Welcome CURTAIN GOING UP! The celebrated 3,000 pound stage curtain, Silver Code, is opening on a new arts season at Stephens Auditorium. After a year of cleaning, repairing, and re-rigging the auditorium’s iconic main theatre curtain, a unique work of art designed by artist and sculpture Ryokichi Mukai, you’ll be captivated by its original shine and glory – just like opening night 46 years ago. But it is not just nostalgia that has made the curtain conservation such a marvelous spectacle, the hall itself dazzles the eye with eclectic architecture and charms the ear with excellent acoustics. Just as the curtain is a cause to celebrate, so is the exciting, jam-packed season of entertainment we have in store that will allow you the opportunity to indulge in your favorite arts genre. Families, serious-minded theater-goers, and the adventurous all have something to look forward to this season. Whether you love Broadway or are mesmerized by music, there are numerous world-class superstars, acclaimed performers, and wellestablished talent who will move and inspire you. For music fans, there will be lots to enjoy at Stephens. The Grammy Award winners, The Chieftains will get our toes tapping to traditional Irish music just in time for St. Patrick’s Day, and the Music of Memphis comes to town in Million Dollar Quartet on April 12. You are invited back for two nights in March to experience the multi-talented STOMP performers as they fill the stage with energizing beats, inventive and invigorating dance, and theatrical performance combined into one electrifying rhythm. Their technical skill is truly awesome: this perfectly synchronized ballet of juggled sticks, drums, matchboxes and brooms, is indeed thrilling to witness. You’ll find this season has plenty of opportunities to indulge in your favorite genre or experience something new. The Iowa State Center staff works hard to create these experiences for you. Each interaction—subscription, ticket purchase and contribution to the Performing Arts Fund— helps make it possible for us to continue to bring more joy, more diversity, and more inspiration through the world’s greatest performances to the heart of Iowa. Enjoy the show!
Steven Leath President Iowa State University Standing
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Mark North General Manager Stephens Auditorium
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Guest Information Our audience members are a valuable part of every performance at Stephens Auditorium. After all, without you, we wouldn’t be here. To ensure you have an enjoyable experience at Stephens Auditorium, please take a moment to read the following information. Enjoy the performance! Admittance: All exterior doors open 45 minutes prior to curtain time and the house opens 30 minutes before curtain time. Arriving Late: As a courtesy to the performers and other audience members, we cannot immediately seat guests who arrive after the performance starts. Latecomers will be admitted as soon as there is an appropriate break in the performance. Cameras And Recording Devices: Taking photographs and the use of recording devices is prohibited and a violation of state and federal copyright laws. Photos will be deleted from memory cards and cell phones, tape and film will be confiscated. Cancellations: Typically, weather related cancellations are not decided until hours before curtain time and will be announced by the media whenever possible. For specific performance information, guests can call the Stephens Auditorium Ticket Office at 515-294-2479, the Administration Office at 515-294-3347, or check our web site at www.center.iastate.edu for updates. Cell Phones and Pagers: All cell phones, pagers and alarm watches should be turned off. Guests expecting messages should leave their cell phones or pagers at the Guest Services Desk, along with their seat locations. Guests may also leave their seat location and the Guest Services number, 515-294-2313, with the calling party. Children: Every audience member (infants included) must occupy a seat and have a ticket. Please use discretion when deciding which events are appropriate for children. To learn about performances recommended for young children, please contact the Ticket Office at 515-294-2479. 2
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Guests are also asked to be considerate of their young ones and other guests by excusing themselves if their child becomes disruptive during the performance. Coat Check: A free coat check is available on the ground floor, just west of the Celebrity CafĂŠ. Elevators: Elevators are located in the lobbies of all floors on the north side of Stephens Auditorium. First Aid Assistance: First aid assistance is provided by Mary Greeley Medical Center. If you need assistance, please visit the Guest Services Desk or ask your usher for details. Food and Beverages: Food and beverages may be purchased at concession stands located in the lobby areas of the main floor and ground floor before the performance and during intermission. Gift Certificates: Give the gift of entertainment! Gift certificates may be purchased at the Ticket Office in onedollar increments. Groups: For most shows, groups of 15 or more receive a $5 discount off adult prices. Call 515-294-2479 for more information. Guest Services: The Guest Services Desk is located in the main floor lobby on the north side of Stephens Auditorium. ISU Student Ticket Discounts: ISU students can purchase tickets to most Performing Arts Series events for as little as $26. There is a limit of two tickets per performance, per student ID. Funded by the Government of the Student Body (GSB).
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Lost and Found Items: Lost items may be reported, turned in or claimed at the Guest Services Desk located on the main floor during an event. After an event, please contact us at 515-294-3347, Mon–Fri, 10 a.m.–5 p.m. Lost and found items are kept for 30 days. Parking: Free parking is available in the lots south and east of Stephens Auditorium. Lots A-1 and B-3 are reserved for Performing Arts Fund Donors who contribute $250 or more. Lots are reserved up to 15 minutes prior to show time and are subject to availability. Parking for mobility-impaired guests is available in the lot located west of Stephens Auditorium.
Public Amenities: Restrooms are located on the ground floor and first balcony lobby area. Additional facilities can be found in the first and second balcony towers. Women’s facilities are house left (as you face the stage) and men’s are house right. Restrooms equipped for the mobilityimpaired are located on the ground floor. Smoke-Free Environment: Smoking is not allowed in Stephens Auditorium. The Iowa State Center buildings and grounds are smoke-free. Ticket Exchange: Ticket exchange is an exclusive benefit available only to Performing Arts Series Subscribers and only available for Performing Arts Series events.
INTERACT WITH THE IOWA STATE CENTER
Stay connected to the latest news from the Iowa State Center — anytime, anywhere! Visit www.center.iastate.edu to find event schedules, audio samples, video clips, performance reviews, and more! While you’re there, check out other ways to interact: Facebook, Twitter & YouTube Join discussions about upcoming events, tell us what you thought of a performance, learn more about visiting artists, and enter to win great prizes! Center Beat E-Mail Club Join today to receive e-mail updates and special offers for all events at the Iowa State Center, including the Performing Arts Series, Youth Matinee Series, concerts, family events, free events, and more. Plus, access exclusive contests and pre-sale offers!
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Theater Etiquette In today’s world, everyone seems to have less time and more stress, making the chance to sit back, relax and enjoy an event that much more meaningful. A visit to the theater can provide a wonderful escape, so here are some tips that will ensure you — and the guests around you — will have an even more enjoyable trip to Stephens Auditorium. “Fashionably Late” is never in style Please arrive early enough to find your seat before the curtain rises. After the performance has begun, latecomers will be asked to wait until a suitable moment before being seated. The same reminder applies at intermission.
Hearing a Pin Drop If you should need a cough drop or candy to help soothe a scratchy throat, please try to open the wrapper quickly and at an appropriate time (a scene change, applause, etc.). A good tip: unwrap a few lozenges before entering the auditorium.
Sit Back, Relax, and... “Hello?” Please be considerate of your neighbors, just as you would expect the same consideration from them, and turn off all cell phones, pagers and watches with alarms. With the outstanding acoustics in the auditorium, these sounds will distract and annoy everyone. If needed, you can arrange to be notified in the event of an emergency call. See “Cell Phones and Pagers” on page 2 for details.
A Star is Born Performing arts enrich our community’s cultural life and bring a variety of entertainers to our backyard. These talented artists may be performing in your favorite musical or playing a well-known concerto, but you may be sitting near people who aren’t familiar with the piece. Please resist humming, singing along, or finishing a line for the actors.
