Playbill Issue 3: nov-dec 2011

mondavicenter2o11–12

programBallet Preljocaj: Blanche NeigePhoto by Jean-Claude Carbonne

Issue 3: nov-dec 2011

3 JennIfer Johnson cano, mezzo-soprano

17 hot 8 Brass Band

21 trey mcIntyre proJect and preservatIon hall Jazz Band

27 lara downes, pIano

33 tIa fuller Quartet

36 marIachI sol de méxIco de Jóse hernàndez

38 lara downes famIly concert

42 BlInd Boys of alaBama

45 amerIcan Bach soloIsts

Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 | 1

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ithbefore the show Before the Curtain Rises, Please Play Your Part

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

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

• Please remember that the taking of photographsor the use of any type of audio or video recordingequipment is strictly prohibited.

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

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

info Accommodations for Patrons with Disabilities530.754.2787 • TDD: 530.754.5402In the event of an emergency, patrons requiringphysical assistance on the Orchestra Terrace, Grand Tierand Upper Tier levels please proceed to the elevatoralcove refuge where this sign appears. Please let usknow ahead of time for any special seating requests or accommodations. See page 63 for more information.

Donors 530.754.5438Donor contributions to the Mondavi Center presenting program help to offset the costs of the annual season of performances and lectures and provide a variety of arts education and outreach programs to the community.

Friends of Mondavi Center 530.754.5000Contributors to the Mondavi Center are eligible to jointhe Friends of Mondavi Center, a volunteer support group that assists with educational programs and audience development.

Volunteers 530.754.1000Mondavi Center volunteers assist with numerous functions, including house ushering and the activities of the Friends of Mondavi Center and the Arts and Lectures Administrative Advisory Committee.

Tours 530.754.5399One-hour guided tours of the Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre and Yocha Dehe Grand Lobby are given regularly by the Friends of Mondavi Center. Reservations are required.

Lost and Found Hotline 530.752.8580

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

Here at the Mondavi Center, we talk a lot about “engagement,” especially where artists and audiences are concerned. These two types of engagement activi-

ties are intrinsically linked: our engaging with artists provides us with a tremendous resource, the artists themselves, to actively engage our audiences. In our next playbill, I will write a bit about what we mean by audience engagement, how we carry it out and why carrying on a meaningful dialogue with our audience is so important to us. This month, I wanted spend some time on “artist engagement.”

By artist engagement, we mean the fostering of a sustained presence by artists (and speakers) on our campus and in our community—in other words, residencies. So many of the artists we work with are born communicators—teachers as well as great performers—that it seems a shame to not find ways to connect them more to our community. While many visiting artists are on tours so tightly scheduled that they are in and out of town in a flash, at the Mondavi Center we are focused on shifting the touring paradigm from “one night stands” to creating opportunities for multi-day residencies around performances. This is one very important way in which we differ from a commercial presenter of artists. As part of UC Davis, we share in the University’s service mission to reach out to our community with educational and other beneficial resources. Creating community-based artist residencies is one of the most important ways we do this.

What are some examples of this? Many of you already have read about jazz trombonist Delfeayo Marsalis’s two-week residency last season, which touched the lives of more than 200 young musicians and their parents with opportunities to grow musically and to perform on stage in the Vanderhoef Studio Theatre. It was our most extended residency yet, and we are in the early stages of planning to bring Delf back for more. This season, in partnership with SFJAZZ, we have created the Mondavi Center SFJAZZ High School All-Stars. Through open auditions, we have assembled a group of young high school players who will be coached by Sacramento-based Capital Jazz Project co-founder Mike McMullen as well as by members of the SFJAZZ Collective. In the spring, these wonderful young artists will be the opening act for the SFJAZZ Collective’s Jackson Hall performance.

On the classical music side, each of our Debut Series artists makes visits to classrooms in numerous school districts, while members of the San Francisco Symphony coach local high school and university students. Beginning next season, with the help of the Andrew W. Mellon Foundation, we will have a major American orchestra in residence for three days, as well as several master performers and composers. In addition, visit-ing dance troupes work with the Mondavi Center-sponsored Dance Consortium, consisting of area dancers and dance teachers, in residency activities such as master classes and open rehearsals. Our Distinguished Speakers, although generally here for a short time, all participate in classroom visits on the UC Davis campus.

If you want to learn more about artist engagement and residencies at the Mondavi Center, feel free to email our Artist Engagement Coordinator Ruth Rosenberg at [email protected] or me at [email protected] if you have any questions or comments.

Enjoy the holiday season and this month’s great lineup of musical events!

Don Roth, Ph.D.Executive DirectorMondavi Center for the Performing Arts, UC Davis

from the director

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WHAT DO YOU SEE?

Copyright © UC Regents, Davis campus, 2011. All Rights Reserved.

We see your vision for a healthier future. You see your personal health-care champions.

When looking for a personal physician, you want a doctor who not only sees you when you need to be seen, but who sees you as a unique individual. When you choose any of UC Davis Health System’s 160 primary care physicians, you’ll find your personal health-care team of expert doctors, nurses and specialists. You’ll enjoy conveniences such as same- and next-day appointments when needed and access to your medical records online. And you’ll have peace of mind knowing we’ll be there with expert care when you need it most.

To see the full story and more, visit YouSeeTheFuture.UCDavis.edu. To choose a UC Davis physician, call 800-2-UC DAVIS.

YOU SEE THE FUTURE

2 | mondaviarts.org Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 3: Nov-Dec 2011 | 3

RobeRt and MaRgRit Mondavi Center foR the PeRfoRMing aRts | UC davis

PResents

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

JENNIfER JOHNsON CANO, MEzzO-sOPRANOCHRIsTOPHER CANO, PIANO

A Debut Series Event

Saturday, November 5, 2011 • 8PM

Sunday, November 6, 2011 • 2PM

Vanderhoef Studio Theatre, Mondavi Center, UC Davis

There will be one intermission.

DebutMC

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Jennifer Johnson Cano, mezzo-sopranoChristopher Cano, piano

Chants d’Auvergne Canteloube

“L’Antouèno” “Pastourelle” “La delaïssádo” “Lou coucut”

Gypsy Songs, Op. 55 Dvořák

“Lied ertönt, ein Liebespsalm” “Ei, wie mein Triangel” “Rings ist der Wald so stumm und still” “Als die alte Mutter mich noch lehrte singen” “Reingestimmt die Saiten” “In dem weiten, breiten, luft’gen Leinenkleide” “Darf es Falken Schwinge Tatrahöh’n umrauschen”

Siete Canciones Populares Españolas de Falla

“El Paño Murano” “Seguidilla Murciana”“Asturiana”“Jota”“Nana”“Canción”“Polo”

Intermission

Sea Pictures, Op. 37 Elgar

“Sea Slumber Song” “In Haven (Capri)”“Sabbath Morning at Sea”“Where Corals Lie”“The Swimmer”

Program is subject to change.

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Program Notes

Selections from Chants d’Auvergne (Songs of the Auvergne) (1923–30)Joseph Canteloube(Born October 21, 1879, in Annonay, France; died November 4, 1957, in Grigny, Seine-et-Oise)

Joseph Canteloube was born into an old family in the small town of Annonay in the Ardèche, 50 miles south of Lyons—his country heritage was to shape his life’s work. He went to Paris as a young man and studied piano with Amélie Doetzer, who had been a pupil of Chopin. In 1901, Canteloube entered the Schola Cantorum, which had been founded by the composer and pedagogue Vincent d’Indy just five years before. D’Indy became his mentor as well as his instructor (he published a biography of his teacher in 1949), and d’Indy’s musical style and passion for French folksong were the model and inspiration for much of Canteloube’s work. Canteloube began composing while still a student, and he went on to create a modest catalog of original works: two operas (the first of which, Le Mas, completed in 1913, won the Huegel Prize, but was not premiered until 1929); a symphonic poem; concert pieces for violin and piano; some vocal music; and two chamber works. It was his research and arrangements of French folksong, however, that won him enduring fame. He spent much of his life traveling throughout France to collect the music of many regions, preserving traditions soon to be gobbled up by mass media, and he lectured, wrote and broadcast extensively about his findings. He arranged many songs for choir or solo voice, most with instrumental accompaniment, making a special point of preserving the dialects of the originals (though he also gave renditions in modern French). From 1939–44, Canteloube edited the Anthologiedes chants populaires français, a comprehensive collection ofregional folksongs. Between 1923–30 he issued superbly atmospheric settings of 19 Songs of the Auvergne in four volumes for voice and orchestra; he added a fifth set of seven numbers in 1955. The texts treat the subjects of love and seduction, often in a refreshingly earthy manner, and the melodies range in style from simple ditties to country arias. The settings in which Canteloube enfolded the songs are filled with warmth and wit, always rich and sweet in sonority and harmony, yet never cloying. They are among the most masterful vocal music of the 20th century.

Gypsy Songs, Op. 55 (1880)Antonín Dvořák(Born September 8, 1841, in Nelahozeves, Bohemia; died May 1, 1904, in Prague)

Dvořák first gained notice from Vienna’s music lovers in February 1875, when a committee headed by Johannes Brahms awarded him a government grant intended to encourage young composers in the provinces of the Habsburg empire. His Viennese reputation grew quickly thereafter with performances of his chamber music by Joseph Joachim (for whom Brahms wrote his Violin Concerto) and the lightning success of the Slavonic Dances of 1878. In November 1879, Dvořák was invited to Vienna for a performance by the Philharmonic Orchestra and conductor Hans Richter of his Slavonic Rhapsody No. 3, “which was very well received,” he reported. “I won the sympathy of the whole orchestra at a stroke, and I had to assure them that I would send them a symphony for the next season.” The day after the concert, Richter gave a banquet at his house, to which he invited all the Czech members of the

orchestra. “It was a grand evening which I shall not easily forget.” Late the following summer Dvořák composed his Symphony No. 6 for the Philharmonic, but intrigues by his jealous Viennese rivals scuttled its scheduled premiere and the work was first heard in Prague in March 1881.

Dvořák fared better in Vienna with the set of Gypsy Songs that he wrote in January 1880 for Prague-born Gustav Walter, the leading tenor of the Vienna Opera for the three decades after 1856 and a renowned specialist in lieder recitals and the operas of Mozart and Wagner; Walter premiered the Gypsy Songs, in German, at his recital in Vienna on February 4, 1881. The words and spirit of these pieces came from the collection of original poems titled Gypsy Melodies that Adolf Heyduk (1835–1923), a professor at Písek, 50 miles south of Prague, had published in 1859. (Dvořák took a song for male chorus that he had written in 1877 to Heyduk’s “I Am a Fiddler” as the basis for his Symphonic Variations.) Heyduk’s poems were inspired by the traditional verses of the Gypsies of Slovakia, a mountainous land then considered by the more westernized Bohemians to be wilder and more exotic than their own, and they drew from Dvořák settings in which, wrote Alec Robertson in his study of the composer, “He reached his highest pinnacle as a song-writer. Everything is in place here.” Indeed, the fourth number of the set, widely known as “Songs My Mother Taught Me,” became one of Dvořák’s most famous and best-loved melodies. As well as the fiery sentiments commonly associated with the Gypsies, these songs also encompass tenderness, melancholy, love and an unquenchable zest for freedom and independence.

Siete Canciones Populares Españolas (Seven Popular Spanish Songs) (1914)Manuel de Falla(Born November 23, 1876 in Cádiz, Spain; died November 14, 1946, in Alta Gracia, Argentina)

When Falla was preparing his opera La Vida Breve for its first Paris performance, at the Opéra Comique on December 30, 1913 (it had been premiered in Nice on April 1), he received two requests—one from the soprano Luisa Vela, who was performing the leading role of Salud in the cast of La Vida Breve; the other, from a Greek singing teacher. Vela was planning a series of solo recitals during the coming months, and she asked Falla to provide some songs in Spanish style for her programs; the Greek singing teacher wanted advice about the appropriate accompanimental style for some melodies from his homeland. Falla experimented with setting one of the Greek songs, and discovered that he could extrapolate a suitable harmonic idiom from the implications of the melody itself. He tried out this new technique in the songs he was preparing for Vela, which he had decided would be settings of seven popular indigenous melodies culled from various regions of Spain. The Siete Canciones Populares Españolas were largely completed by the time he retreated to Spain in 1914 in the face of the German invasion of France; he and Vela gave their premiere at the Ateneo in Madrid on January 14, 1915. The idiom of the piano accompaniments that Falla devised for his Seven Popular Spanish Songs was, according to the composer’s biographer Suzanne Demarquez, derived from “the natural resonance … and modal nature of each song, without in any way neglecting the grace, the sensitivity, the delicate style of his pianistic inspiration.” Though the Siete Canciones Populares Españolas is virtually the only work of Falla’s to quote existing Spanish

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themes (two tiny folksong fragments were employed in The Three-Cornered Hat), so potent were these pieces in defining a national style of art song that Gilbert Chase said they provide “a model for contemporary song-writers throughout the Spanish-speaking world, in which popular and artistic elements are closely and often inextricably intertwined.”

“El Paño Moruno” (“The Moorish Cloth”), whose accompaniment was inspired by the steely brilliance of the guitar, comes from Murcia in southeastern Spain. “Seguidilla Murciana,” also from the province of Murcia, is a popular dance song in quick triple time. “Asturiana” is a lament from the northern region of Asturias. The “Jota,” mainly associated with the central province of Aragon, is one of the most familiar of Spanish dance forms. “Nana” is an Andalusian lullaby. “Canción” (“Song”) exhibits the pattern of mixed rhythmic stresses that characterizes much of Spain’s indigenous music. “Polo,” Andalusian in origin, evokes the Gypsy world of flamenco.

Sea Pictures, Op. 37 (1899)Edward Elgar(Born June 2, 1857, in Broadheath, England; died February 23, 1934, in Worcester)

It was the lightning success of the Enigma Variations following its premiere under the direction of Hans Richter in London on June 19, 1899, that propelled Edward Elgar to international notoriety. Cambridge University made him a doctor honoris causa in 1900; Oxford did so five years later. With his choral ode for the coronation of Edward VII in 1901 and the appearance of the first two “Pomp and Circumstance Marches” in 1902, Elgar became

England’s unofficial music laureate; he was knighted in 1904. Alberto Randegger, director of the Norwich Festival, sought to capitalize on the composer’s burgeoning fame by commissioning from him a vocal work to be premiered at the Festival in October 1899, Elgar’s first major project after Enigma. Elgar first mooted a piece for chorus, but finally settled on a cycle of songs when he learned that the splendid contralto Clara Butt, then just beginning her career, would be performing at the Festival. Elgar began the composition by reworking a setting he had made in 1897 of a poem by his wife, Alice, which he published in that year as “Lute Song.” Alice’s images of the sea suggested to him a cycle of verses by different poets on that subject, rather in the manner of Berlioz’s Les Nuits d’été (Summer Nights). Sea Pictures was duly composed in July 1899 at Birchwood Lodge, a secluded cottage near Worcester to which Elgar retreated during those years when he needed to work in solitude. The premiere, conducted by the composer with Miss Butt as soloist at the Norwich Festival on October 5, was a fine success. “The cycle went marvelously well, and we were recalled four times—I think—after that, I lost count,” Elgar wrote to A.J. Jaeger, his publisher and close friend (who was immortalized as “Nimrod” in the Enigma Variations). Sea Pictures was introduced to London before a packed house at St. James’s Hall two days later, and given a command performance before Queen Victoria at Balmoral on October 22. Elgar performed it frequently with Clara Butt and other singers and recorded it with Leila Megane and the Royal Albert Hall Orchestra in 1922–23. Sea Pictures, with its broad melodic writing and burnished orchestral sonority, masterfully reflects the sweep and majesty of its panoramic subject.

—Dr. Richard E. Rodda

capradio.org

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Texts for Jennifer Johnson Cano, mezzo-soprano

Vivaldi: Beatus Vir, RV 597Bach: Magnificat, BWV 243

Handel: Ode for St. Cecilia’s Day

Friday, december 2, 2011 7:00 pmJackson Hall, Mondavi Center

$8 Stu & Ch, $12/15/17 A | StAndArd SeAtingTickets are available through the Mondavi Center Box Office

Noon–6:00 pM Monday–Saturday | 530.752.2787 | mondaviarts.org


Texts for Jennifer Johnson Cano, mezzo-soprano

Quond onorèn o lo fièïro, iè! When we go to the fair, hey!Li onorèn tuoï dous, l’Antouèno! We’ll both go together, Anthony!Li onorèn tuoï dous! We’ll both go together!

Croumporèn uno baquetto, iè! We’ll buy a cow, hey!La croumporèn tuoï dous, l’Antouèno! We’ll both go together, Anthony!La croumporèn tuoï dous! We’ll buy it together!

La baquetto sèro méouno, iè! But the cow will be mine, hey!Lèi cornoï sèroun pèr bous, l’Antouèno! The horns will be for you, Anthony!Lèi cornoï sèroun pèr bous! The horns will be for you!

“È passo dè dessaï! “Oh, come here to me!È passo dellaï l’aïo! Come across the river!Bendras olprès de ièu, Come to this side,Què d’ofaïré parlorèn, and we shall talk of serious things;È lou restan del jiour and then for the rest of the dayN’en parlorén d’amour!” we shall talk about love!”

“Né pouodi pas passa! “But I cannot get across!Couci bouos qué iéu passi? Whatever shall I do?N’aï pas de pount d’arcados I have no boat,È n’aï pas dè batéu, nor bridge to cross the water;Ni máï dè pastourel nor even a shepherdQué mè siasco fidèl!” to love me faithfully!”

“Aurias léu un batéu “You would soon have a boatSè tu èros poulido! were you to be kind to me!Aurias un pount d’arcados, You would have a vaulted bridge,Aurias un pastourel you would have a shepherd, too,Qué té serio fidèl to love you faithfullyÈ máï djusqu’al toumbel!” all your life!”

Uno pastourèlo èsper’ olaï al capt del bouès A shepherdess is waiting over there at the top of the woodLou galan doguélo, mè nè bèn pas! for the one she loves, but he does not come!“Ay! souï délaïssado! “Alas, he has forsaken me!Què n’aï pas vist lou mio galant; I look for him in vain!Crésio què m’aïmábo, è ton l’aïmè ièu!” I thought he loved me, and I love him so!”Luziguet l’estèlo, acquèlo qué marco la nuèt The star comes out, the star announcing the night,e lo pauro pastoureletto and the poor little shepherdess Démourewt à ploura ... stays alone and weeps ...

Canteloube: Selections from Chants d’Auvergne (Songs of the Auvergne)

“L’Antouèno” (“Anthony”)(Series II, No. 2)

“Pastourelle”(Series II, No. 1)

“La Delaïssádo” (“The Forsaken Shepherdess”)(Series II, No. 4)

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Lou coucut oqu’os un auzel The cuckoo is a beautiful bird:Que n’io pas capt plus de to bel there are none more beautifulCoumo lou coucut que canto, than the cuckoo that sings,Lou mió coucut, lou tió coucut, than my cuckoo, than your cuckoo,E lou coucut dès autrès! than anybody’s cuckoo!Dió. Obès pas entendut canta lou coucut? Say, have you not heard the cuckoo sing?

Per obal found del prat, Yonder, at the bottom of the meadow,Sé nió un áubré flourit é gronat, stands a scarlet flowering tree,Qué lou coucut l’i canto. and there the cuckoo sings.Lou mió coucut, lou tió coucut, He’s my cuckoo, he’s your cuckoo,E lou coucut dès autrès. he’s everybody’s cuckoo.Dió. Obès pas entendut canta lou coucut? Say, have you not heard the cuckoo sing?

E se toutse les coucuts And certainly if all the cuckoosBoulioù pourta souneto, chose to wear bells,O! forióu çin cent troumpetoï! they would sound like five hundred trumpets!Lou mió coucut, etc. He’s my cuckoo, etc.

Lied ertönt, ein Liebespsalm, My song of love rings through the dusk,beginnt der Tag zu sinken, just as the day is fading,und wenn das Moos, der welke Halm as pearls of dew upon the grassTauperlen heimlich trinken. are braided into its hair.

Mein Lied ertönt voll Wanderlust, My song rings out with longingwenn wir die Welt durchwallen, as I wander through the world,nur auf der Puszta weitem Plan but once I’m in my native landkann froh mein Sang erschallen. my song sounds clear and strong.

Mein Lied ertönt voll Liebe auch, My song rings out in joy and love,wenn Heidestürme toben; when storms whip across the plains,wenn sich befreit zum letzten Hauch when from earth’s graspdes Bruders Brust gehoben! my brother is released by death.

Ei! Ei, wie mein Triangel wunderherrlich läutet! Ring out, my triangle, sing yourWie Zigeunerlieder, wenn zum Tod man schreitet! bell-like ringing,Wenn Triangelklänge mich zum Tod begleiten, singing like a Gypsy when death approaches!ist’s mit Tanz und Liedern aus für alle Zeiten! When the triangle sounds at a Gypsy’s deathLieder, Reigen, Liebe aus für alle Zeiten. it’s farewell to songs, dancing and love forever.

Rings ist der Wald so stumm und still, Everything in the forest is still,das Herz schlägt mir so bange; my heart alone is crying;der schwarze Rauch sinkt tiefer stets, the acrid smoke wafting from the valedie Träne trocknend meiner Wange. dries the tears that flow down my cheek.

Doch meine Träne trockne nicht, You don’t need to do this, wind, for me,sollst anders wohin wehen! I won’t succumb to sorrow,Wer auch im Schmerz noch singen kann, for he who can sing while still grievingder lebt, nicht wird sein Lied vergehen! can certainly face tomorrow.

