WELCOME
A MESSAGE FROM THE CHANCELLOR The modern university experience should inspire both the intellect and the heart, and at UC Davis, we are blessed with many such places that do each exceedingly well. At the top of the list must surely be our Robert and Margrit Mondavi Center for the Performing Arts, which for the past decade has been a beacon of outstanding entertainment and culture for UC Davis and the greater Sacramento region. Looking through the schedule for the upcoming season, you will find a rich array of artists and performances to choose from. The eclectic
LINDA P.B. KATEHI
UC DAVIS CHANCELLOR
range of entertainers who come through our campus to perform at the Mondavi Center are some of the most dynamic and exciting artists anywhere, from groundbreaking comedians to classical opera singers, much-loved writers, vocalists and more.
I know firsthand that your experience will be highly rewarding and memorable.
No matter what appeals to you, there are shows at the Mondavi Center in the upcoming season that will delight, inspire and captivate you and your families and friends. My husband and I make it a point to attend as many Mondavi Center events as possible and we hope to see you there during the 2015–16 season. Whether this is your first time visiting or you are coming back for more, I know firsthand that your experience will be highly rewarding and memorable. Thank you for supporting the performing arts on our campus. Enjoy the show and please come back for more!
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SPONSORS SEASON SPONSOR
MONDAVI CENTER STAFF Don Roth, Ph.D.
EXECUTIVE DIRECTOR
Jeremy Ganter
ASSOCIATE EXECUTIVE DIRECTOR
Liz King
EXECUTIVE ASSISTANT
CORPORATE PARTNERS PLATINUM
Nancy Petrisko
DIRECTOR OF DEVELOPMENT
Liz King
EXECUTIVE ASSISTANT
MARKETING Rob Tocalino
DIRECTOR OF MARKETING
OFFICE OF CAMPUS COMMUNITY RELATIONS
Dana Werdmuller
MARKETING MANAGER
Erin Kelley
ART DIRECTOR/SENIOR DESIGNER
Chloe Fox
BRONZE
DIGITAL MARKETING SPECIALIST
TICKET OFFICE Sarah Herrera
COPPER
TICKET OFFICE MANAGER
Susie Evon
PUBLIC EVENTS MANAGER
Natalia Deardorff
ASSISTANT PUBLIC EVENTS MANAGER
Dawn Kincade
ASSISTANT PUBLIC EVENTS MANAGER
Kerrilee Knights
Eric Richardson
MASTER ELECTRICIAN
Wai Kit Tam
LEAD VIDEO TECHNICIAN
Daniel Villegas
AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE
Holly McNeill
STAGE MANAGER
ASSISTANT PUBLIC EVENTS MANAGER
PROGRAMMING
Nancy Temple
Jeremy Ganter
ASSISTANT PUBLIC EVENTS MANAGER
HEAD USHERS Huguette Albrecht Ralph Clouse Eric Davis John Dixon George Edwards Donna Horgan Paul Kastner Jan Perez Steve Matista
DIRECTOR OF PROGRAMMING
Erin Palmer
ASSISTANT DIRECTOR OF PROGRAMMING
Ruth Rosenberg
ARTIST ENGAGEMENT COORDINATOR
Lara Downes
CURATOR, YOUNG ARTISTS PROGRAM
SUPPORT SERVICES Debbie Armstrong Mandy Jarvis
Russell St. Clair
PRODUCTION
TICKET AGENT
MEMBERSHIP Debbie Armstrong
MEMBERSHIP RELATIONS SPECIALIST
4 MONDAVIART S.ORG
Yuri Rodriguez
SENIOR EVENTS COORDINATOR/ LIAISON TO UC DAVIS DEPARTMENTS
Ryan Thomas
Jill Pennington
Ciocolat
AUDIENCE SERVICES MANAGER
David M. Moon
Jessica Miller
SENIOR DIRECTOR OF MEMBERSHIP
API Global Transportation
ARTIST SERVICES MANAGER
SENIOR STAGE MANAGER, JACKSON HALL
SENIOR DIRECTOR OF SUPPORT SERVICES
TICKET OFFICE SUPERVISOR
SPECIAL THANKS
Christi-Anne Sokolewicz
Jenna Bell
HEAD AUDIO ENGINEER
FACILITIES
EVENT SUPERVISOR AND GROUP SALES COORDINATOR
MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS
ARTIST SERVICES
Marlene Freid
DEVELOPMENT
MASTER CARPENTER/RIGGER
Rodney Boon
Joyce Donaldson ARTS EDUCATION COORDINATOR
Phil van Hest
DIRECTOR OF OPERATIONS
AUDIENCE SERVICES
Jennifer Mast
SILVER
Herb Garman
ARTS EDUCATION DIRECTOR OF ARTS EDUCATION
GOLD
OPERATIONS
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Donna J. Flor
PRODUCTION MANAGER
Adrian Galindo
ASSISTANT PRODUCTION MANAGER
Christopher C. Oca
HEAD STAGE MANAGER & CREW CHIEF
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Russ Postlethwaite
BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR
INFORMATION TECHNOLOGY Paul Altamira
APPLICATIONS ADMINISTRATOR & PCI COMPLIANCE COORDINATOR
IN THIS ISSU
A MESSAGE FROM THE EXECUTIVE DIRECTOR
ROBERT AND MARGRIT
MONDAVI CENTER FOR THE PERFORMING ARTS
DON ROTH, Ph.D. EXECUTIVE DIRECTOR
It is one of the pleasures of our work here at the Mondavi Center that, as one season finishes, we are just finalizing our collection of performances that will take us into 2017! The arts truly never rest! We will close out the 2015–16 season with a recital by Yo-Yo Ma and Kathryn Stott, a fine cap to a year that’s seen so much quality work pass through Jackson Hall and the Vanderhoef Studio Theatre.
What are we looking forward to in 2016–17? As always, it is hard to choose with so much quality and variety to draw from. I would point your attention to some of the lesserknown artists: there’s a fine collection of theatrical works including Black Arm Band’s dirtsong, an exploration of Australia’s aboriginal heartland and the L.A. Theatre Works’ radio-theater production of Judgement at Nuremberg. There is also a decidedly international flavor to next year’s offerings, from the Beijing Dance Company, to the PKF— Prague Philharmonia, to Spanish Flamenco singer Diego El Cigala. Of course, there is plenty of star power: the Mondavi Center debut of the Los Angeles Philharmonic with its electric musical director Gustavo Dudamel; recitals by Joshua Bell and Itzhak Perlman; and an always welcome return engagement by humorist David Sedaris. Speaking of speakers, this year’s series has a decidedly scientific bent, with National Geographic Live, a visit from Star Trek’s inimitable Mr. Sulu, George Takei, and a live recording of NPR’s Science Friday.
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New York Chamber Soloists Orchestra with Sharon Isbin, guitar
16 globalFEST On the Road: Creole Carnival 20 Tina Packer’s Women of Will with Nigel Gore 27 Aimee Mann & Billy Collins 30 Cécile McLorin Salvant 32 Yo Yo Ma, cello & Kathryn Stott, piano
In all, it is a collection of performances we are proud to share with you. If you’re a renewing subscriber, make sure to get your order in by April 30 to ensure you keep your seats. New subscriptions for the 2016–17 season go on sale May 15; be sure to sign up for our brochure mailing at our new website, mondaviarts.org. Sincerely,
Don
6 MONDAVIART S.ORG
BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance. • As a courtesy to others, please turn off all electronic devices. • If you have any hard candy, please unwrap it before the lights dim. • Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited. Violators are subject to removal. • Please look around and locate the emergency exit nearest you. That exit may be behind, to the side or in front of you and is indicated by a lighted green sign. In the unlikely event of a fire alarm or other emergency, please leave the building through that exit. • As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may be seated in an alternate seat upon readmission while the performance is in progress. Readmission is at the discretion of Management. • Assistive Listening Devices and binoculars are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no charge with a form of ID.
April 2016 Volume 3, No. 5
AN EXCLUSIVE WINE TASTING EXPERIENCE OF THESE FEATURED WINERIES FOR INNER CIRCLE DONORS
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SEPTEMBER 30 WED
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Yo-Yo Ma, cello | Kathryn Stott, piano ROBERT MONDAVI WINERY
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A Concert Series Event Saturday, April 2, 2016 • 8PM Jackson Hall SPONSORED BY:
INDIVIDUAL SUPPORT PROVIDED BY
James H. Bigelow
Sharon Isbin appears by arrangement with: COLUMBIA ARTISTS MANAGEMENT, INC. Personal Direction: MARK Z. ALPERT 1790 Broadway, New York, NY 10019 Sony Classical, Warner Classics, EMI/Virgin Classics Recordings www.sharonisbin.com
photo: J. Henry Fair
photo: Jill Levine
NEW YORK CHAMBER SOLOISTS ORCHESTRA with SHARON ISBIN, guitar PROGRAM Concerto for Four Violins, Strings and Continuo in B Minor, Vivaldi Op. 3, No. 10 (“L’estro Armonico”) Allegro Largo – Larghetto Allegro Miki Sophia Cloud, violin Mialtin Zhezha, violin Emilie-Anne Gendron, violin April Johnson, violin Fantasía para un gentilhombre (“Fantasia for a Gentleman”) for Guitar and Orchestra Villano y ricercar Españoleta y fanfarria de la caballería de Nápoles Danza de las hachas Canario
Rodrigo
Gli uccelli (“The Birds”) Prelude La colomba (“The Dove”) La gallina (“The Hen”) L’usignuolo (“The Nightingale”) Il cucù (“The Cuckoo”)
Respighi
INTERMISSION Concerto for Harpsichord, Flute, Oboe, Clarinet, Violin and Cello Falla Allegro Lento. Giubiloso ed energico Vivace. Flessible, scherzando David Kaplan, harpsichord Concierto de Aranjuez for Guitar and Orchestra Rodrigo Allegro con spirito Adagio Allegro gentile
8 MONDAVIART S.ORG
NEW YORK CHAMBER SOLOISTS ORCHESTRA PROGRAM NOTES
CONCERTO FOR FOUR VIOLINS, STRINGS AND CONTINUO IN B MINOR, OP. 3, NO. 10 (“L’ESTRO ARMONICO”) (ca. 1710)
ANTONIO VIVALDI (1678–1741)
The 12 concertos published in 1712 as Op. 3 were the first such works of Vivaldi to appear in print, having been preceded by the Op. 1 Trios Sonatas (1705) and the Op. 2 Solo Sonatas (1709). The Op. 3 concertos were brought out not in the composer’s hometown of Venice but in Amsterdam, and were soon after republished in London and Paris, testimony to his broad European reputation. (By 1712, many of Vivaldi’s works were already widely dispersed in manuscript copies.) Their publisher, Estienne Roger, titled the collection L’estro Armonico, which has variously been translated as “The Harmonic Whim” or “The Musical Fancy.” The three movements of the B minor Concerto for Four Violins, Op. 3, No. 10, whose music is also familiar in Bach’s transcription for four claviers (BWV 1065), follow the characteristic fast-slow-fast pattern, with the outer, ritornello-form movements exhibiting a certain bittersweet nobility of mood and an irresistible rhythm vivacity, while the intervening Largo is a study in shimmering string arpeggios framed by majestic, dottedrhythm pronouncements from the ensemble.
FANTASIA PARA UN GENTILHOMBRE FOR GUITAR AND ORCHESTRA (“FANTASIA FOR A GENTLEMAN”) (1954)
JOAQUÍN RODRIGO (1901–1999)
Though Joaquín Rodrigo, born on November 22, 1901, at Sagunto, Valencia, on Spain’s eastern coast, lost his sight when he was 3 years old from diphtheria, he showed an early pronounced aptitude for music. His parents enrolled him in a school for blind children in the nearby city of Valencia, and at age 8, he began formal lessons in harmony, piano and violin. During the 1920s, Rodrigo established himself as a pianist with performances of challenging recent works by Ravel, Stravinsky and other contemporary composers, and he began composing seriously in 1923 with the Suite para Piano and the Dos Esbozos (“Two Sketches”) for Violin and Piano. His first work for orchestra, Juglares (written, like all of his scores, on a Braille music typewriter and then dictated to a copyist), was played in both Valencia and Madrid in 1924; his Cinco Piezas Infantiles, also for orchestra, won a national prize the following year. In 1927, he followed the path of his compatriots Albéniz, Granados,
Falla and Turina, and moved to Paris, where he enrolled at the Schola Cantorum as a pupil of Paul Dukas; he later also studied at the Paris Conservatoire and the Sorbonne. The outbreak of civil war in Spain in 1936 prevented Rodrigo from returning home, and he spent the next three years traveling in Germany, Austria and Switzerland, and living in the French capital. He returned to Madrid after the Spanish Civil War ended in 1939, and established his position among the country’s leading musicians with the premiere of the Concierto de Aranjuez for Guitar and Orchestra the following year. His prominence in Spanish musical life was recognized with many awards, honorary degrees and memberships, and, in 1947, the creation for him of the Manuel de Falla Chair at the University of Madrid. In addition to teaching at the university, Rodrigo also served as Head of Music Broadcasts for Spanish Radio, music critic for several newspapers, and director of the Artistic Section of the Spanish National Organization for the Blind. He died in Madrid on July 6, 1999. The lovely Fantasia para un Gentilhombre, composed for Andrés Segovia in 1954, is divided into four movements. The first movement comprises two separate sections—a continuous variations on a simple, stately melodic pattern (Villano) and a Ricercar, an imitative instrumental type that was the most important precursor of the fugue. The following movement uses two pieces by Gaspar Sanz, the noted late-17th-century guitarist who worked for both Philip IV of Spain and his son John of Austria. The first (Españoleta) is a doleful melody that acquires much elaborate embroidery from the soloist as it progresses. The second is a rhythmically buoyant Fanfare of the Neapolitan Cavalry, a reminder that Naples was governed by Spain in Sanz’s time. The Españoleta returns to conclude the movement. The third movement, Hatchet Dance, is almost martial in tone with an appropriate role taken by the trumpet. The Finale (Canario), based on a native folk dance, is the most overtly Spanish music in the Fantasia.
