Mondavi Center Program Book March - April 2017

WELCOME

A MESSAGE FROM THE INTERIM CHANCELLOR

RALPH J. HEXTER

UC DAVIS INTERIM CHANCELLOR

We understand that artistic expression and the enjoyment and passion it engenders is essential.

“Art,” the author and social activist Thomas Merton said, “enables us to find ourselves and lose ourselves at the same time.”

At UC Davis, we have spent decades celebrating a diverse presentation and appreciation of the arts because we understand that artistic expression and the enjoyment and passion it engenders is essential not only to a well-rounded education but also to a satisfying and well-lived life.

Looking through the program for the 2016–17 Mondavi Center season, one cannot help but be struck by the range and quality of artistic offerings. There truly is something wonderful for everyone in our community and region to enjoy.

You might choose to spend an evening with George Takei, who mixes wry wit and wisdom as he reflects on the amazing journey that is his life. Perhaps you’ll want to settle into your seats and be transported to another world by the virtuoso brilliance of violinists Itzhak Perlman and Joshua Bell.

There is music for lovers of jazz and multiple classical genres, including Wynton Marsalis and the Jazz at Lincoln Center Orchestra, the Alexander String Quartet and the Rising Stars of Opera with members of the San Francisco Opera Adler Fellows and our own UC Davis Symphony Orchestra.

If your musical preferences run more to funk, we have a true pioneer in the genre, Maceo Parker, with The Jones Family Singers, to get your feet tapping and your souls soaring.

The Mondavi Center will also be hosting cutting-edge comedians, thoughtprovoking lecturers, extraordinary dancers and authors and the provocative L.A. Theatre Works production of Judgment at Nuremberg, a unique live radio theaterstyle performance that will be sure to make us reflect on the human condition.

The great dancer and choreographer Twyla Tharp once said, “Art is the only way to run away without leaving home.”

At UC Davis this season, we can experience inspiring performances from around the world right here in Davis thanks to the outstanding work of our Mondavi Center staff and because of your support.

Some of my most enjoyable experiences on campus have been as an enchanted member of the Mondavi Center audience. I am confident that you, too, will be captivated and inspired as so many have been over the center’s first 14 seasons.

On behalf of the entire UC Davis community, thank you for being a part of the performing arts on our campus. Please enjoy whatever shows you’ve chosen and we hope to see you again very soon.

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SPONSORS SEASON SPONSOR

MONDAVI CENTER STAFF Don Roth, Ph. D.

EXECUTIVE DIRECTOR

Jeremy Ganter

ASSOCIATE EXECUTIVE DIRECTOR

Debbie Armstrong SENIOR DIRECTOR

Liz King

EXECUTIVE ASSISTANT

CORPORATE PARTNERS

ARTS EDUCATION

SERIES

Jennifer Mast

ARTS EDUCATION COORDINATOR

DEVELOPMENT Nancy Petrisko

DIRECTOR OF DEVELOPMENT

Niki Fay Palmer

MEMBERSHIP MANAGER

Jill Pennington

MEMBERSHIP RELATIONS SPECIALIST

Liz King

EXECUTIVE ASSISTANT

FINANCE AND BUSINESS SERVICES

OFFICE OF CAMPUS COMMUNITY RELATIONS

Debbie Armstrong SENIOR DIRECTOR

EVENT

Mandy Jarvis

FINANCE & BUSINESS SYSTEMS ANALYST

Russ Postlethwaite

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

Kathy Di Blasio

ADMINISTRATIVE ASSISTANT

INFORMATION TECHNOLOGY Paul Altamira

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

APPLICATIONS ADMINISTRATOR & PCI COMPLIANCE COORDINATOR

Kevin Alcione

DESKTOP SUPPORT ADMINISTRATOR

MARKETING Rob Tocalino

DIRECTOR OF MARKETING AND TICKETING

Dana Werdmuller

MARKETING MANAGER

SPECIAL THANKS Asante Catering Ciocolat

Black Pine Catering

Erin Kelley Boeger Winery

El Macero Country Club

Winds of Change House 4 MONDAVIART S.ORG

ART DIRECTOR/SENIOR DESIGNER

Mike Tentis

DIGITAL MARKETING SPECIALIST

TICKET OFFICE Sarah Herrera

Paul Kastner Steve Matista Jan Perez

Susie Evon

FACILITIES Ryan Thomas

ASSISTANT DIRECTOR OF TICKETING EVENT SUPERVISOR AND GROUP SALES COORDINATOR

Jessica Turner

TICKET OFFICE SUPERVISOR

Russell St. Clair TICKET AGENT

TICKET AGENT LEADS Laura Elbaum Kali Sullivan TICKET AGENTS Monika Aldabe Hanna Baublitz Jordan Bhanji Olivia Blair Alexandria Butler Melissa Cayne Zoe Ehlers Stephen Fan Pablo Garcia Andrea Gonzalez Castillo Mei Lin Jackson Camille Kafesjian Ally Lopez Audrey Nelson Yanise Nevarez Bianna Nikdel Alexis Pena Tomasetti Sarah Rankin Camille Riggs Olivia Schlanger Mallory Sellens Arthur Shaffer Viviana Valle Timothy Vande Voorde Tayler Ward

OPERATIONS

BUILDING ENGINEER

PRODUCTION Donna J. Flor

PRODUCTION MANAGER

Adrian Galindo

ASSISTANT PRODUCTION MANAGER

Christopher C. Oca

HEAD STAGE MANAGER & CREW CHIEF

Phil van Hest

MASTER CARPENTER/RIGGER

Rodney Boon

HEAD AUDIO ENGINEER

Christi-Anne Sokolewicz SENIOR STAGE MANAGER, JACKSON HALL

David M. Moon

SENIOR EVENTS COORDINATOR/ LIAISON TO UC DAVIS DEPARTMENTS

Eric Richardson

MASTER ELECTRICIAN

Wai Kit Tam

LEAD VIDEO TECHNICIAN

Daniel Villegas

AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE

Tristan D. Wetter

ASSISTANT ELECTRICIAN

Holly McNeill

STAGE MANAGER

Maya Severson

Herb Garman

STAGE MANAGER

AUDIENCE SERVICES Marlene Freid

John F. Bologni Karl Metts Ian Strother Christine Richers

DIRECTOR OF OPERATIONS

AUDIENCE SERVICES AND VOLUNTEER ENGAGEMENT MANAGER

Yuri Rodriguez

PUBLIC EVENTS MANAGER ASSISTANT PUBLIC EVENTS MANAGERS

Nancy Temple Natalia Deardorff Dawn Kincade Lorrie Bortuzzo HEAD USHERS Ralph Clouse Eric Davis John Dixon George Edwards Maria Giannuli Donna Horgan

SENIOR STAGE TECHS

PROGRAMMING Jeremy Ganter

DIRECTOR OF PROGRAMMING

Jenna Bell

ASSISTANT DIRECTOR, ARTIST SERVICES

Laurie Espinoza

ARTIST SERVICES COORDINATOR

Ruth Rosenberg

ARTIST ENGAGEMENT COORDINATOR

Lara Downes

CURATOR, YOUNG ARTISTS PROGRAM

DON ROTH, Ph.D. EXECUTIVE DIRECTOR

This final program book of the 2016–17 season presents a typical spring flurry of shows to close out our performing arts year. From the return of the Dance Theatre of Harlem to the remarkably talented aspirants in our Young Artists Competition, we think you will find something to engage your interest and carry you through to the next season.

Speaking of which, our focus for the past three months has been finalizing the roster for the 2017–18 Season, which we are excited to unveil to our subscribers in April. As we did last year, we will hold a renewal period for subscribers throughout that same month, and then begin filling new subscriptions in June.

Without giving too much away, I’d like to highlight a few things we are particularly excited about for next season. The opportunity to welcome the great American conductor David Robertson once in a season is a pleasure; to get him twice in a year seems almost too good to be true. But, indeed, the esteemed conductor and music director will lead the St. Louis Symphony Orchestra in a performance and a number of residency activities as part of our festival partnership with the Department of Music. This is St. Louis’ third appearance at the Mondavi Center with Robertson conducting—those of you who attended those earlier performances will remember the musical depth and excitement these musicians generate.

Robertson will return at the helm of the San Francisco Symphony (also a welcome return for many of our Orchestra subscribers) in spring of 2018.

We’ll also celebrate another iconic American musician, Leonard Bernstein, with three distinct programs celebrating the centennial of his birth.

Finally, this March we are celebrating our first Membership Month. You’ll find our development staff in the lobby before each show answering questions about your membership options, and thanking you for your gifts. And let me add my thanks to all our members, as well. We could not present this diverse program each year were it not for your belief in the work we do.

Sincerely,

Don 6 MONDAVIART S.ORG

IN THIS ISSU

A MESSAGE FROM THE EXECUTIVE DIRECTOR

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

8

Dance Theatre of Harlem

17 Dr. Raj Patel 18 Aaron Diehl presents Jelly & George 21 Dervish & Le Vent du Nord 24 St. Petersburg Philharmonic Orchestra 35 The Real Nashville: The Del McCoury Band & Béla Fleck and Abigail Washburn 38 DIAVOLO 42 Mucca Pazza 44 Aziza 45 Arlo Guthrie 47 L.A. Theatre Works 52 National Geographic Live: Jodi Cobb 53 ODC/Dance

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/April 2017 Volume 4, No. 4

Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Marilyn Kallins, Terri Reed, Rob Scott San Francisco/Bay Area Account Executives Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Jonathan Shipley Ad Services Coordinator Carol Yip Sales Coordinator

RDS

Paul Heppner

Anaïs Mitchell President

iano Y

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

Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Sara Keats Marketing Manager

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

OCTOBER 14 FRI • 7–8PM

SFJAZZ Collective JAMIESON RANCH VINEYARDS

NOVEMBER 2 WED • 7–8PM

Los Angeles Philharmonic ROBERT MONDAVI WINERY

DECEMBER 13 TUE • 6–7PM

The Ukulele Orchestra of Great Britain BOS WINE

JANUARY 14 SAT • 7–8PM

Itzhak Perlman and Rohan De Silva FRANCIS FORD COPPOLA WINERY

FEBRUARY 25 SAT • 7–8PM

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MARCH 18 SAT • 7–8PM

St. Petersburg Philharmonic MODUS OPERANDI CELLARS

APRIL 5 WED • 7–8PM

Aziza: Dave Holland, Chris Potter, Kevin Eubanks and Eric Harland INHERIT THE SHEEP

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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. ©2017 Encore Media Group. Reproduction without written permission is prohibited.

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

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A Dance Series Event

THE COMPANY

Thursday, March 2, 2017 • 8PM

Lindsey Croop

Jackson Hall

Chyrstyn Fentroy Lilit Hogtanian Alicia Mae Holloway

Question & Answer Session following the performance, moderated

by Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center, UC Davis Ruth Rosenberg oversees residencies of touring artists, pre-performance talks and Q&A sessions with the artists as well as student engagement efforts on the UC Davis campus. From 2001 to 2007, Rosenberg served as the arts stabilization consultant for the Sacramento Metropolitan Arts Commission. Rosenberg started her career as a dancer. She was the artistic director of the Sacramento-based Ruth Rosenberg Dance Ensemble from 1990–2001, and she has performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco.

8 MONDAVIART S.ORG

Giorgia Martelloni-Zabriskie Ingrid Silva

photo: Matthew Murphy

DANCE THEATRE OF HARLEM FOUNDERS Arthur Mitchell Karel Shook ARTISTIC DIRECTOR Virginia Johnson EXECUTIVE DIRECTOR Anna Glass

Alison Stroming Stephanie Rae Williams Da’Von Doane Jordan Kindell Francis Lawrence Choong Hoon Lee Sanford Placide Nicholas Rose Dylan Santos Jorge Andrés Villarini

BALLET MASTER Keith Saunders BALLET MASTER Kellye A. Saunders GENERAL MANAGER Melinda Bloom ARTISTIC DIRECTOR EMERITUS Arthur Mitchell

Support for Dance Theatre of Harlem’s 2016–2017 programs and activities made possible in part by: Anonymous, The Arnhold Foundation, The Arts Federation, Con Edison, The Dauray Fund, Disney Worldwide Services, The Jarvis and Constance Doctorow Family Foundation, Elephant Rock Foundation, Ford Foundation, Ann and Gordon Getty Foundation, Howard Gilman Foundation, The Harkness Foundation for Dance, The Hulitar Family Foundation, The Klein Family Foundation, The Reginald F. Lewis Foundation, George Lucas Family Foundation, John L. McHugh Foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, New York Community Trust/Edward & Sally Van Lier Fund, The Carl and Lily Pforzheimer Foundation, the Princess Grace Foundation — USA, May and Samuel Rudin Family Foundation, The Shubert Foundation, The Harold & Mimi Steinberg Charitable Trust, The Thompson Family Foundation and Xerox Foundation.

DANCE THEATRE OF HARLEM PROGRAM VESSELS

(World Premiere October 17, 2014) Choreography: Darrell Grand Moultrie Music: Ezio Bosso Costume Design and Execution: George Hudačko Lighting Design: Clifton Taylor

LINDSEY CROOP CHYSRTYN FENTROY ALICIA MAE HOLLOWAY FRANCIS LAWRENCE JORGE ANDRÉS VILLARINI NICHOLAS ROSE

DA’VON DOANE DYLAN SANTOS CHOONG HOON LEE SANFORD PLACIDE JORDAN KINDELL

Subtitled “Odes to Love and Loss,” Dancing on the Front Porch of Heaven was choreographed for the Royal Swedish Ballet in 1993 during a challenging period in Ulysses Dove’s life.

Having lost 13 close friends and relatives, among them his father, Dove himself explained, “I want to tell an experience in movement, a story without words, and create a poetic monument over people I loved.” Set to Estonian composer Arvo Pärt’s Cantus in Memory of Benjamin Britten, Dove’s spare but demanding choreography invites dancer and viewer alike to live in each moment as if it were the last.

Belief

INTERMISSION

Light STEPHANIE RAE WILLLIAMS ALISON STROMING LILIT HOGTANIAN GIORGIA MARTELLONI-ZABRISKIE LINDSEY CROOP

ALISON STROMING LILET HOGTANIAN GIORGIA MARTELLONI-ZABRISKIE LINDSEY CROOP

Love STEPHANIE RAE WILLLIAMS DA’VON DOANE

Abundance The Company The entire journey is cyclic.

Let us all be infused with something beautiful that can be transferred to others.

This commission is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

INTERMISSION

DANCING ON THE FRONT PORCH OF HEAVEN

Odes to Love and Loss

(World Premiere 1993, DTH Premiere: October 4, 2013) Choreography: Ulysses Dove; The Estate of Ulysses Dove: Alfred Dove Administrator Music: Arvo Pärt (Cantus in Memory of Benjamin Britten, 1977) Staging: Anne Dabrowski Costume Design: Jorge Gallardo Lighting Design: Björn Nilsson; recreated by Peter D. Leonard

RETURN

(World Premiere September 21, 1999) Choreography: Robert Garland Music: James Brown, Alfred Ellis, Aretha Franklin, Carolyn Franklin Costume Design and Execution: Pamela Allen-Cummings Lighting: Roma Flowers

“Mother Popcorn” INGRID SILVA Stephanie Rae Williams Alison Stroming Lilit Hogtanian Alicia Mae Holloway Giorgia Martelloni-Zabriskie DA’VON DOANE Choong Hoon Lee Dylan Santos Jordan Kindell Sanford Placide Nicholas Rose

“I Got The Feelin’” INGRID SILVA JORDAN KINDELL NICHOLAS ROSE Alicia Mae Holloway Sanford Placide Lilit Hogtanian

“Call Me” ALISON STROMING DYLAN SANTOS The Company

“Superbad” DA’VON DOANE The Company Return was choreographed for Dance Theatre of Harlem’s 30th anniversary. Choreographer Robert Garland calls the ballet’s style “postmodern urban neoclassicism—an attempt to fuse an urban physical sensibility and a neoclassical one.” Staged for 12 dancers to songs performed by James Brown and Aretha Franklin, Return is “... a witty fusion of ballet technique and street gait whose irony toward rhythm-and- blues had the audience in stitches.” (The New York Times) “Mother Popcorn” and “Superbad” performed

by James Brown Courtesy of Dynatone Publishing Company By arrangement with Warner Special Products “Baby, Baby, Baby” and “Call Me” performed

by Aretha Franklin Courtesy of Pronto Music and Fourteenth Hour Music, Inc. By arrangement with Warner Special Products “I Got the Feelin’” performed by James Brown By arrangement with Fort Knox Music, Inc. Return was commissioned by Arthur Mitchell and Dance Theatre of Harlem.

“Baby, Baby, Baby” STEPHANIE RAE WILLIAMS CHOONG HOON LEE Alison Stroming Dylan Santos Giorgia Martelloni-Zabriskie Nicholas Rose

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DANCE THEATRE OF HARLEM ABOUT DANCE THEATRE OF HARLEM

Dance Theatre of Harlem has occupied a distinguished place in the New York City cultural landscape and at the forefront of American artistic achievement for 47 years.

Established in 1969 out of the turmoil of the Civil Rights era and the assassination of Dr. Martin Luther King, Jr., the founders were Karel Shook (1920–85) and Arthur Mitchell, who was the first African American to become a principal dancer with a major U.S. ballet company (New York City Ballet).

Since its inception, Dance Theatre of Harlem has reached more than one million people through its school, community programs, performances and major media broadcasts. The Company tours widely, providing exceptional dance and audience engagement everywhere it performs.

The institution endures as a testament to Mitchell’s legacy and vision of transforming lives through dance, developing a pipeline for classical artists of color and creating access and opportunity in the arts for all people.

THE DANCE THEATRE OF HARLEM COMPANY LINDSEY CROOP

Born: Midland, Texas. Trained: A Petite Dance Studio; Midland Festival Ballet under Susan Clark. Education: cum laude graduate of Butler University; degree in dance arts administration and journalism. Professional Experience: Dance Theatre of Harlem (fourth year); Nashville Ballet (trainee). Repertoire: works by Robert Garland, Nacho Duato, Ulysses Dove, George Balanchine, Donald Byrd, Elena Kunikova and Dianne McIntyre.

DA’VON DOANE

Born: Salisbury, Maryland. Trained: Salisbury Studio of Dance (now Salisbury Dance Academy) under Betty Webster, Tatiana Akinfieva-Smith and Elena Manakhova; Atlantic Contemporary Ballet Theatre.

Early Dance Experience: Eastern Shore Ballet Theatre; Kirov Academy of Ballet; and Atlantic Contemporary Ballet Theatre.

Professional Experience: Dance Theatre of Harlem (fifth year); Dance Theatre of Harlem Ensemble; Ballet Noir; and Classical Contemporary Ballet Theater. Repertoire: Glinka Pas De Trois by George Balanchine; In The Mirror of Her Mind by Christopher Huggins; Fete Noir by Arthur Mitchell; Concerto in F by Billy Wilson; and Contested Space by Donald Byrd.

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CHYRSTYN FENTROY

Born: Los Angeles, California. Trained: Ruth Fentroy; Joffrey Ballet School.

Early Dance Experience: Joffrey Ballet School Performance Company, 2010–12. Professional Experience: Dance Theatre of Harlem (fifth year).

Special Awards: January 2015 cover of Dance magazine as one of “25 Dancers to Watch”; recipient of the 2016–17 Princess Grace Honorarium.

Principal Repertoire: Tchaikovsky Pas de Deux; Agon by George Balanchine; Alvin Ailey’s The Lark Ascending; Helen Pickett’s When Love; and Nacho Duato’s Coming Together.

LILIT HOGTANIAN

Born: Los Angeles, California. Trained: Kirov Ballet Academy under Yuri Gregoriev and Ethan Steiffel; Academie de Danse Princesse Grace under Mariana Eglevsky. Professional Experience: Dance Theatre of Harlem (first season); and State Street Ballet. Special Awards: LA Times Faces To Watch In Dance 2009. Repertoire: La Bayadere, Marcha du Sable, Waltz Fantasie and Swan Lake.

ALICIA MAE HOLLOWAY

Born: Morgantown, West Virginia. Trained: Kate and Company Studio; Morgantown Dance Studio with Desiree Witt, Lauren Stone, Marilyn Pipes, Eunice Kim and Robert Steele; and School of American Ballet with Suki Schorer, Suzy Pilarre, Darci Kistler, Kay Mazzo and Jock Soto. Professional Experience: Dance Theatre of Harlem (first year); and Suzanne Farrell Ballet (apprentice). Repertoire: works by Robert Garland, Elena Kunikova and Nacho Duato.

JORDAN KINDELL

Born: Portland, Oregon. Trained: School of Oregon Ballet Theatre. Professional Experience: Dance Theatre of Harlem (first season): Oregon Ballet Theatre. Repertoire: Darrell Grand Moultrie’s Instinctual Confidence; Nacho Duato’s Rassemblement; and works by George Balanchine, William Forsythe and Christopher Stowell.

FRANCIS LAWRENCE

Born: Melbourne, Australia. Training: The Australian Ballet School. Professional Experience: Dance Theatre of Harlem (fifth year); the Australian Ballet; Dancers Company; New York Theatre Ballet; and Grand Rapids Ballet. Repertoire: works by George Balanchine, Nacho Duato, Robert Garland, Ulysses Dove, Twyla Tharp, José

Limón, Paul Taylor, Lew Christensen, David Parson and Mario Radacovsky.

CHOONG HOON LEE

Born: Seoul, South Korea. Training: Korean National University of Arts and School of American Ballet. Early Experience: semi-finalist, Varna International Ballet Competition; Gwanju International Competition (gold medal in Pas de Deux). Professional Experience: Dance Theatre of Harlem (second year); Mariinsky Ballet; Korean National Ballet; Complexions Contemporary Ballet; and New York Theatre Ballet. Repertoire: works by Robert Garland and Ulysses Dove; soloist roles in Othello, Don Quixote, Swan Lake, Cinderella, Spartacus, Paquita, Le Corsaire and Giselle.

GIORGIA MARTELLONI-ZABRISKIE

Born: Los Angeles, California. Trained: Teatro alla Scala, Milan; summer intensives at Boston Ballet, American Ballet Theatre, Westside Ballet and Miami City Ballet. Professional Experience: Dance Theatre of Harlem (first season).

Repertoire: roles from The Nutcracker, ValseFantaisie, Sleeping Beauty and Paquita.

SANFORD PLACIDE

Born: in Port au Prince, Haiti. Training: Francois Perron at Manhattan Youth Ballet; The French Academie of Ballet; Ballet Etudes of South Florida; Nadege Hottier. Professional Experience: Dance Theatre of Harlem (first season); The North Carolina Dance; Ballet West; and Alberta Ballet. Repertoire: Embraceable You; pas de deux from the ballet Who cares?; Paquita pas de deux; Nutcracker grand pas de deux; and Mark Diamond’s Bolero.

NICHOLAS ROSE

Born: West Palm Beach, Florida. Training: The Harid Conservatory; Pacific Northwest Ballet; Colburn Dance Academy. Professional Experience: Verb Ballets. Repertoire: includes works by George Balanchine and Marius Pepita.

DYLAN SANTOS

Born: São Paulo, Brazil. Training: Centro de Artes Pavilhao D under Ricardo Scheir; and Harid Conservatory. Professional Experience: Dance Theatre of Harlem (third year); Houston Ballet trainee; Orlando Ballet; Joffrey Ballet; Ballet Chicago; and Paris Opera Ballet.

Repertoire: works by George Balanchine, Nacho Duato, Robert Garland and Ulysses Dove; and in such ballets as Giselle, Carmen, Esmeralda, Coppelia, Le Corsaire, Sleeping Beauty, Cinderella and Swan Lake.

INGRID SILVA

Born: Rio de Janeiro, Brazil. Training: Projeto Dancando Para Nao Dancar; Escola de Danca Maria Olenewa; and Centro de Movimento Debora Colker. Education: Universidade da Cidade. Professional experience: Dance Theatre of Harlem (fifth year); Grupo Corpo (apprentice); Dance Theatre of Harlem Ensemble; Dancado Para Nao Dancar; Armitage Gone! Dance; and the Francesca Harper Project. Repertoire: works by Arthur Mitchell, Donald Byrd, George Balanchine, John Alleyne, Darrel Grand Moultrie, Francesca Harper, Robert Garland, David Fernandez, Carol Armitage, Deborah Colker, Rodrigo Pederneiras and many others.

ALISON STROMING

Born: Recife, Brazil. Training: School of American Ballet; and Jacqueline Kennedy Onassis School at American Ballet Theatre, Junior Division. Early Experience: children’s roles with New York City Ballet; 2010 New York Miss Outstanding Teen; and Dizzy Feet Foundation Award 2010. Professional Experience: Dance Theatre of Harlem (third year); Alberta Ballet; and Ballet San Jose, a national Capezio Athlete. Repertoire: works

by George Balanchine, Donald Byrd, Darrel Grand Moultrie, Ulysses Dove, Robert Garland, Dwight Rhoden, Twyla Tharp and Ohad Naharin.

JORGE ANDRES VILLARINI

Born: San Juan, Puerto Rico. Training: Escuela de Baile Andanza in Puerto Rico; and the Jacqueline Kennedy Onassis School at American Ballet Theatre. Education: Marymount Manhattan College (B.F.A.).

Professional Experience: Dance Theatre of Harlem; Ballet Met; and Martha Graham Dance Company. Special Awards: Greater Columbus Arts Council Columbus Dances Choreographic Fellowship. Repertoire: works by Alvin Ailey, George Balanchine, John Butler, Nacho Duato, Frederick Franklin, Martha Graham, Alwin Nikolais, Amedeo Amodio, James Kudelka, Edwaard Liang, Gustavo Ramírez Sansano, Rodney Rivera, Christopher Wheeldon and Shen Wei.

STEPHANIE RAE WILLIAMS

Born: Salt Lake City, Utah. Training: Dallas Dance Academy with Lyndette Galen and Fiona Fairrie; Hubbard Street Dance Chicago; Springboard Danse Montreal; The Juilliard School; Alonzo King’s LINES Ballet; and Houston Ballet Academy. Professional Experience: Dance Theatre of Harlem (fourth year); Dance Theatre of Harlem Ensemble encoreartsprograms.com 11

Dervish and Le Vent du Nord FRI, MAR 17 • 7PM Fe st ival ‘17 Join us before the show for a Corin Courtyard Concert with One Eyed Reilly at 5:30 followed by a beer tasting event. Free admission (21 and over) to the beer tasting with a ticket to Dervish and Le Vent du Nord.

