TH
ANNIVERSARY
NOV–DEC 2017 Mariinsky Orchestra NOV 2
MUSIC
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WELCOME A MESSAGE FROM THE CHANCELLOR
GARY S. MAY
UC DAVIS CHANCELLOR
“The Mondavi Center is a place of imagination.”
One of my first pleasures as the new UC Davis chancellor is to welcome all of you to the 15th anniversary season of the Robert and Margrit Mondavi Center for the Performing Arts. Our university is so fortunate to have such a spectacular public place of enjoyment and enrichment for our broader Northern California community. Together, we experience a remarkable array of highly acclaimed musicians, dancers, comedians and speakers from around the world. The Mondavi Center is a place of imagination, where we examine our own dreams and desires through the brilliant lens of artistic achievement we see on stage. This is also a place that invites free expression of all sorts of ideas, including those that may be unwelcome in other settings. Robert and Margrit Mondavi recognized the important role the arts play in the development of an enlightened society. It is a testament to their vision and generosity, as well as to the many donors and audience members who have filled the Mondavi Center with life, that we are celebrating our 15th anniversary season. I take inspiration from the UC Davis mission that grounds our teaching and research in public service. We aim to send our Aggies out into the world as well-rounded, true contributors to society. The Mondavi Center plays an important part in fulfilling this mission: giving students the opportunity to experience the arts, and giving our community a place to share in the awe and wonder of the world’s greatest performers.
Sincerely, Gary S. May Chancellor
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SPONSORS 15TH ANNIVERSARY SEASON SUPPORTERS Chan Family Fund John and Lois Crowe Patti Donlon Thomas and Phyllis Farver Wanda Lee Graves and Steve Duscha Anne Gray
Barbara K. Jackson Nancy Lawrence and Gordon Klein Diane M. Makley M.A. Morris William and Nancy Roe
CORPORATE PARTNERS SERIES
MONDAVI CENTER STAFF Don Roth, Ph. D.
Mike Tentis
Jeremy Ganter
TICKET OFFICE Sarah Herrera
Adrian Galindo
ASSISTANT DIRECTOR OF TICKETING
ASSISTANT PRODUCTION MANAGER
Susie Evon
Christopher C. Oca
EVENT SUPERVISOR AND GROUP SALES COORDINATOR
HEAD STAGE MANAGER & CREW CHIEF
ARTS EDUCATION
Rebekah Laibson
Phil van Hest
TICKET OFFICE MANAGER
MASTER CARPENTER/RIGGER
Ruth Rosenberg
TICKET AGENT LEAD Viviana Valle
Rodney Boon
TICKET AGENTS Monika Aldabe Hanna Baublitz Olivia Blair Alexandria Butler Zoe Ehlers Stephen Fan Pablo Garcia Camille Kafesjian Audrey Nelson Yanise Nevarez Alexis Pena Tomasetti Camille Riggs Olivia Schlanger Arthur Shaffer
Christi-Anne Sokolewicz
OPERATIONS
Tristan D. Wetter
EXECUTIVE DIRECTOR ASSOCIATE EXECUTIVE DIRECTOR
Debbie Armstrong SENIOR DIRECTOR
Liz King
EXECUTIVE ASSISTANT
DIRECTOR OF ARTS EDUCATION AND ARTIST ENGAGEMENT
Jennifer Mast
ARTS EDUCATION COORDINATOR
DEVELOPMENT Nancy Petrisko
DIRECTOR OF DEVELOPMENT
Niki Fay Palmer
MEMBERSHIP MANAGER
Jill Pennington
MEMBERSHIP RELATIONS SPECIALIST
Liz King
EXECUTIVE ASSISTANT
FINANCE AND BUSINESS SERVICES PERFORMANCE
Debbie Armstrong SENIOR DIRECTOR
Mandy Jarvis
FINANCE & BUSINESS SYSTEMS ANALYST
Russ Postlethwaite
BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR
Kathy Di Blasio GRANTORS AND ARTS EDUCATION SPONSORS
ADMINISTRATIVE ASSISTANT
INFORMATION TECHNOLOGY Kevin Alcione
DESKTOP SUPPORT ADMINISTRATOR
MARKETING Rob Tocalino
DIRECTOR OF MARKETING AND TICKETING
Dana Werdmuller
MARKETING MANAGER
SPECIAL THANKS Asante Catering • Boeger Winery • El Macero Country Club Morgan’s On Main • The Porch Restaurant and Bar
4 MONDAVIART S.ORG
Erin Kelley
ART DIRECTOR/SENIOR DESIGNER
DIGITAL MARKETING SPECIALIST
Herb Garman
DIRECTOR OF OPERATIONS
Ryan Thomas
BUILDING ENGINEER
AUDIENCE SERVICES Marlene Freid
AUDIENCE SERVICES AND VOLUNTEER ENGAGEMENT MANAGER
Yuri Rodriguez
PRODUCTION Donna J. Flor
PRODUCTION MANAGER
HEAD AUDIO ENGINEER SENIOR STAGE MANAGER, JACKSON HALL
David M. Moon
SENIOR EVENTS COORDINATOR/ LIAISON TO UC DAVIS DEPARTMENTS
Eric Richardson
MASTER ELECTRICIAN
Wai Kit Tam
LEAD VIDEO TECHNICIAN
Daniel Villegas
AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE ASSISTANT ELECTRICIAN
Holly McNeill
STAGE MANAGER
Maya Severson STAGE MANAGER
SENIOR STAGE TECHS
John F. Bologni Karl Metts Ian Strother Christine Richers
PUBLIC EVENTS MANAGER
PROGRAMMING
ASSISTANT PUBLIC EVENTS MANAGERS
Jeremy Ganter
Camille Adams Natalia Deardorff Dawn Kincade Joelle Robertson Nancy Temple HEAD USHERS Lorrie Bortuzzo Eric Davis John Dixon George Edwards Maria Giannuli Donna Horgan Paul Kastner Steve Matista Jan Perez
DIRECTOR OF PROGRAMMING
Jenna Bell
ASSISTANT DIRECTOR, ARTIST SERVICES
Laurie Espinoza
ARTIST SERVICES COORDINATOR
Lara Downes
CURATOR, YOUNG ARTISTS PROGRAM
What if laughter really is the best medicine? ACTUALLY, STUDIES SHOW IT DOES HAVE MANY HEALING EFFECTS. And when it comes to studies, research and medical breakthroughs, well, that’s where we get serious. But there’s so much more to your health and it all starts with choosing the right health plan, one with a UC Davis doctor and direct access to an entire network of the brightest minds in medicine. IT MAKES ALL THE DIFFERENCE. During this crucial time of open enrollment, ask yourself a very serious question. The best answer…will immediately follow.
GET ALL THE ANSWERS YOU NEED TO THE MOST IMPORTANT QUESTION YOU CAN ASK. answers.ucdavis.edu encoremediagroup.com/programs 5
IN THIS ISSU
A Message from the Executive Director
For several years, I have had the pleasure of teaching first year UC Davis students a seminar on “Engaging with the Performing Arts.” It has been rewarding to spend time with these amazing students who Don Roth, Ph.D. often are experiencing professional performing Executive Director arts for the first time as we attend music and dance performances at the Mondavi Center together. This teaching experience has given me time to think deeply about what it means to be an engaged listener or viewer at a live arts experience—how each of us, as an audience member, can have the best chance of forming a connection with the artists on stage. One of the things I’ve thought about is the multitasking that many of us do at performances of music with text—which can become, I think, a kind of auditory “distracted driving.” Since I oversee an organization which does such a good job of printing texts for musical events in our venue, what I’m going to write here is perhaps a bit ironic. And, bear with me: This is just one concert-goer’s opinion, for sure. It all started this summer at 7,000 feet above sea level. On a trip to the Bear Valley Music Festival I had the opportunity to hear Benjamin Britten’s Les Illuminations, an emotional and impactful song cycle for tenor and small orchestra, based on the French poems of Arthur Rimbaud. It was transfixing. Before the performance began, conductor Michael Morgan gave a lovely summary of the basic meanings and emotional context of the poems. Yet, during the performance, I noticed, among the audience, a goodly number of heads down, focused, in the dim evening mountain light, on the texts in the program book rather than on the music happening on stage. Here’s what I’ve come to believe—that reading and deep listening are incompatible activities (although with all the neuroscientists at UC Davis, I’m sure someone will challenge that statement). It is true that opera supertitles, which you can watch pretty much simultaneously with the action on stage, can be helpful, especially for an opera that is new to you. But for those of you who attend opera, how many times have you found yourself staring at the words for an opera that you know backwards and forwards, rather than sitting back and listening? When the words are in a program book in your lap, reading and listening becomes a bit like those folks you see constantly sneaking a look at texts with a phone in their lap while driving. When we present a great choral work, like Handel’s Messiah this December, at times the sound of the turning of program book pages becomes itself a kind of choral whoosh in the hall. Maybe I’m out of line, but let me suggest an experiment for those of you planning to attend another outstanding American Bach Soloists’ performance of the Handel masterpiece and who are avid text readers. This year, put the book away, look at the stage (or close your eyes) and listen. Not only is the Messiah familiar to many of us, it is in English and the ABS chorus and soloists have wonderfully clear English diction. As you undertake this experiment, trust that your engaged connection with this great music will deliver the meaning, as it did in Handel’s day, without the written words. Certainly your reading the texts (and program notes) beforehand, available as part of our program book online, can be very helpful preparation. But, my own experience is that breaking the addiction to reading song and chorus texts during performances has freed me to experience such works more closely and emotionally. I realize some of you may disagree with me on this approach to experiencing live music with text—and, in that case, I would love to hear your viewpoint at droth@ucdavis.edu. In any case, I am so glad you are joining us at these Mondavi Center performances—your patronage makes months of music like this November and December possible! Enjoy!
Don 6 MONDAVIART S.ORG
8
ROBERT AND MARGRIT
MONDAVI CENTER FOR THE PERFORMING ARTS
Reduced Shakespeare Company
11 Mariinsky Orchestra 18 Eddie Palmieri Latin Jazz Band 22 Pete Souza 25 The Hot Sardines 29 American Bach Soloists
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.
November/December 2017 Volume 5, No. 2
AN EXCLUSIVE WINE TASTING EXPERIENCE OF THESE FEATURED WINERIES FOR INNER CIRCLE DONORS
Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director
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photo: Jeff Thomas
REDUCED SHAKESPEARE COMPANY A With A Twist Series Event Wednesday, November 1, 2017 • 8PM Jackson Hall SPONSORED BY
REDUCED SHAKESPEARE COMPANY Dominic Conti Reed Martin Chad Yarish Characters (in order of appearance): Dromio (of Syracuse) Chorus Ariel Oberon Mistress Quickly Lady Macbeth Juliet Proteus Second Witch Beatrice Cesario Bottom King Lear Cardenio Richard II Marina Regan Goneril Malvoliago Kate Henry VIII Henry V Dromio (of Ephesus) Antipholus Puck Holofernes Hamlet Dauphin Sir John Falstaff Valentine Richard III First Witch Third Witch Viola Pompey Pericles Prospero Cleopatra Sycorax Cordelia Caliban Bear Petruchio Henry IV Julius Caesar Timon of Athens 8 MONDAVIART S.ORG
WILLIAM SHAKESPEARE’S LONG LOST FIRST PLAY (ABRIDGED) William Shakespeare’s Long Lost First Play (abridged) was first performed by the Reduced Shakespeare Company (RSC) at the Folger Theatre (Janet Alexander Griffin, artistic director) in Washington, D.C., from April 21 to May 8, 2016. Directed by the authors, the script was workshopped and developed in a nonRSC production at Shakespeare Napa Valley (Jennifer King, artistic director). That production then moved to Notre Dame Shakespeare Festival (Grant Mudge, producing artistic director). The cast was Dan Saski, Teddy Spencer and Chad Yarish.
A REDUCED HISTORY Since its pass-the-hat origins in 1981, the RSC has created 10 world-renowned stage shows, two television specials, several failed television pilots and numerous radio pieces, all of which have been seen, performed and heard the world over. The company’s stops have included the White House, off-Broadway, the Kennedy Center, Lincoln Center, London’s West End, Seattle Repertory Theatre, American Repertory Theatre and Montreal’s famed Just For Laughs Festival, as well as performances in Israel, Australia, New Zealand, Hong Kong, Japan, Malta, Singapore and Bermuda, plus countless civic and university venues throughout the U.S., the U.K. and Europe. The RSC’s first three shows—The Complete Works of William Shakespeare (abridged), The Complete History of America (abridged) and The Bible: The Complete Word
of God (abridged)—ran for nine years at the Criterion Theatre in Piccadilly Circus as London’s longest-running comedies. For years, the RSC had more shows running in the West End than Andrew Lloyd Webber. They were also funnier. In 2016, in honor of its 35th anniversary and the 400th anniversary of Shakespeare’s death, the RSC premiered its 10th stage show William Shakespeare’s Long Lost First Play (abridged) at the Folger Shakespeare Theatre in Washington, D.C. And in 2013, the RSC premiered the subject it was born to reduce—The Complete History of Comedy (abridged)—to critical and commercial acclaim at Cincinnati Playhouse in the Park. The “Bad Boys of Abridgment” have also applied their fast, funny and physical approach to world history in Western Civilization: The Complete Musical (abridged) [original title: The Complete Millennium Musical (abridged)], which toured simultaneously in the U.S., U.K. and Australia; athletics in The Complete World of Sports (abridged), which played in London during the 2012 Olympics; literature in All the Great Books (abridged); and the movies in Completely Hollywood (abridged), which skewers the 197 greatest films of all time. All these shows have received critical acclaim across the U.S., U.K., Belgium, the Netherlands, Hong Kong and Barbados, and played to packed houses at the Kennedy Center, Pittsburgh Public Theatre, San Diego Repertory Theatre, Cincinnati Playhouse in the Park, Seattle’s ACT Theatre, Alabama Shakespeare Festival and Sweden (in Swedish!). And in 2011, the world premiere
REDUCED SHAKESPEARE COMPANY of The Ultimate Christmas Show (abridged) became Merrimack Repertory Theatre’s best-selling holiday show, and the third best-selling show in the theatre’s history. For TV, the RSC compressed the first five seasons of Lost into a 10-minute film called Lost Reduced, which was a Jeopardy! category in the 2005 and 2006 Tournaments of Champions. They wrote and starred in The Ring Reduced, a half-hour version of Wagner’s Ring Cycle for Channel 4 (U.K.) and reduced the Edinburgh Festival for BBC and the soap opera Glenroe for RTE Ireland. Shakespeare (abridged) aired on PBS and is available on DVD, as is America (abridged). For National Public Radio, the RSC has been heard on All Things Considered, Weekend Edition, Talk of the Nation, Day to Day, West Coast Live and To The Best of Our Knowledge. The BBC World Service commissioned the six-part Reduced Shakespeare Radio Show. The Reduced Shakespeare Company Christmas was heard on Public Radio International. The RSC won the prestigious Shorty Award in New York City and the Delft Audience Award in the Netherlands. They’ve also been nominated for an Olivier Award in London, two Helen Hayes Awards in Washington, D.C., and the San Francisco Bay Area Theatre Critic’s Circle Award.
REDUCED SHAKESPEARE COMPANY ONSTAGE Dominic Conti joined the RSC in 2004, helped create Completely Hollywood (abridged) and has toured it and four other RSC shows all over the U.S. and around the world. He’s worked at such prestigious regional theatres as Chicago Shakespeare Theatre (Sir Andrew Aguecheek, 12th Night), Plasticene, Steppenwolf, Westport Country Playhouse, Williamstown, Beaver Creek Theatre Festival, Madison Rep, the Goodman in Chicago and First Folio Shakespeare Festival. Film and television credits include Martian-American, Fiona’s Fortune, the pilot The Roaring Twenties and the web series The Best Friend. Reed Martin co-created and performed in the original productions of America, Bible, Western Civilization, All The Great Books, Hollywood, Sports, Christmas, Comedy and Long Lost Shakes—all (abridged). He also contributed additional material to The
Complete Works of William Shakespeare (abridged). He has performed in London’s West End, at Lincoln Center, Kennedy Center, Seattle Repertory Theatre, American Repertory Theatre, Pittsburgh Public Theater, ACT San Francisco, McCarter Theatre, Old Globe Theatre, La Jolla Playhouse, the White House and Madison Square Garden, as well as in 11 foreign countries. He toured for two years as a clown/assistant ringmaster with Ringling Brothers/Barnum & Bailey Circus. Martin has written for the BBC, National Public Radio, TBS, Britain’s Channel Four, RTE Ireland, Public Radio International, Sky TV UK, the Washington Post and Vogue magazine. Martin’s work has been nominated for an Olivier Award in London, a Helen Hayes Award in Washington, D.C., and a San Francisco Bay Area Theatre Critic’s Circle Award. He lives in Northern California with his wife and two sons, all three of whom are much funnier than he is. What can be said about Chad Yarish that hasn’t already been said about crème brûlée? White, sweet and best when lightly toasted. Yarish was part of the original workshop productions of Long Lost Shakes. He also helped workshop The Complete World of Sports (abridged), The Ultimate Christmas Show (abridged), and The Complete History of Comedy (abridged). He’s performed All the Great Books (abridged) with the RSC, as well as The Complete Works of William Shakespeare (abridged) and The Bible (abridged). He just needs one more to get BINGO (abridged). Yarish lives in Northern California, served four years in the U.S. Army, makes his own mead and has no formal theatrical training to speak of— which is either impressive or obvious.