Talk of the Town We’re delighted if the performance becomes the “talk of the town,” but please wait until intermission or the final curtain to carry on conversations. You might also consider reserving any negative feedback until you are in private. People have differing opinions about creative events, and after all, you could be sitting next to the conductor’s mother or a company member’s spouse. An Evening with the Family Children are always welcome at Stephens Auditorium events. However, some performances require an adult attention span and a quiet auditorium. Please be considerate of both your young ones and the rest of the audience by excusing yourself with your child if he or she becomes disruptive during the performance.
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Good Neighbors Should you find yourself near someone who chooses to violate the rules of common courtesy, please remember that a quiet reminder or a polite “shh” can be very effective. If needed, ask an usher to help resolve the issue. Great Escape A quick departure is noticed by everyone in the audience and especially by the performers on stage. Making a mad dash for the exit expresses inconsideration to everyone in the auditorium. Please stay until the house lights go up. Should you need to make an exit before the final curtain call, please be discreet and considerate to others in your row. Keeping Up Appearances Help us preserve the ambience of Stephens Auditorium by depositing all trash in the appropriate receptacles located in the lobby areas.
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Services for Guests Every effort is made to ensure every guest has an enjoyable experience at Stephens Auditorium. Should you have additional questions or require special accommodations, please make arrangements with the Ticket Office when purchasing tickets. ATM: For your convenience, an ATM is located in the Ticket Office lobby. The ATM is accessible during regular business hours and for the duration of all performances. Background Materials: To learn more about the artists before you come to Stephens, we post biographies of the performers, composers and authors. You can also preview the event with audio and video samples at www.center.iastate.edu Listening Devices: Infrared listening devices to clarify and amplify sound are available free of charge at the Guest Services Desk in the main floor lobby. The
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supply is limited and dispensed on a first-come, first-served basis. Special Seating: Wheelchair seating and special seating for the hearing and visually impaired is available for all performances. Sign Language Interpretation: When possible, we will arrange to provide sign language interpretation and taperecorded programs. Requests for these services must be made one month in advance.
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The Art of Programming Do you wonder how the eclectic mix of performances on the Performing Arts Series comes together? And how do we choose the dates? Contrary to the notion that the Performing Arts Series is selected randomly, much like picking shows from a hat, programming involves a lot of planning to bring the best possible collection of performances to our stage. From beginning to end, we do extensive research in choosing the performances. Our goal is to offer high-quality performances from varied genres and disciplines as diverse as our audience. Preparation for the next season begins one to two years before we announce the series each May. Discussions for the 2015-2016 series have already begun. The extensive planning process includes all of these considerations: 1. Priority List of Artists After scheduling the series each year, there may be performances which were considered but didn’t fit into the schedule and we keep those events on a priority list for the future. Some artists are so well received, that we want them back when the timing is right for a return performance. 2. Geographic/Routing Criteria A big question in the planning process is what performances will be touring in the Midwest and when. Artists’ agents advise which shows are available and the potential artist fees. Many events are available to play at Stephens Auditorium in mid-fall and spring, as they start their tours on either coast and route into the Midwest in October, February and March. Fewer events are available in September, December, January, and April.
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3. Collecting Information Next, we collect background material on the performances from various sources, including: Agents: Most agents know the sales history of the artists and want to sell only the events that make sense for a particular venue. We discuss whether an event will fit our community and its needs. ISU’s Performing Arts Council: This panel of Iowa State University faculty, staff, students and community members offers valuable insights and feedback on performances. Iowa State Center staff: Staff members may attend regional and national meetings on the arts, providing an opportunity to preview artists and shows. Guest comments: Guests often have excellent intuition about artists and shows that would be successful on the series. We welcome your comments. Other sources: We monitor the artists scheduled by other presenters to see what works in markets similar to ours. Magazines like Billboard and Variety cover hot new jazz artists, classical music favorites, popular performers and off-Broadway shows.
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4. Talking to Artists’ Representatives Negotiations begin via phone, e-mail and at performing arts conferences.We determine how many performances our market can support and begin to shape a preliminary series. We must also consider: • balancing the types of shows and arranging dates with the university and community calendars • checking potential conflicts with other area arts presenters • generating budgets for each potential event to ensure there is a balance between financial responsibility and artistic merit, since ticket sales cover only 68% of presenting costs
Now the actual booking begins and the schedule is adjusted several times until we have the right mix of performances. Talent fees, ticket prices, performance dates and hundreds of other details are ironed out. When all parties agree, we finalize the event and sign the contracts. However, nothing is set in stone. Scheduling conflicts, changes in tour funding, and other circumstances can change even ‘finalized’ performances. At last, the Performing Arts Series is announced to the public! (Of course, we’re already planning great shows for next season.)
The Culture Buzz
Iowa’s insightful gateway to arts, theatre, literature, culture, history, entertainment and more, guided by John Busbee, 2014 Governor’s Arts Award winner for Collaboration & Partnership in the Arts. Encourage your creative exploration, indulge your imagination, enhance your life. Catch “The Buzz.” www.TheCultureBuzz.com Each Wed 11am–1pm on KFMG. Locally 99.1 FM, Globally www.kfmg991.org
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Ways to Enhance your Experience Make the Most of Your Experience With These Special Opportunities Before, During and After the Show. When you think of Stephens Auditorium, we hope you think of it not just as a venue for seeing the performing arts, but also as a place where you are engaged as an active participant in the arts. The following events will enhance your visit and make each experience more fulfilling.
of the professional touring group provide unique insights before each performance. Previews are free for ticket holders and occur 30 minutes before curtain time. You’ll find the Celebrity Café on the ground floor lobby in Stephens, on the north side of the auditorium.
Master Classes: In master classes, artists will meet with groups of students, usually from Iowa State University and other area schools, and share their knowledge and insight as professional performers. In some cases, the artists will even provide a class for the entire community.
Overture Dinner: We offer pre-concert meals prior to our classical programming. The buffet is held in the Scheman Building and includes three entrees, dessert, beverages and cash bar. With an informative presentation about the evening’s concert, it is a great way to make it a fun evening with like-minded arts supporters.
Free Previews in the Celebrity Café: Engaging presentations offered by topic experts, ISU faculty members or members
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Iowa State Center Staff Mark North..................................................................................General Manager Missy Borton.......................................................................Administrative Assistant Kay Lande.................................................................. Administrative Receptionist
Business & Finance
Linda Schwartz........................................................................... Business Manager Helen Nelson.....................................................Accounts Payable Administrator Jamie Hopper.................................................. Payroll & Personnel Administrator
Event & Conference Services
Pat Dennis............................................ Director of Event & Conference Services Angie Weeks.......................... Event & Conference Services Sales Coordinator Melissa Johnson............................... Event & Conference Services Coordinator Dave Burrack........................................ Event & Conference Services Manager Josh Oakland..........................................Event & Conference Set-up Supervisor
Guest & Client Services
Tim Hinderks......................................................Guest & Client Services Manager Sandra Robinson..............................................Guest & Client Services Manager Steve Flack....................................................... Environmental Services Manager Greg Gerstein..............................Scheman Environmental Services Technician
Marketing & Development
Angela Ossian...................................................................... Director of Marketing Jordan Julson........................................................ Digital Marketing Coordinator Holly Boman......................................................................... Marketing Manager Patti Cotter..............................................Development & Sponsorship Manager Janae Verhelst..............................................................................Marketing Intern
Technical Operations
Steve Harder........................................................... Theaters – Technical Director Jake Ewalt...................................... Audio/Stage Manager – Technical Director Mike Broich............................ Exterior/Production Manager – Technical Director
Programming & Education
Craig Wiebke............................................................................ Event Coordinator Sara Compton...................................................................Outreach Coordinator Carol Lamb...............................................................................Outreach Assistant
Ticket Office
Carrie Erwin........................................................................ Ticket Office Manager Valerie Connell................................................... Assistant Ticket Office Manager Standing
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Youth Matinee Series Performing Arts For Young Minds Parents and educators know that helping a student develop creativity and imagination is one of the most important things they can do. Helping to complete the education formula, our Youth Matinee Series energizes, engages and enhances the overall learning process for students through the magic and
wonder of live performing arts experiences produced by professional touring artists. Performances are geared toward enriching students’ lives and illustrating the dynamic relationship between literature, social studies, history, science, math, world cultures and the performing arts.
