PROGR A M
Russian National Orchestra Mikhail Pletnev, founder & artistic director George Li, piano SATURDAY, MARCH 2, 2019 • 8PM Jackson Hall, UC Davis Sponsored by
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R O B E R T A N D M A R G R I T M O N DAV I C E N T E R F O R T H E P E R F O R M I N G A R T S P R E S E N T S
Russian National Orchestra Mikhail Pletnev, founder & artistic director George Li, piano
PROGRAM Vocalise
Sergei Rachmaninoff (1873–1943)
Piano Concerto No. 2 in C Minor, Op. 18 Moderato Adagio sostenuto Allegro scherzando
Rachmaninoff
George Li, piano
— INTERMISSION — Symphonic Dances, Op. 45 Non allegro—Lento—Tempo I (“Noon”) Andante con moto (Tempo di valse) (“Twilight”) Lento assai—Allegro vivace (“Midnight”)
Rachmaninoff
The Russian National Orchestra thanks the generous patrons and sponsors who helped make the 2019 United States Tour possible, including Peter Paul and Elena Sysovskaya, Ann and Gordon Getty, Barbara Roach, Marianne Wyman, the Mikhail Prokhorov Foundation, the Prince Michael of Kent Foundation, the Trust for Mutual Understanding and the Friends of the RNO. Mr. Li is a Steinway artist. North American Management for Mr. Li: Opus 3 Artists Exclusive Tour Management and Representation for the Russian National Orchestra: Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal. MONDAVI CENTER 2018 –19 |
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PROGRAM NOTES SERGEI RACHMANINOFF Born April 1, 1873 in Oneg (near Novgorod), Russia. Died March 28, 1943 in Beverly Hills, California.
VOCALISE (1912, 1916) Sergei Rachmaninoff was one of the preeminent musical figures in pre-Revolutionary Russia, and his friends included some of the country’s most distinguished artists. He immortalized a number of those friendships in his works, one of which was the Fourteen Songs, Op. 34 of 1912, inspired by and dedicated to the singers Leonid Sobinov, Felia Litvin and the legendary Fyodor Chaliapin. The last of the Fourteen Songs was an unusual wordless melody titled simply Vocalise written for Antonina Neshdanova, a beautiful and gifted coloratura soprano of the Moscow Grand Opera. The haunting Vocalise quickly became a favorite with audiences, and soon appeared in arrangements for almost every solo instrument, including double bass. The conductor Sergei Koussevitzky was enchanted with the work, and urged Rachmaninoff to transcribe it for orchestra. He did so in 1916, and the piece has remained one of his most popular orchestral miniatures. The Op. 34 Songs were written during the most successful and rewarding period of Rachmaninoff’s life. The Revolution that was to crush the culture into which he had been born was still several years in the future, he was in demand as a pianist and conductor, he was composing as suited his desire, and his family life was happy. These Fourteen Songs reflect Rachmaninoff’s general tranquility and optimism at the time, though they are indelibly tinged with his characteristic wistful nostalgia. The Vocalise in its orchestral garb calls to mind the plangent lyricism of his best symphonic slow movements. Its long theme is entrusted largely to the strings and the solo violin, with woodwinds contributing fragmentary comments and counter-melodies. Wrote Oskar von Riesemann, editor of Rachmaninoff’s memoirs, of this touching piece, “The wonderfully curved melodic arch, with its even tranquility, spans the song from beginning to end in one unbroken line ... We find in it a resemblance, without any similarity of notes, to Bach’s Air on the G String, which moves in the same clarified atmosphere of divine tranquility.”
PIANO CONCERTO NO. 2 IN C MINOR, OP. 18 (1900–1901) When he was old and as mellow as he would ever get, Rachmaninoff wrote these words about his early years: “Although I had to fight for recognition, as most younger men must, although I have experienced all the troubles and sorrow which precede success, and although I know how important it is for an artist to be spared such troubles, I realize, when I look back on my early life, that it was enjoyable, in spite of all its vexations and bitterness.” The greatest “bitterness” of Rachmaninoff’s career was the total failure of the Symphony No. 1 at its premiere in 1897, a traumatic disappointment that thrust him into such a mental depression that he suffered a complete nervous collapse.
