Mondavi Center 09-10: Playbill 10

PROGRAM

09-10Mondavi Center

3

Elvis Costello, Solo

7

Lionel Loueke Trio

11

Aspen Santa Fe Ballet

19

Alexander String Quartet

27

Diavolo

33

Baaba Maal

37

Saint Louis SymphonyOrchestra

Issue 10 Apr 2010

Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 10: Apr 2010 | 1

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A MEssAGE fROMDon Roth, Ph.D.ExEcutivE DirEctorMonDavi cEntEr

BEfORE ThE shOw BEforE thE curtain risEs, PLEasE PLay your Part• As a courtesy to others, please turn off all cellularphones, beepers, and digital watches.

• If you have any hard candy, please unwrapit 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.

INfOAccommodations for Patronswith Disabilities530.754.2787 • TDD: 530.754.5402In the event of an emergency, patrons requiringphysical assistance on the Orchestra Terrace,Grand Tier, and Upper Tier levels please proceedto the elevator alcove refuge where this sign appears.Please let us know ahead of time for any specialseating requests or accommodations. See p. 52 formore information.

Membership 530.754.5436Member contributions to the Mondavi Centerpresenting program help to offset the costs of the annual season of performances and lectures, andprovide a variety of arts education and outreachprograms to the community.

Friends of Mondavi Center 530.754.5000Contributors to the Mondavi Center are eligible tojoin the Friends of Mondavi Center, a volunteersupport group that assists with educational programsand audience development.

Volunteers 530.754.1000Mondavi Center volunteers assist with numerousfunctions, including house ushering and the activitiesof the Friends of Mondavi Center and the Arts andLectures Administrative Advisory Committee.

tours 530.754.5399One-hour guided tours of the Mondavi Center’s Jackson Hall, Vanderhoef Studio Theatre, and Rumsey Rancheria 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 for returning your recycled playbill in the bin located by the main exit on your way out.

For this, our next-to-last playbill of the 09-10 Season, I’d like to glance a bit

into the future, namely the Ninth Season of the Robert and Margrit Mondavi Center for the Performing Arts, UC Davis. Both classic and contemporary, the 10-11 Season is filled with well-established stars and artists just coming on the horizon, bringing the best from the U.S. and the entire globe. There is much more on the schedule than I can pos-sibly capture here, but here are a few themes that I think are keystones to the spirit of the forthcoming season.

As many of you know, I remain very careful about applying the term virtuoso, but I encour-age you to take a quick look at some of the tal-ent we’ve assembled for this season and reach your own conclusions:

• An all-star genre-crossing super trio: Zakir Hussain, Béla Fleck, and Edgar Meyer• Pianist Yefim Bronfman, who Esa-Pekka Salonen says “can play better than most other people on the planet”• Jazz guitar gods Bill Frisell and John Scofield• Violinist Robert McDuffie, the inspiration for Philip Glass’s new American Four Seasons

Each musician above is a true master of his instrument—and that’s only a short list of the many Mondavi Center artists that could easily make the cut.

Our two Crossings series explore the fertile artistic intersection of genres and cultures. On the cultural side, we have Yo-Yo Ma and the Silk Road Ensemble, one of the finest examples of cross-cultural artistry I know of. We last hosted Ma in a solo recital two sea-sons ago, and we’re thrilled that he’s chosen to return to the Mondavi Center so quickly. He’s joined in the series by the Hussain, Fleck and Meyer super-group listed above, and Hungarian gypsy violinist Roby Lakatos.

In our Studio Theatre, we mix genres, dig-ging into the space between classical and rock music. Pianist Christopher O’Riley will play songs from Radiohead and Elliot Smith, while pianist Simone Dinnerstein and singer/songwriter Tift Merritt explore classic folk-rock, and our own Lara Downes will pay tribute to the great Duke Ellington.

For the Director’s Choice series, I’m pleased to present an eclectic mix of performers that range from the Weimar cabaret of Max Raabe to the smart rock and roll of Stew and the rock-inspired work of Kronos Quartet. Some of these performers may be unknown to you, but I believe they are among the most interesting artists working today.

The Mondavi Center also continues its strong commitment to modern dance by bringing you three extraordinary programs

by three living legends of choreography: Paul Taylor, Mark Morris, and Lucinda Childs. Childs’ seminal 1979 work, DANCE, includ-ing music by Philip Glass, large-scale video projections by Sol Lewitt, and Childs’ daz-

zling choreography, beautifully (and at times literally) embodies the genre crossing and virtuosic spirit of the 10-11 Mondavi Center Season.

You can view the complete brochure at MondaviArts.org/brochure. You can also pick up a copy in the Rumsey Rancheria Grand Lobby during any one of our April shows—we’ll have staff on hand to help you with your order, should you need it. I do hope you will decide to take a journey of discovery and enjoyment with us. As always, by purchasing a series subscription or choose-your-own plan, you’ll secure the best seats at the very best price.

Of course, you can still enjoy a Mondavi Center experience in early April—and it’s a couple of weeks not to miss: Elvis Costello making his first appearance at the Mondavi Center; the Alexander String Quartet clos-ing out their performance year; the thrilling dance acrobatics of Diavolo; Baaba Maal’s African-inflected pop; and the Saint Louis Symphony playing John Adams’ Doctor Atomic Symphony. Be sure to join us, and get your pencils sharp to make your schedule for next year!

Don RothExecutive DirectorMondavi Center for the Performing Arts

I ReMAIn VeRy CAReFuL About

APPLyIng the teRM VIRtuoso,

but I enCouRAge you to tAke

A quICk Look At soMe oF the

tALent we’Ve AsseMbLeD FoR

thIs seAson...

2 | MONDAVIARTs.ORG

2 | MONDAVIARTs.ORG Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 10: Apr 2010 | 3

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

PResents

The artist and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones,watch alarms, and pager signals. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

FuRtheR LIstenIngsee p. 4

elvis Costello, solo

A “Just Added” Event

Wednesday, April 7, 2010 • 8PM

Jackson Hall, Mondavi Center, UC Davis

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e lvis Costello has followed his musical curiosity in a career spanning more than 30 years. He is perhaps best known for

his performances with the Attractions, the Imposters, and for con-cert appearances with pianist Steve Nieve. However, he has also entered into acclaimed collaborations with Burt Bacharach, the Brodsky Quartet, Paul McCartney, Swedish mezzo-soprano Anne Sofie von Otter, guitarist Bill Frisell, composer Roy Nathanson, the Charles Mingus Orchestra, record producer and songwriter T Bone Burnett, and Allen Toussaint. Costello’s songs have been recorded by a great number of artists. The list of performers reflects his interest in a wide range ofmusical styles: George Jones, Chet Baker, Johnny Cash, Roy

Orbison, Dusty Springfield, Robert Wyatt, Charles Brown, No Doubt, Solomon Burke, June Tabor, Howard Tate, the gospel vocal group the Fairfield Four, and the viol consort Fretwork with the countertenor Michael Chance. In 2003, he began a songwriting partnership with his wife, the jazz pianist and singer Diana Krall, resulting in six songs included in her highly successful album The Girl in the Other Room. During his career Costello has received several prestigious hon-ors, including two Ivor Novello Awards for songwriting, a Dutch Edison Award with the Brodsky Quartet for The Juliet Letters, the Nordoff-Robbins Silver Clef Award, a BAFTA for the music written with Richard Harvey for Alan Bleasdale’s television drama series

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The Mondavi Center display will preview pieces from:

niu Pasifik: urban Art from the Pacific Rim

ThROuGh JuNE 13, 2010artworks by more than 40 artists from Aotearoa (New Zealand), the Cook Islands, Samoa, Tonga, Niue, Hawaii, Papua New Guinea, and Australia. The exhibition features multi-media work includ-ing graph art, painting, drawing, animation, hip-hop music video, sculpture, photography, tattoo, installation, embroidery/textile, and street fashion.

At the Robert and Margrit Mondavi Center for the Performing Arts, we are deeply interested in the visual arts and the ways in which painting, photography, and other forms may enhance the experience of the performing artists we present.

Located at the north end of the Rumsey Rancheria Grand Lobby just behind the Ticket Office, the art display case is a collaboration among the Mondavi Center, the Design Museum, the C. N. Gorman Museum, and the Richard L. Nelson Gallery & Fine Arts Collection.

eLVIs CosteLLo

by jeFF huDson

Jeff Hudson contributes coverage of the performing

arts to Capital Public Radio, the Davis Enterprise, and

Sacramento News and Review.

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Most people become nostalgic for the music that was popular when they were in their early 20s. But I have curiously little appetite for much of the music that was popular in the 1970s, when I transitioned through college into a career. So many albums from those years—ponderous prog rock opuses, thumping mechanical disco hits, and several Elton John chartbusters that I suspect even Sir Elton himself would now rather forget—have not held up very well. Several “new wave” singer/songwriters also made interesting albums around the same time, but most of them never really caught on.

Punk bands made a splash in the late 1970s, and the angry, jarring music was initially invigorating...but most of those groups were “flashes in the pan.” The Sex Pistols came (and went) in about two years, and there aren’t a lot of people nowadays humming tunes by the likes the British band 999’s “Homicide.”

When Elvis Costello came on the scene in 1977, people initially pegged him as some-where between “angry, skinny punk” and “new wave”—probably closer to the latter.But even at the outset, it was apparent that the guy had brains and a pretty well educated background to go with his attitude.

His early albums—My Aim Is True, This Year’s Model, Armed Forces, Get Happy—hada good run on the charts. By the time that critically acclaimed (if less commerciallysuccessful) albums like Imperial Bedroom (1982) and Blood and Chocolate (1986)came along, Costello was widely perceived as a major songwriter.

He earned the respect of two exceedingly well established songwriters, sharing creditson several tracks with Paul McCartney on McCartney’s 1989 album Flowers In The Dirt, and teaming in 1998 on Painted From Memory with Burt Bacharach (who wrote the tune “Magic Moments” for Perry Como in the 1950s, and the tune “Do You Know The Wayto San Jose?” for Dionne Warwick in the 1960s).

Starting in the 1980s, Costello evidenced an interest in numerous musical styles. Almost Blue (1981) featured cover versions of old school country standards like “Why Don’t You Love Me (Like You Used To Do)” (written by Hank Williams in 1950). On The Juliet Letters (1993), Costello partnered with the Brodsky String Quartet on Romeo and Juliet material. More recently, Costello wrote a score for Shakespeare’s Midsummer Night’s Dream recorded by the London Symphony Orchestra under Michael Tilson Thomas(Il Sogno, 2005), and teamed up on a handsome pop album with classical mezzo-soprano Anne Sofie von Otter (For the Stars, 2001). And he sang on Welcome to the Voice, a 2007 Deutsche Grammophon recording of a modern opera by Steve Nieve (formerly a student at the Royal College of Music, Nieve joined Costello’s backup band the Attractionsin 1977).

Costello also did a post-Katrina album with veteran New Orleans musician Allen Toussaint (The River in Reverse, 2006), and released an album in 2005 with jazz pianist Marian McPartland (drawn from McPartland’s public radio series Piano Jazz, heard ocally on Capital Public Radio).

And Costello continues to put out albums on his own—some of which, like When I Was Cruel (2007) and Momofuku (2008), harken back to the mercurial, intense sound that initially put him on the map back in the 1970s.

His most recent disk—Secret, Profane and Sugarcane—features Costello with a stringband in Nashville under producer T Bone Burnett.

And you know what? Somehow, whatever the genre, Costello remains himself, yet man-ages to connect with the musicians that he’s working with in a meaningful way. When you see his name on an album, it’s a pretty good indication that you’ll hear something that’s thoughtful, honest, and interesting.