Martha-Ellen Tye Performing Arts Institute The Martha-Ellen Tye Performing Arts Institute was established through a generous endowment by long-time Marshalltown resident, the late MarthaEllen Tye. It brings a unique blend of arts experiences to students of all ages through matinee performances, teaching activities in schools, demonstrations and workshops. Now in its 15th year, the program has served more than 150,000 students in grades PreK12 from across the state of Iowa.
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Mrs. Tye believed strongly in the power and importance of arts education and vigorously supported programs that develop the “whole person — body, mind and spirit.” The Youth Matinee Series is underwritten by this endowment, which allows us to keep prices affordable. Resource guides can be downloaded for free. If you would like to learn more about these performances, contact Sara Compton, Outreach Coordinator, at 515-294-7389, e-mail scompton@iastate.edu, or visit www.center.iastate.edu.
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Sunday, April 12, 2015 at Stephens Auditorium
Interested in
ADVERTISING?
Third Annual Blast Dance Workshop Third Annual Blastthe Dance Workshop You have power What: What: Jazz, Jazz, Hip Hip Hop, Hop, Contemporary, Contemporary, Ballet Ballet When: When: Over Over winter winter break break in in Ames Ames (2 (2 days) days) Who: Ages 5-20 Who: Ages 5-20 Visit: Visit: www.ddblast.com www.ddblast.com after after Labor Labor Day Day for for dates dates and and registration registration information information
to make a difference DONATE NOW!
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Standing Ovation distributes programs to 34 of Central Iowa’s leading dance, instrumental music, vocal music, theater companies, and performance venues. Advertise in the Des Moines or Ames area. Choose both and receive a discount.
Contact: Kimberly Hawn 515-250-1200 or khawn@pioneermagazines.com
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ENJOY TIME WITH FRIENDS
MEET THE PERFORMERS
ENGAGE KIDS WITH THE ARTS
Become a Partner in the Performing Arts Did you know your ticket pays for only 68% of the cost of presenting the Performing Arts Series? Contributions are critical to the quality and breadth of our program, allowing us to be bold and innovative each year. Join the generous donors who make these magical performances possible.
Giving is Easy To give your vital support to the arts, choose one of these methods:
Online: Visit www.center.iastate.edu/makeagift Mail: Envelopes at the Guest Services Desk or send to ISU Foundation, 2505 University Blvd., Ames, IA 50010
Donor Benefits Can Include: • Highest priority seating & VIP parking
Phone: 515-294-3347 or 1-877-843-2368
• Complimentary refreshments in the Donor Lounge
In Person: Ticket Office (open through intermission for all shows)
• A Donor Appreciation Event, Meet-the-Artist receptions and the Series Preview Party
Give today to begin experiencing the many benefits of being a Performing Arts Fund/AIOFA donor. Please join us today. Visit center.iastate.edu/support.
Your Gift Can be Made in Installments Visit www.foundation.iastate.edu and click on ‘How to Give’ to complete a Pledge, Electronic Fund Transfer or Faculty/Staff Payroll Deduction Form.
Ames International Orchestra Festival Association (AIOFA) You can designate your gift to support the orchestras at Stephens Auditorium.
Contact Patti Cotter, Development & Sponsorship Manager, at 515-294-1238 or via e-mail at pcotter@iastate.edu.
WHAT’S YOUR DREAM FOR THE ARTS?
Consider an endowment gift or a bequest to secure the future of orchestral concerts in Ames, as ticket revenues alone cannot sustain world-class performances and arts education programs.
Contact Patti Cotter at 515-294-1238 or pcotter@iastate.edu Standing
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Direct From México City, Orquesta Sinfónica del Estado de México (State Symphony of Mexico)
Irina Chistia
Orquesta Sinfónica del Estado de México ENRIQUE BÁTIZ, conductor IRINA CHISTIAKOVA, Solista de piano PROGRAMA (sujeto a cambios) Enrique Enrique Bátiz Music Director
Enrique Granados Las tres danzas españolas Manuel de Falla Noches en los Jardines de España Irena Soloist nº 3 en Fa mayor, Opus 90a Johannes BrahmsPianoSinfonía PROGRAM
Con el apoyo de Ames International Orchestra Festival Association (subject to change) and Ames Commission on the Arts ENRIQUE GRANADOS Three Spanish Dances MANUEL DE FALLA Noches en los Jardines de España JOHANNES BRAHMS Symphony No. 3 in F Major, Op. 90
Irina Chistiakova
MARTES 3 DE MARZO DEL 2015
Orquesta Sinfónica del ¡COMPRE SUS ENTRADAS HOY March 3, 2015 Estado dedel México Boletería “Stephens Auditorium” (sin cargo de serv
Columbia Artists Management Inc. ticketmaster.com | 1-800-745-3000 | Ticketmaster Ou 1790 Broadway Avenue ENRIQUE BÁTIZ, conductor New York, NY CHISTIAKOVA, 10019 IRINA Solista de piano www.cami.com PROGRAMA (sujeto a cambios)
Enrique Granados Las tres danzas españolas Supported by Ames International OrchestraNoches Festival Enrique Manuel de Falla Association andBátiz Ames Commission on the Arts en los Jardines de España Johannes Brahms Sinfonía nº 3 en Fa mayor, Opus 90a Con el apoyo de
Ames International Orchestra Festival Association and Ames Commission on the Arts
MARTES 3 DE MARZO DEL 2015
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Boletería del “Stephens Auditorium” (sin cargo de servicios)
ENRIQUE BATIZ At the age of 73, Enrique Bátiz is one of the most famous orchestra conductors in Latin America and no doubt he is a gifted artist who has won international popularity and fame and whose interpretations produce the deepest and most profound emotion. He was born in Mexico City on May 4, l942. In l950 he studied piano with Francisco Agea and in l960 he continued his studies with Gyorgy Sandor. That same year he went to Southern Methodist University in Dallas. In l962 he studied piano with Adele Marcus in New York at the famous Juilliard School of Music, where he also studied conducting and received a diploma in l965. In l964 he made several national tours as a pianist. In l965 he was a semifinalist in the “Marguerite Long” International Piano Contest in Paris. From l967 to l970 he specialized in piano with Zbigniew Drzewiecki in Poland. He also had private lessons in orchestral conducting with Stanislaw Wislocki. In 1970 he was finalist in the “F. Busoni” Piano Competition in Italy. He began a tour of concerts in Poland in l967 with the Lodz and Szczecin Philharmonics, and presented recitals in Warsaw and Brussels in l969 with flattering reviews regarding his temperament and virtuosity. In l968 he participated in the “Queen Elizabeth” International Piano Contest in Brussels. Upon returning to Mexico in l969 Maestro Batiz performed innumerable concerts in the province. His debut as a conductor was in the “Palacio de Bellas Artes” in l969 with the