Mondavi Center Program ISSUE 1: SEPTEMBER – OCTOBER 2013

Mondavi CENTER

SEPTEMBER–OCTOBER 2013

Ballet Hispanico • OCT 11

SEPTEMBER – OCTOBER 2013

WELCOME

A MESSAGE FROM THE CHANCELLOR

It is my pleasure to welcome you to the 2013–14 season at the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis.

This year we honor the legacy of Robert Mondavi on the occasion of what would have been his centennial. An expert winemaker, a wise business man, a philanthropist and patron of the arts—Robert contributed immeasurably to his industry, the University and the community. The generous philanthropic support of both Robert and Margrit leaves more than buildings; it enhances the quality of life for

LINDA P.B. KATEHI

UC DAVIS CHANCELLOR

many generations to come.

It is an ongoing testament to this vision that the Mondavi Center serves as a welcoming community gathering place. Truly, it is a crossroads where cultures from around our nation and the world come together: at once a source of learning and entertainment, a place of creative and intellectual stimulation and a venue for celebrating classics and exploring new pieces.

The Mondavi Center is a generous contributor to the quality of life in the region— a beautiful tribute to its namesakes.

The impact of Mondavi Center programs goes beyond the events in the venue itself. Many of the artists and speakers featured in Jackson Hall or the Vanderhoef Studio Theatre also venture out onto our campus and into our community. This exchange of ideas and expertise, the up close and personal experiences that can only happen during artist residencies, create inspiration and stimulation that benefits us all.

Rich conversations radiate from the seats in the hall to the lobby or the rehearsal room and continue on to homes, cafes and other places in our community. This sort of dialogue ensures that the Mondavi Center stands firmly as a generous contributor to the quality of life in the region—a beautiful tribute to its namesakes.

Thank you for being a part of the Mondavi Center’s season.

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SPONSORS CORPORATE PARTNERS

PLATINUM

MONDAVI CENTER STAFF Don Roth, Ph.D.

EXECUTIVE DIRECTOR

Jeremy Ganter

Alison Morr Kolozsi

Casey Schell

DEVELOPMENT AND SUPPORT SERVICES ASSISTANT

SENIOR STAGE MANAGER, VANDERHOEF STUDIO THEATRE

Lara Downes

FACILITIES

Rodney Boon

ASSOCIATE TO THE EXECUTIVE DIRECTOR FOR ARTS EDUCATION AND STRATEGIC PROJECTS

Jennifer Mast ARTS EDUCATION COORDINATOR

AUDIENCE SERVICES Marlene Freid

AUDIENCE SERVICES MANAGER

Yuri Rodriguez

PUBLIC EVENTS MANAGER

Ciocolat

Seasons

El Macero County Club

Watermelon Music

Hot Italian

4 MONDAVIARTS .ORG

Herb Garman

DIRECTOR OF OPERATIONS

Greg Bailey

BUILDING ENGINEER

SENIOR STAGE MANAGER, JACKSON HALL

Christopher Oca

HEAD AUDIO ENGINEER

Dale Proctor

MASTER ELECTRICIAN

Daniel B. Thompson

INFORMATION TECHNOLOGY

CAMPUS EVENTS COORDINATOR, THEATRE AND DANCE DEPARTMENT LIAISON/ SCENE TECHNICIAN

Darren Marks

Kathy Glaubach

WEB DEVELOPER AND DESIGNER

Mark J. Johnston

LEAD APPLICATION DEVELOPER

MUSIC DEPARTMENT LIAISON/ SCENE TECHNICIAN

Adrian Galindo

MARKETING

AUDIO ENGINEER, VANDERHOEF STUDIO THEATRE/SCENE TECHNICIAN

Rob Tocalino

Gene Nelson

DIRECTOR OF MARKETING

Will Crockett

REGISTERED PIANO TECHNICIAN

HEAD USHERS

ASSISTANT PUBLIC EVENTS MANAGER

Erin Kelley

BUSINESS SERVICES

TICKET OFFICE

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

SENIOR GRAPHIC ARTIST

Sarah Herrera

TICKET OFFICE MANAGER

SENIOR DIRECTOR OF DEVELOPMENT AND SUPPORT SERVICES

Steve David

Mandy Jarvis

Susie Evon

FINANCIAL ANALYST

TICKET AGENT

Russ Postlethwaite

Russell St. Clair

BILLING SYSTEM ADMINISTRATOR AND RENTAL COORDINATOR

Osteria Fasulo

DONOR RELATIONS MANAGER

Christi-Anne Sokolewicz

MARKETING MANAGER

Nancy Temple

Debbie Armstrong

Buckhorn Catering

ARTIST SERVICES COORDINATOR

Ruth Rosenberg

Joyce Donaldson

Hyatt Place

Jenna Bell

Amanda Turpin

ARTS EDUCATION

Boeger Winery

ASSISTANT PRODUCTION MANAGER

Erin Palmer

CURATOR: YOUNG ARTISTS PROGRAM

SPECIAL THANKS

Elisha Findley

Daniel J. Goldin

CORPORATE & ANNUAL FUND OFFICER

ARTIST ENGAGEMENT COORDINATOR

MONDAVI CENTER GRANTORS AND ARTS EDUCATION SPONSORS

DIRECTOR OF MAJOR GIFTS & PLANNED GIVING

PRODUCTION MANAGER

DIRECTOR OF PROGRAMMING PROGRAMMING MANAGER

COPPER

Donna J. Flor

Becky Cale

Jeremy Ganter

BRONZE

Debbie Armstrong

ASSOCIATE EXECUTIVE DIRECTOR

PROGRAMMING

SILVER

PRODUCTION

SENIOR DIRECTOR OF DEVELOPMENT AND SUPPORT SERVICES

EXECUTIVE ASSISTANT

GOLD

DEVELOPMENT

Casey Schell

DEVELOPMENT AND SUPPORT SERVICES ASSISTANT

TICKET OFFICE SUPERVISOR

TICKET AGENT

RAS. Proud sponsors of creativity, dedication and innovation.

Medicine, like art, requires long training, practiced technique and a combination of innovation and creativity. At Radiological Associates of Sacramento, we’ve pursued breakthroughs in diagnosis and treatment since 1917 by blending innovative science with creative thinking, giving us a true appreciation of what goes into a successful performance. We applaud the Robert and Margrit Mondavi Center for the Performing Arts for its commitment to enriching lives.

916.646.8300 | Radiological.com Serving Our Community Since 1917

Frank, Vasiliy, Liz, Sophia, Carmen, Luz & Cliff

• Jewelry

IN THIS ISSU

Who’s Your Jeweler?

ROBERT AND MARGRIT

MONDAVI CENTER FOR THE PERFORMING ARTS

8

Orquesta Buena Vista Social Club®

10 Emmylou Harris and Rodney Crowell 12 Rising Stars of Opera 18 Asphalt Orchestra 22 Ballet Hispanico 28 Ahmad Jamal 30 San Francisco Symphony 35 Mnozil Brass 36 SFJAZZ Collective 40 Momix 45 AnDa Union 54 Mondavi Center Policies and Information

& Watch Repair • Ring Sizing & Refurbishing • Engraving — Inside Rings, Bracelets • FREE Ring Cleaning & Inspection • Appraisals

903 3rd Street Downtown Davis (530) 753-5000 www.3rdstreetjewelers.com 6 MONDAVIARTS .ORG

BEFORE THE SHOW • The artists and your fellow audience members appreciate silence during the performance • As a courtesy to others, please turn off all electronic devices.

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

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

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

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

• Assistive Listening Devices and opera glasses are available at the Patron Services Desk near the lobby elevators. Both items may be checked out at no TSJ 080813 who charge with a form of ID.1_3v.pdf

September – October, 2013 Volume 1, No. 1

an exclusive wine tasting experience oF Featured wineries For inner circle donors

2012—13 Paul Heppner Publisher

2013–14

Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love, Jana Rekosh Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold, Seattle Sales Director Gwendolyn Fairbanks, Jan Finn, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Sales Assistant Jonathan Shipley Ad Services Coordinator www.encoreartsprograms.com

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

september 21 30

Orquesta Buena Vista Social Club® Raymond Vineyards Emmylou Harris & Rodney Crowell Clarksburg Wine Company

october 11

Ballet Hispanico Heitz Cellar

november 8

Salzburg Marionette Theatre Seavey Vineyard Fred Hersch Trio Seavey Vineyard

december Paul Heppner Publisher Leah Baltus Editor-in-Chief Marty Griswold Sales Director Dan Paulus Art Director Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor www.cityartsonline.com

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january 25

Mike Hathaway Vice President Deborah Greer Executive Assistant Erin Johnston Communications Manager April Morgan Accounting

Royal Philharmonic Orchestra Robert Mondavi Winery

February 4 14

19

march 17 22

Paul Heppner President

Pink Martini Holiday Show Boeger Winery

april 2 11

may 15

Grupo Corpo Paradise Ridge Winery The King’s Singers Navarro Vineyards Dr. Lonnie Smith Trio Navarro Vineyards The Chieftains Echelon Vineyards Caladh Nua Cline Cellars Academy of St. Martin in the Fields with Joshua Bell Bonny Doon Vineyard Jonathan Batiste and Stay Human Band Bonny Doon Vineyard Cameron Carpenter, organ Pride Mountain Vineyards Peter Sagal Grgich Hills Estate San Francisco Symphony Ram’s Gate Winery

Jana Rekosh Project Manager/Graphic Design Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2013 Encore Media Group. Reproduction without written permission is prohibited.

®

For information about becoming a donor, please call 530.754.5438 or visit us online: www.mondaviarts.org.

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ORQUESTA

BUENA VISTA SOCIAL CLUB

®

with special guest Roberto Fonseca ALEJANDRO PEREZ

A Chevron World Stage Series Event Saturday, September 21, 2013 • 8PM Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

William and Nancy Roe

ORQUESTA BUENA VISTA SOCIAL CLUB® Omara Portuondo, Lead Vocal Eliades Ochoa, Guitar and Vocals Jesus Aguaje Ramos, Music Director, Trombone, Vocals Guajiro Mirabal, Trumpet Barbarito Torres, Laud Papi Oviedo, Tres Pedro Pablo, Double Bass

ROBERTO FONSECA THERE WILL BE ONE INTERMISSION. PROGRAM IS SUBJECT TO CHANGE.

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Opening for the Orquesta will be one of Havana’s most highly praised pianists, Roberto Fonseca. Performing with his quintet, Fonseca comes to the states in conjunction with the U.S. release of his latest album Yo (Concord Music Group). His seventh album to date, Yo is an intelligent journey fusing diverse influences from jazz, traditional West African and Cuban music and electronics.

Born into a musical family in Havana, Cuba, in 1975, Roberto Fonseca started playing the piano at age 8. He began composing at age 14, drawing inspiration from Afro-Cuban music.

“In school, we used to regard American jazz as a point of reference,” Fonseca recalls.

His appearance at Havana’s International Jazz Festival at the tender age of 15 was

Rolando Luna, Piano Idania Valdés, Vocals and Minor Percussion Carlos Calunga, Vocals Alberto La Noche, Bongos Filiberto Sánchez, Timbales Coayo, Congas Luis Alemany, Trumpet Guajirito Mirabal, Trumpet not only a revelation to audiences, but the launching pad for a musical education that resulted in a degree in musical composition from Instituto Superior de Arte.

In 2001, he joined the Orquesta de Ibrahim Ferrer for a world tour that logged more than 400 performances throughout Europe, the U.K., South America, Australia, Asia and just about every other corner of the globe. Led by Ferrer —an alumnus of the Buena Vista Social Club, the legendary Cuban collective that had taken the world by storm some five years earlier— the tour with the Orquestra positioned Fonseca alongside legendary figures like Cachaíto López, Guajiro Mirabal, Manuel Galbán and many others. The tour marked the beginning of an ongoing and fruitful relationship with various members of the BVSC.

ORQUESTA BUENA VISTA SOCIAL CLUB® ORQUESTA BUENA VISTA SOCIAL CLUB When the Buena Vista Social Club®, a little known collective of veteran musicians from Cuba, recorded a self-titled album of lively folksongs, Latin jazz and passionate ballads in 1997, they immediately took the world by storm and ultimately won a Grammy for their efforts. Further propelled by an Oscarnominated documentary by filmmaker Wim Wenders a year later and a series of international tours, the group and their music became one of the primary catalysts in the re-emergence of the Latin sound into the musical mainstream.

More than a decade later, Orquesta Buena Vista Social Club®—featuring a line-up of 15 musicians from Cuba, each just as dedicated and passionate as their predecessors— continues the pioneering work of the original group with live performances hailed by the U.K. press for “taking the atmosphere up to a breathless level,” (The Independent) and leaving audiences “awestruck” (Financial Times).

At the forefront of Orquesta Buena Vista Social Club® are four highly skilled musicians, all original Buena Vista Social Club™ members: Latin Grammy Award winners Omara Portuondo and Eliades Ochoa, the trumpeter Guajiro Mirabal, and laúd virtuoso Barbarito Torres.

Each of the artists of Orquesta Buena Vista Social Club® brings his or her unique perspective to traditional Cuban music and Latin jazz. Their sense of personal commitment and passion for the music of their homeland is equal to that of their humble predecessors, and they’re more than eager to share that creative passion with the world. The sound of Cuba is just as vibrant and relevant today as it was when the Buena Vista Social Club™ first took to the international stage. More than a decade later, that sound continues to reverberate around the globe.

Mirabal, his tribute to the music of prolific Cuban composer Arsenio Rodríguez.

Santiago de Cuba’s ELIADES OCHOA is considered to be one of the most important soneros of all time and is always an audience favorite, with his trademark cowboy hat and slinging his unique harmonic guitar, a tres with added D and G strings.

BARBARITO TORRES has worked with many of the biggest names in Cuban music, including Celina González’s Grupo Campo Alegre and the Afro-Cuban All Stars. His 2001 solo album, Havana Café, included guest appearances by Buena Vista veterans Ibrahim Ferrer and Omara Portuondo. facebook.com/orquesta.buna.vista.social.club

OMARA PORTUONDO’s latest solo album Gracias (World Village / Montuno) won a Latin Grammy and scored a Grammy nomination. The New York Times review of Gracias stated, “the years have done nothing to mitigate her vocal prowess. Her voice is rich, shapely, dynamic and still sultry.”

GUAJIRO MIRABAL’s distinctive trumpet sound and colorful phrasing have earned him the title of “The Trumpet of Cuba.” He garnered high praise for the Grammy-nominated Buena Vista Social Club Presents Luis Manual “Guajiro” encore art sprograms.com 9

EMMYLOU HARRIS AND RODNEY CROWELL EMMYLOU HARRIS Emmylou Harris is nominated for three awards at the 2013 Americana Music Association Honors & Awards Show including Artist of the Year. She is also nominated with Rodney Crowell for Album of the Year and Duo/Group of the Year for their acclaimed 2013 collaboration, Old Yellow Moon.

A 12-time Grammy winner and Billboard Century Award recipient, Harris’s contribution as a singer and songwriter spans 40 years. She has recorded more than 25 albums and has lent her talents to countless fellow artists’ recordings. In recognition of her remarkable career, Harris was inducted into the Country Music Hall of Fame in 2008.

RODNEY CROWELL

DAVID MCCLISTER

An American Heritage Series Event Monday, September 30, 2013 • 8PM Jackson Hall INDIVIDUAL SUPPORT PROVIDED BY

Larry and Rosalie Vanderhoef BAND MEMBERS:

Chris Tuttle, Keys Jerry Roe, Drums Byron House, Bass Jedd Hughes, Guitar Steve Fishell, Pedal steel PROGRAM IS SUBJECT TO CHANGE.

10 MONDAVIARTS .ORG

Crowell is a multi-Grammy-award winner whose songs have been recorded by Johnny Cash, Norah Jones, Etta James and the Grateful Dead among others. His 1988 breakthrough Diamonds and Dirt generated five number one singles and a Grammy Award for the song “After All This Time.” His critically acclaimed works “The Houston Kid,” “Fate’s Right Hand,” “The Outsider” and “Sex and Gasoline” were followed by the 2010 release of his memoir, Chinaberry Sidewalks. Earlier this year, Crowell released KIN: Songs by Mary Karr and Rodney Crowell.

The album made its debut at number one on the Americana and Country Rock album chart and spent three weeks at number one on the Americana album chart. His honors also include an ASCAP Lifetime Achievement Award and membership of the Songwriters Hall of Fame.

OLD YELLOW MOON The title song of Old Yellow Moon may be the concluding track on the first official album-length collaboration between Emmylou Harris and Rodney Crowell, but it actually represents a starting point for this long-anticipated project, produced by Brian Ahern. These two old

friends and occasional band mates, Harris explains, “were picking songs as we sat around Brian’s big kitchen table, with his extraordinary microphones hooked up to the computer just to make a demo.

We would pick a key or toy around with an idea just to make a sketch.” Harris was going over Hank DeVito and Lynn Langham’s “Old Yellow Moon” with Crowell for the first time, but their impromptu performance together was so naturally emotive that Ahern decided to build a track around it. “That’s a kitchen table recording. Brian later brought in Lynn to play the piano; she had a certain feel that only she could do to really honor the song and the reading we had given it.” Harris paused to consider this before declaring, “I love the way records get born!”

A year later, as Crowell recounts, Harris was passing through Austin, where the Texas native was then living, and offered Crowell a plane ticket to Los Angeles.

Crowell went on to become rhythm guitarist and harmony singer in her now legendary Hot Band—many of whose original members joined Harris and Crowell in Nashville for the Old Yellow Moon sessions, along with such guests as singer-guitarist Vince Gill, violinist Stuart Duncan and Little Feat keyboardist Billy Payne. Crowell soon landed his own solo deal with Warner Bros., releasing his Ahern-produced debut, Ain’t Living Long Like This, in 1978. Harris would quickly be recognized as one of the finest young song interpreters on the nexus of country, folk and rock, and Crowell himself would become a sought-after songwriter, producer and performer, whose work would be covered by Johnny Cash, the Grateful Dead, Etta James and Bob Seger, among countless others—and continue to be treasured over the years by Harris.

For Crowell and Harris, a professed “song hoarder,” Old Yellow Moon was a platform to showcase songs they’d each been aiming to record or revisit for years. As Harris notes, “All these friendships, all these beautiful threads

came together on this record, a lot of it without any particular thought.”

Harris also brought in E Street Band singer-guitarist Patti Scialfa’s lovely “Spanish Dancer” from Scialfa’s underrated 1993 Rumble Doll collection. Harris says, “It speaks to something very central to the female experience; it’s so beautiful. I had it on my list of things to do for years, and I thought it never was going to happen. I kind of reluctantly brought it to the table.

I felt, maybe I’m over the hill, maybe I can’t give it the proper reading at this time in my life, but I think some things are universal so it doesn’t really matter. You never stop yearning for certain things, no matter what age you are.”

“All these friendships, all these beautiful threads came together on this record.”

Getting back into the studio with Harris, says Crowell, “feels the same as it always had. We were young and foolish and that was lovely and the world was all out in front of us. Then you go on. Emmy and I have always been close over the years, but she went down one road and I went down another, and we’d intersect on occasion.

But when we finally got together, it was as if no time had passed. We’re blood in that way.”

Echoes Harris, “We’ve always said from the first time we sat down with two guitars and our two lead voices, sitting on the floor of the studio and singing Don Gibson songs, just messing around, that we would do a record together someday. I’m glad it’s happening now, at this point of our lives and our careers.”

Old Yellow Moon is full of fond memories and deep connections, but it is very much a snapshot of where the ever-evolving Harris and Crowell happen to be right now, as musicians and as friends.

Centrally located in Downtown Davis

Hallmark Inn is your place for overnight accommodations 110 F Street, Davis, CA 95616 www.hallmarkinn.com 800.753.0035 Stop by to see our newly renovated lobby, retail spaces, and Café 110

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RISING STARS OF OPERA Brian Jagde

Deck 2

A Mondavi Center Special Event Friday, October 4, 2013 • 8PM Jackson Hall

UC Davis Symphony Orchestra Christian Baldini, Music Director and Conductor Brian Jagde, Tenor

Phillipe Sly

Ao Li

PROGRAM “Donne mie” from Così fan tutte, K. 588 Mozart “Come Paride vezzoso” from L’elisir d’amore Donizetti Three German Lieder

Ich trage meine Minne, Op. 32, No. 1

Fischerweise, D. 881

Zum Abschied meiner Tochter, Op. 10, No. 3 Don Quichotte à Dulcinée

Chanson romanesque: Moderato

Chanson épique: Molto moderato

Chanson à boire: Allegro

Strauss Schubert Pfitzner Ravel

“O du mein holder Abendstern” from Tannhäuser Wagner San Francisco Opera Adler Fellows: Philippe Sly, Bass-Baritone Ao Li, Baritone Mark Morash, Piano

“Aleko’s Cavatina” from Aleko Rachmaninoff “Agony” from Into the Woods Sondheim INTERMISSION Prelude to Act I of Rigoletto Verdi

PROVIDED FREE TO THE COMMUNITY THROUGH THE GENEROSITY OF

Barbara K. Jackson PROGRAM IS SUBJECT TO CHANGE.

“È lui! desso! l’Infante! ... Dio, che nell’alma infondere” from Don Carlo Brian Jagde, tenor Ao Li, baritone

Verdi

“Ma se m’è forza perderti” from Un Ballo in Maschera Verdi Brian Jagde, tenor “Cheti cheti immantinente” from Don Pasquale Donizetti Ao Li, baritone Phillipe Sly, bass-baritone “E lucevan le stelle” from Tosca Puccini Brian Jagde, tenor

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RISING STARS OF OPERA PROGRAM NOTES “DONNE MIE” FROM COSÌ FAN TUTTE, K. 588 WOLFGANG AMADEUS MOZART

(Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) In Così fan tutte (“Thus Do They All”) by Wolfgang Amadeus Mozart, Ferrando and Guglielmo, two young Neapolitan military officers, are engaged to Dorabella and her sister, Fiordiligi. The cynical old bachelor Don Alfonso challenges the young men to put the faithfulness of their fiancées to the test. They pretend to be called away from Naples on duty, but return that same afternoon disguised as Albanians, and make passionate love to the other’s fiancée. Ferrando is furious when he learns that his Dorabella seems to be submitting to his friend’s advances, and Guglielmo tries to explain the situation to him in the aria Donne mie, la fate a tanti (Dear ladies, you deceive so many).

“COME PARIDE VEZZOSO” FROM L’ELISIR D’AMORE GAETANO DONIZETTI

(Born November 29, 1797, in Lombardy; died April 8, 1848, Lombardy) In L’elisir d’amore (“The Elixir of Love”) by Gaetano Donizetti, the gentle villager Nemorino is in love with Adina and upset with her apparent indifference to him. His frustration is increased when Sergeant Belcore marches in with his platoon and gallantly courts Adina by presenting her with a small bouquet of flowers in the self-assured aria Come Paride vezzoso (“In the same way as handsome Paris”).

