwide. Praised for their energy, humor and subtleness, his compositions (published by Universal Editions), have been performed by renowned orchestras, including the New York Philharmonic and London Philharmonic.
Enrolled at age 10 at the Yehudi Menuhin School in Surrey, England, Joo studied composition with Simon Parkin and Malcolm Singer. It was while attending the music academy that he and eventual comic partner violinist Aleksey Igudesman discovered a shared passion for Mahler and Monty Python, interests that helped inspire the tandems’ work in concert comedy. Joo continued his studies at the Manhattan School of Music in New York, and made his musical debut at Barbican Hall, with the Warsaw Sinfonia conducted by Sir Yehudi Menuhin. The Grand Prize winner of the Stravinsky International Piano Competition, Joo has worked with Academy Awardwinning composer Vangelis. Rock legend Billy Joel chose him to arrange and record Fantasies and Delusions, a classical album of Joel solo piano pieces for Columbia/ Sony Classical Records that was No. 1 on the Billboard charts for 18 solid weeks. More recently, Shani Diluka recorded Joo’s sonnet for solo piano, Chandeliers. He has performed at the White House and co-founded a piano trio with violinist Rafal Zambrzycki-Payne and cellist Thomas Carroll. Their seven years together culminated in a concert series at Wigmore Hall and winning the celebrated International Parkhouse Chamber Music Competition. With cellist Laurent Cirade, he co-created DUEL, his first show combining music with comedy and theater. He is half of the wickedly inventive Igudesman & Joo, who use pop culture, comedy, and slapstick to transform concert stages into musical funhouses. The pair’s uproarious sketches have attracted a wide YouTube following, with some 40 million views. Joo has appeared in several films including Pianomania, Noseland, and Everything You Always Wanted to Know About Classical Music and performed with such classical heavyweights as Joshua Bell, Gidon Kremer and Emanuel Ax and actors Roger Moore and John Malkovich. Through his Beyond the Practice Room workshops, Joo helps fellow musicians explore less chartered areas of successful performing. In addition to performing and composing, Joo plans to devote a significant portion of his time conducting and working with youth and student orchestras.
ALTAN & LÚNASA with TIM O’BRIEN A World Stage Series Event Thursday, March 17, 2016 • 7PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY
Cliff Popejoy
ALTAN
LÚNASA
Mairéad Ní Mhaonaigh lead vocal, fiddle
Seán Smyth fiddles, whistles
Ciarán Curran bouzouki
Kevin Crawford flutes, whistles
Ciaran Tourish fiddle
Trevor Hutchinson bass
Dáithí Sproule guitar, vocals
Cillian Vallely uilleann pipes, whistles
Martin Tourish accordion
Ed Boyd guitar
Mark Kelly guitar Join us before the show for a beer tasting event in the Yocha Dehe Lobby. Free admission (21 and over) with ticket to Altan & Lúnasa with Tim O’Brien. In partnership with the Robert Mondavi Institute for Food & Wine Science.
26 MONDAVIART S.ORG
TIM O’BRIEN Fiddle, mandolin, banjo
ALTAN & LÚNASA WITH TIM O’BRIEN ABOUT ALTAN With their exquisitely produced awardwinning recordings, ranging from the most sensitive and touching old Irish songs all the way to hard hitting reels and jigs, Altan have moved audiences from Donegal to Tokyo to Seattle with their heartwarming, dynamic live performances. Throughout, there has been the unwavering commitment of the band to bringing the beauty of traditional music, particularly that of the Donegal fiddlers and singers, to contemporary audiences in a way that brings out all its qualities and destroys none. In fact, Altan have always believed that Irish traditional music is a modern music in every sense. The seeds of the band lie in the music and fun of gatherings and sessions in kitchens and pubs in Donegal where virtuoso music was heard in an atmosphere of respect and intimacy – it is here that the band’s heart still lies, whether they are performing on television in Australia or jamming with Ricky Skaggs on the west coast of the United States. And if those were the seeds, the actual kernel of the band was the music and personality of band founders, Belfast fluteplayer, Frankie Kennedy, and Gweedore singer and fiddler, Mairéad Ní Mhaonaigh. Whether in a large noisy festival session, or in the little traditional clubs of Dublin and Belfast, as soon as anyone heard their unique music in the early 80s, it was immediately apparent there was a rare power at work. They seemed to be playing their own repertoire, in fact a combination of old Donegal fiddle music (then little known outside Donegal) and of unusual Northern flute tunes, delivered with a force and fullness that made it hard to believe there were only two people playing. This, combined with Kennedy’s immense wit and playfulness and Mhaonaigh’s beauty and down-to-earth charm, made an irresistible package. Gradually the duo grew organically into a band in the mid-1980s, forged in the bustle and crack of a thousand late-night sessions and festivals throughout Ireland. The repertoire gave Altan (the name was taken from a deep and mysterious lake behind Errigal Mountain in Donegal) a totally unique stamp, while there was undoubtedly inspiration from the great Irish bands such as the Bothy Band, Planxty and De Danann. Altan’s commitment to good natured fun was second only to their commitment to excellence in all things musical, and so the band members gathered in were top-notch. Altan has always been a virtuoso band. The earliest new member was bouzouki player
Ciarán Curran from County Fermanagh, a session and festival veteran, nephew of fiddler Ned Curran. Like all accompanists of the time, Curran had invented his own style on the instrument, and his playing lies at the heart of the Altan sound. With the addition of guitarist Mark Kelly in the mid-1980s, Altan truly became a band. Although all band members have a deep knowledge and love of other music, as well as Irish, ranging from rock, blues, jazz and country to classical, Kelly, more than the
others, had actually played other styles, and from the start he showed a gift for tastefully bringing fresh rhythms and chordings to the band arrangements. Kelly and Curran were heard on the ’87 album Altan, which, though not officially a band album, inaugurates the band’s studio sound. But it was live work in ’84 -’85 that marked the turning point for Kennedy and Mhaonaigh, encouraging them to give up their teaching jobs and go professional. Particularly influential were short trips to the
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ALTAN & LÚNASA WITH TIM O’BRIEN United States when they played concerts in New York, Minnesota, Madison, Portland and Seattle with Derry guitarist, Dáithí Sproule, a Minnesota resident and, like Curran and Kelly, an old friend. Sproule had played a big part in an earlier wave of development in the music, being one of the very first people to adapt the guitar to old Gaelic songs (many of which he learned in the Gaeltacht of Rannafast, just a few miles from Mhaonaigh’s home in Gweedore). These U.S. concerts, played in clubs and sometimes in noisy Irish pubs, where people were expecting a very different sort of music, convinced Kennedy and Mhaonaigh that no-compromise traditional music played with heart and drive could win over any audience. In succeeding years, the band recorded albums for Green Linnet, all of which won accolades and awards and appeared in the Billboard charts – their collaborators on these albums were of the highest caliber: Donál Lunny, Brian Masterson and Steve Cooney in particular made great contributions over the years. Another friend played with the band for several years, master fiddler Paul O’Shaughnessey, a dazzling and fiery player with a deep knowledge of Donegal music. The two-fiddle sound stuck, but when Altan began to tour more widely, O’Shaughnessey had to leave due to work. His place was taken by another great young Donegal fiddler, Ciaran Tourish, a player with a special love for the weaving of spontaneous harmony and counterpoint round the melodies of the other lead players. Through the years, audiences are continually struck by the genuine camaraderie and mutual respect among the members of Altan, and this has been vitally important to the band themselves as well as producing a marked effect on live audiences. When a final element was added to the sound in the early 1990s, it was another friend the band had known since he was a boy. Accordion player Dermot Byrne, another Donegal man, was weaned on the music of an older generation of Donegal fiddlers, the Dohertys, the Byrnes and the Cassidys. While Byrne’s status as a complete virtuoso had been secure for many years before he joined the band, it is also part of his gift that he is able to blend seamlessly with other musicians. In the early 1990s, Altan was dealt a devastating blow when band leader Kennedy, at the height of his powers as a brilliant and innovative flute player, was diagnosed with cancer. The band, at Kennedy’s insistence, continued to tour and perform with Kennedy’s participation whenever 28 MONDAVIART S.ORG
possible. No words can describe the effects of Kennedy’s illness and loss on the band, but he continues to be a presence and inspiration in Altan’s life and music. More than anything else, Kennedy was a lover of life and perhaps the deepest message of all music is that life goes on – no matter what. Altan’s international status and success found a very practical recognition when they were signed in 1996 to Virgin Records, the first Irish band of their kind to be signed by a major label. The band gained gold and platinum albums in Ireland and toured larger venues throughout the world, in Japan, Australia, New Zealand, Europe and the U.S. In spite of a hectic touring and recording schedule, Altan continue fresh in their vision of bringing the beauty and joy of traditional music to audiences everywhere, and have always promised themselves to continue as long as it’s fun. Fortunately, it still is.