Thanks to our participating vendors!

H AR D

C I DER

Presented in partnership with the Robert Mondavi Institute for Food and Wine Science.

in 2010; The Francesca Harper Project; Complexions Contemporary Dance Company; Ballet Black; and Texas Ballet Theatre. Special Awards: August 2013 Dance magazine “On the Rise”; 2006 National Foundation for the Arts Award; 2006 Youth America Grand Prix finalist; and 2004 Texas Commission on the Arts Young Master. Repertoire: works by Arthur Mitchell, Donald Byrd, George Balanchine, John Alleyne, Darrel Grand Moultrie, Francesca Harper, Robert Garland and David Fernandez.

VIRGINIA JOHNSON

ARTISTIC DIRECTOR A founding member of Dance Theatre of Harlem, Virginia Johnson was one of its principal ballerinas over a career that spanned nearly 30 years. After retiring in 1997, Johnson went on to found Pointe magazine and was editor-in chief for 10 years. A native of Washington, D.C., Johnson began her training with Therrell Smith. She studied with Mary Day at the Washington School of Ballet, graduated from the Academy of the Washington School of Ballet and went on to be a University Scholar in the School of the Arts at New York University before joining Dance Theatre of Harlem.

Johnson is universally recognized as one of the great ballerinas of her generation and is perhaps best known for her performances in the ballets Giselle, A Streetcar Named Desire and Fall River Legend. She has received such honors as a Young Achiever Award from the National Council of Women, Outstanding Young Woman of America, the Dance Magazine Award, a Pen and Brush Achievement Award, the Washington Performing Arts Society’s 2008– 2009 Pola Nirenska Lifetime Achievement Award and the 2009 Martha Hill Fund MidCareer Award.

ARTHUR MITCHELL

CO-FOUNDER AND ARTISTIC DIRECTOR EMERITUS Arthur Mitchell is known around the world for creating and sustaining the Dance Theatre of Harlem, the internationally acclaimed ballet company he co-founded with Karel Shook in 1969. Following a brilliant career as a principal artist with the New York City Ballet, Mitchell dedicated his life to changing perceptions and advancing the art form of ballet through the first permanently established African American and racially diverse ballet company.

Born in New York City in 1934, Mitchell began his dance training at New York City’s High School of the Performing Arts, where he won the coveted annual dance award and 12 MONDAVIART S.ORG

DANCE THEATRE OF HARLEM subsequently a full scholarship to the School of American Ballet. In 1955, he became the first male African American to become a permanent member of a major ballet company when he joined New York City Ballet. Mitchell rose quickly to the rank of Principal Dancer during his 15-year career with New York City Ballet and electrified audiences with his performances in a broad spectrum of roles.

Upon learning of the death of Reverend Dr. Martin Luther King, Jr., and with financial assistance from Mrs. Alva B. Gimbel, the Ford Foundation and his own savings, Mitchell founded Dance Theatre of Harlem with his mentor and ballet instructor Karel Shook.

With an illustrious career that has spanned over 50 years, Mitchell is the recipient of the Kennedy Center Honors, a National Medal of the Arts, a MacArthur Foundation Fellowship, the New York Living Landmark Award, the Handel Medallion, the NAACP Image Award and more than a dozen honorary degrees.

KEITH SAUNDERS

BALLET MASTER Keith Saunders, a native of Baltimore, Maryland, began dancing in 1971 while a student at Harvard University. He began his ballet training in 1973 at the National Center for Afro-American Artists in Dorchester, Massachusetts. Saunders joined Dance Theatre of Harlem in 1975 and continued his development under the tutelage of Arthur Mitchell, Karel Shook and William Griffith. He became a principal dancer with DTH and performed a wide range of roles throughout the company’s repertoire for more than 17 years. He also danced with France’s Ballet du Nord (1986) and BalletMet of Columbus, Ohio (1987–1989).

As a guest artist, Saunders appeared with Boston Repertory Ballet, Maryland Ballet, Eglevsky Ballet, Ballethnic Dance Company and the David Parsons Company, among others. He has been a faculty member of the Dance Theatre of Harlem School, the BalletMet Dance Academy (where he also served as education director), the New Ballet School (now Ballet Tech) and the 92nd Street Y. In 2003, Saunders was guest artist-in-residence in the dance department at the University of Wyoming, and he taught and choreographed at their Snowy Range Dance Festival from 2003–2008. Saunders was appointed Dance Theatre of Harlem’s assistant ballet master in 1994 and ballet master in 1996. From 2004–2010, Saunders was director of Dancing Through Barriers®, Dance Theatre of Harlem’s

international education and outreach initiative, in addition to directing the DTH Ensemble.

KELLYE A. SAUNDERS

BALLET MASTER Kellye Saunders began her dance training at the JonesHaywood School of Ballet in Washington, D.C. She continued her dance education with Rosella Hightower at Le Centre de Danse International in Cannes, France under the tutelage of Rosella Hightower, before joining DTH. Saunders spent most of her career with the Dance Theatre of Harlem where she was a principal dancer. Some of Saunders’ featured roles include Firebird, Giselle, A Song for Dead Warriors, Apollo, Serenade, Adrian (Angel on Earth), The Four Temperaments, The Moor’s Pavane, Allegro Brillante and Fancy Free. Saunders has also appeared in the Broadway productions of The Red Shoes and Porgy and Bess and as a guest artist dancing the role of The Striptease Girl in Slaughter on Tenth Avenue in a collaborative project with The New York City Ballet. After leaving DTH, Saunders joined Ballet NY and Collage Dance Collective as a principal dancer.

Some of her other guest appearances include performances with Washington Ballet, Maryland Ballet, Ballethnic Dance Company, Gala of International Ballet Stars, Configurations Dance Company, The Flint Institute of Music, Complexions Contemporary Dance and The Metropolitan Opera. Saunders has had extensive experience teaching and coaching dancers at both academic and professional levels.

From 2010–2013, Saunders served as the project coordinator for the Dance Theatre of Harlem’s Harlem Dance Works 2.0 Series.

Harlem Dance Works 2.0 was a series of choreographic workshops whose purpose was to produce new repertoire for the Dance Theatre of Harlem Company.

ROBERT GARLAND

RESIDENT CHOREOGRAPHER “[Gloria], Robert Garland’s 2012 ballet celebrating Dance Theater of Harlem’s rebirth is a transcendent work that relies as much on imagination as steps.”

—The New York Times

Robert Garland was a member of the Dance Theatre of Harlem Company achieving the rank of principal dancer. After creating a work for the DTH School Ensemble, Arthur Mitchell invited Robert Garland to create a work for The Dance Theatre of Harlem Company and appointed him the organization’s first resident choreographer. He is also director of the professional training program of the DTH school.

In addition to choreographing several ballets for DTH, Garland has also created works for New York City Ballet, Britain’s Royal Ballet, Oakland Ballet and many others. His commercial work has included music videos, commercials and short films, including the children’s television show Sesame Street, a Nike commercial featuring New York Yankee Derek Jeter, the NAACP Image Awards, a short film for designer Donna Karan, and the “Charmin ChaCha” for Proctor and Gamble.​Garland holds a B.F.A from the Juilliard School in New York City.

ANNA GLASS

EXECUTIVE DIRECTOR Anna Glass has been involved in the performing arts as both an artist and arts administrator for over 20 years. She recently produced Carmen de Lavallade’s newest solo show As I Remember It—an intimate portrait of this legendary artist. Glass previously served as the managing director of 651 ARTS, a presenting/producing arts organization dedicated to celebrating contemporary performing arts of the African diaspora. While at 651 ARTS, she co-produced numerous projects, including the highly regarded national tour of FLY: Five First Ladies of Dance.

Glass has also served as a consultant providing strategic planning and fundraising guidance to various nonprofit arts organizations, including Urban Bush Women and the Weeksville Heritage Center.

She currently serves on the board of the Association of Performing Arts Presenters. She has served as a Hub Site for the New England Foundation for the Arts’ National Dance Project grant program. After receiving her J.D. from the University Of Dayton School Of Law, Glass became the artist representative for the Dayton Contemporary Dance Company, a company she performed with for three years.

She is a licensed attorney in the State of New York and lives in Harlem with her husband and daughter.

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DANCE THEATRE OF HARLEM It is our privilege at the Mondavi Center to draw on the expertise of our great

UC Davis Faculty

Through engagement activities, such as pre-performance talks and post-performance Q&A’s, faculty members help audiences achieve a richer understanding of Mondavi Center performances.

Board of Directors Michael D. Armstrong, Chairman Leslie Wims Morris, Vice-Chairman Ackneil M. Muldrow, III, Vice-Chairman Zandra Perry Ogbomo, Treasurer Don M. Tellock, Esq., Secretary Kendrick F. Ashton Jr. Nancy Pforzheimer Aronson Frank Baker Reverend Dr. Calvin O. Butts III Kevin M. Cofsky Isabel Kallman Spencer Means Jessye Norman Asha Richards

Pre-performance Talk on Diego El Cigala

by Davin Rosenberg | NOV 1, 2016

We gratefully acknowledge the work of the following faculty who graciously participated in audience engagement activities during the 2016–17 season: Archana Venkatesan, Chair, Department of Religious Studies, Associate Professor, Comparative Literature & Religious Studies Christian Baldini, Associate Professor, Music Director and Conductor, UC Davis Symphony Orchestra, Department of Music David Biale, Emanuel Ringelblum Distinguished Professor of Jewish History, Department of History Charles Hunt, Professor, Department of Electrical and Computer Engineering Sam Nichols, Lecturer, Department of Music Davin Rosenberg, Ph.D. student in ethnomusicology, Department of Music We also thank the campus departments that partnered with us during the season: Department of Music First Year Aggie Connections First Year Seminars Health System Hemispheric Institute of the Americas Humanities Institute Office of Campus Community Relations Office of Research Religious Studies Student Housing University Honors Program Veterinary Medicine 14 MONDAVIART S.ORG

Dance Theatre of Harlem, Inc. Everett Center for the Performing Arts 466 West 152nd Street New York, NY 10031-1814 (212) 690-2800, (212) 690-8736 fax www.dancetheatreofharlem.org

Staff Artistic Director, Virginia Johnson Executive Director, Anna Glass Management Consultant, Dawn Gibson-Brehon Director, Individual Giving, Sharon Duncan Development Associate, Ayesha Kiani Marketing Manager, Keyana K. Patterson Controller, Nicole Frisina, Your Part-Time Controller Staff Accountant, Mark Rowan HR Consultant, Hero Doucas, CCS Strategies Facilities & Operations Manager, Jack. Lynch Building / Maintenance, Alberto Recinos, Lillian Recinoas, Marco Recinos, Altagraciá Tejeda, Ana Tejeda, Janifer Tejeda Front Desk, Matt Akins, Prema Cruz, Lisa Haynes, Luz Iturbe, Liz McAllister, LaShawn Wallace Company Staff Ballet Master, Keith Saunders Ballet Master, Kellye A. Saunders General Manager, Melinda Bloom Production Stage Manager, Jack. Lynch Lighting Supervisors, Alex Fabozzi, William Cotton Wardrobe Supervisor, Katy Freeman Company Pianist, Coty Cockrell, Melody Fader, Renee Ong Booking Manager, Edward Schoelwer Resident Choreographer, Robert Garland Physical Therapists, Alison Deleget & Joshua Honrado, Harkness Center for Dance Injuries Dance Theatre of Harlem School Lower/Upper School Director, Augustus van Heerden School Administrator, Kenya Massey-Rodriguez Student Affairs Officer, Karen Farnum-Williams Business Affairs Officer, Ruben Ortiz Dancing Through Barriers Education/Outreach Administrator, Roberto Villanueva Program Associate, Theara Ward

Copyright © UC Regents, Davis campus, 2017. All rights reserved.

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

DR. RAJ PATEL

Stuffed and Starved: The Hidden Battle for the World Food System A Speakers Series Event Monday, March 13, 2017 • 8PM Jackson Hall SPONSORED BY

OFFICE OF CAMPUS COMMUNITY RELATIONS

INDIVIDUAL SUPPORT PROVIDED BY

The Lawrence Shepard Family Fund Question & Answer Session Moderated by Scott Syphax, CEO of The Nehemiah Companies; host and coexecutive producer of Studio Sacramento, on PBS affiliate KVIE. This event is part of the Campus Community Book Project.

RAJ PATEL

Raj Patel is an award-winning writer, activist and academic. He is a research professor in the Lyndon B. Johnson School of Public Affairs at the University of Texas, Austin, and a senior research associate at the Unit for the Humanities at the university currently known as Rhodes University (UHURU), South Africa.

He holds degrees from the University of Oxford, the London School of Economics and Cornell University, has worked for the World Bank and WTO, and protested against them around the world. Patel co-taught the 2014 Edible Education class with Michael Pollan at UC Berkeley, where he was a visiting scholar in the Center for African Studies. He has testified about the causes of the global food crisis to the U.S. House Financial Services Committee and was an advisor to Olivier De Schutter, the United Nations special rapporteur on the Right to Food. In 2016, he was the recipient of a James Beard Leadership Award.

In addition to numerous scholarly publications in economics, philosophy, politics and public health journals, he regularly writes for The Guardian and has contributed to the Financial Times, Los Angeles Times, The New York Times, Times of India, The San Francisco Chronicle, The Mail on Sunday and The Observer. His first book was Stuffed and Starved: The Hidden Battle for the World Food System, and his latest, The Value of Nothing, is a New York Times best-seller.

He can be heard co-hosting the fortnightly food politics podcast “The Secret Ingredient” with Mother Jones’ Tom Philpott and KUT’s Rebecca McInroy. He is currently working on a groundbreaking documentary project about the global food system with award-winning director Steve James. He’s also completing a book on world ecology with Jason W. Moore for the University of California Press titled A History of the World in Seven Cheap Things.

Scott Syphax is the Emmy Award-winning executive producer, head writer and host of the California Capital Region’s program of record, Studio Sacramento, discussing the issues and events that shape our region, our state and our nation. In his day job, Syphax is the CEO of The Nehemiah Companies, a Sacramento-based, national economic development, social enterprise and real estate development corporation focused on empowering communities of low socioeconomic status. Syphax serves on the boards of Federal Home Loan Bank of San Francisco, Norcal Mutual Insurance Company, Medicus Insurance Company, FD Insurance Company, Valley Vision, the Bay Area Council, American Leadership Forum, as well as the Mondavi Center’s Advisory Board.

encoreartsprograms.com 17

Aaron Diehl presents JELLY & GEORGE Featuring Adam Birnbaum and Cécile McLorin Salvant A Jackson Hall Jazz Series Event Tuesday, March 14, 2017 • 8PM Jackson Hall SPONSORED BY

MUSICIANS Aaron Diehl piano Adam Birnbaum piano Cécile McLorin Salvant vocals Paul Sikivie bass Lawrence Leathers drums Corey Wilcox trombone Evan Christopher clarinet

INDIVIDUAL SUPPORT PROVIDED BY

David Rocke and Janine Mozée 7PM Pre-Performance Talk, Jackson Hall Speakers: Jeremy Ganter, Associate Executive Director and Director of Programming and Rob Tocalino, Director of Marketing and Ticketing, Mondavi Center, UC Davis See p. 20 for bios

18 MONDAVIART S.ORG

Brandon Lee trumpet

JELLY & GEORGE

Jelly Roll Morton was a ragtime and stride legend, while George Gershwin worked on the borders of jazz, classical and popular song. Now a new generation of musicians, led by pianist Aaron Diehl and singer Cécile McLorin Salvant, turns the spotlight on timeless classics and little-known gems by these jazz masters. Diehl is a pianist who plays with “melodic precision, harmonic erudition and elegant restraint” (The New York Times). Salvant was a highlight of last season’s Jackson Hall Jazz series, a singer who has “the fresh perspective of a savvy postmodern thinker who has digested the entire repertoire and uses it to tell her own stories” (The Times-Picayune).

AARON DIEHL

PIANO

Pianist Aaron Diehl is one of the most sought-after jazz virtuosi. Diehl’s meticulously thought-out performances, collaborations and compositions are a leading force in today’s generation of jazz contemporaries, spearheading a distinct union of traditional and fresh artistry.

Diehl’s 2014–15 season highlights included serving as music director for the Jazz at Lincoln Center New Orleans Songbook concert series, performing in the New York premiere of Philip Glass’ complete Etudes at the Brooklyn Academy of Music,

JELLY & GEORGE collaborating with the Spanish flamenco guitarist Dani De Morón in Flamenco Meets Jazz (produced by Savannah Music Festival and Flamenco Festival), and touring the U.S. and Europe with Grammy-nominated jazz singer Cécile McLorin Salvant. McLorin Salvant and Diehl’s trio, featuring Paul Sikivie (bass) and Lawrence Leathers (drums), had select performances at: Walt Disney Hall (Los Angeles, CA); Jazz in Marciac (Marciac, France); Newport Jazz Festival (Newport, RI); North Sea Jazz Festival (Rotterdam, Netherlands); Istanbul Jazz Festival (Istanbul, Turkey); Ronnie Scott’s (London, England); and La Cigale (Paris, France).

Diehl’s most recent album on Mack Avenue Records, Space, Time, Continuum (2015), emphasizes the artistic collaborations between generations.

Establishing the jazz language as a continuum uniting artists, the album includes performances by NEA Jazz Master Benny Golson (tenor saxophone) and Duke Ellington Orchestra alumnus Joe Temperley (baritone saxophone), alongside Diehl’s other established trio—Quincy Davis (drums) and David Wong (bass). The majority of the album consists of Diehl’s original compositions. The title track, featuring vocalist Charenee Wade, was cowritten by Cécile McLorin Salvant.

The Bespoke Man’s Narrative (2013), Diehl’s debut album, reached No. 1 on the JazzWeek Jazz Chart and was hailed

by JazzTimes for displaying “precision and polish,” as well as creating “honest music that invites you back in to discover new wonders with each listening” (KCRW). Live at the Players (2010) featured both of his trios: Quincy Davis and David Wong, and Paul Sikivie and Lawrence Leathers. His first solo album, Live at Caramoor (2008), was a concert recorded at the Caramoor Festival.

Diehl’s recent collaborations with internationally acclaimed artists and ensembles include: Warren Wolf, Lew Tabackin, Matt Wilson, Wycliffe Gordon, Wynton Marsalis and his Septet, and the Jazz at Lincoln Center Orchestra. As the 2014 Monterey Jazz Festival Commission Artist, Diehl became one of the youngest artists to receive the honor and composed “Three Streams of Expression”, dedicated to pianist and composer John Lewis. He is also the 2013 recipient of the Jazz Journalists Associations Award for Up-And-Coming Artist; the 2012 Prix du Jazz Classique recipient for his album Live at the Players from the Académie du Jazz; and is the winner of the 2011 Cole Porter Fellowship

from the American Pianists Association. In an effort to nurture the development of young jazz artists and the community, Diehl was the inaugural artistic director of the Catskill Jazz Factory.

Diehl is a graduate of the Juilliard School, where he studied with Kenny Barron, Eric Reed and Oxana Yablonskaya. Residing in Harlem, he enjoys spending time in the sky when he isn’t on tour or recording. As a licensed pilot, one of his favorite planes to fly is the Beechcraft Bonanza.

ADAM BIRNBAUM

PIANO

Adam Birnbaum is emerging as one of the top young voices in jazz piano. Since moving to New York from his native Boston in 2001, Birnbaum has become a top call pianist working with a variety of ensembles and artists, including Al Foster, Greg Osby, Wallace Roney, Eddie Henderson, Eddie Gomez, The Vanguard Jazz Orchestra, and The Jazz at Lincoln Center Orchestra, and has appeared as a sideman on more than 15 albums. Birnbaum has also been recognized as a bandleader and composer, having released four albums of his own, completed commissions for Chamber Music America, and unique arrangements of Debussy and Japanese folk songs for performance at the Chelsea Music Festival. Birnbaum’s recent release Three of a Mind was hailed as “an eloquent dispatch from the heart of the contemporary piano trio tradition” by The New York Times, and received a four-star review in DownBeat magazine.

CÉCILE MCLORIN SALVANT

VOCALS

Shortly before the 2013 release of Cécile McLorin Salvant’s debut Mack Avenue album WomanChild, critic Ben Ratliff made a bold prediction in the pages of The New York Times. McLorin Salvant, he claimed, “is still mostly unknown to jazz audiences”—then added: “though not for much longer.”

McLorin Salvant has more than validated that forecast. The subsequent months have been a whirlwind of success and acclaim for the young vocalist, who first came to the attention of jazz fans with her triumph at the 2010 Thelonious Monk International Jazz Competition. WomanChild went on to earn a bevy of honors, including a Grammy nomination and selection as Jazz Album of The Year by the DownBeat International Critics Poll.

That magazine also honored McLorin Salvant in three other categories, including

Best Female Jazz Vocalist. A few months later, the Jazz Journalists Association selected McLorin Salvant as Up-and-Coming Jazz Artist of The Year and as Top Female Vocalist.

NPR also took notice, honoring WomanChild as the Best Jazz Vocal Album of The Year in its annual critics’ poll. In short, no jazz singer of recent memory has garnered more honors more quickly than Cécile McLorin Salvant.

In 2015, she released her follow-up Mack Avenue album, For One To Love, a more intimate and confessional project that revealed new dimensions of this young vocalist’s artistry. “I’m not playing anyone else here but myself,” McLorin Salvant explains.

“I can look at many of these songs, and see that this is an event that really happened, or a feeling I’ve lived through myself. “That’s what makes it so difficult to share. It’s almost like a diary entry.”

McLorin Salvant grew up in a bilingual household in Miami, the child of a French mother and Haitian father. She started piano studies at age 5, and at 8 began singing with the Miami Choral Society. After graduating from Coral Reef Senior High, a premier Miami magnet school, McLorin Salvant decided to pursue her education in Aix-en-Provence in the south of France, where troubadours invented the Western love song almost 1,000 years ago. In this unlikely setting, McLorin Salvant embarked on a new career as a jazz performer while pursuing a degree in French law and her training as a classical and Baroque singer.

Three years later, McLorin Salvant returned to the U.S. as a semifinalist in the prestigious Thelonious Monk International Jazz Competition. She had entered the contest at the urging of her mother, but almost missed the submission deadline. “On the last day, I mailed the audition recording with an apology for not getting it in sooner,” she recalls.

Then the call came inviting her to Washington D.C. for the contest. Here an illustrious panel of judges—Dee Dee Bridgewater, Dianne Reeves, Kurt Elling, Patti Austin and Al Jarreau—took note of McLorin Salvant’s remarkable voice and striking ability to inhabit the emotional space of every song she heard and turn it into a compelling personal statement. This surprise contender, the unheralded American jazz singer from France, took the top spot in the jazz world’s most demanding competition. “She brought down the house,” The Washington Post told its readers the next day. Less than three years after first performing with a jazz band, writer Anne Midgette noted, McLorin Salvant was encoreartsprograms.com 19

JELLY & GEORGE already singing “like a seasoned pro. Her marathon is just beginning.”

PAUL SIKIVIE

BASS

Paul Sikivie was born in Gainesville, Florida, and grew up amidst the vibrancy of the American South. Listening to public radio late one night at age 13, he heard Sonny Rollins’ “St. Thomas” and was deeply affected. He began playing the music of Miles Davis, John Coltrane, Charles Mingus, Paul Chambers and Rollins on the electric bass, and later, at the University of North Florida, the double bass.

At 23, with encouragement from piano giant Benny Green, Sikivie moved to New York City in search of the spirit of his beloved music.

While studying with Ben Wolfe at the Juilliard School, he received a parallel education on the town at night, in the audience and on the bandstand. Some of the luminaries he has enjoyed and benefitted from playing with include Ted Nash, Matt Wilson, Grant Stewart, Wynton Marsalis, Wycliffe Gordon, Lew Tabackin, Aaron Diehl, Johnny O’Neal, Cécile McLorin Salvant and a cohort of others.

LAWRENCE LEATHERS

DRUMS

Lawrence Leathers’ subtlety, sensitivity and communicative style have secured his place as one of the most respected musicians of his generation. Leathers began playing at age 10 in his native Lansing, Michigan, getting much of his formative experience at the New Mount Calvary Baptist Church, and by age 15, he was playing professionally. He moved to New York in 2007 to attend the Juilliard School and has been fortunate to perform and record with many musical greats including: Wynton Marsalis, Roy Hargrove, Mulgrew Miller, Cyrus Chestnut, Rodney Whitaker, Christian McBride and Wycliffe Gordon. Leathers is currently the drummer for Grammy-winning vocalist Cécile McLorin Salvant and rising star Aaron Diehl’s trio.

During the past few years, Leathers has served as a mentor for the Detroit Symphony Orchestra’s Civic Jazz Ensembles and the Arts League of Michigan’s summer camp and mentorship program.

COREY WILCOX

TROMBONE

Corey Wilcox has emerged in recent years as a prominent and powerful young voice on the trombone. A musician of unusual versatility, Wilcox studied both jazz and classical trombone at the prestigious Oberlin Conservatory, before returning to his native 20 MONDAVIART S.ORG

Jacksonville to complete his studies. His playing drew the attention of noted pianist Marcus Roberts, with whom he performs regularly in Roberts’ Modern Jazz Generation alongside other outstanding young players.

Wilcox now looks to New York, both to further his education and to learn by doing, immersing himself in the vibrant and diverse musical environments the city has to offer.

His 2014 debut release I Could Imagine features thoughtful originals and blistering takes on classics, only hinting at what Wilcox has in store ahead.

EVAN CHRISTOPHER

CLARINET

Evan Christopher combines virtuosity, immaculate taste and enthusiasm with a commitment to exploring the full range of possibilities in the New Orleans clarinet tradition. His work strives to extend the legacies of early Creole clarinetists such as Sidney Bechet, Omer Simeon and Barney Bigard. Necessarily, Christopher’s career has revolved around New Orleans, first arriving in 1994 and finding a variety of freelance work, including performances with Al Hirt and veterans of Preservation Hall, as well as funk bands Galactic and the Nightcrawlers.