THREE GERMAN LIEDER ICH TRAGE MEINE MINNE, OP. 32, NO. 1 (1896)

RICHARD STRAUSS

(Born June 11, 1864, in Munich; died September 8, 1949, in Garmisch-Partenkirchen, Germany)

FISCHERWEISE, D. 881 (1826)

FRANZ SCHUBERT

(Born January 31, 1797, in Himmelpfortgrund, Austria; died November 19, 1828, in Vienna)

ZUM ABSCHIED MEINER TOCHTER, OP. 10, NO. 3 (1901)

HANS PFITZNER

(Born May 5, 1869, in Moscow; died May 22, 1949, in Salzburg, Austria) The great tradition of the 19th-century German Lied came to its end with the songs of Richard Strauss (1864–1949). Though he wrote songs throughout his long life—his first piece, penned at age six, was a Christmas carol; his last was the magnificent Four Last

Songs—he composed most of his Lieder before he turned from the orchestral genres to opera at the beginning of the 20th century.

Much of the inspiration for song composition during his early years came from his wife, Pauline de Ahna, an excellent singer who had performed at Bayreuth and taken part shortly before they were married in the premiere of her fiancé’s first opera, Guntram. The best of Strauss’s songs are imbued with a soaring lyricism, a textural and harmonic richness and a sensitivity to the text that place them among the most beautiful and enduring works of their type. The poet and publisher Karl Friedrich Henckell became known for espousing socialist causes as well as for such tender verses as Ich trage meine Minne (“I Carry My Love”), of which Strauss made a lovely setting to include in his opus 32 songs of 1896.

Franz Schubert (1797–1828) first met Franz Xaver von Schlechta when they were both students at the School of the Court Chapel in Vienna. Schlechta, the son of a military officer, went on to a distinguished career in public service that culminated in his being named Austria’s Finance Minister. He remained a friend and great admirer of the composer, took part in his Schubertiads, and offered him several of his own poems to set to music. Fischerweise (“Fisherman’s song”), composed in March 1826, suggests both the vigorous activity and the deep contentment of the trade.

Hans Pfitzner (1869–1949) published 106 Lieder for voice and piano that are rooted in the lyrical, subtle, expressive style of Schumann and Brahms.

They were created throughout much of his career, mostly during periods of concentrated activity in 1888–1889 (when he was still a student at the Hoch Conservatory in Frankfurt) and 1922–1924, with other songs dating from 1894–1895, 1901, 1904–1907, 1909 and 1931. He chose his texts with care from among Germany’s finest poets— Goethe, Heine, Bürger, Dehmel, Möricke—but he was drawn most strongly to the writings of Joseph von Eichendorff, setting nineteen of his poems as independent songs and twenty others in the cantata Von deutscher seele (“From the German soul”). Pfitzner’s goal in his Lieder was to create a unified expression of words and music in which, he said, “The same spirit draws from two different sources and flows into a single structure. Word and tone become one, and the mood harmonizes fully, as in a pure consonance.” Pfitzner’s sensitive 1901 setting of Josef von Eichendorff’s Zum Abschied meiner Tochter (“Farewell to my daughter”) builds to a hopeful prayer for the repose of the loved one’s soul. encore art sprograms.com 13

RISING STARS OF OPERA DON QUICHOTTE À DULCINÉE (1932) CHANSON ROMANESQUE: MODERATO CHANSON ÉPIQUE: MOLTO MODERATO CHANSON À BOIRE: ALLEGRO

MAURICE RAVEL

(Born March 7, 1875, in Ciboure, France; died December 28, 1937, in Paris) Maurice Ravel spent four months early in 1932 on tour with Marguerite Long putting his new Piano Concerto in G on display throughout much of central Europe to enthusiastic praise. When he returned to his native Basque countryside for a rest, he found waiting for him a commission to write music for a film of Don Quixote starring the legendary Russian basso Feodor Chaliapin in the title role. Despite his declining health and his doctor’s warning to save his strength, Ravel was intrigued by the project and he accepted it, agreeing to compose both background music and songs specially prepared for Chaliapin. The film’s producer, Georg W. Pabst, had already engaged as screenwriter and lyricist Paul Morand, a world traveler, skilled diplomat and writer well-known for his novels depicting many cultures with clarity and realism. With the widely regarded Ravel as another contributor, Pabst not only had a fine artistic team, but he also figured to attract backers for the undertaking.

Ravel, despite an ambitious beginning during the summer, was unable to complete any of his assignment on time, and Jacques Ibert was entrusted to take over in his place in the production team. (Pabst overcame financial difficulties to complete his film, a valuable document of Chaliapin if not a memorable cinematic endeavor.) Ravel, however, continued the songs as a concert work, and he completed them some time early the following year, though his deteriorating neurological condition made it difficult for him to control his hands, forcing him to seek the help of Lucien Garban and Manuel Rosenthal in preparing the fair copy of the full score. Don Quichotte à Dulcinée was Ravel’s last work.

These songs are the final evidence of Ravel’s long interest in the music of Spain, which had blossomed in such earlier works as the Rapsodie espagnole, L’Heure espagnole and Boléro. He had even contemplated an opera based on the tale of Cervantes’s quixotic knight, though that plan never came to fruition. Each of the three settings of Morand’s poems is based on a traditional dance rhythm of Spain: Chanson romanesque on the quajira, Chanson épique on the 14 MONDAVIARTS .ORG

zortzico and Chanson à boire on the jota. The first is a love song of near manic devotion to the beloved Dulcinée in the characteristic Spanish meter produced by alternate meters of 6/8 and 3/4. The second song presents Quixote as a holy warrior invoking the aid of the Madonna and Saint Michael to sustain him in his valiant quest. The closing drinking song paints the hero in his one undeniable virtue—as an expansive tippler.

“O DU MEIN HOLDER ABENDSTERN” FROM TANNHÄUSER (1845) RICHARD WAGNER

(Born May 22, 1813, in Leipzig, Germany; died February 13, 1883, in Venice, Italy) In Tannhäuser by Richard Wagner, the title character has journeyed to Rome to seek forgiveness for the sins of living for one year in the Venusberg, the mountain where German legend says that Venus, the goddess of love, took refuge after the fall of ancient civilization. His friend Wolfram awaits his return, hoping that his reappearance will end the grief that Tannhäuser’s faithful lover, Elisabeth, has endured because of his absences. A band of pilgrims marches past, but Tannhäuser is not among them, and the distraught Elisabeth prays that the Virgin may claim her life and end her suffering.

She leaves, and Wolfram takes up his lyre and sings of Elisabeth’s longing for death in O du mein holder Abendstern (“Oh thou, my gracious evening star”), asking the friendly evening star to accept her soul.

“ALEKO’S CAVATINA” FROM ALEKO SERGEI RACHMANINOFF

(Born April 1, 1873, in Oneg, near Semyonovo, Russia; died March 28, 1943, in Beverly Hills, CA) In the opera by Sergei Rachmaninoff, Aleko is a troubled character, pursued by the law, who has renounced urban society and taken up with a band of Gypsies, where he has fallen in love with the young Zemfira.

Some time later, Aleko learns that Zemfira has fallen in love with a younger man, and he sings of their early happiness together and the heartbreak of his current situation in the aria Ves’ tábor spit (“The whole camp sleeps”).

“AGONY” FROM INTO THE WOODS (1987) STEPHEN SONDHEIM

(Born March 22, 1930, in New York City) Composer and lyricist Stephen Sondheim has tackled some of the most challenging subjects ever brought to the musical

stage, and in Into the Woods, he and book author James Lapine undertook to weave fairy tale characters and stories, many traditional, some newly invented, into a symbolic theatrical journey of personal growth and self-discovery. Into the Woods had a successful Broadway run of 765 performances at the Martin Beck Theatre, won Tony Awards for Best Score and Best Book, and has since been regularly revived in major productions in America, England and Australia. In Lapine’s tale, two Princes, brothers, are infatuated respectively with Cinderella and Rapunzel, and they commiserate with each other on the challenges and emotions of wooing their maidens in the duet “Agony” during their encounters in the forest.

PRELUDE TO ACT I OF RIGOLETTO (1851)

GIUSEPPE VERDI

(Born October 10, 1813, in Le Roncole, Italy; died January 27, 1901, in Milan) Rigoletto, the first evidence of the full range and power of Verdi’s dramatic and musical genius, was based on Victor Hugo’s notorious play Le roi s’amuse (“The king amuses himself”), whose view of a libertine aristocrat so scandalized the Parisian public, critics and authorities at its premiere in 1832 that it was closed after a single performance. Verdi, however, found it “perhaps the greatest drama of modern times” and its protagonist “a creation worthy of Shakespeare,” and pounced on it as the perfect subject for operatic treatment. The composer had his librettist, Francesco Maria Piave, sufficiently rework the drama—changing its venue from the French court of François I to the court of an anonymous Italian duke and eliminating its more flagrantly prurient passages—to guide it past the Italian censors, and the opera had a sensational debut at La Fenice in Venice in 1851.

In the opera’s story, Gilda, daughter of the court jester Rigoletto, has been seduced by the Duke of Mantua. Rigoletto, vowing to avenge his daughter’s ravishment, plots with the assassin Sparafucile to murder the Duke when he is lured to a local tavern by Sparafucile’s sister, Maddelena. After the Duke makes love to Maddelena, however, she convinces her brother to spare his life and instead murder whomever arrives at the tavern next. Gilda overhears their conversation and, out of love, offers herself as the assassin’s victim in place of the Duke.

Rigoletto grieves when he finds her lifeless body. The somber Prelude to Act I provides the gateway to this heart-wrenching tale.

RISING STARS OF OPERA “È LUI! DESSO! L’INFANTE! ...

DIO, CHE NELL’ALMA INFONDERE” FROM DON CARLO (1867) GIUSEPPE VERDI

Don Carlo, the son of the king of Spain, and Elisabetta of Valois are in love, but she has been forced to marry Carlo’s father, King Philip, for reasons of state. In the Act I scene beginning È lui! desso! l’Infante! (“‘Tis he! He himself! The Infante!”), Carlo meets his friend Rodrigo, Marquis of Posa, and tells him of his love for Elisabetta. Rodrigo urges him to forget her and dedicate himself instead to ending Philip’s oppressive rule of Flanders. In their stirring duet, Dio, che nell’alma infondere (“Oh God, who wished to instill love and hope in our souls”), they pledge themselves to the cause of liberty as Carlo tries to conceal his feelings when Elisabetta arrives with Philip and monks pray before the tomb of King Carlo V, Don Carlo’s grandfather.

“MA SE M’È FORZA PERDERTI” FROM UN BALLO IN MASCHERA (“A MASKED BALL”) (1858) GIUSEPPE VERDI

Riccardo, governor of 17th-century Boston, secretly loves Amelia, wife of his friend and secretary, Renato. Amelia tries to resist returning Riccardo’s affection, but she admits that his feelings are requited.

Riccardo, fearful of the consequences of their love, decides to end the affair by transferring Renato and his wife to a new post in England, and he sings of his sacrifice in the dramatic aria Ma se m’è forza perderti (“But if I am forced to lose you”) after he has signed the papers ordering their departure.

“CHETI CHETI IMMANTINENTE” FROM DON PASQUALE (1842) GAETANO DONIZETTI

Don Pasquale, a rich old bachelor, is upset that his nephew and heir, Ernesto, has refused to marry the woman Pasquale has chosen for him. Ernesto declares he will have no one but Norina. Pasquale vows to disinherit Ernesto and find his own wife so that he can have a more direct heir. He enlists his friend Dr. Malatesta to help, not knowing that Malatesta is actually siding with Ernesto in this affair. Malatesta suggests to Pasquale as a potential spouse his “sister Sofronio”—really Norina in disguise.

Malatesta arranges a fake marriage after having briefed Norina that, if she will play

along and drive Pasquale crazy with her behavior and her expenditures, he will see to it that she and Ernesto are ultimately united. The moment that the bogus wedding ceremony is finished, “Sofronio” turns into a shrew, ordering servants about, purchasing expensive clothes and furnishings, and announcing that she will go to the theater and that Ernesto, not her decrepit husband, will be her escort. Pasquale fumes. In the rollicking Act III duet Cheti cheti immantinente (“Ever so quietly we’ll go”), Malatesta facetiously plots with Pasquale to rid him of his termagant by catching the young lovers during their tryst in the garden. All is eventually put right: Pasquale is freed from his shrewish “wife,” and Norina and Ernesto are married.

“E LUCEVAN LE STELLE” FROM TOSCA (1899) GIACOMO PUCCINI

(Born December 22, 1858, in Lucca, Italy; died November 29, 1924, in Brussels, Belgium) Cavaradossi is sentenced to death by Scarpia, the treacherous chief of the Roman police, for aiding an escaped prisoner whose republican sympathies the artist shares. In a cell on the parapet of the Castel Sant’Angelo, Cavaradossi prepares for his death by bidding farewell to the memory of Tosca in the aria E lucevan le stelle (“And the stars were shining”).

Program notes courtesy of Dr. Richard E. Rodda

SAN FRANCISCO OPERA CENTER San Francisco Opera’s numerous affiliate educational and training programs were started under the directorship of Kurt Herbert Adler beginning in 1954. In 1982, the Opera’s third general director, Terence A. McEwen, created the San Francisco Opera Center to oversee and combine the operation and administration of these programs. Providing a coordinated sequence of performance and study opportunities for young artists, the San Francisco Opera Center represents a new era in which young artists of major operatic potential can develop through intensive training and performance, under the aegis of a major international opera company.

ADLER FELLOWS Founded in 1977 as the San Francisco Affiliate Artists-Opera Program, Adler Fellowships are performance-oriented residencies for the most advanced young

singers and coach/accompanists. Under the guidance of San Francisco Opera General Director David Gockley and Opera Center Director Sheri Greenawald, the Adler Fellowship Program offers intensive individual training and roles of increasing importance in San Francisco Opera’s mainstage season. Each year, a select group of exceptionally gifted singers from Merola Opera Program is invited to continue their education as Adler Fellows. With Merola participants selected from a pool of over 800 candidates, these young artists represent whom the classical music world can and should expect to see on celebrated opera house stages throughout the world in the very near future.

SHERI GREENAWALD (San Francisco Opera Center director) has had a distinguished international operatic singing career as a soprano, noted in particular for her enormous range of roles. She has sung featured roles with San Francisco Opera, Metropolitan Opera, Lyric Opera of Chicago, Venice’s La Fenice, Munich State Opera, Paris’s Châtelet Theater, Welsh National Opera, Seattle Opera Company, Houston Grand Opera, Netherlands Opera, Santa Fe Opera, Los Angeles Opera, Naples’s Teatro San Carlos and Opera Theatre of St. Louis, among others.

She has worked with most of opera’s great conductors and directors, and she is featured on several recordings, including singing the title role of Blitztein’s Regina conducted

by John Mauceri and recorded on Decca. A graduate of the University of Northern Iowa, Greenawald completed the Professional Studies Program at the Juilliard School of Music and has received a Rockefeller Grant, NEA Grant and was Seattle Opera Association’s Artist of the Year in 1998.

She has taught privately, was a visiting artist at the University of Charleston, an artist-in-residence at the University of Northern Iowa, the vocal coach of the Santa Fe Apprentice Program in 1999 and opera director of the program in 2000 and has given master classes with the Opera Theatre of St. Louis. She was also a professor of voice and opera at the Boston Conservatory, with a full vocal studio and specializing in coursework on English and American song repertory and has directed for the Opera Studio. Since 2002, she has served as director of San Francisco Opera Center and artistic director of the Merola Opera Program. encore art sprograms.com 15

RISING STARS OF OPERA MARK MORASH (piano) is a conductor and pianist originally from Halifax, Canada. He serves as the director of musical studies for the San Francisco Opera Center where he has conducted for the Merola program, the Adler Fellow Showcase and Western Opera Theater.

In recent years, he has also led performances of Rigoletto for Opera Colorado, Don Giovanni and The Turn of the Screw for the Lincoln Theater in Yountville and La Serva Padrona and Trouble in Tahiti for Opera Santa Barbara.

San Francisco Opera Center performances have included The Barber of Seville, Albert Herring, Così fan tutte, Die Fledermaus, The Merry Wives of Windsor and Pasatieri’s The Seagull. As a collaborative pianist, Morash’s performances have taken him throughout Canada and the U.S. as well as to Japan and Russia. Artists with whom Morash has appeared include Michael Schade, Tracy Dahl, Leah Crocetto, Melody Moore and Elza van den Heever. He has accompanied numerous emerging singers in San Francisco Opera’s esteemed Schwabacher Debut Recitals. He performed in the west coast premiere of Ned Rorem’s song cycle Evidence of Things Not Seen for Other Minds Music Festival. In addition to his work with young artists in San Francisco, Morash has been involved with the Opera Center of Pittsburgh Opera, Wolf Trap Opera, the Banff Centre and Hawaii Opera Theater as well as having taught at the University of Toronto. He has given master classes throughout the U.S. and Canada and most recently in New Zealand.

Morash is a graduate of the University of Michigan, where he studied collaborative piano with Martin Katz.

Tenor BRIAN JAGDE made his debuts this year at both the Metropolitan Opera and the Minnesota Opera in Arabella and at Opéra de Limoges as Don José in Carmen. He also returns to the San Francisco Opera as Pinkerton in Madama Butterfly and the Orlando Philharmonic as Alfredo in La Traviata.

A recent graduate of the San Francisco Opera’s Adler Fellowship Program, Jagde’s mainstage appearances there have included Cavaradossi in Tosca, Joe in La Fanciulla del West, Janek in The Makropulos Case and Vitellozzo in Lucrezia Borgia.

Other recent engagements have included his debuts at the Santa Fe Opera and Deutche Oper Berlin as Cavaradossi, Alfredo at Opera Grand Rapids, Rodolfo in concert 16 MONDAVIARTS .ORG

performances of La bohéme with Lorin Maazel and the Müncher Philharmoniker, Pinkerton at the Virginia Opera and Minnesota Opera, Rodolfo at Lorin Maazel’s Castleton Festival and Syracuse Opera, and his European debut as the title role in Werther at the Teatr Wielki Opera Poznan in Poland. He has also made appearances at Opera New Jersey, Chautauqua Opera, Opera Company of the Highlands and Des Moines Metro Opera.

Jagde holds bachelor and master of music degrees in voice and opera studies from the Purchase College Conservatory of Music. The second-prize winner at the 2012 Operalia Competition with Plácido Domingo, Jagde won accolades for his interpretations of Wagner-Strauss repertoire with the Birgit Nilsson Prize.

AO LI, a third-year Adler Fellow, is a native of Dezhou, China, and studied at Shangdong Normal University. In the 2010–11 season at San Francisco Opera, he sang the role of Ascanio Petrucci (Lucrezia Borgia) and El Dancaïro (Carmen for Families). His recent roles at the Company include Lorenzo (Capuleti e i Montecchi) and Sciarrone (Tosca) and his upcoming roles include Ben Weatherstaff (Secret Garden) and Luther (Tales of Hoffmann). As a participant in the 2010 Merola Opera Program, he sang the role of Belcore in their production of L’Elisir d’Amore.

A frequent recitalist in China, Li is a past recipient of the prestigious Youth of China award, third prize in both the Shandong Qilu Style Contest and the Taipei World Chinese Vocal Competition, the bronze award in The People’s Republic of China Ministry of Culture’s Eighth National Vocal Competition, and he was selected as a member of the Young Singer in Shandong Province Tenth Television Competition, where he won an Award of Excellence.

French-Canadian bass-baritone PHILIPPE SLY is a first-year Adler Fellow. He made his San Francisco Opera debut as Guglielmo in Così fan tutte and his upcoming roles with the Company include Mr. Archibald Craven and Mr. Lennox (Secret Garden). On the concert stage, he will sing Mozart’s Requiem with Pro Coro Canada in Edmonton, Haydn’s Die Schöpfung in Montreal, Brahms’s Ein deutsches Requiem with the Ottawa Bach Choir, Bach’s Christmas Oratorio with the Ottawa Chamber Society, among others. In

recital, he will tour Canada in recital with the Debut Atlantic Series and will be heard at the Toronto Summer Music Festival with pianist Julius Drake. Sly was a Révélations RadioCanada artist for the 2012–13 season. He is the first prize winner of the 2012 Concours Musical International de Montréal and a grand prize winner of the 2011 Metropolitan Opera National Council Auditions singing the varied repertoire of Mozart, Bach, Handel, Stravinsky and Wagner. Sly holds a Bachelor of Music degree in voice performance from McGill University’s Schulich School of Music in Montreal. He is also an alumnus of San Francisco Opera’s Merola Program where he performed the role of Dr. Barolo in Il barbiere di Siviglia.

CHRISTIAN BALDINI has conducted a wide range of orchestras including the Munich Radio Orchestra, the Buenos Aires Philharmonic, the BBC Symphony Orchestra, the National Symphony Orchestra, the San Francisco Contemporary Music Players, and opera for the Aldeburgh Festival (United Kingdom). Last April he made his debut conducting in Salzburg at the Award Weekend when an international jury selected him and two other conductors out of ninety-one submissions worldwide.

Equally at home in the core symphonic and operatic repertoire as well as the most daring corners of contemporary music, he has presented world premieres of over sixty works. After Baldini conducted the Sao Paulo Symphony Orchestra (OSESP, Brazil), critic Arthur Nestrovski (Folha de Sao Paulo) praised this “charismatic young conductor” who “conducted by heart Brahms’s First Symphony, lavishing his musicality and leaving sighs all over the hall and the rows of the orchestra.” He has been an assistant conductor with the Britten-Pears Orchestra (England) and a cover conductor with the National Symphony Orchestra (Washington, D.C.). Baldini holds a Ph.D. from SUNY, Buffalo, his master’s from Penn State and bachelor’s from Catholic University of Argentina. After teaching and conducting at the State University of New York in Buffalo, Baldini joined the UC Davis faculty in 2009, where he serves as music director of the UC Davis Symphony Orchestra and acts as the chamber music coordinator. Baldini is also music director with the Camellia Symphony Orchestra in Sacramento. For more information, visit www.christianbaldini.info.