“Lou Coucut” (“The Cuckoo”)(Series IV, No. 6)

Dvořák: Gypsy Songs, Op 55, Text: Adolf Heyduk

“Lied ertönt, ein Liebespsalm” (“My Song of Love”)

“Ei, wie mein Triangel” (“Ring Out, My Triangle”)

“Rings ist der Wald so stumm und still” (“Everything in the Forest is Still”)

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Als die alte Mutter mich noch lehrte singen, When my mother taught me the songs she loved dearly,sonderbar, dass Tränen ihr am Auge hingen. tears would flow from her eyes.Jetzt die braunen Wangen netzen mir die Zähren, Now my eyes weep as wellwenn ich will die Kinder Sang und Spielen lehren! as these old strains my own child is learning!

Reingestimmt die Saiten! Come join the dancing, young man! Bursche tanz’ im Kreise! Spin and turn!Heute froh, überfroh noch heute, leap and dance with joymorgen trüb’ nach alter Weise! for tomorrow may bring sorrow!Nächsten Tag am Nilstrand, There will be no returning der den Vätern heilig, from the hereafter,reingestimmt, reingestimmt die Saiten, so take your fiddle and bow, young man,in den Tanz, in den Tanz spring eilig! and join in the song and laughter!

In dem weiten, breiten, luft’gen Leinenkleide Wide sleeves and wide trousers havefreier der Zigeuner als in Gold un Seide! more freedom than a robe of gold.Jaj! der gold’ne Dolman schnürt die Brust zu enge, The robe of gold constricts the chest,hemmt des freien Liedes wanderfrohe Klänge. and the song within the body dies.Wer beim Schwung der Lieder wahre Lust empfindet, He who is happy, his song blossoms with wisheswünscht, dass alles Gold jetzt aus der Welt that the whole world would lose its taste for gold.verschwindet!

Darf des Falken Schwinge Tatrahoh’n umrauschen, Give a hawk a fine cage made of goldwird das Felsennest nicht er mit dem Käfig tauschen. and he would not exchange it for his old nest.Kann das wilde Fohlen jagen durch die Heide, Try to catch a stallion galloping across the landwird’s an Zaum und Zügel finden keine Freude. and you will try in vain to make him docile.Hat Natur Zigeuner etwas dir gegeben, Nature’s dearest present to the Gypsyja zur Freiheit schuf sie mir das ganze Leben. is the gift of freedom, which no man can take away.

Al paño fino en la tienda On the delicate fabric in the shop Una mancha le cayó; there fell a stain;Por menos precio se vende, for a lower price it sells Porque perdió su valor, Ay! because it lost its value. Ay!

Cualquiera que el tejado tenga de vídrio, Whoever has a glass roof No debe tirar piedras al del vecino. should not throw stones at his neighbor’s.Arrieros somos, Mule drivers are we,Puede que en el camino perhaps on the road Nos encontremos. we shall meet.Por tu mucha inconstancia Because of your inconstancy Yo te comparo I compare you,Yo te comparo por tu mucha inconstancia I compare you because of your inconstancy,Yo te comparo I compare you Con peseta que corre de mano en mano; to a peseta that passes from hand to hand;Que al fin se borra that finally becomes so rubbed down,Y creyéndola falsa that believing it false,Nadie la toma. no one will take it.

“Als die alte Mutter mich noch lehrte singen” (“Songs My Mother Taught Me”)

“Reingestimmt die Saiten!” (“Come Join the Dancing, Young Man!”)

“In dem weiten, breiten, luft’gen Leinenkleide” (“Wide Sleeves and Wide Trousers”)

“Darf des Falken Schwinge Tatrahoh’n umrauschen” (“Give a Hawk a Fine Cage Made of Gold”)

Falla: Siete Canciones Populares Españolas (Seven Popular Spanish Songs)

“El Paño Murano” (“The Moorish Cloth”)

“Seguidilla Murciana”

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Por ver si me consolaba, To see if I could be consoledArriméme a un pino verde; I sought the comfort of a green pine tree;Por verme llorar, lloraba. seeing me weep, it wept too.Y el pino, como era verde, And the pine tree, since it was green,Por verme llorar, lloraba. seeing me weep, wept too.

Dicen que no nos queremos They say we don’t love each otherPorque no nos ven hablar; because they never see us talking;A tu corazón y al mío but of your heart and mineSe lo pueden preguntar. they have only to ask.Ya me despido de tí, Now I bid you farewell,De tu casa y tu ventana your house and your window too,Y aunque no quiera tu madre, even though your mother may not like it,Adiós, niña, hasta mañana. farewell, little girl, until tomorrow.

Duérmete, niño, duerme, Sleep, little baby, sleep,Duerme, mi alma, sleep, my soul,Duérmete, lucerito sleep, little starDe la mañana of the morning.Nanita, nana. Nanita nana nanita nana.Duérmete, lucerito Sleep, little starDe la mañana. of the morning.

Por traldores, tus ojos, Because they are traitors, your eyes,Voy a enterrarlos; I will bury them;No sabes lo que cuesta, you don’t know how painful it is,“Del aire,” niña, el mirarlos “From heaven,” little one, to look at them.“Madre, a la orilla,” “Mother, from their edge”—Niña, el mirarlos. little one, to look at them. “Madre.” “Mother.”Dicen que no me quieres, They say you don’t love me,Ya me has querido ... yet once you did love me!Váyase lo ganado Gone is my love!“Del aire” por lo perdido, “From heaven,” it is lost.“Madre, a la orilla,” por lo perdido. “Mother, from their edge!” It is lost. “Madre.” “Mother!”

Guardo una “ay” I am hiding an “ay”—Guardo una pena en mi pecho, Ay! I am hiding a pain in my breast, Ay!Que a nadie se la diré! That to no one will I reveal!Malhaya el amor, malhaya! Ay! Cursed love, cursed! Ay!Y quien me lo dió a entender! Ay! And the one who taught it to me! Ay!

“Asturiana”

“Jota”

“Nana” (“Lullaby”)

“Canción” (“Song”)

“Polo”

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Por ver si me consolaba, To see if I could be consoledArriméme a un pino verde; I sought the comfort of a green pine tree;Por verme llorar, lloraba. seeing me weep, it wept too.Y el pino, como era verde, And the pine tree, since it was green,Por verme llorar, lloraba. seeing me weep, wept too.

Dicen que no nos queremos They say we don’t love each otherPorque no nos ven hablar; because they never see us talking;A tu corazón y al mío but of your heart and mineSe lo pueden preguntar. they have only to ask.Ya me despido de tí, Now I bid you farewell,De tu casa y tu ventana your house and your window too,Y aunque no quiera tu madre, even though your mother may not like it,Adiós, niña, hasta mañana. farewell, little girl, until tomorrow.

Duérmete, niño, duerme, Sleep, little baby, sleep,Duerme, mi alma, sleep, my soul,Duérmete, lucerito sleep, little starDe la mañana of the morning.Nanita, nana. Nanita nana nanita nana.Duérmete, lucerito Sleep, little starDe la mañana. of the morning.

Por traldores, tus ojos, Because they are traitors, your eyes,Voy a enterrarlos; I will bury them;No sabes lo que cuesta, you don’t know how painful it is,“Del aire,” niña, el mirarlos “From heaven,” little one, to look at them.“Madre, a la orilla,” “Mother, from their edge”—Niña, el mirarlos. little one, to look at them. “Madre.” “Mother.”Dicen que no me quieres, They say you don’t love me,Ya me has querido ... yet once you did love me!Váyase lo ganado Gone is my love!“Del aire” por lo perdido, “From heaven,” it is lost.“Madre, a la orilla,” por lo perdido. “Mother, from their edge!” It is lost. “Madre.” “Mother!”

Guardo una “ay” I am hiding an “ay”—Guardo una pena en mi pecho, Ay! I am hiding a pain in my breast, Ay!Que a nadie se la diré! That to no one will I reveal!Malhaya el amor, malhaya! Ay! Cursed love, cursed! Ay!Y quien me lo dió a entender! Ay! And the one who taught it to me! Ay!

“Sea Slumber Song”Text: Roden Noel

Sea-birds are asleep,The world forgets to weep,Sea murmurs her soft slumber-songOn the shadowy sandOf this elfin land;“I, the Mother mild,Hush thee, O my child,Forget the voices wild!Isles in elfin lightDream, the rocks and caves,Lulled by whispering waves,Veil their marbles bright,Foam glimmers faintly whiteUpon the shelly sandOf this elfin land;Sea-sound, like violins,To slumber woos and wins,I murmur my soft slumber-song,Leave woes, and wails, and sins,Ocean’s shadowy mightBreathes good-night,Good-night!”

“In Haven (Capri)”Text: C. Alice Elgar

Closely let me hold thy hand,Storms are sweeping sea and land; Love alone will stand.

Closely cling, for waves beat fast,Foam-flakes cloud the hurrying blast; Love alone will last.

Kiss my lips, and softly say:“Joy, sea-swept, may fade to-day;Love alone will stay.”

“Sabbath Morning at Sea”Text: Elizabeth Barrett Browning

The ship went on with solemn face:To meet the darkness on the deep,The solemn ship went onward.I bowed down weary in the place;For parting tears and present sleepHad weighed mine eyelids downward.

The new sight, the new wondrous sight!The waters around me, turbulent,The skies, impassive o’er me,Calm in a moonless, sunless light,As glorified by even the intentOf holding the day glory!

Love me, sweet friends, this sabbath day.The sea sings round me while ye rollAfar the hymn, unaltered,And kneel, where once I knelt to pray,And bless me deeper in your soulBecause your voice has faltered.

And though this sabbath comes to meWithout the stolèd minister,And chanting congregation,God’s Spirit shall give comfort. HeWho brooded soft on waters drear,Creator on creation,

He shall assist me to look higher,Where keep the saints, with harp and song,An endless sabbath morning,And on that sea commixed with fire,Oft drop their eyelids raised too longTo the full Godhead’s burning.

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Elgar: Sea Pictures, Op. 37


“Where Corals Lie”Text: Richard Garnett

The deeps have music soft and lowWhen winds awake the airy spry,It lures me, lures me on to goAnd see the land where corals lie.

By mount and mead, by lawn and rill,When night is deep, and moon is high,That music seeks and finds me still,And tells me where the corals lie.

Yes, press my eyelids close, ’tis well;But far the rapid fancies flyTo rolling worlds of wave and shell,And all the lands where corals lie.

Thy lips are like a sunset glow,Thy smile is like a morning sky,Yet leave me, leave me, let me goAnd see the land where corals lie.

“The Swimmer”Text: Adam Lindsay Gordon

With short, sharp, violent lights made vivid,To southward far as the sight can roam,Only the swirl of the surges livid,The seas that climb and the surfs that comb.Only the crag and the cliff to nor’ward,And the rocks receding, and reefs flung forward,Waifs wreck’d seaward and wasted shoreward,On shallows sheeted with flaming foam.

A grim, grey coast and a seaboard ghastly,And shores trod seldom by feet of men—Where the batter’d hull and the broken mast lie,They have lain embedded these long years ten.Love! when we wandered here together,Hand in hand through the sparkling weather,From the heights and hollows of fern and heather,God surely loved us a little then.

The skies were fairer and shores were firmer—The blue sea over the bright sand roll’d;Babble and prattle, and ripple and murmur,Sheen of silver and glamour of gold.

So, girt with tempest and wing’d with thunderAnd clad with lightning and shod with sleet,And strong winds treading the swift waves underThe flying rollers with frothy feet.One gleam like a bloodshot sword-blade swims onThe sky line, staining the green gulf crimson,A death-stroke fiercely dealt by a dim sunThat strikes through his stormy winding sheet.

O, brave white horses! you gather and gallop,The storm sprite loosens the gusty reins;Now the stoutest ship were the frailest shallopIn your hollow backs, on your high-arched manes.I would ride as never a man has riddenIn your sleepy, swirling surges hidden;To gulfs foreshadow’d through strifes forbidden,Where no light wearies and no love wanes.

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Jennifer Johnson Cano (mezzo-soprano), who is equally at home in the worlds of opera, lieder and chamber music, returns to the Metropolitan Opera this season as Kate Pinkerton in Madama Butterfly, Sandman in Hansel & Gretel and Wellgunde in Wagner’s Das Rheingold and Gotterdammerung. She also returns to the New York Philharmonic with Alan Gilbert after debuting with the Philharmonic in Mendelssohn’s Elijah last season. As soloist she performs in 2011–12 with the Cleveland Orchestra and the Orchestra of St. Luke’s, among others. She gives recitals at Carnegie Hall’s Neighborhood Concert Series, with the Buffalo Chamber Music Society and across the U.S.

Finishing her third residency at the Marlboro Music Festival, Cano performed in the Metropolitan Opera Summer Recital Series at Central Park and Brooklyn Bridge Park and finished summer 2011 with her Los Angeles Philharmonic debut and a performance at the Bard Music Festival. In recent seasons, she has toured with Musicians from Marlboro, performed at the St. Petersburg Palaces Music Festival in Russia and participated in the Ravinia Festival’s Steans Institute for Young Artists.

Cano was selected for the Lindemann Young Artist Development Program at the Metropolitan Opera in 2008, the same year she won the coveted Metropolitan National Council Auditions. She made her Met debut in the 2009–10 season singing a Bridesmaid in Le nozze di Figaro and Sandman in Hansel and Gretel. Last season, she appeared as Ludmilla in the Metropolitan Opera and the Juilliard School’s joint production of The Bartered Bride and returned to the Chicago Opera Theater singing Schumann’s Frauenliebe und leben, where she debuted as Kate Julian in Benjamin Britten’s Owen Wingrave in 2009. After two seasons as a Gerdine Young Artist with the Opera Theatre of St. Louis, Cano made her principal artist debut there in 2008 as The Muse/Nicklausse in Offenbach’s The Tales of Hoffmann.

As first prize winner in the 2009 Young Concert Artists International Auditions, where she was also awarded the Mecklenburg-Vorpommern Festival Prize and the Princeton University Concerts Prize, Cano made recital debuts on the Young Concert Artist Series at both Merkin Hall in New York, spon-sored by the Peter Marino Prize, and at the Kennedy Center in Washington, D.C. Other accolades include a 2011 Sarah Tucker Study Grant from the Richard Tucker Foundation and a 2009 Sullivan Foundation Award.

Cano hails from St. Louis, Missouri, and obtained her bachelor’s degree in music from Webster University in St. Louis and received her master’s degree from Rice University in Houston.

Christopher Cano (piano), a seasoned recitalist and orches-tra soloist, has performed with the Tucson Symphony Orchestra, Tucson Civic Orchestra, Southern Arizona Symphony Orchestra, Catalina Chamber Orchestra and the University of Arizona Symphony Orchestra. Recital appearances have been in Europe, across the U.S., Mexico, Israel and the Far East.

Cano has won numerous awards including the Green Valley Scholarship Competition, Emilio Osta Scholarship Competition, Tucson Symphony Orchestra Young Artist Competition and is a recipient of the Theodore Presser Scholarship. He is also a two-time winner of the University of Arizona President’s Concert Concerto Competition. Cano made his recording debut with the Catalina Chamber Orchestra in an acclaimed performance of Shostakovich’s Piano Concerto No.1, Op.35.

As a collaborative artist, he has played in the master classes of the late Fedora Barbieri, the late Anna Moffo, Lauren Flannigan, Martin Katz, Craig Rutenberg and Suzanne Mentzer. Cano has also played for the master classes of Marilyn Horne in New York City at Carnegie Hall. As a studio pianist, Cano has had the distinct privilege of working with some of the great artists and teachers of singing including Marilyn Horne, Sherrill Milnes, Luciano Pavarotti, Marni Nixon, Patricia McCaffrey, Joan Patenaude-Yarnell, Rita Shane and Diana Soviero.

Cano has performed as a guest soloist and chamber musician at the Killington Music Festival in Vermont, Alamos Music Festival of Sonora, Mexico, and has participated as a pianist at the International Vocal Arts Institute in Tel Aviv, Israel. Cano has been a member of the music staff at the Festival Lyrique en Mer in Belle Isle, France, Toledo Opera, San Diego Opera, Utah Festival Opera, Opera Company of North Carolina, Florida Grand Opera and Opera Theatre of Saint Louis. Cano has served on the faculties of Intermezzo Music Festival, Manhattan School of Music Summer Voice Institute and V.O.I.C.Experience, a summer program for promising young singers in Florida under the administrative and artistic direction of Maria Zouves and renowned baritone, Sherrill Milnes, respectively.

Recent recital appearances include collaborations with some of today’s most promising young vocal talent, including Jennifer Welch-Babidge, Jossie Perez, Wendy Bryn Harmer, Elaine Alvarez, Timothy Mix and Young Concert Artists winners Jeanine DeBique and Jennifer Johnson Cano.

A native of southern Arizona, Cano holds a bachelor’s and mas-ter’s of music degrees in piano performance from the University of Arizona, where his teachers included the late Ozan Marsh, Nicholas Zumbro, Dr. Paula Fan and Rex Woods.

Cano and his wife, mezzo-soprano Jennifer Johnson Cano, reside in New York City, where he was a full-scholarship student in the Professional Studies Program of Vocal Accompanying at the Manhattan School of Music. He currently serves on the vocal coaching staff of that institution, where he was a student of renowned pianist Warren Jones.

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Available at Raley's, Nugget Markets and Barnes & Noble.

BALLET DIRECTOR

RONCUNNINGHAM

ISSUE #6

PLAYWRIGHT

GREGG COFFINISSUE #7

TONY WINNER

FAITH PRINCEISSUE #8

ACTOR

COLIN HANKSISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDIISSUE #16

BROADWAY STAR

MARA DAVIISSUE #19



PResents


HOT 8 BRAss BAND

A Mondavi Center Spirit of New Orleans Special Event

Wednesday–Friday, November 9–11 • 8PM



Sponsored by

Individual support provided by

Joe and Betty Tupin

Additional support provided by

DebutMC

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OffICE Of CAMPusCOMMuNITy RElATIONs


Hot 8 Brass Band

Terrell Batiste, Trumpet

JonPal Brooks, Trumpet

Harry Cook, Bass Drum

Samuel Cyrus, Snare Drum

Edward Jackson, Trombone

Bennie Pete, Sousaphone

Clarence Slaughter, Saxophone

Gregory Veals, Trombone

Raymond Williams, Trumpet

Repertoire will be selected from the following and announced from the stage. This repertory includes, but is not limited to, traditional and contemporary brass band music.

Traditional Brass Band Music:“Fly Away”

“Bourbon Street Parade”

“When the Saints”

“Ate of the Apple Tree”

Contemporary Brass Band Music:“Rock with the Hot 8” (Hot 8 Brass Band)

“Fine Tuner” (Hot 8 Brass Band)

“Feel Like Funkin’ it Up” (Rebirth Brass Band)

“All I Do” (Stevie Wonder)

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Hot 8 Brass BandNew Orleans’s own Hot 8 Brass Band has epitomized New Orleans street music for more than a decade. The band plays the traditional Second Line parades, hosted each Sunday afternoon by social aid and pleasure clubs, infusing their performances with the funk and energy that makes New Orleans music loved around the world. The members of the Hot 8 Brass Band were born and raised in New Orleans, and many began playing together in high school. What makes the Hot 8 so special is the sounds they coax from their well-loved, well-worn horns. An evening with the Hot 8 is like no other.

Members of the Hot 8 Brass Band have toured in Japan, Italy, France, Spain, Finland, England and Sardinia. The band per-forms annually at the New Orleans Jazz & Heritage Festival, world and jazz festivals across the U.S. and Europe and were featured in the Spike Lee documentary When the Levees Broke. The Hot 8 Brass Band has been part of an important relief project following Hurricane Katrina. “SAVE OUR BRASS!” is a local grass-roots project that has brought music and instruments to shelters, temporary trailer parks and communities across the Gulf Coast.

For more information: www.hot8brassband.comMyspace.com/hot8brassband

Recordings: Rock with the Hot 8 (Louisiana Red Hot Records), Jazz Fest Live 2006 (Munck Music), Jazz Fest Live 2007 (Munck Music)

The History of the “second line” Second line parades are the descendants of the city’s famous jazz funerals and, apart from a casket, mourners and a cemetery visit, they carry many of the same traditions with them as they march down the streets. Today, the parades are not tied to any particular event, holiday or commemoration; rather, they are generally held for their own sake and to let the good times roll.

Second lines trace their roots back to the 19th century and the fraternal societies and neighborhood organizations that collectively provided insurance and burial services to members, especially among the African American community. The “first line” of a funeral consisted of the people who were an integral part of the ceremony, such as the members of the club or krewe, or family and friends of the deceased. The “second line” originally referred to people who were attracted to the music. Led by a “Grand Marshal,” the band and mourners would move to the burial site, with the band playing a dirge to signal the struggles, the hardships, the ups and downs of life. On the way back, the music became more joyful. Relatives, friends and acquaintances would become the second line and dance with wild abandon. The second line, usually sporting umbrellas and handkerchiefs, became traditional at these jazz funerals.

The noun second line is also the name of a unique dance performed to the beat of New Orleans traditional jazz. The dance is an evolved version of an old African dance known as the “Bambula.”

Terrell “Burger” Batiste (trumpet) was born in New Orleans in 1984. He started playing baritone in the seventh grade and joined the Hot 8 while he was still in high school. His influences include Miles Davis, Leroy Jones and Louis Armstrong.

JonPal Brooks (trumpet) grew up in New Orleans surrounded by New Orleans traditional jazz. His musical journey started initially playing an electronic keyboard, then the piano and ultimately the trumpet. His influences include Wynton Marsalis, Miles Davis, Dizzy Gillespie, Louis Armstrong and John Coltrane. In 2000, he was awarded a scholarship and enrolled at Southern University to pursue a music education and music performance degree. JP has performed with many local New Orleans artists including Soul Rebels, Rebirth Brass Band and Trombone Shorty.