BACKSTAGE Alli Bostedt (office manager) took her first foray into theatre at age 4. She soon discovered that every stage has a backstage and has attempted to remain there ever since. A native of Las Vegas, Nevada, Bostedt lives in California with a talking shower curtain and an extensive rubber ducky collection. Prior to joining the RSC and sleeping with Reed, Jane Martin (general manager) was artistic director of the Hawk’s Well
Theatre in Sligo, Ireland, and producer of the physical comedy troupe The Right Size in London. In her copious free time away from RSC business, Martin spends time raising two boys (three, if you count Reed) and teaching theatre at Sonoma Valley High School. Mike Peters (stage manager) is excited to finally be Long Lost once again. He resides in the metro Detroit area and splits time between productions ranging from opera to dance to circus to corporate events. Recent credits include The Pearl Fishers, Hockey—The Musical!—The Tour!, La Boheme, The Passenger, Verdi’s Macbeth, William Shakespeare’s Long Lost First Play (abridged), The Tempest and the pithily and increasingly inaccurately named North American Car and Truck of the Year for the North American International Auto Show. He would also like to thank his wonderful wife, Amanda, for being wonderful, and for being the music in his life. And also being wonderful. Daniel Singer (founder) has been a theatrical impresario from the moment he looked up “impresario” in the dictionary. Upon his return from studying “proper dramatic technique” in London, he became a director at the original Renaissance Pleasure Faire, where he founded the subversive Reduced Shakespeare Company. In 1989, Singer hung up his doublet-andhose to design theme park attractions at Walt Disney Imagineering and became a freelance designer, writer and event producer in Los Angeles. His new hit comedy, A Perfect Likeness, chronicles Lewis Carroll’s (fictitious) attempt to get his literary hero, Charles Dickens, to pose for a photograph in 1866 Oxford. Coming soon to a theatre near you! Austin Tichenor (co-author, co-director) has also written (with Reed Martin) Pop-Up Shakespeare, the irreverent reference book Reduced Shakespeare: The Complete Guide for the Attention-Impaired (abridged), the ebook comic memoir How the Bible Changed Our Lives (Mostly for the Better), and the stage comedies America, Bible, Western Civilization, All the Great Books, Hollywood, Sports, Christmas and Comedy— all (abridged)—all of which are published encoremediagroup.com/programs 9
REDUCED SHAKESPEARE COMPANY or translated into over a dozen languages. Tichenor produces and hosts the weekly RSC Podcast, available on iTunes and at ReducedShakespeare.com.
ADDITIONAL CREDITS Tim Holtslag backdrop design Skipper Skeoch costume designer Freya Marcelius masks and puppets Alli Bostedt props, wardrobe supervisor Austin Tichenor sound design Brandon Roe sound design Lar DeSouza poster art GingerPower, Ltd. webmaster Baylin Artists Management U.S. tour direction Sharon Colchamiro, Esq. legal counsel
satisfacti n — YOU’LL KNOW IT WHEN y u see it Welcome to a different place, Hyatt Place UC Davis, proud sponsor of the Mondavi Center. Here you’ll enjoy free Wi-Fi, roomy rooms and our a.m. Kitchen Skillet™ breakfast that’s free with your stay — along with every modern comfort you deserve. Plus, you’ll be near the Mondavi Center for Performing Arts, UC Davis Conference Center, minutes from downtown Davis, close proximity to the freeway and best of all our hotel is located on the University of California Davis Campus.
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For their contributions to the development of the script, the authors wish to thank: Dee Ryan, Adrian Scarborough, Rob Richards, Dominic Conti, Jennifer King, Michael Faulkner, John Tichenor, Andrew Klein, Dr. Catherine Reedy, Benedict the Mad, Quincy and Daisy Tichenor, Peter Holland, Samuel Taylor, Elaine Randolph, Alli Bostedt, Campbell and Cian Martin, Kate Powers, Grant Mudge, Jennifer Ruygt, Christopher Moore, Freya Marcelius, Cameo Cinema in St. Helena, California, Ron Severdia and the Shakespeare Pro App, Sonoma Valley High School Drama Department, Dan Saski, Teddy Spencer, Chad Yarish, the late great Howard Ashman and Jane Martin. Folger Shakespeare Library Editions are the official complete works resource for this play. The actors and stage managers in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.
MARIINSKY ORCHESTRA Valery Gergiev, music director and conductor Daniil Trifonov, piano An Orchestra Series Event Thursday, November 2, 2017 • 8PM Jackson Hall SPONSORED BY
PROGRAM Don Juan, op. 20
Richard Strauss
Piano Concerto in E-flat Minor (West Coast Premiere) Andante – Allegro ma non troppo Andante Allegro vivace
Daniil Trifonov
Daniil Trifonov, piano
INTERMISSION Symphony No. 6 in E-flat Minor, op. 111 Allegro moderato Largo Vivace
Sergei Prokofiev
*PROGRAM SUBJECT TO CHANGE* MARIINSKY FOUNDATION of America is the North American sponsor. VTB BANK is the principal partner of the Mariinsky Theatre. YOKO NAGAE CESCHINA and SBERBANK are the principal sponsors. Columbia Artists Tour Direction: R. Douglas Sheldon 5 Columbus Circle @ 1790 Broadway, New York, NY 10019 www.columbia-artists.com Valery Gergiev and the Mariinsky Orchestra record for the Mariinsky Label and also appear on Universal (Decca, Philips). encoremediagroup.com/programs 11
MARIINSKY ORCHESTRA PROGRAM NOTES DON JUAN, OP. 20 (1889)
RICHARD STRAUSS (1864–1949) Strauss began his musical life with conservative tastes, taking after his father (the great horn player Franz Strauss) in a preference for the classical style of Mozart, Haydn and Beethoven. It was only once Strauss left home that his ears opened up to the “music of the future,” to quote a phrase associated with his new musical idol, Richard Wagner. In time, Strauss would inherit Wagner’s mantle as the king of progressive opera, thanks to works like Salome (1905) and Elektra (1909). But first he followed Franz Liszt into the realm of the symphonic poem, an orchestral genre of musical storytelling. Strauss’ first true “tone poem, ” to use his preferred label, was Macbeth (1888), but it was the subsequent tone poem Don Juan that earned the 25-year-old Strauss a place in the highest echelon of German composers. Strauss came to know the story of Don Juan—or Don Giovanni in Italian—through Mozart’s opera. The Spanish writer Tirso de Molina published the first known version around 1630 under the title El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest), but the story had been in oral circulation for some time before that printed edition. Strauss modeled his tone poem on a particular version of the legend concocted by the Hungarian poet Nikolaus Lenau (1802–1850). Strauss did not spell out exactly how the tone poem lines up with the story, but the music itself is quite demonstrative. The dashing opening passage surely marks the appearance of Don Juan, the great seducer, while the coy phrases that come in response could only be his conquests. The amorous episodes, interspersed with pangs of self-doubt and regret, build to the central romance of the work, a vulnerable love song first shared by a solo oboe. (Strauss wrote Don Juan during his courtship of the soprano Pauline de Ahna, and the tender feelings he conjured in this episode might offer a window into his own affections for his future wife.) A vigorous horn motive brings back the rakish aspect of Don Juan, and the ensuing storminess rushes him to judgment. In Lenau’s version of the story, Don Juan does not fall victim to a stone statue that comes 12 MONDAVIART S.ORG
to life; instead his condemnation is internal, and he dies when he drops his defenses in a duel with the father of a woman he seduced. The music representing this scene reaches a tense silence, and then an eerie coda leads to a final state of unsettled, trembling quietude.
PIANO CONCERTO IN E-FLAT MINOR (2013–14)
DANIIL TRIFONOV (B. 1991)
Taking after his father, a composer, Daniil Trifonov began crafting his own music at the age of 5, even before he began studying piano. His introduction to the world stage as a virtuoso pianist came in 2011, when the 20-year-old took first prize at both the Rubinstein Competition in Tel Aviv and the Tchaikovsky Competition in Moscow. Trifonov balanced his burgeoning international career with studies at the Cleveland Institute of Music, an evironment that nurtured his creativity both as a composer and as an interpreter of existing music. The school commissioned Trifonov’s Piano Concerto, and its president, Joel Smirnoff, conducted the first performance in 2014 with the composer as soloist. Trifonov has since performed his own concerto with Valery Gergiev and the Mariinsky Orchestra in St. Petersburg and with the Kansas City Symphony. This tour with the Mariinsky Orchestra brings the concerto to the U.S. East and West Coasts for the first time. With his Piano Concerto in E-flat Minor, Trifonov revives the grand tradition of the virtuoso composer/performer that only faded in the latter part of the 20th century. From Mozart and Beethoven to Rachmaninoff and Prokofiev, top composers understood the dazzling power of keyboard concertos written with their own hands in mind. And for Trifonov, whose hands are capable of feats that few humans (living or dead) could match, the concerto functions as a magnifying lens for his own musicianship, in all its technical wizardry and tender emotion. Like most effective music written by 23-year-olds, Trifonov’s concerto owns its influences unabashedly. From Rachmaninoff’s concertos, it borrows a late-Romantic approach to tonality, a penchant for singing melodies and a knack for interweaving keyboard and orchestral
textures, ranging from delicate interludes to thunderous climaxes. Other passages hint at the kaleidoscopic chromaticism of another Russian icon, Scriabin. During a marching passage in the first movement, and again in sassy violin solos during the finale, traces arise of Prokofiev and his winking humor. The form follows a traditional threemovement arc, its continuity supported by subtle, thematic links and a direct connection into the finale from the second movement (which Trifonov describes as an “intermezzo”). The mischievous finale, with its syncopated dance themes and its gleeful arrival in the major key, makes a dashing impression. We can only hope that a sequel will require us to relabel this work as Trifonov’s First Piano Concerto before too long.
SYMPHONY NO. 6 IN E-FLAT MINOR, OP. 111 (1945–47)
SERGEI PROKOFIEV (1891–1953)
Like most Russian artists who had the means, Sergei Prokofiev left his homeland in the wake of the 1917 revolution, spending time in the United States and eventually moving on to France. Unlike any other artist of his caliber, Prokofiev willingly returned to the Soviet Union, where he found an artistic climate more receptive to the “new simplicity” (to use his own term) he had been cultivating in his music. After settling in Moscow in 1936, Prokofiev worked on a string of large theatrical projects, including the ballets Romeo and Juliet (1938) and Cinderella (1944), the opera War and Peace (1942) and film scores for Sergei Eisenstein’s Alexander Nevsky (1938) and Ivan the Terrible (1944). Turning to his Symphony No. 5 in 1944, Prokofiev pivoted to a genre he had not touched since 1930 (and one in which his younger rival, Dmitri Shostakovich, had found tremendous success). The Fifth Symphony—which Prokofiev characterized as “a hymn to free and happy Man, to his mighty powers, his pure and noble spirit”—enjoyed a triumphant premiere early in 1945, as World War II approached its victorious end. Prokofiev’s high did not last long: Just weeks after he conducted the Fifth Symphony’s debut, he collapsed from an undiagnosed heart condition and fell down a flight of stairs, suffering a concussion. His health never fully recovered, and it took
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him two arduous years to write his Sixth Symphony, after having needed only a month to sketch the Fifth. The years after World War II also marked a time of increasing pressure for Soviet artists to conform to certain aesthetic ideals, a push led by Andrei Zhdanov, Stalin’s henchman who oversaw cultural activities. Prokofiev’s Sixth Symphony was soon caught in this political snare, even though the reception had been positive following its premiere performances in Leningrad and Moscow, in October and December of 1947, respectively. In February of 1948, a decree from the Communist party’s Central Committee included Prokofiev in a list of composers whose “works are marked by formalist perversions, anti-democratic tendencies which are alien to the Soviet people and their artistic tastes.” The Sixth Symphony was not performed again in the Soviet Union during the unhappy remainder of Prokofiev’s life, which ended in 1953 on the very same day as Stalin. The Sixth Symphony begins with a movement Prokofiev described as “agitated, at times lyrical, at times austere.” The somberness reflected the aftermath of war as well as Prokofiev’s own condition; as he related to his biographer, Israel Nestyev, “Each of us has wounds which cannot be healed. One man’s loved ones have perished, another has lost his health. This must not be forgotten.” For the central Largo movement, Prokofiev created music he characterized as “brighter and more songful.” In this symphony there is no palettecleansing Scherzo. Instead the lively finale serves to lift the mood, although flashbacks to the earlier heaviness temper the feeling of relief. © 2017 Aaron Grad
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MARIINSKY ORCHESTRA The Mariinsky Orchestra enjoys a long and distinguished history as one of the oldest musical institutions in Russia. Its history dates back to the first orchestra of the St. Petersburg Imperial Opera Orchestra, covering a period of over 200 years. Housed in St. Petersburg’s famed Mariinsky Theatre (1860), the orchestra now performs also in its superb 21st-century concert hall (2006) and its second opera house, Mariinsky II (2013), built for modern stage technologies. Following the orchestra’s “golden age” in the second half of the 19th century under the musical direction of Eduard Napravnik, numerous internationally famed musicians have conducted the orchestra, among them Hans von Bülow, Felix Mottl, Felix Weingartner, Alexander von Zemlinsky, Otto Nikisch, Hector Berlioz, Richard Wagner, Gustav Mahler, Arnold Schoenberg, Willem Mengelberg, Otto Klemperer, Bruno Walter and Erich Kleiber. Renamed the “Kirov” during the Soviet era, the orchestra continued to maintain its high artistic standards under the leadership of Yevgeny Mravinsky and Yuri Temirkanov. The leadership of Valery Gergiev and the success of the orchestra’s frequent tours has led to the reputation of what one journalist referred to as “the world’s first global orchestra” and has enabled the theatre to forge important relationships for the ballet and opera to appear in the world’s greatest opera houses and theatres, among them the Metropolitan Opera, the Kennedy Center, the Royal Opera House in Covent Garden, the San Francisco Opera, the Théâtre du Châtelet in Paris, the Salzburg Festival and La Scala in Milan. Since its U.S. debut in 1992, the orchestra has made 18 tours of North America, including a 2006 celebration of the complete Shostakovich symphonies; a cycle of stage works of Prokofiev in 2008; a marathon of all piano concertos with Daniil Trifonov, George Li, Alexander Toradze, Sergei Redkin and Sergei Babayan in February 2016; major works of Hector Berlioz in February/ March 2010; a centennial Mahler cycle in Carnegie Hall in October 2010; and in October 2011, the Mariinsky Orchestra opened Carnegie Hall’s 120th season with a cycle of Tchaikovsky symphonies, which was also performed throughout the U.S. and in Canada. 14 MONDAVIART S.ORG
Maestro Gergiev established the Mariinsky label in 2009 and has since released over 30 recordings to date, receiving critical acclaim in Europe, Asia and the United States.
VALERY GERGIEV CONDUCTOR Valery Gergiev is artistic and general director of the Mariinsky Theatre, principal conductor of the Munich Philharmonic, principal conductor of the World Orchestra for Peace, chair of the organizational committee of the International Tchaikovsky Competition, honorary president of the Edinburgh International Festival and dean of the faculty of arts at the St. Petersburg State University. As head of the Mariinsky Theatre, Gergiev has established and directs such international festivals as the Stars of the White Nights Festival (St. Petersburg), the Moscow Easter Festival and the Gergiev Rotterdam Philharmonic Festival, Mikkeli Festival and the 360 Degrees Festival in Munich. He has led numerous composer cycles including Hector Berlioz (1803–1869), Johannes Brahms (1833–1897), Henri Dutilleux (b. 1916), Gustav Mahler (1860– 1911), Sergei Prokofiev (1891–1953), Dmitri Shostakovich (1906–1975), Igor Stravinsky (1882–1971) and Pyotr Ilyich Tchaikovsky (1840–1893) in New York, London, Paris and other international cities, and he has introduced audiences around the world to several rarely performed Russian operas. Maestro Gergiev staged a production of Richard Wagner’s tetralogy Der Ring des Nibelungen in the original German language, the first such production in Russian history, and led that production in St. Petersburg, Moscow, Seoul, Tokyo, New York and London. Gergiev also champions contemporary Russian composers, such as Rodion Shchedrin (b. 1932), Boris Tishchenko (1939–2010), Sofia Gubaidulina (b. 1931), Alexander Raskatov (b. 1953) and Pavel Smelkov. The Mariinsky label established in 2009 has released more than 30 discs and DVDs to date that have received great acclaim from the critics and the public throughout the world; recordings include symphonies
and piano concerti by Tchaikovsky and Shostakovich, operas by Wagner, Massenet and Donizetti, Prokofiev’s ballets Romeo and Juliet and Cinderella and the operas The Gambler and Semyon Kotko. Recent releases include Shchedrin’s The Left-Hander (DVD) and Tchaikovsky’s The Nutcracker and Symphony No 4.
DANIIL TRIFONOV PIANO Russian pianist Daniil Trifonov (dan-EEL TREE-fon-ov) has made a spectacular ascent in the world of classical music since winning first prize at both the Tchaikovsky and Rubinstein competitions in 2011 at the age of 20. Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe. “He has everything and more … tenderness and also the demonic element. I never heard anything like that,” declared pianist Martha Argerich, while the Financial Times observed, “What makes him such a phenomenon is the ecstatic quality he brings to his performances. … Small wonder every western capital is in thrall to him.” The 2016–17 season brings the release of Transcendental, a double album that not only represents Trifonov’s third title as an exclusive Deutsche Grammophon artist, but also the first time that Liszt’s complete concert etudes have been recorded for the label. In concert, the pianist—the winner of Gramophone’s 2016 Artist of the Year award—plays Tchaikovsky’s First Piano Concerto under Riccardo Muti in the historic gala finale of the Chicago Symphony’s 125th anniversary celebrations. Having scored his second Grammy Award nomination with Rachmaninoff Variations, he performs Rachmaninoff for his debut with the Berlin Philharmonic under Sir Simon Rattle at the orchestra’s famous New Year’s Eve concerts, scheduled to air live in cinemas throughout Europe. Also with Rachmaninoff, he makes debuts with the Melbourne and Sydney Symphonies, plays return engagements with the Los Angeles Philharmonic under Gustavo Dudamel and the Royal Liverpool Philharmonic, and headlines the Munich Philharmonic’s Rachmaninoff cycle tour with longtime collaborator Valery Gergiev.