An aunt of Rachmaninoff, Varvara Satina, had recently been successfully treated for an emotional disturbance by a certain Dr. Nicholas Dahl, a Moscow physician who was familiar with the latest psychiatric discoveries in France and Vienna, and it was arranged that Rachmaninoff should visit him. Years later, in his memoirs, the composer recalled the malady and the treatment: “[Following the performance of the First Symphony,] something within me snapped. A paralyzing apathy possessed me. I did nothing at all and found no pleasure in anything. Half my days were spent on a couch sighing over my ruined life. My only occupation consisted in giving a few piano lessons to keep myself alive.” For more than a year, Rachmaninoff’s condition persisted. He began his daily visits to Dr. Dahl in January 1900. “My relatives had informed Dr. Dahl that he must by all means cure me of my apathetic condition and bring about such results that I would again be able to compose. Dahl had inquired what kind of composition was desired of me, and he was informed ‘a concerto for pianoforte.’ In consequence, I heard repeated, day after day, the same hypnotic formula, as I lay half somnolent in an armchair in Dr. Dahl’s consulting room: ‘You will start to compose a concerto—You will work with the greatest of ease—The composition will be of excellent quality.’ Always it was the same, without interruption ... Although it may seem impossible to believe,” Rachmaninoff continued, “this treatment really helped me. I started to compose again at the beginning of the summer.” In gratitude, he dedicated the new Concerto to Dr. Dahl. The C minor Concerto begins with eight bell-tone chords from the solo piano that herald the surging main theme, announced by the strings. A climax is achieved before a sudden drop in intensity makes way for the arching second theme, initiated by the soloist. The development, concerned largely with the first theme, is propelled by a martial rhythm that continues with undiminished energy into the recapitulation. The second theme returns in the horn before the martial mood is reestablished to close the movement. The Adagio sostenuto is a long-limbed nocturne with a running commentary of sweeping figurations from the piano. The finale resumes the marching rhythmic motion of the first movement with its introduction and bold main theme. Standing in bold relief to this vigorous music is the lyrical second theme, one of the best-loved melodies in the orchestral literature, a grand inspiration in the ripest Romantic tradition. These two themes, the martial and the romantic, alternate for the remainder of the movement. The coda rises through a finely crafted line of mounting tension to bring this work to an electrifying close.
SYMPHONIC DANCES, OP. 45 (1940) World War I, of course, was a trial for Rachmaninoff and his countrymen, but his most severe personal adversity came when the 1917 Revolution smashed the aristocratic society of Russia—the only world he had ever known. He was forced to flee his beloved country for America and he pined for his homeland the rest of his life. He did his best to keep the old language, food, customs and holidays alive in his own
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household, “but it was at best synthetic,” wrote American musicologist David Ewen. “Away from Russia, which he could never hope to see again, he always felt lonely and sad, a stranger even in lands that were ready to be hospitable to him. His homesickness assumed the character of a disease as the years passed, and one symptom of that disease was an unshakable melancholy.” By 1940, when he composed the Symphonic Dances, Rachmaninoff was filled with worry over his daughter Tatiana, who was trapped in France by the German invasion (he never saw her again), and had been weakened by a minor operation in May. Still, he felt the need to compose for the first time since the Third Symphony of 1936. The three Symphonic Dances were written quickly at his summer retreat on Long Island Sound, an idyllic setting for creative work, where he had a studio by the water in which to work in seclusion, lovely gardens for walking, and easy access to a ride in his new cabin cruiser, one