Mondavi Center 14-15 Program Book 5

Program April–June 2015 Max Raabe and Palast Orchester APR 2 Photo by Marcus Hoehn

Timeless music all the time .

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WELCOME

A MESSAGE FROM THE CHANCELLOR

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

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

LINDA P.B. KATEHI

UC DAVIS CHANCELLOR

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

We have all come to love the Mondavi

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

Center as the artistic

from the Andrew W. Mellon Foundation.

heart and soul of our

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

campus and a venue

not only attracts brilliant and enjoyable performers from around the

that enriches the entire region.

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

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

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SPONSORS

MONDAVI CENTER STAFF

CORPORATE PARTNERS

Don Roth, Ph.D.

PLATINUM

ASSOCIATE EXECUTIVE DIRECTOR

EXECUTIVE DIRECTOR

Jeremy Ganter Liz King

EXECUTIVE ASSISTANT

PROGRAMMING Jeremy Ganter

GOLD

DIRECTOR OF PROGRAMMING

Erin Palmer

ASSISTANT DIRECTOR OF PROGRAMMING

Ruth Rosenberg

ARTIST ENGAGEMENT COORDINATOR

SILVER

Lara Downes OFFICE of CAMPUS COMMUNITY RELATIONS

CURATOR: YOUNG ARTISTS PROGRAM

ARTS EDUCATION Joyce Donaldson

DIRECTOR OF ARTS EDUCATION

Jennifer Mast ARTS EDUCATION COORDINATOR

BRONZE

Ciocolat

Watermelon Music

El Macero County Club 4 MONDAVIARTS .ORG

SENIOR DIRECTOR OF SUPPORT SERVICES

Mandy Jarvis

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Russ Postlethwaite

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

DEVELOPMENT Debbie Armstrong

Sarah Schaale

DIGITAL MARKETING MANAGER

Dana Werdmuller

MARKETING MANAGER

TICKET OFFICE Sarah Herrera Steve David

TICKET OFFICE SUPERVISOR

Susie Evon

TICKET AGENT

Russell St. Clair TICKET AGENT

ARTIST SERVICES Jenna Bell

ARTIST SERVICES MANAGER

PRODUCTION

PUBLIC EVENTS MANAGER

FACILITIES

Christi-Anne Sokolewicz

Natalia Deardorff

Herb Garman

Dawn Kincade

ASSISTANT PUBLIC EVENTS MANAGER

Kerrilee Knights

ASSISTANT PUBLIC EVENTS MANAGER ASSISTANT PUBLIC EVENTS MANAGER

Seasons

Debbie Armstrong

ART DIRECTOR & SENIOR GRAPHIC ARTIST

ASSISTANT PRODUCTION MANAGER

Nancy Temple

Osteria Fasulo

TICKET OFFICE MANAGER

Erin Kelley

Adrian Galindo

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Boeger Winery

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DIRECTOR OF MARKETING

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Yuri Rodriguez

API Global Transportation

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SPECIAL THANKS

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

Donna J. Flor

Marlene Freid

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

MARKETING

SENIOR DIRECTOR OF DEVELOPMENT

AUDIENCE SERVICES

COPPER

HEAD USHERS

DIRECTOR OF OPERATIONS

Greg Bailey

BUILDING ENGINEER

INFORMATION TECHNOLOGY Paul Altamira

APPLICATIONS AND NETWORK SUPPORT ADMINISTRATOR

PRODUCTION MANAGER

SENIOR STAGE MANAGER, JACKSON HALL

Christopher C. Oca

SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE

Phil van Hest

MASTER CARPENTER

Rodney Boon

HEAD AUDIO ENGINEER

Jan Lopez

EVENT COORDINATOR

Xavier inspires us To see Xavier in action, you’d never guess he was born with a rare congenital heart defect that leaves one side of the heart severely underdeveloped. If untreated, a child rarely survives beyond the first hours or days of life.

That was Xavier’s path when an air ambulance whisked the newborn to UC Davis Children’s Hospital, where Pediatric Heart Center surgeons performed the first in a complex series of three procedures to reconstruct his tiny heart and increase blood flow to his body.

With two surgeries now behind him, the bubbly toddler takes it all in stride – and greets each day with a smile that’s uniquely heartening.

Xavier and other children like him inspire the UC Davis team to push the boundaries of health care every day. To learn more about Xavier’s story, and the specialty services offered at this region’s one nationally ranked comprehensive hospital for children, visit children.ucdavis.edu One team. One choice.

One UC Davis.

THE REGION’S

COMPREHENSIVE HOSPITAL FOR CHILDREN

IN THIS ISSU

A MESSAGE FROM THE EXECUTIVE DIRECTOR

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

DON ROTH, Ph.D. EXECUTIVE DIRECTOR

With this last program book of the year, we enter the final stretch of performances for the 14-15 season.

What a varied group of fine artists to draw our season to a close. Max Raabe and Palast Orchester bring an authentic taste of German cabaret. Arlo Guthrie celebrates the 50th anniversary of “Alice’s Restaurant.” Bill Frisell pays tribute to the guitar tunes of the 1960s surrounded by the visual wizardry of the Joshua Light Show. And Ballet BC, on its new date, June 19, performs a trio of works from a who’s who of contemporary choreographers.

As we experience each of these final performances of the current season, we eagerly anticipate what awaits our audiences in 2015-16. It will be a season that brings some of the finest female vocalists in every genre - from Renée Fleming to Mavis Staples to the rising star of jazz, Cécile McLorin Salvant; the return to our stage of Yo-Yo Ma; Orchestras ranging from the Royal Philharmonic with Pinchas Zukerman to the Academy of St. Martin in the Fields with Joshua Bell; new dance works from Twyla Tharp; a film series with live scores performed by Cameron Carpenter and the San Francisco Symphony; and speakers from Zadie Smith to the team that created This American Life’s “Serial.” There’s even a new dance piece in 3-D (the kind with glasses). As always, there is simply too much variety and quality to share here in my note. Please visit mondaviarts.org to view our digital brochure, or call the ticket office at 530-754-2787 to find out more about the upcoming year.

A series subscription remains the best way to enjoy the Mondavi Center experience. The combination of robust discounts, seating privileges and our flexible exchange policy make it a great value. Combine that with the unique artistic journey designed into every series, and we believe a subscription is the finest way to enjoy and discover the most interesting artists working today, all in one of the finest venues in California.

Thank you for joining us this year, and we look forward to seeing you in the season ahead.

6 MONDAVIARTS .ORG

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Max Raabe and Palast Orchester

12 Quixotic 14 Arlo Guthrie 16 The Composer is Dead 19 Dan Savage 21 Academy of St. Martin in the Fields Chamber Ensemble 26 Ballet BC

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

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

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

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

Violators are subject to removal.

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

• As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may 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 opera glasses are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.

April 2015 Volume 2, No. 5

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

2012—13

Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold Seattle Sales Director

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

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

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MAX RAABE and PALAST ORCHESTER

A Night In Berlin

© OLAF HEINE

A With A Twist Series Event Thursday, April 2, 2015 • 8PM Jackson Hall SPONSORED BY

PALAST ORCHESTER Cecilia Crisafulli, violin Sven Bährens, alto-sax, clarinet, bass-clarinet Bernd Dieterich, double-bass, sousaphone Michael Enders, trumpet, vocal, musical director Johannes Ernst, alto-sax, clarinet Rainer Fox, baritone-sax, bass-sax, clarinet, vocals Bernd Frank, tenor-sax, clarinet Ulrich Hoffmeier, guitar, banjo, violin Thomas Huder, trumpet, vocal Jörn Ranke, trombone, viola, vocal Vincent Riewe, drums, percussion Ian Wekwerth, piano

8 MONDAVIARTS .ORG

Berlin’s famed crooner Max Raabe and his 12-piece Palast Orchester present their collection of meticulously recreated songs from the Weimar era of 1920s Germany, as well as the Great American Songbook. Their latest release on Deutsche Grammophon, Golden Age, draws from the era between the two world wars and features timeless classics like “Singing in the Rain,” “Dream a Little Dream” and “Cheek to Cheek” as well as tongue-incheek interpretations of pop favorites “Sex Bomb” and “Oops...I Did it Again.” Playing “the most elegant kind of pop music” (San Francisco Chronicle) Max Raabe and Palast Orchester have already sold more than a million albums around the world. “Raabe & Co. disarm, charm with impeccable glamour… meticulously channels swinging interwar decadence into a contemporary thrill.” (The Boston Globe)

MAX RAABE was born in Lünen, Westfalia, in 1962, and founded the Palast Orchester with his fellow students at the Berlin University of the Arts in 1986. He and his ensemble went on to enjoy international success on concert tours through Europe, USA, Asia and Israel.

In his early years, Max felt attracted to the operatic world of Wagner. However, when he heard music from the “Golden ‘20s” on the radio and discovered a humorous foxtrot labeled “I´m Crazy About Hilde” in his parents´ record cabinet, he was hooked! He began collecting shellac records and soon became an expert on

the songs and style of the Weimar Era. It was some time before Max felt the urge to stand on stage himself and sing. He plucked up the courage to dress up in his father’s top hat and tails at the height of the disco era to perform songs from the ‘20s at parties for friendst.