MARIINSKY ORCHESTRA Mozart is the vehicle for his reengagements with the New York Philharmonic, Cleveland Orchestra and Philadelphia Orchestra, as well as for dates with the Staatskapelle Dresden at home and at the Salzburg Easter Festival and London’s BBC Proms. He rejoins the Staatskapelle for Ravel, besides playing Beethoven with Zurich’s Tonhalle Orchestra; Prokofiev with the Rotterdam Philharmonic; Chopin on tour with the Mahler Chamber Orchestra; and Schumann with the Houston Symphony, Royal Stockholm Philharmonic, and on tour with Riccardo Chailly and La Scala Orchestra. An accomplished composer, Trifonov also reprises his own acclaimed concerto in Kansas City, Missouri. With a new program of Schumann, Shostakovich and Stravinsky, he makes recital debuts at London’s Barbican and Melbourne’s Recital Centre; appears in Berlin, Vienna, Florence, Madrid, Oslo, Moscow, and other European hotspots; and returns to Philadelphia, Baltimore, and—for the fourth consecutive year—the mainstage of New York’s Carnegie Hall. He also gives duo recitals with his former teacher, pianist Sergei Babayan, in Princeton and Sarasota, and looks forward to returning to the Tanglewood, Verbier, Baden-Baden and Salzburg Festivals. During the 2010–11 season, Trifonov won medals at three of the music world’s most prestigious competitions, taking third prize in Warsaw’s Chopin Competition, first prize in Tel Aviv’s Rubinstein Competition, and both first prize and grand prix—an additional honor bestowed on the best overall competitor in any category—in Moscow’s Tchaikovsky Competition. In 2013, he was also awarded the prestigious Franco Abbiati Prize for Best Instrumental Soloist by Italy’s foremost music critics. Born in Nizhny Novgorod in 1991, Trifonov began his musical training at the age of 5, and went on to attend Moscow’s Gnessin School of Music as a student of Tatiana Zelikman before pursuing his piano studies with Sergei Babayan at the Cleveland Institute of Music. He has also studied composition and continues to write for piano, chamber ensemble and orchestra. When he premiered his own piano concerto in 2013, the Cleveland Plain Dealer marveled: “Even having seen it, one cannot quite believe it. Such is the artistry of pianist-composer Daniil Trifonov.”
FURTHER LISTENING by Jeff Hudson
PIANIST DANIIL TRIFONOV, CONDUCTOR VALERY GERGIEV AND THE MARIINSKY ORCHESTRA Tonight’s concert at the Mondavi Center is the first of three that pianist Daniil Trifonov will be doing with conductor Valery Gergiev and the Mariinsky Orchestra. They will also be performing the same program in Washington, D.C., on November 12 at the Kennedy Center and in New York on November 15 at Carnegie Hall. We’ve seen Trifonov here in Jackson Hall once before, when he appeared with the Russian National Orchestra in February 2013, performing the Tchaikovsky Piano Concerto No. 1. (Trifonov has also recorded that concerto with Gergiev and the Mariinsky Orchestra, back in 2012.) If you enjoy the Trifonov Piano Concerto this evening, you will love a YouTube video of a performance by Trifonov (with the Pittsburgh Symphony under conductor Manfred Honeck). Trifonov premiered the concerto in 2014 at the Cleveland Institute of Music (where he was a student at that time). Trifonov has also recorded several albums for the Deutsche Grammophon label, including Transcendental, featuring music composed by Franz Liszt. It was released in fall 2016, and in July 2017 it picked up the ECHO Klassic Award for Best Solo Recording of piano music written in the 19th century. Then in October 2017, Trifonov released a double album, Chopin Evocations. Gergiev and the Mariinsky Orchestra (then known as the Kirov Orchestra of the Mariinsky Theatre) were presented at the Mondavi Center in April 2005, performing orchestral works by Russian composers Modest Mussorgsky, Sergei Prokofiev (Symphony No. 2) and Alexander Borodin (Symphony No. 2)—a concert this writer still fondly recalls 12 years later. Gergiev and the Kirov/Mariinsky Orchestra have recorded quite a bit of Russian music, including major ballet scores (Prokofiev’s Romeo and Juliet, Stravinsky’s Firebird and Tchaikovsky’s Sleeping Beauty, Nutcracker and Swan Lake), and operas by Borodin (Prince Igor), Glinka (Ruslan and Ludmilla) and Mussorgsky (Boris Godunov) as well as operas by Rimsky-Korsakov, Tchaikovsky and Prokofiev. Gergiev also recorded the seven Prokofiev symphonies with the London Symphony Orchestra, released as a box set in 2006, and the five Prokofiev piano concertos with the Kirov/Mariinsky Orchestra and pianist Alexander Toradze for the Philips label as a two-CD set in 1998. And in 2016, Gergiev and the Mariinsky Orchestra teamed up with pianist Lang Lang (who’s played here several times) for a Deutsche Grammophon album with the Piano Concerto No. 2 and Rhapsody on a Theme of Paganini by Sergei Rachmaninov. JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
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MARIINSKY ORCHESTRA MARIINSKY ORCHESTRA
Valery Gergiev, music director FIRST VIOLIN Alexei Lukirskiy Stanislav Izmailov Olga Volkova Leonid Veksler Anton Kozmin Kristina Minosian Danara Urgadulova Andrei Prokazin Kalamkas Jumabaeva Ekaterina Gribanova Kirill Murashko Dmytro Demydov Mikhail Schaffarczyk SECOND VIOLIN Zumrad Ilieva Maria Safarova Elena Luferova Viktoria Shchukina Anastasia Lukirskaya Natalia Polevaya Inna Demchenko Andrey Novodran Olesya Kryzhova Olga Timofeeva Svetlana Petrova Tamara Lazarova VIOLA Yuri Afonkin Dinara Muratova Lina Golovina Yevgeny Barsov Roman Ivanov Mikhail Anikeyev Yury Baranov Andrei Lyzo Liudmila Ketova Ilya Vasilyev Andrei Petushkov Alevtina Alexeyeva
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CELLO Oleg Sendetsky Anton Gakkel Dmitry Ganenko Omar Bairamov Viktor Kustov Ekaterina Larina Vladimir Yunovich Kirill Evtushenko Oxana Moroz Anton Valner Ekaterina Lebedeva Sarkis Ginosyan DOUBLE BASS Kirill Karikov Vladimir Shostak Aleksandr Alekseyev Sergey Akopov Dmitry Popov Denis Kashin Angela Contreras Reyes Yevgeny Ryzhkov FLUTE Nikolai Mokhov Sofia Viland Alexander Marinesku Mikhail Pobedinskiy OBOE Alexander Levin Alexei Fyodorov Viktor Ukhalin Ilya Ilyin CLARINET Nikita Vaganov Ivan Stolbov Vitaly Papyrin Vitaly Komissarov
BASSOON Rodion Tolmachev Yuri Radzevich Ruslan Mamedov Alexander Sharykin HORN Stanislav Tses Dmitry Vorontsov Alexander Afanasiev Alexei Pozin Vladislav Kuznetsov Yuri Akimkin Pyotr Rodin Zakhar Katsman TRUMPET Timur Martynov Vitaly Zaitsev Nikita Istomin Stanislav Ilchenko Alexei Popov TROMBONE Alexei Lobikov Alexander Gorbunov Mikhail Seliverstov Alexander Dzhurri Vladimir Polevin
KEYBOARD Olga Okhromenko
ORCHESTRA MANAGER Vladimir Ivanov TOUR MANAGER Maria Nikonorova STAGE HANDS Dmitry Popov Pavel Popov COLUMBIA ARTISTS MANAGEMENT LLC. Tour Direction: R. Douglas Sheldon, Executive Vice President & Managing Director Karen Kloster, Tour Coordinator Sarah Everitt Executive Assistant Maria Keith Tour Manager
TUBA Nikolai Slepnev
Renee O’Banks Hotel Advance
PERCUSSION Andrei Khotin Yury Alexeyev Yevgeny Zhikalov Dmitry Fedorov Gleb Logvinov Fedor Khandrikov
Matthew Densing, Driver
HARP Sofia Kiprskaya Liudmila Rokhlina
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EDDIE PALMIERI LATIN JAZZ BAND A World Stage Series Event Wednesday, November 15, 2017 • 8PM Jackson Hall
BAND Luques Curtis bass Vicente “Little Johnny” Rivero congas Jonathan Powell trumpet Louis Fouché saxophone Camilo Molina timbales
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EDDIE PALMIERI
PIANIST, BANDLEADER, ARRANGER, COMPOSER Known as one of the finest jazz pianists of the past 50 years, Eddie Palmieri is also known as a bandleader of both salsa and Latin jazz orchestras. His playing skillfully fuses the rhythm of his Puerto Rican heritage with the melody and complexity of his jazz influences: his older brother, Charlie, Thelonious Monk, Herbie Hancock and McCoy Tyner. Palmieri’s parents emigrated from Ponce, Puerto Rico to New York City in 1925, and he grew up in Spanish Harlem, which was also known as “El Barrio” due to its large Latino community. Palmieri learned to play the piano at an early age, and at 13, he joined his uncle’s orchestra, playing timbales. Palmieri’s professional career as a pianist took off in the early 1950s when he played with various bands: Eddie Forrester’s Orchestra, Johnny Segui’s band and the popular Tito Rodriguez Orchestra. In 1961, Palmieri formed his own band, La Perfecta, which featured an unconventional front line of trombones rather than the trumpets customary in Latin orchestras. This created an innovative sound that mixed American jazz into the Latin performances, surprising critics and fans alike. Palmieri disbanded La Perfecta in 1968, though he would return to the band’s music in the 2000s. Palmieri
perfected his arranging skills in the 1970s, releasing several impressive recordings that reflected his unorthodox approach to music, such as the groundbreaking 1970 release Harlem River Drive, which merged musical categories into a free-form sound that encompassed elements of salsa, funk, soul and jazz. In 1975, Palmieri won the first Grammy Award for Best Latin Recording for his album The Sun of Latin Music (he has won 10 Grammys to date, including two for his influential 2000 recording with Tito Puente, Obra Maestra/Masterpiece.) In 1988, the Smithsonian Institution’s National Museum of American History in Washington, D.C., recorded two of Palmieri’s performances for its archives. Because of Palmieri’s proclivity for creating and performing in funk Latin style, Little Louie Vega invited him to record on Nuyorican Soul (1997), a release that became very popular in the house and underground music scenes. In 2017, Palmieri released his newest musical project, Sabiduría/Wisdom, a fusion of jazz, funk, and Latin fused with Afro-world rhythms. Palmieri has additional projects to be released soon, seven classic songs to be included in an interactive app, as well as a big band album titled Mi Luz Mayor, which features guest artists Carlos Santana and Gilberto Santa Rosa.
EDDIE PALMIERI LATIN JAZZ BAND LUQUES CURTIS
BASS
Luques Curtis was born in 1983 in Hartford, Connecticut. After having formal training on piano and percussion, he found himself wanting to play the bass. Curtis studied at the Greater Hartford Academy of Performing Arts, Artist Collective and Guakia with Dave Santoro, Volcan Orham, Nat Reeves, Paul Brown and others. While attending high school, he was also very fortunate to study the Afro-Caribbean genre with bass greats Andy Gonzalez and Joe Santiago. With his talent and hard work he earned a full scholarship to the prestigious Berklee College Of Music in Boston. There he studied with John Lockwood and Ron Mahdi. While in Boston he was also able to work with great musicians, such as Gary Burton, Ralph Peterson, Donald Harrison, Christian Scott and Francisco Mela. Now living in the New York area, Curtis has been performing worldwide with Eddie Palmieri, Brian Lynch, Ralph Peterson, Christian Scott, Sean Jones, Orrin Evans, Albert Rivera and others. He is the recent recipient of the 2016 Downbeat Rising Star Bassist on the Critic’s Poll. He also co-owns a record label called Truth Revolution Records. Alongside his brother, they have four releases under Curtis Brothers, the most recent being Syzygy. Curtis was also part of Brian Lynch’s Grammy-winning CD Simpatico and his Grammy-nominated Madera Latino, as well as Christian Scott’s Grammy-nominated CD Rewind That. He also produced Grammy-nominated Entre Colegas by Andy Gonzalez. You can hear him on Eddie Palmieri’s Sabiduria; Gary Burton’s Next Generations; Dave Valentin’s Come Fly With Me; Sean Jones’ Roots, Kaleidoscope and The Search Within; Albert Rivera’s CD Re-Introduction; Etienne Charles’ CD Folklore; and Orrin Evans’ CD Faith In Action. As a sideman, Curtis has participated in over 75 recordings.
VICENTE “LITTLE JOHNNY” RIVERO
CONGAS
Little Johnny Rivero, legendary congero, percussionist, producer, songwriter and band leader, was born in New York City to Puerto Rican parents. As a young boy, Rivero was drawn to the sounds and rhythms of the rumberos players from Jefferson and Randall’s Island parks. Rivero began
practicing percussion at age 10 and played in the school band. Soon after, he took dance lessons, which eventually led to performances on stage with the bands of the era at such famous venues as the Manhattan Center, the Colgate Garden, Copacabana and the Palladium. At age 14, Rivero joined Orquesta Colon, the youngest Latin band in New York City, and recorded two albums with them. Rivero moved to Puerto Rico with his parents and joined La Sonora Ponceña. After playing bongos with them for a year and a half he switched to congas, which rekindled the love affair he had begun with this instrument as a small child. During the 16 years Rivero played with La Sonora Ponceña, he traveled the world and made 18 highly-respected albums with the group. In addition to touring with 10-time Grammy award–winning pianist Eddie Palmieri, Rivero continues to work at studio sessions and perform with many of the biggest and most respected acts in Latin music. Rivero’s first solo effort, Pasos Gigante, was well received by critics and music fans alike. Rivero also wrote and produced every song on his CD, showcasing both his arranging and playing abilities. Rivero is working on his new CD titled Vengo Echando Candela, which will take listeners on his continuing artistic journey. Rivero’s credits include work with Eddie Palmieri, Charlie Palmieri, Dave Valentin, Ruben Blades, Cheo Feliciano, Andy Montanez, Ismael Miranda, Ismael Qintana, Adalberto Santiago, Justo Betancourt, Bobby Valentin, Celia Cruz, Giovanni Hidalgo, Ray Barretto, Patato Valdes, Changito, Tata Guines, John Santos, Frankie Ruiz, Sergio George, Desgarga Boricua All Star, RMM All Star, Batacumbele, Alfredo De La Fe, Victor Manuelle and Domingo Quinones. In the Latin jazz field, Rivero has worked with Brian Lynch, Conrad Herwig, Tim Ries (Rolling Stones), Donald Harrison, Phil Woods, David Sanchez, Miguel Zenon, Monty Alexander, Joe Locke, Kenny G, Bebo Valdes, Paquito D Rivera, David Murray, Kathy Watson and numerous other artists.
the All-State Band and All-State Jazz Band and progressed under the guidance of Raymond Mase at the North Carolina School of the Arts, where he met three like-minded students and formed the group Quantum, which earned the award for Best Student Jazz Group in the Downbeat Student Awards (1998, 1999). After high school, Powell returned to his hometown to explore the Florida music scene and performed with many groups, including Bogus Pomp (one of the top Frank Zappa repertoire bands), SHIM (avant-garde jazz), Rocksteady @ 8 (reggae, ska, rocksteady) as well as his own groups. In 2001, he moved to New York and landed a gig with the Colombian band, La Creacion. In 2003, he earned praise for his participation in Sam Rivers Fluid Motion and was named Best Latin Jazz Trumpeter by the Latin Jazz Corner in 2007. That same year, he formed the group Nu Sangha—which means “community” in Tibetan—and released the highly-acclaimed recording Transcend, a fusion of rock and electronica infused jazz. Powell’s most recent recording, titled Beacons of Light, draws inspiration from jazz icons past and present, including John Coltrane, Freddie Hubbard, the Brian Blades Fellowship and Pat Metheny, among others. The music is a meditation and tribute to spiritual and revolutionary minds of our age, including the Dalai Lama, the Sufi poet and mystic Rumi and Dr. Martin Luther King Jr., to name a few. When he’s not leading his group, Powell performs with a wide variety of artists, including Eddie Palmieri and his Latin Jazz Septet and Salsa Orchestra, Arturo O’ Farrill’s Afro Latin Jazz Orchestra, Darcy James Argue’s Secret Society, Miguel Zenon, Gregorio Uribe, Pedro Giraudo, Ricky Martin and JT Taylor of Kool and the Gang. Powell sums up his musical philosophy: “The new album is a tribute to people who have done amazing things. If people dig the music and get hip to people they’ve never heard of, I’ll feel like I’ve done my part. As a bandleader, I want to create music that helps people and inspires them to search within themselves.”
JONATHAN POWELL
TRUMPET
Born in Largo, Florida, Jonathan Powell took up the trumpet at the age of 12. In high school, he excelled as a featured member of encoremediagroup.com/programs 19
EDDIE PALMIERI LATIN JAZZ BAND LOUIS FOUCHÉ
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Louis Fouché is the saxophonist with Jon Batiste and Stay Human on The Late Show with Stephen Colbert and with 10-time Grammy winner Eddie Palmieri. Fouché has steadily established himself as a distinct voice in his generation on the alto saxophone, yet his path to a career in music was not typical—his first love as a young child was science. At age 12, Fouché first heard the soulful sound of tenor saxophonist Stanley Turrentine on Jimmy Smith’s classic album Back at the Chicken Shack. He was immediately inspired and began to tinker with an old saxophone his father had stored in the basement. That summer, Fouché attended the Louis “Satchmo” Armstrong Summer Jazz Camp in New Orleans while visiting his grandparents. There he received instruction from renowned musicians Edward “Kidd” Jordan, Alvin Batiste, Clyde Kerr, Kent Jordan and Wynton Marsalis, among others. He also befriended a number of young musicians, including trumpeter Christian Scott aTunde Adjuah, trombonist Troy “Trombone Shorty” Andrews and pianist Jon Batiste. Christian Scott aTunde Adjuah introduced Fouché to his uncle, alto saxophonist Donald Harrison, who became one of Fouché’s mentors. Fouché attended college at the Massachusetts Institute of Technology (MIT), where he earned degrees in physics and chemical engineering. As a college junior in 2006, Fouché began to tour and record with Christian Scott aTunde Adjuah’s band while balancing his academic responsibilities. Fouché graduated from MIT in 2007 and decided to pursue his passion in music. Fouché has performed in over 20 countries on six continents with artists in various genres, including the legendary Latin pianist Eddie Palmieri, Late Show bandleader and piano virtuoso Jon Batiste, trumpet luminaries Christian Scott aTunde Adjuah and Brian Lynch, innovative funk bassist George Porter, Jr. of the Meters, Grammy-winning singer-songwriter Gordon Chambers and many others. In December of 2012, Fouché independently released his first recording as a bandleader titled Subjective Mind. This recording is a reflection of his unique background and explores the relationship
between his objective, analytical focus in science and his subjective, spiritual emphasis in music. Subjective Mind was the No. 1 new jazz release on Amazon, the top most requested music on WRTI Philadelphia and has received radio play internationally.