of his favorite amusements. Still, it was the man and not the setting that was expressed in this music. “I try to make music speak directly and simply that which is in my heart at the time I am composing,” he once told an interviewer. “If there is love there, or bitterness, or sadness, or religion, these moods become part of my music, and it becomes either beautiful or bitter or sad or religious.” It is nostalgic sadness that permeates the works of Rachmaninoff’s later years. Like a grim marker, the ancient chant Dies Irae (“Day of Wrath”) from the Roman Catholic Requiem Mass for the Dead courses through the Paganini Rhapsody (1934), the Second (1908) and Third (1936) Symphonies and the Symphonic Dances (1940). The Symphonic Dances were his last important creation, coming less than three years before his death from cancer at age 70. There is nothing morbid about them, however. They breathe a spirit of dark determination against a world of trial, a hardfought musical affirmation of the underlying resiliency of life. Received with little enthusiasm when they were new, these Dances have come to be regarded as among the finest of Rachmaninoff’s works. The first of the Symphonic Dances, in a large three-part form (A–B–A), is spun from a tiny three-note descending motive heard at the beginning that serves as the germ for much of the opening section’s thematic material. The middle portion is given over to a folk-like melody initiated by the alto saxophone. The return of the opening section, with its distinctive falling motive, rounds out the first movement. The waltz of the second movement is more rugged and deeply expressive than the Viennese variety, and possesses the quality of inconsolable pathos that gives so much of Rachmaninoff’s music its sharply defined personality. The finale begins with a sighing introduction for the winds, which leads into a section in quicker tempo whose vital rhythms may have been influenced by the syncopations of American jazz. Soon after this faster section begins, the chimes play a pattern reminiscent of the opening phrase of the Dies Irae. The sighing measures recur and are considerably extended, acquiring new thematic material but remaining unaltered in mood. When the fast, jazz-inspired music returns, its
thematic relationship with the Dies Irae is strengthened. The movement accumulates an almost visceral rhythmic energy as it progresses, virtually exploding into the last pages, a coda based on an ancient Russian Orthodox chant (which he had earlier used in his All-Night Vigil Service of 1915) whose entry Rachmaninoff noted by inscribing “Alliluya” in the score. Was a specific message intended here? As the Alliluya succeeds the Dies Irae, did the composer mean to show that the Church conquers death? Optimism, sadness? Rachmaninoff was silent on the matter, except to say, “A composer always has his own ideas of his works, but I do not believe he ever should reveal them. Each listener should find his own meaning in the music.” ©2019 Dr. Richard E. Rodda
RUSSIAN NATIONAL ORCHESTRA The Russian National Orchestra (RNO) was founded in 1990 by pianist and conductor Mikhail Pletnev and today is widely recognized as one of the world’s top orchestras. Maintaining an active international schedule, the RNO appears in the music capitals of Europe, Asia and the Americas, is a frequent guest at festivals such as Edinburgh, the BBC Proms and Festival Napa Valley, and presents the RNO Grand Festival each September to open the Moscow season. RNO concerts are often aired on National Public Radio, the European Broadcasting Union and Russia’s Kultura channel. Their discography, launched with a highly praised 1991 CD recording of Tchaikovsky’s Pathétique, now numbers more than 80 critically acclaimed recordings. The orchestra’s recording of Sleeping Beauty, conducted by Pletnev, is, according to the BBC, among the most listened to classical music recordings of the last 75 years. In 2004 the RNO became the first orchestra in Russian history to win a Grammy Award. The RNO is unique among the principal Russian ensembles as a private institution funded with the support of individuals, corporations and foundations in Russia and throughout the world.