He returned to New Orleans in 2001, only to be driven to Paris following the devastation of Hurricane Katrina. Here, Christopher formed Django à la Créole, fusing Gypsy swing and New Orleans traditions, and gaining worldwide acclaim for its recordings and performances. Christopher frequently appears as a guest with forward-looking groups, performs educational workshops and outreach, and writes occasional music columns for New Orleans culture site NolaVie.com.

BRANDON LEE

TRUMPET

Brandon Lee was born in Houston, Texas, raised in a musical family and began playing trumpet at age 9. By his senior year in high school, he was among a group of 18 students selected by Wynton Marsalis to perform with the Jazz at Lincoln Center Orchestra for a Louis Armstrong PBS special. In 2001, Lee moved to New York to become a member of the inaugural Jazz Studies class at the Juilliard School. His reputation in the city grew quickly, and Lee has recorded with a substantial roster of jazz artists, including Eric Reed, Carl Allen, Rodney Whittaker, Vincent Herring, Kirk Whalum and the Jazz at Lincoln Center Orchestra. In 2013, Lee relocated to North Carolina, assuming a teaching position

in the Miles Davis Jazz Studies Program at the University of North Carolina Greensboro.

PRE-PERFORMANCE TALK SPEAKERS Jeremy Ganter oversees the curation and implementation of each Mondavi Center season, manages the Mondavi Center’s programming and arts education departments, and as associate executive director oversees the Mondavi Center’s operations division and plays a leadership role in the Center’s overall management and strategic direction. Recent work with UC Davis faculty has included four biennial contemporary music festivals with the UC Davis Department of Music, a symposium on indigenous arts, featuring Inuk throat singer Tanya Tagaq, a season-long festival featuring the performing arts of India and “Imagining Sound,” a showcase of UC Davis’ pioneering research at the intersection of science and art.

Rob Tocalino oversees all external communications and ticketing operations.

Prior to his work at the Mondavi Center, Tocalino worked as associate director of marketing at SFJAZZ, working closely on projects from the SFJAZZ Collective to overseeing a Mellon Foundation-funded initiative to introduce young audiences to jazz. Prior to that, he served as managing director of the Lake Tahoe Shakespeare Festival at Sand Harbor.

DERVISH & LE VENT DU NORD A World Stage Series Event Friday, March 17, 2017 • 7PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY

Cliff Popejoy

DERVISH Brian McDonagh mandola, mandolin Liam Kelly flute, whistles Tom Morrow fiddle, viola Shane Mitchell accordion Cathy Jordan vocals, bodhran, bones Michael Holmes bouzouki

LE VENT DU NORD Nicolas Boulerice vocals, hurdy-gurdy, piano Simon Beaudry vocals, bouzouki, guitar Olivier Demers violin, guitar, feet, mandolin, vocals Réjean Brunet bass, accordion, jaw harp, piano, vocals

ABOUT DERVISH

The Sligo Borough Council’s decision to award Dervish the Freedom of the Borough of Sligo cemented Dervish’s position as the preeminent band in Ireland’s wild west. The honor raised them into the exalted company of poet W.B. Yeats, who was the first person to be awarded the Freedom of Sligo.

Built upon two sturdy pillars—the hauntingly charismatic vocals of Cathy Jordan and the dazzling virtuosity of award-winning instrumentalists like Tom Morrow on fiddle, Liam Kelly on flute, and Shane Mitchell on accordion, Dervish is a solid structure of a band, its foundation in legendary pub sessions, its shape the result of years of international touring. In the most recent of many honors, Dervish was chosen to represent Ireland in the Eurovision Song Contest. In 2005, just after the group toured China in the company of the prime minister, Ireland’s premier music magazine Hot Press voted the band Best Traditional/Folk Group.

The solid rhythm playing of Brian McDonagh and Michael Holmes drives the band, whose concert performances are a myriad of tones and moods ranging from high energy tunes, played with fluidity and intuitiveness, to beautifully measured songs, from charming lyrics of life and love, to inspiring melodies that lift audiences from their seats. All the elements are drawn together by Jordan’s masterful stage presence. Her stories and her interaction

with the audience draws people into the music in a way very few performers can achieve. All this can be found in their fourth album Live in Palma, recorded before a captivated audience at Palma de Mallorca’s Teatre Principal.

Other recordings include A Healing Heart (2005), Spirit (2003), the retrospective Decade (2001), Midsummer’s Night (1999), At the End of the Day (1996), Playing with Fire (1995) and Harmony Hill (1993).

More than 20 years since first coming together, and with four of the original members still at the helm, Dervish’s colorful career has taken them to every corner of the globe and has seen them share center stage with such names as James Brown, The Buena Vista Social Club, Oasis, Sting, REM, Beck and many more. Dervish is a band that both celebrates Irish music and has been instrumental in bringing it to a worldwide audience.

Brian McDonagh

MANDOLA, MANDOLIN Brian McDonagh is an ex-founding member of the traditional group Oisin, who enjoyed extensive success in the 70s. He is originally from Dublin but moved to Sligo over a decade ago after leaving Oisin. He has extensive experience touring and playing on the international circuit. He is also an established painter in Ireland and has had many exhibitions at home and on the continent.

encoreartsprograms.com 21

Steakhouse & Modern American Liam Kelly

Downtown Davis Just minutes from Mondavi Center

113 D Street Davis, CA 530-564-4214

www.WindsOfChangeHouse.com

20% Off All Food items With mondavi ticket

FLUTE, WHISTLES Liam Kelly is a native of Sligo and a founding member. Born into a musical family, he began playing traditional Irish music at a very young age. He started on the accordion but later switched to the whistle and the flute, learning from local player Carmel Gunning. He is a veteran of many competitions, where he met Shane Mitchell.

This friendship lead to Poitin, a traditional group they formed while still at school.

Major concerts and tours were offered on the strength of their performances, but exam pressures (and their young ages) prevented them from capitalizing on their success. In 2009, Kelly released a solo album called Sweetwood to celebrate 20 years in Dervish, which features Michael Holmes on the bouzouki and Donnchadh Gough on the bodhran.

Tom Morrow

March is Membership Month at the Mondavi Center Being a Mondavi Center member means supporting and ensuring the future of quality performances and arts education programs we offer throughout the region.

In appreciation of this support, Mondavi Center members enjoy year-long benefits that enhance their enjoyment of the arts.

For the month of March the Mondavi Center membership team will be in the Yocha Dehe Grand Lobby before and during intermissions at all evening Jackson Hall performances to answer any questions regarding membership renewals and registrations.

Don’t have time tonight to visit with us?

Call Mondavi Center membership staff at 530-752-7354 for a private appointment or visit our website: mondaviarts.org/ways-to-give.

22 MONDAVIART S.ORG

FIDDLE, VIOLA Tom Morrow is the newest member of Dervish (joining in 1998) and is also the youngest. Morrow is a native of Carrigallen in County Leitrim and is the eldest of a musical family. He began playing music at an early age with Tommy Maguire, a native of Glenfarne, County Leitrim. He has played extensively with a wide range of musicians around Leitrim and Cavan including with the Cornafean Group and Antoin McGabhann.

While studying in Limerick, he was part of the city’s vibrant session scene. Morrow then lived and worked as a software consultant in Dublin for five years. During this time he played with many musicians, including the Mick O’Brien band and the Conor Byrne group as well as being a regular participant in sessions in Dublin and throughout the country. He has won numerous awards including the All Ireland senior fiddle championship. He has toured extensively in Europe, North America and Asia.

Shane Mitchell

ACCORDION Shane Mitchell is a native of Sligo and a founding member. He learned the accordion from well-known Sligo accordion player Alphie Joe Dineen. From a very young age, MItchell found himself drawn to local sessions as well as competing with regular success in competitions. It was in this environment that he first met Liam Kelly and later while still in school they formed a traditional group Poitin. The band met with great success, but school pressures and

DERVISH & LE VENT DU NORD their relatively young ages kept them from capitalizing on their early success. Mitchell plays a Briggs accordion from Doug Briggs in England.

Cathy Jordan

VOCALS, BODHRAN, BONES Cathy Jordan was born in Scramogue, County Roscommon, the youngest of seven children. Her love for traditional singing was instilled at a young age as music was abundant in her childhood home. Her parents were both singers as were her siblings, and Jordan herself had a repertoire at the age of 3. Alongside traditional music, Jordan was exposed to other types of music from the vast collection of recordings found in her house that had been sent by relations in America. She began singing publicly at feiseanna (Irish dance competitions) and concerts, christenings and weddings, and played in numerous bands, winning The Longford Leader entertainer of the year in 1985. Jordan joined Dervish in 1991 and began her recording career with the Dervish album Harmony Hill to huge critical acclaim. This saw her returning to her roots of traditional music and sparked a musical journey which has spanned over two decades.

Michael Holmes

BOUZOUKI Michael Holmes is a native of Sligo. His grand aunt Cissy Boyd was a proficient singer, tin whistle and accordion player.

Holmes’ sister Anne inherited their grand aunt’s musical talents and became a successful musician in her own right. Anne taught Holmes his first chords on the guitar and, through her own playing, got him interested in folk music. Anne emigrated to the states when Holmes was 16 years old and left him an old guitar which he used to continue teaching himself. While attending Summerhill College he met and became friends with Shane Mitchell and Liam Kelly.

Holmes had been involved with a few amateur bands and had begun playing folk music in a couple of local pubs, including the legendary Shoot the Crows.

ABOUT LE VENT DU NORD

“The quartet Le Vent du Nord is a leading force in (Quebec’s) progressive folk movement, and they leaven their harddriving, soulful music (a close cousin to Celtic music) with New Orleans polyphony and R&B. Featuring button accordion, guitar and fiddle, the band’s sound is defined by the hurdy-gurdy, which adds an earthy, rough-hewn flavor to even the most buoyant dance tunes.” — Boston Herald Since its inception in August 2002, Le Vent du Nord has been enjoying meteoric success. The band has received several prestigious awards, including a Juno, the Canadian equivalent to a Grammy Award, for Maudite Moisson! (2003) and La part du feu (2009). The latter was also named One of the Top Ten Folk Albums of 2009 (Boston Globe) and One of the Top Ten International Albums of 2009 (Los Angeles Times). The band is now one of the most-loved Quebec folk outfits throughout the world. Some songs come from traditional folk repertoire, while others are original compositions. On stage, these four friends achieve peaks of happiness that they eagerly share with their audiences.

The group’s eighth album, Têtu (“Determined”), has the band staying faithful to its Québécois roots, while at the same time taking an unyielding approach to innovative new ideas. From the opening atmospheric “Noce Tragique,” to the biting politics of “Confédération,” to the moving “Pauvre Enfant,” the new opus contains 15 tracks covering politics, love and satire, plus many foot-stomping dance tunes. With stripped down a cappella singing coupled with sophisticated arrangements, including a string quartet, Le Vent du Nord’s music is getting sharper, more refined and ever more thoughtful.

Nicolas Boulerice

VOCALS, HURDY-GURDY, PIANO Fed by the legacy of family songs and the collection of his father, his passion for music led Nicolas Boulerice to travel to France and Ireland to learn the game of the hurdygurdy. A talented and charismatic musician, Boulerice has traveled the folk circuit for 10 years. With Olivier Demers he recorded the album The north wind is still cargo ... which gave birth to the group Le Vent du Nord.

He has also worked with several artists, such as Ovo, Les Batinses, Dobacaracol, Les Zapartistes, Benoît Charest and Michel Faubert. He co-founded the record company Roues et Archets as well as La Veillée de

l’avant-Veille and Chants de, in which he remains active.

Simon Beaudry

VOCALS, BOUZOUKI, GUITAR Originally from Saint-Côme, Simon Beaudry comes from a milieu where tradition is very much alive. His grandfathers, respectively singer and fiddler, left Beaudry with a solid family background, which he built upon with a diploma in music at the Cégep de Joliette. Either solo or with his brother Eric (La Bottine Souriante, Norouet) Beaudry sang in the bistros of his region, showcasing the traditional repertoire of the Québécois songwriters. Subsequently, he accompanied the troupe Les petits pas jacadiens of SaintJacques-de-Montcalm before joining Le Vent du Nord, with which he now travels the world, armed with his soft voice and his guitar.

Olivier Demers

VIOLIN, GUITAR, FEET, MANDOLIN, VOCALS Formerly trained in violin, Olivier Demers began his musical career in chamber music, then in jazz. His great versatility led him to work with several artists (Le Cirque du Soleil, La Bottine Souriante, Michel Faubert, The Bills, Dany Bédar, among others). He now describes himself as a fiddler who has dedicated his life to traditional music.

He was part of the trio Montcorbie, the duo Boulerice-Demers (with two albums, including Best Traditional Album in Canada for Un peu d’ici, Un peu d’ca (“A bit of this, a bit of that”) in 2006.

Réjean Brunet

BASS, ACCORDION, JAW HARP, PIANO, VOCALS Réjean Brunet was very young when he undertook his apprenticeship of the traditional music of Quebec. After playing and recording three albums in duet with his brother André (La Bottine Souriante, Celtic Fiddle Festival), Brunet joined the group La Volée d’Castors. He toured with La Volée throughout Europe, Canada and the United States for eight years and recorded five albums. Brunet has also been guest artist for some of the most renowned traditional musicians, such as Sabin Jacques, Richard Forest, Gaston Nolet and many others, both on record and on stage. Though he grew up in the small village of Lacolle, today he shares his talent around the world.

In addition to his professional musician activities, he teaches diatonic accordion at the Cégep régional de Lanaudière in Joliette.

encoreartsprograms.com 23

ST. PETERSBURG PHILHARMONIC ORCHESTRA

Yuri Temirkanov, artistic director, chief conductor Garrick Ohlsson, piano An Orchestra Series Event Saturday, March 18, 2017 • 8PM Jackson Hall SPONSORED BY

PROGRAM Piano Concerto No. 1 in D Minor, op. 15 Brahms Maestoso Adagio

Rondo: Allegro non troppo

Garrick Ohlsson, piano INTERMISSION Symphony No. 5 in D Minor, op. 47 Shostakovich Moderato Allegretto Largo

Allegro non troppo

www.philharmonia.spb.ru Rosneft – Title Partner of the D.D. Shostakovich Saint Petersburg Academic Philharmonia Steinway Piano Mr. Ohlsson is represented by Opus 3 Artists US Tour Management: Opus 3 Artists | 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com 24 MONDAVIART S.ORG

ST. PETERSBURG PHILHARMONIC ORCHESTRA PROGRAM NOTES

PIANO CONCERTO NO. 1 IN D MINOR, OP. 15 (1854–1859)

JOHANNES BRAHMS (1833–1897)

In 1854, Brahms set out to produce a symphony in D minor as his first major orchestral work, and, to that end, he sketched three movements in short score. The first movement was orchestrated, but Brahms was not satisfied with the result, and he decided to transform his short score into a sonata for two pianos, but this still did not fulfill his vision—the ideas were too symphonic in breadth to be satisfactorily contained by just pianos, yet too pianistic in figuration to be completely divorced from the keyboard. He was quite stuck. In 1857, the composer Julius Otto Grimm, a staunch friend, suggested that his 24-yearold colleague try his sketch as a piano concerto. Brahms thought the advice sound, and he went back to work. He selected two movements to retain for the concerto and put aside the third, which emerged 10 years later as the chorus “Behold All Flesh” in The German Requiem. Things proceeded slowly but steadily and only after two more years of work was the Piano Concerto No. 1 ready for performance.

The concerto’s stormy first movement is among the most passionate and impetuous of all Brahms’ works. This movement follows the Classical model of double-exposition concerto form, with an extended initial presentation of much of the important thematic material by the orchestra alone (“first exposition”). The soloist enters and leads through the “second exposition,” which is augmented to include a lyrical second theme, not heard earlier, played by the unaccompanied piano. The central section of the movement begins with the tempestuous main theme, a Romantic motive filled with snarling trills and anguished melodic leaps.

The recapitulation enters on a titanic wave of sound, as though the crest of some dark, brooding emotion were crashing onto a barren, rocky shore. The lovely second theme returns (played again by the solo piano), but eventually gives way to the foreboding mood of the main theme.

The Adagio is a movement of transcendent beauty, of quiet, twilight emotions couched in a mood of gentle melancholy—of “something spiritual” in Clara Schumann’s words. Above the first line of the conductor’s score, Brahms penciled in the phrase Benedictus qui venit in nomine

Domini—“Blessed is he who comes in the name of the Lord.” This reference, really an informal dedication, is to his friend and mentor Robert Schumann, often addressed by his friends as “Mynheer Domine,” who died while Brahms was working on the concerto.

Such an overt association of his music with definite sentiments was highly unusual for this circumspect composer, and he later crossed out the Latin phrase. The emotion of deep tranquility, however, remains.

The finale, perhaps modeled on that of Beethoven’s Piano Concerto No. 3, is a weighty Rondo. Its theme is related to the lyrical second subject of the opening movement by one of those masterful strokes that Brahms used to unify his large works.

Among the episodes that separate the returns of the Rondo theme is one employing a carefully devised fugue, which grew directly from Brahms’ thorough study of the music of Bach. After a brief, restrained cadenza, the coda turns to the brighter key of D major to provide a stirring conclusion to this concerto, a work of awesome achievement for the 26-year-old Brahms.

SYMPHONY NO. 5, OP. 47 (1937)

DMITRI SHOSTAKOVICH (1906–1975)

“COMPOSER REGAINS HIS PLACE IN SOVIET,” read a headline of The New York Times on November 22, 1937. “Dmitri Shostakovich, who fell from grace two years ago, on the way to rehabilitation. His new symphony hailed. Audience cheers as Leningrad Philharmonic presents work.”

The background of Shostakovich’s Fifth Symphony is well known. His career began before he was 20 with the cheeky First Symphony; he was immediately acclaimed the brightest star in the Soviet musical firmament. In the years that followed, he produced music with amazing celerity, and even managed to catch Stalin’s attention, especially with his film scores. (Stalin was convinced that film was one of the most powerful weapons in his propaganda arsenal.) The mid-1930s, however, the years during which Stalin tightened his iron grip on Russia, saw a repression of the artistic freedom of Shostakovich’s early years, and some of his newer works were assailed with the damning criticism of “formalism.”

The opera The Nose, the ballets The Golden Age and The Bolt and even the blatantly jingoistic Second and Third Symphonies were the main targets. The storm broke in an article in Pravda on January 28, 1936 titled “Muddle Instead of Music.” The “muddle” was the opera Lady Macbeth of the Mzensk

District, a lurid tale of adultery and murder in the provinces that is one of Shostakovich’s most powerful creations. The nature of the criticism may be judged from the title of the article, though no reason was given why it did not appear until two full years after Lady Macbeth had been premiered in January 1934 and been running successfully for the entire interval. The denunciation, though it urged Shostakovich to reform his compositional ways, also encouraged him to continue his work, but in a manner consistent with Soviet ideals. As “A Soviet composer’s reply to just criticism”—a phrase attributed to Shostakovich by the press, though it does not appear in the score—the Fifth Symphony was created and presented to an enthusiastic public. Shostakovich had apparently returned to the Soviet fold, and in such manner that in 1940 he was awarded the Stalin Prize, the highest achievement then possible for a Russian composer.

After the appearance in 1979 of Shostakovich’s purported memoirs (Testimony), however, the above tale needs some reconsideration. The prevailing interpretation of the Fifth Symphony had been that generally it represented triumph through struggle, à la Beethoven’s Fifth and Ninth Symphonies, and specifically the composer’s renunciation of his backslidden, ideological ways. Only three months after the premiere, Shostakovich wrote in an official publication, “The theme of my Symphony is the stabilization of the personality. In the center of this composition—conceived lyrically from beginning to end—I saw a man with all his experiences. The Finale resolves the tragically tense impulses of the earlier movements into optimism and joy of living.”

With that statement, the Soviet authorities were given exactly the explanation that they demanded, and Shostakovich was “rehabilitated.”

The story seemed so pat that it went unquestioned for years. However, some rethinking after Shostakovich’s death led Ray Blokker, in his book on the composer’s symphonies, to conclude, “The Fifth was a challenge rather than an apology, despite the way in which the state received it.” Why, for example, did Shostakovich not write a patriotic cantata loaded with folk songs and nationalistic bombast if his sole aim were his return to grace? Why an abstract, supranational work like a symphony? Was there some hidden power or message in the music that could speak to the individual while remaining beyond the censor’s wrath? In Testimony, Shostakovich, bitter, encoreartsprograms.com 25

ST. PETERSBURG PHILHARMONIC ORCHESTRA ill, disillusioned, gave a ringing, affirmative answer to this last question: “I think it is clear to everyone what happens in the [finale of the] Fifth Symphony. The rejoicing is forced, created under threat, as in Boris Godunov. It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off muttering, ‘Our business is rejoicing, our business is rejoicing.’ What kind of apotheosis is that? You have to be a

complete oaf not to hear that.... People who came to the premiere of the Fifth in the best of moods wept.” One of his greatest fears when the Fifth Symphony was new was that his true intention—the deep, soul-burning irony of the work—was so obvious that someone would inform on him. No one did.

Stravinsky once said that Soviet composers were good, but that they could not afford the luxury of integrity. He seems to have been wrong about Shostakovich.

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Shostakovich’s thoughts about the Fifth Symphony bear directly on the listener’s perception of the work. The key to the meaning of the score, its finale, cannot be seen simply as a transcendence or negation of the tragic forces invoked in the earlier movements, especially the third, but becomes an affirmation of them.

The boisterous trumpets and drums are not those of a festival or a peasant dance, but of a forced death march—Stalin’s “exterminations” outnumbered those of Hitler. The Fifth Symphony arose not from Shostakovich’s glorification of his nation. It arose from his pity.

The Fifth Symphony is cast in the traditional four movements. The sonata form of the first movement begins with a stabbing theme in close imitation. A group of complementary ideas is presented before the tempo freshens for the second theme, an expansive melody of large intervals whose shape bears some resemblance to that of the main theme. The sinister sound of unison horns in their lowest register marks the start of the development section. The intensity of this section builds quickly to a powerful, almost demonic march.

The recapitulation rockets forth from a series of fierce brass chords leading to a huge, sustained climax after which the music’s energy subsides to allow the second theme to be heard in a gentle setting assigned to flute and horn. Quiet intensity pervades until the movement ends with ethereal scales in the celesta.

The Symphony’s scherzo comes second to act as a buffer between the emotional weight of the first and third movements. It has much of the sardonic humor that Shostakovich displayed in such movements throughout his life, but it also bears an unmistakable debt to the music of Gustav Mahler, especially in the passage in the central trio for solo violin, which closely resembles an important sonority in Mahler’s Fourth Symphony.

The Symphony’s greatest pathos is reserved for the third movement. It is dominated by string sonorities, with woodwinds and percussion providing limited timbral contrast.

The heavy brass are silent. This movement is best heard not in a specific formal context but as an extended soliloquy embracing the most deeply felt emotions. For much of its length, the expression is subdued, but twice the music gathers enough strength to hurl forth a mighty, despairing cry. As in the first movement, the disembodied sound of the celesta (reinforced here by the harp) closes this gripping Largo, which the eminent Russian-American conductor Serge Koussevitzky thought to be the greatest symphonic slow movement since Beethoven.

The finale is divided into three large sections, determined as much by moods as by

themes. The outer sections are boisterous and extroverted, the central one, dark-hued and premonitory. The robust scoring and vigorous marching motion of the beginning and end are deeply indebted to the Russian tradition of such works as Tchaikovsky’s Second and Fourth Symphonies. Whether the mood of rough vigor of this framing music or the tragedy of the central section stays longer in the mind is a matter listeners must determine for themselves.

The delicate formal balance Shostakovich here achieved could be tipped in either direction depending on the experience the individual brings to it. Only great masterworks can simultaneously be both so personal and yet so universal. ©2017 Dr. Richard E. Rodda

ST. PETERSBURG PHILHARMONIC ORCHESTRA

According to foreign critics, the history of the St. Petersburg Philharmonic Orchestra—”part of the world elite and, no doubt, historically the most important of the Russian orchestras”—began with the decree of Alexander III dated July 16, 1882, which initiated the creation of the Court Choir.

Transformed into the Court Orchestra at the beginning of the 20th century, for the first time in Russia, the orchestra performed the symphonic poems “The Life of a Hero” and “Thus Spake Zarathustra” by Richard Strauss, Mahler’s First Symphony, Bruckner’s Ninth Symphony, Scriabin’s “Poem of Ecstasy” and Stravinsky’s First Symphony. Arthur Nikish and Richard Strauss conducted the orchestra as well as Alexander Glazunov, who dedicated the “Festival Overture” to the orchestra.

In 1917, the Court Orchestra became the State Orchestra, and was headed by Serge Koussevitzky.

In 1921, the orchestra, given the hall of the former Noble Assembly at its disposal, opened the country’s first Philharmonic.

The unprecedented in scale activities of the orchestra drew a new—and sometimes far removed from classical music—audience to its Grand Hall. Outstanding Russian musicians underwent a rigorous test of their conducting skills with the orchestra. Such legendary Western conductors as Bruno Walter, Felix Weingartner, Hermann Abendroth, Oskar Fried, Erich Kleiber, Pierre Monteux and Otto Klemperer; soloists Vladimir Horowitz and Sergei Prokofiev performed with the orchestra.

The orchestra mastered a vast contemporary repertoire. In 1918, it presented the premiere of Prokofiev’s “Classical Symphony” and in 1926, Shostakovich’s First Symphony.

April 23–29, 2017 In honor of National Volunteer Week, Mondavi Center gives thanks to our ushers!

National Volunteer Week offers opportunities to thank some of America’s most valuable assets—our volunteers—and to recognize the myriad of ways they improve our communities.

Our volunteer ushers give their time and hospitality to provide our audiences with a memorable performance experience. They are an invaluable asset to our organization with their talent and dedication.

For more information on how you can volunteer at the Mondavi Center, visit: mondaviarts.org/support-us/volunteering

The UC Davis Office of Campus Community Relations is a proud supporter of the Mondavi Center The Campus Community Book Project was initiated to promote dialogue and build community by encouraging diverse members of the campus and surrounding communities to read the same book and attend related events.