CAMILO MOLINA
TIMBALES, PERCUSSION Camilo Molina began his career very early, playing percussion with the folkloric Puerto Rican group Los Pleneros in 1992 at age 2. Two years later, at the age of 4, he would go on to study with the Boys Harbor Conservatory of Latin Music in New York City for two years. In 2000, at age 10, Molina was the thirdplace winner—and the youngest finalist—at the Thelonious Monk International AfroLatin Hand Drum Competition. In 2001, he was awarded the Harbor Achievement Award, and in 2003, at age 13, Molina graduated from The Julliard School of Music. He went on to win a Celia Cruz Scholarship in 2004, and from 2005 to the present, has been playing timbales and percussion with various artists such as Santana, Dave Grusin, Los Pleneros de la 21, Frankie Negron, Miquel Zenon, Elio Villafranca, Teatro Pregones, Viento de gua, John Santos, The Pimps of Joytime and the Curtis Brothers. In 2017, Molina has been actively touring and recording with Eddie Palmieri, playing timbales, bata drum and percussion, and has performed on Palmieri’s new CD recording Wisdom/Sabidura. Additional recording projects include with Soneando Trombon (1998), Salsa Dura (1998), El Avi6n de la Salsa (2004), and jA Million! (2009).
PETE SOUZA A Speakers Series Event
PETE SOUZA
Friday, December 1, 2017 • 8PM
Pete Souza is a freelance photographer in the Washington, D.C., area. His new book, Obama: An Intimate Portrait, was recently published by Little, Brown & Company. Souza was the Chief Official White House Photographer for President Obama and the director of the White House photo office. Previously, Souza worked as an assistant professor of photojournalism at Ohio University, as the national photographer for the Chicago Tribune based in its Washington bureau, a freelancer for National Geographic and Official White House Photographer for President Reagan. Souza’s book, The Rise of Barack Obama, was published in 2008 and includes exclusive photographs of then Senator Obama’s rise to power. Souza extensively documented Obama’s first year in the Senate and accompanied Obama to seven countries, including Kenya, South Africa and Russia in 2005 and 2006. The book was on The New York Times Best Sellers list for five weeks. In addition to the national political scene, Souza has covered stories around the world. After 9/11, he was among the first journalists
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to cover the fall of Kabul, Afghanistan, after crossing the Hindu Kush mountains by horseback in three feet of snow. As a freelancer, Souza photographed two stories on assignment for National Geographic magazine and three photo essays for Life magazine. His photographs have also been published in many other magazines and newspapers around the world, including on the covers of Life, Fortune, Newsweek and U.S. News & World Report. In 1992, Souza produced and published Unguarded Moments: Behind-the-Scenes Photographs of President Reagan, a coffeetable book based on his almost six years in the White House. Former Senator Howard Baker Jr. said in his introduction to the book that Souza recorded “some of the most intimate, honest and humanizing scenes of the presidency I’ve ever seen.” An updated book, Images of Greatness: An Intimate Look at the Presidency of Ronald Reagan, was published in 2004 by Triumph Books. Souza was also the official photographer for the June 2004 funeral of President Reagan. Souza published another documentary book titled Plebe Summer at the U.S. Naval
PETE SOUZA Academy. The book chronicles one company of incoming midshipmen through the six-week indoctrination period of Plebe Summer. Souza has won numerous photojournalism awards, including several times in the prestigious Pictures of the Year annual competition, the NPPA’s Best of Photojournalism, and the White House News Photographers Association’s yearly contest. He has lectured many times on his photography, including at the Smithsonian Museum of American History, Corcoran Gallery of Art, Harvard University, Boston University, Ohio University, the University of Kansas, Western Kentucky University and Kansas State University. He has appeared on the ABC news magazine show 20-20, Dateline NBC, CBS Sunday Morning, The Today Show, NBC Nightly News, Nightline, Charlie Rose, Good Morning America, CNN Special Reports, Fox News Sunday, Fox Friends and Family and on National Public Radio. Souza has had solo exhibits of his photographs at the Leica Gallery in NYC, Kansas State University, Fermilab, the U.S. Naval Academy, the Navy Museum, the University of North Carolina, Boston University, Ohio University and the National Press Club in Washington. His photographs have also been part of group exhibits at the National Archives, Smithsonian Museum of American History, Corcoran Gallery of Art, the Newseum and the 92nd Street Y in New York City. He is a native of South Dartmouth, Massachusetts. He graduated cum laude with a bachelor of science degree in public communication from Boston University and received his master’s degree in journalism and mass communication from Kansas State University.
Scott Syphax is the Emmy Award–winning executive producer, head writer, and host of the California capital region’s program of record, Studio Sacramento, discussing the issues and events that shape our region, our state and our nation. Syphax is the CEO of Syphax Strategic Solutions, a Sacramento-based, national economic development, social enterprise and real
estate development corporation focused on empowering low-wealth communities. Syphax serves on the boards of Federal Home Loan Bank of San Francisco, Norcal Mutual Insurance Company, Medicus Insurance Company, FD Insurance Company, Valley Vision, the Bay Area Council, as well as the Mondavi Center’s Advisory Board.
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A L U M N I . AT T O R N E Y S . S U P P O R T E R S
Downey Brand and its alumni attorneys proudly support the institutions that educate and inspire future generations. downeybrand.com
SACRAMENTO 24 MONDAVIART S.ORG
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SILICON VALLEY
STOCKTON
RENO
THE HOT SARDINES A With A Twist Series Event
THE HOT SARDINES
Friday, December 8, 2017 • 8PM
Fueled by the belief that classic jazz feeds the heart and soul, The Hot Sardines are on a mission to make old sounds new again and prove that joyful music can bring people together in a disconnected world. In the past two years, The Hot Sardines have been featured at the Newport Jazz Festival and the Montreal Jazz Festival, have sold out NYC venues, from Joe’s Pub and Bowery Ballroom to more than 150 tour dates from Chicago to London, and have released two albums on Universal Music Classics to critical raves and a No. 1 slot on the iTunes jazz chart in the U.S. and internationally. In the talented hands of the New York– based ensemble, music first made famous decades ago comes alive through their brassy horn arrangements, rollicking piano melodies and vocals from a chanteuse who transports listeners to a different era with the mere lilt of her voice. On French Fries & Champagne, The Hot Sardines’ new album for Universal Music Classics, the jazz collective broadens its already impressive palette, combining covers and originals
Jackson Hall SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY Patti Donlon William and Nancy Roe
as they effortlessly channel New York speakeasies, Parisian cabarets and New Orleans jazz halls. Bandleader Evan Palazzo and lead singer Elizabeth Bougerol met in 2007 after they both answered a Craigslist ad about a jazz jam session above a Manhattan noodle shop. The unlikely pair—she was a London School of Economics-educated travel writer who grew up in France, Canada and the Ivory Coast, he was a New York City-born-andraised actor who studied theater at the University of the Arts in Philadelphia— bonded over their love for Fats Waller. Influenced also by such greats as Dinah Washington, Louis Armstrong and Billie Holiday, they began playing open mic nights and small gigs and by 2011, they headlined Midsummer Night Swing at New York’s Lincoln Center. The Hot Sardines’ self-titled debut album, named by iTunes as one of the best jazz albums of 2014, spent more than a year on the Billboard jazz chart, debuting in the top 10 alongside Tony Bennett and Lady Gaga. The accolades began pouring in for the band: Downbeat called The
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Hot Sardines “one of the most delightfully energetic bands on New York’s ‘hot’ music scene,” while The London Times praised their “crisp musicianship” and “immaculate and witty showmanship,” declaring them “simply phenomenal.” “We found ourselves in the perfect place at the perfect time,” says Palazzo. “As we explored this 100-year-old jazz, we began to look at it as a journey forward, not so much as a look back. This is music for today, not a museum piece.” Indeed, “People Will Say We’re In Love” from the Rodgers & Hammerstein musical Oklahoma! gets reinvented on French Fries & Champagne as a tart tango. Jazz standard “Comes Love” starts as a minuet before Bougerol, singing in her native French, conjures up spirits of 1930s Paris. The Hot Sardines even upend Robert Palmer’s 1985 classic “Addicted To Love” with Bougerol’s cool vocals and hot horn arrangements. Also on the album, Alan Cumming pairs with Bougerol for a mischievous take on “When I Get Low, I Get High,” a song popularized by Ella Fitzgerald. The Emmywinning actor (The Good Wife) came to mind as Bougerol, Palazzo and producer Eli Wolf (Elvis Costello, Al Green, Norah Jones) conceptualized the album. “When I saw him in the revival of Cabaret, I knew we had to ask him,” she says. “Turns out he was already a fan of the band, and said, “Yes!” right away. It was so much fun, and a real honor.” The album title celebrates the duality of The Hot Sardines, reflecting both their glamorous and gritty sides. “When we started out as a band, we played illegal parties in these secret spots in Brooklyn. Down and dirty, and that was one of the reasons we loved it,” Bougerol says. “Cut to a few years later, and we were invited to play with the Boston Pops. We came up with the idea of half of the album being lushed out with strings, and on the other half, going back to our roots.” The name is also a reflection of the times, as lines blur between high and low culture, luxury and comfort. “The old rules—that Champagne goes with caviar, or couture and takeout don’t mix—are out the window. You see it everywhere—fashion, travel, food,” says Bougerol. “Just be yourself and do what you like,” adds Palazzo. “Which is really how we approach playing music.”
THE HOT SARDINES The title track is a reminder that when the going gets tough, a little decadence is a balm for the soul. About the pair’s original song, Bougerol says, “I wanted to write something that could be taken as the end of a love affair, but with a second layer that expressed what we’re all feeling,” she says. “These are uncertain times. When everything seems hopeless, throw a party.” It’s one of several originals on the album, including Palazzo’s instrumental homage to his old neighborhood, “Gramercy Sunset,” and “Here You Are Again,” a woozy, countryleaning track written by Bougerol about “that person in your life who you can’t seem to break up with,” she says. “I got to play a little bit of Hammond organ on that track,” adds Palazzo. “It was in the corner of the studio, and it called me over.” Among the album’s other highlights is a high-voltage version of “Running Wild,” a song from the 1920s that film buffs will recognize from director Billy Wilder’s 1959 classic Some Like It Hot. The new arrangement allows each of The Hot Sardines’ accomplished musicians to stretch out. “It also has some Ray Charles moves, which I love to explore,” Palazzo says. On this record, Palazzo and Bougerol tapped a few members of the ensemble to create and collaborate on specific arrangements, including trumpet Jason Prover, drummer Alex Raderman, saxophone and clarinet Nick Myers, and trombone and cornet Mike Sailors. “Though we all mesh, each member of the band really has his own style, his own wheelhouse. We wanted to draw that out more on this album,” says Bougerol. In the hot jazz movement, The Hot Sardines stand apart for the innovation, verve and sheer joy they bring to music, both new and old. “It’s a really cool time to be making music,” Bougerol says. “Especially if you’re making music that started its life 100 years ago.”
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ADDED! New 17-18 shows
IN CONVERSATION WITH
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AMERICAN BACH SOLOISTS
Jeffrey Thomas, artistic director, conductor Sunday, December 17, 2017 • 4PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY Dr. Jim P. Back
AMERICAN BACH SOLOISTS AMERICAN BACH CHOIR Suzanne Karpov, soprano Aryeh Nussbaum Cohen, countertenor Zachary Wilder, tenor Hadleigh Adams, baritone Jeffrey Thomas, conductor
PROGRAM Messiah
Handel
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PROGRAM Messiah
Handel
PART THE FIRST SINFONY SCENE I RECITATIVE, accompanied – Tenor - Comfort ye, comfort ye my People ARIA – Tenor - Ev’ry Valley shall be exalted CHORUS - And the Glory of the Lord shall be revealed SCENE II RECITATIVE, accompanied – Bass - Thus saith the Lord of Hosts ARIA – Alto - But who may abide the Day of His coming? CHORUS - And He shall purify the Sons of Levi SCENE III RECITATIVE – Alto - Behold, a Virgin shall conceive, and bear a Son ARIA – Alto & CHORUS - O thou that tellest good Tidings to Zion RECITATIVE, accompanied – Bass - For behold, Darkness shall cover the Earth ARIA – Bass - The People that walked in Darkness have seen a great Light CHORUS - For unto us a Child is born SCENE IV PIFA RECITATIVE – Soprano - There were Shepherds abiding in the Field ARIOSO – Soprano - And lo, the Angel of the Lord came upon them RECITATIVE – Soprano - And the Angel said unto them, Fear not RECITATIVE, accompanied – Soprano - And suddenly there was with the Angel a Multitude CHORUS - Glory to God SCENE V ARIA – Soprano - Rejoice greatly, O Daughter of Sion RECITATIVE – Alto - Then shall the Eyes of the Blind be open’d ARIA – Alto & Soprano - He shall feed his Flock like a shepherd CHORUS - His Yoke is easy
INTERMISSION PART THE SECOND SCENE I CHORUS - Behold the Lamb of God ARIA – Alto - He was despised and rejected of Men CHORUS - Surely He hath borne our Griefs CHORUS - And with His Stripes we are healed CHORUS - All we, like Sheep, have gone astray RECITATIVE, accompanied – Tenor - All they that see Him laugh him to scorn 30 MONDAVIART S.ORG
CHORUS - He trusted in God, that He would deliver Him RECITATIVE, accompanied – Tenor - Thy Rebuke hath broken His Heart ARIA – Tenor - Behold, and see SCENE II RECITATIVE, accompanied – Tenor - He was cut off out of the Land of the Living ARIA – Tenor - But Thou didst not leave His Soul in Hell SCENE III SEMICHORUS - Lift up your Heads, O ye Gates SCENE IV RECITATIVE – Tenor - Unto which of the Angels said He at any time CHORUS - Let all the Angels of God worship Him SCENE V ARIA – Alto - Thou art gone up on High CHORUS - The Lord gave the Word ARIA – Soprano - How beautiful are the Feet of them CHORUS - Their Sound is gone out into all Lands SCENE VI ARIA – Bass - Why do the Nations so furiously rage together? CHORUS - Let us break their Bonds asunder SCENE VII RECITATIVE – Tenor - He that dwelleth in Heaven shall laugh them to scorn ARIA – Tenor - Thou shalt break them with a Rod of Iron CHORUS - Hallelujah! PART THE THIRD SCENE I ARIA – Soprano - I know that my Redeemer liveth CHORUS - Since by Man came Death SCENE II RECITATIVE, accompanied – Bass - Behold, I tell you a Mystery ARIA – Bass - The trumpet shall sound SCENE III RECITATIVE – Alto - Then shall be brought to pass DUET - Alto and Tenor - O Death, where is thy Sting? CHORUS - But Thanks be to God ARIA – Alto - If God is for us, who can be against us? SCENE IV CHORUS - Worthy is the Lamb that was slain CHORUS - Amen.