MIKHAIL PLETNEV FOUNDER AND ARTISTIC DIRECTOR Mikhail Pletnev’s genius as pianist, conductor and composer enchants and amazes audiences around the globe. He was Gold Medal and First Prize winner of the 1978 Tchaikovsky International Piano Competition when he was 21, a prize that earned him early recognition worldwide. An invitation to perform at the 1988 superpower summit in Washington, D.C., led to a friendship with Mikhail Gorbachev and the historic opportunity to make music in artistic freedom. In 1990 Pletnev formed the first independent orchestra in Russia’s history. Many of the country’s finest musicians joined Pletnev in launching the Russian National
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Orchestra (RNO). Under his leadership, the RNO achieved in a few short years a towering stature among the world’s orchestras. Pletnev describes the RNO as his greatest joy and continues to serve as its artistic director and principal conductor. Pletnev’s performances and recordings have proved him to be an outstanding interpreter of an extensive repertoire, both as pianist and conductor. His recordings have earned numerous prizes including a 2005 Grammy Award for his own arrangement of Prokofiev’s Cinderella. He received Grammy nominations for Schumann’s Symphonic Etudes (2004) and the Rachmaninoff and Prokofiev Piano Concertos No. 3 (2003). His album of Scarlatti’s Sonatas (Virgin/EMI) received a 1996 Gramophone Award. BBC Music Magazine called the recording “piano playing at its greatest ... this performance alone would be enough to secure Pletnev a place among the greatest pianists ever known.” His recording of the complete Beethoven symphonies and piano concertos (Deutsche Grammophon) was named “Best of 2007” by The New Yorker. Pletnev’s compositions include works for orchestra, piano, strings and voices. His transcriptions of Nutcracker Suite and Sleeping Beauty were selected for the 1998 anthology Great Pianists of the 20th Century (Philips Classics).
Theater and Amici della Musica Firenze, as well as appearances at major festivals including the Edinburgh International Festival, Ravinia Festival, Aix-en-Provence Festival and Montreux Festival. Li is an exclusive Warner Classics recording artist, with his debut recital album released in October 2017, which was recorded live from the Mariinsky.
Today he is one of Russia’s most respected and influential artists. Pianist, conductor, composer and cultural leader—all are significant facets of Mikhail Pletnev’s life as an artist. Yet he considers himself, simply, a musician.
GEORGE LI PIANIST Since winning the Silver Medal at the 2015 International Tchaikovsky Competition, pianist George Li has rapidly established a major international reputation and performs regularly with some of the world’s leading orchestras and conductors. In the 2018–19 season, Li makes his debuts with the London Philharmonic, Montreal Symphony, Tokyo Symphony and Royal Liverpool Philharmonic; embarks on an 11-city recital tour of China; and tours the United States with the Russian National Orchestra and Mikhail Pletnev and Kirill Karabits. Concerto highlights include performances with the New York Philharmonic, San Francisco Symphony, Los Angeles Philharmonic, Philharmonia Orchestra, Rotterdam Philharmonic, DSO Berlin, Frankfurt Radio Symphony, Oslo Philharmonic, Orchestre National de Lyon, Sydney Symphony and St. Petersburg Philharmonic. He frequently appears with Valery Gergiev and the Mariinsky Orchestra. In recital, Li performs at venues including Carnegie Hall, Davies Hall in San Francisco, the Mariinsky Theatre, Munich’s Gasteig, the Louvre, Seoul Arts Center, Tokyo’s Asahi Hall and Musashino Hall, NCPA Beijing, Shanghai Poly MONDAVI CENTER 2018 –19 |
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gateway Photo by Simon Fowler
An Interview with Pianist George Li
G
eorge Li has been praised by The Washington Post for combining “staggering technical prowess, a sense of command and depth of expression.”
We were able to pose a few questions to the 23-year-old about his brief but jam-packed journey thus far.