ALTAN MEMBERS
MAIRÉAD NÍ MHAONAIGH
LEAD VOCAL, FIDDLE
Mairéad Ní Mhaonaigh is a native of the Donegal Gaeltacht of Gaoth Dobhair. Her first language is Gaelic and she has learned many of her songs from family and neighbors as well as sourcing older material from archive facilities. She is renowned as one of the leading experts of Donegal fiddle music and promotes whenever possible the music she has inherited from her late father, Francie. She is a founding member of Cairdeas na bhFidléirí, which was set up 25 years ago to preserve and facilitate the development of the Donegal fiddling tradition for future generations. Mhaonaigh’s musical inspiration initially came from her family, neighbors, and her father, a great fiddle teacher with a wealth of unusual local tunes, many learned from his mother, Róise. She also received inspiration from Buncrana fiddle player Dinny McLaughlin, who was a frequent visitor to her home when she was growing up. Mhaonaigh founded Altan along with her late husband, Frankie Kennedy. From humble beginnings they brought their music to the world arena without compromising the deep musical tradition they loved. Along with her work with Altan, Mhaonaigh is always in demand for solo work or presenting traditional music programs on radio or television. Past projects include the classic radio show The Long Note and the television series The Pure Drop and The Full Set.
Mhaonaigh has recorded with other musicians such as Enya, the Chieftains, Dolly Parton, The String Sisters, T With the Maggies, and many more. Mhaonaigh’s first solo project, Imeall, was released in 2009.
CIARÁN CURRAN
BOUZOUKI
Ciarán Curran is a native of Kinawley, County Fermanagh, an area rich in music, song and folklore and brings his strong family musical tradition to bear on an instrument relatively new to Irish traditional music – the bouzouki. Curran’s late uncle, Ned Curran, was a great fiddle player and has given the band many tunes from his unusual repertoire. Curran was introduced to a lot of traditional music and musicians by his friend Cathal McConnell (founding member of Boys of the Lough) from whom he learned many tunes. Curran has also played with County Leitrim fiddler Ben Lennon, to whom he attributes his strong backing rhythm and bounce. Curran has worked with County Antrim singer Len Graham, Enniskillen singer Gabriel McArdle, Derrygonnelly fiddler Seamus Quinn, and Belfast flute player Gary Hastings. With Lennon, Quinn and McArdle, he recorded the classic Dog Big Dog Little album, named after two mountains on the borders of County Fermanagh and County Leitrim. Curran produced the critically acclaimed Slán le Loch Éirne, a duet album from Hastings and Quinn. Curran has developed a unique, personal and subtle style on the bouzouki using counter harmonies and melodies that let the music breathe and show its most melodic strengths without conflicting with the essence of the melody.
CIARAN TOURISH
TIN WHISTLE, FIDDLE
Ciaran Tourish hails from Buncrana in East County Donegal. Although Tourish started playing the tin whistle at an early age, he soon took up the fiddle under the guidance of local legendary fiddler and teacher Dinny McLaughlin. In addition to his mastery of the dance music tradition, Tourish’s quick ear, love of harmony and counterpoint have led to his talent being in demand as a valued collaborator on non-Altan and even nonIrish music projects with a wide range of musicians and singers including Paul Brady, Matt Molloy, Mary Black, Maura O’Connell, Máirtín O’Connor, Dolores Keane, Dé Danann and American musicians Jerry Douglas and Tim O’Brien.
He released his first solo recording Down the Line in 2005 featuring guest musicians Arty McGlynn, Brady, O’Connell, O’Brien, Douglas, and Alison Krauss, among others.
DÁITHÍ SPROULE
GUITAR
Dáithí Sproule of Derry, whose first group was legendary Skara Brae, has lived for many years in Minnesota. Sproule was one of the first guitarists to develop DADGAD guitar tuning for Irish music. As well as playing and singing with Altan, he has performed and recorded with two highly influential traditional music trios; Bowhand (with James Kelly and Paddy O’Brien) and Trian (with Liz Carroll and Billy McComiskey) and has played on recordings of Tommy Peoples, Seamus and Manus McGuire, Peter Ostroushko and many others. In recent years he has been playing with another great trio, Fingal, with Randal Bays and James Keane, and performing locally in Minnesota with friends such as Laura MacKenzie and Jode and Kate Dowling. Sproule’s original compositions have been recorded by Skara Brae, the Bothy Band, Altan, Trian, Liz Carroll, Aoife Clancy and others. In 1995, he released his first solo album A Heart Made of Glass with songs in English and Irish. In 2008, he released an instrumental guitar album The Crow in the Sun, featuring 13 original compositions. In addition to performing and recording, Sproule is a teacher and lecturer in subjects ranging from guitar styles and traditional songs to Irish language and myth.
MARTIN TOURISH
ACCORDION
Martin Tourish is an accordionist, composer, producer and musicologist originally from County Donegal and now based in Dublin. His ancestors were collectors of dance music whose manuscripts date from 1896. Tourish’s debut album Clan Ranald with bouzouki player Luke Ward was released in 2005 and listed by music critic Earle Hitchner of the Irish Echo and Wall Street Journal as being in the top 20 albums of 2005. From the success of the Clan Ranald album, Tourish is listed in The Rough Guide to Ireland as a piano accordionist of note while a track from the album appears in The Rough Guide to Irish Folk Vol. 2. In 2008, he became the first piano accordionist to win Irish public television TG4’s prestigious Young Musician of the Year’award which a subsequent article in The Irish Times regarded as “the Irish Music equivalent of an Oscar.” encoreartsprograms.com 29
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It all comes down to laser precision. Whether in his career as a nuclear engineer or his hobby as a baker, Rick Parks practiced exacting precision – and now his life would depend on the same. Surgery to remove an aggressive throat cancer could also damage major arteries or his ability to speak, eat or control facial expressions. Rick’s medical team paired robotic and traditional surgery to remove the cancer along with a unique new UC Davis research technology – a laser that may enhance surgical precision and help revolutionize cancer care. Rick emerged with minimal side effects, an excellent prognosis – and a reason to smile.