AMERICAN BACH SOLOISTS PROGRAM NOTES Within the decade that followed Handel’s composition of Messiah in 1741, nearly a dozen different casts and configurations of vocal soloists were employed by the composer during those first 10 years of what would become a never-ending history of performances worldwide. In each case, and for the remaining years of Handel’s life, he made revisions to his score in order to best utilize the particular talents of the solo singers on hand. While it is certainly true that Handel’s arrangements and transcriptions of arias that were employed for the work’s premiere in Dublin (1742) were due to the inadequacy of some of the singers at his disposal there, all subsequent revisions sought to show both the artists and the work in their best light. Customizing a musical work for the sake of the performers was not uncommon. In fact, it was not unheard of for an operatic vocalist (of necessarily considerable reputation) to carry along his or her favorite arias from city to city, insisting that they be incorporated into otherwise intact and singularly composed musical works for the stage. This indulgence was not as unreasonable as one might first assume. The operatic style during Handel’s day has since become known as opera seria, a term that literally means “serious” opera and that was devised to mark the differences between those works and opera buffa, comic operas that were the outgrowth of commedia dell’arte. There were strict conventions within opera seria, including the utilization of the da capo, or A-B-A format for arias. Secco recitatives, accompanied only by continuo (usually harpsichord with violoncello), were used to reveal plot details and to introduce the arias (or, rarely, duets) that would illuminate the emotions of whichever character would sing them. But there were also non-musical conventions of equally practical importance. In most cases the singer would exit at the end of an aria; hence the term “exit aria.” Of course, one of the primary reasons for this theatrical device was to solicit applause from the audience for the singer (although some of the approval might just as well have been intended for the composer). And each principal singer would fully expect to sing a number of arias in a variety of moods; lamentation, revenge, defiance, melancholy, anger and heroic virtue were common sentiments. The texts of the arias were rarely
longer than four or eight lines, and rather generic, so it was more or less reasonable that a singer could substitute a favorite aria from another work so long as the general emotion was appropriate. HANDEL’S PLIANT SCORE Other traditions further supported this kind of expected artistic license. In most cases, final arias within any opera of the period were always awarded to the most important singer, not necessarily the most important character. This sort of deference to the talent made a great deal of sense as, during Handel’s day, the singers themselves were as much of an attraction to the audience, if not more so, as the composers and their works might have been. So, in Handel’s implementations of various casts of Messiah soloists, he made redistributions of the workload to be fair or, in some cases, to be flattering to the members of any particular roster. When surveying all of the versions of Messiah, it is very interesting to look first at the assignment of the final aria, “If God be for us.” Although originally composed for soprano, even for the premiere he altered the key so that it could be sung by the contralto, Susanna Cibber, a singing actress that Handel found to be tremendously compelling. Over the next few years he continued to assign that “status” aria to her until 1749, the year before the first performance of Messiah as a charity event for London’s Foundling Hospital. In this case it was awarded to a treble, or boy soprano, perhaps as a prescient indication of discussions that were underway to bring the oratorio into that venue, a home for abandoned and orphaned children. And the following year, in 1750, it was again transposed down a few keys so that it could be sung by the most recently arrived operatic star, the great Italian castrato, Gaetano Guadagni (1728–1792). Only for the last performance of Messiah conducted by Handel in 1754 was the final aria heard as it was first composed, for soprano. AN EPOCH OF CHARITY London’s Foundling Hospital, a home “for the maintenance and education of exposed and deserted young children,” was established in 1739 in the Bloomsbury area. Its founder, Thomas Coram (1668–1751), was a sea captain and had spent a number of his early years in the American colonies. Following a career as a successful London merchant, he turned his attention to philanthropy and, in particular, rescuing
homeless, abandoned children. At that time, charity and philanthropy had become not only critically essential to the survival of Londoners as a whole, but it had also gained an oddly self-serving functionality as part of the fantastic expansion of London and the greater English empire. The rate of growth of London during the 18th century was exponential. About three-fourths of Londoners had been born elsewhere. Its culture was as diverse as the most modern 21st-century city. London offered opportunities and wealth to the industrious and ambitious, as well as a thriving underworld, anonymity and meager subsistence to criminals and the unskilled. Its hierarchical systems of social status were engrained, accepted and treasured, despite the fact that the 18th century offered all Londoners the chance to upgrade their places and stations within that cosmopolis. Ironically, though, even those who were able to buy into higher levels of society through their success as merchants were as eager as the blue-blooded aristocracy to maintain whatever distinctions of social status could be maintained. The wealthy typically lived in five-story townhouses, while the lower classes (those not housed as servants in the top floors of the elite’s homes) often lived in terribly unhealthy and cramped hovels. During most of the 1700s, Londoners were subjected to dreadful pollution, reprehensibly unsanitary conditions and mostly unbridled crime. Many of those poor conditions were the result of the preponderance of manufacturing industries within London’s commercial organism. About a third of London’s population was employed by manufacturing ventures, and the resulting pollution had turned the Thames River into, literally, a sewer. Still, this flourishing business culture helped increase overseas trade at least threefold during the century, and the spoils were global political power and domestic wealth. But the victims of all this were the children. Many lived only a few short years, and still others were abandoned to live on their own in the filth, smoke and mire of London’s poorer quarters. In the face of such undeniable misery, the wealthy could hardly turn a blind eye. During an era of destitution, depravity and victimization, the beliefs of the Latitudinarian branch of the Church of England were timely assertions that benevolent and charitable deeds, rather than (or at least in addition to) the formalities of church worship, were encoremediagroup.com/programs 31
essential to the quality of the moral state of the individual. Only by engaging in acts of compassion and by the establishment of a supporting relationship with the less fortunate could their plights, their suffering and the terrible waste of human life be acceptably mitigated and tolerated. Thus, charity became fashionable. Merchants supported charities that in turn supported the working class. They needed healthy workers in great numbers to keep their machines well-oiled and their industries thriving. Consumers were needed on the other side of the coin, so to speak, so the maintenance of the lower classes was in the best interest of those entrepreneurs. The kingdom itself needed to be defended at sea and abroad, so healthy battalions had to be provided. By supporting the less fortunate and encouraging their strength and independence, to a degree, those who had newly acquired wealth could gain prestige and propriety while nurturing their economic self-interests. To have a “bleeding heart” was especially in vogue among London’s upper-class women. Their ever-increasing opportunities to fashion socially relevant activities led quite naturally to their involvement in charities, which in turn substantiated their refinement, respectability and moral rank. William Hogarth (1697–1764), the great English painter, satirist and cartoonist, called this transformative time “a golden age of English philanthropy” and one of the greatest results of it was the Foundling Hospital. In 18th-century London, the term “hospital” was applied to institutions for the physically ill as well as for the mentally ill, and to organizations that, through hospitality, supported particular factions of London’s population including sailors, refugees, penitent prostitutes and destitute children. To a great degree, the efforts of Coram, assisted by Hogarth and Handel, firmly established the Foundling Hospital as one of England’s most long-lived and admirable benevolent institutions. Even before the buildings were completed—a process that took 10 years, from 1742 to 1752—children were first admitted to temporary housing in March 1741. No questions were asked, but overcrowding quickly led to the establishment of rules for acceptance. The requirement that children be aged no more than 2 months was relaxed by the House of Commons in 1756 so that children up to 12 months would be accepted. During the next few years, more than 15,000 infants were left at its doors. 32 MONDAVIART S.ORG
Even within the hospital, though, more than two-thirds of them would not survive long enough to be apprenticed during their teenage years. THE GENESIS, FIRST PERFORMANCES AND EVOLUTION OF MESSIAH In the same year that the Foundling Hospital accepted its first charges, Handel composed Messiah. Charles Jennens, the librettist for Messiah, had probably made the suggestion to Handel that the premiere of the work might take place in Dublin as a charity event. In fact, on March 27, 1742, Faulkner’s Dublin Journal published an announcement that: “For Relief of the Prisoners in the several Gaols, and for the Support of Mercer’s Hospital in Stephen’s Street, and of the Charitable Infirmary on the Inns Quay, on Monday the 12th of April, will be performed at the Musick Hall in Fishamble Street, Mr. Handel’s new Grand Oratorio, call’d the Messiah…” The previous decade or so had been quite unpleasant for Handel. He had begun to suffer financial difficulties, and by the early 1730s his professional life was simply unraveling. He was nearly bankrupt and had fallen very much out of the critical favor of the aristocratic public for whom he had composed his Italian operas. They were expensive to produce and not accessible enough for his audience. But, in fact, Handel himself was the object of what must have felt like brutal betrayal by his patrons, his audience and even his musicians. For the first half of his life, Handel had led a charmed existence. He seems to have waltzed into one happy situation after another, in which he enjoyed the patronage of royalty, the aristocracy and the culture-seeking population at large. He was unexaggeratedly a national hero, despite his non-domestic origins. He had lived in extravagant estates, kept the most celebrated artists, writers and musicians in his closest circles, and profited—although, not necessarily financially—from the tremendous favor that was bestowed upon him by an entire empire. His unprecedented success was so irreproachable that he was, without a doubt, completely unprepared for what amounted to a staggering fall from grace. But what emerged in 1741–42 was a work that would transcend the boundaries of musical forms, subject matter, social and cultural expectations and eventually, the bitterness of his rivals. And it would restore “the great Mr. Handel” to the revered status that he had enjoyed decades before.
The first performance of Messiah took place on April 13, 1742, in Dublin’s newest concert hall, which was built by the Charitable Music Society. Alternatively named the Great Music Hall on Fishamble Street, the New Music Hall, or Mr. Neale’s Hall (named after William Neale, the music publisher who led the Charitable Music Society), it was a stately building designed by the Dublin architect Richard Castle, featuring two rows of boxes, a slanted parterre, lovely ornamental details, including fluted columns and pilasters on the raised performance platform and an arched ceiling that created a fine acoustic. Mirrors were also incorporated into the trimmings so that Dublin’s finest could view themselves approvingly. The hall had opened only a few weeks before Handel arrived to present his season of concerts. The premiere of Messiah was a tremendous success. The review that appeared in Faulkner’s Dublin Journal proclaimed: “Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear.” Performances in subsequent years took place in London, but those were met with less enthusiastic receptions. Messiah had blurred the distinctions between opera, oratorio, passion and cantata, and perhaps some Londoners found this to be a fundamental fault. So it is fascinating to note that when the function of Messiah was returned to that of a work presented for the benefit of charities, and when the venue became an ecclesiastical structure rather than a theater, the oratorio took hold of its permanent place in the hearts of audiences, then in London and now throughout the world. For at least one year before the first Foundling Hospital performance of Messiah in 1750, Handel was involved with the charity, probably drawn to it through his associations with Hogarth and the music publisher John Walsh (1709–1766) who had been elected a governor in 1748. On May 4, 1749, Handel had made an offer, which was gratefully accepted, to present a benefit concert of vocal and instrumental music to help in the completion of the hospital’s chapel. The hospital reciprocated with an invitation to Handel, which he initially declined, to become one of its governors. On May 27th, Handel directed a
AMERICAN BACH SOLOISTS performance (in the unfinished chapel) of excerpts from his Fireworks Music, Solomon and the newly composed Foundling Hospital Anthem, “Blessed are they that considereth the poor and needy.” (The Foundling Hospital Anthem was Handel’s last work of English church music.) The “Hallelujah” chorus from Messiah was the final work, a premonition of what was in store for the following year. Royalty were in attendance. Nearly one year later, on May 1, 1750, Handel performed Messiah in the (still not quite finished) chapel. That day marked what could be seen as the most significant day in Handel’s career. The benefit concert’s success was extraordinary. More than 1,000 people crowded into the space, and more were turned away. Massive public attention to the event, coupled with unequivocal approbation for the oratorio, served Handel well and generated new commitment on the part of the London audience to uphold Handel and his oratorios as the great beacons of English music that they are. He became a governor of the hospital; since more than £1,000 had been raised by his performances, the fee required of governors was waived. Due to the overcrowded conditions on May 1, a second performance was offered on May 15, especially to those who were turned away a fortnight before, that resulted in the first documentation of an entire audience standing for the “Hallelujah” chorus. The most noteworthy musical aspect of the 1750 Foundling Hospital version of Messiah is the reworking of the aria, “But who may abide.” In this year, Handel employed the castrato, Gaetano Guadagni, who had arrived in London as part of an Italian opera company two years before, in 1748, at the age of 20. The music historian Charles Burney (1726–1814) wrote about Guadagni: “His voice was then a full and well toned counter-tenor; but he was a wild and careless singer. However, the excellence of his voice attracted the notice of Handel, who assigned him the parts in his oratorios of the Messiah and Samson, which had been originally composed for Mrs. Cibber…” Handel composed a new middle section of the aria, taking advantage of Guadagni’s bravura vocal technique as well as his apparently considerable low notes. Two other arias were also reworked for Guadagni: “Thou art gone up on high” and “How beautiful are the feet.” Recent research seems to indicate that the alto arrangement of “How beautiful are the
feet” was only an afterthought. For the May 1, 1750, performance, Handel had seven soloists (female soprano, boy treble, female contralto, male castrato, countertenor, tenor and bass). But two weeks later, on May 15, when the work was offered for a second time, especially to those who were turned away a fortnight before, the soprano must have fallen ill. Emergency reassignments were put in place, and the alto arrangement of “How beautiful are the feet” was one of them. In all fairness, however, it might have been that Handel was so pleased with Guadagni’s singing that he took that opportunity to give the singer another one of the oratorio’s “gem” arias. TOTAL ECLIPSE In subsequent years, the Foundling Hospital continued to rely upon annual performances of Messiah for significant income. But Handel’s life was approaching its very real twilight. The great colleague whom Handel never met, Johann Sebastian Bach, had undergone two operations on his eyes, both unsuccessful, the second of which led within months to Bach’s death in 1750. By the next year, Handel’s own eyesight was deteriorating rapidly. By March 1751, he was blind in one eye but nevertheless directed two performances of Messiah (in the still unfinished chapel) and even played voluntaries on the organ. 1752 brought more performances of Messiah, still under the composer’s direction, but his eyesight continued to deteriorate despite various treatments and an operation. On August 17 a London newspaper reported that Handel had been “seiz’d a few days ago with a Paralytick [sic] Disorder in his Head which has deprived him of Sight,” and in March 1753 Handel’s dear and longtime friend, Lady (Susan) Shaftesbury, reported that (at a performance) “it was such a melancholy pleasure, as drew tears of sorrow, to see the great though unhappy Handel, dejected, wan and dark, sitting by, not playing on the harpsichord, and to think how his light had been spent by being overplied in music’s cause.” Soon, though, the Foundling Hospital Chapel was due for its official opening. Messiah was performed in April 1753 in the Covent Garden Theatre, and three days later the Chapel was officially dedicated at a performance of the Foundling Hospital Anthem. The last report of any public performance conducted by the blind Handel comes from the May 1 revival of Messiah for the benefit of the Hospital.
For this performance, the configuration of soloists was somewhat conventional for that era: one soprano, one male alto, one tenor and one bass. The celebrated castrato Guadagni returned to London to sing his last performance of Messiah on this occasion, and Handel, although debilitated by blindness, played a voluntary and an organ concerto for the Foundling Hospital audience. Annual performances to benefit the charity continued until his death in 1759 and beyond, leading to more than 250 years of performances throughout the world, having reached millions upon millions of listeners. Handel was a man of quiet yet firm religious convictions. Almost certainly nudged to embrace Catholicism during his years in Rome, and having been presented with the idea of converting to the Church of England especially during the years of rather significant monarchical patronage in London, he remained a rather staunch Lutheran. Ecclesiastics were prevalent in his mother’s family, and his Evangelical-Lutheran identity may very well have stemmed partially from a desire to retain a lifelong connection to his Saxon background and heritage. It follows then that while Messiah is certainly considered by any audience to be a “Grand Musical Entertainment”—as it was sometimes called in Handel’s day—the composer is purported to have said, “I should be sorry if I only entertained them; I wished to make them better.” © Jeffrey Thomas, 2017
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TEXTS MESSIAH AN ORATORIO Set to Musick by George-Frideric Handel, Esq.
PART ONE SINFONY SCENE I RECITATIVE, accompanied - Tenor Comfort ye, comfort ye my People, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her Warfare is accomplish’d, that her Iniquity is pardon’d. The Voice of him that crieth in the Wilderness, prepare ye the Way of the Lord, make straight in the Desert a Highway for our God. (Isaiah 40:1-3) ARIA - Tenor Ev’ry Valley shall be exalted, and ev’ry Mountain and Hill made low, the Crooked straight, and the rough Places plain. (Isaiah 40:4) CHORUS And the Glory of the Lord shall be revealed, and all Flesh shall see it together; for the Mouth of the Lord hath spoken it. (Isaiah 40:5) SCENE II RECITATIVE, accompanied - Bass Thus saith the Lord of Hosts; Yet once a little while, and I will shake the Heav’ns and the Earth; the Sea and the dry Land: And I will shake all Nations; and the Desire of all Nations shall come. (Haggai 2:6-7) The Lord whom ye seek shall suddenly come to his Temple, ev’n the Messenger of the Covenant, whom ye delight in: Behold He shall come, saith the Lord of Hosts. (Malachi 3:1) ARIA – Alto But who may abide the Day of his coming? And who shall stand when He appeareth? For He is like a Refiner’s Fire. (Malachi 3:2) CHORUS And he shall purify the Sons of Levi, that they may offer unto the Lord an Offering in Righteousness. (Malachi 3:3) SCENE III RECITATIVE - Alto Behold, a Virgin shall conceive, and bear a Son, and shall call his Name Emmanuel, GOD WITH US. (Isaiah 7:14; Matthew 1:23) ARIA – Alto & CHORUS O thou that tellest good Tidings to Zion, get thee up into the high Mountain: O thou that tellest good Tidings to Jerusalem, lift up thy Voice with Strength; lift it up, be not afraid: Say unto the Cities of Judah, Behold your God. O thou that tellest good Tidings to Zion, Arise, shine, for thy Light is come, and the Glory of the Lord is risen upon thee. (Isaiah 40:9 and 60:1) RECITATIVE, accompanied - Bass For behold, Darkness shall cover the Earth, and gross Darkness the People: but the Lord shall arise upon thee, and his Glory shall be seen upon thee. And the Gentiles shall come to thy 34 MONDAVIART S.ORG
Light, and Kings to the Brightness of thy Rising. (Isaiah 60:2-3) ARIA - Bass The People that walked in Darkness have seen a great Light; And they that dwell in the Land of the Shadow of Death, upon them hath the Light shined. (Isaiah 9:2) CHORUS For unto us a Child is born, unto us a Son is given; and the Government shall be upon his Shoulder; and His Name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace. (Isaiah 9:6) SCENE IV PIFA RECITATIVE - Soprano There were Shepherds abiding in the Field, keeping Watch over their Flock by Night. (Luke 2:8) ARIOSO - Soprano And lo, the Angel of the Lord came upon them, and the Glory of the Lord shone round about them, and they were sore afraid. (Luke 2:9) RECITATIVE - Soprano And the Angel said unto them, Fear not; for behold, I bring you good Tidings of great Joy, which shall be to all People. For unto you is born this Day, in the City of David, a Saviour, which is Christ the Lord. (Luke 2:10-11) RECITATIVE, accompanied - Soprano And suddenly there was with the Angel a Multitude of the heav’nly Host, praising God, and saying ... (Luke 2:13) CHORUS Glory to God in the Highest, and Peace on Earth, Good Will towards Men. (Luke 2:14) SCENE V ARIA - Soprano Rejoice greatly, O Daughter of Sion, shout, O Daughter of Jerusalem; behold, thy King cometh unto thee: He is the righteous Saviour; and He shall speak Peace unto the Heathen. (Zechariah 9:9-10) RECITATIVE - Alto Then shall the Eyes of the Blind be open’d, and the Ears of the Deaf unstopped; then shall the lame Man leap as an Hart, and the Tongue of the Dumb shall sing. (Isaiah 35:5-6) DUET – Alto & Soprano He shall feed his Flock like a shepherd: and He shall gather the Lambs with his Arm, and carry them in his Bosom, and gently lead those that are with young. Come unto Him all ye that labour, come unto Him all ye that are heavy laden, and He will give you Rest. Take his Yoke upon you and learn of Him; for He is meek and lowly of Heart: and ye shall find Rest unto your souls. (Isaiah 40:11; Matthew 11:28-29) CHORUS His Yoke is easy, his Burthen is light. (Matthew 11:30)
AMERICAN BACH SOLOISTS INTERMISSION PART TWO SCENE I CHORUS Behold the Lamb of God, that taketh away the Sin of the World. (John 1:29) ARIA - Alto He was despised and rejected of Men, a Man of Sorrows, and acquainted with Grief. He gave his Back to the Smiters, and his Cheeks to them that plucked off the Hair: He hid not his Face from Shame and Spitting. (Isaiah 53:3 and 50:6) CHORUS Surely he hath borne our Griefs and carried our Sorrows: He was wounded for our Transgressions, He was bruised for our Iniquities; the Chastisement of our Peace was upon Him. (Isaiah 53:4-5) CHORUS And with His Stripes we are healed. (Isaiah 53:5) CHORUS All we, like Sheep, have gone astray, we have turned ev’ry one to his own Way, and the Lord hath laid on Him the Iniquity of us all. (Isaiah 53:6) RECITATIVE, accompanied - Tenor All they that see him laugh him to scorn; they shoot out their Lips, and shake their Heads, saying ... (Psalm 22:7) CHORUS He trusted in God, that he would deliver him: let him deliver him, if he delight in him. (Psalm 22:8) RECITATIVE, accompanied - Tenor Thy Rebuke hath broken his Heart; He is full of Heaviness: He looked for some to have Pity on him, but there was no Man, neither found he any to comfort him. (Psalm 69:21) ARIA - Tenor Behold, and see, if there be any Sorrow like unto his Sorrow! (Lamentations 1:12)
SCENE IV RECITATIVE - Tenor Unto which of the Angels said He at any time, Thou art my Son, this Day have I begotten thee? (Hebrews 1:5) CHORUS Let all the Angels of God worship Him. (Hebrews 1:6) SCENE V ARIA - Alto Thou art gone up on High; Thou has led Captivity captive, and received Gifts for Men, yea, even for thine Enemies, that the Lord God might dwell among them. (Psalm 68:18) CHORUS The Lord gave the Word: Great was the Company of the Preachers. (Psalm 68:11) ARIA - Soprano How beautiful are the Feet of them that preach the gospel of peace, and bring glad tidings of good things. (Romans 10:15) CHORUS Their Sound is gone out into all Lands, and their Words unto the Ends of the World. (Romans 10: 18) SCENE VI ARIA - Bass Why do the Nations so furiously rage together? and why do the People imagine a vain Thing? The Kings of the Earth rise up, and the Rulers take Counsel together against the Lord and against his Anointed. (Psalm 2:1-2) CHORUS Let us break their Bonds asunder, and cast away their Yokes from us. (Psalm 2:3)
SCENE II RECITATIVE, accompanied - Tenor He was cut off out of the Land of the Living: For the Transgression of thy People was He stricken. (Isaiah 53:8) ARIA - Tenor But Thou didst not leave his Soul in Hell, nor didst Thou suffer thy Holy One to see Corruption. (Psalm 16:10)
SCENE VII RECITATIVE - Tenor He that dwelleth in Heaven shall laugh them to scorn; the Lord shall have them in Derision. (Psalm 2:4) ARIA - Tenor Thou shalt break them with a Rod of Iron; thou shalt dash them in pieces like a Potter’s Vessel. (Psalm 2:9) CHORUS Hallelujah! for the Lord God Omnipotent reigneth. The Kingdom of this World is become the Kingdom of our Lord and of his Christ; and He shall reign for ever and ever, King of Kings, and Lord of Lords. Hallelujah! (Revelation 19:6, 11:15, and 19:16)
SCENE III SEMICHORUS Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord Strong and Mighty; the Lord Mighty in Battle. Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts: he is the King of Glory. (Psalm 24:7-10)
PART THREE SCENE I ARIA - Soprano I know that my Redeemer liveth, and that He shall stand at the latter Day upon the Earth: And tho’ Worms destroy this Body, yet in my Flesh shall I see God. For now is Christ risen from the Dead, the First-Fruits of them that sleep. (Job 19:25-26; 1 Corinthians 15:20)
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CHORUS Since by Man came Death, by Man came also the Resurrection of the Dead. For as in Adam all die, even so in Christ shall all be made alive. (1 Corinthians 15:21-22) SCENE II RECITATIVE, accompanied - Bass Behold, I tell you a Mystery: We shall not all sleep, but we shall all be chang’d, in a Moment, in the Twinkling of an Eye, at the last Trumpet. (1 Corinthians 15:51-52) ARIA - Bass The trumpet shall sound, and the Dead shall be rais’d incorruptible, and We shall be chang’d. For this corruptible must put on Incorruption, and this Mortal must put on Immortality. (1 Corinthians 15:52-53) SCENE III RECITATIVE - Alto Then shall be brought to pass the Saying that is written; Death is swallow’d up in Victory. (1 Corinthians 15:54) DUET - Alto and Tenor O Death, where is thy Sting? O Grave, where is thy Victory? The Sting of Death is Sin, and the Strength of Sin is the Law. (1 Corinthians 15:55-56) CHORUS But Thanks be to God, who giveth Us the Victory through our Lord Jesus Christ. (1 Corinthians 15:57) ARIA - Alto If God is for us, who can be against us? Who shall lay anything to the Charge of God’s Elect? It is God that justifieth; Who is he that condemneth? It is Christ that died, yea, rather that is risen again; who is at the Right Hand of God, who maketh intercession for us. (Romans 8:31 and 33-34) SCENE IV CHORUS Worthy is the Lamb that was slain, and hath redeemed us to God by His Blood, to receive Power, and Riches, and Wisdom, and Strength, and Honour, and Glory, and Blessing. Blessing and Honour, Glory and Pow’r be unto Him that sitteth upon the Throne, and unto the Lamb, for ever and ever. (Revelation 5:1214) CHORUS Amen.
