Playbill Issue 3: Nov 2010

Center

Mondavi

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buika

Program 14

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alexander string quartet

imago theatre: zoozoo

delfeayo marsalis group

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christopher o'riley

paul taylor dance company

ornette coleman

jeanine de bique, soprano

Issue 3: NOV 2010

Before the show

Photo: Lynn Goldsmith

Before the Curtain Rises, Please Play Your Part

a message from

Don Roth, Ph.D. Executive Director Mondavi Center

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uring a great month of performances like this one, sometimes what goes on in our theaters is only the tip of the iceberg. Yes, the Mondavi Center is the only place in the region to experience performances by artists like Buika, Paul Taylor Dance Company, and Ornette Coleman. We know that our schedule of performances has been transformative for the cultural landscape of our vast region.

But we believe there is more to the mission of the Mondavi Center, that we have a role to play in enriching the knowledge of artists, of teachers, and of the audience.

What may be under your radar are the many times throughout the season when artists extend their visits in the form of residencies with activities that reach into our schools, our communities, and across UC Davis and other regional campuses.

Did you know that every young artist on our Debut Series, since the opening of the Mondavi Center eight years ago, has gone into area schools, sharing their insights, talents, and techniques with students ranging from elementary through high school level? That adds up to three weeks of residency in schools, many of which no longer have arts programs, every single season. The young soprano Jeanine De Bique, for example, will make appearances at several high schools in Davis and Sacramento in the days leading up to her performances on November 20 and 21.

Similarly, almost every dance company we bring is adept at residency activities for both dancers and the general public. Dancers from the Paul Taylor Dance Company will work with the Mondavi Center Dance Consortium and UC Davis Department of Theatre and Dance on the UC Davis campus (department chair David Grenke is a former Taylor Dancer), at schools in Elk Grove, Davis, and Roseville, and with Sacramento State and Sacramento Ballet students.

Building on these long-time activities are two new partnerships initiated this year.

The San Francisco Symphony is expanding on the wonderful performances it has been giving since Jackson Hall opened. Henceforth, every performance by the SF Symphony will be preceded by residency activities with their great musicians. Last month, members of the SF Symphony held master classes for the students of the UC Davis Symphony Orchestra and the Davis School’s Orchestra Program; in the spring these master classes will continue with sectional rehearsals for the UCDSO. This month, Delfeayo Marsalis began an amazing program, working with emerging young jazz players from 10 area schools. If you join us in the Vanderhoef Studio Theatre November 10-12, you will have the opportunity to see some of those players join Delfeayo on stage as the culmination of their work with him.

These artists bring an amazing generosity of spirit and humanity when they go into a classroom or studio. There is nothing more rewarding for us here at the Mondavi Center than to be a catalyst for these connections between great artists and young people and adults who are pursuing their own lives in the arts.

In the middle of a month with so much performance activity, I wanted to share with you this important but not always visible aspect of the Mondavi Center for the Performing Arts.

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

• Please look around and locate the exit nearest you.

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

• As a courtesy to all our patrons and for your safety, anyone leaving his or her seat during the performance may not be re-admitted to his/her ticketed seat while the performance is in progress.

info

Accommodations for Patrons with Disabilities 530.754.2787 • TDD: 530.754.5402 In the event of an emergency, patrons requiring physical assistance on the Orchestra Terrace, Grand Tier, and Upper Tier levels please proceed to the elevator alcove refuge where this sign appears.

Please let us know ahead of time for any special seating requests or accommodations. See p. 55 for more information.

Membership 530.754.5436 Member contributions to the Mondavi Center presenting program help to offset the costs of the annual season of performances and lectures, and provide a variety of arts education and outreach programs to the community.

Friends of Mondavi Center 530.754.5000 Contributors to the Mondavi Center are eligible to join the Friends of Mondavi Center, a volunteer support group that assists with educational programs and audience development.

Volunteers 530.754.1000 Mondavi Center volunteers assist with numerous functions, including house ushering and the activities of the Friends of Mondavi Center and the Arts and Lectures Administrative Advisory Committee.

Tours 530.754.5399 One-hour guided tours of the Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre, and Rumsey Rancheria Grand Lobby are given regularly by the Friends of Mondavi Center. Reservations are required.

Lost and Found Hotline 530.752.8580 Recycle We reuse our playbills! Thank you for returning your recycled playbill in the bin located by the main exit on your way out.

Don Roth Executive Director Mondavi Center for the Performing Arts Printed on recycled paper. Please recycle this playbill for reuse.

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

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

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Buika A World Stage: Music Series Event Saturday, November 6, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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uika is one of the most distinctive Spanish artists around.

The singer, born on the island of Mallorca to African immigrant parents from Equatorial Guinea, has become a true revelation to those who thought flamenco had little left to contribute to Spanish music, and to jazz. Her evident African roots and her cosmopolitanism, developed in clubs in Spain and Americanized during a strange detour to Las Vegas as a Tina Turner impersonator, explain Buika’s rare self-possession. But nothing can quite explain her ability to connect—one of those rare and wonderful “one listen” artists.

Her latest CD El Ultimo Trago (The Last Drink), an homage to the Mexican singing legend Chavela Vargas, was nominated for two Latin Grammy awards: “Recording of the Year” (for the song “Se Me Hizo Facil”) and “Best Traditional Tropical Album.” She has just completed a duet with Seal, “You Get Me,” for his new CD Seal 6: Commitment. She has also finished taping her screen debut for Pedro Almodóvar’s upcoming film La Piel Que Habito (The Skin I’m In). She’ll close 2010 with her first American tour, a 21-city swing that begins October 15 in Chicago and ends in Miami.

Buika (“BWEE-kah”) was born María Concepción Balboa Buika to parents who came to Spain as political exiles. Her family were the only black residents in one of Palma de Mallorca’s poor neighborhoods, and such local curiosities that Buika remembers how neighbors used to reach out to touch her hair—an Afro styled from pictures of her early musical idols, Whitney Houston and Michael Jackson. She found a second home among the community of Gypsy families, finding in flamenco’s individualistic spirit a path to self-acceptance. Flamenco was a open door, remembers Buika: “It’s not just about music, it’s a way of life. It’s about not running away from yourself. Some people sing about what they would like to happen or would like to be, but in the copla and el cante, we confront who we are, with all our fears and all our defects. In the United States there’s also a great tradition like this. It’s called the blues.”

buika

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was soon declaring that in Buika, she had discovered “my black daughter” and “the most amazing and personal voice I have heard in many years.”

El Ultimo Trago (The Last Drink) is first and foremost a tribute to Chavela Vargas, released in October 2009 as the hard-living, hardloving Mexican singer celebrated her 90th birthday. Buika reinvented the repertoire that Vargas built over her entire career: “Las Ciudades,” “Las Simples Cosas,” “Sombras,” and “Luz de Luna” are just some of the songs that Chavela has performed. On the CD, Buika reinvents these Mexican standards, creating a kind of “tequila tablao,” as Iberian as it is Mexican, and as old as it is new.

Supporting the singer on the CD is Cuban piano star Chucho Valdés, who met Buika in 2008 at Spain’s Vitoria Jazz Festival, where he was debuting a duet CD with his father, Bebo Valdés.

For the recording of El Último Trago, the musicians only needed two days at Abdala studios in Havana in April 2009. Producer Javier Limón recorded all the vocals live, with no overdubs. “El Andariego,” Alejandro Fernández’s famous song, became a rumba; “Somos” was transformed into a bolero/cha-cha, and “Sombras” started as a bolero but ended in the blues.

Buika will perform El Último Trago—and celebrate the remarkable life of Chavela Vargas—across North America in her first major tour, beginning October 15.

After a few false starts in Euro R&B, Buika released her U.S. debut Mi Niña Lola (My Little Girl Lola), which had already won “Best Album” and “Best Production” honors at the Spanish Music Awards, in 2007. Her next recording project, Niña de Fuego (Child of Fire), produced and arranged by Javier Limón (Bebo y Cigala, Paco de Lucía) and released in 2008, helped to catapult her internationally into the ranks of the most exciting voices in modern Latin music. The CD scored two Latin Grammy nominations in 2008: “Album of the Year” and “Best Production,” and the singer was invited to appear on the awards telecast, performing her searing rendition of the Mexican classic “Volver, Volver.”

Buika’s fans soon included Alejandro Sanz, Gloria Estefan, Nelly Furtado, Portuguese fado star Mariza (Buika has recorded duets with Furtado and Mariza), director Pedro Almodóvar, fashion photographer Bruce Weber, and the iconic Mexican singer Chavela Vargas. Vargas in particular was crucial in opening doors for the young Spanish singer in Latin America.

Yet the story of Buika’s relationship with Chavela Vargas began with artistic disappointment. It happened in Madrid four years ago, when Chavela refused to allow Buika on stage to sing with her. After that beginning, the singers became friends, and Vargas

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Alexander String Quartet Zakarias Grafilo & Frederick Lifsitz, violins Paul Yarbrough, viola Sandy Wilson, cello An Alexander String Quartet Series Event Sunday, November 7, 2010 • 2PM & 7PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis Lecturer: Robert Greenberg (2PM concert only) Post-performance Q&A following the 7PM show.

Program 2PM:

String Quartet No. 12 in E-flat Major, Op. 127 (1825) Maestoso — Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale

Beethoven

7PM:

String Quartet No. 16 in E-flat Major, K. 428 (1783) Allegro non troppo Andante con moto Menuetto: Allegro Allegro vivace

Mozart

String Quartet No. 12 in E-flat Major, Op. 127 (1825) Maestoso — Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale

Beethoven

further listening see p. 10

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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Lili Received the GIFT of LIFE Born two months early, Lili Jimenez had a difficult start in life.

Weighing barely three pounds, Lili suffered a host of ailments, including a life-threatening intestinal disease unique to preemies.

With little time to spare, Lili was transferred to the neonatal intensive care unit at UC Davis Children’s Hospital—the region’s only comprehensive children’s hospital.

After two complex surgeries, four months of round-the-clock care and lots of TLC, Lili was sent home to a future now in full bloom.

At UC Davis Health System, our next medical breakthrough just may have your name on it.

Lili’s care team included neonatologist Mark Underwood, nurse Christa Mu and other specialists in the research and treatment of preterm birth complications.

A gift for advancing health.

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By Eric Bromberger String Quartet No. 16 in E-flat Major, K. 428 Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) Mozart’s arrival in Vienna opened up glistening new vistas for him, and one of the most important of these was the example of Haydn’s string quartets. Though Mozart had already written 13 string quartets when he left Salzburg, all of these had been completed by the early 1770s (when he was 17) and still showed resemblances to the divertimento form from which the quartet had evolved. The effect of Haydn’s most recent quartets on Mozart was stunning, and he quickly set out to write a cycle of six new quartets of his own.

Under Haydn’s hands, the quartet had evolved from its early role as genteel entertainment music (background music for court functions) into a great musical form. From Haydn, Mozart learned to democratize the voices, giving all four players individual roles in what had become a complex and expressive music drama. Usually the fastest of workers, Mozart labored long and hard over these six quartets. It took him well over two years to complete the cycle, and he went back and revised each of them carefully, which suggests that he took this music quite seriously—in his dedication of the six quartets to Haydn, Mozart confessed that they were “the fruit of long and laborious toil.”

Mozart composed the Quartet in E‑flat Major between June and July of 1783, just after the birth of his first child. Externally, the four movements seem normal enough, though the glory of this music (as with all Mozart’s music) lies in the transformation of just those very normal forms. The Allegro non troppo opens with a unison theme “shape” that will recur in a variety of forms. The second subject—full of dots, turns, and triplets—feels unusually busy after the somber opening, and Mozart then treats both themes in a development remarkable for the interplay of the four voices. The slow movement, an Andante con moto in the key of A‑flat minor, proceeds solemnly over the constant pulse of its 6/8 meter. The most notable feature of the minuet movement is its trio, which turns unexpectedly dark: Mozart moves to G minor here, and the music is haunted by the chromatic winding of its themes before leaping back brightly to the minuet section. The concluding Allegro vivace is aptly named—it is a blistering rondo built on the bobbing, murmuring idea that opens the movement.

Mozart may have learned from Haydn the importance of liberating all four voices in a string quartet, but this movement makes unusual demands on the first violinist—the writing here demands a virtuoso player, who is sent hurtling across the range of that instrument.

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Alexander String quartet

Program Notes

String Quartet No. 12 in E‑flat Major, Op. 127 Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) When Russian prince Nikolas Galitzin wrote to Beethoven in the fall of 1822 to commission three string quartets, his request fell on sympathetic ears: the composer had been thinking about writing string quartets for some time, and he promised to have the first done within a month or two. Other projects intervened, however, and despite the Prince’s frequent inquiries, Beethoven had to complete the Missa Solemnis, Diabelli Variations, and Ninth Symphony before he could begin work on the first of the three quartets in the summer of 1824. This quartet—in E‑flat major—was not complete until February 1825. Performed immediately by the string quartet of Ignaz Schuppanzigh, the music was a failure at its premiere on March 6, 1825. Furious, Beethoven quickly had it rehearsed and performed by another quartet. He attended their rehearsals and supervised their interpretation (though deaf, he could follow their performance by watching the movement of their bows). The second performance was a great success, and this quartet was performed publicly at least 10 more times in 1825—an extraordinary number of performances for a new work—and always to great acclaim.

That fact is important because it gives the lie to the popular notion that Beethoven’s late quartets were far ahead of their time. Some of the late quartets may have defied quick comprehension, but this was not true of the Quartet in E‑flat Major. Many have noted that this is the most traditional of Beethoven’s late quartets; at first glance, it has a relatively straightforward structure—a sonata‑form first movement, a variation‑form slow movement, a scherzo in ABA form, and a dance‑finale. But to reduce this music to such simplicity is to miss the extraordinary originality beneath the music’s appealing and gentle surface.

In the first movement, Beethoven seems to set out intentionally to blur traditional sonata form, which depends on the opposition of material. Contrast certainly seems to be implied at the beginning, which opens with a firm chordal Maestoso, but this Maestoso quickly melts into the flowing and simple main theme, marked Allegro (Beethoven further specifies that he wants this melody performed teneramente—“tenderly”—and sempre piano e dolce).

The powerful Maestoso returns twice more, each time in a different key, and then drops out of the movement altogether; Beethoven builds the movement almost exclusively out of the opening melody and an equally gentle second subject. Here is a sonata‑form movement that does not drive to a powerful climax but instead remains understated throughout: the movement evaporates on a wisp of the opening Allegro theme.

Two softly pulsing measures lead to the main theme of the Adagio, a gently rocking and serene melody introduced by the first violin and repeated by the cello. There follow six melodic variations, each growing organically out of the previous one until the music achieves a kind of rhapsodic calm—and the original theme has been left far behind. Four sharp pizzicato chords introduce the scherzo, and these four chords then vanish, never to re‑appear.

The fugal opening section, built on a dotted figure and its inver-

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Alexander String quartet

Alexander String Quartet

further listening

by jeff hudson Where does a group like the Alexander String Quartet have a serendipitous chance encounter with that other well-known foursome from San Francisco, the Kronos Quartet? At the airport, of course, because both groups (like most string quartets) spend lots of time on the road, traveling from concert to concert.

It happened, by chance, on September 20.

As Paul Yarbrough (viola with the Alexander Quartet) recalled, “We were checking in for our flight, and we just ran into Kronos...all four of them were checking in at the very same time.

So we had a very unusual moment. All eight of us were together. We got a picture of it.”

“They do a different kind of tour than we do,” Yarbrough added. “They have a bit of an entourage—staff people that travel with them.”

It’s partly the repertoire; Kronos plays new and untraditional pieces almost exclusively, sometimes adding unusual instruments. (Kronos will be back at the Mondavi Center on December 9, doing music by Icelandic “post rock” band Sigur Rós and others.)

The Alexander, on the other hand, is playing the Beethoven Late Quartets this season at the Mondavi Center, while doing a Dvorak series this fall in Berkeley. “The timing of the two projects works out well. I like it,” Yarbrough said. “I don’t find any kind of a conflict between the two composers; I think one feeds off the other.”

Other upcoming concerts in San Francisco will involve “Schubert, and more Mozart. And we’re talking about doing those ‘bad boys’ of the Second Viennese School—Schoenberg and his group.”

Yarbrough mentioned that the Alexander String Quartet’s next recording project will

involve Brahms, “mostly pieces that we played at Mondavi a couple of years ago. We haven’t begun recording them yet. It looks like we’ll start in 2011 with the Clarinet Quintet. It will be a multi-year project. We may release it in smaller packages, rather than wait until it’s a finished boxed set.”

Yarbrough said he’s looking forward to revisiting the Beethoven Late Quartets. “Every chance to play them again is always welcome... we’ve kind of been keeping all the quartets of Beethoven within a few rehearsals of being able to perform. This is really the first time that we’ve juggled them all like that. We know them so well; going back to them is always refreshing.” (The Alexander String Quartet issued a nine-disc set of the Beethoven string quartets on the Foghorn label last year; lecturer Robert Greenberg also issued a 24-disc set of lectures discussing the Beethoven quartets, incorporating samples from the ASQ’s recordings, last year through The Teaching Company.)

Yarbrough will be looking at the Late Quartets from a slightly different perspective this time around. “I will turn 58 in October,” he said.

“Beethoven lived to be 57...For the moment, I’m the only one in our group that has that distinction.”

Today’s concert will also mark the start of the Alexander String Quartet’s ninth consecutive season at the Mondavi Center. “We played the inaugural concert in the Vanderhoef Studio Theater,” Yarbrough recalled. It was the first installment of a three-year Shostakovich cycle.

“We’re so pleased that we have this ongoing relationship with Mondavi, and the audience that has grown and stayed with us. It’s a fantastic affiliation, no question about it.”

Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise, and Sacramento News and Review.

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The Alexander String Quartet has performed in the major music capitals of five continents, securing its standing among the world’s premier ensembles over nearly three decades.

Widely admired for its interpretations of Beethoven, Mozart, and Shostakovich, the quartet has also established itself as an important ad­vocate of new music through more than 25 commissions and numerous premiere performances. At home in San Francisco, the members of the Alexander String Quartet are a major artistic pres­ence, serving as directors of the Morrison Chamber Music Center at the School of Music and Dance in the College of Creative Arts at San Francisco State University and Ensemble-in-Residence of San Francisco Performances.

Over the past decade the Alexander String Quartet has added considerably to its distinguished and wide-ranging discography.