In his own 20s, Max moved to Berlin to study singing. After graduation, he gathered experience as a classical baritone but soon realized that his heart beat for the music of the Weimar Era. As no band existed that played this repertoire, he teamed up with 12 fellow students and founded the Palast Orchester.

Max Raabe and Palast Orchester are internationally renowned for entertainment at its best. Their success lies in the uniqueness and excellent quality of their performance. The classically trained musicians work as seriously at the interpretation of their music as they would at that of a composition by Beethoven.

Max’s dryly witty concert announcements provide a humorous counterpoint and are a main attraction in the show.

Over the years Max has constantly managed to surprise his audience. The CD Charming Weill with rediscovered danceband arrangements of Weill compositions won the Echo award for classical music.

International charts were stormed with ‘20s-style interpretations of modern pop hits. Humorous compositions by Max himself made the band known to a wide audience in Germany during the early ‘90s.

MAX RAABE AND PALAST ORCHESTER In 2010, he teamed up with popular German producer, singer, musician and composer Annette Humpe to write 12 songs for an album. Under the title “Küssen kann man nicht allein” (One Cannot Kiss Alone) this became his most successful production when it reached platinum status in 2012.

The duo´s second album, “Für Frauen ist das kein Problem“ (For women that´s no problem) featuring philosophic contemplations like “Ich bin nur gut wenn keiner guckt” (I´m only good when no one is looking), the madness of love or the joy of life, and songs full of feeling without becoming dramatic. They remain fine, delicate, unobtrusive. Max Raabe masters the art of keeping his composure while at the same time allowing insight into his soul.

laughing saxophone of the ‘20s, on another, the dramatic sounds of contemporary music.

RAINER FOX Your biggest moment with the Palast Orchester?

The most beautiful moments are those with unusual reactions in the audience. For instance, when we caught up on a canceled concert in Halle (in the former German Democratic Republic) shortly after the fall of the wall a lady stood up after our opening number and held a speech over how delighted she was that we had finally come.

BERND FRANK How do you see your job?

I enjoy thrilling the audience each evening with our music. For me the most wonderful moments are those in which the audience shows emotions, for instance when they burst into laughter or are moved to tears.

ULRICH HOFFMEIER What do you like about the concert tours?

Having time to read and being freed of everyday chores.

CECILIA CRISAFULLI Where would you still like to perform?

Being from Venice I still have one wish open: to play with the Palast Orchester at the Teatro La Fenice in my home town. That is where everything began, where I saw La Bohème for the first time at the age of five and over and over again admired my favorite violinist, my father.

SVEN BÄHRENS Your biggest moment with the Palast Orchester?

We have played in many great concert halls all over the world but I will never forget the shiver that ran down my back when we were welcomed with frantic applause at our first concert in Carnegie Hall.

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

BERND DIETERICH What do you like in particular about your job?

I still love standing on the ‘stages of the world’ and playing music, traveling, getting to know new countries, cities and people and giving pleasure to audiences.

MICHAEL ENDERS How did you find your instrument?

When I was 12, our music teacher entered the class with a collection of brass instruments for us to try out. For us boys the challenge was to play the loudest tone we could on a trumpet or trombone. I was one of the loudest and consequently was asked whether I didn´t want to join the school brass band.

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

JOHANNES ERNST What do you particularly like about your instrument?

I play saxophone because it allows me to roam in different musical worlds, one evening the

http://occr.ucdavis.edu encoreartsprograms.com 9

MAX RAABE AND PALAST ORCHESTER

thoughtful home remodeling

THOMAS HUDER

VINCENT RIEWE

What do you like about your job?

I relish playing beautiful melodies on the trumpet every evening. Although I appreciate not having to endlessly count measures as one does in classical music, one day I would really like to blow a nice symphony by Bruckner or Mahler.

Important listening experiences?

The rhythm of trains (for me THE absolute rhythm since I was three). Niagara Falls (the sound of thousands of tons of falling water).

JÖRN RANKE Your favorite moment with the Palast Orchester?

A concert in the Waldbühne Arena in Berlin for 15,000 people. Amongst them were my two sons who saw me live for the first time.

IAN WEKWERTH How did you find your instrument?

We lived in the English country and our garage was a large converted barn. One day my Dad set off to buy an old cupboard for it and came back with a grand piano!

FURTHER LISTENING

by Jeff Hudson

MAX RAABE and PALAST ORCHESTER

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

There’s an old canard that “Germans have no sense of humor.” There was even an international poll, conducted in 2007, surveying 30,000 respondents (spread over 15 countries) which determined that the least funny country was Germany (followed

by Russia, Turkey, Britain, and the USA, in that order). But that survey was a freefor-all conducted by the social networking site Badoo, so it wasn’t what you’d call “academically respectable.”

Like most old canards, the notion of humorless Germans keeps coming back, like weeds in a spring garden. But you can refute it after this evening’s concert, because Max Raabe and the Palast Orchester can be very, very funny (as we saw during their first Mondavi visit in 2011).

Raabe’s smooth, elegant presentation of songs from Berlin in the 1920s and 1930s is the essence of refinement with a wry undercurrent. Like his poker-faced delivery as he sings a number like “Oops, I Did It Again,” with a betraying glimmer of glee in his eyes. His carefully prepared look (from neatly pressed tux to perfectly arranged hair) is an artistic statement in itself.

He can deadpan “Music has always been closely tied to destiny and personal tragedy.” Then, with a flicker of a smile, he adds “Who cares?… as long as you’re not involved.” (And the audience roars.)

He’s honed the Palast Orchester’s presentation – the musicians double as character actors, ranging from the pretty girl on the violin to the guy on the double bass. The effect is theatrical (sort of like Pink Martini).

Some years ago, Raabe used to do mocking retro versions of more recent material, like Queen’s arena anthem “We Will Rock You” (a la the Ukulele Orchestra of Great Britain). But now, Raabe favors classic material from Berlin between the wars (with some English language ditties from that era, like “Singin’ in the Rain,” as changeups).

Raabe knows what he’s doing. He told an interviewer (in English, following his 2013 Decca album Golden Age) that he consciously strives to do this classic material in “a meticulous and loving manner… The songs may have been written at a time of worldwide economic crisis, but the words are always about love, and the quest for happiness, and that makes them timeless.”

“The fact that Germans can have a sense of humor is something that the audience outside of Germany does not expect,” he added. “This is our element of surprise.”

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

10 MONDAVIARTS .ORG

QUIXOTIC

Gravity of Center

A Marvels Series Event Sunday, April 12, 2015 • 3PM Jackson Hall

QUIXOTIC Anthony Magliano, Founder, Artistic Director Mica Thomas, Associate Artistic Director Shane Borth, Composer, Musician Erica Sword, Costume Designer Echo Higuchi, Costume Designer Stephen Goldblatt, Visual Producer Rick Willoughby, Video Editor Tyler Keith, Animator Laura Jones, Principal Dancer, Choreographer Megan Stockman, Principal Aerialist, Dancer, Choreographer Lauren Winstead, Aerialist, Dancer Christen Edwards, Dancer Brittany Duskin, Dancer Kyle Vasquez, Technical Director Greg Casparian, Lighting & Projections Matt Bennett, Aerial Rigging Director Joshua Inman, Production Manager Daniel Barickman, Office Manager 12 MONDAVIARTS .ORG

GRAVITY OF CENTER is a multi-sensory exploration of the physical laws of the universe and how they define our human experience. Gravity is at once the most absolute and mysterious force of attraction.

While its laws dictate the parameters of all movement, it is these very limitations which enable human life to flourish on Earth.

With this central paradox as our point of departure, we spiral outwards through time and space, shifting our perspective from the literal physicality of expansive concepts such as mass, entropy, and electromagnetism, to the microscopic, ephemeral forces of human connection, sensuality and transcendence.

Pushing the limits of the body and mind, Quixotic illustrates that creative expression itself is the vehicle through which we ask unanswerable questions, defy the limits of the body, extend the capacity of the human heart and bend the rules of physics to our will.

Gravity of Center promises to unveil the creative essence of gravity and challenge our beliefs and perceptions about what is possible.

QUIXOTIC Founded in 2005 by renowned graphic designer, percussionist, and artistic director Anthony Magliano and joined a year later by award-winning lighting and theater

technology guru Mica Thomas, Quixotic’s mission statement was to tear down the walls that cloistered each discipline of the arts, unleashing a flood of new ideas that would wash away the staid norms of traditional theatre performance. It is the joint vision of Magliano and Thomas that has taken the loose collective of avant garde trendsetters and molded them into what The New York Times branded an “innovative circus [company].” This ultra-modern, multisensory experience shatters antiquated notions of “a night at the ballet.”

The stunning and surreal environments that set the scene for this experimental movement troupe has aligned its performers with the most progressive acts in the burgeoning electronic music scene (Dave Tipper and Shpongle, among others), but its undeniable grace, transcendent athleticism, and dogmatic dedication to haute couture also allows Quixotic to flawlessly complement the Kansas City Symphony.

The raw power, immersive experience, and sheer mesmerizing artistry of Quixotic Fusion cannot be conveyed through words, nor can audio or video alone capture the magic of an intense, firsthand glimpse of the collective in action. To truly get a sense of what it is to leave the earthly realm and enter a digital landscape of breathtaking wonder, where the bounds of genre—and gravity—have no meaning; you have to be there to believe.