GLI UCCELLI (“THE BIRDS”) (1927)
OTTORINO RESPIGHI (1879–1936)
Ottorino Respighi had an abiding interest in the music of earlier times, and edited many works by such venerable composers as Monteverdi, Frescobaldi, Tartini and Vitali for publication. His belief in the old values and forms was reflected in his works, several of which employ ancient tunes and techniques. Among the most charming of his works based on old models are the three
sets of Ancient Airs and Dances (1917, 1924, 1932) and The Birds (1927), arrangements of Italian, French and English lute and keyboard pieces of the 16th, 17th and early 18th centuries. In his arrangements, which kept the original melodies and harmonies intact while enriching their textures and providing them with a tasteful orchestral garb, Respighi not only preserved the mood of these old courtly songs and dances—by turns wistful and robust—but also made them thoroughly modern in sonorous brilliance and musical continuity. The initial avian essay of The Birds (Prelude) draws upon the music of Bernardo Pasquini (1637–1710), the famed Italian Baroque organist, teacher and composer of oratorios and keyboard works, for the themes of its opening and closing sections. Fragments from later movements are previewed in its central portion. The Dove, filled with gentle ornamentations depicting the rustle of wings, is based on a piece by Jacques de Gallot, a little-known 17th-century lutenist and composer. The third movement (The Hen) derives from a famous harpsichord work by Jean-Phillipe Rameau (1683–1764). The sweetly flowing Nightingale originated in a composition, according to the score, by “an anonymous 17th-century Englishman.” The bright, chirruping finale (The Cuckoo) returns to the music of Pasquini, and ends with a reminiscence of the melody that opened the suite.
CONCERTO FOR HARPSICHORD, FLUTE, OBOE, CLARINET, VIOLIN AND CELLO (1923–1926)
MANUEL DE FALLA (1876–1946)
Always a devoutly religious person, Manuel de Falla became more mystical in his beliefs and more withdrawn from the world after 1923. In that year, he moved to a simple house in Granada that stood in the shadow of the Alhambra, putting an end to years of wandering. He rarely left Granada thereafter. His life was devoted rather to a continuing exploration of the history and essence of Spanish music, whose substance he mirrored in new ways in his later works. El Retablo de Maese Pedro (“Master Peter’s Puppet Show”) of 1923, the earliest of these pieces, shows the steely, lean style that he evolved. That composition was among the first 20thcentury works to include the harpsichord, which was enjoying a revival spurred on almost single-handedly by the remarkable Wanda Landowska. Encouraged by the splendid effect of the harpsichord writing in El Retablo, Landowska commissioned Falla to encoreartsprograms.com 9
NEW YORK CHAMBER SOLOISTS ORCHESTRA compose a concerto for her instrument. He agreed, though it was three years before he finished the work in 1926; it was his last major completed score. Falla wrote, “In this work, the composer felt no constraint to conform to the classical form of the concerto for a single instrument with the accompaniment of the orchestra.” Eschewing the richness of the symphonic ensemble as antithetical to his new style, Falla chose an ensemble of five solo instruments to accompany the harpsichord: flute, oboe, clarinet, violin and cello. The Concerto is in three movements, with the magnificent Lento serving as the towering central point of the structure flanked by two brief essays in quick tempo. The work opens with a short, vibrant prelude for the keyboard that leads to the main theme, presented in staccato notes by flute and oboe. This tune, De los álamos vengo, madre, is by the 15th-century Spanish composer Juan Vázquez, and, despite its age, sounds perfectly at home in this modern setting. Though the structure of the movement is related to traditional sonata form, it exists on a greatly compressed time scale. The second movement, dated in the score, “In the year of our Lord 1926, on the feast of Corpus Christi,” is a vision of a great religious procession winding through a vast medieval cathedral. This movement, in its transcendent fervor and majestic conception, is the closest Falla ever came to a musical affirmation of his devout religious faith. The finale draws its inspiration from the bristling vitality of the music of Domenico Scarlatti, the Italian contemporary of Bach who was transplanted to Spain and became one of the country’s greatest composers.
CONCIERTO DE ARANJUEZ FOR GUITAR AND ORCHESTRA (1939)
JOAQUÍN RODRIGO
The small town of Aranjuez, 30 miles south of Madrid on the River Tagus, is a green oasis in the barren plateau of central Spain. In the mid-18th century, a palace, set amid verdant forests and parks, was built at Aranjuez as a summer retreat for the Spanish court. Generations of Spanish kings thereafter settled into Aranjuez every spring, when the countless nightingales would serenade them from the cedars and laurels, the court ladies would promenade in the cooling shade and the men would hone their equestrian skills with the famous cream-colored Andalusian horses bred nearby. When Rodrigo sought inspiration for a new concerto in the difficult, war-torn year of 1939, it was to the elegant symbol of bygone Spain represented by 10 MONDAVIART S.ORG
Aranjuez that he turned. “Having conceived the idea of a guitar concerto,” he recalled, “it was necessary for me to place it in a certain epoch and, still more, in a definite location— an epoch at the end of which fandangos transform themselves into fandanguillos, and when the cante and the bulerias vibrate in the Spanish air.” He further stated that he had in mind the early decades of the 19th century when composing this Concierto de Aranjuez. “Throughout the veins of Spanish music,” he continued, “a profound rhythmic beat seems to be diffused by a strange phantasmagoric, colossal and multiform instrument—an instrument idealized in the fiery imagination of Albéniz, Granados, Falla and Turina. It is an imaginary instrument that might be said to possess the wings of the harp, the heart of the grand piano and the soul of the guitar… It would be unjust to expect strong sonorities from this Concierto; they would falsify its essence and distort an instrument made for subtle ambiguities. Its strength is to be found in its very lightness and in the intensity of its contrasts. The Aranjuez Concierto is meant to sound like the hidden breeze that stirs the tree tops in the parks, as dainty as a veronica.” In his Concierto de Aranjuez, Rodrigo adapted the three traditional movements of the concerto form to reflect different aspects of the soul of Spanish music—the outer movements are fast in tempo and dancelike, while the middle one is imbued with the bittersweet intensity of classic flamenco cante hondo (“deep song”). The soloist opens the Concierto with an evocative, typically Spanish rhythmic pattern of ambiguous meter that courses throughout the movement. The orchestra, in colorful fiesta garb, soon enters while the guitar’s brilliant, virtuoso display continues. The haunting Adagio, among the most beautiful and beloved pieces ever written for guitar, is based on a theme of Middle Eastern ancestry, given in the plangent tones of the English horn, around which the soloist weaves delicate arabesques of sound as the music unfolds. The finale’s lilting simplicity (one commentator noted its similarity to a Spanish children’s song) serves as a foil to the imposing technical demands for the soloist, who is required to negotiate almost the entire range of the instrument’s possibilities. ©2016 Dr. Richard E. Rodda
SHARON ISBIN
GUITAR
Acclaimed for her extraordinary lyricism, technique and versatility, multiple Grammy Award winner Sharon Isbin has been hailed as “the pre-eminent guitarist of our time.” She is the winner of Guitar Player magazine’s Best Classical Guitarist award, and the Munich, Toronto and Madrid international competitions. She has appeared as soloist with over 170 orchestras and has given sold-out performances in the world’s finest halls, including New York’s Carnegie and Avery Fisher Halls, Boston’s Symphony Hall, Washington D.C.’s Kennedy Center, London’s Barbican and Wigmore Halls, Amsterdam’s Concertgebouw, Paris’ Châtelet, Vienna’s Musikverein, Munich’s Herkulessaal, Madrid’s Teatro Real and many others. She has served as artistic director/soloist of festivals she created for Carnegie Hall, the Ordway Music Theatre (St. Paul), New York’s 92nd Street Y, and the acclaimed national radio series Guitarjam. A frequent guest on NPR’s All Things Considered and Garrison Keillor’s A Prairie Home Companion, she has been profiled on television throughout the world, including CBS Sunday Morning and A&E, and was featured as soloist on the Grammy-nominated soundtrack of Martin Scorsese’s Academy Award-winning The Departed. On September 11, 2002, Isbin performed at Ground Zero for the internationally televised memorial. Among other career highlights, she performed in concert at the White House for President and Mrs. Obama in 2009, and was the only classical artist to perform in the 2010 Grammy Awards. She has been profiled in periodicals from People to Elle, The Wall Street Journal and The New York Times, as well as appearing on the cover of over 45 magazines. Her 2015 national television performances on PBS include the Billy Joel Gershwin Prize, Tavis Smiley, and American Public Television’s presentation of the acclaimed one-hour documentary Sharon Isbin: Troubadour seen by millions on nearly 200 PBS stations across the U.S., and the winner of the 2015 ASCAP Television Broadcast Award. The film was released with bonus performances on DVD/Blu-ray by Video Artists International. Isbin’s catalogue of over 25 recordings— from Baroque, Spanish/Latin and 20th century to crossover and jazz-fusion—reflects remarkable versatility. Her latest releases, Sharon Isbin: 5 Classic Albums (Warner) and Sharon Isbin & Friends: Guitar Passions (Sony) with rock/jazz guests Steve Vai, Steve Morse, Heart’s Nancy Wilson and Stanley Jordan, have been bestsellers. Her 2010 Grammy Award-
winning CD Journey to the New World with guests Joan Baez and Mark O’Connor spent 63 consecutive weeks on the top Billboard charts. Other Grammys include her world premiere recording of concerti written for her by Christopher Rouse and Tan Dun, and Dreams of a World which made her the first classical guitarist in 28 years to receive the award. She received a Latin Grammy nomination for her disc of Rodrigo, Ponce and Villa-Lobos concerti with the New York Philharmonic— their first and only recording with a guitar soloist. Other honors include Germany’s Echo Klassik Award and Gramophone’s Recording of the Year. Isbin has been acclaimed for expanding the guitar repertoire with some of the finest new works of the century. She has commissioned and premiered more concerti than any other guitarist, and her American Landscapes with works written for her by Corigliano, Schwantner and Foss is the firstever recording of American guitar concerti. Her world premieres in 2015 include Affinity: Concerto for Guitar & Orchestra composed for her by Chris Brubeck, and a song cycle by Richard Danielpour commissioned for her and mezzo-soprano Isabel Leonard by Carnegie Hall for their 125th anniversary and by Chicago’s Harris Theater. Other recent highlights include tours with the Zurich Chamber Orchestra, Austria’s Tonkünstler Orchestra and Belgium’s Philharmonique de Liege, recitals and concerti in Carnegie Hall and Washington D.C.’s Kennedy Center, a week of performances at the Théâtre du Châtelet in Paris, MIDEM Classical Awards in Cannes, a 20-city Guitar Passions tour with Stanley Jordan and Romero Lubambo in 2014, and a sold-out performance in Carnegie Hall with Sting, Katy Perry and Jerry Seinfeld in 2015 to benefit the David Lynch Foundation. Isbin appears as soloist with orchestras throughout the world, including the New York Philharmonic, National Symphony, Baltimore, Detroit, Houston, Dallas, Pittsburgh, Minnesota, St. Louis, Nashville, New Jersey, Louisville, Indianapolis, Milwaukee, Phoenix, Buffalo and Utah Symphonies; Saint Paul, Los Angeles, Zurich, Scottish and Lausanne Chamber Orchestras; the London Symphony and Orchestre National de France; and BBC Scottish, Lisbon Gulbenkian, Prague, Milan Verdi, Belgrade, Mexico City, Jerusalem and Tokyo Symphonies. Her festival appearances include Mostly Mozart, Aspen, Ravinia, Grant Park, Interlochen, Santa Fe, Mexico City, Bermuda, Hong Kong, Montreux, Strasbourg, Paris, Athens, Istanbul, Ravenna, Prague and 12 MONDAVIART S.ORG
Budapest International Festivals. Isbin began her guitar studies at age 9 in Italy, and later studied with Andrès Segovia and Oscar Ghiglia. A former student of Rosalyn Tureck, Isbin collaborated with the noted keyboardist in publishing and recorded the first performance editions of the Bach lute suites for guitar (Warner Classics/ G. Schirmer). She is the author of the Classical Guitar Answer Book, and is director of guitar departments at the Aspen Music Festival and The Juilliard School, which she created in 1989.
NEW YORK CHAMBER SOLOISTS ORCHESTRA Over the past few seasons, the New York Chamber Soloists Orchestra—a variably-sized conductor-less chamber orchestra—has been performing concerts featuring multiple concertos from prominent soloists at major venues. In addition to this performance with guitarist Sharon Isbin, collaborative programs have also featured violinist Rachel Barton Pine, pianists Menahem Pressler and Anton Kuerti and clarinetist Richard Stoltzman. With more than 300 works in their repertoire, the Chamber Soloists have made a valuable contribution to the musical life of this country and have helped to expand the audience for chamber music. Their programming innovations have included Bach’s complete Brandenburg Concerti in a single concert, “Paris in the ‘20s,” an American Classics program, the complete Mozart horn concerti and song cycles, and cantatas and operas from Monteverdi to Aitken. They have added substantially to the catalog of 20th-century chamber works, with more than 25 compositions written for them by such significant composers as Gunther Schuller, Mario Davidovsky, Ezra Laderman, and Mel Powell. The group has also commissioned works for children, including Ferdinand the Bull from noted American composer Hugh Aitken and compositions based on Alice’s Adventures in Wonderland by Gerald Fried and Tania French. The ensemble has compiled an impressive record of repeat engagements in North America and abroad, including 11 European tours, six Latin American tours, and numerous tours of Asia and the South Pacific. In the United States, the Chamber Soloists have appeared frequently in New York City at the Metropolitan Museum of Art and Lincoln Center, in Washington at the Library of Congress, the National Academy of Sciences, the Kennedy Center and the National Gallery of Art, at major universities across the country from Boston to Berkeley and at the Mostly
Mozart, Sun Valley, and Caramoor Festivals. Recent performances include those at the Casals Festival, Metropolitan Museum of Art, the Mondavi Center at UC Davis, Royce Hall at UCLA, the Phillips Center at the University of Florida and the University of Arizona.
MIKI-SOPHIA CLOUD
VIOLIN SOLOIST
New York-based violinist Miki-Sophia Cloud enjoys a rich musical life as a recitalist, chamber musician, orchestra-leader and innovative arts advocate. As a soloist and recitalist, she has appeared at Boston Symphony Hall, the Kennedy Center and on NPR. Performance highlights include Barber’s Violin Concerto with Maestro Peter Oundjian, Berio Duos with Ani and Ida Kavafian at Lincoln Center and a European recital debut in Graz, Austria presented by ORF, Austrian National Radio. Since 2009, Cloud has been a core member of the self-conducted chamber orchestra, A Far Cry, where her leadership as Concertmaster and soloist as well as her concert programming have been acclaimed by The New York Times and Boston Globe. Behind the scenes, she directs the ensemble’s community partnerships and educational programs. A passionate chamber musician, Cloud is first violinist and artistic director of the White Mountains Music festival, a 6-week chamber music festival in Northern New Hampshire. Her other chamber music festival appearances include Halcyon Music Festival, Perlman Music Program and Music@Menlo. An alumna of Harvard College, Vienna Music University, Yale School of Music, and the Perlman Music Program, Cloud is currently a doctoral candidate at New England Conservatory. She has enjoyed the inspiring mentorship of such artists as Robert Levin, Ricardo Cyncynates, Ani Kavafian and Miriam Fried. When not working on music, Cloud may be found eating a fresh tomato, savoring a smoky scotch, reading, guzzling tea, wandering around New York on foot or cooking for friends.
