Playbill Issue 8: Apr-Jun 2011 by Mondavi Center

Center

Mondavi

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Program

china philharmonic orchestra

max raabe & palast orchester Berlin Nocturne

BĂŠla Fleck Zakir Hussain & Edgar Meyer

Buddy Guy

david sedaris

pablo ziegler Beyond Tango

lucinda childs dance

roby lakatos ensemble

dr. Henry Louis Gates, Jr.

tony Bennett

alexander string Quartet

Issue 8: apr-jun 2011

A MESSAGE FROM UC DAVIS CHANCELLOR LINDA P.B. KATEHI

The proposed art museum just across from the Mondavi Center will be the final piece in the creation of an extraordinary campus front door that includes the Buehler Alumni & Visitor Center, Maurice J. Gallagher, Jr. Hall, the new home of the UC Davis Graduate School of Management, the UC Davis Conference Center and the Robert Mondavi Institute for Wine and Food Science.

s another season at the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis comes to an end, it is my distinct pleasure to greet you, the many patrons who have lent us your support throughout the 2010-11 season. The Mondavi Center brings the arts to the forefront of campus life, both through its presenting program and in its role as a professional home for the UC Davis Department of Music and Department of Theatre and Dance. It continues to be a great source of pride and artistic achievement for the campus and the greater Sacramento region. In addition to vibrant artistry, the Mondavi Center is also home to numerous events that represent the bold vision of UC Davis. In 2010, UC Davis co-hosted the first Gubernatorial Debate between Meg Whitman and Governor Jerry Brown, which was covered by media from across the country.

I have spent many memorable evenings at the Mondavi Center, both with my husband Spyros, and with close friends of UC Davis like Margrit Mondavi. By supporting our internationally renowned programs in the science of wine and food, as well as the performing and visual arts, Margrit aims to nurture the very body and soul of both the university and society as a whole. It is a goal that we at UC Davis are very proud to play a significant role in bringing to fruition. Enjoy the performance.

Reinforcing UC Davisâ&#x20AC;&#x2122;s role as a global leader in sustainability-related research and instruction, applied technology and transformative projects and programs that advance knowledge and serve as models for the world, the Mondavi Center was the venue for Governor Arnold Schwarzeneggerâ&#x20AC;&#x2122;s Global Climate Summit 3, the first to be held in Northern California. We were honored to welcome political and social leaders from around the globe to our region.

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

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11-12

! ale April 9 S n O . s n tio s Subscrip ie r e S . s e ic Lowest pr . s t a e s t s Be New York Philharmonic Ballet Preljocaj: Blanche Neige Blind Boys of Alabama Christmas Show Les Ballets Trockadero de Monte Carlo The Chieftains Garrick Ohlsson Wayne Shorter Quartet k.d. lang Anoushka Shankar Circus Oz

Rachel Barton Pine, violin

CALL FOR TICKETS! 530.754.2787

Media Clips & More Info:

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BEFORE THE SHOW Photo: Lynn Goldsmith

BEFORE THE CURTAIN RISES, PLEASE PLAY YOUR PART

A MESSAGE FROM

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

DON ROTH, PH.D. EXECUTIVE DIRECTOR MONDAVI CENTER

• If you have any hard candy, please unwrap it before the lights dim. • Please remember that the taking of photographs or the use of any type of audio or video recording equipment is strictly prohibited.

pril the cruelest month? Not for the Mondavi Center, Mr. Eliot, unless it is cruel to choose between focusing on one of the richest months of performances this season or on what is ahead in the just announced 2011-12 season! I prefer Shakespeare’s thought that April hath put a spirit of youth in everything—in the case of the MC, by revealing another season full of music, dance, film and speakers.

• 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.

If you have not yet received your season brochure, you can find one online at mondaviarts.org. Here’s a list of the top 10 themes and trends to look for: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

A chance to dig deeply into the work of some of greatest composers: Liszt, Mozart, Bach, Tchaikovsky. A lineup of conductors and music direcctors most orchestras would die for; The debut of some of the greatest performers of the day—in classical, jazz and from around the globe; Return engagements by legendary artists; Artistic journeys to great cultures of our land (New Orleans) and the world (India); Insights into our world through the critical lens of great writers, filmmakers and thinkers; Artists who are making their work at the intersection of cultures (Crossings) and genres (Studio Classics); Our richest ever field of opera offerings; More chances than ever to see artists in our very own nightclub, the Vanderhoef Studio Theatre; Always opportunities to learn more—through Pre-Performance Talks and Post-Performance Q&As, as well as program notes and audio and video excerpts on line.

What excites me the most? I really can’t choose from this abundance of rich presentations—which are hand-picked for you by Associate Director Jeremy Ganter and me—but of course check out my special Director’s Choice series. Next season Director’s Choice will introduce you to one of the world’s greatest Flamenco troupes; will bring you the real star of the Met Opera’s Ring, bass-baritone Eric Owens; and the long-awaited U.S. Premiere of the greatest full-length dance piece of our time, Ballet Preljocaj’s Blanche Neige (Snow White). We’re surrounding the premiere (March 17, 2012) with a gala that features food and wine to match the dancing and which will jointly benefit the Mondavi Center and Robert Mondavi Institute; for gala details please visit us at mondaviarts.org/gala. I also can’t wait for my hometown orchestra to make its MC debut, the New York Philharmonic with Music Director Alan Gilbert and the great pianist Yefim Bronfman returning after this season’s triumphant recital.

• 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. 63 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 Yocha Dehe Grand Lobby are given regularly by the Friends of Mondavi Center. Reservations are required.

Thank you for joining us this season. I do hope you will sign up for one or more great Mondavi Center series for 2011-12. As you know, that’s the way to get both the best seats and lowest prices.

Lost and Found Hotline 530.752.8580 Don Roth Executive Director Mondavi Center for the Performing Arts

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

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

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ROBERT AND MARGRIT MONDAVI

CENTER FOR THE PERFORMING ARTS

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PRESENTS

China Philharmonic Orchestra Long Yu, Artistic Director & Chief Conductor Renaud Capuçon, violin A Western Health Advantage Orchestra Series Event Tuesday, April 12, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis

There will be one intermission. Sponsored by

Individual support provided by Ralph and Clairelee Leiser Bulkley Pre-Performance Talk Speaker: Christian Baldini, Assistant Professor, Conductor, UC Davis Department of Music 7PM • 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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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

Davis Hospitality...

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China Philharmonic Orchestra Long Yu, Artistic Director & Chief Conductor Renaud CapuĂ§on, violin

Roman Carnival Overture, Op. 9

Berlioz

Violin Concerto No. 1 in G Minor, Op. 26 Prelude: Allegro moderato Adagio Finale: Allegro energico

Bruch

Intermission Polovtsian March from Prince Igor

Borodin

Preludio Sinfonico in A Major

Puccini

BolĂŠro

Ravel

We wish to acknowledge the generous contribution and support of China Arts Foundation, Shanghai Ninecity Real Estate Co., Ltd. and its Board Chairman Mr. Li Wenyong.

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

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Dr. Richard E. Rodda Roman Carnival Overture, Op. 9 (1843) Hector Berlioz (Born December 11, 1803, in La Côte-Saint-André, France; died March 8, 1869, in Paris) The failure of Berlioz’s opera Benvenuto Cellini at its premiere in September 1838 was nearly complete. Except for the original overture to the opera, everything else, Berlioz reported, “was hissed with admirable energy and unanimity.” Five years later, he mined the opera for thematic material for a new overture that he could use either as an independent concert work or as the introduction to the second act of Benvenuto. With the flavor of the opera’s setting and his own Italian travels as guides, he named it Roman Carnival. The Overture had a resounding success at its concert premiere in Paris on February 3, 1844, and was encored. It immediately joined the Symphonie Fantastique as the most popular of Berlioz’s music, and it was one of the works he programmed most frequently on the concerts he conducted. The two large formal sections of the Roman Carnival Overture are based on melodies from the opera. The first, presented by the solo English horn, borrows Benvenuto’s aria O Teresa, vous que j’aime (“O Teresa, whom I adore”). The other theme is a bubbling saltarello reminiscent of folk dances Berlioz heard in Rome. Violin Concerto No. 1 in G Minor, Op. 26 (1865-66) Max Bruch (Born January 6, 1838, in Cologne; died October 20, 1920, in Friedenau, Germany) Max Bruch, widely known and respected in his day as a composer, conductor and teacher, received his earliest music instruction from his mother, a noted singer and pianist. He began composing at 11, and by 14 had produced a symphony and a string quartet, the latter garnering a prize that allowed him to study with Reinecke and Hiller in Cologne. Bruch held various posts as a choral and orchestral conductor in Cologne, Coblenz, Sondershausen, Berlin, Liverpool and Breslau, and in 1883, he visited America to conduct concerts of his own compositions. From 1890 to 1910, he taught composition at the Berlin Academy and received numerous awards for his work, including an honorary doctorate from Cambridge University. Though Bruch is known mainly for three famous compositions for string soloist and orchestra (the G Minor Concerto and the Scottish Fantasy for violin and the Kol Nidrei for cello), he also composed two other violin concertos, three symphonies, a concerto for two pianos, various chamber pieces, songs, three operas and much choral music. The G Minor Violin Concerto is a work of lyrical beauty and emotional sincerity. The first movement, which Bruch called a “Prelude,” is in the nature of an extended introduction leading without pause into the slow movement. The Concerto opens with a dialogue between soloist and orchestra followed by a wideranging subject played by the violinist over a pizzicato line in the basses. A contrasting theme reaches into the highest register of the violin. A stormy section for orchestra alone recalls the opening dialogue, which softens to usher in the lovely Adagio. This slow movement contains three important themes, all languorous and sweet, which are shared by soloist and orchestra. The music builds to a passionate climax before subsiding to a tranquil close. The finale begins with 18 modulatory bars containing hints of the

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CHINA PHILHARMONIC ORCHESTRA

PROGRAM NOTES

upcoming theme before the soloist proclaims the vibrant melody itself. A broad melody, played first by the orchestra alone before being taken over by the soloist, serves as the second theme. A brief development, based on the dance-like first theme, leads to the recapitulation. The coda recalls again the first theme to bring the work to a rousing close. Polovtsian March from Prince Igor (1886-87) Alexander Borodin (Born November 12, 1833, in St. Petersburg; died February 27, 1887, in St. Petersburg) In Borodin’s opera, Igor is captured while trying to rid Russia of the Polovtsi, an invading Tartar race from Central Asia. The leader of the Polovtsi, Khan Kontchak, treats Igor as a guest rather than a prisoner and entertains him lavishly. Khan offers him his freedom if he will promise to leave the Polovtsi in peace, but Igor refuses. Igor nevertheless effects his escape and returns triumphantly to his people. Borodin wrote that Prince Igor is “essentially a national opera, interesting only to us Russians, who love to steep our patriotism in the sources of our history, and to see the origins of our nationality again on the stage.” To make his opera as authentic as possible, he studied the music, history and lore of Central Asia, where the opera is set, and sought out travelers with first-hand knowledge of the region. His colorful “Oriental” writing for the Polovtsi was influenced not only by authentic Caucasian melodies, but also by music from the Middle East and north Africa. The exotic Polovtsian March opens Act III, where it accompanies the return of the Polovtsian troops following a success campaign against Igor’s stronghold. Preludio Sinfonico in A Major (1876) Giacomo Puccini (Born December 22, 1858, in Lucca, Italy; died November 29, 1924, in Brussels) Giacomo Puccini, the inheritor of the operatic mantle of Verdi and composer of some of the most popular musical theater pieces ever created, should have been a choir director and church organist. Four generations of his paternal ancestors had served as church musicians in his native town of Lucca, some distance east of Florence, about 15 miles inland from the Ligurian Sea, and the expectation of both the family and the community was that he would also tread in their well-worn footsteps. His father, Michele Puccini (1813-64), studied with Donizetti and Mercadante in Naples, became organist at Lucca in 1830, professor at the municipal conservatory in 1843, the school’s president in 1852 and the city’s general music director in 1862. Like his forefathers, Michele proved himself a capable contrapuntist in church music and also composed several operas that enjoyed some success beyond the city’s boundaries. Giacomo, the fifth of Michele Puccini’s seven children, was only six when his father died suddenly in February 1864, and so strong was the expectation that he would succeed him in his church offices that the town council decreed the positions were to be held for him until he was able to fill them. Fortunatus Magi, his mother’s brother, a former student of Michele and then director of the Lucca Conservatory, was deputized to carry out those duties in the interim. Magi was entrusted with Giacomo’s musical training in voice, organ and theory, but he proved to be an uninspiring teacher, and Mama Albina, eager to further her son’s career, placed him with Carlo Angeloni at the Instituto Musical Pacini, under

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

Jeffrey Thomas, music director

Bach Magnificat in D Major

Bach & Lotti A West Coast Premiere

Lotti Mass for Three Choirs (West Coast Premiere)

The 2010-2011 Season Finale will bring to the West Coast the premiere of a work that was discovered just a decade ago: the Mass for Three Choirs by the Venetian master Antonio Lotti. ABS maestro Jeffrey Thomas—recognized worldwide as one of the foremost interpreters of the music of Bach and the Baroque—will lead the celebrated American Bach Choir in this ravishing music from the great tradition of San Marco’s maestri di cappella, paired with one of J.S. Bach’s most joyous and universally popular works, the Magnificat in D Major. Friday 6 May 2011 8:00 pm

St. Stephen’s Church, Belvedere

Saturday 7 May 2011 8:00 pm First Congregational Church, Berkeley

Sunday 8 May 2011 7:00 pm St. Mark’s Lutheran Church, San Francisco

Monday 9 May 2011 8:00 pm Davis Community Church, Davis

Free Pre-Concert “INSIGHTS” by CSU Sacramento lecturer Steven Lehning begin one hour prior to each performance. These performances are generously sponsored by Hugh Davies & Kaneez Munjee and Jose & Carol Alonso. The Davis performance is generously sponsored by Jim & Jennifer Steelquist.

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American Bach Soloists Summer Festival & Academy Two weeks of chamber music concerts, free public lectures, colloquia, “Academy-in-Action” concerts, Handel’s Ariodante, and Bach’s Mass in B Minor.

Monday 11 July through Saturday 23 July 2011

San Francisco Conservatory of Music

americanbach.org (415) 621-7900

In March 1876, Puccini learned that Verdi’s Aida was to be given for the first time in nearby Pisa, so he tromped the 15 miles to the Teatro Nuovo with two other penniless friends, convinced the doorman that they had an urgent message for the stage manager and hid out in the top balcony until the performance began. The 18-year-old Puccini, inspired by what he claimed was his first opera performance, set his sights on gaining admission to the Milan Conservatory, Italy’s most respected music school, and began composing in earnest. His first work not intended for his church duties was an ambitious, 10-minute Preludio Sinfonico written later that year and performed by the student orchestra at the Instituto. It was a remarkable start for his creative career, showing the sure melodic sense, subtlety of harmonic color, clear orchestration and immediacy of expression that he would perfect in his later masterworks. Boléro (1982) Maurice Ravel (Born March 7, 1875, in Ciboure, France; died December 28, 1937, in Paris) Ravel originated what he once called his “danse lascive” at the suggestion of Ida Rubinstein, the famed ballerina who also inspired works from Debussy, Honegger and Stravinsky. Rubinstein’s balletic interpretation of Boléro, set in a rustic Spanish tavern, portrayed a voluptuous dancer whose stomps and whirls atop a table incite the men in the bar to mounting fervor. With growing intensity, they join in her dance until, in a brilliant coup de théâtre, knives are drawn and violence flares on stage at the moment near the end where the music modulates, breathtakingly, from the key of C to the key of E. So viscerally stirring was the combination of the powerful music and the ballerina’s suggestive dancing at the premiere that a near-riot ensued between audience and performers, and Rubinstein narrowly escaped injury. The usually reserved Pitts Sanborn reported that the American premiere, conducted by Arturo Toscanini at Carnegie Hall on November 14, 1929, had a similar effect on its hearers: “If it had been the custom to repeat a number at a symphonic concert, Boléro would surely have been encored, even at the risk of mass wreckage of the nerves.” Of the musical nature of this magnificent study in hypnotic rhythm and orchestral sonority, Ravel wrote in 1931 to the critic M.D. Calvocoressi, “I am particularly desirous that there should be no misunderstanding about this work. It constitutes an experiment in a very special and limited direction, and should not be suspected of aiming at achieving anything different from or anything more than it actually does achieve. Before its first performance, I issued a warning to the effect that what I had written was a piece lasting about 17 minutes and consisting wholly of ‘orchestral tissue without music’—of one long, very gradual crescendo. There are no contrasts, there is practically no invention except the plan and the manner of execution. The themes are altogether impersonal…folktunes of the usual SpanishPrinted on recycled paper. Please recycle this playbill for reuse.

