China National Symphony Orchestra Playbill by Stephens Auditorium

CHINA NATIONAL SYMPHONY ORCHESTRA March 2, 2013 Sponsored by

Durbin & Zheng Family In Memory of Mr. Guangyi R. Zheng

Supported by Ames International Orchestra Festival Association and Ames Commission on the Arts

• STEPHENS AUDITORIUM •

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N’S CHOIRS • CHILDRE • AMES • STORY THEATER COMPA NY •

• SIMON ESTES •

• AMES C HORA

• ACTORS •

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www.standingovationiowa.com

Welcome friends of Iowa State University and C.Y. Stephens Auditorium! Thank you for coming to share this performance with us. You are now part of a grand tradition that has involved artists who have come to Ames from all over the globe and the generations who have benefited from the arts. Stephens Auditorium is the result of visionary dreamers who, more than 45 years ago, worked passionately to build a performance hall unparalleled in the state of Iowa. It stands beautifully today as a shining testament to their vision and their efforts. This elegant 2,729-seat auditorium is poised to host an exciting and eclectic array of 22 touring acts, nearly half of which originate from outside the U.S. We have filled the calendar with dance (Ballet Folklorico de Mexico), music (national orchestras from Cuba and China and Vienna Boys Choir), and avant garde performances like TRACES, a show created by the Montreal-based troupe of 7 Fingers who transform everything you thought you knew about the Big Top. The national tour of Shrek: The Musical made its central Iowa premiere in February and the Blue Man Group will return in March for the first time since 2006, bringing its unique and intimate theatre performance style to the stage. Tribute bands continue to be popular events, and this year is no exception: Experience the Beatles with RAIN, and re-live the concerts of ABBA with ARRIVAL from Sweden. All are not only supreme musicians, but electrifying performers in their own right. For a full listing of the 2012-13 Performing Arts Series, please refer to our ad located in the color section of this program. We thank you for your support and patronage of the Performing Arts Series at Stephens Auditorium. Enjoy the show!

Steven Leath President Iowa State University

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Mark North General Manager Stephens Auditorium

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Direct from Beijing, The Peopleâ&#x20AC;&#x2122;s Republic of China

CHINA NATIONAL SYMPHONY ORCHESTRA

Xincao Li, Music Director and Conductor En Shao, Music Director and Conductor

Program Requiem for the Earth (First Movement) Yellow River Piano Concerto Muye Wu, Pianist

Xia Guan Chengzong Yin Wanghua Chu Lihong Sheng Zhuang Liu

Intermission Ein Heldenleben

Richard Strauss

The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. Programs and artists subject to change without notice. Standing

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Program Notes

Requiem for the Earth Xia Guan (b. 1957)

Requiem for the Earth was composed as a tribute to the victims of the earthquake, in Wenchuan County, Sichuan Province in May 2008. Facing the colossal human loss and suffering caused by the devastating Wenchuan earthquake, the mournful Chinese nation yearned for a vessel: a ceremonial vessel to bear her immense grief, to hold an offering to the dead, and to uplift the spirit of the survivors to rebuild their lives and homes. The Requiem for the Earth became that magnificent, beautiful and solemn ceremonial vessel. Sent by the government, Xia Guan, and two lyricists, went to visit the disaster area shortly after the great quake. There they witnessed the magnitude of the destruction and the suffering. The vast ruin, the massive number of dead, the wrenching pain of the bereaved families and the heroism of the rescue campaign evoked the musicians’ reflections on the ultimate meaning of life, love, kindness, fortitude and morality. The Requiem was a joint effort of the China National Symphony Orchestra (CNSO) and the China National Opera House. First of its genre, the large scale symphony / vocal work is an innovative endeavor that organically integrates the western requiem style and Chinese musical / lyrical elements. The renowned composer Xia Guan, jointly with the lyricists Lin Liu and Xiaoming Song, completed the work within a year. On May 12, 2009, the first anniversary of the earthquake, the Requiem was premiered by CNSO at the China National Center for the Performing Arts in Beijing, under the baton of its principal resident conductor, Xincao Li. 4

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The Requiem is a seventy-minute suite consisting of four movements of orchestral and choral music. Western organ and ancient bone flutes from the Chinese Jiang tribe are included in the instrumentation. Jiang tribal and southwestern Chinese folk music elements are vigorously palpable throughout the composition. First Movement - Gazing at the Stars: Meditation for Orchestra

(For the US concert tour, it is played by the orchestra without the choral part)

Set to a slow rhythm, the music begins with the captivating tone of grief and contemplation. It echoes the heartrending moments when composer Xia Guan and his colleagues arrived at Wenchuan, Sichuan, 12 days after the calamitous quake. The remote and deep sky is enshrouding the earth and witnessing the human suffering. Sadness and despair are reflected progressively in pure, broad and solemn musical passages. Under the boundless brilliant starry sky and in the infinite universe, the quake survivors’ feelings of the transitory nature of life, human fragility, insignificance, and fear toward the Great Nature intensified. After an introduction played by the string section and the harp, the piece evolves into a melodic and emotional polyphonic theme, conveying the star-gazing-victims seeking an answer to life’s questions. The theme, played by the English horns with the succeeding French horns, crescendos and leads to a sorrowful violin solo. The orchestra recapitulates the thematic polyphony, when the timpani joins in with prominent force. As the music reaches its culmination, the chorus sings “gazing

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at the stars”. The rising tone of the first violins, chimes and vibraphone vividly depicts the scene of the quake victims lamenting, questioning and imagining under the remote and expansive Milky Way (known in the Chinese mythology as the Silver River). The recurrence of the orchestral theme and the choral passage mingle and progress contrapuntally into warm melodies which are further enriched by the French horns. With the chorus singing “Dignified, we stand in the

infinite universe. Silent, the Heaven watches over every human heart,” the winds and the strings play in an upper register to express the survivors‘ fervent prayers and plea. The mood unfolds and transpires to the solemn choral passages “Revere the heaven. Honor the stars,” calling for a harmonious union of mankind, the Heaven and the Earth until eternity. Succeeding the orchestral music climaxes to its finale, the movement concludes in enduring tubular bells, melodious chimes, flute and celesta of peace and serenity.