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G.B.H., and a Grammy for “I Still Have That Other Girl” from his 1998 collaboration with Burt Bacharach, Painted From Memory. Elvis Costello and the Attractions were inducted into the Rock and Roll Hall of Fame in 2003. During the same year he was awarded ASCAP’s prestigious Founder’s Award. There have also been a number of Grammy nominations for his recent albums When I Was Cruel and The Delivery Man. The late-2003 Deutsche Grammophon release North—an album of piano ballads composed, orchestrated, and conducted by Costello—retained the number one position on the Billboard Traditional Jazz Chart for five weeks. In 2004, Costello was nomi-nated for an Oscar for Best Song—“The Scarlet Tide,” sung by Alison Krauss in the motion picture Cold Mountain. The song was co-written with T Bone Burnett. The summer of 2004 saw Costello presenting a series of concerts as part of the Lincoln Center Festival in New York City. Following concerts with the Metropole Orkest and the Imposters, the Brooklyn Philharmonic, conducted by Brad Lubman, gave the pre-miere concert performance of Il Sogno, Costello’s first full-length orchestral work. The music was commissioned in 2000 by the Italian dance company Aterballetto, for its adaptation of Shakespeare’s A Midsummer Night’s Dream. Following performances in Bologna with the Orchestra del Teatro Communale, the ballet was staged throughout Italy, Germany, France, and Russia. Il Sogno was subse-quently recorded by the London Symphony Orchestra, conducted by Michael Tilson-Thomas. The recording was released in 2004 by Deutsche Grammophon and stayed at the top of Billboard’s Contemporary Classical Charts for 14 weeks. Elvis Costello was commissioned by the Royal Danish Opera to compose an opera based on the life of Hans Christian Andersen. The Secret Songs, a “work-in-progress” cycle extracted from the opera, was given its first performance in Copenhagen in October 2005 to an appreciative audience and enthusiastic reviews. Costello sang both of the leading male roles, Andersen and that of the showman P.T. Barnum, while the leading female role of Jenny Lind was taken by Swedish soprano Gisela Stille. In 2006, Elvis Costello was a featured artist at the Sydney Festival in Australia, presenting a series of contrasting concerts. The first reunited Costello with the Brodsky Quartet for excerpts from The Juliet Letters, while in the second half, Steve Nieve, double-bassist Greg Cohen, and soprano Antoinette Halloran joined Costello and the Brodsky Quartet for several newly arranged excerpts from The Secret Songs. Costello and Nieve then gave a second concert, in which they drew on some of Costello’s rarely performed composi-tions. The festival appearances concluded with two concerts with the Sydney Symphony conducted by Alan Broadbent at the Opera House. The program consisted of a suite from Il Sogno, followed by a number of Costello’s songs arranged for orchestra by Costello, Sy Johnson, Bill Frisell, Vince Mendoza, and Steve Nieve. The program also included compositions by Charles Mingus and Billy Strayhorn with Costello’s lyrics, and songs written by Costello and Burt Bacharach for the album Painted from Memory.

Many of these compositions are also featured on My Flame Burns Blue, the live recording of Costello’s performance with the Metropole Orkest at the 2004 North Sea Jazz Festival that was released in 2006 by Deutsche Grammophon coupled with the suite of Il Sogno highlights. Later that spring, Costello, Nieve, and conductor Alan Broadbent presented a program similar to their Australian tour throughout the U.S., including appearances with the San Francisco, Chicago, Houston, Austin, and Baltimore symphony orchestras. Costello toured extensively with the Imposters and also with Allen Toussaint throughout the U.S. and Europe in 2007. In autumn 2007, he undertook a highly successful tour, performing solo on The Bob Dylan Show. In late 2007, Costello completed his work on a commission from the Miami City Ballet when he collaborated with world famous choreographer Twyla Tharp. The work, entitled NIGHTSPOT, was premiered in Miami to great critical acclaim in 2008. A new album with the Imposters entitled Momofuku had already been recorded in secrecy in a period of just seven days and was released on April 22, 2008. In December 2008, Costello launched the inaugural season of his internationally acclaimed music television series Spectacle: Elvis Costello with…, a compelling blend of the best of talk and music television that offers a fly-on-the-wall perspective on the creative process with an extraordinary and eclectic array of guests joining host Elvis Costello to chat, perform, and share their passion for all kinds of music. The program’s eclecticism and depth reflect its uniquely qualified host, a songwriter and performer comfort-able in almost every genre imaginable; a musicologist of formi-dable breadth and knowledge; a contributor to Vanity Fair; and a noted wit whose stint as guest host on The Late Show with David Letterman won rave reviews. The first season’s guests included Sir Elton John, Tony Bennett, Lou Reed, Julian Schnabel, Smokey Robinson, the Police (Sting, Stewart Copeland, and Andy Summers), James Taylor, Herbie Hancock, Rufus Wainwright, Rosanne Cash, Kris Kristofferson, Diana Krall, John Mellencamp, Jakob Dylan, She & Him (Zooey Deschanel and M. Ward), Norah Jones, Jenny Lewis, Renée Fleming, and President Bill Clinton. The second season of Spectacle began airing in late 2009 and fea-tures guests including Bono & The Edge, Neko Case, Sheryl Crow, Levon Helm, Ray Lamontagne, Lyle Lovett, Nick Lowe, John Prine, Ron Sexsmith, Bruce Springsteen, Richard Thompson, Allen Toussaint, and Jesse Winchester. In 2009, Hear Music released Costello’s Secret, Profane & Sugarcane. Produced by T Bone Burnett and recorded by Mike Piersante during a three-day session at Nashville’s Sound Emporium Studio, Secret, Profane & Sugarcane debuted at #13 on the Billboard 200, Costello’s highest album chart position since Get Happy in 1980. Following its release, Costello toured exten-sively with the featured musicians on the album, dubbed the Sugarcanes—Jerry Douglas, Stuart Duncan, Mike Compton, Jeff Taylor, and Dennis Crouch.

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In the spirit of giving back, we at the Mondavi Center encourage all audience members to contribute canned and non-perishable food items to help support the sacramento food Bank and family services, solano/Contra Costa County food Bank, and yolo County food Bank. Collections will take place before every Mondavi Center performance in specially marked barrels situated in the Rumsey Rancheria Grand lobby. The proceeds will be split equally between the three regional food banks.

for a complete list of suggested food items, visit MondaviArts.org.

If you canGIVE A C Na

The arT of gIvIng back



PResents

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones,watch alarms, and pager signals. Videotaping, photographing, and audio recording are strictly forbidden. Violators are subject to removal.

Lionel Loueke trio

A 90.9 KXJZ Studio Jazz Series Event

Wednesday-Saturday, April 7-10, 2010 • 8PM

Vanderhoef Studio Theatre, Mondavi Center, UC Davis

There will be no intermission.

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Lionel LouekeOriginally from the small West African nation of Benin, guitarist Lionel Loueke has enjoyed a meteoric rise over the past several years. In 2008 and 2009, he was picked as top Rising Star gui-tarist in DownBeat magazine’s annual Critics Poll, and was also awarded a 2009 USA Fellowship for the caliber and impact of his work. His sophomore release for Blue Note, Mwaliko, follows up the acclaimed Karibu (2007) with a series of searching, innovative, intimate duets with Angelique Kidjo, Esperanza Spalding, Richard Bona, and Marcus Gilmore. Loueke also includes three new tracks featuring his longtime trio with Massimo Biolcati on bass and Ferenc Nemeth on drums.

Praised by his mentor Herbie Hancock as “a musical painter,” Loueke combines harmonic sophistication, soaring melody, a deep knowledge of African music, and conventional and extended gui-tar techniques to create a warm and evocative sound of his own. JazzTimes wrote “Loueke’s lines are smartly formed and deftly executed. His ear-friendly melodicism draws both from traditional African sources and a lifetime of closely studying the likes of Jim Hall and George Benson, and his rhythmic shifts come quickly and packed with surprises.”

Karibu, featuring the trio with Hancock and Wayne Shorter as spe-cial guests, won widespread critical praise. Time called the album “a jamboree of sprung rhythms, splashed with African and Brazilian flavors, in which Loueke scat-sings, drums on his guitar, mouth-clicks and plays some wicked jazz.” The New York Times declared Loueke “a startlingly original voice…a spellbinding presence…one of the most striking jazz artists to emerge in some time.”

In addition to Loueke’s recordings as a leader and with his col-laborative trio project Gilfema, Loueke has appeared on numer-ous standout recordings such as Terence Blanchard’s Grammy-nominated Flow (2005) and Hancock’s Grammy-winning River: The Joni Letters (2008). He has also toured the world as a member of Hancock’s band and appeared on recordings by such fellow ris-ing stars as trumpeter Avishai Cohen, drummers Francisco Mela and Kendrick Scott, vocalist Gretchen Parlato, and more. These experiences all inform Loueke’s extraordinary work as a leader.

Mwaliko (pronounced mwah-LEE-koh) is Swahili for “invita-tion,” and as Loueke explains, “you can see the title two ways. One is I’m inviting my friends and fellow musicians to make these duo recordings, and the other is an invitation to all listeners to enjoy the music. What I wanted to do was more of a duo recording with dif-ferent people, but I also needed the sound of the trio, because those guys are really at the center of my music.” Mwaliko is also buoyed by Loueke’s inspired mix of acoustic and electric sound: vocals with layered harmonizer effects, nylon-string guitar with Whammy pedal to create an organ-like sound during solos, and a new custom-made Rolf Spuller guitar that enables him to access low bass tones, filling out the spectrum of sound even in sparse duo contexts.

Having appeared on vocalist Angelique Kidjo’s album Djin Djin, Lionel wanted to reciprocate and feature his good friend and fellow Benin native on a pair of African songs dear to both their hearts. “We’re from the same place and we’ve known each other for so long,” Lionel says of Kidjo. “She’s got a great sense of rhythm and an incredible voice. It came out in the most natural way, no over-dubs or anything like that. We both grew up listening to ‘Amio’; it’s a standard in Africa, from Cameroon. And ‘Vi Ma Yon’ is a tra-ditional song from Benin, nobody knows who wrote it. It’s a song

about how important it is to have kids, that basically if you have a lot of kids, you’re rich—which I don’t agree with today!”

Much like Loueke, Richard Bona came from Africa (Cameroon) to take the jazz world by storm, turning heads with his virtuosity on electric bass and vocals. “I’ve known Richard for a while now,” says Loueke, “and he’s definitely one of the greatest musicians on the continent. The collaboration worked well because we had a few duo gigs before, and the gigs were great. I wanted to capture those moments.”

Bona’s lilting, angelic voice is immediately identifiable on “Wishes,” which Loueke wrote with his friend very much in mind. “‘Wishes’ has a classical element,” Loueke adds. “Classical music is a big influence for me, and this really shows it, but, of course, I’m not a classical player, so I wanted to feature Richard’s voice on some of the parts. And I love the way he plays fretless bass.” About “Hide Life,” the second duet with Bona, which closes the album, Loueke muses: “It’s a song that says sometimes it’s better to fight with a smile. It’s a happy song. Sometimes you also have to hide yourself to be happy.”

Another fine bassist/vocalist, Esperanza Spalding, joins Loueke for two tracks as well. “I also played a few gigs with her before, but never duo,” Loueke says. “I wanted to do this because she has such a strong personality and she’s one of the new voices of today.” Spalding puts her stamp on Loueke’s “Twins,” which appeared in a more orchestrated form on the album Gilfema + 2. Reworking the rich clarinet voicings of the earlier version, Loueke and Spalding create a vocal tapestry that’s sparse and yet somehow overflowing, full of color and spirit. “We’re both singing and play-ing at the same time, so with Esperanza too there are no overdubs. She’ll sing a line and play a different bass line, which is very hard to do. It came out exactly the way I was hearing. ‘Flying,’ too, is a new song that I definitely wanted to do with her, with those high notes and that groove.”

With young drumming sensation Marcus Gilmore, Loueke turned his attention to Wayne Shorter’s “Nefertiti.” Gilmore, the grandson of the legendary Roy Haynes, is a member of bands led by Gonzalo Rubalcaba and Vijay Iyer, and is steadily making his way as a lead-er. “I’ve seen Marcus play and I just loved the sound and feel he got from the instrument. Suddenly he’s everywhere, for a reason—such a strong maturity at such a young age. The first time I played with him was in the studio, on this track, ‘Nefertiti,’ which was a first take. When we finished I said, ‘Ok, that’s it, go home.’ There’s nothing else to do when it’s right!”

The three trio tracks on Mwaliko teem with “capricious harmonic movement and serpentine grooves,” as New York Times critic Nate Chinen described a recent trio performance, adding that theirs is “music of engrossing intimacy and ambition.” Loueke’s “Griot” highlights his richly harmonized vocals and slides easily between the rhythmic vernaculars of Afro-pop, Brazilian jazz, and driving swing.

Loueke also makes a point of including original pieces by his band mates. Biolcati’s upbeat “Shazoo” builds on the promising compo-sitional voice showcased by the bassist on his leader debut Persona (featuring Loueke, naturally). Nemeth’s “L.L.,” written specifically for Loueke, first appeared on the drummer’s leader debut Night Songs (also featuring Loueke). Here, Loueke recasts the introduc-tion with a subtle octave-bass effect enabled—a sound heard in many spots on Mwaliko.


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After his initial to exposure to jazz in Benin, Loueke left to attend the National Institute of Art in nearby Ivory Coast. In 1994, he left Africa to pursue jazz studies at the American School of Modern Music in Paris, then came to the U.S. on a scholarship to Berklee College of Music. It was at Berklee that he first met Biolcati and Nemeth. Through jam sessions, the trio developed an immediate rapport, in part fueled by internationalism. Biolcati is of Italian descent, but grew up in Sweden, while Nemeth was born and raised in Hungary. Both had extensively studied African music and were drawn to Loueke who was just beginning to fuse a jazz tech-nique with his African roots.