See Rick’s story at healthierworld.ucdavis.edu
ALTAN & LÚNASA WITH TIM O’BRIEN In 2008, Tourish was commissioned by TG4 to compose, produce and perform the music for their brand television advertisement ‘The More You Look, The More You See’ which won many national and international awards and earned the piece of music national recognition. In 2010, he composed the theme to national marathon festival Rith2010 to promote the Irish language. In 2011, he composed the traditional style variation on a theme for the nationwide Love Live Music festival. A song he composed entitled ‘An Gealóg’ appears on Altan’s latest album The Poison Glen whilst a virtuosic piece entitled ‘The Seventh Degree’ is being performed by Triona Marshal on harp during The Chieftain’s 50th anniversary tour.
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MARK KELLY
GUITAR
Mark Kelly’s earliest musical inspirations were rock and jazz. Born and raised in Dublin, his mother was a jazz singer. Like all other members of the band, Kelly listens to a wide range of music, especially Steely Dan, rhythm and blues and country. Kelly brings more of those subtle and sometimes adventurous influences from other traditions to his work on guitar arrangements for Altan. Not a man to rest on his laurels, he has turned his attention to studying classical guitar in recent years. It was the O’Briens of Coolock, whom Kelly met on holidays in 1975 in the Connemara Gaeltacht of Tír an Fhia, who first sparked Kelly’s interest in Irish traditional music and in the challenges of bringing what he already knew to creating new arrangements for the old music.
ABOUT LÚNASA Lúnasa have sold more than a quarter of a million albums in the course of the band’s career and boast an impressive back catalogue of seven highly acclaimed and award-winning studio albums. The band is internationally acknowledged as being the finest traditional Irish instrumental outfit of recent times. They are renowned for their stunning shows honed by superb musicianship and a constant touring cycle. They have performed over 1,500 shows across 36 countries since the band formed in 1997. They have appeared at international venues such as The Hollywood Bowl, National Concert Hall (Dublin), Sydney Opera House and Moscow International House of Music. They have been invited to appear at the White House.
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ALTAN & LÚNASA WITH TIM O’BRIEN Their inventive arrangements and bass driven grooves have steered Irish acoustic music into surprising new territory. Their recordings have been hailed as some of the best and most important world music albums anywhere, while their blend of intelligence, innovation, virtuosity, and passion has brought them to the forefront of Celtic music. Legendary Irish fiddler Kevin Burke says of the band, “Maintaining the unique, intimate qualities of a musical tradition while at the same time meeting and fulfilling the demands of the contemporary music world is a difficult juxtaposition to achieve, yet Lúnasa have managed to accomplish exactly that.” With the release of Lúnasa with The RTÉ Concert Orchestra in 2013, the band continued to explore new directions in the world of Irish traditional music. “Thankfully, the huge melting pot of music that exists within the Irish tradition allows us to seek out exciting and unexplored melodies that work for a band like ourselves,” says Kevin Crawford. “This combined with the newer self-composed pieces and strong belief in what we do help to keep both the band and the tradition very much alive and kicking.” Referencing the new CD in particular, Seán Smyth adds: “As for the future, there are many, many musical journeys left open to us. For now, we’re going to savor the orchestral theme and look forward to recreating these wonderful arrangements in theatres and with audiences around the world.” The individual members are in increasing demand across the globe for touring and recording work – Trevor Hutchinson went on a European tour with his old band mates, The Waterboys; Cillian Vallely collaborated with Bruce Springsteen on his 2014 release High Hopes – the album went straight to #1 on album charts across the world; Crawford toured with Martin Hayes and John Doyle as The Teetotalers; Ed Boyd has toured with Flook and Cara Dillon; Smyth transforms back to being Dr. Smyth and his medical profession between Lúnasa tours.
LÚNASA MEMBERS
SEAN SMYTH
FIDDLES, WHISTLES Lúnasa founder Sean Smyth was born in Straide, County Mayo. Smyth is an All-Ireland champion on both fiddle and whistle. His 1993 solo debut, The Blue Fiddle, was named one of the year’s ten best albums by The Irish Echo. Smyth appears on several recordings including Ceol Tigh Neachtain, Music at Matt Molloy’s, Brendan O’Regan’s A Wind of Change, Alan Kelly’s Out of the Blue and Mosaic, and Dónal Lunny’s Coolfin. Smyth is also a practicing medical doctor.
KEVIN CRAWFORD
FLUTES, WHISTLES
Born in Birmingham, U.K., Kevin Crawford’s early life was one long journey into Irish music and County Clare, to where he eventually moved while in his 20s. He was a member of Moving Cloud, the Clare-based band who recorded such critically-acclaimed albums as Moving Cloud and Foxglove, and he also recorded with Grianán, Raise The Rafters, Joe Derrane and Sean Tyrrell and appears on the 1994 recording The Sanctuary Sessions. A virtuoso flute player, Crawford has recorded two solo albums, D’Flute Album and In Good Company and On Common Ground with bandmate Cillian Vallely. Crawford also tours with Martin Hayes and John Doyle as The Teetotalers.
TREVOR HUTCHINSON
STAND-UP BASS
From Cookstown, County Tyrone, Trevor Hutchinson played bass with the Waterboys from 1986 to 1991, recording Fisherman’s Blues (1988) and Room to Roam (1990), the latter featuring Sharon Shannon. Later he made three albums with the Sharon Shannon Band: 1991’s Sharon Shannon, 1994’s Out the Gap, and 1997’s Each Little Thing. A much-in-demand musician, Hutchinson has also recorded with Moving Cloud, Altan’s Dermot Byrne, Eric Bibb, Máire Breatnach, and Eileen Ivers of Riverdance fame. Hutchinson and the original Waterboys reunited in 2013 to celebrate the 25th anniversary and tour their legendary album Fisherman’s Blues.
CILLIAN VALLELY
UILLEANN PIPES, WHISTLES A gifted Armagh uilleann pipes and low whistle player, Cillian Vallely comes from a talented musical dynasty. He has spent
32 MONDAVIART S.ORG
most of the recent past touring in the U.S., performing with bands such as New Yorkbased Whirligig, Paddy O’Brien’s Chulrua and with Clare fiddler Seamus Connolly. Vallely was featured as uilleann pipes soloist in the Broadway production of Riverdance and toured with Tim O’Brien in The Crossing. He and his brother Niall recorded the album Callan Bridge. In 2013, Vallely was invited to guest on Bruce Springsteen’s 2014 album release, High Hopes.