The Yellow River Piano Concerto

Chengzong Yin, Wanghua Chu, Lihong Sheng, Zhuang Liu Based on “The Yellow River” Cantata by Xinghai Xian The Yellow River Piano Concerto was based on the renowned “Yellow River Cantata” by Xinghai Xian. The cantata is often analogized to the Revolution Etude by Chopin a century and a half ago. Both exude a strong national and revolutionary spirit in defiance of foreign invasion and domination. Xian, previously educated in France, returned to China during the Japanese occupation - the most difficult time in the recent history of the country. He adopted European techniques and popular Chinese folk music in this composition. The immense choral work was completed in merely six days, in a cave house in northwestern China. The music bespoke the suffering of the Chinese people during the WWII, espoused the movement of resistance against the brutality and genocides by the invader, and inspired the Chinese people to rise to defend their motherland. The cantata, written in 1939, has since then become a symbol of the heroism and solidarity of all Chinese people around the world. Standing

30 years after, several young musicians created a piano concerto based on the main themes of the cantata. The premiere took place on May 1, 1970, with Chengzong Yin, one of the composers, being the soloist. The concerto soon became a household piece in a very special way and contributed to the preservation of pianos across China during the tribulation of the Cultural Revolution. The Yellow River Concerto won international recognition when Yin performed this work with the Philadelphia Orchestra under the baton of Eugene Ormandy during their visit to China in the 1970s. The concerto is in one movement divided into four parts: The Yellow River Boatman’s Song Representing the boatmen’s solidarity and strong will to fight against terrifying waves, symbolizing the fortitude of the Chinese people during their most

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difficult struggles. The cadenza highlights and heavy sonority of piano and brass, the Yellow River’s insurmountable vigor. depicting people’s rage and anguish for the loss of their beloved homeland. Ode to the Yellow River Broad melodies from the cellos express a Defend the Yellow River sentimental ode to the Yellow River - the Calls of the brass section lead to the mother river of China, the symbol of the theme of “Defend the Yellow River,” origin of the Chinese nation: the people, played by piano and orchestra. With the culture, and the history. competing lines, the finale embodies the iron determination of Chinese people Wrath of the Yellow River to rid the invader. It thrusts the whole Using folk songs from Shanxi area in concerto to the climax of victorious northwestern China, the beautiful and celebration. lively tunes contrast with the deep

Ein Heldenleben Op. 40

Richard Strauss Born June 11, 1864, in Munich Died September 8, 1949, in Garmisch-Partenkirchen There was a time when the music of Richard Strauss was the source of great controversy. At the end of the nineteenth century, when the successors of Liszt and Wagner were probing the possibilities of new musical means and were discovering new potentials of expressiveness in music, Strauss was in the vanguard of the creative search - the tone poems Don Juan, Till Eulenspiegel, Also sprach Zarathustra, and Ein Heldenleben, just to mention the most popular ones, were composed before 1900; the highly dissonant operas Salome and Elektra appeared during the first decade of the twentieth century. Although Strauss later chose to follow a more moderate course, leaving the more telling innovations to Schoenberg, Stravinsky, et al., he nevertheless created works in a variety of media that have established him as one of the most significant composers of his time. Paradoxically, many works that were the subjects of the most heated controversy 6

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have since come to be recognized as the masterpieces most representative of his genius. Such can be said to be the case with Ein Heldenleben, the last of his large scale tone poems, not counting the Symphonia domestica and Eine Alpensinfonie. Written between 1897 and 1898, Ein Heldenleben (A Hero’s Life) was both acclaimed and attacked at its first performance; the premiere took place on March 3, 1899 in a Museumconcert in Frankfurt, conducted by the composer. The work was such a veritable horror to the members of the old guard that word went out to concert managers that it should be scheduled last in the program to afford the audience the chance to leave the hall before it began; on the other hand, it was celebrated by the vanguard as an audacious testimony to modern music. Ultimately, the work soon became a “classic” and is now a staple of the repertoire of the big orchestras, as it

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gives them the opportunity to unfold the greatest possible tonal splendor. In this work, Strauss broke with his own tradition of writing tone poems about literary figures, instead choosing himself as the protagonist for this opus. Ein Heldenleben has often been described as a megalomaniac work, as it is indeed an autobiography written in terms of superhuman grandiosity. Many, however, fail to understand that, here, Strauss is just exhibiting his capacity for self-parody; the “hero” of this work was certainly not a Nietzchean superman (even if in the musical portrayal he appears to be), but just an everyday composer, who views the music critics as his adversaries, and who is variously soothed and cajoled by his wife. With some humor, the composer once told the French writer on music Romain Rolland: “I do not see why I should not compose a symphony about myself; I find myself quite as interesting as Napoleon or Alexander.” Strauss also wrote: “Beethoven’s Eroica is now so rarely performed that to fulfill a pressing need I am composing a tone poem entitled Ein Heldenleben, admittedly without a funeral march, but yet in E-flat.” It should be noted that although Beethoven originally dedicated his Eroica to Napoleon Bonaparte (later withdrawing the dedication upon learning that Napoleon had proclaimed himself Emperor), many music commentators have remarked that if anyone is portrayed in that work, it is surely the composer himself. In a less egotistical manner, Strauss himself gave the following view of this work: “Ein Heldenleben is not a realistic portrait of a particular historical or poetic figure, but rather a more general and free ideal of great and manly Standing

heroism, not the heroism to which one can apply an everyday maxim of valor, with its material and exterior reward, but that heroism which relates the inward battles of life, and which aspires, through struggle and renouncement, towards the elevation of the soul.” Following the structure of a sonata first movement, Ein Heldenleben consists of six sections, played continuously, except for a dramatic pause after the first section. In order to provide better understanding of the various sections, Strauss gave each of them separate headings. The first section is called Der Held (The Hero). At the very beginning, from the depths of the orchestra ascends the hero’s main theme, over a spread of twenty measures, played initially by horns, violas and cellos, and eventually taken up by the violins. During its course, it gives way to several magnificent episodes, hiding within itself a plentitude of small motifs, all of which are used and developed later. After a series of impressive climaxes, a fortississimo dominant seventh chord brings the proceedings to a suspenseful pause. A second series of thematic ideas, is introduced in Des Helden Widersacher (The Hero’s Adversaries). This must have been the section that troubled the old guard of the time the most. Here, the nagging critics are portrayed by motifs of various kinds, and assigned to the various tonal registers: jagged flute chromatics, rattled triplets in the oboes and the dull grumbling of the tubas. The hero’s theme is heard, sounding tired and resentful. A short, “victory” motif, played by the full orchestra, serves as a bridge to the next section.