After graduating from Berklee, Loueke was accepted to the Thelonious Monk Institute of Jazz in Los Angeles—along with Biolcati and Nemeth—where he had the opportunity to study his greatest mentors: Herbie Hancock, Wayne Shorter, and Terence Blanchard. “I flipped,” says Hancock, recalling the moment he first heard Loueke’s audition tape. “I’d never heard any guitar player play anything close to what I was hearing from him. There was no territory that was forbidden, and he was fearless!”

Soon after his time at the Monk Institute, Loueke began focus-ing exclusively on nylon-string acoustic guitar, an instrument on which he’s developed a signature voice. “I feel more connected to the warmth of the nylon-string sound, even if the sound is not completely acoustic,” he says. Indeed, as Loueke’s sound grows more uniquely involved, not purely acoustic, it still retains those qualities of immediacy, tenderness, and passion that have made Loueke an influential force on the world stage, in jazz and beyond.

Massimo biolcati, bassFor several years bassist Massimo Biolcati has provided strong support for a variety of acclaimed jazz artists, including Terence Blanchard, Lizz Wright, Ravi Coltrane, Paquito D’Rivera, and Lionel Loueke. With the release of Persona on ObliqSound in 2008, his debut recording as a leader, Biolcati is finally taking a giant stride into the spotlight in his own right. “I’d been composingmy own songs for years and always dreamed of having the chance to record with a dream band,” says Biolcati in explanation of his decision to finally pursue a solo career. “When (ObliqSound co-founder and album producer) Michele Locatelli first approached me to suggest that I record a project featuring my original mate-rial, I put a lot of pressure on myself to assemble just the right repertoire and players, which doesn’t always lead to an uninhibited flow of musical inspiration. I’m really pleased that it finally came together just as I’d envisioned it for so many years.”

Born in 1972 in Stockholm, Sweden, Massimo Biolcati began his musical career at age 16, performing jazz on acoustic bass in Torino, Italy. When he was 21, he returned to Sweden to study at the Royal Music Academy of Stockholm and soon became a presence both on the local jazz scene and as part of several Scandinavian folk music groups. His early influences range from symphonic rock to Pat Metheny and Dave Holland, all of which have contributed to his strikingly original blend of extended com-positions, unusual time signatures, and a lyrical, melodic style.

“Growing up in both Italy and Sweden and speaking two languages probably most significantly influenced my own musical develop-ment, because I had such a vast, exciting playground to explore. It stoked my early curiosity about different music from different plac-es,” says Biolcati. “In jazz and improvised music, I have found the

perfect medium to pour all the things I assimilate in my ongoing journey of discovery.” While still in his early 20s, Biolcati received a scholarship to study at Boston’s Berklee College of Music and was subsequently selected for the Thelonious Monk Institute of Jazz at the University of Southern California, where he studied and performed with jazz greats such as Herbie Hancock, Dave Holland, Wayne Shorter, Kenny Barron, John Scofield, Christian McBride, and many others.

Upon relocating to New York City, he quickly immersed him-self in the music scene, playing with his peers and with more established artists. In 2003, he toured with trumpeter Terence Blanchard. “Playing with Terence taught me so much about musi-cal interaction between performers on stage,” remembers Biolcati. “Performing his compositions also helped me improve my own compositional skills.”

Throughout 2005 and 2006, Biolcati toured with Verve recording artist Lizz Wright. In the years leading up to the 2008 release of Persona, he also played frequently with saxophonist Ravi Coltrane and with the legendary Cuban musician and composer Paquito D’Rivera, who, says Biolcati, “is a great inspiration, not only chal-lenging me to learn more about Latin music, but about classical music as it intersects with jazz.” Persona’s players include Loueke (on guitar and vocals), along with Peter Rende on piano, accordi-on, and vocals, and Jeff Ballard on drums. Singers Lizz Wright and Gretchen Parlato each contribute a vocal track. Biolcati is certain to make his own name more widely known with the release of his striking and complex debut. He has also recorded with Michael Buble and Gretchen Parlato, as well as with the trio Gilfema, which he formed with Lionel Loueke and drummer Ferenc Nemeth and which released its self-titled debut on ObliqSoundin 2005.

Biolcati has been collaborating with Loueke since the two attended the Berklee School of Music and the Thelonious Monk Institute; the acclaimed West African guitarist tapped Biolcati for his own recent ObliqSound recording, Virgin Forest. Biolcati is featured on “Kponnon Kpete,” the track that won a 2008 Independent Music Award for Best Song, World Traditional.

Ferenc nemeth, drums Ferenc Nemeth was born in Keszthely, Hungary. He started to play the drums when he was three years old. His father gave him his first drum lessons. At age 14, he moved out of the family house and went to the Richter János Conservatory in Gyõr, to studyclassical percussion. When he was 18, he moved to Budapest and started to play different styles of music. He attended the Franz Liszt Academy of Music. Soon Ferenc became one of the busiest jazz drummers in Hungary. After the Academy, he got a scholar-ship to Berklee College of Music and moved to Boston, where he lived for three years. He also attended the New England Conservatory for one year as a graduate student. In 2001, hewas accepted in the Thelonious Monk Institute of Jazz program.

He currently lives in New York. He has performed and/or recorded with a variety of artists such as Herbie Hancock, Wayne Shorter, Christian McBride, John Patitucci, Terence Blanchard, John Abercrombie, Phil Wilson, Billy Childs, Reggie Hamilton, John Clayton, Jimmy Heath, Dave Grusin, Bob Sheppard, Steve Turre, Eddie Daniels, Eddie Henderson, Ron McClure, Kenny Wheeler, Eli Degibri, and the Henry Mancini Orchestra.

10 | MONDAVIARTs.ORG



PResents


A Dance Series Event

Friday, April 9, 2010 • 8PM


There will be two intermissions.

Pre-performance Letcure:

Jean-Philippe Malaty, Executive Director, Aspen Santa Fe Ballet

Moderator: Don Roth, Executive Director, Mondavi Center, UC Davis

Jackson Hall, Mondavi Center • 7PM

Post-performance Q&A Moderator: Ruth Rosenberg, Dance Consultant, Mondavi Center, UC Davis

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Founder: Bebe Schweppe

Artistic Director: Tom MossbruckerExecutive Director: Jean-Philippe Malaty

Artists: Katherine Bolaños, William Cannon, Sam Chittenden, Katie Dehler, Seth DelGrasso, Samantha Klanac,

Nolan DeMarco McGahan, Emily Proctor, Seia Rassenti, Joseph Watson

Production Stage Manager: Steve MyersLighting Supervisor: Jonathan Harper

Red SweetASFB Commissioned Work

Choreography: Jorma EloMusic: Vivaldi, Biber

Lighting Design: Jordan TuinmanCostume Design: Nete Joseph

Katherine Bolaños, William Cannon, Sam Chittenden, Katie Dehler, Seth DelGrasso, Samantha Klanac, Nolan DeMarco McGahan, Emily Proctor

Premiere: July 12, 2008, Aspen Santa Fe Ballet, Santa Fe, NM

Aspen Santa Fe Ballet’s production of Red Sweet is made possiblethrough the generosity of Melinda and Norman Payson.

Intermission

Sue’s Leg

Choreography: Twyla TharpMusic: Songs by Thomas “Fats” Waller

Lighting Design: Jennifer TiptonCostume Design: Santo Loquasto

Staged By: Ron de JesusCostume Construction: Nete Joseph

Seth DelGrasso, Samantha Klanac, Nolan DeMarco McGahan, Emily Proctor

Premiere: February 21, 1975, Twyla Tharp Dance Foundation

Aspen Santa Fe Ballet’s production of Sue’s Leg is made possible through the generosity of Sherry and Eddie Wachsand by the National Endowment for the Arts’ American Masterpieces: Dance initiative

administered by the New England Foundation for the Arts.

The performance of Sue’s Leg, a Tharp™ Ballet, is presented underlicense with W.A.T., Limited, and has been produced in accordance withTharp™ Standard services. Sweet Fields, Choreography by Twyla Tharp,

c19/20 [1992] Twyla Tharp.

PRogRAM


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Slingerland

Choreography: William ForsytheMusic: Gavin Bryars*

Lighting Design: William Forsythe Costume Design: William ForsytheCostume Construction: Nete Joseph

Staged By: Jodie Gates

Katherine Bolaños & Sam Chittenden

Premiere: April 15, 2000, Ballet Frankfurt, Frankfurt

*Gavin Bryars STRING QUARTET NO. 1 “Between the National and the Bristol”Used by arrangement with European American Music Distributors LLC,

sole U.S. and Canadian agent for Schott Music Ltd., publisher and copyright owner.

Aspen Santa Fe Ballet’s production of Slingerland is made possible throughthe generosity of Sherry and Eddie Wachs.

Intermission

Noir BlancASFB commissioned work

Conceived and Directed by: Moses PendletonAssisted by: Aspen Santa Fe Ballet, Nutmeg Ballet, and MOMIX

Music: Musical CollageLighting Design: Todd Elmer

Costume Conception: Moses PendletonCostume Design: Phoebe Katzin

Katherine Bolaños, William Cannon, Sam Chittenden, Katie Dehler, Seth DelGrasso,Samantha Klanac, Nolan DeMarco McGahan, Emily Proctor, Seia Rassenti, Joseph Watson

Premiere: May 4, 2002, Aspen Santa Fe Ballet, Park City, UT

Aspen Santa Fe Ballet’s production of Noir Blanc is made possible through the generosity of Nancy and Robert Magoon.

Representation: Margaret SelbyColumbia Artists Management, Inc.

1790 Broadway, 16th FloorNew York, NY 10019-1412

Ph: [email protected]

Official Airline of Aspen Santa Fe Ballet


history Aspen Santa Fe Ballet’s founder, Bebe Schweppe, was visionary when she made the decision in 1996 to create a company that residents in the Aspen Valley could call their own. Initially based solely in Aspen, Colorado, a second home for the company was created, in 2000, in another of the Southwest heartlands, Santa Fe, New Mexico. In both cities ASFB has helped strengthen the cultural fabric of the region, in synch with the world-class artistic activities in each of these beautiful communities.

The Aspen Santa Fe Ballet company is founded on the idea of acquiring repertoire and inviting top choreographers in the field to create works for the company. With its sophisticated repertoire and broad appeal, combined with a successful blend of entertaining and engrossing contemporary dance, ASFB is one of the real suc-cess stories in American dance today. Audiences locally, nationally, and internationally have embraced this vibrant company on stellar stages from the Joyce Theatre in New York to the famed Jacob’s Pillow Dance Festival, from the Kennedy Center in Washington, D.C. to New York City Center’s Fall for Dance Festival and in for-eign venues including Canada, France, and Italy.

Over the years, Aspen Santa Fe Ballet has grown to become a multi-faceted entity, both as an internationally recognized dance company and as one of the largest dance presenters in the country. As the company travels to cities far and wide, at home in Aspen and Santa Fe, it presents top-level dance companies throughout the year. ASFB’s umbrella extends equally to its capacity as a center for learning, with a thriving dance school and a much-celebrated Mexican folkloric-dance outreach program for area children.

ASFB appeals, with its adventurous repertoire and beautiful west-ern landscapes, as a gathering place for the finest dancers and choreographers in the world. Never forgetting its deep roots in the creative and historic wealth of these majestic and awe-inspiring communities, the organization remains deeply committed to expanding and enriching the world of dance. With its fusion of classical good sense and western ingenuity, Aspen Santa Fe Ballet blends the best of both worlds to create a dance company that is truly unique.

biosBebe Schweppe, Founder, grew up in Augusta, Georgia, and started dancing at the Georgia Dance Theatre, under Frankie Levy, at the age of seven. She was invited by Robert Joffrey to study at his school in New York on a full scholarship at age 11. Bebe moved to Aspen in 1975 and 15 years later, she founded the Aspen Ballet School. Her presence was a catalyst in the region. In 1996, she invited Jean-Philippe Malaty and Tom Mossbrucker to develop a small professional company in Aspen. Through their combined energies, the Aspen Ballet Company was born a year later. Shortly after, new performing opportunities beckoned in Santa Fe, upon which the company was renamed Aspen Santa Fe Ballet.

Bebe speaks with pride when she considers the changes that have occurred over the last years to her “baby.” “The company has evolved to having earned a name of its own—ASFB. What a treat! It is recognized by other artists and respected by all. This is of course due in large part to Jean-Philippe and Tom.” She says that “their strength has been in their unique ability to perceive and design a repertoire that entertains all parts, whether it’s the audi-ence or the dancer.” Tom and Jean-Philippe have “greatly succeed-ed” in realizing her dreams for the company, she says. “I am thank-

ful that I had the dream and was lucky and persistent enough to convince JP and Tom to relocate from New York City. Never did I imagine that one day the company would be performing nation-ally and internationally, and never did I imagine that one day they would be performing works by internationally famous choreogra-phers. Although I had the dream, I never imagined so much. I feel very lucky.”