CHINA PHILHARMONIC ORCHESTRA

whose tutelage the boy began to blossom. At age 10, Giacomo joined the choirs of the Cathedral and the Church of San Michele in Lucca, and four years later became organist at those and other churches in neighboring towns. He tried out his musical invention in his organ improvisations, insinuating into them snatches of folk songs as well as passages from Verdi’s recent sensations Rigoletto, Il Trovatore and La Traviata (whose scores he had studied with Angeloni) and worked several of them into finished compositions.

Arabian kind, and (whatever may have been said to the contrary) the orchestral writing is simple and straightforward throughout, without the slightest attempt at virtuosity…I have carried out exactly what I intended, and it is for listeners to take it or leave it.” ©2011 Dr. Richard E. Rodda China Philharmonic Orchestra The founding of the China Philharmonic Orchestra marked the beginning of a new chapter in the history of symphonic music in China, now a leading musical center of the world. The CPO recruits players from within China and internationally. With its unswerving commitment to quality and determined ambition, it now ranks as one of the largest and most well-known orchestras in Asia. On December 16, 2000, the CPO gave a highly acclaimed inaugural concert in Beijing under the baton of its artistic director, Maestro Long Yu. The CPO’s inaugural season included a broad selection of repertoire including the world premiere of Philip Glass’s Concerto for Cello and Orchestra, performances of Mahler’s Das Lied von der Erde and the Chinese premieres of Berlioz’s La Damnation de Faust and Du Mingxin’s Symphonic Peking Opera Female Generals from Yang Family, commissioned by the CPO. Subsequent seasons under the inspiring baton of Long Yu have included Mahler’s Symphony of a Thousand featuring nearly 1,000 musicians, a cycle of major orchestral works by Beethoven, complete cycles of Mahler and Dvořák symphonies and a semi-staged production of Bizet’s Carmen with Long Yu serving as both the conductor and stage director. In addition to extensive performances in China, the CPO has toured since 2002 to more than 30 countries, performing in major venues such as Avery Fisher Hall in New York, Palais Garnier in Paris, Barbican Hall in London, Berlin Philharmonie, Der Musikverein in Vienna and elsewhere in Italy, Poland and Japan. The New York Times and Frankfurter Allgemeine have praised the CPO as the pride of China and its culture, having earned a place among the top orchestras of the world. In 2008, the CPO performed Mozart’s Requiem at the Vatican in honor of Pope Benedict, an event that transcended cultural and political boundaries. The CPO continually and successfully collaborates with prominent musicians around the world, including Krzysztof Penderecki, Charles Dutoit, Vladimir Ashkenazy, Okko Kamu, Sir Mark Elder, Claus Peter Flor, Muhai Tang, Lan Shui, Lang Lang, Yundi Li, Mikhail Pletnev, Emanuel Ax, Kun Woo Paik, Anatol Ugorski, Gerhard Oppitz, Gary Graffman, Itzhak Perlman, Nigel Kennedy, Augustin Dumay, Sara Chang, Cho-Liang Lin, Mischa Maisky, Josef Silverstein, Jian Wang, Sabine Mayer, Placido Domingo, Renée Fleming and Cheryl Studer. In 2009, the China Philharmonic Orchestra was selected by Gramophone as one of “the world’s 10 most inspiring orchestras” along with the Berlin Philharmonic, London Symphony and New York Philharmonic. Gramophone praised the CPO “for almost single-handedly bringing Western classical music to the ears and hearts of a vast nation, for whom it had been forbidden for decades. They have taken it upon themselves to educate the country, and (alongside others) are making a pretty good job of it.” The CPO led by Long Yu has produced many acclaimed recordings under the Deutsche Grammophon label including Wagner’s Tannhäuser Overture, Schoenberg’s orchestration of Brahms’s Piano Quartet in G minor and the Piano Concerto Yellow River, performed by Lang Lang.

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

CHINA PHILHARMONIC ORCHESTRA

Long Yu, Conductor The preeminent Chinese conductor with an established international reputation, Maestro Long Yu is currently Artistic Director and Chief Conductor of the China Philharmonic Orchestra, Music Director of the Shanghai and Guanzhou Symphony Orchestras, and Artistic Director of the Beijing Music Festival. In addition to regular seasons featuring the world’s top soloists, all three ensembles tour regularly in China and abroad under the direction of Maestro Long Yu, while his vision and efforts continue to make the Beijing Music Festival the hub of musical life in China’s capital. Maestro Long Yu has appeared with many leading European, American and Asian orchestras and opera companies including Orchestre de Paris, Hamburg State Opera, Maggio Musicale Fiorentino, Teatro La Fenice, Chicago Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, Sydney Symphony, Hong Kong Philharmonic, Tokyo Philharmonic and Singapore Symphony. In the coming season he will make his debuts with the New York Philharmonic, Munich Philharmonic, and the Cincinnati Symphony Orchestra. In the summer of 2010 Maestro Long Yu lead the Shanghai Symphony Orchestra in a historic joint performance with the New York Philharmonic on the Great Lawn of Central Park in celebration of the World Expo, featuring Lang Lang as one of the soloists. Later that year he brought the best Asian classical musicians including Yo-Yo Ma, Midori, Sarah Chang and others to Guangzhou for the premiere Canton Asian Music Festival in connection with the XVI Asian Games. Long Yu was born in 1964 into a family of musicians in Shanghai. He received his early musical education his grandfather Ding Shande, a composer of great renown, and went on to study at the Shanghai Conservatory and the Hochschule der Kunst in Berlin. Long Yu’s career has included both artistic and administrative appointments. In 1992, he was appointed Principal Conductor of the Central Opera Theatre in Beijing, and in the same year, he was involved in the planning of the first Beijing New Year’s Concert and served as its conductor for three consecutive years. He also produced operas for The Urban Council of Hong Kong for five successive years. In 1998, he lead the creation of the Beijing Music Festival and was its Founding Artistic Director. Under his leadership the Beijing Music Festival is regarded as one of the world’s most important music festivals. Along with numerous performances by world-renowned ensembles and artists, the Beijing Music Festival plays an active role in commissioning new works from today’s most prestigious composers such as Krzysztof Penderecki, Philip Glass, Guo Wenjing and Ye Xiaogang. In 2000, Long Yu co-founded the China Philharmonic Orchestra and was appointed Artistic Director and Principal Conductor. Now entering his 11th season with the China Philharmonic, he has maintained the high standard of orchestral performance and artistic administration. In 2003, Long Yu was appointed the Music Director of the Guangzhou Symphony Orchestra. He has toured extensively with both the China Philharmonic and the Guangzhou Symphony. From February to April 2005, the China Philharmonic Orchestra took an international tour under the baton of Maestro Long Yu. Within 40 days they appeared in 22 cities throughout North America and Europe. In 2008, for the 12

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first time in history, the China Philharmonic Orchestra performed under the baton of Maestro Long Yu at the Vatican in the Paul VI Auditorium. The concert was attended by The Holy Father Pope Benedict XIV and marked a giant step in bringing eastern and western cultures closer together. Deutsche Grammophon has released Maestro Long Yu’s recordings of Wagner Tannhäuser Overture, Brahms Piano Quartet in G Minor in Arnold Schoenberg’s orchestration, and a wide range of Chinese orchestral music including Yellow River Concerto with Lang Lang. His recordings on Naxos include Korngold and Goldmark Violin Concertos with Vera Tsu as well as Ding Shande’s Long March Symphony. Long Yu is a Chevalier dans L’Ordre des Arts et des Lettres and the recipient of the 2002 Arts Patronage Award of the Montblanc Cultural Foundation. In 2005 President Berlusconi honored Maestro Long Yu with the title of L’onorificenza di commendatore.

Renaud Capuçon, Violin When the French Victoires de la Musique named Renaud Capuçon its “New Talent of the Year” in 2000 and an international jury named him “Rising Star of 2000,” his place was confirmed among the leading violinists of his generation. Renaud Capuçon was born in Chambéry in 1976 and began studying at the Conservatoire National Supérieur de Musique de Paris at the age of 14 with Gérard Poulet and Veda Reynolds. In 1992, he was awarded First Prize for Chamber Music and in 1993, First Prize for violin, with a special distinction from the jury. In 1995, he won the Prize of the Berlin Academy of Arts and went on to study with Thomas Brandis and Isaac Stern. Capuçon, by special invitation from Claudio Abbado, held the position of the concertmaster of the Gustav Mahler Jugendorchester, having the opportunity to work with Pierre Boulez, Seiji Ozawa, Daniel Barenboim, Franz Welser-Möst and Claudio Abbado. Highlights of Capuçon’s 2010-11 season include performances with the Philadelphia Orchestra under Lionel Bringuier and the Chicago Symphony Orchestra under Yannick Nézet-Séguin, as well as a west coast tour with the China Philharmonic under Long Yu (Bruch Violin Concerto). Capuçon’s 2009-10 season included his second U.S. tour with the Bruckner Orchester Linz under Dennis Russell Davies, a debut with the Saint Louis Symphony under David Robertson (Ligeti Violin Concerto) and performances in Paris and Caracas with Gustavo Dudamel (Tchaikovsky and Bruch Violin Concertos). Recent successes in North America include performances with the symphonies of Detroit, Toronto, Houston and Boston (at Tanglewood under Christoph von Dohnányi) and debuts with the Los Angeles Philharmonic at the Hollywood Bowl, the National Symphony Orchestra under Leonard Slatkin and the Philadelphia Orchestra under Charles Dutoit. In addition to his recent tours with the Bruckner Orchestra of Linz, Capuçon has toured with the Budapest Festival Orchestra under Ivan Fischer and the WDR Cologne Orchestra under Semyon Bychkov. Capuçon gave his New York City recital debut in 2007. In addition to his debut in 2002 with the Berliner Philharmoniker under Bernard Haitink, Renaud Capuçon has performed with many of the most prestigious orchestras in Germany, France,

CHINA PHILHARMONIC ORCHESTRA

Israel, Denmark, Sweden, Italy, Switzerland, Poland, Japan, Canada and the UK. He has worked with such renowned conductors as Christian Arming, Semyon Bychkov, Myung-Whun Chung, Jean-Claude Casadesus, Charles Dutoit, Gustavo Dudamel, Christoph Eschenbach, Ivan Fischer, Hans Graf, Bernard Haitink, Daniel Harding, Gunther Herbig, Armin Jordan, Philippe Jordan, Emmanuel Krivine, Louis Langrée, Marc Minkowski, John Nelson, Michel Plasson, David Robertson, Michael Schonwandt, Leif Segerstram, Leonard Slatkin and Wolfgang Sawallisch. A serious chamber musican, Capuçon collaborates often with his brother, cellist Gautier Capuçon, and pianist Nicholas Angelich, as well as with such artists as Martha Argerich, Daniel Barenboim, Elena Bashkirova, Hélène Grimaud, Andre Watts, Yefim Bronfman, Myung-Whun Chung, Stephen Kovacevich, Jean-Yves Thibaudet, Vadim Repin, Katia and Marielle Labèque, Yuri Bashmet, Truls Mørk, Paul Meyer and Kremerata Baltica. In 2008, the CapuçonAngelich Trio had debut performances in San Francisco, New York City, Washington, D.C., Quebec, Montréal and Vancouver. Capuçon receives regular invitations to the Berlin, Lockenhaus, Jerusalem, Stavanger, Verbier, Davos, Aix-en-Provence, Divonne, Menton, Saint-Denis and Strasbourg festivals. He has given recitals in Paris’ Cité de la Musique, Vienna’s Musikverein, Amsterdam’s Concertgebouw, New York’s Carnegie Hall, Brussels’s Palais des Beaux Arts and Cologne’s Philharmonie. In 2008, Renaud collaborated with Gautier Capuçon, Martha Argerich and Gustavo Dudamel at the Salzburg Festival, performing Beethoven’s Triple Concerto, which was recorded for a live DVD. In 1999, Capuçon released his first recording for Virgin Classics, the Schubert recital Grand Duo with Jérôme Ducros. Now an exclusive Virgin Classics artist, he has since recorded several CDs: Ravel Piano Trio and Violin Sonata with Gautier Capuçon and pianist Frank Braley; French works for violin and orchestra with Die Deutsche Kammerphilharmonie Bremen and Daniel Harding; music of Dutilleux with Truls Mørk, the Radio France Philharmonic and Myung-Whun Chung; Face à Face, contemporary duos for violin and cello with Gautier Capuçon; and Brahms’s Piano Trios No. 1, 2 and 3 with Gautier Capuçon and pianist Nicholas Angelich. In 2008, Capuçon, in collaboration with Jerome Ducros, released Capriccio, featuring an appetizing selection of short pieces that pay tribute to legendary violinists of the 20th century, including Kreisler and Heifetz. He has also recorded the Schubert Trio, Op. 100 and Trout Quintet on Erato and the Schumann Quintet on DGG. For EMI, he has recorded the Franck Violin Sonata in A with Lilya Zilberstein and Mendelssohn’s Piano Trio No. 1 with Gautier Capuçon and Martha Argerich. In 2009, Renaud released a recording on the Virgin Classics label of Mozart’s Violin Concertos Nos. 1 and 3 and Sinfonia Concertante with Antoine Tamistat, under Louis Langrée and the Scottish Chamber Orchestra; it was followed with Beethoven and Korngold Violin Concertos with the Rotterdam Philharmonic Orchestra and Yannick Nézet-Séguin conducting. Capuçon’s recording of the complete Brahms’s Sonatas with Nicholas Angelich was an Editor’s Choice by Gramophone Magazine. His recording of Schubert’s Trout Piano Quintet for Virgin Classics with Gautier Capuçon, Gérard Caussé, Alois Posch and Frank Braley was also an Editor’s Choice by Gramophone Magazine in 2005 and “Disc of the Month” in February 2005 at Classic FM. Renaud Capuçon plays a 1737 Guarneri del Gesù, the “Panette” that belonged to Isaac Stern, bought for him by the Banca Svizzera Italiana. Printed on recycled paper. Please recycle this playbill for reuse.

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

IN MEMORIAM

JOHN MAX VOGEL, M.D., 1923-2010

atrons of the Mondavi Center experienced a great loss this season. John Vogel, a familiar figure in the front row of the Meyer Circle since the opening concert in 2002, died last July after a long and eventful life devoted to medicine, science and the arts. John was widely recognized as an expert in osteoporosis and bone density measurements, which led to a contract in the 1970s to measure bone density of NASA astronauts. His research on the effects on bone health of diet and other cultural differences and on methods for estimating fracture risk was funded by NIH for 16 years. He was a member of the nuclear medicine faculty in the School of Medicine and served for a while as chief of the section at UCDMC. John’s medical interests were combined with explorations of culture world-wide. Music was part of the fabric of his life and he was himself an accomplished pianist. Though his interests ranged from Bach to Billie Holiday, classical music, especially opera, reigned supreme. He fondly remembered singing on the San Francisco Opera House stage in the Boys’ Chorus; his collection of San Francisco Opera programs, dating back to the 1940s, was the envy of many an opera-lover. He was a patron and donor to the Opera and the San Francisco Symphony all his adult life.

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When UC Davis proposed a Center for the Arts, John embraced the project enthusiastically and was generous in his support. As he said at the time, “This is exactly what we need to bring the best of all the arts into the valley.” His gifts to the building campaign enabled him to name the grand staircase in the Mondavi Center; he remained an enthusiastic patron and donor. We shall remember John not only for his scientific accomplishments and his support of the arts, but also for his charm, his humour, his devotion to his family and his loyal friendship. We have lost from our lives a fixed pillar of courtesy. While John was with us we could hold onto a thread of civility that reached back almost to the Edwardian age. It was a mark of his extraordinary character that he was able to maintain his impeccable sense of decorum through turbulent times. Little wonder that we find such a large hole where he once stood. Anne Gray Raventos 21 March 2011

Anne Gray Raventos is a member of the Mondavi Center Advisory Board.