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The third set of themes - of what until now has been the exposition - is introduced in the next section, Des Helden Gefährtin (The Hero’s Companion), a great lyric intermezzo. The composer’s wife is here represented by the solo violin, with themes of serene beauty, as well as a series of taxing cadenzas. Her portrayal is not always necessarily flattering; Strauss described her in a letter to Rolland as “very feminine, a little perverse, a little coquettish, at every minute different from how she had been the moment before.” Preceded by downward harp glissandos, an extended episode ensues in which the wife’s and the hero’s themes intermingle in a love duet; this bliss is, nonetheless, intruded upon intermittently by woodwind interjections, reminding us of the adversaries just outside the door. The development begins with a lengthy transitional passage as a fanfare of trumpets off-stage is heard, calling to battle. Suddenly, with a martial percussion cadence, we are plunged into Des Helden Walstatt (The Hero’s Battlefield). The themes of the hero and of his adversaries are heard in confrontation. The woman’s theme also has a supportive word to say, inciting the hero’s strength in battle. A triumphant transitional passage - containing the love themes from the composer’s own Don Juan as well as the “victory” motif heard earlier - brings this section to an end.

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With an imposing statement of the hero’s theme, the recapitulation as such commences. Des Helden Friedenswerke (The Hero’s Works of Peace) becomes a test for true Strauss fans. Here it is possible to find further quotations from Don Juan, as well as themes from Tod und Verklarung (Death and Transfiguration), Till Eulenspiegel, Also sprach Zarathustra, Macbeth, the composer’s song Traum durch die Dämmerung (Dream through Dusk), and the opera Guntram. Des Helden Weltflucht und Vollendung (The Hero’s Withdrawal from the World and Consummation) is the last section of the work. After the exultation of the proceedings fades away, a short passage of unrest and sorrow gives way to a pastoral English horn solo. This prepares the way for a lovely string passage in which the horns are prominent, taking over the English horn motif; yet the sounds of the adversaries are heard once again. The solo violin again recalls the woman’s thematic material, and the hero’s solo horn intertwines with it as the strings fade to nothingness. One last chordal fanfare of brass and woodwinds rises and dies down as the work is brought to its quiet conclusion. ©1996 Columbia Artists Management Inc.

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CHINA NATIONAL SYMPHONY ORCHESTRA

The China National Symphony Orchestra (CNSO), is one of the most outstanding symphony orchestras in China. It was founded in 1956 as the Central Philharmonic Orchestra of China. The orchestra was restructured and renamed in 1996. It is led by its Artistic Director Xia Guan (Composer), Laureate Conductor Muhai Tang, Principal Resident Conductor Xincao Li, and Principal Guest Conductor En Shao. The CNSO is an outstanding team of instrumentalists, many of whom have won prizes in national and international competitions. The combination of masterly artistry, dedication and professionalism of the orchestra musicians has enabled the CNSO to maintain consistently high quality performances and a unique orchestral tradition. The orchestra’s growth and development in the past 50 years is attributable to its successive leaders and musicians such as the renowned musician Li Lin, conductors Li Delun, Han Zhongjie, Yan Liangkun, Qiu Li, Zuohuang Chen, and Muhai Tang. For nearly half a century, the CNSO has introduced to Chinese audiences an extensive repertoire of classical, romantic, modern and contemporary orchestral works by both Western and Asian composers. It continues to foster a tradition to motivate new works by Chinese and international composers, and to premiere them in concert halls inside and outside the People’s Republic of China. The CNSO’s concerts are frequently broadcast on radio and television throughout China and around the world. Many of the CNSO’s performance recordings have been released worldwide through cooperation with the China Record Standing

Company, the French Record Company, Philips Record Company and the Channel Classics Records of Netherlands. The orchestra regularly tours China, Taiwan Province, Hong Kong and Macao. CNSO’s contributions to promoting Chinese symphonic works and to introducing great Western symphonies to Chinese audiences are remarkable. Throughout the years, the CNSO has collaborated with many world renowned artists: among them there were conductors Eugene Ormandy, Herbert von Karajan, Seiji Ozawa, Charles Dutoit, Kurt Masur, Slatkin, Rozhestvendsky, Schwarz and Peress, Krzystof Enderecki, as well as instrumentalists David Oistrakh, Yehudi Menuhin, Isaac Stern, Mutter, Martha Argerich, Yo-Yo Ma, Mischa Maisky, Shaham, Wang Jian, Lang Lang, Li Yundi, Lin Choliang and Lindemann; and vocalists, Giacomini and Jones. After a performance with the CNSO, conductor Charles Dutoit was moved to observe, “I was delighted to find a Chinese orchestra with such high standards, the CNSO has a great deal of potential. In a few years, it will certainly develop into a group that will grab the attention of the world. “ The CNSO has toured throughout the US, the United Kingdom, Germany, Austria, Spain, Portugal, the Netherlands, Australia, Mexico, Japan, DPR of Korea, Rep. of Korea, Malaysia, and Thailand, and regularly received critical acclaim by the international press. In London, a music critic for The Times praised the CNSO as “a mature group with a vital sound.” American music critics noted that “the CNSO is an honorable member of the world music stage.” In Europe, critics headlined the orchestra as “a great orchestra appears among the Kings of Orchestral Music.”

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On its May 2006 tour to the United States, CNSO visited eight cities and performed in Avery Fisher Concert Hall at Lincoln Center of New York, Chicago Symphony Hall, Strathmore Concert Hall of Maryland, and Boston Symphony Hall among others. The prominent American conductor and musicologist, Maestro Maurice Peress asserted, “The intonation and range of dynamics were excellent. The orchestra is world class.” In his Classic Music Review for The New York Times, renowned music critic Bernard Holland wrote, “This orchestra

will only get better, and the chance to hear Mr. Li’s violin playing made the evening all worthwhile.” Mr. Tim Page, famous music critic and staff writer of The Washington Post wrote in his review, “The China National Symphony Orchestra is a solid, energetic and meticulously drilled ensemble. . . . Everybody in the hall seemed happy Saturday, however, at a concert studded with ovations.” CNSO has emerged in the orchestral world, with vigor and excellence.

En Shao

Principal Guest Conductor Maestro Shao is currently the Chief Conductor of the RTV Slovenia Symphony Orchestra, the Principal Guest Conductor of the China National Symphony Orchestra and the Music Director and Principal Conductor of the Taipei Chinese Orchestra. He was awarded the Lord Rhodes Fellowship at the Royal Northern College of Music when he came to England in 1988, and in the same year he received the first Edward Van Beinum Foundation Born in Tianjin in China, En Shao Scholarship. As winner of the Sixth started to play the piano and violin at Hungarian Television International the ages of four and five respectively Conductor’s Competition in 1989, and by the age of 18 was working as a he conducted several performances composer, pianist and percussionist with the Hungarian Radio Orchestra with a local orchestra. After graduating and the State Symphony Orchestra. In from the Beijing Central Conservatory 1990 he became Associate Conductor he became second Principal Conductor of the BBC Philharmonic Orchestra, of the Chinese Broadcasting Symphony a post created especially for him. Orchestra, a post he held for five years, Between 1992 - 1995 he was Principal and Principal Guest Conductor of the Conductor and Artistic Advisor of the Central Philharmonic Orchestra of Ulster Orchestra, with whom he made China and the National Youth Orchestra his Proms debut, and has also held the positions of Principal Guest Conductor of China. of the Euskadi Orchestra in Spain and 10