Currently recording exclusively for the FoghornClassics label, the Alexander’s most recent release (June 2009) is a complete Beethoven cycle. Music Web International has described the performances on this new Beethoven set as “uncompromising in their power, intensity, and spiritual depth,” while Strings Magazine described the set as “a landmark journey through the greatest of all quartet cycles.” FoghornClassics released a three-CD set (Homage) of the Mozart quartets dedicated to Haydn in 2004. Foghorn released a six-CD album (Fragments) of the complete Shostakovich quartets in 2006 and 2007, and a recording of the complete quartets of Pulitzer Prize-winning San Francisco composer Wayne Peterson was released in 2008. BMG Classics released the quartet’s first recording of the Beethoven cycle on its Arte Nova label to tremendous critical acclaim in 1999.

The Alexander String Quartet’s annual calendar of concerts includes engagements at major halls throughout North America and Europe. The quartet has appeared at Lincoln Center, the 92nd Street Y, and the Metropolitan Museum in New York City; Jordan Hall in Boston; the Library of Congress and Dumbarton Oaks in Washington, D. C.; and chamber music societies and universities across North America. Recent overseas tours have included the U.K., the Czech Republic, the Netherlands, Italy, Germany, Spain, Portugal, Switzerland, France, Greece, the Republic of Georgia,

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Alexander String quartet

sion, leads to a brief, and utterly different, trio section. In E‑flat minor, this trio whips past in a blistering blur; Beethoven’s phrase markings here stretch over 20 measures at a time. Beethoven brings back the opening section, then offers a surprise at the ending by including a quick reminiscence of the trio just before the cadence.

The last movement has proven the most difficult for commentators, perhaps because of its apparent simplicity. Marked only Finale, it opens with a four‑measure introduction that launches off in the wrong direction before the true main theme appears in the first violin. Of rustic simplicity, this melody has been compared to a country dance, and the second theme, a jaunty march tune decorated with grace notes, preserves that atmosphere. The tunes may be innocent, but Beethoven’s treatment of them in this sonata‑form movement is quite sophisticated, particularly in matters of modulation and harmony. Also striking is the very close, where instead of speeding ahead (the expected tempo at a close) Beethoven slows his main theme down, and the music comes to an understated conclusion.

and the Philippines. The many distin­guished artists to collaborate with the Alexander String Quartet include pianists Menahem Pressler, Gary Graffman, Roger Woodward, Jeremy Menuhin, and Joyce Yang; clarinetists Eli Eban, Charles Neidich, Joan Enric Lluna, and Richard Stoltzman; cellists Lynn Harrell, Sadao Harada, and David Requiro; violist Toby Appel; soprano Elly Ameling; and saxophonists Branford Marsalis, David Sánchez, and Andrew Speight.

The Alexander String Quartet’s 25th anniversary was also the 20th anniversary of its association with New York City’s Baruch College as Ensemble-in-Residence. This landmark was celebrated through a performance by the ensemble of the Shostakovich string quartet cycle at Engelman Recital Hall in the Baruch Performing Art Center. Of these performances, The New York Times wrote, “The intimacy of the music came through with enhanced power and poignancy in the Alexander quartet’s vibrant, probing, assured and aptly volatile performances…Seldom have these anguished, playful, ironic and masterly works seemed so profoundly personal.”

The Alexander String Quartet was also awarded Presidential Medals in honor of its longstanding commitment to the arts and education and in celebration of two decades of service to Baruch College.

Highlights of the 2010-2011 season include two multiple-concert series for San Francisco Performances, one presenting the complete quartets of Bartók and Kodály and the other, music of Dvořák; the conclusion of a Beethoven cycle for Mondavi Center; and a continuing annual series at Baruch College in New York City. The quartet also performs an all-Beethoven program at the Lied Center of Kansas, two tours of Spain (including the inaugural performances of a new festival in Godella), and a second tour of Argentina. They also continue their annual residencies at Allegheny College, Lewis & Clark College, and St. Lawrence University.

The Alexander String Quartet was formed in New York City in 1981, and the following year became the first string quartet to win the Concert Artists Guild Competition. In 1985, the quartet captured international attention as the first American quartet to win the London International String Quartet Competition, receiving both the jury’s highest award and the Audience Prize. In 1995, Allegheny College awarded Honorary Doctor of Fine Arts degrees to the members of the quartet in recognition of their unique contribution to the arts. Honorary degrees were conferred on the ensemble by St. Lawrence University in 2000.

In celebration of the Alexander String Quartet’s forthcoming 30th anniversary, San Francisco Performances has commissioned a new work for string quartet and mezzo-soprano from Jake Heggie; the work will be premiered in a performance in collaboration with Joyce DiDonato in February 2012 at the Herbst Theater. Other recent Alexander premieres include Rise Chanting by Augusta Read Thomas, commissioned for the Alexander by the Krannert Center and premiered there and simulcast by WFMT radio in Chicago.

The quartet has also premiered String Quartets Nos. 2 and 3 by Wayne Peterson and works by Ross Bauer (commissioned by Stanford University), Richard Festinger, David Sheinfeld, Hi Kyung Kim, and a Koussevitzky commission by Robert Greenberg.

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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This month’s experience features wines from CADE Winery, part of the PlumpJack Group

• CADE Savignon Blanc • 2006 CADE Howell Mountain Cabernet November 3 Venice Baroque Orchestra Wine introduction and complimentary tasting with CADE Winemaker Tony Biagi 6:30PM Complimentary tasting at intermission November 20 Ornette Coleman Complimentary wine pour 7–8PM Uncorked Events are held in the Bartholomew Room Donor Lounge, and are open exclusively to Inner Circle Donors.

Sponsored by

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Greenberg has composed more than 45 works for a wide variety of instrumental and vocal ensembles. Recent performances of his works have taken place in New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy, and the Netherlands, where his Child’s Play for String Quartet was performed at the Concertgebouw of Amsterdam.

Alexander String quartet

Robert Greenberg was born in Brooklyn, New York, in 1954, and has lived in the San Francisco Bay area since 1978. Greenberg received a B.A. in music, magna cum laude, from Princeton University in 1976. In 1984, Greenberg received a Ph.D. in music composition, with distinction, from the University of California, Berkeley.

The Chamber Music of Mozart, The Piano Sonatas of Beethoven, The Concerto, and The Fundamentals of Music—have been recorded since, totaling more than 500 lectures.

In 2003, the Bangor (Maine) Daily News referred to Greenberg as “the Elvis of music history and appreciation,” an appraisal that has given him more pleasure than any other. Dr. Greenberg is currently writing a book on opera and its impact on Western culture, to be published by Oxford University Press.

Greenberg has received numerous honors, including three Nicola de Lorenzo Composition Prizes and three Meet-TheComposer Grants. Recent commissions have been received from the Koussevitzky Foundation in the Library of Congress, the Alexander String Quartet, the San Francisco Contemporary Music Players, the Strata Ensemble, San Francisco Performances, and the XTET ensemble. Greenberg is a board member and an artistic director of Composers, Inc., a composers’ collective/production organization based in San Francisco.

The Alexander String Quartet is represented by BesenArts LLC 508 First Street, Suite 4W Hoboken, NJ 07030-7823 www.BesenArts.com The Alexander String Quartet records for FoghornClassics www.asq4.com

Greenberg has performed, taught, and lectured extensively across North America and Europe. He is currently music historian-inresidence with San Francisco Performances, where he has lectured and performed since 1994, and a faculty member of the Advanced Management Program at the University of Pennsylvania’s Wharton School of Business. He has served on the faculties of the University of California, Berkeley; California State University, East Bay; and the San Francisco Conservatory of Music, where he chaired the Department of Music History and Literature from 1989-2001 and served as the Director of the Adult Extension Division from 19911996. Greenberg has lectured for some of the most prestigious musical and arts organizations in the United States, including the San Francisco Symphony (where for 10 years he was host and lecturer for the Symphony’s nationally acclaimed “Discovery Series”), the Ravinia Festival, Lincoln Center for the Performing Arts, the Van Cliburn Foundation, the Chautauqua Institute (where he was the Everett Scholar in Residence for the summer of 2006), the Dallas Symphony Orchestra, the Hartford Symphony Orchestra, and Music@Menlo.

Greenberg has been profiled in The Wall Street Journal, the Times of London, Los Angeles Times, Christian Science Monitor, and San Francisco Chronicle. For many years Greenberg was the resident composer and music historian to National Public Radio’s Weekend All Things Considered, and presently plays that role on Weekend Edition, Sunday with Liane Hansen.

In 1993, Greenberg recorded a 48-lecture course, How to Listen to and Understand Great Music for the Teaching Company/SuperStar Teachers Program, the preeminent producer of college level courses-on-media in the United States. Twelve further courses— Concert Masterworks, Bach and the High Baroque, The Symphonies of Beethoven, How to Listen to and Understand Opera, Great Masters, The Operas of Mozart, The Life and Operas of Verdi, The Symphony,

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Imago Theatre ZooZoo A Children’s Stage Series Event Sunday, November 7, 2010 • 3PM Jackson Hall, Mondavi Center, UC Davis

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

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imago theatre zoozoo

Imago Theatre Created by Carol Triffle & Jerry Mouawad Original Music Katie Griesar Light Design Jeff Forbes Performed by Jonathan Godsey CarlosAlexis Cruz Joseph Lymous Fiely Matias Alexander L Hill Creature Fabrication Carol Triffle Jerry Mouawad Mark Forrest Cati Thomas Production Stage Manager Chris Balo Company Stage Manager Kayla Scrivner

ZooZoo Bugeyes Hippos Anteaters Frogs Paper Bag Polar Bears Intermission Rabbits Larvabatic Windbags Penguins Paper ZooZoo is made possible by grants from Meyer Memorial Trust Collins Foundation Regional Arts and Culture Council Wyss Foundation James F. & Marion L. Miller Foundation

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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imago theatre zoozoo

Imago Theatre Founded in 1979 by Carol Triffle and Jerry Mouawad, Imago Theatre’s original productions have toured internationally for more than two decades. Imago’s signature work FROGZ appeared at the acclaimed New Victory Theater in New York in 2000 and 2002. Imago’s unique, playful menagerie of creatures fills the stage in their latest productions, ZooZoo and Biglittlethings. The universal nature of Imago’s world has won audience and critical acclaim in tours across Asia, Europe, Canada, and the U.S., where they were awarded the New York Dance Film Award and “Best Touring Production” by Independent Reviewers of New England.

Imago has been hailed by critics world-wide for its sophisticated, highly entertaining works for all ages. Working out of a large 18,000-square-foot theater laboratory in Portland, Oregon, Imago’s ensemble of actors, dancers, designers, fabricators, and musicians become alchemists seeking fresh perspectives of performance.

The company has been honored for mask theatre pieces that have appealed to a wide age range, and for innovative works that push the boundaries of form, design, and story. Imago Theatre’s methodology is based on the teachings of Jacques Lecoq (1921-99). Triffle studied extensively with Lecoq, completing his exclusive pedagogical program. Drawing inspiration from Lecoq, Imago Theatre aims to place form and design at the forefront of theater creation and infuses each production with an idiosyncratic physical energy. In 2006, the company’s innovative production of Jean-Paul Sartre’s No Exit ran at two Tony Award-winning theaters—American Repertory Theater and The Hartford Stage Company. The United States premiere of Caryl Churchill’s A Number was produced by Imago Theatre in 2003.

Carol Triffle (Co-Creator) Direction: New York: FROGZ, New Victory Theatre; International Tours: FROGZ, Biglittlethings; Dance/Music/Opera: Guest director Oregon Symphony, Jefferson Dancers. Imago Theatre: Buffo, Ajax, Ginger’s Green, Trailer Park Paradise, Oh Lost Weekend, No Can Do, Missing Mona a.k.a.

Leo’s Lost Notebook, Hit Me in the Stomach, Mix Up, The Dinner, Simple People, Backs Like That; Acting: Imago Theatre: Samuel’s Major Problems, No Exit, Uncle Vanya, Exit the King, Not Not Not Not Not Enough Oxygen, Serial Killer Parents, Apis, or the Taste of Honey, Tick Tack Type, Stage Left Lost; Awards: IRNE, Best Touring Production, New York Dance Film Award, Oregon Arts Commission Fellowship Drammy Awards for Best Choreography, Best Costume Design, Best Original Play. Carol is a third-year graduate of L’Ecole Jacques Lecoq and is Artistic Co-Director of Imago Theatre.

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Jerry Mouawad (Co-Creator) Direction: New York: FROGZ, New Victory Theatre; International Tours: FROGZ, Biglittlethings; Regional Theatre: No Exit American Repertory Theatre, Hartford Stage Company, Bacchae (Choreographer) Portland Center Stage; Dance/Music/Opera: Guest director/designer BodVox, Oregon Symphony, Portland Opera, Jefferson Dancers; Imago Theatre: Verdad, Phoenicians in the House, Samuel’s Major Problems, Symphony of Rats, Half Light, Dead End Ed, House Taken Over, Double Feature, No Exit, Blood Wedding Blood Wedding, The Imaginary Invalid, Exit the King, A Number (United States premiere), Uncle Vanya, Not Not Not Not Not Enough Oxygen, Betrayal, Double Feature, Vladimir Vladimir, Apis, or The Taste of Honey, Cuban Missile Tango, Tick Tack Type, Stage Left Lost; Acting: Imago Theatre: Buffo, Ginger’s Green, Oh Lost Weekend, No Can Do, Missing Mona a.k.a. Leo’s Lost Notebook, The Dinner, Simple People, Backs Like That; Awards: IRNE Best Director, IRNE, Best Touring Production, New York Dance Film Award, Oregon Arts Commission Fellowship, Portland Theatre Guild Fellowship. Drammy Awards for Best Actor, Best Light Design, Best Choreography, Best Costume Design, and Best Original Play.

Jerry is Artistic Co-Director of Imago Theatre.

Katie Griesar (Original Music) makes music with guitar, antique and toy musical instruments, found objects, collected sounds, awkward gestures, wrong notes, and other damaged goods. A graduate of Vassar College and the American Repertory Theatre Institute at Harvard University, she is a three-time Portland Drama Critics Circle Award winner for her music/sound work with Imago Theatre, where she is currently Resident Composer. Her work with Imago Theatre spans some 20 shows and includes the original music scores for FROGZ, Biglittlethings, and ZooZoo. She has also contributed original music/sound to works by choreographers Linda Austin, Catherine Egan, Mary Oslund, and Cydney Wilkes, filmmaker James Westby, and Mona Huneidi’s stop-motion animation film Katching. She is a founding member of Hopeless Theatre.

Jeff Forbes (Light Design) is a Portland-based lighting designer working primarily in theater and dance. He is a nine-time winner of the Willie and Drammy Awards for theater for such companies as Artists Repertory Theatre, Imago Theatre, the Musical Theatre Company, Storefront Theatre, and Tygres Heart Shakespeare Co. Jeff has designed for American Repertory Theatre, New Rose Theatre, Portland Repertory Theatre, Portland Center Stage, Portland Actors Conservatory, and many others. He tours nationally and internationally with Imago Theatre and the Deborah Hay Dance Company. His work in dance includes frequent collaborations with choreographers Linda Austin, Tahni Holt, Linda K Johnson, Josie Moseley, Mary Oslund, Sally Silvers, and Cydney Wilkes. Jeff is the Technical Manager for White Bird Dance, a presenting organization based in Portland and has served as a technical director for PICA’s TBA Festival since its beginning in 2003.

He is a co-founder, with Linda Austin, of Performance Works NorthWest, for which he also serves as technical director.

CarlosAlexis Cruz (Performer) has been working as a professional actor for eight years in Puerto Rico, northern California and Portland, with touring shows, and in the Dominican Republic and Mexico. As a theater director, he did the Miracle’s last touring production, El Ultimo. He staged the show A Suicide Note from a Cockroach at Imago, marking the debut of his own theater company Pelú Theatre. He was recently seen in the Telemundo TV film Bala Perdida, where he played a leading role. CarlosAlexis has an M.F.A. degree in ensemble based physical theatre from the Dell’Arte International School in California and a B.A. in film studies from the University of Puerto Rico. He has trained in circus arts at the San Francisco Circus Center.

Joseph Michael Ray Lymous (Performer), originally from New Orleans, now resides in Brooklyn. He received his performing arts training at the University of Louisiana at Lafayette. Joseph has been a company member since 2007 and has performed in Imago’s FROGZ, Biglittlethings, and ZooZoo. When not playing with Imago, Joseph can be seen performing improv, sketch, and stand-up comedy with Skit Happens of South Louisiana and The Upright Citizens Brigade of New York City. He also has traveled to Capetown, South Africa, with Mission Possible International to teach theater and dance. Some recent works include his original two-man show, JustUs, and The Tenement at HERE Arts Center in New York City.

Fiely Matias (Performer) has toured internationally as a celebrated physical comedian for several years. His unique brand of theatrical hi-jinks has been enjoyed by audiences throughout the U.S., and in Canada, Prague, Sydney, Mexico, Belize, and Singapore. He has also performed at Walt Disney World, Epcot Center, Disney Hollywood Studios, and the Magic Kingdom.

imago theatre zoozoo

Jonathan Godsey (Performer) became interested in theater in 1998 at the ripe young age of 28. He has performed in numerous national FROGZ tours with Imago, including runs at American Repertory Theatre in Cambridge, Massachusetts, and New Victory in the Big Apple. Jonathan’s other Imago appearances include Oh Lost Weekend, The Imaginary Invalid, Biglittlethings, and Stage Left Lost. He studies Aikido at Two Rivers Aikikai in Portland and plans to apply his extensive studies of Taichichuan and Aikido to the art of stage combat.

Chris Balo (Production Stage Manager) works with Bodyvox Dance, White Bird Dance, Portland State University, PICA, Oregon Children’s Theatre, Lakewood Theatre Company, IATSE Local 28 in a variety of capacities, including audio/video, stage management, scenic carpentry, production electrician, and lighting design.

Memorable production highlights include Pirates of Penzance with Eugene Opera (stage manager), Down in the Valley at the 2007 Kurt Weill Festival in Germany with Bel Canto NW (lighting & projection design), The Portland Christmas Revels 2006 (lighting design), and Tonya & Nancy: The Rock Opera (lighting design).

Kayla Scrivner (Company Stage Manager) studied dance and technical theater at Portland State University. From 1993-97, she taught dance at the Edna Manley College of Fine and Performing Arts in Jamaica and danced with the National Dance Theatre of Jamaica. Kayla worked as technical coordinator with White Bird Productions for nine years. She has also worked with Northwest Dance Theatre, Portland Ballet, Bodyvox, and Portland Institute for Contemporary Art.