Jean-Philippe Malaty, Executive Director, has been instrumental in building Aspen Santa Fe Ballet from the ground up. He was born in the Basque region of France, and he recently became a United States citizen. After receiving his degree in dance, he accepted scholarships to train at Europe’s prestigious Mudra (Maurice Béjart’s school in Brussels) and John Cranko’s ballet school in Stuttgart. At the invitation of David Howard, Jean-Philippe traveled to America to study at the David Howard Dance Center in New York City. He then performed soloist roles as guest artist with various companies throughout the U.S., including Joffrey II, Los Angeles Classical Ballet, Ballet Hispanico of New York, and the Lyric Opera of Chicago. He is in great demand as a guest teacher and has taught at schools and universities through-out the country. Jean-Philippe is dedicated to asserting the promi-nence of the arts in the West, spearheading initiatives to bring dance into the community, and fostering programs that introduce children to the arts. He continues to provide invaluable creative assistance in all facets of the company’s operations. Jean-Philippe is equally proud to have forged a company based on an American ideal of energy, invention, popularity, eclecticism, and precision in what’s been called the “all star, no star” system. “Dance is a cele-bration of the human spirit, and not a celebration of steps. Here at Aspen Santa Fe Ballet, we foster the spirit and the love of dance.” —Jean-Philippe Malaty

Tom Mossbrucker, Artistic Director, began his dance training at age four studying tap in his hometown of Tacoma, Washington. He studied ballet in New York City at the School of American Ballet and the Joffrey Ballet School. He began his career dancing with Joffrey II before joining the main company, the Joffrey Ballet, where he performed as principal dancer to great acclaim in more than 70 ballets. He danced ballets by some of the world’s great-est choreographers, including Twyla Tharp, William Forsythe, Jiří Kylián, John Cranko, Fredrick Ashton, Agnes de Mille, Jose Limon, Paul Taylor, and George Balanchine, and he was lauded for his work in Moor’s Pavane, in which he played Iago, and Billboards, a full-length rock ballet set to music by Prince. He also danced with the Atlanta Ballet and Hubbard Street Dance Chicago. Tom serves on the Board of Dance USA. Following in the tradition of Robert Joffrey, Tom is dedicated to presenting an eclectic repertoire and committed to acquiring new works that persistently challenge, enliven, and educate both audiences and the company dancers. Building relationships with choreographers has become a hallmark of the company. “We strive for continuity and enjoy bringing cho-reographers back to create second and third works…To us that is success,” Tom says.

Dancer biosKatherine Bolaños grew up in Oklahoma City and began study-ing dance at the school of Ballet Oklahoma under Bryan Pitts and Laura Flagg-Pitts. At the age of 15, she joined the profes-sional company of Ballet Oklahoma. As a guest artist with the Los Angeles Ballet Ensemble, she also toured extensively through Taiwan and China. Katherine is in her seventh season with Aspen Santa Fe Ballet.

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William Cannon is in his second season with Aspen Santa Fe Ballet. At age 11, William entered BalletMet Dance Academy in Columbus, Ohio, and in 2001, he was a scholarship student at Hubbard Street Dance Chicago’s Lou Conte Dance Studio. In 2002, he was selected as a finalist in the National Foundation for the Advancement of Arts’ ARTS Week initiative. Upon graduation from BalletMet’s Professional Training Program in 2002, he became a BalletMet company member. He has also danced with Hubbard Street 2 and Complexions. In 2005, William won a spot in Dance Magazine’s “25 to Watch” roster.

Sam Chittenden is in his 12th year with Aspen Santa Fe Ballet. A B.F.A. graduate of the University of Utah Ballet Department and Colorado State University, he enjoys the physicality of dance and the pairing of that physicality with artistic intention. He has danced with the Utah Ballet and Canyon Concert Ballet in Fort Collins, Colorado, and has also studied at the Ballet West Conservatory and Ballet Arts Minnesota.

Katie Dehler was born and raised in St. Joseph, Minnesota. Katie began her ballet training at the Stroia Dance Studio. She con-tinued her studies on scholarship with the University of Utah’s Department of Ballet, where she received her B.F.A. with a perfor-mance emphasis. She is in her 10th season with ASFB.

Seth DelGrasso is a founding member of Aspen Santa Fe Ballet, now beginning his 13th season with the company. The Colorado native moved to New York to study dance with David Howard, Nanette Charise, Simon Dow, Gelsey Kirkland, and Talara Ruth. Although Seth has made numerous guest appearances with Complexions and other companies, he considers “ASFB the prime influence in my career.”

Samantha Klanac is in her eighth year with Aspen Santa Fe Ballet. Growing up in Orchard Park, New York, Samantha trained at the American Academy of Ballet, the Chautauqua Institute, New York State Summer School of the Arts, and School of American Ballet. She also studied at SUNY Purchase, where she performed with American Ballet Theatre Studio Company. In addition to her work with ASFB, she was a guest artist with Configurations Dance Company and recently completed her B.A. in the arts at SUNY Empire State College, Center for Distance Learning. Nolan Demarco McGahan, a native of Dallas, Texas, trained at Dallas Ballet Center, Ballet Academy of Texas, and with Fernando Bujones at the Orlando Ballet School. He also attended Booker T. High School of the Performing and Visual Arts before graduating from the Julliard School in New York, earning his B.F.A. in dance. This is Nolan’s third season with ASFB.

Emily Proctor, a recent graduate from Juilliard, is starting her third season with the company. A native of North Carolina, Emily trained at the North Carolina School of the Arts and graduated in 2003 with a concentration in ballet. Emily has trained at the Houston Ballet, ABT New York, and Montreal’s Ballet Divertimento professional summer program. Prior to joining ASFB, she joined Hell’s Kitchen Dance on a national and international tour last sum-mer of Aszure Barton’s Come In, starring Mikhail Baryshnikov.

Seia Rassenti, originally from Arizona, danced with Flamenco y Mas as a youngster and began her ballet training with Linda Walker at Tucson Regional Ballet. In 2002, she was accepted to the Kirov Academy of Ballet in Washington, D.C. While at the Kirov she spent summers on scholarship with Jilana, Debbie Allen, Alvin Ailey, and the Miami City Ballet. Seia graduated from the Kirov and joined North Carolina Dance Theater’s second company in Charlotte. During the two most recent summers Seia trained with Alonzo King’s Lines Ballet and Dwight Rhoden’s Complexions. This is her first season with Aspen Santa Fe Ballet. Joseph Watson started his formal dance training at an after-school program called T.W.I.G.S. His training at T.W.I.G.S. led to his acceptance into the Baltimore School for the Arts under the tute-lage of Norma Pera. Upon graduating from high school he was accepted into the Juilliard School under the direction of Lawrence Rhodes and received a B.F.A. in dance. In 2007, Joseph joined North Carolina Dance Theater, where he performed both con-temporary and classical roles by choreographers such as Dwight Rhoden and George Balanchine. This is his first season with Aspen Santa Fe Ballet.

Choreographer biosJorma Elo, ChoreographerFinnish-born Jorma Elo is one of the most sought-after cho-reographers in the United States and Europe. Named Resident Choreographer of Boston Ballet in 2005, Elo was singled out as a “talent to follow” by Anna Kisselgoff in her 2004 Year in Review for The New York Times. Elo has since created new works for New York City Ballet, Boston Ballet, Aspen Santa Fe Ballet, American Ballet Theatre, Hubbard Street Dance Chicago, Royal Danish Ballet, State Theatre Nuremberg, and Norwegian National Ballet. Elo trained with the Finnish National Ballet School and the Kirov Ballet School in Leningrad. Prior to joining Netherlands Dance Theater in 1990, he danced with Finnish National Ballet from 1978-84 and with Cullberg Ballet from 1984-90. Elo has choreo-graphed for Basel Ballet, Ballet Debrezen (Hungary), Alberta Ballet, Norwegian National Ballet, Finnish National Ballet, Stockholm 59° North, and Netherlands Dance Theatre 1. For Boston Ballet, Elo has created three world premieres: Sharp Side of Dark (2002), Plan to B (2004), and Carmen (2006). Elo was awarded the choreographic prize at the 2005 Helsinki International Ballet Competition. Dance Magazine recognized Elo as one of “25 to Watch,” and Pointe Magazine named him a VIP of Dance in 2006.

William Forsythe, ChoreographerWilliam Forsythe is widely considered one of the most important dance artists of our time, on a par with such giants in the dance world as George Balanchine. A revolutionary thinker and artistic provocateur, Forsythe set new standards internationally for ballet and modern dance companies alike. His Frankfurt Ballet (known as Ballett Frankfurt abroad) has attracted the top dancers in the world, and the company’s rare concerts in the U.S. have been occasions for pilgrimages by a faithful following. Forsythe is a towering figure in his field, equally acclaimed for his daring and his virtuosity. He is an undisputed revolutionary who has altered the formal and conceptual terrain of dance, yet he has never lost touch with the pure physical joy of dancing.

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Moses Pendleton, ChoreographerFor 30 years Moses Pendleton has been one of America’s most innovative and widely performed choreographers and directors. One of the founding members of Pilobolus Dance Theater in 1971, he formed his own company, Momix, in 1981 and has been its artistic director since 1984. Pendleton has also worked extensively in film, TV, and opera, and as a choreographer for ballet companies and special events. He received his BA in English literature from Dartmouth College in 1971 and immediately began touring with Pilobolus, which had grown out of dance classes at Dartmouth. The group shot to fame in the 1970s, performing on Broadway under the sponsorship of Pierre Cardin, touring internationally, and appearing in PBS’s Dance in America and Great Performances series. By the end of the decade, Pendleton had begun to work outside of Pilobolus, performing in and serving as principal cho-reographer for the Paris Opera’s Integrale Erik Satie in 1979 and choreographing the closing ceremonies of the Winter Olympics at Lake Placid in 1980. More recently he has choreographed works for Arizona Ballet and Aspen Santa Fe Ballet. Pendleton received the Positano Choreographic Award in 1999 and was a Guggenheim Fellow in 1977. He is a recipient of a 2002 American Choreography Award for his contributions to choreography for film and television.

Twyla Tharp, ChoreographerIn 1965, Twyla Tharp formed Twyla Tharp Dance, for which she created 80 pieces, including Nine Sinatra Songs and In the Upper Room. When TTD merged with American Ballet Theatre, she cre-ated more than a dozen works. She also choreographed for Paris Opera Ballet, the Royal Ballet, NYC Ballet, Boston Ballet, Hubbard Street Dance Chicago, and Martha Graham Company. Tharp has received 19 honorary doctorates, the Vietnam Veterans of America President’s Award, the 2004 National Medal of Arts, and numer-ous grants including the John D. and Catherine T. MacArthur Fellowship. She is a member of the American Academy of Arts and Sciences and an Honorary Member of the American Academy of Arts and Letters. Her books include Push Comes to Shove and The Creative Habit: Learn It and Use It for Life. Her Broadway credits include When We Were Very Young, The Catherine Wheel with David Byrne, Singin’ in the Rain, and Movin’ Out, for which she won a Tony Award, Astaire Award, Drama League Award for Sustained Achievement in Musical Theatre, Drama Desk Award, and Outer Critics Circle Award for Outstanding Choreography.

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see p.6

Photo: Conor and Kellee Brennan

Friday, May 7, 2010 at 8 pmSunday, May 9, 2010 at 2 pm

Sacramento Community Center Theater 1301 L Street, Sacramento

916.808-5181 | For more information: www.sacopera.org

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PResents


Alexander string quartetZakarias grafilo & Frederick Lifsitz, violins

Paul Yarbrough, viola • Sandy Wilson, cello

An Alexander String Quartet Series Event

Sunday, April 11, 2010 • 2 & 7PM

Vanderhoef Studio Theatre, Mondavi Center, UC Davis

Lecturer: Robert Greenberg (2PM performance only)

There will be an intermission in the 2PM performance.

Post-performance Q&A following the 7PM performance.

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Nikon Regained the GIFT of SIGHT

Dr. Mark J. Mannis is an internationally recognized

leader in the field of corneal transplantation and director

of the UC Davis Health System Eye Center.

Nikon Sandulyak was 34 years old

when an industrial accident in

his native Ukraine left him blind.

Nearly four decades later,

doctors at UC Davis restored his

eyesight with one of California’s

first artificial cornea transplants.

Nikon calls it a miracle.

“For the past 38 years I have

lived in the dark. Now I’m

surrounded by beauty and color.

I’m the happiest man in the world!”

At UC Davis Health System,

our next medical breakthrough just

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A gift for advancing health.