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Music Director and Principal Conductor Symphony Orchestra and is Patron of the Edinburgh Youth Orchestra. He is of the Macau Orchestra. also a regular visitor to the United States In the UK, Maestro Shao has conducted and Canada, working with the orchestras the London Symphony, Royal of Colorado, Phoenix and Vancouver Philharmonic, Hallé, Bournemouth, and has undertaken engagements BBC Scottish Symphony Orchestras in South Africa, Australia and New and the BBC National Orchestra of Zealand. As well as his commitments in Wales. Elsewhere, recent and future Slovenia, China and Taiwan, highlights engagements include conducting of recent and future seasons include the the RTV Slovenian Orchestra at the Zagreb and Belgrade Philharmonic and Robeco Series in the Concertgebouw, the Gavle and Hungarian Symphony Amsterdam, the Orchestre de Picardie, orchestras, the Orquesta Filarmonica de Orchester Musikkollegium Winterthur, Malaga, KwaZulu Natal Philharmonic in China National Symphony Orchestra, Durban, South Africa, and a return to China Philharmonic Orchestra, Hong the Edinburgh Youth Orchestra for their Kong Philharmonic, Tchaikovsky 50th Anniversary Gala Concert. En Shao Symphony Orchestra and Slovenian has a wide range of interests including Philharmonic orchestras. En Shao is Chinese cuisine, contemporary interior very committed to developing young design and architecture and jazz. talent and regularly guest conducts He also takes a particular interest in the Royal Northern College of Music environmental issues.

Muye Wu Pianist

Wu continued his studies at the Conservatoire National Superieur de Musique de Paris (CNSMDP), starting in 2001. He was the first Chinese pianist to obtain its highest diploma, a doctorate in Perfectionnement Piano (piano perfection). He gives frequent recitals throughout France and is one of the most up-and-coming young pianists in China.

Muye Wu was born in 1985, into a family of musicians and first performed onstage at age five. He studied at the Central Conservatory of Music and in 1997 toured five countries under the auspices of the conservatory and the State Cultural Relics Bureau. Standing

His awards include first prize at the Hong Kong Piano Competition, third prize at the Busoni International Competition, fourth prize and the audience prize at the Marguerite Long–Jacques Thibaud International Competition in Paris, and a series of awards at the Piano Campus Competition during the Journées Européennes du Piano at Pontoise,

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including the first prize, the audience prize, the Classica prize, and the prize awarded by the symphony orchestra of the Conservatoire National de Region of Cergy–Pontoise. Wu’s virtuosity was well recognized internationally long before his award from CNSMDP. For his extraordinary skills and expressive musicianship, he was hailed as the “Golden Fingers” of European piano. The French newspaper Le Monde raved, “What an astonishing

performance. It seems to bring me to Heaven from chaos.... He is filled with inspiration, brimming with natural and noble temperament!” Sina Entertainment reported “People haven’t heard such a pure French Romantic performance for a long time!” He possesses a handsome appearance, unique music expression and personal charm, which merge together with the piano and win the heart of an audience. People name him the “Perfect Romantic Piano Prince.”

Xia Guan

Executive Director He has composed a number of songs which leave a deep impression on the audience. His operatic symphony Mulan Psalm was first performed in Beijing in 2004 and at Lincoln Center in New York in 2005. In 2006 it became the first Chinese opera to be conducted by a foreign conductor, Michael Helmrath, to be played by a foreign orchestra–the Brandenburg Symphony Orchestra–and to be sung by foreign artists in the Chinese language. Xia Guan, a famous composer, is the executive head of the CNSO. He was born in Henan Province. He graduated from the Department of Composition of the China Central Conservatory of Music and played the violin and erhu. Before being the director of the CNSO, he was the director of the Opera Company at the China Opera and Dance Drama Theatre. He was also the vice director of the China Oriental Song and Dance Ensemble.

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According to The New York Times, “the China National Symphony Orchestra was a solid, energetic and meticulously drilled ensemble, and the excellent performance by the orchestra won over the audience. They were given prolonged applause.” Guan’s main compositions include: Fantasies Symphoniques: Farewell My Concubine (2005), the Chinese opera Sorrowful Morning, and Mulan Psalm.

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CHINA NATIONAL SYMPHONY ORCHESTRA XINCAO LI, PRINCIPAL RESIDENT CONDUCTOR EN SHAO, PRINCIPAL GUEST CONDUCTOR XI CHEN, VIOLIN SOLOIST CHUANYUN LI, VIOLIN SOLOIST PENG-PENG GON, PIANO SOLOIST MUYE WU, PIANO SOLOIST XIA GUAN, EXECUTIVE DIRECTOR

FIRST VIOLINS Yunzhi Liu Concert Master Kunyu Zhao Associate Concert Master Zhiyong Liu Principal Yawei Cheng Damao Wang Yun Sun Ying Yang Wanyi Wang Ke Li Ruibiao Zhu Yang Liu Weihan Fan Ning Zhang Yi Tian SECOND VIOLINS Kailin Zheng Principal Zhimin Dong Hong Yan Baihua Zhao Chuan Deng Jian Qin Weiguang Fang Xiaoqian Yang Changmo Nie Qin Jian Liang Yao Xi Li Bo Lou Peng Wang VIOLAS Wei Fu Associate Principal Weibin Fan Jing Li Sihua Zhang Dan Zhu Jinsong Ma Dan Zhao Yanchun Ma

ORCHESTRA PERSONNEL

CELLOS Hequn Shen Principal Yuilan Xu Associate Yingying Zhang Associate Lin Wang Xueqian Zhou Ze Li Yuanjie Zhou Yan Guo Bo Zhang Bin Zhao Yan Liu Cheng Li BASSES Xuejie Zhang Principal Jianlin Wu Xiaoguang Shi Ran Duan Shuang Wang Deliang Wang Jie Liu Bizhou Ren Hang Zhai

FLUTES Guoliang Han Guest Principal Zhijie Ni Associate Bo Ren Jia Wang OBOES Shenghu Li Principal Shaoming Tian Associate Weidong Wei Guest Associate Huricha Bao Standing

CLARINETS Bo Yin Principal Jing Wang Dan Wu BASSOONS Xiaoke Wang Principal Yang Liu Kezhen Li Shuo Wang