Mark Forrest (Resident Fabricator) is co-founder with Susan Bonde of Bon Design, which designs and constructs mascots, walk-arounds, and other unusual creatures. Mark has been involved in theater design and construction for more than two decades for Wee Sing, Oregon Children’s Theater, ORLO, and Sea World. Mark has been designing and constructing for Imago since 2003, and worked closely with Carol Triffle to bring to life Imago’s ‘Dino.’

Cati Thomas (Fabricator) was born and raised in England. She started sewing at seven and a few years later set off to work in the costume shops of regional and London theaters. She has performed in, directed, and costumed numerous community theater and dance productions. This is her sixth season at Imago.

Tour Booking Representation Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 212.584.7500 www.opus3artists.com

Alexander L Hill (Performer), a Maryland native now living in New York City, received his B.A. in theatre arts from Davis and Elkins College. He performs professionally with the improvisational troupe Face Off Unlimited. Other works include: Theater: 365 Plays for 365 Days (The Public Theatre) God Bless You Mister Scrooge (La Tea Theatre), Hatful of Rain (Vagabond Theatre), Taming of the Shrew (Theatre on the Lake), Much Ado About Nothing (Elkins Shakespeare Festival), The Twilight of the Golds (Our Town Theatre), and The Last Night of Ballyhoo (Laurel Mill Playhouse); Film: The Reunion (NYU), Clouded Billy Cuff (New Light Pictures), and Shining Armor (Dragonhawk Productions).

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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instruments • accessories • sheet music • lessons • rentals • repairs

• Locally owned and operated since 1996 • • We stock over 20,000 print music titles • • We offer “guaranteed lowest price” on our huge and diverse inventory of instruments •

Watermelon Music

207 E Street • Davis • C A • 9 5616 • 53 0.7 5 8.4010 M-F • 10-7 • Sa • 10-6 • Su 12-6 • www.watermelonmusic.com

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

Delfeayo Marsalis Group with Special Student Guests A Capital Public Radio Studio Jazz Series Event Wednesday-Friday, November 10–12, 2010 • 8PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis

There will be one intermission.

Sponsored By

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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delfeayo marsalis group

Delfeayo Marsalis

Dixon High School, Dixon Unified School District

Adrian Coulson, Band Director Cooper Nelson, Alto Saxophone Oscar Leon, Alto Saxophone Paul Quintos, Tenor Saxophone Marti Sarigul Klijn, Tenor Saxophone Bryan Poole, Baritone Saxophone Logan Mitchell, Trumpet Aimee Echeverria, Trumpet Evan Engel, Trumpet Jessica Jones, Trumpet Elise Porter, Trumpet Lorenzo Moran, Trombone Thomas Shaw, Trombone Reilly Lane, Trombone Erich Baur, Trombone Jacob Fisk, Guitar Karoline Logan, Guitar Russell Fry, Piano Channing Ko-Madden, Bass Miles Mistler, Drums

D

elfeayo Marsalis was born in New Orleans, Louisiana, on July 28, 1965. He began studying trombone at age 13 and attended the New Orleans Center for Creative Arts high school.

He was classically trained at the Eastern Music Festival and Tanglewood Institute. In 1983, Delfeayo performed Gordon Jacob’s Trombone Concerto with the New Orleans Philharmonic and received the Outstanding Performance Award from the Jefferson Performing Arts Society for his presentation of Marcello’s Sonata No. 6.

After producing his first recording at age 17, Delfeayo attended the prestigious Berklee College of Music, majoring in both performance and audio production. He has since produced more than 75 major-label recordings—several of which have received Grammy awards and nominations—including works by Harry Connick Jr., Marcus Roberts, Spike Lee, and Ellis, Branford, and Wynton Marsalis. His production skills earned a 3M Visionary Award in 1996 and a cover article in the industry source, Mix magazine, in 1997.

As a trombonist, Delfeayo has toured internationally with legendary jazz artists Art Blakey, Abdullah Ibrahim, Elvin Jones, Slide Hampton and Max Roach, as well as touring with his own modern jazz ensemble. During a tour with the Lincoln Center Jazz Orchestra, he was filmed as part of the Ken Burns documentary Jazz. A mainstay on the New Orleans modern jazz scene, he has released three solo albums to critical acclaim, Pontius Pilate’s Decision in 1992, Musashi in 1997, and Minions Dominion in 2006.

Several music reviewers have hailed Marsalis as one of the freshest modern voices on the instrument to arrive in the 1990s.

Delfeayo has been involved with educating youth in various developmental programs for several years. In 1993, his original D-Blues was commissioned by “Meet the Composer” for the Fillmore Arts Center in Washington, D.C., and in 1995, he lectured in public and parochial schools on behalf of both the Dallas Opera and the Bravo cable network. To further introduce young people to jazz, he has served as director of the Foundation for Artistic and Musical Excellence summer program in Lawrenceville, New Jersey, from 1998-2002.

In 2004, Delfeayo obtained an M.A. in jazz performance at the University of Louisville. In 2011, he will release a new CD, Sweet Thunder (Duke and Shak), an Ellington suite based upon the literary brilliance of William Shakespeare.

During his two weeks in the Sacramento region, Delfeayo Marsalis worked with dozens of talented students at numerous area middle and high schools. The following is a list of all the students who participated: Davis Senior High School, Davis Joint Unified School District

Fred Lange, Band Director Spencer Park, Trumpet Jon Wardrip, Tenor Saxophone Andrew McCauley, Bass Jacob Cross, Drums Noah Wolfe, Guitar

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El Camino Fundamental High School, San Juan Unified School District

Kevin Glaser, Band Director Mike Slater, Alto Saxophone Brian Rassmussen, Alto Saxophone Chase kelly-Reif, Tenor Saxophone Savannah Millard, Tenor Saxophone Robin Johnston, Baritone Saxophone Alaina Gibbons, Trumpet Joseph Kim, Trumpet Noah Flores, Trumpet Guy Whittal-Sherfee, Trumpet Gabe Bettencourt, Trumpet Kimmy Nguyen, Trombone Tony Oddo, Trombone KC Balfour, Trombone Amanda Weinland, Trombone Thomas Bevan, Trombone CK Sahs, Trombone Aurora Marks, Piano Mike Skelly, Piano Josh Reader-Esparza, Bass Sean Metcalf, Bass Matt Swartzendruber, Guitar Jesse Szabo, Guitar Nick Micheels, Drums Dennis Johnston, Drums

Folsom High School, Folsom Cordova Unified School District

Curtis Gaesser, Band Director Lynsey Carpenter, Drums Michael Jercich, Guitar Austin White, Trumpet Molly Redfield, Bass

Harper Jr. High School, Davis Joint Unified School District

Paula Ramirez, Band Director Conner De Angelis, Alto Saxophone Emily Rogers, Alto Saxophone Armen Hovagimian, Alto Saxophone Amber Tolliver, Alto Saxophone Alex Monticello, Tenor Saxophone Brian Johnstone, Tenor Saxophone Sachin Kumar, Baritone Saxophone Nathan Feldman, Flute Carolyn Irving, Flute Garrek Najita, Trumpet Jonathan Pun, Trumpet Ally Weir, Trombone Alexander Nelson, Drums Harrison Bier, Bass Carolyn Irving, Bass Charlie Kimball, Guitar Ustav Bhargava, Piano and Vibes Loren Skinner, Piano and Vibes

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delfeayo marsalis group

Emerson Jr. High School, Davis Joint Unified School District

Jeff DuPertuis, Band Director Seunghyun Kim, Flute Laurel Wilkinson, Alto Saxophone Robert May, Alto Saxophone Emily Phillips, Tenor Saxophone Liam Neville, Tenor Saxophone Jin Hee Kim, Baritone Saxophone Nathan deRopp, Trumpet Peyton Lyons, Trumpet Mari O’Brien, Trumpet Randy Ouyang, Trombone Aaron Levin-Fay, Trombone Hsin Ying Chi, Piano Blaise Jones, Bass Nathan Puckett, Guitar Gabe Mager, Drums Jesse Kehr, Drums

Holmes Jr. High School, Davis Joint Unified School District

Clyde Quick, Band Director Katie Lee, Bass Max Guerrero, Guitar Logan James, Guitar Alvaro Garibay, Guitar Katherine Diamond, Drums Robert Blattner, Drums Robert Li, Drums Nicholas Johnson, Alto Sax Brian Stewart, Tenor Sax Jacob Young, Trombone Miakoda Plude, Trumpet Chloe Sommer, Trumpet

Pioneer High School, Woodland Joint Unified School District

Robert Rogers, Band Director Elizabeth Hechtman, Trumpet Nick Zhang, Tenor Saxophone Erik Bass, Alto Saxophone Annie Cracchiolo, Trombone Ian Hohenwarterm, Piano Andrew Walton, Bass Gabe Horn McGinnis, Drums

Rio Americano High School, San Juan Unified School District

Josh Murray, Max Kiesner, Band Directors Graham Smith, Alto Saxophone Miles Roberto, Trumpet David Williams, Piano Victor San Pedro, Guitar Tuan Phan, Bass Jarrett Tracy, Drums

River City High School, Washington Unified School District

Felicia Greenwood Weatherly, Band Director Jordyn Wright, Trumpet Micah Bongo, Tenor Saxophone Ethan Farnworth, Trombone Ammon Burdge, Guitar Samantha Johnston Whitten, Bass Joseph Tapia, Drums Montana Monce, Piano

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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U C

D A V I S

CAMPUS COMMUNITY BOOK PROJECT 2010 - 2011

“ W hy A r e A l l the B l a c k K i ds S i t t i n g To g e t h e r i n t h e C af e t e r i a? ” And Other Conversations About Race

As the ninth president of Spelman College, Dr. Beverly Daniel Tatum set an expectation that Spelman College would be recognized as one of the finest liberal arts colleges in the country – a place where young women of African descent could say, “This place was built for me and it is nothing less than the best!” With her creative energy focused on five strategic goals – Academic Excellence, Leadership Development, Improving our Environment, Visibility of our Achievements, and Exemplary Customer Service (collectively known as Spelman ALIVE), Spelman College has experienced great growth.

Dr. Tatum is widely recognized as an accomplished adminitrator, scholar, teacher, race relations expert and leader in higher education. The recipient of numerous honorary degrees, in 2005 Dr. Tatum was awarded the prestigious Brock International Prize in Education for her innovative leadership in the field. Her best-selling titles include

Can We Talk About Race? And Other Conversations in an Era of School Resegregation (2007) and Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race (1997).

BEVERLY DANIEL TATUM, PH.D. December 10, 2010 - - Author’s Talk:

Why Are All the Black Kids Sitting Together in the Cafeteria?

Actively involved in the Atlanta community, Dr. Tatum is a member of several boards and of several national non-profit boards Appointed by President Obama, she is a member of the Advisory Board for the White House Initiative on Historically Black Colleges and Universities. She also serves on the Georgia Power corporate board of directors.

Dr. Tatum earned a B.A. degree in psychology from Wesleyan University, M.A. and Ph.D. in clinical psychology from University of Michigan and a M.A. in Religious Studies from Hartford Seminary.

She has served as a faculty member at UC Santa Barbara, Westfield State College, and Mount Holyoke College, where she also served as dean and acting president.

8 PM – 9:30 PM, Jackson Hall, Robert and Margrit Mondavi Center for the Performing Arts The Campus Community Book Project is sponsored by the Office of Campus Community Relations, Offices of the Chancellor and Provost.

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Christopher O’Riley, piano Out of My Hands A Studio Classics: Crossings Series Event Saturday, November 13, 2010 • 8PM Sunday, November 14, 2010 • 2PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis Pre-Performance Talk Christopher O’Riley in conversation with Lara Downes, Artist in Residence, Mondavi Center, UC Davis Saturday, November 13, 2010 • 7PM Sunday, November 14, 2010 • 1PM Vanderhoef Studio Theatre, Mondavi Center

further listening see p. 24

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

23

christopher o’riley

christopher o’riley

further listening

by jeff hudson Christopher O’Riley’s website presents him as “artist, performer, and media personality,” and you can grasp what that three-way job description means by looking at his calendar.

On Thursday, November 11, O’Riley was scheduled to be in “performer” mode at the Lobero Theater in Santa Barbara (a lovely 680-seat venue I recall from my undergraduate years at UCSB) doing a heavy-duty all-Schumann recital: Arabeske, Kreisleriana, Fantasie. (This year is the 200th anniversary of Schumann’s birth, after all.) This “classical” side of his career is documented in albums featuring the music of “traditional” composers like Ravel, Scriabin, Busoni, and Gershwin. You’ll notice that those four composers were keyboard masters in the decades when the musical style of late 1800s was reshaped into the more modern sound of the early 1900s.

Today, November 14, O’Riley is in both “artist” and “performer” modes at the Mondavi Center, playing his Out of My Hands program, featuring pieces that would not have been familiar to Schumann (though I think Schumann might have enjoyed some of the music). Today’s concert will feature O’Riley’s solo piano settings of songs associated with arty present-day pop bands along the lines of R.E.M., Portishead, Cocteau Twins, Pink Floyd, Nirvana, the Bad Plus, the Smiths, Tears For Fears, and Radiohead.

This is material that O’Riley takes quite seriously and has adapted to the keyboard with care and consideration—the music sometimes comes out sounding sort of like a post-Chopin nocturne with mystical overtones (which gets you almost into Scriabin territory). O’Riley’s concerts in this vein (and he’s been doing them for about 10 years) have earned him a following on university campuses. If you like what

you hear, you can also look up O’Riley’s two discs of material adapted from Radiohead— O’Riley’s also published some of his arrangements.

O’Riley has also recorded an album of material adapted from the late (and famously melancholy) British folk/jazz singer Nick Drake. I chatted with O’Riley on the phone for Capital Public Radio in 2002, when Drake’s music had suddenly come back into vogue after several decades of neglect. When O’Riley mentioned that he was doing some piano adaptations of Drake’s songs, I spontaneously volunteered that having been born in 1956, I still owned a scratchy vinyl copy of Drake’s Five Leaves Left, which I’d purchased in the early 1970s, while Drake was still alive. And then I belatedly realized that like myself, O’Riley was born in 1956, and perhaps has similar memories.

Come Tuesday, November 16, O’Riley will go into “media personality” mode in Abilene, Texas, recording another episode in his longrunning public radio program From the Top, which showcases and promotes the careers of talented teenage performers on their way up in the music business. One example: local listeners may recall that in 2002, the show featured a young trumpet player from the Sacramento area named Matthew Muckey, who was 17 at the time. In 2006, Muckey auditioned for the New York Philharmonic (maestro Loren Maazel picked him); Muckey is now Associate Principal.

You can find a recent feature about Muckey at www.fromthetop.org/content/matthew-muckey.

Maybe we’ll get an opportunity to hear Muckey perform at the Mondavi Center someday (hint, hint).

Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise, and Sacramento News and Review.

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His latest White Tie Classics/Mesa-BlueMoon release, Out Of My Hands, includes music of R.E.M., Portishead, Cocteau Twins, Pink Floyd, Nirvana, The Bad Plus, The Smiths, and Tears for Fears as well as material from Radiohead and a newly-released song by Elliott Smith.

As host of the popular NPR music program From the Top, O’Riley is well-known for his eloquent and compelling musings on music and popular culture. His latest performances stretch the piano beyond the classical repertoire and into the rich uncharted territory of contemporary and alt-rock. Announcing the program from the stage allows O’Riley to share discoveries and explore paths in and out of this wealth of material. The music flows seamlessly from one genre to another, from the familiar to the fresh: from Robert Pollard to Rickie Lee Jones to Maurice Ravel; A Perfect Circle to Piazzolla; Thomas Ades to John Adams to Toru Takemitsu to Nine Inch Nails.

Christopher O’Riley is recognized as one of the leading American pianists of his generation, touring extensively as a recitalist and chamber musician and appearing with every major orchestra. He has released numerous recordings on a variety of labels, including Sony, Harmonia Mundi, and White Tie Records.

As a prestigious artist, pianist, and national media personality, O’Riley has dazzled the world over on stage, the radio, and his records. His memorable interpretations of traditional and popular repertoire make him a cherished bridge between musical tastes, genres, and audiences worldwide.

From his groundbreaking transcriptions of Radiohead to his powerful interpretations of repertoire classic and contemporary, pianist Christopher O’Riley has redefined the possibilities of classical music. He has taken his unique vision to both traditional classical music venues and symphonic settings, as well as to entirely new audiences on the radio, at universities, and even clubs. As host of From the Top, O’Riley works and performs with the next generation of brilliant young musicians, demonstrating to audiences, with humor and a lack of pretense, that these young artists are as diverse and full of character in their personal lives as they are in their music-making.

After transcribing and performing two Radiohead albums, his third set of transcriptions entitled Home to Oblivion: An Elliott Smith Tribute, tackled the deeply emotional and complex work of the troubled singer/songwriter who died prematurely in 2003. O’Riley’s most recent recording, released in 2007, is Second Grace: The Music of Nick Drake, a disc of transcriptions of the music by the British folk singer. Nick Drake died in 1974 after releasing just three albums. Despite his short life, Drake’s music has influenced two generations of songwriters.

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christopher o’riley

Out of My Hands Since the triumphant release in 2003 of True Love Waits, pianist Christopher O’Riley’s reimagining of works by Radiohead, Elliott Smith, and Nick Drake have garnered critical accolades and international acclaim, including the only four-star review ever given by Rolling Stone to a classical pianist.

Just as his radio show and his contemporary classical recordings have created extraordinary buzz, so have his performances in traditional classical contexts. In 2004, O’Riley toured the U.S. with the world-famous Academy of St. Martin in the Fields Chamber Orchestra, playing Bach, Mozart, and Liszt concerti. He has appeared with the Los Angeles Philharmonic at the Hollywood Bowl, the Minnesota Orchestra, and the symphonies of Pittsburgh, Detroit, Colorado, Atlanta, and Baltimore. The illustrious group of conductors with whom he has collaborated includes Marin Alsop, David Zinman, Leonard Slatkin, John Williams, Neeme Järvi, Bobby McFerrin, Hans Graf, Yoel Levi, Hugh Wolff, and Andrew Litton.

An enthusiastic advocate of new music, O’Riley has twice participated in the annual “Absolute Concerto” concerts at Avery Fisher Hall (a brainchild of O’Riley’s fan in the 1980s, Andy Warhol), premiering works by Richard Danielpour and Michael Torke.