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String Quartet No. 10 in E-flat Major, Op. 74 “Harp” Beethoven

Poco adagio—Allegro

Adagio ma non troppo

Presto

Allegretto con Variazioni

Intermission (2PM performance only)

String Quartet No. 11 in F Minor, Op. 95 “Serioso” Beethoven

Allegro con brio

Allegretto ma non troppo

Allegro assai vivace ma serioso

Larghetto espressivo—Allegretto agitato

The Alexander String Quartet is represented byBesenArts LLC

508 First Street, Suite 4WHoboken, NJ 07030-7823

www.BesenArts.com

The Alexander String Quartet records for FoghornClassicswww.asq4.com

Alexander string quartetZakarias grafilo & Frederick Lifsitz, violins

Paul Yarbrough, viola • Sandy Wilson, cello

2PM performance: Robert Greenberg, lecturer


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PRogRAM notesBy Eric Bromberger

String Quartet in E-flat Major, Op. 74Ludwig Van Beethoven(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)

Beethoven’s middle-period quartets proved difficult for audiences from the very beginning. The exception is the lovely quartet in E-flat major, Op. 74, long nicknamed the “Harp.” In contrast to the other middle quartets, this one is full of graceful music execut-ed with consummate technical skill; no battles are fought and won here—instead one savors the calm pleasures of what is perhaps Beethoven’s most relaxed string quartet.

Yet this music was composed during a difficult time for Beethoven, the year 1809. That year, French armies under Napoleon bom-barded and occupied Vienna, forcing most of the city’s nobility and many of Beethoven’s friends to flee (the composer himself hid in his brother’s basement during the bombardment with a pillow held tightly around his head). And it was during the French occupation that Beethoven’s old teacher Haydn died. Anguished, Beethoven wrote to his publishers: “We are enjoying a little peace after vio-lent destruction, after suffering every hardship that one could conceivably endure. I worked for a few weeks in success, but it seemed to me more for death than for immortality.” Beethoven’s music from 1809, however, shows little trace of his anxieties; from early in that year came the noble “Emperor” Concerto, and after completing the quartet Beethoven set to work on the incidental music to Goethe’s Egmont.

The first movement of the quartet opens with a slow introduction whose chromaticism creates an uncertain tonality; from this tonal blur, the main theme leaps out brightly at the Allegro in unequivo-cal E-flat major. Very quickly come the pizzicatos that have earned this quartet the (not particularly appropriate) nickname “Harp.” The development is quite active, and the recapitulation features a near-virtuoso first violin part that goes swirling across all four strings before the movement’s vigorous close. The Adagio ma non troppo can be described simply—this is lovely music. It is built on one of Beethoven’s most attractive lyric ideas, which develops across three repetitions, each elaborated differently; throughout, Beethoven constantly reminds all four performers: cantabile and espressivo.

By contrast, the Presto bristles with energy. Many have compared this with the scherzo movement of the Fifth Symphony, composed two years earlier: both are in C minor, both are built on the same characteristic rhythm, and both feature fugal writing in the trio section. Yet where the third movement of the symphony builds through a huge crescendo to a triumphant finale, Beethoven winds this movement in the quartet down very carefully, and the finale that follows seems consciously anti-climactic. It is a variation movement consisting of an almost innocent theme, six variations, and a coda; the odd-numbered variations tend to be vigorous and fast, the even-numbered lyric and gentle. The sixth variation gives way to a coda that extends the theme and leads to a wonderful—and very appropriate—conclusion: a great rush of 16th notes pow-ers the coda fortissimo to the very close where instead of hammer-ing out a cadence, Beethoven concludes with two tiny and gentle chords. It is a conclusion brilliant in its understatement.

String Quartet in F Minor, Op. 95 “Serioso”This quartet has a nickname, “Quartetto Serioso,” that—quite unusually for a musical nickname—came from the composer him-self. Well aware of the music’s extraordinary character, Beethoven described the quartet as having been “written for a small circle of connoisseurs and…never to be performed in public.” Joseph Kerman has described it as “an involved, impassioned, highly idiosyncratic piece, problematic in every one of its movements, advanced in a hundred ways” and “unmatched in Beethoven’s output for compression, exaggerated articulation, and a corre-sponding sense of extreme tension.” Yet this quartet—virtually the shortest of Beethoven’s string quartets—comes from the same period as the easily accessible “Archduke” Trio, the Seventh and Eighth Symphonies, and the incidental music to Goethe’s Egmont. Beethoven was approaching his 40th birthday when he completed the quartet in the fall of 1810, and this music’s extraordinary focus and tension seem sharply at odds with those other, more popular scores. Beethoven was at this time nearing the end of his second period of composition, sometimes called his “Heroic Style,” but some critics hear in this quartet prefigurations of his late style and the great cycle of quartets written during his last years.

The first movement is extraordinarily compressed (it lasts barely four minutes), and it catapults listeners through an unexpected series of key relationships. The unison opening figure is almost spit out, passing through and ending in a “wrong” key, and then followed by complete silence. Octave leaps and furious restate-ments of the opening figure lead to the swaying second theme, announced in flowing triplets by the viola. The development section of this (highly modified) sonata-form movement is quite short, treating only the opening theme, before the movement exhausts itself on fragments of that theme.

The marking of the second movement, Allegretto ma non troppo, might seem to suggest some relief, but this movement is even more closely argued than the first. The cello’s strange descending line introduces a lovely opening melody, but this quickly gives way to a long and complex fugue, its sinuous subject announced by the viola and then taken up and developed by the other voices. A quiet close (derived from the cello’s introduction) links this movement to the third, a vio-lent fast movement. Note the marking: Beethoven once again stresses Allegro assai vivace ma serioso. The movement is in ABABA form, the explosive opening section alternating with a chorale-like subject for the lower three voices which the first violin decorates. Once again, Beethoven takes each section into unexpected keys.

The last movement has a slow introduction—Larghetto espressivo—full of the darkness that has marked the first three movements, and this leads to a blistering finale that does much to dispel the tension. In an oft-quoted remark about the arrival of this theme, American composer Randall Thompson is reported to have said, “No bottle of champagne was ever uncorked at a better moment.” In contrast, for example, to the near-contemporary Seventh Symphony, which ends in wild celebration, this quartet has an almost consciously anti-heroic close, concluding with a very fast coda that Beethoven marks simply Allegro.

Many commentators have felt that the Quartet in F minor is com-posed with the same technique as the late quartets but without their sense of spiritual elevation, and in this sense they see the present quartet as looking ahead toward the late style. But it is unfair to this music to regard it simply as a forerunner of another style. This quartet may be dark, explosive, and extremely concen-trated—but it should be valued for just those qualities.


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Robert greenbergRobert Greenberg was born in Brooklyn, New York, in 1954, and has lived in the San Francisco Bay area since 1978. Greenberg received a B.A. in music, magna cum laude, from Princeton University in 1976. In 1984, Greenberg received a Ph.D. in music compo-sition, with distinction, from the University of California, Berkeley.

Greenberg has composed more than 45 works for a wide variety of instrumental and vocal ensembles. Recent performances of his works have taken place in New York, San Francisco, Chicago, Los Angeles, England, Ireland, Greece, Italy, and the Netherlands, where his Child’s Play for String Quartet was performed at the Concertgebouw of Amsterdam.

Greenberg has received numerous honors, including three Nicola de Lorenzo Composition Prizes and three Meet-The-Composer Grants. Recent commissions have been received from the Koussevitzky Foundation in the Library of Congress, the Alexander String Quartet, the San Francisco Contemporary Music Players, the Strata Ensemble, San Francisco Performances, and the XTET ensemble. Greenberg is a board member and an artistic director of Composers, Inc., a composers’ collective/production organization based in San Francisco.

Greenberg has performed, taught, and lectured extensively across North America and Europe. He is currently music historian-in-residence with San Francisco Performances, where he has lectured and performed since 1994, and a faculty member of the Advanced Management Program at the University of Pennsylvania’s Wharton School of Business. He has served on the faculties of the University of California, Berkeley; California State University, East Bay; and the San Francisco Conservatory of Music, where he chaired the Department of Music History and Literature from 1989-2001 and served as the Director of the Adult Extension Division from 1991-96. Greenberg has lectured for some of the most prestigious musical and arts organizations in the United States, including the San Francisco Symphony (where for 10 years he was host and lecturer for the Symphony’s nationally acclaimed “Discovery Series”), the Ravinia Festival, Lincoln Center for the Performing Arts, the Van Cliburn Foundation, the Chautauqua Institute (where he was the Everett Scholar in Residence for the summer of 2006), the Dallas Symphony Orchestra, the Hartford Symphony Orchestra, and Music@Menlo.

Greenberg has been profiled in The Wall Street Journal, the Times of London, Los Angeles Times, Christian Science Monitor, and San Francisco Chronicle. For many years Greenberg was the resident composer and music historian to National Public Radio’s Weekend All Things Considered, and presently plays that role on Weekend Edition, Sunday.

In 1993, Greenberg recorded a 48-lecture course, How to Listen to and Understand Great Music for the Teaching Company/SuperStar Teachers Program, the preeminent producer of college level courses-on-media in the United States. Eleven further courses—Concert Masterworks, Bach and the High Baroque, The Symphonies of Beethoven, How to Listen to and Understand Opera, Great Masters, The Operas of Mozart, The Life and Operas of Verdi, The Symphony, The Chamber Music of Mozart, The Piano Sonatas of Beethoven, and The Concerto—have been recorded since, totaling more than 500 lectures.

In 2003, the Bangor (Maine) Daily News referred to Greenberg as “the Elvis of music history and appreciation,” an appraisal that has given him more pleasure than any other. Dr. Greenberg is cur-rently writing a book on opera and its impact on Western culture, to be published by Oxford University Press.

the Alexander string quartet

Zakarias Grafilo, violin

Frederick Lifsitz, violin

Paul Yarbrough, viola

Sandy Wilson, cello

Having celebrated its 25th anniversary in 2006, the Alexander String Quartet has performed in the major music capitals of four continents, securing its standing among the world’s premier ensembles. Widely admired for its interpretations of Beethoven, Mozart, and Shostakovich, the quartet has also established itself as an important ad vocate of new music through more than 25 commissions and numerous premiere performances. In 1999, BMG Classics released the Quartet’s nine-CD set of the Beethoven cycle on its Arte Nova label to tremendous critical acclaim. The FoghornClassics label released a three-CD set (Homage) of the Mozart quartets dedicated to Haydn in 2004. Foghorn also released a six-CD set (Fragments) of the complete Shostakovich quartets, and a recording of the complete quartets of Pulitzer Prize-winning San Francisco composer Wayne Peterson was released in the spring of 2008. A new recording of the Beethoven cycle was released in June 2009.

The Alexander String Quartet’s annual calendar of concerts includes engagements at major halls throughout North America and Europe. The quartet has appeared at Lincoln Center, the 92nd Street Y, and the Metropolitan Museum in New York City; Jordan Hall in Boston; the Library of Congress and Dumbarton Oaks in Washington, D. C.; and chamber music societies and universities across North America. Recent overseas tours have included the U.K., the Czech Republic, the Netherlands, Italy, Germany, Spain, Portugal, Switzerland, France, Greece, the Republic of Georgia, and the Philippines. The many distin guished artists to collabo-rate with the Alexander String Quartet include pianists Menahem Pressler, Gary Graffman, Roger Woodward, Jeremy Menuhin, and James Tocco; clarinetists Eli Eban, Charles Neidich, Joan Enric Lluna, and Richard Stoltzman; cellist Sadao Harada; soprano Elly Ameling; and saxophonists Branford Marsalis and David Sánchez.

The Alexander String Quartet’s 25th anniversary was also the 20th anniversary of its association with New York City’s Baruch College as Ensemble-in-Residence. This landmark was celebrated through a performance by the ensemble of the Shostakovich string quar-tet cycle at Engelman Recital Hall in the Baruch Performing Art Center. Of these performances, The New York Times wrote, “The intimacy of the music came through with enhanced power and poignancy in the Alexander quartet’s vibrant, probing, assured and aptly volatile performances…Seldom have these anguished, play-ful, ironic and masterly works seemed so profoundly personal.” The Alexander String Quartet was also awarded Presidential Medals in honor of its longstanding commitment to the arts and education and in celebration of two decades of service to Baruch College.


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Highlights of the quartet’s 2009-10 season include a multiple con-cert series of music by Dvořák for San Francisco Performances, of Mendelssohn and Schumann at the Baruch Performing Arts Center in New York City, of Brahms at the Scottsdale Center for the Arts, and a continuing Beethoven cycle for the Mondavi Center. The quartet returns to the Library of Congress for a pair of performanc-es, one an all-Beethoven program in collaboration with the lecturer Robert Greenberg and the other a program of 20th- and 21st-century repertory performed in collaboration with the Afiara String Quartet. The quartet will premiere a new work commissioned for it from Jeeyoung Kim for San Francisco Performances in April 2010. They also continue their annual residencies at Allegheny College and St. Lawrence University.

Among the quartet’s recent premieres are Rise Chanting by Augusta Read Thomas, commissioned for the Alexander by the Krannert Center and premiered there and simulcast by WFMT radio in Chicago. The quartet has also premiered String Quartets Nos. 2 and 3 by Pulitzer Prize win ner Wayne Peterson and works by Ross Bauer (commissioned by Stanford University), Richard Festinger, David Sheinfeld, Hi Kyung Kim, and a Koussevitzky commission by Robert Greenberg.