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HANDEL’S “HALLELUJAH” CHORUS—TO STAND OR NOT TO STAND… Perhaps the best-known and widely accepted concert “tradition” is standing for the “Hallelujah” chorus. Legend has it that King George II leapt to his feet when he heard it during one of the work’s performances in London. Because no person could remain seated while the King stood, the entire audience rose with him. Some credit this anecdote as the origin of the “standing ovation.” But a closer look at the facts reveals that there is no evidence that the king ever attended such a performance. The first written account of the story appeared in 1780, more than 35 years after the cited performance, and it was written by someone who admits to not having witnessed the king’s presence himself. However, the king was known to attend such events incognito. So he, in fact, at least might have been there. If he was in attendance, there is much speculation as to why he stood at all. Theories range from the reverent to the simply unflattering: He might have been stretching his legs to relieve symptoms of gout, or perhaps he was suddenly awakened by the forte entrance of the chorus, trumpets and timpani. But the general opinion is that his own sense of obeisance compelled him to stand upon hearing the majestic and undeniably enthralling music of the “Hallelujah” chorus. The custom is common in English-speaking countries but essentially unknown in all others. Many have objected, in more contemporary eras, to the imperialistic implications of following the king’s lead in this manner. After all, the general audience only stood because they had to do so. But others are quick and well justified to point out that Handel’s Messiah is certainly the most wellknown and universally enjoyed major work in the Baroque oratorio genre—if not among all “classical” music works—and that standing as a group, in the name of tradition, unites the audience with the performers for a few minutes in a most energizing way. No matter how convincingly some can argue that this “tradition” is rooted in hearsay, you have only to look at the performers when you stand at that wondrous, thrilling moment: You will see their smiles and their spirits lifted even higher, knowing that millions upon millions of people have stood at that very same moment in music, and in virtually every corner of the world. Even Haydn stood with the crowd at a performance in Westminster Abbey. It is said that he wept and proclaimed of George Frideric Handel, “He is the master of us all.”
AMERICAN BACH SOLOISTS American Bach Soloists (ABS) was founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to bring this brilliant music to life. In 2013, to commemorate ABS Music Director Jeffrey Thomas’ 25-year tenure of inspired leadership, the ABS created the Jeffrey Thomas Award to honor, recognize and encourage exceptionally gifted emerging professionals in the field of early music. Bringing to fruition the ensemble’s commitment to introduce
AMERICAN BACH SOLOISTS audiences to newly discovered works from the Baroque era, ABS presented the West Coast premiere of Antonio Lotti’s Mass for Three Choirs in 2011 and the first North American performance of Heinrich Biber’s 53-part Missa Salisburgensis—perhaps the largest-scaled surviving work from the Baroque—utilizing the composer’s full instrumentation at the 2013 ABS Festival & Academy. In 2015, the Festival offered the first performances outside of Europe of Marin Marais’ 1709 opera, Sémélé. Handel’s complete serenata, Parnasso in festa, was given its North and South American premiere at the 2016 Festival & Academy. ABS are three-time winners of San Francisco Classical Voice “Best of the Bay” awards, placing first in “Best Choral Performers,” “Best Early Music/ Baroque Performance,” and “Best Festival” categories. The ABS' most recent audio recording features soprano Mary Wilson singing a collection of virtuoso vocal works by Handel, including his settings of Laudate pueri Dominum and Silete venti. ABS’ newest release is the feature film Handel’s Messiah in Grace Cathedral, recorded in 5.1 DTS-HD™ Surround Sound and 2.0 DTS-HD™ Stereo, and is available on High Definition Blu-ray™ and DVD.
JEFFREY THOMAS (conductor) has brought thoughtful, meaningful and informed perspectives to his performances as artistic and music director of the American Bach Soloists for more than 25 years. Recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. He has directed and conducted recordings of more than 20 cantatas, the Mass in B Minor, Brandenburg Concertos, St. Matthew Passion, various concertos and works by Schütz, Pergolesi, Vivaldi, Haydn and Beethoven. Fanfare Magazine has praised his series of Bach recordings, stating that “Thomas’ direction seems just right, capturing the humanity of the
music…there is no higher praise for Bach performance.” Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street Journal as “a superstar among oratorio tenors,” Thomas’ extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics and
Arabesque. Thomas has appeared with the Baltimore, Berkeley, Boston, Detroit, Houston, National, Rochester, Minnesota and San Francisco symphony orchestras; with the Vienna Symphony and the New Japan Philharmonic; with virtually every American Baroque orchestra; and in Austria, England, Germany, Italy, Japan and Mexico. He has performed at the Santa Fe Chamber Music Festival, Spoleto USA Festival, Ravinia Festival, Saratoga Performing Arts Center, Berkeley Festival
FURTHER LISTENING by Jeff Hudson
AMERICAN BACH SOLOISTS AND MESSIAH If you enjoy this evening’s performance of Messiah, there are two recordings that may be of interest (and very likely they’re both available in the lobby during intermission). One is relatively new, the other is an old favorite. The recent release is a DVD/Blue-ray recording of Handel’s Messiah, recorded live in San Francisco’s Grace Cathedral in December 2014 and released in March 2016. I got the DVD for my 84-year-old mom, who doesn’t drive anymore and therefore gets to fewer concerts nowadays, and she loves it. The old favorite is the ABS’ two-CD Messiah album, recorded here in Jackson Hall in December 2004 and released on the Delos label in October 2005. These two releases represent the tip of the iceberg in terms of the American Bach Soloists’ discography. Other recordings include a six-CD set covering various Bach cantatas; an album of Bach harpsichord concertos; Bach’s Brandenburg Concertos; his Mass in B Minor; and his St. Matthew Passion. There are other ABS albums focusing on choral works by Josef Haydn and Heinrich Schütz respectively, a Beethoven 9 recording and an album of Christmas carols and more. You can sample these recordings for free, using the ABS Player feature on their website. Once you start the player, you can select a particular piece, or just let the player pick the music on your behalf. ABS Music Director Jeffrey Thomas would never dispute the value of hearing music performed live—but he also feels that recorded music is valuable as well... just as the words and the music are both important in the oratorio you’ll hear tonight. Thomas says, “Recordings—whether ‘live’ or produced in a studio—can provide opportunities that are essentially lacking in a concert performance. We were able to recreate an aspect of historically informed performance practice that is otherwise quite impractical: until the middle of the 19th century, and even beyond, choruses were quite often placed in front of their accompanying orchestras. The rhetorical expression of text was a driving force of the Baroque period and is, indeed, one of the primary goals of all of our performances. In Messiah, the chorus, in addition to the soloists, carries the dramatic action of the libretto, and placing them in the foreground of the listener’s experience gives their orations the prominence that they deserve.” JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
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and Exhibition, Boston Early Music Festival, Bethlehem Bach Festival, Göttingen Festival, Tage Alte Musik Festival in Regensburg, E. Nakamichi Baroque Festival in Los Angeles, the Smithsonian Institution and at the Brooklyn Academy of Music’s “Next Wave Festival,” and he has collaborated on several occasions as conductor with the Mark Morris Dance Group. Educated at the Oberlin Conservatory of Music, Manhattan School of Music and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society and Southern Utah Early Music Workshops; presented master classes at the Eastman School of Music, the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College and Washington University; been on the faculty of Lehigh University in Pennsylvania; and was artistin-residence at the University of California, where he is professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis. He was a UC Davis Chancellor’s Fellow from 2001 to 2006; and the Rockefeller Foundation awarded him a prestigious Residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007 to work on his manuscript, “Handel’s Messiah: A Life of Its Own.” Thomas hosts two public radio programs on Classical KDFC.
SUZANNE KARPOV, hailed by the San Francisco Chronicle for her “elegant” soprano, both “incisive and tender,” is quickly distinguishing herself as one of America’s leading young sopranos. A native of Oceanside, New York, Karpov is a recent graduate of the Maryland Opera Studio (University of Maryland, College Park), and earned her bachelor’s degree from Boston University, magna cum laude. Karpov’s roles with the Maryland Opera Studio include Berenice in 38 MONDAVIART S.ORG
AMERICAN BACH SOLOISTS Rossini’s L’occasione fa il ladro, Miss Pinkerton in Menotti’s Old Maid and the Thief, Despina in Mozart’s Cosi fan tutte, as well as the premiere of Derrick Wang’s Scalia/Ginsburg in which she played the role of Justice Ruth Ginsburg. In the 2015–16 season, Karpov made her debut with the Washington Bach Consort and with Loudoun Lyric Opera, was a finalist in the Vocal Arts DC competition, won an Encouragement Award from the Metropolitan Opera National Council and won first place at the national NATS Competition in Chicago. Previously, she has won the Donizetti Award from the Orpheus Vocal Competition, third prize in the Five Towns Music and Arts competition and second place in the Classical Singer competition (University division). Recent engagements have included her role debut of Abigail in Ward’s The Crucible (Miami Summer Music Festival), Clio in the North American premiere of Parnasso in festa with the American Bach Soloists Academy (San Francisco) and her debut with Washington National Opera as the soprano Bridesmaid in Le Nozze di Figaro. Future engagements for the 2016–17 season include her debut at Carnegie Hall as the soprano soloist in Poulenc’s Gloria presented by DCINY, appearances with the American Bach Soloists, Boston Early Music Festival and the Washington Bach Consort.
ARYEH NUSSBAUM COHEN has quickly been identified as one of opera’s most promising rising stars. In his breakout 2016–2017 season, the 23-year-old American countertenor was named a winner of the Metropolitan Opera National Council Auditions, recipient of a Sara Tucker Study Grant from the Richard Tucker Music Foundation, first prize winner in the Houston Grand Opera Eleanor McCollum Competition and winner of the Irvin Scherzer Award from the George London Foundation. Performances of the season included the world premiere of Kenneth Fuchs’ “Poems of Life” with the Virginia Symphony, which he then recorded with the London Symphony Orchestra for release in 2018 (Naxos). In the summer of 2016, he participated in the Merola Opera Program at San Francisco
Opera, and in the summer of 2017, Nussbaum Cohen joined Wolf Trap Opera as a studio artist. In the 2017–2018 season, he joins the Houston Grand Opera Studio as the first countertenor in the studio’s history, where he sings Nireno in Handel’s Giulio Cesare and Maid in Strauss’ Elektra. He also joins American Bach Soloists for their 20th annual performances of Handel’s Messiah in San Francisco’s Grace Cathedral, and he joins Ars Lyrica Houston for two concert programs, featuring works by Bach and Handel. On the recital stage, Nussbaum Cohen presents a recital in San Francisco with John Churchwell, Head of Music at San Francisco Opera, under the auspices of the Merola Opera Program, and he sings recitals in Houston, Great Barrington (Massachusetts), and additional cities to be announced. In the summer of 2018, he makes his role debut as Ottone in Monteverdi’s L’incoronazione di Poppea with Cincinnati Opera. He made his European debut at the Theater an der Wien in Vienna, Austria, singing the primo uomo role of Timante in Gluck’s Demofonte with Baroque ensemble Il Complesso Barocco under the baton of maestro Alan Curtis. His opera roles also include Nerone in Monteverdi’s L’incoronazione di Poppea, Raphael (The Angel) in Jonathan Dove’s Tobias and the Angel, and Cefalo in Cavalli’s Gli Amori di Apollo e Dafne. Further, Nussbaum Cohen has significant experience in the world of sacred music: Highlights include serving as the alto soloist in the Bach Magnificat with the Leipzig Barockorchester in the Thomaskirche in Leipzig, Germany. During his senior year at Princeton University, he became the first singer in a decade to win the Princeton University Concerto Competition. Nussbaum Cohen received his B.A. in 2015 from Princeton University, where he majored in history (with a concentration in intellectual and cultural history) and received certificates in vocal performance and Judaic studies. Upon graduating, he was awarded Princeton’s Isidore and Helen Sacks Memorial Prize for extraordinary achievement in the arts, granted each year to the student of greatest promise in the performance of classical music.
ZACHARY WILDER is a sought-after performer, both on the operatic and concert stage. An American who lives in Paris, he was a member of Le Jardin des Voix under the direction of William Christie and has since performed widely in Europe and throughout the United States with groups including Les Arts Florissants, Boston Early Music Festival, Collegium Vocale Gent, Emmanuel Music, Orchestre de Chambre de Paris, Handel & Haydn Society, Mark Morris Dance Group, Cappella Mediterranea, Opera Omaha, Portland Baroque Orchestra, Pacific Musicworks, Concerto Soave, Festival d’Aix-en-Provence, Les Talens Lyriques, Early Opera Company, Early Music Vancouver and the American Bach Soloists under the baton of such musical luminaries as Elliot Carter, Harry Christophers, Philippe Herreweghe, James Levine, Mark Morris, Paul O’Dette, Christophe Rousset, Stephen Stubbs and Jeffrey Thomas. Recent highlights include Un Sylphe Zaïs in France and Amsterdam with Les Talens Lyriques, Tirsi in Gagliano’s La Dafne in Bruges with L. Alarcon and Capella Mediterranea, and St. John Passion (Brussels, Barcelona, Seville) with Herreweghe. He has also performed Damon in Acis and Galatea with the American Bach Soloists, Septimus in Theodora with Early Music Vancouver, Haydn’s Die sieben letzten Worte unseres Erlösers am Kreuze in Paris with Orchestre de Chambre de Paris, Bach’s Mass in B Minor with the Grand Rapids Symphony, and the roles of Lucano and Telemaco in Monteverdi’s L’incoronazione di Poppea and Il ritorno d’Ulisse in patria (respectively), both for Boston Early Music Festival. Wilder’s engagements this season include Mozart’s Requiem in St Paul’s Cathedral under John Rutter, performances and a recording of Bach’s Magnificat with Arion Baroque in Montreal, Messiah with the Alabama Symphony Orchestra, Trasimede/ l’Interesse in Cavalli’s l’Oristeo in Marseille, Euryale in Persée by Lully in Paris and Versailles (also recorded), Beethoven’s 9th Symphony with Mercury Orchestra (Houston) and Zadok in Handel’s Solomon encoremediagroup.com/programs 39
in Hannover. Future engagements include his debut with the San Francisco Symphony for performances of Messiah and Everardo in Zingarelli’s Giulietta e Romeo with Theater und Orchester Heidelberg. His discography with Boston Early Music Festival includes Lully’s Psyché (Grammy nominated), Rameau’s Le Jardin de Monsieur Rameau with Le Jardin des Voix and William Christie, Zamponi’s Ulisse all’Isola di Circé, and Monteverdi’s Vespro della Beata Vergine with Leonardo Alarcón. Wilder graduated from the Eastman School of Music with a bachelor’s degree in music before completing a master’s in music at the Moores School of Music, University of Houston. Additionally, he was a Lorraine Hunt-Lieberson Fellow at Emmanuel Music, a Gerdine Young Artist at the Opera Theater of Saint Louis, an Adams Vocal Masterclass Fellow at the Carmel Bach Festival, a Tanglewood Music Centre Fellow, a Britten-Pears Young Artist and a member of the Les Arts Florissants academy for young singers.