ED BOYD
GUITAR
Ed Boyd, who permanently joined Lúnasa in 2012, is widely regarded as the finest acoustic guitarist on the European folk circuit. He is a founding member of the BBC Folk Awardwinning group Flook and the guitarist of choice for artists such as Cara Dillon and Kate Rusby.
ABOUT TIM O’BRIEN Born in Wheeling, West Virginia on March 16, 1954, Tim O’Brien grew up singing in church and school, and started playing folk and rock music on guitar at age 12. After seeing musician Doc Watson on TV, he became a lifelong devotee of old time and bluegrass music. He started making his living as a musician at age 19 in Chicago and in Jackson, Wyoming, eventually relocating to Boulder, Colorado, in the fall of 1974. O’Brien found work there as a fiddler with local bluegrass bands and as a member of the Ophelia Swing, recording with them and with Pete Wernick in 1977. In those early Colorado years, he started playing the mandolin, and studied guitar and music theory with local jazz great Dale Bruning. In 1978, O’Brien co-founded the bluegrass group Hot Rize with Pete Wernick, Charles Sawtelle, and Nick Forster. Hot Rize and Western Swing alter-egos Red Knuckles and the Trailblazers eventually recorded ten albums and toured the U.S., Europe, Japan, and Australia. The group was named Entertainer of the Year 1990 by the International Bluegrass Music Association, and their “Colleen Malone” was named IBMA’s Song of the Year in 1991. O’Brien won IBMA’s Male Vocalist of the year in 1993, and again in 2005, when he also won song of the year for “Look Down That Lonesome Road.” Solo recordings started with 1982’s Hard Year Blues, and other projects included three duet albums with his sister Mollie O’Brien. Folks in Nashville started noticing O’Brien’s songs, and he had top ten country hits in 1989 and 1990 with Kathy Mattea’s versions of
Hot Rize songs “Walk The Way The Wind Blows” and “Untold Stories.” Other notable covers by New Grass Revival, Nickel Creek, Garth Brooks, and the Dixie Chicks followed. Hot Rize went dormant in the spring of 1990, after which O’Brien performed and recorded on his own, eventually releasing 14 solo recordings, as well as collaborations with Dirk Powell (Songs From The Mountain) and with Darrell Scott (Real Time). Landmark solo releases include a Grammy-nominated set of bluegrass Dylan covers – Red On Blonde, the Celtic/ Appalachian fusion of The Crossing, and 2005’s Grammy-winning Fiddler’s Green. O’Brien toured and recorded with Steve Earle’s Bluegrass Dukes in the early 2000s, and with Mark Knopfler in 2009 and 2010. Other recent collaborations include another CD with Darrell Scott (Memories and Moments), a track with Steve Martin (“Daddy Played The Banjo”), a family band set of Roger Miller songs (Reincarnation), and the reunited Hot Rize’s When I’m Free. A collaboration with Jerry Douglas, Sean Camp and others -The Earls Of Leicester - won both a Grammy as well as IBMA’s Record of the Year in 2015. O’Brien has produced recordings for Laurie Lewis, Mollie O’Brien, the Yonder Mountain String Band, the Infamous Stringdusters, Cahalen Morrison and Eli West, and Old Man Luedecke. He has recorded and performed with The Chieftains, Joan Baez, Dierks Bentley, Bill Frisell, and the Wheeling Symphony Orchestra. He contributed to the movie soundtrack of O Brother, Where Art Thou? as well as those of Cold Mountain, and The Blob. He is a former president of the International Bluegrass Music Association, and currently serves on the board of the West Virginia Music Hall of Fame. O’Brien formed his own record label, Howdy Skies Records, in 1999, and in 2015 launched the digital download label Short Order Sessions (SOS) with his partner Jan Fabricius. SOS releases two new tracks every month. He has two sons, Jackson (33) and Joel (25), and has lived in Nashville since 1996. Hobbies include cooking, skiing, and playing traditional Irish music. O’Brien’s newest CD, Pompadour, came out in October of 2015. It features six new songs and four covers, including a banjo driven version of James Brown’s “Get Up Offa That Thing.”
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SAN FRANCISCO SYMPHONY
E.T. The Extra-Terrestrial Michael Tilson Thomas, Music Director Sarah Hicks, conductor
A Steven Spielberg Film
PRODUCTION CREDITS
E.T. THE EXTRA‑TERRESTRIAL (1982)
A Film + Music Event Thursday, March 24, 2016 • 7PM Jackson Hall
CAST
E. T. The Extra-Terrestrial—Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.
SPONSORED BY
Running time: 115 minutes
Dee Wallace Peter Coyote Henry Thomas as Elliot
CREDITS
Producers: Steven A. Linder and Jamie Richardson Production Coordinator: Rob Stogsdill Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music composed by John Williams
INDIVIDUAL SUPPORT PROVIDED BY
Music by John Williams
Patti Donlon
Written by Melissa Mathison
Music Preparation: JoAnn Kane Music Service
Produced by Steven Spielberg and Kathleen Kennedy
Film Preparation for Concert Performance: Ramiro Belgardt
Directed by Steven Spielberg
Technical Consultant: Laura Gibson
A Universal Picture
Sound Remixing for Concert Performance: Chace Audio by Deluxe
E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All Rights Reserved. E.T. is available on Blu-ray and DVD from Universal Pictures Home Entertainment. The San Francisco Symphony’s Film Series is sponsored by the Koret Foundation.
34 MONDAVIART S.ORG
The score for E.T. The Extra-Terrestrial has been adapted for live concert performance. With special thanks to: Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy, and Mark Graham.
SAN FRANCISCO SYMPHONY JOHN WILLIAMS AND E.T. THE EXTRA-TERRESTRIAL Steven Spielberg’s film E.T. The Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes… but the performances, particularly by the children and by E.T. himself, are so honest, timeless and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about tonight’s concert is that we’ll hear one of our great symphony orchestras, the San Francisco
Symphony, performing the entire score live, along with the complete picture, sound effects and dialogue. I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event… and I hope that tonight’s audience will find great joy in experiencing this magical film.
FURTHER LISTENING by Jeff Hudson
SYMPHONY AND CINEMA What’s it like conducting an orchestra during the screening of a landmark film? I posed that question to Christian Baldini – he’s the conductor of the UC Davis Symphony Orchestra (and Sacramento’s Camellia Symphony Orchestra), and he’s been a guest conductor with the San Francisco Symphony on several occasions. Last December, Baldini flew to Argentina (his homeland) to conduct an orchestra during a screening of 2001: A Space Odyssey at the Teatro Colon. I asked Baldini whether conducting an orchestra accompanying a film resembled conducting opera – in both cases, the music must mesh with the visuals. He replied, “Conducting a film is indeed similar to conducting an opera, but much less flexible. In opera things are very much alive and they can change a lot from one performance to the next, even with the very same cast. With a film, the ideal goal is to have all performances be as close as possible to the original… You have to fit in exactly with the time code that the film is ‘caged’ in.” Baldini added, “Having said that, I did find it quite pleasurable to come in and out of this (cinematic) ‘cage.’ There were many beautiful moments in 2001: A Space Odyssey, where it was possible to perform with some freedom. 2001 uses several pieces by Ligeti, Richard Strauss, Khachaturian and of course the famous ‘Blue Danube’ by Johann Strauss II.” Baldini also noted the San Francisco Symphony’s new release (on March 11, 2016) of an album on the SFS Media label featuring the first recordings of several works by the young Bay Area composer (and club DJ) Mason Bates, who is still in his 30s. The album, led by Michael Tilson Thomas, includes “The B-Sides,” a piece for orchestra and electronics that the San Francisco Symphony and Tilson Thomas commissioned (and performed at the Mondavi Center in 2009). Also on the album are SFS performances of two other Bates compositions – “Alternative Energy” (commissioned by the Chicago Symphony in 2011) and “Liquid Interface” (commissioned by the National Symphony in 2007). Baldini (also in his 30s) recalled “Mason invited me to conduct his sinfonietta ‘The Rise of Exotic Computing’ last October at San Francisco’s Ruby Skye (a venue with a dance floor). It was a wonderful experience performing contemporary ‘classical’ music in a nightclub... There were of course lots of young people. Dancing. Drinking. Enjoying themselves. Some ‘concertgoers’ high-fived me after a performance, right from the dance floor – a first for me!” JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE, AND SACRAMENTO NEWS AND REVIEW.