CHINA PHILHARMONIC ORCHESTRA

China Philharmonic Orchestra Long Yu, Artistic Director & Chief Conductor Krzysztof Penderecki, Principal Guest Conductor First Violin Chen Yun, Concertmaster Wu Yang, Concertmaster Peng Ke, Assistant Concertmaster Wang Haitao Long Xiang Bi Ahuan Liu Rui He Wei Chen Su Zhang Xiaoxiao Song Xiaochen Zhang Han Luo Lin Zhao Chan Gao Yili Jia Mei Zeng Cheng Second Violin Jian Bei, Principal Yan Ke, Associate Principal Wang Xin Wang Kun Wang Peng Shi Dan Ai Jin Liu Yuqi Zhang Yuqing Chen Li Tong Fei Zhang Bo Chen Youxiang Xu Haibo Mo Qi Cui Xiaolei Viola Zhang Anxiang, Principal Mao Xinguang, Associate Principal Sun Kui Sun Yin Li Jize Li Ming Li Yao Wu Di Zhang Jianli Wu Rui Duan Ruonan Zhao Ling Cao Fei

Cello Zhao Yunpeng, Principal Ma Juelun Guan Zhengyue Liu Yudong Yang Changying Zhang Ji Wu Xia Zheng Dawei Hou Xinwei Guo Xiaoheng Peng Di Dong Xiao Bass Zhang Xiaodi, Principal Shao Shiqi, Guest Principal Wang Hua Wang Zi Wang Mudong Li Penggui Zhang Shishuai Zhang Xuming Shao Shi Han Xing Zhai Feng Flute Ni Yizhen, Principal Cheng Xiaohua, Principal Wang Shu Zhang Zejing Cao Lei Oboe Zhang Zhengdi, Principal Yuan Xiaogang, Associate Principal Huang Lili, Doubling English Horn Xie Hongliang, Doubling English Horn Clarinet Fan Wei, Principal Yuan Yuan, Associate Principal Yang Yilin Dai Le Bassoon Zhu Yuanping, Principal Li Lansong, Associate Principal Zhu Wukun Ren Biao Zhou Yuchen

French Horn Jia Hui, Principal Wang Guan Zhang Ji Wu Shuo Jiang Feng Tang Bing Trumpet André Henry, Guest Principal Han Yanting, Principal Lu Xiaolin, Principal Liu Haitao Li Deqin Wang Jinghao Cheng Xizheng Trombone Zhao Xin, Principal Zhao Ruilin, Associate Principal Liu Shuchang Shao Shuai

Stage Manager Zhao Yanan President Hu En Vice President Ni Daiguang Liu Jun Li Nan General Accountant Gu Guoqing Assistant to President Lang Kun Teng Wei

Tuba Gao Yue, Associate Principal

Director of Artistic Administration Zhuang Yuming

Percussion Liu Ying, Timpani Principal, Chief of Percussion Section Ma Ping, Associate Principal Wang Yue Wu Wei Sha Mi Zhang Jingli

Director of Administration Office Teng Wei

Harp Zhang Xiaoyin Piano Chen Min, Guest Player Principal Conductor Yang Yang Resident Conductor Xia Xiaotang Director of Orchestra Personnel Zhang Zhengdi Deputy Director of Orchestra Personnel Ye Ping

Vice Director of Administration Office Cheng Yongjian Director of Financial Department Shi Zhiping Director of HR & Security Department Liu Guoqing Columbia Artists Management LLC. Tour Direction: R. Douglas Sheldon, Senior Vice President Tour Coordinator Karen Kloster Managerial Assistant Chris Minev Tour Manager Ann Woodruff Backstage Manager Renee O’Banks

COLUMBIA ARTIST MANAGEMENT LLC Tour Direction: R. Douglas Sheldon 1790 Broadway, New York, NY 10019 www.cami.com Printed on recycled paper. Please recycle this playbill for reuse.

Stage Personnel Ye Ping Yan Ming, Librarian Li Wanjun Shao Dazhao Zou Jin

Driver James Uline Hotels Maestro! Travel & Touring

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

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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PRESENTS

Debut

Max Raabe & Palast Orchester Berlin Nocturne A Director’s Choice Series Event Wednesday, April 13, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis

There will be one intermission.

FURTHER LISTENING see p. 18

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

MAX RAABE AND THE PALAST ORCHESTER

FURTHER LISTENING

by JEFF HUDSON The tricky thing in terms of appreciating Weimar cabaret music—at least, in this country, during the past few decades—is that you could always find something that kind of resembled it, but it was hard to locate the real thing. Let’s skip over Lawrence Welk, even though he grew up speaking German (in a tiny North Dakota town) and his band bears a certain instrumental resemblance to a cabaret group. Welk’s squeaky clean band had none of the darkness or risqué humor of the cabaret style we’re discussing. (As one of my uncles observed, “Welk plays the ‘Beer Barrel Polka’… and somehow, nobody ever gets tipsy.”) But I have fond childhood memories of summers on the family farm in rural western Michigan, sitting in the evenings with my grandmother, watching the flickering image of Welk on Grandma’s black-and-white TV. Let’s also skip the musical theater and movie versions of Cabaret, because (with all due respect), they both owe more to Broadway than Berlin. I will, however, raise a hand for Spike Jones, who with his band the City Slickers made raucous, absolutely crazy records that satirized the elegant cabaret style to a “T,” using instrumentation that almost exactly mirrors that of Max Raabe’s Palast Orchester (right down to the uncommon combination of violin and banjo). Go look up Jones’s anarchistic classic “Cocktails for Two” (there’s a three-minute film version, originally made for movie theaters, on YouTube—think of it as a forerunner of the music videos that would later blossom on MTV). But Jones was American, and his band had a bit of a Dixieland tilt, and he was principally active in the 1940s (after the Weimar Era in Germany had faded into … well, let’s not go there.)

Thank you Volunteers!

National April Volunteer Week 10-16

From time to time, I’ve also seen stage productions of Bertolt Brecht and Kurt Weill material, with bands that reflect the dark Weimar cabaret style; but again, these were primarily plays, staged by theater companies, rather than polished musical acts. So if you were actually looking for someone who would perform these cabaret songs from the 1920s and 1930s as the centerpiece, reveling in the diverting, sophisticated, slightly naughty and surprisingly beautiful music, well, you could only turn to the old recordings from that era … until Max Raabe came along in the late 1980s and started doing this material live. By now, he’s released some 17 albums. I’ve greatly enjoyed Heute Nacht Oder Nie (Tonight or Never), a two-CD set of live performances at Carnegie Hall, recorded in November 2007. In February (just in time for Valentine’s Day), Max Raabe released a new album, Küssen kann man nicht alleine (One Cannot Kiss Alone), written and produced by Annette Humpe and Max Raabe. There’s an interesting video featuring a Kermit the Frog-like puppet on the German version of Raabe’s website at http://palast-orchester.de/.

In honor of National Volunteer Week, Mondavi Center gives thanks to our ushers! Our volunteer ushers give their time and hospitality to provide our audiences with a memorable performance experience. We could not open our doors without them. Visit www.MondaviArts.org for more info on volunteer opportunities.

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

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MAX RAABE & PALAST ORCHESTER

Max Raabe & Palast Orchester Berlin Nocturne Max Raabe - Vocals Cecilia Crisafulli - Violin Thomas Huder - Trumpet, Vocals Michael Enders - Trumpet, Vocals Jörn Ranke - Trombone, Viola, Vocals Bernd Frank - Tenor Sax, Clarinet Johannes Ernst - Alto Sax, Clarinet Sven Bährens - Alto Sax, Clarinet Rainer Fox - Clarinet, Vocals Vincent Riewe - Drums, Percussion Bernd Hugo Dieterich - Bass, Sousaphone Ulrich Hoffmeier - Guitar, Banjo, Violin Ian Wekwerth - Piano Michael Enders - Musical Director Tour production Palast Orchester: Frank Ebeling, Production Manager Bernd Meyer-Lellek, Sound Dirk Lehmann, Light Office Manager: Wilfried Haase Tour support: Neumann Microphones, Berlin; Shure wireless systems Photos: Gregor Hohenberg, Olaf Heine, Steve J. Sherman

The titles will be announced from the stage by Max Raabe.

he new tour Berlin Nocturne is an homage to the legendary nocturnal flair of the Weimar Era. As soon as Max Raabe & Palast Orchester enter the stage, 1920s Berlin comes to life. Listeners will find themselves day-dreaming to a romantic melody such as “Leben ohne Liebe kannst du nicht” (“You can’t live without love”), hanging onto Max’s every word during his hilarious banter. Lilting big band arrangements like “I Got Rhythm” or a rumba like “Amapola” urge audience members to dance out of their seats. Max also performs a variety of classics such as “Sie sind mir so sympathisch” (“I find you so simpatico”), a funny paso doble like “Rosa, Charming Rosa,” the charming gem “A Bench in a Park” or the wacky waltz “Dort tanzt Lulu” (“Lulu is dancing too!”). Most probably, when leaving the concert hall the audience will be surprised not to be stepping out into the streets of nocturnal Berlin.

penned their melodies. The feeling of the times is concentrated within just the few measures of their songs and hits. Some of their compositions were created overnight and then whistled the following day in all of Berlin. Many became evergreens.

Max Raabe & Palast Orchester On the great concert stages in New York, Shanghai, Tokyo, Paris, Moscow, Rome and Amsterdam, audiences celebrate Max Raabe and his Palast Orchester with great waves of enthusiasm. International audiences are not bothered by the fact that Max Raabe sings in German—his artistry simply reaches across boundaries. Not much needs to be said about the music Max Raabe and the Palast Orchester perform; the songs speak for themselves. For the most part they were written towards the end of the Weimar Republic. During this experimental and contradictory time composers such as Friedrich Hollaender, Theo Mackeben, Mischa Spoliansky, Walter Jurmann and Werner Richard Heymann

Max Raabe’s artistry lies above all in revealing the dazzling, intelligent ambiguity of these songs as well as their musical strength and complexity—between melancholy and irony, rebellion and resignation, elegy and comedy, there is often only half a measure, sometimes just a single note, a mere word, a syllable. Raabe is their most superb artist. The singer with the bewitchingly gentle voice and his 12-piece orchestra perform the compositions with such precision and perfection that the 80-yearold songs sound as fresh and lively as they did when they were new. These aren’t just remakes, but rather new interpretations that bring to light the timeless modernity of these brilliant works.

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The Weimar Republic failed. After 1933, Germany robbed itself of its culture; its talents were driven out or killed. The lyricists and composers, whose names were supposed to be made forgotten, are now celebrating their quiet triumph; they have found a young audience, which has discovered skewed humor and smug irony and come to love them. These mini-operas often mirror the comedy and tragedy of human existence in their short three- or four-minute duration. Each word, each musical phrase has been chosen carefully, even if the song is just about trivial things. But what is really trivial?

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

HYAT T P L A C E 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

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PRESENTS

Photo by Jim McGuire

Debut

Béla Fleck, Zakir Hussain & Edgar Meyer A Crossings Series Event Thursday, April 14, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis

Individual support provided by William and Nancy Roe

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

JUST ADDED

mondavi center

E SAL N O IL APR 18!

2 0 1 0 2 0 1 1

JAZZ AT LINCOLN CENTER SAT, JUNE 18, 2011 | 8PM Hailed as “an extraordinarily versatile orchestra” by the Los Angeles Times, the JAZZ AT LINCOLN CENTER ORCHESTRA is composed of 15 of jazz music’s leading soloists under the leadership of musical director Wynton Marsalis. Drawing from an extensive repertoire that includes original compositions by Marsalis, Ted Nash and other members of the orchestra, the group is internationally critically acclaimed.

PINK MARTINI TUE, JULY 5, 2011 | 8PM Genre-hopping and über-hip, PINK MARTINI bring their sometimes ironic—but always excellent— blend of cosmopolitan sounds to the Mondavi Center. Their latest album, Splendour in the Grass, is a virtual carnival of musical influences, with one grand purpose: to rebuild a culture that sings and dances.

Call for Tickets! 866.754.2787 (toll-free) Media Clips & More Info:

MondaviArts.org

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Banjo

Zakir Hussain

Tabla

Edgar Meyer

Bass

BÉLA FLECK, ZAKIR HUSSAIN & EDGAR MEYER

Béla Fleck

This evening’s program will be announced from the stage.

hree masterful genre-benders and the leading virtuosos on their respective instruments, Béla Fleck, Zakir Hussain and Edgar Meyer move with ease among the worlds of classical, bluegrass and world music. In the 2009-10 season, they joined together for the first time in trio concerts of original music. Three of the most limitless creators and composers in the history of music, Fleck, Hussain and Meyer share an unprecedented array of projects and pairings among them that touch every geographical and stylistic corner of the musical world. The trio released a recording in 2009 featuring music performed on the tour alongside their innovative Triple Concerto for Banjo, Double Bass and Tabla. Béla Fleck, Zakir Hussain and Edgar Meyer’s new recording, The Melody of Rhythm, featuring the Detroit Symphony Orchestra and Leonard Slatkin, is available on E1 Music CDs and Digital Recordings. Béla Fleck Béla Fleck has been called the premier banjo player in the world and has virtually reinvented the image and the sound of the banjo through a remarkable performing and recording career that has taken him all over the musical map. At home equally in the great classical halls and concert arenas of the world, Béla has won 11 Grammy Awards and has been nominated in more different categories than anyone in Grammy history. Béla was a member of the progressive bluegrass band New Grass Revival, which took bluegrass music to new limits, exciting audiences and critics alike. Through the course of five albums, they charted new territory with their blend of bluegrass, rock and country music. During the nine years Béla spent with NGR he recorded a series of solo albums, including the ground breaking 1988 album Drive. He also collaborated with Sam Bush, Jerry Douglas, Edgar Meyer and Mark O’Connor in an acoustic supergroup called Strength in Numbers. Its MCA release, The Telluride Sessions, is considered an evolutionary statement by the acoustic music community. Béla Fleck and the Flecktones released its first, self-titled album in 1990, dubbed a “blu-bop” mix of jazz and bluegrass, and it soon became a commercially successful disc. The album was nominated for a Grammy, and the second recording Flight of the Cosmic Hippo followed suit. Famed for a non-stop touring schedule, the Flecktones have reached more than 500,000 audience members annually since 2001. Still releasing albums and touring, the Tones have garnered a strong and faithful following among jazz and new acoustic fans. They have shared the stage with Dave Mathews Band, Sting, Bonnie Raitt and the Grateful Dead, among many others, made several appearances on The Tonight Show in the Johnny Carson days and the Jay Leno days, as well as Arsenio Hall, and Conan O’Brian. In 2006, the band released The Hidden Land, which won the Grammy for Best Contemporary Jazz Album. In 2008, Jingle All Printed on recycled paper. Please recycle this playbill for reuse.

The Way, the band’s holiday album, was released, and in 2009, it was voted best Pop Instrumental Album at the Grammys. Already a powerfully creative force in bluegrass, jazz, pop, rock and world beat, Béla Fleck at last made the classical connection with Perpetual Motion, his critically acclaimed 2001 Sony Classical recording that won a pair of Grammys, including Best Classical Crossover Album, at the 44th annual Grammy Awards. Bela Fleck is managed by David Bendett, artistsinc@aol.com, and booked by Creative Artists Agency, 310.278.5657. Zakir Hussain Zakir Hussain is appreciated both in the field of percussion and in the music world at large as an international phenomenon. A classical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have not only established him as a national treasure in his own country (India), but also earned him worldwide fame. Zakir Hussain is considered one of the greatest musicians of our time. Along with his legendary father and teacher, Ustad Allarakha, he has elevated the status of the tabla in India and around the world. A favorite accompanist for India’s leading classical musicians and dancers, Zakir is also widely recognized as a chief architect of the world music movement with his many historic collaborations, including Shakti, Remember Shakti, Diga, Planet Drum and his everchanging moveable feast, Masters of Percussion. A child prodigy, Zakir began touring at the age of 12, becoming the most acclaimed Indian musician of his generation and one of the world’s leading percussionists. He is the recipient of many honors, including a recent Grammy in the Best Contemporary World Music category for Global Drum Project with Mickey Hart, Giovanni Hidalgo and Sikiru Adepoju; Padma Bhushan from the government of India in 2002; and the 1999 National Heritage Fellowship, the U.S.’s most prestigious honor for a master in traditional arts. In 1992, Planet Drum, an album co-created and co-produced by Zakir, became the first recording to win a Grammy in the Best World Music category and also won the Downbeat Critics’ Poll for Best World Beat Album. Modern Drummer and Drum! magazines named him Best World Music and Best Worldbeat Drummer, respectively, in 2007. He has contributed to innumerable recordings and has received widespread recognition as a composer for his many scores and soundtracks including Little Buddha, In Custody, Vanaprastham, Mystic Masseur, and Mr. & Mrs. Iyer, as well as for Yo-Yo Ma’s Silk Road Project. Zakir Hussain and Edgar Meyer are managed by IMG Artists; 152 W. 57th St., 5th Floor, New York, NY 10019; 212.994.3500.

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

The Who’s

Tommy

Directed by Granada Artist-in-Residence Mindy Cooper

With Music and Lyrics by Pete Townshend Book by Pete Townshend and Des McAnuff Additional Music & Lyrics by John Entwistle and Keith Moon Originally Produced on Broadway by Pace Theatrical Group and Dodger Production with Kardana Productions, Inc.