Harry “Swamp Thang” Cook (bass drum) was born in New Orleans in 1976. He began playing in high school at the age of 16. Harry’s influences include Herlin Riley, Louis Armstrong and Tuba Fats.

Samuel “Sammy” Cyrus (snare drum) received a true New Orleans music education on the streets of the Sixth Ward in New Orleans, which is the foundation for much of the brass band music in the city.

Edward “Juicy” Jackson’s (trombone) musical influences are trom-bonist Keith “Wolf” Anderson, trumpeter Shamarr Allen, school band directors Jerry McGowan and Wilbert Rawlins and the vener-able Louis Armstrong and Ella Fitzgerald.

Bennie “Big Peter” Pete (tuba and band leader) was born in New Orleans in 1976 and has played tuba since the sixth grade. Pete played previously with the Looney Tunes and was the founder of the Hot 8. His influences include Tuba Fats, Keith Anderson and Leroy Jones.

Clarence “Trixzey” Slaughter (saxophone) was born in Dayton, Ohio, in 1989. He met Thomas “Tumas” Allison, who became his mentor, and under his tutelage joined the Serious Young Musicians ensemble, a group that performed in several of Dayton’s top jazz venues. In 2008, he moved to New Orleans where he became part of the group Street Gumbo. He has performed with Trombone Shorty’s band Orleans Avenue, Soul Rebels, Rebirth, Maceo Parker, Charmaine Neville and Russell Batiste.

Gregory “Koon” Veals (trombone) got his first taste of brass band music at Second Lines listening to the likes of Olympia Brass Band and the Dirty Dozen. He joined the junior high school band and never looked back. Having played with the Olympia Brass Band Kids, the Lil’ Rascals and the Soul Rebels, Veals has developed a unique style and has been a valuable addition to the Hot 8 Brass Band.

Raymond “Dr. Rackle” Williams (trumpet) was born in New Orleans in 1961. He attended college in Hartford, Connecticut, on a music scholarship and recorded with Jackie McLean on the Blue Note label before joining the Hot 8 in 2001. His influences include McLean, Ellis Marsalis and Clifford Brown. In Memoriam: Four valued members of the Hot 8 Brass Band have been lost, two of them to the violence of the New Orleans streets. The band continues to honor them with their music: Demond “Bart” Dorsey (trombone), Jacob Johnson (trumpet), Joseph “Shotgun Joe” Williams (trombone) and Dinerral “Dick” Shavers (drums).

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Davis Hospitality...

Proud Sponsors of

The RobeRT and MaRgRiT Mondavi CenTeRfoR The PeRfoRMing aRTs, UC davis

Amenities Include:

Breakfast Buffet with Cook To Order Omelets

Nightly Cocktail Reception

Deluxe Plush Bedding

WIFI Throughout

Bee Kind Amenities

32” LCD TVs

Now Featuring:Complimentary Bicycle Program*

For reservations or more information*Please contact us at: (800) 753-0035

110 F Street Davis, CA 95616 • www.hallmarkinn.com



PResents


DebutMC

TREy MCINTyRE PROJECT AND PREsERVATION HAll JAzz BAND

Ma Maison

A Hallmark Inn, Davis Dance Series and Spirit of New Orleans Event


Jackson Hall, Mondavi Center, UC Davis


Pre-Performance Talk



Open company warm up, followed by a talk with Artistic Director Trey McIntyre

Dance Series Sponsored by

Spirit of New Orleans Series Sponsored by

Individual support provided by

Joe and Betty Tupin

Additional support provided by



Ma MaisonChoreography: Trey McIntyre

Premiered: November 21, 2008

Dixon Hall, New Orleans, Louisiana

Music: Preservation Hall Jazz Band and Sister Gertrude Morgan

Costume Design: Jeanne Button

Mask Design: Michael Curry

Lighting Design: Travis C. Richardson

Jason Hartley

Chanel DaSilva

John Michael Schert

Travis Walker

Lauren Edson

Brett Perry

Annali Rose

Ashley Werhun

Ma Maison was commissioned by the New Orleans Ballet Association with additional underwriting providedby the Ann and Joseph Heil Charitable Trust of Milwaukee, WI,

and Peter and Debbie Wachtell of Boise, ID.

God’s Word Will Never Pass Away (Let’s Make a Record) was written by Sister Gertrude Morgan; Heebie Jeebies (Hurricane Sessions) was written by Preservation Hall Jazz Band; He Wrote the Revelation (Let’s Make a Record) was written by Sister Gertrude Morgan; Westlawn Dirge (Here Come Da Great Olympia Band) was written by Dejan’s Olympia Brass Band of New Orleans; Complicated Life (Hurricane Sessions) was written by Raymond Davies; I Don’t Want to Be Buried in the Storm (Hurricane Sessions) was written by Preservation Hall Jazz Band; Power (Let’s Make a Record) was written by Sister Gertrude Morgan; That’s a Plenty (Hurricane Sessions) was written by Preservation Hall Jazz Band. Used by permission. All rights reserved.

TREy MCINTyRE PROJECT AND PREsERVATION HAll JAzz BAND

Ma Maison

Trey McIntyre, Artistic Director

Dancers

Ben Behrends Chanel DaSilva Lauren Edson

Jason Hartley Brett Perry Yarinet Restrepo

Annali Rose John Michael Schert Travis Walker Ashley Werhun

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The Sweeter EndChoreography: Trey McIntyre

Premiered: February 4, 2011

Mahalia Jackson Theater, New Orleans, LA

Music: Preservation Hall Jazz Band

Costume Design: Andrea Lauer

Lighting Design: Travis C. Richardson

Set Design: Trey McIntyre

St. James Infirmary

Company

The Sweeter End is co-commissioned by the New Orleans Ballet Association, with underwriting support from KerryClayton and Paige Royer of New Orleans; University of Florida Performing Arts and Lincoln Center for Lincoln Center Out of Doors 2011. Lead underwriting provided by Blair Kutrow of Washington, D.C., with original music for The Sweeter End commissioned by the Charles and Joan Gross Family Foundation of New York, NY. Denim supplied by Levi’s Jeans. This project is supported in part by an award from the National Endowment for the Arts and funded through USA Projects, an online initiative of United States Artists.

Whoopin’, traditional/arrangement; St. James Infirmary, traditional/arrangement; Trouble in Mind, traditional/arrangement; Old Man Mos, Traditional/Arrangement; Yellow Moon, composed by Ben Jaffe and Charlie Gabriel. All songs performed by Preservation Hall Jazz Band.

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St. James Infirmary

Trouble in Mind

Jason Hartley

Yellow Moon

Brett Perry Ashley Werhun

Old Man Mos

Chanel DaSilva Jason Hartley

Brett Perry John Michael Schert

Annali Rose

Ben Behrends Lauren Edson

Travis Walker Ashley Werhun

24 | mondaviarts.org 12 | mondaviarts.org

is a proud sponsor of

the robert and margritmondavi Center for the performing arts

campus community relations


Brett PerryBorn: Greenwood, INTraining: The Dance Company, Juilliard SchoolBrett is sponsored for Year 4: 2011–12 by Suzanne and W. Patrick Knibbe of Boise, ID.Brett is a 2010 Princess Grace Award Winner for Dance.

Yarinet Restrepo (Tenderfoot)Born: Tampa, FLTraining: Mencia and Pikieris School of Dance, New World School of the Arts, The Art of Classical BalletProfessional Experience: Grand Rapids Ballet Company, Hubbard Street 2 TMP is seeking a generous sponsor for Yarinet’s Year 4: 2011–12 Season.

Annali RoseBorn: Santa Cruz, CATraining: Sacramento Ballet Apprentice, Yuma Ballet AcademyProfessional Experience: Sacramento Ballet, Larry Pech Dance CompanyAnnali is sponsored for Year 4: 2011–12 by Rob and Nancy Chimsky of Sonoma, CA.

John Michael SchertBorn: Valdosta, GATraining: North Carolina School of the Arts, Valdosta Dance TheaterProfessional Experience: Alonzo King’s LINES Ballet, Lar Lubovitch Dance Company, Cedar Lake Contemporary Ballet, American Ballet Theatre.John Michael is sponsored for Year 4: 2011–12 by Virginia McGehee Friend of Waterford, VA.

Travis WalkerBorn: Syracuse, NYTraining: Ballet Arts Theatre, Usdan Center for the Performing Arts, New York State Summer School of the Arts, Central Pennsylvania Youth Ballet.Professional Experience: Ballet San Jose, Alberta Ballet, Smuin BalletTravis is sponsored for Year 4: 2011–12 by Lesley Andrus of Sun Valley, ID.

Ashley WerhunBorn: Edmonton, ALBTraining: School of Alberta Ballet, Alonzo King’s LINES Ballet EnsembleProfessional Experience: Ballet British ColumbiaAshley is sponsored for Year 4: 2011–12 by Peter and Debbie Wachtell of Boise, ID.

To see more of Trey McIntyre Project’s dancers, visit treymcintyre.com for full bios, video clips and interactive information on these artists. For an up close and personal look at the dancers’ life on the road,

visit treymcintyre.com/blog.

Trey McIntyre is one of the most sought-after choreographers working today. Born in Wichita, Kansas, McIntyre has created a canon of more than 90 works for companies such as American Ballet Theatre, Stuttgart Ballet, Hubbard Street Dance Chicago, New York City Ballet and Ballet de Santiago (Chile). He served as Choreographic Associate for Houston Ballet from 1989–2008 and Resident Choreographer for Oregon Ballet Theatre, Ballet Memphis and the Washington Ballet before forming his acclaimed Trey McIntyre Project in 2008 in Boise, Idaho.

In 2010, McIntyre was named the United States Artists Wynn Fellow. He has received two choreographic fellowships from the National Endowment for the Arts, a Choo-San Goh Award for Choreography, was named one of Dance Magazine’s “25 to Watch” in 2001, one of People magazine’s “25 Hottest Bachelors” 2003 and one of Out Magazine’s 2008 “Tastemakers.” New York Times critic Alastair Macauley said of McIntyre, “There’s a fertility of invention and a modernity of spirit here that are all Mr. McIntyre’s own,” and the Los Angeles Times told the world to “keep [their] eye on Trey McIntyre, who creates brilliant works” in its dance preview of the 21st century.

Focusing primarily on Trey McIntyre Project, McIntyre spends his time creating works that explore the human experience in trans-formative and captivating ways by creating a unique culture for audience members to explore the work.

Benjamin Behrends (Tenderfoot)Born: Santa Rosa, CATraining: Santa Rosa Dance Theater, Academy of Ballet, Boston Ballet Trainee ProgramProfessional Experience: Smuin Ballet Ben is sponsored for Year 4: 2011–12 by Rich and Georgiann Raimondi of Boise, ID.

Chanel DaSilvaBorn: Brooklyn, NYTraining: Creative Outlet Dance Theater of Brooklyn, F.H. LaGuardia High School for Music & Art and the Performing Arts, Alvin Ailey School, Juilliard SchoolChanel is sponsored for Year 4: 2011-12 by Pam and Richard Hanlon of Great Falls, VA.Chanel is a 2011 Princess Grace Honoree for Dance.

Lauren EdsonBorn: Boise, IDTraining: The Juilliard School, Ballet Idaho Academy, North Carolina School of the Arts Professional Experience: Portland Opera, Lane Hunter {dance}, Hubbard Street 2, Ballet Idaho, Idaho Dance TheatreLauren is sponsored for Year 4: 2011–12 by Hal and Jacque Eastman and Richard and Sondra Hackborn of Boise, ID.

Jason HartleyBorn: Des Moines, IATraining: North Carolina School of the ArtsProfessional Experience: Washington Ballet, ARKA Ballet, CityDance Ensemble, American Repertory Ballet, Ballet Met ColumbusJason is sponsored for Year 4: 2011–12 by Nancy and Steve Einhorn of Milwaukee, WI. Jason is a 1996 Princess Grace Award Winner for Dance.

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Robots. Ray Guns. Fossils from the “Bone Age” and other pseudo-scientifi c discoveries. Channel your inner-geek and visit the fantastical world of ceramist, sculptor, and “mad scientist,” Clayton Bailey. 180 works. Humorous, grotesque, too much fun to miss.

World of Wonders Clayton Bailey’s

ON VIEW THROUGH JANUARY 15, 2012W J N ,

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Warrior, 2002. Revenge of the recyclables.

Medical Probe, 1976. What can we say? Ouchie.

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lARA DOwNEs, PIANO 13 Ways of Looking at the Goldberg

A Studio Classics: Replay Series Event




Post-Performance Q&A

Saturday, November 12, 2011

with Lara Downes

Pre-Performance Talk



with Lara Downes

Support provided by


PResents

fuRTHER lIsTENINGsee p. 30

The Andrew W. Mellon Foundation


“Aria” from Goldberg Variations BWV 988 J.S. Bach

“Chasing Goldberg” Fred Lerdahl

“The Gilmore Variation” Jennifer Higdon

“Variation Fugato” Bright Sheng

“Goldmore Variation” Lukas Foss

“Kontraphunktus” Derek Bermel

“Melancholy Minuet” Fred Hersch

“Rube Goldberg Variation” C. Curtis-Smith

“Fantasy Variation” Stanley Walden

“Ornament” Ryan Brown

“Ghost Variation” Mischa Zupko

“My Goldberg” (Gymnopedie #1) David del Tredici

“Yet Another Goldberg Variation” William Bolcom

“Variation on Variation with Variation” Ralf Gothóni

“Aria” (Reprise), from Goldberg Variations BWV 988 J.S. Bach

Please join Lara Downes for a CD signing immediately following the performance.

lARA DOwNEs, PIANO 13 Ways of LookinG at the GoLdberG

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I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after.

Stanza V: 13 Ways of Looking at a Blackbird —Wallace Stevens


“Aria” from Goldberg Variations BWV 988 J.S. Bach

“Chasing Goldberg” Fred Lerdahl

“The Gilmore Variation” Jennifer Higdon

“Variation Fugato” Bright Sheng

“Goldmore Variation” Lukas Foss

“Kontraphunktus” Derek Bermel

“Melancholy Minuet” Fred Hersch

“Rube Goldberg Variation” C. Curtis-Smith

“Fantasy Variation” Stanley Walden

“Ornament” Ryan Brown

“Ghost Variation” Mischa Zupko

“My Goldberg” (Gymnopedie #1) David del Tredici

“Yet Another Goldberg Variation” William Bolcom

“Variation on Variation with Variation” Ralf Gothóni

“Aria” (Reprise), from Goldberg Variations BWV 988 J.S. Bach

Please join Lara Downes for a CD signing immediately following the performance.

13 Ways of Looking at the GoldbergIn June 1955, Glenn Gould made his groundbreaking recording of Bach’s Goldberg Variations for Columbia Records, rescuing the Goldbergs from obscurity in one of the most significant classical recordings of a generation. This September, critically acclaimed pianist Lara Downes broke ground of her own with her new recording 13 Ways of Looking at the Goldberg, a fascinating new take on Bach’s masterpiece. In an extraordinary coincidence of fate and timing, Lara’s recording of her new Goldberg project took place over the same four days in June as Gould’s historic 1955 sessions. 13 Ways is a set of 13 new “re-imaginings” of the magnificent “Aria” from the Goldberg Variations, commissioned in 2004 by the Irving S. Gilmore International Keyboard Festival. The 13 com-posers who contributed to the project include 2010 Pulitzer Prize winner Jennifer Higdon, Lukas Foss, David del Tredici, William Bolcom, Fred Hersch and Derek Bermel. These brilliant contemporary voices invoke the Goldbergs in broadly different ways, celebrating both the eternal beauty of Bach’s music and the musical evolutions of the past 250 years. In what she calls a “wonderfully imaginative musical journey,” Downes interprets these brilliant variations that range in mood from lyrical to tempestuous, traveling from neo-romanticism to jazz and back again to a Bachian contrapuntalism. On a personal level, Downes, who says she was “weaned as a baby” on Gould’s recording, dedicates her new CD jointly to the memory of Gould and of her father, also named Glenn, who first introduced her to Gould and the Goldbergs. Downes has already garnered national acclaim for 13 Ways. At its concert debut this summer at the Portland Piano International Festival, The Oregonian wrote “Lara Downes shines with electric playing of updated Goldberg Variations.” With performances scheduled this fall on WFMT Chicago, the International Beethoven Project Festival, Cornelia Street Café in New York City, Classical Revolution in San Francisco and the El Paso Pro Musica Festival in Texas, among other stops, Downes is bringing these “new Goldbergs” to audiences across the country, in her own exhilarating, exceptional and always unexpected way.

The Old/New Goldberg VariationsSome of my deepest and most long-abiding musical memories are my attempts as a youth to play the aria and some of the variations of the J.S. Bach Goldberg Variations on our little upright piano at home. Although I could play most of the notes I failed to master these pieces in any acceptable fashion other than for my own plea-sure and frustration, but I got a real sense of how deep and powerful (and fiendishly difficult!) this great work is. A little later, I encoun-tered Glenn Gould’s monumental first recording of the Goldberg, and I become somewhat obsessed with it. I had never heard anything so masterful, so moving, so perfect. My friends at the time grew increasingly impatient and appalled at my monomania as I tried to make them listen to it for the umpteenth time. Eventually I wore the piece out in my mind much as I wore out the recording.

Later, after many years serving music as a would-be musical demi-urge and manager, I re-encountered the Goldberg Variations in a big way as Director of the Gilmore International Keyboard Festival, and I bonded with the piece all over again! Among many others, I had heard the great recorded performances by Andras Schiff, Peter

Serkin, Marc-Andre Hamelin, Daniel Barenboim and, above all, Rosalyn Tureck, and I was entranced by arrangements of the piece by Bernard Labadie, Dmitry Sitkovetsky and Uri Caine. Angela Hewitt played a marvelous version of it at our Festival, and we have had other performances of it on harpsichord and even a jazz version of some of the variations by the estimable French pianist Jacques Loussier with his trio.

All these varied performances got me thinking that the indestruc-tible and iconic Goldberg could stand a “re-imagining” by some of the wonderful composers I had encountered during my life in music. And so, with funds provided by the Gilmore, I set about importuning these creative spirits for variations on the Goldberg aria and found, to my delight, that they liked the idea. There was no rhyme nor reason to my selection of composers—I just picked out some to whom I thought the idea would appeal. No one turned me down! Each new variation was written without any knowledge of who the other composers would be and, of course, without any knowledge of what the others had written. Lukas Foss suggested the title (he had already written a beautiful setting of the Wallace Stevens poem “Thirteen Ways of Looking at the Blackbird”).

I knew exactly whom I wanted to premiere the new variations—my old friend and Tanglewood colleague Gilbert Kalish—a great pianist with a courageous spirit of adventure and a technical com-mand of the piano second to none. He decided an order for the variations and inserted the 13th variation of the Bach original in the middle of the piece for his first performances in 2004, with the understanding that other performers could play the piece in dif-ferent configurations (as Lara Downes has done, adding another variation by Ryan Brown).

I hope that 13 Ways of Looking at The Goldberg will now be heard with increasing frequency and these variations will be appreciated as they were intended—as a contemporary homage and tribute to one of the greatest musical masterpieces of all time. Lara’s fine per-formances and recording will go a great deal toward making that happen. —Daniel Gustin, Director of the Irving S. Gilmore International Keyboard Festival

lara Downes (piano) A captivating presence both on and off-stage, this critically acclaimed American pianist has garnered wide acclaim as one of the most exciting and communicative pianists of today’s generation. Lauded by NPR as “a delightful artist with a unique blend of musicianship and showmanship” and praised by the Washington Post for her stunning performances “rendered with drama and nuance,” Downes presents the piano repertoire—from iconic favorites to newly commissioned works—in new ways that bridge musical tastes, genres and audiences.

Downes’s fresh and insightful interpretations have captivated audi-ences at Carnegie Hall, Kennedy Center, Lincoln Center, Queen Elizabeth Hall London, Vienna Konzerthaus, the Salle Gaveau Paris, American Academy Rome, San Francisco Performances, the Portland International Piano Festival, Le Poisson Rouge NYC, Montreal Chamber Music Festival and the University of Washington World Series among many others. Her performance projects have received support from prominent organizations such as the National Endowment for the Arts, the Barlow Endowment for Music Composition and American Public Media.

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

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Lara Downes’s concert—and her new album, rele-ased in mid-September—are both based on a set of 13 pieces commissioned by the Irving S. Gilmore International Keyboard Festival in 2004.

That Michigan-based festival (and its sponsoring foundation)—more conveniently known as “The Gilmore”—asked 13 very different composers to write short pieces reflecting on J.S. Bach’s Goldberg Variations. More specifically, the composers were asked to reflect on the aria that opens Bach’s set from 1740s. The Gilmore’s set of 13 variations was originally performed by pianist Gilbert Kalish and published in 2007. The title is a reference to the Wallace Stevens poem “Thirteen Ways of Looking at a Blackbird.”

Downes was drawn to record this set of 13 modern variations because she grew up transfixed by pianist Glenn Gould’s landmark 1955 recording of the Goldbergs, which she said she remembers “as my first music ... a little girl in my father’s big chair, listening and wondering at the twists and turns of Bach’s creation and Gould’s imagination.”

In addition to the 13 composers commissioned by The Gilmore, Downes’s album features a Bach-inspired work by Dave Brubeck (who many people do not realize grew up in the Gold Country town of Ione in Amador County, about an hour’s drive east of Davis). There’s also a piece by Ryan Brown, the young composer from San Francisco whose music has been featured at the Mondavi Center as part of the Young Artist Competition, as well as a piece by the late Lukas Foss (1922-2009), whose music is always worth a listen.