In 1999-2000 he performed Michael Daugherty’s Le Tombeau de Liberace with the Detroit Symphony and with the Saint Paul Chamber Orchestra, both in St. Paul and on tour. He has recently given premieres of works by Aaron Jay Kernis, including his piano quartet Still Movement with Hymn (also recorded for Decca’s Argo label) and the Superstar Etude No. 1, inspired by the pianism of Jerry Lee Lewis.

Early in his career, O’Riley was honored with many awards at the Leeds, Van Cliburn, Busoni, and Montreal competitions, as well as an Avery Fisher Career Grant. He was also a finalist at the Van Cliburn International Piano Competition in 1981. Among his many solo releases are a Scriabin disc for Image Recordings and an all-Stravinsky disc on Elektra Nonesuch, featuring Three Movements from Petrouchka and O’Riley’s first foray into transcriptions with his own versions of Apollo and Histoire du Soldat.

In addition to his own transcriptions, O’Riley has ventured into alternate territory on tour with other classical artists. He has developed programs with fellow pianists, including Heard Fresh: Music for Two Pianos, with the jazz pianist Fred Hersch; and Los Tangueros, with the Argentinean pianist Pablo Ziegler, a program of two-piano arrangements that feature Astor Piazzolla’s classic tangos. In 1999, he collaborated with choreographer and director Martha Clarke, who staged several stories of Anton Chekhov set to the piano works of Alexander Scriabin, performed live on stage by O’Riley. This production, Vers la Flamme, toured Europe and the United States, and was presented by Jacob’s Pillow, Lincoln Center, and the Kennedy Center, among others.

As O’Riley continues to create new directions in which to take the solo piano recital, the demand for his work has continued to grow internationally. He has performed at major jazz festivals in Istanbul, London, San Francisco, and Sicily, as well as on a tour of the U.K. He recently appeared at the Belfast Festival and he debuted in Australia at the 2006 Sydney Festival.

O’Riley studied with Russell Sherman at the New England Conservatory of Music. He splits his time between Los Angeles and rural Ohio. His radio and TV show can be found online at www.fromthetop.org. His website is www.christopheroriley.com.

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BALLET DIRECTOR

RON CUNNINGHAM ISSUE #6

PLAYWRIGHT

GREGG COFFIN ISSUE #7

TONY WINNER

FAITH PRINCE ISSUE #8 ACTOR

COLIN HANKS ISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDI ISSUE #16

BROADWAY STAR

MARA DAVI ISSUE #19

Available at Raley's, Nugget Markets, Borders and Barnes & Noble.

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

in association with The Paul Taylor Dance Foundation, Inc. Presents

Photo by Tom Caravaglia

A Hallmark Inn Davis Dance Series Event Saturday, November 13, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis There will be one intermission.

Post-performance Q&A Moderated by David Grenke, Chair UC Davis Department of Theatre and Dance Sponsored by

Official Tour Sponsor: MetLife Foundation.

Major funding provided by The SHS Foundation, and the Open Society Foundations and the Fund for the City of New York.

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Printed on recycled paper. Please recycle this playbill for reuse.

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Paul Taylor Dance company

MICHAEL TRUSNOVEC ROBERT KLEINENDORST PARISA KHOBDEH ERAN BUGGE

ANNMARIA MAZZINI JAMES SAMSON SEAN MAHONEY

FRANCISCO GRACIANO

JAMIE RAE WALKER

MICHELLE FLEET JEFFREY SMITH LAURA HALZACK

MICHAEL APUZZO

MICHAEL NOVAK

AMY YOUNG

AILEEN ROEHL

ELIZABETH BRAGG

Artistic Director PAUL TAYLOR Rehearsal Director BETTIE DE JONG Principal Lighting Designer JENNIFER TIPTON

Principal Set & Costume Designer SANTO LOQUASTO Managing Director JOHN TOMLINSON

SPEAKING IN TONGUES (The title refers to a certain impulsive projection of private religious emotion into the public setting of a communal prayer service. Communicants possessed in this way dramatically and spontaneously erupt into soliloquies of streaming, frequently unintelligible, language-like utterance. The practice is associated with Pentecostal churches dominated by charismatic ministers, particularly in the southern United States.)

Music by Matthew Patton Choreography by Paul Taylor Set and Costumes by Santo Loquasto Lighting by Jennifer Tipton (First performed in 1988) A Man of the Cloth................................................................................................................................... Michael Trusnovec Himself, as he recollects....................................................................................................................................James Samson His Better Half.................................................................................................................................................. Laura Halzack A Mother...............................................................................................................................................................Amy Young Her Unwanted Daughter............................................................................................................................. Jamie Rae Walker The Daughter Grown Up...........................................................................................................................Annmaria Mazzini Her Husband.......................................................................................................................................................Jeffrey Smith A Party Girl.......................................................................................................................................................Michelle Fleet The Odd Man Out................................................................................................................................... Robert Kleinendorst Townsfolk.................................................................................Eran Bugge, Michael Apuzzo, Aileen Roehl, Michael Novak The creation of this dance was made possible with support from the Andrew W. Mellon Foundation.

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Paul Taylor Dance company

ALSO PLAYING Dedicated to all Vaudevillians, especially those who went on no matter what.

Music by Gaetano Donizetti Excerpts from Dom Sébastien and L’assedio di Calais Choreography by Paul Taylor Set and Costumes by Santo Loquasto Lighting by Jennifer Tipton (First performed in 2009)

Annmaria Mazzini Sean Mahoney Laura Halzack

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Pose Jumble Tap Waltz Waltz Strip Ballet Apache Waltz /Apache Gypsy Garland Dance Egyptian Spanish March Stagehand’s Turn

Robert Kleinendorst

Jeffrey Smith Jamie Rae Walker

Michelle Fleet

Eran Bugge

Francisco Graciano

Michael Apuzzo

Elizabeth Bragg

Mss. Fleet, Halzack, Bugge, Bragg, Messrs. Mahoney, Graciano Messrs. Mahoney, Graciano Mr. Smith with Mss. Mazzini, Fleet, Halzack, Bragg Ms. Walker, Mr. Apuzzo Mss. Walker, Mazzini, Halzack, Bragg, Messrs. Apuzzo, Mahoney, Smith, Graciano Ms. Bugge Ms. Halzack with Mss. Mazzini, Bugge, Walker Ms. Fleet, Mr. Mahoney Ms. Walker, Mr. Apuzzo, Ms. Fleet, Mr. Mahoney Ms. Bragg with Messrs. Smith, Graciano Mss. Mazzini, Fleet, Halzack, Bugge, Walker Messrs. Graciano, Apuzzo Ms. Mazzini with Messrs. Mahoney, Smith, Apuzzo full cast Mr. Kleinendorst

Commissioned in part by the Hopkins Center, Dartmouth College.

Creation and preservation made possible with contributions from the National Endowment for the Arts; the Andrew W. Mellon Foundation; the Horace W. Goldsmith Foundation; the Gladys Krieble Delmas Foundation; and the Commissioning Friends of Paul Taylor

Printed on recycled paper. Please recycle this playbill for reuse.

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Paul Taylor

P

aul Taylor is the last living member of the pantheon that created America’s indigenous art form, modern dance. At 80—an age when most artists’ best work is behind them—Taylor continues to be acclaimed for the vibrancy, relevance, and power of his current dances as well as his classics. As prolific as ever, he offers cogent observations on life’s complexities and society’s thorniest issues. He may propel his dancers through space for the sheer beauty of it, or use them to wordlessly illuminate war, spirituality, sexuality, morality, and mortality. If, as Balanchine said, there are no mothers-in-law in ballet, there certainly are dysfunctional families, ex-lovers, fallen preachers, rapists, angels, and insects in Taylor dance.

In the 1950s, when his work was so cutting-edge that it could send confused audience members flocking to the exits, Martha Graham dubbed Taylor the “naughty boy” of dance. In the 1960s, he shocked the cognoscenti by setting his trailblazing movement to music composed 200 years earlier, and inflamed the establishment by lampooning America’s most treasured icons.

In the 1970s, he put incest center stage and revealed the beast lurking just below humans’ sophisticated veneer. In the 1980s, he looked unflinchingly at marital rape and intimacy among men at war. In the 1990s, he warned against religious zealotry and blind conformity to authority. In the first decade of the new millennium he has condemned American imperialism, poked fun at feminism, and looked death square in the face. And yet, while his work has largely been iconoclastic, since the very start of his career Taylor has also made some of the most purely romantic, most astonishingly athletic, and downright funniest dances ever put on stage.

People in cities and towns throughout the world have enjoyed live modern dance performances due largely to the far-reaching tours Taylor pioneered as a virtuoso dancer in the 1950s. Having made his first dance in 1954, he has amassed a growing collection of 133 dances. He has set movement to music so memorably that for many people it is impossible to hear certain orchestral works and popular songs and not think of his dances. He has influenced dozens of men and women who have gone on to create dances or establish their own troupes. He has collaborated with such artists as Robert Rauschenberg, Jasper Johns, Ellsworth Kelly, Alex Katz, Tharon Musser, Thomas Skelton, Gene Moore, John Rawlings, William Ivey Long, Jennifer Tipton, and Santo Loquasto. As the subject of the documentary Dancemaker and author of the autobiography Private Domain and Why I Make Dances, he has shed light on the mysteries of the creative process as few artists ever have.

Hailed for uncommon musicality and catholic taste, Taylor has set dances to ragtime, reggae, and rock, tango, Tin Pan Alley and barbershop quartets; works by baroque masters Bach, Boyce, and Handel and iconoclasts Feldman, Ligeti, and Varése; monotonous time announcements, plaintive loon calls, and hysterical laughter.

While he has covered a breathtaking range of topics, recurring themes have included the natural world and man’s place within it; love and sexuality in every gender combination; life, death, and what may follow; and iconic moments in the history of the nation.

His poignant looks at soldiers in battle and those they leave behind caused The New York Times to say in 2009 that he “ranks among the great war poets.”

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Paul Taylor was born in 1930 and grew up in and around Washington, D.C. He was a swimmer and student of painting at Syracuse University in the late 1940s until he discovered dance, which he began studying at Juilliard. By 1954, he had assembled a small company of dancers and was making his own works. A commanding performer despite his late start, he joined the Martha Graham Dance Company in 1955 for the first of seven seasons as soloist while continuing to choreograph on his own troupe.

In 1959, he danced with New York City Ballet as a guest artist.

Having created the slyly funny 3 Epitaphs in 1956, he captivated dancegoers in 1962 with his virile grace in the landmark Aureole, set cheekily not to contemporary music but to a baroque score, as Junction had been the year before. He struck chords again with the apocalyptic Scudorama, intended to be as dark as Aureole was sunny, and the controversial Big Bertha. After retiring as a performer in 1974, Taylor devoted himself fully to choreography and masterpieces continued to pour forth, including Esplanade, Cloven Kingdom, Dust, Airs, Mercuric Tidings, Le Sacre du Printemps (The Rehearsal), Arden Court, Last Look, Musical Offering, Syzygy, Speaking in Tongues, Company B, Eventide, Piazzolla Caldera, Promethean Fire, Banquet of Vultures, and Beloved Renegade. He remains among the most sought-after choreographers working today, commissioned by ballet companies and presenting organizations the world over.

From its earliest years, the Paul Taylor Dance Company brought modern dance to America’s college campuses and small towns as well as its large cultural centers, and in 1960, the company made its first international tour. It has since performed in more than 520 cities in 62 countries. In 1966, the Paul Taylor Dance Foundation was established to help bring Taylor’s works to the largest possible audience, facilitate the making of new dances, and preserve his repertoire. Since 1968, when Aureole first entered the repertoire of the Royal Danish Ballet, his works have been licensed for performance by more than 75 companies worldwide. In 1993, Taylor formed Taylor 2, which brings many of his masterworks to smaller venues around the world. Taylor 2 also teaches modern technique and Taylor style in schools and workplaces, at community gatherings, and during annual workshops for preprofessional dancers.

In celebration of the Paul Taylor Dance Company’s 50th anniversary in 2004-05, his works were performed in all 50 states.

Taylor has received every important honor given to artists in the United States. In 1992, he was a recipient of the Kennedy Center Honors and received an Emmy Award for Speaking in Tongues, produced by WNET/New York the previous year. He was awarded the National Medal of Arts by President Clinton in 1993. In 1995, he received the Algur H. Meadows Award for Excellence in the Arts and was named one of 50 prominent Americans honored in recognition of their outstanding achievements by the Library of Congress’s Office of Scholarly Programs. He is the recipient of three Guggenheim Fellowships and honorary Doctor of Fine Arts degrees from California Institute of the Arts, Connecticut College, Duke University, The Juilliard School, Skidmore College, the State University of New York at Purchase, Syracuse University, and Adelphi University. Awards for lifetime achievement include a MacArthur Foundation Fellowship—often called the “genius

Having been elected to knighthood by the French government as Chevalier de l’Ordre des Arts et des Lettres in 1969 and elevated to Officier in 1984 and Commandeur in 1990, Taylor was awarded France’s highest honor, the Légion d’Honneur, for exceptional contributions to French culture, in 2000.

Taylor’s autobiography, originally published by Alfred A. Knopf and re-released by North Point Press and later by the University of Pittsburgh Press, was nominated by the National Book Critics Circle as the most distinguished biography of 1987. Dancemaker, Matthew Diamond’s award-winning, Oscar-nominated featurelength film about Taylor, was hailed by Time as “perhaps the best dance documentary ever.”

Paul Taylor Dance Company “The American spirit soars whenever Taylor’s dancers dance.”

—San Francisco Chronicle The Paul Taylor Dance Company, now in its 56th year, is one of the world’s most highly respected and sought-after ensembles.

Dance maker Paul Taylor first presented his choreography with five other dancers in New York City on May 30, 1954. That modest performance marked the beginning of a half-century of unrivaled creativity, and in the decades that followed, Taylor became a cultural icon and one of history’s most celebrated artists, hailed as part of the pantheon that created American modern dance.

The Paul Taylor Dance Company and Taylor 2, created in 1993, have traveled the globe many times over, bringing Taylor’s everburgeoning repertoire to theaters and venues of every size and description in cultural capitals, on college campuses, and in rural communities—and often to places modern dance had never been before. The Taylor Company has performed in more than 520 cities in 62 countries, representing the United States at arts festivals in more than 40 countries and touring extensively under the aegis of the U.S. Department of State. In 1997, the company toured throughout India in celebration of that nation’s 50th anniversary.

Its 1999 engagement in Chile was named the Best International Dance Event of 1999 by the country’s Art Critics’ Circle. In the summer of 2001, the company toured in the People’s Republic of China and performed in six cities, four of which had never seen American modern dance before. In the spring of 2003, the company mounted an award-winning four-week, seven-city tour of the United Kingdom. The company’s performances in China in 2007 marked its fourth tour there.

While continuing to garner international acclaim, the Paul Taylor Dance Company performs more than half of each touring season in cities throughout the United States. The company’s New York City Center season in 2005, marking its anniversary, was attended by more than 25,000 people. In celebration of the anniversary and 50 years of creativity by one of the most extraordinary artists the Printed on recycled paper. Please recycle this playbill for reuse.

Paul Taylor Dance company

award” —and the Samuel H. Scripps American Dance Festival Award. Other awards include the New York State Governor’s Arts Award and the New York City Mayor’s Award of Honor for Art and Culture. In 1989, he was elected one of 10 honorary American members of the American Academy and Institute of Arts and Letters.

world has ever known, the Taylor Foundation presented Taylor’s works in all 50 states between March 2004 and November 2005.

That tour underscored the Taylor Company’s historic role as one of the early touring companies of American modern dance. The 50th anniversary celebration also featured a quartet of new dances.

Beginning with its first television appearance for the Dance in America series in 1978, the Paul Taylor Dance Company has appeared on PBS in nine different programs, including the 1991 Emmy Award-winning Speaking in Tongues and The Wrecker’s Ball—including Company B, Funny Papers, and A Field of Grass— which was nominated for an Emmy Award in 1997. In 1999, the PBS American Masters series aired Dancemaker, the Academy Award-nominated documentary about Taylor and his company. n 2004, PBS aired Acts of Ardor, featuring Black Tuesday and Promethean Fire. Dancemaker is available on DVD. To learn more about the Paul Taylor Dance Company, please visit www.ptdc.org.

The Company Bettie de Jong (Rehearsal Director) was born in Sumatra, Indonesia, and in 1946 moved to Holland, where she continued her early training in dance and mime. Her first professional engagement was with the Netherlands Pantomime Company.

After coming to New York City to study at the Martha Graham School, she performed with the Graham Company, the Pearl Lang Company, John Butler and Lucas Hoving, and was seen on CBS-TV with Rudolf Nureyev in a duet choreographed by Paul Taylor. Ms. de Jong joined the Taylor Company in 1962. Noted for her strong stage presence and long line, she was Taylor’s favorite dancing partner and, as Rehearsal Director, has been his right arm for the past 35 years.

Michael Trusnovec hails from Yaphank, New York. He began dancing at age six and attended the Long Island High School for the Arts. In 1992, he was honored by the National Foundation for Advancement in the Arts (youngARTS) and was named a Presidential Scholar in the Arts. In 1996, he received a B.F.A. in Dance Performance from Southern Methodist University.

Professionally, he danced with Taylor 2 from 1996-98, and has appeared with Cortez & Co. Contemporary/Ballet and CorbinDances. Fall 1998 marked his debut with the Paul Taylor Dance Company. Trusnovec received a 2006 New York Dance and Performance Award (the Bessie) for his body of work during the 2005-06 Taylor season.

Annmaria Mazzini began dancing in Allentown, Pennsylvania, under the direction of Frances Evers, and later earned her B.F.A. at the Meadows School of the Arts at Southern Methodist University.

While working as an art model for painters and sculptors, she studied at The Taylor School and in 1995 joined Taylor 2. She has been a guest artist with CorbinDances, the Amy Marshall Dance Company, Kim Gibilisco Dances, Karla Wolfangle, and Juliette Soucie. Mazzini teaches modern dance on the road and at The Taylor School, choreographs and performs her own work, and is an accomplished jewelry designer and creator of AMulets, seen at www.annmaria.com. She made her debut with the Paul Taylor Dance Company at the 1999 American Dance Festival in Durham, North Carolina.

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Amy Young grew up in Washington. She spent her senior year of high school studying at the Interlochen Arts Academy in Michigan prior to entering The Juilliard School in New York, where she earned a B.F.A. in 1996. She joined Taylor 2 in August of that year. Young enjoys teaching and has been on the faculty of Alaska Dance Theatre in Anchorage, Perry-Mansfield Performing Arts Camp, Metropolitan Ballet of Tacoma, and The Taylor School.