This hit musical, winner of five Tony Awards, is based on The Who's 1969 double-album rock opera Tommy. It includes the hit songs "Pinball Wizard," "I’m Free," "See Me, Feel Me." Main Theatre, UC Davis Thu - Sat, May 19 - 21, 8pm Thu - Sat, May 26 - 28, 8pm Sun, May 22 & 29, 2pm Mon, May 30, 8pm General $18/22 Students/Children/Seniors $15/20 PG-13

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TICKETS AND MORE INFORMATION theatredance.ucdavis.edu 530.754.ARTS

BÉLA FLECK, ZAKIR HUSSAIN & EDGAR MEYER

Edgar Meyer Edgar Meyer is prominently established as a unique and masterful instrumentalist and has an active career as both a performer and composer. Hailed by the New Yorker as “the most remarkable virtuoso in the relatively un-chronicled history of his instrument,” Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore, where he is appreciated by a vast, varied audience.

APRIL

As a soloist, Meyer has released a concerto album with the St. Paul Chamber Orchestra featuring Bottesini’s Gran Duo with Joshua Bell; Meyer’s Double Concerto for Bass and Cello with Yo-Yo Ma; Bottesini’s Bass Concerto No. 2; and Meyer’s Concerto in D for Bass. In 2006, he released a self-titled solo recording on which he wrote and played all of the pieces, incorporating seven varied instruments. His newest recording, a CD and DVD of original material with mandolinist Chris Thile, was released on Nonesuch in 2008. As a composer, Meyer has carved out a remarkable and unique niche. In the 2006-07 season, he premiered a piece for double bass and piano that he performed with Emanuel Ax. Meyer has performed with the Boston Symphony under Seiji Ozawa, featuring the premiere of one of his own works, the Meyer Double Concerto for Bass and Cello with Yo-Yo Ma. In 1999, Meyer’s violin concerto, written for violinist Hilary Hahn, was premiered and recorded by Hahn with the St. Paul Chamber Orchestra led by Hugh Wolff.

Complimentary wine pours in the Bartholomew Room for Inner Circle Donors.

Collaborations are a central part of Meyer’s work. His widelyacclaimed performing and recording projects include a duo with Chris Thile; a duo with Béla Fleck; a quartet with Joshua Bell, Sam Bush and Mike Marshall; a trio with Béla Fleck and Mike Marshall; and a trio with Yo-Yo Ma and Mark O’Connor. The latter trio collaborated for Appalachia Waltz in 1996 and its Grammywinning follow-up Appalachian Journey in 2000.

Pouring Boeger Wines on: Apr 22 Buddy Guy

7-8PM and during intermission

Sponsored by

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

ROBERT AND MARGRIT MONDAVI

CENTER FOR THE PERFORMING ARTS

| UC DAVIS

PRESENTS

Debut

Buddy Guy A Mondavi Center Just Added Event Friday, April 22, 2011 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis

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With his new album, Living Proof, Guy takes a hard look back at a remarkable life. At age 74, he’s a Rock & Roll Hall of Fame inductee, a major influence on rock titans like Jimi Hendrix, Eric Clapton and Stevie Ray Vaughan, a pioneer of Chicago’s fabled West Side sound and a living link to that city’s halcyon days of electric blues. He has received five Grammy Awards, 23 W.C. Handy Blues Awards (the most any artist has received), the Billboard Century Award for distinguished artistic achievement and the Presidential National Medal of Arts. Rolling Stone ranked him in the top 30 of its “100 Greatest Guitarists of All Time.” Yet as the album’s opening track declares, Buddy Guy is “74 Years Young,” still searching for new sounds and fresh ideas. The start of each new decade always seems to inspire him—see Stone Crazy (1981), Damn Right, I Got the Blues (1991) and Sweet Tea (2001), and on Living Proof, such songs as “Thank Me Someday” and “Everybody’s Got to Go” are strikingly personal meditations on his past, his legacy and his mortality. “The life I’ve lived is what we’re singing about,” he says. “These songs are exactly what I came up through in my life, what I’ve experienced.” He credits producer/drummer Tom Hambridge (who co-wrote all the songs on Living Proof and has previously worked with such artists as Johnny Winter, Delbert McClinton and Susan Tedeschi) with helping to capture and preserve his innermost thoughts. “He would come in with a pad and a pencil,” says the guitarist, “and while we were having conversations, he was writing down things I said and making songs out of them.” Still stinging from the restrictions that the legendary Chess Records put on him during his youth (“They said I was just playing noise and wouldn’t let me get loose like I wanted to.”), Guy also says that his music continues to benefit from the support of his record company and the team around him. “These guys said, ‘It’s your guitar, your studio, you just go be Buddy Guy’—and I’ve been trying to be that for 50 years,” he says. “I had the freedom of playing with only me to say, ‘Let me try that again.’” Though Buddy Guy will forever be associated with Chicago, his story actually begins in Louisiana. One of five children, he was born in 1936 to a sharecropper’s family and raised on a plantation near the small town of Lettsworth, located some 140 miles northwest of New Orleans. Buddy was just seven years old when he fashioned his first makeshift “guitar”—a two-string contraption attached to a piece of wood and secured with his mother’s hairpins. On “Thank Me Someday,” he recounts his early efforts with the instrument and his ability to keep his faith when his family chased him out of the house for making a racket. “I would go out in the yard, on the levee, to practice,” he says. “We didn’t have electric lights or running water—you could hear that guitar a mile away in the country, so I’d have to go a long way away so they didn’t say ‘Get out of here with that noise!’”

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BUDDY GUY

Buddy Guy “When I was 21,” says Buddy Guy, “some of my older friends, who are no longer with us, they’d say, ‘You’re still a baby.’ And then they said the same thing when I was 31, then 41, and I thought, ‘Man, when do I get old?’ I’ve been hearing that ever since I first went to Chicago—‘You’re still wet behind the ears.’ So when do I get dry?”

In 1957, he took his guitar to Chicago, where he would permanently alter the direction of the instrument. His incendiary style— still in evidence all over Living Proof—left its mark on guitarists from Jimmy Page to John Mayer. “He was for me what Elvis was probably like for other people,” said Eric Clapton at Guy’s Rock & Roll Hall of Fame induction in 2005. “My course was set, and he was my pilot.” Buddy Guy will always be associated with the blues, but this set of songs illustrates the true range of his playing. Songs like “Much Too Soon” and the blistering instrumental “Skanky” come directly out of the roadhouse rhythm & blues tradition. To Guy, though, such genre distinctions are meaningless afterthoughts. “Before the 1960s, we were always just R&B players,” he says. “Then they branded us—there was Chicago blues, Memphis, Motown, and so we were considered blues players. But in Chicago, if you wanted to keep your gig, you had to be able to play all the top tunes on the jukebox, whether that was Lloyd Price or Fats Domino or Ray Charles. Now if you play a Little Richard song, the audience looks at you like you’re crazy, but we always had to do that for a black audience back then.” Perhaps the most significant landmark on Living Proof is that, for the first time, the incomparable B.B. King stopped by to play and sing on a Buddy Guy album. The two giants reel off the introspective “Stay Around a Little Longer” like the old friends they are— but Guy still doesn’t take his relationship with the King of the Blues for granted. “B.B. created this style of guitar we all play,” he says. “I grew up listening to people like him, T-Bone Walker, Muddy Waters, and I still take 95 per-cent of my playing from him. So to have someone like that in the room with you makes chillbumps come up on your skin.” The only other guest on the mostly stripped-down Living Proof is Carlos Santana, who joins Guy on the slinky “Where the Blues Begins.” Noting that he and Junior Wells covered Santana’s “Vera Cruz” more than three decades ago, Guy says, “When I’m playing with someone that good, I just have to close my eyes and say, ‘Here I come!’” Asked what exactly it is that he considers himself Living Proof of, Buddy Guy answers modestly—he doesn’t mention his talent or his influence, but focuses instead on his perseverance. “Do you know how many guys I started out with who just threw up both hands and quit?” he says. “My first wife said to me, ‘It’s me or the guitar,’ and I picked up my guitar and left. We still laugh about that. But I’m still picking away at it, I don’t know nothing else.” “The other day, I heard B.B. King say, ‘I can’t slow down, because I still think there’s somebody out there who doesn’t know who I am yet.’ But, you know, blues players don’t stop, they just drop. It’s like my mother used to say about religion—I’m too far gone to turn around!”

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

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David Sedaris A Distinguished Speakers Series Event Friday, April 28, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis Sponsored by

Post-Performance Q & A David Sedaris

ith sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-eminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today. David Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim and When You Are Engulfed in Flames, each of which became a bestseller. There are a total of seven million copies of his books in print and they have been translated into 25 languages. He was the editor of Children Playing Before a Statue of Hercules: An Anthology of Outstanding Stories. Sedaris’s pieces appear regularly in The New Yorker and have twice been included in The Best American Essays. His newest book, a collection of fables entitled Squirrel Seeks Chipmunk:

A Modest Bestiary (with illustrations by Ian Falconer), was published in September 2010 and immediately hit The New York Times Bestseller Fiction list. He and his sister, Amy Sedaris, have collaborated under the name “The Talent Family” and have written a half-dozen plays that have been produced at La Mama, Lincoln Center and the Drama Department in New York City. These plays include Stump the Host, Stitches, One Woman Shoe, which received an Obie Award, Incident at Cobbler’s Knob and The Book of Liz, which was published in book form by Dramatists Play Service. David Sedaris’s original radio pieces can often be heard on This American Life, distributed nationally by Public Radio International and produced by WBEZ. David Sedaris has been nominated for three Grammy Awards for Best Spoken Word and Best Comedy Album. His latest audio recording of new stories (recorded live) is David Sedaris: Live for Your Listening Pleasure (2009). You can follow David on Facebook at www.facebook.com/davidsedaris

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

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Pablo Ziegler Beyond Tango A World Stage: Music Series Event Friday, April 29, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis

There will be one intermission.

Pre-Performance Talk Speaker: Pablo Ortiz, Professor, UC Davis Department of Music Jackson Hall • 7PM

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

PABLO ZIEGLER: BEYOND TANGO

Pablo Ziegler Beyond Tango Beyond Tango was created for and premiered at the Miami International Piano Festival, May 7, 2009

Pablo Ziegler (piano) Ivan Barenboim (clarinet), Lynn Bechtold (violin II), Julio Botti (flute), Edward Burns (bassoon), Misha Dacić (piano), Hector Del Curto (bandoneón), Pedro Giraudo (doublebass), Jisoo Ok (cello), Machiko Ozawa (violin I), Franco Pinna (drums), Edmundo Ramirez (viola)

PROGRAM Two Pianos Pablo Ziegler & Misha Dacić

Two Pianos Pablo Ziegler & Misha Dacić

Michelangelo 70 (Piazzolla) Revirado (Piazzolla)

Maria Ciudad (Ziegler) Elegante Canyenguito (Ziegler)

Chamber Trio piano, cello, bandoneón

Chamber Quartet piano, cello, bandoneón, bass

Alrededor Del Choclo (Ziegler) La Fundicion (Ziegler)

Buenos Aires Report (Ziegler) Chin Chin (Piazzolla)

Chamber Quartet piano, cello, bandoneón, bass

Chamber Quintet piano, cello, bandoneón, bass, violin

La Rayuela (Ziegler) Bajo Cero (Ziegler)

Places (Ziegler)

Chamber Quintet piano, cello, bandoneón, bass, violin Muchacha de Boedo (Ziegler) Libertango (Piazzolla) Intermission

Chamber Ensemble piano, bandoneón, string quintet (1st violin, 2nd violin, viola, cello and bass), flute, clarinet, bassoon, percussion Asfalto (Ziegler) Nostalgias (Cobian) Milonga en El Viento (Ziegler) Fuga y Misterio (Piazzolla)

Pablo Ziegler and Beyond Tango are exclusively represented by Bernstein Artists, Inc. www.bernsarts.com 32

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Tango is an echo of the streets of Buenos Aires. It emerged from the underworld of those dark back streets in the workingclass port towns, as a universal idiom of expression brought to Argentina at the end of the 19th century by European immigrants, and providing the musical backdrop for local brothels visited by hoodlums. Eventually, tango was brought to the elite salons of Paris and enjoyed wide popularity in capitals all over the world. From being primarily associated with dance, it evolved through the years into a musical idiom of its own, and through the genius of Astor Piazzolla, ascended to the concert stage. The process of evolution continues and Pablo Ziegler, pianist for Piazzolla for 10 years, leads the charge. While Pablo Ziegler is known to the jazz world through his touring to venues such as the Bimhuis in Amsterdam and his annual performances at the Jazz Standard in New York City, this program focuses on his classical music and involves different instrumentation. For example, the electric guitar is now replaced by cello. The evening progresses from piano duo through trio, quartet, quintet and finally large chamber ensemble. The evening comprises representative tunes from each of Ziegler’s eight recordings. The result is an emotional portrait fusing tango and Latin rhythms, beautiful melodic passages and virtuosic improvisation. Artist’s Statement Giselle Brodsky, Artistic Director of the Miami International Piano Festival, is like my muse as a composer. For her festival in 2009, she was not enthusiastic about doing an evening of Piazzolla because many people were already doing that. She wanted to ´ Giselle’s protégé, present my compositions. Pianist Misha Dacic, had started playing my music, and through that, Giselle became interested in my compositions. Giselle suggested I do a program in the frame of the Miami International Piano Festival. Since I was already going to be performing a program with my jazz trio in the fall with the Rhythm Foundation in Miami, I thought it would be good to focus on my more classical music, using different instrumentation. In the program there is a progression from piano duo to chamber ensemble playing mostly my compositions, but also a few of my arrangements of the Piazzolla two-piano pieces (I had recorded those with Emanuel Ax for Sony Classical). That was my first real record contract in the U.S. This evening is very different for me. In the past I performed either a two-piano concert or a concert with a big chamber ensemble. But this way—with multiple types of ensembles in one performance— I had not done before, and I’ve made special arrangements for it. This is very emotional for me, because it’s been the first time I’m starting with the two-piano arrangements I created in 1995 and walking through all of my musical works since that time. It’s very touching for me. I think the audience is going to really enjoy this concert because I’ve chosen the most representative tunes from each of my eight CDs—the ones I really love. I hope you will enjoy it. The music is a kind of emotional portrait of me. —Pablo Ziegler Printed on recycled paper. Please recycle this playbill for reuse.

PABLO ZIEGLER: BEYOND TANGO

BEYOND TANGO:THE MUSIC OF PABLO ZIEGLER Beyond Tango had its world premiere at the Miami International Piano Festival, for which it was created.

Pablo Ziegler (composer/piano) Born in Buenos Aires, Argentina, Latin Grammy-winning pianist Pablo Ziegler artfully blends classic tango rhythms with jazz improvisations, adding a new voice to the tango lexicon. Howard Reich of the Chicago Times writes, “There’s no question that Ziegler takes the tango to levels of sophistication and refinement probably undreamed of by Piazzolla,” and Eric Salzman of Stereo Review, writing of Ziegler’s CD Tango Romance, affirmed that the CD “solidifies his (Ziegler’s) claim to be the outstanding representative of the nuevo tango in his generation.” In addition to this critical acclaim, Ziegler’s release Bajo Cero won the 2005 Latin Grammy Award for Best Tango Album of the Year and his album Buenos Aires Report was nominated for the same honor in 2008. In 1978, Ziegler was invited to join Astor Piazzolla’s New Tango Quintet, and for the next 10 years, he performed with this group throughout Europe, Japan and North America, at the Montreal Jazz Festival, Nice Jazz Festival, Sapporo Jazz Festival, Central Park SummerStage and the Istanbul Festival, among many others. Pablo Ziegler formed his Quartet for New Tango in 1990 and has been touring extensively throughout the world with his trio, quartet and quintet. Performances in recent seasons have included Carnegie Hall (as part of the JVC Jazz Festival with guest artists Paquito D’Rivera, Joe Lovano and Gary Burton), Savannah Music Festival, Blue Note, UCLA, University of Texas, Clarice Smith Performing Arts Center in Maryland, Gilmore International Keyboard Festival, Ravinia Festival, International Festival of Arts & Ideas with pianist Christopher O’Riley in the duo Los Tangueros, New World Symphony in Miami, New York’s Knitting Factory with Emanuel Ax and the San Francisco Jazz Festival among many others. Ziegler’s quintet has been performing annually at the Jazz Standard in New York since 2002 in the Tango Meets Jazz series, with guest artists including Paquito D’Rivera, Stefon Harris, David Sanchez, Randy Brecker and Kenny Garrett. Important international engagements include the Umbria Jazz Festival (with guest artists Paquito D’Rivera, Joe Lovano and Richard Galliano), the Lapataia Jazz Festival in Uruguay and the Verbier Festival in Switzerland, as well as performances throughout Europe. He also performed at the Piano 2003 Festival in Manchester, UK, and has done 16 European tours to date. Misha Dacic’ (piano) Born in 1978 into a musical family in the former Yugoslavia, Misha Dacic´ first came to the public attention at age eleven when he performed a Haydn Piano Concerto with a local orchestra. Shortly afterwards, he entered the class of Kemal Gekic at the University of Novi Sad in Belgrade, where he received his early training. In 1998, he was accepted at the invitation of Lazar Berman into the prestigious school for pianists in Imola, Italy, and continued his studies with Berman through 2003. He made his successful American debut in the Discovery Series of the Sixth Miami International Piano Festival in 2003. That same year, Dacic´ performed at the Martha Argerich Project Festival in Lugano, Switzerland, at the Miami International Piano Festival in Lecce, Italy, at the University of Miami’s “Festival Miami” and at the Piano Lovers series at the Steinway Piano Gallery of Boca Raton—in each appearance with a recital celebrating the centenary of Vladimir Horowitz, whose repertoire and style he admires.