MONDAVI CENTER: You’ve been performing Rachmaninoff’s 2nd Piano Concerto for several years now. How has your approach to it changed over time? GEORGE LI: I’ve definitely played the Rachmaninoff 2nd Piano Concerto quite a few times over the past few years. I think my perception has changed in terms of how I think of the piece structurally. I think a lot of the time before, I used to be obsessed with every little detail and all the nuances, and while I still think about that, I also think more about how each phrase connects with the others. For example, in the second theme, I used to do a lot of nuances. But now, while I like how nuanced and detailed I played it previously, I also think that the piece should have a little bit more flow, especially since Rachmaninoff seemed to have so much sweepingness. His melodies unwind slowly, and I feel that the momentum is important and that each phrase leads into the next one so that it doesn’t stop between moments. MC: You recently graduated from the Harvard University/New England Conservatory joint program— congratulations! Aside from your music courses, what was your favorite area of study and why? How do you think this area of study has impacted your music? GL: At the Harvard and New England Conservatory joint program, other than studying music I also studied English literature, and I feel like that was really
helpful for me. Over the four years I came to realize how important literature is and how interconnected it is with music. I now realize how much I grew while studying literature and learning how to write and express my feelings through words, and how much that helped me communicate music with people. MC: You’ve already had a career that most pianists could only dream of, but you’re still a relatively young person. What do you like to do for fun, aside from music? GL: Aside from music, I am a really big sports fan. I follow a lot of different sports from soccer to baseball to American football to basketball. I’m from Boston so I’m a pretty big Boston fan and for soccer I support Arsenal from London. I just really enjoy the competitive nature of sports and it’s just entertaining to me. I also like to read a lot. I read novels, I read poetry. Sometimes I watch movies, and I catch up on those on the airplane, of course! MC: What’s the next big goal you want to tackle? GL: I think the biggest challenge for concert musicians is to find time in our busy schedules of touring and performing to learn new pieces. It is especially challenging for pianists because there is such a wide range of repertoire and there’s always new music to learn. I love Beethoven, of course, and Schumann and Brahms, and there is so much repertoire from just those composers. So, tackling Schumann, and Beethoven in particular, is a goal that I’m looking forward to accomplishing.
Li’s video responses are posted to our blog, where you can watch Li perform comparative excerpts of how he’s altered his approach to Rachmaninoff’s 2nd Piano Concerto: https://www.mondaviarts.org/blog.
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Russian National Orchestra U.S. Tour 2019 Mikhail Pletnev, founder & artistic director FIRST VIOLIN Alexey Bruni, concertmaster Olga Chepizhnaia, assistant concertmaster Anna Panina Vasily Vyrenkov Aleksei Khutorianskii Anatolii Fedorenko Olga Levchenko Alexei Sobolev Sergey Putnikov Leonid Akimov Igor Akimov Daria Strelnikova Yulia Paleleva Viacheslav Chirkunov Tamerlan Tedeev SECOND VIOLIN Sergei Starcheus, principal Lina Vartanova, assistant principal Pavel Gorbenko Evgenii Durnovo Evgeny Feofanov Vladimir Teslia Elizaveta Dyakova Varvara Baskova Maria Dobrogorskaia Mariia Tkacheva Ekaterina Karpova Ekaterina Braisheva Valeria Kapko VIOLA Sergei Dubov, principal Ivan Agafonov, assistant principal Sofiia Lebed Sergei Bogdanov Liubov Popova Aleksandr Zhulev Kseniia Zhuleva Mariia Goriunova Artem Kukaev Olga Suslova Aleksandr Tatarinov CELLO Aleksandr Gotgelf, principal Vsevolod Guzov, assistant principal Aleksandr Grashenkov Sergey Kazantsev Natalia Lyubimova Dmitry Fastunov Alevtina Fastunova Ekaterina Kulakovskaia