She also dances with the TAKE Dance Company. Young made her debut with the Paul Taylor Dance Company at the Paris Opera House in 2000.

Robert Kleinendorst is originally from Roseville, Minnesota. He graduated from Luther College in 1995 with a B.A. in voice and dance. After moving to New York, he danced with the Gail Gilbert Dance Ensemble, and Cortez & Co. Kleinendorst also performed with Anna Sokolow’s Players Projects at The Kennedy Center in Washington, D.C. Having studied at The Taylor School since 1996, he joined Taylor 2 in 1998. Kleinendorst joined the Paul Taylor Dance Company in 2000.

James Samson is a native of Jefferson City, Missouri, where he began his dance training at age eight. He received a B.F.A. in dance and a minor in business from Southwest Missouri State University, then studied as a scholarship student with the David Parsons New Arts Festival, Pilobolus Intensive Workshop, and the Alvin Ailey Summer Intensive, where he was selected to perform in Paul Taylor’s Airs set by Linda Kent. Samson has danced for Charleston Ballet Theatre, Omaha Theatre Company Ballet, Omega Dance Company, New England Ballet, Connecticut Ballet, and the Amy Marshall Dance Company. He joined the Paul Taylor Dance Company in 2001.

Michelle Fleet grew up in the Bronx and began her dance training at age four. She attended Ballet Hispanico of New York during her training at Talent Unlimited High School, where she was a member of the Ballet Hispanico Junior Company. Fleet earned her B.F.A. in dance from Purchase College in 1999 and received her M.B.A. in business management in 2006. She has performed in works by Bill T. Jones, Merce Cunningham, Kevin Wynn, and Carlo Menotti.

Fleet joined Taylor 2 in 1999. She made her debut with the Paul Taylor Dance Company in 2002.

Parisa Khobdeh, born and raised in Plano, Texas, trained under Kathy Chamberlain and Gilles Tanguay. Khobdeh earned her B.F.A. from Southern Methodist University and, while a student at SMU and the American Dance Festival as a Tom Adams Scholar, worked with choreographers Robert Battle, Judith Jamison, and Donald McKayle, among others. She also attended Taylor and Graham Intensives in New York City. Khobdeh has choreographed dances to benefit human rights organizations, as well as for independent films. In 2006, she made her New York theatrical debut at the Stella Adler Studios in the lead role of Lanford Wilson’s Burn This.

She joined the Paul Taylor Dance Company at the American Dance Festival in 2003.

Sean Patrick Mahoney was born and raised in Bensalem, Pennsylvania. At age 12 he began training with Fred Knecht and attending Princeton Ballet School on scholarship. He became an apprentice at American Repertory Ballet and then became a featured dancer with the company. After graduating high

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school in 1993, he was chosen as one of the first members of Taylor 2. Mahoney later danced for David Parsons, Alex Tressor, and Geoffrey Doig-Marx, and was in Radio City’s Christmas Spectacular. He returned to ARB under the direction of Graham Lustig and married his dance partner, Peggy Petteway. Mahoney rejoined Taylor 2 in 2002. His debut with the Paul Taylor Dance Company was in 2004.

Jeffrey Smith was born in Rhode Island and began his performing career singing and tap dancing. Upon entering the Boston Conservatory as a musical theater major, he had the opportunity to perform works by Paul Taylor, José Limón, Sean Curran, and Anna Sokolow and later switched majors to graduate with a B.F.A. in dance performance. After graduating in 2001, he became a member of the Martha Graham Ensemble, performing featured roles in Diversion of Angels, El Penitente, the duet from A Dancer’s World, and Bertram Ross’s Nocturne. During this time he participated in the Taylor School Winter and Summer Intensives and became a member of Taylor 2 in 2005. Smith made his debut with the Paul Taylor Dance Company in 2005.

Eran Bugge is from Oviedo, Florida, where she began her dance training at the Orlando Ballet School. She studied at the Hartt School of the University of Hartford under the direction of Peggy Lyman, graduating Summa Cum Laude with a B.F.A. in ballet pedagogy in 2005. She attended The Taylor School and the 2004 and 2005 Taylor Summer Intensives. Bugge has performed in works

by Amy Marshall, Katie Stevinson-Nollet, and Jean Grand-Maître.

She was a member of Full Force Dance Theatre and the Adam Miller Dance Project. She joined the Paul Taylor Dance Company in 2005.

Francisco Graciano, a native of San Antonio, Texas, began dancing and acting at an early age. He received a B.F.A. in dance from Stephens College for Women (male scholarship), and scholarships from the Alvin Ailey School and The Taylor School. He has been a member of TAKE Dance Company, Connecticut Ballet, Ben Munisteri Dance Company, Cortez & Co. Contemporary/Ballet, Pascal Rioult Dance Theater, and Dusan Tynek Dance Theater, among others. He also appeared in the operas Aida and White Raven directed by Robert Wilson. Graciano joined Taylor 2 in 2004 and made his debut with the Paul Taylor Dance Company in 2006.

Laura Halzack grew up in Suffield, Connecticut, and began her dance training at the age of four with Brenda Barna. She furthered her training at the School of the Hartford Ballet and studied at the Conservatory of Dance at Purchase College. Halzack graduated Summa Cum Laude with a degree in history from the University of New Hampshire in 2003. She then studied at the Hartt School and at The Taylor School’s 2004 Summer Intensive. She has performed with the Amy Marshall Dance Company and Syren Modern Dance.

Halzack studied at The Taylor School for two years before joining the Paul Taylor Dance Company in 2006.

Jamie Rae Walker began her ballet and modern dance training at age eight in Levittown, Pennsylvania, and performed with the Princeton Ballet, now American Repertory Ballet. In 1991, she began training at the Central Pennsylvania Youth Ballet. In 1992, she was awarded a scholarship by Violette Verdy at the Northeast

Michael Apuzzo grew up in North Haven, Connecticut. He studied economics and theater at Yale University, graduating Magna Cum Laude in 2005. He began his dance training while in college.

After being dance captain for an original production of Miss Julie choreographed by Peter Pucci, Apuzzo debuted professionally at the Yale Repertory Theater. He has performed in numerous musicals and at equity theaters across the country, and recently finished performing in the National Tour of Twyla Tharp’s Broadway show Movin’ Out. He made his debut with the Paul Taylor Dance Company in 2009.

Aileen Roehl is an American who grew up in Heidelberg, Germany, where she began her dance training at the Heidelberg School of the Arts. She received her B.F.A. from the University of Hartford’s Hartt School, where she performed works by Martha Graham, Peggy Lyman, Katie Stevenson-Nollet, Jean Grand-Maitre, Kirk Peterson, Alla Nikitina, Ralph Perkins, and Adam Miller.

Aileen was a member of the Amy Marshall Dance Company from 2005-10, and was the company’s resident costume designer. She joined the Paul Taylor Dance Company in June.

Paul Taylor Dance company

Regional Dance Festival in Illinois. Walker joined Miami City Ballet in 1994. In 2001, she received a scholarship to attend The Taylor School and was a part of the original cast of Twyla Tharp’s Broadway show Movin’ Out. Walker joined Taylor 2 in 2003 and became a member of the Paul Taylor Dance Company in 2008.

Michael Novak was raised in Rolling Meadows, Illinois, where he started his dance training at age 10 at the Bonnie Lindholm School of the Dance. He continued his training on scholarship at the University of the Arts, the Pennsylvania Academy of Ballet, and Springboard Danse Montreal, and, in 2009, graduated Magna Cum Laude and Phi Beta Kappa from Columbia University with a B.A. in dance. He has worked for numerous choreographers, including Gina Gibney, Daniel Gwirtzman, and Bonnie Scheibman. Novak started studying at the Taylor School in 2008 and participated in the Taylor Summer Intensive before joining the company in 2010.

Elizabeth Bragg grew up in Denver, Colorado, where she began dancing at the age of three. She trained with Colorado Ballet and Cleo Parker Robinson Dance. She graduated Summa Cum Laude from Southern Methodist University, receiving her B.F.A. in dance and an award for outstanding achievement in dance. She then moved to New York and has studied at the Taylor School since 2005, attending several Taylor Intensives as well. Bragg has performed with RedWall Dance Theatre and Bardos Ballet. She made her debut with the Paul Taylor Dance Company in 2010.

MetLife Foundation is official tour sponsor of the Paul Taylor Dance Company and Taylor 2. Major funding provided by The SHS Foundation; the Open Society Foundations and the Fund for the City of New York; and the Board of Trustees and Friends of the Paul Taylor Dance Foundation. Support also provided by the National Endowment for the Arts, and the New York State Council on the Arts, a State Agency.

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Voted “Best Place to Eat Before a Mondavi Center Performance.”

—Sacramento Magazine (2010)

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PAUL TAYLOR DANCE FOUNDATION, INC. 551 Grand Street, New York, New York 10002 www.ptdc.org

Board Of Directors Paul Taylor, Chairman Robert E. Aberlin, President Dr. Frank L. Ellsworth, Vice President Elise Jaffe, Vice President C.F. Stone III, Vice President Joseph A. Smith, Treasurer Joan C. Bowman, Secretary John Tomlinson, Managing Director Carolyn Adams Lisa Brothers Arbisser, M.D. Norton Belknap Sally Brayley Bliss Christine Ramsay Covey Deirdre K. Dunn

Cecile Engel Richard E. Feldman Roger A. Goldman Marjorie S. Isaac Scott King Mary Ann Kinkead Wilfred Koplowitz Lee Manning-Vogelstein Carole K. Newman Ariane Reinhart Yvonne Rieber LeRoy Rubin Max R. Shulman William A. Shutzer

Staff Artistic Director....................................................................................................................... Paul Taylor Rehearsal Director......................................................................................................................Bettie de Jong Principal Lighting Designer..................................................................................................... Jennifer Tipton Principal Set & Costume Designer.......................................................................................... Santo Loquasto Managing Director.................................................................................................................. John Tomlinson Director of Finance and Administration................................................................................. Edson Womble Director of Marketing...................................................................................................................Alan Olshan Director of Development................................................................................................................. Kim Chan Director of Public Relations........................................................................................................ Lisa Labrado Director of Operations......................................................................................................... Holden Kellerhals Company and Rehearsal Manager...............................................................................................Andy LeBeau Administrator and Archival Supervisor........................................................................................ Tom Patrick Touring Supervisor.........................................................................................................................Ann Wagar Associate Director of Development................................................................................................... Toni Hsu Production and Assistant Company Manager.......................................................................... Steven Carlino Lighting Supervisor........................................................................................................................Brian Jones Wardrobe Supervisor..............................................................................................................Caroline McCall Rehearsal Director, Taylor 2.......................................................................................................Ruth Andrien Company Manager, Taylor 2.....................................................................................................Mike Paquette Tour Representative, Taylor 2........................................................Jeannette Gardner, Gardner Arts Network Company Historian...........................................................................................................Angela Kane, Ph.D. Archival Consultant............................................................................................... The Winthrop Group, Inc. Auditors........................................................................................................................................Lutz & Carr Orthopedic Consultant................................................................................................... David S. Weiss, M.D. Travel Agent................................................................................................................Michael Retsina, Altour

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MERCHANDISE Dancemaker, the Academy Award-nominated documentary about Paul Taylor, is available on VHS and DVD. Copies of Taylor’s acclaimed autobiography, Private Domain, and Paul Taylor Dance Company souvenir items, are also available. To order merchandise, call 212.431.5562.

TAYLOR 2 JUSTIN KAHAN CHRISTINA LYNCH MARKHAM MADELYN HO ALANA ALLENDE HANK BAMBERGER MANUEL SANCHEZ

Paul Taylor established Taylor 2 in 1993 to ensure that his works could be seen by audiences all over the world without regard to economic or logistical limitations. He worked with longtime colleague Linda Hodes to create a company that could accommodate performance requests, teach classes, and provide community outreach. With six dancers, Taylor 2 is the same size as Taylor’s original company. In selecting repertoire for Taylor 2, Taylor chooses dances that reveal the broad spectrum of his work, sometimes reworking the original version to fit the smaller ensemble. Taylor 2’s engagements are flexible and are customized to meet the needs of each community. They often consist of master classes and lecture/ demonstrations in addition to performances that often take place in non-traditional venues as well as in theaters. Former Taylor dancer Ruth Andrien was named Rehearsal Director of Taylor 2 in 2010.

Mondavi Center 2 0 1 0

To find out more about Taylor 2, upcoming tour dates, and the latest Taylor 2 news, please visit the company on the web at www.ptdc.org.

2011

Paul Taylor Dance Company Sat, Nov 13, 2010 | 8PM JH

MARK MORRIS DANCE GROUP Wed, Feb 2, 2011 | 8PM JH

Tango Fire Tango Inferno Thu, Mar 10 | 8PM JH

Alvin Ailey American Dance Theater© Tue & Wed, Apr 5 & 6 | 8PM JH

LUCInDA CHILDS DANCE Tue, May 3, 2011 | 8PM JH

Dance

THE TAYLOR SCHOOL Taylor style and repertoire classes are held throughout the year, taught by former and current Taylor Company members. In addition, the School offers Summer and Winter Intensives for students from around the world interested in a more in-depth study of Paul Taylor style and choreography. For information, schedules, and registration forms, please visit www.ptdc.org.

MondaviArts.org

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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Hyatt Place is a proud sponsor

of The robert and margrit Mondavi Center for the performing arts, UC Davis

Hyatt Place UC Davis 173 Old Davis Road Extension Davis, CA 95616, USA Phone: +1 530 756 9500 Fax: +1 530 297 6900

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Ornette Coleman A Capital Public Radio Jackson Hall Jazz Series Event Saturday, November 20, 2010 • 8PM Jackson Hall, Mondavi Center, UC Davis

Sponsored by

Pre-Performance Talk Cory Combs, Educational Outreach, SFJAZZ Saturday, November 20, 2010 • 7PM Jackson Hall, Mondavi Center

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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R

arely does one person change the way we listen to music, but such a man is Ornette Coleman. Since the late 1950s, when he burst on the New York jazz scene with his legendary engagement at the Five Spot, Coleman has been teaching the world new ways of listening to music. His revolutionary musical ideas have been controversial, but today his enormous contribution to modern music is recognized throughout the world.

Coleman was born in Fort Worth, Texas, in 1930 and taught himself to play the saxophone and read music by the age of 14.

One year later he formed his own band. Finding a troublesome existence in Fort Worth surrounded by racial segregation and poverty, he took to the road at age 19. During the 1950s while in Los Angeles, Ornette’s musical ideas were too controversial to find frequent public performance possibilities. He did, however, find a core of musicians who took to his musical concepts: trumpeters Don Cherry and Bobby Bradford, drummers Ed Blackwell and Billy Higgins, and bassist Charlie Haden.

In 1958, with the release of his debut album Something Else, it was immediately clear that Coleman had ushered in a new era in jazz history. This music, freed from the prevailing conventions of harmony, rhythm, and melody, and often called “free jazz,” transformed the art form. Coleman called this concept Harmolodics.

From 1959 through the rest of the 1960s, Coleman released more than 15 critically acclaimed albums on the Atlantic and Blue Note labels, most of which are now recognized as jazz classics. He also began writing string quartets, woodwind quintets, and symphonies based on Harmolodic theory.

In the early 1970s, Ornette traveled throughout Morocco and Nigeria playing with local musicians and interpreting the melodic and rhythmic complexities of their music into this Harmolodic

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approach. In 1975, seeking the fuller sound of an orchestra for his writing, Coleman constructed a new ensemble entitled Prime Time, which included the doubling of guitars, drums, and bass. Combining elements of ethnic and danceable sounds, this approach is now identified with a full genre of music and musicians. In the next decade, more surprises included trend-setting albums such as SONG X with guitarist Pat Methany and Virgin Beauty featuring Grateful Dead leader Jerry Garcia.

Ornette Coleman

Ornette Coleman

The 1990s included other large works such as the premiere of Architecture in Motion, Ornette’s first Harmolodic ballet, as well as work on the soundtracks for the films Naked Lunch and Philadelphia. With the dawning of the Harmolodic record label under Polygram, Ornette became heavily involved in new recordings including Tone Dialing, Sound Museum, and Colors. In 1997, New York City’s Lincoln Center Festival featured the music and the various guises of Ornette over four days, including performances with the New York Philharmonic and Kurt Masur of his symphonic work Skies of America.

There has been a tremendous outpouring of recognition bestowed upon Coleman for his work, including honorary degrees from the University of Pennsylvania, California Institute of the Arts, and Boston Conservatory, and an honorary doctorate from the New School for Social Research. In 1994, he was a recipient of the distinguished MacArthur Fellowship award, and in 1997, he was inducted into the American Academy of Arts and Letters. In 2001, Ornette Coleman received the prestigious Praemium Imperiale award from the Japanese government. Ornette won the Pulitzer Prize for Music for his 2006 album Sound Grammar, the first jazz work to be bestowed with the honor. In 2008, he was inducted into the Nesuhi Ertegun Jazz Hall of Fame. The NEJHF honors legendary musicians whose singular dedication and outstanding contributions to this art shaped the landscape of jazz.

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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Robert and Margrit Mondavi

Center for the Performing Arts

| UC Davis

Presents

MC

Debut

Jeanine De Bique A Debut Series Event Saturday, November 20, 2010 • 8PM Sunday, November 21, 2010 • 2PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices.

Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

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JEANINE DE BIQUE, soprano REBECCA MORDO, piano

Cinq Mélodies Populaires Greques

Ravel

Chanson de la mariée Là-bas, vers l’église Quel Galant m’est comparable Chanson de cueilleuses de lentisques Tout gai!

Selected Songs

Wolf

Gretchen vor dem Andachtsbild der Mater Dolorosa

Frulings über jahr Blumengruss Das verlassene Mägdlein Und willst du deinen Liebsten sterben sehen Er Ist’s

“Misera, dove son”, K. 369

Mozart

INTERMISSION

Cancion de cuna Obradors Al amor Corazon Del cabello mas sutil Chiqitita la novia

His name so sweet Honor, Honor!