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

PABLO ZIEGLER: BEYOND TANGO

In 2004, Dacic´ was featured on ArtStreet, a special program produced by PBS affiliate WLRN-TV, at the opening concert of the Aventura Musical Society, in a two-piano recital with his mentor Kemal Gekic at the Steinway Gallery in Coral Gables and at the opening concert of the Discovery Series of the Seventh Miami International Piano Festival. Dacic´ is a recipient of support from Patrons of Exceptional Artists and enjoys a special scholarship at the University of Miami, where he pursues advanced piano studies. Ivan Barenboim (clarinet) Ivan Barenboim, originally from Buenos Aires, Argentina, is an accomplished clarinetist and recorder player. He has played throughout Argentina, Europe and the United States. His music has been performed at the Teatro National Cervantes in Buenos Aires, Sala Beckett in Barcelona and the GREC Festival de Barcelona. Ivan lives in New York and has been Artist-in-Residence at Central Synagogue since 2007 and a part-time faculty member at Hebrew Union College since 2008. He performed with Joan Baez last year at Lincoln Center as part of the Mercedes Sosa Tribute. Lynn Bechtold (violin II) Violinist Lynn Bechtold has appeared in recital throughout the U.S., Canada, the Netherlands and Switzerland and has premiered works by and/or collaborated with composers such as Gloria Coates, George Crumb, John Harbison, Alvin Lucier and Morton Subotnick, among others. As a member of ensembles including the Grammy-nominated East Village Opera Company band, Lumina String Quartet, SEM Ensemble, Zentripetal and the New York Symphonic Ensemble, Bechtold has performed around the world and has been heard on CBC Radio, CBS-TV, NHK-TV and WNYC. Other programs have been with Absolute Ensemble, Parsons Dance, Paul Taylor Dance Company and Vision into Art, among others. She’s performed with artists such as Boyz II Men, Sheryl Crow, Roberta Flack, Smokey Robinson and Donna Summer. She has appeared at such diverse venues as Alice Tully Hall, the Blue Note, the Frick Museum, Galapagos, Harvard Club, Joe’s Pub, Joyce Theatre, Merkin Hall, St. John the Divine and Zankel Hall. Bechtold holds degrees from the New England Conservatory of Music, Tufts University and the Mannes College of Music, where she was one of the last students of noted violinist Felix Galimir. Julio Botti (flute) Julio Botti was born in Bell Ville, Argentina. He has been an active member of the New York City Latin jazz scene for more than 12 years. During this time, he has also been playing and teaching in Europe and South America. Since 2000, Botti has performed with Nicola Di Bari, Duo Pimpinela, Alberto Cortez, Claudia de Colombia, Millie Quezada, Chayanne and Ricardo Montaner, and also with the group Sal Rumba, on some occasions with Carlos Santana. In 2003, Botti moved to Madrid and created the jazz quartet Zafari Project. Most recently, he has been dedicating his time to New York City public schools as a woodwind teacher while recording his upcoming album, which emphasizes saxophone in the new tango genre. One of his recent endeavors has included his collaboration with Pablo Ziegler’s Nuevo Tango Ensemble.

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Edward Burns (bassoon) Edward Burns, from Santa Rosa, California, is a resident of New York City and performs regularly throughout the U.S., Japan, and Europe with groups such as Seattle Symphony, Philadelphia Orchestra, Knights Chamber Orchestra, Seattle Opera, Charleston Symphony, New Jersey Symphony, Princeton Symphony, New Haven Symphony and New York Symphonic Ensemble. He is a founding member and principal bassoonist of the Philharmonic Orchestra of the Americas. His recent engagements include performing the Mignone Concertino with the Philharmonic Orchestra of the Americas in New York City, playing with the Knights Chamber Orchestra in collaboration with Dawn Upshaw at the Dresden Musikfestspiele and recording Brahms’s Second Symphony with the Seattle Symphony. Burns earned his B.M. at the Manhattan School of Music in 2002 with Frank Morelli and his M.M. from the Juilliard School in 2004 with Whitney Crockett. Héctor Del Curto (bandoneón) Praised by The New York Times as a “splendid player,” Argentinean bandoneón master Héctor Del Curto has captivated audiences around the world as a soloist and chamber musician, sharing the stage with renowned tango legends Astor Piazzolla and Osvaldo Pugliese, pianist Pablo Ziegler, clarinetist Paquito D’Rivera, ballet dancer Julio Bocca, National Symphony Orchestra, Buenos Aires Symphony Orchestra and Teatro Colón Ballet, among many others. After a Carnegie Hall concert in 1999 with the Orpheus Chamber Orchestra and such outstanding artists as Gary Burton, Joe Lovano, Pablo Ziegler, José Angel Trelles and Maria Graña, The New York Times highlighted Del Curto’s artistry, making special mention of his “wistful, piercing solos on the bandoneón.” Del Curto won the title of “Best Bandoneón Player under 25” when he was only 17 years old. This award led Osvaldo Pugliese to invite him to play in his legendary orchestra, which made him the youngest bandoneón player in the history of Pugliese’s orchestra. In 1999, Del Curto received the Golden Note Award from the ItalianAmerican Network in recognition of his artistic achievements. As conductor, he directed the spectacular show Forever Tango on Broadway and founded the Eternal Tango Orchestra, a 10-piece ensemble. Héctor Del Curto recently released a critically acclaimed album, Eternal Tango, which was featured on a segment on Public Radio International’s The World. Del Curto’s recordings include performances with Osvaldo Pugliese and Astor Piazzolla on Finally Together; with Pablo Ziegler on Asphalt, Quintet for the New Tango, Tango Magic (on video and DVD) and Tango and All That Jazz; and Luis Borda Cuarteto on Linea de Tango. He also appears as a guest artist on such recordings as Tito Puente’s Masterpiece, Paquito D’Rivera’s Funk Tango, Ricardo Arjona’s Santo Pecado and Shakira’s Laundry Services. Pedro Giraudo (bass) Originally from Córdoba, Argentina, Pedro Giraudo moved to New York City in 1996. He has since become a highly versatile bassist, composer and arranger, performing in a wide variety of musical projects, both his own award-winning Pedro Giraudo Jazz Orchestra and as a member of several prominent ensembles ranging from tango to jazz. Giraudo has collaborated with Grammy winner Paquito D’Rivera, Latin American icon Ruben Blades,

As a composer and arranger, Giraudo leads the 13-piece Pedro Giraudo Jazz Orchestra and has been hailed by critics as one of the most creative and daring bandleaders on the scene today. His discography includes Destiny of Flowers (2000), Mr. Vivo (2002), Desconsuelo (2005) and El Viaje (2009), which was voted Best Latin Jazz Album of the Year and Best Latin Jazz Large Ensemble Album of the Year by the publication Latin Jazz Corner. Giraudo will release his latest CD, Córdoba, in June. Jisoo Ok (cello) A versatile cellist, Jisoo Ok has performed throughout North and South America, Europe, Korea and New Zealand as a soloist, recitalist and chamber musician. She has appeared in such venues and festivals as Lincoln Center’s Alice Tully Hall, Weill Recital Hall of Carnegie Hall, Kennedy Center in Washington, D.C., Caramoor International Music Festival, Golandsky Institute International Piano Festival, Ibero-American Festival of the Arts in Puerto Rico and Spoleto Festival in Italy. Since graduating from the Juilliard School in 2006, Ok has been deeply committed to the music of tango. She has collaborated with renowned tango musicians such as Pablo Ziegler and Hector Del Curto. Recent highlights include performances with Pablo Ziegler at the Miami International Piano Festival, Zero Hour Tango Festival and Beaches Fine Arts Series in Florida and, with Hector Del Curto, Copa Fest in Brazil, the Richard B. Fisher Center for the Performing Arts at Bard College and Kilbourn Hall at Eastman School of Music. In 2003, Ok was the winner of the New Juilliard Ensemble’s Concerto Competition, which led to her performance of Jonathan Keren’s Concerto for Cello and Chamber Orchestra in Lincoln Center’s Alice Tully Hall. She also premiered Matthew Kajcienski’s Concerto for Cello and Orchestra with the Manhattan Virtuosi Orchestra at the Great Hall of Cooper Union in New York City. Machiko Ozawa (violin I) Violinist Machiko Ozawa, the former concertmaster of Orquesta Sinfonica Sinaloa de Las Artes, gave her debut recital at the Carnegie Weill Recital Hall in 2002 as a winner of Artists International Competition. As a soloist, she has performed with C.W. Post Chamber Orchestra, Henry Mancini Festival Orchestra, North Shore Symphony Orchestra and Orquesta Sinfonica Sinaloa de Las Artes. She commissioned and premiered her original concerto Syrenes for violin, percussion and orchestra, with the North Shore Symphony Orchestra in 2004. She was a finalist for the New York International Tango Competition in 2004 as a member of M2duo (formerly M2O). She received an artistic grant sponsored by the Yamaha Foundation and released her first album, Vertical Voyage in JP, in 2007. In 2010, she was a soloist with the Presidential Symphony Orchestra in Turkey and the Pan American Symphony Orchestra in Washington, D.C. Classically trained at the Juilliard School, Guildhall Music School and Tokyo National School of fine arts and music (Tokyo Gei Dai),

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PABLO ZIEGLER: BEYOND TANGO

Grammy winner Pablo Ziegler and Dizzy Gillespie’s protégé William Cepeda. He has participated in numerous jazz and music festivals throughout North America, Europe, Latin America, the Caribbean and Asia and has performed in venues such as the Blue Note (Japan & U.S.), Birdland (Austria), London’s Queen Elizabeth Hall, Jazz Festival Royale in Thailand, the Kennedy Center, Lincoln Center and Carnegie Hall.

she was one of the main cast members with the award-winning musical Amor Latino in 2009 as a tapdancer/violinist. She has performed with Pablo Ziegler, Hector Del Curto, Fernando Otero, Octavio Brunetti, Polly Ferman and Pedro Giraudo at such New York venues as Blue Note, Jazz Standard, Winter Garden at the Financial Center, Joe’s Pub and Highline Ballroom, as well as Carnegie Hall, Lincoln Center, Avery Fisher Hall, Alice Tully Hall and Merkin Concert Hall. Franco Pinna (drums) Franco Pinna started his musical career in 1988 in Tucuman, Argentina, where he performed and recorded with some of the most distinguished musicians of the country, such as Raul Carnota, Lucho Hoyos, Leopoldo Deza and Popi Quintero. In 1998, Franco moved to Boston to enter the Berklee College of Music, where he obtained the “Outstanding Musicianship” scholarship and graduated magna cum laude in 2000 from the Professional Music Diploma program. The drummer has dedicated a big part of his life to studying the different rhythms from South American folklore and creating a unique way of interpreting them. He has incorporated some traditional percussion instruments into the drum set and developed his own style based on folkloric percussion techniques. In the U.S., Franco has performed and recorded with many artists, such as Marta Gomez, Fernando Huergo, Lucia Pulido, Claudia Acuna, Pablo Ziegler, Idan Raichel, Raul Midon, Osvaldo Golijov, Danilo Perez, Bruce Barth, Oscar Stagnaro, Jeff Ballard, Bonie Raitt, among many others. As a sideman, Franco has recorded on more than 50 CDs. Edmundo Ramírez (viola) Edmundo Ramirez has collaborated with ensembles including the Absolute Ensemble, Ensemble Intercontemporaine, Fine Arts Quartet, Bremen Kammerphilharmonie, Jupiter Symphony, Menninger Hofkapelle, New York Symphonic Ensemble, Rebel Baroque Orchestra, Youth Orchestra of the Americas and others throughout Asia, Europe, Latin America and the U.S. He has performed in such venues as Bellas Artes (Mexico), Rosario (Argentina), the Konzerthaus in Vienna and Berlin, Concertgebouw Amsterdam, Carnegie Hall and Alice Tully Hall in New York, Teatro Naciona de Costa Rica and Parco de la Musica in Italy with artists such as Pierre Boulez, Kent Nagano, Saleem Abud-Askar, Mikahil Muntyan, Goran Bregovich, Paquito de Rivera, Joe Zawinul and Pablo Ziegler. He has also appeared in festivals in Menton and Aix-en-Provence in France, Bremen in Germany, Bolzano in Itay, Young Euro-Classics in Berlin, Aspen and Tanglewood in the U.S. and Chihuahua in Mexico. Edmundo started his violin and viola studies in his native Costa Rica, continuing at the New England Conservatory, the Juilliard School and the Academia Chigiana in Sienna, Italy, with Yuri Bashmet. He has received additional violin and viola instruction from Ida Haendel, Rafael Druian, Masao Kawasaki, Walter Trampler, Karen Tutle and Tabea Zimmerman. He also performs on the viola d’amore, baroque violin and viola in early music. He studies the Indian sitar with Ustad Shajid Parvez Khan and enjoys performing Hindustani music and modern compositions for that instrument.

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

ROBERT AND MARGRIT MONDAVI

CENTER FOR THE PERFORMING ARTS

| UC DAVIS

PRESENTS

Debut

Lucinda Childs DANCE A Hallmark Inn Davis Dance Series Event Tuesday, May 3, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis There will be no intermission. Sponsored by

Pre-Performance Talk Speaker: Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center, UC Davis 7PM • Jackson Hall

Post-Performance Q&A Moderator: Della Davidson, professor, UC Davis Department of Theatre and Dance

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LUCINDA CHILDS DANCE

DANCE Choreography by

Lucinda Childs Film by

Music by

Sol LeWitt

Philip Glass

Lighting by

Original Costume Design by

Beverly Emmons

A. Christina Giannini

Produced by

Pomegranate Arts

The reconstruction of DANCE was commissioned by the Richard B. Fisher Center for the Performing Arts at Bard College, with additional support from The Yard, a colony for performing artists on Marthaâ&#x20AC;&#x2122;s Vineyard, Wendy Taucher, Artistic Director. DANCE by Lucinda Childs was made possible by the National Endowment for the Arts American Masterpieces: Dance initiative, administered by the New England Foundation for the Arts.

Production Original Lighting Design Beverly Emmons Original Costume Design A. Christina Giannini Production Manager Doug Witney Assistant to the Choreographer Ty Boomershine Tour Manager Linsey Bostwick Travel Agency Tzell Travel; Jean Furukawa Worldwide Tour Representation for DANCE Pomegranate Arts | www.pomegranatearts.com Director Linda Brumbach Associate Director Alisa E. Regas Business Manager Kaleb Kilkenny Associate Jennie Wasserman Associate Linsey Bostwick Assistant Ashley MaGee

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

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R O A S T : Light B O D Y : Full P R O F I L E : Balanced & Nutty

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LUCINDA CHILDS DANCE

DANCE

(1979)

The program is comprised of three dances; each is approximately 20 minutes in length, performed together without an intermission.