ANTHONY MAGLIANO has proven to be a passionate creative force dedicated to the ongoing evolution of the ensemble since its inception. His artistic sensibilities find their relentless drive within his roots as a percussionist and composer but extend beyond music and sound into visual design and the limitless potential of theatrical technology. In defying boundaries and constantly seeking new forms of selfexpression, Magliano has crafted an awardwinning career from artistic eclecticism.

Drawing from his roots as a percussionist and composer to his internationallyacclaimed career as a graphic and motion designer, Anthony leads the vision of Quixotic and its ensemble of performers and technicians to create original, passionate and unpredictable works of theatre. This passion and commitment insures that Quixotic will continue to evolve, take chances, and challenge our emotional boundaries.

“I grew up a musician and learned early on [music’s] power to connect with people.

As I grew older, I extended my artistic reach into the visual arts and discovered the power of storytelling. As I’ve settled into this community of artists, I have again found myself energized and challenged in ways I could never have expected. In truth, I want Quixotic audiences to feel the same thing I feel every single day. I want them to be challenged, to feel a little unsettled, to feel like it’s a little bit dangerous, to be excited by the sheer beauty and physicality and be moved by what they hear. To feel this every day of my life, I am truly grateful. To be given a chance to translate these feelings into performances with this amazing ensemble of performers, I am truly thankful.”

MICA THOMAS received his BFA in Theater from Southern Oregon University. Mica attended the Masters program in Lighting Design at Penn State University where he won the 2004 Creative Achievement Award for showing excelled artistic ability. Mica’s artistic ventures include a wide variety of types of projects such as Lighting Dance, Installation Art, Painting, Masonry, Photography, Event Lighting, Theatre Lighting, Interior Lighting Design, and Concert Lighting. This is his third year working with Quixotic and he is very excited to be a part of this new and intriguing way of approaching the performing arts.

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ARLO GUTHRIE

Alice’s Restaurant

50th Anniversary Tour

An American Heritage Series Event Thursday, April 16, 2015 • 8PM Jackson Hall SPONSORED BY

Arlo Guthrie, vocals and guitar Abe Guthrie, keyboards Terry Hall, drums Bobby Sweet, violin

INDIVIDUAL SUPPORT PROVIDED BY

John and Lois Crowe 14 MONDAVIARTS .ORG

Darren Todd, bass

ARLO GUTHRIE has been known to generations as a prolific songwriter, social commentator, master storyteller, actor and activist. Born in Coney Island, New York in 1947, Arlo is the eldest son of Marjorie Mazia Guthrie, a professional dancer with the Martha Graham Company and founder of The Committee to Combat Huntington’s Disease, and America’s most beloved singer/writer/ philosopher/artist Woody Guthrie. Arlo has become an iconic figure in folk music in his own right with a distinguished and varied career spanning over fifty years.

Growing up Guthrie, Arlo was surrounded by such renowned artists as Pete Seeger, Lee Hays, Ronnie Gilbert, Sonny Terry, Brownie McGhee, and Ramblin’ Jack Elliott to name only a few. Not surprisingly, Arlo drew from these influences and he in turn became a delineative figure bridging generations of folk. He and Pete Seeger created a legendary collaboration that was sustained for over forty years. The last Pete & Arlo show was in November 30, 2013 at Carnegie Hall, only a few months before Pete passed away at the age of 94.

In 1965, a teenaged Guthrie performed a “friendly gesture” that proved to be fateful.

Arlo was arrested for littering, leading him to be deemed “not moral enough to join the army.” Guthrie attained international attention at age 19 by recounting the true events on the album Alice’s Restaurant in 1967. “The Alice’s Restaurant Massacree” is an 18-minute and 20-second partially sung comic monologue opposing the war and the backward reasoning of authority. It has become an antiestablishment anthem and receives airplay every Thanksgiving on rock radio stations around the world. Alice’s Restaurant achieved platinum status and was made into a movie in 1969, in which Arlo played himself, by the esteemed director Arthur Penn. That same year also brought Arlo to the rock festival of the ages, Woodstock. His appearance showcased Arlo’s chart-topping “Coming Into Los Angeles,” which was included on the multiplatinum Woodstock soundtrack and movie.

Beginning the 1970s with a number of albums for Warner Bros., Guthrie helped set the standard for the singer-songwriter genre burgeoning at the time. Perhaps the best known is Hobo’s Lullaby (1972) featuring a diverse body of work. Most notable is the definitive version of Steve Goodman’s “The City of New Orleans” that was a hit on all major charts. Another critically acclaimed

album that charted on Billboard was Amigo (1976), which includes “Massachusetts,” honored in 1981 as the official State Folk Song.

Taking complete creative control, Arlo left the major record label system in 1983 to fulfill his career as a truly independent artist and established Rising Son Records, one of the first indie labels in existence. Rising Son is still in active operation serving as his record and production company. To date, Rising Son Records has released over twenty titles of Arlo’s, both all new material and re-mastered versions of his classic records including the Grammy nominated Woody’s 20 Grow Big Songs (1991) featuring Arlo and his family, and In Times Like These (2007), recorded with the University of Kentucky Symphony Orchestra. The latest offering is Here Come The Kids (2014), recorded at the Old Town School of Folk Music in Chicago, IL, from the previous tour of the same name, celebrating the centennial of his father Woody Guthrie.

In addition to his musical career, Guthrie is an accomplished actor with numerous television appearances. Arlo has had recurring roles in two major network television series (The Byrds of Paradise and Relativity), and feature films, the aforementioned Alice’s Restaurant and Roadside Prophets (1992). Arlo is the author of three children’s books and a distinguished photographer, showing his works in selected galleries.

Inspired by his parents’ activism, Arlo bought the old Trinity Church in Great Barrington, MA, (“the” church where Alice once lived) that is now home to The Guthrie Center and The Guthrie Foundation. 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.

The Guthrie Foundation is a separate not-forprofit educational organization that addresses issues such as the environment, health care, cultural preservation and educational exchange. In 2009, Arlo was awarded the ASCAP Foundation Champion Award for making a difference through social action on behalf of worthwhile causes and demonstrating exceptional efforts in humanitarianism.

Guthrie’s trademark ability to derail a song with a comical tangent and bring it right back on track with a relatable thought is as concise as ever. Fifty years after the historic events that launched him to reluctant celebrity, Arlo brings “The Alice’s Restaurant Massacree” in its entirety back to the stage for an international tour beginning January 2015.

Proud Supporter of the Robert and Margrit MONDAVI CENTER for the Performing Arts

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encoreartsprograms.com 15

A Hallmark Inn, Davis Children’s Stage Event Sunday, April 19, 2015 • 3PM Jackson Hall Stage

Lara Downes, piano Davis Senior High School Symphony Orchestra Angelo Moreno, director and conductor According to popular children’s book author Lemony Snicket (a.k.a. Daniel Handler), “Anyone who enjoys classical music knows that members of the orchestra are automatically suspicious people, accused constantly of various treacheries.” In this entertaining murder mystery and dramatic musical piece, the composer is dead and the entire orchestra is suspect. Did someone from the Davis High School Orchestra kill him? Or was it the piano player, Lara Downes? Everyone seems to have a motive, alibi, and musical instrument. Was it the violins? Trumpet? What took place on that well-orchestrated evening? Join the investigation and help us solve the mystery.

LARA DOWNES Called “a delightful artist with a unique blend of musicianship and showmanship”

by NPR, and recognized by The New York Times for her “loving attention to mood and color,” Lara Downes presents the piano repertoire — from iconic favorites to newly commissioned works — in new ways that bridge musical tastes, genres and audiences. Since making concert debuts at Queen Elizabeth Hall London, the Vienna Konzerthaus and the Salle Gaveau Paris, Downes has won over audiences on the world’s stages, including Carnegie Hall, Kennedy Center and Lincoln Center. Her original solo performance projects have received support from organizations such as the National Endowment for the Arts, the Barlow Endowment, California Presenters, the Center for Cultural Innovation and American Public Media. Ms. Downes’ chamber music appearances include collaborations with cellist Zuill Bailey, violinist Rachel Barton Pine, and other noted 16 MONDAVIARTS .ORG

soloists and ensembles. Her solo recordings include the recent A Billie Holiday Songbook (2015), Some Other Time (2014) and Exiles’ Café (2013) on the Steinway & Sons label and 13 Ways of Looking at the Goldbergs (2011) on Tritone. Ms. Downes is the Founder and President of the 88 KEYS® Foundation, a nonprofit organization that fosters opportunities for music experiences and learning in America’s public schools. She is the producer and host of The Green Room, a radio program about the real lives of classical musicians, in national distribution through the WFMT Network. She is Artistic Director of the National Young Artists program at the Mondavi Center for the Performing Arts, UC Davis, where she serves as Artist in Residence. Lara Downes is a Steinway Concert and Recording Artist.

ANGELO MORENO Angelo Moreno is a graduate of UC Davis, where he received his Bachelor of Arts and Master of Arts in Orchestral Conducting under the direction of Dr. D. Kern Holoman.

During his time at UC Davis, Mr. Moreno served as Principal Second Violin of the UCD Symphony Orchestra and Concertmaster and soloist of the UCD Baroque Ensemble.