MIALTIN ZHEZHA
VIOLIN SOLOIST
Hailed by The Hartford Courant for his “expressive and warm sound, and faultless intonation,” Albanian-born Mialtin Zhezha is an accomplished violinist and violist. Since his solo debut with the National Orchestra at the age of 13 in Tirana, Albania, he has maintained a broad international performing career. His performances have taken him to countries such as Italy, Greece, U.K. and
NEW YORK CHAMBER SOLOISTS ORCHESTRA Japan. Zhezha has performed throughout the United States to critical acclaim in major halls such as Carnegie Hall, Merkin Hall and Miller Auditorium among others. Zhezha resides in New York City and performs extensively as a soloist, chamber and orchestra player. While being a recitalist, he is also an active performer of the International Chamber Players, Le Train Blue, the New York Metamorphoses Orchestra, Chamber Orchestra of New York, and most recently New York Chamber Soloists. In addition, he performs regularly in music series such as Music Kitchen-Food for Soul, a charity series which brings chamber music to homeless shelters, Music Arts Alliance in NYC, and in the Abendmusik series in Morristown, NJ. Zhezha’s performances have taken him to the National Arts Centre Institute in Ottawa, Norfolk Music Festival, Gilmore Festival, Fontana Chamber Arts, Summer Seminar at Western Michigan University, and SummerTrios in PA. Zhezha holds awards and top prizes from competitions around the world, including “Kenget e Tokes” and “Islam Petrela” an international violin competition in Tirana, Albania, as well as the Nicola Piccini Violin Competition in Bari, Italy, Young Artist Competition in Fort Wayne, Western Michigan University Concerto Competition, and MTNA National String Competition. Most recently, he was featured in an Albanian book titled Success Stories after receiving an Albanian Excellency Award, which is given to notable and successful individuals who have contributed significantly to Albania. He has also been a nominee for the KULT awards in Albania. In addition, Zhezha has been awarded the Hugo Kortschak Chamber Music Award, and the Best Classical Music Performance of the Year Award from Downbeat magazine. As a violin and viola pedagogue, Zhezha has been a visiting artist and has given public masterclasses at Western Michigan University and the International Academy of the Arts in Tirana, Albania. Zhezha holds his post graduate degree and masters degree (Pinchas Zukerman Performance program) from Manhattan School of Music. His mentors include Pinchas Zukerman, Patinka Kopec, Lawrence Dutton and Renata Knific.
EMILIE-ANNE GENDRON
VIOLIN SOLOIST
Emilie-Anne Gendron, lauded by The New York Times as a “brilliant soloist” and by France’s ClassiqueInfo for her “excellent technical mastery” and “undeniable sensitivity,” enjoys a dynamic freelance career based in New York. A deeply committed chamber
musician, Gendron is a member of the Momenta Quartet, two-time recipient of the prestigious Serge Koussevitzky Music Foundation commission grant and now in its 10th year of residence at Temple University; the Toomai String Quintet, specializing in innovative educational outreach and community engagement; and the G-Sharp Duo with pianist Yelena Grinberg. She is also a frequent leader of the conductor-less Sejong Soloists, with which she recently recorded the Mendelssohn Octet with Gil Shaham; and a participant at the Marlboro Music Festival and with the touring Musicians From Marlboro. She regularly joins the rosters of the Argento Chamber Ensemble, IRIS Orchestra, A Far Cry, New York Chamber Soloists, and Ensemble Échappé, among others. Recent performances include collaborations with artists such as Richard Goode, Hsin-Yun Huang, Leon Fleisher, Bruno Canino, and members of the Guarneri, Juilliard, Pro Arte, Daedalus, and Johannes Quartets; and under the auspices of such venues and organizations as the Louvre, Guggenheim Museum, Freer Gallery, Cadogan Hall, Salle Gaveau, Library of Congress, Seoul Arts Center, Avery Fisher Hall, Kennedy Center, the Chelsea Music Festival, and the Philadelphia Chamber Music Society. Gendron’s performances have been broadcast over radio and television in the U.S., U.K., Switzerland, New Zealand, Canada, Denmark, Japan, and South Korea. Especially notable is her solo performance with Sejong Soloists on the popular KBS-TV arts program “Classical Odyssey,” which aired across South Korea. She is a past winner of the Stulberg String Competition and took 2nd Prize and the Audience Prize at the Sion-Valais International Violin Competition. Born in the U.S. to Japanese and FrenchCanadian parents, Gendron began her violin studies at age 4 with Carl Shugart and Carol Sykes. She was trained at the Juilliard School where her principal teachers were Won-Bin Yim, Dorothy DeLay, David Chan, and Hyo Kang. Gendron holds the distinction of being the first person in Juilliard’s history to be accepted simultaneously to its two most selective courses of study, both the Doctor of Musical Arts and the Artist Diploma. She holds a B.A. in Classics, magna cum laude and with Phi Beta Kappa honors, from Columbia University as a graduate of the ColumbiaJuilliard joint-degree program, and a Master of Music degree and the coveted Artist Diploma from Juilliard.
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NEW YORK CHAMBER SOLOISTS ORCHESTRA APRIL JOHNSON
VIOLIN SOLOIST
April Johnson has performed throughout North and South America. She has appeared as Concertmaster with the Jupiter Symphony, the Galatea Ensemble, and the Canton Symphony. She attended the Oberlin College Conservatory of Music and the Brooklyn College Conservatory. The violinist with Oracle Trio, Johnson was dean of the Mount Vernon Music Academy and currently on the faculty of Hoff-Barthelson Music School.
DAVID KAPLAN
PIANO
David Kaplan has been praised for his “grace and fire” by The Boston Globe, and by The
New York Times for “striking imagination and creativity.” Performing widely as a soloist and chamber musician, David’s recent appearances include the Barbican in London and Seattle’s Town Hall. He has appeared as a guest soloist of the Orpheus Chamber Orchestra, and performed at Miami’s Arscht Center with Itzhak Perlman. A veteran of many distinguished chamber music festivals and series, he has appeared at the Seattle Chamber Music Festival, the Chamber Music Society of Lincoln Center, Chamber Music Northwest, Barge Music, Ravinia’s RSMI, Tanglewood, Bard and the Mostly Mozart Festival. Kaplan´s enthusiasm for contemporary music has led him to premiere dozens of works, including piano concertos by Timo Andres (2008) and Alex Weston (2012).
FURTHER LISTENING SHARON ISBIN
by Jeff Hudson
Young violinists (and cellists) often start lessons at an early age on a half-size instrument. But this is not so common when a kid expresses an interest in the guitar— especially a girl. (Many have traditionally regarded the guitar as an instrument for boys.) Sharon Isbin, who liked building model rockets as a child, got her first guitar at age 9, when her family moved from Minnesota to Italy for a year. The instrument was custom made: “I remember I had to meet the guitar-maker and have him measure my hand so he could determine the size,” Isbin told the newspaper in Champaign, Illinois (site of the Krannert Center’s Ellnora Guitar Festival) last year. “Classical guitar was not on the radar of most kids in the U.S.,” Isbin told The Wall Street Journal. “Had we not gone to Italy, I would’ve become a brain surgeon or a scientist, no question about it.” Choosing the guitar didn’t make things easier in the realm of classical music, either. “In the guitar world, I always had to fight as a woman, and in the music world, I always had to fight as a guitarist,” Isbin said in Troubadour, the 2014 documentary widely aired on public television (now available on DVD). Consequently, Isbin became a pioneer. She was the first classical guitar teacher at Juilliard in 1989, and now runs the guitar department at that prestigious school. She’s run the guitar program at the Aspen Music Festival for more than 25 years. She created guitar programs for Carnegie Hall and NPR. She was the first female classical guitarist to win a Grammy. And she’s doggedly pursued composers, urging them to write for her instrument. (It reportedly took Isbin eight years to convince composer John Corigliano, largely unfamiliar with the guitar, to write a concerto for her. “Sharon persisted. She sent me scores, tapes, and letters with ideas,” Corigliano said. The concerto was premiered by the St. Paul Chamber Orchestra in 1993.) Isbin’s discography—more than two dozen albums, stretching back to 1978— reflects that commitment to new music, as well as the popular standards like Rodrigo’s Concierto de Aranjuez that she has performed with many orchestras over the years. You can get an overview on the 2014 box set Sharon Isbin: 5 Classic Albums (on Warner Classics). Perhaps she’ll be recording the concerto that Chris Brubeck composed for her, premiered by the Maryland Symphony Orchestra in 2015. JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE, AND SACRAMENTO NEWS AND REVIEW.
14 MONDAVIART S.ORG
Kaplan was recently awarded the doctorate of musical arts at Yale, where he studied with Claude Frank. His earlier mentors include Walter Ponce at the University of California, Los Angeles, and Miyoko Lotto in his native New York City. In addition, he has had the opportunity to learn from many other distinguished pianists, including Emanuel Ax, Alfred Brendel, Leon Fleisher, Richard Goode, Ursula Oppens, Murray Perahia, Manahem Pressler and the late Charles Rosen. Under the auspices of a Fulbright Grant, he studied conducting with Lutz Köhler at the Universität der Künste in Berlin. Away from the keyboard, he devotes time to cartooning and cooking, and is mildly obsessed with classic cars. Kaplan is pleased to be a Yamaha Artist.
THE NEW YORK CHAMBER SOLOISTS ORCHESTRA VIOLIN
Miki Sophia Cloud Concertmaster Emilie-Anne Gendron April Johnson Linda Quan Megumi Stohs Robert Taylor Mialtin Zhezha
VIOLA
PICCOLO
Chrissy Pardo
OBOE
Melvin Kaplan Marc Schachman
ENGLISH HORN
Marc Schachman
CLARINET
Ynez Lynch Colin Brookes Jason Mellow
Allen Blustine Wojtek Komsta
CELLO
Andrew Schwartz Stephen Wisner
BASS
Sharon Moe Ian Donald
Adam Grabois Peter Seidenberg Tomoya Aomori
FLUTE
Jennifer Grim Chrissy Pardo
BASSOON
HORN
TRUMPET
Brian Olson Anthony Limoncelli
HARPSICHORD
David Kaplan
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globalFEST On the Road Creole Carnival
Featuring Casuarina, Emeline Michel and Brushy One String Thursday, April 7, 2016 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY
William and Nancy Roe globalFEST On the Road is a flexible touring and curating concept based on globalFEST’s annual flagship festival in New York City.
CASUARINA Daniel Montes 7-string guitar, arrangements Gabriel Azevedo tambourine, lead vocals João Cavalcanti tan-tan, lead vocals João Fernando mandolin, backing vocals, arrangements Rafael Freire cavaquinho, backing vocals
EMELINE MICHEL Emeline Michel vocals Dominic James electric guitar Carol Hodge drums Calvin Jones bass
BRUSHY ONE STRING Brushy One String guitar
16 MONDAVIART S.ORG
ABOUT globalFEST Over the last decade, globalFEST has become one of the most dynamic global music platforms in North America, growing from an acclaimed festival/showcase into a catalytic nonprofit service organization for curators, artists and the performing arts field. Through its work, globalFEST encourages networking and cultural diplomacy; deepens cultural understanding among its constituents; builds audiences for international music and creates new opportunities for artists leading to a more robust and sustainable ecosystem for world music in the U.S. Artists that participate in globalFEST programs represent diverse musical styles from all corners of the globe, ranging from traditional to contemporary, and everything in between. Programs include: the globalFEST Touring Fund, which provides direct support to artists to develop new markets; globalFEST On the Road, a tour that brings creatively programmed lineups to venues nationwide; and guest curating in both commercial and performing arts settings, including such influential events as SXSW, Bonnaroo, Lincoln Center and beyond that serves to raise the profile and visibility of the artists globalFEST works with, and world music overall. globalFEST believes that music can be a driving force toward a society that values cultural diversity as a source of unity rather than division. By moving international music to the center of the performing arts field, globalFEST fosters a robust and sustainable ecosystem for world music in the U.S.
CASUARINA Samba is more of a musical family than a specific genre, rich in different accents, both familiar and unfamiliar to American audiences, including the bossa nova, samba from Bahia and the Afro-Brazilian rhythms of the Nordeste. The music of Casuarina incorporates all of them, while flirting with pop and urban music. Born a dozen years ago in Lapa, a hip yet gritty bohemian Rio neighborhood, the five-piece member group is part of a samba renaissance that has spread like wildfire in recent years. They’ve brought their “samba made in Brazil” to more than 20 countries including Angola, Cuba, France, Holland, Israel, Italy, Portugal, the United States, U.K. and more. In addition to their own compositions, Casuarina creates original and sophisticated arrangements of samba classics, often drawing on the work and spirit of chorinho and of MPB, Brazil’s wildly creative popular music (MPB is short for “Música Popular Brasileira” which translates to “Brazilian Popular Music”). This, too, runs in the family: vocalist João Cavalcanti is the son of an equally innovative musician, Lenine.
EMELINE MICHEL The reigning queen of Haitian song, Michel combines traditional Haitian rhythms and acoustic jazz with social, political and inspirational messages, in spirited songs that capture the reverence and gratitude for each moment. Her warm voice, captivating live performances, and moving compositions have made her one of the leading ladies of a unique wave of Haitian musicians who emerged in the 1980s and emphasized complex themes, conscious lyrics and a broad palette of musical styles, including Haitian compas, twoubadou and rara. She is one of the premier Haitian songwriters of her generation and has recorded and appeared on concert stages throughout the Caribbean, Europe and North and South America for over 20 years, including appearances at New York’s Carnegie Hall, Montreal International Jazz Festival, New Orleans Jazz Fest, Tasmania’s Ten Days On The Island and Zimbabwe’s Harare International Arts Festival. Born in the northern city of Gonaïves, she first sang gospel as a young woman before leaving home for Detroit and then France and Canada, where she mastered jazz and pop forms. As a performer, she has graced some of the Caribbean, Europe and North and South America’s most respected stages. In English, French and Haitian Kreyol, her 10 albums have
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globalFEST On the Road CREOLE CARNIVAL catapulted her to international acclaim. The New York Times has compared her to “an island goddess” and Haitian Times proclaims her an “all-time favorite artist.” Michel now resides in New York City.