Xalapa Orchestra. Later in l970 he made a series of piano recordings for the Polish and Salzburg broadcast companies. He also participated in the famous “Frederic Chopin” International Piano Contest of Warsaw. In April of l971 he was named Director Conductor of the Symphonic Orchestra of the State of Mexico (OSEM). Maestro Bátiz was the conductor of the OSEM for twelve years (l971-1983), then of the Mexico City Philharmonic Orchestra for seven years (l983-l989) and resumed directorship of the OSEM from l990 to the present. Since l984, he has been named “guest conductor” of the Royal Philharmonic Orchestra and, as an invited guest conductor, he has led more than 500 symphony orchestras around the world. His work is represented with a collection of 145 recordings of which 4l are with the Royal Philharmonic, nine with the London Symphony, three with the Philharmonia, 12 with the London Philharmonic Orchestra, two with the Royal Liverpool Philharmonic Orchestra, 19 with the Mexico City Philharmonic Orchestra 58 with the OSEM and one with the Toscana Orchestra in Florence, Italy, for the British record companies EMI Records International, Academy of Sound and Vision, Musical Heritage (USA), NAXOS, IMG International Management Group, Pickwick, RPO Records and Arts (German company). The repertory of Enrique Batiz as a conductor Standing
ranges from classical to contemporary works. He has been described as an artist who conducts with enthusiasm, expressing a deep understanding, unusual even among the finest conductors. Throughout his career, he has received important distinctions and awards: La primera Presea Bienal in Art from the State of Mexico Confederation of Professionals; “The International Gold Mercury” award of Rome, given for the first time to a Latin American artist; The Jose Marti and the Tlatelolco’s Eagle Medal; First Prize at the British Music Trades Association for his interpretation of French Music with the OSEM (Debussy Prelude of the Afternoon of a Faun); the 1986 “Rio Branco” medal, an official grade given by the Brazilian government for the worldwide digital recording of the nine Bachianas Brasileiras by Villa-Lobos; in four occasions (1971, 1981, 1983, and 1996) the annual prize as the most distinguished artist of the year from the Mexican Union of Theatrical and Musical broadcasters. His recording of the 3rd Symphony of Saint-Saens made in 1984 was considered by the magazines Gramophone and the Penguin Stereo Records Guide as the best recorded version of this piece. In 1986, The London Sunday Times considered his recording of Petrushka by Stravinsky as the recording of the year. In 1991 he received the Mexican “Mozart” medal given by the Domecq Cultural Institute in December of 1992, the London CD Review magazine designated the recording he made with the London Royal Philharmonic Orchestra of the Symphonic Dances and The Isle of Death by Rachmaninoff as one of the best recordings made in 1992. In March of 1995, he won the “Estado de Mexico” Prize and in 1994 in the area of arts “Sor Juana Ines de la Cruz,” for his contribution to the musical culture of the State of Mexico and recognition he has achieved in musical world. This is recognized throughout the country and the whole world, therefore, he has been declared “Mexiquense Destacado.” Enrique Bátiz has recorded the complete nine symphonies by Beethoven, the nine Bachianas Brasileiras by Villa-Lobos, the complete pieces for orchestra by Joaquin Rodrigo, Manuel M. Ponce, and G. Bizet, and eight volumes of Mexican music that have been published with great worldwide acclaim. In 1997 Enrique Bátiz made a complete recording of three symphonic cycles with the OSEM; the six symphonies by Piotr Illich Tchaikovsky (twelve sessions in six days in February 1997), and the four symphonies by Johannes Brahms (in only four days), precisely in the centenary of his death and in September of 1998, the four symphonies by R. Schumann, short pieces by P.I. Tchaikovsky: Capricho Italiano, Francesca da Rimini, Polonaise and Waltz of Eugene Onegin, Marche Slave, Mazzepa Overture and Valse Melancholique from Suite No. 3, as well as three short pieces by Joaquin Rodrigo: Miedo, Canconeta, and Two Berceuses in six days of recording sessions.
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Irina Chistiakova IRINA CHISTIAKOVA was born in 1990 in Moscow, Russia, and in 1996 was admitted into the piano program at the central music school of the Tchaikovsky Moscow State Conservatory. Three years later, already widely recognised as a child prodigy, Irina was performing Chopin solo works at the conservatory’s Grand Hall. By the time she turned eleven, she had played at concert halls throughout Russia, Germany and France and had won awards both as a soloist and in a duet with her older sister Galina, also an awarded pianist, including a Double Laureate in the Russian “New Names” Competition. In 2000 Irina was the star of the Irene Langemann film “Russian Children Prodigy” and was also featured in Langemann’s follow-up film “The Competitors: Russian Children Prodigy 2”. She also took part in a concert tour in Germany, marking the premiere of the documentary. In the 2000’s she continued to win prestigious piano competitions including the Moscow Schelkunchik (2002), the F. Chopin International (2004), the Zagreb 2006 Award, the Giuliano Pecar International (Italy, 2007), the Manuel Ponce International (Mexico, 2010), the Claudio Arrau International (Chile, 2012) and the Ettore Pozzoli (Italy 2013). In 2009 renowned conductor Enrique Bátiz invited her to become a regular guest soloist with the Orquesta Sinfónica del Estado de
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México, currently performing with this ensemble in 23 concerts of their 2015 US Tour. Irina has also performed with the following orchestras: MusicAeterna, Musica Viva, Moscow Chamber Orchestra, Yaroslavl Symphony Orchestra; and worked with conductors Currentzis, Rudin, Annamamedov, Valitov, Gaisin, and Wilkinsson. In April 2014 Irina played her debut recital in Het Concertgebouw in Amsterdam, performing Scriabin, Schubert and Schumann. Irina is a member of several funds, where she has also been a scholarship recipient: “New Names,” “Fund of V. Spivakov,” “Russian Performing Art,” and a French fund, “Enfance pour la Vie.” Irina took part in a CDrecording of these funds, playing different compositions by Chopin, Rachmaninov and Moshkowsky. She also takes part in a joint CD production performing works by N. Medtner, playing the “Minnaciosa” sonata. Irina’s live performances have been broadcast over the ARTE, Russian “Culture”, and Mexico State Radio and Television networks. Irina graduated with honors from the Moscow State Conservatory in 2013 and when she is not touring and recording, she is doing her postgraduate studies there with professor Mikhail Voskresensky and at the University of Arts in Berlin, with professor Jacques Rouvier.