Mr. Moreno began conducting with the Sacramento Youth Symphony in the fall of 2002 and currently serves as Director of SYS’s Academic Orchestra. Mr. Moreno has been directing the Davis Schools Secondary Orchestras since 2000 and is currently the Director of the Davis Senior High and Holmes Junior High School Orchestra Programs.

Mr. Moreno has received numerous awards for his contributions to music education, including the 2005 CSUS College of Education Teacher of the Year Award, the

Sacramento Music Educators Outstanding Achievement Award, and the Davis Schools Arts Foundation Harmony in Our Lives Award. He has been honored by State Assemblywoman Lois Wolk and recognized with a resolution from the California Legislature. Mr. Moreno has been featured in numerous national and regional publications and websites, including Symphony, Early Music, Strings, San Francisco Classical Voice, In-Tune, and the National Association for Music Education’s Teaching Music. DownBeat magazine has recognized Mr. Moreno’s Junior and Senior High School Orchestras as Best Classical Ensembles. Mr. Moreno is also a professional violinist with an active private teaching studio in Woodland.

MARK FARRELL: NARRATOR Mark Farrell has appeared in over 70 productions in the San Francisco Bay Area, Los Angeles, New York, and Europe, and has been a member of Actors’ Equity Association since 2002. His credits include 1776 (American Conservatory Theatre), Next to Normal (Arizona Theatre Company), (Center Repertory Theatre), Machiavelli in The Prince (Central Works), The Reduced Shakespeare Company’s Completely Hollywood: Abridged (Belgium/Holland Tour), Loaded (by Scott Capurro, Ars Nova Theatre, NYC), Travesties (American Conservatory Theatre), The 39 Steps, Mousetrap, Musical of Musicals, The Musical (BATCC award), Noel & Gertie (BATCC award), Rumours, and Xanadu (Center Repertory Theatre), Around the World in 80 Days (Laguna Playhouse), Putnam County Spelling Bee (San Jose Repertory Theatre), Old Wicked Songs, and Splittin’ the Raft (Marin Theatre Company), The Fantasticks (BATCC award, SF Playhouse), Chicago, Secret Garden,

DHS SYMPHONY ORCHESTRA 1ST VIOLIN

Diana Jian (Concert Mistress) Rebeca Chang Ivy Zhou Lillian Holmes Nicholas Cheng Eli Inkelas Geo Kim Sophia Castiglioni Cynthia Shim Peter Zhu Lydia Chung Casey Li Robin Chang Louis Pak Saihaj Bajwa

2ND VIOLIN

Andrea Salasde la O (Principal) Miguel Soler Jessie Wang Sheela Thoreson Esther Wang Emma Fadel Marco Rocha Jeanne Kim Claire Wiebe Jimmy Zhou Camelia Assadian Elizabeth Zamudio Reem Omer Brendan Carsel Madeline Rackerby Helen Porterfield Joshua Osborne Frank Schneegas Sylvan Ransom Cameron Assadian

VIOLA

Eugenea Raychaudhuri (Principal) Alejandro Yankelevich Lucy Shauman Jason Jiang Elliot Williams Helena Li Gabriel Reynolds Sam Lee

CELLO

Brian Song (Principal) Patrick Baek Jiyoon Choi Daniel Jiang

Julian Sommer Becky Yang Enoch Lin Kimmy Siu Judy Park Kirsten Bernhardt Isaiah West Eleanor Campbell Beatrice Yankelevich Angelique Donahue

BASS

Camila Ortiz (Principal) Theo Farnum

FLUTE

Dan Ferenc Segedin I (Principal) Sehyun Hwang Karoline Magolske II (Principal) Morgan Newton

OBOE

Jason Barnett I

CLARINET

Natalie Wheeler I Madeleine Gallay II

BASSOON

Eliana Ellenberger I Maryll Goldsmith II

WM 080613 mondavi 1_3s.pdf

HORN

Hannah Richter I Utsav Bhargava II Claire Drown III

Centrally located in Downtown Davis

TRUMPET

Jorge RochaFigueroa I Jacob Comingore II Christopher Batula III

TROMBONE

Randy Ouyang I Jonathan Jones II

BASS TROMBONE

David Best

TUBA

Anthony Di Carlo

PERCUSSION

Skyler Mikalson Tom Slabaugh ad proofs.indd 1

Hallmark Inn is your place for overnight accommodations 110 F Street, Davis, CA 95616 www.hallmarkinn.com 800.753.0035

Visit Destination F Street! encoreartsprograms.com 17

and A Doll’s House (Willows Theatre). Mark has also appeared in two episodes of the History Channel’s Man, Moment, Machine and is the Executive Producer of the Long Day Short Film Festival (ldsf.tumblr.com).

FRED C. RILEY III: THE INSPECTOR

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The magic of

Twenty years in professional puppetry have left Fred ready for any challenge.

Skilled in many forms of puppetry from Czech black to marionettes, intimate to spectacle, he approaches every show with passion and flexibility. He has honed his skills working for Imago, Tear of Joy Theatre, Atlanta’s Center for Puppetry Arts, Berkeley Repertory Theater, Shadowlight Productions, Ping Chong and Company, and most recently, The Fratello Marionettes.

Fred has performed, written, directed, choreographed, and designed sound for many companies as well as producing his own works as part of Atlanta’s Xperimental Puppet Theater. He is proud to have worked under great directors such as Janie Geiser, Jon Ludwig, Joseph Krofta, Larry Reed and Ping Chong.

ROGER XIA: PIANO AND VIOLIN

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Roger Xia, age 12, is the Young Artists Piano Prize winner of the 2015 Mondavi Center th Young Artists Competition. A 7 grade student at Harper Jr. High School, Roger studies piano with Dr. Natsuki Fukasawa.

Roger has won awards and prizes from the Music Teachers’ Association of California, Merced Symphony Orchestra, United States Open Music Competition, Sylvia Ghiglieri piano competition and others. Roger made his Carnegie Hall debut in 2012 as a winner of the American Fine Arts Festival competition and the American Protégé International Music Talent Competition. As a violinist, Roger studies with Mr. William Barbini. He has been a prizewinner at the Pacific Musical Society Competition and has performed at the Bear Valley Music Festival and the Junior Bach Festival in Berkeley, among other festivals. Roger is currently the concertmaster of the Sacramento Youth Symphony premier orchestra conducted by Maestro Michael Neumann. He recently joined Camellia Symphony Orchestra conducted by Maestro Christian Baldini. Aside from music, Roger enjoys math, reading, computer games, movies and soccer.

DAN SAVAGE LARAE LOBDELL

A Distinguished Speakers Series Event Wednesday, May 6, 2015 • 8PM Jackson Hall IN PARTNERSHIP WITH

INDIVIDUAL SUPPORT PROVIDED BY

Lawrence Shepard Question and Answer Session Moderated by Elizabeth Freeman, Professor, Department of English, UC Davis Elizabeth Freeman began her teaching career at Sarah Lawrence College, coming to UC Davis in 2000. She specializes in American literature and gender/sexuality/queer studies, and her articles have appeared in numerous scholarly journals. She has written two books, The Wedding Complex: Forms of Belonging in Modern American Culture (Duke UP, 2002), and Time Binds: Queer Temporalities, Queer Histories (Duke UP, 2010). She was also the editor of a special issue of GLQ: A Journal of Lesbian and Gay Studies, “Queer Temporalities” (2007). She now serves as co-Editor of GLQ with Marcia Ochoa, Associate Professor of Feminist Studies at UC Santa Cruz.

DAN SAVAGE is a writer, TV personality, and activist best known for his political and social commentary, as well as his honest approach to sex, love and relationships.

Savage’s sex advice column, “Savage Love,” is syndicated in newspapers and websites throughout the United States, Canada, Europe and Asia. He is the Editorial Director of The Stranger, Seattle’s weekly alternative newspaper, and his writing has appeared in publications including The New York Times, The New York Times Magazine, GQ, Rolling Stone, The Onion, and on Salon.com.

Savage is also the author of several books, including: Savage Love; The Kid: What Happened When My Boyfriend and I Decided to Get Pregnant (PEN West Award for Creative Nonfiction, Lambda Literary Award for Nonfiction); Skipping Towards Gomorrah: The Seven Deadly Sins and the Pursuit of Happiness in America; and The Commitment: Love, Sex, Marriage and My Family. In his latest bestselling book American Savage, Dan shares his insights on topics ranging from marriage, parenting and the gay agenda to the Catholic Church and sex education. It’s Dan’s frank and open discussions on such topics that

had Publisher’s Weekly rave why he is, “America’s most in-your-face sex columnist and gay rights activist.”

In addition to his appearances on CNN, MSNBC, and The Colbert Report, Savage is a contributor to Ira Glass’ This American Life, and has appeared on NPR’s Fresh Air with Terry Gross, HBO’s Real Time with Bill Maher, and ABC’s 20/20. Savage is a frequent and popular speaker on college campuses across the United States and Canada.

In September 2010, Savage created a YouTube video with his husband Terry Miller to inspire hope for LGBT young people facing harassment. In response to a number of students taking their own lives, Savage and Miller wanted to create a personal message to let LGBT youth know that “it gets better.”