BRUSHY ONE STRING One night, rural Jamaican musician Brushy (born Andrew Chin) dreamed of the guitar under his bed. He knew, suddenly, that if he picked it up and dedicated himself to playing it, he’d get to see the world. The instrument in question—a battered but resonant acoustic guitar—had only one string. That didn’t stop Brushy, the son of a musical family with a hardscrabble past, and his dream has come true. He has a seemingly innate ability to inspire even casual listeners—including millions of people who have watched and shared Brushy’s videos on YouTube (his Chicken In the Corn video has almost 8 million views). The veteran musician evokes the sweetness of soul singers like Percy Sledge, Al Green, Toots Hibbert of Toots & the Maytals and the grit and wit of Delta bluesmen, all woven together with a Jamaican pulse and ingenuity that shows that the island’s music is about far more than reggae. Heartfelt blues combine with dancehall-style vocals, and uplifting, catchy ballads channel a soulful intensity and profound faith.
TINA PACKER’S WOMEN OF WILL
with Nigel Gore Saturday, April 9, 2016 • 3PM/7:30PM Sunday, April 10, 2016 • 2PM Jackson Hall Stage SPONSORED BY:
PROGRAM Saturday, April 9, 2016 3PM: Force and Heat: The Early Plays Includes Taming of the Shrew, Comedy of Errors, Henry VI, Romeo and Juliet, Much Ado About Nothing, Antony and Cleopatra and Twelfth Night DINNER BREAK - on your own
INDIVIDUAL SUPPORT PROVIDED BY
Larry and Rosalie Vanderhoef
PLAY THE KNAVE Yocha Dehe Lobby Patrons are invited to try Play the Knave, a motion capture video game that lets you design and perform in scenes from Shakespeare’s plays, karaoke-style. A Kinect camera captures the player’s movements, mapping them onto a 3-D avatar on screen so that the avatar mirrors the player’s gestures in what feels like real time. Players receive a free video of their digital performance to edit or share with others. Play the Knave was created by an interdisciplinary team of faculty and students at the University of California, Davis, ModLab. 20 MONDAVIART S.ORG
7:30PM: Chaos and Redemption: The Later Plays Includes As You Like It, Othello, King Lear, Macbeth, Coriolanus, Winter’s Tale, Pericles, Cymbeline, The Tempest and Henry VIII Sunday, April 10, 2016 • 2PM Sunday’s matinee is a condensed, comprehensive presentation of Shakespearean scenes, insights and discussion taken from the full series. It covers the full breadth of Shakespeare’s works.
Lighting design by Ted Sullivan (based on original lighting concepts of Les Dickert).
ABOUT WOMEN OF WILL As the founding artistic director of Shakespeare & Company, actor and playwright Tina Packer has spent more than 40 years immersed in the world of the Bard. Part performance, part lecture, Women of Will takes a fierce, playful look at Shakespeare’s most powerful heroines, deconstructing the famous female characters through explorative themes of love, loss, freedom, control, violence and power. With ace actor Nigel Gore as the Romeo to Packer’s Juliet, the duo creates a unique Shakespeare experience that is at once funny, fierce and accessible.
FORCE AND HEAT An examination of the first half of Shakespeare’s writing life, from a traditional stance of how women are supposed to look and behave (as depicted in the early comedies Taming of the Shrew and Comedy of Errors, followed by the Henry Vl trilogy) into the first big change in Shakespeare’s perspective with Romeo and Juliet. With Juliet, Shakespeare now writes women from the inside; he perceives woman as women (as opposed to a young man’s projection). This equality between men and women, both sexual and spiritual, leads to a love which changes the world. Force and Heat continues this exploration with Much Ado About Nothing and Antony and
TINA PACKER’S WOMEN OF WILL Cleopatra. Then Shakespeare’s writing shifts again into a third phase and the women become the truth tellers in the plays. They either disguise themselves as men (Living Underground), organize everyone around them and it all turns out very well; or they stay in their frocks, and Die to Tell the Truth. This performance ends with a cutting from Twelfth Night.
CHAOS AND REDEMPTION Part two picks up in the middle of Living Underground or Dying to Tell the Truth with a double performance of Othello and As You Like It, switching backward and forward between the two plays to show how the women deal with the vicissitudes in their lives. We plunge into the fourth act of Shakespeare’s writing life with the chaos and darkness of Lear, Coriolanus and Macbeth. Redemption comes in the fifth act, with the late plays providing a road map to show the way out of the unending violence. The sins of the fathers are redeemed by the daughters in Pericles, Cymbeline, Winter’s Tale, Tempest and Henry Vlll. Shakespeare’s writing style changes again, he tells his stories as fairy tales or myth; and shows how the feminine offers power to move our culture from its endemic desire for dominance and violence. Creativity, time and a few good men who will stand with the women are required to make regeneration and love the driving forces in our lives.
TINA PACKER Actor and playwright Tina Packer is the founding artistic director of Shakespeare & Company in Lenox, Massachusetts. She has directed most of Shakespeare’s plays, acted in seven of them and has taught the entire canon at over 30 colleges in the U.S., including Harvard, M.I.T. and NYU. At Columbia, she taught in the M.B.A. program for four years, resulting in the publication of her piece, Power Plays: Shakespeare’s Lessons in Leadership and Management with Deming Professor John Whitney. For Scholastic, she wrote Tales from Shakespeare, a children’s book and recipient of the Parent’s Gold Medal Award. She began her career in England, having trained at the Royal Academy of Dramatic Art, where she won the Ronson Award for most Outstanding Actor. Following this, she became an associate artist of the Royal Shakespeare Company, performing at Stratford, in the West End, and on tour. She has worked at The Royal Court in London and Glasgow, Edinburgh, Leicester, Coventry and Hornchurch repertory companies. For BBC Television, she played Dora to Ian McKellen’s David Copperfield, was a love interest for Patrick Troughton’s Doctor Who, and also performed in several other TV plays and series. She came to the U.S. in 1974 when the Ford Foundation funded an 11-month project for her
to research the visceral roots of Elizabethan theater with five master teachers (Kristin Linklater, John Barton, B.H. Barry, John Broome, Trish Arnold), 15 actors and three managers. Her work has translated into the aesthetic and practical methods that Shakespeare and Company is based upon, and still practices to this day. Packer then received two grants from the Ford Foundation to travel the world, looking at the relationship of mind, body, sacred texts, stand-up comedy, voice and actor–audience relationship in her studies. The current company was founded in 1978 at Edith Wharton’s derelict mansion in Lenox, far from the cities of New York and London. Packer has returned to acting from time to time, most notably as Edith Wharton and a two-year stretch as Shirley Valentine, playing in Lenox, Boston and Louisville, and Lettice in Lettice and Lovage. For the Boston Shakespeare Company, she directed a season of 12 Irish plays, including the U.S. premiere of Observe the Sons of Ulster Marching towards the Somme. She has received the state of Massachusetts’ highest honor, The Commonwealth Award, and has six honorary degrees. During the mid-90’s, Packer conceived the idea for Women of Will and subsequently received grants from the Guggenheim and Bunting fellowships to fund the project. This collaboration resulted in the project’s first incarnation. In 2009, desperate to get back to Women of Will, Packer gave up the artistic directorship—though Shakespeare & Company remains her creative home and passion. She began work, first with Nigel Gore and then joined by Eric Tucker, to bring Women of Will to its present form of one overview and five separate performances. This is Packer’s seventh creative collaboration with Gore (including playing George and Martha in Who’s Afraid of Virginia Woolf?) and she would like to acknowledge the power of their work together over the past 10 years. The book of Women of Will was published by Knopf in 2015 and comes out in paperback by Vintage in 2016. Performances of Women of Will have taken place across the U.S. as well as the Czech Republic, Mexico, Holland and England. This year Packer directs Merchant of Venice for Shakespeare & Company, running July and August, in Lenox, Massachusetts.
NIGEL GORE Actor Nigel Gore received the Eliot Norton Award for Outstanding Actor for his portrayal of George in Who’s Afraid of Virginia Woolf? at the Publick Theatre in Boston. Recent work includes the title roles in Macbeth and Richard III; Bottom in A Midsummer Night’s Dream
(all at the Colorado Shakespeare Festival); Squeers, Hawke in Nicholas Nickleby at Lyric Stage Boston (Eliot Norton Outstanding actor nomination); Claudius in Hamlet at Prague Shakespeare Festival; Volumnia in Coriolanus at the Mercury Theatre, Colchester, UK; Mark Antony in Antony and Cleopatra; Sir Toby Belch in Twelfth Night (both with Shakespeare & Co.). Film roles include Outside Providence, Titus Andronicus and Last Knights. Gore’s television experience includes seasons two and three of Brotherhood on Showtime. Gore is a founding member of AUREA, a performance ensemble whose mission is to explore the relationship between music and the spoken word. He is a published poet. Gore can be seen in New York City this spring and summer, playing Dr. Rank in The Doll’s House and Oestermark in The Father at Theatre for a New Audience (TIFANA).
ERIC TUCKER
DIRECTOR
Eric Tucker is the recipient of multiple prestigious awards including Wall Street Journal (WSJ) Director of the Year for 2014. Productions for which he has been recognized include Bedlam’s Sense and Sensibility (New York Times [NYT] Critics’ Pick); A Midsummer Night’s Dream (WSJ Best Classical Production of 2015, NYT Critics Pick); Bedlam’s Saint Joan (NYT Top 10 of 2014, Time magazine Top 10 of 2013, NYT and Backstage magazine Critics’ Pick, Off Broadway Alliance Best Revival of 2014); Bedlam’s Hamlet (NYT Top 10 of 2014, Time Out NY and Backstage Critics’ Pick). For Bedlam Theatre, Tucker’s Dead Dog Park, New York Animals (World Premiere by Steven Sater/Burt Bacharach), Twelfth Night and What You Will all received NYT Critics’ Picks. Additional works include The Seagull (WSJ Best Classical Production of 2014); Sense and Sensibility (NYT Top 10 of 2014, NYT/WSJ/Time Out Critics’ Picks); Saint Joan and Hamlet (NYC and Tour: Elliott Norton Outstanding Visiting Production and Outstanding Ensemble; Saint Joan 2015: Boston Globe Top Ten of 2015). Other productions include: Sense and Sensibility (The Folger), Copenhagen (Central Square Theatre), A Midsummer Night’s Dream, The Two Gentlemen of Verona (Hudson Valley Shakespeare Festival), The Libertine (The Kirk and Boston Center for the Arts, IRNE nomination, Best Director). Hamlet (with William Hurt, Stella Adler Theatre, L.A.), Mate (The Actors’ Gang), Macbeth (nominated Best Overall Production and Best Director by LA Weekly). Tucker received his M.F.A. from the Trinity Rep Conservatory. He resides in New York City where he is artistic director of Bedlam. encoreartsprograms.com 21
Contemporary Experience / Political Expression: Australian Aboriginal Printmakers at Cicada Press MAr 29 - Jun 3
C . N . GormaN museum
uC Davis Symphony Orchestra Parisian Russians
Works by Stravinsky, Koussevitzky, and Prokofiev
MAy 7
7:00 PM
JaCksoN Hall, moN davi CeNter
Design Master of Fine Arts Graduation Exhibition MAy 18 - Jun 12 desiG N museum
2016 Film Festival @ uC Davis MAy 18 - 19
varsit y tHe atre
10:00 PM
Mr. Burns, A Post-Electric Play MAy 19 - 29
maiN tH e atre, WriG Ht Hall
Art History Art studio
arts.ucdavis.edu For tHe lAtest Arts inFormAtion
CinemA & teCHnoCulturAl studies design musiC tHeAtre & dAnCe
Experience the thrill of what’s
We are delighted to share with you highlights for the upcoming 2016–17 season as well as alert you to some important changes to the subscription process. In past seasons, we have balanced accepting both new and renewing subscriptions during the same period. In the interest of delivering the best customer service possible to all our patrons, this coming season we will be focusing first on our renewing subscribers, then on new subscribers. This new timeline will allow us to get all subscribers the best available seats in real time and help with any specific seating issues. We look forward to seeing you all back for the 16–17 season at the Mondavi Center!
15–16 SUBSCRIBERS: Why Renew? IMPORTANT DATES
Renewing your subscription(s) by April 30 allows you to:
April 1, 2016
• Retain your current seats, or; • Request a new location in advance of general public • Continue to receive the lowest ticket prices
Subscription renewals begin for both Series and CYO subscribers. Prices and seating guaranteed through 4/30/16.
April 30, 2016
Subscription renewal deadline.
NEW SUBSCRIBERS: Why Subscribe? Subscribing by July 10 allows you to:
May 16, 2016
• Become a renewing subscriber next year • Hear about Just Added event tickets in advance of general public • Save up to 20% on ticket prices, including Add-Ons • Complimentary ticket exchanges
July 10, 2016
Can’t decide? Try a Choose-Your-Own Subscription (CYO)
July 11, 2016
• • • •
New subscriptions available. Pick your seats—buy early for best selection! Last day to subscribe with guaranteed pricing. Single tickets on sale. Prices subject to change.