HADLEIGH ADAMS is a United States– based baritone who has received international acclaim for his performances on stage and in concert. He is renowned for his dynamic stage presence and ability to draw true, honest characters in his performances. His broad repertoire spans from Baroque and bel canto through Britten and contemporary composition. He has collaborated with some of today’s greatest artists on the concert platform and on the opera stage. Born in New Zealand, Adams began his operatic studies at the University of Auckland, gaining a bachelor’s degree in music, with first class, first division honors and then completed his master’s degree in music at the New Zealand School of Music. From here he was invited to join the New Zealand Opera as a Dame Malvina Major Emerging Artist. In 2009, he relocated to Australia as the inaugural Gertrude Johnson Scholar at The Opera Studio, Melbourne. He then received a full three-year scholarship to London’s Guildhall School of Music and Drama, where he studied with Rudolf 40 MONDAVIART S.ORG
Piernay and Janice Chapman, gaining a master’s of music with distinction and completed the Opera Program with first class, first division honors. Following his studies, Adams performed in concert at London’s Academy of St Martin in the Fields, in the London Song Recital series and has performed at the Wigmore Hall as a Voiceworks series artist. While studying at the Guildhall School of Music & Drama, Adams made his debut at London’s Royal National Theatre, singing the role of Christ in Jonathan Miller’s production of Bach’s St. Matthew Passion, to critical acclaim. Following these performances, he was invited to join the Merola Opera Program at the San Francisco Opera, followed by a subsequent invitation to join the San Francisco Opera as an Adler Fellow, the first New Zealander to ever hold the position. During his two-year tenure with the company, Adams appeared in over 75 MainStage performances and over 20 concert performances. His final performance with the company was in the role of Schaunard in la Boheme. Since his New York debut in RB Schlather’s production of Handel’s Orlando, Adams has had his debut performances with the Los Angeles Philharmonic, San Francisco Symphony Chorus, Oakland Symphony, Opera Pittsburgh, Opera Omaha, Cincinnati Opera and Opera Orlando. This upcoming season also sees his debuts with the Philharmonia Orchestra of London, Nagambie Lakes Opera Festival– Melbourne, Colorado Symphony and return engagements with the Oakland Symphony and Opera Parallèle.
AMERICAN BACH SOLOISTS AMERICAN BACH SOLOISTS VIOLIN Elizabeth Blumenstock (Leader) Andrea Guarneri, Cremona, 1660. * Tekla Cunningham (Principal 2nd) Sanctus Seraphin, Venice, 1746. Cynthia Black Anonymous, German provenance, circa 1820. Tatiana Chulochnikova Joseph Hollmayr, Freiburg, Germany, circa 1760. Daria d’Andrea Anonymous, Neapolitan school, circa 1760. Andrew Davies Augustine Chauppy, Paris, 1749. Mishkar Núñez-Mejía Lu-Mi Workshop, Beijing, China; after 17th‑century Italian models, 2010. Holly Piccoli Jay Haide, El Cerrito, Calif., 2012; after Tomasso Balestrieri, Mantua, circa 1772. Lindsey Strand-Polyak Richard Duke, London, 1776. Janet Worsley Strauss Matthias Joannes Koldiz, Munich, 1733. David Wilson Timothy Johnson, Hewitt, Texas, 2007; after Stradivari, Cremona, 18th century. Jude Ziliak Anonymous Italian, circa 1730.
VIOLA Clio Tilton (Principal) Eric Lourme, Le Havre, France, 2009; after Brothers Amati, Cremona, 17th century. Vijay Chalasani David T. Van Zandt, Seattle, Washington, 2015. Ramón Negrón Pérez Jay Haide, El Cerrito, Calif., 2016; after Giovanni Paolo Maggini, Brescia, circa 1580. Jason Pyszkowski Jay Haide, El Cerrito, Calif., 2008; after Giovanni Paolo Maggini, Brescia, circa 1580.
VIOLONCELLO Gretchen Claassen (Principal & Continuo) Anonymous, German, 18th century. Laura Gaynon Jay Haide, El Cerrito, Calif., 2011; after Stradivari, Cremona, 18th century.
Frédéric Rosselet Timothy Johnson, Bloomington, Indiana, 1999; after Nicolò Gagliano, Naples, circa 1711. Andres Vera Anonymous, circa 1685.
ORGAN Steven Bailey John Brombaugh & Associates, Eugene, Oregon, 1980
HARPSICHORD CONTRABASS Steven Lehning (Principal & Continuo) Anonymous, Austria, circa 1830. Jessica Powell Eig Anonymous, German, 19th century; Baroque conversion, Mike Weatherly, New York, 2011. Nicholas Kleinman Jay Haide, El Cerrito, Calif., 2014; after Joseph Panormo, London, circa 1820. Daniel Turkos Anonymous, Bohemian, mid-19th century.
OBOE Stephen Bard Joel Robinson & Brandon Labadie, New York, 2011; “Saxon” Model, patterned on various makers from Dresden and Leipzig, circa 1720. Brandon Labadie Joel Robinson & Brandon Labadie, New York, 2011; “Saxon” Model, patterned on various makers from Dresden and Leipzig, circa 1720.
BASSOON Charles Koster Paul Hailperin, Zell im Wiesental, Germany, circa 1990; after M. Deper, Vienna, circa 1725. Clay Zeller-Townson Guntram Wolf, Kornach, Germany, 2011; after “HKICW” (maker’s mark), Germany, circa 1700.
TRUMPET Dominic Favia (solo) Rainer Egger, Basel, 2008, after Leonhard Ehe III, Nuremburg, 1748. Matt Dalton Keavy Vanryne, London, 2003; after Johann Wilhelm Haas, Nuremberg, circa 1710-1720.
TIMPANI Henry Reed Anonymous, England, circa 1840.
Corey Jamason (Continuo) Willard Martin, Bethlehem, Pennsylvania, 1990; after François Blanchet, Paris, circa 1730.
AMERICAN BACH CHOIR SOPRANO
Jennifer Brody Michelle Clair Tonia D’Amelio Shauna Fallihee Rita Lilly Diana Pray Cheryl Sumsion
ALTO
Dan Cromeenes Elisabeth Elliassen Kevin Fox Jonathon Hampton Leandra Ramm William Sauerland Gabrila Estephanie Solis Amelia Triest Celeste Winant
TENOR
Seth Arnopole Edward Betts Nick Burdick Michael Desnoyers Andrew Morgan Mark Mueller Sam Smith
BASS
John Kendall Bailey Adam Cole Jeffrey Fields Jefferson Packer Daniel Pickens-Jones Chad Runyon
encoremediagroup.com/programs 41
MEMBERSHIP 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
PRODUCER CIRCLE
$3,500 – $6,999
are an essential source of revenue. Please join us in thanking our loyal donors whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.
Donor information as of August 31, 2017. For more information on supporting the Mondavi Center, visit mondaviarts.org or call 530.754.5438.
COLORATURA CIRCLE $50,000 AND ABOVE
James H. Bigelow John† and Lois Crowe*
Patti Donlon† Barbara K. Jackson*
†
IMPRESARIO CIRCLE $25,000 – $49,999
Anne Gray Nancy Lawrence† and Gordon Klein M.A. Morris William and Nancy Roe†* The Lawrence Shepard Family Fund
Ralph and Clairelee Leiser Bulkley* Chan Family Fund Thomas and Phyllis† Farver* Ann and Gordon Getty Foundation Wanda Lee Graves and Steve Duscha
VIRTUOSO CIRCLE $15,000 – $24,999
Dr. Jim P. Back Nancy M. Fisher Mary B. Horton*
Diane M. Makley Tony† and Joan Stone Shipley and Dick Walters*
MAESTRO CIRCLE $10,000 – $14,999
Wayne and Jacque Bartholomew* Dean and Karen† Karnopp* Hansen Kwok† Gerry and Carol Parker Cliff Popejoy†
David Rocke and Janine Mozée Grace† and John Rosenquist Raymond Seamans Donald and Denise Timmons Rosalie Vanderhoef*
BENEFACTOR CIRCLE $7,000 – $9,999
Mike and Betty Chapman Tony and Ellie Cobarrubia* Eric° and Michael Conn Richard and Joy Dorf Catherine and Charles Farman Janlynn Fleener† Samia and Scott Foster Andrew and Judith Gabor Charles and Eva Hess †
† Mondavi Center Advisory Board Member 42 MONDAVIART S.ORG
Kathaleen† and Daniel Johnson Clarence and Barbara Kado Jane and Bill Koenig Garry Maisel† Verne Mendel* Alice Oi William Roth Celestine and Scott† Syphax
*Friends of Mondavi Center
° In Memoriam
Carla F. Andrews Hans Apel and Pamela Burton Daniel Benson Cordelia S. Birrell Karen Broido* California Statewide Certified Development Corp. Robert° and Wendy Chason* Chris and Sandy Chong* Michele Clark and Paul Simmons Bruce and Marilyn Dewey Wayne and Shari Eckert* Allen Enders Merrilee and Simon Engel Jolan Friedhoff and Don Roth Henry° and Dorothy Gietzen Kay Gist Ed and Bonnie Green* Robert and Kathleen Grey Charles H. and Ann W. Halsted John and Regi Hamel Judy and Bill Hardardt* Benjamin and Lynette Hart* Dee Hartzog Karen Heald and K.C. McElheney In Memory of Christopher Horsley* In Memory of Flint and Ella Teresa Kaneko* Barry and Gail Klein Brian and Dorothy Landsberg Edward and Sally Larkin* Drs. Richard Latchaw and Sheri Albers Allan and Claudia Leavitt Robert and Barbara Leidigh Nelson Lewallyn and Marion PaceLewallyn David and Ruth Lindgren Diane M. Makley* In Memory of Allen G. Marr Eldridge and Judith Moores Barbara Moriel Grant and Grace Noda* Misako and John Pearson Sue and Brad Poling Linda and Lawrence Raber* Warren Roberts and Jeanne Hanna Vogel* Roger and Ann Romani* Hal and Carol Sconyers* Kathryn R. Smith Tom and Meg Stallard* Tom and Judy Stevenson* David Studer and Donine Hedrick Brian Tarkington and Katrina Boratynski George and Rosemary Tchobanoglous Ed Telfeyan and Jeri Paik Joe and Betty Tupin* Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Claudette Von Rusten John Walker and Marie Lopez Patrice White 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 Chris Armanini at G St WunderBar Elizabeth and Russell Austin Laura and Murry Baria Lydia Baskin* Drs. Noa and David Bell Robert and Susan Benedetti Don and Kathy Bers* Jo Anne Boorkman* Neil and Elizabeth Bowler
Edwin Bradley Linda Brandenburger James and Susanne Burton Davis and Jan Campbell Cantor & Company, A Law Corporation Margaret Chang and Andrew Holz Susan Chen Sue Cipolla and Palma Lower Allison P. Coudert Jim and Kathy Coulter* John and Celeste Cron* Terry and Jay Davison Joyce Donaldson* Professor Emeritus Augustine Esogbue Carole Franti* Karl Gerdes and Pamela Rohrich David and Erla Goller Frederic and Pamela Gorin Patty and Goss Florence Grosskettler* Robin Hansen and Gordon Ulrey Tim and Karen Hefler Sharna and Mike Hoffman Ronald and Lesley Hsu Martin and JoAnn Joye* Barbara Katz Nancy and John Keltner Robert and Cathryn Kerr Joseph Kiskis and Diana Vodrey Charlene R. Kunitz Steve Kyriakis and Matt Donaldson Spencer Lockson and Thomas Lange Mary Jane Large and Marc Levinson Arthur and Frances Lawyer* Hyunok Lee and Daniel Sumner Sally Lewis Lin and Peter Lindert Richard and Kyoko Luna Family Fund Natalie and Malcolm MacKenzie* Debbie Mah* and Brent Felker Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Richard and Ann Mansker Yvonne L. Marsh Betty Masuoka and Robert Ono Janet Mayhew In Memory of William F. McCoy Stephen Meyer and Mary Lou Flint Katharine and Dan Morgan Augustus Morr Rebecca Newland John Pascoe and Susan Stover Nancy Petrisko and Don Beckham Prewosnik Foundation Joanna Regulska and Michael Curry John and Judith Reitan Kay Resler* Liisa Russell Dwight E. and Donna L. Sanders Ed and Karen Schelegle Neil and Carrie Schore Arun Sen Jeff and Bonnie Smith Judith Smith Edward and Sharon Speegle Elizabeth St. Goar Les and Mary Stephens De Wall Maril R. and Patrick M. Stratton D. Verbeck, J. Persin, R. Mott Geoffrey and Gretel Wandesford-Smith Dan and Ellie Wendin Dale and Jane Wierman Susan and Thomas Willoughby Paul Wyman Gayle K. Yamada and David H. Hosley And 2 donors who prefer to remain anonymous
ENCORE CIRCLE
$600 – $1,499
Shirley and Mike Auman* In Memory of Marie Benisek Patricia Bissell and Al J Patrick Muriel Brandt Marion Bray In Memory of Jan Conroy Dotty Dixon* Anne Duffey
*Friends of Mondavi Center
John and Cathie Duniway Melanie and Robert Ferrando Doris Flint Jennifer D. Franz Paul N. and E.F. (Pat) Goldstene Diane Gunsul-Hicks Mary A. Helmich Leonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Robert D. and Barbara F. Jones Louise Kellogg and Douglas Neuhauser Paul Kramer Paula Kubo Ruth Lawrence Jonathan and Jeanette Lewis Michael and Sheila Lewis* Robert and Betty Liu Dr. Roberta Marlowe and Ilse Laudi Roland and Marilyn Meyer Nancy Michel Robert and Susan Munn* Don and Sue Murchison Robert and Kinzie Murphy John and Carol Oster Frank Pajerski Bonnie A. Plummer Celia Rabinowitz J. and K. Redenbaugh Christopher Reynolds and Alessa Johns C. Rocke Heather and Jeep Roemer Tom and Joan Sallee Shepard Family Philanthropy Fund Michael and Elizabeth Singer Sherman and Hannah Stein Ed and Karen Street* Eric and Pat Stromberg* Dr. Lyn Taylor and Dr. Mont Hubbard Helen and Cap Thomson Roseanna Torretto* Henry and Lynda Trowbridge* Dennis and Judy Tsuboi Louise and Larry Walker Rita and Jack Weiss Steven and Andrea Weiss* Kandi Williams and Dr. Frank Jahnke Ardath Wood* The Yetman Family Drs. Matthew and Meghan Zavod Karl and Lynn Zender Karen Zito and Manuel Calderon de la Barca Sanchez And 5 donors who prefer to remain anonymous
ORCHESTRA CIRCLE
$300 – $599
Joseph and Elizabeth Abad Drs. Ralph and Teresa Aldredge Peter and Margaret Armstrong Paul and Linda Baumann Carol Benedetti Alan and Kristen Bennett Jane D. Bennett Bevowitz Family Robert Biggs and Diane Carlson Biggs Mr and Mrs Bryan Bonino Clyde and Ruth Bowman C and B Brandow Marguerite Callahan Helen Campbell Gary and Anne Carlson* Bruce and Mary Alice Carswell* Simon and Cindy Cherry Michael Chin and Lorraine Tortosa Donna and Russ Clark Dr. Jacqueline Clavo-Hall Stuart and Denise Cohen Nicholas and Khin Cornes James Cothern Mr. and Mrs. David Covin Robert D. and Nancy Nesbit Crummey Larry Dashiell and Peggy Siddons Joy Daugherty Daniel and Moira Dykstra Micki and Les Faulkin Kerstin and David Feldman Helen Ford
° In Memoriam
Lisa Foster and Tom Graham Edwin and Sevgi Friedrich* David Kalb and Nancy Gelbard Marvin and Joyce Goldman Alexander and Marilyn Groth Darrow and Gwen Haagensen Sharon and Don Hallberg Alexander and Kelly Harcourt Marylee Hardie Zheyla and Rickert Henriksen Paula Higashi and Fred Taugher Michael and Margaret Hoffman Jan and Herb Hoover Patricia Hutchinson* Vince Jacobs and Cecilia Delury Mun Johl Weldon and Colleen Jordan Susan Kauzlarich and Peter Klavins Peter G. Kenner Ruth Ann Kinsella* Scarlet La Rue Sevim Larsen Darnell Lawrence Carol Ledbetter Donna and Stan Levin Barbara Levine Mary Ann and Ernest Lewis Robert and Patricia Lufburrow Jeffrey and Helen Ma Sue MacDonald Subhash Mahajan Bunkie Mangum David and Martha Marsh Katherine F. Mawdsley* Robert and Helga Medearis David Miller William and Nancy Myers Margaret Neu* Sally Ozonoff and Tom Richey Dr. John and Barbara Parker Harriet Prato John and Alice Provost Evelyn and Otto Raabe Francis Resta David and Judy Reuben* Dr. Ron and Sara Ringen Ms. Tracy Rodgers and Dr. Richard Budenz Morgan Rogers Sharon and Elliott Rose* Bob and Tamra Ruxin Saltzen Family Carolyn Savino* John and Joyce Schaeuble Robert Snider and Jak Jarasjakkrawhal William and Jeannie Spangler* Tim and Julie Stephens Tony and Beth Tanke Virginia and Butch Thresh Robert and Helen Twiss Ramon and Karen Urbano Ann-Catrin Van Ph.D. Ms. Rita Waterman Charles White and Carrie Schucker Iris Yang and G.R. Brown Wesley Yates Jane Yeun and Randall Lee Ronald M. Yoshiyama Zweifel Family And 7 donors who prefer to remain anonymous
MAINSTAGE CIRCLE
$100 – $299
Leal Abbott Ryan Adame and Kaitlyn Avery Mary Aften Matthew and Michelle Agnew Thomas Ahern and Patrice Norris Susan Ahlquist Paul and Victoria Akins Liz Allen* Jacqueline Ames Penny Anderson Nancy Andrew-Kyle* Elinor Anklin and George Harsch Alex and Janice Ardans Henry Arredondo Debbie Arrington and Jack Shinar Diana Bachelor Alicia Balatbat* Charlotte Ballard and Robert Zeff