The book project advances the Office of Campus Community Relations’ mission to improve both the campus climate and community relations, to foster diversity and to promote equity and inclusiveness.

Stuffed and Starved, 2016-2017 CCBP featured book

http://occr.ucdavis.edu

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the world. In 1946, the orchestra embarked on its first foreign trip—and gave its first overseas performance in the country’s symphonic performance history. This was followed by regular tours around the world, performing at the most prestigious European festivals. A unique and creative alliance formed between Dmitri Shostakovich and Evgeny Mravinsky, to whom the composer devoted the Eighth Symphony. The conductor and the orchestra performed five of Shostakovich’s symphonies for the first time.

In fact, a tradition of an original interpretation of famous scores was born.

Music of the 20th century as a whole assumed a significant role in the orchestra’s repertoire.

Alternating as the second conductor of the orchestra were Kurt Sanderling, Arvīds Jansons and Mariss Jansons; at the podium were Leopold Stokowski, Lorin Maazel, Zubin Mehta, Kurt Masur, Evgeny Svetlanov, Gennady Rozhdestvensky and composers Benjamin Britten, Aaron Copland, Zoltán Kodály, Witold Lutoslawski, Luciano Berio, Krzysztof Penderecki and soloists: Van Cliburn, Glenn Gould, Arturo Benedetti Michelangeli, Isaac Stern, Sviatoslav Richter, Emil Gilels, Davis Oistrakh, Eliso Virsaladze, Nikolai Petrov, Grigory Sokolov, Viktor Tretyakov, Leonid Kogan, Natalia Gutman, Vladimir Krainev, Vladimir Spivakov and Alexei Lyubimov.

Since 1988, Yuri Temirkanov has headed the orchestra. The orchestra’s repertoire is constantly being updated with new works— among the most recent are the Russian premieres of Nono’s “Interrupted Song”, Penderecki’s “Polish Requiem” and the First Symphony by Borisova-Ollas. The orchestra’s busy touring schedule for the 2015–2016 season included concerts at Milan’s La Scala and Rome’s Academy of Santa Cecilia, London’s Royal Albert Hall, the Paris Theatre des Champs Elysees, Madrid’s National Music Auditorium, Jurmala’s “Dzintari”, Tokyo’s Suntory Hall and the Beijing Concert Hall in the Forbidden City, where the musicians performed as part of the project—”Day of Russia in the World.”

This season, along with tours in France, Switzerland, Netherlands, UK, Spain and the US, the orchestra has performances scheduled at the opening of the International Festival of Mstislav Rostropovich in Moscow. On the St. Petersburg program: Tchaikovsky’s First Piano Concerto in the composer’s first edition;

ST. PETERSBURG PHILHARMONIC ORCHESTRA Rachmaninoff’s First Symphony in a modern version for piano and orchestra by Alexander Varenberg (world premiere); Nocturne “Sur le même accord” by Dutilleux (Russian premiere); “Paintings of Provence” (from the joint cycle of the Grand Hall of the Philharmonic and the State Hermitage), which received its name from the little-known composition (to the Russian public) by the Frenchwoman Paule Maurice. Also featured will be “Passacaglia” by Webern; Berg’s “Seven Early Songs”; “Century Rolls” by Adams; Mijo’s suite “Scaramouche”; “Children’s Suite” by Ustvolskaya; and Symphony No. 21 from “Faust by Goethe” by Slonimsky.

Conductors such as Marek Janowski, Thomas Sanderling, Jean Claude Casadesus, Vassily Sinaysky, Ion Marin, Alexander Polyanichko, Juozas Domarkas, Pavel Bubelnikov, Alexander Titov and Felix Korobov will lead the orchestra; soloists Julia Fisher, Sergey Khachatryan, Andrei Baranov, Ilya Gringolts, Sergei Dogadin, Andrei Knyazev, Alice Sara Ott, Rudolf Buchbinder, Denis Matsuev, Boris Berezovsky, Nikolai Lugansky, Kirill Gerstein, Miroslav Kultyshev, Vladimir Mishchuk , Philipp Kopachevsky, Alexei Zuev, Nadine Koutcher and Olesya Petrova.

YURI TEMIRKANOV

ARTISTIC DIRECTOR, CHIEF CONDUCTOR Acknowledged master of the conductor’s art, Yuri Temirkanov has been the artistic director of the St. Petersburg Philharmonic, as well as its principal conductor since 1988.

“Yuri Temirkanov’s conducting is like a magical immersion into a world that would have been lost to us, if not for the great conductor, one of the last giants of the last century” (Le Monde, 2012). Among the artist’s engagements this year alone include conducting the Chicago and the Baltimore Symphony Orchestras, concerts with the orchestras of Santa Cecilia Academy, the London Philharmonic and Teatro La Fenice.

World-renowned orchestras have invited the musician to partner with them for more than three decades. During 1979–1998, Temirkanov worked with the London Royal Philharmonic Orchestra, first as chief guest conductor, and since 1992, as the principal conductor. Maestro also led the Baltimore Symphony Orchestra (2000–2006), was the chief guest conductor of the Dresden Philharmonic Orchestra (1992–1997) and the Danish Radio Symphony Orchestra (1998–2008).

But, according to Temirkanov, his home has always been and remains—St. Petersburg, where the artist began his ascent to the Olympic heights of the conductors’ art. In

FIRST VIOLIN

Lev Klychkov – Concertmaster Pavel Popov Alexander Zolotarev Iurii Ushchapovskii Valentin Lukin Tikhon Lukianenko Olga Rybalchenko Anna Fenster Natalia Sokolova Sergei Teterin Vera Vasileva Nikolai Tkachenko Aisylu Saifullina Sergei Tiutiunik Tatiana Makarova Iaroslav Zaboiarkin Lev Mikhailovskii Grigory Sedukh

SECOND VIOLIN

Ilia Kozlov – Principal Igor Zolotarev Tatiana Shmeleva Dmitrii Petrov Liubov Khatina Ekaterina Belaya Dmitrii Koriavko Argine Stepanian Ruslan Kozlov Elizaveta Petrova Nikolai Dygodyuk Konstantin Basok Mariia Irashina-Pimenova Mikhail Alekseev Semen Klimashevskiy Vladimir Shuliakovskii

VIOLA

Andrei Dogadin– Principal Iurii Dmitriev Aleksei Bogorad Denis Gonchar Dmitrii Kosolapov Konstantin Bychkov Iosif Nurdaev Mikhail Sokolov Aleksandr Chizhov Leonid Lobach Anton Shestakov Dmitrii Kreshchenskyi Alexey Koptev Elena Panfilova

CELLO

Dmitrii Khrychev – Principal Taras Trepel Sergei Cherniadev Nikita Zubarev Aleksandr Kulibabin Dmitry Eremin Andrei Efimovskii Mikhail Slavin Nikolai Matveev Stanislav Lyamin Evgenii Kogan

CONTRABASSOON

Mikhail Krotov

HORN

Igor Karzov Stanislav Avik Oleg Skrotskiy Anatolii Surzhok Nikolai Dubrovin Oleg Egorov

TRUMPET

Viacheslav Dmitrov Bogdan Dekhtiaruk Alexey Belyaev Mikhail Romanov

DOUBLE BASS

Artem Chirkov – Principal Rostislav Iakovlev Oleg Kirillov Nikita Makin Mikhail Glazachev Nikolai Chausov Aleksei Ivanov Aleksei Chubachin Nikolai Syrai Arsenii Petrov

TROMBONE

Maksim Ignatev – Principal Dmitrii Andreev Denis Nesterov Vitaly Gorlitskiy

TUBA

Dmitrii Karakhtanov

FLUTE

Marina Vorozhtsova – Principal Dmitry Terentiev Olesia Tertychnaia Olga Viland

FLUTE PICCOLO

Ksenia Kuelyar-Podgaynova

OBOE

PERCUSSION

Dmitrii Klemenok Mikhail Lestov Ruben Ramazyan Alexandr Mikhailov Anton Nazarko Artemy Znamenskiy

HARP

Artem Isaev – Principal Pavel Sokolov Artem Trofimenko

Anna Makarova Andres Izmaylov

ENGLISH HORN

Maxim Pankov

CLARINET

Mikhail Aleynikov

PIANO AND CELESTA

Mikhail Dymskii

LIBRARIAN

Andrei Laukhin – Principal Nikita Liutikov Denis Sukhov Aleksandr Vasilev

STAGE MANAGER

Grigorii Grigorev

TECHNICIAN

BASS CLARINET

Alexander Vinogradov

BASSOON

Ilya Teplyakov

Vitalii Rumiantcev

EXECUTIVE DIRECTOR

Mark Kreshchenskyi Vasily Chernichka Anton Gutsevich

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1967, as post-graduate of the Leningrad Conservatory, and as the winner of the All-Union Conductors’ Competition, he performed in the Grand Hall of the Philharmonic for the first time. A year later, the 29-year-old musician stood behind the podium of his own orchestra—the Leningrad Philharmonic Symphony Orchestra (now the St. Petersburg Symphony Orchestra). Working together strengthened the reputation of both the conductor and the orchestra and they went on to perform at the Concertgebouw in Amsterdam and New York’s Carnegie Hall.

Temirkanov’s name is associated with the beginning of the revival of the Mariinsky (Kirov) Theater. During 1976–1988, the musician was its artistic director and principal conductor. During this time, the repertoire included performances of such masterpieces as “Eugene Onegin” (even today, they are performed as directed by Temirkanov); “The Queen of Spades” by Tchaikovsky; “War and Peace” by Prokofiev; “Peter I” by Petrov; and “Dead Souls” by Shchedrin. The troupe began actively touring in the U.S., Japan and Europe, and symphonic concerts by the theater orchestra were again put into practice, including abroad.

“The most important thing in my orchestra (at least I hope so)—is that the musicians come to me to work not just for the money. They come to serve this cause,”—Maestro devoted these words to the Honored Ensemble of Russia. More than a quarter century has passed since the beginning of their creative collaboration.

These were years enriched by concerts in many countries and at the most famous venues. Among them, New York’s Carnegie Hall (where, in 2005, the orchestra was the first Russian orchestra to open the concert season); the Suntory Hall in Tokyo; Theatre des Champs Elysees in Paris; London’s Barbican Hall; the Berlin Philharmonic; La Scala in Milan; Musikverein in Vienna; and Amsterdam’s Concertgebouw. The foreign press does not skimp on epithets. “This orchestra is the national treasure of Russia, and conductor, Yuri Temirkanov is one of the best in the world” (The Washington Post, 2014).

During the 2015–2016 season, the conductor and his orchestra carried out six concert tours, visiting Italy (three times), France (twice), Spain (twice), the United Kingdom, Switzerland, Romania, Latvia, Japan and China; and participated in such festivals as Annecy Classic, MITO

ST. PETERSBURG PHILHARMONIC ORCHESTRA SettembreMusica, BBC Proms, Lucerne Festival and the George Enescu Festival.

Of course, regular performances are held in the musicians’ “home”—the Grand Hall of the St. Petersburg Philharmonic. Here, this season the music of Brahms will be played under the baton of Maestro, as well as Bruckner, Ravel, Respighi, Bizet, Shchedrin, Tchaikovsky, Rachmaninoff, Stravinsky, Prokofiev, Shostakovich and Khachaturian.

“Asking me why I postponed everything and came to the Yuri Temirkanov concert today, is the same as asking a woman why she gives birth to a child. This is my need, an urgent need to listen to music in a great performance.” (Armen Dzhigarkhanyan).

A musician’s creativity is recognized not only by the public and critics (Italians, in particular, in the 2000s, twice honored him with the prestigious Abbiati Award in the category of Best Conductor). Temirkanov has been honored as the People’s Artist of USSR, laureate of the State Prize and the President of Russia Prize, the holder of the Order “For Services to the Fatherland”, Commander of the Order of the Star of Italy, an honorary member of the Academy of Santa Cecilia, an Honorary Doctor of the St. Petersburg Conservatory, honorary citizen of St. Petersburg—and this is not a complete list of Temirkanov’s regalia. In 2015, the following were added to this listthe Teatro La Fenice Foundation Award “Life in Music” and the Japanese title of Knight of the Order of the Rising Sun. In November 2015, Temirkanov was appointed the first-ever Honorary Life Conductor of the orchestra and choir of the National Academy of Santa Cecilia (Rome).

The conductor’s life is not just confined to the concert stage. Among Maestro Temirkanov’s International Fund for Cultural Initiatives projects are the E. Kolobov Prize Foundation, which was established for musicians of the Moscow “New Opera” theater; scholarships for students of the St. Petersburg Conservatory and students of the Central Special Music School. For more than 15 years, the conductor has directed the Arts Square festival, which, along with the St. Petersburg Philharmonic involves the Mikhailovsky Theatre, the Musical Comedy Theatre and the Russian Museum. Unique in its concept, the festival gathers artists of the highest caliber in the city, confirming the status of St. Petersburg as one of the cultural capitals of Europe.

GARRICK OHLSSON

PIANO Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Ohlsson commands an enormous repertoire, which ranges over the entire piano literature. A student of the late

Claudio Arrau, Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date, he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him. This season, that vast repertoire can be sampled in concerti ranging from Rachmaninoff’s popular Third and rarely performed Fourth, to Brahms Nos. 1 and 2, Beethoven, Mozart, Grieg and Copland

FURTHER LISTENING

by Jeff Hudson

THE ST. PETERSBURG PHILHARMONIC The St. Petersburg Philharmonic has been associated with the Shostakovich Fifth Symphony since the work’s premiere in 1937. The orchestra was known at that time as the Leningrad Philharmonic (reflecting Soviet-era renaming of that city after Lenin), and the composer was coming off a severe 1936 denunciation, reflecting Stalin’s displeasure with the Shostakovich opera Lady Macbeth of the Mtsensk District. The successful premiere of the Fifth Symphony marked a remarkable political and popular restoration for Shostakovich—the ovation went on for more than half an hour, and conductor Yevgeny Mravinsky waved the score above his head at the cheering crowd.

Mravinsky and the Leningrad Phil then recorded the Shostakovich Fifth (on 78s) in 1938, and Mravinsky premiered several subsequent Shostakovich symphonies. The Leningrad Phil and Mravinsky revisited the Shostakovich Fifth again (on the Erato label) in 1982, about seven years after the composer’s passing. The orchestra returned to it once more in 2005 (as the St. Petersburg Philharmonic) with Yuri Temirkanov conducting.

There have been many other recordings by other orchestras and conductors, and there are new ones almost every year—for instance, the Boston Symphony Orchestra and conductor Andris Nelsons released a new recording (on Deutsche Grammophon) in 2015 (part of the series “Shostakovich—Under Stalin’s Shadow”).

Pianist Garrick Ohlsson has enjoyed a long career as a recording artist, including the complete piano works of Chopin (a 16-CD set) for Arabesque (now available on Hyperion). Ohlsson has also recorded the complete Beethoven piano sonatas (a 10-CD set) for Bridge. And he’s still at it—in December 2016, Bridge Records released a 2-CD set by Ohlsson playing the Scriabin piano sonatas; and in May 2016, Hyperion released a CD of Ohlsson performing Smetana’s “Czech Dances.” Also notable is Ohlsson’s 2012 album Close Connections (Bridge), containing music by five contemporary composers with whom he was personally acquainted—the album’s liner notes reflect Ohlsson’s perceptive recollections.

Ohlsson recently recorded the Brahms Piano Concertos Nos. 1 and 2 with the Melbourne Symphony Orchestra (released in 2014). You might also want to check out the 2014 chat between Garrick Ohlsson and the Mondavi Center’s Lara Downes—part of her ongoing series “Artists on the Bench” for San Francisco Classical Voice. Ohlsson describes attending (at age 17) a Carnegie Hall recital by the legendary Sviatoslav Richter, and then encountering a bootleg recording of that performance (nearly 50 years later) on YouTube.

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

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ST. PETERSBURG PHILHARMONIC ORCHESTRA in cities including Philadelphia, Atlanta, Detroit, Dallas, Miami, Toronto, Vancouver, San Francisco, Liverpool and Madrid, ending with a spring U.S. West Coast tour with the St. Petersburg Philharmonic conducted by Yuri Temirkanov. In recital, he can be heard in Los Angeles’ Walt Disney Concert Hall, New York, New Orleans, Hawaii and Prague.

A frequent guest with the orchestras in Australia, Ohlsson has recently visited Perth, Brisbane, Melbourne, Sydney, Adelaide and Hobart as well as the New Zealand Symphony in Wellington and Auckland.

An avid chamber musician, Ohlsson has collaborated with the Takacs, Cleveland, Emerson and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Franciscobased FOG Trio. Passionate about singing and singers, Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman and Ewa Podles.

Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion and Virgin Classics labels. His 10-disc set of the complete Beethoven sonatas, for Bridge Records, has garnered critical acclaim, including a Grammy Award for Vol. 3. His recording of Rachmaninoff’s Concerto No. 3, with the Atlanta Symphony and Robert Spano, was released in 2011. In the fall of 2008, the English label Hyperion rereleased his 16-disc set of the Complete Works of Chopin followed in 2010 by all the Brahms piano variations, Goyescas by Enrique Granados and music of Charles Tomlinson Griffes. Most recently on that label are Scriabin’s Complete Poèmes, Smetana Czech Dances, and ètudes by Debussy, Bartok and Prokofiev. The latest CDs in his ongoing association with Bridge Records are Close Connections, a recital of 20thcentury pieces, and two CDs of works by Liszt, with Scriabin complete sonatas due for release this season. In recognition of the Chopin bicentenary in 2010, Ohlsson was featured in a documentary The Art of Chopin co-produced by Polish, French, British and Chinese television stations. Most recently, both Brahms concerti and Tchaikovsky’s second piano concerto were released on live performance recordings with the Melbourne and Sydney Symphonies on their own recording labels, and Ohlsson was featured on Dvořák’s piano concerto in the Czech Philharmonic’s live recordings of the composer’s complete symphonies and

concertos, released in 2014 on the Decca label.

A native of White Plains, New York, Ohlsson began his piano studies at the age of 8 at the Westchester Conservatory of Music; at 13 he entered The Juilliard School in New York City. His musical development has been influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne and Irma Wolpe. Although he won first prizes at the 1966 Busoni Competition in Italy and the 1968 Montréal Piano Competition, it was his 1970 triumph at the International Chopin Competition in Warsaw, where he won the Gold Medal (and remains the single American to have done so), that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland, where he retains immense personal popularity. Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Michigan. He is also the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music. He makes his home in San Francisco.

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THE REAL NASHVILLE

The Del McCoury Band & Béla Fleck and Abigail Washburn An American Heritage Series Event Tuesday, March 21, 2017 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY

John and Lois Crowe

THE DEL MCCOURY BAND Del McCoury guitar Ronnie McCoury mandolin Rob McCoury banjo Alan Bartram bass Jason Carter fiddle

Béla Fleck banjo Abigail Washburn banjo

DEL MCCOURY

GUITAR For 50 years, Del McCoury’s music has defined authenticity for hard-core bluegrass fans as well as a growing number of fans only vaguely familiar with the genre. McCoury is a living link to the days when bluegrass was made only in hillbilly honkytonks, schoolhouse shows and on the stage of the Grand Ole Opry, yet he is also a commandingly vital presence today, from prime time and late night talk shows on television to music festivals where audiences number in the hundreds of thousands. “Here’s a guy who has been playing for 50 years, and he’s still experimenting—still looking to do things outside the box—to bring other kinds of music into bluegrass form,” says Americana music icon Richard Thompson, who saw his “1952 Vincent Black Lightning” turned into a bluegrass standard when McCoury brought it into the fold.

Born in York County, Pennsylvania in 1939, McCoury would once have seemed an unlikely candidate for legendary status.

Bitten hard by the bluegrass bug when he heard Earl Scruggs’ banjo in the early 50s, McCoury became a banjo picker himself, working in the rough but lively Baltimore and D.C. bar scene into the early 1960s. He got his first taste of the limelight when he joined

Bill Monroe’s Blue Grass Boys in early 1963.

The Father of Bluegrass moved McCoury from the banjo to guitar, made him his lead singer and gave him a lifetime’s worth of bluegrass tutelage direct from the source in the course of little more than a year. But rather than parlay his gig with the master into a full-time career of his own, he returned to Pennsylvania in the mid-60s to provide steady support for his new and growing family.

Within a few years, McCoury had settled into work in the logging industry and formed his own band, the Dixie Pals. For the next 15 years, he piloted the group through a part-time career built mostly around weekend appearances at bluegrass festivals and recordings for labels ranging from the short-lived and obscure to roots music institutions like Arhoolie and Rounder Records. And while there were the inevitable personnel changes and struggles to contend with, McCoury was also building a songbook filled with classics remade in his own image and a growing number of originals.

The first big sign of change came in 1981, when McCoury’s 14-year-old son, Ronnie, joined the Dixie Pals as their mandolin player. Banjoplaying younger brother Rob came on board five years later, and by the end of the decade, the three McCourys were ready to make a move.

“We came to Nashville in 1992,” Ron recalls, “and it was Dad’s idea. He’d been watching bluegrass encoreartsprograms.com 35

on TNN—Bill Monroe, the Osborne Brothers, Jim & Jesse—and thought that it was the place to be, that we’d have a new outlet there, where we could get some more attention. And without a doubt, moving to Nashville and just going for it turned out to be really big.”

Armed with a new Rounder Records association—and a newly-named Del McCoury Band that soon included not only his sons but a complete cast of youngsters—Del McCoury’s career soared. The elder McCoury himself got the ball rolling early in the decade with three consecutive Male Vocalist of the Year awards from the prestigious International Bluegrass Music Association (IBMA), and in 1994, the quintet began an astonishing streak of top Entertainer of the Year honors that would net them nine trophies in an 11-year stretch—along with ongoing honors for Ronnie (eight Mandolin Player of the Year awards), fiddler Jason Carter (three Fiddle Player of the Year trophies), and a wide array of projects featuring Del and the ensemble.

Though the ’90s propelled the Del McCoury Band to the top of the bluegrass world, they also gave birth to a more startling phenomenon: the emergence of the group onto the larger musical scene as a unique torchbearer for the entire sweep of bluegrass and its history. The unmistakable authenticity of McCoury’s music— along with his good-natured willingness to keep alert for new sounds and new opportunities— had bred fans in some unlikely places.

That bluegrass-bred stars like Vince Gill and Alison Krauss would sing his praises wasn’t surprising, but who would have expected country-rock icons like Steve Earle or jam bands like Phish to have joined in the chorus?

By the second half of the 90s, the acclaim— and McCoury’s open-mindedness—put the McCourys in onstage jams with Phish and on the road and in the studio with Earle, bringing the Del McCoury Band’s fierce musicianship and its leader’s instantaneous, easygoing connection with listeners to new arenas. The group appeared on television, toured rock clubs and college campuses, and found itself welcome at country and even jazz-oriented music festivals and venues.

Ronnie McCoury tells a story from a recent appearance that underlines just how broad an appeal the band’s music has these days. “You know, we’ve really been getting outside of the bluegrass box,” he says with a laugh. “I mean, dad’s voice is what you’d call traditional, but he’s open-minded, too. And so it seems like in the last few years, especially, he’s become more than bluegrass—he’s being recognized as just a great singer, period. Last year we played at the Austin City Limits festival, and the limo driver who picked us up said he’d just taken Bjork out to 36 MONDAVIART S.ORG

the festival—and she was telling him that she wanted to see us. It’s just unbelievable.”

Yet even as they reach out to almost unimaginable audiences, McCoury’s music retains its signature characteristics. “What I most admire about someone like Del,” says Gill, “is that he’s one of the last patriarchs that really played the music in its authentic way. And even though he’s willing to bend a little bit, to be out there playing at jam band festivals and things like that, it doesn’t sound like what the new people do with bluegrass. He’s done a great job of bringing new songs into the fold, but when he sings them they sound like 1959 or 1962 again. It still has the element of his voice, and the authenticity of it never goes away, never changes. And even after doing it for 50 years, he’s at the top of everybody’s list of what’s going on today with bluegrass.”

RONNIE MCCOURY

MANDOLIN Ronnie McCoury was born in York County, Pennsylvania in 1967. It was in York County that he made his home for the first 24 years of his life. In January of 1992, he and his wife Allison made the move to Nashville where they have since resided. Growing up in a house where bluegrass music was played and listened to, Ronnie had exposure to the genre from a very young age. Many picking parties were held at the house, along with rehearsals that his dad would have with his band The Dixie Pals.

Like lots of young boys, sports interested Ronnie very much. In particular, baseball and basketball. At the age of 9 he started taking violin lessons, though after two years, he gave it up for sports. He played sports all the way through high school, but when he was 13, after attending a show with his dad where he saw Bill Monroe perform, he decided that he wanted to play the mandolin. He practiced for six months and when his dad had an opening in the band for a mandolin player, he asked Ron to fill it. That was on May 28, 1981 and Ronnie has been playing with his dad ever since.

In 1995, Ronnie and Rob teamed up and put out a self-titled CD on Rounder Records. In 1998, Ronnie teamed up with David Grisman and other great mandolin players to record Mandolin Extravaganza (Acoustic Disc, 1999).

This CD was nominated for a Grammy Award and won Instrumental Album of the Year and Recorded Event of the Year at the IBMA awards show in 2000. In 1999, Ronnie also coproduced The Mountain with Steve Earle and The Del McCoury Band.

Along with his award-winning mandolin playing, Ronnie is also a singer/songwriter and

producer. He has recorded or performed with such diverse acts as Bill Monroe, Earl Scruggs, Phish, Charlie Daniels, John Hartford, Vince Gill, Loretta Lynn, Alison Krauss, David Grisman, Dierks Bentley, Garth Brooks, the Allman Brothers, John Paul Jones and countless others.

Ronnie is married to Allison Bliss from Massachusetts and they have three children, Evan, Joshua and Emma. Having children inspired Ronnie to put out his next project, Little ‘Mo McCoury, a CD full of children’s songs done bluegrass style.