HORNS Kunqiang Zhu Principal Hong Zhou Associate Yijun Liu Associate Xin Zhang Qiang Shao Xing Gang Ruixiao Li Jindi Wang Xinzhu Chen TRUMPETS Guang Chen Principal Xun Wang Xiaohui Yin Ran Dang Xizheng Cheng Quang Tran Khanh

TIMPANI Qiping Liu Principal PERCUSSION Jingjing Li Kexin Zhu Jia Pu Ou Lv Qingya Meng Nan Zhang PIANO Dan Feng HARPS Yi Su Zhuyan Liu

COLUMBIA ARTISTS MANAGEMENT LLC. 1790 Broadway, 16th Floor New York, NY 10019 Andrew S. Grossman Senior Vice President & Senior Producer W. Seton Ijams Vice President

TROMBONES Kun Qiao Principle Huo Guo Xiao Yang Qiulai Ren Dongxiao Xu TUBA Haiyu Wang

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IOWA STATE CENTER STAFF Mark North Missy Borton Kay Lande

General Manager Administrative Assistant Administrative Receptionist

Linda Wilcox Helen Nelson Susan Lund

Business & Finance Business Manager Accounts Payable Administrator Payroll & Personnel Administrator

Pat Dennis Angie Weeks Melissa Johnson Dave Burrack Josh Oakland

Event & Conference Services Director of Event & Conference Services Event & Conference Services Sales Coordinator Event & Conference Services Coordinator Event & Conference Services Manager Event & Conference Set-up Supervisor

Tim Hinderks Sandra Robinson Steve Flack Greg Gerstein

Guest & Client Services Guest & Client Services Manager Guest & Client Services Manager Environmental Services Manager Scheman Environmental Services Technician

Angela Ossian David Derong Lisa Maubach Patti Cotter Katelyn McDermott

Marketing & Development Director of Marketing Digital Marketing Coordinator Advertising & Promotions Coordinator Development & Sponsorship Manager Marketing Intern

Steve Harder Jake Ewalt Mike Broich

Technical Operations Theaters – Technical Director Audio/Stage Manager – Technical Director Exterior/Production Manager – Technical Director

Craig Wiebke Sara Compton Carol Lamb

Programming & Education Event Coordinator Outreach Coordinator Outreach Assistant

Carrie Erwin Valerie Connell

Ticket Office Ticket Office Manager Assistant Ticket Office Manager

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Technically Speaking A Behind-the-Scenes interview with Stephens Auditorium Technical Director, Steve Harder Q: How long have you been the Technical Director (TD) at Stephens Auditorium? Steve Harder: I joined the staff in 1975 and became Stephens’ TD in the early ‘80s. I was lucky to follow in the footsteps of a very experienced TD who had opened the building and worked out some of the startup kinks. Q. How would you describe your role as TD? Steve: My crew and I do our “Iowa best” to meet the needs of each performance – if the traveling talent and crew have a good day, then the audience will see a great performance. Q. What are your responsibilities? Steve: I hire, schedule and train the part-time stagehand crew, read tech riders and estimate expenses for management, work during many of the events, and do my best to solve whatever technical problems come up. Q. What do you find are the expectations of the acts that come in? Steve: The tech rider attached to the talent contract gives us a lot of details; we try to provide everything the act expects. But my crew usually exceeds those expectations by striving to make the stay in Ames as smooth and trouble free as possible. Q. What are perks of the job? Steve: Flexible schedule, every day is different, excellent staff and parttime crew. It’s still exciting after 30 years in the same job. Q. What are the challenges of the position? Steve: Maintaining an aging facility during tight budget times. Q. What are you looking forward to this season? Steve: The largest tech challenge will be Blue Man Group (March 25-26, 2013). They usually travel in 6 semi’s – which really fills up Stephens. 16

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About a third of the show is loaded in and most of that flies over the stage. The next third is the stage riser setup. And then the last third is mostly backstage – with large areas laid out for video production. Luckily we don’t get much blue paint on the walls, so clean up is easy. Q. What keeps you coming back, year after year? Steve: What really keeps me coming back is the opportunity to work with our part time crew – young college students, getting on with their lives, working hard and having fun at Stephens. Most of them are not pursuing a career in theater, but every work day they help ensure the success of that night’s performance. I cannot overemphasize the contribution that our student crews make to the success of Stephens Auditorium. Q. Have here been any memorable problem-solving situations? Steve: There was the time we had to cut the leg off a Steinway Grand piano using a power hack saw, but it’s a long story ...

Art Classes! Kopecky Family Band Sixpence None the Richer The Dangerous Summer Hayes Carll Jefferson Starship The Dear Hunter John Primer And many more! VISIT M-SHOP.COM FOR THE FULL LINE-UP AND TICKET INFORMATION

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3/4 – 3/5 – 3/6 – 3/9 – 3/25 –

Paper Making Fused Glass Oil Painting Polymer Clay Eggs Int. Knitting – Stuffed Monsters

Pre-register at 515.294.0970 Class descriptions, times and prices at

www.workspace.mu.iastate.edu

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GUEST INFORMATION Our audience members are a valuable part of every performance at Stephens Auditorium. After all, without you, we wouldnâ&#x20AC;&#x2122;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 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 18

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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. 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. The Iowa State Center is not responsible for loss of personal property. 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.

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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 one-dollar 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 $25 or three shows for $65.* There is a limit of one ticket per performance, per student ID. Funded by the Government of the Student Body (GSB). *Restrictions apply for some performances. Three for $65 offer valid with the purchase of a student savings card. 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, Standing

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 fire lane 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.

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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 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 tape-recorded programs. Requests for these services must be made one month in advance.

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BRING A GROUP AND SHARE SPECIAL MOMENTS The finer things in life are just a little finer when shared with colleagues and friends. Why not plan your next group outing around a spectacular Stephens Auditorium performance? Imagine the thrill of the theater, the sublime sounds of a symphony orchestra, or the riotous laughter of a comedy — all moments your group can share! With bountiful menu options, flexible spaces, and a wide selection of concerts and performances at the Iowa State Center, the opportunities for your group events are endless! For more information about group benefits or to start planning your event, contact the Stephens Auditorium Ticket Office at 515-294-2479, toll-free at 1-877-843-2368 or visit www.center.iastate.edu.

Groups Receive Valuable Benefits: • Personal, one-on-one service • Ticket discounts • Promotional materials for publicizing your group event • Staff hosts to coordinate the details and ensure your event goes smoothly • Ample free parking • And more!

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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, but it’s no easy assignment. 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 Martha-Ellen 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 14th year, the program has served more than 150,000 students in grades PreK-12 from across the state of Iowa. 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 for each performance can be downloaded for free by teachers, students, and parents to further explore the art forms and identify curricular connections, increasing the educational value of the learning experience. 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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For Pre-K – Grade 12

October 22, 2012

Martha-Ellen Tye Performing Arts Institute Clifford the Big Red Dog – LIVE!