Charles and Diane Bamforth Cynthia Bates Jonathan and Mary Bayless Lynn Baysinger* Marion S. Becker Bee Happy Apiaries Lorna Belden and Milton Blackman Merry Benard Robert Bense and Sonya Lyons Drs. Susan and Jerry Bereika Louise Bettner Dr. Robert and Sheila Beyer Elizabeth Bianco Roy and Joan Bibbens* John and Katy Bill Fred and Mary Bliss Roger and Dorothy Bourdon Brooke Bourland* Jill and Mary Bowers Dan and Mildred Braunstein* Alan and Beth Brownstein Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy Bellhorn Meredith Burns William and Karolee Bush Robert and Elizabeth Bushnell Peter Camarco Lita Campbell Michael Campbell Nancy and Dennis Campos* Pauline and William Caple James and Patty Carey Mike and Susan Carl Lynn D. Case Carole Cory and Jan Stevens Ping Chan Amy Chen and Raj Amirtharajah Carol Christensen* Craig Clark and Mary Ann Reihman Ed and Jacqueline Clemens Linda Clevenger and Seth Brunner Bill and Linda Cline Sheri and Ron Cole Michael Coleman Janet and Steve Collins David Combies and Loretta Smith Melanie Conover Terry Cook Larry and Sandy Corman Fred and Ann Costello Cathy Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Herb and Lois Cross Tatiana Cullen Susan and Fitz-Roy Curry Kim Uyen Dao Nita A. Davidson Relly Davidson Judy and Mike Davis Judy and David Day Lynne de Bie* Fred Deneke and James Eastman Joan and Alex DePaoli Carol Dependahl-Ripperda Sabine Dickerson; Marietta Bernoco John F. Dixon Linda and Joel Dobris Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* Jerry and Chris Drane Leslie A. Dunsworth Karen Eagan Laura Eisen and Paul Glenn Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Wallace Etterbeek Andrew D. and Eleanor E. Farrand* Glenda Farrell Michael and Ophelia Farrell Janet Feil Cheryl Felsch Liz and Tim Fenton* Curt and Sue A Finley Maureen Fitzgerald and Frank DeBernardi Kieran and Martha Fitzpatrick Dave and Donna Fletcher Glenn Fortini Twylla Fowler Larry and Sandra Fox Marion Franck and Robert Lew Elaine A. Franco
encoremediagroup.com/programs 43
MEMBERSHIP Barbara and Edwin Frankel Anthony and Jorgina Freese Marlene J. Freid* Larry Friedman and Susan Orton Kerim and Josie Friedrich Myra Gable Anne Garbeff* Dr. Gordon and Renee Garcia Peggy Gerick Fran Gibson Barbara Gladfelter Eleanor Glassburner Marnelle Gleason* and Louis J. Fox Mark Goldman and Jessica Tucker-Mohl Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart David Goodrich Sandra and Jeffrey Granett Stephen and Deirdre Greenholz Paul and Carol Grench John Griffing and Shelley Mydans Elise Gumm Wesley and Ida Hackett* Myrtis Hadden Ann Haffer Bob and Jen Hagedorn Jane and Jim Hagedorn Katherine Hammer William and Sherry Hamre M. and P. Handley Jim and Laurie Hanschu Vera Harris The Hartwig-Lee Family Sally Harvey* Cynthia Hearden Roy and Dione Henrickson Rand and Mary Herbert Roberta Hill Dr. Calvin Hirsch and Deborah Francis Clyde Hladky and Donna Odom Jorja Hoehn Ron Hoffman Julian and Diane Hold Elizabeth Honeysett Steve and Nancy Hopkins Roger and Judy Hull Lorraine Hwang Dr. and Mrs. Ralph B. Hwang Linda Iwasa Jason Jackson Mr. and Mrs. Robert L. Jacobs
Dr. and Mrs. Ron Jensen Karen Jetter Gary and Karen Johns* Don and Diane Johnston Michelle Johnston and Scott Arrants Warren and Donna Johnston Valerie Jones Jonsson Family Andrew and Merry Joslin James and Nancy Joye Beth and Stephen Kaffka Shari and Tim Karpin Steve and Jean Karr Peter James Kassel Yasuo Kawamura Susan L. Keen Patricia Kelleher* Charles Kelso and Mary Reed Bruce and Peggy Kennedy Sharmon and Peter Kenyon Leonard Keyes Robert Kingsley and Melissa Thorme Roger and Katharine Kingston Donald and Beverly Klingborg Mary Klisiewicz* Jane Knopke Kerik and Carol Kouklis Sandy and Alan Kreeger Marcia and Kurt Kreith Sandra Kristensen C.R. and Elizabeth Kuehner Kupcho-Hawksworth Trust Leslie Kurtz Laura and Bill Lacy Kit and Bonnie Lam* Marsha Lang Susan and Bruce Larock Nancy and David Siegel Peggy Leander* Jennifer and Dr. Eugene Lee Jeannette and Joel Lerman Mel and Rita Libman Barbara Linderholm* Susan and David Link Jeffrey Lloyd Motoko Lobue Jim Long and Tina Andolina Mary Lowry Elizabeth and Davis Lum Melissa Lyans and Andreas Albrecht Pamela Lynch Ariane Lyons David and Alita Mackill
Karen Majewski Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer Joan Mann Maria Manea Manoliu Sandra Mansfield and Brian Higgins Joseph and Mary Alice Marino Pam Marrone and Mick Rogers J. A. Martin Leslie Maulhardt* Karen McCluskey* Nora McGuinness* Don McNary Kenneth McNeill Martin A. Medina and Laurie Perry Barry Melton and Barbara Langer Sharon Menke Sam and Rita Meyer Beryl Michaels and John Bach Leslie Michaels and Susan Katt Lisa Miller Sue and Rex Miller Kei and Barbara Miyano Vicki and Paul Moering Ken and Elaine Moody Amy Moore Diane Moore and Stephen Jacobs Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Diane Muller Mark G. Murphy Cathy Neuhauser and Jack Holmes Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* Eric and Patricia Newman Jay and Catherine Norvell Bob Odland Jeri and Clifford Ohmart Dana Olson Jim and Sharon Oltjen Mary Jo Ormiston* Jessie Ann Owens Mike and Carlene Ozonoff Michael Pach and Mary Wind Peter and Jill Pascoe Thomas Pavlakovich and Kathryn Demakopoulos Erin Peltzman Mr. Luis Perez-Grau and Michele Barefoot
In Memory of Ross H. Peters Ann Peterson and Marc Hoeschele Jill and Warren Pickett Drs. David and Jeanette Pleasure Charles and Christine Powell Jerry and Bea Pressler Jan and Anne-Louise Radimsky Kathryn Radtkey-Gaither Lawrence and Norma Rappaport Olga C. Raveling Sandi Redenbach* Catherine Ann Reed Dr. and Mrs. James W. Reede Jr Mrs. John Reese, Jr. Fred and Martha Rehrman* Eugene and Elizabeth Renkin Maureen and Marshall Rice Ralph Riggs* Russ and Barbara Ristine Jeannette and David Robertson Mary and Ron Rogers Ron and Morgan Rogers Maurine Rollins Carol and John Rominger Richard and Evelyne Rominger Cynthia Jo Ruff* Paul and Ida Ruffin Hugh Safford Terry Sandbek and Sharon Billings* Elia and Glenn Sanjume Fred and Pauline Schack Leon Schimmel and Annette Cody Geoff and Sharon Schladow Brandon Schlenker Schrimmer Family Dan Shadoan and Ann Lincoln Jill and Jay Shepherd Jeanie Sherwood Ed Shields and Valerie Brown Nancy and Chuck Shulock Jo Anne S. Silber Bradford and Elizabeth Smith Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Dolores and Joseph Spencer William Stanglin Alan and Charlene Steen Harriet Steiner and Miles Stern Johanna Stek Judith and Richard Stern Deb and Jeff Stromberg Dennis Styne
Suey Wong* Dr. Stewart and Ann Teal Julie A. Theriault, PA-C Bud and Sally Tollette William and Esther Tournay Robert and Victoria Tousignant Michael and Heidi Trauner James Turner Ute Turner* Nancy Ulrich* Chris and Betsy van Kessel Vicki Vandergriff and Dave Brent Diana Varcados Barbara Smith Vaughn* Merna and Don Villarejo Richard Vorpe and Evelyn Matteucci Kim and James Waits Maxine Wakefield and William Reichert Carol L Walden M. Andrew and Vivian Walker Naomi J Walker Herbert Walls, Sr. Kevin Walters Andy and Judy Warburg Doug West Martha S. West Robert and Leslie Westergaard* Jim and Barbara Whitaker Frances White Nancy and Richard White* Buzz and Jan Wiesenfeld Mrs. Jane Williams Mr. and Mrs. Jonathan Williams James and Lucia Wilson Tom Wilson Janet G. Winterer Jessica Woods Jean Wu Tim and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Sharon and Doyle Yoder Phillip and Iva Yoshimura Heather M. Young and Peter B. Quinby Verena Leu Young* Melanie and Medardo Zavala Phyllis and Darrel Zerger* Marlis and Jack Ziegler Timothy and Sonya Zindel Dr. Mark and Wendy Zlotlow And 46 donors who prefer to remain anonymous
*Friends of Mondavi Center
ARTISTIC VENTURES FUND
LEGACY CIRCLE
We applaud our Artistic Ventures Fund members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies and programs made available free to the public.
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.
James H. Bigelow Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf
Wayne and Jacque Bartholomew Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe* Dotty Dixon Nancy Dubois° Anne Gray Benjamin and Lynette Hart Mary B. Horton Margaret Hoyt Barbara K. Jackson Roy and Edith Kanoff °
Nancy M. Fisher Anne Gray Barbara K. Jackson Rosalie Vanderhoef
Thank you to the following donors for their special program support:
YOUNG ARTISTS COMPETITION AND PROGRAM Karen Broido John and Lois Crowe*
Merrilee and Simon Engel Mary B. Horton Barbara K. Jackson
Debbie Mah Linda and Lawrence Raber
15TH ANNIVERSARY SEASON SUPPORTERS Chan Family Fund John and Lois Crowe* Patti Donlon Thomas and Phyllis Farver* Wanda Lee Graves and Steve Duscha Anne Gray
Barbara K. Jackson Nancy Lawrence and Gordon Klein Diane M. Makley M.A. Morris William and Nancy Roe
Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Joy Mench and Clive Watson Trust Verne Mendel Kay Resler Hal and Carol Sconyers Joe and Betty Tupin Lynn Upchurch 1 Anonymous ° In Memoriam
If you have already named the Mondavi Center in your own estate plans, we thank you. We would love to hear of your giving plans so that we may express our appreciation. If you are interested in learning about planned giving opportunities, please contact Nancy Petrisko, Director of Development (530.754.5420 or npetrisko@ucdavis.edu).
We appreciate your support! Note: Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. 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.
2017–18 ADVISORY BOARD MEMBERS Tony Stone, Chair • Janlynn Fleener, Vice-chair • Scott Syphax, Vice-chair • Jim Bigelow • Camille Chan • Betty Chapman • John Crowe • Patti Donlon • Phyllis Farver • Kathy Johnson • Karen Karnopp • Hansen Kwok • Nancy Lawrence • Garry Maisel • Cliff Popejoy • Nancy Roe • Grace Rosenquist • Lawrence Shepard
EX OFFICIO Gary S. May, Chancellor • Ralph J. Hexter, Provost & Executive Vice Chancellor • Elizabeth Spiller, Dean, College of Letters & Sciences • Don Roth, Executive Director, Mondavi Center • Yevgeniy Gnedash, Chair, Arts & Lectures Administrative Advisory Committee • Sandra Togashi Chong, Chair, Friends of Mondavi Center HONORARY MEMBERS Barbara K. Jackson • Rosalie Vanderhoef
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. Yevgeniy Gnedash, Chair Ekaterina Alekseenko Kenneth Beck Marielle Berman Jochen Ditterich Petr Janata Kelila Krantz Hyunok Lee Jason Mak Sally McKee
Michael Montgomery Victoria M. Nguyen Greg Ortiz Luna Qiu Nancy Rashid Sheetal Shah Gina Werfel Amy Yip Yuanxin Zhang Helena Zittel
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.
School Matinees AT MONDAVI CENTER
A
ttending a school matinee at the Mondavi Center might be the first opportunity that students will have to be part of an audience for live performance. Last year, nearly 10,000 students and teachers came to the Mondavi Center for a school matinee. Our performances support the California Common Core State Standards and are supplemented by teacher guides. This year, we are pleased to be adding the literary arts to our school matinee series. Through a partnership with the UC Davis School of Education, Words Take Wing: Honoring Diversity in Children’s Literature joins our roster of performing arts. The Friends of Mondavi Center serve as ushers for these performances.
2017–18 FRIENDS EXECUTIVE BOARD Sandra Togashi Chong, President Leslie Westergaard, Vice President Karen Broido, Secretary Debbie Mah, Treasurer
This year’s school matinees:
COMMITTEE CHAIRS: Pat Stromberg, Friends Events Marge Dolcini, Gift Shop Wendy Chason, Membership Tom Farver, Mondavi Center Tours Verena Leu Young, School Matinee Support Carol Christensen, School Matinee Ushers/ Front of House Liaison Lynette Ertel, School Outreach Marlene Freid, Audience Services and Volunteer Engagement Manager, Ex-Officio
Alexander String Quartet • DEC 4
Dorrance Dance • OCT 30 MOMIX • NOV 8 IMAGO Theatre • NOV 13 Circa • JAN 29 Cirque Éloize • FEB 12 Çudamani • FEB 26 Words Take Wing • FEB 27 Yamato—The Drummers of Japan • MAR 19
mondaviarts.org/arts-education encoremediagroup.com/programs 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.
GROUP DISCOUNTS
Entertain friends, family, classmates or business associates and save! Groups of 10 or more qualify for a 10% discount off regular prices. Payment options with a deposit are available. Please call 530.754.4658.
STUDENT TICKETS
UC Davis students are eligible for a 50% discount on all available tickets. Proof Requirements: School ID showing validity for the current academic year. Student ID numbers may also be used to verify enrollment. Non-UC Davis students age 18 and over, enrolled full-time for the current academic year at an accredited institution and matriculating towards a diploma or a degree are eligible for a 25% discount on all available tickets. (Continuing education enrollees are not eligible.) Proof Requirements: School ID showing
46 MONDAVIART S.ORG
validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year. Student discounts may not be available for events presented by non-UC Davis promoters.
YOUTH TICKETS (AGE 17 AND UNDER)
Youth are eligible for a 50% discount on all available tickets. For events other than the Children’s Stage series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend. A ticket is required for admission of all children regardless of age. Any child attending a performance should be able to sit quietly through the performance.
PRIVACY POLICY
The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently. We sometimes share names and addresses with other nonprofit arts organizations. If you do not wish to be included in our email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.
TOURS
Group tours of the Mondavi Center are free, but reservations are required. To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.
ACCOMMODATIONS FOR PATRONS WITH DISABILITIES
The Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADA requirements. Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonable accommodation. The Mondavi Center may not be able to accommodate special needs brought to our attention at the performance. Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances. Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be able to accommodate last-minute requests. Requests for these accommodations may be made when
purchasing tickets at 530.754.2787 or TDD 530.754.5402.
BINOCULARS
Binoculars are available for Jackson Hall. They may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID be held until the device is returned.
ASSISTIVE LISTENING DEVICES
Assistive Listening Devices are available for Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids may be checked out at no charge from the Patron Services Desk near the lobby elevators. The Mondavi Center requires an ID to be held at the Patron Services Desk until the device is returned.
ELEVATORS
The Mondavi Center has two passenger elevators serving all levels. They are located at the north end of the Yocha Dehe Grand Lobby, near the restrooms and Patron Services Desk.
RESTROOMS
All public restrooms are equipped with accessible sinks, stalls, babychanging stations and amenities. There are six public restrooms in the building: two on the Orchestra level, two on the Orchestra Terrace level and two on the Grand Tier level.
SERVICE ANIMALS
Mondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times. Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event so that appropriate seating can be reserved for you.
LOST AND FOUND HOTLINE
530.752.8580
THEATRE:
“Gibraltar”
NOV. 9-11 & 16-18 @ 8 PM, NOV. 11 & 18 @ 2 PM WYATT PAVILION THEATRE
MUSIC:
“Death with Interruptions,” A One-Act Opera NOV. 11 @ 7 PM
PITZER CENTER, RECITAL HALL DANCE:
“Outside The Lines 1”
DEC. 7-9 @ 7 PM & DEC. 9 @ 2 PM WRIGHT HALL, MAIN THEATRE
ART LECTURE:
Amanda Cachia
ART STUDIO VISITING ARTIST LECTURE SERIES
DEC. 7 @ 4:30 PM
FREE
MANETTI SHREM MUSEUM, COMMUNITY EDUCATION ROOM MUSIC:
Haydn’s “The Creation”
UNIVERSITY CHORUS, UC DAVIS SYMPHONY ORCHESTRA
DEC. 9 @ 7 PM
MONDAVI CENTER, JACKSON HALL
ART & ART HISTORY
arts.ucdavis.edu
FOR TICKETS AND THE LATEST ARTS INFORMATION
ART STUDIO CINEMA & DIGITAL MEDIA DESIGN MUSIC THEATRE & DANCE