Today, the It Gets Better Project (www.itgetsbetter.org) has become a global movement, inspiring more than 50,000 It Gets Better videos viewed over 50 million times. The It Gets Better book, co-edited by Savage and Miller, was published in March 2011, and an MTV documentary special, It Gets Better, aired in February 2012. Dan Savage grew up in Chicago and now lives in Seattle, Washington with his husband Terry Miller and their son, DJ. encoreartsprograms.com 19

May 2, 2015

7:00pM

Jackson Hall, Mondavi center

Uc davis symphony orchestra

Christian Baldini, music director and conductor

scriabin: Le Poème de l’extase AlinA KobiAlKA, Violin

varèse: Amériques Beethoven: Violin Concerto with Alina Kobialka, violin $8 StudentS & Children, $12/15/17 AdultS | StAndArd SeAting all tickets are availaBle tHroUgH tHe Mondavi center’s ticket office, www.Mondaviarts.org or via (530) 754-2787.

ACADEMY OF ST. MARTIN IN THE FIELDS CHAMBER ENSEMBLE

ALICIA J. ROSE

A Wells Fargo Concert Series Event

PROGRAM

Friday, May 8, 2015 • 8PM

String Sextet from Capriccio, Op. 85

Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Bob and Barbara Leidigh

Strauss

Verklärte Nacht Schoenberg (“Transfigured Night”) in D Minor, Op. 4 INTERMISSION Octet for Strings in Mendelssohn E-flat Major, Op. 20 Allegro moderato, ma con fuoco Andante Scherzo: Allegro leggierissimo Presto PROGRAM SUBJECT TO CHANGE.

ACADEMY OF ST. MARTIN IN THE FIELDS CHAMBER ENSEMBLE Tomo Keller, violin and guest leader Harvey de Souza, violin Jennifer Godson, violin Martin Burgess, violin Robert Smissen, viola Fiona Bonds, viola Stephen Orton, cello Will Schofield, cello encoreartsprograms.com 21

THE ACADEMY OF ST. MARTIN IN THE FIELDS was formed in 1958 from a group of leading London musicians. Working without a conductor, the Academy gave its first performance in its namesake church on November 13, 1959. Their first three recordings led to a succession of long-term contracts and the Academy quickly took their place among the most recorded ensembles in history. As the repertoire expanded from Baroque to Mozart, Bartók and Beethoven, so it became necessary for the principal violinist, Neville Marriner, to conduct the larger orchestra. Today, the Academy’s partnership with Sir Neville Marriner remains the most recorded pairing of orchestra and conductor. This partnership was celebrated with Marriner at 90 - a series of concerts in 2014 in honor of his 90th birthday.

The Academy of St Martin in the Fields Chamber Ensemble was created in 1967 to perform the larger chamber works— from quintets to octets—with players who customarily work together instead of the usual string quartet with additional guests. Drawn from the principal players of the orchestra, the Chamber Ensemble tours as a string octet, string sextet and in other configurations to include winds. Its touring commitments are extensive, with regular visits to France, Germany and Spain and frequent tours to North and South America, Australia and New Zealand.

Contracts with Philips Classics, Hyperion, and Chandos have led to the release of over thirty CDs by the Chamber Ensemble.

The Academy of St. Martin in the Fields Chamber Ensemble appears by arrangement with David Rowe Artists, www. davidroweartists.com

PROGRAM NOTES STRING SEXTET FROM CAPRICCIO, OP. 85 (1941)

RICHARD STRAUSS

(Born June 11, 1864 in Munich Died September 8, 1949 in Garmisch-Partenkirchen) Much of Strauss’ work was done in the 20th century; much of his music belongs to the 19th. Capriccio is his last opera, completed in 1941, in his 78th year. As a late work, it is full of nostalgia. Its subject matter deals with a topic dear to any composer of opera: 22 MONDAVIARTS .ORG

the relative merit of the music versus that of the words. Although it looks to the past, Strauss’ opera is far from indulgent. It is composed to a tight, elegant and pointed libretto by the conductor Clemens Krauss, based on the libretto of an earlier opera

by Salieri. The subtitle ‘Conversation Piece for Music by Clemens Krauss and Richard Strauss’ indicates the importance of Krauss’ partnership to the project.

Capriccio is set in pre-revolutionary Paris, around 1775. The Sextet is heard at the very opening, as a piece of chamber music played off-stage for the central character, a Countess, who is in her salon. Strauss’ delectable music is scored for pairs of violins, violas and cellos and leaves the impression of being an homage to Brahms. As the first piece of chamber music to come from Strauss’ pen for a half century, the Sextet returns to a genre that he last explored in his youth. Then, Brahms was a strong influence on the young composer. Now, writing in the very Brahmsian medium of string sextet, Strauss adds a rewarding work to the repertoire. Despite the fact that there is virtually no action on stage for almost two hours, Capriccio won admirers from the time of its première. “I can do no better than this,” Strauss concluded. © 2015 Keith Horner

VERKLÄRTE NACHT (“TRANSFIGURED NIGHT”) IN D MINOR, OP. 4 (1899)

ARNOLD SCHOENBERG

(Born September 13, 1874 in Vienna Died July 13, 1951 in Brentwood, California) At the age of sixteen, in 1890, Arnold Schoenberg decided to become a professional musician, having already dabbled in composition, taught himself to play the violin and cello, and participated in some chamber music concerts with his friends. With his father’s recent death throwing him into rather serious financial distress, he had to scratch out a livelihood after leaving school by working in a bank and conducting local choruses and theater orchestras for a few schillings per performance. In 1893, he met Alexander Zemlinsky, who had already established a Viennese reputation as a composer, conductor and teacher though he was only two years Schoenberg’s senior.

Schoenberg showed his new friend some of his manuscripts and Zemlinsky was so impressed with his talent that he

offered to take him on as a counterpoint student (this instruction turned out to be Schoenberg’s only formal study), and secured him a position in the cello section of the Polyhymnia Orchestra to help earn a little money. Zemlinsky assumed the role of guardian to Schoenberg, introducing the young musician to his circle of professional colleagues and constantly offering advice and encouragement. In 1901, Schoenberg married Zemlinsky’s sister, Mathilde.

During the summer of 1899, Schoenberg and Zemlinsky were on holiday in the mountain village of Payerbach, south of Vienna, and it was there that Schoenberg began a work for string sextet based on a poem by Richard Dehmel: Verklärte Nacht (“Transfigured Night”), which had appeared three years earlier in a collection called Weib und die Welt (“Woman and the World”).

(Schoenberg was familiar with Dehmel’s work by at least 1897, since he set several of the poet’s verses in that year.) Dehmel was one of the most distinguished German poets of the day, whose verses bridged the sensuous Impressionism of the preceding generation and the intense spirituality of encroaching Expressionism. Verklärte Nacht matches well the Viennese fin-de- siècle temperament, when Sigmund Freud was intellectualizing sex with his systematic explorations into the subconscious and Gustav Klimt was painting full-length portraits of his female subjects as he imagined they would look totally nude before applying layers of elaborate, goldsparkled costumes to finish the canvas. The following translated excerpt from Dehmel’s poem appears in Schoenberg’s printed score: “Two people walk through the bare, cold woods; the moon runs along, they gaze at it. The moon runs over tall oaks, no cloudlet dulls the heavenly light into which the black peaks reach. A woman’s voice speaks: “‘I bear a child, but not by you. I walk in sin alongside you. I sinned against myself mightily. I believed no longer in good fortune but still had mighty longing for a full life, mother’s joy and duty; then I grew shameless, then horror-stricken, I let my sex be taken by a stranger and even blessed myself for it. Now life has taken its revenge: Now I have met you, you.’

“She walks with clumsy gait. She gazes upward; the moon runs along. Her somber glance drowns in the light. A man’s voice speaks:

ACADEMY OF ST MARTIN IN THE FIELDS CHAMBER ENSEMBLE “‘The child that you conceived be to your soul no burden. Oh look, how clear the universe glitters! There is a glory around All, you drift with me on a cold sea, but a peculiar warmth sparkles from you in me, from me in you. It will transfigure the strange child you will bear for me, from me; you brought the glory into me, you made myself into a child.’

“He holds her around her strong hips.

Their breath kisses in the air. Two people walk through the high, light night.”

Schoenberg glossed this richly emotional poem with music influenced

by Wagner’s lush Tristan chromaticism, Brahms’ intellectual rigor and the intense expression of Romanticism to create a vast one-movement piece for strings that is virtually a programmatic tone poem. The work was premiered on March 15, 1902 when the augmented Arnold Rosé Quartet performed it under the auspices of the Vienna Tonkünstler Society. Schoenberg had already acquired a reputation as an unrepentant modernist, and the audience insisted on being put off by the music’s ripe harmony and the lubricity of its subject. The Hungarian violinist Francis Aranyi reported that the premiere was greeted “with much blowing of whistles, heaving of rotten eggs, etc.,” but that Rosé valiantly took his bows at the end “just as all hell broke loose.” Over a number of years, however, Verklärte Nacht came to be viewed not as an avant-garde aberration but as one of the foremost creations of the Post-Romantic era. ©2015 Dr. Richard E. Rodda

cultivated, with weekly Sunday musicales in the family’s magnificent Leipzigerstrasse estate in Berlin. Later, the philosopher Friedrich Hegel, a family friend, taught Mendelssohn at the University of Berlin. Even as an adolescent, Mendelssohn was a gifted all-rounder. He painted, he fenced, he wrote verse as well as a copious quantity of letters.

As a musician, he was an accomplished pianist and played both violin and viola tolerably well.