Downes’s recording of the 13 Gilmore-commissioned variations is the first studio recording of them, and the only recording in circulation. “It is a perfect fit for me because I have worked with all of the com-posers on the album to a greater or lesser extent, except for Lukas Foss. I’ve communicated with most of them quite a lot,” Downes told me. She added that the project appealed to her because “I like to look at history and how it translates through art. I love all the connections and translations of musical ideas in this piece.”

Downes spent much of the fall traveling and pro-moting the album, including a live performance on classical radio flagship WFMT in Chicago, as well as concerts in New York and San Francisco.

Lastly, we should point out some pianists who have been honored by The Gilmore (and have appeared at the Mondavi Center), including Ingrid Fliter (Gilmore Artist 2006, appeared with San Francisco Symphony in Jackson Hall in 2007); Christopher Taylor (Gilmore Young Artist in 1990, solo recital in Vanderhoef Studio Theatre in 2008), Jonathan Biss (Gilmore Young Artist in 2002, appeared with the Pittsburgh Symphony Orchestra in Jackson Hall in 2007) and Yuja Wang (Gilmore Young Artist 2006, appeared in Jackson Hall with the San Francisco Symphony and the China Philharmonic in 2009).


Downes’s chamber music appearances include collaborations with other noted soloists and ensembles, including violinists Rachel Barton Pine and Lara St. John, cellists Zuill Bailey and Denis Brott, the Miami and Alexander string quartets and the Brubeck Institute Jazz Quintet. Commissions and premieres of new works for Downes have come from composers Aaron Jay Kernis, David Sanford, Benny Golson, Eve Beglarian and Dan Coleman among others.

Downes’s previous solo recordings have met with tremendous critical and popular acclaim. Her debut CD, Invitation to the Dance (2000), was called “a magical recording” by NPR, and her second release, American Ballads (2001), was ranked by Amazon.com among the four best recordings of American concert music ever made. Dream of Me (2006) was praised for “exquisite sensitivity” by American Record Guide.

Downes’s busy performance career is strongly driven by her com-mitment to expanding and developing new audiences for the arts. She is the Founder and President of the 88 KEYS Foundation, a non-profit organization that fosters opportunities for music experi-ences and learning in America’s public schools, and she regularly works and performs with the next generation of talented young musicians as Curator of the Young Artists program at the Mondavi Center for the Performing Arts at UC Davis, where she serves as Artist in Residence. Downes is a Steinway Artist.

13 Ways of Looking at the Goldberg was commissioned by the Irving S. Gilmore International Keyboard Festival.

13 Ways of Looking at the Goldberg: Bach Reimagined is available on iTunes, Amazon and CD Baby.

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TIA fullER QuARTET

A Capital Public Radio Studio Jazz Series Event

Wednesday–Saturday, December 7–10, 2011 • 8PM


Sponsored by


PResents

DebutMC


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Tia fuller (saxophone and flute), astonishingly gifted, Colorado-born alto/soprano saxophonist/flutist, is at home at all points of the musicverse—from her show-stopping solos as a member of superstar Beyoncé’s all-female band to her scintillatingly swinging jazz dates and recordings. Her newest Mack Avenue release, Decisive Steps, is the long-awaited follow-up to her 2007 label debut Healing Space. It features her Beyoncé bandmate, drummer Kim Thompson; bassist Miriam Sullivan; Fuller’s sister, Shamie Royston, on piano and Fender Rhodes; with special guests trumpeter Sean Jones and bassist Christian McBride (both Mack Avenue label mates); vibra-phonist Warren Wolf and tap dancer Maurice Chestnut.

“It’s a continuation of Healing Space, evolving from a stationary place of healing to steps of action,” Fuller says. “I’ve been in the mindset of really moving forward to the next level in my life, con-stantly being in the mindset of greatness, relentless in my pursuit and progressing with purpose by embracing my talents, recognizing my strengths and improving upon my weaknesses ... but also in not being afraid of change; stepping forward in faith and not in fear.” Indeed, the 10 tracks on this sumptuous CD aurally illustrate Fuller’s artistic fearlessness fulfilled by her agile, buoyant and elegant full-bodied sax lines effortlessly improvising a number of moods and grooves, as evidenced by the take-no-prisoners tempo of the title track. “The first track, ‘Decisive Steps,’ was one of the last songs that I wrote for the album,” Fuller says. “This particu-lar song is very intricate—it has a lot of hits and time changes, so, compositionally, I wanted to portray a sonic representation of momentum; in moving forward, and really feature everybody in the quartet.” Royston’s Icarusian “Windsoar” highlights her and her sister’s telepathic compositional bond. “We have a way of writ-ing, where our songs are almost seamless,” Fuller says. “It’s funny; when Shamie started writing ‘Windsoar,’ it begins with a melody surrounded by a concert B-flat, and I was like, ‘Shamie ... I just started writing ‘Clear Mind’ with the same concept of the harmo-nies surrounding the melody of the B-flat.’ We were writing in the same light of each other. We didn’t talk about it; it was intuitive.”

That intuitive simpatico comes through loud and clear on the funky “Ebb & Flow,” which features McBride and Sullivan. “The concept of the song was inspired by one of my Spelman [College] sisters reunion,” Fuller says. “In preparing for my recording and taking those aggressive steps, you have to be one with the spirit—allowing the ebb and flow of the physical and spiritual to become one.” “Shades of McBride” is Fuller’s finessed take on McBride’s “Shade of the Cedar Tree.” “My melody is an expansion of his melody, over different chord changes. After a week of singing my melody over his tune, I knew it was complete,” Fuller says. “He’s been a mentor of mine and a great friend.”

TIA fullER QuARTETTia Fuller Saxophone and Flute

Shamie Royston Piano

Rudy Royston Drums

Mimi Jones Bass

The interlude “Steppin’,” featuring tap dancer Maurice Chestnut, takes Fuller’s thematic concept to a new level. “Prior to the record-ing I had the opportunity to meet Maurice Chestnut ... we did some gigs together with the T.S. Monk Septet. I was like ‘man, I’d really like to feature him—tying it along with the concept of decisive steps ... to audibly represent stepping.’ I was thinking what better way to do that than with a tap dancer. Musically, it’s an interlude to represent moving forward and serves as a transition within the sequence of the album.”

The Latinesque “Kissed by the Sun” was “inspired by a melody that was in my head as I awoke, the sun hitting my face ... it felt like a kiss.” Likewise, the waltz-like “Night Glow,” penned by Shamie Royston’s husband [Rudy Royston], is equally impressive. The album also contains Fuller’s ingenious reworking of two well-worn standards. “On ‘I Can’t Get Started’ I wanted to feature the amazing artistry of Christian McBride and Warren Wolf,” Fuller shares. “I wanted to experience the purity of the bass, sax and vibe combination, absent of drums. This arrangement expands the tim-bre of the album, and recording with Christian is a dream come true—this trio combination is timeless. On ‘My Shining Hour’ I wanted something we could ‘burn-out’ on, but also something that grabs the listener’s attention. This arrangement gives us the harmonic freedom ... simple, yet complex bass line over the classic melody is the ultimate balance of the familiar meeting the unfamiliar ... closing the album with the excitement of the quartet.” The bonus track, “Life Brings,” a percussive, “syncopated spiritu-al” featuring Chestnut and vocalist Asaph Womack, will be avail-able digitally. “It’s a blueprint of what I want to do in the future: an orchestral piece, with a full choir, video and tap dancer—a large production.”

On Decisive Steps, Fuller’s sound is soaring, supple and in-the-pocket from years of channeling her horn heroes. “The first solo I transcribed was Cannonball Adderley’s ‘Stars Fell on Alabama’ my freshman year at Spelman,” Fuller says. “I’ve always had a deep love for Cannonball. I always find myself going back to him. He has everything in his playing: soul, technique, his sound is amazing. Also John Coltrane; he’s another person that I checked out early on. I actually heard him before I started playing the saxophone because my parents are musicians. Recently, I’ve really been checking out Earl Bostic. With the Beyoncé gig, I have a solo where I am playing a 12-bar G blues intro and I thought, let me check out Earl Bostic; Trane did. More importantly, he was one of the saxophone legends that mastered the art of playing in the R&B world, the pop world and the jazz world ... ultimately speaking the language and dialect of each genre.”


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Fuller’s jazz-rooted, genre-crossing artistry is the result of an arts-filled childhood. She was born in Aurora, Colorado, to musician parents, bassist Fred and singer Elthopia, who both taught in the Denver Public School District. She grew up listening to Coltrane, Sarah Vaughan and Charlie Parker. She started playing classical piano at the age of three, inspired by her older sister, Shamie, and studied the instrument for 10 years. She started playing the flute at the age of nine and began playing the saxophone, deepening her interest in middle school. In 1998, she graduated Magna Cum Laude at Spelman College in Atlanta (where she studied with the great saxophonist/educator Joe Jennings) and earned a Bachelor of Arts degree in Music; graduated Summa Cum Laude from the University of Colorado, Boulder with a Master of Music degree in Jazz Pedagogy and Performance in 2000.

Fuller made the move to New York, relocating to nearby Jersey City, arriving two days before September 11, 2001. Undaunted by the terrible times of that period, she forged ahead and played and recorded with some of jazz’s brightest stars, including the Duke Ellington Big Band, Nancy Wilson, T.S. Monk, Don Byron, Brad Leali, Wycliffe Gordon, Mickey Roker, Ralph Petersen, Jon Faddis, Rufus Reid, Jimmy Heath, Gerald Wilson, Sean Jones, Charlie Persip and Don Braden. Then, in 2006, she was hired by Beyoncé and, as they say, the rest is history.

In 2005, she released her first CD as a leader (produced by her mother, Elthopia Fuller), Pillar of Strength (Wambui), which was praised by Terrell Holmes of All About Jazz for being “an exhilarat-ing work that introduced her as a leader who strives for perfec-tion,” followed by her Mack Avenue debut, Healing Space in 2007.

Her teaching credentials are equally expansive and impressive. She has conducted numerous clinics and master classes at the middle, high school and college levels, including Jazz Institute of New Jersey, Aurora Public Schools, Mile High Jazz Camp, University of Colorado at Boulder, Miami-Dade Community College, Stanford Jazz Workshop, Drexel University, Montclair State University, Bloomfield College and New Mexico State University.

Which brings us to Decisive Steps: Tia Fuller’s latest sonic testa-ment to her ever upward evolution toward artistic perfection; an evolution that is taking place in an intricately intertwined musical world where an artist combines a myriad of genres. “The Beyoncé gig has helped me to really appreciate the artistry and freedom that we have in jazz,” Fuller says. “Playing in jazz settings helps me to appreciate and integrate what we’re doing with Beyoncé. Playing in front of 16,000 people, or 60 people, it’s the same, because it’s all about people, transferring energy, uplifting and encouraging spirits and sharing the love of music. There’s a common thread between the two, and they enhance each other. I think musicians are taking a step forward on both sides; we’re moving forward with combin-ing all forms, and more people are accepting that concept, because it’s all inter-connected. We, as a people, are taking Decisive Steps!”

Shamie Royston (piano), a pianist, composer and educator, is a unique musician. Most of her acclaim has been rooted in her musi-cal compositions as well as her exquisite ability to teach young musicians ranging from elementary school to the college level. She is known to be one of the top educators in her field at educational institutions. She has given clinics and adjudicated many jazz festi-vals as well as taught jazz ensembles to young musicians. But now, Royston is an up-and-coming pianist in the jazz arena.

She has an exquisite way of playing the piano, and many jazz listen-ers appreciate her compositions. She has written compositions for trumpeter Sean Jones, Sage, colleges and universities, the Tia Fuller Quartet and many more. Royston’s debut trio CD will be released in fall 2011, and her compositions will be well appreciated.

Royston has performed with many great musicians such as Sean Jones, Christian McBride, Lonnie Plaxico, Ron Miles, Tia Fuller, Ralph Peterson, Kit McClure Big Band and many others. She contin-ues to be a leading force and new voice in the jazz world.

Rudy Royston (drums), a native of Ft. Worth, Texas, was raised in Denver. He studied classical percussion at the University of Denver. While in college Royston began playing with Colorado trumpeter Ron Miles, whom Royston deems his greatest teacher and music mentor. A force in the Denver music scene, Royston performed with artists such as Dotsero, Leslie Drayton, Joe Keel and Nelson Rangell. Royston began teaching music in public schools before deciding to relocate to the east coast. In 2006, he moved to New Jersey to pursue graduate studies in music at Rutgers University, studying jazz percussion with the great Victor Lewis. Since moving, Royston has quickly integrated into the New York music scene, performing steadily with some of the world’s finest artists, such as Bill Frisell, Tom Harrell, Ben Allison, Tia Fuller, Dave Douglas, Javon Jackson, Les McCann, JD Allen, Sean Jones, Dr. Lonnie Smith, Jennifer Holiday, Ralph Bowen, Bruce Barth, Don Byron, Jason Moran and Jenny Scheinmenn, to name a few. A lover of all genres of music, Royston continues to expand his horizons, as he establishes himself as a leader in the jazz scene.

Mimi Jones (bass), multi-talented bassist, vocalist and composer, brings her beacon of musical light to the world while embracing a positive future with her inspiring messages. Jones’s elegant sound is an eclectic mix of genres based on a strong jazz foundation that leaves room for funky bass grooves, world beat rhythms and gentle textures. Her inspiring debut release CD, A New Day is bursting with original compositions seamlessly melting from one song to another and caressed by the warmth of Jones’s sultry voice. The title of the CD speaks of embracing a changing world with a posi-tive point of view while maintaining the courage to move forward just as the new persona and alter ego, Jones, was transformed from “side man” Miriam Sullivan in order to more appropriately express her own messages of change and future progression.

As a “side man” she has shared the stage with such talents as the great Lionel Hampton, Roy Hargrove, Rachel Z, Sean Jones, Kenny Barron, Jesse Davis, Ingrid Jenson, Kevin Mahogany, Denis Charles, Joshua Redman, Tia Fuller, Mal Waldron, Elio Villa Franca and Onaje Allan Gumbs just to name a few. She has toured throughout Europe, South America, the Caribbean Islands, Asia and Africa; on some of these trips she was a Jazz Ambassador of the United States.

In addition to receiving a Bachelor of Music from the Manhattan School of Music, she also studied, attended workshops or men-tored with Lisle Atkinson, Barry Harris, Ron Carter, Milt Hinton, Dr. Billy Taylor, Yusef Lateef, Max Roach and Latin bass tech-niques with Guillermo Edgehill. In 2010, Jones performed at the Jazz Standard, the Blue Note NYC, Small’s Jazz Club and the Detroit 2010 Jazz Festival.



MARIACHI sOl DE MéxICO DE JósE HERNàNDEzMariachi Christmas

A Mondavi Center Special Event

Thursday, December 8, 2011 • 8PM



PResents

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MARIAChI SOl DE MéxICO DE JóSE hERNàNDEzMariachi Christmas

José hernàndez, Musical Director

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


Violins Harp Erick Hernàndez Guillermo G. Acuña

Joaquín RodríguezFernando Moreno GuitarronRoberto López Jorge FloresGustavo PeñaGuadalupe González Vihuela

Anthony ZúñigaTrumpets José Hernàndez Guitar

Roberto Díaz Jesús Hernàndez Jorge Contreras

ThE ENSEMblE

SOl DE MéxICOIn 1981, Jóse Hernàndez, at the age of 23, founded Mariachi Sol de México in Los Angeles. As true representatives of a treasured musical heritage, the 30-year-old Mariachi Sol de Mexico has grown to become a dynamic team that has accepted the mantel as the nation’s premier international mariachi ensemble. More than any American citizen, Hernàndez is responsible for the recognition that this musical tradition is receiving throughout the world. His ensemble of musical artists brings together refined vocal power and superb musicianship. His 13-member mariachi group is one of the finest mariachi ensembles to be found both in Mexico and the United States.

Hernàndez’s compositions are bright, splashy celebrations. No one else in the mariachi music scene navigates traditional Mexican folk, classical and pop with such grace.

The band’s eighth CD, Tequila con Limon con El Mariachi Sol de Mexico, was nominated for a Grammy in 2001. Their 13th CD, 25 Anniversario José Hernàndez y Su Mariachi Sol de México, was also nominated for a Grammy in 2007.

Hernàndez has taken his ensemble to perform with the New Mexico, Denver, Sacramento, San Francisco and Los Angeles sym-phony orchestras. Sol has recorded with American and Mexican artists such as Linda Ronstadt, Willie Nelson, Juan Gabriel, Lola Beltran, Vicente Fernandez and Green Day. Hernàndez has grown to become an American cultural ambassador having toured to Spain, Chile, Venezuela and Colombia, as well as holding the distinction of being the first mariachi to perform in the Peoples Republic of China and North Korea.

Hernàndez comes from a family that has been performing mariachi music for five generations. He has shared the stage with his five brothers since the age of three. His fluent mastery of the medium has led him to assist in many film scores and he has participated in more than 20 Hollywood soundtracks, including Rango, Sea Biscuit, Don Juan De Marco and A Million to Juan.

Mariachi Sol de México represents 125 years of mariachi tradition. This year marks their 33rd anniversary.

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lARA DOwNEs fAMIly CONCERTGreen eggs and ham

A Davis Food Co-Op Children’s Stage Series Event

Sunday, December 11, 2011 • 10AM & 3PM


Sponsored by


PResents


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lARA DOwNES FAMIly CONCERTGreen Eggs and Ham

With Special Guests:

Grace Zhou, Piano

Angelo Moreno, Conductor

Ann Moss, Soprano

Jimin Moon, Boy Soprano

Members of the Davis Senior High School Symphony Orchestra

Welcome and Introduction Lara Downes, Solo Piano

Gabriel Fauré: Dolly Suite, Op. 56 Lara Downes and Grace Zhou, Piano four-hands

“Berceuse” “Mi-a-ou” “Le jardin de Dolly” “Kitty-valse” “Tendresse” “Le pas espagnol”

Rob Kapilow: Green Eggs and Ham Angelo Moreno, Conductor Lara Downes, Piano Ann Moss, Soprano Jimin Moon, Boy Soprano Mindy Cooper, Director

Members of the Davis Senior High School Symphony Orchestra

Margaux Filet, Flute and Piccolo John Park, Clarinet I Cassandra Vance, Clarinet II Kimia Nader, Bassoon Spencer Park, Trumpet Kristen Ronning, Horn Michael Dohn, Double Bass Samuel Ravani, Percussion

Please join the artists for a reception immediately following the performance.

PROGRAM


Green eGGs and haMRob Kapilow was the first composer ever to be granted the rights to set Dr. Seuss’s words to music, and his Green Eggs and Ham was premiered by the New Jersey Chamber Music Society in 1995. It has since achieved great popularity in the children’s theater world, prompting Boston Globe music critic Richard Dyer to declare it “the most popular children’s piece since Peter and the Wolf.”

“Adults will get a chance to hear what a gleefully sophisticated pastiche of modernism sounds like, and children, who might not understand the word ‘absurdist’ but have a natural affinity for the absurd, should feel right at home”—Time Out New York.

“Written in an engagingly sophisticated, quasi-Stravinskian musical idiom with no hint of pandering”—Billboard.

“Rob Kapilow’s Green Eggs and Ham, a merry, whiz-bang romp through the Dr. Seuss classic, is a winner—and for all the right reasons. Let’s dispense with circumspection. This piece is destined to go far ... Green Eggs and Ham dispenses entirely with the saccharine sentimentality that drips from so many kiddie scores. In its place, Kapilow offers a breath of fresh air—perky theater music, spiky, piquant modernism a la Stravinsky’s Petrouchka, silly quotes from pop and classics alike (in this piece, ‘Heart and Soul’ meets Chopin’s Funeral March), jazz bits, soul bits, you name it. Every time you turn around, Kapilow is pulling another rabbit out of another hat. And this piece moves, you know—it really moves. There’s so much going on that our intrepid little concert-goers have no time to get bored. It’s a measure of Kapilow’s expertise that the piece plays off major and minor seconds with abandon, yet the music never loses its atmosphere of slam-bam zaniness. Musically, the score stands up marvelously well—it’s clever and bright, there’s never a dull moment ... the piece is dynamite.” —The Star-Ledger

Lara Downes (piano) See page 29.

Angelo Moreno (conductor) is a graduate of UC Davis, where he received his Bachelor of Arts and Master of Arts in Orchestral Conducting under the direction of Dr. D. Kern Holoman in 2002. He received his Teaching Credential in Music Education from Sacramento State University. During his time at UC Davis, Moreno served as principal second violin and was a orchestra member for six years. He also participated for six years as Concert Master and soloist of the UCD Baroque Ensemble under the direction of Phebe Craig and Michael Sand. Moreno is a former member of the Napa Valley Philharmonic, in which he served as Concert Master and soloist.

Moreno has been directing the DJUSD Secondary Orchestras since 2000. He was Orchestra Director at Emerson Junior High and is currently the director of the Davis Senior High and Holmes Junior High School orchestra programs. In addition to his work in the public schools, Moreno is the Director of the Sacramento Youth Symphony, Academic Symphony Orchestra, which he began conducting in fall of 2002. In 2005, Moreno was presented the Teacher of the Year Award by the CSUS College of Education in recognition of outstanding service to public education. In 2006, he was honored by State Assemblywoman Lois Wolk and given a resolution from the California Legislature recognizing his work in music education.