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SAN FRANCISCO SYMPHONY Michael Tilson Thomas Music Director and Conductor Herbert Blomstedt Conductor Laureate Donato Cabrera Resident Conductor Ragnar Bohlin Chorus Director Vance George Chorus Director Emeritus
FIRST VIOLINS
Alexander Barantschik Concertmaster Naoum Blinder Chair Nadya Tichman Associate Concertmaster San Francisco Symphony Foundation Chair Mark Volkert Assistant Concertmaster 75th Anniversary Chair Jeremy Constant Assistant Concertmaster Mariko Smiley Paula & John Gambs Second Century Chair Melissa Kleinbart Katharine Hanrahan Chair Yun Chu Sharon Grebanier Naomi Kazama Hull In Sun Jang Yukiko Kurakata Catherine A. Mueller Chair Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen
SECOND VIOLINS
Dan Carlson Principal Dinner & Swig Families Chair Paul Brancato Acting Associate Principal Audrey Avis Aasen-Hull Chair John Chisholm Acting Assistant Principal Dan Nobuhiko Smiley The Eucalyptus Foundation Second Century Chair Raushan Akhmedyarova David Chernyavsky Cathryn Down Darlene Gray Amy Hiraga Kum Mo Kim Kelly Leon-Pearce Elina Lev Isaac Stern Chair Chunming Mo Polina Sedukh Chen Zhao Sarah Knutson†
36 MONDAVIART S.ORG
VIOLAS
Jonathan Vinocour Principal Yun Jie Liu Associate Principal Katie Kadarauch Assistant Principal John Schoening Joanne E. Harrington & Lorry I. Lokey Second Century Chair Nancy Ellis Gina Cooper David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young
CELLOS
Michael Grebanier Principal Philip S. Boone Chair Peter Wyrick Associate Principal Peter & Jacqueline Hoefer Chair Amos Yang Assistant Principal Margaret Tait Lyman & Carol Casey Second Century Chair Barbara Andres The Stanley S. Langendorf Foundation Second Century Chair Barbara Bogatin Jill Rachuy Brindel Gary & Kathleen Heidenreich Second Century Chair Sébastien Gingras David Goldblatt Christine & Pierre Lamond Second Century Chair Carolyn McIntosh Anne Pinsker
BASSES
Scott Pingel* Principal Jeremy Kurtz-Harris† Acting Associate Principal Stephen Tramontozzi Assistant Principal Richard & Rhoda Goldman Chair S. Mark Wright Lawrence Metcalf Second Century Chair Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen
FLUTES
Tim Day Principal Caroline H. Hume Chair Robin McKee Associate Principal Catherine & Russell Clark Chair Linda Lukas Alfred S. & Dede Wilsey Chair Catherine Payne Piccolo
OBOES
Eugene Izotov Principal Edo de Waart Chair Christopher Gaudi† Acting Associate Principal Pamela Smith Dr. William D. Clinite Chair Russ deLuna English Horn Joseph & Pauline Scafidi Chair
CLARINETS
Carey Bell Principal William R. & Gretchen B. Kimball Chair Luis Baez Associate Principal & E-flat Clarinet David Neuman Jerome Simas Bass Clarinet
BASSOONS
Stephen Paulson Principal Steven Dibner Associate Principal Rob Weir Steven Braunstein Contrabassoon
HORNS
Robert Ward Principal Nicole Cash Associate Principal Bruce Roberts Assistant Principal Jonathan Ring Jessica Valeri Kimberly Wright*
TRUMPETS
Mark Inouye Principal William G. Irwin Charity Foundation Chair Mark Grisez† Acting Associate Principal Peter Pastreich Chair Guy Piddington Ann L. & Charles B. Johnson Chair Jeff Biancalana
TROMBONES
Timothy Higgins Principal Robert L. Samter Chair Timothy Owner† Acting Associate Principal Paul Welcomer John Engelkes Bass Trombone
TUBA
Jeffrey Anderson Principal James Irvine Chair
HARP
Douglas Rioth Principal
TIMPANI
Michael Israelievitch† Acting Principal Marcia & John Goldman Chair
PERCUSSION
Jacob Nissly Principal Raymond Froehlich Tom Hemphill James Lee Wyatt III
KEYBOARDS
Robin Sutherland Jean & Bill Lane Chair Margo Kieser Principal Librarian Nancy & Charles Geschke Chair John Campbell Assistant Librarian Dan Ferreira Assistant Librarian *On Leave †Acting member of the San Francisco Symphony The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.
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THE SAN FRANCISCO SYMPHONY The San Francisco Symphony (SFS) gave its first concerts in 1911 and has grown in acclaim under a succession of distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and Michael Tilson Thomas, who assumed his post in 1995. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award, and the United States’ Grammy. Each year the Symphony offers Adventures in Music, the longest running education program among this country’s orchestras, which brings music to every child in grades 1 through 5 in San Francisco’s public schools. In 2006, the SFS launched the multimedia Keeping Score on PBS-TV and the web. For more information, go to www.sfsymphony.org.