ROB MCCOURY

BANJO Rob McCoury was born in 1971 in York, Pennsylvania as Robin Floyd McCoury. His earliest memories are of music, especially since it was everywhere around the house. There were picking parties, rehearsals and festivals. Rob went to his first bluegrass festival at Ontalanee Park in Allentown, Pennsylvania when he was 6 weeks old.

Rob “caught the pickin’ bug” when he was just 8 years old, after seeing the Osborne Brothers at Sunset Park in West Grove, Pennsylvania. He then realized how fortunate he was to have a great teacher in the house. Although he feels at times he was trying on his dad’s patience, he remembers that his dad would always take the time to show him the right way to pick, never forcing the music on him. Rob recalls “picking first thing in the morning and was the last thing I did at night.”

In June of 1986, Del had a festival to play in Bath, New York, and he needed a bass player.

At that time Rob knew almost nothing about playing a bass fiddle. He knew the chords on the bass but had never played before in a band situation. Although he was scared to death, he played bass with his dad that day and ended up being the bass player in the band for about a year, until the banjo position became available.

Rob’s first show as a banjo player was a benefit show for Olla Belle Reed, a great singer/ songwriter who penned one of his dad’s most requested songs, “High on the Mountain”, and many others. The show was in the spring of 1987 in Wilmington, Delaware, and he has been with the band ever since.

In 1992, the McCoury family moved to Nashville. In his own words, “It’s been a wonderful adventure that keeps getting better and better.

I couldn’t imagine what my life would be like without music. I have gotten to see many parts of the world and meet lots of great people. I’ve made many great friends, but most of all I met my best friend, my wife Lisa, who supports me every step of the way.”

Rob has two children, a daughter Monroe Kennedy McCoury age 6, and a son (and

THE REAL NASHVILLE Grandpa’s namesake), Del Mercer Davis McCoury, age 2.

ALAN BARTRAM

BASS Alan Bartram is a bassist, vocalist and closet guitarist. His mother taught him to sing and he learned to play the bass by listening to and watching other bassists. If Bartram wasn’t a fulltime musician, he would be a horticulturist. But, after graduating from college, he decided on a career in music and moved from Pennsylvania to Nashville, Tennesse. While playing with The Kenny and Amanda Smith Band, he also became an in-demand freelance musician both for touring and recording. Since 2005 Bartram has been the bassist for the Del McCoury Band and is now also a member of The Travelin’ McCourys.

JASON CARTER

FIDDLE Jason Carter was born in 1973 in Ashland, Kentucky. He grew up in Greenup County. His dad started teaching him guitar when he was 8 years old, and a few years later he started on mandolin. It was all he wanted to do. Through his high school years, Carter attended several bluegrass festivals, courtesy of his dad and uncle.

When he was 16 years old, Carter heard Del McCoury for the first time—and that’s when he picked up the fiddle.

The summer of 1991 brought a close to his high school years and he landed his first professional job. He worked six months for The Goins Brothers playing fiddle and traveling mostly on the East Coast. In February of 1992, The Goins Brothers played in Nashville with Del McCoury; Carter asked him for a job. Two weeks later he was back in Nashville trying out. They played in Nashville, West Memphis and Garland, Texas, and when they got home they told him that he had the job. He’s been with the band ever since.

BÉLA FLECK & ABIGAIL WASHBURN

Sure, in the abstract, a banjo duo might seem like a musical concept beset by limitations. But when the banjo players cast in those roles are Abigail Washburn and Béla Fleck—she with the earthy sophistication of a postmodern, old-time singersongwriter, he with the virtuosic, jazz-to-classical ingenuity of an iconic instrumentalist and composer with bluegrass roots—it’s a different matter entirely. There’s no denying that theirs is a one-of-a-kind pairing, with one-of-a-kind possibilities.

Fleck and Washburn have collaborated in the past, most visibly in their Sparrow Quartet with Casey Driessen and Ben Sollee. Until recently, though, any performances they gave as a two-piece were decidedly informal, a pickin’

party here, a benefit show at Washburn’s grandmother’s Unitarian church there. It was inevitable and eagerly anticipated by fans of tradition-tweaking acoustic fare that these partners in music and life (who married in 2009) would eventually do a full-fledged project together.

Fleck, a 15-time Grammy winner, devoted time away from his standard-setting ensemble Béla Fleck and the Flecktones to a staggeringly broad array of musical experiments—from writing a concerto for the Nashville Symphony to exploring the banjo’s African roots to jazz duos with Chick Corea— while Washburn has drawn critical acclaim for her solo albums, done fascinating work in folk musical diplomacy in China, presented an original theatrical production, contributed to singular side groups Uncle Earl and The Wu-Force and become quite a live draw in her own right. The two of them decided in 2014 they were ready to craft their debut album as a duo, Béla Fleck & Abigail Washburn (Rounder Records).

There was one other small, yet not at all insignificant factor in the timing: the birth of their son Juno. Says Fleck, “I come from a broken home, and I have a lot of musician

friends who missed their kids’ childhoods because they were touring. The combination of those two things really made me not want to be one of those parents. I don’t want to be somebody that Juno sees only once in a while.

We need to be together, and this is a way we can be together a whole lot more.” That goes for touring and album-making both. Thanks to the fact that they have a first-rate studio on the premises, Fleck and Washburn could record at home—but that didn’t mean it was an easy process. Consumed with caring for their new baby and perpetually sleep-deprived, they had to get resourceful in order to carve out time to cut tracks. “Béla is really the reason that it’s finished,” Washburn emphasizes. “There were a few months when Juno was a newborn that I just really had to have somebody say, ‘Hey, this is what we’re gonna do today.’ As long as I could spend a few hours a day between nursings, we could make some good progress on the record.”

The aim wasn’t simply to get the album done, but to make it feel satisfying and complete using only the sounds they could coax out of their bodies and their banjos. Says Fleck, “We didn’t want any other instruments on there, because we’re into this idea that we’re banjo players, and that should be enough.”

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DIAVOLO

L.O.S.T.: (LOSING ONE’S SELF TEMPORARILY) A Marvels Series Event Sunday, March 26, 2017 • 3PM Jackson Hall SPONSORED BY

DIAVOLO Creative Director Jacques Heim Executive Director Jennifer Cheng THE COMPANY Ana Carolina Brotons Christopher Carvalho Leandro Glory Damasco, Jr. Majella Loughran Ezra Masse-Mahar Jessie Ryan Connor Senning Kellie St. Pierre Amy Tuley Rico Velazquez Matt Wagner Erin White Chisa Yamaguchi

38 MONDAVIART S.ORG

PROGRAM L.O.S.T. [LOSING ONE’S SELF TEMPORARILY]

Produced by Jennifer Cheng Commissioned by The Cheng Family Foundation Throughout the course of our lives, we lose ourselves; mentally, physically and emotionally. When we experience this loss, though temporary, we also experience our capacity to recognize and rise to the challenge of adapting and reshaping who we are in every moment. The constant, teetering balance between vulnerability and control is the most natural process of the human experience and is the inspirational center for the collection L.O.S.T. An exploration of what both divides and unites, this series is an abstract study of our transient reality as we traverse through our daily lives and our daily work.

PART 1: “CUBICLE” (2015)

Set in an abstract corporate America, “Cubicle” explores the human condition under cramped control and a monotonous reality, exposing an underlying counterbalance between freedom and anarchy in the workplace. Anonymity and confinement set the pace in this corporate sea of grey as we witness a multitude of shifting landscapes as abstract representations of a familiar work environment. Boxing in both their

sanity and distinctiveness, we witness the struggle to maintain a sense of individuality on the corporate climb as the performers labor against a homogenized work mentality, finding solidarity only within themselves and each other.

Concept and Direction: Jacques Heim Choreographer: Leandro Glory Damasco, Jr. with the choreographic collaboration by the DIAVOLO dancers Dramaturge and Artistic Consultant: Rosanna Gamson Music Composer: Bruno Louchouarn Light Sculpture: LILIENTHAL|ZAMORA Etta Lilienthal and Ben Zamora Lighting Designer: Evan Merryman Ritter Associate Lighting Designer: Luc Hediger Structure Design: Tina Trefethen and Mike Mcluskey/Mcluskey LTD Original Concept Design: Thomas Flake Set Construction: Robert Selander Costume Designer: Brandon Grimm Project Manager: Renée Larsen Engmyr Artistic Consultants: Jim Vincent, Adam Davis, Julie Mcdonald, Tony Selznick, Hae Kyung Lee, Steve Connell, Jessica Goin, Jonathan Reap Co-commissioned by the Ordway Center for the Performing Arts, St. Paul, Minnesota and the Des Moines Center for the Performing Arts, Des Moines, Iowa with additional support provided by Syracuse University, New York.

INTERMISSION

DIAVOLO PART 2: “PASSENGERS” (2016)

“Passengers” is a mind trip. It is a piece about people caught in the wild loop of their shifting states of mind. Their journey through consciousness is a metaphoric embodiment of the challenges, obstacles and adversity we all face in our waking reality. Their unrelenting search for “identity” and “self” is a powerful reminder that we are merely passengers on this vehicle called Life.

Concept and Direction: Jacques Heim Choreographer: Leandro Glory Damasco, Jr. with the choreographic collaboration by the DIAVOLO dancers Production Designer: Adam Davis Set Engineering: Brian Shipley and Isolated Ground Set Construction: Rando Productions Music Composer: Bruno Louchouarn Dramaturge and Artistic Consultant: Stephan Koplowitz Lighting Designer: Evan Merryman Ritter Structure Lighting Consultant: Mark Baker Costume Designer: Brandon Grimm Production and Project Manager: Renée Larsen Engmyr Technical Director: Jonathan Meyer Co-commissioned by the Vladimir and Araxia Buckhantz Foundation, the Ordway Center for the Performing Arts, St. Paul, Minnesota, Valley Performing Arts Center, Northridge, California, and Livermore Valley Performing Arts Center, Livermore, California. Additional support provided by the Ahmanson Foundation and The Scrooby Foundation.

Benefactors: Mary Ellen Stuart, Ellen Pansky, Bill Hranchak, Nick Erickson, Meegan Godfrey.

ABOUT THE COMPANY

DIAVOLO | Architecture in Motion® uses dance to explore the relationship between the human body and its architectural environment. Artistic Director Jacques Heim steers DIAVOLO’s diverse team of dancers, designers, choreographers and engineers to create visceral and awe-inspiring works that reveal how we are affected emotionally, physically and socially by the spaces we inhabit. Meticulously designed bespoke architectural structures serve as the central inspiration for each work, activated by the stylistically varied and intensely physical choreography that has become the hallmark of this truly original company throughout its rich, 25-year history. Through The DIAVOLO Institute, the company also provides educational and outreach opportunities to people of all ages and abilities while touring

internationally and at home in Los Angeles, sharing the pioneering art form and the power of dance as a means of social impact.

JACQUES HEIM

CREATIVE DIRECTOR Jacques Heim has been a transformative director for over 20 years, founding Diavolo in 1992, newly renamed DIAVOLO | Architecture in Motion®, and has directed the company’s work ever since.

Heim was born and raised in Paris, France.

His earliest experiences with performance came from street performing. He attended Middlebury College (B.F.A. in theater, dance and film), the University of Surrey in England (certificate for analysis and criticism of dance), and the California Institute for the Arts (M.F.A., choreography).

In addition to his work with DIAVOLO, Heim has worked extensively for other companies in dance, theater, TV and special events worldwide. Most recently Heim worked with Guy Caron and Michael Curry as consulting choreographer on Ice Age Live!, a “mammoth” arena show that had its world premiere at London’s Wembley Stadium in November 2012. For Cirque du Soleil, Heim choreographed KÀ at the MGM Grand, Las Vegas, a destination show featuring apparatus inspired by DIAVOLO structures and architecture. In 2010, he was invited to be a creative director for the opening ceremony of the 16th Asian Games in Guangzhou, China.

In addition to three USA Fellowship nominations and four Alpert Award nominations, Heim has received the Martha Hill Choreography Award of the American Dance Festival, the Special Prize of the Jury at the 6th Saitama International Dance Festival, a Brody Arts Fund fellowship, a James Irvine Foundation fellowship and is the 2016 Barney Creative Prize recipient.

JENNIFER CHENG

EXECUTIVE DIRECTOR Jennifer Cheng is a native Angeleno.

She trained as a professional ballet dancer. She received a Ford Foundation scholarship to the School of American Ballet. She also received her advanced certification from the Royal Academy of Dancing. After her short professional dance career, Cheng went on to earn a B.A. in art history from Pomona College,

an M.B.A. from UC Irvine and a J.D. from UC Davis.

She practiced law for over 20 years as a corporate attorney in the general counsel’s office at an insurance company. Since her retirement in 2012 from legal practice, she founded and continues to manage Dance Conservatory of Pasadena, a pre-professional ballet school. She is president of the Cheng Family Foundation and serves on the board of overseers at Huntington Library and Gardens and is a founding member of the Kaufman School of Dance at USC.

AMY TULEY

REHEARSAL DIRECTOR/ PERFORMER Amy Tuley is originally from Cleburne, Texas, and was asked to join DIAVOLO a few days shy of her graduation from the University of North Texas, where she received her B.F.A. in dance. Her movement background consists of tumbling, competitive cheerleading, jazz and modern dance. One of her most notable projects was co-choreographing for Nick Cave’s collaborative performance art project, Heard.

After four seasons touring as a performer and creator, she is honored to step into the role of rehearsal director.

ANA CAROLINA BROTONS

PERFORMER/PRODUCTION ASSISTANT Ana Carolina Brotons was born in Miami, Florida and started dancing at the age of 3. After training ballet, modern, jazz, tap, hip-hop and salsa intensively at school and with New Image Dance Company, Brotons was awarded a scholarship to attend the University of the Arts in Philadelphia, Pennsylvania, where she received a B.F.A. in modern dance performance. Since graduating in 2012, Brotons has performed in music videos for artists such as Taylor Bright and Jill Scott and has done two national tours with the show SuperWHY Live. She is in her fourth season with DIAVOLO and is excited to continue to expand her horizons as a dancer, performer and artist.

CHRISTOPHER CARVALHO

PERFORMER Christopher Carvalho is originally from St. Louis, Missouri and graduated from Chapman University with a B.F.A. in dance performance and a minor in economics. He has spent the past two seasons performing with The DIAVOLO Institute and encoreartsprograms.com 39

other Los Angeles-based dance companies.

He was the understudy on DIAVOLO’s creation, Cubicle, performing in its world premiere in 2015. His movement background is modern, ballet, jazz and track and field. This is Carvalho’s first season with the Tour Company.

LEANDRO GLORY DAMASCO, JR. PERFORMER/COMPOSITION & MOVEMENT CONSULTANT/ VIDEO ARCHIVIST Leandro Glory Damasco, Jr. is originally from Sacramento, California, where he received a B.A. in dance from CSU Sacramento. Damasco started his professional career with Nicholas Leichter at the Joyce Theater in New York City; served an apprenticeship with Joe Goode Performance Group; and worked intensively with other Bay Area companies such as Axis Dance, Project Bandaloop and Pauvfe Dance. He is a frequent guest artist at universities across the country. He is honored to be the official composition and movement consultant for DIAVOLO and his movement is highlighted in the trilogy L’Espace du Temps, and he is the lead choreographer on L.O.S.T. [Losing One’s Self Temporarily]. This is his fifth season with DIAVOLO.

MAJELLA LOUGHRAN PERFORMER/COSTUME COORDINATOR Majella Loughran was born in Belfast, Northern Ireland and joins DIAVOLO from New York City. She received a B.F.A. in dance performance from SUNY Purchase Conservatory of Dance. Her movement background includes gymnastics, break dancing, modern dance, ballet and physical theater, and she is in her second season with DIAVOLO.

EZRA MASSEMAHAR PERFORMER/PRODUCTION ASSISTANT Ezra Masse-Mahar is originally from Schenectady, New York, but is a nomad at heart. His training includes acrobatics and ballet at Merritt Dance Center as well as competitive diving for many years. He attended classes at the University of Buffalo and took courses in tap, jazz, ballet and modern dance. In his fifth season with 40 MONDAVIART S.ORG

DIAVOLO, Masse-Mahar has discovered his love of the interaction of movement and architectural structures.

JESSIE RYAN

PERFORMER Jessie Ryan started dancing and tumbling at a young age in her hometown of Denville, New Jersey.

She received her B.F.A. in dance from Adelphi University and an M.F.A. in dance from the University of California, Irvine. Her past company work includes touring with LM Project, and she was a founding member and rehearsal director for Multiplex Dance. Her teaching experience includes The DIAVOLO Institute and Broadway Dance Center in New York City. Her original work has been seen at HATCHed Performance Series and Laguna Dance Festival. Ryan also creates dance films that include documentary shots with Hubbard Street Dance Chicago, Alonzo King LINES Ballet and The DIAVOLO Institute. This is Ryan’s third season with DIAVOLO.

CONNOR SENNING

PERFORMER / COSTUME COORDINATOR Connor Senning hails from Midlothian, Virginia. He received his B.F.A. in modern dance from University of the Arts under instruction from Donna Faye Burchfield. His university awards include a Presidential Talent Scholarship, recognized for excellence in modern performance. His dance credits include Brian Sanders’ JUNK (national tours, Philadelphia Fringe Arts Festival), Oliver!

(Cameron MacKintosh’s international tour), a Cunningham Residency with Rashaun Mitchell, studies in Forsythe Technologies at the Konservatorium Wien in Vienna and Centre National de la Danse in Paris. Senning is in his third season with DIAVOLO.

KELLIE ST. PIERRE

PERFORMER Kellie St. Pierre is originally from Bakersfield, California, and received a B.F.A. in dance performance and two minor degrees from the University of California, Irvine. She spent two years as a teacher and performer in The DIAVOLO Institute, teaching engagement activities and performing in-school assemblies throughout

the Greater Los Angeles area. Her movement background includes ballet, jazz, modern dance and yoga. She is an accomplished yoga instructor in West L.A. and is in her second season with the DIAVOLO touring company.

RICO VELAZQUEZ

PERFORMER Rico Velazquez was born and raised in Chicago, Illinois. Although he was actively involved in competitive sports such as football, wrestling and track and field, he developed a taste for performance art while showing off his talents on the dance floor at weddings and birthday parties. He received a B.S. in theater and dance from Southern Illinois University at Edwardsville, under instruction from Kristin Best Kinscherff. At SIUE, Velazquez performed works by Jon Leher, Michael Mizerany, Paula David, Omar and Jennifer Olivas, Dianna Andrews, Dustin Crumbaugh and Calvin Jarrell.

Velazquez is in his third season with DIAVOLO and his training includes modern, ballet, jazz, salsa and gymnastics.

MATT WAGNER

PERFORMER Matt Wagner graduated from Oakland University in Michigan with a B.F.A in dance, and his movement background is in gymnastics, martial arts, baseball and dance. Wagner has participated in international competitions for trampoline and tumbling and artistic gymnastics. In dance, he has worked with such artists as Laurie Eisenhower, Bryan Strimpel, Meg Paul (who set a Twyla Tharp piece), ChienYing Wang, Pascal Merighi and Sean Greene. He has also had the privilege of studying dance in Berlin at the Tanzfabrik and the Freie Universität.

Wagner is excited to be joining the tour company for his first season. His other interests include musicals, choreography, stage combat, costume construction and costume design.

ERIN WHITE

PERFORMER Erin White is originally from Alton, Illinois. She grew up taking tumbling and acrobatic classes at a local competition dance studio, and her movement background includes modern dance, ballet, tap, jazz, cheerleading and improvisation. White received her B.S. in theatre and dance at Southern Illinois University at Edwardsville in 2013 where she received several

DIAVOLO choreography and performance awards. White joins DIAVOLO’s touring company this season after being a member of The DIAVOLO Institute for two seasons.

CHISA YAMAGUCHI

MARKETING DIRECTOR/ TOUR EDUCATION DIRECTOR/ PERFORMER Chisa Yamaguchi, originally from the San Francisco Bay Area, graduated from UCLA with two bachelor’s degrees in Asian American Studies and World Arts and Cultures and is celebrating her eighth and final season as a performer with DIAVOLO. Yamaguchi is in her second season as director of marketing for DIAVOLO, specializing in content creation, social media management and company writer. She is a master teacher with The Music Center of Los Angeles and has myriad teaching credits that include both national and international teaching residencies and numerous, customdesigned lecture series given around the world.

Yamaguchi is honored to be a 2016–2018 APAP Leadership Fellow, a 2016 Huffiness Institute Fellow, Emerging Arts Leaders/LA Leadership Council Member, Adjunct Faculty at California State University, Los Angeles, and the newest board member for the LA Women’s Theater Festival.

RENÉE LARSEN ENGMYR

PRODUCTION MANAGER/STAGE MANAGER Renée Larsen Engmyr has been in her current position since 2009. Prior to that, she performed for six seasons in the DIAVOLO touring company and spent time as the rehearsal director, education director and technical director. Originally from the San Francisco Bay Area, Engmyr’s training includes jazz, ballet, tap, modern, gymnastics and Tae Kwon Do. She graduated from University of California, Irvine with a B.A. in dance and psychology. She teaches Pilates in the Los Angeles area.

JONATHAN MEYER

TECHNICAL DIRECTOR With parents who are artists and teachers, Jonathan Meyer has been involved with the arts his entire life. From ages 14 to 26, he was employed as a woodworker. At the Walton Arts Center in Fayetteville, Arkansas, he served as a rigger, fly rail operator and lighting director on concert dance shows, Broadway shows and everything in between.

MCCLUSKEY, LTD.

SET DESIGN/ENGINEERING/CONSTRUCTION Mike McCluskey started restoring Shelby Cobras in 1969 while attending UCLA for mechanical engineering and never stopped.

Best known for its diversity of fabricating services (design, construction, welding, mechanics, finish and paint), McCluskey Ltd. blends the art of handcrafting with modern aerospace technology. Internationally known for restoration and repair of vintage Cobras, exotic concept and race cars, plus historical aircraft and jets, McCluskey also builds props and sets for stage, movies and television.

McCluskey’s team of highly skilled craftsmen is based in Torrance, California, serving architectural, automotive, industrial and entertainment clients including Getty, Disney, Shelby, Northrop, Honda and DIAVOLO.

TINA TREFETHEN

SET DESIGN/ENGINEERING/CONSTRUCTION Tina Trefethen’s mixed interests in art, extreme sports, design and industry all combine uniquely for DIAVOLO. Trefethen has been a world hang gliding champion, actor in television and commercials, pro-skateboarder, aircraft manufacturer and partner in her brother’s music business. She has evolved into a designer, sculptor, engineer and fabricator of aluminum, steel and composites for a great variety of architectural, aviation, automotive and graphics projects. Clients include Lotus, Getty, Boeing, Disney, BMW, Honda, plus eleven major works for DIAVOLO.

DIAVOLO Production Manager/Stage Manager Renee Larsen Engmyr Technical Director Jonathan Meyer Lighting Designer/Lighting Director Evan Merryman Ritter Lighting Director John Bass Transportation Matt Christensen Production Assistants Ana Carolina Brotons Ezra Masse-Mahar Costume Coordinators Majella Loughran Connor Senning Set Engineering & Construction Mike McCluskey & Tina Trefethen McCluskey LTD Chief Operating Officer Matt Wells Rehearsal Director Amy Tuley Marketing Director/Tour Education Director Chisa Yamaguchi Institute Director Dusty Alvarado Development Manager José Hernandez Finance Manager Michelle Hooper-Abid Composition & Movement Consultant/Video Archivist Leandro Damasco Jr. Production & Creative Consultant Chip Largman

DIAVOLO BOARD OF DIRECTORS

Mary Ellen Stuart, Chair Jennifer Cheng Jacques Heim Doug Huberman Bill Hranchak Priya Sopori

Company headshots by Leandro Glory Damasco, Jr.

Executive Assistant to the Creative Director Madeline Paterson Representation and Booking North America: Opus 3 Artists Europe & UK: Vincent Messager The rest of the world: Jennifer Cheng

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MUCCA PAZZA A With A Twist Series Event Saturday, April 1, 2017 • 8PM Jackson Hall SPONSORED BY

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ABOUT MUCCA PAZZA

Mucca Pazza assembled itself in a steel mill parking lot along the Chicago River. Combining marching band traditions and street theater spectacle with rock and roll sensibilities and a high level of musicianship, Mucca Pazza quickly found a home for its 25-odd members in the thriving Chicago underground music scene. An unparalleled eccentric, frenetic visual presence and genre-bending original compositions earned Mucca Pazza critical praise and a loyal local following.

A fearless ability to play anywhere opened up inappropriate opportunities in libraries, reflection ponds, and escalators. Tours of North America have brought the band to half of the states and one province. Major festivals include Lollapalooza, Lincoln Center’s Out of Doors, Festival International de Louisiane and the Montreal Jazz Festival. Preceded by the reputation of its live show, Mucca Pazza hit the airwaves and the internet, appearing on Late Night with Conan O’Brien, WFMU, and on NPR’s Tiny Desk Concert while licensing music to TV’s Weeds and the Golden Globe award-winning Transparent. Mucca Pazza are busy collaborators, working with a range of artists including the Chicago Sinfonietta and Andrew Bird.

MUCCA PAZZA “CECI N’EST PAS UNE MARCHING BAND.” Prima Parte MUCCA PAZZA, SITTING IN CHAIRS

thoughtful home remodeling

It takes more than gravity to keep Mucca Pazza sitting in chairs; it takes music stands and artistic discipline to keep the members of this mobile orchestra from bounding out of their seats and into the audience. Dressed for a formal affair in pastels and dinner jackets, this composers’ collective draws inspiration from Ellington, Esquivel and Zappa, for a headier, swankier set than their usual off-the-chain rockers. The careful listener may recognize a movement by Stravinsky or a theme by Morricone, or the somehow-familiar soundtrack to a nonexistent film. Still staying true to their mobile roots, Mucca Pazza embodies the music, making their intricate compositions and lush cinematic arrangements visually accessible to all audiences. Cheerleaders, now Masters of Ceremony, play host to a set that will surely incite future and former band geeks to rescue instruments from dust bunnies, lockers and local pawn shops.