In 2009, Sacramento News & Review honored Moreno at the “Jammies” Concert with the “Sacramento Music Educators Outstanding Achievement Award.” In 2009–10, Moreno was featured in several national publications including Symphony Magazine-Online, Early Music Magazine, Strings Magazine and the California Music Educators Association-Online for his development of the DHS Baroque Ensemble, the first group of its kind at the high school level in the country. In 2010, DownBeat recognized Moreno and his Combined Junior High Advanced Orchestra to be “Best Classical Ensemble” in a nationwide search. This year DownBeat recognized Moreno and his Davis High School Symphony Orchestra to be “Best Classical Ensemble” in a nationwide search.

Ann Moss (soprano), praised for “powerful expression” (San Francisco Classical Voice) and “beautifully pure floated high notes” (Opera News), enjoys an active career in chamber music, recital, oratorio and opera performance. Recognized as a champion of contemporary vocal music, she has collaborated with acclaimed composers Jake Heggie, John Harbison, Aaron Jay Kernis, Eric Sawyer and Wayne Peterson, and with emerging artists including Liam Wade, Heather Gilligan, Vartan Aghababian, Weslie Brown, Miriam Miller, Matthew O’Malley, Kurt Erickson, Jacob Bertrand, Erik Jekabson, Robert Kyr, Ruth Huber, Sanford Dole and Kenneth Froelich. Moss is co-founder and Artistic Director of CMASH, a new-music repertory group dedicated to fostering and sustaining long-term col-laborative relationships between composers and performers. She is also a founding member of One Art Ensemble, a chamber ensemble highlighting new and historic works for soprano, viola and piano. She served on the 2008 and 2011 faculty at CSU Summer Arts Composer/Performer Collaboration Workshop and has delivered lectures on composition for the solo voice at MIT, University of Texas Pan America, Sacramento State University and California State University, Los Angeles. Moss has premiered contemporary repertoire with M2B, Earplay, Eco Ensemble, New Music Works, Ives String Quartet, Sanford Dole Ensemble, Composers in Red Sneakers, at the Sacramento Festival of New American Music, Fresno New Music Festival, SF Song Festival, Other Minds Festival, Switchboard Music Festival, CNMAT and in frequent recitals of contemporary art song.

Recent performances include appearances with California Bach Society, Berkeley Opera, Marin Symphony, Oakland Symphony Chorus and Bay Area Choral Guild. Jimin Moon (boy soprano) has been performing for four years. He recently turned 11 years old and attends Pioneer Elementary School in Davis. Moon has performed with Davis Musical Theater, Woodland Opera House and the Sacramento Music Circus, as well as with Lara Downes last winter in her Neverland to Wonderland family concert. He studies voice with James Glica-Hernandez as part of Sacramento Vocal Music. He feels honored and blessed to have this exciting opportunity to tell the tale of Sam, from his favorite Dr. Seuss book, Green Eggs and Ham.

Grace Zhou (violin), a 2011 Mondavi Center Young Artists Competition winner, is nine years old and a fourth grade GATE student at Alderwood Elementary School in Irvine, California. She began to take piano lessons with Dr. Yi-Chun Duan at age five.

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She currently studies with Ory Shihor at the Colburn School as a scholarship student. In addition, Zhou has taken master classes with John Perry and Gabriel Kwok. Zhou won second place in the open solo category at the 2008 SYMF. In addition to piano practice and recitals, Zhou swims competitively with the world renowned Novaquatics swim team (NOVA). She was awarded the NOVA Top Performance Award for the eight and under age group in 2010. With a passion for music and swimming, she dreams to become a concert pianist and an Olympic swimmer when she grows up.

Mindy Cooper (director), a Broadway veteran for more than 25 years, began her career as a performer dancing in the compa-nies of Twyla Tharp Dance, Feld Ballet, Kansas City Ballet and Thingseziseem Dance Theatre. She performed on Broadway in the original cast revival of Chicago, the original cast of Titanic, Beauty and the Beast, Song and Dance and Tenderloin. Her extensive direc-tor/choreographer credits include Dracula, the Musical and Wrong Mountain on Broadway. Off-Broadway director/choreographer credits include Five Course Love. National Tour: Titanic. Other New York credits include The Gospel According to Tammy Faye at Manhattan Theater Club, staged reading and Music in the Night: A Tribute to Jerome Kern at Town Hall. Regional Theater: On the Town (Lesher Center), Cabaret (Center Rep), Musical of Musical, The Musical (Center Rep), Fiddler on the Roof (Nevada Conservatory Theater), Urinetown ( UC Davis Artist in Residence), The New Bozena (Hudson Theater LA), Heart and Soul ( St. Petersburg, Russia), Fair Liberty’s Call (world premiere) and Jesus Christ Superstar (Pittsburg CLO). Cooper’s Bay Area theatrical work has won a total of 10 Bay Area Theater Critics Awards, including 2009 Best Director of a Musical and 2009 Best Musical. Cooper directed the UC Davis productions of Urinetown in the spring of 2007 and Oklahoma! in the spring of 2009. She returned in the spring of 2011 as Granada Artist-in-Residence, this time as director of The Who’s Tommy.instruments • accessories • sheet music • lessons • rentals • repairs

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BlIND BOys Of AlABAMAwith special Guests

sARA AND sEAN wATkINs

Go tell it on the Mountain


Thursday, December 15, 2011 • 8PM



PResents

Jimmy Carter Vocals

Ben Moore Vocals

Ricky McKinnie Vocals

Joey Williams Guitar/vocals

Tracy Pierce Bass

Peter Levin Keys

Austin Moore Drums


BlIND BOys Of AlABAMA

Go tell it on the Mountain Jimmy Carter Vocals

Ben Moore Vocals

Ricky McKinnie Vocals

Joey Williams Guitar/vocals

Tracy Pierce Bass

Peter Levin Keys

Austin Moore Drums

f ormed in 1939 at the Alabama Institute for the Negro Blind, the Blind Boys of Alabama are still going strong after 70+

years. In recent years the Blind Boys have entered the musical mainstream, performing and recording with artists as diverse as Peter Gabriel, Lou Reed and Ben Harper. The Blind Boys have also won five Grammy Awards, received a Grammy Lifetime Achievement Award and been inducted into the Gospel Music Hall of Fame. The Blind Boys of Alabama’s annual holiday tour, Go Tell It on the Mountain, was inspired by the Grammy Award-winning CD, the PBS-TV special and the DVD of the same name. A perennial favor-ite for music lovers of all ages, the show features the Blind Boys’ favorite Christmas tunes, as well as their usual foot-stompin’ romp through all five of their Grammy Award-winning albums. The Blind Boys have just released a country-gospel album for the first time in their career. One of country music’s most acclaimed and compelling artists, Jamey Johnson, co-produced Take The High Road and performs on it along with Vince Gill, Willie Nelson, Hank Williams Jr., Lee Ann Womack and the Oak Ridge Boys, backed by an A-list of top Nashville studio musicians. The result is a stunning, powerful testament to the deep, historic relationship between country and gospel music.

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

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THE BlIND BOys Of AlABAMA

by JEff HuDsON

The Blind Boys of Alabama have a holiday season album.Go Tell It on the Mountain, released in 2004, is an elaborately produced disc that features the group with a host of celebrity guests, including the late Solomon Burke (who passed away last October), Aaron Neville and Les McCann. The title track features a gritty lead vocal by Tom Waits. Another highlight is a simmering version of “Born in Bethlehem” featuring Mavis Staples and (my favorite) a wild recasting of “Away In A Manger” as a blues tune, with funky embellishments by George Clinton (of Parliament/Funkadelic fame).

The Blind Boys also have an incredibly extensive discography. You can find reissues of material dating as far back as 1948. They branched out into musical theater in the 1980s, perfor-ming in The Gospel at Colonus, and issued several recordings on the House of Blues label in the 1990s. More recently, the Blind Boys have explored different sides of gospel music. Atom Bomb (2005) was a largely electric album drawing on a mix of gospel standards, 1970s pop like Norman Greenbaum’s guitar-driven Spirit in the Sky and even a bit of rap. Down in New Orleans (2008) was a Grammy-winning, post-Hurricane Katrina musical tribute to that recovering city, with guest artists including the Preservation Hall Jazz Band and Allen Toussaint. Take the High Road (2011) is a straight-up country album, recorded in Nashville with guest artists including Willie Nelson and Vince Gill.

But getting back to gospel music that is associated with the holiday season: The Blind Boys are by no means the only artists to venture into this territory. A personal favorite is folk singer Odetta’s luminous acoustic album from 1963, Christmas Spirituals. It’s barely over half an hour long (13 tracks, most lasting less than three minutes). And it’s musically uncompli-cated: Odetta’s unadorned voice, accompanied by her own guitar and Bill Lee’s string bass. And it’s absolutely lovely. Favorite tracks include “Rise Up Shepherd and Follow,” “Mary Had A Baby” and “Children, Go Where I Send Thee.”

I’m also inordinately fond of the Fairfield Four’s album Standing in the Safety Zone. The Fairfield Four were very acti-ve from the 1920s into the 1940s, but they stopped touring in 1950 (though they reunited on special occasions). Then, in 1992, a producer from Warner Bros. Records brought the group out of retirement for Standing in the Safety Zone, an a capella album of gospel standards. It’s not a holiday disc, but it contains my favorite Christmas gospel track: “Last Month of the Year,” sung with achingly beautiful harmony. The lyrics teach the young ‘uns the basics of the 12-month calendar: “What month was Jesus born in? Was it January? February? No, no ...” (The Blind Boys often perform their own, kicky ver-sion of this standard as part of their holiday show.) While the Fairfield Four have now apparently given up touring for keeps, the Blind Boys of Alabama just keep on going, year after year.


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AMERICAN BACH sOlOIsTsMessiah


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AMERICAN BACH sOlOIsTsMessiah

George Frideric Handel (1685-1759)

AMERICAN BACH SOLOISTS

AMERICAN BACH CHOIR

Jeffrey Thomas, conductor

Mary Wilson Soprano

Ian Howell Countertenor

Charles Blandy Tenor

Jesse Blumberg Baritone

AMERICAN BACH SOLOISTS

ViolinsElizabeth Blumenstock (leader) Andrea Guarneri, Cremona, 1660. *Tatiana Chulochrikova Joseph Hollmayr, Freiburg, circa 1760.Tekla Cunningham (principal Violin II) Sanctus Seraphin, Venice, 1746.Daria d’Andrea Anonymous, Neapolitan school, circa 1760.Andrew Davies Augustine Chauppy, Paris, 1749.Rachelle Hurwitz Anonymous, Mittenwald, circa 1730.Tyler Lewis Timothy Johnson, Hewitt, TX, 2009; after Stradivari, Cremona, 18th century.Robert Mealy Jason Visettear, New York, 2009; after Bartolomeo Giuseppe Antonio Guarneri, del Gesù, Cremona, 1730s.Maia Silberstein Anonymous, Milan, circa 1770.Janet Worsley Strauss Matthias Joannes Koldiz, Munich, 1733.David Wilson Timothy Johnson, Hewitt, TX, 2007; after Stradivari, Cremona, 18th century.

*The 1660 Andrea Guarneri violin played by Ms. Blumenstock is made available to her through the gener-osity of the Philharmonia Baroque Period Instrument Trust.

ViolasJason Pyszkowski Jay Haide, El Cerrito, CA, 2008; after Giovanni Paolo Maggini, Brescia, circa 1580. Clio Tilton Eric Lourme, Le Havre, France, 2009, after Brothers Amati, 16th century.Aaron Westman Dmitry Badiarov, Brussels, 2003; after Antonio Bagatella, Padua, circa 1750. Ondine Young Anonymous, German, 17th century.

VioloncellosElisabeth Reed (continuo) Anonymous, Italy, 1685.Shirley Edith Hunt Anonymous, Milan, circa 1706. Hallie Pridham Anonymous, 18th century.

ContrabassesSteven Lehning (continuo) Anonymous, Austria, circa 1830. Christopher Deppe Johann Neuner II & Cantius Hornsteiner, Mittenwald, circa 1880. Joshua Lee John Pickering, Greenmont, NH, 1783.

HarpsichordCorey Jamason John Phillips, Berkeley, CA; after Ruckers-Taskin, 1780.

OrganSteven Bailey John Brombaugh & Associates, Oregon, 1980.

OboesDebra Nagy Randall Cook, Basel, 2004; after Jonathan Bradbury, London, circa 1720. Meg Owens Bernard Schermer, Basel,1996; after Jonathan Bradbury, London, circa 1720.

BassoonsKate van Orden Peter de Koningh, The Netherlands, 1986; copy of Thierriot Prudent, Paris, circa 1770.Charles Koster Paul Hailperin, Zell im Wiesental, Germany, circa 1990; after M. Deper, Vienna, circa 1725.

TrumpetsCaleb Hudson (solo) Rainer Egger, Basel, 2009; after Johann Leonhard Ehe III, Nuremberg, 1746.William Harvey Keevy Vanryne, London, 2003; after Johann Wilhelm Haas, Nuremberg, circa 1710-20.

TimpaniKent Reed Anonymous, England, circa 1840.

AMERICAN BACH CHOIR

SopranosJennifer BrodyMichelle ClairTonia D’AmelioJulia EarlElisabeth EnganSusan JudyAllison LloydDiana PrayCheryl Sumsion

AltosJames ApgarSara CoudenDan CromeenesElisabeth EliassenKatherine McKeeDeborah RosengausAmelia TriestDelia Voitoff-Bauman

TenorsEdward BettsNick BurdickJohn Davey-HatcherAndrew MorganColby RobertsJohn RouseSigmund SiegelSam Smith

BassesJohn BaileyRyan BrandauAdam ColeBryan JollyRaymond MartinezJefferson PackerDaniel Pickens-JonesJere Torkelsen

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PROGRAM NOTEs Handel composed Messiah during the three weeks between August 22 and September 14, 1741, and premiered the work in April of the following year. Prior to 1732, he had composed only oper-atic works in Italian for the London theaters, but the 10 years that followed would prove to be a period of experimentation and change. Perhaps spurred on by new competition with a rival opera company, in 1736, he turned to the composition of an English ora-torio, a setting of John Dryden’s ode for Saint Cecilia’s Day titled Alexander’s Feast; or the Power of Musique. The text of Alexander’s Feast was brought to Handel’s attention by Newburgh Hamilton, who would provide some much needed assistance to Handel with the intricacies of setting the English language to music. (Hamilton was later afforded a gift in the composer’s will for helping to “adjust the words” of his English compositions.) Hamilton wrote that Handel had “with Pleasure undertaken the task” of setting Alexander’s Feast. Indeed the experience was so successful and sat-isfying for Handel that, during the nine days between September 15 and 24 in 1739, he composed his setting of another of Dryden’s odes, A Song for St. Cecilia’s Day. This “Pleasure” that Handel had newly found in the composition of oratorios was something of an economic and spiritual windfall for the composer. The sad truth is that 20 years earlier, he had begun to suffer financial difficulties, and by the early 1730s, his professional life was simply unraveling. He was nearly bankrupt and had fallen very much out of the criti-cal favor of the aristocratic public for whom he had composed his Italian operas. They were expensive to produce and not accessible enough for his audience. But by the time he set his pen to paper in the autumn of 1741 to compose Messiah, things had taken a turn for the better.

It was a time of transition for the composer: he had already begun to explore the possibility of accepting an invitation for an extended stay in Dublin, but proceeded nonetheless to address his annual task of composing new works for his next London sea-son. Messiah was really the idea of the librettist Charles Jennens, who wrote in July of that year: “Handel says he will do nothing next Winter, but, I hope to persuade him to set another Scripture Collection I have made for him ... I hope he will lay out his whole Genius and skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other Subject. The Subject is Messiah.” Handel scored Messiah for chorus, solo-ists and an orchestra of only strings, continuo, two trumpets and timpani—a rather modest combination. There are strong indica-tions that Handel had Dublin in mind while he composed the score, and therefore the relatively small forces required for Messiah are a reflection of what Handel expected would be available to him there. Additionally, he may have taken Jennen’s recommendation that Messiah be used for a benefit performance, perhaps utilizing a smaller orchestra to economize on expenses. It was the custom, however, to have oboes double soprano voices and bassoons dou-ble the continuo line. It seems reasonable to utilize these slightly fuller forces. Had the circumstances been more lavish, Handel cer-tainly would have done so, and indeed might have done so, even though there is no evidence to prove it.

In November, having ultimately accepted the invitation, Handel arrived in Dublin. He received a warm welcome and performed his first concert there to a sold-out house. The first performance of Messiah took place on April 13, 1742, in the new music hall on Fishamble Street, and was a tremendous success. The review that appeared in Faulkner’s Dublin Journal proclaimed: “Words are

wanting to express the exquisite Delight it afforded to the admir-ing crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, con-spired to transport and charm the ravished Heart and Ear.” But the librettist did not agree. Jennens greatly valued his text and a few years later wrote that Handel had “made a fine Entertainment of it, tho’ not near so good as he might and ought to have done. I have with great difficulty made him correct some of the grossest faults in the composition, but he retained his overture obstinately in which there are some passages far unworthy of Handel but much more unworthy of the Messiah.” Messiah had blurred the distinc-tions between opera, oratorio, passion and cantata, and perhaps Jennens found this to be a fundamental fault.

Over the course of the first few performances of the work, Handel had chosen among his soloists the actress Mrs. Susannah Cibber, who had previously suffered greatly under the clouds of scan-dal, and a popular comic actress named Kitty Clive. In fact, the performance history of Messiah under the composer’s direction is a wildly varied one, to say the least. The first performance in Dublin utilized only two singers of any real distinction, two Dublin cathedral choirs (from which were drawn the male voice solos) and the rather meager orchestra, as mentioned above. By a few years later, however, the orchestra had grown considerably, aug-mented by oboes, bassoons and horns. The number of vocal soloists also increased, and by 1750, the famous castrato Guadagni was among them. Its various performance venues included the Dublin Cathedral, Covent Garden and London’s Foundling Hospital.

Like any great work, Messiah is indestructible, even when sub-jected to the most unorthodox or unflattering performance schemes. It has survived all sorts of treatments and interpreta-tions, but always shines brightest when graced by historically informed performance practices. It is especially then that the true splendor of Handel’s sublime eloquence triumphs. While Messiah is certainly considered by any audience to be a “Grand Musical Entertainment”—as it was sometimes called in Handel’s day—the composer is purported to have said, “I should be sorry if I only entertained them; I wished to make them better.”

—Jeffrey Thomas

Handel’s Hallelujah Chorus: To Stand or Not To Stand …

Perhaps the best-known and widely accepted concert “tradition” is standing for the Hallelujah chorus. Legend has it that King George II leapt to his feet when he heard it during one of the work’s first performances in London. Because no person could remain seated while the King stood, the entire audience rose with him. Some credit this anecdote as the origin of the “standing ovation.”

But a closer look at the facts reveals that there is no evidence that the King ever attended such a performance. The first written account of the story appeared in 1780, more than 35 years after the cited performance, and it was written by someone who admits to not having witnessed the King’s presence himself. However, the King was known to attend such events incognito. So he, in fact, at least might have been there.

If he was in attendance, there is much speculation as to why he stood at all. Theories range from the reverent to the simply unflat-

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tering: he might have been stretching his legs, relieving his gout, leaving for the bathroom or suddenly awakened by the chorus’s forte entrance. But the general opinion is that his own sense of obeisance compelled him to stand upon hearing the majestic and undeniably enthralling music of the Hallelujah chorus.

The custom is common in English-speaking countries, but essentially unknown in all others. Many have objected, in more contemporary eras, to the distastefully imperialistic implications of following the King’s lead in this manner. After all, the general audience only stood because they had to do so. But others are quick and well justified to point out that Handel’s Messiah is cer-tainly the most well known and universally enjoyed major work in the Baroque oratorio genre—if not among all “classical” music works—and that standing as a group, in the name of tradition, unites the audience with the performers for a few minutes in a most energizing way. No matter how convincingly some can argue that this “tradition” is rooted in untrustworthy hearsay, you have only to look at the performers when you stand at that wondrous, thrilling moment: you will see their smiles and their spirits lifted even higher, knowing that millions upon millions of people have stood at that very same moment in music, and in virtually every corner of the world. Even Haydn stood with the crowd at a per-formance in Westminster Abbey. It is said that he wept and pro-claimed of George Frideric Handel, “He is the master of us all.”

A Simple Primer on Early Instruments …

Several decades ago, a movement began in the classical music industry to perform music on the instruments that were used during the composer’s lifetime. Unquestionably advanced by the advent of CD recordings in the early 1980s, this marriage of scholarship and style became known as “historically informed performance practice.” But it encompasses more than just the proper choice of instruments for the performance of music from the Renaissance, Baroque and Classical eras. Fine points of expression, articulation and even the way instruments are tuned play a large role in what you are hearing tonight.

Probably for most of us it is the use of these beautiful and, in most cases, truly antique and priceless instruments that brings the most unique quality to these performances. Rather than cataloguing all the well-founded and essential reasons to use period instruments for this music, it is even more compelling to consider why the use of modern instruments would cheat us of the experience a com-poser like Handel meant to give to us.

Instruments have evolved and grown over the centuries, mostly because composers would present new challenges to instrumental-ists and therefore to those who built their instruments. When a composer like Bach or Beethoven would write the most difficult passages that would tax the limits of an instrument’s responsive-ness, within a decade or so instrument builders found a way to accommodate the challenges. In the Baroque period, musical phrases were made up of strong and weak notes, falling on strong and weak beats within a bar. When a violinist would move the bow in a downward stroke across a string, the sound was stronger than when the bow would be moved in an upward direction. But eventually the lengths of musical phrases grew, and more notes were meant to be played in a connected way, leading much further

down the line to a phrase’s focal point. Accordingly, the bows for stringed instruments were then made to create the same amount of sound whether the bow was moving up or down. And of course concert halls grew in size, so instruments were made to play louder. In the 20th century, some composers required sounds that acoustic instruments simply could not produce; hence the genre of electronic music.