In the Octet, Mendelssohn opens up a palette of eight essentially equal instruments and paints in myriad instrumental colors, ranging from the hushed monochrome unison at the end of the Scherzo to the burst of multi-colored hues in the eight-part fugal exuberance that follows. Mendelssohn also pinpoints the sort of chamber-scale orchestral sound he wants: “This Octet must be played by all instruments in symphonic orchestral style,” he writes in the preface to the score. “Pianos and fortes must be strictly observed and more sharply emphasized than is usual in pieces of this character.”

Throughout, the young Mendelssohn eagerly explores a sparkling variety of textures, often in strikingly original ways.

The first two movements alternate between polished ensemble playing and, as in the soaring opening, the style of a violin concerto. The scherzo, a meeting point for both absolute and program music, has always been the favorite movement of the Octet, inspired by the Walpurgis night dream section of Goethe’s Faust, with its vivid insect and small animal imagery. The mood of the Octet’s finale is hard to put into words.

The opening, which is played low down on scrubbing cellos, seems humorous and the counter melody which soon evolves is less than reverentially lifted from the Hallelujah Chorus from Handel’s Messiah at the words: “And He shall reign for ever and ever.” In fact, the entire movement seems to evolve as a light-hearted treatment of the academic form of the fugue. It is youthful in its exuberance, tongue-in-cheek at times, effortlessly modulating from one key to another, joyous and assured. It represents a

OCTET FOR STRINGS IN E-FLAT MAJOR, OP. 20 (1825)

FELIX MENDELSSOHN

(Born February 3, 1809 in Hamburg Died November 4, 1847 in Leipzig) With this Octet, the 16-year-old Mendelssohn earned a place in the line of great composers in the Western classical tradition. He had started daily composition at the age of 11.

By 16, he could look back on a catalog of four operas, three piano quartets, a virtuoso sextet, and, most significantly, a dozen string symphonies. These were the apprentice works that allowed the precocious young man to appear to burst forth as a fully mature and, indeed, original composer at the age of 16. Everything came together to favor early development. His family was rich and highly

Hyatt Place UC Davis

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

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encoreartsprograms.com 23

ACADEMY OF ST MARTIN IN THE FIELDS CHAMBER ENSEMBLE perfect rapport between form and content, the likes of which Mendelssohn was to achieve only infrequently again. © 2015 Keith Horner

TOMO KELLER (violin, guest leader) was born in Stuttgart, Germany and studied at the University of Music Vienna and the Juilliard School New York. After winning prizes at international competitions he made his debut at major European concert halls and festivals. Furthermore he appeared on radio and television in Europe and Asia.

A CD with solo violin works followed. He has performed with the Radio Symphony Orchestra Berlin and the Vienna and London Symphony Orchestras and has appeared in most of Europe as well as in Asia and the US. He is currently Assistant Leader of the London Symphony Orchestra and Leader of the Swedish Radio Orchestra.

HARVEY DE SOUZA (violin) has been a member of the Academy since 1993 and has led the orchestra on tours with Sir Neville Marriner and soloists including Joshua

FURTHER LISTENING

by Jeff Hudson

THE ACADEMY OF ST. MARTIN IN THE FIELDS CHAMBER ENSEMBLE Talk about a discography… the Academy of St. Martin in the Fields recently posted an updated list of their numerous recordings, reflecting projects through April 2014, including information about where the albums were recorded. The discography runs a whopping 377 pages, and you can download it from the artist website (www.asmf.org).

The orchestra’s first recording was for the L’Oiseau-Lyre label at Conway Hall in London on March 25, 1961. Since that time, they have produced literally hundreds of recordings. Other labels the orchestra has recorded for include Argo, Capriccio Records, Chandos Records, Decca Records, EMI, Hänssler Classic, PENTATONE, Philips Records, Hyperion Records, and most recently, AVIE Records.

Let’s pause to keep our Academies straight. The Academy of St. Martin in the Fields Chamber Orchestra was founded by Sir Neville Marriner in 1958. The group appearing tonight – the Academy of St. Martin in the Fields Chamber Ensemble – was formed in 1967 “to perform the larger chamber works—from quintets to octets—with players who customarily work together, instead of the usual string quartet with additional guests.”

The musicians are drawn from the Chamber Orchestra, and the Chamber Ensemble has released over 30 albums, on the Philips Classics, Hyperion, and Chandos labels.

Sir Neville Marriner turns 91 on April 15, 2015. The primary artistic leadership of the orchestra passed on to other hands – violinist Joshua Bell was named Music Director in 2011 (and Bell led the Chamber Orchestra in a Mondavi Center concert in March 2014).

But Sir Neville continues to be involved – he conducted the two-CD set released in January featuring the complete Mozart violin concertos (plus the Sinfonia Concertante for violin, viola and orchestra) with soloist Rachel Barton Pine. And concertgoers with good memories will recall that Rachel Barton Pine performed those Mozart concertos (albeit with a different orchestra) at the Mondavi Center in February 2014. She also returned to Davis last year, generously making a guest appearance at a fundraiser benefitting the Davis High School Baroque Ensemble (the proceeds went toward that student group’s trip to Italy last summer).

Bell’s most recent album with the Academy of St. Martin in the Fields Chamber Orchestra was Bach, released in September 2014. It contains two concertos, the Orchestral Suite No. 3, and Bell playing the monumental Chaconne from the Partita No. 2 – often described as perhaps the most intense piece for solo violin (from any era).

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

24 MONDAVIARTS .ORG

Bell and Julia Fischer. As a member of the Chamber Ensemble he has performed extensively throughout South America, Europe and the US. Harvey has been a member of the Chamber Orchestra of Philadelphia, and a member of the Vellinger String Quartet, who were winners of the 1994 London International String Quartet Competition. He has been Principal Guest Director of the Lancashire Sinfonietta, and is co-artistic director of the Sangat Chamber Music Festival, now in its 17th year in Mumbai. Harvey plays on a Carlo Bergonzi, kindly lent to him by the Beare’s International Violin Society.

JENNIFER GODSON (violin) has been a member of the Academy since 1985.

She was for many years a member of the Fairfield String Quartet with whom she toured extensively in Britain and abroad. She now leads a busy chamber and orchestral career and has a special interest in period performance. She is sub-leader of John Eliot Gardiner’s Orchestre Revolutionnaire et Romantique and a member of the Orchestra of the Age of Enlightenment, with whom she has appeared as guest leader.

MARTIN BURGESS (violin) began playing with the Academy in 1992, taking up the position of Principal 2nd violin in 1998.

Having studied with Emmanuel Hurwitz and the Amadeus Quartet he brought with him the love of chamber music. He leads the Grammy-nominated Emperor Quartet (winners of the prestigious Evian International String Quartet Competition). The Quartet has released critically acclaimed CDs of music by Britten, Walton, Martinu and James MacMillan.

They have also performed on several film soundtracks, notably “There Will Be Blood” and “Norwegian Wood” (both written by Jonny Greenwood from Radiohead).

Martin enjoys a wide variety of playing away from both these ensembles, most recently recording and then touring the world with Peter Gabriel.

ROBERT SMISSEN (viola) won a scholarship to Chethams School of Music at the age of 14, and went on to study at the Guildhall School of Music with David Takeno.

While there he won prizes for chamber music and solo playing. After college he was appointed principal viola with the Northern

Sinfonia, a post he held until 1986. He currently plays with the Academy, as well as other London chamber orchestras.

FIONA BONDS (viola) is AssociatePrincipal Viola of the Academy of St. Martin in the Fields, and enjoys a busy and diverse career outside the orchestra.

She has recently been appointed Principal Viola of the City of London Sinfonia and is a founding member of the Grammynominated Emperor String Quartet, who have recently released a critically acclaimed disc of Benjamin Britten’s quartets.

STEPHEN ORTON (cello) was born in Ripon, Yorkshire, and studied with William Pleeth at the Guildhall School of Music and Drama. He has been principal cello with the Bournemouth Sinfonietta and the City of London Sinfonia and was also a member of the Delmé Quartet for ten years. He has acted as guest principal cello with the London Symphony Orchestra and Philharmonia. Stephen has wide experience of chamber music and has often played the Schubert Quintet with the Chilingirian Quartet. In 1985 Stephen became principal cello with the Academy of St. Martin in the Fields and has played concertos with the orchestra. He is also a member of the Academy Chamber Ensemble, touring internationally and making numerous recordings. He has recently joined the Chilingirian Quartet in 2013.

WILL SCHOFIELD (cello) was born in London to Australian and Italian parents.

He read music at Edinburgh University and went on to study with Radu Aldulescu in Rome and at the Menuhin Academy in Gstaad, Switzerland. Will has been cellist with the Grammy-nominated Emperor String Quartet since the group was formed in 1992.

He started playing with the Academy of St. Martin in the Fields the following year and membership of these two groups has been the primary focus of his playing career ever since. He has also played as a guest with the Allegri and Maggini Quartets and with the Schubert Ensemble of London. As a freelance cellist Will has played as guest principal cello with many of the UK’s top orchestras such as the Royal Philharmonic and the English Chamber Orchestra, as well as orchestras in Ireland and Spain.