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Orchestra Roster A COLUMBIA ARTISTS PRODUCTION Andrew S. Grossman, Producer
DIRECT FROM MÉXICO CITY,
ORQUESTA SINFÓNICA DEL ESTADO DE MÉXICO Enrique Bátiz, Music Director and Chief Conductor MUSICIAN ROSTER - USA TOUR 2015 FIRST VIOLINS Félix Parra Aguilera Nana Spartak Qizi Babayeva Spartak Babayev Illya Fedotov Luis Antonio Vital Catherine Julia Barrow Josiane Marie Blanche Roy José Urbán Díaz de León Nune Tshavrshyan Carlos Enrique Castejón Guadalupe López Juan Pablo Vital SECOND VIOLINS Luis Manuel García Carmen Celina Loa Luis Alberto Palomino José Luis Ramírez Víctor Palomino Oscar Estuardo Díaz Alvaro Wenceslao Cubides Alba María Cabrera Jaime Cházaro Aarón Ricardo Acevedo José Angel Contreras Rodolfo Galván
VIOLONCELLOS Sona Poshotian - Kamila María Pietrzyk Sara Angélica Murcio Iván Chernishov Luis Enrique Vital Jairo Saquicoray Irina Yeganyan Marek Grzegorz Wierzbicki BASSES Marcos Antonio Avendaño Dwight Lloyd Bryan Vladimir Ochivalov Jesús Escudero Castillo Boris Vladyshevski FLUTES Sabina Jeanne Laurain Huh Gyu Young Jaime Segura OBOES Peter Ferris Ana caroline Foshee Aarón Reyes
VIOLAS Chingiz Mamedov Marcelino Pedro Urbán Augusto José Carrión Byron Díaz Armen Aghabekyan Jaime Magdaleno Cervantes Diego José Hernández Luis César Mendoza Mario Rodríguez
CLARINETS Thomas Jones Lorenzo Meza Baltazar Chavarría BASSOONS Virya María Quesada Sebastian Chaves Nylsa Evelia Avalos
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HORNS Paul Franklin Miller Michael William Mc Girr Sara Ruth Hogan Clive James Whatley Oxford Adolpus Kitchengs TRUMPETS John Robert Urness Brian Eric Prunetta Ramón Meza Bustamante TROMBONES Ramón Meza Suárez Raúl Quezada Campos José Tonatiuh Rodríguez Balderas TUBA Anastacio Meza Suárez TIMBALES Sergio Diego de la T. Quesada PERCUSSION Manuel García Fajardo José Luis Barquera José Celestino Osorio HARP Christian Joannes Topp CONDUCTOR Enrique Bátiz SOLOISTS Alfonso Moreno Irina Chistiakova Dalia Kuznekovaite
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Program Notes Three Spanish Dances Enrique Granados (1867-1916)
Like his slightly older compatriot, Isaac Albéniz (1860-1909), Enrique Granados was both an exceptionally fine pianist and an early disciple of Felipe Pedrill, the Barcelonabased teacher who advocated the creation of a nationalistic music based on folksong and the legacy of Spain’s musical heritage. Granados attained international celebrity in his dual career as performer and composer, but his life was cut short just when his gifts had reached their fullest maturation. In 1916, he went to America for the world premiere of his one-act opera, Goyescas, at the Metropolitan Opera on January 28, and then extended his visit when President Wilson invited him to perform at the White House. When he finally made his return to Europe in late March, the ship on which he sailed was torpedoed off the English coast by a German submarine. Granados managed to make his way to a lifeboat, but then, upon seeing his wife struggling in the water, he jumped from the boat to rescue her. The couple drowned together.One of Granados’ initial responses to Pedrill’s call for an authentic Spanish music 20
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was a collection of twelve Spanish Dances for piano, first published in four sets of three between 1888 and 1890, though most had been written years earlier. Several of the dances quickly became popular, and they were soon played in various arrangements for other instruments as well as for ensembles. Within the decade following their publication, the second, fifth, and sixth of the dances were orchestrated by Granados’ fellow Catalan, Joan Lamote de Grignon (1872-1949), himself a composer and later on one of Spain’s most important conductors. This set of Three Spanish Dances became an audience favorite in the orchestral repertory, enjoyed for both its flavorful music and its colorful scoring.Each of the dances selected by Lamote de Grignon is cast in ABA form. The first two derive from the folk music of Andaluza, the region in southern Spain that had been longest under Moorish control. An “Eastern” (i.e., Islamic) influence is evident in the hauntingly exotic opening and closing sections of Oriental. In between comes a tender love-song. The lasting imprint of Islamic culture is even more apparent in
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Program Notes the sinuous melodies making up the second dance, labelled Andaluza. In a transcription titled Playera, this piece has become highly popular among guitarists. Rondalla Aragonesa, which completes the triptych, is a
spirited jota, a dance most closely identified with the northern region of Aragon where it originated in the 18th century. The pace relaxes during a lyrical interlude, after which the music resumes its initial energy.
Nights in the Gardens of Spain Manuel de Falla (1876-1946)
Upon graduating from the Madrid Conservatory in 1899, Manuel de Falla strove to make a living by writing salon music and zarzuelas, a Spanish variety of musical theater. He held, however, grander ambitions that were stirred by Felipe Pedrill’s advocacy of a nationalistic music drawn from folksong and the polyphonic masterworks of the Spanish Renaissance. After seeking out Pedrill in Barcelona, Falla became his pupil from 1902-1904. The initial fruit of this tutelage was La vída breve, a short opera written in 1905 as a submission to a competition. Although Falla won the prize, he could not secure the opera’s performance. Frustrated, he looked to Paris as a place friendlier to new music. On reaching the French capital in 1907, he soon began mixing with the city’s musical luminaries, including two fellow expatriates, composer Isaac Albéniz and pianist Ricardo Viñes. Standing
In 1909, Falla began work on a set for four nocturnes for piano. When he showed his initial efforts to Albéniz and Viñes, they suggested turning the music into a work for piano and orchestra. Falla adopted their counsel, but was slow in acting on it. He put the nocturnes aside and did not return to them until he was back in Spain following France’s wartime mobilization in August 1914. While staying in Sitges, a fishing village lying south of Barcelona, during June 1915, Falla at last reshaped his nocturnes into a three-movement composition for piano and orchestra that he titled Nights in the Gardens of Spain. The piece was premiered in Madrid on April 9, 1916 at a concert conducted by Enrique Fernández Arbós. Although Falla had wanted Viñes to be the pianist, that role was taken by José Cubiles who stepped in when Viñes regretfully declared that he could
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Program Notes not learn the piece in time. Viñes did later perform the work elsewhere—as did another notable pianist, Artur Rubinstein, who had attended the premiere. Rubinstein took Nights into his repertory and played it not just throughout Europe but in the Americas as well. Though having the outward appearance of a concerto, Nights does not place the piano in a starring role but instead uses its colorations as a prominent aspect of the beguiling orchestral palette. In a program note written for the premiere, Falla described his piece as a set of “symphonic impressions.” Their only purpose, he added, is “to evoke places, sensations, and sentiments. The themes employed are based . . . on the rhythms, modes, cadences, and ornamental figures which distinguish the popular music of Andalusia, though they are rarely used in their original forms; and the orchestra frequently employs, and employs in a conventional manner, certain effects peculiar to the popular instruments used in those parts of Spain. The music has no pretensions to being descriptive; it is merely expressive. But something more than the sounds of festivals and dances has inspired these ‘evocations in sound,’ for melancholy and mystery have their part also.” A sense of mystery imbues the beginning of the first of the nights,
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set in the gardens of the Generalife. This villa is an outlying part of the palatial complex known as the Alhambra, which served as home for the caliphs of the Nasrid dynasty that ruled Granada over the 13th to 15th centuries. When the piano enters, it transforms the mysterious opening into rippling figures suggestive of shimmering glints of moonlight upon gently running water. The thematic material then appears in varying guises, sometimes fiery, sometimes ruminative. After reaching an ardent climax, the movement closes tranquilly. Presumably again at the Alhambra, the second night is filled with the swirling rhythms of a festive “Distant Dance” of alternating vehemence and relaxation. At times, the piano plainly mimics the sound of that instrument most closely identified with Spain, the guitar. Eventually, the celebration yields to the spectral presence of the night, but the lull is only momentary. Without a separating pause, the piano suddenly drives the music into the third of the nights, this one spent in gardens among the mountains of Cordoba, the region adjoining Granada. The final section’s propulsive thrust is halted a while as the piano introduces the soulful chant of a flamenco singer, after which it returns the music to its previous heelstomping vigor. Finally, however, the energy and fervor wane, and the work closes in a mood of melancholic reverie.