DOUBLE BASS Anton Vinogradov, principal Miroslav Maksimyuk Vasilii Beschastnov Alexei Vorobev Gennadii Karasev Leonid Bakulin Aleksandr Muravev FLUTE Maxim Rubtsov, principal Konstantin Efimov, assistant principal Sergei Igrunov Nikolai Lotakov OBOE Olga Tomilova, principal Vitaly Nazarov, assistant principal Stanislav Tokarev Ekaterina Bespalova CLARINET Sergey Eletskiy, principal Dmitrii Aizenshtadt, assistant principal Dmitrii Belik Khasan Mukhitdinov BASSOON Andrei Shamidanov, principal Danila Iakovlev, assistant principal Vladimir Markin Elizaveta Vilkovyskaia FRENCH HORN Igor Makarov, principal Alexey Serov, assistant principal Viktor Bushuev Anton Afanasyev Andrei Romanov TRUMPET Vladislav Lavrik, principal Leonid Korkin, assistant principal Andrey Kolokolov Konstantin Grigorev TROMBONE Ivan Irkhin, principal Sergey Koryavichev, assistant principal Tarasov Maxim Viacheslav Pachkaev Dmitry Anakovskiy – Tuba
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PERCUSSION Alexandr Suvorov, principal Ilia Melikhov, assistant principal Kirill Lukyanenko Vitaly Martyanov Leonid Lysenko Marina Loginova HARP Svetlana Paramonova PIANO Leonid Ogrinchuk STAGE CREW Alexei Dragun Vladimir Kireev INSPECTOR/LIBRARIAN Valentin Teslia LOGISTICS MANAGER Amir Iliyasov For Opus 3 Artists David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists & Attractions Tania Leong, Associate, Touring Division Grace Hertz, Assistant, Artists & Attractions John Pendleton, Company Manager Irene Lönnblad, Assistant Company Manager
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M. Aften Michelle Agnew Liz Allen* Jacqueline and James B. Ames Penny Anderson Nancy Andrew-Kyle* Elinor Anklin and Geo Harsch Alex and Janice Ardans Dee Jae Arnett Antonio and Alicia Balatbat* Charlotte Ballard and Robert Zeff Charlie and Diane Bamforth Michele Barefoot and Luis Perez-Grau Dawn Barlly Carole Barnes Jonathan and Mary Bayless Lynn Baysinger* Delee and Jerry Beavers Lorna Belden and Milton Blackman Merry Benard Robert Bense and Sonya Lyons Kellyanne D. Best Dr. Louise Bettner Bevowitz Family Dr. Robert and Sheila Beyer Elizabeth A. Bianco Roy and Joan Bibbens* John and Katy Bill Sharon Billings* and Terry Sandbek Caroline and Lewis Bledsoe Fredrick Bliss and Mary Campbell Bliss Brooke Bourland* Barbara E. Bower Jill and Mary Bowers Verne and Jerry Bowers Melody Boyer and Mark Gidding Dan and Mildred Braunstein* Valerie Brown and Edward Shields Rose Burgis Dr. Margaret Burns and Dr. W Roy Bellhorn William and Karolee Bush Kent and Susan Calfee Edward Callahan The Richard Campbells Nancy and Dennis Campos* James and Patty Carey Ping Chan* Bonnie and LeRoy Chatfield
†Mondavi Center Advisory Board Member
°In Memoriam