ASPHALT ORCHESTRA

HEAD

Deck

STEPHANIE BERGER

A Crossings Series Event Sunday, October 6, 2013 • 7PM Jackson Hall PROGRAM IS SUBJECT TO CHANGE

ASPHALT ORCHESTRA: UNPACK THE ELEPHANT Directed by Mark DeChiazza and Andrew Robinson Jessica Schmitz, Piccolo Jas Walton, Ken Thomson, Ed RosenBerg, Saxophone Ben Holmes and Stephanie Richards, Trumpet Tim Vaughn and Jen Baker, Trombone Kenneth Bentley, Sousaphone

Sunny Jain, Kenneth Salters, Yuri Yamashita, Percussion Lighting Design: Jesse Belsky Associate Lighting Design: Laura J. Eckelman Wardrobe Styling: Elizabeth Hope Clancy Produced by Bang on a Can

PROGRAM Ken Thomson: Introduction Frank Zappa: Zomby Woof (arr. Peter Hess) Stephanie Richards: Trading Futures* David Bovée: Perdu la Valise (arr. Ken Thomson) David Byrne and Annie Clark: Two Ships (arr. Ken Thomson)** Jen Baker: Teleport 1 Peter Hess: Sky Full of Dirigibles

Jen Baker: Teleport 2 Ken Thomson: Face Off Kenneth Bentley: In the Mist of Midnight Laneville-Johnson Union Brass Band: Wild About My Daddy (arr. Stephanie Richards) Nick Jenkins: Snow Has Melted Ken Thomson: Unpack the Elephant Björk: Hyperballad (arr. Alan Ferber)

*Made possible by the Center For The Arts, Wesleyan University, Middletown, CT, the Andrew W. Mellon Foundation, and the Center of Student Services at Wesleyan University. **Commissioned by Bang on a Can for Asphalt Orchestra, with generous support from the Rockefeller Foundation’s New York Cultural Innovation Fund and by Lincoln Center for Lincoln Center Out of Doors.

Asphalt Orchestra thanks St. Ann’s Warehouse for generously providing production and rehearsal support toward the creation of this show.

18 MONDAVIARTS .ORG

ASPHALT ORCHESTRA ABOUT ASPHALT ORCHESTRA Asphalt Orchestra is a radical new street band that brings ambitious processional music to the mobile masses. Created by the founders of the “relentlessly inventive” new music presenter Bang on a Can (New York Magazine), Asphalt Orchestra unleashes innovative music from concert halls, rock clubs and jazz basements and takes it to the streets and beyond. The band brings together some of the most exciting rock, jazz and classical players in New York City that The New York Times called “12 topnotch brass and percussion players.”

Asphalt Orchestra has two lives: as an outdoor guerrilla musical force choreographed by Susan Marshall and Mark DeChiazza, and as Unpack the Elephant, the indoor experience, directed

by Mark DeChiazza and Andrew Robinson.

Asphalt Orchestra’s debut THE VARSITY THEATER performances stretched 10 packed nights at Lincoln Center’s Out of Doors Festival in New York over the summers of 2009 and 2010. Since then they have performed throughout the US and Canada, at London’s Barbican Centre, at the TEDWomen conference in Washington, New York’s Alice Tully Hall and the Metropolitan Museum of Art and more. Their repertoire includes music written exclusively for the band by many renowned artists including David Byrne and Annie Clark (St. Vincent), Yoko Ono, Tatsuya Yoshida (Ruins), Goran Bregovic, Tyondai Braxton (Battles), and Stew and PEDESTRIAN BRIDGE Heidi Rodewald (Broadway and Spike Lee’s Passing Strange), alongside music arranged by the band ranging from Björk to Charles Mingus, Frank Zappa, Tom Zé, Thomas Mapfumo, Meshuggah and more.

In summer 2013 they premiered their cover of the Pixies’ classic album Surfer Rosa at Lincoln Center’s Out of Doors series with the Kronos Quartet.

Featured on the cover of The Philadelphia Inquirer as “not your mother’s marching band,” Asphalt Orchestra has also been praised in Newsweek, The Economist, New York Magazine, The New York Times, The Wall Street Journal, The Onion, and Time Out New York, as well as interviewed and showcased on WNYC’s “Soundcheck,” BOYPhiladelphia SCOUT CABIN Weekly, PBS’s Sunday Arts and Time Out New York’s “The Volume.”

The brand is meant to represent not only Davis as a Co-op, but the city of Davis itself. Iconic Davis landmarks and architecture has been illustrated (in the style of the logo), and can be used in any heavily-illustrated piece.

In the illustrations, shapes are flat and bold. There are no outlines; details are left out unless they play a key role in defining a structure.

While their surroundings in a larger composition can be stylized or exaggerated, each structure should be proportionally correct.

LIVETHE CULTURE. MONDAVI CENTER

LIVE CULTURES.

WELCOME TO DAVIS EVERYONE CAN SHOP A THIRD OF THE SIGN

SO WE COULD PASS THE SAVINGS ON

TO YOU! KNOW YOUR FOOD. GROW YOUR COMMUNITY.

530-758-2667 • Open 7am-10pm daily Get inspired at davisfood.coop/calendar

YOUR GROCERY STORE SINCE 1972 • AT 6TH & G IN DAVIS “THE BAGGINS” DOME HOUSES

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ASPHALT ORCHESTRA Asphalt Orchestra’s debut album was released in 2010 by Cantaloupe Music. The group’s managing director is Ken Thomson.

Asphalt Orchestra CDs are on sale in the lobby, and online at www.bangonacan.org.

You can also join the “Cantaloupe Club” and receive new Asphalt Orchestra and Bang on a Can CDs before they are released to the public as well as other exclusive offers. More information is available at www.asphaltorchestra.com.

ABOUT THE PRODUCER: BANG ON A CAN Bang on a Can is dedicated to making music new. Since its first Marathon concert in 1987, Bang on a Can has been creating an international community dedicated to innovative music, wherever it is found. With adventurous programs, it commissions new composers, performs, presents and records new work, develops new audiences and educates the musicians of the future.

Bang on a Can is building a world in which powerful new musical ideas flow freely across all genres and borders. Bang on a Can plays “a central role in fostering a new kind of audience that doesn’t concern itself with boundaries. If music is made with originality and integrity, these listeners will come” (The New York Times).

Bang on a Can celebrated 25 years during 2012, having grown from a one-day New York-based Marathon concert (on Mother’s Day in 1987 in a SoHo art gallery) to a multi-faceted performing arts organization with a broad range of year-round international activities. Current projects include the annual Bang on a Can Marathon; the People’s Commissioning Fund, a membership program to commission emerging composers; the Bang on a Can All-Stars, who tour to major festivals and concert venues around the world every year; recording projects; the Bang on a Can Summer Music Festival at MASS MoCA, a professional development program for young composers and performers led by today’s pioneers of experimental music; Asphalt Orchestra, Bang on a Can’s extreme street band that offers mobile performances

re-contextualizing unusual music; Found Sound Nation, a new technology-based musical outreach program now partnering with the State Department of the United States of America to create OneBeat, a revolutionary, post-political residency program that uses music to bridge the gulf between young American musicians and young musicians from developing countries; cross-disciplinary collaborations and projects with DJs, visual artists, choreographers, filmmakers and more. Each new program has evolved to answer specific challenges faced by today’s musicians, composers and audiences, in order to make innovative music widely accessible and wildly received. Bang on a Can’s inventive and aggressive approach to programming and presentation has created a large and vibrant international audience made up of people of all ages who are rediscovering the value of contemporary music.

For up-to-date information regarding Bang on a Can programs, events, and CD releases, visit www.bangonacan.org, call us at 718-852-7755 or email us at info@bangonacan.org.

THE BANG ON A CAN TEAM ARTISTIC DIRECTORS

Michael Gordon, David Lang, Julia Wolfe EXECUTIVE DIRECTOR

Kenny Savelson

DEVELOPMENT DIRECTOR

Tim Thomas

PROJECT MANAGER

Philippa Thompson COMMUNICATIONS MANAGER

Jessica Schmitz

PRODUCTION MANAGER

Yisroel Lazaros

FOUND SOUND NATION CO-DIRECTORS

Chris Marianetti, Jeremy Thal, Elena Moon Park ACCOUNTS MANAGER

Brian Petuch

ONLINE STORE MANAGER

Adam Cuthbert

BOARD OF DIRECTORS Daniel Baldini, PRESIDENT Jeffrey Bishop Barry Goldberg Michael Gordon Lynette Jaffe Alan Kifferstein Michael Kushner David Lang Elizabeth Murrell Robert A. Skirnick Jane Stewart Julia Wolfe Adam Wolfensohn Bang on a Can’s Asphalt Orchestra is made possible with generous lead support from the Amphion Foundation, ASCAP Foundation, Atlantic Records, Daniel Baldini, Bay and Paul Foundation, Bishop Fund, David & Elizabeth Bither, Bloomberg Philanthropies, Booth Ferris Foundation, Charina Endowment Fund, Chamber Music America, Alice M. Ditson Fund of Columbia University, City of New York Department of Cultural Affairs, Aaron Copland Fund for Music, Gladys Krieble Delmas Foundation, Doris Duke Foundation, Barry Goldberg, Jaffe Family Foundation, Alan Kifferstein & Joan Finkelstein, Foundation for Contemporary Arts, Japan Foundation, MAP Fund, Michael Kushner & Carol Dauman, Henry S. McNeil, Mid Atlantic Arts Foundation, Jeremy Mindich & Amy Smith, Elizabeth Murrell & Gary Haney, National Endowment for the Arts, New York Community Trust, New York State Council on the Arts (with the support of Governor Andrew Cuomo and the New York State Legislature), New Spectrum Foundation, Nonesuch Records, Alex Rigopulos & Sachi Sato, Robert Sterling Clark Foundation, Rockefeller Brothers Fund, Fan Fox and Leslie R. Samuels Foundation, Matthew Sirovich & Meredith Elson, Maria & Robert A. Skirnick, Jane & Dick Stewart, Williamson Foundation, Adam Wolfensohn & Jennifer Small, Trust for Mutual Understanding, U.S Department of State, Warner Music Group and Wolfensohn Family Foundation.

www.asphaltorchestra.com www.facebook.com/asphaltorchestra www.twitter.com/asphalt_orch ASPHALT ORCHESTRA IS REPRESENTED BY

Baylin Artists Management www.baylinartists.com

Zappa, FZ, Frank Zappa and the Moustache are marks belonging to the Zappa Family Trust. All Rights Reserved. Used by permission.

20 MONDAVIARTS .ORG

BALLET HISPANICO ROSALIE O’CONNOR

A Dance Series Event Friday, October 11, 2013 • 8PM Jackson Hall THERE WILL BE ONE INTERMISSION. INDIVIDUAL SUPPORT PROVIDED BY

William and Nancy Roe

Question & Answer Session With members of Ballet Hispanico Moderator: Jon D. Rossini, Associate Professor and Chair of the Department of Theatre and Dance, UC Davis.

QUESTION & ANSWER SESSIONS TAKE PLACE IN THE PERFORMANCE HALL AFTER THE EVENT.

Jon D. Rossini joined the faculty of UC Davis in 2003 as a scholar of Theatre and Performance Studies. Before coming to UC Davis he taught in the Drama Program at Duke University and in the English Department at Texas Tech University. His primary research is in the intersections of ethnicity and performance, especially in contemporary Chicana/o and Latina/o Theatre. His book, Contemporary Latina/o Theater: Wrighting Ethnicity (2008), is part of the Theater in the Americas series from Southern Illinois University Press.

PROGRAM IS SUBJECT TO CHANGE. 22 MONDAVIARTS .ORG

BALLET HISPANICO

THE COMPANY

Tina Ramírez, Founder Eduardo Vilaro, Artistic Director Michelle Manzanales, Rehearsal Director Gregory Stuart, Company General Manager Joshua Preston, Production Manager Diana Ruettiger, Wardrobe Supervisor Gwyndolyn Kay, Stage Manager

Lauren Alzamora Christopher Bloom Martina Calcagno Jamal Rashann Callender Alexander Duval Mario Ismael Espinoza Melissa Fernandez Min-Tzu Li Emma Pfaeffle Johan Rivera Mendez Marcos Rodriguez Vanessa Valecillos Kimberly Van Woesik Joshua Winzeler Jessica Alejandra Wyatt

Ballet Hispanico salutes Jody and John Arnhold for their visionary leadership and support. Through the generosity of the Arnhold family, Ballet Hispanico will continue to inspire communities around the world for the next 40 years and beyond.

MetLife Foundation is the Official Tour Sponsor of Ballet Hispanico.

American Airlines is the Official Airline of Ballet Hispanico.

BalletHispanico.org THE TAKING OF VIDEO, AUDIO AND PHOTOGRAPHS IS STRICTLY PROHIBITED.

BALLET HISPANICO PROGRAM Untitled (2013) Choreography by Edgar Zendejas Original Music by Owen Belton Costume Design by Diana Ruettiger Lighting Design by Joshua Preston The Company INTERMISSION Sortijas (2013) Choreography by Cayetano Soto Music by Lhasa de Sela Costume Design by Talbot Runhof Lighting Design by Joshua Preston Conceived by Cayetano Soto Joshua Winzeler, Kimberly Van Woesik Sortijas was made possible by the MetLife Community Connections Fund of the New England Foundation for the Arts’ National Dance Project. Major support for NDP is also provided by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

General operating support was made possible by the New England Foundation for the Arts with funding from the Doris Duke Charitable Foundation.

WM 080613 mondavi 1_3s.pdf

PAUSE Mad’moiselle (2010) Choreography by Annabelle Lopez Ochoa Music by Bart Rijnink Costume Conception by Annabelle Lopez Ochoa Costume Development and Construction by Diana Ruettiger Lighting by Mary Louise Geiger The Company Mad’moiselle was commissioned, in part, by The Surdna Foundation. The music for Mad’moiselle is by arrangement with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner.

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BALLET HISPANICO THE COMPANY EDUARDO VILARO, a first generation Cuban-

American, began as artistic director of Ballet Hispanico in August of 2009, becoming only the second person to head the company since it was founded in 1970. Vilaro has been part of the Ballet Hispanico family since 1985. As a dancer with the Ballet Hispanico Company, he performed throughout the U.S., Latin America and Europe and assisted founder Tina Ramirez with the development of dance education residencies.

Vilaro’s passion for dance and Latino cultures began in the Southwest Bronx, where a role in a school musical ignited his journey. After training throughout New York City in dance institutions such as the Alvin Ailey American Dance Center and the Martha Graham School, Vilaro received a BFA in dance at Adelphi University under the direction of Norman Walker. In 1999, he received an M.A. in Interdisciplinary Arts from Columbia College Chicago and was a recipient of their Albert P. Weissman Award.

Upon his graduation from Columbia College, Vilaro founded Luna Negra Dance Theater in Chicago, a company which served as a springboard for Latino dance throughout the Midwest. Under his ten years of artistic direction, Luna Negra amassed a distinguished repertory of works by Latino choreographers such as Ron De Jesús, Vicente Nebrada, and Gustavo Ramírez Sansano.

Vilaro’s own choreography is devoted to capturing the spiritual, sensual and historical essence of the Latino cultures. He created over 20 ballets for Luna Negra and has received commissions from the Ravinia Festival, the Chicago Sinfonietta, the Grant Park Festival, the Lexington Ballet and the Chicago Symphony.

He has collaborated with major dance and design artists as well as musicians such as Paquito D’Rivera, Susana Baca, Luciana Souza and Tiempo Libre. In 2001 he was a recipient of a Ruth Page Award for choreography, and in 2003 he was honored for his choreographic work at Panama’s II International Festival of Ballet. In 2011 Vilaro premiered Asuka, his first work for Ballet Hispanico, “an unexpected interpretation of [Celia] Cruz’s music … highenergy and colorful” (Chicago Dance Digest).

Vilaro was an associate professor at the Dance Center of Columbia College and has served on the board of directors of Dance/ USA. He has also served on panels for the National Endowment for the Arts and the New York State Council on the Arts. He was a guest speaker at the Salzburg Global Forum for Young Cultural Leaders and the National Association for Latino Arts and Culture, and continues to speak to the growing need for cultural diversity and dance education.

24 MONDAVIARTS .ORG

LAUREN ALZAMORA graduated from UNC

School of the Arts in 2001. She has danced for Aspen Santa Fe Ballet, Eliot Feld’s Ballet Tech and Battery Dance Company in New York.

Alzamora has also collaborated with New Yorkbased dance photographer Howard Schatz on several projects, including underwater dance photography. She is a fully certified Pilates instructor and enjoys teaching private clients as well as her fellow company members.

CHRISTOPHER BLOOM is from Middletown, VA, where he started training at the Vostrikov’s Academy of Ballet at the age of 15. Christopher trained as a scholarship student at the Ballet and Contemporary Dance Programs in the School at Jacob’s Pillow under Anna-Marie Holmes and Milton Myers. He holds a BFA from The Ailey/Fordham BFA Dance program where he had the opportunity to perform works by Sidra Bell, Francesca Harper, Camille A. Brown, Jennifer Muller, Paul Taylor and Alvin Ailey. He has performed professionally with the 360⁰ Dance Company, Thang Dao Dance Company, VonUssar DanceWorks, Parsons Dance, The Peridance Contemporary Dance Company and with Alvin Ailey American Dance Theater.

MARTINA CALCAGNO began dancing in her native Italy, where she studied ballet in Sicily and Rome. She moved to London to train at the Elmhurst School for Dance. In London, she performed with the Birmingham Royal Ballet and toured throughout the United Kingdom and China. Calcagno has danced around the world, performing with Compagnia DanzItalia, Narciso Dance Company and BHdos.

JAMAL RASHANN CALLENDER began dancing at Ballet Tech in New York City. He attended the Professional Performing Arts School/The Ailey School under the late Denise Jefferson, while dancing at the Restoration Dance Theatre and the Harlem School of the Arts. Callender also attended Perry-Mansfield and Springboard Danse Montreal. He graduated from the Juilliard School under Lawrence Rhodes, and has worked with the Atlanta Ballet, Peridance Ensemble, Buglisi Dance Theater, Formal Structure Inc. and Hubbard Street 2.

Callender is a recipient of the 2012 Princess Grace Dance Performance Fellowship.

ALEXANDER DUVAL began his dance career at Teatro Popular Danzante under the direction of Professor Nereida Rodríguez.

He received a scholarship to study classical ballet at Ballet Alina Abreu, and he later joined Ballet Folklórico Nacional as a soloist. In 2011 he joined Ballet Nacional Dominicano. He

has danced various leading roles in neoclassical works and has performed in many international festivals around the world, including Venezuela, Haiti and Martinique.

MARIO ISMAEL ESPINOZA was born in Tijuana, Mexico. He graduated from the University of California in Irvine, where he performed with Donald McKayle’s Étude Ensemble. Espinoza has performed with Odyssey Dance Theatre in Salt Lake City; Company C Contemporary Ballet, Man Dance San Francisco, Peninsula Ballet, Liss Fain Dance and ODC/Dance in San Francisco, California.

MELISSA FERNANDEZ is from Miami, Florida, and graduated from the Julliard School in 2012.

Melissa has attended programs at American Ballet Theatre, Miami City Ballet, Complexions Contemporary Ballet and Nederlands Dans Theater 2011, among others. In 2008 Fernandez was selected as a Modern Dance Finalist in the National Foundation for Advancement in the Arts (NFAA) YoungARTS competition. She was also featured in the HBO series Master Class.

MIN-TZU LI, a native of Taiwan, enjoyed her education at the Boston Conservatory and gained many diverse experiences working with their faculty and students. Li has been fortunate to perform works by such masters as José Limón, Thomas/Ortiz, Martha Graham and Murray Louis, as well as creating her own works.

EMMA PFAEFFLE, a Los Angeles native, studied at the Los Angeles County High School for the Arts and SUNY Purchase Dance Conservatory in New York. There, she studied with Kazuko Hirabayashi, Kevin Wynn, Megan Williams, among others, and was featured in works by Paul Taylor, Luca Veggetti, Lar Lubovitch, Nicolo Fonte and Bettijane Sills.

During her senior year, Pfaeffle was a company member of Morphoses for a Joyce Theater season under the artistic direction of Luca Veggetti and execute direction of Lourdes Lopez.

After graduating in 2012, she immediately joined the cast of the international tour of West Side Story, subsequently performing in multiple German cities and in the Théâtre du Châtelet in Paris, France, for the remainder of the tour.

JOHAN RIVERA MENDEZ (apprentice) was born in San Juan, Puerto Rico. He began his dance training at the School for the Performing Arts, PR, under the direction of Waldo Gonzalez.

Mendez graduated, earning his BFA from the New World School of the Arts in 2013. While there, he had the opportunity to perform works of Robert Battle, Darshan Singh Bhuller, Peter London, Merce Cunningham, Michael Uthoff and

Kyle Abraham, as well as simultaneously working with local dance companies in Miami, Florida.

MARCOS RODRIGUEZ started his professional study of dance in the Ballet Concierto Dominicano Academy directed by Carlos Veitia.

In 2006, he received a scholarship with excellence for the Alicia Alonso University Dance Institute at the Rey Juan Carlos University of Madrid, Spain.

There he joined the Théâtre du Châtelet Youth Ballet of Madrid as a principal dancer. In 2010 Rodriguez won the prize for the Support Program of Dance in Madrid as the only Dominican dancer. In that same year the Ministry of Culture of the Dominican Republic awarded him with the prestigious 2009 Personality of Culture Award.

After graduation, where he received a degree in choreography and interpretation techniques of dance and a master in performing arts, Rodriguez joined the Dominican National Ballet as a soloist.

VANESSA VALECILLOS joined Ballet Nacional de Caracas under director Vicente Nebrada in 1989. After earning a BFA from the University of North Carolina School of the Arts, she performed with the Southern Ballet Theater, Chicago Lyric Opera where she performed as a principal dancer in various productions, and with Luna Negra Dance Theater, where she was a founding member. Throughout her dance career, she has had the opportunity to teach students both nationally and internationally.

KIMBERLY VAN WOESIK graduated from

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Southern Methodist University in 2011. She has trained at the Chamberlain School of Performing Arts, American Ballet Theatre, Miami City Ballet, the Martha Graham School of Contemporary Dance and the San Francisco Conservatory of Dance.

Woesik has performed works by Ben Stevenson, Twyla Tharp, Arthur Mitchell, Alvin Ailey, Martha Graham, Alison Chase, Jessica Lang, Adam Hougland, Gerald Arpino and George Balanchine.

JOSHUA WINZELER was born in Miami, Florida.

He began his ballet training with the Thomas Armour Youth Ballet and the Miami Conservatory.

He furthered his training with the School of American Ballet, Miami City Ballet and Joffrey Ballet. Winzeler graduated from the New World School of the Arts, receiving his BFA in 2011.

Joshua has performed works by Martha Graham, Darshan Bhuller, Robert Battle and Michael Uthoff.

JESSICA ALEJANDRA WYATT began her training at the School of Oregon Ballet Theater.

Under the direction of Cuban teacher Haydee Gutierrez, she also studied with her mother Elena Carter, former Dance Theatre of Harlem and Ballet Nacional de Danza principal. In Cio 090313 1_3s.indd 2002 Miss Wyatt joined the Joffrey Ballet as an

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BALLET HISPANICO apprentice and participated in the filming of Robert Altman’s The Company. She later joined Luna Negra Dance Theater and was a company member from 2004–09. In 2012, Wyatt was nominated for a Bessie Award.

Youth American Grand Prix in 2012. In January 2006 he co-founded ezdanza along with Julien Gagnon and Neelanthi Vadivel. Since then the company has evolved as an open space focused on research, creation and dissemination.