Seconda Parte MUCCA PAZZA, A LITTLE MARCHING BAND Despite the drums and brass, cheerleaders and uniforms, Mucca Pazza seldom marches, musically or physically. The uniforms do not match. The cheers are strange. There are no recognizable patterns, no discernible formations, no militant airs. However, the force and presence of a marching band remain, both sonically and theatrically. The brass harmony, rich and powerful, the drums, tight and idiosyncratic, combine as a sum greater than its parts. The band might even move from point A to point B. But this is where similarities end. Mucca Pazza dances, flails, tumbles and spins in circles. Amplified by speaker helmets, the freak section wields violins and cellos, accordions and guitars—instruments that have no business whatsoever being in a marching band. The cheerleaders rouse, encourage and confound the audience with asynchronous absurdity. The music moves from Balkan to brass band groove to noise-rock to avantgarde game show themes without missing a step. Performances can induce geeky freak-outs and nerdy rapture, from either audience or band members, often both. The American tradition of the marching band—whether as presidential entourage, half-time show or second line party favor—receives both fresh love and artful abuse from Mucca Pazza.

10

years of beautiful design and quality building

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

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AZIZA

Dave Holland, Chris Potter, Kevin Eubanks and Eric Harland A Jackson Hall Jazz Series Event Wednesday, April 5, 2017 • 8PM Jackson Hall SPONSORED BY

AZIZA Dave Holland double bass Chris Potter saxophone Kevin Eubanks guitar Eric Harland drums

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DAVE HOLLAND

DOUBLE BASS Bassist, composer and bandleader Dave Holland is now in his fifth decade as a performer, and his music possesses a rich and kaleidoscopic history. His career took off when he participated in the famous Miles Davis Band, which he left to devote himself to composing his own music. Over the course of his career, he has enjoyed strong collaborations with jazz legends such as drummer Billy Higgins, pianist Hank Jones, Betty Carter and Herbie Hancock, with whom he last collaborated in 2008 on the album River: The Joni Letters, which won the 2008 Grammy for Album of the Year.

CHRIS POTTER

SAXOPHONE As a soloist, composer and bandleader, saxophonist Chris Potter has emerged as a leading light of his generation. DownBeat called him “One of the most studied (and copied) saxophonists on the planet” while Jazz Times identified him as “a figure of international renown” and saxophonist Dave Liebman called him simply, “one of the best musicians around.” He was nominated for a Grammy Award for his solo work on ‘In Vogue’ and has recorded with many of the leading names in jazz such as Herbie Hancock, Dave Holland, John Scofield, the Mingus Big Band, Paul Motian, Ray Brown and others.

KEVIN EUBANKS

GUITAR Guitarist Kevin Eubanks was first drawn into music listening to the energetic sounds of fusion and progressive rock. He then went on to study at Berklee College of Music— where he received an honorary doctorate in 2005. In New York, he played with jazz icons Art Blakey, Slide Hampton and many more.

From 1995–2010, Eubanks served as the leader of The Tonight Show band, replacing Branford Marsalis. In his own distinctive career, Eubanks released many recordings for Elektra, GRP and Blue Note before his current signing with Mack Avenue in 2010.

His most recent album is Duets (2015) with Stanley Jordan.

ERIC HARLAND

DRUMS Drummer Eric Harland, is one of the most active figures on the current jazz scene, performing regularly with Charles Lloyd, Joshua Redman, Stefon Harris, Dave Holland’s Prism and the SF Jazz Collective.

He has also worked with Betty Carter, Ravi Coltrane, Wynton Marsalis and Terence Blanchard, and has participated in over 200 albums and has received several Grammy nominations.

ARLO GUTHRIE

Running Down the Road An American Heritage Series Event Saturday, April 15, 2017 • 8PM Jackson Hall SPONSORED BY

ABOUT THE BAND: SHENANDOAH

In the fall of 1975, Arlo Guthrie was joined by Shenandoah for the first of many performances together. Over the years members changed until eventually Shenandoah disbanded in 1987. Terry A La Berry has continued to work with Arlo in one way or another since the beginning. When not touring playing drums for the folksinger, Terry worked with Jackie Guthrie to start the Arlo and Jackie Guthrie Family Archives. Terry continues to work in the family archives, as well as having an established career writing and performing music for children.

Steve and Carol Ide joined Shenandoah in 1977. Steve played electric guitar while Carol played percussion and keyboards. Both Steve and Carol’s voices added powerful background vocals to the group. The couple toured with Arlo until 1985, and contributed to several of Guthrie’s albums. Steve continued to do studio work for Arlo up through his last studio album Mystic Journey in 1996.

Joining Shenandoah in 1985, Abe Guthrie provides keyboards and supporting vocals.

Over the last 30 years, Abe has been a staple on Arlo’s records, in both performance and engineering capacities, as well as being a sustaining presence with Arlo on tour.

The Running Down The Road Tour brings together Shenandoah, from various eras, to fully present Arlo’s best works from this colorful period in time.

ARLO GUTHRIE

Arlo Guthrie was born with a guitar in one hand and a harmonica in the other in Coney Island, Brooklyn, New York in 1947. He is the eldest son of America’s most beloved singer/writer/philosopher Woody Guthrie and Marjorie Mazia Guthrie, a professional dancer with the Martha Graham Company and founder of The Committee to Combat Huntington’s Disease.

For more than a decade, Guthrie has toured worldwide with different shows: An America Scrapbook (1998, with symphony orchestras), The Guthrie Family Legacy Tour ( 2006, with various family members), Boys Night Out Tour (2008, with his son Abe Guthrie and grandson Krishna), The Lost World Tour (2008 with a big band and The Burns Sisters), The Guthrie Family Rides Again Tour (2009, with the entire family), The Journey On Tour (2010, with a big band and The Burns Sisters), The Guthrie Family Reunion Tour (2012, with the whole family), Here Comes The Kid—The Woody Guthrie Centennial Tour (2012), Here Come The Kid(s) (2013, continuing the Woody Centennial through 2014).

Interspersed between all the tours was the recurring Arlo Guthrie Solo Reunion Tour—Together At Last, which was certainly the best named tour. After the solo tour, Guthrie put “Alice’s Restaurant” back on the setlist menu for his The Alice’s Restaurant 50th Anniversary Tour—which made a stop at the Mondavi Center last season. encoreartsprograms.com 45

ARLO GUTHRIE Guthrie grew up surrounded by dancers and musicians: Pete Seeger, Ronnie Gilbert, Fred Hellerman and Lee Hays (The Weavers), Leadbelly, Cisco Houston, Ramblin’ Jack Elliott, Sonny Terry and Brownie McGhee, all of whom were significant influences on the younger Guthrie’s musical career. Guthrie gave his first public performance in 1961 at age 13 and quickly became involved in the music that was shaping the world.

Over the next few years, he inherited his father’s friend Pete Seeger and the two

toured together, between demonstrations, beginning in the late ‘60s. They continued doing over a dozen shows together almost every year for the next 40 years, creating a legendary collaboration that continues to this day. The last Pete & Arlo show was in November 2012 at Carnegie Hall in New York City.

Guthrie practically lived in the most famous venues of the “Folk Boom” era. In New York City he hung out at Gerdes Folk City, The Gaslight and The Bitter End. In

FREE CONCERTS IN THE CORIN COURTYARD

All shows last about an hour and are free!

Food and drinks available for purchase.

T ic k O f f et i ce

MONDAVI CENTER

One Eyed Reilly

Prior to: Dervish and Le Vent du Nord

Friday, March 17 • 5:30PM

Davis High School Chamber Orchestra Prior to: St. Petersburg Philharmonic Orchestra

Saturday, March 18 • 6:30PM

One Button Suit

Prior to: The Real Nashville: The Del McCoury Band & Béla Fleck and Abigail Washburn

Tuesday, March 21 • 6:30PM

Graham Sobelman Graham-A-Rama

Prior to: Alan Cumming Sings Sappy Songs

Thursday, March 30 • 6:30PM

Jessica Malone Duo Prior to: Arlo Guthrie

Saturday, April 15 • 6:30PM

mondaviarts.org

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Subject to change. The Corin Courtyard is located just to the north side of the Mondavi Center Box Office.

Boston’s Club 47 and in Philadelphia, he made places like The 2nd Fret and The Main Point his home. He witnessed the transition from an earlier generation of ballad singers like Richard Dyer-Bennet and bluesmen like Mississippi John Hurt to a new era of singer-songwriters such as Bob Dylan, Jim Croce, Joan Baez and Phil Ochs. He grooved with the beat poets like Allen Ginsburg and Lord Buckley and picked with players like Bill Monroe and Doc Watson. He learned something from everyone and developed his own style, becoming a distinctive, expressive voice in a crowded community of singer-songwriters and politicalsocial commentators.

Guthrie’s career exploded in 1967 with the release of Alice’s Restaurant, whose title song premiered at the Newport Folk Festival helping to foster a new commitment among the ‘60s generation to social consciousness and activism. He went on to star in the 1969 Hollywood film version of Alice’s Restaurant, directed by Arthur Penn. With songs like “Alice’s Restaurant Massacree”(which was too long for radio airplay), “Coming into Los Angeles” (which was banned from many radio stations—but a favorite at the 1969 Woodstock Festival) and the definitive rendition of Steve Goodman’s “City of New Orleans,” Guthrie was no one-hit-wonder. An artist of international stature, he has never had a “hit” in the usual sense. He has preferred to walk to his own beat rather than march in step to the drum of popular culture. Over the last five decades Guthrie has toured throughout North America, Europe, Asia, Africa and Australia, winning a wide, popular following. In addition to his accomplishments as a musician, playing the piano, six and 12-string guitar, harmonica and a dozen other instruments, Guthrie is a naturalborn storyteller, whose tales and anecdotes figure prominently in his performances.

In 1991, Guthrie purchased the old Trinity Church. It was Thanksgiving 1965 that events took place at the church that inspired him to write the song “Alice’s Restaurant Massacree.”

Named for his parents, The Guthrie Center is a not-for-profit, interfaith church foundation dedicated to providing a wide range of local and international services. Its outreach programs include everything from providing HIV/AIDS services to baking cookies with a local service organization; hosting an HD walka-thon to raise awareness and money for a cure for Huntington’s Disease; and offering a place simply to meditate. The Guthrie Foundation is a separate, not-for-profit educational organization that addresses issues such as the environment, health care, cultural preservation and educational exchange.

L.A. THEATRE WORKS

Susan Albert Loewenberg, Producing Director

JUDGMENT AT NUREMBERG

By Abby Mann • Directed by Brian Kite Tuesday, April 18, 2017 • 8PM Jackson Hall 7PM Pre-Performance Talk Manetti Shrem Museum Speaker: David Biale, Emanuel Ringelblum Distinguished Professor of Jewish History, Department of History, UC Davis DAVID BIALE is the author of five books, most recently Blood and Belief: The Circulation of a Symbol Between Jews and Christians (University of California Press, 2007) and Not in the Heavens: The Tradition of Jewish Secular Thought (Princeton University Press, 2011). He is also the editor of Cultures of the Jews: A New History (Schocken Books, 2002). His books have won the National Jewish Book Award three times, and he has been awarded fellowships by the Guggenheim Foundation, the National Endowment for the Humanities and the Lady Davis Foundation.

CAST

Ron Bottitta General Merrin, Dr. Wickert, Dr. Geuter, Emil Hahn Josh Clark Colonel Parker Jeff Gardner Rudolph Peterson, Judge Norris, sound effects artist Kip Gilman Judge Haywood Shannon Holt Mrs. Bertholt, Elsa Dylan Jones Mrs. Halbestadt, Maria Matthew Floyd Miller Oscar Rolfe John Vickery Janning, Ives

PRODUCTION

Susan Albert Loewenberg producing director Anna Lyse Erikson associate producer Sean Cawelti video designer Leia Crawford technical director/touring stage manager Jeff Gardner Foley designer Mark Holden sound designer and original music composer Daniel Ionazzi lighting designer Ruoxuan Li costume designer Rich Rose scenic designer Dylan Jones tour manager Ella Pravetz assistant director Marissa Putnick assistant stage manager Mark Holden and Michael Lopez original music Richard Dreyfuss narration Brian Kite director

ABOUT L.A. THEATRE WORKS

Under the leadership of Susan Albert Loewenberg, L.A. Theatre Works (LATW) has been the foremost radio theatre company in the U.S. for more than 25 years. LATW is broadcast weekly in America on public radio stations, streamed online and aired on international outlets, including the BBC. Their unique model—using cutting-edge technology to preserve ephemeral live theatre—transcends the limits of the physical stage, making them the industry leader in providing access to live and recorded theatrical performances.

Through their commitment to artistic excellence and innovative distribution technologies, they provide an immersive, imaginative and affordable on-demand theatre experience to anyone, anywhere, any time. The company records its productions in Los Angeles before an enthusiastic and loyal audience. Works by Arthur Miller, Tom Stoppard, Lillian Hellman, Joyce Carol Oates, Stephen Karam, Wendy Wasserstein, Neil Simon, David Mamet, Lynn Nottage, David Henry Hwang and others have been performed and recorded with casts of critically acclaimed film and stage actors. On the road, LATW has delighted audiences with its unique live radio theatre style performances in over 300 small towns and major cities, including New York, Boston, San Francisco, Washington, Chicago, Beijing and Shanghai. An LATW performance is immediate and spontaneous, and features a first-rate cast and live sound effects, creating a sound-rich, intimate experience. encoreartsprograms.com 47

PROGRAM NOTE “If anything can, it is a memory that will save humanity. For me, home without memory is like memory without hope.”

— Elie Wiesel (1928–2016) The Nuremberg trials are remembered as a major turning point in our global narrative.

Ostensibly, the American-led tribunals were formed to prosecute those accused of war crimes during WWII, but the objectives of the tribunals transcended those of any standard international rulings. In order to build the case, 19 investigative teams scoured German records, interviewed witnesses and visited the sites of atrocities. Members of the court assembled a public record of all WWII and Holocaust war crimes, which chief prosecutor Robert Jackson said must be created or else “future generations would not believe how horrible the truth was.”

What is justice in today’s global narrative?

How can we possibly talk about what is fair or right when grappling with genocide, police brutality and acts of terrorism? In order to maintain stability, rules must be upheld, and retributions inflicted. But when unspeakable horror happens, what is good and what is bad becomes blurred. In a world where “right” and “wrong” have lost definite meaning, where uncertainty prevails, judgment takes on a new role.

The Nuremberg trials forever impacted our notions of jurisprudence, retribution and vengeance. The motives of the courts and their verdicts have been investigated and debated endlessly—and there seems to be no more timely moment for them to be discussed than right now, when with every new catastrophe, we’re using our judgment to define “justice.”

We’re using it to shape what the world will remember about what happened and about us; we’re letting it write our own history. In every moment, our judgment is deciding what the future will be.

With judgment, the hope is not for vengeance, the hope is not to forget, the hope is not to abolish wrongdoing. The hope is to hold onto our story, because it is all we have.

—Anna Lyse Erikson, Associate Producer

RON BOTTITTA

(General Merrin/Dr. Wickert/Dr. Geuter/ Emil Hahn) Recent L.A. stage credits include Honky, Luka’s Room, Penelope, A Bright New 48 MONDAVIART S.ORG

Boise, Monkey Adored, The Sunset Limited, Half of Plenty and Razorback at Rogue Machine, where he is a company member; Superior Donuts and Yes, Prime Minister at The Geffen, and The Assassination of Leon Trotsky, Rank, Theatre in the Dark and The Arsonists at The Odyssey. Film: The BFG, The Conjuring 2, Now You See Me 2, Mad Max: Fury Road, The Boxtrolls, 47 Ronin, Thor: The Dark World, 300: Rise of an Empire, The Adventures of Tintin, Transformers: Dark of the Moon, Going the Distance, The Social Network, Hereafter, A Christmas Carol and Mr. and Mrs. Smith. TV: Supergirl, The Crazy Ones, Conan, Elementary, Covert Affairs, Grey’s Anatomy, Law & Order: LA, NCIS, Cold Case and Lost. He is the host of “Rant and Rave”—Rogue Machine Theatre’s monthly spoken-word series, now in its ninth year. Originally from Claygate, England. Training: M.F.A. from NYU, B.A. from UC Berkeley. Dad, aviator, motorcyclist, acting and dialect coach.

Shot, American Buffalo, Under Milk Wood, August: Osage County and The Motherf*cker with the Hat. Jeff is an actor and sound designer born and raised in Los Angeles.

Sound design credits include Picnic (Antaeus Theatre Company, Ovation Nomination), Trevor (Circle X Theatre, 2015 Ovation Award for Best Production), The Recommendation (IAMA Theatre, 2014 Ovation Award for Best Production). Acting credits include The Liar, Macbeth and King Lear (Antaeus Theatre Company); The Tempest (A Noise Within); Little Women (Kennedy Center, National Tour); Henry V with Harry Hamlin (The Shakespeare Theatre, D.C.); Our Town with Calista Flockhart and The Seagull with Gwyneth Paltrow and Christopher Walken (Williamstown Theatre Festival).

Gardner has also toured with his awardwinning solo show Kill Your Television for the Seattle Fringe and Hollywood Fringe Festivals.

KIP GILMAN

JOSH CLARK

(Judge Haywood) Theater (Selected): 2016 off-Broadway production of 2 Across; Catskill Sonata and Adam Baum and the Jew Movie, both directed by Paul Mazursky; Mark Taper Forum’s production of Stuff Happens by David Hare for which he was nominated for an Ovation award; Michael Weller’s What the Night is For; Moonlight and Magnolias; Oscar Madison in The Odd Couple.

Film (Selected): Taylor Hackford’s Parker with Jennifer Lopez and Nick Nolte; Atlas Shrugged Part 2; Nights in White Satin; Take My Advice; Uncommon Love with Holly Hunter; Portrait of a Showgirl with Rita Moreno; and the soon-tobe released Painless, Outlaws Don’t Get Funerals and Big Baby. TV (Selected): series regular roles; Studio 5B with Jeffrey Tambor; Closeup News; Loves Me, Loves Me Not; Nurses; and Foot in the Door. Recent guest appearances: CSI Miami and Bones. Gilman has also received acclaim at the Los Angeles Theater Center performing his irreverent one-man musicals, Men Women and Assassins and Mister Moody...82 minutes with Christ.

JEFF GARDNER

(Mrs. Bertholt/Elsa) was previously seen at LATW in Steel Magnolias. Regional credits include Mark Taper Forum, South Coast Rep, Laguna Playhouse, Pasadena Playhouse, The Public Theatre, Trinity Rep, Indiana Rep and Actors’ Theatre Of Louisville.

(Colonel Parker) LATW tours: War of the Worlds, The Pentagon Papers, The Rivalry. Broadway: Execution of Justice, Alice in Wonderland, The Man Who Came to Dinner. Off-Broadway: Three U.S. premieres at the Manhattan Theater Club, including The Rear Column; Molly (Hudson Guild); The Browning Version (Roundabout); and The Old Glory (American Place). Regional: iWitness (Mark Taper Forum).

Various plays at the Long Wharf Theater, Williamstown Festival, Seattle Rep, Walnut Street Theater and Cincinnati Playhouse. He has performed in Biloxi Blues and Of Mice and Men at The Pasadena Playhouse. At Antaeus Theatre Company: Peace in Our Time, Oedipus, The Autumn Garden, Tonight at 8:30 and Picnic.

Featured Actor Ovation nomination for The Savannah Disputation at the Colony. Recent Film and TV: the Disney film McFarland, USA, and guest stars in many shows; most recently True Detective 2, and recurring roles in Murder in the First and Westworld, Scorpion, Gang Related, Aquarius, Justified, Hawaii 5-0, Shameless, Scandal and Modern Family.

(Rudolph Peterson/ Judge Norris/Sound Effects Artist) is happy on tour with L.A. Theatre Works, where he has regularly performed live sound effects over the last four seasons. Highlights include The Money

SHANNON HOLT

L.A. THEATRE WORKS Stages throughout Los Angeles include work with Evidence Room, Rogue Machine, East West Players, Boston Court, Actors’ Gang, Padua Playwrights, Odyssey Theatre and Antaeus Theatre Company, where she is a proud company member, most recently performing in their hit production of Picnic. Her work has garnered nominations and awards from LA Weekly, Stage Raw, BroadwayWorld, Backstage West, and LA Stage Alliance Ovations. Film and TV credits include Seinfeld, ER, The Marc Pease Experience and Love, Liza.

DYLAN JONES (Mrs. Halbestadt/Maria) is an actor, writer, director and singer. She has starred in the International hit Track 3 with Theatre Movement Bazaar, the Elephant’s 7 Redneck Cheerleaders and Block Nine, winner of the LA Weekly Awards “Production of the Year.”

Previous theatrical highlights include Picnic at the Antaeus Theatre Company, her onewoman show Pink Champagne and Zoo District’s The Master & Margarita. She can be seen in various television shows and films, including the cult classic Ghost World. On any night, you can find her singing with her band FREAKSTAR. She has just completed her first short film, Save the Date, and her first web series, Craft Beer, both of which she wrote, directed and stars in.

MATTHEW FLOYD MILLER

(Oscar Rolfe) Broadway: Not About Nightingales (directed by Trevor Nunn); The Invention of Love (directed by Jack O’Brien). Off-Broadway: Another Part of the Forest (Peccadillo Theatre Co.); Of Mice and Men (Urban Stages); Letters From Cuba (Signature). Regional Includes: Being at Home With Claude (Ecstatic Theatre Co.); Stupid F*cking Bird (Theatre @ Boston Court, L.A. Drama Critics Circle Award - Best Ensemble); Yes, Prime Minister (Geffen Playhouse); The Mystery of Irma Vep (The Falcon); Fallen Angels, The 3new york9 Steps (Ensemble Theatre Co.); Noises Off (La Mirada); Private Lives (Laguna Playhouse / Rubicon); Middletown, Rock ‘n’ Roll, The Underpants, The Pillowman (ACT-Seattle); Hysteria (Wilma Theatre); The Tempest, A Prayer for Owen Meany (Playmaker’s Rep.); Theophilus North (Arena Stage/Geva Theatre); Desire Under the Elms (San Jose Rep., Dean Goodman

Choice Award); A Midsummer Night’s Dream (The Old Globe). TV/Film: Hand of God, Colony, Major Crimes, Criminal Minds, Law & Order, All Good Things. Training: NYU graduate acting.

JOHN VICKERY

(Janning/Ives) has appeared in L.A. Theatre Works’ productions of Salomé, The Columnist, The Real Dr. Strangelove, Top Secret: The Battle for the Pentagon Papers, The Caine Mutiny Court-Martial, Julius Caesar and many more. Broadway: the original Scar in The Lion King, The Real Thing, The Sisters

Rosensweig, Macbeth and others. Recent LA appearances include the Judge/Amy in Casa Valentina at the Pasadena Playhouse, The Narrator in Into the Woods at the Annenberg Center, Mark Rothko in Red at San Diego Rep, and roles in Robert Wilson’s The Black Rider and David Hare’s Stuff Happens. For the last five years, John has been performing at the Stratford Shakespeare Festival in Ontario, Canada, taking on classical and contemporary roles including the title role in Titus Andronicus. Film: Murder by Numbers, Big Business, Dr. Giggles, Rapid Fire, Patriot Games. TV: Modern Family, Without a Trace, NCIS, Frasier, NYPD Blue, all of Star Trek (except Voyager), and many more.

FURTHER LISTENING RADIO DRAMA

by Jeff Hudson

Tonight’s performance may whet your appetite for more radio drama—and there’s a lot of excellent audio that is readily available. L.A. Theatre Works has dozens of interesting plays available through their website (www.latw.org), as well as on iTunes, SoundCloud and elsewhere. There’s historic material from the Golden Age of Radio as well. Many Americans have heard of “The War of the Worlds” broadcast from Halloween 1938 by Orson Welles’ Mercury Theatre on the Air, which sounded so much like a real newscast that it triggered mass panic in some communities. Less familiar are the other worthy productions in that series (adaptations of page-turners like Dracula, Treasure Island, etc.), now available on YouTube.

Across the pond, many notable British playwrights began their careers writing radio plays for the BBC. These include the meteoric, flamboyant Joe Orton, who wrote “The Ruffian on the Stair” for the BBC in 1964. Orton was bludgeoned to death with a hammer in 1967—he had been working on a script for the Beatles at the time. Orton’s provocative play “What The Butler Saw” was staged at Sacramento’s B Street Theatre in 2006. The prolific Caryl Churchill began her career writing BBC radio dramas in the 1960s and 1970s. Her recent plays include 2012’s “Love and Information,” a kaleidoscopic consideration of the modern “onslaught of knowledge both useless and profound,” produced by Sacramento’s Capital Stage in 2016. Tom Stoppard (winner of several Tonys and an Oscar) wrote radio plays for the BBC early on—these were collected in a 5-CD set in 2012. Stoppard also wrote “Darkside,” a 2013 radio drama marking the 40th anniversary of Pink Floyd’s much admired 1973 album The Dark Side of Moon. You can check out “Darkside” on Vimeo.

Annual broadcasts interpreting the classic radio broadcast/literary essay developed by poet Dylan Thomas in the 1940s–50s, “A Child’s Christmas in Wales,” are a BBC tradition, with contemporary actors reading the luminous text. And the popular 1981 radio version of the 1977 film Star Wars helped establish the fledgling National Public Radio network (attracting many young listeners, who became loyal NPR supporters). NPR and the BBC produced the 6-hour, 13-part radio series (still available on CD), with film actors Mark Hamill as Luke Skywalker and Anthony Daniels as C3PO. There were subsequent NPR versions of The Empire Strikes Back and The Return of the Jedi.

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

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ABBY MANN (author) Born in Philadelphia

to a family of Russian-Jewish immigrants as Abraham Goodman, Mann grew up in East Pittsburgh, Pennsylvania. He was best known for his work on controversial subjects and social drama. His most famous work is the screenplay for Judgment at Nuremberg (1961), which was initially a television drama which aired in 1959. Stanley Kramer directed the film adaptation, for which Mann received the Academy Award for Best Adapted Screenplay. Mann later adapted the play for a 2001 production on Broadway, which featured Maximilian Schell from the 1961 film in a different role. Mann and Kramer also collaborated on the film A Child is Waiting (1963). Working for television, he created the series Kojak, starring Telly Savalas. Mann was executive producer and was also credited as a writer on many episodes. His other writing credits include the screenplays for the TV films The Marcus-Nelson Murders, The Atlanta Child Murders, Teamster Boss: The Jackie Presser Story and Indictment: The McMartin Trial, as well as the film War and Love. He also directed the 1978 NBC TV miniseries King. He died of heart failure in Beverly Hills, California on March 25, 2008, at age 80—one day after Richard Widmark, one of the stars of Judgment at Nuremberg.