PERFORMERS (in order of appearance) Dance I

Anne Lewis Sharon Milanese Katherine Fisher Shakirah Stewart

Joshua Green Patrick O’Neill Matt Pardo Vincent McCloskey

Dance II

Caitlin Scranton

Dance III

Katie Dorn Anne Lewis Sharon Milanese Shakirah Stewart

(Casting is subject to change)

Joshua Green Patrick O’Neill Matt Pardo Vincent McCloskey

Recorded music for Dance I and Dance III performed by the Philip Glass Ensemble. Recorded music for Dance II performed by Philip Glass and Michael Riesman. Dancers in film (in order of appearance)

Megan Walker Susan Osberg Judy Padow Cynthia Hedstrom Lucinda Childs

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Ande Peck Erin Matthiessen Graham Conley Daniel McCusker

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

LUCINDA CHILDS DANCE

Lucinda Childs Lucinda Childs is one of America’s most important modern choreographers. Of her work, which is often described as conceptual dance, she has said, “My dances are an intense experience, of intense looking and listening.” Childs was born in New York City in 1940. In her second year at Sarah Lawrence College, she took a class with visiting professor Merce Cunningham. After she completed her degree, she studied at the Cunningham Studio. There she met Yvonne Rainer, who co-founded (with Steve Paxton) the influential Judson Dance Theater and invited Childs to be one of Judson’s original company members. Describing this period, Childs has said, “Nothing is necessarily extraneous to dance, including the professionally trained dancer’s susceptibility to the influence of nonprofessionals. The Judson Dance Theater concerned itself with this idea…materials as objects combining dance phrases with movement activity in relation to objects…a unified idiom of action, but a cumulative trend of activity that did not follow along one isolated scheme.” After she formed her own company in 1973, Childs collaborated with Robert Wilson and Philip Glass on the opera Einstein on the Beach, participating as leading performer and choreographer (she also took part in the opera’s revivals in 1984 and 1992). It was during rehearsals for Einstein that Childs and Glass came up with the original idea for DANCE. In a Washington Post review of DANCE, Alan M. Kriegsman wrote, “A few times, at most, in the course of a decade a work of art comes along that makes a genuine breakthrough, defining for us new modes of perception and feeling and clearly belonging as much to the future as to the present. Such a work is DANCE.” Along with Glass, LeWitt and Wilson, Childs has worked with such artists, composers and directors as John Adams, Frank Gehry, Henryk Górecki, Robert Mapplethorpe, Terry Riley and Iaanis Xenakis. Childs received a Guggenheim Fellowship in 1979, the year she created DANCE. She is also the recipient of the NEA/ NEFA American Masterpiece Award, and in 2004, she was elevated from the rank of Officer to Commander in France’s Order of Arts and Letters. Most recently she has choreographed Tempo Vicino with music by John Adams for the Ballet National of Marseille, which premiered in 2009. Sol LeWitt (Film) Born in 1928, Sol LeWitt was one of the first artists to formally define conceptual art as a phenomenon. He is best known for his deceptively simple geometric structures and architecturally scaled wall drawings, but his oeuvre also includes sculptures, photographs, prints and films. LeWitt reduced art to a few basic shapes—spheres, triangles, quadrilaterals—colors and types of lines, and organized these elements into guidelines. Much of his production for his drawings was in the form of a set of ideas or instructions that he gave to teams of assistants to carry out, a method that permitted other people to participate in the creative process. During his lifetime, LeWitt was the subject of hundreds of solo exhibitions in museums and galleries around the world.

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Philip Glass (Composer) Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects, creating a large collection of new music for the Philip Glass Ensemble and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts, and the landmark opera Einstein on the Beach, for which he collaborated with Robert Wilson. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). Symphony No. 7 and Symphony No. 8—Glass’s latest symphonies—along with Waiting for the Barbarians, an opera based on the book by J.M. Coetzee, premiered in 2005. Glass maintained a dense creative schedule throughout 2007, unveiling several highly anticipated works, including Book of Longing and Appomattox, an opera about the end of the Civil War. In 2007, the English National Opera, in conjunction with the Metropolitan Opera, remounted Glass’ Satyagraha, which appeared in New York in 2008. Recent film projects include a score to Woody Allen’s film Cassandra’s Dream and Transcendent Man, a documentary on Ray Kurzweil, which premiered in 2009. Glass’s opera based on the life and work of Johannes Kepler commissioned by Linz 2009, Cultural Capital of Europe, and Landestheater Linz, premiered in 2009 in Linz, Austria, and at the Brooklyn Academy of Music. Ty Boomershine (Rehearsal Director) Ty Boomershine was trained at the Fort Hayes Arts and Academic High School in Columbus, Ohio, and Stephen’s College in Columbia, Missouri. In New York, he has danced for Lucinda Childs as well as Dan Wagoner, Bill T. Jones, Dancenoise, Ton Simons, Gus Solomons Jr. and the Merce Cunningham Dance Foundation Repertory Group. In Europe, he has worked with Dance Works Rotterdam, Leine & Roebana, Giulia Mureddu, Emio Greco|PC and Irish Modern Dance Theatre. He has taught at universities, professional dance companies and studios throughout the U.S. and Europe, as well as assisting Lucinda Childs in setting her works. Katie Dorn Katie Dorn is a graduate of the North Carolina School of the Arts, where she received her B.F.A. in contemporary dance. In 2006, she received her M.F.A. from the Hollins University/American Dance Festival M.F.A. program. That same year, she received the Martha Hill Young Professional Award for outstanding young performer. Since moving to New York, Katie has worked with the Metropolitan Opera Ballet, Mary Seidman and Dancers, Amanda Selwyn Dance Theatre and with Janice Lancaster. She has presented her own work at the Galapagos Art Space and at Studio A.I.R in Brooklyn. Katie hails from Buffalo, New York. Katherine Fisher Katherine Fisher is a Brooklyn-based dancer and choreographer. She has performed with Lucinda Childs, Mark Morris, MOMIX, ODC/San Francisco, Jennifer Muller/The Works, Johannes Wieland, Mark Dendy, Janis Brenner and Dancers, Ann Carlson and Breezy Berryman. Seven Dolors, a solo work, was selected to be performed at Dancers Respond to AIDS, DanceNOW, as well as at the Brooklyn Museum of Art’s Dance Forum: Conflict/

Joshua Green Joshua Green hails from Minnesota, where he received his early dance training from Larkin Dance Studio. Joshua graduated from New York University’s Tisch School of the Arts. He has performed with Cherylyn Lavagnino Dance and has appeared as a solo guest artist with Toronto’s inDance at the Joyce SoHo. He served as a demonstrator and tour assistant on the national tour for West Coast Dance Explosion from 2007-08. Annie Lewis Annie Lewis was born in Des Moines, Iowa, and is a recent graduate of Mount Holyoke College, where she earned a B.A. in critical social thought and dance. Prior to attending Mount Holyoke, she trained at the Harid Conservatory in Boca Raton, Florida, on a full tuition scholarship. Outside of the dance studio, Lewis directed performances by Mount Holyoke’s Unusual Suspects, one of the country’s only all-female comedy troupes. Vincent McCloskey Vincent McCloskey studied at the Washington Ballet, Chicago Academy for the Arts, Alvin Ailey American Dance Center and the Joffrey Ballet School. He has worked with many choreographers, including Jeffrey Bauer, Karen Reedy, Peter Kyle, Daman Harun, Helen Pickett, Annabelle Lopez Ochoa, Pam Tanowitz, Laura Scozzi, Sean Curran, Ariane Anthony, Mark Morris and Dusan Tynek. Sharon Milanese Sharon Milanese is from New Jersey, where she began dancing at Robin Horneff’s Performing Arts Center. She continued her training at Southern Methodist University, graduating with a B.F.A. in dance performance. Sharon has also trained at the Boston Ballet, Royal Academy of Dancing, Ballet School New York, Paul Taylor School and ODC/San Francisco. Her professional credits include the Lucinda Childs Dance Company, Ramon Oller and the Peridance Ensemble, Corbindances, Liz Gerring Dance, New York Theatre Ballet, Cortez and Company Contemporary/Ballet, Verb Ballets, Take Dance Company, Lydia Johnson Dance Company and Muse Dance Theater. Patrick John O’Neill Patrick John O’Neill was born and raised in Rochester, New York, and has been dancing since the age of two, under his mother’s guidance. Patrick has studied all types of dance at various local dance studios in Rochester and Buffalo. He graduated with his B.F.A. in dance from New York University’s Tisch School of the Arts and while in the program he had the opportunity to work with Cherylyn Lavagnino, James Martin, Alberto Del Saz (Nikolais Dance Company) and Doug Varone. Matt Pardo Matt Pardo, originally from Albany New York, is a 2007 graduate of the University at Buffalo with an advanced honors B.F.A. in dance. While at UB, Matt was a member of the Zodiaque

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LUCINDA CHILDS DANCE

Catalyst. Kate co-produced In the Company of Women, a dance festival featuring the work of emerging female choreographers. Most recently, Fisher produced and choreographed Finite & Infinite Games, a multimedia collaborative dance for film. Kate attended the Baltimore School for the Arts and earned her B.F.A. with honors from Tisch School of the Arts at NYU.

Studio Dance Ensemble, and the Zodiaque Dance Company. Professionally, he has danced for the Eisenhower Dance Ensemble, Black Box Dance Company, The Northeast Ballet Company, Balasole Dance Company, Groundworks Dance Theater, and as the company apprentice for River North Chicago Dance Company. He has taught and choreographed for universities, dance studios, and choreographic festivals throughout New York, Michigan, Illinois, and Massachusetts. This is Matt’s first production with Lucinda Childs Dance Company. Caitlin Scranton Caitlin Scranton is from Iowa. She received her dance training from the Dance Theater of Iowa and Idyllwild Arts Academy and attended Smith College, where she studied American history. After earning her B.A. in 2005, she completed the Independent Study program at the Ailey School. In New York, she most recently worked with Ellen Cornfield, Mark Dendy and the Metropolitan Opera Ballet. Shakirah Stewart Shakirah Stewart began her professional training at LaGuardia High School of Music & Performing Arts, working with Troy Powell, Jamel Gaines, Penny Frank and Elisa King. She earned a B.F.A. in dance from Purchase College. While at Purchase, she worked with Mark Morris, performing his Gloria there, as well as at the Kennedy Center in Washington, D.C. After graduating, Stewart danced with the New Dance Group, Forces of Nature and with Amanda Selwyn at Notes in Motion. She has also performed works by Sidra Bell at Purchase College, Jacob’s Pillow and the Modern Dance Festival at Alvin Ailey. Beverly Emmons (Lighting Designer) Beverly Emmons’s lighting credits include Annie Get Your Gun, Jekyll & Hyde, The Heiress, Stephen Sondheim’s Passion, The Elephant Man and Amadeus, for which she won a Tony Award. Her off-Broadway work includes The Vagina Monologues and several works by Joseph Chaiken. She has also designed productions at the Kennedy Center, Guthrie, Arena Stage and the Children’s Theatre of Minneapolis. For Robert Wilson, she has lit eight productions, including Einstein on the Beach. Along with her work with Lucinda Childs, she has designed lighting for choreographers Alvin Ailey, Trisha Brown, Merce Cunningham and Martha Graham. Her honors include seven Tony nominations, the 1976 Lumen award, 1984 and 1986 Bessies, a 1980 Obie for Distinguished Lighting and several Maharam/American Theater Wing Design Awards. A. Christina Giannini (Original Costumes) A. Christina Giannini’s dance credits include costumes for Alvin Ailey American Dance Theater, American Ballet Theatre, American Repertory Ballet, Joffrey Ballet, Lucinda Childs Dance Company and Pennsylvania Ballet Company, among others. International audiences have seen her work performed by the Ballet du Nord (France), Ballet of Flanders (Belgium), Royal Danish Ballet, Hong Kong Ballet, Teatro Colón Ballet Company (Argentina) and Ballet Terese Carrena and Ballet National de Caracas (both in Venezuela). She has also designed costumes for on and off-Broadway theater and opera companies as well as New York Shakespeare Festival, Hartford Stage Company, Roundabout Theater and Portland Stage.

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

ROBERT AND MARGRIT MONDAVI

CENTER FOR THE PERFORMING ARTS

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PRESENTS

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Roby Lakatos Ensemble A Crossings Series Event Thursday, May 5, 2011 • 8PM Jackson Hall, Mondavi Center, UC Davis

There will be one intermission.

Pre-Performance Talk Speaker: Henry Spiller, Associate Professor, Department of Music, UC Davis Jackson Hall • 7PM

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ROBY LAKATOS ENSEMBLE

Roby Lakatos Ensemble Fire Dance Gypsy Bolero Cickom Paraphrase

József Suha Balogh

Papa, Can You Hear Me?

Michel Legrand

A Night in Marrakech

Roby Lakatos

Oblivion

Astor Piazzolla

Deux Guitares

Traditional

Le Grand Blond avec une Chaussure Noire

Vladimir Cosma

Intermission SK. Capricio

Roby Lakatos

Le Vol du Bourdon (solo cimbalom)

Nikolai Rimski-Korsakov

Honeysuckle Rose

Fats Waller/Andy Razaf

I’ve Met You/Mama

Traditional Russian

Once Upon a Time in America

Ennio Morricone

Csárdás

Vittorio Monti Pieces may vary

Roby Lakatos

irtuoso fiddler Roby Lakatos is not only a scorching player, but a musician of extraordinary stylistic versatility. Equally comfortable performing classical, jazz and his native Hungarian folk idiom, Lakatos is a musician who defies definition. His unparalleled technique places Lakatos among the best players in the world, but his musical curiosity and Roma heritage make him truly unique. He is the kind of musician rarely encountered in our time. Conjuring a 19th-century sense of romanticism, Lakatos displays strength as an interpreter that derives from his experience as a composer and arranger, improviser, band leader and consummate listener. Born in 1965 into the legendary family of Gypsy violinists descended from Janos Bihari, “King of Gypsy Violinists,” Roby Lakatos was introduced to music as a child and at age nine he made his public debut as first violin in a Gypsy band. His musicianship evolved not only within his own family but also at the Béla Bartók Conservatory of Budapest, where he won the first prize for classical violin in 1984. Between 1986 and 1996, he and his ensemble delighted audiences at Les Atéliers de la grande Ille in Brussels, their musical home throughout this period. He has collaborated with Vadim Repin and Stéphane Grappelli, and his playing was greatly admired by Sir Yehudi Menuhin, who always made a point of visiting the club in Brussels to hear Lakatos. In 2006, Lakatos and his ensemble toured North America for the first time, including a sold-out New York City debut in Carnegie’s Zankel Hall. Recent American highlights include appearances with Chicago’s Grant Park Symphony, Florida International Festival in Daytona Beach and a return to Carnegie Hall. In 2004, Lakatos Printed on recycled paper. Please recycle this playbill for reuse.

appeared to great acclaim with the London Symphony Orchestra in the Genius of the Violin festival alongside Maxim Vengerov. Lakatos appears regularly on Hungarian and Belgian television and has been invited for productions on German television as well as Deutschlandradio, NHK Japan and the BBC. Roby Lakatos also tours with his own chamber orchestra, conducted by Dirk Verelst. Lakatos has performed at the great halls and festivals of Europe and Asia, including Santa Cecilia in Rome and the Concertgebouw in Amsterdam, and with orchestras such as the Orchestre National de Radio France and the Dresden Philharmonic. The ensemble’s universality has also allowed it to perform in collaboration with many other musicians including Giora Feidman, Herbie Hancock, Joshua Bell, Nigel Kennedy and Randy Brecker. When Zubin Mehta first heard Lakatos he spontaneously invited him to perform as a guest in a production of Die Fledermaus at the Bayerische Staatsoper Munich. In 1999, Lakatos debuted in Hong Kong, Taiwan and Japan, where he now tours on a regular basis. In 1998, the ensemble’s first recording was released by Deutsche Grammophon. Lakatos, which includes works of Kodály and Brahms as well as music from John Williams’s score for Schindler’s List and Charles Aznavour’s “La Bohème,” received the prestigious German Echo-Klassik Award in 1999. Another eclectic recording followed in 1999, Lakatos: Live from Budapest, which mixes jazz and gypsy idioms with contemporary and classical elements. As Time Goes By was released by Deutsche Grammophon in 2002 and includes masterpieces from films such as Fiddler on the Roof, Once Upon a Time in America and many others in spectacular arrangements by Kalman Cséki and Roby Lakatos. On his own Avantijazz label, Lakatos has released three recordings: Fire Dance (2005), Klezmer Karma (2006) and Roby Lakatos with Musical Friends (2008).

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

ROBERT AND MARGRIT MONDAVI

CENTER FOR THE PERFORMING ARTS

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PRESENTS

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Dr. Henry Louis Gates, Jr. African American Lives: Genealogy, Genetics and Black History A Distinguished Speakers Series Event Monday, May 9, 2011 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis This program is presented in affiliation with the Davis Humanities Institute.