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.

encoreartsprograms.com 25

BALLET BC © MICHAEL SLOBODIAN

A Dance Series Event Friday, June 19, 2015 • 8PM Jackson Hall

PROGRAM TWENTY EIGHT THOUSAND WAVES (2014) CHOREOGRAPHY, LIGHTING AND COSTUME DESIGN

Cayetano Soto MUSIC

Question and Answer Session

David Lang: “We Sit and Cry” and “I Lie” (from the little match girl passion)

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

Bryce Dessner: “Aheym”

Ruth Rosenberg oversees community and campus engagement with the Mondavi Center’s touring artists.

Artistic director of the Sacramentobased Ruth Rosenberg Dance Ensemble from 1990-2001, she also performed with Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco and was the recipient of numerous awards and honoraria.

Kate Burrows

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LIGHTING DIRECTION

James Proudfoot COSTUME COORDINATION

WORLD PREMIERE

April 24, 2014 – Ballet BC

“I always find myself captivated by the thin line between life and death and especially the rebirth of new energies after death; how we adapt to a new environment, find ways to survive and enforce our boundaries. With Twenty Eight Thousand Waves, I am focusing on my inner waves of survival instinct.”

– Cayetano Soto Spanish-born, choreographer Cayetano Soto is another vibrant new voice in 21st century contemporary ballet with “an abundance of originality” according to Dance Europe. Describing his unique dance vocabulary, Soto says, “To make choreography you have to be like an architect. I think you have to have a very strong structure [and know] what you want to talk about ... What I feel, more and more, is that whatever is happening in my pieces is related to me ... and what is happening in the moment.” His work is in the repertoire of major companies around the world, including Royal Ballet of Flanders, Stuttgart Ballet, Aspen Santa Fe Ballet and Ballet Theater Munich.

WORKWITHINWORK (1998) CHOREOGRAPHY

William Forsythe MUSIC

Luciano Berio: “Duetti per due violini”

It is our privilege at the Mondavi Center to draw on the expertise of our great

UC Davis Faculty

WORLD PREMIERE

October 16, 1998 - Frankfurt Ballett William Forsythe galvanized the dance world with brilliant, innovative thinking, catapulting him into the international spotlight with his dynamic 21st century approach to the art form. workwithinwork is a superb example of his iconic style, using craft and imagination to explore the limits of dance by allowing the body to interpret space with sophistication and curiosity. The work is a complex and interwoven palette that bows to the classical, yet demands the freedom and risk of the unconventional. Forsythe says, “If dance only does what we assume it can do, it will expire. I keep trying to test the limits of what the word choreography means.” His works are featured in the repertoire of virtually every major ballet company in the world.

RITE OF SPRING (2015) CHOREOGRAPHY

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.

Violinist Regina Carter in conversation with Elisa Joy White, Associate Professor, Department of African American and African Studies | NOV 1, 2014 Photo by Jim Coulter

Gustavo Ramirez Sansano MUSIC

Igor Stravinsky: “The Rite of Spring” SET DESIGN

We gratefully acknowledge the work of the following faculty who graciously participated in audience engagement activities during the 2014–15 season:

Luis Crespo

Jessica Bissett Perea, Assistant Professor, Department of Native American Studies

WORLD PREMIERE

Elizabeth Freeman, Professor, Department of English

May 7, 2015 – Ballet BC The dynamic work of Gustavo Ramirez Sansano in this full-company reimagining of The Rite of Spring to the complete orchestral score takes a 21st century perspective “… about universal awakening. Rather than telling a story, I am more interested in dance as an expansion of feeling and emotion … an expression of something that is universal and personal at the same time.” His vision is one where style and substance co-exist, freeing him to explore his craft with passionate, fresh inspiration while discovering anew the raw, percussive Stravinsky score. Ballet BC is the first company in Canada to commission his work and this is his second work for the Company after Lost and Seek, which premiered in April 2014.

Formerly the Artistic Director of the Luna Negra Dance Theater, Sansano has created work for Compañia Nacional de Danza, Hamburg Ballet, Budapest Dance Theatre and Netherlands Dance Theater, among others.

D. Kern Holoman, Distinguished Professor of Music, emeritus, Department of Music Beth Levy, Associate Professor, Department of Music Flagg Miller, Associate Professor, Religious Studies Elisa Joy White, Associate Professor, Department of African American and African Studies We also thank the campus departments that partnered with us during the season: Humanities Institute Department of Music Native American Studies Office of Campus Community Relations Office of Research Jan Shrem and Maria Manetti Shrem Museum of Art Student Housing University Honors Program

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BALLET BC CAYETANO SOTO – CHOREOGRAPHER

Born in Barcelona and based in Münich, Cayetano Soto has created work for major companies worldwide. His technical, high-pitched and unpredictable choreography can be seen at international festivals in Europe, USA and Canada.

Soto started his dance education in Barcelona at the Institut del Teatre and continued his studies at the Koninklijke Conservatorium in The Hague.

After receiving his degree in Classical Dance, Soto signed with IT. Dansa Barcelona in 1997. A year later he joined Ballet Theater Munich where he created several successful ballets and one of his first signature pieces Fugaz.

Since 2005, he has worked as a freelance choreographer with Nederlands Dans Theater, Royal Ballet of Flanders, Balé da Cidade de Sao Paulo, BJM Montreal, Introdans, Introdans voor de Jeugd, Gauthier Dance Company, Companhia Nacional de Bailado, Perm Opera and Ballet Theater, Návodní Divadlo Brno, Aspen Santa Fe Ballet, Tanz Luzern Theater, Ballet Hispanico and Northwest Dance Project in Portland. He also created several ballets for German companies, including Stuttgarter Ballet, Staatstheater Braunschweig, Augsburg Ballett, Ballett in Revier and Ballett Dortmund. With Mecklenburgisches Staatstheater Schwerin Soto created his first full evening ballet A Midsummer Night’s Dream (2006), together with Annet Göhre.

In 2009, he began an ongoing collaboration with Aspen Santa Fe Ballet and Introdans voor de Jeugd, where he produced new ballets. For Ballet Dortmund he created a new full evening version of Carmen (2009). Due to the success in Dortmund, Národní Divadlo Brno in the Czech Republic staged Carmen in 2010. Soto also choreographed Dancing Mozart’s mass in C-minor with live orchestra for four dancers in the Church of St. Egidean in Nürnberg. Fascinated by the German American fashion label Talbot Runhof, Soto collaborated with the designers on several projects. Talbot Runhof designed the costumes of Carmen for Dortmund Ballet and Soto choreographed a new solo to present their new collection at Fashion Week in Paris. The costumes of the new creation Sortijas for Ballet Hispanico of New York will also be designed by the duo. Soto was awarded First Prize for his ballet 24FPS by the choreographic competition Uncontainable Project 2006 of the Royal Ballet of Flanders. Canela Fina, commissioned by Bale da Cidade de Sao Paulo, was named best dance production of 2008 by the Brazilian newspaper Folha de Sao Paulo. In 2011, Soto was nominated for the Golden Mask Award in Russia, for his choreography Uneven.

DAVID LANG – COMPOSER

Passionate, prolific, and complicated, composer David Lang embodies the restless spirit of invention. Lang is at the same time deeply 28 MONDAVIARTS .ORG

versed in the classical tradition and committed to music that resists categorization, constantly creating new forms. In the words of The New Yorker, “With his winning of the Pulitzer Prize for the little match girl passion (one of the most original and moving scores of recent years), Lang, once a postminimalist enfant terrible, has solidified his standing as an American master.”

Musical America’s 2013 Composer of the Year and recipient of Carnegie Hall’s Debs Composer’s Chair for 2013-2014, Lang is one of America’s most performed composers. Many of his works resemble each other only in the fierce intelligence and clarity of vision that inform their structures. His catalogue is extensive, and his opera, orchestra, chamber and solo works are by turns ominous, ethereal, urgent, hypnotic, unsettling and very emotionally direct. Much of his work seeks to expand the definition of virtuosity in music — even the deceptively simple pieces can be fiendishly difficult to play and require incredible concentration by musicians and audiences alike.

“There is no name yet for this kind of music,” wrote Los Angeles Times music critic Mark Swed of Lang’s work, but its time has arrived and his works are being heard around the globe in performances by the BBC Symphony, the International Contemporary Ensemble, eighth blackbird, Santa Fe Opera, the New York Philharmonic, the Netherlands Chamber Choir, the Boston Symphony, the Munich Chamber Orchestra, and the Kronos Quartet; at Tanglewood, the BBC Proms, MusicNOW festival, The Munich Biennale, the Settembre Musica Festival, the Sydney 2000 Olympic Arts Festival and the Almeida, Holland, Berlin, Adelaide and Strasbourg Festivals; in theater productions in New York, San Francisco and London; alongside the choreography of Benjamin Millepied, Twyla Tharp, La La La Human Steps, The Netherlands Dance Theater, Susan Marshall and the Paris Opera Ballet; and at Lincoln Center, the Southbank Centre, Carnegie Hall, the Kennedy Center, the Barbican Centre, and the Brooklyn Academy of Music.

Lang is co-founder and co-artistic director of New York’s legendary music collective Bang on a Can. His work has been recorded on the Sony Classical, Harmonia Mundi, Teldec, BMG, Point, Chandos, Argo/Decca, and Cantaloupe labels, among others. His music is published by Red Poppy Music (ASCAP).