At home in San Francisco, the members of the Alexander String Quartet are a major artistic pres ence, serving as directors of the Morrison Chamber Music Center at the School of Music and Dance in the College of Creative Arts at San Francisco State University and Ensemble in Residence of San Francisco Performances.

The Alexander String Quartet was formed in New York City in 1981, and the following year became the first string quartet to win the Concert Artists Guild Competition. In 1985, the quartet captured international attention as the first American quartet to win the London International String Quartet Competition, receiv-ing both the jury’s highest award and the Audience Prize. In 1995, Allegheny College awarded Honorary Doctor of Fine Arts degrees to the members of the quartet in recognition of their unique contribution to the arts. Honorary degrees were conferred on the ensemble by St. Lawrence University in 2000.

The Alexander String Quartet performs on the Ellen M. Egger Quartet of instruments, built in 1987 by the American maker Francis Kuttner.

Robert Besen, Director 508 First Street, Suite 4WHoboken, NJ 07030-7823T: 201.386.8565 F: [email protected] www.BesenArts.com

see p. 6

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AnIGHTTOREMEMBER



PResents

A Marvels Series Event

Sunday, April 11, 2010 • 3PM


There will be one intermission.

Post-performance Q&A

Moderator: Ruth Rosenberg, Dance Consultant, Mondavi Center, UC Davis



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All choreography by the Company, under the direction of Jacques Heim

“Tete En L’Air” (1994, recreated 2009)

Literally translated, “Tete En L’Air” means “head in the sky.” Inspiredby the surreal work of French filmmaker Jacques Tati, “Tete En L’Air” paints the journey of isolation faced by citizens in the modern world. Bewildered by endless commuting, relocating, fear of intimacy, and fear of the ultimate destination, citizens try to transcend disconnection and xenophobic tendencies that affect their lives.

Original Collaborators: Rebecca Butala, Mark Branner, Nick Erickson, Meegan Godfrey, Lara Hudson, Curtis Hurt, Jeremy Jacobs,

Stacy Liebsack, Robert Lou, Darren Press, Monique Sobolowsky

Re-creation cast: Briana Bowie, Jonathan Curtis, Philip Flickinger,Becca Greenbaum, Trevor Harrison, Erica Juergens-Bow, Renee Larsen,

Shauna Martinez, Omar Olivas, Melinda Ritchie, Ben Sales,Anibal Sandoval, Nilder Santos, Garrett Wolf, Chisa Yamaguchi

Performers: The CompanySet Design: Roger Webb

Original Lighting Design: Evan Merryman RitterLighting Design: John ED Bass

Original Costumes: Laura BrodyCostumes: Briana Bowie

Music: John Adams

Production Manager/ Technical Director

Renee Larsen

Rehearsal DirectorBriana Bowie

Video ArchivistMelinda Ritchie

Education CoordinatorRenee Larsen

Assistant Technical DirectorAnibal Sandoval

The Company

Briana BowiePhilip FlickingerTrevor Harrison

Ali HollowellShauna Martinez

Omar OlivasMelinda RitchieAnibal Sandoval

Garrett WolfChisa Yamaguchi

Lighting Designer/DirectorStage ManagerJohn ED Bass

Costume ManagerPhilip Flickinger

Office ManagerKristina Scott

Set Engineering &Contruction

Mike McCluskey& Tina TrefetenMcCluskey LTD

Artistic Director Jacques Heim

Executive DirectorJay Alan Quantrill


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“Knockturne 1 and Knockturne 2” (2006)

A love duet on and around a door, evoking images of the intimacy of couples behind closed doors and the distance and proximity of the two bodies. “Knockturne” is a six-year relationship in six minutes.

Original Collaborator: Meegan GodfreyRe-creation cast: Becca Greenbaum, David Zibalese

Performers: Omar Olivas, Chisa YamaguchiPerformers: Briana Bowie and Philip Flickinger

Set Design: Roger WebbSet Construction: Shawn Ellis, Cinnabar, Mike McCluskey

Lighting Design: John ED BassCostumer: Caesareo Ruiz

Original Music: Paul JamesMusic: Giacomo Puccini

“Bench” (2009)

“Bench” is an exploration of human confrontations, the battleover where you belong and what belongs to you. It is withinthe structure and the reactionary movement of the dancersthat themes of confinement, pressure, freedom, escape, andpossession are explored.

Original Collaborators: Briana Bowie, Trevor Harrison,Renee Larsen, Shauna Martinez, Melinda Ritchie,

Anibal Sandoval, Nilder Santos

Performers: The Company Music: Drum Invasion

Lighting: John Bass

“Humachina” (1999, re-staged 2009)

“Humachina” combines the word “human” with the Latin wordfor machine, “machina.” The principle of human motion and mechanical relations, a combination of the human form andthe simplicity of the most important of machines, the wheel.What will survive: man or machine?

Original Collaborators: Sita Acevedo, Monica Campbell, Nick Erickson, Laura Everling, Meegan Godfrey, Jeremy Jacobs, Robert

Lou, Heather McCardle, Darren Press, Zoltan

Re-creation: Briana Bowie, Philip Flickinger, Trevor Harrison, Shauna Martinez, Omar Olivas, Melinda Ritchie, Anibal Sandoval,

Nilder Santos, Chisa Yamaguchi

Performers: The Company Set Design: Jeremy Railton

Set Construction: Mike McCluskey, Ltd.Lighting Design: Evan Merryman Ritter

Music: Chemical BrothersCostumes: Meegan Godfrey

Intermission

“Trajectoire” (Section 1: 1999, Section 2: 2001)

Set on an abstract 21st-century Galleon, the group is set adrift— sink or swim—upon the ever-shifting landscape of human relations in modern society. A visceral and emotional journey, “Trajectoire” examines tremendous loss and abandonment,destiny and destination. At journey’s end, the piece showsthe transcendence of the human soul against all odds.

Original Collaborators: Sita Acevedo, Monica Campbell,Nick Erickson, Laura Everling, Meegan Godfrey, Jeremy Jacobs,

Robert Lou, Heather McCardle, Darren Press, Zoltan

Performers: The Company Set Design: Daniel WheelerEngineering: Dan Williams

Set Construction: Mike McCluskey, Ltd. and Daniel WheelerOriginal Lighting Design: Daniel Ionazzi

Costume Design: Meegan GodfreyMusic Composition: Nathan Wang

“Trajectoire” was commissioned by Benedicta Arts Center, College of St. Benedict, St. Joseph, MN; El Camino College, Torrance, CA;

Grand Performances at California Plaza, Los Angeles, CA;and funded in part by the Brody Arts Fund, the City of Los

Angeles, Department of Cultural Affairs, and the Los Angeles County Arts Commission.

“Trajectoire” premiered in 1999 at El Camino Collegein Torrance, CA.

About the CompanyDiavolo company members are dancers, gymnasts, actors, athletes, and above all, teammates. Under the guidance of Artistic Director Jacques Heim, they collaboratively develop work on oversized sur-realistic sets and everyday structures. Heim’s childhood struggles and his journeys as a French-Jewish man have shaped his thematic choices within the urban landscapes. Themes of isolation, fear, destiny, survival, faith, modernization, destination, and danger help to illustrate the effect of our surroundings on our daily lives. The structural elements and surrealistic set pieces of Diavolo create a sense of daring and risk taking through dramatic move-ment that juxtaposes human fragility and survival. Only through working together with the elements of danger created by and on architectural environments does Diavolo accomplish its metaphors of the challenges of relationships, the absurdities of life, and the struggle to maintain our humanity in the shadow of an increasingly technological world.

Jacques Heim founded Diavolo in Los Angeles in 1992. In 1993, the company was nominated for two Lester Horton Awards in Los Angeles, and in 1995, Diavolo made its European debut at the Edinburgh Fringe Festival, where they were named Best of the Fest by the London Independent and Critic’s Choice by The Guardian. Also in 1995, the company received three Lester Horton Awards for the work Tete en L’Air. The company has since been nominated several times for numerous awards, including four 2001 Lester Horton Awards and two 2003 Lester Horton Awards, and they were honored to perform live at the 10th annual American Choreography Awards in 2004.

In 1998, the company opened the performance series at the new Getty Center Museum in Los Angeles. In 1999, Diavolo created its first full-evening-length work, Catapult, which coincided with


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Diavolo’s first full North American tour. During the summer of 2001, Diavolo invited Jelon Viera, artistic director of DanceBrazil and the Capoeria Foundation, to Los Angeles to conduct an inten-sive capoeria workshop with the company. In 2002, Diavolo created a second smaller company to perform in a cabaret-style show, which ran for eight weeks at the New Shinagawa Prince Hotel in Tokyo.

The commercial arm of the company, Diavolo Creative Productions, has created unique performance events for such corporate clients as Wells Fargo Bank, Honda, Sebastian Inc., and General Motors. Due to the unusual and innovative way that Diavolo works with architectural structures, the creative team at Cirque du Soleilhired Jacques Heim to choreograph a show in Las Vegas, Ka, which opened in 2005 and is still running. In 2007, Diavolowas commissioned by the Los Angeles Philharmonic to create a performance to music director Esa-Pekka Salonen’s Foreign Bodies and is now working on a second commission for them to be based on John Adams’ Fearful Symmetries, to premiere at the Hollywood Bowl in September. The Los Angeles Times declared its premiere at the Hollywood Bowl “one of those rare events that define the art of this city when the levels of vision and support are equally exceptional.” The 2009-10 season marks Diavolo’s 11th U.S. tour. Diavolo has performed internationally in Scotland, Japan, Chile, Mexico, Canada, South Korea, Brazil, Italy, Spain, and the Netherlands. For more information about Diavolo, please visit www.diavolo.org.

Company biographiesJacques Heim, Artistic Director Jacques Heim, born in Paris, earned a B.F.A. in theater, dance, and film from Middlebury College. He was awarded a Certificate for Analysis and Criticism of Dance from the University of Surrey in England. Heim moved to Los Angeles in 1989 and attended California Institute for the Arts, receiving an M.F.A. in choreogra-phy. In 1992, Heim founded Diavolo Dance Theater. Heim received the 1992 Martha Hill Choreography Award from the American Dance Festival and the 1992 Special Prize of the Jury at the 6th Saitama International Dance Festival in Saitama, Japan. Heim was nominated for the CalArts/Alpert Awards in the Arts for Dance in 1996, 2000, 2009, and 2010. In 1998 and 1999, Heim was nomi-nated for a Lester Horton Award for Best Choreography. In 1999, Heim received a James Irvine Foundation Fellowship in choreogra-phy and a Fellowship from the Brody Arts Fund.

In 2001, Heim was one of three choreographers chosen to create a piece for the Ballet Pacifica Annual Choreographic Workshop. He has been named one of the “Faces to Watch in the Arts” by the Los Angeles Times and one of the “100 Coolest People in LA” by Buzz Magazine. From 1993-2001, he taught Intensive Movement for Actors at UCLA and Cal State LA. Heim was the artistic director for the 2005 Taurus Stunt Awards and returned in 2007 to stage a movement/stunt piece The Car. In 2002-04, Heim choreographed Ka, a permanent show for Cirque du Soleil, which premiered in 2004 at the MGM Grand Hotel in Las Vegas. In 2006, Heim cre-ated choreography for The Stones, a theater piece produced by Center Theatre Group at the Douglas Theater. In 2007, he cho-reographed Foreign Bodies, based on a score by Esa-Pekka Salonen for the Los Angeles Philharmonic at the Hollywood Bowl. He has worked in television on BBC America’s Dancing with the Stars and Bravo’s Step Up and Dance. He is working on a second commission for the Los Angeles Philharmonic based on John Adams’ Fearful Symmetries. Jacques has taken Diavolo to Europe, South America, and Asia, as well as annual tours of North America.

John ED Bass, Lighting DesignerJohn has been lighting theater, music, and dance for more than 15 years. His last project with Jacques Heim was Territory while studying at UCLA’s School of Theater, Film, and Television. Previous national tour designs include The Great Tennessee Monkey Trial for L.A. Theater Works and both Peter Pan and Camelot for McCoy Rigby Entertainment. Past design highlights include The Soze Project at the Apollo NYC and Azure, an underwater fantasy show at the Silverton Las Vegas. John is the resident associate for Reprise Broadway’s Best and lights numerous musical acts in Los Angeles.

Briana Bowie, Rehearsal Director/Performer Briana is from San Diego, and she began dancing at 8 years old. Her training includes modern, jazz, ballet, hip hop, improvisa-tion, and tumbling. She graduated in 2006 from the University of California, Irvine with a B.A. in dance. She spent three years with the UCI Etude Ensemble under the direction of legendary chore-ographer Donald McKayle; she has performed many of McKayle’s dances, including Angelitos Negros, Games, Ash, Midnight Dancer, Masque of the Red Death, and Songs of the Disinherited. Briana joined Diavolo in 2006.