One of the most exciting sounds we hear from these “early instruments,” however, is the inherent tension during the most climactic moments in a musical work. If you haven’t already done so, find a recording of Beethoven’s Ninth Symphony played by an orchestra of period instruments, and listen to the most dissonant or loud moments. You’ll be glad to hear the instruments being pushed to their limits, and you just might find the ease and aplomb with which modern instruments and their players perform the same passages to be lackluster by comparison.

Finally, a short note about antiques and reproductions ... while it is not uncommon to find violins and cellos that are more than 300 years old being played in orchestras like ours, very few surviving antique wind instruments are still playable. Consequently, period wind instruments are almost always copies of originals.

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Messiah

ANORATORIO

PART THE FIRST

SINFONY

Scene I

RECITATIVE, accompaniedComfort ye, comfort ye my People, saith your God; speak ye comfort-ably to Jerusalem, and cry unto her, that her Warfare is accomplish’d, that her Iniquity is pardon’d. The Voice of him that crieth in the Wilderness, prepare ye the Way of the Lord, make straight in the Desert a Highway for our God. (Isaiah 40:1-3)

AIREv’ry Valley shall be exalted, and ev’ry Mountain and Hill made low, the Crooked straight, and the rough Places plain. (Isaiah 40:4)

CHORUSAnd the Glory of the Lord shall be revealed, and all Flesh shall see it together; for the Mouth of the Lord hath spoken it. (Isaiah 40:5)

Scene II

RECITATIVE, accompaniedThus saith the Lord of Hosts; Yet once a little while, and I will shake the Heav’ns and the Earth; the Sea and the dry Land: And I will shake all Nations; and the Desire of all Nations shall come. (Haggai 2:6-7) The Lord whom ye seek shall suddenly come to his Temple, ev’n the Messenger of the Covenant, whom ye delight in: Behold He shall come, saith the Lord of Hosts. (Malachi 3:1)

AIRBut who may abide the Day of his coming? And who shall stand when He appeareth? For He is like a Refiner’s Fire. (Malachi 3:2)

CHORUSAnd he shall purify the Sons of Levi, that they may offer unto the Lord an Offering in Righteousness. (Malachi 3:3)

Scene III

RECITATIVEBehold, a Virgin shall conceive, and bear a Son, and shall call his Name Emmanuel, GOD WITH US. (Isaiah 7:14; Matthew 1:23)

AIR & CHORUSO thou that tellest good Tidings to Zion, get thee up into the high Mountain: O thou that tellest good Tidings to Jerusalem, lift up thy Voice with Strength; lift it up, be not afraid: Say unto the Cities of Judah, Behold your God. O thou that tellest good Tidings to Zion, Arise, shine, for thy Light is come, and the Glory of the Lord is risen upon thee. (Isaiah 40:9; Isaiah 60:1)

RECITATIVE, accompaniedFor behold, Darkness shall cover the Earth, and gross Darkness the People: but the Lord shall arise upon thee, and his Glory shall be seen upon thee. And the Gentiles shall come to thy Light, and Kings to the Brightness of thy Rising. (Isaiah 60:2-3)

AIRThe People that walked in Darkness have seen a great Light; And they that dwell in the Land of the Shadow of Death, upon them hath the Light shined. (Isaiah 9:2)

CHORUSFor unto us a Child is born, unto us a Son is given; and the Government shall be upon his Shoulder; and His Name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace. (Isaiah 9:6)

Scene IV

PIFA

RECITATIVEThere were Shepherds abiding in the Field, keeping Watch over their Flock by Night. (Luke 2:8)

RECITATIVE, accompaniedAnd lo, the Angel of the Lord came upon them, and the Glory of the Lord shone round about them, and they were sore afraid. (Luke 2:9)

RECITATIVEAnd the Angel said unto them, Fear not; for behold, I bring you good Tidings of great Joy, which shall be to all People. For unto you is born this Day, in the City of David, a Saviour, which is Christ the Lord. (Luke 2:10-11)

RECITATIVE, accompaniedAnd suddenly there was with the Angel a Multitude of the heav’nly Host, praising God, and saying ... (Luke 2:13)

CHORUSGlory to God in the Highest, and Peace on Earth, Good Will towards Men. (Luke 2:14)

Scene V

AIRRejoice greatly, O Daughter of Sion, shout, O Daughter of Jerusalem; behold, thy King cometh unto thee: He is the righteous Saviour; and He shall speak Peace unto the Heathen. (Zechariah 9:9-10)

RECITATIVEThen shall the Eyes of the Blind be open’d, and the Ears of the Deaf unstopped; then shall the lame Man leap as an Hart, and the Tongue of the Dumb shall sing. (Zechariah 35:5-6)

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The following libretto is adapted from the printed word-book for the first London performances of Messiah in 1743, and incorporates Handel’s own

designations of part headings, scenes and movement headings.


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AIRHe shall feed his Flock like a shepherd: and He shall gather the Lambs with his Arm, and carry them in his Bosom, and gently lead those that are with young. Come unto Him all ye that labour, come unto Him all ye that are heavy laden, and He will give you Rest. Take his Yoke upon you and learn of Him; for He is meek and lowly of Heart: and ye shall find Rest unto your souls. (Isaiah 40:11; Matthew 11:28-29)

CHORUSHis Yoke is easy, his Burthen is light. (Matthew 11:30)

Intermission

PART THE SECOND

Scene I

CHORUSBehold the Lamb of God, that taketh away the Sin of the World. (John 1:29)

AIRHe was despised and rejected of Men, a Man of Sorrows, and acquaint-ed with Grief. He gave his Back to the Smiters, and his Cheeks to them that plucked off the Hair: He hid not his Face from Shame and Spitting. (Isaiah 53:3; Isaiah 50:6)

CHORUSSurely he hath borne our Griefs and carried our Sorrows: He was wounded for our Transgressions, He was bruised for our Iniquities; the Chastisement of our Peace was upon Him. (Isaiah 53:4-5)

CHORUSAnd with His Stripes we are healed. (Isaiah 53:5)

CHORUSAll we, like Sheep, have gone astray, we have turned ev’ry one to his own Way, and the Lord hath laid on Him the Iniquity of us all. (Isaiah 53:6)

RECITATIVE, accompaniedAll they that see him laugh him to scorn; they shoot out their Lips, and shake their Heads, saying ... (Psalm 22:7)

CHORUSHe trusted in God, that he would deliver him: let him deliver him, if he delight in him. (Psalm 22:8)

RECITATIVE, accompaniedThy Rebuke hath broken his Heart; He is full of Heaviness: He looked for some to have Pity on him, but there was no Man, neither found he any to comfort him. (Psalm 69:21)

AIR - TenorBehold, and see, if there be any Sorrow like unto his Sorrow! (Lamentations 1:12)

Scene II

RECITATIVE, accompaniedHe was cut off out of the Land of the Living: For the Transgression of thy People was He stricken. (Isaiah 53:8)

AIRBut Thou didst not leave his Soul in Hell, nor didst Thou suffer thy Holy One to see Corruption. (Psalm 16:10)

Scene III

SEMICHORUSLift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord Strong and Mighty; the Lord Mighty in Battle. Lift up your Heads, O ye Gates, and be ye lift up, ye everlasting Doors, and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts: he is the King of Glory. (Psalm 24:7-10)

Scene IV

RECITATIVEUnto which of the Angels said He at any time, Thou art my Son, this Day have I begotten thee? (Hebrews 1:5)

CHORUSLet all the Angels of God worship Him. (Hebrews 1:6)

Scene V

AIRThou art gone up on High; Thou has led Captivity captive, and received Gifts for Men, yea, even for thine Enemies, that the Lord God might dwell among them. (Psalm 68:18)

CHORUSThe Lord gave the Word: Great was the Company of the Preachers. (Psalm 68:11)

DUET & CHORUSHow beautiful are the Feet of him that bringeth glad Tidings, Tidings of Salvation, that saith unto Sion: Thy God reigneth! Break forth into joy! (Isaiah 52:7 and 9)

Scene VI

AIRWhy do the Nations so furiously rage together? and why do the People imagine a vain Thing? The Kings of the Earth rise up, and the Rulers take Counsel together against the Lord and against his Anointed. (Psalm 2:1-2)

CHORUSLet us break their Bonds asunder, and cast away their Yokes from us. (Psalm 2:3)

Scene VII

RECITATIVEHe that dwelleth in Heaven shall laugh them to scorn; the Lord shall have them in Derision. (Psalm 2:4)

AIRThou shalt break them with a Rod of Iron; thou shalt dash them in pieces like a Potter’s Vessel. (Psalm 2:9)

CHORUSHallelujah! for the Lord God Omnipotent reigneth. The Kingdom of this World is become the Kingdom of our Lord and of his Christ; and He shall reign for ever and ever, King of Kings, and Lord of Lords. Hallelujah! (Revelation 19:6; 11:15; 19:16)


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PART THE THIRD

Scene I

AIRI know that my Redeemer liveth, and that He shall stand at the lat-ter Day upon the Earth: And tho’ Worms destroy this Body, yet in my Flesh shall I see God. For now is Christ risen from the Dead, the First-Fruits of them that sleep. (Job 19:25-26; 1 Corinthians 15:20)

CHORUSSince by Man came Death, by Man came also the Resurrection of the Dead. For as in Adam all die, even so in Christ shall all be made alive. (1 Corinthians 15:21-22)

Scene II

RECITATIVE, accompaniedBehold, I tell you a Mystery: We shall not all sleep, but we shall all be chang’d, in a Moment, in the Twinkling of an Eye, at the last Trumpet. (1 Corinthians 15:51-52)

AIRThe trumpet shall sound, and the Dead shall be rais’d incorrupt-ible, and We shall be chang’d. For this corruptible must put on Incorruption, and this Mortal must put on Immortality. (1 Corinthians 15:52-54)

Scene III

RECITATIVEThen shall be brought to pass the Saying that is written; Death is swallow’d up in Victory. (1 Corinthians 15:54)

DUETO Death, where is thy Sting? O Grave, where is thy Victory? The Sting of Death is Sin, and the Strength of Sin is the Law. (1 Corinthians 15:55-56)

CHORUSBut Thanks be to God, who giveth Us the Victory through our Lord Jesus Christ. (1 Corinthians 15:57)

AIRIf God is for us, who can be against us? Who shall lay anything to the Charge of God’s Elect? It is God that justifieth; Who is he that con-demneth? It is Christ that died, yea, rather that is risen again; who is at the Right Hand of God, who maketh intercession for us. (Romans 8:31 and 33-34)

Scene IV

CHORUSWorthy is the Lamb that was slain, and hath redeemed us to God by His Blood, to receive Power, and Riches, and Wisdom, and Strength, and Honour, and Glory, and Blessing. Blessing and Honour, Glory and Pow’r be unto Him that sitteth upon the Throne, and unto the Lamb, for ever and ever. (Revelation 5:12-14)

CHORUSAmen.

The American Bach soloists (“ABS”) were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and Music Director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument per-formers to bring this brilliant music to life.

For 21 years, Jeffrey Thomas has brought thoughtful, meaning-ful and informed perspectives to his performances as Artistic and Music Director of the American Bach Soloists. Recognized world-wide as one of the foremost interpreters of the music of Bach and the Baroque, he continues to inspire audiences and performers alike through his keen insights into the passions behind musical expression. Fanfare Magazine proclaimed that “Thomas’ direction seems just right, capturing the humanity of the music … there is no higher praise for Bach performance.”

Critical acclaim has been extensive: The Wall Street Journal named ABS’s “the best American specialists in early music … a flawless ensemble … a level of musical finesse one rarely encounters.” San Francisco Classical Voice declared “there is nothing routine or settled about their work. Jeffrey Thomas is still pushing the musi-cal Baroque envelope.” And the San Francisco Chronicle recently extolled the ensemble’s “divinely inspired singing.”

The first public concerts were given in February 1990 at St. Stephen’s Church in Belvedere, where the ensemble serves as Artists-in-Residence. The year 1993 brought the debut of ABS’s first annual summer festival in Tiburon/Belvedere. By the fifth sea-son, regular performances had been inaugurated in San Francisco and Berkeley, and as a result of highly successful collaborations with the Robert and Margrit Mondavi Center for the Performing Arts, ABS’s full concert seasons expanded to the Davis/Sacramento region in 2005. As the audience increased, so the artistic direction of the ensemble expanded to include Bach’s purely instrumental and larger choral masterpieces, as well as music of his contempo-raries and that of the early Classical era.

The American Bach Soloists present an annual Subscription Series with performances in Belvedere, Berkeley, Davis and San Francisco. Their annual holiday performances of Handel’s Messiah—presented each December before capacity audiences since 1992—have become a Bay Area tradition. In addition to their regular subscription season, the American Bach Soloists have been presented at some of the world’s leading early music and chamber music festivals, and have appeared worldwide from Santa Fe to Hong Kong and Singapore. In 1998, in conjunction with the Fifth Biennial Berkeley Festival & Exhibition, ABS established the American Bach Soloists & Henry I. Goldberg International Young Artists Competition as a way to foster emerging musicians who wish to pursue a career in early music.

In conjunction with ABS’s 15th Anniversary Season in 2003-04, Thomas announced the “Bach Cycle,” an ambitious plan to pres-ent all of Bach’s major oratorios, including two Passions, the ora-torios for Christmas and Easter and the Mass in B Minor; the violin and harpsichord concertos, Brandenburg Concertos and orchestral suites; the major cantatas from Bach’s years in Mühlhausen, Weimar and Leipzig; and the sonatas and suites for violin, flute, cello and viola da gamba.


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ABS has been a leader throughout the Bay Area in its commitment to artistic collaborations. Some recent examples include a col-laboration with two San Francisco dance organizations, Xeno and Ultra Gypsy, at the Crucible in Oakland in 2004, and collabora-tions with the well-known Mark Morris Dance Group in 1999 and 2004. To celebrate the 20th Anniversary Season, ABS joined forces with San Francisco’s Grace Cathedral and Lighting Systems Design Inc. in a spectacular laser show rendering of Handel’s Music for the Royal Fireworks.

The Chorus of the American Bach Soloists has shone in repertoire from the Baroque and early Classical eras. With the inception of the Choral Series in 2004, these fine singers have been featured on programs exploring more than five centuries of choral music. To acknowledge this splendid work, the American Bach Soloists announced in 2006 a new name for their choral ensemble: American Bach Choir. Critics have acclaimed their “sounds of remarkable transparency and body.”

In July 2010, the American Bach Soloists inaugurated North America’s newest annual professional training program in histori-cally informed performance practice. Drawing on their distin-guished roster of performers, the American Bach Soloists Academy offers advanced conservatory-level students and emerging profes-sionals unique opportunities to study and perform Baroque music in a multi-disciplinary learning environment. The Academy is held in the San Francisco Conservatory of Music’s exquisite new facili-ties in the heart of the city’s arts district.

The American Bach Soloists have a discography of 18 CDs on the Koch International Classics, Delos International and American Bach Soloists labels, including six volumes of Bach cantatas, many performed one on a part. The ensemble’s critically acclaimed disc of Bach’s Mass in B Minor has been called a benchmark recording and a “joyous new performance” (The Washington Post). One of their most popular offerings is an historically significant version of Handel’s Messiah, recorded live during performances in 2004 at the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis, and released in November 2005 on the Delos International label. In 2007, ABS’s entire catalogue of critically acclaimed recordings of Bach’s Mass in B Minor, cantatas and transcriptions of Italian music, Haydn Masses, choral and vocal works by Schütz and other works was re-released on iTunes, Magnatune.com, Amazon, CDBaby and ABS’s own excellent and resourceful website, which features free streaming audio of most titles. The same year brought two new and much-anticipated releases: Beethoven’s Ninth Symphony and Bach’s Brandenburg Concertos. The most recent release, 1685 & The Art of Ian Howell, features the remarkable young countertenor (and recent winner of the ABS Young Artist Competition) in works by Bach, Handel and Domenico Scarlatti. Coming this season will be Bach’s Violin Concertos featuring the brilliant virtuoso Elizabeth Blumenstock.

Jeffrey Thomas (artistic and music director) has directed and conducted recordings with the American Bach Soloists of more than 25 cantatas, the Mass in B Minor, Musical Offering, motets, chamber music and works by Schütz, Pergolesi, Vivaldi, Haydn and Beethoven. He has appeared with the Baltimore, Berkeley, Boston, Detroit, Houston, National, Rochester, Minnesota and San Francisco symphony orchestras; with the Vienna Symphony and the New Japan Philharmonic; with virtually every American baroque orchestra; and in Austria, England, Germany, Italy,

Japan and Mexico. He has performed at the Santa Fe Chamber Music Festival, Spoleto USA Festival, Ravinia Festival, Saratoga Performing Arts Center, Berkeley Festival and Exhibition, Boston Early Music Festival, Bethlehem Bach Festival, Göttingen Festival, Tage Alte Musik Festival in Regensburg, E. Nakamichi Baroque Festival in Los Angeles, the Smithsonian Institution and at the Brooklyn Academy of Music’s “Next Wave Festival,” and he has collaborated on several occasions as conductor with the Mark Morris Dance Group.

Before devoting all of his time to conducting, he was one of the first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street Journal as “a superstar among oratorio tenors,” Thomas’s extensive discography of vocal music includes dozens of recordings of major works for Decca, EMI, Erato, Koch International Classics, Denon, Harmonia Mundi, Smithsonian, Newport Classics and Arabesque. Thomas is an avid exponent of contemporary music and has conducted the premieres of new operas, including David Conte’s Gift of the Magi and Firebird Motel, and premiered song cycles of several composers, includ-ing two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities and appeared with his own vocal chamber music ensemble, L’Aria Viva.

Educated at the Oberlin Conservatory of Music, Manhattan School of Music and the Juilliard School of Music, with further studies in English literature at Cambridge University, he has taught at the Amherst Early Music Workshop, Oberlin College Conservatory Baroque Performance Institute, San Francisco Early Music Society and Southern Utah Early Music Workshops, presented master classes at the New England Conservatory of Music, San Francisco Conservatory of Music, SUNY at Buffalo, Swarthmore College and Washington University, been on the faculty of Lehigh University in Pennsylvania, and was artist-in-residence at the University of California, where he is now professor of music (Barbara K. Jackson Chair in Choral Conducting) and director of choral ensembles in the Department of Music at UC Davis. He was a UC Davis Chancellor’s Fellow from 2001–06, and the Rockefeller Foundation awarded him a prestigious residency at the Bellagio Study and Conference Center at Villa Serbelloni for April 2007, to work on his manuscript, “Handel’s Messiah: A Life of Its Own.”

Mary Wilson (soprano) is acknowledged as one of today’s most exciting young artists. Cultivating a wide-ranging career sing-ing chamber music, oratorio and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News).

Engagements during the current season include the role of Oriana in Handel’s Amadigi di Gaula with Boston Baroque, Beethoven’s Symhony No. 9 with the Dayton Philharmonic, Mahler’s Symphony No. 4 with the Buffalo Philharmonic, Hadyn’s Lord Nelson Mass with the Kansas City Symphony and Messiah with Nicholas McGegan and the Detroit Symphony and with the Cleveland Orchestra. She sings Carmina Burana and Mozart’s Exultate Jubilate with the Quad Cities Symphony, Bach’s Mass in B Minor and Mozart’s Requiem with the Florida Bach Festival, Carmina Burana with the Boulder Philharmonic, Monteverdi’s Vespers of 1610 with Boston Baroque, Mozart’s Requiem with the Cedar Rapids Symphony, Bach’s St. John Passion with Musica Angelica and joins St. Olaf College for a distin-guished alumni recital and American Bach Soloists for a concert of Handel and Bach.


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In high demand on the concert stage, she has most recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Orchestra, St, Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Dayton Philharmonic, VocalEssence and at the Hollywood Bowl. She has worked with conductors including Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, JoAnn Falletta and Leonard Slatkin. An exciting inter-preter of Baroque repertoire, especially Handel, she has appeared with Musica Angelica, American Bach Soloists, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival and the Carmel Bach Festival.

On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro and Gilda in Rigoletto. She has created leading roles in North American and world premiere performances of Dove’s Flight (Controller), Glass’s Galileo Galilei (Grand Duchess Christina) and Petitgirard’s Joseph Merrick dit L’Elephant Man (Le Colorature). She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Brooklyn Academy of Music and the Goodman Theatre.

Ian Howell (countertenor) is praised by the New York Timesfor his “clear voice and attractive timbre,” by San Francisco Classical Voice for the “heart at the core of his soulful sound,” and by Classical Voice of North Carolina for his “lovely, supple, and crystal clear” voice sings with a warm and seamless tone rarely heard from countertenors.” In 2006, Howell won First Prize at the American Bach Soloists International Solo Competition with an acclaimed performance of Bach’s Cantata BWV 170, Vergnügte Ruh, and Third Prize at the Oratorio Society of New York’s Vocal Competition.

Howell’s debut solo CD, 1685 and the Art of Ian Howell with American Bach Soloists, was released in 2009 and features reper-tory by Domenico Scarlatti, J.S. Bach and G.F. Handel. He can also be heard with the all-male chamber choir Chanticleer on one DVD and eight CDs, including the Grammy Award-winning Lamentations and Praises and the Grammy-nominated Our American Journey.