BRYCE DESSNER – COMPOSER

Bryce Dessner composes “gorgeous, fullhearted music” according to National Public Radio – seamlessly blends aspects of the classical and the popular in his concert works, the compositions simultaneously alive to past and present and the potential of the

future. Dessner’s scores, described as “deft” and “vibrant” by The New York Times, draw on elements from Baroque and folk music, late Romanticism and modernism, minimalism and the blues, as well as the inspiration of iconic figures from Béla Bartók, Benjamin Britten and Henryk Górecki to Morton Feldman, Terry Riley, Philip Glass and Steve Reich. Such disparate American iconoclasts as John Fahey, La Monte Young and Glenn Branca also figure into this young composer’s sonic world. All these influences – not to mention his globetrotting experiences as a keenly collaborative musician across genres – inform Dessner’s organic and individual voice as a composer.

Born in 1976 in Ohio and now based in New York City, Dessner first earned wide renown as a co-founding guitarist (along with his brother Aaron) of the Grammy Award-nominated rock band The National. Dessner’s debut Aheym, a 2013 album by the ever-trailblazing Kronos Quartet is devoted to his compositions. In the cross-cultural arts magazine Bomb, veteran avant-garde composer-guitarist Elliot Sharp wrote about Dessner’s compositional method in the title work: “a dramatic opening, dark and insistent, then a breath, then an emerging melodic seed… The seed ultimately grows… to a rousing climax.” The UK’s Independent singled out the title work, describing it as “an elegant braiding of interlaced lines that pushes the music forward in waves.”

Dessner was trained as a classical musician.

He graduated with a master’s degree in music from Yale University, having studied classical guitar, flute and composition. Settling in New York City, he performed with such contemporary music ensembles as the Bang on a Can All-Stars, along with co-founding the improvisatory instrumental group Clogs, which was influenced by contemporary takes on early music. He worked with the likes of Pulitzer Prize-winning composers Steve Reich and David Lang, as well as with Philip Glass, Michael Gordon and Nico Muhly. In 2006, Dessner founded the MusicNOW Festival, a celebration of contemporary music that he curates annually to acclaim in his native Cincinnati. He is currently composerin-residence at Muziekgebouw Frits Philips in Eindhoven, the Netherlands.

WILLIAM FORSYTHE – CHOREOGRAPHER

Raised in New York and trained in Florida, William Forsythe danced with the Joffrey Ballet and later Stuttgart Ballet, where he was appointed Resident Choreographer in 1976.

Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York and San Francisco. In 1984, he began a 20-year

tenure as director of Ballet Frankfurt where he created iconic works such as Artifact, Impressing the Czar, Limb’s Theorem, The Loss of Small Detail in collaboration with composer Thom Willems and designer Issey Miyake, A LIE/NA(C)TION, Eidos: Telos, Endless House, Kammer/ Kammer and Decreation.

The Forsythe Company, founded in 2004, is based in Dresden and Frankfurt am Main and maintains an extensive international touring schedule. Works produced by the new company include Three Atmospheric Studies, You made me a monster, Human Writes, Heterotopia, The Defenders, Yes we can’t and I Don’t Believe in Outer Space. Forsythe’s most recent works are developed and performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of virtually every major ballet company in the world, including The Kirov Ballet, The New York City Ballet, The San Francisco Ballet, The National Ballet of Canada, England’s Royal Ballet and The Paris Opera Ballet.

Awards received by Forsythe and his company include the New York Dance and Performance ‘Bessie’ Award (1988, 1998, 2004, 2007) and London’s Laurence Olivier Award (1992, 1999, 2009). Forsythe has been honored with the title of Commandeur des Arts et Lettres (1999) by the government of France and has received the German Distinguished Service Cross (1997) and the Wexner Prize (2002) and the Golden Lion for Lifetime Achievement in Venice (2010).

Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind, ARTANGEL (London), Creative Time (New York), and the City of Paris. His installation and film works have been presented in numerous museums and exhibitions, including the Whitney Biennial (New York), the Venice Biennale, the Louvre Museum, and 21_21 Design Sight in Tokyo. His performance, film, and installation works have been featured amongst others at the Pinakothek der Moderne in Munich, the Migrosmuseum für Gegenwartskunst in Zurich, the Deichtorhallen in Hamburg, The Museum of Modern Art in New York and the Hayward Gallery in London.

GUSTAVO RAMIREZ SANSANO – CHOREOGRAPHER

Spanish-born Gustavo Ramirez Sansano was Artistic Director of Luna Negra Dance Theater from 2009-2013, after directing TITOYAYA Dance Project in Valencia, Spain for four years. Sansano has been the recipient of numerous awards for his choreography, including first prizes at the Ricard Moragas competition in Barcelona, the Dom Perignon choreographic competition in Hamburg and at Las Artes Escénicas de

la Comunidad Valenciana. He has been commissioned to create works for Compania Nacional de Danza, the Hamburg Ballet, TanzTheaterMünchen, Budapest Dance Theater, National Dance Company Wales, Norrdans, Gyori Ballet, Balletto dell-Esperia, BalletMet, IT dansa, Ballet Junior de Genève and Nederlands Dans Theateer, among others. As a dancer, Sansano performed works by Jacopo Godani, Hans Van Manen, Jiří Kylián, Ohad Naharin, Johan Inger, Paul Lightfoot, Victor Ullate and many

more, working for the Ballet Joven de Alicante, Ballet Contemporaneo de Barcelona, Ballet de la Comunidad de Madrid, Nederlands Dans Theater II and Hubbard Street Dance Chicago.

Sansano was chosen by the magazine POR LA DANZA for its 15th anniversary as one of the “15 Choreographers to Watch” and by Dance magazine as one of its “25 to Watch” in 2012.

For his work as Artistic Director of Luna Negra, he was named ‘Chicagoan of the Year in Arts & Entertainment’ by the Chicago Tribune.

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

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

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

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

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

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

CORPORATE MATCHING GIFTS

Johnson Controls Foundation

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

ARTISTIC VENTURES FUND

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

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

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

LEGACY CIRCLE

Fred Taugher and Paula Higashi* Dr. Stewart and Ann Teal Francie F. Teitelbaum Julie A. Theriault, PA-C Brian Toole Robert and Victoria Tousignant Rich and Fay Traynham James E. Turner Nancy Ulrich* Ramon and Karen Urbano Ann-Catrin Van Ph.D. Peter and Carolyn Van Hoecke Chris and Betsy Van Kessel Diana Varcados Bart and Barbara Vaughn* Merna and Don Villarejo Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Kim and James Waits Maxine Wakefield and William Reichert Carol Walden Vivian and Andrew Walker Walnut Creek Civic Arts League Valerie Boutin Ward Marny and Rick Wasserman Douglas West Kimberly West Martha S. West Robert and Leslie Westergaard* Edward and Susan Wheeler Jane Williams Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Phillip and Iva Yoshimura Verena Leu Young* Melanie and Medardo Zavala Darrel and Phyllis Zerger* Dr.Mark and Wendy Zlotlow And 49 who prefer to remain anonymous

PATRON LOYALTY INITIATIVE

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

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

Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Robert and Barbara Leidigh Yvonne LeMaitre Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Lynn Upchurch Anonymous

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

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

If you are interested in learning about planned giving opportunities, please contact Debbie Armstrong, Sr. Director of Development (530.754.5415 or djarmstrong@ucdavis. edu ).

Donor Listing as of 2/28/2015. We appreciate your support!

We apologize if we listed your name incorrectly.

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

32 MONDAVIARTS .ORG

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

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

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

YOUNG ARTISTS COMPETITION AND PROGRAM

John and Lois Crowe Merrilee and Simon Engel

Mary B. Horton Barbara K. Jackson

ARTS EDUCATION STUDENT TICKET PROGRAM

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

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

DANCE FOR PARKINSON’S PROGRAM

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

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

BOARDS & COMMITTEES

MONDAVI CENTER ADVISORY BOARD

The Mondavi Center Advisory Board is a support group of University Relations whose primary purpose is to provide assistance through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.

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

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

THE ARTS & LECTURES ADMINISTRATIVE ADVISORY COMMITTEE is made up of interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

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

THE FRIENDS OF MONDAVI CENTER is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances.

For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431.

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

OF MONDAVI CENTER IS AN ACTIVE DONOR-BASED VOLUNTEER ORGANIZATION THAT SUPPORTS ACTIVITIES OF MONDAVI CENTER’S PRESENTING PROGRAM.

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

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

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

• Tickets may not be exchanged after the performance date.

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

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

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

• All exchanges subject to availability.

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

• No refunds.

• Prices subject to change.

PARKING You may purchase parking passes for individual Mondavi Center events for $9 per event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.

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

Please call 530.754.2787 or 866.754.2787.

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

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

Student ID numbers may also be used to verify enrollment.

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

34 MONDAVIARTS .ORG

Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.

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

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

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

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

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

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

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

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

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

OPERA GLASSES Opera glasses are available for Jackson Hall.

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

ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available for Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID to be held at the Patron Services Desk until the device is returned.

ELEVATORS The Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.

RESTROOMS All public restrooms are equipped with accessible sinks, stalls, babychanging stations and amenities. There are six public restrooms in the building: two on the Orchestra level, two on the Orchestra Terrace level and two on the Grand Tier level.

SERVICE ANIMALS Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times.

Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.

LOST AND FOUND HOTLINE 530.752.8580

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

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

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