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SARAH HICKS
CONDUCTOR
Sarah Hicks has served as Principal Conductor of the Live at Orchestra Hall series with the Minnesota Orchestra since 2009. In addition to conducting most pops and special presentations, she has been instrumental in creating new pops productions while also heading the innovative series, Inside the Classics. She concurrently holds the position of Staff Conductor at the Curtis Institute of Music. She received her BA in composition magna cum laude from Harvard University. She holds an Artists’ Degree in conducting from the Curtis Institute of Music, where she studied with Otto-Werner Mueller. Hicks has previously held positions with the North Carolina Symphony, Richmond Symphony, Florida Philharmonic, and the Philadelphia Singers. She has also served as music director of the Hawaii Summer Symphony, an ensemble she founded in 1991 and which she led for five seasons. Hicks has guest conducted extensively both in the U.S. and abroad, with ensembles including the orchestras of San Francisco, Philadelphia, Chicago, Atlanta, Pittsburgh, Milwaukee, Detroit, Washington, Indianapolis, and Phoenix; the Boston and Cincinnati Pops; the Prime Philharmonic of Seoul, Korea; and the Orchestra of La Fenice. She led the Los Angeles Philharmonic in Fourth of July concerts at the Hollywood Bowl in 2012, 2013, and 2015. Recent highlights include debuts with the St. Louis, San Diego, and Edmonton symphonies. Throughout her career Hicks has collaborated with diverse soloists, from Jaime Laredo and Hilary Hahn
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SAN FRANCISCO SYMPHONY to Josh Groban and Smokey Robinson. She conducted the final leg of Sting’s Symphonicity tour and appeared at the 2012 World Economic Forum in St. Petersburg conducting the St. Petersburg Philharmonic in concert with Dmitri Hvorostovsky, Sumi Jo, and Jackie Evancho. A committed proponent of the performance of new music, Hicks completed a Microcommission Project (the first of its kind) with the Minnesota Orchestra in which a
new work by composer Judd Greenstein was funded by hundreds of microdonations. Her recording with the Vermont Symphony, Triple Doubles, featuring music of Richard Danielpour and David Ludwig with soloists Jaime Laredo and Sharon Robinson, was recently released on the Bridge Label. She has also conducted performances with Composers in the Shape of a Pear in Cleveland and the Aspen Contemporary Ensemble.
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JOHN WILLIAMS
COMPOSER
In a career spanning five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than 100 films, including all seven Star Wars films, the first three Harry Potter films, Superman, Memoirs of a Geisha, Home Alone, and The Book Thief. His 40-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, and Lincoln. Williams has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for 14 seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies, and concertos commissioned by many of America’s most prominent orchestras. Williams has received five Academy Awards and 50 Oscar nominations (making him the second most nominated person in the history of the Oscars, topped only by Walt Disney’s 59), seven British Academy Awards, 22 Grammys, four Golden Globes, and five Emmys. In 2003, he received the Olympic Order (the International Olympic Committee’s highest honor) for his contributions to the Olympic movement. In 2004, he received the Kennedy Center Honor, and in 2009 he received the National Medal of Arts, the highest award given to artists by the U.S. Government.
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38 MONDAVIART S.ORG
We mourn the passing of our dear friend and supporter NANCY DuBOIS (1923-2016)
USE YOUR VOICE 2016
Featuring: P ATTY GRIFFIN
SARA WATKINS & ANAÏS MITCHELL
with David Pulkingham, guitar & vocals An American Heritage Series Event Wednesday, March 30, 2015 • 8PM Jackson Hall INDIVIDUAL SUPPORT FROM
Wayne and Jacque Bartholomew
TOUR STAFF:
Carolyn Rosenfeld Tour Manager Roy Taylor Technical Director Jerry Holmes Stage Production
ACKNOWLEDGEMENTS Columbia Artists Management LLC Tim Fox / Alison Ahart Williams 1790 Broadway, New York, NY 10019 Produced in association with Solid Productions, LLC Chris Goldsmith and Thirty Tigers, David Macias
USE YOUR VOICE PUTS PATTY GRIFFIN, SARA WATKINS AND ANAÏS MITCHELL ON TOUR ON BEHALF OF THE LEAGUE OF WOMEN VOTERS Grammy Award-winning singer-songwriter Patty Griffin teams up with Sara Watkins, acclaimed solo artist and member of the platinum recording act Nickel Creek, and critical favorite singer-songwriter Anaïs Mitchell on the highly anticipated national tour, “Use Your Voice”. The genesis of this tour came from Griffin wanting to make the world, her country and her community a better place to be. She asked two of her friends whom she had previously toured with to join her to spread the message that getting informed and participating in the process was the only way to fight the despondency and disconnect that many feel about civic involvement. She says, “I am so excited about this upcoming tour! It all started with me looking for a way to participate in the world as I’ve grown older – you know, complain a little less, do a little more. I then came across information that was surprising to me about voting in the US. I didn’t realize that single women are an incredibly influential
voting group in the US, and, too many are not turning out to vote. This is troubling on a lot of levels, but the most troubling one to me is that so many in this group, of which I am a member, find so little to connect with in the workings of government. So little that we don’t bother. I am hoping with this tour to bang the drum about our democracy, about our communities, and even about our neighbors down the street.” It was important to Griffin that the message not be lost in the fog of partisan conversations that dominate civic discourse. That led her to seek out a partnership with The League of Women Voters, whose mission is to expand participation in the voting process and give a voice to all Americans, regardless of their political ideals.
PATTY GRIFFIN Patty Griffin is a Grammy-Award winning artist who has achieved great acclaim for her songwriting as well as her powerful voice. Her first two albums, Living With Ghosts and Flaming Red are considered seminal albums in the singer-songwriter genre, while Children Running Through won Best Album and led to her being named Best Artist at the 2007 Americana Music Awards. She won the Grammy for Downtown
USE YOUR VOICE Church, her 2010 gospel album. Her songs have been covered by a myriad of artists including Emmylou Harris, The Dixie Chicks, Joan Baez and Bette Midler. She was born in Old Town, Maine and resides in Austin, Texas.
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SARA WATKINS Sara Watkins is a singer-songwriter with deep California roots. She debuted in 1989 as a founding member of the progressive bluegrass group Nickel Creek along with her brother Sean and mandolinist Chris Thile. She has two solo albums, Sara Watkins and Sun Midnight Sun on Nonesuch Records and readying a third solo release for this summer. In 2015, the Watkins siblings took their variety show, Watkins Family Hour, on the road and celebrated their decade-plus Los Angeles residency with a much heralded release, Watkins Family Hour. The album featured performances from LA fixtures such as Fiona Apple, Benmont Tench, Greg Leisz, Sebastian Steinberg and Don Heffington. If three projects weren’t enough, Watkins is also a member of another acclaimed trio, I’m With Her, with fellow songstresses Sarah Jarosz and Aoife O’Donovan.
ANAÏS MITCHELL
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)
40 MONDAVIART S.ORG
Anaïs Mitchell is a Vermont and Brooklynbased songwriter who comes from the world of narrative folksong, poetry and balladry. She recorded for Ani Difranco’s Righteous Babe Records for several years before founding her own Wilderland label in 2012. Her recent albums have found themselves on ‘Year-End Best-Of’ lists including NPR, the Wall Street Journal and the Guardian. The UK’s Daily Telegraph described her as “writing material that stands comparison with the great singer-songwriters of the past few decades.” The stage production of her folk-opera album Hadestown will premiere off-Broadway at New York Theatre Workshop in May.
DAVID PULKINGHAM David Pulkingham is a guitarist, songwriter, producer and teacher. Based in Austin, Texas, he has been a mainstay of the thriving music scene for the last 23 years. Pulkingham has released two instrumental albums entitled David Pulkingham Plays Guitar Volumes 1 and 3, and in 2015 he released his first singer-songwriter album entitled Little Pearl. Pulkingham currently tours with Patty Griffin and has played with her for the past four years. His mastery of numerous styles has led him to share the stage and record with many artists around the world. Famed David Bowie producer Tony Visconti calls Pulkingham, “the complete guitarist, one of the best I have ever worked with.”