Balm in Gilead Prayer Little David Play on Your Harp Ain’t-A that Good News

Arr. Johnson

Arr. Adams Arr. Burleigh Arr. Hairston

Program subject to change

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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jeanine de bique, soprano

Jeanine De Bique, soprano “From the moment she stepped on stage it was apparent to the large audience that she has genuine star quality,” wrote The New York Amsterdam News of soprano Jeanine De Bique, about her New York debut. De Bique begins her season as soloist in the Gala opening of the New Jersey Symphony, under the direction of Jacques Lacombe. She gives concerts at the Isabella Stewart Gardner Museum in Boston, the Mondavi Center for the Performing Arts, the Washington Center for the Performing Arts, in the Tuesday Musical Club Series, for Fishers Island Concerts, the Honest Brook, and Chappaquiddick Festivals. De Bique’s appearances with orchestra include Barber’s Knoxville Summer of 1915 with the Charlotte Symphony and conductor Albert-George Schram and Villa-Lobos’s Bachianas Brazilieras with the Sarasota Orchestra and conductor Leif Bjaland. In Rome, she performs Brahms’ Requiem under the baton of Lorin Maazel and the Orchestra della Svizzera italiana. She has also appeared with Lorin Maazel and the New York Philharmonic in Mahler’s Symphony No. 8 at Avery Fisher Hall.

Winner of the Paul A. Fish First Prize in the 2008-09 Young Concert Artists International Auditions, De Bique gave debut recitals in the Young Concert Artists Series at Merkin Concert Hall in New York and the Kennedy Center in Washington, D.C. She was Artist-in-Residence with the Basel Opera in Switzerland during the 2009-10 season, where she sang “Kate Pinkerton” in Madam Butterfly, “Barberina” in Le nozze di Figaro, and “Sophie” in Werther.

De Bique’s operatic performances have included the title role in Monteverdi’s L’Incoronazione di Poppea and “La Princesse” in Ravel’s L’enfant et les sortileges at the Chautauqua Music Program, “Yum Yum” in Gilbert and Sullivan’s The Mikado with the St. Louis Opera Theatre, “the Woman of the River” in Tarik O’Regan’s Heart of Darkness with American Opera Projects, in the premiere of Paul Brantley’s On the Pulse of Morning with the Manhattan School of Music Philharmonic, and she has toured Eastern Europe and Russia as “Clara” in Gershwin’s Porgy and Bess with the Russian Philharmonic. In the opera studio at the Manhattan School of Music, she performed “Adele” in Strauss’s Die Fledermaus, the title role in Handel’s Semele, “Lauretta” in Puccini’s Gianni Schicchi, “Sister Constance” in Poulenc’s Les Dialogues des Carmelites, and “Girl” in Bernstein’s Trouble in Tahiti.

Born in Trinidad and Tobago, De Bique earned her bachelor’s degree in 2006, her master’s degree in 2008 and her Professional Studies Certificate in 2009 at the Manhattan School of Music. She has won many competitions and honors including the 2010 Arleen Auger Prize at the International Vocal Competition Hertogenbosch in The Netherlands, the 2010 Borse di Studio Prize at the Premio Spiros Argiris 11th International Competition for Young Opera Singers in Italy, the 2009 Gerda Lissner Vocal Competition in New York, the Lys Symonette Award in the Kurt Weill Foundation’s 2007 Lotte Lenya Competition, First Prize in the 2006 National Association for Negro Singers Competition, Regional Finalist and Study Grant Winner in the 2007 Metropolitan Opera National Council Auditions, and First Place Winner of the 2005 Long Island Masterworks, Inc. Vocal Competition. De Bique received a Study Grant from the Licia Albanese-Puccini Foundation in 2006, and has participated in master classes with Renee Fleming, Marilyn Horne, Catherine Malfitano, Thomas Hampson, and Mirella Freni.

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Rebecca Mordo, piano, is an engaging and moving musician in demand for her dynamic collaboration. She is equally committed to the operatic and the song repertoire.

In February 2010, Mordo was selected to attend and observe private coachings, orchestra and staging rehearsals with Ricardo Muti during his debut at the Metropolitan Opera performance of Attila by Giuseppe Verdi.

Last summer, Mordo attended the Music Academy of the West serving as a vocal coach for its production of Mignon by Ambroise Thomas under the baton of George Manahan. Since 2005, she has performed as a collaborative pianist at the International Vocal Arts Institute (IVAI) in Tel Aviv, Israel, and Puerto Rico working closely with Joan Dornemann, assistant conductor at the Metropolitan Opera.

On the recital stage, Mordo has collaborated with some of today’s prominent young artists, including Metropolitan Opera Council Winner, Lori Guilbeau and Marilyn Horne Foundation Vocal Winner, Jeffrey Hill.

Enjoying a flourishing career, Mordo is a touring pianist with Yanni Voices and Disney artist, Nathan Pacheco. In recent seasons, Ms. Mordo has been invited to be a guest artist at the North Carolina School of the Arts, Orange County Pavilion in Anaheim, Crest Theater in West Palm Beach, Florida, and the Vanderbilt Mansion in Delray, Florida.

Mordo has accompanied the classes of such legendary artists as Marilyn Horne, Sherrill Milnes, Thomas Hampson, Ben Heppner, Lauren Flanigan, Frank Corsaro, Benita Valente, Johanna Meier, and Mira Zakai.

As studio pianist, she has had the distinct privilege of working with some of the great artists and teachers of singing including Ramón Vargas, Patricia McCaffrey, Cesar Ulloa, Cynthia Hoffman, Edith Bers, Joan Patenaude-Yarnell, Mark Oswald, and Mignon Dunn.

For the past two years, Mordo has been on the vocal coaching staff at Manhattan School of Music. In addition, she has also appeared as a solo and collaborative pianist in numerous recitals and concerts in Brazil and across the United States.

A native of Northern Virginia, Mordo received her Bachelor of Music degree from Brigham Young University and completed her Master of Music degree from Manhattan School of Music under the direction of renowned pianist Warren Jones.

Jeanine De Bique, soprano

TEXTS AND TRANSLATIONS

Cinq Melodies Populaires Greques Texts: Michel Dimitri Calvocoressi

Five Popular Greek Melodies

Chanson de la mariée

Song of the Bride

Réveille-toi, réveille-toi, perdrix mignonne, Ouvre au matin tes ailes.

Trois grains de beauté, mon coeur en est brûlé!

Vois le ruban d’or que je t’apporte, Pour le nouer autour de tes cheveux.

Si tu veux, ma belle, viens nous marier!

Dans nos deux familles, tous sont alliés!

Awake, awake, my darling partridge, Open to the morning your wings.

Three beauty marks; my heart is on fire!

See the ribbon of gold that I bring To tie round your hair.

If you want, my beauty, we shall marry!

In our two families, everyone is related

Là-bas, vers l’église

Yonder, by the Church

Là-bas, vers l’église, Vers l’église Ayio Sidéro, L’église, ô Vierge sainte, L’église Ayio Costanndino, Se sont réunis, Rassemblés en nombre infini, Du monde, ô Vierge sainte, Du monde tous les plus braves!

Yonder, by the church, By the church of Ayio Sidero, The church, o blessed Virgin, The church of Ayio Costanndino, There are gathered, Assembled in numbers infinite, The world’s, o blessed Virgin, All the world’s most decent folk

Quel galant m’est comparable

What Gallant Compares with Me

Quel galant m’est comparable, D’entre ceux qu’on voit passer?

Dis, dame Vassiliki?

Vois, pendus à ma ceinture, pistolets et sabre aigu...

Et c’est toi que j’aime!

What gallant compares with me, Among those one sees passing by?

Tell me, lady Vassiliki! See, hanging on my belt, My pistols and my curved sword.

And it is you whom I love!

Chanson des cueilleuses de lentisques

The Song of the Girls Collecting Mastic

O joie de mon âme, Joie de mon coeur, Trésor qui m’est si cher; Joie de l’âme et du coeur, Toi que j’aime ardemment, Tu es plus beau qu’un ange.

O lorsque tu parais, Ange si doux Devant nos yeux, Comme un bel ange blond, Sous le clair soleil, Hélas! tous nos pauvres coeurs soupirent!

O joy of my soul, joy of my heart, treasure which is so dear to me, joy of my soul and heart, you whom I love ardently, you are more handsome than an angel.

O when you appear, angel so sweet, Before our eyes, Like a fine, blond angel, under the bright sun, Alas! all of our poor hearts sigh!

Tout gai

Everyone is Joyous

Tout gai! gai, Ha, tout gai!

Belle jambe, tireli, qui danse; Belle jambe, la vaisselle danse, Tra la la la la...

Everyone is joyous, Everyone is joyous!

Beautiful legs, trala, which dance, Beautiful legs; even the dishes are dancing!

Tra la la, la la la!

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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jeanine de bique, soprano

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Gretchen vor dem Andachtsbild der Mater Dolorosa

Gretchen Before the Image of the Mother of Sorrows

Ach neige, Du Schmerzenreiche, Dein Antlitz gnädig meiner Not!

Ah, lean down, O Sorrowful Mother, Look upon my distress!

Das Schwert im Herzen, Mit tausend Schmerzen Blickst auf zu deines Sohnes Tod.

Your heart pierced by a sword, In a thousand agonies You gaze up at your dying son.

Zum Vater blickst du, Und Seufzer schickst du Hinauf um sein’ und deine Not.

To the Father, you offer sighs For His and your misery.

Wer fühlet, Wie wühlet Der Schmerz mir im Gebein?

Was mein armes Herz hier banget, Was es zittert, was verlanget, Weißt nur du, nur du allein!

Who else can feel the pain, That devours my very bones?

What my poor heart dreads, Why it trembles, what it craves, Only you can know!

Wohin ich immer gehe Wie weh, wie weh, wie wehe Wird mir im Busen hier!

Ich bin, ach, kaum alleine, Ich wein’, ich wein’, ich weine, Das Herz zerbricht in mir.

No matter where I go, How it throbs, within my breast!

No sooner am I alone, Than I weep, And my heart breaks.

Die Scherben vor meinem Fenster Betaut’ ich mit Tränen, ach!

Als ich am frühen Morgen Dir diese Blumen brach.

The flower-pots outside my window Were drenched with my tears When early this morning I picked these flowers for you.

Schien hell in meine Kammer Die Sonne früh herauf, Saß ich in allem Jammer In meinem Bett schon auf.

When the early bright sun Shone into my room, I was already awake in my bed Wracked with misery.

Hilf! Rette mich von Schmach und Tod! Ach neige, Du Schmerzenreiche, Dein Antlitz gnädig meiner Not!

Help me! Save me from shame and death!

Ah, lean down, O Sorrowful Mother, Look down upon my distress!

| mondaviarts.org

Eternal Spring

Das Beet, schon lockert sichs in die Höh!

Da wanken Glöckchen so weiß wie Schnee; Safran entfalltet gewaltge Glut, Smaragden keimt es und keimt wie Blut;

The flower-bed is already sending shoots to the sky!

Tiny snow-white bells waver; Saffron emits an intense glow, some buds are emerald, some blood-red;

Primeln stolzieren so naseweis, Schalkhafte Veilchen, versteckt mit Fleiß; Was such noch alles da regt und webt, Genug, der Frühling, er wirkt und lebt.

Pert primroses stand in parade, roguish violets Peek from their hiding place; so much else is stirring and moving; in short, Spring is here, alive and at work.

Doch was im Garten am reichsten blüht, Das ist des Liebchens lieblich Gemüt.

Da glühen Blicke mir immerfort, Erregend Liedchen, erheiternd Wort.

But the richest flowering in the garden is my darling’s sweet disposition.

Her ceaselessly glowing glances her inspiring song, her enlivening conversation.

Ein immer offen, ein Blütenherz, Im Ernste freundlich und rein im Scherz.

Wenn Ros und Lilie der Sommer bringt, Er doch vergebens mit Liebchen ringt.

Her heart is an ever-open blossom, gentle in serious matters, sweet and pure in jest.

Though summer brings the rose and lily It competes with my love in vain.

Blumengruss

The Bouquet

Der Strauß, den ich gepflücket, Grüße dich viel tausendmal!

Ich habe mich oft gebücket, Ach, wohl eintausendmal, Und ihn ans Herz gedrücket Wie hunderttausendmal!

The bouquet that I have picked, let it greet you a thousand times!

I have often bent down, ah, well over a thousand times, and pressed it to my heart – maybe even a hundred thousand times!

Das verlassene Mägdlein Text: Edouard Mörike

The Abandoned Magdalene

Früh, wann die Hähne kräh’n, Eh’ die Sternlein verschwinden, Muß ich am Herde stehn, Muß Feuer zünden.

Early, when the cock crows, before the stars disappear, I must stand at the hearth; I must light the fire.

Schön ist der Flammen Schein, Es springen die Funken.

Ich schaue so drein, In Leid versunken.

Beautiful is the blaze of the flames; the sparks fly.

I gaze into the fire, sunk in grief.

Plötzlich, da kommt es mir, Treuloser Knabe, Daß ich die Nacht von dir Geträumet habe.

Suddenly, it comes to me, unfaithful boy, that last night I dreamed of you.

Träne auf Träne dann Stürzet hernieder; So kommt der Tag heran – O ging er wieder!

Tears upon tears then pour down; So the day comes – O would it were gone again!

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

Jeanine De Bique, soprano

Frühling über Jahr Text: Johann Wolfgang von Goethe

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jeanine de bique, soprano

Und willst du deinen Liebsten sterben sehen

Unless You Wish to See

Und willst du deinen Liebsten sterben sehen, So trage nicht dein Haar gelockt, du Holde.

Laß von den Schultern frei sie niederwehen; Wie Fäden sehn sie aus von purem Golde.

Wie goldne Fäden, die der Wind bewegt Schön sind die Haare, schön ist, die sie trägt!

If you want to see your sweetheart dying of love then leave your hair unbound, my darling.

Let your hair tumble freely about your shoulders.

It looks like threads, spun of purest gold.

Like golden threads, stirring in the breeze Your hair is as lovely as she who bears it.

Goldfäden, Seidenfäden ungezählt Schön sind die Haare, schön ist, die sie strählt!

Golden threads, silken threads, innumerable threads: Your hair is as lovely as she who combs it.

Er ist’s

It’s Spring

Frühling läßt sein blaues Band Wieder flattern durch die Lüfte; Süße, wohlbekannte Düfte Streifen ahnungsvoll das Land.

Veilchen träumen schon, Wollen balde kommen.

Horch, von fern ein leiser Harfenton!

Frühling, ja du bist’s!

Dich hab ich vernommen!

Spring lets its blue banner flutter in the breeze again; Sweet, familiar scents Sweep their promise through the land.

Violets are already dreaming, and will soon arrive.

Hark, from afar, a sweet harp tone!

Springtime, it is indeed you!

Spring, yes it’s you!

It is you!

Misera, dove son? K.369

Oh, Misery, Where Am I?

Misera, dove son?

L’aure del Tebro Son queste ch’io respiro?

Per le strade m’aggiro Di Tebe e d’Argo?

O dalle greche sponde, Di tragedie feconde, Le domestiche furie Vennero a questi lidi, Della prole di Cadmo, e degli Atridi?

Oh, misery, where am I? Is this the air of the Tiber that I breathe?

Am I wandering the streets of Thebes and Argos?

Or from the richly tragic shores of Greece, will denizen furies come to punish those children of Cadmus and the Atridae?

Là, d’un monarca ingiusto L’ingrata crudeltà m’empie d’orrore, D’un padre traditore Qua la colpa m’agghiaccia: E lo sposo innocente ho sempre in faccia.

Oh immagini funeste!

Oh memorie! Oh martire!

Ed io parlo, infelice, ed io respiro?

There, the cruelty of an unjust monarch fills me with horror.

Here, the guilt of a traitorous father freezes my blood.

And the image of my innocent husband is ever before my eyes.

O dreadful visions!

O memories! O torment!

Yet still I speak, miserable, and I breathe?

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Cradle Song

Duermete, hijo de mi alma, duermete un poco Porque si no te duermes llamare al coco

Go to sleep dear child, sleep for a litte while because if you don’t go to sleep I’ll call the Boogeyman

A la rorro, rorrorro, a la rorro, rorrorro bendita, bendita sea la madre que te pario

For the baby, little baby, for the baby little baby Blessed, blessed be the mother that gave you birth

Duermete, hijo de mi vida, que el coco viene y se lleva a los ninos si no se duermen

Go to sleep sweet child, the Boogeyman is coming And he makes off with the children, if they don’t go to sleep

Al amor

To the Beloved

Dame, Amor, besos sin cuento Asido de mis cabellos Y mil y ciento tras ellos Y tras ellos mil y ciento Y después...

De muchos millares, tres!

Y porque nadie lo sienta Desbaratemos la cuenta Y...contemos al revés.

Give me, Love, kisses without number, as the number of hairs on my head, and give me a thousand and a hundred after that, and a hundred and a thousand after that... and after those... many thousands...give me three more!

And so that no one feels bad...

Let us tear up the tally and begin counting backwards!

Corazón Text: Anonymous

My Heart

Corazón, porqué pasáis Las noches de amor despierto i vuestro dueño descansa En los brazos de otro dueño?

My heart, why do you keep awake during the nights of love, if your master rests in the arms of another master?

Del cabello mas sutil

Of the Softest Hair

Del cabello más sutil Que tienes en tu trenzado He de hacer una cadena Para traerte a mi lado.

Una alcarraza en tu casa, Chiquilla, quisiera ser, Para besarte en la boca, Cuando fueras a beber.

Of the softest hair which you have in your braid, I would make a chain so that I may bring you to my side.

A jug in your home, little one, I would like to be, so that I may kiss you each time you take a drink.

Chiquitita la novia

Tiny is the Bride

Chiquitita la novia, Chiquitita el novio, Chiquitita la sala, Y er dormitorio, Por eso yo quiero Chiquitita la cama Y er mosquitero.

Tiny is the bride, Tiny is the groom, Tiny is the living room, Tiny is the bedroom.

That is why I want a tiny bed with a mosquito net.

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MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

Jeanine De Bique, soprano

Cancion de cuna

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Mondavi Center support

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corporate support

DONORS

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Our generous donors allow us to bring world-class artists and speakers to the region’s doorstep, and energize and inspire tens of thousands of school children and teachers through our nationally recognized Arts Education programs.

In thanks for their generous gifts, donors receive a host of benefits including:

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· Priority Seating · Access to Donor-Only Events · Advance ticket sales for Just Added shows · Meet the artists · Much, much more…

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Remember: Ticket sales cover only 40% of our costs.

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Help support the art you love: Donate today!