Choose five or more events—and save! Receive the same benefits as Series Subscribers Sample a variety of programs and genres For some CYO ideas, see next page
encoreartsprograms.com 23
SERIES ORCHESTRA
MARVELS
AMERICAN HERITAGE
Los Angeles Philharmonic
The Passing Zone: The Passing Zone Saves the World
Maceo Parker with The Jones Family Singers
Lightwire: DINO-LIGHT
The Real Nashville featuring the Del McCoury Band, Béla Fleck and Abigail Washburn
China Philharmonic Orchestra PKF—Prague Philharmonia Bruckner Orchester Linz
Diavolo: L.O.S.T. “Passengers”
St. Petersburg Philharmonic WITH A TWIST
Arlo Guthrie
CONCERT
The Ukulele Orchestra of Great Britain
WORLD STAGE
The Chamber Music Society of Lincoln Center
Les Ballets Trockadero de Monte Carlo
Diego El Cigala
Itzhak Perlman & Rohan De Silva
Mucca Pazza
Joshua Bell Venice Baroque Orchestra
CHILDREN’S STAGE Cashore Marionettes: Simple Gifts
JACKSON HALL JAZZ Jazz at Lincoln Center with Wynton Marsalis SFJAZZ Collective: The Music of Miles Davis Jelly and George featuring Aaron Diehl and Cécile McLorin Salvant Aziza: Dave Holland, Chris Potter, Lionel Loueke and Eric Harland STUDIO JAZZ Joey Alexander Trio Edmar Castaneda Trio Etienne Charles: Creole Soul
Black Arm Band: dirtsong The Chieftains Dervish and Le Vent du Nord
Mermaid Theatre of Nova Scotia: Goodnight Moon and The Runaway Bunny
ALEXANDER STRING QUARTET
Sound Maze by Paul Dresher
DANCE
SPEAKERS Science Friday George Takei: Where No Story Has Gone Before Bassem Youssef: The Joke is Mightier than the Sword Dr. Raj Patel, Campus Community Book Project: Stuffed and Starved: The Hidden Battle for the World Food System Jodi Cobb, Photographer: Stranger in a Strange Land, National Geographic Live
24 MONDAVIART S.ORG
Havana Cuba All-Stars: Cuban Nights
Ronald K. Brown/ EVIDENCE, A Dance Company ODC/Dance
CAN’T DECIDE? CHOOSE-YOUR-OWN! Choose five or more events to customize your subscription! Any event, including those in a series, are available for CYO subscriptions, based on availability. Here are just a few examples… WORLD TRAVELER Bickram Ghosh’s Drums of India Diego El Cigala Black Arm Band Sichuan Opera Theater Dervish & Le Vent du Nord SERIOUSLY FUNNY The Passing Zone David Sedaris The Ukulele Orchestra of Great Britain Mucca Pazza Bassem Youssef
ADDITIONAL SEASON HIGHLIGHTS These events—and many more—are not part of a series but can be selected for a CYO package or added on to any subscription. Richter Uzur Duo Shane Koyczan Vienna Boys Choir: Christmas in Vienna L.A. Theatre Works: Judgment at Nuremberg Sichuan Opera Theater: Flaming Mountain
AMERICAN SPIRIT Bumper Jacksons David Sedaris Dance Theatre of Harlem Jelly and George featuring Aaron Diehl and Cecile McLorin Salvant Arlo Guthrie TELL ME A STORY George Takei David Sedaris Lightwire: DINO-LIGHT Shane Koyczan L.A. Theatre Works
Bumper Jacksons David Sedaris Dance Theatre of Harlem Danilo Brito Trio INDIA IN THE ARTIST’S EYE—a season-long series of events featuring: Clare Ami Photo Exhibition • Bickram Ghosh’s Drums of India • Sikkil Gurucharan and Shujaat Khan • Gargi Sen Film Series
For the full schedule of 2016–17 season events, please visit mondaviarts.org. Events are subject to change.
encoreartsprograms.com 25
Etienne Charles: Creole Soul April 26–29, 2017
AIMEE MANN & BILLY COLLINS
An Evening of Poetry, Acoustic Music, and Conversation A Downey Brand Speaker Series Event Monday, April 25, 2016 • 8PM
“[Aimee Mann is] one of the finest songwriters of her generation.” —The New York Times
Jackson Hall SPONSORED BY:
“Billy Collins writes lovely poems… Gently and consistently startling, more serious than they seem.” —John Updike
INDIVIDUAL SUPPORT PROVIDED BY
The Lawrence Shepard Family Fund
Question & Answer Session Following the performance with Aimee Mann and Billy Collins.
Former U.S. poet laureate Billy Collins and Academy Award-nominated singer-songwriter Aimee Mann met at a 2011 White House event honoring the art of American poetry and now come together for an evening celebrating the perspective and reflection that comes from a writer’s eye. Joined onstage by Mann’s bass player Paul Bryan, the result is a harmonious volley of poetry, music and commentary on both. Mann always provides her fans with well-crafted music and lyrics that reflect her wry worldview; Collins sees his poetry as “a form of travel writing” and considers humor “a door into the serious”—a door that thousands of readers have opened with amazement and delight; together they create a confluence of their two distinct audiences—audiences that otherwise might not have converged but who will leave the evening’s event enchanted with the possible discovery of a new favorite artist.
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FURTHER LISTENING AIMEE MANN AND BILLY COLLINS Tonight’s program examines similarities and contrasts, from the viewpoint of two perceptive (but distinctly different) artists. Consider, for instance, what singer/ songwriter Aimee Mann and poet Billy Collins have said recently regarding song lyrics. In 2014, in an interview with Salon, Mann described her reaction (as an 11-yearold) to a perky pop tune (with gloomy words) by Irish singer/songwriter Gilbert O’Sullivan. “The first time I really paid attention to lyrics in a different way was 1972’s ‘Alone Again (Naturally),’ which was a hit… The melody was really nice, I liked the vibe, it had a bouncy thing, which was maybe slightly melancholy. And then a friend said, ‘You know what that’s about, right?’ And I said, ‘No,’ and they said, ‘He’s going to commit suicide.’ And that kind of changed the whole thing for me… there was almost a secret message. If you didn’t want to pay attention, there was this pretty thing… But if you were paying attention, it was hiding in plain sight… I was also under the impression that if you were a singersongwriter, you would be questioned about your lyrics… Of course, that virtually never happens!” Collins—a bit older, and a poet—told Stay Thirsty magazine in 2015: “I have a much lower expectation of sense when
28 MONDAVIART S.ORG
AIMEE MANN & BILLY COLLINS
by Jeff Hudson
listening to pop songs than I do when reading poetry. ‘I shot the sheriff but I did not shoot the deputy’ (Bob Marley, 1973) suggests that the guy needs a lawyer. ‘A Whiter Shade of Pale’ (Procol Harum, 1967, with a tune borrowing from Bach) takes the cake for beautiful nonsense. I compared a couple of Paul McCartney’s poems—rather good ones in his (2002) collection ‘Blackbird Singing’—to the simple lyrics of ‘Yesterday’ (Beatles, 1965) that really don’t hold up on the page. But of course, the poems didn’t sell millions of copies… (and) lyrics are not meant to stand alone unaccompanied by music.” Collins added “No effort is required in memorizing a song… one is invaded by the song as one hears it hundreds of times. With a poem, you have to will it. (But) every memorized poem becomes your companion, for life, if you pay it regular visits. This companion can come in very handy while you are having an MRI, or waiting for a bus or spending a night in jail.” This evening, listen to Mann sing her songs and Collins read his poems… and draw your own conclusions. JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE, AND SACRAMENTO NEWS AND REVIEW.
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A Capital Public Radio Jackson Hall Jazz Series Event Friday, April 29, 2016 • 8PM Jackson Hall SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY
Tony and Joan Stone UC Davis Office of Campus Community Relations
Cécile McLorin Salvant vocals Sullivan Fortner piano Paul Sikivie bass Lawrence Leathers drums
30 MONDAVIART S.ORG
CÉCILE McLORIN SALVANT Shortly before the release of Cécile McLorin Salvant’s debut Mack Avenue album WomanChild, critic Ben Ratliff made a bold prediction in the pages of The New York Times. McLorin Salvant, he claimed, “is still mostly unknown to jazz audiences”—then added: “though not for much longer.” McLorin Salvant has more than validated that forecast. The last 24 months have been a whirlwind of success and acclaim for the young vocalist, who first came to the attention of jazz fans with her triumph at the 2010 Thelonious Monk International Jazz Competition. WomanChild went on to earn a bevy of honors, including a Grammy nomination and selection as Jazz Album Of The Year by the DownBeat International Critics Poll. That magazine also honored McLorin Salvant in three other categories including Best Female Jazz Vocalist. A few months later, the Jazz Journalists Association selected McLorin Salvant as Up-and-Coming Jazz Artist Of The Year and as Top Female Vocalist. NPR also took, honoring WomanChild as the Best Jazz Vocal Album Of The Year in its annual critics poll. In short, no jazz singer of recent memory has garnered up more honors more quickly than McLorin Salvant. Now she releases her follow-up Mack Avenue album, For One To Love, a more intimate and confessional project that reveals
new dimensions of this young vocalist’s artistry. “I’m not playing anyone else here but myself,” McLorin Salvant explains. “I can look at many of these songs, and see that this is an event that really happened, or a feeling I’ve lived through myself. “That’s what makes it so difficult to share. It’s almost like a diary entry.” McLorin Salvant grew up in a bilingual household in Miami, the child of a French mother and Haitian father. She started piano studies at age 5, and at 8 began singing with the Miami Choral Society. After graduating from Coral Reef Senior High, a premier Miami magnet school, McLorin Salvant decided to pursue her education in Aix-en-Provence in the south of France, where troubadours invented the Western love song almost 1,000 years ago. In this unlikely setting, McLorin Salvant embarked on a new career as a jazz performer, while pursuing a degree in French law and her training as a classical and baroque singer. Three years later, McLorin Salvant returned to the U.S. as a semifinalist in the prestigious Thelonious Monk International Jazz Competition. She had entered the contest at the urging of her mother, but almost missed the submission deadline. “On the last day, I mailed the audition recording with an apology for not getting it in sooner,” she recalls. Then the call came inviting her to
photo: John Abbott
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CÉCILE McLORIN SALVANT Washington D.C. for the contest. Here an illustrious panel of judges—Dee Dee Bridgewater, Dianne Reeves, Kurt Elling, Patti Austin and Al Jarreau—took note of McLorin Salvant’s remarkable voice and striking ability to inhabit the emotional space of every song she heard and turn it into a compelling personal statement. This surprise contender, the unheralded American jazz singer from France, took the top spot in the jazz world’s most demanding competition. “She brought down the house,” The Washington Post told its readers the next day. Less than three years after first performing with a jazz band, writer Anne Midgette noted, McLorin Salvant was already singing “like a seasoned pro. Her marathon is just beginning.” Others were now taking notice. “She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelligence, depth and grace,” announced Wynton Marsalis. “If anyone can extend the lineage of the Big Three—Billie Holiday, Sarah Vaughan and Ella Fitzgerald—it is this 23-year-old virtuoso,” added Stephen Holden in The New York Times. The release of WomanChild both backed up these claims and introduced McLorin Salvant’s music to a host of new listeners. The up-and-coming vocalist was now a legitimate jazz star. In more recent months, McLorin Salvant’s work has moved beyond the jazz world and entered into the broader culture. You can hear it on commercials for Chanel, or in the soundtrack for the HBO show Bessie. But this crossover success has come without compromise. As critic Nate Chinen aptly notes, “whatever else you might say about her,” McLorin Salvant sounds “clearly, unmistakably like a jazz singer.” Now McLorin Salvant makes an even bolder statement with, For One To Love. This may be the defining jazz statement on romance in the new millennium, a heartfelt album that both embodies the full range of the American popular song idiom, but distills it into a distinctly personal expression of a modernday poet-troubadour. On the new album, McLorin Salvant again shows her uncanny knack of channeling her own personality into the work of her predecessors, both the acclaimed (Bessie Smith) and the less well-known (Blanche Calloway, whose fame during her lifetime was eclipsed by her brother Cab). “I’ve made some choices about celebrating strong women,” McLorin Salvant explains. “And I want to celebrate independence, the courage not to look or act a certain way.” McLorin Salvant is increasingly making
her strongest musical statements via her own compositions, which stand out as the centerpiece on the new project. Five of the tracks on For One To Love feature her songs, and here she reminds us of those other great jazz singers, from Billie Holiday to Abbey Lincoln, who found that the most powerful expressions of moods and feelings often came via their own compositions. And McLorin Salvant also shares her vision as a visual artist in the design of the album. This field has been a focus in recent years:
both at home in Harlem and on the road, she works on painting and drawing, and is currently preparing for her first exhibition. “Music chose me,” she reflects; “in a way, I stumbled upon it. But illustrating is something I’ve chosen to do.” In short, her distinctive artistry shapes every aspect of this project. For One To Love serves as proof positive that Cécile McLorin Salvant has not only arrived, but she is still going places.
The magic of
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YO-YO MA, cello KATHRYN STOTT, piano PROGRAM “Arc of Life” Suite
Ave Maria, arranged from the Prelude No. 1 in C Major J.S.Bach/arr. Gounod from The Well-Tempered Clavier, Book I, BWV 846 Was It a Dream?, Op. 37, No. 4 Sibelius Tango, Jalousie J. Gade Beau Soir Debussy Ave Maria, D. 839 Schubert
Sonata in D Minor for Cello and Piano, Op. 40 Shostakovich Allegro non troppo Allegro Largo Allegro INTERMISSION Il bell’Antonio (“Handsome Antonio”)
Sollima
Sonata in A Major for Violin and Piano Franck Allegro ben moderato Allegro Recitativo–Fantasia: Ben moderato–Molto lento Allegretto poco mosso
32 MONDAVIART S.ORG
PROGRAM NOTES
“ARC OF LIFE” SUITE
Each of the two volumes of The WellTempered Clavier (ca. 1720, 1740) by Johann Sebastian Bach (1685–1750) contains 24 paired preludes and fugues, one in each of the major and minor keys. By precedence and musical beauty, the Prelude No. 1 in C major is perhaps the best-known item in the entire collection. It consists of nothing but a melody-less series of arpeggiated chords, “the perfection of simplicity, fine-spun like a spider’s web,” according to Cecil Gray. In 1853, the French composer Charles Gounod (1818–1893) draped an original melody upon the harmonic and textural framework of Bach’s C major Prelude to create his Meditation for Piano, Violin and Organ. Three years later, he adapted the piece for voices with a French text by Lamartine, and in 1859, he refitted it again with the familiar words of the ancient Marian antiphon Ave Maria, in which form it has become one of music’s most beloved melodies: Hail Mary, full of grace, the Lord is with thee. As with his instrumental music, Jean Sibelius (1865–1957) was inspired to his finest creative work in his songs by Finland’s culture, literature and landscapes. Was It a Dream? of 1902 (Op. 37, No. 4) takes as its text an impassioned poem by the Finnish author Josef Julius Wecksell, who was deeply influenced by the German Romantic poet Heinrich Heine—Was it a dream that long ago I was your soulmate? That the tango was the international dance craze of the 1920s is abundantly demonstrated by the “Gypsy Tango” Jalousie—based on a dance style developed in Argentina, written in 1925 by a Danish violinist, conductor and composer of popular music, given a French title, and intended to accompany an American silent film set in Spain about a Latino hero; international royalty payments indicate that the song played almost continuously on some radio station somewhere in the world for the next 50 years. The composer of Jalousie, Jacob Gade, was born in 1879 into a musical family that frequently entertained around their country hometown; Gade showed such talent as a trumpeter and violinist that he appeared as a soloist at Tivoli Garden in Copenhagen as a teenager. He stayed in the capital after that engagement, playing in and conducting theater orchestras, taking some lessons and studying music informally, and composing light selections. He went to New York in 1919, freelancing there in theater orchestras until he
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I’m savoring The future life’s simple looks bright pleasures again. to me! You wouldn’t know it to see him today, but Teddy Reynolds was born blind – his lenses covered by hereditary cataracts. If not corrected early, Teddy’s brain would never “learn” to see. But within his first two months of life, pediatric ophthalmologists at UC Davis surgically removed both cataracts and equipped him with special high-powered lenses – which get swapped out regularly as he grows and his vision changes. Today, Teddy studies Taekwondo, plays soccer and is learning to surf. This is one little boy with a bright future.