ANNABELLE LOPEZ OCHOA (choreographer) is half Colombian and half Belgian, and completed her dance training at the Royal Ballet Academy in Antwerp, Belgium. She appeared with various German companies before joining Djazzex, a contemporary jazz-dance company in 1993. In 1997 she joined the Scapino Ballet Rotterdam as a soloist for seven years. Since leaving her performing career in 2003, Ochoa has choreographed works for the Scapino Ballet, Dutch National Ballet, Djazzex, the Royal Ballet of Flanders, Gran Canaria Ballet, Ballet du Grand Théâtre de Genève, Ankara Modern Dance Theatre, Ballet X, Luna Negra Dance Theater, Ballet National de Marseille and the Pennsylvania Ballet.

OWEN BELTON (composer) is based in Vancouver, Canada. Belton has been writing music for dance since 1994 when he created the music for Shapes of a Passing for Canadian choreographer Crystal Pite. Since that time he has composed dozens of scores for many different dance companies, including the Netherlands Dance Theatre, Cullberg Ballet, The Stuttgart Ballet, National Ballet of Canada, Royal Ballet of London, Oregon Ballet Theater and Kidd Pivot. He also creates sound design and scores for theater and film and has worked with many theater companies in Canada. He writes and performs in the band Lost Hombre also. In 2009 he won the Dora Mavor Moore award for best dance score in Toronto, Canada, for Emergence.

CAYETANO SOTO (choreographer), originally from Spain, studied dance at the Institut del Teatre in Barcelona and the Royal Conservatory of The Hague. Soto danced with IT Dansa and Ballet Theater Munich, where he created Fugaz, his first signature work. He has choreographed for such companies as the Stuttgart Ballet, Royal Ballet of Flanders, and Northwest Dance Project, among others. Fascinated by the fashion label Talbot Runhof, Soto has collaborated with the designers for the costume design of Carmen at Dortmund Ballet and Sortijas for Ballet Hispanico. In 2006 he won first prize in the “Uncontainable Project” choreographic competition of the Royal Ballet of Flanders, and in 2011 he was nominated for the Golden Mask Award in Russia. Soto is based in Munich, Germany.

EDGAR ZENDEJAS (choreographer), originally

from Mexico, began his interpretive career in Chicago where he performed with Hubbard Street Dance Chicago and Giordano Jazz Dance.

In the early 1990s, Zendejas joined Les Ballets Jazz de Montréal, now BJM Danse, where he found himself evolving as an artist and choreographer. After the successful premiere of Zendejas’s first work, Breve Enlace, Louis Robitaille, artistic director of BJM, promoted Zendejas to associate choreographer which led to commissions in Mexico and the United States, most notably from Jacob’s Pillow, Cedar Lake Contemporary Ballet, DanceWorks Chicago, Luna Negra Dance Theater and Ballet de Monterrey, Mexico. Zendejas won the Hubbard Street 2 National Choreographic Competition in 2010, competed as a finalist for the Milwaukee Ballet’s choreographic competition “Genesis” in 2011 and won the Outstanding Choreographer Award from the 26 MONDAVIARTS .ORG

DIANA RUETTIGER (costume design) has served as wardrobe supervisor for Luna Negra Dance Theater and Costume Designer for Dance for Life Chicago, Columbia College and the Chicago Academy for the Arts. She has worked as stitcher and crew for the Joffrey Ballet and numerous Broadway touring shows. Ruettiger owned and operated a costume shop for 25 years before moving to New York to begin her tenure as wardrobe supervisor with Ballet Hispanico.

MARY LOUISE GEIGER (lighting design) Dance: Rock Steady (Larry Keigwin), Fandango (Alexei Ratmansky) – Vail International Dance Festival, Jacoby, Pronk and Dancers (Jacob’s Pillow); Morphoses/ The Wheeldon Company: Rhapsody/Fantasie, Leaving Songs, Tears of St. Lawrence (Martha Wainwright in concert with Morphoses – NYC Summerstage), Lighting Manager and Designer 2009–10; The Wanderers (Royal Danish Ballet); Elsinore (Bolshoi Ballet, Moscow, Russia).

JOSHUA PRESTON (production manager, lighting design) is a graduate of Columbia College Chicago where he studied design and photography. While in Chicago, Preston worked with Luna Negra Dance Theater, the Joffrey Ballet, Ensemble Español, Dance Chicago, the Seldoms and Ballet Chicago among others.

Preston is a native of Lexington, Kentucky where he frequently serves as technical director for the Lexington Shakespeare Festival.

Preston gets endless thrills from traveling the world and lighting things. He is a regular at the International Edinburgh Fringe Festival. This is his third season with Ballet Hispanico.

MICHELLE MANZANALES (rehearsal director) is a choreographer and dance educator originally from Houston, TX. She began working with Eduardo Vilaro in 2003 as a dancer for his company, Luna Negra Dance Theater of Chicago, where she later became Rehearsal Director in 2006 and served as Interim Artistic Director 2009–2010. In 2007, Manzanales created Sugar in the Raw (Azucar Cruda) for LNDT which was applauded by the Chicago Sun-Times as “a staggering, beautiful, accomplished new work.” In 2010 her homage to Frida Kahlo, Paloma Querida, was hailed as a “visual masterpiece” by Lucia Mauro of the Chicago Tribune and was described by the Sun-Times as a “gorgeously designed, richly hallucinatory, multi-faceted vision of the artist.” Her choreography has also been presented by the Texas Contemporary Weekend, Spring to Dance (St. Louis, MO), Fort Worth Dance Festival and Festival de Danza Córdoba (Veracruz, Mexico), and honored by the American College Dance Festival on four separate occasions.

GWYNDOLYN KAY (stage manager) hails from the city of North Pole, Alaska. She began her stage management training at 10 years old at the Fun Arts Dance Academy in Chicago, IL. New York City credits include the Limon Dance Company, The Ailey School, Trisha Brown Dance Company, Baryshnikov Arts Center, Joyce Theater, Merce Cunningham Studio and over 150 other up-and-coming New York City dance companies and choreographers. She is also a founding member of Korhan Basaran and Artists. This is her second season with Ballet Hispanico.

TINA RAMIREZ founded Ballet Hispanico in 1970 and served as Artistic Director until 2009.

Under her direction, over 45 choreographers created works for the company, many of international stature and others in the early stages of their career.

Ramirez was born in Venezuela, the daughter of a Mexican bullfighter and grandniece to a Puerto Rican educator. Her performing career has included international touring with the Federico Rey Dance Company, the inaugural Festival of Two Worlds in Italy with John Butler, the Broadway productions of Kismet and Lute Song and the television adaptation of Man of La Mancha.

In addition to the National Medal of Arts, Ramirez has received countless awards and honors in recognition of her work, including the Dance Magazine Award, the Hispanic Heritage Award for Education, Capezio Dance Award, NYS Governor’s Arts Award and the NYC Mayor’s Award of Honor for Arts and Culture.

AHMAD JAMAL

A Capital Public Radio Jackson Hall Jazz Series Event Saturday, October 12, 2013 • 8PM Jackson Hall SPONSORED BY

Ahmad Jamal, Piano Herlin Riley, Drums Manuel Badrena, Percussions Reginald Veal, Bass

Celebrated pianist-composer Ahmad Jamal continues his performance schedule around the world, as he has for well over the last six decades. Noted for his outstanding technical command and identifiable sound as a piano stylist, Jamal was born on July 2, 1930, in Pittsburgh, Pennsylvania.

Considering his ensemble “an orchestra,” Jamal not only achieves a unified sound but subtly inserts independent roles for the bass and drums. The hallmarks of Jamal’s style are rhythmic innovations, colorful harmonic perceptions, especially left-hand harmonic and melodic figures, plus parallel and contrary motion lines in and out of chordal substitutions and alterations and pedal point ostinato interludes in tasteful dynamics. He also incorporates a unique sense of space in his music, and his musical concepts are exciting without being loud in volume. Augmented by a selection of unusual standards and his own compositions, Jamal would notably impress and influence, among others, trumpeter Miles Davis.

In 1994, Jamal received the American Jazz Masters fellowship award from the National Endowment for the Arts. The same year he was named a Duke Ellington Fellow at Yale University, where he performed commissioned works with the Assai String Quartet.

In 2007 the French Government inducted Jamal into the prestigious Order of the Arts and Letters by French Culture Minister Renaud Donnedieu de Vabres, naming him Officier de l’Ordre des Arts et des Lettres.

Jamal’s previous recording A Quiet Time (Dreyfus Records), released in January 2010, was the number one CD on jazz radio for the year 2010 and continues to soar.

Also that same year the French Jazz Academy has voted The Complete Ahmad Jamal Trio Argo Sessions 1956–1962 released by Mosaic “Best reissue of the year with outstanding research work.” His music remains youthful, fresh, imaginative and always influential.

In December of 2011 Jamal was awarded with DownBeat’s 76th Reader’s Poll Hall of Fame. Jamal’s Grammy-nominated album Blue Moon debuted in February 2012 and opened to a sold-out performance at Theatre du Chatelet in Paris. Following on from Blue Moon, Ahmad Jamal and his dream team are back with his new CD Saturday Morning , released September 2013. Produced by Jazzbook records and distributed by harmonia mundi/JazzVillage. It is a joyful album made up of the kind of ballads to which only he holds the key.

Each one is a moment of grace, shining like a star in the sky of American classical music. It features a wonderful Duke Ellington cover and a tribute to Horace Silver. With his light-fingered but rhythmic style, he sends us into a sensuous trance and leads us to a musical climax—a sound, which is pure groove.

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Tony and Joan Stone 28 MONDAVIARTS .ORG

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Ron Cunningham’s

with The Rite of Spring and George Balanchine’s Rubies

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Season 59

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The Firebird is Sponsored by: Rubies is Sponsored by:

October 24 - 26, 2013 • 7:30pm October 27, 2013 • 2:00pm Tickets: $19 - $70 Call: 916-808-5181

Paris, 1913

In - Studio Event: Excerpts from the fall production, focusing on the controversy of The Rite of Spring.

Serving French Wine & Cheese from The Rind.

Saturday, October 12 • Tickets: $25 each • Available through the Ballet only: 916-552-5800 x2 Ron Cunningham’s

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November 2, 2013 • 1pm & 5:30pm November 3, 2013 • 1pm SPECIAL FAMILY PRICING! Tickets: adult $35, child $25 Call: 916-808-5181

A Western Health Advantage Orchestra Series Event Friday, October 18, 2013 • 8PM Jackson Hall SPONSORED BY

SAN FRANCISCO SYMPHONY

INDIVIDUAL SUPPORT PROVIDED BY

Anne Gray

Yan Pascal Tortelier

PROGRAM Berlioz Roman Carnival Overture, Op. 9 Schumann Piano Concerto in A Minor, Op. 54

Allegro affettuoso

Intermezzo: Andantino grazioso

Allegro vivace INTERMISSION Dvořák Symphony No. 7 in D Minor, Op. 70

Allegro maestoso

Poco adagio Scherzo: Vivace Finale: Allegro

Yan Pascal Tortelier, Conductor Martin Helmchen, Piano

ROMAN CARNIVAL OVERTURE, OPUS 9

HECTOR-LOUIS BERLIOZ

(Born December 11, 1803, at Côte-Saint-André, Department of lsère, France; died March 8, 1869 in Paris) Berlioz salvaged the Roman Carnival Overture from a painful failure, his opera Benvenuto Cellini. “The performance took place,” he wrote in his Memoirs of Cellini’s premiere at the Paris Opera; “the overture was extravagantly applauded; the rest was hissed with exemplary precision and energy.” Six years after the Cellini debacle Berlioz drew the Roman Carnival concert overture from his already forgotten opera. The quick music comes from the Mardi Gras finale of Act I; the beautiful solo for English horn is Cellini’s tenderly passionate address to the young Teresa Balducci, “Ô Teresa, vous que j’aime plus que ma vie.” The two contrasting musics are beautifully scored—of course—but they are also beautifully composed, now set off, now combined with dazzling fantasy.

—Michael Steinberg

CONCERTO IN A MINOR FOR PIANO AND ORCHESTRA, OPUS 54

Pre-Performance Talk • 7PM

ROBERT SCHUMANN

Speaker: Alexandra Amati-Camperi, Professor of Music and Coordinator of the Music Program, University of San Francisco

(Born June 8, 1810, in Zwickau, Saxony (Germany); died July 29, 1856 in Endenich, near Bonn) In 1839 Robert Schumann published an essay on the subject of piano concertos in his five-year-old Neue Zeitschrift für Musik, in which he expounded on the challenge confronting the genre: “We must await the genius who will show us in a newer and more brilliant way how orchestra and piano may be combined, how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art, while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.”

That much-awaited genius would be Schumann himself, but the breakthrough did

Alexandra Amati-Camperi ‘s interests include the Italian Renaissance, feminist criticism, Romantic piano music and German Baroque choral music. She has published papers on Renaissance, operatic, and gender-related topics. She has also served as program annotator and pre-concert lecturer for many Bay Area organizations, including the San Francisco Symphony and the San Francisco Opera.

30 MONDAVIARTS .ORG

not come easily. Between 1827 and 1839 he made four stabs at piano concertos, but he left all of them in fragmentary form. His quest to find how his musical ideals might work in a piano concerto began in earnest in May 1841, when he composed a one-movement Concert Phantasie (as he spelled it) for Piano and Orchestra. It received two private run-throughs that August, with Schumann’s piano virtuoso wife Clara Wieck Schumann as soloist. That, however, was the last the Phantasie was heard, and Schumann’s attempts to publish it came to naught. But the Phantasie was too good to abandon, and in the summer of 1845 Schumann set about revising it into the first movement of a full-scale concerto. Early listeners were struck, as Clara had been, by the extent to which the piano and the orchestra interacted, as opposed to the more standard turn-taking of the forces in standard virtuoso concertos of the day. Despite its lack of superficial razzle-dazzle, Schumann’s only full-fledged piano concerto quickly became one of his most popular pieces.

This concerto opens with a dramatic descending piano flourish on the heels of the orchestra’s opening unison note. The principal theme, however, is a far more sedate and mysterious melody articulated in tandem by oboe and bassoon immediately following the piano’s flourish. The piano repeats the melody, and then moves on to a deep-voiced secondary theme with first violins doubling the tune. A particularly magical moment arrives with the beginning of the development section. The exposition has ended with the full orchestra’s blustery fanfares. These die away, at which point surprising harmonic and rhythmic modulations make the principal theme even more dreamy, with solo clarinet responding over a background of hushed strings. The reverie is rudely interrupted with a piano flourish, which eventually leads to a magnificent cadenza. At the cadenza’s conclusion the principal theme

SAN FRANCISCO SYMPHONY appears yet again, restyled into quick, hopping form in an accelerated tempo.

A self-effacing simplicity fills the second movement Intermezzo, which opens and closes with a Mendelssohnian “song without words,” full of memorable contour but ultimately slight. The central section of the movement is given over to a more passionate span in which the cellos sing a rapturous melody, the piano decorating it from above. After a return of the Intermezzo’s main section, Schumann ushers us into the exhilarating finale. We are treated to an irresistible interplay of melodies, and to a reluctance on the part of the piano to let the composition end. —James M. Keller

astonishing richness and variety of material, presented lucidly, with a profoundly original sense of order, and gloriously scored. The Scherzo moves in flavorful cross-rhythms, the swinging theme in violins and violas falling into three broad beats per measure, while the cello-and-bassoon tune is in two. It is all force and energy, after which the trio brings contrast in every aspect, by being in a major key, by its gentleness, and by the skillful and evocative blurring of outlines and textures. In most ways this scherzo is a moment of relaxation after

the densely composed, attention-demanding two movements that precede it, but the coda reminds us that the context is one of tragedy.

The Finale also presents a wealth of themes, from the first impassioned gesture, through the chorale to which this immediately leads, to the confident A Major tune for the cellos. The development is ample, the recapitulation taut, and the powerful coda turns at last to a solemn close in D Major. —Michael Steinberg PROGRAM NOTES © 2013 SAN FRANCISCO SYMPHONY

SYMPHONY NO. 7 IN D MINOR, OPUS 70

ANTONÍN DVOŘÁK

(Born September 8, 1841, at Mühlhausen (Nelahozeves), Bohemia; died May 1, 1904 in Prague) When Volume II of Donald Francis Tovey’s Essays in Musical Analysis appeared in 1935, many of his readers must have been startled to come across this sentence: “I have no hesitation in setting Dvořák’s [7th] Symphony along with the C-Major Symphony of Schubert and the four symphonies of Brahms, as among the greatest and purest examples of this artform since Beethoven.” Hardly any of Tovey’s readers are likely ever to have heard the D Minor Symphony. Performances of any of Dvořák’s symphonies other than the New World were extremely rare, at least outside Czechoslovakia.

For most people the “other” Dvořák symphonies were a discovery of the years after World War II. The 7th Symphony could hardly have been more different from its sunshine-and-blue-skies predecessor. Dvořák makes his way into the music with a theme as dark and under cover as it is determined. And before the violas and cellos even articulate that idea, a low D pedal (horns, drums, and basses) has already done its work in defining the atmosphere. Characteristically, Dvořák includes a wealth of thematic ideas.

Quickly he builds to a climax, withdraws for a moment into a pastoral conversation of horn and oboe, then works up to an even more intense crisis before settling into a new key, B-flat Major, and delighting us with a wonderfully spacious melody. This is expanded magnificently until the rich exposition comes to a close just as though there were going to be a formal repeat.

Instead, the music plunges—pianissimo but with great intensity—into the development.

This moves swiftly and masterfully, covering much territory. The recapitulation is tautly condensed—it even begins in mid-paragraph— and only in the dying-away coda does the music draw more leisurely breaths.

The Adagio is among Dvořák’s most searching slow movements. Here, too, there is

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SAN FRANCISCO SYMPHONY SAN FRANCISCO SYMPHONY

Mark Volkert

Michael Tilson Thomas

ASSISTANT CONCERTMASTER 75TH ANNIVERSARY CHAIR

Herbert Blomstedt

ASSISTANT CONCERTMASTER

MUSIC DIRECTOR AND CONDUCTOR

CONDUCTOR LAUREATE

Donato Cabrera

Jeremy Constant Mariko Smiley

RESIDENT CONDUCTOR

PAULA & JOHN GAMBS SECOND CENTURY CHAIR

Ragnar Bohlin

Melissa Kleinbart

CHORUS DIRECTOR

Vance George

CHORUS DIRECTOR EMERITUS

FIRST VIOLINS

Alexander Barantschik

CONCERTMASTER NAOUM BLINDER CHAIR

Nadya Tichman

ASSOCIATE CONCERTMASTER SAN FRANCISCO SYMPHONY FOUNDATION CHAIR

KATHARINE HANRAHAN CHAIR

Yun Chu Sharon Grebanier Naomi Kazama Hull In Sun Jang Yukiko Kurakata CATHERINE A. MUELLER CHAIR

Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen

Polina Sedukh

SECOND VIOLINS

ISAAC STERN CHAIR

Robert Zelnick Chen Zhao Sarah Knutson†

Dan Carlson

ACTING PRINCIPAL DINNER & SWIG FAMILIES CHAIR

Paul Brancato

ACTING ASSOCIATE PRINCIPAL AUDREY AVIS AASEN-HULL CHAIR

VIOLAS

CELLOS

Jonathan Fischer*

Peter Wyrick

Christopher Gaudi†

PRINCIPAL PHILIP S. BOONE CHAIR ASSOCIATE PRINCIPAL PETER & JACQUELINE HOEFER CHAIR

ACTING ASSOCIATE PRINCIPAL

Pamela Smith

Amos Yang

ASSISTANT PRINCIPAL

DR. WILLIAM D. CLINITE CHAIR

Yun Jie Liu

Margaret Tait

Russ deLuna

ACTING ASSISTANT PRINCIPAL

Katie Kadarauch

Dan Nobuhiko Smiley

Barbara Andres

John Schoening

John Chisholm

PRINCIPAL

ASSOCIATE PRINCIPAL ASSISTANT PRINCIPAL

THE EUCALYPTUS FOUNDATION SECOND CENTURY CHAIR

Raushan Akhmedyarova David Chernyavsky Cathryn Down Darlene Gray Amy Hiraga Kum Mo Kim Chunming Mo Kelly Leon-Pearce

JOANNE E. HARRINGTON & LORRY I. LOKEY SECOND CENTURY CHAIR

Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young

LYMAN & CAROL CASEY SECOND CENTURY CHAIR

THE STANLEY S. LANGENDORF FOUNDATION SECOND CENTURY CHAIR

Barbara Bogatin Jill Rachuy Brindel

GARY & KATHLEEN HEIDENREICH SECOND CENTURY CHAIR

Sébastien Gingras David Goldblatt

CHRISTINE & PIERRE LAMOND SECOND CENTURY CHAIR

Carolyn McIntosh Anne Pinsker

PRINCIPAL WILLIAM R. & GRETCHEN B. KIMBALL CHAIR

Luis Baez

ASSOCIATE PRINCIPAL & E-FLAT CLARINET

David Neuman Jerome Simas BASS CLARINET

BASSOONS

Stephen Paulson PRINCIPAL

PRINCIPAL

Rob Weir Steven Braunstein

Scott Pingel Larry Epstein

ASSOCIATE PRINCIPAL

Stephen Tramontozzi

ASSISTANT PRINCIPAL RICHARD & RHODA GOLDMAN CHAIR

S. Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen

PRINCIPAL CAROLINE H. HUME CHAIR

Robin McKee

ASSOCIATE PRINCIPAL CATHERINE & RUSSELL CLARK CHAIR

Linda Lukas

Advancing your interests.