For more information, visit us at MondaviArts.org/supportus or contact our Development Staff at 530.754.5436

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Event & Additional Support Partners Boeger Winery Ciocolat

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Seasons Restaurant Watermelon Music

Individual Supporters -ONDAVI#ENTER )NNER#IRCLE Inner Circle donors are dedicated arts patrons whose leadership gifts to the Mondavi Center are a testament to the value of the performing arts in our lives.

Mondavi Center is deeply grateful for the generous contributions of the dedicated patrons who give annual financial support to our organization.

These donations are an important source of revenue for our program, as income from ticket sales covers less than half of the actual cost of our performance season.

Their gifts to the Mondavi Center strengthen and sustain our efforts, enabling us not only to bring memorable performances by worldclass artists to audiences in the capital region each year, but also to introduce new generations to the experience of live performance through our Arts Education Program, which provides arts education and enrichment activities to more than 35,000 K-12 students annually.

For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5437.

† Mondavi Center Advisory Board Member * Friends of Mondavi Center

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Mondavi Center support

mondavi center

Impresario Circle $25,000 and up

John and Lois Crowe †* Barbara K. Jackson †* Grant and Grace Noda* virtuoso Circle $15,000 - $24,999

Joyce and Ken Adamson Friends of Mondavi Center* Ann and Gordon Getty Foundation Anne Gray † Benjamin and Lynette Hart †* William and Nancy Roe †* Lawrence and Nancy Shepard † Joe and Betty Tupin † Shipley and Dick Walters* Maestro Circle $10,000 - $14,999

Oren and Eunice Adair-Christensen* Dolly and David Fiddyment † Samia and Scott Foster † Mary B. Horton* M. A. Morris* Tony and Joan Stone † Benefactors Circle $6,000 - $9,999 Michael Alexander Wayne and Jacque Bartholomew †* California Statewide Certified Development Corporation Camille Chan † Patti Donlon † First Northern Bank † Bonnie and Ed Green †* Dee and Joe Hartzog † The One and Only Watson Margaret Hoyt* Sarah and Dan Hrdy William and Jane Koenig Greiner Heat, Air, and Solar Garry Maisel † Stephen Meyer and Mary Lou Flint † Grace and John Rosenquist Raymond and Jeanette Seamans Ellen Sherman Della Aichwalder Thompson Larry and Rosalie Vanderhoef †* And one donor who prefers to remain anonymous

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

49

Mondavi Center support

Producers Circle $3,000 - $5,999

Neil and Carla Andrews Hans Apel and Pamela Burton Cordelia S. Birrell Neil and Joanne Bodine Barry and Valerie Boone Brian Tarkington and Katrina Boratynski Ralph and Clairelee Leiser Bulkley* Cantor & Company, A Law Corporation Michael and Betty Chapman Robert and Wendy Chason Chris and Sandy Chong* Michele Clark and Paul Simmons Tony and Ellie Cobarrubia* Claudia Coleman Eric and Michael Conn Nancy DuBois Catherine and Charles Farman Mr. and Mrs. Domenic Favero Donald and Sylvia Fillman Judith and Andrew Gabor Kay Gist Kathleen and Robert Grey Judith and William Hardardt* Lorena Herrig* Dr. Ronald and Lesley Hsu Debra Johnson, M.D. and Mario Gutierrez Gerald and Virginia Jostes Teresa and Jerry Kaneko* Dean and Karen Karnopp* Nancy Lawrence, Gordon Klein, and Linda Lawrence Drs. Richard Latchaw and Sheri Alders Ginger and Jeffrey Leacox Robert and Barbara Leidigh John T. Lescroart and Lisa Sawyer Nelson Lewallyn and Marion Pace-Lewallyn Betty J. Lewis Dr. and Mrs. Ashley T. Lipshutz Paul and Diane Makley* In memory of Jerry Marr Janet Mayhew* Robert and Helga Medearis Verne Mendel* Derry Ann Moritz Richard and Mary Ann Murray Charles and Joan Partain Suzanne and Brad Poling Lois and Dr. Barry Ramer Roger and Ann Romani Melodie Rufer Hal and Carol Sconyers* Tom and Meg Stallard* Tom and Judy Stevenson* Donine Hedrick and David Studer Jerome Suran and Helen Singer Suran* Nathan and Johanna Trueblood Ken Verosub and Irina Delusina In loving memory of John Max Vogel, M.D. 50

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Claudette Von Rusten John Walker and Marie Lopez Elizabeth F. and Charles E. Wilts Bob and Joyce Wisner* Richard and Judy Wydick And four donors who prefer to remain anonymous Directors Circle $1,100 - $2,999 Beulah and Ezra Amsterdam Russell and Elizabeth Austin Murry and Laura Baria* Lydia Baskin* Virginia and Michael Biggs Kay and Joyce Blacker* Jo Anne Boorkman* Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Robert Burgerman and Linda Ramatowski Davis and Jan Campbell David J. Converse, ESQ. Gail and John Cooluris Jim and Kathy Coulter* John and Celeste Cron* Terry and Jay Davison Jim and Carolyn DeHayes Cecilia Delury and Vince Jacobs Mike and Cheryl Demas Bruce and Marilyn Dewey Martha Dickman* Dotty Dixon* Richard and Joy Dorf* Merrilee and Simon Engel Thomas and Phyllis Farver* Tom Forrester and Shelly Faura Nancy McRae Fisher Pam Gill-Fisher and Ron Fisher* Dr. Andy and Wendy Huang Frank Joseph George and Elaine LaMotta Karl Gerdes and Pamela Rohrich Henry and Dorothy Gietzen Fredic and Pamela Gorin John and Patty Goss* Florence and Jack Grosskettler* Diane Gunsul-Hicks Charles and Ann Halsted Paul and Kathleen Hart In memory of William F. McCoy Timothy and Karen Hefler Charles and Eva Hess Sharna and Mike Hoffman Suzanne and Chris Horsley* Claudia Hulbe Ruth W. Jackson Clarence and Barbara Kado Barbara Katz* Robert Kingsley and Melissa Thorme Cheryl and Matthew Kurowski Brian and Dorothy Landsberg Mary Jane Large and Marc Levinson Edward and Sally Larkin* Claudia and Allan Leavitt Hyunok Lee and Daniel Sumner Yvonne LeMaitre*

Linda and Peter Lindert Spencer Lockson and Thomas Lange Angelique Louie Natalie and Malcolm MacKenzie* Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield Michael and Maxine Mantell Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus* Kenneth McKinstry Steve and Sonja Memering Joy Mench and Clive Watson Fred and Linda Meyers* John Meyer and Karen Moore Eldridge and Judith Moores Patricia and Surl Nielsen Dr. James Nordin and Linda Orrante Philip and Miep Palmer Prewoznik Foundation Linda and Lawrence Raber* Larry and Celia Rabinowitz Kay Resler* Alessa Johns and Christopher Reynolds Thomas Roehr Don Roth and Jolán Friedhoff Liisa A. Russell Beverly “Babs” Sandeen and Marty Swingle Ed and Karen Schelegle The Schenker Family Neil and Carrie Schore Jeff and Bonnie Smith Wilson and Kathryn Smith Ronald and Rosie Soohoo* Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick Stratton Karmen Streng Tony and Beth Tanke George and Rosemary Tchobanoglous Dr. Haluk and Ayse Tezcan Brandt Schraner and Jennifer Thornton Claude and Barbara Van Marter Louise and Larry Walker Janda J. Waraas Bruce and Patrice White Dale and Jane Wierman Paul Wyman Elizabeth and Yin Yeh And five donors who prefer to remain anonymous

Donors Encore Circle

$600 - $1,099 Gregg T. Atkins and Ardith Allread Michael and Tootie Beeman Drs. Noa and David Bell Donald and Dolores Chakerian Gale and Jack Chapman William and Susan Chen John and Cathie Duniway Nell Farr and Anna Melvin Doris and Earl Flint Murray and Audrey Fowler Carole Franti* Paul J. and Dolores L. Fry Charitable Fund Gatmon-Sandrock Family Craig Gladen Paul N. and E. F. “Pat” Goldstene David and Mae Gundlach Robin Hansen Roy and Miriam Hatamiya Katherine Hess Barbara and Robert Jones Kent and Judy Kjelstrom Paula Kubo Anesiades Leonard Stanley and Donna Levin Maria Manoliu Frances Mara Gary C. and Jane L. Matteson Barbara Moriel James Morris Hedlin Family Don and Sue Murchison Robert Murphy Richard and Kathleen Nelson Alice Oi John Pascoe Jerry L. Plummer Ann and Jerry Powell* J and K Redenbaugh John Reitan Heather and Jeep Roemer Jeannie and Bill Spangler Lenore and Henry Spoto Sherman and Hannah Stein Les and Mary Stephens Dewall Lynn Taylor and Mont Hubbard Roseanna Torretto* Henry and Lynda Trowbridge* Robert and Helen Twiss Steven and Andrea Weiss Denise and Alan Williams Kandi Williams and Dr. Frank Jahnke Karl and Lynn Zender And four donors who prefer to remain anonymous

Orchestra Circle

Glen And Nancy Michel Robert and Susan Munn* William and Nancy Myers Anna Rita and Bill Neuman Forrest Odle John and Carol Oster Sally Ozonoff and Tom Richey Frank Pajerski Jack and Sue Palmer Dr. John and Barbara Parker Bonnie A. Plummer* Deborah Nichols Poulos and Prof. John W. Poulos Harriet Prato Edward and Jane Rabin J. David Ramsey Rosemary Reynolds Guy and Eva Richards Ronald and Sara Ringen John and Marie Rundle Bob and Tamra Ruxin Tom and Joan Sallee Dwight E. and Donna L. Sanders Mark and Ita Sanders* Howard and Eileen Sarasohn Jerry and Kay Schimke Mervyn Schnaidt Mark E. Ellis and Lynn Shapiro Nancy Sheehan and Rich Simpson Kathie Shigaki Elizabeth Smithwick Al and Sandy Sokolow Edward and Sharon Speegle Curtis and Judy Spencer Elizabeth St Goar Tim and Julie Stephens Pieter and Jodie Stroeve, and Diane Barrett Kristia Suutala Nancy Teichert Cap and Helen Thomson Butch and Virginia Thresh Dennis and Judy Tsuboi Ann-Catrin Van Ph.D. Robert Vassar and Nanci Manceau George and Denise Gridley Donald Walk, M.D. Geoffrey and Gretel Wandesford-Smith Norma and Richard Watson Dr. Fred and Betsy Weiland Daniel Weiss and Elena Friedman-Weiss Chuck White Lisa Yamauchi and Michael O’Brien Iris Yang and G. Richard Brown Wesley Yates Ronald M. Yoshiyama Hanni and George Zweifel

$300 - $599 Michelle Adams Mitzi S. Aguirre Susan Ahlquist Paul and Nancy Aikin Steven Albrecht and Jessica Friedman Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Al and Pat Arthur Michael and Shirley Auman* Robert and Joan P. Ball Robert Hollingsworth and Carol Beckham Don and Kathy Bers* Elizabeth Bradford Paul Braun Rosa Marquez and Richard Breedon Joan Brenchley and Kevin Jackson Irving and Karen Broido* In Memory of Rose Marie Wheeler John and Christine Bruhn Manuel Calderon De La Barca Sanchez Jackie Caplan Michael and Louise Caplan Michael and Susan Carl Richard Carlsen Doreen T. Chan Amy Chen and Raj Amirtharajah Dorothy Chikasawa* Charles and Mary Anne Cooper James and Patricia Cothern Catherine Coupal* Larry Dashiell and Peggy Siddons Thomas B. and Eina C. Dutton Micki Eagle Sheila and Steve Epler Janet Feil David and Kerstin Feldman Susan Flynn Tom and Barbara Frankel Sevgi and Edwin Friedrich* Dr. Deborah and Brook Gale Marnelle Gleason and Louis J. Fox* Marvin and Joyce Goldman Donald Green William Green and Martin Palomar Stephen and Deirdre Greenholz Marilyn and Alexander Groth Judy Guiraud Gwen and Darrow Haagensen Sharon and Don Hallberg David and Donna Harris Stephen and Joanne Hatchett Cynthia Hearden Len and Marilyn Herrmann Fred Taugher and Paula Higashi Frederick and Tieu-Bich Hodges Frederick and B.J. Hoyt Pat and Jim Hutchinson* Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung David Kalb and Nancy Gelbard Edith Kanoff Charles Kelso and Mary Reed Ruth Ann Kinsella* Richard and Rosie Kirkland Joseph Kiskis Peter Klavins and Susan Kauzlarich Norma Klein Charlene R. Kunitz Allan and Norma Lammers Darnell Lawrence Katie Thomas and Richard Lawrence Ruth Lawrence Frances and Arthur Lawyer* Carol and Robert Ledbetter Michael and Sheila Lewis* David and Ruth Lindgren Bill and Harriet Lovitt Helen Ma Bunkie Mangum Pat Martin* Robert Mazalewski and Yvonne Clinton Sean and Sabine McCarthy Del and Doug McColm Julie and Craig McNamara Don and Lou McNary

Printed on recycled paper. Please recycle this playbill for reuse.

And ten donors who prefer to remain anonymous

Mainstage Circle $100 - $299

Leal Abbott Thomas and Betty Adams Mary Aften Jill Aguiar Suzanne and David Allen David and Penny Anderson Valeriejeanne Anderson Elinor Anklin and George Harsch Janice and Alex Ardans Clemens Ford Arrasmith Debbie Arrington Fred Arth and Pat Schneider Jerry and Barbara August George and Irma Baldwin Charlotte Ballard Beverly and Clay Ballard Charlie and Diane Bamforth* Elizabeth Banks Michele Barefoot and Luis Perez-Grau Lupie and Richard Barton Paul and Linda Baumann Lynn Baysinger* Delee and Jerry Beavers Claire and Marion Becker* Mark and Betty Belafsky Lorna Belden Merry Benard Carol L. Benedetti

William and Marie Benisek Robert C. and Jane D. Bennett Márta Battha Béres Bevowitz Family Boyd and Lucille Bevington Ernst and Hannah Biberstein John and Katy Bill Andrea Bjorklund and Sean Duggan Lewis J. and Caroline S. Bledsoe Fred and Mary Bliss Marchia Bond Brooke Bourland* Mary and Jill Bowers Adney and Steve Bowker Alf and Kristin Brandt Robert Braude and Maxine Moser Dan and Millie Braunstein* Margaret Brockhouse Don and Liz Brodeur David and Valerie Brown Linda Clevenger and Seth Brunner Martha Bryant* Mike and Marian Burnham Margaret Burns and Roy W. Bellhorn Victor and Meredith Burns William and Karolee Bush Robert and Lynn Campbell Robert Canary John and Nancy Capitanio James and Patty Carey Anne and Gary Carlson Jan Carmikle, ‘90 John Carroll Bruce and Mary Alice Carswell* Jan B. and Barbara J. Carter* Caroline Chantry and James Malot Frank Chisholm Michael and Paula Chulada Arthur Chung and Karen Roberts Betty M. Clark Gail Clark L. Edward and Jacqueline Clemens Bill and Linda Cline Barbara Cody Stephan Cohen Sheri and Ron Cole Harold and Marj Collins Steve and Janet Collins Patricia Conrad and Ann Brice Jan and Gayle Conroy Judith Cook Pauline Cook Mr. and Mrs. Terry Cook Victor Cozzalio and Lisa Heilman-Cozzalio Bill and Myra Cusick Elizabeth Dahlstrom-Bushnell* John W. and Joanne M. Daniels Dena Davidson Johanna Davies Mary Hanf Dawson Jody Deaderick Ed and Debby Dillon Joel and Linda Dobris Richard Epstein and Gwendolyn Doebbert Val Dolcini and Solveig Monson Val and Marge Dolcini* Gordon Douglas Sue Drake* Ray Dudonis Anne Duffey Leslie Dunsworth Marjean Dupree Victoria Dye and Douglas Kelt J. Terry and Susan Eager Harold and Anne Eisenberg Eliane Eisner Brian Ely and Robert Hoffman Allen Enders Adrian and Tamara Engel Sid England Carol Erickson and David Phillips M. Richard and Gloria M. Eriksson Jeff Ersig Christine Facciotti Adrian Farley and Greg Smith Andrew D. and Eleanor E. Farrand* Elizabeth Fassler Elizabeth and Timothy Fenton Steven and Susan Ferronato Margery Findlay Kieran and Martha Fitzpatrick Judy Fleenor* Manfred Fleischer David and Donna Fletcher Glenn Fortini Marion Franck and Bob Lew

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

51

Mondavi Center support

mondavi center

Mondavi Center support

Frank Brown Barbara and Edwin Frankel Anthony and Jorgina Freese Joel Friedman Kerim and Josina Friedrich Joan M. Futscher Myra A. Gable Lillian Gabriel Charles and Joanne Gamble Claude and Nadja Garrod Xiaojia Ge and Ronghua Li* Ivan Gennis Peggy Gerick Gerald Gibbons and Sibilla Hershey Mary Lou and Robert Gillis Eleanor Glassburner Roberta R. Gleeson Burton Goldfine Robert and Pat Gonzalez* Robert and Velma Goodlin Michael Goodman Susan Goodrich Alouise Hillier Victor Graf Tom Graham Jacqueline Gray* Kathleen and Thomas Green Paul and Carol Grench Cindy and Henry Guerrero June and Paul Gulyassy Wesley and Ida Hackett* Jim and Jane Hagedorn Frank and Rosalind Hamilton William and Sherry Hamre Jim and Laurie Hanschu Marylee and John Hardie Richard and Vera Harris Cathy Brorby and Jim Harritt Marjorie Heineke Donald and Lesley Heller Paul and Nancy Helman Martin Helmke and Joan Frye Williams Rand and Mary Herbert Eric Herrgesell, DVM Roger and Rosanne Heym Elizabeth and Larry Hill Calvin Hirsch and Deborah Francis Michael and Peggy Hoffman Jan and Herb Hoover Steve and Nancy Hopkins Allie Huberty David and Gail Hulse Deborah Hunter Eva Peters Hunting Lorraine J. Hwang William Jackson Kathryn Jaramillo Dr. and Mrs. Ronald C. Jensen Pamela R. Jessup Carole and Phil Johnson John and Jane Johnson Steve and Naomi Johnson Michelle Johnston Warren and Donna Johnston Martin and JoAnn Joye* John and Nancy Jungerman Fred and Selma Kapatkin Shari and Timothy Karpin Jean and Stephen Karr Anthony and Beth Katsaris Yasuo Kawamura Phyllis and Scott Keilholtz* Gary Kieser Dave and Gay Kent Michael Kent and Karl Jandrey Cathryn Kerr Pat and John Kessler Larry Kimble and Louise Bettner Ken and Susan Kirby Dorothy Klishevich Muriel Knudsen Winston and Katy Ko Paul and Pamela Kramer Dave and Nina Krebs Marcia and Kurt Kreith Sandra Kristensen Elizabeth and C.R. Kuehner Nate Kupperman Leslie Kurtz Cecilia Kwan Donald and Yoshie Kyhos Ray and Marianne Kyono Terri Labriola Bonnie and Kit Lam* Marsha M. Lang