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Program Notes Symphony No. 3, in F, Op. 90 Johannes Brahms (1833-1897)
Johannes Brahms composed his Third Symphony while he was summering in Wiesbaden in 1883. Very likely, the 50-year-old composer had opted to go to Wiesbaden because a young singer, Hermine Spies, was staying there. Brahms had been smitten by the 25-year-old contralto upon first having met her early in the year. While the relationship between Brahms and Spies never passed beyond a mutually playful flirtation, it may in part account for the symphony’s strange blend of youthful exuberance and stoic resignation. With the death of Richard Wagner in April 1883, Brahms attained undisputed rank as Germany’s preeminent living composer. The Third Symphony cemented that status. Lauded at its premiere performance by the Vienna Philharmonic under Hans Richter on December 2, 1883, the symphony was similarly hailed at subsequent performances in Germany and beyond. Never before had any of Brahms’ works met with so complete a success, but he characteristically declined to bask in the acclaim. To friends, he fretted that he would now be hard-pressed to meet the expectations that would Standing
attend his future compositions. In the end, he proved up to challenge by further enriching the world with such works as the Fourth Symphony, the Double Concerto, and the Clarinet Quintet. The Third Symphony begins heroically with three ascending notes, F–A-flat–F. According to Max Kalbeck, the composer’s friend and biographer, Brahms had used an F-A-F sequence in earlier works to stand for Frei aber froh.(“Free but happy”), a motto he had adopted in answer to the one chosen by his close friend, violinist Joseph Joachim: Frei aber einsam (“Free but lonely”). Scholars dispute whether Brahms intended the variant F–A-flat–F sequence to carry the same personal significance in the symphony, but the work’s bold opening is consistent with the character of the motto. In any case, the three-note figure is woven throughout the movement. On its initial appearance, it leads directly into a sturdy, descending theme that bears a clear resemblance to the theme that launches the Rhenish Symphony of Robert Schumann. The similarity is not likely to be accidental. Brahms revered the
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Program Notes memory of Schumann, whose praise, encouragement, and friendship had given him an invaluable boost at the beginning of his career. Moreover, thoughts of Schumann’s symphony might well have come to Brahms as he worked on his own Third while in a house that offered a view of the Rhine. After an extended exposition of the opening theme, the clarinet introduces a second theme of easygoing, cheery character. These two themes serve as the building-blocks for the rest of the movement—or say rather as the DNA, so organic are the material’s mutations across a remarkable range of differing moods. Presented with a movement of such dramatic contrasts, first-time hearers must have anticipated its ending in a decisive resolution of the contest. Instead, however, the music turns gently quiet, and the movement closes in a now-wistful recollection of the vigorous opening. Calmness prevails in the symphony’s two inner movements. Paired clarinets begin the second movement whose overall tender, loving lyricism is broken midway by a passage of increasing, yet finally
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restrained ardor. Instead of being the energetic dance or scherzo that is common to 19th-century symphonies, the third movement, in ABA form, has a sad or melancholic aspect that is relieved a while with consoling comments from the winds during the intermediary section. The final movement begins in a sense of nervous anticipation, then at last erupts in a fiery outburst that is before long answered by a confidently striding theme issued by the cellos. A struggle then ensues as passages of intense, angry vehemence are answered with defiant and self-assured statements. Though the movement seems to be pointing towards a triumphant or exultant peroration, the music instead falls into a subdued, elegiac mood. At the very end, the symphony’s opening theme, its former energy now drained, faintly reappears as the music slips toward silence. —Program Notes by Karl E. Gwiasda President of Ames International Orchestra Festival Association Board (AIOFA)
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ACTORS continues a super season with the Agatha Christie thriller-mystery A Murder is Announced. The play revolves around an announcement in the local paper that gives the time and place when a murder is going to occur. Even with the foreknowledge, the characters in Miss Blacklock's country home are unable to stop the murder from happening in front of them. However, they can't see who did it. The twists and turns that lead the audience to the solution will have the audience on the edge of their seats. This classic Agatha Christie-Miss Marple mystery is being directed by Ruthellen Cunnally, a veteran director at ACTORS. Auditions are February 8 and 9 at 7:00 PM at the ACTORS Studio, 120 Abraham Drive in Ames. A Murder is Announced runs from April 3 through 12. Tickets will be on sale at Gallery 319 in Ames starting March 14. ACTORS receives funding through the Commission on the Arts. A Murder is Announced is produced through special arrangements with Samuel French, Inc. Standing
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Thank You for Your Support Performing Arts Fund and Ames International Orchestra Festival Association Contributors as of 2/1/15
Impresario – $5,000 and above
Jim Beckwith The Lauridsen Family Endowment
Executive Producer – $2,500 and above
George C. & Susan J. Christensen Cecilia & Jack Horner Arthur Klein Beverly & Warren Madden Marianne & David Spalding Ira, Jordan & Julia White Brent & Maggie Wynja
Director – $1,000 and above
Anonymous Bob & Elizabeth Angelici Irene Beavers Elizabeth Cole Beck Kelli Bennett Jay & Karen Heldt-Chapman Wayne P. & Ferne Bonomi Davis Durbin, Zheng & Son, Inc. 1st National Bank - Ames Jan & Cornelia Flora Willa & Dave Holger Sherilyn & Mitchell Hoyer Kawaler Family Charitable Foundation Jane W. Lohnes Roger & Ruth McCullough James & Jody Mueller Mark & Andy North Jim & Frankee Oleson Cynthia & John Paschen, MD Peter & Rae Reilly Mary Jean & Maurice D. Reimers Gary F. & Harriet M. Short Jim & Mary West
Principal Artist – $500 and above
Anonymous (2) Marc H. Anderson & Family Brian & Tanya Anderson Claire Andreasen & Steve Pecenka Doris Bacot Ted & Carol Bailey Pat & Louis Banitt Rick Bartosh Jane & John Baty Jen & Edward Buckingham Stewart L. Burger Lee & Lori Burras Ann H. Campbell Dennis & Diane Carney Patricia Cotter & Peter Orazem
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Do-Biz Foods, LLC Elizabeth Dahm Dieter & Renate Dellmann Jim & Kathy Ferris Randy & Cathy Fitzgerald Cynthia & Lehman Fletcher Charles & Joanne Frederiksen Homer & Sandra Gartz Ethel George Susan & David Grant Thomas & Allison Greenwald Wil & Marjorie Groves Larry & Linda Hansen Mark & Lisa Harmison Herbert & Esther Harmison Judie & David Hoffman Jean & Bob Humphrey Charles Hurburgh & Connie Hardy Vicki Jahr Jim & Mary Kincart Julie Kroll John & Diane Kubik Greg & Sue Lamont Allen & Joy Lang Jean & John Langeland Phyllis J. & Larry L. Lepke Doug & Wanda McCay Louise M. McCormick Bertram Family Barbara A. Mengeling & William L. Mengeling, DVM Patricia A. Murphy John & Helen Olson Kathy A. Parsons Carol & Arlen Patrick Mary Jane Pearson & Ramon A. Runkel Brenda Petersen Cecilia Pham Dick & Sharon Richman Kent & Lou Ann Sandburg Suzan & John Shierholz Jay & Dea Staker Bob & Peg Stephenson Clayton & Ruth Swenson Connie J. & Roger C. Underwood Jeff & Ann Ver Heul Gary & Evonn Walling Douglas & Deborah West Maureen Wilt Duane & Megan Wolf Carol Wright Robert & Elizabeth Wych
Rising Star – $250 and above Anonymous (2) Linda & Mike Adams