CLARINETS

Carey Bell

Steven Dibner

FLUTES

DOWNEY BRAND ATTORNEYS LLP

ENGLISH HORN JOSEPH & PAULINE SCAFIDI CHAIR

BASSES

Tim Day

32 MONDAVIARTS .ORG

ACTING PRINCIPAL EDO DE WAART CHAIR

Jonathan Vinocour

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

www.downeybrand.com

OBOES

Michael Grebanier

ALFRED S. & DEDE WILSEY CHAIR

Catherine Payne PICCOLO

ASSOCIATE PRINCIPAL

CONTRABASSOON

HORNS

Robert Ward

PRINCIPAL JEANNIK MÉQUET LITTLEFIELD CHAIR

Nicole Cash

ASSOCIATE PRINCIPAL

Bruce Roberts

ASSISTANT PRINCIPAL

Jonathan Ring Jessica Valeri Kimberly Wright*

TRUMPETS

Mark Inouye

PRINCIPAL WILLIAM G. IRWIN CHARITY FOUNDATION CHAIR

Justin Emerich†

ACTING ASSOCIATE PRINCIPAL PETER PASTREICH CHAIR

Guy Piddington

ANN L. & CHARLES B. JOHNSON CHAIR

Jeff Biancalana

TROMBONES

Timothy Higgins

PRINCIPAL ROBERT L. SAMTER CHAIR

Paul Welcomer John Engelkes BASS TROMBONE

ADMINISTRATION

Sakurako Fisher PRESIDENT

Brent Assink

EXECUTIVE DIRECTOR

John Kieser

GENERAL MANAGER

Anne Johnson

DIRECTOR OF DEVELOPMENT

Nan Keeton

DIRECTOR OF EXTERNAL AFFAIRS

John Mangum

DIRECTOR OF ARTISTIC PLANNING

Oliver Theil

DIRECTOR OF COMMUNICATIONS

Rebecca Blum

ORCHESTRA PERSONNEL MANAGER

Margo Kieser

TUBA

Jeffrey Anderson PRINCIPAL JAMES IRVINE CHAIR

HARP

Douglas Rioth PRINCIPAL

ORCHESTRA LIBRARIAN NANCY & CHARLES GESCHKE CHAIR

John Campbell

ASSISTANT LIBRARIAN

Dan Ferreira†

ASSISTANT LIBRARIAN

Joyce Cron Wessling MANAGER, TOURS AND MEDIA PRODUCTION

Tim Carless

TIMPANI

David Herbert*

PRODUCTION MANAGER

Rob Doherty

STAGE MANAGER

PRINCIPAL MARCIA & JOHN GOLDMAN CHAIR

Dennis DeVost

Alex Orfaly†

Roni Jules

ACTING PRINCIPAL

STAGE TECHNICIAN STAGE TECHNICIAN

Mike Olague

PERCUSSION

STAGE TECHNICIAN

PRINCIPAL

*On Leave †Acting member of the San Francisco Symphony

Jacob Nissly

Raymond Froehlich Tom Hemphill James Lee Wyatt III

KEYBOARDS

Robin Sutherland JEAN & BILL LANE CHAIR

The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

THE SAN FRANCISCO SYMPHONY gave its first concerts in 1911 and has grown in acclaim under a succession of distinguished music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and Michael Tilson Thomas, who assumed his post in 1995. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award and the United States’s Grammy.

Each year the Symphony offers Adventures in Music, the longest running education program among this country’s orchestras, which brings music to every child in grades 1 through 5 in San Francisco’s public schools. In 2004, the SFS launched the multimedia Keeping Score on PBS-TV and the web. For more information, go to www.sfsymphony.org.

YAN PASCAL TORTELIER began his musical career as a violinist. At fourteen he won first prize for violin at the Paris Conservatory and also made his debut as a soloist with the London Philharmonic. Following musical studies with Nadia Boulanger, Tortelier studied conducting with Franco Ferrara at the Accademia Chigiana in Siena, and he was associate conductor of the Orchestre National du Capitole de Toulouse. Further positions have included principal conductor and artistic director of the Ulster Orchestra, principal guest conductor of the Pittsburgh Symphony and principal conductor of the São Paulo Symphony Orchestra, where he currently holds the position of Guest Conductor of Honour.

Following his work as chief conductor of the BBC Philharmonic, he was given the title of Conductor Emeritus. He also holds the position of Principal Guest Conductor at the Royal Academy of Music in London. Highlights of the 2013–14 season and beyond include performances with the Dresden Philharmonic, the Residentie Orkest of The Hague, the Royal Scottish National Orchestra and the Pittsburgh, Utah, New Jersey and Bournemouth symphonies. For Chandos Records, Tortelier recorded award-winning cycles of the orchestral music of Debussy, Ravel, Franck, Roussel and Dutilleux. He has also conducted recordings of repertory ranging from Hindemith and Kodály to Lutosławski and Karlowicz.

Recent releases for Chandos include the Ravel piano concertos coupled with Debussy’s Fantaisie, with pianist Jean-Efflam Bavouzet, and a CD of works by Florent Schmitt with the São Paulo Symphony Orchestra.

Born in Berlin in 1982, pianist MARTIN HELMCHEN studied at Berlin’s Hanns Eisler Conservatory with Galina Iwanzowa and later with Arie Vardie at the Hochschule für Musik und Theater in Hanover, as well as with William Grant Naboré. His international career was launched when he won the 2001 Clara Haskil International Piano Competition, and his other distinctions include a fellowship from the Borletti-Buitoni Trust, the Credit Suisse Young Artist Award and participation in the BBC New Generation Artist program. Following recent debuts with the Saint Louis, Houston and Oregon symphonies, in the 2013–14 season Helmchen will make debuts with the Dallas Symphony and the Cleveland Orchestra at Blossom, as well as his Kennedy Center recital debut in May 2014.

Upcoming engagements worldwide include the City of Birmingham Symphony, Gürzenich Orchestera in Cologne, Musikkollegium Winterthur, Orchestre de Paris, Orchestre Philharmonique de Monte-Carlo, Philharmonia Orchestra, Prague Symphony, Royal Flemish Philharmonic, Svetlanov Symphony in Moscow and the Swedish Chamber Orchestra. An exclusive PentaTone recording artist, Helmchen’s first solo CD, a recording of works of Schubert, won an ECHO award in 2009.

Other discs for PentaTone include piano concertos of Mendelssohn, Schumann and Dvořák, and Schubert’s complete works for violin and piano with Julia Fischer. His second CD of Mozart piano concertos with the Netherlands Chamber Philharmonic will be released later this year. For more information, visit www. martin-helmchen.com.

encore art sprograms.com 33

FURTHER LISTENING MARTIN HELMCHEN AND THE SAN FRANCISCO SYMPHONY A fast-rising pianist, a California orchestra that ranks among the best, and a seasoned guest conductor who (as of press time) had yet to be announced. That’s this evening’s lineup.

Martin Helmchen (b. 1982) is barely 30, but has already released nine albums. He has recorded the Schumann Piano Concerto with the Orchestre Philharmonique de Strasbourg, conducted by Marc Albrecht (PentaTone). That album pairs the oft-performed Schuman Concerto with the less-often-heard Piano Concerto, a piece that Helmchen likes to champion. Helmchen told an interviewer last year that he regards the underappreciated Dvořák concerto as “Extremely original and unconventional, unlike any other Romantic piano concerto. It’s very symphonic, less pianistic, and not openly virtuosic … though horribly difficult to play!”

You might also look for Helmchen’s 2012 album (on PentaTone) featuring solo piano works by Schumann.

Helmchen’s also recorded the Complete Works of Schubert for Piano and Violin (with violinist Julia Fischer) and Schubert’s “Trout” Quintet. And he has several albums featuring two piano concerti by the same composer, including albums featuring “double dips” of Mozart (Piano Concerti Nos. 24 and 13); Mendelssohn, and Shostakovich. There’s also an album (with clarinetist Sharon Kam) of

chamber works by Brahms (on the Berlin label).

Helmchen’s concerts this week with the San Francisco Symphony (in San Francisco and Davis) mark his debut with the orchestra. He also maintains a busy career as a recital artist.

And coming from Berlin (which is a center for such things), he’s also got a personal interest in contemporary electronic music.

The San Francisco Symphony visits the Mondavi Center regularly, and needs no introduction. But let’s point out that the SFS picked up a 2013 Grammy Award for their recent album featuring Bay Area composer John Adams’s Harmonielehre (recorded live in 2010 under conductor Michael Tilson Thomas, and released in 2012 on SFS Media—not to be confused with the orchestra’s equally notable 1985 premiere recording of the same piece under conductor Edo de Waart—Harmonielehre is now recognized worldwide as a “keeper.”).

You should also check out the San Francisco Symphony’s American Mavericks album (released late last year) which includes a marvelous live recording of California composer Lou Harrison’s feisty Concerto for Organ with Percussion Orchestra, and a stunning rendition of a piano concerto by the musical trailblazer Henry Cowell, performed by Jeremy Denk (who appeared at Mondavi as violinist Joshua Bell’s recital partner in 2010).

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

34 MONDAVIARTS .ORG

by Jeff Hudson

MNOZIL BRASS A With A Twist Series Event Tuesday, October 22, 2013 • 8PM Jackson Hall INDIVIDUAL SPONSORSHIP PROVIDED BY

David and Dolly Fiddyment THERE WILL BE ONE INTERMISSION.

TWENTY YEARS OF MNOZIL BRASS: A JUBILEE PROGRAM Hooray, we’ve managed the first twenty years! Mnozil Brass has received incredibly positive reviews in the papers.

The ensemble is virtuosic and probably the strangest brass septet ever to emerge from Vienna. We would like to offer ourselves our own heartfelt birthday congratulations. And if anyone would like to join us on that, let us extend a warm invitation to the series of jubilee concerts!

So who exactly is inviting you? Well, that would be: Thomas Gansch, Robert Rother and Roman Rindberger on trumpets, Leonhard Paul on the bass trumpet and trombone, and Gerhard Füssl and Zoltan Kiss also on trombones, as well as Wilfried Brandstötter on tuba.

The repertoire includes occasional brass music for any age and stage of life, performed now for twenty years. No note is too high, no lips too hot, no music too unimportant or too serious not to be taken on by Mnozil Brass, who always manage to make something great out of it. Music

by Mnozil Brass appeals to all the senses. It is almost visible, and, when they take the stage, the very air seems perfumed.

All seven members of the band studied at the University of Music in Vienna, graduating as well-rounded musicians

who, in the meantime, have found their places too as teachers in professional musical life. But they never lost their nerve and remain flippant enough to create from their virtuosic playing and unique kind of comedy the kind of scenes on stage which are so clever that they would be worthy of Monty Python.

Despite or maybe because of their academic backgrounds, it is important and, we add, perhaps necessary to have fun. Musical cabaret and comedy are rare birds indeed. And Mnozil Brass assumes they will be playing for an intelligent audience, one able to imagine what they are getting at. Enlightenment is their watchword, and this is paired with a kind of laid back perfection. This is what the septet is known for and loved for.

What began as a session in a rustic restaurant was soon to take root and become part of concert life. In between times, they have given more than 120 concerts each year. In total, Mnozil Brass thinks they must have played a total of 1,846 concerts, travelled at least 14,821,613.4 kilometres and consumed around 10,003 bread rolls with sausage meat. Other than that, probably about four hectolitres of sparkling, yeast-ridden

CARSTEN BUNNEMANN

brews and spirits have been quaffed, and around two hectolitres of CO2 neutral condensed water must have dripped out the end of their instruments.

Over the years, Thomas has produced the note C’’’ (loud) 46,281 times, Roman C’’’’ (soft) 247 times, and Robert C’’’’’ (with optimum temperatures and tailwind) twelve times. Gerhard has played innumerable glissandi, and now suffers from tennis arm. As for Zoltan, his playing as so touched a nerve amongst audiences that people have broken down in tears.

Leonhard, for his part, has ordained that the bass trumpet is actually a musical instrument. Wilfried’s tuba has fallen over four times now. So, as you see, there is every reason for a jubilee tour!

After three successful operetta and opera productions in the last few years, Mnozil Brass continue their extraordinary career by ringing in the changes for 2013.

On the occasion of the 200th anniversary of the birth of Richard Wagner, the ensemble has been entrusted with a production for the City of Bayreuth. A pinnacle of success we are bound to assume. Congratulations all round! www.mnozilbrass.at

encore art sprograms.com 35

SFJAZZ COLLECTIVE

10th Anniversary Tour

JAMIE TANAKA PHOTOGRAPHY

SFJAZZ COLLECTIVE

A Capital Public Radio Jackson Hall Jazz Series Event

10TH ANNIVERSARY TOUR

Wednesday, October 23, 2013 • 8PM

Miguel Zenón, Alto Saxophone David Sánchez, Tenor Saxophone Avishai Cohen, Trumpet Robin Eubanks, Trombone Warren Wolf, Vibraphone, Marimba Edward Simon, Piano Matt Penman, Bass Obed Calvaire, Drums

Jackson Hall SPONSORED BY

INDIVIDUAL SUPPORT PROVIDED BY

Tony and Joan Stone Pre-Performance Talk • 7PM Speaker: Rob Tocalino, Director of Marketing, Mondavi Center Rob Tocalino is the Director of Marketing at the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, where he oversees all external communications and ticketing operations. Prior to his work at the Mondavi Center, Rob worked as Associate Director of Marketing at SFJAZZ, working closely on projects from the SFJAZZ Collective to overseeing a Mellon Foundation-funded initiative to introduce young audiences to jazz. Prior to that he served as Managing Director of the Lake Tahoe Shakespeare Festival at Sand Harbor.

PROGRAM SUBJECT TO CHANGE. 36 MONDAVIARTS .ORG

THE REPERTOIRE

THE CONCEPT

This fall, the award-winning SFJAZZ Collective celebrates its 10th anniversary by highlighting their greatest arrangements and original compositions. This “best of” performance includes material from each of the Collective’s tribute composers including Ornette Coleman, John Coltrane, Herbie Hancock, Thelonious Monk, Wayne Shorter, McCoy Tyner, Horace Silver, Stevie Wonder and Chick Corea. For each of the past ten years, the Collective convenes annually to perform new arrangements of compositions by a modern music master and new compositions by the members, commissioned by SFJAZZ. Through this pioneering approach, honoring jazz history while championing the music’s up-tothe-minute directions, the Collective embodies SFJAZZ’s organizational commitment to jazz as a living ever-relevant art form.

If you’re not already familiar with the eight artists who comprise the SFJAZZ Collective, you will be. As soloists, composers, and bandleaders, they represent what’s happening now in jazz.

They also demonstrate that jazz has truly become an international language. Hailing from Puerto Rico, Baltimore, New York, Venezuela, Israel and New Zealand, the Collective’s multi-cultural lineup mirrors the explosion of jazz talent around the globe. However, the jazz community only reached its current state by maintaining its traditions while simultaneously embracing innovation. This, too, is the essence of the SFJAZZ Collective. These exceptional artists come together in the name of jazz as a constantly evolving, quintessentially modern art form.

SFJAZZ COLLECTIVE This includes rearrangements of work from a modern music master, plus all-new original compositions, commissioned exclusively for this ensemble by SFJAZZ. In addition, they mentor promising young musicians, including the acclaimed SFJAZZ High School All-Stars, through workshops and other outreach. The residency is a rare opportunity in the jazz world for such focused creativity, collaboration and preparation, and would not be possible without SFJAZZ institutional backing.

HISTORY

The idea for the Collective arose from discussions between SFJAZZ’s founder and executive director, Randall Kline, and saxophonist and founding Collective member Joshua Redman. While deeply respectful of jazz’s origins and early traditions, SFJAZZ was concerned that the modern side of jazz, from roughly the mid-20th-century to the present day, was often overlooked in the public eye in comparison with the music of jazz’s so-called “Golden Age.” Both Kline and Redman were eager to showcase, in a manner that would resonate with jazz aficionados and newcomers alike, the artistic continuum from modern masters to today’s new generation of players.

Much like chamber music, the music is designed for a small group of instruments to be performed in intimate settings and atmospheres including performing arts centers, concert halls and salons.

Past Collective members have included the likes of Eric Harland, Mark Turner, Joshua Redman, Bobby Hutcherson, Dave Douglas, Nicholas Payton, Joe Lovano, Josh Roseman, Renee Rosnes, Robert Hurst, Brian Blade and other jazz stars.

MIGUEL ZENÓN (alto saxophone, original member from 2004), multiple Grammy Nominee and Guggenheim and MacArthur Fellow, represents a select group of musicians who have masterfully balanced and blended the often contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American Folkloric Music and Jazz. Born and raised in San Juan, Puerto Rico, Zenón has released six recordings as a leader including the Grammy-nominated Alma Adentro (2011), which is a tribute to the Puerto Rican songbook. As a sideman he has worked with jazz luminaries such as Charlie Haden, David Sánchez, The Mingus Big Band, Fred Hersch, Kenny Werner, Bobby Hutcherson, Steve Coleman and the SFJAZZ

Collective. Zenón has been featured in articles on publications such as The New York Times, Wall Street Journal, Los Angeles Times, as well as gracing the cover of DownBeat magazine. He has also toped the Rising Star Alto Sax category of the DownBeat Critic’s Poll on four different occasions. As a composer, he has been commissioned

by SFJAZZ, The New York State Council for the Arts, Chamber Music America, The John Simon Guggenheim Foundation and many of his peers. Zenón has given hundreds of

lectures and master classes at institutions all over the world, and is a permanent faculty member at New England Conservatory of Music. In 2011 he founded Caravana Cultural, a program that presents free jazz concerts in rural areas of Puerto Rico. In April 2008, Zenón received a fellowship from the prestigious John Simon Guggenheim Foundation. Later that year he was one of 25 distinguished individuals chosen to receive the coveted MacArthur Fellowship, also known as the “Genius Grant.”

The magic of

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SFJAZZ COLLECTIVE DAVID SÁNCHEZ (tenor saxophone, member since 2012) is among the great saxophonists to emerge at the end of the 20th century. This Puerto Rican tenor virtuoso is in a class by himself.

Following studies under the great Kenny Barron at Rutgers, the saxophonist was selected by jazz legend Dizzy Gillespie to join his renowned United Nation Orchestra. Sánchez went on to become a one of the most celebrated instrumentalists in jazz, recording nine albums as a leader and winning a Latin Grammy Award for his 2004 Columbia orchestral session, Coral. The five-time Grammy nominee has performed with a roster of greats including Charlie Haden, Eddie Palmieri, Roy Haynes, Tom Harrell and countless others. In addition to his work as a performer, Sánchez has an impressive résumé as an educator, conducting master classes, workshops and residencies at the world’s top universities and conservatories. His latest album is the Concord release Ninety Miles, a project recorded in Cuba and co-led by trumpeter Christian Scott and fellow Collective member, vibraphonist Stefon Harris.

AVISHAI COHEN (trumpet, member since

2010), voted a Rising Star in the 2012 DownBeat Critics Poll, has earned renown as a musician with an individual sound and a questing spirit, an ever-creative player-composer open to multiple strains of jazz and active internationally as a leader, co-leader and sideman. Cohen played a headlining set at the 2011 Newport Jazz Festival, leading his thrilling trio Triveni with double-bassist Omer Avital and drummer Nasheet Waits. Anzic Records released the trio’s second album, Triveni II—Cohen’s sixth recording as a leader—in October, 2012. The trumpeter also records and tours the world as part of the prestigious SFJAZZ Collective, as he does with The 3 Cohens Sextet—the hit family band with his sister, clarinetist-saxophonist Anat, and brother, saxophonist Yuval. With The 3 Cohens, Cohen has twice headlined the hallowed Village Vanguard, as well as appeared on the cover of the January 2012 issue of DownBeat. He is also co-leader of Third World Love, a longstanding multicultural venture with bassist Omer Avital, pianist Yonatan Cohen and drummer Daniel Freedman. Born and raised in Tel Aviv, Israel, Cohen began performing in public in 1988 at age 10. He was educated at the Berklee College of Music in Boston on a full scholarship, and he placed third in the Thelonious Monk Jazz Trumpet Competition in 1997. His discography as a leader includes The Trumpet Player (Fresh Sounds New Talent, 2002), After The Big Rain (Anzic, 2007), Flood (Anzic, 2008), Seven (Anzic, 2008), Introducing Triveni (Anzic, 2010) and Triveni II (Anzic, 2012). As a sideman, Cohen has recently toured in headlining bands led by Kenny Werner and Mark Turner. He has lent his trumpet to recordings by Anat Cohen, Yuval Cohen and 38 MONDAVIARTS .ORG

Jason Lindner and has collaborated with singersongwriter Keren Ann. As a teacher, Cohen gives courses at Siena Jazz in Italy, and teaches master classes from Israel and Barcelona to Winnipeg and Berklee in Boston.

Cross, 2005). Currently, Simon leads his own trio, Ensemble Venezuela, collaborates with saxophonist David Binney in the quartet Afinidad and also appears alongside his brothers in the group Simon, Simon & Simon.

ROBIN EUBANKS (trombone, member since 2008), a five-time “Trombonist of the Year” in the DownBeat Magazine Critics Poll, is the premier jazz trombonist of his generation. In addition to leading his own groups, EB3 and Mental Images, Eubanks has performed and composed on Grammy-winning recordings with Dave Holland and Michael Brecker. In addition, he has worked with music legends Art Blakey, McCoy Tyner, Elvin Jones and the Rolling Stones, to name a few. The native Philadelphian, an acclaimed composer, is the recipient of composition grants from Chamber Music America and ASCAP. Eubanks is a sought-after educator and is now a tenured professor of trombone at the renowned Oberlin Conservatory.

MATT PENMAN (bass, member since 2005), originally from New Zealand, has become one of the most in-demand bass players of his generation since moving to New York in 1995. In addition to releasing his own critically acclaimed CDs, Catch of the Day (2007) and The Unquiet (2002), he has recorded as a sideman on some 100 other discs, and has performed with a host of jazz greats including John Scofield, Joe Lovano, Kurt Rosenwinkel, Guillermo Klein, Nneena Freelon, Nicholas Payton, Dave Douglas and Madeleine Peyroux. His latest project is the supergroup James Farm, which includes founding SFJAZZ Collective tenor saxophonist Joshua Redman, pianist Aaron Parks and Collective alumnus drummer Eric Harland. Their self-titled Nonesuch debut was released this year.

WARREN WOLF (vibraphone and marimba, members since 2013) is the newest member of the SFJAZZ Collective replacing verteran Stefon Harris. Wolf is a multi-instrumentalist from Baltimore, Md. From the young age of three years old, Wolf has been trained on the vibraphone/ marimba, drums and piano. He attended the Peabody Preparatory for eight years studying classical music with former Baltimore Symphony Orchestra member Leo LePage. During his high school years at the Baltimore School for the Arts, Wolf studied with current Baltimore Symphony Orchestra member John Locke. After graduating from Baltimore School for the Arts in June of 1997, Wolf headed north and enrolled at the Berklee College of Music in Boston, Mass. Wolf has several recordings as a leader and was recently signed to the Mack Avenue Records. The upcoming release of Warren Wolf, the eponymous debut album, will make it as apparent to jazz fans as it already is to jazz insiders that the 31-year-old vibraphonist is the next major voice on his instrument.

EDWARD SIMON (piano, member since 2010), a 2010 Guggenheim Fellow, was born in the coastal town of Punta Cardón, Venezuela, where he grew up in a family of musicians surrounded by the sounds and rhythms of Latin and Caribbean music. Settling in New York City in 1989, he played with numerous jazz masters, including Herbie Mann, Paquito D’Rivera, Bobby Hutcherson, Bobby Watson, Terence Blanchard and Don Byron. He has produced seven critically acclaimed albums as a leader, including two New York Times top ten jazz records of the year: Edward Simon (Kokopelli, 1994) and Simplicitas (Criss

OBED CALVAIRE (drums, member since 2013), a Miami native, is one of the most exciting young drummers on the jazz scene. A brilliant instrumentalist who made his mark with trombonist Steve Turre, Calvaire has performed and recorded with an impressive array of jazz artists including Wynton Marsalis, Eddie Palmieri, Roy Hargrove, Bob Mintzer, the Vanguard Jazz Orchestra, Mark Murphy, Eric Reed, the Clayton Brothers and others. Calvaire is a musical chameleon at home in any musical situation, performing extensively in Afro-Cuban, R&B, pop and world music contexts. In addition to the SFJAZZ Collective, his current projects include work with Richard Bona, Peter Cincotti, Musiq Soulchild and young trumpet phenomenon Sean Jones. Calvaire holds a master’s degree from the Manhattan School of Music.