52

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Lawrence and Ingrid Lapin Bruce and Susan Larock Kathleen Larson Leon E. Laymon C and J Learned Marceline Lee and Philip Smith Nancy P. Lee The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Edward N. Lester Evelyn A. Lewis Melvyn and Rita Libman Guille Levin Libresco Jim and Jami Long Kim Longworth Mary Lowry Henry Luckie Paul and Linnae Luehrs Diana Lynch Maryanne Lynch Ed and Sue MacDonald Leslie Macdonald and Gary Francis Julin Maloof and Stacey Harmer Sandra Mansfield Joseph and Mary Alice Marino Pam Marrone and Mick Rogers Donald and Mary Martin Garth and Linda Martin J. A. Martin Mr. and Mrs. William R. Mason Bob and Vel Matthews Leslie Maulhardt Katherine F. Mawdsley* Karen McCluskey* John Mccoy Nora McGuinness* Donna and Dick McIlvaine Tim and Linda McKenna Blanche McNaughton* Richard and Virginia McRostie Martin A. Medina and Laurie Perry Wener Paul Harder III DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Roland Meyer Leslie Michaels and Susan Katt Lisa Miller Phyllis Miller Sue and Rex Miller Douglas Minnis Steve and Kathy Miura* Kei and Barbara Miyano Sydney Moberg Vicki and Paul Moering Joanne K. Moldenhauer Amy Moore Debra Moore Hallie Morrow Marcie Mortensson Tony and Linda Mras Robert and Janet Mukai The Muller Family Terry and Judith Murphy Steve Abramowitz and Dr. Alberta Nassi Joni Neibert M.A. Nelson Margaret Neu* Cathy Neuhauser and Jack Holmes Robert and Donna Curley Nevraumont* Keri Mistler and Dana Newell Kan Ching Ng Nancy Nolte and James Little John Chendo and Esther Novak Patricia O’Brien* Kay Ogasawara Dana Olson James Oltjen Marvin O’Rear David and Debra Oshige Bob and Beth Owens Carlene and Mike Ozonoff* Michael Pach Joan S. Packard Thomas Pavlakovich and Kathryn Demakopoulos Bob and Marlene Perkins Lee/Michael Perrone Ann Peterson and Marc Hoeschele Pat Piper Vicki and Bob Plutchok Ralph and Jane Pomeroy* Bea and Jerry Pressler

Ann Preston John Provost Evelyn and Otto Raabe Jan and Anne-Louise Radimsky Kathryn Radtkey-Gaither Lawrence and Norma Rappaport Evelyn and Dewey Raski Olga Raveling Sandi Redenbach* Mrs. John Reese, Jr. Martha Rehrman* Michael A. Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Judy, David, and Hannah Reuben Mr. and Mrs. Alexander Rice Bill Rich John Richards Fred and Bernadeen Richardson Joyce Rietz Ralph and Judy Riggs* Caroline and Stephen Roberts Warren G. Roberts David and Kathy Robertson Tracy Rodgers Richard and Evelyne Rominger Mary F. Rosa Sharon and Elliott Rose Jean and George Rosenfeld Barbara and Alan Roth David and Catherine Rowen Paul and Ida Ruffin Hugh Safford Terry Sandbek and Sharon Billings* Kathleen and David Sanders Fred and Polly Schack John and Joyce Schaeuble Tyler Schilling Leon Schimmel and Annette Cody Fred and Colene Schlaepfer Janis J. Schroeder and Carrie L. Markel Jean Schwarzkopf Robert and Jenifer Segar Brian Sehnert and Janet McDonald Dan Shadoan and Ann Lincoln Jay and Jill Shepherd Ruth and Robert Shumway Sandra and Clay Sigg Andrew Sih and Caitlin McGaw Mark Berman and Lynn Simon Michael and Elizabeth Singer Joy Skalbeck Barbara Slemmons Judith Smith Jean Snyder Roger and Freda Sornsen Greg and Pam Sparks Joseph and Dolores Spencer Marguerite Spencer Miriam Steinberg Harriet Steiner and Miles Stern John and Johanna Stek Judith Stern Raymond Stewart Deb and Jeff Stromberg Patricia Sturdevant Becky and James Sullivan Thomas Swift Joyce Takahashi Stewart and Ann Teal Pouneh Tehrani Francie Teitelbaum Jeanne Shealor and George Thelen Julie Theriault, PA-C Virginia Thigpen Janet Thome Robert Thorpe Brian Toole Robert and Victoria Tousignant Katharine Traci Michael and Heidi Trauner Gary and Jan Truesdail Barbara and Jim Tutt Chris Van Kessel Bart and Barbara Vaughn* Marian and Paul Ver Wey Richard and Maria Vielbig Merna and Don Villarejo Charles and Terry Vines Evelyn Matteucci and Richard Vorpe Carolyn Waggoner* M. Therese Wagnon Maxine Wakefield and William Reichert Marny and Rick Wasserman Caroline and Royce Waters Marya Welch*

Dan and Ellie Wendin Martha West Robert and Leslie Westergaard* Susan Wheeler Regina White Linda K. Whitney Kristin Wiese Phillip and JoAnne Wile Ward Willats Mrs. Jane L. Williams Suzanne and Keith Williams Janet Winterer The Wolf Family Jennifer Woo Linda Yassinger Timothy and Vicki Yearnshaw Norman and Manda Yeung Phillip and Iva Yoshimura Heather M. Young and Peter B. Quinby Larry Young and Nancy Lee Phyllis Young Melanie and Medardo Zavala Phyllis and Darrel Zerger* Timothy Zindel Karen Ziskind Mark and Wendy Zlotlow And 54 donors who prefer to remain anonymous

CORPORATE MATCHING GIFTS American Express Foundation Gift Matching Program Bank of America Matching Gifts Program Chevron/Texaco Matching Gift Fund ExxonMobil Foundation McGraw-Hill Company Merrill Lynch & Co. Foundation Monsanto Company The Sacramento Bee Wachovia Foundation Matching Gifts Program Wells Fargo Foundation We appreciate the many Members who participate in their employers’ matching gift program. Please contact your Human Resources department to find out about your company’s matching gift program.

Note: We are pleased to recognize the Members of Mondavi Center for their generous support of our program. We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5436 to inform us of corrections.

Mondavi Center Arts Education 2 0 1 0 2 0 1 1

TARGET school matinee Series Mondavi Center Arts Education encourages all K-12 teachers to bring their students to Mondavi Center, UC Davis this season for at least one school matinee performance. Especially designed for students, the School Matinee program is curriculum based and focuses on the cultural authenticity and international exchange possible only through live performance.

Imago Theatre, ZooZoo Monday, November 8, 2010 Mariachi Los Camperos de nati cano Monday, December 6, 2010 MOMIX, Botanica Monday, January 31, 2011 Curtis On Tour Thursday, March 17, 2011 Dan Zanes and Friends Monday, March 21, 2011 Alvin Ailey american dance theater Tuesday, April 5, 2011

All shows at 11AM

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

53

Mondavi Center staff

Mondavi Center staff DON ROTH, Ph.D. Executive Director Jeremy Ganter Associate Executive Director PROGRAMMING Jeremy Ganter Director of Programming Erin Palmer Programming Manager Ruth Rosenberg Artist Engagement Coordinator Lara Downes Curator: Young Artists Program

AUDIENCE SERVICES Emily Taggart Audience Services Manager/ Artist Liaison Coordinator Yuri Rodriguez Events Manager Nancy Temple Assistant Public Events Manager BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services Carolyn Warfield Human Resources Analyst

ARTS EDUCATION Joyce Donaldson Associate to the Executive Director for Arts Educaton and Strategic Projects

Mandy Jarvis Financial Analyst

Jennifer Mast Arts Education Coordinator

Dena Gilday Payroll and Travel Assistant

Russ Postlethwaite Billing System Administrator

DEVELOPMENT Debbie Armstrong Senior Director of Development

MARKETING Rob Tocalino Director of Marketing

production Christopher Oca Stage Manager

Robert Avalos Director of Major and Campaign Gifts

Will Crockett Marketing Manager

Christi-Anne Sokolewicz Stage Manager

Erin Kelley Senior Graphic Artist

Jenna Bell Production Coordinator

Morissa Rubin Senior Graphic Artist

Zak Stelly-Riggs Master Carpenter

Christine Vargas Donor Relations Manager Elisha Findley Development Coordinator

TICKET OFFICE Sarah Herrera Ticket Office Manager

FACILITIES Steve McFerron Director of Facilities Greg Bailey Lead Building Maintenance Worker

Steve David Ticket Office Supervisor Russell St. Clair Ticket Agent

INFORMATION TECHNOLOGY Darren Marks Programmer/Designer

Daniel Goldin Master Electrician Michael Hayes Head Sound Technician Adrian Galindo Scene Technician Kathy Glaubach Scene Technician Head Ushers Huguette Albrecht George Edwards Linda Gregory Donna Horgan Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

Mark J. Johnston Lead Application Developer Tim Kendall Programmer

Mondavi Center advisory Board

The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance, and the presenting program of the Mondavi Center, through fundraising, public outreach, and other support for the mission of UC Davis and the Mondavi Center.

10-11 Season Board Officers John Crowe, Chair Lynette Hart, Vice-Chair Joe Tupin, Vice-Chair Dee Hartzog, Patrons Relations Co-Chair Lor Shepard, Patrons Relations Co-Chair Garry P. Maisel, Corporate Relations Co-Chair Camille Chan, Corporate Relations Co-Chair

Members Wayne Bartholomew Camille Chan John Crowe Lois Crowe Patti Donlon David Fiddyment Dolly Fiddyment Mary Lou Flint Samia Foster

Scott Foster Anne Gray Bonnie Green Ed Green Benjamin Hart Lynette Hart Dee Hartzog Joe Hartzog Barbara K. Jackson Garry P. Maisel

Stephen Meyer Nancy Roe William Roe Lawrence Shepard Nancy Shepard Joan Stone Tony Stone Joe Tupin Larry Vanderhoef Rosalie Vanderhoef

Ex Officio

Linda Katehi, Chancellor, UC Davis Enrique Lavernia, Provost and Executive Vice Chancellor, UC Davis Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis Margaret Neu, President, Friends of Mondavi Center Sally Ryen, Chair, Arts & Lectures Administrative Advisory Committee Don Roth, Executive Director, Mondavi Center

Arts & Lectures Administrative Advisory Committee

friends of mondavi center

The Arts & Lectures Administrative Advisory Committee is made up of interested students, faculty, and staff who attend performances, review programming opportunities, and meet monthly with the director of the Mondavi Center. They provide advice and feedback for the Mondavi Center staff throughout the performance season.

10-11 Executive Board Margaret Neu, President Laura Baria, Vice President/Membership Francie Lawyer, Secretary Jo Anne Boorkman, Adult Education Sandra Chong, K-12 Education John Cron, Mondavi Center Tours Phyllis Zerger, Outreach Martha Rehrman, School Matinee Ticket Program Fundraising Eunice Adair Christensen, Gift Shop Manager, Ex Officio Joyce Donaldson, Director of Arts Education, Ex Officio

10-11 Committee Members Sally Ryen, Chair Prabhakara Choudary Adrian Crabtree Susan Franck Kelley Gove Holly Keefer

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Sandra Lopez Danielle McManus Bella Merlin Lee Miller Bettina Ng’weno Rei Okamoto

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Hearne Pardee Isabel Raab Kayla Rouse Erin Schlemmer Hulleah Tsinhnahjinnie

Ticket Exchange Policy • Once a season ticket request is processed, there are no refunds.

• If you exchange for a higher priced ticket, you will be charged the difference. The difference between a higher and lower priced exchanged ticket is not refundable.

• Tickets must be exchanged at least one business day prior to the performance.

• Tickets may not be exchanged after your performance date.

• Gift certificates will not be issued for returned tickets.

Parking You may purchase parking passes for individual Mondavi Center events for $6 for each 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 money. Groups of 20 or more qualify for a 10% discount.

Payment must be made in a single check or credit card transaction.

Please call 530.754.2787 or 866.754.2787.

Student Tickets (50% off the full single ticket price*) Eligibility: Full-time students age 12 & over enrolled for the current academic year at an accredited institution and matriculating towards a diploma or a degree.

(Continuing education enrollees are not eligible).

Proof Requirements: School ID for the current academic year OR photocopy of your transcript/report card/tuition bill receipt for the current academic year.

Children For events other than the family series it is recommended that children under the age of 5 not be brought to the performance for the enjoyment of all patrons. A ticket is required of all children regardless of age; any child attending a performance should be able to sit quietly throughout the performance.

Privacy Policy Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons more efficiently. We also sometimes share names and addresses with other not-for-profit arts organizations.

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

Full Privacy Policy at www.MondaviArts.org.

POlicies

POlicies and information

Accommodations for Patrons with Disabilities Mondavi Center is proud to be a state-of-the-art public facility that meets or exceeds all state and federal ADA requirements and is fully accessible to patrons with disabilities.

Parking for patrons with DMV placards is available on the street level (mid-level) of the nearby parking structure, and on the surface lots near the covered walkway. There is also a short-term drop-off area directly in front of the entrance.

Patrons with disabilities or special seating needs should notify the Mondavi Center Ticket Office of those needs at the time of ticket purchase. Requests for sign language interpreting, real-time captioning, Braille programs, and other reasonable accommodations should be made with at least two weeks notice. 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. Ushers are available at the doors to Jackson Hall and the Vanderhoef Studio Theatre. Please explain to the usher how best to assist you, if needed.

Special Seating Mondavi Center offers special seating arrangements for our patrons with disabilities. Please call the Ticket Office at 530.754.2787 [TDD 530.754.5402].

Listening Enhancement Devices Listening Infrared Systems are installed in both Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids are available for patrons who have difficulty understanding dialogue or song lyrics. They may be checked out at no charge from the Patron Services Desk near the lobby elevators.

Elevators Mondavi Center has two passenger elevators serving all levels.

They are located at the north end of the Rumsey Rancheria Grand Lobby, near the restrooms and Patron Services Desk.

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.

Restrooms All public restrooms are equipped with accessible sinks, stalls, baby-changing 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. *Only one discount per ticket.

Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 3: Nov 2010 |

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September 2010

Imago, ZooZoo sun, nov 7

march 2011

Madeleine Albright

Delfeayo Marsalis Group

mon, mar 7

Wed, Sep 29

San Francisco Symphony

Center

Thur, Sep 30

Christopher O’Riley, piano sat-sun, nov 13-14

october 2010

Paul Taylor Dance Company

Bayanihan, National Folk Dance Company of the Philippines

Tous les Matins du Monde

sat, nov 13

fri, Oct 1

thu, nov 18

Dianne Reeves

Ornette Coleman

sat, Oct 2

sat, nov 20

Steve Martin and the Steep Canyon Rangers

Jeanine De Bique, soprano

sun, Oct 3

Rising Stars of Opera

Mondavi 2 0 1 0 2 0 1 1

wed-fri, nov 10-12

sat-sun, nov 20-21

december 2010

Los Lobos

Tord Gustavsen and Solveig Slettahjell

Dresden Staatskapelle

Alexander String Quartet

Gamelan Çudamani

Mariachi Los Camperos de Nati Cano

Stew and The Negro Problem

Kronos Quartet

Jonah Lehrer

Dr. Beverly Daniel Tatum

Music and Madness Festival

Lara Downes Family Concert

sat, Oct 9

wed, Oct 13 sat, Oct 23

sun, Oct 24

tue-wed, Oct 26-27 wed, Oct 27

thu-sun, Oct 28-31

wed-sat, dec 1-4 sun, dec 5 sun, dec 5 thu, dec 9

fri, dec 10

sun, dec 12

American Bach Soloists, Messiah

Professor Henry Louis Gates, Jr. Tango Fire: Tango Inferno thu, mar 10

Yefim Bronfman, piano sat, mar 12

Alexander String Quartet sun, mar 13

San Francisco Symphony and Chorus thu, mar 17

Curtis On Tour

sat-sun, mar 19-20

Dan Zanes and Friends sun, mar 20

St. Petersburg Philharmonic Orchestra sat, mar 26

Young Artists Competition Winners sun, mar 27

april 2011 Branford Marsalis & Terence Blanchard fri, apr 1

Takács Quartet, with Nobuyuki Tsujii, piano sat, apr 2

Alvin Ailey American Dance Theater tue-wed, apr 5-6

The Silk Road Ensemble with Yo-Yo Ma fri, apr 8

sat, dec 18

Lara Downes with David Sanford

Venice Baroque Orchestra with Robert McDuffie, violin

january 2011

China Philharmonic Orchestra

Delfeayo Marsalis Octet

sat-sun, jan 15-16

Buika

thu, jan 20

Alexander String Quartet

sat, jan 22

november 2010 wed, nov 3

wed-sat, nov 3-6 sat, nov 6 sun, nov 7

Kenric Tam

Mark O’Connor and Julian Lage Itzhak Perlman, violin Daniel Handler wed, jan 26

25th Hour

thu, jan 27

MOMIX, Botanica

sat-sun, jan 29-30

Simone Dinnerstein and Tift Merritt sat-sun, jan 29-30

february 2011 Mark Morris Dance Group wed, feb 2

Vijay Iyer

wed-sat, feb 2-5

Joshua Bell, violin wed, feb 9

Bill Frisell Trio and John Scofield Trio

sat-sun, apr 9-10 tue, apr 12

Max Raabe and Palast Orchester wed, apr 13

Béla Fleck, Zakir Hussain, & Edgar Meyer thu, apr 14

Der Untergang (Downfall) thu, apr 21

Buddy Guy

fri, apr 22

David Sedaris thu, apr 28

Pablo Ziegler, Beyond Tango fri, apr 29

may 2011 Lucinda Childs, DANCE tue, may 3

Roby Lakatos Ensemble thu, may 5

june 2011 Alexander String Quartet sun, june 5

fri, feb 11

New Century Chamber Orchestra with Nadja Salerno-Sonnenberg sat, feb 12

La Rondine 56

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