Equally at home on opera and concert stages, Howell’s upcom-ing season includes performances of Messiah with both American Bach Soloists and the Choir of St Thomas Fifth Ave (NYC) and Handel’s Giulio Cesare (Tolomeo) with Florentine Opera. Howell’s 2010-11 season included debut performances with Florentine Opera (Blow’s Venus & Adonis—Cupid and Purcell’s Dido & Aeneas—Spirit), Seattle Baroque (Pergolesi’s Stabat Mater) and the New Mexico Symphony (Bach’s Weinachts Oratorium). He returned for engagements with Chatham Baroque (Bach’s St. John Passion), New York’s St. Ignatius Loyola (Handel’s Jephtha—Hamor) and the U.C. Davis Choirs (Bernstein’s Missa Brevisand Chichester Psalms and in a new work by Pablo Ortiz).

In his 2009–10 season, Howell debuted with Canada’s Orchestra London/Opera London as Tolomeo in Handel’s Giulio Cesare, for which critics called his portrayal “chilling,” “remarkable” and “heart-rending,” and noted that he “handled the intricacies of Handel’s vocal writing with ease.” Howell also debuted as a

featured soloist on the Ravinia Festival’s Rising Stars Series (Beginner’s Ear Recital), with the St. Louis Symphony (P.D.Q. Bach’s Iphigenia in Brooklyn), the Handel Choir of Baltimore(Messiah), the Hudson Valley Singers (Handel’s Susanna—Joachim), Chatham Baroque (Pergolesi’s Stabat Mater and J.C. Bach’s Lamento), Musica Angelica (Bach’s St. John Passion) and in recital with the Columbus (Ohio) Guitar Society (The New Music: 1602—Present). He returned to the Bay Area to reprise Handel’s Messiah for the second year in a row with American Bach Soloists.

In previous seasons, audiences have heard Howell as a featured soloist with the Oratorio Society of New York, Musica Sacra (NYC), Rebel Orchestra with the Choir of Trinity Wall St. (NYC), Concert Royále with the Choir of St Thomas Fifth Ave. (NYC), the Choral Arts Society of Philadelphia, the Vancouver Chamber Choir, the Portland Baroque Orchestra, Berkshire Choral Festival, Princeton Glee Club, Tableau Baroque and the Staunton (Virginia) and Whidbey Island (Washington) Music Festivals.

Ian Howell holds a Master of Music Degree in Voice conferred jointly by the Yale Institute of Sacred Music and the Yale Schoolof Music.

Charles Blandy (tenor) has performed a wide repertoire, from works of Mozart and Bach to the most challenging contempo-rary music. The Boston Globe praised his performance of Tom Rakewell in Stravinsky’s The Rake’s Progress at Emmanuel Music in Boston, where he has also sung Tamino in Mozart’s Magic Flute and Lurcanio in Handel’s Ariodante. He recently performed the role of Almaviva in Boston Lyric Opera’s family performances of Barber of Seville. Opera News and the Boston Globe praised his per-formances as Francis Flute in Britten’s Midsummer Night’s Dream. At Tanglewood, he appeared in the world premiere of Osvaldo Golijov’s Ainadamar, starring Dawn Upshaw and conducted by Robert Spano, later reprised at Walt Disney Concert Hall in Los Angeles.

In December, he will sing with the American Bach Soloists in Handel’s Messiah. Last year he made his Lincoln Center debut in the Mozart Requiem and Haydn Paukenmesse with the National Chorale at Avery Fisher Hall in New York, where he returned in November to sing Handel’s Alexander’s Feast. He recently per-formed as the Evangelist in Bach’s St. John and St. Matthew Passions with Emmanuel Music, and with the Bethlehem Bach Choir in its Christmas concert of Bach and Haydn. He was a finalist in the Oratorio Society of New York solo competition, singing in Weill Recital Hall. He performed Handel’s Messiah and Britten’s Cantata Misericordium with the Charlotte Symphony; Britten’s St. Nicolas with conductor Raymond Leppard in Indianapolis; and Mozart’s Requiem with the Boston Landmarks Orchestra, performed out-doors on the Esplanade in Boston. He has appeared with the Handel and Haydn Society, Boston Baroque, Cantata Singers, Berkshire Choral Festival, Pittsburgh Bach and Baroque and the Bloomington Early Music Festival.

On four day’s notice he took over a tricky tenor part in Berio’s Sinfonia under conductor Robert Spano at Tanglewood. He recent-ly appeared with the Boston Modern Orchestra Project in music of Ronald Perera and Scott Wheeler. His performance of Jorge Liderman’s Song of Songs with the San Francisco Contemporary Music Players (which became a Bridge Records CD) was called


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“sterling” by the San Francisco Chronicle, and he appears on a crit-ically praised Naxos CD of Scott Wheeler’s opera Construction of Boston. He gave the U.S. premiere of Einojuhani Rautavaara’s song cycle for voice and strings Die Liebenden with Chameleon Arts Ensemble, in a performance the Boston Globe called “marvelous.”

With a wide repertoire in art song, his recital of Janacek’s Diary of One Who Disappeared was profiled in the Boston Globe. He previously gave a recital of songs by Rachmaninoff, Liszt and Szymanowski at Tufts University—called “one of the most engross-ing concerts in ages” by reviewer Caldwell Titcomb.

He teaches in Harvard University’s Holden Voice Program and at Tufts University. He was a fellow at the Tanglewood Music Center, where he was awarded the Grace B. Jackson Prize. He received his master’s degree from Indiana University and has studied at the Britten-Pears School in Aldeburgh, England. He is a native of Troy, New York and graduated from Oberlin College with a BA in religion.

Jesse Blumberg (baritone) is an artist equally at home on opera, concert and recital stages. This past season he performed the role of the Celebrant in Bernstein’s Mass at London’s Royal Festival Hall under the baton of Marin Alsop, debuted with Boston Lyric Opera as Harlekin in Ariadne auf Naxos and performed recitals in Paris with the Mirror Visions Ensemble. In 2007 he created the role of Connie Rivers in The Grapes of Wrath (recorded by P.S. Classics at the Minnesota Opera) and later made his Utah and Pittsburgh Opera debuts in the same production. Other recent appearances include leading and featured roles with Annapolis Opera, Opera Delaware, Opera Vivente and the Boston Early Music Festival.

In concert, Blumberg has been a featured soloist with American Bach Soloists, Los Angeles Master Chorale, Sacred Music in a Sacred Space and the Berkshire Choral Festival. He has also given the world premieres of two important chamber works: Ricky Ian Gordon’s Green Sneakers (recorded by Blue Griffin Recording) and Lisa Bielawa’s The Lay of the Love and Death, the former at the Vail Valley Music Festival and the latter at Alice Tully Hall. He has toured with the Mark Morris Dance Group and the Waverly Consort and given recitals for the Marilyn Horne Foundation. Last season, he and pianist Martin Katz performed Schubert’s two monumental song cycles, Die schöne Müllerin and Winterreise, over one weekend in Ann Arbor and will soon repeat this pairing in New York City. Blumberg has been recognized in many song and opera competitions, and in 2008, was awarded Third Prize at the International Robert Schumann Competition in Zwickau, becom-ing its first American prizewinner in more than 30 years.

His current engagements include song recitals in New York, Boston and Washington, D.C., debuts with New York Festival of Song, Clarion Society, University Musical Society, Green Mountain Project and Apollo’s Fire and returns to American Bach Soloists, Minnesota Opera and the Boston Early Music Festival. Blumberg received a Master of Music degree from the University of Cincinnati College-Conservatory of Music and undergraduate degrees in history and music from the University of Michigan. Blumberg is also the founder and artistic director of the Five Boroughs Music Festival, a new concert series in New York City.


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

Mondavi Center Individual supporters

InnerCircleMondaviCenter

IMPREsARIO CIRClE $25,000 AND uPJohn and Lois Crowe †*Barbara K. Jackson †*Friends of Mondavi Center

And one donor who prefers to remain anonymous

VIRTuOsO CIRClE $15,000 - $24,999Joyce and Ken AdamsonAnn and Gordon Getty FoundationAnne Gray †*Mary B. Horton*Grant and Grace Noda*William and Nancy Roe †*Lawrence and Nancy Shepard †Tony and Joan Stone †Joe and Betty Tupin †*

MAEsTRO CIRClE $10,000 - $14,999Wayne and Jacque Bartholomew †*Ralph and Clairelee Leiser Bulkley*Oren and Eunice Adair-Christensen*Dolly and David Fiddyment †M. A. Morris*Shipley and Dick Walters*

BENEfACTORs CIRClE $6,000 - $9,999California Statewide Certified Development Corporation

Camille Chan †Cecilia Delury and Vince Jacobs †Patti Donlon †First Northern Bank †

Samia and Scott Foster †Benjamin and Lynette Hart †*

Dee and Joe Hartzog †Margaret Hoyt*

Bill Koenig and Jane O’Green Koenig

Garry Maisel †Stephen Meyer and Mary Lou Flint†

Grace and John Rosenquist*

Chris and Melodie Rufer

Raymond and Jeanette Seamans

Ellen Sherman

Larry and Rosalie Vanderhoef †*† Mondavi Center Advisory Board Member* Friends of Mondavi Center


Lois and Dr. Barry RamerDavid Rocke and Janine MozéeRoger and Ann Romani*Hal and Carol Sconyers*Tom and Meg Stallard*Karen and Jim SteidlerTom and Judy StevensonDonine Hedrick and David StuderJerome Suran and Helen Singer Suran*Rosemary and George TchobanoglousDella Aichwalder ThompsonNathan and Johanna TruebloodKen Verosub and Irina DelusinaJeanne Hanna VogelClaudette Von RustenJohn Walker and Marie LopezCantor & Company, A Law Corporation*Bob and Joyce Wisner*Richard and Judy Wydick

And six donors who prefer to remain anonymous

Directors circle $1,100 - $2,999John and Kathleen AgnewDorrit AhbelBeulah and Ezra AmsterdamRussell and Elizabeth AustinMurry and Laura Baria*Lydia Baskin*Connie BattersonJo Anne Boorkman*Clyde and Ruth BowmanEdwin BradleyLinda BrandenburgerRobert Burgerman and Linda RamatowskiDavis and Jan CampbellDavid J. Converse, ESQ.Gail and John CoolurisJim and Kathy Coulter*John and Celeste Cron*Terry and Jay DavisonBruce and Marilyn DeweyMartha Dickman*Dotty Dixon*Richard and Joy Dorf*Thomas and Phyllis Farver*Tom Forrester and Shelly FauraSandra and Steven FeldersteinNancy McRae FisherCarole Franti*Paul J. and Dolores L. Fry Charitable FundKarl Gerdes and Pamela RohrichHenry and Dorothy GietzenCraig A. GladenJohn and Patty Goss*Jack and Florence Grosskettler*Virginia HassTim and Karen HeflerSharna and Myron HoffmanClaudia Hulbe

Ruth W. JacksonClarence and Barbara KadoBarbara Katz*Hansen KwokThomas Lange and Spencer LocksonMary Jane Large and Marc LevinsonEdward and Sally Larkin*Hyunok Lee and Daniel SumnerLinda and Peter LindertAngelique LouieNatalie and Malcolm MacKenzie*Stephen MadeirosDouglas Mahone and Lisa HeschongDennis H. Mangers and Michael SestakSusan MannJudith and Mark MannisMaria ManoliuMarilyn MansfieldJohn and Polly MarionYvonne L. MarshRobert Ono and Betty MasuokaShirley Maus*Ken McKinstryJoy Mench and Clive WatsonFred and Linda J. Meyers*John Meyer and Karen MooreEldridge and Judith MooresBarbara MorielMary-Alice and Augustus B. MorrPatricia and Surl NielsenLinda Orrante and James NordinAlice Oi, In memory of Richard OiJerry L. PlummerLinda and Lawrence Raber*Larry and Celia RabinowitzKay Resler*Prof. Christopher Reynolds and Prof. Alessa JohnsThomas RoehrDon Roth and Jolán FriedhoffLiisa A. RussellBeverly “Babs” Sandeen and Marty SwingleEd and Karen SchelegleThe Schenker FamilyNeil and Carrie SchoreBonnie and Jeff SmithWilson and Kathryn SmithRonald and Rosie Soohoo*Richard L. Sprague and Stephen C. OttMaril Revette Stratton and Patrick StrattonBrandt Schraner and Jennifer ThorntonVerbeck and friendsLouise and Larry WalkerScott WeintraubDale L. and Jane C. WiermanPaul WymanYin Yeh

And five donors who prefer to remain anonymous

ProDucers circle $3,000 - $5,999Neil and Carla AndrewsHans Apel and Pamela BurtonCordelia Stephens BirrellKay and Joyce Blacker*Neil and Joanne BodineMr. Barry and Valerie BooneBrian Tarkington and Katrina BoratynskiMichael and Betty ChapmanRobert and Wendy ChasonChris and Sandy Chong*Michele Clark and Paul SimmonsTony and Ellie Cobarrubia*Claudia ColemanEric and Michael ConnNancy DuBois*Stephen Duscvha and Wanda Lee GravesMerrilee and Simon EngelCatherine and Charles FarmanDomenic and Joan FaveroDonald and Sylvia FillmanAndrew and Judith GaborKay GistFredric Gorin and Pamela Dolkart GorinEd and Bonnie Green*Robert GreyDiane Gunsul-HicksCharles and Ann HalstedJudith and Bill Hardardt*The One and Only WatsonLorena Herrig*Charley and Eva HessSuzanne and Chris Horsley*Sarah and Dan HrdyDr. Ronald and Lesley HsuDebra Johnson, MD and Mario GutierrezTeresa and Jerry Kaneko*Dean and Karen Karnopp*Nancy Lawrence, Gordon Klein, and Linda LawrenceGreiner Heat, Air, and SolarBrian and Dorothy LandsbergDrs. Richard Latchaw and Sheri AldersGinger and Jeffrey LeacoxClaudia and Allan LeavittRobert and Barbara LeidighYvonne LeMaitreJohn T. Lescroart and Lisa SawyerNelson Lewallyn and Marion Pace-LewallynDr. Ashley and Shiela LipshutzPaul and Diane Makley*In memory of Jerry MarrJanet Mayhew*Robert and Helga MedearisVerne Mendel*Derry Ann MoritzJeff and Mary NicholsonPhilip and Miep PalmerGavin PayneSuzanne and Brad Poling


Mondavi Center Donors

encore circle$600 - $1,099Gregg T. Atkins and Ardith AllreadDrs. Noa and David BellMarion BrayDon and Dolores ChakerianGale and Jack ChapmanWilliam and Susan ChenRobert and Nancy Nesbit CrummeyJohn and Cathie DuniwayShari and Wayne EckertDoris and Earl FlintMurray and Audrey FowlerGatmon-Sandrock FamilyJeffery and Marsha GibelingPaul N. and E. F. “Pat” GoldsteneDavid and Mae GundlachRobin Hansen and Gordon UlreyCynthia Hearden*Lenonard and Marilyn HerrmannKatherine HessBarbara and Robert JonesPaula KuboFrances and Arthur Lawyer*Gary and Jane MattesonDon and Sue MurchisonRobert MurphyRichard and Kathleen NelsonFrank PajerskiJohn Pascoe and Susan StoverJerry and Ann Powell*J. and K. RedenbaughJohn and Judy ReitanJeep and Heather RoemerJeannie and Bill SpanglerSherman and Hannah SteinLes and Mary Stephens DewallJudith and Richard SternEric and Patricia Stromberg*Lyn Taylor and Mont HubbardCap and Helen ThomsonRoseanna Torretto*Henry and Lynda Trowbridge*Donald Walk, M.D.Geoffrey and Gretel Wandesford-SmithSteven and Andrea Weiss*Denise and Alan WilliamsKandi Williams and Dr. Frank JahnkeKarl and Lynn Zender

And three donors who prefer to remain anonymous

orchestra circle$300 - $599Michelle AdamsMitzi AguirreSusan AhlquistPaul and Nancy AikinJessica FriedmanDrs. Ralph and Teresa AldredgeThomas and Patricia AllenFred Arth and Pat SchneiderAl and Pat ArthurShirley and Michael Auman*Robert and Joan BallBeverly and Clay BallardIn memory of Ronald BaskinDelee and Jerry BeaversRobert Hollingsworth and Carol BeckhamCarol L. BenedettiDonald and Kathryn Bers*Bob and Diane BiggsAl J. Patrick, Bankruptcy Law CenterElizabeth BradfordPaul BraunRosa Maquez and Richard BreedonJoan Brenchley and Kevin JacksonIrving and Karen Broido*In memory of Rose Marie WheelerJohn and Christine BruhnManuel Calderon De La Barca SanchezJackie CaplanMichael and Louise CaplanAnne and Gary CarlsonKoling Chang and Su-Ju LinJan Conroy, Gayle Dax-Conroy, Edward Telfeyan, Jeri Paik-TelfeyanCharles and Mary Anne CooperJames and Patricia CothernCathy and Jon Coupal*David and Judy CovinLarry Dashiell and Peggy SiddonsThomas B. and Eina C. DuttonMicki EagleJanet FeilDavid and Kerstin FeldmanSevgi and Edwin Friedrich*Dr. Deborah and Brook GaleMarvin and Joyce GoldmanStephen and Deirdre GreenholzJudy GuiraudDarrow and Gwen HaagensenSharon and Don HallbergAlexander and Kelly HarcourtDavid and Donna HarrisRoy and Miriam HatamiyaStephen and Joanne HatchettPaula HigashiBrit HoltzHerb and Jan HooverFrederick and B.J. HoytPat and Jim Hutchinson*Mary JenkinDon and Diane JohnstonWeldon and Colleen JordanMary Ann and Victor JungNancy Gelbard and David KalbDouglas Neuhauser and Louise KelloggCharles Kelso and Mary ReedRuth Ann Kinsella*Joseph KiskisJudy and Kent KjelstromPeter Klavins and Susan KauzlarichCharlene KunitzAllan and Norma LammersDarnell Lawrence and Dolores DaughertyRichard LawrenceRuth LawrenceCarol and Robert LedbetterStanley and Donna LevinBarbara LevineErnest and Mary Ann Lewis*Michael and Sheila Lewis*David and Ruth Lindgren

Jeffrey and Helen MaPat Martin*Yvonne Clinton Mazalewski and Robert MazalewskiSean and Sabine McCarthyCatherine McGuireMichael GerritNancy MichelHedlin FamilyRobert and Susan Munn*Anna Rita and Bill NeumanJohn and Carol OsterSally Ozonoff and Tom RicheyJohn and Sue PalmerJohn and Barbara ParkerBrenda Davis and Ed PhillipsBonnie A. Plummer*Deborah Nichols Poulos and Prof. John W. PoulosHarriet PratoJohn and Alice ProvostJ. David RamseyRosemary ReynoldsGuy and Eva RichardsRonald and Sara RingenTracy Rodgers and Richard BudenzSharon and Elliott Rose*Barbara and Alan RothMarie RundleBob and Tamra RuxinTom and Joan SalleeMark and Ita SandersEileen and Howard SarasohnMervyn SchnaidtMaralyn Molock ScottRuth and Robert ShumwayMichael and Elizabeth SingerAl and Sandy SokolowEdward and Sharon SpeegleCurtis and Judy SpencerTim and Julie StephensPieter Stroeve, Diane Barrett and Jodie StroeveKristia SuutalaTony and Beth TankeButch and Virginia ThreshDennis and Judy TsuboiAnn-Catrin Van Ph.D.Robert VassarDon and Merna VillarejoRita WatermanNorma and Richard WatsonRegina WhiteWesley and Janet YatesJane Y. Yeun and Randall E. LeeRonald M. YoshiyamaHanni and George Zweifel

And six donors who prefer to remainanonymous

Mainstage circle$100 - $299Leal AbbottThomas and Betty AdamsMary AftenJill AguiarSuzanne and David AllenDavid and Penny AndersonElinor Anklin and George HarschJanice and Alex ArdansDebbie ArringtonShota AtsumiJerry and Barbara AugustGeorge and Irma BaldwinCharlotte Ballard and Bob ZeffDiane and Charlie Bamforth*Elizabeth BanksMichele Barefoot and Luis Perez-GrauCarole BarnesPaul and Linda BaumannLynn Baysinger*Claire and Marion Becker

Sheri BelafskyMerry BenardRobert and Susan BenedettiWilliam and Marie BenisekRobert C. and Jane D. BennettMarta BeresElizabeth BerteauxBevowitz FamilyBoyd and Lucille BevingtonErnst and Hannah BibersteinKaty BillAndrea Bjorklund and Sean DugganLewis J. and Caroline S. BledsoeFred and Mary BlissBobbie BoldenWilliam BossartMary and Jill BowersAlf and Kristin BrandtRobert and Maxine BraudeDaniel and Millie Braunstein*Francis M. BrookeyLinda Clevenger and Seth BrunnerMike and Marian BurnhamMargaret Burns and Roy W. BellhornVictor W. BurnsWilliam and Karolee BushLita Campbell*Robert and Lynn CampbellRobert CanaryJohn and Nancy CapitanioJames and Patty CareyMichael and Susan CarlJohn and Inge CarrolBruce and Mary Alice Carswell*Jan and Barbara Carter*Dorothy Chikasawa*Frank ChisholmRichard and Arden ChristianBetty M. ClarkGail ClarkL. Edward and Jacqueline ClemensJames ClineWayne ColburnSheri and Ron ColeSteve and Janet CollinsIn honor of Marybeth CookNicholas and Khin CornesVictor Cozzalio and Lisa Heilman-CozzalioLorraine CrozierBill and Myra CusickElizabeth Dahlstrom-Bushnell*John and Joanne DanielsNita DavidsonJohanna DaviesVoncile DeanMrs. Leigh DibbEd and Debby DillonJoel and Linda DobrisGwendolyn Doebbert and Richard EpsteinVal Docini and Solveig MonsonVal and Marge Dolcini*Katherine and Gordon DouglasAnne DuffeyMarjean DupreeVictoria Dye and Douglas KeltDavid and Sabrina EastisHarold and Anne EisenbergEliane EisnerTerry ElledgeVincent ElliottBrian Ely and Robert HoffmanAllen EndersAdrian and Tamara EngelSidney EnglandCarol Erickson and David PhillipsJeff ErsigDavid and Kay EvansValerie EvinerEvelyn FalkensteinAndrew D. and Eleanor E. Farrand*Richard D. FarshlerLiz and Tim FentonSteven and Susan FerronatoBill and Margy FindlayJudy Fleenor*Manfred FleischerDavid and Donna FletcherGlenn Fortini


CORPORATE MATCHING GIfTs

Bank of America Matching Gifts ProgramChevron/Texaco Matching Gift FundDST Systems

We appreciate the many Donors who participate in their employers’ matching gift program. Please contact your Human Resources department to find out about your company’s matching gift program.