ABOUT SFJAZZ

The award-winning SFJAZZ Center opened on January 21, 2013 in San Francisco’s vibrant Hayes Valley and has already been recognized as one of the best new performing arts centers in the country, receiving awards from architecture and acoustic organizations. Founded in 1983, SFJAZZ presents the greatest names in jazz, Latin and other global music and nurtures the art of improvisation through its year-round concert, commissioning and education programs. The West Coast’s biggest jazz presenter serves about 200,000 fans and students every year from our SFJAZZ Annual Season, San Francisco Jazz Festival, SFJAZZ Summer Sessions, and SFJAZZ Collective.

The extensive SFJAZZ Education programs include Family Matinees, Koret Discover Jazz Classes, Jazz in the Middle and SFJAZZ High-School Stars.

Book and Lyrics by Steven

Sater Music by Duncan Sheik Based on the play by Frank

Wedekind Directed by UC Davis Granada Artist-in-Residence Stafford Arima Choreographed by Chris McCoy Stafford Arima was nominated for an Olivier Award for his direction of the West End premiere of Ragtime. Most recently he directed The King and I at Sacramento's Music Circus.

Main TheaTre, WrighT hall Thu, nov 21 - SaT, nov 23, 8pM Thu, Dec 5 - SaT, Dec 7, 8pM

|| Sun, nov 24, 2pM

general $18/22; STuDenTS, SeniorS $16/20 TickeTS & info 530.754.2787

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TheaTreDance.ucDaviS.eDu

rated r for violence, sexuality, nudity, language

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MOMIX

BOTANICA

BOTANICA

A Marvels Series Event

PRESENTED BY

Saturday, October 26, 2013 • 8PM

MOMIX

Sunday, October 27, 2013 • 3PM Jackson Hall

SPONSORED BY

THERE WILL BE ONE INTERMISSION. PROGRAM IS SUBJECT TO CHANGE.

Conceived & Directed by Moses Pendleton

Costume Construction: Phoebe Katzin

First Assistant: Cynthia Quinn

Costume Assistants: Beryl Taylor, Dawn Arico, Danielle McFall

Assisted by: Tsarra Bequette, Eric Borne, Jennifer Chicheportiche, Joshua Christopher, John Corsa, Simona Ditucci, Jonathan Eden, Michael Holdsworth, Donatello Iacobellis, Rob Laqui, Natalie Lamonte, Nicole Loizides, Heather Magee, Steven Marshall, Tim Melady, Sarah Nachbauer, Roberto Olvera, Cynthia Quinn, Rebecca Rasmussen, Brian Sanders, Pedro Silva, Cassandra Taylor, Jaime Verazin and Jared Wootan Performed by: Dajuan Booker, Simona Ditucci, Michael Fernandez, Amanda Hulen, Morgan Hulen, Elizabeth Loft, Graci Meier, Martino Sauter, Jocelyn Wallace and Jason Williams Lighting Design: Joshua Starbuck and Moses Pendleton Costume Design: Phoebe Katzin, Moses Pendleton, Cynthia Quinn

Puppet Design: Michael Curry Prop Construction and Art Work: Pedro Silva Video Projection: Moses Pendleton Video Editing: Woodrow F. Dick, III Music Collage: Moses Pendleton Music Editing: Joshua Christopher, Andrew Hansen, Brian Simerson Production Assistant: Pedro Silva Lighting Equipment Supplied by GSD Productions, Inc., West Hempstead, NY Special Thanks: Sharon Dante, Nutmeg Ballet, James Patrick, Warner Theatre, Diana Vishneva, Phillip Holland, Joan Talbot, Laura Daly, Julio Alvarez and Margaret Selby

BOTANICA “The plant strains its whole being in one single plan: to escape above ground from the fatality below; to elude and transgress the dark and weighty law, to free itself, to break the narrow sphere, to invent or invoke wings, to escape as far as possible, to conquer the space wherein fate encloses it, to approach another kingdom, to enter a moving, animated world.” –Maurice Maeterlinck, The Intelligence of Flowers 40 MONDAVIARTS .ORG

MOMIX BOTANICA SOUNDTRACK 1. TUU, “Frozen Land” from the album The Frozen Lands (Amplexus Records). Composed and performed by Martin Franklin. www.codetrip.net. And BlueTech, “Leaving Babylon” from the album Prima Materia. Courtesy of Waveform Records. www.waveformrecords.com.

2. BLUETECH’s, “Cliff Diving” from the album Prima Materia. Courtesy of Waveform Records. www.waveformrecords.com.

3. ZER0 0NE, “NaNO” and “braiNwavE” from the album oz0ne. Courtesy of Waveform Records. www.waveformrecords.com. And Lang Elliot, “Loons” from Nature Sound Studio.

4. LISA GERRARD, “Space Weaver.” Written by Lisa Gerrard and Michael Edwards. Published by Sony/ATV Music Publishing Australia. Performed by Lisa Gerrard (P) 2007 Cloverleigh Downs Pty. Ltd. 5. TRANSGLOBAL UNDERGROUND, “This is the Army of Forgotten Souls” from their album, Dream of 100 Nations. Licensed courtesy of Nation Records Ltd. www.nationrecords.co.uk.

6. ROBERT RICH, “Elemental Trigger” from the album Stalker (Catalog: HOS/Fathom HS11059) Published by Amoeba Music (BMI) and Brian Williams (BMI). “Elemental Trigger” © 1995 by Robert Rich and Brian Williams.

7. VIVALDI’s Four Seasons: Primavera as played by Anne-Sofie Muter.

8. LANG ELLIOT “Winter Wren” from Nature Sound Studio.

9. SUPHALA, “Destinations” on The Now. 10. EASTERN DUB TACTICK, “Easter Winds” and “Spark of Sound” from the album Blood

is Shining. Courtesy of Waveform Records. www.waveformrecords.com.

11. LEGION OF GREEN MEN, “Zero Equals Infinity” from the album Spatial Specifics.

Courtesy of Plus 8 Records LTD. z@plus8.com.

12. PETER GABRIEL, “The Heat” Pentagon Lipservices Real World (BMI) for USA &

Canada/ Real World Music Ltd. (PRS) ex-USA & Canada. Peter Gabriel appears courtesy of Peter Gabriel Lts., petergabriel.com. Special thanks to Julie Lipsius and Rob Bozas.

13. PETER GABRIEL, “Slow Water” Pentagon Lipservices Real World (BMI) for USA &

Canada/ Real World Music Ltd. (PRS) ex-USA & Canada. Peter Gabriel appears courtesy of Peter Gabriel Lts., petergabriel.com. Special thanks to Julie Lipsius and Rob Bozas.

14. DELERIUM, “Sphere.” Performed by Delerium. Written by B. Leeb and R. Fulber. Published

by Nettwerk Songs Publishing/ Zomba Songs. (p) and © 2001 Nettwerk Productions.

15. DEVA PREMAL, “Gayatri Mantra” is used in this performace with permission of

Prabhu Misoc. © 1998 Prabhu Music. Music composed by Deva Premal and Miten. All rights reserved. www.prabhumusic.net.*

16. DELERIUM, “Embryo.” Performed by Delerium. Written by B. Leeb and R. Fulber.

Published Nettwerk Songs/ Zomba Songs. (p) and © 2001 Nettwerk Productions. And Higher Intelligence Agency “Hubble” from the album Freefloater.

17. A POSITIVE LIFE, “Aqua Sonic” from the album Two A.D. Courtesy of Waveform Records. www.waveformrecords.com.

18. LLOYD GROTJAN, “Apogee” from the album Twelve Moons.

19. BLUETECH, “Mezzamorphic” from the album Prima Materia. Courtesy of Waveform Records. www.waveformrecords.com.

20. CELTIC WOMAN, “The Voice” from the album A New Journey.

21. AZAM ALI, “Aj Ondas” on Portals of Grace.

22. BRENT LEWIS, “Mr. Mahalo Head” written and performed by Brent Lewis ASCAP.

SYNAPSES PART ONE WINTER – SPRING

PART TWO SUMMER – FALL

Aurora Rose The Dead Of Winter Cateraction Geese Return Overhead Beckoning Fantasy Tree-Flower to Tempt Three Graces from the Foam to Taste of Pollen Snow And Fall Back into the Flow

God’s Hammer

Loons Laugh in Darkness for Swans to Dream of Genesis and New Green Fro ZEN Awakening Love from Above Delivers Persephone to the Subsoil Riding Old Bones to Romance with Ancient Stones The Worm Turns Night Crawlers into a Sea of Green Spring Pools Marigolds Bloom Hornets Hop Owls Hoot the Arrival of Centaurs Amid Summer Night’s Dream Fire Flies

August of Wind Storms Rain The Beaded Web INSEX Meet the Beetles and Egg On Birds of a Feather to Drop Seed on Sun Flower Finches Startled by the Avant Gardner as the Green Man is Leading the Charge of Indian Summer Branches Gathering for Autumnal Ball Last Leaf Catches the First Snow Fall Cold River Runs Again But There’s More a Solar Flare Tonight’s Encore!

www.brentlewis.com.

*Aqua Flora sponsored in part by Brandon Fradd in honor of Dancers Responding to Aids encore art sprograms.com 41

MOMIX MOMIX is a company of dancer-illusionists under the direction of Moses Pendleton. In addition to stage performances world-wide, MOMIX has worked in film and television, recently appearing in a national commercial for Hanes underwear and a Target ad that premiered during the airing of the 67th Annual Golden Globe Awards. With performances on PBS’s Dance in America series, France’s Antenne II, and Italian RAI television, the company’s repertory has been broadcast to 55 countries.

Joining the Montreal Symphony in the Rhombus Media film of Mussorgsky’s Pictures at an Exhibition, winner of an International Emmy for Best Performing Arts Special, the company’s performance was distributed on laser disc by Decca Records.

MOMIX was also featured in IMAGINE, one of the first 3-D IMAX films to be released in IMAX theaters world-wide. MOMIX dancers Cynthia Quinn and Karl Baumann, under Moses Pendleton’s direction, played the role of “Bluey” in the feature film FX2; and White Widow, co-choreographed by Moses Pendleton and Cynthia Quinn, was featured in Robert Altman’s movie, The Company.

Commissioned by corporations such as Fiat and Mercedes Benz, MOMIX performed at Fiat’s month long 100th Anniversary Celebration in Torino, Italy, and Mercedes Benz’s International Auto Show in Frankfurt, Germany. Participating in the Hommage á Picasso in Paris, the company was also selected to represent the US at the European Cultural Center at Delphi.

With the support of the Scottsdale Cultural Council Scottsdale Center for the Arts in Scottsdale, Arizona, Pendleton created Bat Habits to celebrate the opening of the San Francisco Giants’ new spring training park in Scottsdale. This work served as the forerunner of Baseball and joins such acclaimed original productions as Lunar Sea, Opus Cactus, Orbit, Passion and Botanica.

With nothing more than light and shadow, props, the human body, and an epic imagination, MOMIX has astonished audiences on five continents for more than 30 years.

MOSES PENDLETON (artistic director) has been one of America’s most innovative and widely performed choreographers and directors for over 40 years. A founding member of the groundbreaking Pilobolus Dance Theater in 1971, he formed his own company, MOMIX, in 1980. Pendleton has also worked extensively 42 MONDAVIARTS .ORG

in film, TV and opera and as a choreographer for ballet companies and special events.

Pendleton was born and raised on a dairy farm in Northern Vermont. His earliest experiences as a showman came from exhibiting his family’s dairy cows at the Caledonian County Fair. He received his BA in English Literature from Dartmouth College in 1971 and immediately began touring with Pilobolus, which had grown out of dance classes with Alison Chase at Dartmouth. The group shot to fame in the1970’s, performing on Broadway under the sponsorship of Pierre Cardin, touring internationally and appearing in PBS’s Dance in America and Great Performances series.

By the end of the decade, Pendleton had begun to work outside of Pilobolus, performing in and serving as principal choreographer for the Paris Opera’s Integrale Erik Satie in 1979 and choreographing the closing ceremonies of the Winter Olympics at Lake Placid in 1980.

In 1981 he created MOMIX, which rapidly established an international reputation for highly inventive and often illusionistic choreography. The troupe has been touring steadily and is currently performing several programs internationally. The company has made numerous special programs for Italian and French television and received the Gold Medal of the Verona Festival in 1994.

Pendleton has also been active as a performer and choreographer for other companies. He has staged Picabia’s Dadaist ballet Relache for the Joffrey Ballet and Tutuguri, based on the writings of Artaud, for the Deutsch Opera. He created the role of the Fool for Yuri Lyubimov’s production of Mussorgsky’s Khovanschina at La Scala and choreographed Rameau’s Platee for the U.S. Spoleto Festival in 1987. He contributed choreography to Lina Wertmuller’s production of Carmen at the Munich State Opera in 1993.

More recently, he has choreographed new works for the Arizona Ballet and the Aspen Santa Fe Ballet. He teamed up with Danny Ezralow and David Parsons to choreograph AEROS with the Romanian gymnastics team.

His film and television work includes the feature film FX2 with Cynthia Quinn, Moses Pendleton Presents Moses Pendleton for ABC ARTS cable (winner of a Cine Golden Eagle award), and Pictures at an Exhibition with Charles Dutoit and the Montreal Symphony, which received an International Emmy for Best Performing Arts Special in 1991. Pendleton has made music videos with Prince, Julian Lennon and Cathy Dennis, among others.

Pendleton is an avid photographer with works presented in Rome, Milan, Florence and Aspen. Images of his sunflower plantings at his home in northwestern Connecticut have been featured in numerous books and articles on gardening. He is the subject of the book Salto di Gravita by Lisavetta Scarbi, published in Italy in 1999. Pendleton was a recipient of the Connecticut Commission on the Arts Governor’s Award in 1998; he received the Positano Choreographic Award in 1999 and was a Guggenheim Fellow in 1977. He is a recipient of a 2002 American Choreography Award for his contributions to choreography for film and television. In May 2010, Pendleton received an honorary doctorate of fine arts (Hon. D.F.A.) and delivered the keynote address to the University of the Arts in Philadelphia.

CYNTHIA QUINN (associate director) grew up in Southern California. She graduated Phi Beta Kappa from the University of California at Riverside and continued there as an Associate in Dance for five years. In 1988 she received the University’s Alumni Association’s “Outstanding Young Graduate Award.” As a member of Pilobolus, she performed on Broadway and throughout the U.S., Europe, Canada, Israel and Japan. She collaborated on the choreography of Day Two, Elegy for the Moment, Mirage, What Grows in Huygens Window and Stabat Mater. Quinn began performing with MOMIX in 1983 and has since toured throughout the U.S., Canada, Europe, Australia, South America and Japan. She has appeared in numerous television programs and music videos and has assisted Moses Pendleton in the choreography of Pulcinella for the Ballet Nancy in France, Tutuguri for the Berlin Opera Ballet, Platee for the Spoleto Festival USA, Les Maries de la Tour Eiffel in New York, AccorDION for the Zurich-Vorbuhne Theatre and Carmen for the Munich State Opera. She has also appeared as a guest artist with the Ballet Theatre Francaise de Nancy, the Berlin Opera Ballet and the Munich State Opera, as well as international galas in Italy, France and Japan. Quinn made her film debut as “Bluey” (a role she shared with Karl Baumann) in FX2. She was a featured performer in the Emmy Award winning film Pictures at an Exhibition with the Montreal Symphony and has also appeared in a 3D IMAX film. Quinn is a board member of the Nutmeg Conservatory in Torrington, Connecticut and is on the advisory board of the Susan B. Anthony Project, also in Torrington, CT. She was

indulge

featured with Ru Paul and k.d. Lang for M.A.C. Cosmetics’“Fashion Cares” benefits in Toronto and Vancouver. Quinn is co-choreographer of “White Widow” which is featured prominently in the new Robert Altman film, The Company.

Quinn will also appear in the upcoming film First Born with Elisabeth Shue. However, her most rewarding and challenging role is as a mother to her daughter, Quinn Elisabeth.

MICHAEL CURRY (puppet design) has collaborated with Julie Taymor on many stage and opera productions. On Broadway, he has worked on numerous shows including Crazy For You and Kiss of the Spider Woman. He has been awarded the 1998 Drama Desk Award for Outstanding Puppet Design for The Lion King, several Emmys and the 1999 Eddy Award for Outstanding Contribution in the Technical and Design Field. Curry is one of the country’s leading production design consultants and works widely in both conceptual and technical development for some of the world’s foremost entertainment companies. He owns and operates Michael Curry Design, Inc. in St. Helens, OR., which produces large, live-performance oriented production designs, such as those seen at the 1996 Olympic opening ceremonies, Superbowl 2000 and New York City’s Times Square 2000 Millennium Event.

FINE ITALIAN CUISINE

2657 Portage Bay East • Davis CA 95616 (530) 758-1324 • osteriafasulo.com FREE PARKING FASTEST & EASIEST WAY TO THE MONDAVI CENTER OF 080713 indulge 1_3s.pdf

PHOEBE KATZIN (costume designer) has been designing and constructing dresses and costumes for over twenty years. After graduating from Endicott College’s fashion design program, she worked for Kitty Daly, building dance costumes and dressmaking. For several years she lived in New York making costumes for Kitty Leach, Greg Barnes and Allison Conner, among others. For the past few years, she has been working for MOMIX and Pilobolus. Katzin lives in Connecticut with her three children and husband James.

JOSHUA STARBUCK (lighting designer) collaborated with Moses Pendleton on his world premiere of Opus Cactus for Ballet Arizona. He has designed numerous productions and tours for Ballet Arizona. He has toured five continents with many of his designs for dance, ice skating, opera, industrials, concerts and theater. He has designed for Arena Stage, Playwrights Horizons, The Manhattan Theater Club, The Public Theater, Coconut Grove Playhouse, Walnut Street Theater, Williamstown Theater Festival and others. He has also worked with the Kirov Ballet, The Royal 080713 indulge 1_3s.indd Ballet, The Spanish National Ballet andOFthe English National Ballet.

1

encore art sprograms.com 43

ANDA UNION

The Wind Horse A Chevron World Stage Series Event Wednesday, October 30, 2013 • 8PM

The songs will be selected from the following:

Jackson Hall SPONSORED BY

PROGRAM

AND

THERE WILL BE ONE INTERMISSION.

Altargana Black Horse Buriat Song Derlcha Galloping Horses Genghis Khan Heemor

The Herdsman Holy Mountain Hometown Jangar Lake Dance Mother Ode To Mongolia

Ordos Drinking Song Suhe’s White Horse Sumaro The Legend of the Swan Brothers Wan Li

(Exact playlist and order subject to change.)

All arrangements by AnDa Union

The 2013 national tour of AnDa Union: The Wind Horse is part of a major, multi-year cultural exchange with Minneapolisbased Arts Midwest, the Chinese Ministry of Culture and the US Major University Presenters consortium. Support for the tour has been provided by the Ministry of Culture, People’s Republic of China.

SPECIAL THANKS TO

David Fraher, Kat Duvic, Sanj Altan, Tim Wilson, Ken Carlson and our friends and families in Inner Mongolia

Heemor composed by Ilata, White Horse by Chinggeltu and Galloping Horses composed by Chi Bulag ANDA UNION

Biligbaatar Chinggel Chinggeltu Nars Saikhannakhaa Tsetsegmaa Uni Urgen Urgen (yes there are 2 Urgens!)

AnDa Union Management: Tim Pearce & Sophie Lascelles Education Assistant: Pascal Pearce Film Courtesy of Eye4Films Ltd. Exclusive North America Tour Direction: 2Luck Concepts encore art sprograms.com 45

ANDA UNION PROGRAM NOTES ALTARGANA

Altargana is a based on a famous Buriat folksong. The Buriats live in the North East of Inner Mongolia in Hulun Buir close to the Russian Border. Altargana is a type of special small grass that grows in Hulun Buir in Inner Mongolia. It has very deep roots and is very difficult to pull up. This song tells how the parents are like Altargana grasses, strongly rooted and looking after their children.

BLACK HORSE

The horse is the most important of animals to the Mongolians and it was their horsemanship that was the driving force behind the Mongolian Empire. Many traditional songs celebrate the horse and this is a love song, the lyrics are simple but Biligbaatar takes us out to the Mongolian steppes with his soaring vocals.

Lyrics (extract) The rider reins in the Black horse and rides in a tight circle And the sun tanned girl runs around the horse and rider The rider rides the brown horse around the mountain And the sun tanned girl runs around the horse and rider

BOOMBORAI

Boomborai is based on a folk song from the Horchin Grasslands. It comes from ancient Mongolian Shaman traditions and tells how one of the Shaman dance rituals, Andai, was born. If women were depressed because of problems in love and marriage, their families would invite the local shaman to dance the Andai to keep away disease and misfortune.

It is said that once upon a time, there lived a father and his daughter on the Horqin Grassland. One day, the daughter, suddenly stricken by an unknown disease, lost her mind and began to behave strangely. She remained ill for a long time without any sign of recovery.

One day, the father, burning with anxiety, carried his daughter on a herdsman’s wooden cart to a faraway place to see a doctor.

However, when they arrived at the town of Kulun, the axle of the cart broke. At the same time, the girl’s condition worsened and her life was in danger. The anxious father had no idea what to do except to wander around the cart, singing a song to express his sorrow. The wailing song drew some people from nearby villages. They couldn’t help but shed tears at this sight and joined the old man in swinging their arms and wailing around the cart.

To everyone’s surprise, the daughter quietly rose, got off the cart, and followed the people, swinging her arms and stamping her feet with them. When people saw her, she was sweating all over, and her disease had been miraculously cured. The good news spread and 46 MONDAVIARTS .ORG

from then on, people began to follow suit and treat young women who suffered from similar diseases by dancing around them in the same manner. The dance became known as “Andai.”

BURIAT SONG

Over 200 years ago the Mongolian Buriat tribe migrated from close to lake Baikal to Hulun Buir in North Western Inner Mongolia.

As nomads they have a regular area where the move as the seasons change. Their history is full of these mass migrations where tens of thousands migrate thousands of kilometres to new pastures. In this song Tsetsegmaa, who is a Buriat Mongol, celebrates her people’s culture.