Philip Flickinger, Performer Philip is from Minnesota, where he earned his B.A. in dance and sociology/anthropology from Gustavus Adolphus College. Philip continued his dance education with an M.F.A. in dance from the University of Colorado at Boulder, where he danced with Nancy Smith and Frequent Flyers Productions, Katie Elliott and Third Law Dance/Theatre, and the Hannah Kahn Dance Company. Besides teaching and creating his own work, Philip has been danc-ing with Diavolo since 2006.

Trevor Harrison, Performer Trevor started as a b-boy in St. Louis, breakin’ with his friends at talent shows and local events. He continued dancing at Lindenwood University and received his B.A. in 2007. He then joined the Modern American Dance Company and worked with choreographers from Rivernorth and Alvin Ailey. In 2009, he co-choreographed the dancing in R&B singer Ginuwine’s “Last Chance” video. This is Trevor’s first season with Diavolo.

Ali Hollowell, Performer Growing up in Falmouth, Maine, Ali began dancing at a young age but was also very involved in athletics and gymnastics. Having fallen in love with modern dance after studying with Lisa Race, David Dorfman, Heidi Henderson, and Adele Myers at Connecticut College, of which she is a graduate, Ali began her professional dance career in New York City. She worked with Propel-Her Dance Collective and BE Dance Collective and is a founding member of Lisa Race’s company, Race Dances. Ali is in her first season with Diavolo.

Renée Larsen, Production ManagerRenée Larsen is from the San Francisco Bay area. She joined Diavolo as a performer in 2005 and in 2009, she moved behind the scenes as production manager. Her training includes jazz, ballet, tap, modern, gymnastics, and Tae Kwon Do. She studied both dance and psychology, receiving her B.A. from the University of California, Irvine. She was a founding member of Eveoke Dance Theatre in San Diego. She spent four years performing with Eveoke and working as its rehearsal assistant. She currently teaches fitness classes and works as a stunt performer at Universal Studios Hollywood in the Terminator 2: 3D live-action show.


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Shauna Martinez, Performer Shauna, from Derby, Kansas, started dancing at the age of 3. She soon became a competitive all-around gymnast and later an All-America collegiate cheerleader. She spent her summers as a colle-giate instructor for the National Cheerleader’s Association earning awards as a top instructor. Shauna received her B.F.A. from Wichita State University in 2007. Martinez is accomplished in ballet, mod-ern, jazz, mime, and hip hop. She has performed with dre.dance, Joe Torry, and Sinbad. Shauna is in her first season with Diavolo.

McCluskey, Ltd., Set Fabrication Mike McCluskey started restoring Shelby Cobras in 1969 while attending UCLA for mechanical engineering and never stopped. Best known for its diversity of fabricating services (design, con-struction, welding, mechanics, finish, and paint) McCluskey, Ltd. blends the art of hand-crafting with modern aerospace technology. Internationally known for restoration/repair of vintage Cobras, exotic concept and race cars, plus historical aircraft and jets, McCluskey also builds props and sets for stage, movie, and TV. Mike’s team of highly skilled craftsmen are based in Torrance, serv-ing architectural, automotive, industrial, and entertainment clients including Getty, Disney, Shelby, Northrop, Honda, and Diavolo.

Omar Olivas, Performer Omar Olivas was born and raised in Santa Ana, California. He began his training at Saint Joseph Ballet under the supervision of Beth Burns. Omar graduated as a Haggerty and William Gillespie Scholar (B.F.A. in dance) from the University of California, Irvine, where he was a dancer with Donald McKayle’s student repertory dance company, Etudes. He was a member of BackhausDance for two years. He has attended the American Dance Festival, Jose Limon Summer Intensive, Idyllwild Summer School, and Impuls Tanz in Vienna. Omar has danced at the Conservatoire de Paris, and in Tammy L. Wong’s About Last Night for the Esplanade’s da:ns festival in 2006. Omar was a finalist in the Dance Under the Stars Choreography Festival and was invited to set a piece for Esplanade’s da:ns festival in 2008. Omar currently teaches ballet and modern throughout Orange County.

Melinda Ritchie, Performer Melinda Ritchie was born in Seattle, where she still lives when not in Los Angeles or on the road with the company. She has been dancing and tumbling since the age of three and has extensive training in modern, ballet, jazz, and many other traditional and world dance forms as well as the aerial arts and some circus sports. Melinda earned a B.A. in dance with minors in both French and Asian/Pacific studies from Loyola Marymount University. Melinda is the webmaster and designer for diavolo.org as well as the video archivist and demo technician for the company. She is cur-rently taking preparatory classes in order to return to school with plans to get a Doctor of Physical Therapy from the University of Washington. Melinda joined Diavolo in 2005.

Evan Merryman Ritter, Lighting Designer Evan began his career of professional lighting design in 1991, at age 17, with the Haight Street Puppet Theater in San Francisco. Since 1998, he has been with Diavolo, initially working with the company as lighting director, then assuming the lighting designer position in 1999, and the technical director position in 2004. In 1997, Evan was a Wally Russell Scholar and became the resident assistant lighting designer for the Los Angeles Opera Company. Evan’s lighting design for Diavolo’s DreamCatcher was nominated for a 2003 Lester Horton Award. He holds a B.F.A. in lighting design from the California Institute of the Arts and now lives in Seattle, where he is an M.F.A. candidate at the University of Washington.

Anibal Sandoval, Performer/Assistant Technical Director Anibal Sandoval has been a dancer for 13 years. He has training in gymnastics, modern, ballet, breakdance, Chinese pole, and martial arts. He is one of the newest additions to Lux Aeterna Acrobatic Dance Company and the AVC Circus Troupe under the guidance of Master Zheng Yin Ping. Anibal made his debut as a chorog-rapher at Dance Dimensions 2007 presenting “Disagreements Between You and I.” Centering on acrobatic technique he has pio-neered breakdancing with exercise balls.

Tina Trefethen, Set Design/Engineer Tina Trefethen’s interests in art, extreme sports, design, and indus-try combine uniquely for Diavolo. An independent contractor, Tina keeps busy coordinating, designing, engineering, and fab-ricating on a great variety of architectural, aviation, automotive, sculptural, and graphics projects. She has been an actor on dozens of TV shows and commercials, a world hang-gliding champion, pro skateboarder, and aircraft manufacturer.

Garrett Wolf, Performer Garrett Wolf is an elite-level gymnast who has been a part of Diavolo since 2000. Originally hailing from Alaska, Garrett was trained in gymnastics and has garnered further skills in partner stunts at the University of Anchorage. Along with training in bal-let and jazz in both Los Angeles and New York, Garrett’s recent credits include stuntman work at Disney’s California Adventure Lights, Camera, Chaos; dancing in Disneyland’s Animazement; por-traying Mr. Freeze at Magic Mountain’s Batman and Robin Action Stunt Spectacular; and acrobatics at Sea World’s Cirque de la Mer.

Chisa Yamaguchi, Performer Chisa Yamaguchi was born and raised in Vallejo and earned a double degree from UCLA in world arts and cultures and Asian American studies. She began dancing during her third year and received training in modern, gymnastics, capoeria, tango, Rhaq Sharqi, and Balinese dance. She has studied with profoundly gifted teachers, most recently with Germaine Acony and her company Jant-Bi in Toubab Dialaow, Senegal. She has traveled around the world working as an international volunteer in New Zealand, Fiji, Costa Rica, Guatemala, and Egypt, and is currently writing a chil-dren’s book based on her experiences.

Diavolo Board of DirectorsPatrick Bolek, Chair; Jacques Heim; Peter Lesnik; Lindsey Nelson; Anna Thompson

Diavolo Dance Theatre is a 501(c)(3) non-profit corporation organized in the State of California and is funded in part by the generous donations of many individuals, the Los Angeles County Arts Commission, Department of Cultural Affairs of the City of Los Angeles, the Pinchuk Artists Fund, the Dwight Stuart Youth Foundation, and the Skirball Foundation.

Exclusive ManagementDavid Lieberman Artists Representatives

PO Box 10368 Newport Beach, CA 92658

714.979.4700 email: [email protected]


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baaba Maal

A World Stage: Music Series Event

Thursday, April 15, 2010 • 8PM


There will be no intermission.



PResents


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“I think the musician’s role is to give advice, to warn people, and to make them aware of what they might not have thought of themselves. We use melodies and harmonies to make songs enter your mind.” So declares the celebrated Senegalese master musi-cian Baaba Maal of the songs on Television, his new multi-lingual album, released in June 2009. With its subtle blending of elec-tronic dance elements with the timeless tradition of West African musical traditions, the album is a groundbreaking successor to Grammy-nominated Missing You (2001), released the year Baaba closed the South Africa Freedom Mandela Concert in London’s Trafalgar Square and headlined at the Hollywood Bowl.

The title track refers to the relatively recent phenomenon in Africa of ubiquitous TV screens. “The television set is like a stranger you didn’t ask for coming into your living room,” explains Baaba. “You don’t care about who he is: he just seems to come from nowhere and gives you information.”

Television was produced by Baaba Maal and Barry Reynolds, once the guitarist with the legendary Compass Point Studio Band, and mixed by Jerry Boys. In addition, the tune “Song for Women” was produced by John Leckie. “I use that song,” explains Baaba, “to talk about how women can be much more powerful in Africa, which can be really helpful for the entire continent. We should encourage that, and I sing about it to give them more power.”

Television was recorded intermittently over three years, during which time Baaba kept up his rigorous global touring commit-ments, including his work on the large-scale Africa Express proj-ect, in collaboration with Damon Albarn (of the bands Blur and Gorillaz). In 2009, he headlined the African Soul Rebels tour of the United Kingdom and appeared as the guest on the esteemed Desert Island Discs on BBC Radio 4. In another field altogether, in 2008, Baaba Maal created the soundtrack for the Playstation and XBox game Far Cry 2. At the beginning of the decade he had fulfilled the same function, working with Hans Zimmer, for the Oscar-winning Ridley Scott movie Black Hawk Down.

As he has made clear, Baaba Maal’s mission in West Africa extends beyond his music. He is committed to the concerns of families, young people, and the future of the continent, as is reflected in his role as Youth Emissary for the United Nations’ Development Program, about which he says, “It strengthens my determination to work harder to contribute more to improving the living condi-tions of disadvantaged people of the African continent, especially young people, whose future is seriously threatened by illiteracy, poverty, and HIV/AIDS. When I am talking about Africa, it is about how Africa will grow into the new millennium. This is why I really wanted to make music, so people can listen more to the music and the messages I am talking about.”

His image of uplifting the African continent has long driven Baaba Maal. To this end, in 2003, he played the Nelson Mandela 46664 Concert in Cape Town, South Africa, and the next year he per-formed at the Nobel Peace Prize Concert in Oslo, Norway, for Dr. Wangari Maathai, the Kenyan environmental campaigner who won that year’s Peace Prize. In 2007, he played at the African Union heads of state summit in Addis Ababa, Ethiopia, and also per-formed at the Live Earth Concert in Johannesburg, South Africa.

Back in the U.K., Baaba Maal has consistently topped the bill at prestigious events; in 2005, he not only headlined one of the BBC Proms Concerts at London’s Royal Albert Hall, but also the Glastonbury Festival and the Africa Remix Festival at London’s Royal Festival Hall. In July of that year Baaba led off the Make Poverty History March at the G8 protest in Edinburgh.

Television was made in London and Dakar, the Senegalese capital. Baaba Maal worked on its eight songs with various musicians, but most extensively in a collaboration throughout the recording with singer Sabina Sciubba and keyboardist Didi Gutman, both mem-bers of New York’s Brazilian Girls, who blend electronic dance music with a diversity of eclectic styles.

Searching for a diversified form for Maal’s music, it was Barry Reynolds who suggested he work with the pair. Immediately admiring their sound, Maal soon found further points of creative connection. Working on the song “Tindo,” for example, whose subject is the guidance meted out to Senegalese children as to their future responsibilities, Maal found that Sabina’s responses, sung in Italian, accurately mirrored his own lyrics: “I see language as an instrument. Sabina told me that she could just feel the mean-ing of the words that I was singing. This is the power of music—it can give you advice even if you do not understand the language.

“Sabina is European but takes the name of Brazilian Girls; Didi is from Argentina, with its strong connection with Africa. I come from a tiny town in West Africa, but I’m connected to these people through my experiences, and to my English writing partner Barry Reynolds, who has worked with people like Marianne Faithfull and recently, Grace Jones, writing songs in different areas of life. I thought that this was a good combination, what I was looking for. I think really magical things came out of it.”

Although the future of all of Africa is one of his priorities, Baaba never forgets his home nation of Senegal; in 2002, he sang the Senegalese national anthem at the opening match between France and Senegal of the FIFA World Cup Finals in Seoul—Senegal won the game.