Note: We are pleased to recognize the Donors of Mondavi Center for their generous support of our program. We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5438 to inform us of corrections.

Lisa FosterRobert Fowles and Linda ParzychMarion Franck and Bob LewAnthony and Jorgina FreeseJoel FriedmanLarry FriedmanKerim and Josina FriedrichJoan M. FutscherMyra GableCharles and Joanne GamblePeggy E. GerickGerald Gibbons and Sibilla HersheyLouis J. Fox and Marnelle Gleason*Pat and Bob Gonzalez*Michael GoodmanSusan GoodrichLouise and Victor GrafJeffrey and Sandra GranettJacqueline Gray*Donald GreenMary Louis GreenbergPaul and Carol GrenchAlexander and Marilyn GrothJune and Paul GulyassyWesley and Ida Hackett*Paul W. HadleyJim and Jane HagedornFrank and Ro HamiltonWilliam HamreJim and Laurie HanschuMarylee and John HardieRichard and Vera HarrisCathy Brorby and Jim HarrittKen and Carmen HashagenMary HelmichMartin Helmke and Joan Frye WilliamsRoy and Dione HenricksonRand and Mary HerbertRoger and Rosanne HeymLarry and Elizabeth HillCalvin Hirsch and Deborah FrancisFrederick and Tieu-Bich HodgesMichael and Peggy HoffmanSteve and Nancy HopkinsDarcie HouckDavid and Gail HulseLorraine J. HwangMarta InduniJane Johnson*Kathryn JaramilloRobert and Linda JarvisTom and Betsy JenningsDr. and Mrs. Ronald C. JensenPamela R. JessupCarole and Phil JohnsonSNJ Services GroupMichelle Johnston and Scott ArrantoWarren and Donna JohnstonIn memory of Betty and Joseph BariaAndrew and Merry JoslinMartin and JoAnn Joye*John and Nancy JungermanNawaz KaleelFred KapatkinShari and Timothy KarpinAnthony and Beth KatsarisYasuo KawamuraPhyllis and Scott Keilholtz*Patricia Kelleher*Dave and Gay KentRobert and Cathryn KerrGary and Susan KieserLouise Bettner and Larry KimbleKen and Susan KirbyDorothy KlishevichPaulette Keller KnoxPaul KramerDave and Nina KrebsKurt and Marcia KreithSandra KristensenLeslie KurtzCecilia KwanDonald and Yoshie KyhosRay and Marianne KyonoBonnie and Kit Lam*Angelo LamolaMarsha M. LangBruce and Susan Larock

Harry Laswell and Sharon AdlisC and J LearnedMarceline LeeLee-Hartwig FamilyNancy and Steve LegeSuzanne LeinekeThe Lenk-Sloane FamilyJoel and Jeannette LermanEvelyn A. LewisMelvyn LibmanMotoko LobueMary S. LowryHenry LuckieMaryanne LynchAriane LyonsEd and Sue MacDonaldLeslie Macdonald and Gary FrancisThomas and Kathleen Magrino*Deborah Mah*Mary C. MajorVartan MalianJulin Maloof and Stacey HarmerJoan MangoldBunkie MangumRaymond and Janet ManziJoseph and Mary Alice MarinoDonald and Mary MartinJ. A. MartinMr. and Mrs. William R. MasonBob and Vel MatthewsLeslie MaulhardtKatherine F. Mawdsley*Karen McCluskey*John McCoyNora McGuinness*Donna and Dick McIlvaineTim and Linda McKennaBlanche McNaughton*Richard and Virginia McRostieMartin A. Medina and Laurie PerryCliva Mee and Werner Paul Harder IIIDeAna MelilliBarry Melton and Barbara LangerSharon MenkeThe Merchant FamilyRoland and Marilyn MeyerLeslie Michaels and Susan KattJean and Eric MillerPhyllis MillerSue and Rex MillerDouglas MinnisSteve and Kathy Miura*Kei and Barbara MiyanoVicki and Paul MoeringJoanne MoldenhauerLouise S. MontgomeryAmy MooreHallie MorrowMarcie MortenssonChristopher MotleyRobert and Janet MukaiBill and Diane MullerTerry and Judy MurphySteve Abramowitz and Alberta NassiJudy and Merle NeelCathy Neuhauser and Jack HolmesRobert Nevraumont and Donna Curley Nevraumont*Keri Mistler and Dana NewellK. C. NgDenise Nip and Russell BlairForrest OdleYae Kay OgasawaraJames OltjenMarvin O’RearJessie Ann OwensBob and Beth OwensMike and Carlene Ozonoff*Michael Pach and Mary WindCharles and Joan PartainThomas Pavlakovich and Kathryn DemakopoulosDr. and Mrs. John W. PearsonBob and Marlene PerkinsPat PiperMary Lou Pizzio-FlaaDavid and Jeanette PleasureBob and Vicki Plutchok

Ralph and Jane Pomeroy*Bea and Jerry PresslerAnn PrestonRudolf and Brigitta PueschelEvelyn and Otto RaabeEdward and Jane RabinJan and Anne-Louise RadimskyKathryn Radtkey-GaitherLawrence and Norma RappaportEvelyn and Dewey RaskiOlga RavelingDorothy and Fred ReardonSandi Redenbach*Paul ReesSandra ReeseMartha Rehrman*Eugene and Elizabeth RenkinDavid and Judy Reuben*Al and Peggy RiceJoyce RietzRalph and Judy Riggs*David and Kathy RobertsonRichard and Evelyne RomingerAndrea RosenCatherine and David RowenPaul and Ida RuffinMichael and Imelda RussellHugh SaffordDr. Terry Sandbek* and Sharon Billings*Kathleen and David Sanders*Glenn SanjumeFred and Polly SchackJohn and Joyce SchaeublePatsy SchiffTyler SchillingLeon Schimmel and Annette CodyFred and Colene SchlaepferJulie Schmidt*Janis J. Schroeder and Carrie L. MarkelRick SchubertBrian A. Sehnert and Janet L. McDonaldAndreea SeritanDan Shadoan and Ann LincolnEd Shields and Valerie BrownSandi and Clay SiggJoy SkalbeckBarbara SlemmonsMarion SmallJudith SmithJuliann SmithRobert SniderJean SnyderBlanca SolisRoger and Freda SornsenMarguerite SpencerJohanna StekRaymond StewartKaren Street*Deb and Jeff StrombergMary SuperakThomas SwiftJoyce TakahashiFrancie TeitelbaumJeanne Shealor and George ThelenJulie Theriault, PA-CVirginia ThigpenJanet ThomeRobert and Kathryn ThorpeBrian TooleLola Torney and Jason KingMichael and Heidi TraunerRich and Fay TraynhamJames E. TurnerBarbara and Jim TuttRobert TwissRamon and Karen UrbanoChris and Betsy Van KesselBart and Barbara Vaughn*Richard and Maria VielbigCharles and Terry VinesRosemarie Vonusa*Richard Vorpe and Evelyn MatteucciCarolyn Waggoner*M. Therese WagnonCarol WaldenCaroline and Royce WatersMarya Welch*Dan and Ellie Wendin*

Douglas WestMartha S. WestRobert and Leslie Westergaard*Linda K. WhitneyJane WilliamsMarsha WilsonLinda K. Winter*Janet WintererMichael and Jennifer WooArdath WoodTimothy and Vicki YearnshawElaine Chow Yee*Norman and Manda YeungTeresa YeungPhillip and Iva YoshimuraHeather YoungPhyllis YoungVerena Leu Young*Melanie and Medardo ZavalaMark and Wendy Zlotlow

And 47 donors who prefer to remain anonymous


The Friends of Mondavi Center is an active donor-based volunteer organization with a long history of assisting the Mondavi Center staff. Deeply committed to arts education, Friends volunteer their time and resources to fundraising, audience development and providing learning opportunities for K-12 students and adults. Here are some of the areas in which Friends provide direct management and coordination:

•Pre-MatineeClassroomTalks •SchoolMatineeUshering •AudienceEnrichment •MondaviCenterTours •GiftShop •SchoolOutreach •AdHocMondaviCenter Events Support

shakespeare Works when shakespeare Playsa three-day workshop conference for teachers at the Mondavi Center, UC Davis, January 13-15, 2012

Teaching Artists from some of the world’s most respected Shakespeare Theaters share active and playful approaches that will enliven your teaching of Shakespeare.

This conference of hands-on workshops at the Mondavi Center, UC Davis, will also transform your teaching across the curriculum to support the VAPA standards.

The weekend is presented by the UC Davis School of Education and the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis in association with globe Education (Shakespeare’s globe, London) and the Shakespeare Theatre Association.

www.regonline.com/shakespeare_worksRegistration is $349. limited openings will sell out fast.

Visit the Conference Website for more information: http://shakespeareplays.ucdavis.edu

Invited Presenters:

shakespeare festival/lAsan francisco shakespeare CompanyOregon shakespeare festivalBard on the Beach (Vancouver)American shakespeare Center (Virginia)shakespeare and Company (lennox, Mass)shakespeare’s Globe Education (london)folger shakespeare Theater

Mondavi Center gift shopManaged and staffed by Friends of Mondavi Center, the Gift Shop is the social hub of the Yocha Dehe Grand Lobby. In addition to being a friendly gathering place, the Mondavi Center Gift Shop is the perfect spot to find a gift for a special occasion or personal indulgence.

And, your purchase will help the Friends, all committed arts patrons, to raise $20,000 to help support Mondavi Center Arts Education in the 2011-2012 season!


DON ROTH, Ph.D.Executive Director

JeremyGanterAssociate Executive Director

PROGRAMMINGJeremyGanterDirector of Programming

Erin PalmerProgramming Manager

Ruth RosenbergArtist EngagementCoordinator

Lara DownesCurator: Young Artists Program

ARTS EDUCATIONJoyce DonaldsonAssociate to the Executive Director for Arts Educatonand Strategic Projects

Jennifer MastArts Education Coordinator

AUDIENCE SERVICESEmily TaggartAudience Services Manager/Artist Liaison Coordinator

Yuri RodriguezEvents Manager

Natalia DeardorffAssistant Events Manager

Nancy TempleAssistant Public EventsManager

BUSINESS SERVICESDebbieArmstrongSenior Director of Support Services

Mandy JarvisFinancial Analyst

Russ PostlethwaiteBilling System Administrator

DEVELOPMENTDebbieArmstrongSenior Director ofDevelopment

AliKolozsiDirector of Major Gifts

Elisha FindleyCorporate & Annual Fund Officer AmandaTurpinDonor Relations Manager

AngelaMcMillonDevelopment and Support Services Assistant

FACILITIES HerbGarmanDirector of Operations GregBaileyLead Building Maintenance Worker

INFORMATION TECHNOLOGYDarrenMarksProgrammer/Designer

MarkJ.JohnstonLead Application Developer

TimKendallProgrammer

MARKETINGRob TocalinoDirector of Marketing

WillCrockettMarketing Manager

ErinKelleySenior Graphic Artist Morissa Rubin Senior Graphic Artist

AmandaCarawayPublic Relations Coordinator

TICKET OFFICESarah HerreraTicket Office Manager

Steve DavidTicket Office Supervisor

Susie EvonTicket Agent

Russell St. ClairTicket Agent

PRODUCTIONChristopher OcaStage Manager

Christi-AnneSokolewiczStage Manager

Jenna BellProduction Coordinator

ZakStelly-RiggsMaster Carpenter

DanielGoldinMaster Electrician

Michael HayesHead Sound Technician

AdrianGalindoScene Technician

KathyGlaubachScene Technician

Daniel ThompsonScene Technician

Mondavi Center Staff

Mondavi Center Advisory BoardThe Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance and the presentingprogram of the Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center.

11-12 SEASON BOARD OFFICERS

John Crowe, ChairJoe Tupin, Patron Relations ChairRandy Reynoso, Corporate Relations Co-ChairGarry P. Maisel, Corporate Relations Co-Chair

Ex OFFICIOLinda P.B. Katehi, Chancellor, UC DavisRalph J. Hexter, Provost and Executive Vice Chancellor, UC DavisJessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC DavisJo Anne Boorkman, Friends of Mondavi Center BoardDon Roth, Executive Director, Mondavi CenterErin Schlemmer, Arts & Lectures Chair

MEMBERS Jeff AdamskiWayne BartholomewCamille ChanJohn CroweLois Crowe Cecilia DeluryPatti DonlonDavid FiddymentDolly FiddymentMary Lou Flint

Samia FosterScott FosterAnne Gray Benjamin HartLynette HartDee HartzogJoe HartzogBarbara K. JacksonVince JacobsGarry P. MaiselStephen Meyer

Randy ReynosoNancy RoeWilliam RoeLawrence ShepardNancy ShepardJoan Stone Tony StoneJoe TupinLarry VanderhoefRosalie Vanderhoef

Arts & Lectures Administrative Advisory Committee

11-12 COMMITTEE MEMBERS

Erin Schlemmer, ChairPrabhakara ChoudaryAdrian CrabtreeSusan FranckKelley GoveHolly Keefer

Sandra LopezDanielle McManusBella MerlinLee MillerBettina Ng’wenoRei Okamoto

Hearne PardeeIsabel RaabKayla RouseHulleah Tsinhnahjinnie

The Arts & Lectures Administrative Advisory Committee is made up of interested students, faculty and staff who attend performances, review programming opportunities and meet monthly with the director of the Mondavi Center. They provide advice and feedback forthe Mondavi Center staff throughout the performance season.

friendS of Mondavi Center11-12 ExECUTIVE BOARD

Jo Anne Boorkman, President Laura Baria, Vice PresidentFrancie Lawyer, SecretaryJim Coulter, Audience EnrichmentJacqueline Gray, MembershipSandra Chong, School Matinee SupportMartha Rehrman, Friends EventsLeslie Westergaard, Mondavi Center ToursPhyllis Zerger, School Outreach Eunice Adair Christensen, Gift Shop Manager, Ex OfficioJoyce Donaldson, Director of Arts Education, Ex Officio

HEAD USHERSHuguetteAlbrechtGeorgeEdwardsLindaGregoryDonna Horgan

MikeTracySusie Valentin Janellyn Whittier Terry Whittier


TICkET ExCHANGE• Tickets must be exchanged at least one business day prior to the performance.• Tickets may not be exchanged after your performance date.• There is a $5 exchange fee per ticket for non-subscribers and Pick 3 purchasers.• If you exchange for a higher-priced ticket, the difference will be charged. The difference between a higher and a lower priced ticket on exchange is non-refundable.• Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season. Balances may not be transferred between accounts.• All exchanges subject to availability.• All ticket sales are final for events presented by non-UC Davis promoters.• No refunds.

PARkINGYou may purchase parking passes for individual Mondavi Centerevents for $7 per event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lostor stolen will not be replaced.

GROuP DIsCOuNTsEntertain friends, family, classmates or business associates and save! Groups of 20 or more qualify for a 10% discount off regular prices.Payment must be made in a single check or credit card transaction. Please call 530.754.2787 or 866.754.2787.

sTuDENT TICkETs (50% off the full single ticket price*)Student tickets are to be used by registered students matriculating toward a degree, age 18 and older, with a valid student ID card. Eachstudent ticket holder must present a valid student ID card at the door when entering the venue where the event occurs, or the ticket mustbe upgraded to regular price.

CHIlDREN (50% off the full single ticket price*)Children’s tickets are for all patrons age 17 and younger. No additionaldiscounts may be applied. As a courtesy to other audience members, please use discretion in bringing a young child to an evening perfor-mance. All children, regardless of age, are required to have tickets, and any child attending an evening performance should be ableto sit quietly through the performance.

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

Policies and information ACCOMMODATIONs fOR PATRONs wITH DIsABIlITIEsThe Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADArequirements.

Patrons with special seating needs should notify the Mondavi Center Ticket Office at the time of ticket purchase to receive reasonableaccommodation. The Mondavi Center may not be able to accommo-date special needs brought to our attention at the performance.

Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances.

Requests for sign language interpreting, real-time captioning, Braille programs and other reasonable accommodations should be made with at least two weeks’ notice. The Mondavi Center may not be ableto accommodate last minute requests. Requests for these accommoda-tions may be made when purchasing tickets at 530.754.2787 or TDD 530.754.5402.

sPECIAl sEATINGMondavi Center offers special seating arrangements for our patrons with disabilities. Please call the Ticket Office at 530.754.2787[TDD 530.754.5402].

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

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

REsTROOMsAll public restrooms are equipped with accessible sinks, stalls, baby-changing stations and amenities. There are six public restrooms in the building: two on the Orchestra level, two on the Orchestra Terrace level and two on the Grand Tier level.

sERVICE ANIMAlsMondavi Center welcomes working service animals that are necessary to assist patrons with disabilities. Service animals must remain on a leash or harness at all times. Please contact the Mondavi Center Ticket Office if you intend to bring a service animal to an event sothat appropriate seating can be reserved for you.

*Only one discount per ticket.

POlICIEs

friendS of Mondavi Center

64 | mondaviarts.org MondaviArts.org 530.754.2787 866.754.2787 (toll-free)

mondavicenter2o11–12

september 2011 21 Return To Forever IV with Zappa Plays Zappa30 Ricky Skaggs and Kentucky Thunder

october 2011 1 Wayne Shorter Quartet 2 Alexander String Quartet6 Yamato8 Jonathan Franzen13 San Francisco Symphony19 Scottish Ballet20 k.d. lang and the Siss Boom Bang21 Rising Stars of Opera 24 Focus on Film: Thirty Two Short Films About Glenn Gould29 Hilary Hahn, violin29–30 So Percussion: “We Are All Going in Different Directions”: A John Cage Celebration

november 2011 4 Cinematic Titanic 5–6 Jennifer Johnson Cano, mezzo-soprano7–8 If God Is Willing and da Creek Don’t Rise9–11 Hot 8 Brass Band12 Trey McIntyre Project and Preservation Hall Jazz Band12–13 Lara Downes: 13 Ways of Looking at the Goldberg14 Focus on Film: Salaam Bombay!14–15 Growing Up In India: A Film and Photo Exhibition

december 2011 7–10 Tia Fuller Quartet8 Mariachi Sol de México de Jóse Hernàndez11 Lara Downes Family Concert: Green Eggs and Ham15 Blind Boys of Alabama Christmas Show18 American Bach Soloists: Messiah

january 20125 San Francisco Symphony9 Focus on Film: Platoon 14–15 Alexi Kenney, violin and Hilda Huang, piano 19 Soledad Barrio and Noche Flamenca25–28 Alfredo Rodriguez Trio 27 Royal Philharmonic Orchestra29 Alexander String Quartet 30 Focus on Opera: Tosca

february 20123 Oliver Stone 4 Rachel Barton Pine, violin, with the Chamber Soloists Orchestra of New York9 Les Ballets Trockadero de Monte Carlo11–12 CIRCA 14 Loudon Wainwright III & Leo Kottke17 Eric Owens, bass-baritone18 Chucho Valdés and the Afro-Cuban Messengers 22 The Chieftains25 Overtone Quartet

march 20122 Angelique Kidjo 9 Garrick Ohlsson, piano10–11 Curtis On Tour 17–18 Ballet Preljocaj: Blanche Neige 18 Alexander String Quartet22 Zakir Hussain and Masters of Percussion 24–25 Circus Oz 29 SFJAZZ Collective

april 20121 Young Artists Competition Winners Concert9 Focus on Opera: The Elixir of Love11 Sherman Alexie13 Bettye LaVette14–15 Zippo Songs: Poems from the Front 17 Anoushka Shankar 18–21 The Bad Plus19–22 The Improvised Shakespeare Company28 Maya Beiser: Provenance

may 20122 San Francisco Symphony Chamber Ensemble9 Patti Smith12 New York Philharmonic 13 ODC/Dance: The Velveteen Rabbit14 Focus on Opera: Lucia di Lammermoor16–19 Supergenerous: Cyro Baptista and Kevin Breit

CAll fOR TICkETs! 530.754.2787

Media clips & More info: MondaviArts.org

Rachel Barton Pine

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Our community’s commitment to arts and culture says a lot about where we live and it brings us together from the moment the lights go down and the curtains come up.

The art of performance draws our eyes to the stage

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Visit westernhealth.com to learn more about our health plans.

As a founding partner of the Mondavi Center, Western Health Advantage

has been a strong supporter of local arts. Which might explain why we’ve

lifted local health care to an art form. What’s our method? We deliver

friendly, responsive service, keep costs low, and provide access to 2,300

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That kind of recognition is worthy of a standing ovation.

take care of your employees. And your bottom line.

canThe health plan that

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Documents

Playbill Issue 3: nov-dec 2011