DERLCHA

Derlcha is an ancient Mongolian singing competition. Originally it was kings and princes of banners (regions) that took part but today it has become a popular art. It is often part of a festival or Nadaam, two people battle against each other, each singing a verse to which the other has to reply. The battle can go on for days until one of the singers cannot think of anything to sing but is made speechless. The winner then ridicules the loser in front of the crowd before a new challenger takes on the winner and so the competition goes until one singer remains and is declared the winner. The winners of these competitions became very skilled in remembering verses and developing their wits to overcome their opponents. Mongolian children have practiced Derlcha battles with their friends as a game for centuries.

Our performer Nars himself used to do Derlcha battles with his friends when he was growing up in the Horchin Grasslands and AnDa Union’s version is based on verses used in the ancient Derlcha battles.

GALLOPING HORSES

Galloping Horses is undoubtedly the most famous piece of music composed for the Morin Huur. It was written by the master Chi Bulag who created the piece after watching a fierce horse race, in which the winning horse staggered over the finishing line, collapsed and died of exhaustion. Chi Bulag has been central to the evolution of the Morin Huur taking the ancient Chuur Huur and developing it into what we know as the Morin Huur today.

GENGHIS KHAN

This a song that is song at auspicious Mongolian ceremonies such as weddings and is often used as a piece of music to start the proceedings. It brings good luck and Genghis Khan is revered by the Mongolians as the founder of Mongolian culture, and many Mongolians make the pilgramage to the Genghis Khan Mausoleum in Ordos. As

the uniter of the Mongolian tribes, he is the Mongolian father figure creating their written language and although he didn’t unify China, it was his grandson the Kublai Khan who did by founding the Yuan Dynasty.

HEEMOR, THE WIND HORSE

The wind horse is an allegory for the human soul in the shamanistic tradition of Central Asia which has been integrated into Mongolian and Tibetan Buddhism. Heemor is a symbol of the idea of well-being or good fortune. As the windhorse rises things go well and as it falls the opposite happens. Heemor takes our prayers to Tengar the sky god. This beautiful piece of music inspired by Heemor was composed by Yalalt who lives and works in Hohhot, Inner Mongolia.

THE HERDSMAN

Many Mongolian songs celebrate their nomadic life in the grasslands and this song tells of the joy of a herdsman in an idyllic state.

Lyrics (extract) The Herdsman’s horse is swift, as were all its ancestors The Herdsman has the finest long Org (lasso) As he gallops the Ord whistles in the wind The grass is so high and lush that it brushes his stirrups If the Herdsman’s horse is healthy, then he is content.

HOLY MOUNTAIN

The Moadin Chur playing is always inspired by the sounds of the mountains and waters.

This song is dedicated to Holy Mountain.

Before Ghengis Khan became mighty he hid in the holy mountain several times to escape from dangers and find strength. Traditionally the elders always went there to pray and find solace. The Moadin Chur is an ancient Mongolian reed flute. The reeds for the flute are now mostly found in the Altai Mountains in Xinjiang, and it is there that most Moadin Chur music is played today.

HOMETOWN

This song is inspired by the steady destruction of the grasslands as farming and mining encroach ever further combined with the effects of global climate change. The lyrics were written by AnDa Union’s Urgen who left his home in the grasslands when he was 13 years old to train at music school in the city. He has never returned, but his heart remains there, as do all the hearts of AnDa Union’s performers. But the grasslands are no longer the grasslands of their childhoods. This song appeals for the grasslands to be saved and preserved.

Lyrics (extract) My hometown, the place where I was born, was far away from here My close family how is your health?

My missing Hometown is far away from here, my missing relatives how is your health?

There is no water in the river, I am sad about that from my heart, There is now water in the spring, I am sad about this from my mind

ANDA UNION JANGAR

Jangar was a great Mongolian hero and there are many myths and legends written about this great man.

“In the age when man’s life was as long as 80,000 years and his height was 8 zhang (1 zhang = 3.33 metres), there was a great hero called Jangar. He was the son of Khan Buhair.

When Buhair was dying, he told his son to do three things. To succeed to the throne, to give his three sisters away in marriage and to marry according to the directions in Buddha’s scripture.

Jangar then ascended the throne. Not long afterwards an eagle like big bird, a young boy with a runny nose and a spotted grey bird the size of a lark came to Jangar and asked for his sisters to be their wives. Though Jangar was not pleased with their proposals, he was forced to give them his sisters because of his father’s will.

According to the directions in Buddha’s scripture, Jangar should go to a place an eighty year ride away to get Chagandai who was the only daughter of Orno Morno Khan as his wife.“ Uni has arranged this song which comes from the Xinjiang Mongols and celebrates this great hero.

LAKE DANCE

Nars was inspired by a Mongolian dance of the Hoshut Mongols in Bayingol. There is a large community of Mongols in the Xinjiang province where there is a rich culture of Mongolian, Uigar and Kazak music and dance.

The Hoshut and Torgut Mongols migrated to this distant western province hundreds of years ago as they escaped from a hostile Russian king. In this song Nars has concentrated on AnDa Union’s throat singing skills.

MOTHER (CHAGAN TOKHOY NOTUK)

This is a song about mothers from Chagan Tokhoy, which is a mythical place in the Ujim Chin Grasslands. It consists of two long-songs combined into one song. Biligbaatar sings about how much they miss their mother when they are far away.

Biligbaatar: “Grey haired old mother, every moment every second we miss you our lovely mother.”

Tsetsegmaa sings a Buriat song that a mother sings to her daughter when she is getting married. The Mongolian nomadic way of life is based on moving pastures four times a year so as to ensure that the grass is not over grazed. It also means that each herder will live far away from the next, also to stop over grazing. It is very common for a Buriat mother to sing this song to her daughter, as often the daughter will move far away to live with her husband’s family.

Tsetsegmaa: “After you get married if you find a clean spring you can drink the water, if the daughter marries far from home that happens often”

make the strings and bow. He should then play the fiddle and every time he did so he would be reminded of his beloved horse.

ODE TO MONGOLIA

The mighty Mongolian Empire and Genghis Khan are of central importance to Mongolian culture and a source of immense pride for Mongolians today. There are, of course, many songs that celebrate the founder of the Mongol people. This song was arranged by AnDa Union member Urgen.

Lyrics (extract) To be the world’s master O Genghis Khan’s Mongolia The ancient history of Mongolia Urlan is the mother of Genghis Khan and Mongolia The Mongolians have 800 years of history The Mongolians have great horses and dogs The Mongolians have the sun and the moon.

A young girl, Sumaro is in love with a boy called Sanjay Mam. But this is no ordinary love, and they are desperate to be together every day. When Sanjay Mam is not there, Sumaro climbs to the top of the shrine so that she can see far over the Mongolian plains and waits all day for her lover to return. Sanjay Mam, desperate to see his love rides, his horse so fast that the dust billows behind him like the spray that rises from the lake as a goose lands on the water.

Lyrics (extract) Thinking of and missing him, She couldn’t bear it. O Sumaru Climbing on top of the shrine, she stares into the distance shading her eyes

ORDOS DRINKING SONG

THE GIRL WHO STOLE HORSES

Drinking , especially milk wine, is very important to Mongolians especially at festive times and occasions like weddings. They drink to inspire themselves and raise their spirits and then sing drinking songs and enjoy themselves. There are many drinking songs but this one is in the Ordos tradition.

Lyrics (extract) When the milk wine is in the bottle Just like small sheep in the pen When you drink the milk wine It is just like a tiger out of the pen We toast that everything goes well for me and you

SUHE’S WHITE HORSE

This is a new composition by our newest member Chinggeltu. A powerful instrumental, it is based on the famous myth of Suhe and how the Horse Head Fiddle was first created.

The legend goes that Suhe had the most beautiful white foal (whom he loved dearly) which grew into the most incredible stallion.

Suhe slept every night with the horse and the two were inseparable. One day Suhe entered them into a horse race which Suhe and his horse won easily and everyone admired them, including a wicked King who commanded Suhe to give him his beloved horse. Suhe refused and fled. The King ordered that they be found and the horse killed as a punishment. The soldiers carried out the King’s orders. Suhe was distraught and wept inconsolably for days on end. Finally he fell asleep and dreamt his horse came to him. His horse told him not to be sad and that he should use use the dead horse’s skin and bones to make the body of a Horse Head Fiddle and that his tail should be used to

SUMARO

Based on a famous Horchin folk song.

A girl dresses as a boy in order to steal 33 horses from the rich and then gives them to the poor. This makes her famous and a great popular heroine.

Lyrics (extract) Grey small bird singing in the early morning The horse from the grassland rides towards the northwest

THE LEGEND OF THE SWAN BROTHERS

Based on a Mongolian folk song this tells the story of a very poor Mongolian man similar to Robin Hood. He steals from the rich and gives to the poor.

Lyrics (extract) Five heroes they steal flocks and flocks of sheep from the rich They only left the Rams for them Boydar, Tugno, Bolygor, Hassak They rob all the sheep They are 5 heroes

WAN LI

Based on a very famous Horchin folk song this tells the tale of a very beautiful girl in the Horchin Grasslands. Everyone who sees the girl falls in love with her. Because of this they wrote a song about the beautiful girl whose name is Wan Li. Lyrics (extract) A man who walks under the big lanterns After seeing the beautiful girl Wan Li Starts to walk like a drunken man.

When the man on the horse rides quickly past the girl He feels the girl is the most beautiful.

When a man on a horse goes on the mountain The feet of the horse clip clop on the rocks When the horse is beside the girl Wan Li He feels the girl is the most beautiful.

Very beautiful Hoy encore art sprograms.com 47

ANDA UNION NARS grew up in the Horchin grasslands with his Grandparents who were traditional herders. His grandfather, also a musician, played many instruments including the accordion, morin khuur, and other stringed fiddles, became his teacher and mentor from an early age. At age 12 he went to live in Chifeng to study music and met other students, four of whom would become members of Anda Union. After graduating Nars moved to Hohhot where he joined the Inner Mongolia Music and Dance Troupe where he met the rest of the band and in 2000 AnDa Union was born. Today, Nars also runs a music school teaching morin khuur, tobshuur and hoomei to young people. His parents have now moved to Hohhot to help him run the school and they all live together in a house filled with students, beds and instruments. Nars also collaborates and performs with orchestras across China and Korea.

URGEN grew up in a village two hours from Ar Horchin, close to Nars. They are childhood friends. He lived in a traditional herders’ lifestyle with his parents and two brothers. As a little boy, his job was to take the sheep into the fields to graze. His older brother Bagana had won a scholarship to study music in the city and was tragically killed by a drunk driver.

Ten-year-old Urgen was already a budding musician, but this tragic loss spurred Urgen on to become a top performer, striving to fulfil his brother’s dream. He went to school in Ar Horchin with Nars where he met Uni, then went onto Chifeng Music College and onto Hohhot to join the Inner Mongolia Music and Dance Troupe. He is married to Sitchentoya, who is a children’s TV presenter for Mongol TV. UNI grew up around Ar Horchin and met Nars and Urgen at comprehensive school. He learned music from a young age. He studied music at Chifeng Music College with Nars, Urgen and Chinggel. He went to Hohhot to work with Inner Mongolia Music and Dance Troupe and was a founder of AnDa Union. He lives in Hohhot with his wife who is a dancer, and they have recently opened their own Buriat style restaurant in the capital, the most delicious food in Inner Mongolia.

CHINGGEL grew up in a traditional herding family in the Ongniud grasslands and has three sisters. He went to Music College in Chifeng where he studied morin khuur but now plays mainly flute. He is one of only 4 musicians in Inner Mongolia who can play the moadin chor. Today, his passion for the moadin chor has led him to start making 48 MONDAVIARTS .ORG

these reed flutes as well as Mongolian metal flutes. He loves to drive his large Yamaha motorbike through the streets of Hohhot.

SAIKHANNAKHAA spent holidays on the grasslands with her grandparents, close to Tongliao in eastern Inner Mongolia. She learned music from a young age from her paternal grandparents. She won a prize as the most talented female morin khuur player and was invited to join the Inner Mongolia Song and Dance Troupe where she became the first professional female musician. Today she runs a very successful Mongolian bar in Hohhot with her mother, father and uncle. She has recently married a dancer from the Inner Mongolia Music and Dance Troupe, and they have one son.

URGEN is the drummer of the band. He grew up in Ar Horchin and his parents are teachers. His father teaches Mongolian music at the Mongolian University in Hohhot and is responsible for Urgen’s growing up with music all around him. He is an excellent drummer and plays morin khuur, guitar and piano. He recently married and is now expecting his first child this year.

CHINGGELTU is the youngest in the band and studied the bass morin khuur in Ulanbaatar and Hohhot at university. His family is from Ar Horchin.

TSETSEGMAA is a long-song singer and tours with AnDa Union. A Buriat, she grew up near Hulun Buir in the northwest of Inner Mongolia near the border of Russia and Outer Mongolia. Hulun Buir is one of the remotest areas of the region and home to both Ewenke and Buriat people. She works within the Inner Mongolia Music and Dance Troupe as a solo long-song singer. She has won many prizes and awards for her astounding voice and is widely seen as the finest female long-song singer in the world today. She has written a number of very beautiful Buriat songs which she perfoms with AnDa Union. She is based in Hohhot and has one sister.

BILIGBAATAR is a long-song singer and tours regularly with Anda Union. He grew up in Hexigten. His mother, younger brother, brother’s wife and daughter, all live in the grasslands and herd the family livestock.

Billigbatar is an expert horseman. He learned long-song from his mother when he was a child, his talent was honed in the beauty of the grasslands, and he is a long-song gold medallist. He is based in Hohhot with his wife who is also a singer.

TIM PEARCE (producer/director) has a background in music and theater, so it was only natural that as a film producer, both music and live performance would play a central role.

His last project was A Throw of Dice, a stunning silent Indian movie, which was restored to all its glory and released with a new soundtrack

by Nitin Sawhney and performed by the London Symphony Orchestra. The film was not only a great success in cinemas, but has been performed live with orchestras all over the world. Pearce met AnDa Union five years ago in Shanghai. Bowled over by their music, he introduced them to Arts Midwest who organized two US tours. He then co-produced and co-directed the AnDa Union feature film which was released in 2012. He lives in London with his family.

SOPHIE LASCELLES (producer/director) grew up traveling the world with Footsbarn Traveling Theatre. Inspired by the many cultures and influences she encountered along the way, her work encompasses many aspects of the visual and performing art world. She collaborates with directors and theater companies, performing internationally at venues such as London’s Shakespeare’s Globe Theatre, the Edinburgh and Avignon festivals.

Lascelles’s work as a visual artist focuses on 16mm film projection and site-specific installation. She is represented by Danielle Arnaud Contemporary Art and has exhibited extensively across the UK, with commissions from Harewood House, Tatton Biennial and the Tate Gallery. In 2008 she met AnDa Union and fell in love with their music and culture.

She went on to produce and co-directed the feature film AnDa Union.

ANDA UNION

AnDa means a blood brother or sister. For Mongolians an “AnDa” is more important than a birth brother as you choose a person to become an AnDa, a life-long blood brother.

AnDa Union is a brotherhood of AnDas. AnDa Union’s thoroughly addictive combination of Mongolian musical styles is a reflection of their roots. Hailing from differing ethnic nomadic cultures, the ten strong band unite tribal and music traditions from all over Inner Mongolia in China. AnDa Union brings a wide range of musical instruments and vocal styles together in a fusion that Genghis Khan himself would have been proud of. Keenly aware of the threat to the Grasslands and their age-old Mongolian culture, AnDa Union are driven by their fight for the survival of this endangered way of life and by keeping the essence of the music alive. Formed 13 years

ago in 2000 they have influenced a generation of young Mongolians in Inner Mongolia as traditional music flourishes in the capital. Nars says, “Most of the band members have been playing together since childhood. As adults, we studied professional vocals and instruments together. We are like a family. Thirteen years ago, AnDa Union was forged and we haven’t looked back.”

AnDa Union were all trained in traditional Mongolian music from a young age, many coming from musical families. They are part of a musical movement that is finding inspiration in old and forgotten songs, drawing on a repertoire of magical music that had all but disappeared during China’s recent tumultuous past. As a group they hold on to the essence of Mongolian music whilst creating a form of music that is new.

A soloist would traditionally perform many of the instruments AnDa Union plays, and Mongolian musicians have tended to concentrate on a particular musical technique. AnDa Union combines different traditions and styles of music from all over Inner and Outer Mongolia, developing an innovation previously unheard of.

The very existence of a music group like AnDa Union is new to Inner Mongolia.

Mongols have a strong musical tradition that is passed from generation to generation. The morin khuur, or horse head fiddle, pays homage to the most important animal in the Mongol culture; almost all houses have one hanging in the hallway.

The group describes themselves as music gatherers, digging deep into Mongol traditions and unearthing forgotten music. They are on a mission to stimulate their culture and reengage young Mongols, many of who no longer to speak their own language. Saikhannakhaa is fighting to reverse this trend by opening a bar in the capital Hohhot, where she will promote music. “I found an old golden wheel with half its spokes broken in an old dusty shop. It looks like a wheel that once turned the warrior carts of the great Mongol armies. I will hang this wheel in my bar as a warning to Mongolian people that our culture is broken and needs to be mended.”

CINEMATOGRAPHY BY

Ula Pontikos

916.36.fiore

fiorestyle.com 209.614.8926

Hyatt Place UC Davis

The only hotel located on Campus We are a proud corporate sponsor of the

FILM CONTENT

Directed by Tim Pearce, Sophie Lascelles & Mark Tiley

Robert and Margrit Mondavi Center for the Performing Arts

Enjoy the show!

Produced by Tim Pearce & Sophie Lascelles

173 Old Davis Road, Davis CA 95616

Executive Producer Suzanne Alizart Edited by Richard Graham

HP 080213 mondavi 1_3s.pdf

encore art sprograms.com 49

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

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

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

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

COLORATURA CIRCLE $50,000 AND ABOVE

Patti Donlon

Barbara K. Jackson

IMPRESARIO CIRCLE $25,000 – $49,999

John and Lois Crowe Friends of Mondavi Center Anne Gray

Wendell Jacob Larry and Rosalie Vanderhoef

VIRTUOSO CIRCLE $15,000 – $29,999

Joyce and Ken Adamson Ann and Gordon Getty Foundation Mary B. Horton William and Nancy Roe

Lawrence and Nancy Shepard Tony and Joan Stone Joe and Betty Tupin

MAESTRO CIRCLE $10,000 – $14,999

M.A. Morris Gerry and Carol Parker Carole Pirruccello, John and Eunice Davidson Fund Dick and Shipley Walters And one donor who prefers to remain anonymous

Wayne and Jacque Bartholomew Ralph and Clairelee Leiser Bulkley Thomas and Phyllis Farver Dolly and David Fiddyment Wanda Lee Graves Dean and Karen Karnopp Hansen Kwok

BENEFACTOR CIRCLE $6,500 – $9,999

Camille Chan Michael and Betty Chapman Eric and Michael Conn Cecilia Delury and Vince Jacobs Samia and Scott Foster Benjamin and Lynette Hart Lorena Herrig Margaret Hoyt Nancy Lawrence, Gordon Klein, and Linda Lawrence

50 MONDAVIARTS .ORG

Garry Maisel Verne Mendel Stephen Meyer and Mary Lou Flint Suzanne and Brad Poling Randall E. Reynoso and Martin Camsey Grace and John Rosenquist Raymond Seamans Jerome Suran and Helen Singer Suran

PRODUCERS CIRCLE

$3,250 – $6,499

Neil and Carla Andrews Jeff and Karen Bertleson Charitable Fund Hans Apel and Pamela Burton Daniel Benson Cordelia S. Birrell Neil and Joanne Bodine Brian Tarkington and Katrina Boratynski California Statewide Certified Development Corp.