Post-Performance Q&A Moderated by Dr. Patricia A. Turner, UC Davis Vice Provost of Undergraduate Studies, and faculty member of African and African American Studies and American Studies, UC Davis

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enry Louis Gates, Jr., is the Alphonse Fletcher University Professor and the Director of the W.E.B. Du Bois Institute for African and African American Research at Harvard University. Gates is Editor-in-Chief of the Oxford African American Studies Center, the first comprehensive scholarly online resource in the field of African American studies and Africana studies. He is co-editor with K. Anthony Appiah of the encyclopedia Encarta Africana, published on CD-ROM by Microsoft, and in book form under the title Africana: The Encyclopedia of the African and African American Experience. Oxford University Press published an expanded five-volume edition of the encyclopedia in 2005. He is most recently the author of Finding Oprah’s Roots, Finding Your Own, a meditation on genetics, genealogy and race. His other recent books are America Behind the Color Line: Dialogues with African Americans (2004), African American Lives, co-edited with Evelyn Brooks Higginbotham (2004) and The Annotated Uncle Tom’s Cabin, edited with Hollis Robbins (2006). In 2006, Professor Gates wrote and produced the PBS documentary African American Lives, the first documentary series to employ genealogy and science to provide an understanding of African American history. In 2007, a follow-up documentary, Oprah’s Roots: An African American Lives Special, aired on PBS, further examining the genealogical and genetic heritage of Oprah Winfrey, who had been featured in the original documentary. Gates also wrote and produced the documentaries Wonders of the African World (2000) and America Beyond the Color Line (2004) for the BBC and PBS, and authored the companion volumes to both series. Gates is the author of several works of literary criticism, including Figures in Black: Words, Signs and the “Racial” Self (1987) and The Signifying Monkey: A Theory of Afro-American Literary Criticism (1988), winner of the American Book Award in 1989. He authenticated and facilitated the publication, in 1983, of Our Nig, or, Sketches from the Life of a Free Black (1859) by Harriet Wilson, the first novel published by an African American woman. Two decades later, in 2002, Gates authenticated and published The Bondwoman’s Narrative by Hannah Crafts, dating from the early 1850s and now considered one of the first novels written by an African American woman. He is the co-author, with Cornel West, of The Future of the Race (1996) and the author of a memoir, Colored People (1994), that traces his childhood experiences in a small West Virginia town in the 1950s and 1960s. Among his other books are The Trials of Phillis Wheatley: America’s First Black Poet and Her Encounters with the Founding Fathers (2003), Thirteen Ways of Looking at A Black Man (1997) and Loose Canons: Notes on the Culture Wars (1992). He is completing a book on race and writing in the 18th century, Black Letters and the Enlightenment.

Hurston, Richard Wright and Langston Hughes. In addition, Gates is publisher of Transition magazine, an international review of African, Caribbean and African American politics. An influential cultural critic, Gates’s publications include a 1994 cover story for Time, numerous articles for the New Yorker and a biweekly guest column in The New York Times. Gates earned his M.A. and Ph.D. in English literature from Clare College at the University of Cambridge and his B.A. summa cum laude in history from Yale University, where he was a Scholar of the House, in 1973. He became a member of Phi Beta Kappa in his junior year at Yale. Before joining the faculty of Harvard in 1991, he taught at Yale, Cornell and Duke. His honors and grants include a MacArthur Foundation “genius grant” (1981), the George Polk Award for Social Commentary (1993), Time’s “25 Most Influential Americans” list (1997), a National Humanities Medal (1998), election to the American Academy of Arts and Letters (1999), the Jefferson Lecture (2002), a Visiting Fellowship at the School of Social Science at the Institute for Advanced Study at Princeton (2003-04) and the Jay B. Hubbell Award for Lifetime Achievement in American Literary Studies from the Modern Language Association (2006). He has received 44 honorary degrees, from institutions including the University of Pennsylvania, Dartmouth College, Harvard University, New York University, University of Massachusetts-Boston, Williams College, Emory University, University of Toronto, University of Benin, Howard University, University of Vermont, and Berea College. In 2006, he was inducted into the Sons of the American Revolution, after he traced his lineage back to John Redman, a Free Negro who fought in the Revolutionary War.

DR. HENRY LOUIS GATES, JR.

Henry Louis Gates, Jr.

Professor Gates served as Chair of the Department of African and African American Studies at Harvard from 1991 to 2006. He serves on the boards of the New York Public Library, the Whitney Museum, Lincoln Center Theater, Jazz at Lincoln Center, Aspen Institute, Brookings Institution, Studio Museum of Harlem, NAACP Legal Defense Fund and the Center for Advanced Study in the Behavioral Sciences at Stanford.

Dr. Gates has edited several influential anthologies, including The Norton Anthology of African American Literature (1996) and the Schomburg Library of Nineteenth Century Black Women Writers (1991). He is the editor of numerous essay collections, including Reading Black, Reading Feminist: A Critical Anthology (1990), “Race,” Writing, and Difference (1986) and, with K. Anthony Appiah, volumes on the authors Toni Morrison, Zora Neale

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

ROBERT AND MARGRIT MONDAVI

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PRESENTS

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Tony Bennett A Mondavi Center Just Added Event Wednesday, May 25, 2011 â&#x20AC;˘ 8PM Jackson Hall, Mondavi Center, UC Davis

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ony Bennett is an artist who moves the hearts and touches the souls of audiences. He’s not just the singer’s singer but also an international treasure honored by the United Nations with its Citizen of the World award, which aptly describes the scope of his accomplishments. The son of a grocer and Italian-born immigrant, Anthony Dominick Benedetto was born on August 3, 1926, in the Astoria section of Queens, New York. He attended the High School of Industrial Arts in Manhattan, where he nurtured his dual passions, singing and painting. His boyhood idols Bing Crosby and Nat King Cole were big influences on Bennett’s easy, natural singing style. Tony sang while waiting tables as a teenager then performed with military bands throughout his overseas Army duty during World War II. After the war, the GI Bill enabled him to study vocal technique at the American Theatre Wing School. He first sang in a nightclub in 1946, sitting in with trombonist Tyree Glenn at the Shangri-La in Astoria. Tony’s big break came in 1949, when comedian Bob Hope noticed him working with Pearl Bailey in Greenwich Village. As he recalls, “Bob Hope came down to check out my act. He liked my singing so much that after the show he came back to see me in my dressing room and said, ‘Come on kid, you’re going to come to the Paramount and sing with me.’ But first he told me he didn’t care for my stage name (Joe Bari) and asked me what my real name was. I told him, ‘My name is Anthony Dominick Benedetto,’ and he said, ‘We’ll call you Tony Bennett.’ And that’s how it happened. A new Americanized name, the start of a wonderful career and a glorious adventure that has continued for 60 years.” With worldwide record sales in the millions, Tony has received 15 Grammy Awards, including the prestigious Grammy Lifetime Achievement Award. The MTV generation took to Tony Bennett during his appearance with the Red Hot Chili Peppers on the 1993 MTV Video Awards telecast. He appeared on MTV Unplugged and the recording of the same name earned him the Grammy Award for Album of the Year. “Tony Bennett has not just bridged the generation gap,” observed The New York Times, “he has demolished it. He has connected with a younger crowd weaned on rock. And there have been no compromises.” His initial fame came via a string of Columbia singles in the early 1950s, including such chart-toppers as “Because of You,” “Rags to Riches” and a cover of Hank Williams’s “Cold, Cold Heart.” He has placed two-dozen songs in the Top 40, including “I Wanna Be Around,” “The Good Life,” “Who Can I Turn To (When Nobody Needs Me)” and his signature hit, “I Left My Heart In San Francisco,” which earned him two Grammy Awards. One of only a few artists to have albums chart in the 1950s, 1960s, 1970s, 1980s, 1990s and the new millennium, he’s introduced multitudes of songs into the Great American Songbook that have become pop music standards. In recent years he’s been awarded Grammys for Steppin’ Out, Perfectly Frank, MTV Unplugged, Playin’ with My Friends, The Art of Romance and Duets: An American Classic. In celebration of his unparalleled contributions to popular music, Columbia/Legacy assembled a four-CD boxed set that inspired Time to call the collection “the essence of why CD boxed sets are a blessing.”

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Tony Bennett became a Kennedy Center Honoree in 2005, was named an NEA Jazz Master in 2006 and named the recipient of Billboard’s elite Century Award. Duets: An American Classic, his 2006 CD released in honor of his 80th birthday, became a multiplatinum hit, won three Grammys and is the singer’s best-selling recording to date. A multiple Emmy winner, Tony’s most recent TV outing, Tony Bennett: An American Classic, which was directed by Oscar winner Rob Marshall, won seven Emmy Awards in 2007. Tony has also authored three books: What My Heart Has Seen, a beautiful edition of his paintings; The Good Life, his heartfelt autobiography; and Tony Bennett in the Studio, a sumptuous salute to his dual career as singer and painter.

TONY BENNETT

Tony Bennett

Tony is a dedicated painter whose interest in art began as a child. He continues to paint daily, even while touring. He has exhibited work around the world and was chosen as the official artist of the 2001 Kentucky Derby, creating two paintings in celebration of the iconic event. The United Nations commissioned two paintings from him. Tony’s portrait of Ella Fitzgerald is part of the Ella Fitzgerald Collection at the Smithsonian’s National Museum of American History. In 2005, his oil painting Central Park was accepted into the Smithsonian Institution’s American Art Museum’s permanent collection in Washington, D.C., and his portrait painting of Duke Ellington was accepted by the Smithsonian’s National Portrait Gallery. He also created a portrait of New Orleans native Louis Prima for the 2010 New Orleans Jazz and Heritage Festival’s art poster. Throughout his career, Tony Bennett has always put his heart and time into humanitarian concerns. He’s raised millions for the Juvenile Diabetes Foundation. His original paintings each year grace the cover of the American Cancer Society’s holiday greeting card. He received Martin Luther King Center’s “Salute to Greatness Award” for his efforts to fight discrimination. The United Nations presented him with its 2007 Humanitarian Award. In honor of his great friend and staunchest supporter, Tony established the Frank Sinatra School of the Arts, which opened as a New York City public high school, offering an extensive arts curriculum, in 2001. In 2009, a permanent site for the school opened in Bennett’s hometown of Astoria, Queens. With his wife Susan, he founded Exploring the Arts, which supports the Frank Sinatra School of the Arts and provides support to arts education in public schools. In the 1950s, thousands of screaming bobby-soxers surrounded the Paramount Theatre in New York, held back only by police barricades, to see their singing idol, Tony Bennett. Today the children and grandchildren of those fans are proving equally ardent in their worship of him. Perhaps what sums up Tony’s legacy and longevity best is an observation made in The New York Times review of MTV Unplugged: “What accounts for the Bennett magic? Artistry certainly. The repertory is indeed classic…But perhaps more important is his ability to convey a sense of joy, of utter satisfaction, in what he is doing.” Tony Bennett celebrates his 85th birthday on August 2, 2011, and will be releasing a new CD in honor of this milestone in the fall.

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

Voted “Best Place to Eat Before a Mondavi Center Performance.” —Sacramento Magazine (2010) Offering Private INDOOR & OUTDOOR Dining Rooms

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ROBERT AND MARGRIT MONDAVI

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PRESENTS

Alexander String Quartet Zakarias Grafilo & Frederick Lifsitz, violins Paul Yarbrough, viola Sandy Wilson, cello Sunday, June 5, 2011 • 2PM and 7PM Vanderhoef Studio Theatre, Mondavi Center, UC Davis Lecturer: Robert Greenberg (2PM concert only) There will be one intermission (2PM only). Post-Performance Q&A (7PM only) with members of Alexander String Quartet

PROGRAM String Quartet No. 15 in A Minor, Op. 132 (1825) Assai sostenuto — Allegro Allegro ma non tanto Molto adagio — Andante Alla Marcia, assai vivace Allegro appassionato

Beethoven

Intermission (2PM only) String Quartet No. 16 in F Major, Op. 135 (1826) Allegretto Vivace Lento assai, cantabile e tranquillo Grave ma non troppo tratto — Allegro

Beethoven

FURTHER LISTENING see p 52

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PROGRAM NOTES By Eric Bromberger String Quartet No. 15 in A Minor, Op. 132 Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) Russian Prince Nikolas Galitzin commissioned three string quartets from Beethoven in the fall of 1822 and in the process set in motion the final phase of the composer’s creative life. Beethoven completed the first (Op. 127) in the winter of 1825 and began a second (Op. 132), but in April 1825—while composing the Quartet in A minor—Beethoven became so ill with an intestinal disorder that his doctor put him on a strict diet and suggested a move to the country. Only gradually did the composer resume his strength, moving to the resort town of Baden where he completed the quartet that July; it was first performed in September. Each of the late quartets has a unique structure, and the structure of the Quartet in A minor is one of the most striking of all. Its five movements form an arch. At the center is a stunning slow movement that lasts nearly half the length of the entire quartet. The powerful outer movements evolve out of classical forms (sonata form and rondo), while the even numbered movements, lighter in mood, also show some relation to earlier forms (minuet and march). This is a massive quartet—it lasts three-quarters of an hour—but the effect is of a powerful and expressive unity. The opening movement is in a kind of sonata form, but this is the sonata form that Beethoven had evolved late in his career. Long gone is the clear structural progression of the Haydn Mozart opening movement; instead Beethoven builds this movement around the contrast of two distinctly different themes. His marking for the movement—Assai sostenuto; Allegro—makes plain the contrast between themes at different tempos, and at the opening Beethoven alternates two principal themes: a slow cantus firmus opening and a steady march-like melody announced by the first violin. The second movement, in ABA form, conforms outwardly to the classical minuet and trio. Many have been struck by the similarity between the opening of this movement and the opening of the second movement of Mozart’s Quartet in A major, K.464; both make use of a rising unison answered by a dancing figure in the first violin. Beethoven treats this theme canonically, drawing a great deal from these limited means. The trio section brings a drone; the first violinist not only plays the theme high on the E string but accompanies the melody with the open A. The third movement (Molto adagio) has a remarkable heading: in the score Beethoven titles it “Hymn of Thanksgiving to the Godhead from an Invalid,” a clear reflection of the illness he had just come through. This is a variation movement, and Beethoven lays out the slow opening section, full of heartfelt music. But suddenly the music switches to D major and leaps ahead brightly; Beethoven marks this section “Feeling New Strength.” These two sections alternate through this movement (the form is ABABA), and the opening section is so varied on each reappearance that it seems to take on an entirely different character each time; each section is distinct, and each is moving in its own way (Beethoven marks the third “With the greatest feeling”). This movement has 50

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seemed to many listeners the greatest music Beethoven ever wrote, and perhaps the problem of all who try to write about this music is precisely that it cannot be described in words and should be experienced simply as music. After such a movement, some relief is necessary, and Beethoven provides an energetic little march, much in the manner of Haydn. But this suddenly breaks off, and the first violin soars into a recitative that leads directly into the last movement. Many have felt a similarity between this recitative and the similar recitative that launches the final movement of the Ninth Symphony, composed the year before. This connection is strengthened when one learns that Beethoven had originally intended to use the finale of this quartet as the last movement of the Ninth Symphony when that symphony was still planned as an all instrumental composition. The finale of the quartet, a buoyant rondo, seems full of the same mood of transcendence and triumph that marks the Ninth Symphony, and Beethoven rounds off this most remarkable quartet with a Presto coda that drives this music to the ringing, final A major chords. String Quartet No. 16 in F Major, Op. 135 This quartet—Beethoven’s last complete composition—comes from the fall of 1826, one of the blackest moments in his life. During the previous two years, Beethoven had written three string quartets on commission from Prince Nikolas Galitzin, and another, the Quartet in C-sharp minor, Op. 131, composed between January and June 1826. Even then, Beethoven was not done with the possibilities of the string quartet; he pressed on with yet another, making sketches for the Quartet in F major during the summer of 1826. At that point his world collapsed. His 20-year-old nephew Karl, who had become Beethoven’s ward after a bitter court fight with the boy’s mother, attempted suicide. The composer was shattered; friends reported that he suddenly looked 70 years old. When the young man had recovered enough to travel, Beethoven took him—and the sketches for the new quartet—to the country home of Beethoven’s brother Johann in Gneixendorf, a village about 30 miles west of Vienna. Here, as he nursed Karl back to health, Beethoven’s own health began to fail. He would get up and compose at dawn, spend his days walking through the fields and then resume composing in the evening. In Gneixendorf he completed the Quartet in F major in October and wrote a new finale to his earlier Quartet in B-flat major, Op. 130. These were his final works. When Beethoven returned to Vienna in December, he took almost immediately to bed and died the following March. One would expect music composed under such turbulent circumstances to be anguished, but the Quartet in F major is radiant music, full of sunlight—it is as if Beethoven achieved in this quartet the peace unavailable to him in life. This is the shortest of the late quartets, and many critics have noted that while this music remains very much in Beethoven’s late style, it returns to the classical proportions (and mood) of the Haydn quartets. The opening movement, significantly marked Allegretto rather than the expected Allegro, is the one most often cited as Haydnesque. It is in sonata form—though a sonata form without overt

The slow movement—Beethoven carefully marks it Lento assai, cantante e tranquillo—is built on the first violin’s heartfelt opening melody; the even slower middle section, full of halting rhythms, spans only 10 measures before the return of the opening material, now elaborately decorated. The final movement has occasioned the most comment. In the manuscript, Beethoven noted two three-note mottoes at its beginning under the heading Der schwer gefasste Entschluss: “The Difficult Resolution.” The first, solemnly intoned by viola and cello, asks the question “Muss es sein?” (“Must it be?”). The violins’ inverted answer, which comes at the Allegro, is set to the words “Es muss sein!” (“It must be!”) Coupled with the fact that this quartet is virtually Beethoven’s last composition, these mottoes have given rise to a great deal of pretentious nonsense from certain commentators, mainly to the effect that they must represent Beethoven’s last thoughts, a stirring philosophical affirmation of life’s possibilities. The actual origins of this motto are a great deal less imposing, for they arose from a dispute over an unpaid bill, and as a private joke for friends Beethoven wrote a humorous canon on the dispute, the theme of which he then later adapted for this quartet movement. In any case, the mottoes furnish material for what turns out to be a powerful but essentially cheerful movement. The coda, which begins pizzicato, gradually gives way to bowed notes and a cadence on the “Es muss sein!” motto. The Alexander String Quartet 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. Printed on recycled paper. Please recycle this playbill for reuse.