See Teddy’s story at healthierworld.ucdavis.edu
YO-YO MA & KATHRYN STOTT won a position in the New York Philharmonic. He returned to Copenhagen in 1921 to become conductor at the Palads Theater—an important post in the days before sound films at what was then Scandinavia’s largest entertainment center—and for the Danish premiere there on September 14, 1925 of Don Q, Son of Zorro, a silent feature starring Douglas Fairbanks and Mary Astor, he composed the “Tango Tzigane,” Jalousie. The piece soon became an international hit, but Gade was unable to match its success with any of his later popular or movie music, though its ceaseless stream of royalties allowed him to live in considerable comfort until his death at his country estate in 1963. Gade wrote of the inspiration for Jalousie, “One day the papers were filled with sensational descriptions of a crime of passion, a jealousymurder, which made such an impression on me that I could not stop thinking about it. The word ‘jealousy’ stuck in my mind as a title to which notes began to attach themselves. When I got home, I sat down at my desk and after a few hours Jalousie was finished.” Beau Soir (1882, “Beautiful Evening”) by Claude Debussy (1862–1918) is a setting of an evocative poem by the French writer Paul Bourget (1852–1935), who was noted for his critical essays and psychologically penetrating novels. Bourget enjoyed considerable acclaim during his lifetime for his writings—which included a journal of his visit to the United States in 1893—and he was admitted to the Academie Française in 1894 and made an Officier de la Légion d’honneur the following year. The text begins: When streams turn pink in the setting sun, and a slight shudder rushes through the wheat fields, a plea for happiness seems to rise out of all things as it climbs up towards the troubled heart. Though Ave Maria, one of the most beloved creations of Franz Schubert (1797–1828), is best known with its liturgical Latin text, the melody was originally set to Adam Strock’s German rendering of the prayer to the Virgin (Ave Maria! Jungfrau mild) sung by the beautiful maiden Ellen Douglas in Sir Walter Scott’s narrative poem The Lady of the Lake (1810), set during the tumultuous reign of King James V of Scotland. Schubert said of this inspiring composition, “I never force myself to devotion, and never compose hymns and prayers of this kind except when I am overcome by feelings of piety.”
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SONATA IN D MINOR FOR CELLO AND PIANO, OP. 40 (1934)
DMITRI SHOSTAKOVICH (1906–1975)
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36 MONDAVIART S.ORG
When Shostakovich undertook the composition of a cello sonata for his friend and supporter Viktor Kubatsky during the early months of 1934, he had just vaulted to the forefront of Soviet music on the enormous success of his opera Lady Macbeth of Mzensk. Audiences in Moscow and Leningrad filled every available seat at the work’s performances for nearly two years, and confirmed the words of one critic that the opera “could only have been written by a Soviet composer brought up in the best traditions of Soviet culture” and of others that it was “a triumph for Soviet music” and “a brilliant opera.” During one period in 1935, Lady Macbeth played in three Moscow theaters simultaneously. The condemnation of the opera ordered by Stalin, who was enraged when he experienced for himself the work’s powerful modernity and lurid depictions of murder and adultery late in 1935, would not come until the following year. The first important work that Shostakovich composed after the premiere of Lady Macbeth in Leningrad on January 22, 1934 was his Cello Sonata, begun in Moscow and completed during a holiday in the Crimea just before his 28th birthday, on August 9th. The Sonata is built on a large, nearly symphonic formal plan, and exhibits the juxtaposition of lyricism and assiduousness that characterizes Shostakovich’s best compositions. The two lyrical flights that serve as the first and second themes of the opening movement’s exposition are among Shostakovich’s most unabashedly romantic melodic inspirations. The center of the movement, however, is much concerned with a somewhat premonitory repeated-note rhythmic figure, which the piano posits as a challenge to the songful nature of the cello’s part. The order of the earlier themes is reversed upon their return in the recapitulation, and the movement ends with a rumbling ghost of the repeated-note motive from the development. The second movement is a volatile scherzo whose central trio is marked by wave-form cello arpeggios in icy harmonics. The Largo is a deeply felt lament, darkly introspective in its harmony and instrumental coloring. The finale is a typically Shostakovian blending of the traditional in its brilliant, energetic nature, clear texture and rondo form; and the modern, in its cheeky main theme and acerbic, nosethumbing chordal constructions.
YO-YO MA & KATHRYN STOTT IL BELL’ANTONIO (“HANDSOME ANTONIO”) (2005)
GIOVANNI SOLLIMA (b. 1962)
Composer and cellist Giovanni Sollima was born into a family of musicians in Palermo, Sicily in 1962 and studied cello with Giovanni Perriera and composition with his father, Eliodoro, at the Conservatorio di Palermo; he graduated with highest honors. He undertook advanced studies in cello with Antonio Janigro and in composition with Milko Keleman at the Mozarteum University of Salzburg and the Musikhochschule in Stuttgart. Sollima first established a reputation as a cellist, touring throughout the United States, Canada and Japan, and appearing at many prominent festivals and concert series. In 1995 in New York, he founded the Giovanni Sollima Band, with which he has tried to synthesize what he describes as “elements of classical, rock and jazz music, as well as of ethnic music characteristic of Mediterranean lands.” Sollima’s compositions encompass operas, dance scores, concert compositions and film soundtracks. He teaches at the Romanini Foundation in Brescia and the Accademia di Santa Cecilia in Rome, where he was appointed a Member of the Academy, the highest honor in Italy for a musician. Il Bell’Antonio (“Handsome Antonio”) is the haunting theme from the soundtrack Sollima composed for a 2005 made-fortelevision movie directed by Maurizio Zaccaro that starred Daniele Liotti. The plot was based on the 1949 novel by Sicilian writer Vitaliano Brancati (1907–1954), which had also inspired a feature film in 1962 starring Marcello Mastroianni and Claudia Cardinale. Il Bell’Antonio, set in Rome against the rise of Italian fascism during the late 1930s, concerns the handsome and sensitive son of a rich family who is regarded as a playboy but whose secret impotence only becomes known after he is married according to his parents’ arrangement. The true love of his new wife, however, helps them to overcome their problem.
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SONATA IN A MAJOR FOR VIOLIN AND PIANO (1886)
CÉSAR FRANCK (1822–1890)
Franck first considered writing a violin sonata in 1859, when he offered to compose such a piece for Cosima von Bülow (née Liszt, later Wagner) in appreciation for some kind things she had said about his vocal music. He was, however, just then thoroughly absorbed with his new position as organist at Ste.-Clotilde and unable to compose anything that year except a short organ piece and a hymn. (His
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application to his duties had its reward—he occupied the prestigious post at Ste. Clotilde until his death 31 years later.) No evidence of any work on the proposed sonata for Cosima has ever come to light, and it was not until 20 years later that he first entered the realm of chamber music with his Piano Quintet of 1879. Franck’s next foray into the chamber genres came seven years after the Quintet with his Sonata for Violin and Piano, which was composed as a wedding gift for his friend
and Belgian compatriot, the dazzling virtuoso Eugene Ysaÿe. The quality of verdant lyricism that dominates the Sonata is broken only by the anticipatory music of the second movement and the heroic passion that erupts near the end of the finale. The work opens in a mood of twilit tenderness with a main theme built largely from rising and falling thirds, an intervallic germ from which later thematic material is derived to help unify the overall structure of the Sonata.
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The piano alone plays the second theme, a broad melody given above an arpeggiated accompaniment never shared with the violin. The movement’s short central section consists only of a modified version of the main theme played in dialogue between violin and piano. The recapitulation of the principal and secondary subjects (dolcissima… semper dolcissima… molto dolcissima — “sweetly… always sweetly… very sweetly,” cautions the score repeatedly) rounds out the form of the lovely opening movement. The quick-tempo second movement fulfills the function of a scherzo in the Sonata, though its music is more in the nature of an impetuous intermezzo. The third movement (Recitativo–Fantasia) begins with a cyclical reference to the third-based germ motive that opened the Sonata. The violin’s long winding line in the Recitativo section is succeeded by the Grecian purity of the following Fantasia. The main theme of the finale is so richly lyrical that its rigorous treatment as a precise canon at the octave is charming rather than pedantic. When the piano and violin do eventually take off on their own paths, it is so that the keyboard may recall the chaste melody of the preceding Fantasia. Other reminiscences are woven into the movement, which unfolds as a free rondo around the reiterations of its main theme in a variety of keys. ©2016 Dr. Richard E. Rodda
YO-YO MA
CELLO
Yo-Yo Ma’s multifaceted career is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Whether performing new or familiar works from the cello repertoire, coming together with colleagues for chamber music or exploring cultures and musical forms outside the Western classical tradition, Ma strives to find connections that stimulate the imagination. Ma maintains a balance between his engagements as soloist with orchestras throughout the world and his recital and chamber music activities. He draws inspiration from a wide circle of collaborators, creating programs with such artists as Emanuel Ax, Daniel Barenboim, Christoph Eschenbach, Kayhan Kalhor, Ton Koopman, Yu Long, Bobby McFerrin, Edgar Meyer, Mark Morris, Riccardo Muti, Mark O’Connor, Cristina Pato, Kathryn Stott, Chris Thile, Michael Tilson Thomas, Wu Man, Wu Tong, Damian Woetzel and David Zinman. Each of these collaborations is fueled by the artists’ interactions, often extending the boundaries of a particular genre. One of Ma’s
YO-YO MA & KATHRYN STOTT goals is the exploration of music as a means of communication and as a vehicle for the migration of ideas across a range of cultures throughout the world. To that end, he has taken time to immerse himself in subjects as diverse as native Chinese music with its distinctive instruments and the music of the Kalahari bush people in Africa. Expanding upon this interest, in 1998 Ma established Silkroad, a nonprofit organization that seeks to create meaningful change at the intersections of the arts, education and business. Under his artistic direction, Silkroad presents performances by the acclaimed Silk Road Ensemble and develops new music, cultural partnerships, education programs, and cross-disciplinary collaborations. Silkroad’s ongoing affiliation with Harvard University has made it possible to develop programs such as the Arts and Passion-Driven Learning Institute for educators and teaching artists, held in collaboration with the Harvard Graduate School of Education, and a new Cultural Entrepreneurship initiative in partnership with Harvard Business School. More than 80 new musical and multimedia works have been commissioned for the Silk Road Ensemble from composers and arrangers around the world. Through his work with Silkroad, as throughout his career, Ma seeks to expand the cello repertoire, frequently performing lesser known music of the 20th century and commissions of new concertos and recital pieces. He has premiered works by a diverse group of composers, among them Stephen Albert, Elliott Carter, Chen Yi, Richard Danielpour, Osvaldo Golijov, John Harbison, Leon Kirchner, Peter Lieberson, Zhao Lin, Christopher Rouse, Giovanni Sollima, Bright Sheng, Tan Dun, John Williams and Dmitri Yanov-Yanovsky. As the Chicago Symphony Orchestra’s Judson and Joyce Green Creative Consultant, Ma is partnering with Maestro Riccardo Muti to provide collaborative musical leadership and guidance on innovative program development for The Negaunee Music Institute of the Chicago Symphony Orchestra, and for Chicago Symphony artistic initiatives. Ma’s work focuses on the transformative power music can have in individuals’ lives, and on increasing the number and variety of opportunities audiences have to experience music in their communities. Ma is strongly committed to educational programs that not only bring young audiences into contact with music but also allow them to participate in its creation. While touring, he takes time whenever possible to conduct master classes as well as more informal programs for students—musicians and nonmusicians alike. At the same time, he continues
to develop new concert programs for family audiences, for instance helping to inaugurate the family series at Carnegie Hall. In each of these undertakings, he works to connect music to students’ daily surroundings and activities with the goal of making music and creativity a vital part of children’s lives from an early age. He has also reached young audiences through appearances on “Arthur,” “Mister Rogers’ Neighborhood” and “Sesame Street.” Ma’s discography of over 90 albums (including 18 Grammy Award winners) reflects his wide-ranging interests. He has made several successful recordings that defy categorization, among them “Hush” with Bobby McFerrin, “Appalachia Waltz” and “Appalachian Journey” with Mark O’Connor and Edgar Meyer, and two Grammy-winning tributes to the music of Brazil, “Obrigado Brazil” and “Obrigado Brazil— Live in Concert.” Ma’s recent recordings include Mendelssohn Trios with Emanuel Ax and Itzhak Perlman; “The Goat Rodeo Sessions,” with Edgar Meyer, Chris Thile and Stuart Duncan, which received the 2013 Grammy for Best Folk Album; and a “A Playlist Without Borders,” recorded with the Silk Road Ensemble. His most recent album, “Songs from the Arc of Life”, with pianist Kathryn Stott, was released in September 2015. Across this full range of releases, Ma remains one of the best-selling recording artists in the classical field. All of his recent albums have quickly entered the Billboard chart of classical best sellers, remaining in the Top 15 for extended periods, often with as many as four titles simultaneously on the list. In fall 2009, Sony Classical released a box set of over 90 albums to commemorate Ma’s 30 years as a Sony recording artist. Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age 4 and soon came with his family to New York, where he spent most of his formative years. Later, his principal teacher was Leonard Rose at the Juilliard School. He sought out a traditional liberal arts education to expand upon his conservatory training, graduating from Harvard University in 1976. He has received numerous awards, including the Avery Fisher Prize (1978), the Glenn Gould Prize (1999), the National Medal of the Arts (2001), the Dan David Prize (2006), the Leonie Sonning Music Prize (2006), the World Economic Forum’s Crystal Award (2008), the Presidential Medal of Freedom (2010), the Polar Music Prize (2012) and the Vilcek Prize in Contemporary Music (2013). In 2011, Ma was recognized as a Kennedy Center Honoree. Appointed a CultureConnect Ambassador by the United States Department of State in 2002, Ma has met with, trained and mentored thousands of
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YO-YO MA & KATHRYN STOTT
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students worldwide in countries including Lithuania, Korea, Lebanon, Azerbaijan and China. Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius.