Cantor & Company, A Law Corporation Robert and Wendy Chason Chris and Sandy Chong Michele Clark and Paul Simmons Tony and Ellie Cobarrubia Claudia Coleman Martha Dickman Nancy DuBois Wayne and Shari Eckert Merrilee and Simon Engel Charles and Catherine Farman Ron Fisher and Pam Gill-Fisher Andrew and Judith Gabor Henry and Dorothy Gietzen Kay Gist in memory of John Gist Ed and Bonnie Green Robert and Kathleen Grey Diane Gunsul-Hicks Charles and Ann Halsted Judith and William Hardardt Dee Hartzog Cameron and Clare Hasler-Lewis The One and Only Watson Charles and Eva Hess In Memory of Christopher Horsley Ronald and Lesley Hsu Teresa Kaneko Linda P.B. Katehi and Spyros I. Tseregounis Brian and Dorothy Landsberg Edward and Sally Larkin Drs. Richard Latchaw and Sheri Albers Ginger and Jeffrey Leacox Allan and Claudia Leavitt Robert and Barbara Leidigh Yvonne LeMaitre Joe and Shirley LeRoy Nelson Lewallyn and Marion Pace-Lewallyn Paul and Diane Makley In Memory of Jerry Marr Grant and Grace Noda Alice Oi Susan Strachan and Gavin Payne David Rocke and Janine Mozée Roger and Ann Romani Hal and Carol Sconyers Ellen Sherman Wilson and Kathryn Smith Tom and Meg Stallard Tom and Judy Stevenson Donine Hedrick and David Studer Rosemary and George Tchobanoglous Ken Verosub and Irina Delusina Wilbur Vincent and Georgia Paulo Jeanne Hanna Vogel Claudette Von Rusten John Walker and Marie Lopez Patrice White Robert and Joyce Wisner Richard and Judy Wydick Yin and Elizabeth Yeh And 3 donors who prefer to remain anonymous

DIRECTOR CIRCLE

$1,250 – 3,249

Michelle Adams Ezra and Beulah Amsterdam Elizabeth and Russell Austin Laura and Murry Baria Lydia Baskin Drs. Noa and David Bell Jo Anne Boorkman

Clyde and Ruth Bowman Edwin Bradley Linda Brandenburger Rosa Marquez and Richard Breedon Irving and Karen Broido Robert Burgerman and Linda Ramatowski Jim and Susie Burton Davis and Jan Campbell Kyra and Ken Carson William and Susan Chen Simon Cherry and Laura Marcu David J. Converse, ESQ. Jim and Kathy Coulter John and Celeste Cron Terry and Jay Davison Bruce and Marilyn Dewey Dotty Dixon Richard and Joy Dorf Sandra and Steven Felderstein Nancy McRae Fisher Doris and Earl Flint Carole Franti Paul J. and Dolores L. Fry Charitable Fund Christian Sandrock and Dafna Gatmon Karl Gerdes and Pamela Rohrich Fredric Gorin and Pamela Dolkart Gorin John and Patty Goss Jack and Florence Grosskettler Tim and Karen Hefler Sharna and Mike Hoffman Sarah and Dan Hrdy Ruth W. Jackson Clarence and Barbara Kado Barbara Katz Charlene R. Kunitz Mary Jane Large and Marc Levinson Frances and Arthur Lawyer Hyunok Lee and Daniel Sumner Sally Lewis Lin and Peter Lindert David and Ruth Lindgren Spencer Lockson and Thomas Lange Angelique Louie Mr. and Mrs. Richard Luna Natalie and Malcolm MacKenzie Debbie and Stephen Wadsworth-Madeiros Debbie Mah and Brent Felker Douglas Mahone and Lisa Heschong Dennis H. Mangers and Michael Sestak Susan Mann Judith and Mark Mannis Marilyn Mansfield John and Polly Marion Yvonne L. Marsh Robert Ono and Betty Masuoka Shirley Maus Janet Mayhew In memory of William F. McCoy Robert and Helga Medearis Joy Mench and Clive Watson John Meyer and Karen Moore Judith and Eldridge Moores Barbara Moriel Augustus and Mary-Alice Morr Patricia and Surl Nielsen John Pascoe and Sue Stover John and Misako Pearson Bonnie A. Plummer Prewoznik Foundation Linda and Lawrence Raber Lois and Dr. Barry Ramer John and Judith Reitan Kay Resler Christopher Reynolds and Alessa Johns Tom Roehr

Don Roth and Jolán Friedhoff Liisa Russell Ed and Karen Schelegle The Schenker Family Neil and Carrie Schore Bonnie and Jeff Smith Ronald and Rosie Soohoo Edward and Sharon Speegle Richard L. Sprague and Stephen C. Ott Maril Revette Stratton and Patrick M. Stratton Edward Telfeyan and Jerilyn Paik-Telfeyan Jennifer Thornton and Brandt Schraner Rovida Mott and Denise Verbeck Gretel and Geoffrey Wandesford-Smith Dan and Ellie Wendin Dale L. and Jane C. Wierman And 7 donors who prefer to remain anonymous

ENCORE CIRCLE

$600 – $1,249

The Aboytes Family Michael and Shirley Auman Robert and Susan Benedetti Don and Kathy Bers Muriel Brandt Dolores and Donald Chakerian John and Joan Chambers Gale and Jack Chapman Robert D. and Nancy Nesbit Crummey John and Cathie Duniway John and Pamela Eisele Murray and Audrey Fowler Professor Andy and Wendy Huang Frank Paul and E. F. Goldstene David and Mae Gundlach Robin Hansen and Gordon Ulrey Lenonard and Marilyn Herrmann John and Katherine Hess B.J. Hoyt Robert and Barbara Jones Paula Kubo Ruth Lawrence Dr. Henry Zhu and Dr. Grace Lee Michael and Sheila Lewis Maria M. Manoliu Gary C. and Jane L. Matteson Don and Sue Murchison Bob and Kinzie Murphy Richard and Kathleen Nelson Linda Orrante and James Nordin Frank Pajerski Harriet Prato Larry and Celia Rabinowitz J. and K. Redenbaugh Ken Gebhart and Rhonda Reed Tracy Rodgers and Richard Budenz Jeep and Heather Roemer Tom and Joan Sallee Dwight E. and Donna L. Sanders Betsy and Michael Singer Jeannie and Bill Spangler Elizabeth St. Goar Sherman and Hannah Stein Les and Mary Stephens De Wall Judith and Richard Stern Eric and Patricia Stromberg Lyn Taylor and Mont Hubbard Roseanna Torretto Henry and Lynda Trowbridge Steven and Andrea Weiss Denise and Alan Williams Ardath Wood Paul Wyman The Yetman Family Karl and Lynn Zender And 4 donors who prefer to remain anonymous

ORCHESTRA CIRCLE

$300 – $599

Mitzi Aguirre Drs. Ralph and Teresa Aldredge Thomas and Patricia Allen Rick and Dian Baker Antonio and Alicia Balatbat Delee and Jerry Beavers Carol Beckham and Robert Hollingsworth Carol L. Benedetti Al J. Patrick, Attorney at Law Elizabeth Bradford Paul Braun Margaret E. Brockhouse Christine and John Bruhn Jackie Caplan Michael and Louise Caplan Anne and Gary Carlson Bruce and Mary Alice Carswell Betty M. Clark James Cothern David and Judy Covin Larry Dashiell and Peggy Siddons Micki and Les Faulkin Julia and Jay-Allen Eisen Janet Feil David and Kerstin Feldman Helen Ford Lisa Foster and Tom Graham William E. Behnk and Jennifer D. Franz Gloria G. Freeman Sevgi and Edwin Friedrich Marvin and Joyce Goldman Judy and Gene Guiraud Darrow and Gwen Haagensen Sharon and Don Hallberg Marylee Hardie Jacqueline Harris Miriam and Roty Hatamiya Cynthia Hearden Paul and Nancy Helman Jeannette E. Higgs Bryan Holcomb Kenneth and Rita Hoots Steve and Nancy Hopkins Don and Diane Johnston Weldon and Colleen Jordan Mary Ann and Victor Jung Nancy Gelbard and David Kalb Peter Kenner Joseph Kiskis and Diana Vodrey Susan Kauzlarich and Peter Klavins Paul Kramer Allan and Norma Lammers Irene Lara Darnell Lawrence Carol Ledbetter Stanley and Donna Levin Barbara Levine Mary Ann and Ernest Lewis Robert and Betty Liu The Lufburrow Family Jeffrey and Helen Ma Bunkie Mangum Pat Martin Robert Mazalewski Catherine McGuire Roland and Marilyn Meyer Nancy Michel Marcie Mortensson Robert and Susan Munn William and Nancy Myers Bill and Anna Rita Neuman Sally Ozonoff and Tom Richey John and Sue Palmer John and Barbara Parker Harry Phillips Jerry L. Plummer John and Deborah Poulos John and Alice Provost Evelyn and Otto Raabe J. David Ramsey John and Rosemary Reynolds

Guy and Eva Richards Dr. Ronald and Sara Ringen Alan and Barbara Roth Tamra and Bob Ruxin Mark and Ita Sanders Eileen and Howard Sarasohn John and Joyce Schaeuble Barbara Sheldon James Smith Judith Smith Al and Sandy Sokolow Tim and Julie Stephens Karen Street Pieter Stroeve, Diane Barrett and Jodie Stroeve Tony and Beth Tanke Cap and Helen Thomson Virginia Thresh Dennis and Judy Tsuboi Peter and Carolyn Van Hoecke Ann-Catrin Van Ph.D. Don and Merna Villarejo Charles and Terry Vines Rita Waterman Charles White and Carrie Schucker Jim and Genia Willett Richard and Sally Yamaichi Iris Yang and G.R. Brown Jane Yeun and Randall Lee Phillip and Iva Yoshimura Ronald M. Yoshiyama Drs. Matthew and Meghan Zavod Hanni and George Zweifel And 6 donors who prefer to remain anonymous

MAINSTAGE CIRCLE

$100 – $299

Leal Abbott M. Aften Jill and John Aguiar Dorrit Ahbel Susan Ahlquist Suzanne and David Allen Jacqueline Ames David and Penny Anderson Dawnie Andrak Alex and Janice Ardans Debbie Arrington Jerry and Barbara August George and Irma Baldwin Charlotte Ballard and Robert Zeff Diane and Charlie Bamforth Elizabeth Banks Michele Barefoot and Luis Perez-Grau Carole Barnes Paul and Linda Baumann Lynn Baysinger Bee Happy Apiaries Mark and Betty Belafsky Merry Benard William and Marie Benisek Alan and Kristen Bennett Robert C. and Jane D. Bennett Mrs. Vilmos Beres Linda and William Bernheim Bevowitz Family Boyd and Lucille Bevington Dr. Robert and Sheila Beyer John and Katy Bill Andrea Bjorklund and Sean Duggan Sam and Caroline Bledsoe Fred and Mary Bliss Bill Bossart Brooke Bourland Jill and Mary Bowers Alf and Kristin Brandt Robert and Maxine Braude Dan and Mildred Braunstein Frank Brown, MD Valerie and David Brown Alan Brownstein Edelgard Brunelle Linda Clevenger and Seth Brunner

Don and Mary Ann Brush Martha Bryant Mike and Marian Burnham Dr. Margaret Burns and Dr. Roy W. Bellhorn Victor W. Burns William and Karolee Bush John and Marguerite Callahan Helen Campbell Lita Campbell Jean Canary Tony Cantelmi John and Nancy Capitanio Michael and Susan Carl Carolyn Chamberlain Dorothy Chikasawa Richard and Arden Christian Gail Clark Bill and Linda Cline Stephan Cohen Stuart and Denise Cohen Wayne Colburn Sheri and Ron Cole Collected Works Gifts, LLC Steve and Janet Collins David Combies and Loretta Smith Patricia Conrad Terry and Marybeth Cook Nicholas and Khin Cornes Fred and Ann Costello Catherine Coupal Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Fitz-Roy and Susan Curry Robert Bushnell, DVM and Elizabeth Dahlstrom-Bushnell John and Joanne Daniels Kim Uyen Dao Judy and David Day Lynne de Bie Carl and Voncile Dean Steven E. Deas Joel and Linda Dobris Gwendolyn Doebbert and Richard Epstein Val and Marge Dolcini Richard Doughty Mr. and Mrs. John Drake Anne Duffey Marjean DuPree Harold and Anne Eisenberg Eliane Eisner Allen Enders Sidney England and Randy Beaton Carol Erickson and David Phillips Nancy and Don Erman Evelyn Falkenstein Andrew D. and Eleanor E. Farrand Michael and Ophelia Farrell Cheryl and David Felsch Liz and Tim Fenton Joshua Fenton and Lisa Baumeister Steven and Susan Ferronato Dave Firenze Kieran and Marty Fitzpatrick David and Donna Fletcher Walter Ford Marion Franck and Bob Lew Anthony and Jorgina Freese Larry Friedman and Susan Orton Kerim and Josina Friedrich Joan Futscher Myra A. Gable Lillian Gabriel Claude and Nadja Garrod Peggy Gerick Gerald Gibbons and Sibilla Hershey Elizabeth Gibson Mary Lou and Robert Gillis Barbara Gladfelter Eleanor Glassburner Louis J. Fox and Marnelle Gleason Pat and Bob Gonzalez Michele Tracy and Dr. Michael Goodman

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THE ART OF GIVING Jeffrey and Sandra Granett Steve and Jacqueline Gray Mary Louise Greenberg Paul and Carol Grench Alex and Marilyn Groth Paul W. Hadley Jane and Jim Hagedorn Frank and Rosalind Hamilton William Hamre Pat and Mike Handley Jim and Laurie Hanschu Susan and Robert Hansen Vera Harris Sally Harvey Buzz Haughton Mary Helmich Joan Williams and Martin Helmke Roy and Dione Henrickson Rand and Mary Herbert Eric Herrgesell, DVM Fred Taugher and Paula Higashi Larry and Elizabeth Hill Bette Hinton and Robert Caulk Calvin Hirsch and Deborah Francis Michael and Margaret Hoffman David and Gail Hulse Eva Peters Hunting Patricia Hutchinson Lorraine Hwang Marta Induni Tom and Betsy Jennings Dr. and Mrs. Ronald C. Jensen Mun Johl Phil and Carole Johnson Michelle Johnston and Scott Arranto Warren and Donna Johnston Valerie Jones Jonsson Family Andrew and Merry Joslin James Anthony Joye Martin and JoAnn Joye Fred and Selma Kapatkin Tim and Shari Karpin Yasuo Kawamura Phyllis and Scott Keilholtz Charles Kelso and Mary Reed Dr. Michael Sean Kent

Robert and Cathryn Kerr Jeannette Kieffer Gary and Susan Kieser Larry Kimble and Louise Bettner Dr. and Mrs. Roger Kingston Dorothy Klishevich Mary Klisiewicz Paulette Keller-Knox Winston and Katy Ko Marcia and Kurt Kreith Sandra Kristensen Elizabeth and C.R. Kuehner Leslie Kurtz Cecilia Kwan Ray and Marianne Kyono Bonnie and Kit Lam Marsha M. Lang Susan and Bruce Larock Leon E. Laymon Marceline Lee and Philip Smith The Hartwig-Lee Family Nancy and Steve Lege The Lenk-Sloane Family Joel and Jeannette Lerman Evelyn Lewis David and Susan Link Motoko Lobue Mary Lowry Henry Luckie Ariane Lyons Edward and Susan MacDonald Leslie Macdonald and Gary Francis Kathleen Magrino Alice Mak and Wesley Kennedy Vartan Malian Joseph and Mary Alice Marino Pamela Marrone and Michael J. Rogers David and Martha Marsh J. A. Martin Bob and Vel Matthews Leslie and Michael Maulhardt Katherine Mawdsley Sean and Sabine McCarthy Karen McCluskey Nora McGuinness Dr. Thomas and Paula McIlraith Donna and Dick McIlvaine

CORPORATE MATCHING GIFTS

Chevron/Texaco Matching Gift Fund DST Systems U.S. Bank We appreciate the many donors who participate in their employers’ matching gift program. Please contact your Human Resources Department for more information.

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

Patti Donlon Anne Gray Barbara K. Jackson Larry and Rosalie Vanderhoef

Tim and Linda McKenna Martin A. Medina and Laurie Perry In Honor of Werner Paul Harder, II DeAna Melilli Barry Melton and Barbara Langer Sharon Menke The Merchant Family Fred and Linda J. Meyers Beryl Michaels and John Bach Lisa Miller Phyllis Miller Sue and Rex Miller Douglas L. Minnis Kei and Barbara Miyano Vicki and Paul Moering Joanne Moldenhauer Elaine and Ken Moody Amy Moore Hallie Morrow Diane and William Muller Judith and Terry Murphy Elaine Myer Nachtergaele-Devos Judy and Merle Neel Margaret Neu Cathy Neuhauser and Jack Holmes Robert Nevraumont and Donna Curley Nevraumont Jenifer Newell Keri Mistler and Dana Newell Malvina and Eugene Nisman Nancy Nolte and James Little Dana K. Olson Jim and Sharon Oltjen Marvin O’Rear Bob and Elizabeth Owens Mike and Carlene Ozonoff Pamela Pacelli Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Brenda Davis and Ed Phillips Pat Piper Drs. David and Jeanette Pleasure Jane Plocher Vicki and Bob Plutchok Jerry and Bea Pressler Dr. and Ms. Rudolf Pueschel

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

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

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

If you are interested in learning about planned giving opportunities, please contact Ali Morr Kolozsi, Director of Major Gifts and Planned Giving (530.754.5420 or amkolozsi@ucdavis.edu ).

Edward and Jane Rabin Dr. Anne-Louise and Dr. Jan Radimsky Mary Ralli Lawrence and Norma Rappaport Olga Raveling Sandi Redenbach Sandra Erslsine Reese Fred and Martha Rehrman Michael A. Reinhart and Dorothy Yerxa Eugene and Elizabeth Renkin Francis Resta David and Judy Reuben Al and Peggy Rice Stephen Michael Rico Jeannette and David Robertson Alice and Richard Rollins Richard and Evelyne Rominger Andrea G. Rosen Linda Roth and Teddy Wilson Cathy and David Rowen Cynthia Jo Ruff Paul and Ida Ruffin Hugh Safford Dr. Terry Sandbek and Sharon Billings Patsy Schiff Janis J. Schroeder and Carrie L. Markel Jenifer and Bob Segar Dan Shadoan and Ann Lincoln Nancy Sheehan and Rich Simpson Mamie Shen Jill and Jay Shepherd Valerie Brown and Ed Shields Jane and Ray Shurtz Sandi and Clay Sigg Dan and Charlene Simmons P. and C. Simpson Marion E. Small Robert Snider Jean Snyder Roger and Freda Sornsen Curtis and Judy Spencer Marguerite Spencer Miriam Steinberg Harriet Steiner and Miles Stern

Raymond Stewart Deb and Jeff Stromberg Mary Superak Joyce Nao Takahashi Yayoi Takamura and Jeff Erhardt Stewart and Ann Teal Julie A. Theriault, PA-C Janet and Karen Thome Brian Toole Robert and Victoria Tousignant Michael and Heidi Trauner Rich and Fay Traynham James Turner Barbara and Jim Tutt Robert and Helen Twiss Nancy Ulrich Unda/Serat Family Chris and Betsy Van Kessel Robert Vassar Bart and Barbara Vaughn Catherine Vollmer Rosemarie Vonusa Carolyn Waggoner and Rolf Fecht Kim and James Waits M. Wakefield and Wm Reichert Carol Walden Andy and Judy Warburg Valerie Boutin Ward Royce and Caroline Waters Dr. Fred and Betsy Weiland Jack and Rita Weiss Douglas West Martha S. West Robert and Leslie Westergaard Edward and Susan Wheeler Linda K. Whitney Jean and Don Wigglesworth Janet G. Winterer Timothy and Vicki Yearnshaw Norman and Manda Yeung Heather Young Verena Leu Young Melanie and Medardo Zavala Darrel and Phyllis Zerger Sonya and Tim Zindel Dr. Mark and Wendy Zlotlow And 35 donors who prefer to remain anonymous

Thank you to the following donors for their program gifts during the past fiscal year.

YOUNG ARTISTS COMPETITION AND PROGRAM

John and Lois Crowe Merrilee and Simon Engel

Mary B. Horton Barbara K. Jackson

ARTS EDUCATION STUDENT TICKET PROGRAM

Donald and Dolores Chakerian Members of The Friends of Mondavi Center Carole Pirruccello, John and Eunice Davidson Fund

DANCE FOR PARKINSON’S PROGRAM

Douglas Clarke Gerald Hayward Phyllis and Sunny Lee

Joy McCarthy Samuel and Lynne Wells John Whitted

UC DAVIS STUDENT MEMBERSHIP PROGRAM

Eric Joshua Smith

Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.

52 MONDAVIARTS .ORG

BOARDS & COMMITTEES

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, Theatre and Dance, and the presenting program of Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and 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.

13–14 COMMITTEE MEMBERS Lee Miller • Jim Forkin • Erin Jackson • Sharon Knox • Eleanor McAuliffe • Marta Altisent • Charles Hunt • Gabrielle Nevitt • Burkhard Schipper • Christine Chang • Timothy Colopy • Daniel Friedman • Susan Perez • Lauren Perry Don Roth • Jeremy Ganter • Erin Palmer • Becky Cale

THE FRIENDS OF MONDAVI CENTER is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis. edu or call 530.754.5431.

13–14 FRIENDS EXECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Jo Anne Boorkman, President Sandi Redenbach, Vice President Jo Ann Joye, Secretary Jim Coulter, Audience Enrichment Lydia Baskin, School Matinee Support Leslie Westergaard, Mondavi Center Tours Karen Street, School Outreach Martha Rehrman, Friends Events Jacqueline Gray, Membership Joyce Donaldson, Chancellor’s Designee, Ex-Officio Shirley Auman, Gift Shop, Ex-Officio

13–14 ADVISORY BOARD MEMBERS Joe Tupin, Chair • John Crowe, Immediate Past Chair Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray • Vince Jacobs • Karen Karnopp • Nancy Lawrence • Garry Maisel • Stephen Meyer • Randy Reynoso • Grace Rosenquist • John Rosenquist • Joan Stone • Tony Stone • Larry Vanderhoef HONORARY MEMBERS Barbara K. Jackson • Margrit Mondavi

EX OFFICIO Linda P.B. Katehi, Chancellor, UC Davis • Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis • Jo Anne Boorkman, President, Friends of Mondavi Center • Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis • Don Roth, Executive Director, Mondavi Center, UC Davis • Lee Miller, Chair, Arts & Lectures Administrative Advisory Committee

Mondavi Center

School Matinees In 2013-14, Mondavi Center Arts Education will celebrate its 12th season of matinee performances for student audiences in Northern California. The festivities begin on October 22nd with Mnozil Brass and continue throughout the season with works especially aimed to encourage and support classroom learning. Clearly, live performance connects the artist to an audience in real time, creating a rich and lasting impression that is impossible in an electronic medium. Our coveted season of school matinees promises to support learning in your classroom with dozens of “teachable moments!”

Tuesday, October 22, 2013 – Mnozil Brass Monday, October 28, 2013 – MOMIX Botanica Thursday, November 7, 2013 – Salzburg Marionette Theater Mozart’s The Magic Flute Friday, November 8, 2013 – Salzburg Marionette Theater Humperdinck’s Hansel & Gretel Monday, December 9, 2013 – Lara Downes Family Concert The Magic Fish Friday, January 24, 2014 – Spirit of Uganda Monday, February 10, 2014 – Circus Oz From the Ground Up Monday, February 24, 2014 – Story Pirates – SOLD OUT Tuesday, March 18, 2014 – Caladh Nua Thursday - Friday, March 20-21, 2014 – Jonathan Batiste and Stay Human Band Monday, March 24, 2014 – Curtis On Tour Wind Ensemble Di Wu, piano Tuesday, April 1, 2014 – Circa S Wednesday - Thursday, April 2-3, 2014 – Compagnia T.P.O. Bleu!

Most performances begin at 11 a.m. and are approximately 50 minutes long with no intermission.

Tickets can be purchased from the Mondavi Center Ticket Office.

Call 530.754.2787 or mail your order form with payment to: Mondavi Center Ticket Office University of California, Davis One Shields Avenue | Davis, CA 95616-8543 For more information regarding the school matinees, call the Mondavi Center Arts Education Coordinator at 530.754.5431

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

• Tickets may not be exchanged after the performance date.

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

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

• Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season.

Balances may not be transferred between accounts.

• All exchanges subject to availability.

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

• No refunds.

PARKING You may purchase parking passes for individual Mondavi Center events for $8 per event at the parking lot or with your ticket order. Rates are subject to change.

Parking passes that have been lost or stolen will not be replaced.

Proof Requirements: School ID showing validity for the current academic year and/ or copy of your transcript/report card/tuition bill receipt for the current academic year.

Student discounts may not be available for events presented by non-UC Davis promoters.

CHILDREN (AGE 17 AND UNDER) A ticket is required for admission of all children regardless of age. Any child attending a performance should be able to sit quietly through the performance.

For events other than the Children’s Stage Series, it is recommended for the enjoyment of all patrons that children under the age of 5 not attend.

PRIVACY POLICY The Mondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons efficiently. We sometimes share names and addresses with other not-for-profit arts organizations. If you do not wish to be included in our email communications or postal mailings, or if you do not want us to share your name, please notify us via email, U.S. mail or telephone. Full Privacy Policy at mondaviarts.org.

GROUP DISCOUNTS

TOURS

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

Please call 530.754.2787 or 866.754.2787.

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

STUDENT TICKETS

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

Requests for sign language interpreting,

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

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

Student ID numbers may also be used to verify enrollment.

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

54 MONDAVIARTS .ORG

ACCOMMODATIONS FOR PATRONS WITH DISABILITIES

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

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

SPECIAL SEATING Mondavi Center offers special seating arrangements for our patrons with disabilities. Please call the Ticket Office at 530.754.2787 or TDD 530.754.5402.

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

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

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

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

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

LOST AND FOUND HOTLINE 530.752.8580

The art of performance draws our eyes to the stage

Sometimes the most meaningful communication happens without dialogue.

Great performances tell us that we are not alone with our emotions.

Mondavi Center, thank you for inspiring us.

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