BRIAN KITE (director) is the chair of the

UCLA School of Theater, Film and Television Department of Theater and has directed across the U.S. and abroad. His LATW directing credits include American Buffalo and their national tours of Pride and Prejudice, In the Heat of the Night and The Graduate.

He also staged LATW’s production of Top Secret: The Battle for the Pentagon Papers, which toured throughout mainland China.

Additional work includes critically acclaimed productions of American Idiot, Billy Elliot, Les Misérables, Miss Saigon, Little Shop of Horrors, Dinner with Friends, The Glass Menagerie, Steel Magnolias starring Cathy Rigby, Driving Miss Daisy starring Michael Learned and David Auburn’s Proof. He is the recipient of the Los Angeles Ovation Award for Best Direction of a Musical for his production of Spring Awakening. He also directed the first production of Miss Saigon to ever play in China when his show closed the Macau International Music Festival. Kite served as the producing artistic director of La Mirada Theatre for the Performing Arts for seven years. He is the chair of LA Stage Alliance’s board of governors and is a member of the Stage Directors and Choreographers Society.

50 MONDAVIART S.ORG

SUSAN ALBERT LOEWENBERG

(producing director) is founder and producing director of L.A. Theatre Works, a nonprofit media arts and theatre organization. Loewenberg has produced award-winning radio dramas, plays and films in Los Angeles, New York, Chicago and London. Under her supervision, LATW has created the largest library of plays on audio in the world, garnering numerous awards from the Corporation for Public Broadcasting, the Writers Guild, The American Library Association, Publishers’ Weekly and others. Loewenberg also serves as host and is the executive producer of LATW’s nationally distributed syndicated radio series, “L.A. Theatre Works,” broadcast on NPR stations nationwide. A graduate of Sarah Lawrence College, she has served on innumerable boards and panels, including the National Endowment for the Arts, California Arts Council, The Fund for Independence in Journalism in Washington D.C., and was co-chair of the League of Producers and Theatres of Greater Los Angeles. From 1996–2002, Loewenberg served during the Clinton administration on the Board of Directors for Federal Prison Industries, a presidential appointment, and served for several years as a member of the regional panel of the President’s Commission on White House Fellows. She is currently a member of the board of directors of The Center for Public Integrity, and a fellow of the Los Angeles Institute for the Humanities at USC. Loewenberg is the author of a number of articles that have appeared in American Theatre Magazine, The Los Angeles Times and various professional journals.

ANNA LYSE ERIKSON (associate producer) manages the casting, artistic hiring, play selections, rights acquisitions and overall live production for L.A. Theatre Works’ live and instudio recordings and tours. Erikson holds an M.A. in theatre history, theory and criticism from the University of Colorado at Boulder and a B.A. in theatre performance from the University of Missouri. She was a University of Missouri research scholar, a Tom Berenger Acting Scholar and a recipient of numerous university fellowships. She has adapted and produced two original productions around her scholarly research into the life and work of Tennessee Williams, and her published master’s thesis deals with the recurring artist figure in Williams’ work. She previously was director of outreach for the Independent Actors Theatre of Columbia Missouri. Erikson

is a member of Phi Beta Kappa and Mortar Board (Friar’s Chapter).

SEAN CAWELTI (video designer) graduated from the University of California Irvine with a B.A. in drama with honors in directing and studied puppetry at Tisch School of the Arts at NYU. Cawelti has won awards for his work as a designer, director and playwright, honored with a UNIMA Citation of Excellence for Gogol Project and was presented the 2015 Sherwood Award by the Center Theater Group in Los Angeles for his work as a director. He was selected by the City of Los Angeles’ Cultural Affairs department to travel to Brazil for two months to study woodcarving and Candomblé, a religion born of African and Catholic traditions. Cawelti is the founding artistic director of Rogue Artists Ensemble a multimedia, puppet and mask company in Los Angeles. His directing and design work has been seen at the Getty Villa, South Coast Repertory, Segerstrom Center for the Arts, Cornerstone Theater Co., Chicago Opera Theater, The Geffen Playhouse and the Center for Puppetry Arts in Atlanta. He has designed puppets, masks, props and video for theater, music videos, museums, concerts and arena shows including the recent Kanye West Yeezus world tour.

LEIA CRAWFORD (technical director/ touring stage manager) Regional: Dracula (LATW Tour); Boy, Jane Eyre and American Buffalo (L.A. Theatre Works); Massoud: The Lion of Panjshir (CTG Workshop), Neva (CTG Reading); Murder for Two, Switzerland, The Gospel According to…, The Pianist of Willesden Lane, Play Dead, and Ruined (Geffen Playhouse); Future Thinking, The Whale, The Motherf*cker with the Hat, The Importance of Being Earnest, A Little Night Music, and An Italian Straw Hat (South Coast Rep). Dance: Four Seasons, LACDC10 and Youth (Los Angeles Contemporary Dance Company).

Other theater credits: Surgeon and Her Daughters (Ojai Playwrights Conference 2015), Permission (Ojai Playwrights Conference 2015), Story Pirates, Antaeus, Classic and Contemporary American Plays, Shakespeare Center LA, and Redcat. Film: Diani & Devine Meet the Apocalypse. YouTube: Princess Rap Battle 4: Cinderella vs. Belle, Princess Rap Battle 5: Maleficent vs. Daenerys, Princess Rap Battle 6: Katniss vs. Hermione.

JEFF GARDNER (Foley designer) see cast

bio, p. 48.

L.A. THEATRE WORKS MARK HOLDEN (sound designer and

original music composer) has two decades of experience recording and mixing various projects in studios, on sets and on live stages.

He has designed, recorded and mixed over 200 plays and national tours for L.A. Theatre Works, the BBC and several independent production companies. As a musician and music producer, Holden understands that communication and comfort are essential to a creative space, which is why he created The Invisible Studios in West Hollywood, California. This commercial recording/ designing/mixing environment is home base for the many projects overseen by Holden and his team. Holden has also composed for radio, film and television such as scoring the award-winning feature film Out in the Dark. He has also engineered and produced for several genres of music and worked with some of the biggest names in commercial and creative voice talent.

DANIEL IONAZZI (lighting designer) returns to L.A. Theatre Works where he designed the tours of Dracula, In the Heat of the Night, Pride and Prejudice and The Graduate. His work has also been seen at Steppenwolf Theatre Company, Arena Stage, South Coast Repertory Theater, Denver Center Theatre Company, Berkeley Rep and the Geffen Playhouse. His design for the New York production of The Jacksonian garnered a Lucille Lortel nomination. He designed the lighting installation for Teatro alla Moda for the Wallis Annenberg Center for the Performing Arts and Trajectoire and Catapult for the dance company DIAVOLO. His design work can also be seen in the 4-D cinematic experience, Beyond all Boundaries, at the National World War II Museum.

Ionazzi is production manager for the Geffen Playhouse, a member of the faculty of the UCLA School of Theater, Film and Television and director of production for the Department of Theater. He is the author of The Stage Management Handbook and The Stagecraft Handbook.

RUOXUAN LI (costume designer) is a recent graduate from UCLA with a M.F.A. in costume design for entertainment media. She started her career as a freelance costume designer in China after she received her B.A. in costume design from Wimbledon College of Art, University of the Arts London in 2008. Her love and passion for costume design then brought her to LA. She is the recipient of Swarovski Award for Excellence in Costume Design in 2014 and the winner of Timken

Museum: The Art of Fashion 2016. Notable credits including Oh! What a Lovely War! (UK), Perfect Couple (China), Così Fan Tutte (UCLA). Her design aims to tell the story with the language of costume, and she believes that character matters the most in costume design.

RICH ROSE (scenic designer) is pleased to be teamed up again with director Brian Kite for their fourth production together. The duo is fresh off their recent sold-out production of American Idiot at the La Mirada Theatre for the Performing Arts. Other recent productions at La Mirada include Spring Awakening and Floyd Collins (Ovation Award winner for Best Musical, BroadwayWorld nomination best scenic design). Most recently, Rose designed Our Town at Actor’s Co-op in Hollywood where prior to that he designed The Baker’s Wife and Summer and Smoke. Other scenic designs include Lainie Kazan presents The Great American Songbook, and the Mosaic Lizard Theater productions of Robin Hood and A Spider-Man Christmas as well as the national tour of In the Heat of the Night for L.A. Theatre Works. Rose is a professor of design in the UCLA School of Theater, Film and Television.

FOR L.A. THEATRE WORKS:

Producing Director: Susan Albert Loewenberg Managing Director: Vicki Pearlson Associate Producer: Anna Lyse Erikson Graphic Designer: Sam McCay Post-Production Coordinator: Ronn Lipkin L.A. Theatre Works 681 Venice Boulevard Venice, CA 90291 REPRESENTATION: Baylin Artists Management 721 Hyde Park Doylestown, PA 18902 www.baylinartists.com

Business, meet box office.

Encore Media Group connects businesses and brands to the best of arts & culture in Seattle and the Bay Area.

We’re proud to have published programs with the Mondavi Center since 2013 and look forward to many years to come.

From senior living and coffee shops, to art museums and medical centers, smart business owners know Encore is the best way to get their brand in the spotlight.

To learn what Encore can do for your business, visit encoremediagroup.com.

encoreartsprograms.com 51

A Speakers Series Event Wednesday, April 26, 2017 • 8PM Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY:

The Lawrence Shepard Family Fund Question & Answer Session Moderated by Scott Syphax, CEO of The Nehemiah Companies; host and co-executive producer of Studio Sacramento on PBS affiliate KVIE. Please see page 16 for Scott Syphax’s bio.

STRANGER IN A STRANGE LAND

There are stories everywhere—in your own house, your backyard, your town. You need to find out what you’re interested in...what you want to change, celebrate, illuminate, interpret.”—Jodi Cobb Join veteran National Geographic photographer Jodi Cobb on a whirlwind retrospective of a distinguished career that has spanned four decades. Travel with this inspiring woman as she chronicles her public—and private—path from young photojournalist to world-renowned photographer.

52 MONDAVIART S.ORG

ABOUT JODI COBB

Jodi Cobb was among the first female photographers almost everywhere she worked early in her career, including National Geographic. Rather than be thwarted by the adversity she encountered—including gender bias and the dangers and discomforts of traveling a far less modern world as a single, working woman—Cobb found ingenious ways to turn these situations to her advantage. As she broke through these barriers, one after another, her career advanced.

Cobb specializes in large-scale, global stories exploring such topics as 21stcentury slavery as well as more intimate stories set inside closed and secret worlds.

A former staff photographer for National Geographic, she has worked in more than 50 countries, primarily in the Middle East and Asia.

Cobb was one of the first photographers to cross China when it reopened to the West, traveling 7,000 miles in two months for the book Journey Into China. She was the first photographer to enter the hidden lives of women of Saudi Arabia, welcomed into the palaces of princesses and the tents of Bedouins for a landmark article in 1987. And she was the first woman to be named White House Photographer of the Year.

For her book Geisha: The Life, the Voices, the Art, Cobb entered another world closed to outsiders, the geisha of Japan. She was also given special access to photograph inside a different sort of closed world, the ill-fated Gore

presidential campaign of 2000.

Cobb has produced numerous articles for National Geographic, including “This Thing Called Love,” “21st-Century Slaves,” “The Enigma of Beauty” and “Bahia: Where Brazil Was Born,” and she has contributed to several National Geographic books.

Cobb has also photographed for the Day in the Life series of books and was a prime contributor to Vietnam Veterans Memorial: The Wall, Here Be Dragons, and The Way Home: Ending Homelessness in America. Her work was also featured in the book Women Photographers at National Geographic and its accompanying exhibitions.

Her photographs have drawn acclaim at exhibitions around the world. She regularly teaches at workshops and has lectured all over the globe at such venues as the International Center of Photography, the Asia Society, the Japan Society, New York’s 92nd Street Y and the Smithsonian Institution in Washington, D.C. She was featured in the PBS documentary On Assignment and has frequently appeared on NBC’s Today Show. She has also won several awards, including numerous National Press Photographers Association Pictures of the Year awards and World Press awards.

Cobb received her B.A. in journalism and a M.A. from the University of Missouri.

She also received an honorary doctorate of fine arts from the Corcoran College of Art and Design in Washington, D.C. As a child, she traveled the world with her family and grew up in Iran. She now lives in Washington, D.C.

photo: VIRON

NATIONAL GEOGRAPHIC LIVE: JODI COBB Stranger in a Strange Land

ODC/DANCE BOULDERS AND BONES A Dance Series Event

THE COMPANY

Saturday, April 29, 2017 • 8PM

Jeremy Smith

Jackson Hall

Natasha Adorlee Johnson Josie G. Sadan Brandon Freeman

INDIVIDUAL SUPPORT PROVIDED BY:

Jeremy Bannon-Neches

William and Nancy Roe

Tegan Schwab Alec Guthrie Daniel Santos

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

Please see page 8 for Ruth Rosenberg’s bio.

Keon Saghari Rachel Furst Lani Yamanaka apprentice Mia J. Chong apprentice Erin Wang cello Choreography: Brenda Way and KT Nelson Concept: Andy Goldsworthy Commissioned score: Zoë Keating Cellist: Erin Wang Visuals: RJ Muna Light + Scenic Design: Alexander V. Nichols

BOULDERS AND BONES

Boulders and Bones is a landmark work inspired by the creations of visual artist Andy Goldsworthy. Set to a commissioned score by acclaimed cellist Zoë Keating, Brenda Way and KT Nelson’s choreography touches on transformation in both art and nature, while RJ Muna’s cinematic mise en scène traces the shifting light, changing landscape and building process of Goldsworthy’s work.

ODC/DANCE

Founded in 1971 by Artistic Director Brenda Way, ODC/Dance was one of the first American companies to incorporate a postmodern sensibility (an appreciation for pedestrian movement) into a virtuosic contemporary dance technique and to commit major resources to interdisciplinary collaboration and musical commissions for the repertory.

ODC/Dance company’s 10 outstanding dancers perform its imaginative repertory for more than 50,000 people annually. In addition to two annual home seasons in San Francisco (Dance Downtown and the beloved holiday production, The Velveteen Rabbit), past highlights include numerous appearances at the Joyce Theater in New York, sold-out performances at the Kennedy Center, standing-room-only engagements in Europe and Russia and two USIA tours to encoreartsprograms.com 53

Asia. In 46 years, ODC/Dance has performed for more than a million people in 32 states and 11 countries, with support from the NEA, the U.S. State Department and many state and city arts agencies.

The company has been widely recognized for its rigorous technique and for its numerous groundbreaking collaborations with, among others, composers Marcelo Zarvos, Bobby McFerrin, Zoë Keating, Zap Mama, Pamela Z and Paul Dresher; writer/singer Rinde Eckert; actors Bill Irwin, Geoff Hoyle and Robin Williams; visual artists Andy Goldsworthy, Wayne Thiebaud, Jim Campbell and Eleanor Coppola; and welder/bike designer Max Chen.

THE COMPANY

JEREMY SMITH

DANCER Jeremy Smith began his professional career with Parsons Dance, receiving critics’ praise for his performance of the acclaimed solo Caught.

He is twice an Isadora Duncan Dance Award nominee and once a winner for ensemble performance. He is an advisory board member and the artistic advisor for Post:Ballet in San Francisco and a former artist with Ben Munisteri Dance Projects and Lydia Johnson Dance in New York City. Smith also collaborates with former ODC dancer Yayoi Kambara in Kambara + Dancers. He hails from Miami, Florida, and graduated summa cum laude from the Florida State University. Smith joined ODC/ Dance in 2007.

NATASHA ADORLEE JOHNSON

DANCER Natasha Adorlee Johnson was born in Huntington Beach, California, and raised in Overland Park, Kansas. She graduated from UC Berkeley with a B.A. in English. Johnson was awarded a 2014 Isadora Duncan Dance Award for her performance with Jeremy Smith in Two if by Sea, choreographed by Kimi Okada.

Johnson trained with American Ballet Theatre, SUNY Purchase Conservatory of Dance, and was an inaugural member of Alonzo King’s LINES Ballet training program. She played “Snoopy” in Charlie 54 MONDAVIART S.ORG

Brown Christmas—Live! at the San Francisco Symphony, is a former member of Robert Moses’ KIN, and has performed as a guest artist with Kate Weare Company. As artistic director of Concept o4, Johnson has created dance for film and live performance. She has previously choreographed for the European Tanzsomer Festival, Regional Dance America and music video projects.

Johnson is also a singer and music producer with the group Saint Tiimbre. Johnson joined ODC/Dance in 2011.

JOSIE G. SADAN

DANCER Josie Sadan grew up in Lagunitas, California. She trained on scholarship at Marin Ballet and NYU’s Tisch School of the Arts. Since returning to the Bay Area in 2007, Sadan has enjoyed working with choreographers including Sidra Bell, Manuelito Biag, Molissa Fenley, Amy Foley and Robert Moses, and she is a former member of Robert Moses’ KIN. Sadan is also a widely published writer and holds an M.A. in communications from Stanford University. She joined ODC/Dance in 2013.

BRANDON FREEMAN

DANCER Brandon Freeman, better known as “Private,” is an ODC veteran, having danced with the company for 12 years before venturing out in 2008 for an artistic “walkabout.” In the Bay Area, Freeman has had the privilege of working with many dance companies and schools, most recently Amy Seiwert’s Imagery since 2010, and he was a principle dancer in the movie The Matrix II: Reloaded. He also had the rare opportunity to be a guest artist with the Colorado Ballet, performing in Glen Tetley’s Le Sacre Du Printemps in 2013. Nominated multiple times, Freeman received Bay Area Isadora Duncan Awards for Ensemble Performance in 2002 with Brian Fisher, in 2012 with Katie Faulkner, and in 2014 with Katherine Wells. In addition to teaching ballet and modern dance technique (including Dance for Parkinson’s Disease), he is a sailor, poet, woodworker, oil painter and was formerly an Artillery and Military Police Sergeant in the Army National Guard.

JEREMY BANNONNECHES

DANCER Jeremy BannonNeches was born in Brooklyn, New York, and grew up in Augusta, Georgia, where he received his initial training at the Augusta Ballet School. In 2005, he graduated with honors from the North Carolina School of the Arts, where he performed leading roles in The Nutcracker, Don Quixote, and Lynn Tailor Corbett’s Lost and Found. Bannon-Neches then danced with Nevada Ballet Theater, performing principle roles in George Balanchine’s Rubies and Serenade, Mathew Neenan’s At the Border, along with works by Twyla Tharp, Val Caniparoli, James Canfield and Thaddeus Davis. Since moving to San Francisco in 2012, he has worked with Robert Moses’ KIN, Post:Ballet, Zhukov Dance, DawsonDanceSF and Hope Mohr Dance. He joined ODC/Dance in 2015.

TEGAN SCHWAB

DANCER Tegan Schwab grew up in Miami, Florida. She graduated summa cum laude from New World School of the Arts College, and earned a B.F.A. in dance from the University of Florida. Schwab began her career in 2005 as a dancer/marionettist in several collaborations with choreographer Katherine Kramer and the acclaimed marionette/visual artist Pablo Cano.

Schwab moved to San Francisco in 2008 and has had the pleasure of dancing principal roles as a company member with Dance Through, Hope Mohr Dance and Garrett+Moulton Productions. Schwab joined ODC/Dance in 2015.

ALEC GUTHRIE

DANCER Alec Guthrie, a Palo Alto, California native, has enjoyed dancing since early childhood. He began seriously exploring and training in dance at Ayako School of Ballet. Guthrie continued studying dance at UC Irvine’s Claire Trevor School of the Arts, where he was awarded dance scholarships and graduated in 2013 with a B.F.A. in dance with a performance specialization. At UCI, Guthrie worked with

ODC/DANCE Donald McKayle as a member of his Etude Ensemble. He has also trained and worked with Jodie Gates, David Allan, Tong Wang, Diane Diefenderfer, Michael Lowe and Molly Lynch. Guthrie has had the opportunity to perform principal roles in Festival Ballet’s The Nutcracker and Neos Dance Theatre’s contemporary Snow White. From 2013–15, he has performed with both Neos Dance Theatre (Ohio) and Menlowe Ballet. Guthrie joined ODC/Dance in 2015.

DANIEL SANTOS

DANCER Daniel Santos was born in Manila, Philippines. His formal dance training began at the age of 16 with State Street Ballet under the tutelage of Rodney Gustafson. Then, at 18, he received a full scholarship with the San Francisco Ballet School. Santos danced with ODC/Dance for 10 years, at the end of which he won an Isadora Duncan Award for Individual Performance for the 2011–2012 season. In 2012, Santos decided to leave dance to explore his outdoor endeavors. He went to The Mountain Training School where he learned to guide in three disciplines; alpine mountaineering, back country skiing and rock climbing.

Santos has climbed in Alaska, Spain and in Chile (Patagonia). He is a wilderness first responder and is in the process of completing his rock guiding certification with the American Mountain Guides Association. After four years in the great outdoors, the stage was calling. This will be his 11th season with the company.

KEON SAGHARI

DANCER Keon Saghari was born and raised in Los Gatos, California. She graduated summa cum laude from Alonzo King’s LINES Ballet at Dominican University with a B.F.A. in dance and received her early training from San Jose Ballet School. Saghari is a former member of AXIS Dance Company, with whom she toured nationally and internationally; as well as ZiRu Dance, with whom she toured in China. She has had the pleasure of working with choreographers including Marc Brew, Alex Ketley, Bobbi Jene Smith, Maurya Kerr, Yuri Zhukov,

Bianca Mendoza, David Hererra and Natasha Adorlee Johnson. Saghari is also a certified Bikram yoga instructor. Saghari joined ODC/Dance in 2016.

RACHEL FURST

DANCER Rachel Furst is from Baltimore, Maryland, where she trained at the Baltimore School for the Arts. She graduated summa cum laude with a B.F.A in dance from the Alonzo King’s LINES Ballet at Dominican University of California. She has been working for Amy Seiwert’s Imagery since 2012 and has had the pleasure of also performing with Dawson Dance SF and Smuin Ballet. Furst is very excited to be joining ODC/Dance for her first season.

LANI YAMANAKA

APPRENTICE Lani Yamanaka was born and raised in Carlsbad, California.

She graduated from UC Irvine with two B.F.A. degrees specializing in performance and choreography. At UCI, she had the privilege to train with Donald McKayle as a member of his Etude Ensemble where she was able to learn, perform and create repertory with the world renowned dance legend. Immediately upon graduation, Yamanaka was cast in Pearl, a multimedia production directed and choreographed

by Daniel Ezralow. The show made its world premiere at the David H. Koch Theater at Lincoln Center. She has trained with Hubbard Street Dance Company, San Francisco Conservatory of Dance, BodyTraffic and Unity 2 Dance Ensemble.

Yamanaka was a company member with Entity Contemporary Dance for three years and is signed with Go 2 Talent Agency.

MIA J. CHONG

APPRENTICE Mia J. Chong grew up in San Francisco, California. She received scholarships and training from the Kirov Academy of Ballet, the Ailey School, Alonzo King LINES Ballet, Hubbard Street Dance Chicago, the School at Jacob’s Pillow, Tisch School of the Arts at New York University and ODC School, where she trained for over a decade. Chong performed

with Robert Moses’ KIN Dance Company and is a former member of Dance Theatre of San Francisco. She joined ODC/Dance as an apprentice in 2016.

ERIN WANG

CELLIST Erin Wang received a Bachelor of Music and a Bachelor of Arts in French from Oberlin College and Conservatory, a Master of Music from DePaul University, and an Artist Certificate in Chamber Music from the San Francisco Conservatory of Music while studying with Jennifer Culp.

She has performed chamber music with Yo-Yo Ma, Menahem Pressler, Peter Frankl, and Anthony Marwood, and she has collaborated with the Irish music ensemble Anúna and hip-hop artist Kanye West. Wang has appeared with Quartet San Francisco, the New Century Chamber Orchestra, and the Aspen Chamber Orchestra while completing a three-year fellowship in the studio of Darrett Adkins at the Aspen Music Festival. She has performed as soloist with the San Francisco Conservatory Orchestra playing Ernest Bloch’s Schelomo. Wang teaches and performs in the San Francisco Bay Area.

BRENDA WAY

FOUNDER, ARTISTIC DIRECTOR Brenda Way received her early training at the School of American Ballet and Ballet Arts in New York City. She is the founder and artistic director of ODC/Dance and creator of the ODC Theater and ODC Dance Commons, community performance and training venues in San Francisco’s Mission District. She launched ODC and an interarts department at Oberlin College and Conservatory of Music in the late 1960s before relocating to the Bay Area in 1976.

Way has choreographed more than 85 pieces over the last 45 years.

Her commissions include Unintended Consequences: A Meditation (2008), Equal Justice Society; Life is a House (2008), San Francisco Girls Chorus; On a Train Heading South (2005), CSU Monterey Bay; Remnants of Song (2002), Stanford Lively Arts; Scissors Paper Stone (1994), Alvin Ailey American Dance Theater; Western Women (1993), Cal Performances, Rutgers University and Jacob’s Pillow; Ghosts of an Old Ceremony (1991), Walker Art Center and The Minnesota Orchestra; Krazy Kat (1990), San Francisco Ballet; This Point in Time (1987), Oakland Ballet; Tamina (1986), San Francisco Performances; and Invisible Cities encoreartsprograms.com 55

Art Studio Visiting Artist Lecture Series: Diana Cooper APRIL 13 @ 4 PM

JAN SHREM AND MARIA MANETTI SHREM MUSEUM OF ART, COMMUNITY EDUCATION RM FREE

Design: “Aspire” Picnic Day Fashion Show APRIL 22: 11 AM & 1:30 PM

ACTIVITIES AND RECREATION CENTER (ARC), BALLROOMS A, B & C

Theatre: Alfred Hitchcock’s The 39 Steps MAY 11-13 & 18-20 @ 7 PM WYATT PAVILION THEATRE

MAY 13 & 20 @ 2 PM

Music: UC Davis Symphony Orchestra: Heavenly Life Works by Dvořák , Mahler & Schumann

MAY 13 @ 7 PM

ROBERT AND MARGRIT MONDAVI CENTER FOR THE PERFORMING ARTS, JACKSON HALL

Cinema & Digital Media: The Film Festival @ UC Davis MAY 24 & 25 @ 10 PM

VARSITY THEATRE, DOWNTOWN DAVIS

ART HISTORY

arts.ucdavis.edu

FOR TICKETS AND THE LATEST ARTS INFORMATION

ART STUDIO CINEMA & DIGITAL MEDIA DESIGN MUSIC THEATRE & DANCE

ODC/DANCE (1985), Stanford Lively Arts and the Robotics Research Laboratory. Her work Investigating Grace was named an NEA American Masterpiece in 2011.