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Chris & Garry Alexander Sheila Rae Baker Lisa Banitt & William Barry Tom & Betty Barton David H. Baum Kay & Roger Beckett Jeffrey Benson & Margaret Elbert Kay & Roger Berger LeRoy & Kathy Bergmann Diane & Ken Birt Chuck & Carmel Biskner Mary Ann & Jim Black Mark & Deborah Blaedel Donald & Jamie Blomgren Leonard & Janet Bond Kim & Hope Bossard James A. & Sharon Brewer Deanne Brill & Dean Janssen Rick & Janet Brimeyer Nancy E. Brown James & Sherry Carlson Richard & Maribeth Carlson Cheryl Case Gale Chatterton Dan & Anita Clayberg Frank & Kathy Comito Charles & Teresa Connell Anne Cooper & Vera Barkosky Jim & Carolyn Cornette Nancy & Pete Cyr Mark & Isabelle Davidson Roger A. Deal Meg E. Dobson - State Farm Insurance Dr. Steven & Ruth Dotzenrod M. Burton Drexler Larry & Barbara Ebbers Kevin & Kari Ehrecke Brian & Lisa Eslinger Frank & Vikki Feilmeyer Tom Flack Wayne & Evelyn Fuller Sarah Garst Jeanne G. Gehm Richard & Linda Geil Joey & Karen George Dave & Carole Gieseke Michael & Mary Beth Golemo Timothy Grandon Kenneth & Jill Grant Bryan & Joy Graveline Lowell & Jennie Greimann Milford & Barbara Grotnes Melba & Karl Gschneidner Barbara & Karl Gwiasda Judy Hankins Mary J. Harms Chad Hart Susan Hegland & Thomas Andre
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Chuck & Betty Horras Jon & Bonnie Hunziker Etha S. Hutchcroft Marcia Imsande Lincoln & Janet Jackson Larry & Pat Jenkins Sue Johnson Tom & Debra Johnson Delma L. Kernan Joseph & Karen Kerns Karen Kerper Susan & LeRoy Kester Elizabeth Keys Christine King Janann King John & Joy Kix Cathy Kling & Terry Alexander Paul & Adele Knop Kenneth & Michelle Koehler Jeff & Dawn Koster Marina Kraeva Dan & Sharon Krieger Keith & Brenda Kutz John Landgraf & Phyllis Jones Richard & Irene Lang Ruth G. Larson John & Mary Lawless Donald & Dorothy Lewis Efstathia Lingren Robert Lorr Eudene & Susan Lund Elizabeth K. Lyons Greg & Carol Madsen Bill & Beverly Marion Charles & Barbara Markus Maribeth Martin Jane & John Mathison Marie Mayer & Larry Brandt Judy McDonald Thomas & Dorothy McGee Clete & Joyce Mercier Arlo & Lori Meyer John & Pam Miller John B. Miller & Kathryn Madera Miller Carver Nebbe & Leysan Mubarakshina Anja Mudring & Gerd Meyer Charles & Mary Ann Mulford Don & Becky Nibe Susan Norris Don & Evelyn Nystrom Ruth Anne Ohde Danny & Trisha Oldes Larry & Cheryl Olofson Bonnie & David Orth Sue & Gary Osweiler John & Jacqueline Peeler Alec & Charlton Pendry John Pesek John E. Pierce Pat & Linda Plummer Emil & Mary Kay Polashek Jolene & Frank Randall Ellen M. Rasmussen Laura Reicks Klaus Ruedenberg Carolyn Cutrona & Daniel Russell
Tom & Lorna Safley Dean & Judy Sampson Jane Schill Norm & Sue Scott Richard & Jasmine Seagrave Jerry & JoAnn Sell Barbara A. Shedd Si & Mary Anne Silence John & Sandra Slaughter Jim & Diane Smith Dave & Sherri Smith Charles & Diana Sorenson Raymond & Jane Stanley Curtis Struck & Megan Fairall Calvin & Susan Swan Margaret & John Tait Marcia Thompson Jim & Gloria Toombs Ted Tostlebe & Marilyn Hanson Ardy & Dean Ulrichson Eleanor Vandeventer Steven, Kathy & Zach Vince Georgia & Carl Vondra Daniel & Sherrie Vos Mike & Deidre Wahlin Jim & Madeleine Walker Fred & Darlene Walker Bryan & Kara Warme Mark & Diana Weber Joan E. Welch Becca Wemhoff B. Joan White Della Jane Wright Thomas & Zora Zimmerman
Company Member – $100 and above Andy Abrahamsen Barb & Jack Adams Franklin & Kay Ahrens La Donna Allen Martha Anderson Karen J. Andrew Sandi & Dave Austin Rod & Jan Avey Stacy Bainter David & Jane Bartlett Richard J. Baumhover Amy & Steven Becker Judy & Don Beitz Holly Bender Robert & Mary Bergmann Marianne Berhow Roger & Corry Bertelsen Nancy L. Besch Carl & Jean Bessman Judith Blair Suzanne Block Gail & Janeen Boliver Charlene Boll Diane Borcherding Eldon & Marilyn Boswell Jean Krusi & Ed Braun Jeff & Jan Breitman Rod & Joyce Brink Donald & Ruth Ann Buck Bob & Rosemary Bulman
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Terry & Karen Burianek Janice Burkhart Kathryn Burkholder Daniel & Sandra Buss Bonny & Ray Callahan Matt & Carol Carlson Duane & Karen Carstens Margy Chamberlin John & Donna Cleasby Gladys & Peter Colwell Randy & Sara Compton Harold & Rachel Crawford Katherine Mason John & Barb Dalhoff Greg & Amy Davis Mary M. de Baca Brian & Jennifer Dieter Boyd & Irene Dohrmann Dee Dreeszen Carl Duling Frank Dunn Grace Liles Dyer George Eichhorn Don & Mary Eichner Carol Elbert Marvin Beck & Jane Farrell-Beck Bob & Karen Fowser David & Susan Freeman Mr. & Mrs. Albert Freeman Mim & Jim Fritz Rebecca Fritzsche John E. Galejs Mary Garst Ann & Howard Garton Deborah Gitchell Kathy & Chuck Glatz Marilyn J. Green Jean Griffen William J. Gutowski & Margaret A. Dempsey Dennis & Jane Haahr Duane Harris Marjorie Hartman Jerry & Pat Hatfield C.S. Hedlund Stephen & Nancy Heideman Kent & Sarah Heikens Craig & Martha Heineman Martha Helland Isabel Hendrickson Pete & Janet Hermanson Randy & Liz Hertz Tom & Joyce Hertz Joan Herwig Gary & Debra Hintze Carolynne Hoefing Bill & Judy Hoefle Drs. M. Peter & Lorraine J. Hoffman Robert & Janice Holland William & Barbara Holt Tim & Susan Hooper Carole Horowitz Dick & Sandy Horton Ted & Karen Huiatt Mina Hertz Jacobs Marian & Roger Jansen Darren & Sue Jarboe
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Todd & Lori Jenks Al Jergens & Kris Miles Tim & Sue John Kent & Sara Johnson Marilyn & Wendell Johnson Marilyn R. Johnson Margaret Johnson Rich & Judy Jones Roger Jones Linda Kelley David Kenworthy Cheryll & Tom Kierski John & Chris Kinley Karen & Wayne Klaiber Jim & Joyce Kliebenstein Gerald Klinkefus Carl Klostermann Roger & Mary Jo Kluesner Richard Kottman Asrun Yr Kristmundsdottir Bev & Ken Kruempel Richard Kruger The Olson & Kushkowski Family John & Susan Lang Harvey & Sally Lapan Randy & Beth Larabee Einar & Lois Larsen William & Susan Lawyer Michael & Debbie Lee Rev. Selva R. Lehman Dick & Ginny Lephart Elyse & Howard Levine Amelia Limyao Jeff & Lorie Loehr Carole Magilton Dick & Jackie Manatt Stephen & Audrey Marley Kae L. Mart Gary D. Mason Edith A. McClure Jeff & Mary Lou McDowell Harold & Connie McLaughlin John & Renee McPhee Helen F. McRoberts Glen & Mary Jo Mente Todd & Barbara Meyer Patrick & Ruth Milder Patricia & Kemp Miller Paul & Ann Mills John Miranowski & Susana Goggi Larry & Sara Mitchell Ginny & Lee Molgaard Jeannine Moore
John & Laurel Mors Thomas & Lynn Nehls Dwain & Mary Noffke Sarah Nusser & Michael King Michael & Ginger O'Keefe Dale & Kris Olson Diane Oppedal Miriam Patterson Don & Jan Payer Carlton & Sally Peterson Carol Alexander Phillips & Dean Phillips Barbara Peterson Jean Austin Peterson Bion L. Pierson Richard & Carol Pletcher Arthur & Bernadene Pohm Marlys Potter Ronald Prahl Mabel Prescott Jane Punke Mark & Sharon Rasmussen Ken & Anne Recker Kathy Rhode Thomas & Doris Rice Robert & Harriet Ringgenberg Joe & Jennifer Rivera William S. Robinson Jo & Bob Rod Dick & Karen Ross Malcolm Rougvie Charles & Priscilla Sage Steve Sapp & Lisa Enloe Michael Schaffer & Karen Stiles Diane & Don Schaffer Candy & Steve Schainker Stephani S. Scherbart Dale & Linda Schroeder Linda & John Schuh Gary Schultz Ron & Kim Schumaker George Seifert Phyllis Seim Dennis & Joan Senne Sam & Becky Senti Frank & Lynn Seydel Tori Shahidi & Larry Kelley Kenneth & Shirley Shaw Debra Shenk Diana D. Shonrock Al & Kathy Sievers Clifford Smith Richard Smith
Mr. & Mrs. Otis B. Smith, Jr. Philip & Galina Spike Bernard Stephenson, Jr. & Victoria Stephenson Janet & David Stephenson Ann Stokka Wilma Struss Robert & Deanne Summerfelt Paul & Linda Thede Mr. & Mrs. Harvey Thompson Ron & Meg Thompson Douglas & Christine Timmons Dorothy Timmons Roy Tinguely Steven & Mary Ann Tjaden David & Karen Toot Tedra Towne Charles & Mary Townsend John & Marjorie Uitermarkt Doug & Vicky Van Dyke Bev Van Fossen Stephen Van Houten Greg & Lana Voga Gene & Karen Walker Janice Walter Bobbie Warman Mary T. Watkins Harry & Marion Weiss Toni Wheelock Lorrie Whitaker Richard & Elizabeth White Bill & Toni Whitman Stephen & Lee Ann Willson Richard & Patricia Wood Steven & Lorraine Woolery Dario D. Zaffarano Suzanne Zaffarano Chad & Amy Zmolek
Matching Gift Honor Roll
Agilent Technologies Alliant Energy Foundation AXA Foundation Bon Ton Stores Foundation General Electric Merck Company Foundation Meredith Corporation Foundation Pioneer Hi-Bred International, Inc. Principal Financial Group Foundation, Inc. State Farm Companies Foundation
These generous individuals have included the Performing Arts Series in their wills.