November 13, 2012

Monday, October 22, 2012

The Great Mountain Friday, November 2, 2012

If You Give a Mouse a Cookie & Other Story Books Tuesday, November 13, 2012

Charlotte’s Web Friday, February 1, 2013

Iowa State University Symphony* Tuesday, February 12, 2013

The Civil War

November 2, 2012

Thursday, March 7, 2013

Seussical Monday, April 15, 2013

Romeo & Juliet* Seussical

Thursday, April 25, 2013

Ramona Quimby Monday, April 29, 2013 Performances at 10 am & 12:30 pm

February 12, 2013

*Performance at 10 am only

Admission: 4 in Advance $ 5 Day of Show $

Visit www.center.iastate.edu or contact Sara Compton at 515-294-7389 or scompton@iastate.edu for more information. Standing

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GREAT REASONS TO SUBSCRIBE! Subscriber Rewards Great Discounts: Save up to 15% on all adult tickets when purchasing three or more shows. Plus you may purchase additional adult tickets at any time during the season and still save up to 15%. Quick & Easy Exchanges: Plans change? Exchange your tickets in person, by mail or by phone up to 24 hours prior to the performance, absolutely free! Ticket Insurance: If your tickets are lost, stolen or destroyed, replacement tickets will be provided for the same seats, free of charge. Priority Seating: Receive priority seating in advance of single-ticket buyers and you’ll be the first to hear about next year’s Performing Arts Series at an exclusive Preview Party. Special Offers: Throughout the season, subscribers will be notified of special offers, exclusive promotions, the latest updates and more. Easy Pay Now Available: Pay in three convenient installments.

For a complete list of subscriber rewards, visit www.center.iastate.edu.

Stay connected with us online We want to hear from you! We’re keeping the conversation going beyond Stephens Auditorium. Now on Facebook, Twitter and YouTube:

Become a fan of Stephens Auditorium

Visit youtube.com/StephensAud

Sign up for our Center Beat e-mail! You’ll receive advance notice of pre-sales & special events. It only takes a few moments to fill in your details at www.center.iastate.edu.

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BECOME A PERFORMING ARTS FUND DONOR

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THE ART OF PROGRAMMING THE PERFORMING ARTS SERIES 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 2013-2014 series began before the 2012-2013 series was announced. 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 didnâ&#x20AC;&#x2122;t fit into the schedule and we keep those events on a priority list for the future. Some artists were 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. Artistsâ&#x20AC;&#x2122; 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. 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.

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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 offBroadway shows. 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 • budgets are generated for each potential event to ensure there is a balance between financial responsibility and artistic merit, since ticket sales cover only 65% 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.)

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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 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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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. 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. Free Previews in the Celebrity Café: Engaging presentations offered by topic experts, ISU faculty members or members 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. Overture Dinner: Audiences attending our orchestra concerts next year can arrive early, get a prime parking space and enjoy a delicious buffet dinner at the Scheman Building before strolling over to Stephens. With an informative presentation about the evening’s concert and cash bar available, it’s a great way to dine before a show. Tickets to the preconcert meal, which includes dessert and beverages, are $30 for adults and $15 for ages 12 & under and must be purchased in advance. Pre-show Family Events: Join us in the Celebrity Café for family fun and activities with other guests before Shrek: The Musical and Blue Man Group. To learn more about these activities and other pre- and post-show events, call 515-294-3347, toll-free 1-877-843-2368 or visit www.center.iastate.edu. Standing

The mission of Dancenter Dancer Company Foundation is to provide volunteer and financial support in the education, development and advancement of dancers while enriching our community through the art of dance.

We invite you to learn more about us!

Free newsletter emailed monthly. Sign up

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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. Sit back, relax, and... “Hello?” Just as the performance transports you from your earthly boundaries, your neighbor suddenly starts beeping like a fire alarm or has an obviously less-than-crucial phone call about some friend’s new haircut. 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 18 for details. 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.

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An Evening with the Family Children are always welcome at Iowa State Center 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. Not sure if your little one will enjoy the show? Give us a call at 515-294-3347 or toll-free 1-877-843-2368 to find out which events are especially suited for children or to arrange a special seating location so everyone can enjoy the performance. Remember, all guests (regardless of age) must have a ticket. 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. 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. 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.

The Singing Place

Sunday, April 21, 2013 - 7:00 p.m. St. Andrew’s Lutheran Church 209 Colorado Ave, Ames, Iowa

www.goodcompanyensemble.org Standing

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Thank you for Supporting the Performing Arts Fund and Ames International Orchestra Festival Association Contributors as of January 1, 2013

Impresario $5,000 and above The Lauridsen Family Endowment

Mary Jean & Maurice D. Reimers Jim & Mary West Brent & Maggie Wynja

Executive Producer $2,500 and above

Principal Artist $500 and above

Jim Beckwith George C. & Susan J. Christensen Cecilia & Harry Horner Kawaler Family Charitable Foundation Beverly & Warren Madden Gary F. & Harriet M. Short Ira, Jordan & Julia White

Anonymous (2) Brian & Tanya Anderson Rick Bartosh Jane & John Baty Diane & Ken Birt Jen & Ed Buckingham Stewart L. Burger Bonny & Ray Callahan R.L. & Lenita Carstens Patricia Cotter & Peter Orazem Chris & Arnie Cowan Elizabeth Dahm Dieter & Renate Dellmann Meg E. Dobson â&#x20AC;&#x201C; State Farm Insurance Randy & Cathy Fitzgerald Tom Flack Jan & Cornelia Flora Charles & Joanne Frederiksen Homer & Sandra Gartz Ethel George Susan & David Grant Justin & Heather Greenlee Thomas & Allison Greenwald Wil & Marjorie Groves Esther & Herbert Harmison Jennifer & Chad Hart Sandy & Rick Hoenig Judie & David Hoffman Patricia Hulsey

Director $1,000 and above Bob & Elizabeth Angelici Irene Beavers Elizabeth Cole Beck Kelli Bennett Jay & Karen Heldt-Chapman John & Judy Clem Wayne P. & Ferne Bonomi Davis M. Burton Drexler 1st National Bank - Ames Willa & Dave Holger Sherilyn & Mitchell Hoyer Arthur Klein Jane W. Lohnes Roger & Ruth McCullough James & Jody Mueller Mark & Andy North John & Cynthia Paschen Sue & Al Ravenscroft