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40 MONDAVIART S.ORG
Born in Lancashire, Kathryn Stott studied at the Yehudi Menuhin School and the Royal College of Music. Her teachers included Nadia Boulanger, Vlado Perlemuter and Kendall Taylor. A regular visitor to international festivals both as soloist and chamber musician, Stott has constantly performed around the world since 1978, when she was a prize winner in the Leeds International Piano Competition. In recent years, she returned as soloist to the BBC Proms and Wigmore Hall in London and toured the UK with cellist Giovanni Sollima. One particular highlight was a series of performances with JP Jofre and his Hard Tango Chamber Band in New York. 2015 began with a highly successful series of concerts in New Zealand and continued with an extensive solo tour of Australia. She will be returning to both countries in 2017. As a way of celebrating their 30-year partnership, Stott and Yo-Yo Ma recently recorded The Arc of Life and subsequently toured the Far East and the USA. With a vast repertoire, Stott has maintained a keen interest in contemporary music and has had many works written especially for her. In particular, her close musical relationship with the composer Graham Fitkin has led to seven world premieres. She is a remarkable exponent of tango and other Latin dance music, reflected in her collaboration with Ma and leading South American musicians on the Grammy Award-winning Sony CD Soul of the Tango and its successor Obrigado Brazil. In the recording studio she has created a large and eclectic body of work including concertos and solo repertoire. Her most recent release is Solitaires on the BIS label and features works by Dutilleux, Messiaen, Ravel and Alain. Also of particular note is her recording for Hyperion of the complete solo works by Fauré and the complete Kabalevsky Concertos for Chandos.
Apart from her CDs with Ma, she has also recorded with Truls Mørk, Christian Poltéra, the Hermitage String Trio, Guy Johnston, the Doric string quartet, Noriko Ogawa and Tine Thing Helseth. Stott has been the artistic vision behind several major festivals and concert series. Piano 2000 and Piano 2003 (Bridgewater Hall, Manchester) established her reputation as an astute programmer; and following the earlier Fauré and the French Connection she was appointed Chevalier dans l’Ordre des Arts et Lettres by the French Government. From 2009–2014 she was artistic director of the Manchester Chamber Concerts Society and was guest artistic director of Incontri in Terra di Siena in 2010 and 2011. Kathryn curated a series of six concerts called Dance! for Leeds International Concerts in 2014. In 2008, Stott celebrated her 50th birthday with 25 musician friends raising over $40,000 for HIV research and Nordoff-Robbins Music Therapy. Besides her performing commitments, Stott has also been a board member of the Hallé Orchestra, a position she held for seven years. In addition to her busy career as a performer, she is a visiting professor at the Royal Academy of Music in London, holds the position of International Chair at the Royal Northern College of Music in Manchester and regularly visits Chethams School of Music. In August 2016, Stott will join the piano faculty of the Norwegian Academy of Music in Oslo. Stott has a daughter, Lucy, and lives in Manchester. A keen walker, she enjoys being out in the countryside and spending time with her working cocker spaniel, Archie.
THE NIELLO COMPANY, PROUD PARTNER OF THE MONDAVI CENTER.
THE ART OF GIVING The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives. Annual donations to the Mondavi Center directly support our operating budget and
are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.
For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.
COLORATURA CIRCLE $50,000 AND ABOVE
James H. Bigelow† John† and Lois Crowe*
Patti Donlon† Barbara K. Jackson*
IMPRESARIO CIRCLE $25,000 – $49,999
Ralph and Clairelee Leiser Bulkley* Ann and Gordon Getty Foundation Anne Gray†*
Grant and Grace Noda* The Lawrence Shepard† Family Fund
VIRTUOSO CIRCLE $15,000 – $24,999
Carole Pirruccello William and Nancy Roe†* Tony† and Joan† Stone Dick and Shipley Walters*
Joyce and Ken Adamson Wanda Lee Graves and Steve Duscha Mary B. Horton* M.A. Morris*
MAESTRO CIRCLE $10,000 – $14,999
Gerry and Carol Parker Cliff Popejoy David Rocke and Janine Mozée Grace† and John Rosenquist† Jerome Suran and Helen Singer Suran Donald and Denise Timmons Joe† and Betty Tupin* Larry and Rosalie Vanderhoef*
Wayne and Jacque Bartholomew* Chan Family Fund Thomas and Phyllis Farver†* Dean and Karen Karnopp†* Nancy Lawrence†, Gordon Klein, and Linda Lawrence Hansen Kwok Garry Maisel†
BENEFACTOR CIRCLE $7,000 – $9,999
Eric and Michael Conn Dolly and David Fiddyment Janlynn Robinson Fleener Samia and Scott Foster Andrew and Judith Gabor Benjamin and Lynette Hart* Lorena Herrig*
William and Jane Koenig Edward and Sally Larkin* Verne Mendel* Sue and Brad Poling Randall E. Reynoso† and Martin Camsey Raymond Seamans Carol Wall† and Patricia Kearney
† Mondavi Center Advisory Board Member
*Friends of Mondavi Center
42 MONDAVIART S.ORG
PRODUCER CIRCLE
$3,500 – $6,999
Neil and Carla Andrews Hans Apel and Pamela Burton Daniel Benson Jeff and Karen Bertleson Charitable Fund Cordelia S. Birrell Irving and Karen Broido* California Statewide Certified Development Corp. Mike and Betty Chapman Robert and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Richard and Joy Dorf* Nancy DuBois* Allen Enders Merrilee and Simon Engel Catherine and Charles Farman Jolan Friedhoff and Don Roth Henry and Dorothy Gietzen Kay Gist GiveLocalNow BIG Day of Giving Ed and Bonnie Green* Diane Gunsul-Hicks Charles H. and Ann W. Halsted John and Regi Hamel Judith and William Hardardt* Dee Hartzog Donine Hedrick and David Studer Charles and Eva Hess In Memory of Christopher Horsley* Clarence and Barbara Kado Teresa Kaneko* Brian and Dorothy Landsberg Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Allan and Claudia Leavitt Robert and Barbara Leidigh Yvonne LeMaitre Nelson Lewallyn and Marion Pace-Lewallyn David and Ruth Lindgren Paul and Diane Makley* In Memory of Allen G. Marr Judith and Eldridge Moores Katharine and Dan Morgan Alice Oi Miep Palmer John and Misako Pearson Roger and Ann Romani* Hal and Carol Sconyers* Wilson and Kathryn Smith Tom and Meg Stallard* Tom and Judy Stevenson* Brian Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jerilyn Paik-Telfeyan Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Jeanne Hanna Vogel and Warren G. Roberts Claudette Von Rusten John Walker and Marie Lopez The One and Only Watson Patrice White Richard and Judy Wydick Yin and Elizabeth Yeh And 5 donors who prefer to remain anonymous
DIRECTOR CIRCLE
$1,500 – $3,499
The Aboytes Family Beulah and Ezra Amsterdam Russell and Elizabeth Austin Chris and Andie Bandy Laura and Murry Baria*
Lydia Baskin* Drs. Noa and David Bell Don and Kathy Bers* Jo Anne Boorkman* Neil and Elizabeth Bowler Edwin Bradley Linda Brandenburger Susie and Jim Burton Davis and Jan Campbell Cantor & Company, A Law Corporation Randy Cobb Allison Coudert Jim and Kathy Coulter* John and Celeste Cron* Robert D. and Nancy Nesbit Crummey Terry and Jay Davison Bruce and Marilyn Dewey Martha C. Dickman* Dotty Dixon* DLMC Foundation Matt Donaldson and Steve Kyriakis Wayne and Shari Eckert* Domenic and Joan Favero Karl Gerdes and Pamela Rohrich Erla and David Goller John and Patty Goss* Jack and Florence Grosskettler* Dr. Clare Hasler-Lewis and Cameron Lewis Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy Ronald and Lesley Hsu In Memory of Flint and Ella Ruth W. Jackson Martin and JoAnn Joye* Barbara Katz Nancy and John Keltner Charlene R. Kunitz Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Francie and Artie Lawyer* Hyunok Lee and Daniel Sumner Lin and Peter Lindert Palma Lower and Sue Cipolla Richard and Kyoko Luna Natalie and Malcolm MacKenzie* Debbie Mah and Brent Felker* Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield Rosa Marquez and Richard Breedon Yvonne L. Marsh Shirley Maus* Janet Mayhew* In Memory of William F. McCoy Helga and Bob Medearis Stephen Meyer and Mary Lou Flint Barbara Moriel Augustus Morr R. Mott, J. Persin, D. Verbeck Robert Ono and Betty Masuoka John Pascoe and Sue Stover Bonnie A. Plummer Prewoznik Foundation Linda and Lawrence Raber* Kay Resler*
*Friends of Mondavi Center
Christopher Reynolds and Alessa Johns In Memory of Guy E. Richards, Jr. Tom Roehr Liisa Russell Christian Sandrock and Dafna Gatmon Ed and Karen Schelegle Neil and Carrie Schore Bonnie and Jeff Smith Edward and Sharon Speegle Les and Mary Stephens De Wall Maril R. and Patrick Stratton Geoffrey and Gretel WandesfordSmith Dan and Ellie Wendin Dale and Jane Wierman Gayle K. Yamada and David H. Hosley And 6 donors who prefer to remain anonymous
ENCORE CIRCLE
$600 – $1,499
Chris Armanini Michael and Shirley Auman* Antonio and Alicia Balatbat* Robert and Susan Benedetti In Memory of Marie Benisek Patricia Bissell Muriel Brandt Manuel Calderon de la Barca Sanchez and Karen Zito Carole Cory and Jan Stevens Don and Dolores Chakerian Jack and Gale Chapman Simon Cherry Sharon Cuthbertson* Anne Duffey John and Cathie Duniway Robert and Melanie Ferrando Ron Fisher and Pam Gill-Fisher Doris Flint Audrey Fowler Jennifer D. Franz E. F. and Paul Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Karen Heald and Casey McElheney Paul and Nancy Helman Leonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Patricia Hutchinson* In Honor of Barbara Jackson Vince Jacobs and Cecilia Delury Robert D. and Barbara F. Jones Louise Kellogg and Douglas Neuhauser Paula Kubo Ruth Lawrence Michael and Sheila Lewis* Robert and Betty Liu Jeffrey and Helen Ma Gary C. and Jane L. Matteson Catherine McGuire Joy Mench and Clive Watson Roland and Marilyn Meyer Nancy Michel Robert and Susan Munn* Don and Sue Murchison Bob and Kinzie Murphy John and Carol Oster Frank Pajerski Jacqueline Proett Evelyn and Otto Raabe Lawrence and Celia Rabinowitz
J. and K. Redenbaugh Jack and Judy Reitan C. Rocke Heather and Jeep Roemer Sharon and Elliott Rose* Barbara and Dr. Alan Roth Tom and Joan Sallee Dwight E. and Donna L. Sanders Michael and Elizabeth Singer William and Jeannie Spangler* Howard Spero and Charlene Sailer Elizabeth St. Goar Sherman and Hannah Stein Karen and Edward Street* Eric and Patricia Stromberg* Yayoi Takamura and Jeff Erhardt Lyn Taylor and Mont Hubbard Cap and Helen Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Helen and Robert Twiss Louise and Larry Walker Jack and Rita Weiss Steven and Andrea Weiss* Kandi Williams and Dr. Frank Jahnke Ardath Wood Paul Wyman Karl and Lynn Zender And 3 donors who prefer to remain anonymous
ORCHESTRA CIRCLE
$300 – $599
Jose and Elizabeth Abad Mitzi Aguirre Drs. Ralph and Teresa Aldredge Elinor Anklin and George Harsch Beverly and Clay Ballard Paul and Linda Baumann Carol Beckham Carol Benedetti Jane D. Bennett Linda and William Bernheim Robert and Diane Biggs Bobbie and Barry Bolden Elizabeth Bradford Paul E. Braun John and Christine Bruhn Jan Carmikle Bruce and Mary Alice Carswell* Carolyn and Brian Chamberlain Charles and Mary Anne Cooper Nicholas and Khin Cornes James Cothern Marie Coughlin David and Judy Covin Kim Uyen Dao* Larry Dashiell and Peggy Siddons Daniel and Moira Dykstra Harvey Edber Ann M. Evans and David J. Thompson Micki and Les Faulkin Janet Feil David and Kerstin Feldman Helen Ford Edwin and Sevgi Friedrich* Deborah and Brook Gale Nancy Gelbard and David Kalb Marvin and Joyce Goldman Tom Graham and Lisa Foster Douglas Gramlow Robert and Kathleen Grey June and Paul Gulyassy, M.D. Darrow and Gwen Haagensen Wesley and Ida Hackett* Sharon and Don Hallberg
Marylee Hardie Roy and Dione Henrickson Jeannette E Higgs Michael and Margaret Hoffman Steve and Nancy Hopkins Mun Johl Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Susan Kauzlarich and Peter Klavins Peter Kenner Robert Kingsley and Melissa Thorme Ruth A. Kinsella* Joseph Kiskis and Diana Vodrey Paul Kramer Melourd Lagdamen Darnell Lawrence Dixie Laws Carol Ledbetter Randall Lee and Jane Yeun Stanley and Donna Levin Barbara Levine Robert and Patricia Lufburrow Bunkie Mangum Andrea and Kurt McDuffie William and Nancy Myers Margaret Neu* Rebecca Newland Sally Ozonoff and Tom Richey Sue and Jack Palmer John and Barbara Parker Henri and Dianne Pellissier Ann Peterson and Marc Hoeschele Jerry L. Plummer and Gloria Freeman C. and C. Powell Harriet Prato John and Alice Provost Fred and Martha Rehrman* David and Judy Reuben* Tracy Rodgers and Richard Budenz Ron and Morgan Rogers Tamra Ruxin Hugh Safford John and Joyce Schaeuble David Scheuring Jerry and Kay Schimke Shepard Family Philanthropy Fund James Smith Judith Smith Al and Sandy Sokolow Carol Spurgeon Tim and Julie Stephens Pieter Stroeve, Diane Barrett and Jodie Stroeve Tony and Beth Tanke Stewart and Ann Teal* Virginia and Butch Thresh Dennis and Judy Tsuboi Robert Vassar and Sandra Burgner Rita Waterman Charles White and Carrie Schucker Drs. Elliott Wong and Yvonne Otani Richard and Sally Yamaichi Iris Yang and G. Richard Brown Janet and Wesley Yates Ronald M. Yoshiyama Heather M. Young and Peter B. Quinby Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous
MAINSTAGE CIRCLE
$100 – $299