THE NIELLO COMPANY, PROUD PARTNER OF THE MONDAVI CENTER.
THE ART OF GIVING The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives. Annual donations to the Mondavi Center directly support our operating budget and
are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.
For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.
COLORATURA CIRCLE $50,000 AND ABOVE
James H. Bigelow† John† and Lois Crowe*
Patti Donlon† Barbara K. Jackson*
IMPRESARIO CIRCLE $25,000 – $49,999
Ralph and Clairelee Leiser Bulkley* Ann and Gordon Getty Foundation Anne Gray†*
Grant and Grace Noda* The Lawrence Shepard† Family Fund
VIRTUOSO CIRCLE $15,000 – $24,999
Carole Pirruccello William and Nancy Roe†* Tony† and Joan† Stone Dick and Shipley Walters*
Joyce and Ken Adamson Wanda Lee Graves and Steve Duscha Mary B. Horton* M.A. Morris*
MAESTRO CIRCLE $10,000 – $14,999
Gerry and Carol Parker Cliff Popejoy David Rocke and Janine Mozée Grace† and John Rosenquist† Jerome Suran and Helen Singer Suran Donald and Denise Timmons Joe† and Betty Tupin* Larry and Rosalie Vanderhoef*
Wayne and Jacque Bartholomew* Chan Family Fund Thomas and Phyllis Farver†* Dean and Karen Karnopp†* Nancy Lawrence†, Gordon Klein, and Linda Lawrence Hansen Kwok Garry Maisel†
BENEFACTOR CIRCLE $7,000 – $9,999
Eric and Michael Conn Dolly and David Fiddyment Janlynn Robinson Fleener Samia and Scott Foster Andrew and Judith Gabor Benjamin and Lynette Hart* Lorena Herrig*
William and Jane Koenig Verne Mendel* Sue and Brad Poling Randall E. Reynoso† and Martin Camsey Raymond Seamans Carol Wall† and Patricia Kearney
† Mondavi Center Advisory Board Member
*Friends of Mondavi Center
42 MONDAVIART S.ORG
PRODUCER CIRCLE
$3,500 - $6,999
Neil and Carla Andrews Hans Apel and Pamela Burton Daniel Benson Jeff and Karen Bertleson Charitable Fund Cordelia S. Birrell Irving and Karen Broido* California Statewide Certified Development Corp. Mike and Betty Chapman Robert and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Richard and Joy Dorf* Nancy DuBois* Allen Enders Merrilee and Simon Engel Catherine and Charles Farman Jolan Friedhoff and Don Roth Henry and Dorothy Gietzen Kay Gist GiveLocalNow BIG Day of Giving Ed and Bonnie Green* Diane Gunsul-Hicks Charles H. and Ann W. Halsted John and Regi Hamel Judith and William Hardardt* Dee Hartzog Donine Hedrick and David Studer Charles and Eva Hess In Memory of Christopher Horsley* Clarence and Barbara Kado Teresa Kaneko* Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Allan and Claudia Leavitt Robert and Barbara Leidigh Yvonne LeMaitre Nelson Lewallyn and Marion Pace-Lewallyn David and Ruth Lindgren Paul and Diane Makley* In Memory of Allen G. Marr Judith and Eldridge Moores Katharine and Dan Morgan Alice Oi Miep Palmer John and Misako Pearson Roger and Ann Romani* Hal and Carol Sconyers* Wilson and Kathryn Smith Tom and Meg Stallard* Tom and Judy Stevenson* Brian Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jerilyn Paik-Telfeyan Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Jeanne Hanna Vogel and Warren G. Roberts Claudette Von Rusten John Walker and Marie Lopez The One and Only Watson Patrice White Richard and Judy Wydick Yin and Elizabeth Yeh And 5 donors who prefer to remain anonymous
DIRECTOR CIRCLE
$1,500 - $3,499
The Aboytes Family Beulah and Ezra Amsterdam Russell and Elizabeth Austin Chris and Andie Bandy
Laura and Murry Baria* Lydia Baskin* Drs. Noa and David Bell Don and Kathy Bers* Jo Anne Boorkman* Neil and Elizabeth Bowler Edwin Bradley Linda Brandenburger Susie and Jim Burton Davis and Jan Campbell Cantor & Company, A Law Corporation Randy Cobb Allison Coudert Jim and Kathy Coulter* John and Celeste Cron* Robert D. and Nancy Nesbit Crummey Terry and Jay Davison Bruce and Marilyn Dewey Martha C. Dickman* Dotty Dixon* DLMC Foundation Matt Donaldson and Steve Kyriakis Wayne and Shari Eckert* Domenic and Joan Favero Karl Gerdes and Pamela Rohrich Erla and David Goller John and Patty Goss* Jack and Florence Grosskettler Dr. Clare Hasler-Lewis and Cameron Lewis Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy Ronald and Lesley Hsu In Memory of Flint and Ella Ruth W. Jackson Martin and JoAnn Joye* Barbara Katz Nancy and John Keltner Charlene R. Kunitz Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Francie and Artie Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert Palma Lower and Sue Cipolla Richard and Kyoko Luna Natalie and Malcolm MacKenzie* Debbie Mah and Brent Felker* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield Rosa Marquez and Richard Breedon Yvonne L. Marsh Shirley Maus* Janet Mayhew* In Memory of William F. McCoy Helga and Bob Medearis Stephen Meyer and Mary Lou Flint Barbara Moriel Augustus Morr R. Mott, J. Persin, D. Verbeck Robert Ono and Betty Masuoka John Pascoe and Sue Stover Bonnie A. Plummer Prewoznik Foundation Linda and Lawrence Raber* Kay Resler* *Friends of Mondavi Center
Christopher Reynolds and Alessa Johns In Memory of Guy E. Richards, Jr. Tom Roehr Liisa Russell Christian Sandrock and Dafna Gatmon Ed and Karen Schelegle Neil and Carrie Schore Bonnie and Jeff Smith Edward and Sharon Speegle Les and Mary Stephens De Wall Maril R. and Patrick Stratton Geoffrey and Gretel WandesfordSmith Dan and Ellie Wendin Dale and Jane Wierman Gayle K. Yamada and David H. Hosley And 6 donors who prefer to remain anonymous
ENCORE CIRCLE
$600 - $1,499
Chris Armanini Michael and Shirley Auman* Antonio and Alicia Balatbat* Robert and Susan Benedetti In Memory of Marie Benisek Patricia Bissell Muriel Brandt Manuel Calderon de la Barca Sanchez and Karen Zito Carole Cory and Jan Stevens Don and Dolores Chakerian Jack and Gale Chapman Simon Cherry Sharon Cuthbertson* Anne Duffey John and Cathie Duniway Robert and Melanie Ferrando Ron Fisher and Pam Gill-Fisher Doris Flint Audrey Fowler Jennifer D. Franz E. F. and Paul Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Karen Heald and Casey McElheney Paul and Nancy Helman Leonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Patricia Hutchinson* In Honor of Barbara Jackson Vince Jacobs and Cecilia Delury Robert D. and Barbara F. Jones Louise Kellogg and Douglas Neuhauser Paula Kubo Ruth Lawrence Michael and Sheila Lewis* Robert and Betty Liu Jeffrey and Helen Ma Gary C. and Jane L. Matteson Catherine McGuire Joy Mench and Clive Watson Roland and Marilyn Meyer Nancy Michel Robert and Susan Munn* Don and Sue Murchison Bob and Kinzie Murphy John and Carol Oster Frank Pajerski Jacqueline Proett Evelyn and Otto Raabe Lawrence and Celia Rabinowitz