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Jean & Bob Humphrey Charles Hurburgh & Connie Hardy Jim & Mary Kincart Kenneth & Michelle Koehler Greg & Sue Lamont Allen & Joy Lang John Langeland Phyllis J. & Larry L. Lepke Doug & Wanda McCay Louise M. McCormick Tom & Judy McDonald Diane Muncrief Patricia A. Murphy Jim & Frankee Oleson John & Helen Olson Ted & Laura Oswald Kathy A. Parsons Mary Jane Pearson & Ramon A. Runkel Peter & Rae Reilly Dick & Sharon Richman Suzan & John Shierholz Rick & Kathy Stachon Chelon Stanzel & Ken Pap Clayton & Ruth Swenson Jeff & Ann Ver Heul Gary & Evonn Walling Duane & Megan Wolf Carol Wright Robert & Elizabeth Wych

Rising Star $250 and above Anonymous (2) Marc & Christianne Anderson Claire Andreasen & Steve Pecenka

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Doris Bacot Sheila Rae Baker Lisa Banitt & William Barry Tom & Betty Barton Mary & Bob Baumann Kay & Roger Beckett Jeffrey Benson & Margaret Elbert Kay & Roger Berger LeRoy & Kathy Bergmann Mark & Deborah Blaedel Donald & Jamie Blomgren Deanne Brill & Dean Janssen Rick & Janet Brimeyer Nancy E. Brown Lee & Lori Burras Richard & Maribeth Carlson Cheryl Case Gale Chatterton Do-Biz Foods, LLC Mary & Alan Christy Dan & Anita Clayberg Frank & Kathy Comito Charles & Teresa Connell John D. Corbett Jim & Carolyn Cornette Roger A. Deal Drake Holding Co. Larry & Barbara Ebbers Dorothy Ekberg Mary Embrey Brian & Lisa Eslinger Frank & Vikki Feilmeyer Cynthia & Lehman Fletcher Jan Fryer Wayne & Evelyn Fuller Sarah Garst Jeanne G. Gehm Karen & Joey George Dave & Carole Gieseke Chuck & Kathy Glatz Bryan & Joy Graveline Milford & Barbara Grotnes Melba & Karl Gschneidner Barbara & Karl Gwiasda Judy Hankins Larry & Linda Hansen Joseph & Mary Herriges William R. Hillyard Jon & Bonnie Hunziker Etha S. Hutchcroft

Darren & Sue Jarboe Susan Johnson Tom & Debra Johnson Marilyn & Wendell Johnson Steve & Nan Jungst Delma L. Kernan LeRoy & Susan Kester Elizabeth Keys Janann King John & Joy Kix Cathy Kling & Terry Alexander Paul & Adele Knop Jeff & Dawn Koster Marina Kraeva Dan & Sharon Krieger John & Diane Kubik Keith & Brenda Kutz John Landgraf & Phyllis Jones Jeffery & Margaret Lormor Eudene & Susan Lund Elizabeth K. Lyons Duane & Diane Madoerin Greg & Carol Madsen William & Beverly Marion Charles & Barbara Markus Maribeth Martin Jane & John Mathison Marie Mayer & Larry Brandt Thomas McGee Arlo & Lori Meyer Rosemary & Lester Moore Charles & Mary Ann Mulford Donna Newbrough & Lee Burchinal Becky & Don Nibe Mark Nord Don & Evelyn Nystrom Ruth Anne Ohde Larry & Cheryl Olofson Bonnie & David Orth Sue & Gary Osweiler Pat & Randy Parker Carol & Arlen Patrick John Pesek John E. Pierce Pat & Linda Plummer Jolene & Frank Randall Ellen M. Rasmussen Daphne & Jaime Reyes Dick & Karen Ross Klaus Ruedenberg

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Carolyn Cutrona & Daniel Russell Dean & Judy Sampson Kent & Lou Ann Sandburg Dirk & Lucinda Scholten Norm & Sue Scott Eric & Kris Seeman Jerry & Joann Sell Carole & Leverne Seversike Barbara A. Shedd Steiner & Mary Anne Silence John & Sandra Slaughter David & Sherri Smith Raymond & Jane Stanley Sue & Thad Stanton Dr. & Mrs. W. Robert Stephenson Calvin & Susan Swan Dorothy Timmons Ted Tostlebe & Marilyn Hanson Ardy & Dean Ulrichson Connie J. & Roger C. Underwood Eleanor Vandeventer Georgia & Carl Vondra Daniel & Sherrie Vos Fred & Darlene Walker Jim & Madeleine Walker Mark & Diane Weber & Michael Joan E. Welch B. Joan White Scott & Jan Williams Wayne Williams Maureen Wilt Della Jane Wright Chad & Amy Zmolek

Company Member $100 and above Anonymous (1) Barb & Jack Adams Leigh & Ed Adcock Franklin & Kay Ahrens Chris & Garry Alexander La Donna Allen Martha Anderson Rita Apel Sandi & Dave Austin Rod & Janice Avey Ted & Carol Bailey Pat & Louis Banitt Terry & Debbie Barger

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Susan Barker James Barr JoAnn Barten-Bigelow Richard J. Baumhover Amy & Steven Becker Judy & Don Beitz Dr. Ruthann Benson Bob & Mary Bergmann Marianne Berhow Nancy L. Besch Chuck & Carmel Biskner Judith Blair Gail & Janeen Boliver Charlene Boll Diane Borcherding Eldon & Marilyn Boswell Angela Bradley Edward Braun & Jean Krusi Rod & Joyce Brink Bob & Rosemary Bulman Kathryn Burkholder Stanley & Rayanne Burrack Daniel & Sandra Buss Heidi Carter Margy Chamberlin John & Donna Cleasby Joel & Rebecca Coats Gladys & Peter Colwell Harold & Rachel Crawford Nancy & Pete Cyr Herbert A. David Mary M. de Baca Stephen & Gail Dentler Deborah Dice Dee Dreeszen Carl Duling Frank Dunn Dan & Trisha Easton Carol Elbert George Englesson Dorothy Ewing Kay Faaberg Marvin Beck & Jane Farrell-Beck Maria Fedorova Elizabeth Ferreira Jim & Kathy Ferris Rebecca Fritzsche Herb & Katherine Fromm John E. Galejs