Gail Clark Linda Clevenger and Seth Brunner James and Linda Cline Sheri and Ron Cole Steve and Janet Collins Terry D. Cook Sheila Cordrey* Larry and Sandy Corman Nicholas and Khin Cornes Fred and Ann Costello James Cothern Cathy Coupal* Victor Cozzalio and Lisa Heilman-Cozzalio Crandallicious Clan Herb and Lois Cross Tatiana Cullen Kim Uyen Dao Joy and Doug Daugherty Nita A. Davidson Relly Davidson Judy and Mike Davis Fred Deneke and James Eastman Joan and Alex DePaoli Carol Dependahl-Ripperda Sabine Dickerson; Marietta Bernoco Linda and Joel Dobris Gwendolyn Doebbert and Richard Epstein Marjorie Dolcini* Gordon and Katherine Douglas Jerry and Chris Drane Leslie A. Dunsworth Noel Dybdal Karen Eagan Laura Eisen and Paul Glenn Sidney England and Randy Beaton Carol Erickson and David Phillips Wallace Etterbeek Andrew D. and Eleanor E. Farrand* Michael and Ophelia Farrell Janet Feil Cheryl and David Felsch Joshua Fenton and Lisa Baumeister John and Henni Fetzer Robin and Jeffrey Fine Curt and Sue Ann Finley Dave and Donna Fletcher Richard Fletcher Glenn Fortini Daphna Fram Marion Franck and Robert Lew Elaine A. Franco Anthony and Jorgina Freese Marlene J. Freid* Larry Friedman and Susan Orton Kerim and Josie Friedrich Myra Gable Sean Galloway Anne Garbeff* Nancy Gelbard and David Kalb P.E. Gerick Patrice and Chris Gibson* Barbara Gladfelter Ellie Glassburner Marnelle Gleason* and Louis J. Fox Mark Goldman and Jessica Tucker-Mohl Pat and Bob Gonzalez* Drs. Michael Goodman and Bonny Neyhart Joyce Gordon Karen Governor Halley Grain Sandra and Jeffrey Granett Jim Gray and Robin Affrime Stephen and Deirdre Greenholz Paul and Carol Grench Don and Eileen Gueffroy Abbas Gultekin and Vicky Tibbs Wesley and Ida Hackett* Myrtis Hadden Ann and Charles Haffer Bob and Jen Hagedorn Jane and Jim Hagedorn Kitty Hammer William and Sherry Hamre M. and P. Handley Jim and Laurie Hanschu Bob and Sue Hansen Alexander and Kelly Harcourt Marie Harlan* Sally Harvey* Anne and Dave Hawke Mary A. Helmich Penny Herbert and Jeff Uppington Rand and Mary Herbert Dr. Calvin Hirsch Pamela Holm Jack Holmes and Cathy Neuhauser Elizabeth Honeysett
Sarah and Dan Hrdy Pam Hullinger David Kenneth Huskey Lorraine J Hwang L. K. Iwasa Stephen Jacobs and Diane Moore Dr. and Mrs. Ron Jensen Mun Johl Gary and Karen Johns* Don and Diane Johnston Michelle Johnston and Scott Arrants D.M. Jonsson Family Andrew and Merry Joslin Shari and Timothy Karpin Patricia Kelleher* Michael S. Kent Sharmon and Peter Kenyon Leonard Keyes Nicki King Roger and Katharine Kingston Ruth Ann Kinsella* Camille Kirk Bob and Bobbie Kittredge Don and Bev Klingborg John and Mary Klisiewicz* Michael Koltnow Kerik and Carol Kouklis Sandra and Alan Kreeger Marcia and Kurt Kreith Sandra Kristensen Cynthia and Roy Kroener C.R. and Elizabeth Kuehner Kupcho-Hawksworth Trust Leslie Kurtz Laura and Bill Lacy Kit and Bonnie Lam* Allan and Norma Lammers Marsha Lang Larkin Lapides Diane and Renzo Lardelli Nancy Lazarus and David Siegel Peggy Leander* Evelyn A. Lewis Jeff Lloyd Motoko Lobue Dr. Joyce A. Loeffler Mary Lowry Karen Lucas* Melissa Lyans and Andreas Albrecht Ariane Lyons Jeffrey and Helen Ma Judy Mack* David and Alita Mackill Karen Majewski Vartan Malian and Nova Ghermann Julin Maloof and Stacey Harmer T. Mann Pam Marrone and Mick Rogers J. A. Martin Leslie Maulhardt* Carole Mayer Keith and Jeanie McAfee Karen McCluskey* and Harry Roth* James and Jane McDevitt Nora McGuinness* John and Andrea McKenna Tim and Linda McKenna Martin A. Medina and Laurie Perry Linda and Joe Merva Cynthia Meyers Beryl Michaels and John Bach Leslie Michaels and Susan Katt Jean and Eric Miller Lisa Miller Sue and Rex Miller Kei and Barbara Miyano Vicki and Paul Moering Hallie Morrow Marcie Mortensson Rita Mt. Joy* Robert and Janet Mukai Bill and Anna Rita Neuman Robert Nevraumont and Donna Curley Nevraumont* R. Noda Jay and Catherine Norvell Bob Odland and Charlotte Kelly Jeri and Clifford Ohmart Jim and Sharon Oltjen In Memory of Robert Orlins Mary Jo Ormiston* John and Nancy Owen Jessie Ann Owens Mike and Carlene Ozonoff Michael Pach and Mary Wind Thomas Pavlakovich and Kathryn Demakopoulos Dianne J. Pellissier