The late Wayne P. Davis
Frankee and Jim Oleson
The late James Watson
Gifts in Honor
In Memory of Deb Lande Adams In Memory of Dee Hegstrom In Memory of Wayne P. Davis A gift in honor or memory is a generous way to celebrate a person’s life and accomplishments. To support the arts while honoring a loved one, contact Patti Cotter, Development and Sponsorship Manager, at 515-294-1238 or pcotter@iastate.edu.
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Webster City Community Theatre Bringing live theatre to the Webster City area since 1968 Almost, Maine
A new romantic comedy by John Cariani “Where hearts and the Northern Lights meet” February 6-8 & 13-15 All tickets $12
The Trial of Goldilocks The Trial of Goldilocks
by Joseph Robinette “A new twist on a familiar fairy tale for the entire family” April 10-12 & 17-19 All tickets $10
Monty Python’s SPAMALOT
“A musical parody of the legend of King Arthur” July 10-12 & 15-19 All tickets $15
Camp Creamery
A week-long children’s theatre camp led by professional actors from The Old Creamery Theatre in Amana July 27-August 1
Box Office Information: To reserve tickets, call 515-832-4456 or order online www.wcctonline.org Box office is located at the theatre 1001 Willson Avenue, Webster City, IA 50595 Box office opens the Saturday before each production. Hours are 5:00-7:00 pm weeknights, 10:00 am to noon on Saturdays, and one hour prior to each performance Webster City Community Theatre is a proud member of the Iowa Community Theatre Association and the American Association of Community Theatres. Ad funded by a Webster City Hotel-Motel Tax grant.
www.facebook.com/WebsterCityCommunityTheatre
www.wcctonline.org Standing
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C.Y. Stephens Curtain Donors
Special thanks to the following individuals who gave so generously to conserve Iowa State’s marvelous tapestry, Silver Code, designed in 1969 by Japanese artist Ryokichi Mukai. Woven at the Kawashima Textile Mill in Kyoto Japan, the curtain symbolizes the grandeur of the inaugural years of Stephens Auditorium. Pat and Louis Banitt
Frankee and James Oleson
Irene Beavers
Rae and Peter Reilly
Lee & Lori Burras
Rebecca Rice
Linda and John Dasher
Jo and Bob Rod
Ferne Bonomi and Wayne Davis
Dennis and Sally Rust in memory of Lucille Rust
Emerson Charitable Trust Helen Fleming and William Reinhardt, Jr. G!
Susan and Phil Sargent Laura Stebbins Shelley and Kevin Stow
Debbie Gitchell
Mary Beth and Charles Sukup
Carole Horowitz in memory of Professor Jack Horowitz
Ruth and Clayton Swenson
Iowa State Center
University Museums
Ann and Al Jennings
Mary Watkins
Betty and Dennis Keeney
Lee Anne and Stephen Willson
Margaret and Gary Krull
Suzanne Zaffarano
Phyllis and Larry Lepke Beverly and Warren Madden Office of the Senior Vice President for Business and Finance 30
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Dedicated Volunteers Iowa State University Performing Arts Council A university committee comprised of Iowa State University faculty, staff, and students, as well as Ames community members, the Performing Arts Council advises the Iowa State Center on programming for the Performing Arts Series at Stephens Auditorium. Alex Ortberg – Music Student Alissa Stoehr – Graduate Assistant Education Angela Ossian – Iowa State Center Staff Art Klein – AIOFA Bret Pugh – Community Brian Davidson – Community Cinian Zheng-Durbin – Community Debra Gibson – Faculty Hannah Skalbeck – Music Student Homer Gartz – Community Jane Cox – Faculty Janice Baker – Faculty Madeline Olsem – Music Student Melissa Patrick – Community Mike Golemo – Faculty Nancy Marion – Community Pat Miller – Faculty Patti Cotter – Iowa State Center Staff Phillip Sears – Music Student Salugna Sarkar – Graduate and Professional Student Senate Sam Johnson – Music Student Sara Compton – Iowa State Center Staff Sarah Jablon – Graduate Assistant Tanya Anderson – Community Tyler Baintgr – Music Student Vahid Noroozi – Graduate Assistant
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Ames International Orchestra Festival Association Board of Directors 2014-2015 Karl Gwiasda, President Arthur Klein, Vice President Herb Harmison, Treasurer Mary Richards, Secretary Jim Beckwith Jacob Harrison David Hoffman Willa Holger Beverly Kruempel Wendy Nutini Bion Pierson Peter Reilly Kevin Schilling David Stephenson Dario Zaffarano
The Stephens Street Team The Stephens Street Team unites the Iowa State Center and ISU by celebrating the importance of the arts in our lives. Its mission is to promote the arts to students of ISU through unique marketing efforts and special events. The Stephens Street Team will plan events, lead marketing activities and develop new and creative ways to reach out to the student body at ISU about the incredible, affordable and accessible events at the Iowa State Center. Activities may include planning on-campus promotional events or philanthropic events that relate to shows, assisting with performance day events, sidewalk chalking, flyer distribution, presentations to campus organizations about our performing arts series and more!
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Sponsors The Iowa State Center recognizes and thanks its sponsors for their support of the 2014-2015 Performing Arts Series at Stephens Auditorium:
Proud Sponsor of Chieftains
Proud Sponsor of Million Dollar Quartet
Proud Sponsor of Stomp
Proud Sponsor of Elf
Proud Supporter of the Arts
Grants The Iowa State Center recognizes and thanks the following organizations for their support of the 2014-2015 Performing Arts Series at Stephens Auditorium: Ames International Orchestra Festival Association (AIOFA) and Ames Commission on the Arts Proudly Supporting Iowa State Symphony (Youth Matinee Series Concert), Moscow State Symphony Orchestra and State Symphony of Mexico
The Great Gatsby This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from the Iowa Arts Council and General Mills Foundation.
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