Mary Garst Ann & Howard Garton Kenneth & Jill Grant Lowell & Jennie Greimann John & Sally Greve Jean Griffen William Gutowski & Margaret Dempsey Darrin T. Hamilton Mary J. Harms Duane Harris Eugene & Ruth Harris Phyllis Harris Marjorie Hartman Jerry & Pat Hatfield Susan Hegland & Thomas Andre Steve & Nancy Heideman Craig & Martha Heineman Martha Helland Isabel Hendrickson Pete & Janet Hermanson Richard & Janet Hersom Randy & Liz Hertz Joan Herwig Mary Ann & John Hicks Dorothy Ferguson & Joseph Hineman Gary & Debra Hintze Carolynne Hoefing Bill & Judy Hoefle Robert & Janice Holland William & Barbara Holt Tim & Susan Hooper Frank Horn Carole & Jack Horowitz Dick & Sandy Horton Ted & Karen Huiatt Marcia Imsande Mina Hertz Jacobs Lincoln & Janet Jackson Dr. Bill & Lorrie Jagiello Marian & Roger Jansen Al Jergens & Kris Miles Al & Marilyn Joensen Ken & Sue Johnson Marilyn R. Johnson Carolyn Johnson Kent & Sara Johnson Bruce & Marie Johnson Standing

Rich & Judy Jones Neal & Teresa Kaloupek Joseph & Karen Kerns Cheryll & Tom Kierski Bette King Barbara Kiser Karen & Wayne Klaiber Jim & Joyce Kliebenstein Marianne Klinsky Jerry & Margaret Knox Richard & Nelle Kottman Bev & Ken Kruempel Richard Kruger Harvey & Sally Lapan Randy & Beth Larabee Ruth G. Larson William & Susan Lawyer Michael & Debra Lee Rev. Selva Lehman Efstathia Lingren Jeff & Lorie Loehr Marion & Robert Lorr Lowell & Elma Lynch Carole Magilton Dick & Jackie Manatt Steve & Audrey Marley Kae L. Mart Robert Martin Katherine Mason Edith A. McClure John & Renee McPhee Helen F. McRoberts Laura McVay Clete & Joyce Mercier Daryl & Kitty Metzger Todd & Barbara Meyer Patricia & Kemp Miller John B. Miller & Kathryn Madera Miller John Miranowski & Susana Goggi Larry & Sara Mitchell Marc & Rebecca Mohn Lee & Ginny Molgaard John & Laurel Mors Thomas & Lynn Nehls Jim & Sara Nelson Michael & Ginger Oâ&#x20AC;&#x2122;Keefe Siggi Olafsson & Jenny Aune Danny & Trisha Oldes

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The Olson & Kushkowski Family Ruth & LeRoy Ornberg Vicky Thorland-Oster & George Oster Don Paulsen Don & Jan Payer Alec & Charlton Pendry Barbara Peterson Jean A. Peterson Richard & Carol Pletcher Arthur & Bernadene Pohm Jim & Marlys Potter Ronald Prahl Mabel Prescott Peggy Propst Jane Punke Jean Ranney Randy & Denise Retleff Kathy Rhode Thomas & Doris Rice William Rich Mary E. Richards Robert & Harriet Ringgenberg Jodi & Ryan Risdal Charles Ritts & Kathleen Epstein-Ritts William S. Robinson Jo & Bob Rod Teresa Rohret-Erickson James & Kari Roth Malcolm Rougvie Tom & Lorna Safley Charles & Priscilla Sage Steve Sapp & Lisa Enloe Candy & Steve Schainker

Kaye Schanbeck Jane Schill Lester & Mary Jo Schmerr John Schuh Richard & Jasmine Seagrave George Seifert Phyllis Seim Dennis & Joan Senne Dr. & Mrs. Sam Senti Debra Shenk-Boudart Mark & Amy Slagell Robert & Carol Richardson Smith Richard & Frances Smith Clifford Smith Jim & Diane Smith Mr. & Mrs. David Stephenson Bernard Stephenson, Jr. & Victoria Stephenson Alissa Stoehr Carmily Stone Curtis Struck & Megan Fairall Robert & Deanne Summerfelt Doris Roettger-Svoboda Margaret & John Tait Ron & Meg Thompson Mr. & Mrs. Harvey Thompson Marcia Thompson Douglas & Christine Timmons Kent & JoAnn Tipping Steven & Mary Ann Tjaden Jim & Gloria Toombs David & Karen Toot John & Marjorie Uitermarkt Kermit & Cathy Van Brocklin Bev Van Fossen

Stephen Van Houten Greg & Lana Voga Gene & Karen Walker Doug & Kim Walker Marvin & Janice Walter Bobbie Warman Mary T. Watkins Fritz Wehrenberg & Jennie LeGates Marion & Harry Weiss Tom Wessels & Glenice Varley Bill & Toni Whitman Gary Wiele Richard & Patricia Wood Steven & Lorraine Woolery Suzanne Zaffarano Bill & Jean Zmolek

Matching Gift Honor Roll Alliant Energy Foundation AXA Foundation Bank of the West Bemis Company Foundation Emerson Electric General Electric GMG Foundation Meredith Corporation Foundation MidAmerican Energy Foundation Morgan Stanley Smith Barney Pioneer Hi-Bred International, Inc. Principal Financial Group Foundation, Inc. State Farm Companies Foundation Wellmark Blue Cross & Blue Shield

PLAYBILL ADVERTISERS The Iowa State Center thanks our sponsors and advertisers whose generous contributions make this performance playbill possible. For more information about sponsorship and playbill advertising, please call Patti Cotter at 515-294-1238. Sponsors are listed on page 37. Standing

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Planned Gifts

These generous individuals have included the Performing Arts Series in their wills. Wayne P. Davis Frankee and Jim Oleson The late James Watson

To learn how you can support the arts while honoring a loved one, or to create a legacy gift, contact Patti Cotter, Development and Sponsorship Manager, at 515-294-1238 or pcotter@iastate.edu.

Gifts in Honor

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.

In Memory of Deb Lande Adams In Memory of Dee Hegstrom

Ames International Orchestra Festival Association Board of Directors Arthur Klein, President Karl Gwiasda, Vice President Herb Harmison, Treasurer Joan White, Secretary

Larry Hansen Jacob Harrison Sandy Hoenig Willa Holger Dave Hoffman Marilyn Johnson

Bev Kruempel Duffie Lorr Yeil Park, ISU Student Mary Richards David Stephenson Maureen Wilt

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. Michael Golemo, President, Faculty–Music Tanya Anderson, Ames Community Janice Baker, Faculty–Dance Sara Compton, Iowa State Center Patti Cotter, Iowa State Center Jane Cox, Faculty–Theater Homer Gartz, Ames Community Debra Gibson, Faculty– Journalism & Mass Communication

Standing

Karl Gwiasda, Ames International Orchestra Festival Association Sam Johnson, Student–Music Nancy Marion, Ames Community Nick Miller, Student–Music Patricia Miller, Faculty–Lectures Program Mark North, Advisor, Iowa State Center Lee Plummer, Student–Music Victoria Stafford, Student–Performing Arts Cinian Zheng-Durbin, Ames Community

OVATION 2012-2013 SEASON