Erin Peltzman Ann Peterson and Marc Hoeschele Jill and Warren Pickett Jane Plocher Mrs. Merrilee A Posner Harriet Prato Otto and Lynn Raabe Olga Raveling Sandi Redenbach* and Ken Gelatt Fred and Martha Rehrman* Francis Resta Russ and Barbara Ristine Jeannette and David Robertson Denise Rocha Mary and Ron Rogers Carol and John Rominger Richard and Evelyne Rominger Janet Roser Shery and John Roth Cathy and David Rowen* Cynthia Jo Ruff* Paul and Ida Ruffin Dagnes/Vernon Ruiz Jacquelyn Sanders Elia and Glenn Sanjume Fred and Pauline Schack John and Joyce Schaeuble Patsy Schiff Leon Schimmel and Annette Cody Dan Shadoan and Ann Lincoln Jay and Jill Shepherd Bruce Sheridan Jeanie Sherwood Jennifer L. Sierras Jo Anne S. Silber Teresa Simi Robert Snider and Jak Jaras Jean Snyder Ronald and Rosie Soohoo Curtis and Judy Spencer Dolores and Joseph Spencer Marguerite Spencer Alan and Charlene Steen Tim and Julie Stephens Judith and Richard Stern Deb and Jeff Stromberg A Supporter George and June Suzuki Yayoi Takamura Stewart and Ann Teal Julie A. Theriault, PA-C Virginia Thigpen Bud and Sally Tollette Ann Tom Victoria and Robert Tousignant` Justine Turner* Ute Turner* Sandra Uhrhammer* Peter Van Hoecke Ann-Catrin Van Barbara Smith Vaughn* Marian and Paul Ver Wey Elizabeth Villery Richard Vorpe and Evelyn Matteucci Craig Vreeken and Lee Miller Maxine Wakefield and William Reichert Carol L. Walden Andrew and Vivian Walker Naomi J Walker Andy and Judy Warburg Don and Rhonda Weltz* Doug West Martha West Robert and Leslie Westergaard* Nancy and Richard White* Mrs. Jane Williams Sharon and Steve Wilson Janet G. Winterer Suey Wong* Jean Wu Timothy and Vicki Yearnshaw Jeffrey and Elaine Yee* Dorothy Yerxa and Michael Reinhart Phillip and Iva Yoshimura Phyllis and Darrel Zerger* Marlis and Jack Ziegler Timothy and Sonya Zindel Linda and Lou Ziskind Dr. Mark and Wendy Zlotlow And 27 donors who prefer to remain anonymous
Artistic Ventures Fund
We applaud our Artistic Ventures Fund members, whose major gift commitments support artist engagement fees, innovative artist commissions, artist residencies, and programs made available free to the public. James Bigelow Ralph and Clairelee Leiser Bulkley John and Lois Crowe Patti Donlon Richard and Joy Dorf Nancy McRae Fisher Wanda Lee Graves and Steve Duscha Anne Gray Barbara K. Jackson° Rosalie Vanderheof
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 Karen Broido Ralph and Clairelee Leiser Bulkley John and Lois Crowe Dotty Dixon Nancy Dubois° Anne Gray Benjamin and Lynette Hart L. J. Herrig Estate° Mary B. Horton Margaret Hoyt Barbara K. Jackson° Roy and Edith Kanoff° Robert and Barbara Leidigh Yvonne LeMaitre° Jerry and Marguerite Lewis Robert and Betty Liu Don McNary Ruth R. Mehlhaff° Joy Mench and Clive Watson Trust Verne Mendel Kay Resler Hal° and Carol Sconyers Joe and Betty° Tupin Lynn Upchurch 1 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 Nancy Petrisko, Director of Development, 530.754.5420 or npetrisko@ucdavis. Thank you to the following donors for their special program support.
Young Artists Competition and Program
Jeff and Karen Bertleson Karen Broido John and Lois Crowe Merrilee and Simon Engel Mary B. Horton Barbara K. Jackson° Debbie Mah Linda and Lawrence Raber
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. * Friends of Mondavi Center
MONDAVI CENTER 2018 –19 |
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†Mondavi Center Advisory Board Member
°In Memoriam
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MONDAVI CENTER 2018 –19 |
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