Leal Abbott Mary Aften Matthew and Michelle Agnew Susan Ahlquist David and Penny Anderson Val Anderson Janice and Alex Ardans Peter and Margaret Armstrong Debbie Arrington and Jack Shinar Maria Balakshin Charlotte Ballard and Dr. Robert Zeff Diane and Charlie Bamforth Michele Barefoot and Luis PerezGrau Carole Wolff Barnes Jonathan Bayless Lynn Baysinger* Marion S. Becker Bee Happy Apiaries Merry Benard Marta Beres Mark Berman and Lynn Simon Bevowitz Family Dr. Robert and Sheila Beyer Elizabeth Bianco Roy and Joan Bibbens* Ernst Biberstein John and Katy Bill Sharon Billings and Terry Sandbek* Lewis and Caroline Bledsoe Fred and Mary Bliss Brooke Bourland* Jill and Mary Bowers Clyde and Ruth Bowman Dan and Mildred Braunstein* Frank Brown, M.D. Valerie and David Brown Valerie Brown and Edward Shields Alan and Beth Brownstein Martha Bryant* Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy W. Bellhorn William and Karolee Bush Robert and Elizabeth Bushnell Peter and Lorraine Camarco Lita Campbell Jean Canary and Glen Erickson John and Nancy Capitanio William and Pauline Caple James and Patty Carey Michael and Susan Carl John and Joan Chambers Dorothy Chikasawa* Carol Christensen* Craig Clark and Mary Ann Reihman Gail Clark Linda Clevenger and Seth Brunner James and Linda Cline Stuart and Denise Cohen Sheri and Ron Cole Harold and Marj Collins Steve and Janet Collins Terry D. Cook Craig and Joyce Copelan Larry and Sandy Corman Catharine Coupal* Victor Cozzalio and Lisa HeilmanCozzalio Crandallicious Clan Fitz-Roy and Susan Curry Nita A. Davidson Judy and David Day Lynne de Bie*
encoreartsprograms.com 43
THE ART OF GIVING Esther Delozier* Kathryn Demakopoulos and Thomas Pavlakovich Stephen and Dlorah DeZerega Joel and Linda Dobris Audrey Dodds Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* James Eastman and Fred Deneke Jelmer Eerkens and Anastasia Panagakos Eliane Eisner Sidney England and Randy Beaton Dr. Richard K. Entrikin Carol Erickson and David Phillips Nancy and Don Erman Lynette Ertel* Wallace Etterbeek Evelyn Falkenstein Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Cheryl Felsch Liz and Tim Fenton* Curt and Sue Finley Kieran and Marty Fitzpatrick Dave and Donna Fletcher Glenn Fortini Dr. and Mrs. Clifford Fowler Marion Franck and Robert Lew Barbara and Ed Frankel Anthony and Jorgina Freese Larry Friedman and Susan Orton Joan M. Futscher Myra A. Gable Sean Galloway Anne Garbeff* Peggy Gerick Barbara Gladfelter Eleanor Glassburner Marnelle Gleason and Louis Fox* Pat and Bob Gonzalez* Victor and Louise Graf Sandra and Jeffrey Granett Steve and Jacqueline Gray Stephen and Deirdre Greenholz M.C.B. Greenwood Paul and Carol Grench Hugh Griffin John Griffing and Shelley Mydans Alex and Marilyn Groth Jane and Jim Hagedorn Frank Hamilton Katherine Hammer William and Sherry Hamre Mike and Pat Handley Jim and Laurie Hanschu
Robert and Susan Hansen Alexander and Kelly Harcourt Vera Harris The Hartwig-Lee Family Sally Harvey* Miriam and Roy Hatamiya Cynthia Hearden Mary A. Helmich Mary and Rand Herbert Larry and Elizabeth Hill Bette Hinton and Robert Caulk Dr. Calvin Hirsch and Deborah Francis Frederick and Tieu-Bich Hodges J. Hoehn* Jack Holmes and Cathy Neuhauser Herb and Jan Hoover Lorraine J. Hwang Gordon and Jenny Isakson Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Karen Jetter Karen and Gary Johns Michelle Johnston and Scott Arrants Warren and Donna Johnston Jonsson Family Andrew and Merry Joslin James Anthony Joye Shari and Tim Karpin Anthony and Beth Katsaris Yasuo Kawamura Gailen L. Keeling Susan L. Keen Patricia Kelleher* Michael Kent and Karl Jadney Leonard Keyes Jeannette Kieffer Larry Kimble and Louise Bettner Katy King-Goldberg and Lenny Goldberg Roger and Katharine Kingston Patricia Kite* Bob and Bobbie Kittredge Dorothy Klishevich John and Mary Klisiewicz* The Krauthoefers Sandy and Alan Kreeger Marcia and Kurt Kreith Kris Kristensen Sandra Kristensen C.R. and Elizabeth Kuehner Leslie Kurtz Kit and Bonnie Lam* Marsha M. Lang Susan and Bruce Larock Charlie and Joan Learned Steve and Nancy Lege
ARTISTIC VENTURES FUND
Joel and Jeannette Lerman Ernest and Mary Ann Lewis Evelyn Lewis Barbara Linderholm* David and Susan Link Motoko Lobue Mary Lowry Henry Luckie Ariane Lyons Sue MacDonald David and Alita Mackill Karen Majewski Vartan Malian and Nova Ghermann Joseph and Mary Alice Marino Pam Marrone and Mick Rogers David and Martha Marsh Dr. Carol Marshall J. A. Martin Harry Matthews and Lorraine Jensen Leslie Maulhardt Katherine F. Mawdsley* Keith and Jeanie McAfee Harry and Karen McCluskey* Ben and Edna McCoy Nora McGuinness* Thomas and Paula McIlraith Donna and Dick McIlvaine Tim and Linda McKenna Martin A. Medina and Laurie Perry Barry Melton and Barbara Langer Sharon Menke The Merchant Family Fred and Linda Meyers* Gerrit Michael Beryl Michaels and John Bach Leslie Michaels and Susan Katt Jean Miller Lisa Miller Sue and Rex Miller Kathy and Steve Miura* Sybil and Jerry Miyamoto Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Elaine and Ken Moody Amy Moore James Morris The Muller Family Dr. B.J. Myers Guity Myers* Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* Drs. Bonny Neyhart and Michael Goodman Jay and Catherine Norvell
We applaud our Artistic Ventures Fund’s members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies and programs made available free to the public.
Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf
Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef
Thank you to the following donors for their special program support:
YOUNG ARTISTS COMPETITION AND PROGRAM John and Lois Crowe Merrilee and Simon Engel
Mary B. Horton Barbara K. Jackson
Dana Olson Jim and Sharon Oltjen Mary Jo Ormiston* Bob and Elizabeth Owens M.B. and Carlene Ozonoff Michael Pach Erin Peltzman Ross and Karen Peters Jane Plocher John W. Poulos and Deborah Nichols Poulos Jerry and Bernice Pressler Ed and Jane Rabin Jan and Anne-Louise Radimsky Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach* Catherine Reed Mary C. Reed and Charles D. Kelso Dr. and Mrs. James W. Reede Jr. Sandra Erskine Reese Michael Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Mr. and Mrs. Francis Resta Maureen Rice Ralph and Judy Riggs* Dr. Ron and Sara Ringen Louise Robbins and Mark Buchanan Jeannette and David Robertson Maria-lee Rodriguez John and Carol Rominger Richard and Evelyne Rominger Linda Roth Cynthia Jo Ruff* Paul and Ida Ruffin Dagnes/Vernon Ruiz Laurie and Mike Salter Dee Samuels and Joel Shawn Fred and Polly Schack Patsy Schiff Leon Schimmel and Annette Cody Darell J. Schregardus, Ph.D. Janis J. Schroeder and Carrie L. Markel Drs. Julie and Stephen Shacoski Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Jeanie Sherwood Jo Anne S. Silber Ronald and Rosie Soohoo* Roger and Freda Sornsen Curtis and Judy Spencer William Stanglin Alan and Charlene Steen Harriet Steiner and Miles Stern Johanna Stek
Judith and Richard Stern Raymond Stewart Eugene Stille Daria and Mark Stoner James E. Sutton and Melissa A. Barbour Fred Taugher and Paula Higashi Francie F. Teitelbaum Julie A. Theriault, PA-C Virginia Thigpen Ronald and Linda Tochterman Brian Toole Robert and Victoria Tousignant Michael and Heidi Trauner Rich and Fay Traynham Allen and Heather Tryon James E. Turner Nancy Ulrich* Ramon and Karen Urbano Dr. Ann-Catrin Van Chris and Betsy van Kessel Diana Varcados Bart and Barbara Vaughn* Carol and Larry von Kaenel Rosemarie Vonusa* Richard Vorpe and Evelyn Matteucci Carolyn Waggoner and Rolf Fecht Jim and Kim Waits Maxine Wakefield and William Reichert Vivian and Andrew Walker Andy and Judy Warburg Valerie Boutin Ward Leo Warmolts Marny and Rick Wasserman Douglas West Kimberly West Martha West Robert and Leslie Westergaard* Edward and Susan Wheeler Nancy and Richard White* Mrs. Jane Williams Janet G. Winterer Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Norman and Manda Yeung Phillip and Iva Yoshimura Verena Leu Young* Melanie and Medardo Zavala Darrel and Phyllis Zerger* Marlis and Jack Ziegler Tim and Sonya Zindel Dr. Mark and Wendy Zlotlow And 53 donors who prefer to remain anonymous *Friends of Mondavi Center
LEGACY CIRCLE
Thank you to our supporters who have remembered the Mondavi Center in their estate plans. These gifts make a difference for the future of performing arts and we are most grateful.
Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Anne Gray Mary B. Horton Margaret E. Hoyt Barbara K. Jackson Yvonne LeMaitre
Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Verne E. Mendel Kay E. Resler Hal and Carol Sconyers Joe and Betty Tupin Lynn Upchurch Anonymous
If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation. If you are interested in learning about planned giving opportunities, please contact Debbie Armstrong, Sr. Director of Memberships (530.754.5415 or djarmstrong@ucdavis.edu).
We appreciate your support! Note: Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. 44 MONDAVIART S.ORG
BOARDS & COMMITTEES
MONDAVI CENTER ADVISORY BOARD The Mondavi Center Advisory Board is a support group of University Relations whose primary purpose is to provide assistance through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.
2015–16 ADVISORY BOARD MEMBERS Tony Stone, Chair • Jim Bigelow • John Crowe • Patti Donlon • Phyllis Farver• Janlynn Fleener • Anne Gray • Karen Karnopp • Nancy Lawrence • Garry P. Maisel • Randy Reynoso • Nancy Roe • Grace Rosenquist • John Rosenquist • Lor Shepard • Joan Stone • Joe Tupin • Carol Wall
EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis Ralph J. Hexter, Provost & Executive Vice Chancellor, UC Davis Susan Kaiser, Dean, Division of Humanities, Arts, & Cultural Studies, College of Letters & Sciences, UC Davis Don Roth, Executive Director, Mondavi Center, UC Davis Sharon Knox, Chair, Arts & Lectures Administrative Advisory Committee Francie Lawyer, Chair, Friends of the Mondavi Center
THE ARTS & LECTURES ADMINISTRATIVE ADVISORY COMMITTEE is made up of interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season. 2015–16 ADVISORY BOARD Sharon Knox, Chair • Trisha Barua • Lauren Brink • Jochen Ditterich • Yevgeniy Gnedash • Carol Hess • Petr Janata • Ian Koebner • Kyle Monhollen • Thomas Patten • Erica Perez • Alina Pogorelov • Hannah Sada • Sudipta Sen • Su-Lin Shum • Michelle Wang • Gina Werfel • Amy Yip
THE FRIENDS OF MONDAVI CENTER is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431. 2015–16 FRIENDS EXECUTIVE BOARD Francie Lawyer, President Leslie Westergaard, Vice President Jo Ann Joye, Secretary COMMITTEE CHAIRS: Wendy Chason, Friends Events Shirley Auman, Gift Shop Eunice Adair, Membership Judy Fleenor, Mondavi Center Tours Karen Street, School Matinee Support Lynne de Bie, School Matinee Ushers/ Front of House Liaison Lynette Ertel, School Outreach Joyce Donaldson, Director of Arts Education, Ex-Officio encoreartsprograms.com 45
POLICIES & INFORMATION TICKET EXCHANGES • Tickets must be exchanged over the phone or in person at least one business day prior to the performance. (Closed Sundays) • Returned tickets will not scan valid at the door. • A $5 per ticket exchange fee may apply. • Tickets may not be exchanged or donated after the performance date. • For tickets exchanged for a higher priced ticket, the difference will be charged. The difference between a higher and lower priced exchanged ticket is not refundable. • Gift certificates will not be issued for returned tickets. • Event credit may be issued to subscribers and donors for all Mondavi Center Presenting Program events and expire June 30 of the current season. Credit is not transferable. • All exchanges are subject to availability. • All ticket sales are final for events presented by non-UC Davis promoters. • PRICES SUBJECT TO CHANGE. • NO REFUNDS.
PARKING You may purchase parking passes for individual Mondavi Center events for $9 per event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.
all available tickets. (Continuing education enrollees are not eligible.) Proof Requirements: School ID showing validity for the current academic year and/or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.
YOUTH TICKETS (AGE 17 AND UNDER) Youth are eligible for a 50% discount on all available tickets. For events other than the Children’s Stage series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend. A ticket is required for admission of all children regardless of age. Any child attending a performance should be able to sit quietly through the performance.
PRIVACY POLICY The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently. We sometimes share names and addresses with other nonprofit arts organizations. If you do not wish to be included in our email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.
GROUP DISCOUNTS
TOURS
Entertain friends, family, classmates or business associates and save! Groups of 10 or more qualify for a 10% discount off regular prices. Payment options with a deposit are available. Please call 530.754.4658.
Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.
STUDENT TICKETS
The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements. Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and
UC Davis students are eligible for a 50% discount on all available tickets. Proof Requirements: School ID showing validity for the current academic year. Student ID numbers may also be used to verify enrollment. Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on
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ACCOMMODATIONS FOR PATRONS WITH DISABILITIES
prices for all performances. Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests. Requests for these accommodations may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.
BINOCULARS Binoculars are available for Jackson Hall. They may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID be held until the device is returned.
ASSISTIVE LISTENING DEVICES Assistive Listening Devices are available for Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID to be held at the Patron Services Desk until the device is returned.
ELEVATORS The Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.
RESTROOMS All public restrooms are equipped with accessible sinks, stalls, babychanging stations and amenities. There are six public restrooms in the building: two on the Orchestra level, two on the Orchestra Terrace level and two on the Grand Tier level.
SERVICE ANIMALS Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times. Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.
LOST AND FOUND HOTLINE 530.752.8580
Music touches the heart From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.
We’re proud to salute Mondavi Center for the Performing Arts.
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