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 UK, the Czech Republic, the Netherlands, Italy, Germany, Spain, Portugal, Switzerland, France, Greece, the Republic of Georgia 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.

ALEXANDER STRING QUARTET

conflict—and Beethoven builds it on brief thematic fragments rather than long melodies. This is poised, relaxed music, and the finale cadence—on the falling figure that has run throughout the movement—is remarkable for its understatement. By contrast, the Vivace bristles with energy. Its outer sections rocket along on a sharply syncopated main idea, while the vigorous trio sends the first violin sailing high above the other voices. The very ending is impressive; the music grows quiet, comes to a moment of stasis and then Beethoven wrenches it to a stop with a sudden, stinging surprise.

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 2010-11 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 in 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.

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

ALEXANDER STRING QUARTETb

FURTHER LISTENING

by JEFF HUDSON Today’s concerts by the Alexander String Quartet mark the conclusion of the group’s three-year traversal of the Beethoven string quartets and the conclusion of their ninth season doing a series of subscription concerts in what we now know as the Vanderhoef Studio Theatre. I vividly recall how the relationship began. Back in early fall 2002, I interviewed cellist Sandy Wilson in advance of the ASQ’s first concert here. At the time, The Mondavi Center management had taken what some viewed as a risk by committing to a three-year cycle of Sunday afternoon concerts covering the sometimes dark, sometimes sarcastic quartets of Soviet composer Dmitri Shostakovich— great stuff, but not exactly easy listening. (“No one’s going to come,” predicted one of my colleagues in the media, who I shall mercifully not identify, since he turned out to be wrong.) Actually, ticket demand for the Shostakovich series was so intense that a second series of performances on Sunday evenings was added, and remains part of the series to this day. (For a brief time, there was even talk of adding a third performance as well, but there are only so many concerts that a group can do in a 24-hour period.) The Shostakovich cycle here at The Mondavi Center (which fed into a recording of the complete Shostakovich quartets on the ASQ’s Foghorn label) was followed by a two-year survey of Mozart quartets, which transitioned into a year of Brahms, and then three years of Beethoven (during which time the ASQ released a new set of the complete Beethoven quartets, also on Foghorn.) Lecturer Robert Greenberg also released a 24-disc set of lectures (using the ASQ’s recordings for musical examples) through The Teaching Company.

“I sometimes feel like a theologian looking at tomes—tomes that don’t change,” he said. “Yet you find new meaning, looking at them again, as you’re older and wiser.” “Our feeling is that every time we navigate our way through another survey of the Beethoven quartets, we’re changed as a result of the people who’ve been on that trip with us,” Wilson added. “The audience seems to bring something a little indescribable to the experience. There’s a sense that it changes where we start from, the next time we do it.” This year marks the ASQ’s 30th anniversary (they formed in 1981, in New York), and their first concert here in the fall will mark the beginning of their 10th season in the Vanderhoef Studio Theatre. The composer to be featured next season is Antonín Dvořák. “We’ve actually been doing a lot of Dvořák for a long time,” Wilson told me in the spring. “We’ve always visited the familiar territory, like the ‘American’ Quartet. But doing a series, and doing it chronologically, we dig into his earlier stuff that we haven’t always known so well, like the A minor Quartet or E-flat Major Quartet...early quartets that are absolutely gorgeous, but were written before Dvořák was widely celebrated, when he was really only known in Bohemia, and to a few people like Brahms.” Brahms, Wilson added, will be the focus of the ASQ’s next multi-disc recording project, including the composer’s quartets, quintets and sextets.

The ASQ has now done the Beethoven cycle in several different cities. I asked Wilson about his thoughts as they complete their series here. Jeff Hudson contributes coverage of the performing arts to Capital Public Radio, the Davis Enterprise and Sacramento News and Review.

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Robert Greenberg 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. 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.

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, 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, San Francisco Contemporary Music Players, 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 1991-96. 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, Van Cliburn Foundation, Chautauqua Institute (where he was the Everett Scholar in Residence for the summer of 2006), Dallas Symphony Orchestra, Hartford Symphony Orchestra and Music@Menlo.

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ALEXANDER STRING QUARTET

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 8: Apr-Jun 2011 |

DANCe

FOR PARKINSON’S

The Mondavi Center and the Mark Morris Dance Group proudly announce the launch of Dance for Parkinson’s, a partnership with the Pamela Trokanski Dance Theatre and the Parkinson Association of Northern California. The program offers weekly dance classes to people with Parkinson’s Disease and their caregivers. Following an initial class on February 1 taught by members of the Mark Morris Dance Group, classes have been taught by local dance teachers who received training in the company’s program. The class is being held in Davis with the possibility of expanding to Sacramento in the future. For more information or to enroll in the class, contact Mondavi Center Artist Engagement Coordinator Ruth Rosenberg, 530.752.6113 or rrosenberg@ucdavis.edu.

ROBERT AND MARGRIT

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Mondavi Center ARTS EDUCATION

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GLOBE EDUCATION ACADEMY FOR TEACHERS The Mondavi Center, UC Davis, UC Davis’s School of Education, the Los Rios Community College District and Shakespeare’s Globe Theatre in London, England, are partners in a one-of-a-kind professional development program for selected drama and English teachers in the Sacramento region. Now in its fifth year, a panel of Academy alums and partners choose 12 teachers each year to receive training in creative approaches to inspire teaching and learning. The Academy offers an immersion in the world of Shakespeare both at UC Davis and in London. Teachers and their students take workshops from UC Davis faculty and Globe Education practitioners in the spring, experience an intensive two-week residency at Shakespeare’s Globe in London in the summer and complete the program with a festival day of theater and celebration with their students at the Mondavi Center in November.

The following teachers will participate in the 2011 Academy: Jennifer Benner Del Campo High School San Juan Unified School District

Katherine Rodgers American River College Los Rios Community College District

Linda Darling Highlands High School Twin Rivers Unified School District

Jennifer Schmelzer Ponderosa High School El Dorado Union High School District

Donna Goodman Fairfield High School Fairfield-Suisun Unified School District

Jewel Schrader Orem Fowler High School Fowler Unified School District

Hillary Jones Hiram W. Johnson High School Sacramento City Unified School District

Deni Scofield Mesa Verde High School San Juan Unified School District

Melanie Lewis Cosumnes River College Los Rios Community College District

Brittney Hansen Vanden High School Fairfield, CA

Michael Mahoney Rio Americano High School San Juan Unified School District Robert Prichard East Union High School Manteca Unified School District

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INDIVIDUAL SUPPORTERS MondaviCenter InnerCircle 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.

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DONORS ENCORE CIRCLE

$600 - $1,099 Gregg T. Atkins and Ardith Allread Michael and Tootie Beeman Drs. Noa and David Bell Susan and Kent Calfee 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

Sean and Sabine McCarthy Del and Doug McColm Julie and Craig McNamara Don and Lou McNary 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 Maralyn Scott Mark E. Ellis and Lynn Shapiro Nancy Sheehan and Rich Simpson In memory of Charles R.S. Shepard 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

ORCHESTRA CIRCLE

$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 S.D. Gray 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

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And 10 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 Cynthia Bates 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* Pat and Bob Breckenfeld 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

MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

MONDAVI CENTER SUPPORT

MONDAVI CENTER

MONDAVI CENTER SUPPORT

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 Martin Filet and Mary McDonald Margery Findlay Kieran and Martha Fitzpatrick Judy Fleenor* Manfred Fleischer David and Donna Fletcher Glenn Fortini Marion Franck and Bob Lew 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 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 Sally H. Harvey 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 Alouise Hillier 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 Gabriel Isakson 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 In memory of Betty and Joseph Baria Andrew and Merry Joslin 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

| MONDAVIARTS.ORG

Pat and John Kessler Larry Kimble and Louise Bettner Ken and Susan Kirby Dorothy Klishevich Paulette Keller Knox 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 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 Malvina Nisman

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 Dr. and Mrs. R.L. Siegler 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 Drs. Matthew and Meghan Zavod Phyllis and Darrel Zerger* Timothy Zindel Karen Ziskind Mark and Wendy Zlotlow And 55 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.

The Friends of Mondavi Center is an active donor-based volunteer organization that supports activities of the Mondavi Centerâ&#x20AC;&#x2122;s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. When you join the Friends of Mondavi Center, you are able to choose from a variety of activities and work with other Friends who share your interests.

FRIENDS

OF MONDAVI CENTER

Join the Friends of Mondavi Center! There are so many ways to participate!

Gift Shop Managed and staffed by the Friends of Mondavi Center volunteers, profits from the Gift Shop support the Mondavi Center Arts Education program, which includes school matinees, pre-matinee classroom talks, the Globe Education Academy for Teachers and Artists on Tour. K-12 Education Friends can be docents who provide talks at area schools to prepare students to attend a school matinee at Mondavi Center. Docents use materials that are researched and written by Friends. In addition, Friends volunteer as ushers for all Mondavi Center school matinees. Tours Friends coordinate and give public tours of the Mondavi Center to groups as large as 100 people. Friends Events Fundraisers for the School Matinee Ticket Program and fun social events are organized by a creative group of Friends. Fundraiser revenue provides tickets to students who would not otherwise have the opportunity to attend a performance at Mondavi Center. The Friends Outreach Committee coordinates distribution of tickets to targeted school districts in the Sacramento region. Ad Hoc Ad hoc volunteers provide support for Arts Education activities such as artistsâ&#x20AC;&#x2122; master classes, the Young Artists Competition program and the Globe Education Academy Workshops. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431.

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

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 Natalia Deardorff Assistant Events Manager Nancy Temple Assistant Public Events Manager

BUSINESS SERVICES Debbie Armstrong Senior Director of Support Services

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

Carolyn Warfield Human Resources Analyst

Jennifer Mast Arts Education Coordinator

Russ Postlethwaite Billing System Administrator

Mandy Jarvis Financial Analyst

DEVELOPMENT Debbie Armstrong Senior Director of Development

MARKETING Rob Tocalino Director of Marketing

PRODUCTION Christopher Oca Stage Manager

Elisha Findley Donor Relations Manager

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

Amanda Caraway Public Relations Coordinator

Daniel Goldin Master Electrician

FACILITIES Greg Bailey Lead Building Maintenance Worker

INFORMATION TECHNOLOGY Darren Marks Programmer/Designer Mark J. Johnston Lead Application Developer Tim Kendall Programmer

TICKET OFFICE Sarah Herrera Ticket Office Manager Steve David Ticket Office Supervisor Russell St. Clair Ticket Agent

Michael Hayes Head Sound Technician Adrian Galindo Scene Technician Kathy Glaubach Scene Technician Daniel Thompson Scene Technician HEAD USHERS Huguette Albrecht George Edwards Linda Gregory Donna Horgan Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

Dena Gilday Payroll and Travel Assistant

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 Lawrence Shepard, Patrons Relations Co-Chair Garry P. Maisel, Corporate Relations Co-Chair Camille Chan, Corporate Relations Co-Chair

EX OFFICIO

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 Randy Reynoso

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

Linda P.B. Katehi, Chancellor, UC Davis Ralph J. Hexter, 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

Sandra Lopez Danielle McManus Bella Merlin Lee Miller Bettina Ngâ&#x20AC;&#x2122;weno Rei Okamoto

| MONDAVIARTS.ORG

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 five 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 Yocha Dehe 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.

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MONDAVI CENTER PROGRAM Issue 8: Apr-Jun 2011 |

SEPTEMBER 2010 Madeleine Albright WED, SEP 29

San Francisco Symphony

Dan Zanes and Friends

SAT-SUN, MAR 19-20 SUN, MAR 20

WED-SAT, DEC 1-4

St. Petersburg Philharmonic Orchestra

OCTOBER 2010

Mariachi Los Camperos de Nati Cano

SAT, MAR 26

SUN, DEC 5

Dianne Reeves SAT, OCT 2

CENTER

Tord Gustavsen and Solveig Slettahjell Alexander String Quartet

FRI, OCT 1

SUN, DEC 5

SUN, OCT 3

Dr. Beverly Daniel Tatum

FRI, APR 1

Branford Marsalis & Terence Blanchard Takács Quartet, with Nobuyuki Tsujii, piano

Lara Downes Family Concert

SAT, APR 2

SUN, DEC 12 SAT, DEC 18

SAT, OCT 9

WED, OCT 13

Lara Downes with David Sanford SAT-SUN, APR 9-10

SAT-SUN, JAN 15-16

SAT, OCT 23

Mark O’Connor and Julian Lage THU, JAN 20

Gamelan Çudamani SUN, OCT 24

Stew and The Negro Problem TUE-WED, OCT 26-27

Music and Madness Festival THU-SUN, OCT 28-31

Max Raabe and Palast Orchester WED, APR 13

Béla Fleck, Zakir Hussain, & Edgar Meyer

25th Hour

THU, APR 14

THU, JAN 27

Der Untergang (Downfall)

MOMIX, Botanica

NOVEMBER 2010 Venice Baroque Orchestra with Robert McDuffie, violin WED, NOV 3

Delfeayo Marsalis Octet WED-SAT, NOV 3-6

THU, APR 21

SAT-SUN, JAN 29-30

Simone Dinnerstein and Tift Merritt SAT-SUN, JAN 29-30

Alexander String Quartet SUN, NOV 7

Pablo Ziegler, Beyond Tango

Mark Morris Dance Group

FRI, APR 29

WED-SAT, FEB 2-5

MAY 2011

Joshua Bell, violin

TUE, MAY 3

Lucinda Childs, DANCE

WED, FEB 9

Roby Lakatos Ensemble

Bill Frisell Trio John Scofield Trio

THU, MAY 5

FRI, FEB 11

Tony Bennett

New Century Chamber Orchestra with Nadja Salerno-Sonnenberg

WED, MAY 25

La Rondine

Alexander String Quartet

SAT, FEB 12

Imago, ZooZoo SUN, NOV 7

THU, FEB 17

Delfeayo Marsalis Group WED-FRI, NOV 10-12

Christopher O’Riley, piano SAT-SUN, NOV 13-14 SAT, NOV 13

THU, NOV 18

Tango Fire: Tango Inferno

SAT, JUNE 18

JULY 2011 Pink Martini

TUE, JULY 15

Yefim Bronfman, piano

SUN, MAR 13

Jeanine De Bique, soprano

| MONDAVIARTS.ORG

Professor Henry Louis Gates, Jr.

Alexander String Quartet

SAT, NOV 20

Jazz at Lincoln Center

SAT, MAR 12

Ornette Coleman

SAT-SUN, NOV 20-21

MARCH 2011

THU, MAR 10

Tous les Matins du Monde

JUNE 2011 SUN, JUNE 5

MON, MAR 7

Paul Taylor Dance Company

FRI, APR 22 THU, APR 28

Vijay Iyer

SAT, NOV 6

Buddy Guy

David Sedaris

FEBRUARY 2011 WED, FEB 2

Buika

SUN, APR 10 TUE, APR 12

SAT, JAN 22

WED, JAN 26

WED, OCT 27

Sarah Silverman China Philharmonic Orchestra

Itzhak Perlman, violin Daniel Handler

Jonah Lehrer

TUE-WED, APR 5-6 FRI, APR 8

Kenric Tam

Dresden Staatskapelle

Alvin Ailey American Dance Theater The Silk Road Ensemble with Yo-Yo Ma

JANUARY 2011

Los Lobos

SUN, MAR 27

APRIL 2011

American Bach Soloists, Messiah

Rising Stars of Opera

Young Artists Competition Winners

THU, DEC 9

Kronos Quartet

FRI, DEC 10

Steve Martin and the Steep Canyon Rangers

Mondavi

Curtis On Tour

THUR, SEP 30

Bayanihan, National Folk Dance Company of the Philippines

2 0 1 0 2 0 1 1

DECEMBER 2010

San Francisco Symphony and Chorus THU, MAR 17

MondaviArts.org

530.754.2787

ns es Subscriptio 2011-12 Seri 9! On Sale April

866.754.2787 (toll-free)