She is a national spokesperson for dance, has been published widely and has received numerous awards, including Isadora Duncan Dance Awards for both choreography and sustained achievement, and has enjoyed 40 years of support from the National Endowment for the Arts. She is a 2000 recipient of the John Simon Guggenheim Fellowship. In 2009, she was the first choreographer to be a Resident of the Arts at the American Academy in Rome, and in 2012, she received the Helen Crocker Russell Award for Community Leadership from the SF Foundation. In 2009, ODC/Dance was selected by BAM to tour Way’s work internationally under the aegis of the U.S. State Department’s inaugural DanceMotion USA tour. Way holds a Ph.D. in aesthetics and is the mother of four children.

KT NELSON

CO-ARTISTIC DIRECTOR KT Nelson joined ODC/Dance in 1976 and partners with Brenda Way to direct the ODC/ Dance Company. Nelson choreographed and directed the Company’s first full-length family ballet in 1986, The Velveteen Rabbit, which has since been performed annually in the Bay Area as an ODC/Dance holiday production.

Nelson has been awarded the Isadora Duncan Dance Award four times: in 1987 for Outstanding Performance; in 1996 and 2012 for Outstanding Choreography; and in 2001 for Sustained Achievement. Her collaborators have included Bobby McFerrin, Geoff Hoyle, Shinichi Iova-Koga, Max Chen, Zap Mama and Joan Jeanrenaud. In 2008, her work RingRounRozi, in collaboration with French-Canadian composer Linda Bouchard, was selected to be performed at the Tanzmesse International Dance Festival.

In 2009, Nelson was one of three artists selected for Austin Ballet’s New American Talent Competition. In 2012, she created new work for Western Michigan University as part of their Great Works Dance Project.

In addition to her work as a choreographer, Nelson served on the Zellerbach Community Arts Panel from 2005–2011, ran the summer dance department for Center for Creative Youth at Wesleyan University 2003–2006 and founded the ODC Dance Jam in 1997.

Over the last 25 years, Nelson has played a major role in defining and implementing

ODC’s ongoing and project-based outreach programs. She has mentored the Margaret Jenkins’ Chime Project and continues to mentor emerging artists in the Bay Area and abroad.

ZÖE KEATING

COMPOSER Cellist and composer Zoë Keating is a onewoman orchestra. She uses a cello and a foot-controlled laptop to record layer upon layer of cello, creating intricate, haunting and compelling music. Keating is known for both her use of technology—which she uses to sample her cello onstage—and for her DIY approach, releasing her music online without the help of a record label.

A cellist since the age of 8, Keating pursued electronic music and contemporary composition as part of her Liberal Arts studies at Sarah Lawrence College in New York. After graduation she moved to San Francisco and fell in love with the startup culture of the late 1990s, finding a career as an information architect and data analyst while moonlighting as a cellist.

Now, Keating has a devoted, global audience. Her self-released albums have several times topped the iTunes classical chart, she has over 1 million followers on Twitter and her grassroots approach and artists’ advocacy has garnered her much public attention and press. She serves as a governor for the San Francisco chapter of the Recording Academy, was named a Young Global Leader by the World Economic Forum and serves on the board of CASH Music, a nonprofit organization that builds open source digital tools for musicians and labels.

Keating has played and recorded with a wide range of artists, including Imogen Heap, Amanda Palmer, Tears for Fears, DJ Shadow, Dan Hicks, Thomas Dolby, John Vanderslice, Rasputina, Pomplamoose and Paolo Nutini. She has composed music for ballet, theater, film and radio and lends her music regularly to film, TV, dance productions and commercials.

encoreartsprograms.com 57

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.

Donor information as of January 31, 2017.

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*†

William and Nancy† Roe* The Lawrence Shepard Family Fund

VIRTUOSO CIRCLE $15,000 - $24,999

M.A. Morris* Tony† and Joan Stone* Helen and Jerry Suran Shipley and Dick Walters*

Joyce and Ken Adamson Dr. Jim P. Back Wanda Lee Graves and Steve Duscha Mary B. Horton* Nancy Lawrence†, Gordon Klein, and Linda Lawrence

MAESTRO CIRCLE $10,000 - $14,999

Wayne and Jacque Bartholomew* Chan Family Fund Thomas and Phyllis† Farver* Dean and Karen† Karnopp* Hansen Kwok† Gerry and Carol Parker

Cliff Popejoy† David Rocke and Janine Mozée Grace† and John Rosenquist Raymond Seamans Donald and Denise Timmons Rosalie Vanderhoef*

BENEFACTOR CIRCLE $7,000 - $9,999

Tony and Ellie Cobarrubia* Eric and Michael Conn Janlynn Fleener† Samia and Scott Foster Andrew and Judith Gabor Benjamin and Lynette Hart* Clarence and Barbara Kado

† Mondavi Center Advisory Board Member 58 MONDAVIART S.ORG

Jane and Bill Koenig Garry Maisel† and Mark Ulm Verne Mendel* Alice Oi Randall E. Reynoso and Martin Camsey Celestine and Scott Syphax† And 1 donor who prefers to remain anonymous

*Friends of Mondavi Center

° In Memoriam

PRODUCER CIRCLE

$3,500 - $6,999

Carla F. Andrews W. Christopher and Andie Bandy 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 Bruce and Marilyn Dewey Richard and Joy Dorf Allen Enders Merrilee and Simon Engel Charles and Catherine Farman Jolán Friedhoff and Don Roth Henry and Dorothy Gietzen Kay Gist Ed and Bonnie Green* Robert and Kathleen Grey Diane Gunsul-Hicks Charles H. and Ann W. Halsted John and Regi Hamel Judith and William Hardardt* Dee Hartzog Charles and Eva Hess In Memory of Christopher Horsley* Martin and JoAnn Joye* 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 Nelson Lewallyn and Marion Pace-Lewallyn David and Ruth Lindgren Richard and Kyoko Luna Family Fund Paul° and Diane Makley* In Memory of Allen G. Marr Eldridge and Judith Moores Barbara Moriel Grant and Grace Noda* Miep Palmer° Misako and John Pearson Sue and Brad Poling Warren Roberts and Jeanne Hanna Vogel Roger and Ann Romani* Hal and Carol Sconyers Kathryn Smith Tom and Meg Stallard* Tom and Judy Stevenson* David Studer and Donine Hedrick Brian Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jerilyn Paik-Telfeyan Joe and Betty Tupin* Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Claudette Von Rusten John Walker and Marie Lopez The One and Only Watson Patrice White Richard and Judy Wydick Yin and Elizabeth Yeh And 6 donors who prefer to remain anonymous

DIRECTOR CIRCLE

$1,500 - $3,499

The Aboytes Family Beulah and Ezra Amsterdam Chris Armanini at G Street WunderBar Elizabeth and Russell Austin

Laura and Murry Baria Lydia Baskin* Drs. Noa and David Bell Don and Kathy Bers* Patricia Bissell and Al J Patrick Jo Anne Boorkman* Neil and Elizabeth Bowler Edwin Bradley Linda Brandenburger Nola Brech Susie and James Burton Davis and Jan Campbell Cantor & Company, A Law Corporation Sue Cipolla and Palma Lower Allison P. Coudert Jim and Kathy Coulter* John and Celeste Cron* Terry and Jay Davison Dotty Dixon* DLMC Foundation Joyce Donaldson* Matt Donaldson and Steve Kyriakis Wayne and Shari Eckert* Carole Franti* Karl Gerdes and Pamela Rohrich David and Erla Goller John and Patty Goss* Jack and Florence Grosskettler* Paul and Kathleen Hart Dr. Clare Hasler-Lewis and Cameron Lewis Karen Heald and K.C. McElheney Tim and Karen Hefler Sharna and Mike Hoffman Ronald and Lesley Hsu In Memory of Flint and Ella Barbara Katz Nancy and John Keltner Joseph Kiskis and Diana Vodrey Charlene R. Kunitz Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Francie and Arthur Lawyer* Hyunok Lee and Daniel Sumner Sally Lewis Lin and Peter Lindert Natalie and Malcolm MacKenzie* Debbie Mah and Brent Felker* Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Maria Manea Manoliu Marilyn Mansfield Yvonne L. Marsh Betty Masuoka and Robert Ono Shirley Maus* Janet Mayhew In Memory of William F. McCoy Robert and Helga Medearis Stephen Meyer and Mary Lou Flint Augustus Morr Rebecca Newland John Pascoe and Susan Stover Nancy Petrisko and Don Beckham Bonnie Plummer Prewoznik Foundation Linda and Lawrence Raber* John and Judith Reitan Kay Resler* Christopher Reynolds and Alessa Johns In Memory of Eva C. Richards Tom Roehr Liisa Russell Dwight E. and Donna L. Sanders Christian Sandrock Ed and Karen Schelegle Neil and Carrie Schore Bonnie and Jeff Smith Judith L. Smith Edward and Sharon Speegle Les and Mary Stephens De Wall Maril R. and Patrick M. Stratton D. Verbeck, J. Persin, R. Mott *Friends of Mondavi Center

Geoffrey and Gretel Wandesford-Smith Dan and Ellie Wendin Dale and Jane Wierman Susan and Thomas Willoughby Gayle K. Yamada and David H. Hosley And 4 donors who prefer to remain anonymous

ENCORE CIRCLE

$600 - $1,499

Drs. Ralph and Teresa Aldredge Shirley and Mike Auman* Alicia and Antonio Balatbat* Robert and Susan Benedetti In Memory of Marie Benisek Karen Zito and Manuel Calderon de la Barca Sanchez Anne and Gary Carlson* Carole Cory and Jan Stevens Jack and Gale Chapman Robert D. and Nancy Nesbit Crummey Anne Duffey John and Cathie Duniway Robert and Melanie Ferrando Doris Flint Jennifer D. Franz E. F. and Paul Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Paul and Nancy Helman Leonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Patricia Hutchinson* Vince Jacobs and Cecilia Delury Louise Kellogg and Douglas Neuhauser Paul Kramer Paula Kubo Ruth Lawrence Michael and Sheila Lewis* Robert and Betty Liu Gary C. and Jane L. Matteson Roland and Marilyn Meyer Nancy Michel Katharine and Dan Morgan Don and Sue Murchison Bob and Kinzie Murphy John and Carol Oster Frank Pajerski J. and K. Redenbaugh Joanna Regulska Carrie Rocke Heather and Jeep Roemer Alan M. Roth, M.D. Tom and Joan Sallee David Scheuring Michael and Elizabeth Singer William and Jeannie Spangler* Elizabeth St. Goar Sherman and Hannah Stein Judith and Richard Stern Ed and Karen Street* Eric and Patricia Stromberg* Lyn Taylor and Mont Hubbard Captane and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Dennis and Judy Tsuboi Louise and Larry Walker Jack and Rita Weiss Steven and Andrea Weiss* Kandi Williams and Dr. Frank Jahnke Ardath Wood Paul Wyman Drs. Matthew and Meghan Zavod Karl and Lynn Zender And 4 donors who prefer to remain anonymous

° In Memoriam

ORCHESTRA CIRCLE

$300 - $599

Jose and Elizabeth Abad Mitzi Aguirre Elinor Anklin and George Harsch Peter and Margaret Armstrong Carol Benedetti Jane D. Bennett Robert Biggs and Diane Carlson Biggs Muriel Brandt Paul Braun John and Christine Bruhn Dr. Margaret Burns and Dr. Roy W. Bellhorn Bruce and Mary Alice Carswell* Simon and Cindy Cherry Donna Clark Stuart and Denise Cohen In Memory of Jan Conroy Charles and Mary Anne Cooper Nicholas and Khin Cornes James Cothern Mr. and Mrs. David Covin Kim Dao Nguyen Larry Dashiell and Peggy Siddons Daniel and Moira Dykstra Micki and Les Faulkin Janet Feil Kerstin and David Feldman Helen Ford Lisa Foster and Tom Graham Edwin and Sevgi Friedrich* Nancy Gelbard and David Kalb Marvin and Joyce Goldman Larry and Bev Greene Dr. Paul and June Gulyassy Darrow and Gwen Haagensen Marylee Hardie Michael and Margaret Hoffman Jan and Herb Hoover Steve and Nancy Hopkins Mun Johl Don and Diane Johnston Robert D. and Barbara F. Jones Mary Ann and Victor Jung Susan Kauzlarich and Peter Klavins Charles Kelso and Mary Reed Peter G. Kenner Robert Kingsley and Melissa Thorme Ruth Ann Kinsella* Darnell Lawrence Carol Ledbetter Stanley and Donna Levin Barbara Levine Mary Ann and Ernest Lewis Robert and Patricia Lufburrow Jeffrey and Helen Ma Julin Maloof and Stacey Harmer Bunkie Mangum Katherine F. Mawdsley* David Miller William and Nancy Myers Margaret Neu* Dr. Yvonne Otani Sally Ozonoff and Tom Richey John and Barbara Parker Henri and Dianne Pellissier Harriet Prato John and Alice Provost Evelyn and Otto Raabe Lawrence° and Celia Rabinowitz Francis E. Resta David and Judy Reuben* Dr. Ron and Sara Ringen Tracy Rodgers and Richard Budenz Bob and Tamra Ruxin Saltzen Family John and Joyce Schaeuble The Shepard Gusfield Family James Smith Robert Snider and Jakkrit Jararjakkrawhal Pieter Stroeve, Diane M. Barrett and Jodie Stroeve

Tony and Beth Tanke Virginia and Butch Thresh Ramon and Karen Urbano Ann-Catrin Van Ph.D. Robert Vassar and Sandra Burgner Rita Waterman Charles White and Carrie Schucker Iris Yang and G. Richard Brown Janet and Wesley° Yates Jane Yeun and Randall Lee Ronald M. Yoshiyama Hanni and George Zweifel And 6 donors who prefer to remain anonymous

MAINSTAGE CIRCLE

$100 - $299

Leal Abbott Mary Aften Michelle Agnew Susan Ahlquist Fritz Albrecht David and Penny Anderson Janice and Alex Ardans Debbie Arrington Charlotte Ballard and Robert Zeff Charles and Diane Bamforth Dawn Barlly Paul and Linda Baumann Jonathan and Mary Bayless Lynn Baysinger* Marion S. Becker Bee Happy Apiaries Lorna Belden and Milton Blackman Merry Benard Robert Bense and Sonya Lyons Bevowitz Family Dr. Robert and Sheila Beyer Roy and Joan Bibbens* John and Katy Bill Roger and Dorothy Bourdon Brooke Bourland* Jill and Mary Bowers Clyde and Ruth Bowman C and B Brandow Dan and Mildred Braunstein* M. Therese Brown* Valerie and David Brown Valerie Brown and Edward Shields Elizabeth and Alan Brownstein Mike and Marian Burnham Meredith Burns William and Karolee Bush Robert and Elizabeth Bushnell John and Marguerite Callahan Peter Camarco Nancy and Dennis Campos* John and Nancy Capitanio William and Pauline Caple James and Patty Carey Michael and Susan Carl Lynn D. Case Dorothy Chikasawa* Carol Christensen* Craig Clark and Mary Ann Reihman Ed and Jacqueline Clemens Linda Clevenger and Seth Brunner James W. Cline and Linda Cline Sheri and Ron Cole Marj Collins Steve and Janet Collins Terry Cook Larry and Sandy Corman Ann and Fred Costello Catherine Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Tatiana Cullen Susan and Fitz-Roy Curry Sharon Cuthbertson* Nita A. Davidson Relly Davidson Judy and David Day Lynne de Bie*

encoreartsprograms.com 59

THE ART OF GIVING Fred Deneke and James Eastman Carol Dependahl-Ripperda Sabine Dickerson; Marietta Bernoco Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* Katherine and Gordon Douglas Marlene and Ray Dunaway* Leslie A. Dunsworth Eliane Eisner Richard Ely and Lindsay Allen Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Wallace Etterbeek Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Joshua Fenton and Lisa Baumeister Liz and Tim Fenton* Curt and Sue Ann Finley Kieran and Marty Fitzpatrick Dave and Donna Fletcher Glenn Fortini Louis J. Fox and Marnelle Gleason* Marion Franck and Robert Lew Elaine A. Franco Barbara and Edwin Frankel Anthony and Jorgina Freese Marlene J. Freid* Larry Friedman and Susan Orton Kerim and Josie Friedrich Myra A. Gable Anne Garbeff* Dr. Gordon and Renee Garcia Peggy Gerick Barbara Gladfelter Eleanor Glassburner Susan Goldstein Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart David Goodrich Douglas Gramlow Sandra and Jeffrey Granett Steve and Jacqueline Gray Stephen and Deirdre Greenholz Paul and Carol Grench John Griffing and Shelley Mydans Alex and Marilyn Groth Wesley and Ida Hackett* Bob and Jen Hagedorn Jane and Jim Hagedorn

Frank Hamilton Katherine Hammer William and Sherry Hamre M. and P. Handley Jim and Laurie Hanschu Vera Harris The Hartwig-Lee Family Sally Harvey* Rand and Mary Herbert Paula Higashi and Fred Taugher Larry and Elizabeth Hill Roberta Hill Bette Hinton and Robert Caulk Dr. Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges Jorja Hoehn* Lorraine Hwang 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 and Nancy Joye Shari and Tim Karpin Peter James Kassel Anthony and Beth Katsaris Yasuo Kawamura Patricia Kelleher* Sharmon and Peter Kenyon Robert and Cathryn Kerr Leonard Keyes Jeannette Kieffer Larry Kimble and Louise Bettner Katy King-Goldberg and Lenny Goldberg Roger and Katharine Kingston Bob and Bobbie Kittredge Mary and John Klisiewicz* Jane Knopke Alan and Sandra Kreeger Marcia and Kurt Kreith Sandra Kristensen Elizabeth and C.R. Kuehner Leslie Kurtz Marsha Lang Susan and Bruce Larock Sevim Larsen Peggy Leander* Iva and Charles Learned Steve and Nancy Lege

ARTISTIC VENTURES FUND

Jeannette and Joel Lerman Evelyn Lewis Melvyn and Rita Libman Barbara Linderholm* David and Susan Link Motoko Lobue Mary Lowry Melissa Lyans and Andreas Albrecht Ariane Lyons Ed and Sue MacDonald David and Alita Mackill Subhash Mahajan Karen Majewski Dr. Vartan Malian and Nova Ghermann Joseph and Mary Alice Marino Pam Marrone and Mick Rogers David and Martha Marsh J. A. Martin Harry Matthews and Lorraine Jensen Leslie Maulhardt Karen McCluskey* Nora McGuinness* Tim and Linda McKenna Martin A. Medina and Laurie Perry Barry Melton Sharon Menke Beryl Michaels and John Bach Leslie Michaels and Susan Katt Lisa Miller Sue and Rex Miller Kei and Barbara Miyano Vicki and Paul Moering Ken and Elaine Moody Kate Morejohn* Margaret Morita Richard L. Morrison and Carolyn Langenkamp Marcie Mortensson Rita Mt. Joy Robert and Janet Mukai The Muller Family Robert and Susan Munn* Elaine Myer Cathy Neuhauser and Jack Holmes Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* Patrice Norris and Tom Ahern A. Mobile Notary Dana Olson Jim and Sharon Oltjen

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 Richard and Joy Dorf

Anne Gray Barbara K. Jackson

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

Mary Jo Ormiston* Bob and Elizabeth Owens Jesse Ann Owens Mike and Carlene Ozonoff Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Erin Peltzman Mr. Luis Perez-Grau and Michele Barefoot Ross and Karen Peters Ann Peterson and Marc Hoeschele Jane Plocher Chuck and Chris Powell Jerry and Bernice Pressler Deanna and William Pritchard Jan and Anne-Louise Radimsky Lawrence and Norma Rappaport Olga C. Raveling Sandi Redenbach* Catherine Reed Fred and Martha Rehrman* Eugene and Elizabeth Renkin Ralph and Judy Riggs* Richard Robbins Sue Robison Ron and Morgan Rogers John and Carol Rominger Richard and Evelyne Rominger Sharon and Elliott Rose* Linda Roth Cynthia Jo Ruff* Paul and Ida Ruffin Dagnes/Vernon Ruiz Hugh Safford Kirsten Salomon Terry Sandbek and Sharon Billings* Elia and Glenn Sanjume Cindy Sato Carolyn Savino* Patsy Schiff Leon Schimmel and Annette Cody Dan Shadoan and Ann Lincoln Jackie Shelby and Russell Greve Barbara and Walter Sherwood Jeanie Sherwood Jo Anne S. Silber Bradford and Elizabeth Smith Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Dolores and Joseph Spencer William Stanglin

Alan and Charlene Steen Miriam Steinberg and Ben Glovinsky Harriet Steiner and Miles Stern Johanna Stek Deb and Jeff Stromberg Stewart and Ann Teal* Francie F. Teitelbaum Julie A. Theriault, PA-C, DFAAPA Henry and Sally Tollette Robert and Victoria Tousignant Allen and Heather Tryon James E. Turner Nancy Ulrich* Chris and Betsy van Kessel Diana Varcados Bart° and Barbara Vaughn* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Kim and James Waits Maxine Wakefield and William Reichert Carol L. Walden Vivian and Andrew Walker Andy and Judy Warburg Marny and Rick Wasserman Georgie Waugh Doug West Martha West Robert and Leslie Westergaard* Susan and Edward Wheeler Nancy and Richard White* Mrs. Jane Williams Jonathan and Trayce Williams Tom Wilson Janet G. Winterer Peggy Wygal* Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart The Yetman Family Dr. Norman and Manda Yeung Sharon and Doyle Yoder Phillip and Iva Yoshimura Jiayi Young Verena Leu Young* Phyllis and Darrel Zerger* Tim and Sonya Zindel Dr. Mark and Wendy Zlotlow And 46 donors who prefer to remain anonymous ° In Memoriam *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 Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Nancy Dubois° Anne Gray Mary B. Horton Margaret Hoyt Barbara K. Jackson Roy and Edith Kanoff Robert and Barbara Leidigh

Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne Mendel Kay Resler Hal and Carol Sconyers Joe and Betty Tupin Lynn Upchurch Clive Watson and Joy Mench And one donor who wishes to remain anonymous ° In Memoriam

If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation.

If you are interested in learning about planned giving opportunities, please contact Nancy Petrisko, Director of Development (530.754.5420 or npetrisko@ucdavis.edu).

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

60 MONDAVIART S.ORG

BOARDS & COMMITTEES

MONDAVI CENTER ADVISORY BOARD

THE 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.

2016–17 ADVISORY BOARD Yevgeniy Gnedash, Chair Trisha Barua Ian Koebner Marielle Berman Jaimie Lee Kriti Garg Victoria Nguyen Stephanie Hartfield Luna Qiu Greg Ortiz Jasmyn Tang Kenneth Beck Hannah Vahldick Jochen Ditterich Michelle Wang Carol Hess Amy Yip Petr Janata Yolanda Zhang Gina Werfel

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.

2016–17 FRIENDS EXECUTIVE BOARD Francie Lawyer, President Leslie Westergaard, Vice President Karen Broido, Secretary COMMITTEE CHAIRS: Wendy Chason, Friends Events Marge Dolcini, Gift Shop Barbara Linderholm, Membership Judy Fleenor, Mondavi Center Tours Verena Leu Young, School Matinee Support Lynne de Bie, School Matinee Ushers/ Front of House Liaison Lynette Ertel, School Outreach Marlene Freid, Audience Services and Volunteer Engagement Manager, Ex-Officio

EX OFFICIO Ralph J. Hexter, Interim Chancellor, UC Davis Ken Burtis, Interim 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 Yevgeniy Gnedash, Chair, Arts & Lectures Administrative Advisory Committee Francie Lawyer, Chair, Friends of the Mondavi Center

TOURS

2016–17 ADVISORY BOARD MEMBERS Tony Stone, Chair • Anne Gray, Vice-chair • Jim Bigelow • Camille Chan • John Crowe • Patti Donlon • Phyllis Farver • Janlynn Fleener • Karen Karnopp • Hansen Kwok • Nancy Lawrence • Garry Maisel • Cliff Popejoy • Nancy Roe • Grace Rosenquist • Lawrence Shepard • Scott Syphax

TOURS

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.

Join one of the Friends of Mondavi Center volunteers for a guided tour of Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre and Yocha Dehe Grand Lobby. Learn more about the building’s physical features and the operations of this vibrant arts facility.

Tours are free but require reservations.

Call 530.754.5399 or email mctours@ucdavis.edu.

Judy Fleenor, Chair Mondavi Center Tours Committee Judy was a science teacher in the Davis Joint Unified School District before retiring in 2010.

When she isn’t leading tours she is raising service dogs for Canine Companions for Independence.

Friends of Mondavi Center encoreartsprograms.com 61

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.

GROUP DISCOUNTS

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.

STUDENT TICKETS

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

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

Student ID numbers may also be used to verify enrollment.

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

Proof Requirements: School ID showing

62 MONDAVIART S.ORG

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 nonprofit arts organizations. If you do not wish to be included in our email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone.

Full Privacy Policy at mondaviarts.org.

TOURS

Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.

ACCOMMODATIONS FOR PATRONS WITH DISABILITIES

The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements. Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation.

The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances. Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests. Requests for these accommodations may be made when

purchasing tickets at 530.754.2787 or TDD 530.754.5402.

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 Robert and Margrit Mondavi Center for the Performing Arts.

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