J. and K. Redenbaugh Jack and Judy Reitan C. Rocke Heather and Jeep Roemer Sharon and Elliott Rose* Barbara and Dr. Alan Roth Tom and Joan Sallee Dwight E. and Donna L. Sanders Michael and Elizabeth Singer William and Jeannie Spangler* Howard Spero and Charlene Sailer Elizabeth St. Goar Sherman and Hannah Stein Karen and Edward Street* Eric and Patricia Stromberg* Yayoi Takamura and Jeff Erhardt Lyn Taylor and Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Helen and Robert Twiss Louise and Larry Walker Jack and Rita Weiss Steven and Andrea Weiss* Kandi Williams and Dr. Frank Jahnke Ardath Wood Paul Wyman Karl and Lynn Zender And 3 donors who prefer to remain anonymous
ORCHESTRA CIRCLE
$300 - $599
Jose and Elizabeth Abad Mitzi Aguirre Drs. Ralph and Teresa Aldredge Elinor Anklin and George Harsch Beverly and Clay Ballard Paul and Linda Baumann Carol Beckham Carol Benedetti Jane D. Bennett Linda and William Bernheim Robert and Diane Biggs Bobbie and Barry Bolden Elizabeth Bradford Paul E. Braun John and Christine Bruhn Jan Carmikle Bruce and Mary Alice Carswell* Carolyn and Brian Chamberlain Charles and Mary Anne Cooper Nicholas and Khin Cornes James Cothern Marie Coughlin David and Judy Covin Kim Uyen Dao* Larry Dashiell and Peggy Siddons Daniel and Moira Dykstra Harvey Edber Ann M. Evans and David J. Thompson Micki and Les Faulkin Janet Feil David and Kerstin Feldman Helen Ford Edwin and Sevgi Friedrich* Deborah and Brook Gale Nancy Gelbard and David Kalb Marvin and Joyce Goldman Tom Graham and Lisa Foster Douglas Gramlow Robert and Kathleen Grey June and Paul Gulyassy, M.D. Darrow and Gwen Haagensen Wesley and Ida Hackett* Sharon and Don Hallberg
Marylee Hardie Roy and Dione Henrickson Jeannette E Higgs Michael and Margaret Hoffman Steve and Nancy Hopkins Mun Johl Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Susan Kauzlarich and Peter Klavins Peter Kenner Robert Kingsley and Melissa Thorme Ruth A. Kinsella* Joseph Kiskis and Diana Vodrey Paul Kramer Melourd Lagdamen Darnell Lawrence Dixie Laws Carol Ledbetter Randall Lee and Jane Yeun Stanley and Donna Levin Barbara Levine Robert and Patricia Lufburrow Bunkie Mangum Andrea and Kurt McDuffie William and Nancy Myers Margaret Neu* Rebecca Newland Sally Ozonoff and Tom Richey Sue and Jack Palmer John and Barbara Parker Henri and Dianne Pellissier Ann Peterson and Marc Hoeschele Jerry L. Plummer and Gloria Freeman C. and C. Powell Harriet Prato John and Alice Provost Fred and Martha Rehrman* David and Judy Reuben* Tracy Rodgers and Richard Budenz Ron and Morgan Rogers Tamra Ruxin Hugh Safford John and Joyce Schaeuble David Scheuring Jerry and Kay Schimke Shepard Family Philanthropy Fund James Smith Judith Smith Al and Sandy Sokolow Carol Spurgeon Tim and Julie Stephens Pieter Stroeve, Diane Barrett and Jodie Stroeve Tony and Beth Tanke Stewart and Ann Teal* Virginia and Butch Thresh Dennis and Judy Tsuboi Robert Vassar and Sandra Burgner Rita Waterman Charles White and Carrie Schucker Drs. Elliott Wong and Yvonne Otani Richard and Sally Yamaichi Iris Yang and G. Richard Brown Janet and Wesley Yates Ronald M. Yoshiyama Heather M. Young and Peter B. Quinby Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous
MAINSTAGE CIRCLE
$100 - $299
Leal Abbott Mary Aften Matthew and Michelle Agnew Susan Ahlquist David and Penny Anderson Val Anderson Janice and Alex Ardans Peter and Margaret Armstrong Debbie Arrington and Jack Shinar Maria Balakshin Charlotte Ballard and Dr. Robert Zeff Diane and Charlie Bamforth Michele Barefoot and Luis PerezGrau Carole Wolff Barnes Jonathan Bayless Lynn Baysinger* Marion S. Becker Bee Happy Apiaries Merry Benard Marta Beres Mark Berman and Lynn Simon Bevowitz Family Dr. Robert and Sheila Beyer Elizabeth Bianco Roy and Joan Bibbens* Ernst Biberstein John and Katy Bill Sharon Billings and Terry Sandbek* Lewis and Caroline Bledsoe Fred and Mary Bliss Brooke Bourland* Jill and Mary Bowers Clyde and Ruth Bowman Dan and Mildred Braunstein* Frank Brown, M.D. Valerie and David Brown Valerie Brown and Edward Shields Alan and Beth Brownstein Martha Bryant* Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy W. Bellhorn William and Karolee Bush Robert and Elizabeth Bushnell Peter and Lorraine Camarco Lita Campbell Jean Canary and Glen Erickson John and Nancy Capitanio William and Pauline Caple James and Patty Carey Michael and Susan Carl John and Joan Chambers Dorothy Chikasawa* Carol Christensen* Craig Clark and Mary Ann Reihman Gail Clark Linda Clevenger and Seth Brunner James and Linda Cline Stuart and Denise Cohen Sheri and Ron Cole Harold and Marj Collins Steve and Janet Collins Terry D. Cook Craig and Joyce Copelan Larry and Sandy Corman Catharine Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan Fitz-Roy and Susan Curry Nita A. Davidson Judy and David Day Lynne de Bie*
encoreartsprograms.com 43
THE ART OF GIVING Esther Delozier* Kathryn Demakopoulos and Thomas Pavlakovich Stephen and Dlorah DeZerega Joel and Linda Dobris Audrey Dodds Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* James Eastman and Fred Deneke Jelmer Eerkens and Anastasia Panagakos Eliane Eisner Sidney England and Randy Beaton Dr. Richard K. Entrikin Carol Erickson and David Phillips Nancy and Don Erman Lynette Ertel* Wallace Etterbeek Evelyn Falkenstein 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 Hugh Griffin 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 Cynthia Hearden 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
ARTISTIC VENTURES FUND
Joel and Jeannette Lerman Ernest and Mary Ann Lewis Evelyn Lewis Barbara Linderholm* David and Susan Link 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 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
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
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 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 Curtis and Judy Spencer 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 Tim and Sonya Zindel Dr. Mark and Wendy Zlotlow And 53 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. 44 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 encoreartsprograms.com 45
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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