In Senegal, Baaba Maal came from humble beginnings. But he has learned and traveled and now speaks and sings of empowerment, enlightenment, and peace. He was born in Podor, a town with a population of 6,000, on the banks of the river Senegal that sepa-rates the country of the same name from Mauritania. (In 2006, returning to his home town, Baaba Maal established the annual Blues du Fleuve three-day festival in Podor.) Baaba’s family is Hal Pulaar, known in the English-speaking world as Fulani. He is not from a family of Griots–the hereditary caste of artists and com-municators. His father worked in the fields but was also given the honor and responsibility of using songs to call the worshippers to the mosque. Baaba’s mother was a musician who sang and wrote her own songs, educating her son in the musical forms of the area and encouraging the young Baaba to value intelligent and thought-ful lyrics.

At the same time Baaba was listening to black music coming out of America—people like James Brown, Otis Redding, Wilson Pickett, and Etta James. Later he caught up with Jamaican musicians such as Toots Hibbert, Bob Marley, and Jimmy Cliff.


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Baaba went to school in St. Louis, the original French colonial capital, and, after winning an art scholarship, in Senegal’s modern capital, Dakar. There he joined Asly Fouta, a group of 70 musi-cians, and spent his time with the group learning as much as he could about the local musical instruments and how they work. On leaving college, he toured West Africa with longtime friend, guitar-ist and Griot Mansour Seck, soaking up more knowledge: “It’s tra-ditional for young musicians to do that. When you arrive in every village you do a gig. This makes you friendly with all the young people who are in the village. The next day the young people take you to visit the oldest person who knows about the history of the village and the country and about the history of the music.” Baaba lived in Paris for several years, studying at the Conservatoire des Beaux Arts. On arriving back in Senegal, Baaba formed his band Daande Lenol (Voice of the People).

As his work with the U.N. signifies, Baaba Maal’s vision extends beyond music. He often credits his much-loved mother with giving him a broader and more sympathetic view of the world than many of his contemporaries. Baaba is a citizen of the developing world who has carved out a place for himself in the first world. Baaba Maal can speak and sing to and for Africa with unprecedented authority.

www.baabamaal.tv



PResents

saint Louis symphony orchestraDavid Robertson, conductor

gil shaham, violin

A Western Health Advantage Orchestra Series Event

Friday, April 16, 2010 • 8PM


There will be one intermission.

Pre-performance Lecture • 7PM

David Robertson, Music Director, Saint Louis Symphony Orchestra

Moderator: Don Roth, Executive Director, Mondavi Center, UC Davis


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Rapture Rouse

Violin Concerto No. 2 in G Minor, Op. 63 Prokofiev Allegro moderato Andante assai Allegro, ben marcato

Gil Shaham, violin

Intermission

Symphony No. 7 in C Major (in One Movement), Op. 105 Sibelius Adagio Un pochettino meno adagio; Vivacissimo; Adagio Allegro molto moderato Vivace; Presto; Adagio

Doctor Atomic Symphony Adams The Laboratory Panic Trinity

Played without pause

saint Louis symphony orchestraDavid Robertson, conductor

gil shaham, violin

Gil Shaham is brought to you through the generosity of the St. Louis-basedWhitaker Foundation as part of the Whitaker Guest Artist Series.

Christopher Rouse’s Rapture and John Adams’s Doctor Atomic Symphony are part of the Saint Louis Symphony Orchestra’s Living Composers Series, which is supported by a grant

from the National Endowment for the Arts.


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PRogRAM notesBy Paul Schiavo

Rapture Christopher Rouse (Born February 15, 1949, in Baltimore, Maryland)

The close connection between music and elation has been noted by poets, philosophers, and musicians down through the ages. Still, it’s not often that a composer proclaims the blissful character of his music, as Christopher Rouse has done with his orchestral piece Rapture. But Rouse is a musician known and admired for his emotional openness and his ability to give feelings vivid expression in his compositions. Communication, rather than arcane composi-tional innovation, is the chief concern of this American composer, who admits that “I’ve always been a Romantic at heart.”

Interestingly, the first of Rouse’s works to gain widespread atten-tion gave expression to rather somber emotions. The composer’s Trombone Concerto, which won the Pulitzer Prize in 1993, is darkly elegiac in tone. Other pieces convey a decidedly tragic character. But the emotional complexion of Rouse’s music has brightened over the last two decades, and with Rapture, written in 2000—well, the title says it all. The composer states that he intended this piece “to depict a progression to an ever more blind-ing ecstasy.” He adds, “It should be noted that the title of this score is not ‘The Rapture’; the piece is not connected to any spe-cific religious source. Rather, I used the word ‘rapture’ to convey a sense of spiritual bliss, religious or otherwise.”

Two points deserve notice here. First, an orchestral composition that conveys only bliss and light stands in distinct contrast to the great symphonic tradition, in which joy, triumph, and exultation are achieved only at the end of a musical drama marked by intima-tions of struggle or tragedy. Here those latter qualities are com-pletely absent: Rapture conveys its titular emotion from start to fin-ish. This brings us to the second point, which concerns the work’s harmonic coloration. Modern music, and even the more accessible post-modern music of recent years, draws freely on discords and harmonic ambiguity for its effect. But as Rouse himself observes, Rapture is rooted firmly in traditional harmonies and largely avoids sustained dissonances.

Having deprived himself of discordant harmonies and the sense of sorrow, pain, or struggle they traditionally connote, Rouse faced considerable challenge in shaping this composition. He solved this challenge in part through skilled deployment of instrumental color. From the series of rhapsodic woodwind solos in the open-ing minutes through ecstatic outbursts by the brass, with flecks of percussion and garlands of swirling string sound near the close, Rapture presents a kaleidoscope of shifting orchestral hues. No less important is a carefully controlled process of rhythmic accel-eration. Rapture, the composer notes, “is an exercise in gradually increasing tempi; it begins quite slowly but…proceeds to speed up incrementally until the breakneck tempo of the final moments is reached.”

Violin Concerto No. 2 in G Minor, Op. 63Sergey Prokofiev (Born April 23, 1891, in Sontsovka, Ukraine; died March 28, 1953, in Moscow)

In 1933, after some 15 years of composing and concertizing in the United States and Western Europe, Sergey Prokofiev returned home to live in the Soviet Union. This was a happy and productive period for the composer. In his homeland he found an enthusiasm for his music beyond any he had known abroad, and he had commissions in hand for concert works, film scores, and ballets. There remained, however, one obligation dating from his 10-year residence in Paris: a work promised to the French violinist Robert Soetens. Prokofiev ful-filled that promise with his Violin Concerto No. 2 in G Minor.

Although written for a Western artist and audience, the Second Violin Concerto reveals the melodic warmth that emerged in Prokofiev’s music following his repatriation. The opening movement proceeds from a haunting melody—presented as a violin solo inthe opening measures—through a series of energetic and colorful developments.

The second movement offers music of entirely different character.Following two measures of introduction, the violin enters with a beautifully lyrical theme. From this subject the entire movement unfolds in a nearly unbroken stream of melody, its several subsidiary ideas being closely related to the main one. Dance rhythms mark the recurring principal subject of the finale. As in the first movement, the solo part requires no small degree of virtuosity.

Symphony No. 7 in C Major, Op. 105Jean Sibelius (Born December 8, 1865, in Hämeenlinna, Finland; died September 20, 1957, in Järvenpää, Finland)

Sibelius’s Seventh Symphony is the last, briefest, and most unusual of the works for which the composer’s admirers claim him as the greatest symphonist of the 20th century. It is perhaps the most beau-tiful as well. Avoiding the grand gestures of some of Sibelius’s earlier works in this form, the Seventh Symphony makes its effect through a compelling journey of thematic ideas, whose recurrences and evolu-tion seem dictated by a dynamic inner life of their own.

This work went through a long creative gestation, during which time it changed form considerably. In a letter written in 1918, Sibelius described the symphony, which he must have already begun compos-ing, as being in three movements, though he added, “the plans may be altered according to the development of the musical ideas. As usual, I am a slave to my themes and submit to their demands.” By the time it was completed, some six years later, the piece had been transformed into a composition in one movement. Sibelius seems initially to have been reluctant to call this work a symphony, and in March 1924, he conducted its premiere under the title Fantasia sinfonica. But when the score was published the following year, the composer had again changed his mind, admitting the work to the ranks of his symphonies.

Despite its compact single-movement form, the Seventh Symphony offers a satisfying variety of themes, moods, and textures. Its initial measures present a pair of important ideas: a scale rising quietly but firmly in the strings and, moments later, a brighter melodic figure in the woodwinds. These sounds give rise to a beautiful, prayer-like


passage for the strings. As the music grows more confident and the winds rejoin the proceedings, a ringing call emerges from the first trombone, and soon we hear again the scale figure of the opening measures. His main thematic materials thus established, Sibelius follows them through wide-ranging developments that include a lively scherzando section, dramatic music that presses to an impos-ing climax, and a joyous passage that functions as the symphony’s finale.

Doctor Atomic Symphony John Adams (Born February 15, 1947, in Worcester, Massachusetts)

John Adams is widely recognized as the pre-eminent American composer of his generation. Since the 1970s, this longtime California resident has produced a substantial and varied body of work that has won over many listeners, even those normally wary of new music. Colorful, energetic, and accessible in the best sense of that term, Adams’s work draws on the virtues of differ-ent traditions: the expansive sonic architecture of the Romantic masters, the harmonic sophistication of 20th-century composers, the rhythmic drive and momentum of American popular music, the shimmering textures of the so-called “minimalist” school, and the delight in new discoveries that has always characterized the American avant-garde.

Along with many orchestral compositions, choral works, cham-ber music, piano pieces, and a song cycle, Adams has produced four full-length operas. Three of the latter works—Nixon in China (1987), The Death of Klinghoffer (1991), and Doctor Atomic (2005)—examine pivotal events in 20th-century history, present-ing them not in documentary fashion but in mythic and poetic terms. The most recent of these operas concerns the final days of the Manhattan Project, the American effort during World War II to create an atomic bomb, and concludes with the detonation of the world’s first nuclear device in July 1945, in the New Mexico desert.

Doctor Atomic debuted in October 2005, in a production by the San Francisco Opera. Adams subsequently adapted portions of his score as an orchestral work. The resulting Doctor Atomic Symphony premiered during the summer of 2007, in London. Its first American performance was given early the following year in St. Louis by David Robertson and the Saint Louis Symphony. Adams dedicated the work to the SLSO Music Director.

The piece unfolds in a single movement, beginning forcefully with music taken from the opera’s overture. The initial passage, Adams says, was suggested by Edgard Varèse’s pioneering composition Déserts and is meant to conjure a devastated post-nuclear land-scape. The frenzied music that follows evokes a fierce storm that lashed the desert the night before the bomb test.

Of the ensuing episodes, two derive from recitations by J. Robert Oppenheimer, the poetry-loving physicist who directed the scien-tific part of the Manhattan Project. Verses by Charles Baudelaire, a writer especially dear to Oppenheimer, prompt declamatory phrases over complex, atmospheric accompaniment. Later, John Donne’s famous sonnet “Batter My Heart” brings music of gravity and poignancy, a trumpet replacing the opera’s baritone voice.

© 2010 by Paul Schiavo

David RobertsonAmerican conductor David Robertson is a compelling and passionate communicator whose stimulating ideas and exhilarating music making produce riveting perfor-mances, captivating and inspiring inter-national audiences and musicians alike. Hailed by the press as a brilliant artist and master programmer, he is considered one of today’s most important conductors. His consummate musicianship, fresh stylistic instincts, and extensive mastery of orches-

tral as well as operatic repertoire have secured strong relationships for him with major orchestras worldwide. Robertson is currently in his fifth season as Music Director of the 130-year-old Saint Louis Symphony Orchestra, while continuing as Principal Guest Conductor of the BBC Symphony Orchestra, a post he has held since 2005.

Highlights of Robertson’s 2009-10 season with the SLSO included a successful fall tour to Carnegie Hall. Guest engagements in the U.S. include performances with the San Francisco Symphony, Chicago Symphony, and New York Philharmonic, where Robertson is a regular guest conductor, as well as the Cleveland Orchestra. Internationally, he returns to conduct the BBC Scottish Symphony Orchestra at the Edinburgh Festival, the Royal Concertgebouw Orchestra, Staatskapelle Dresden, Berlin Philharmonic, Bayerischer Rundfunk Symphonieorchester, Israel Philharmonic, and Sydney Symphony, among others.

Robertson has made numerous recordings, including, with the SLSO, the first recording of John Adams’s Doctor Atomic Symphony and Guide to Strange Places for Nonesuch. Robertson’s and the SLSO’s download-only “Live from Powell Hall” releases include works by Adams, Scriabin, and Szymanowski.

Born in Santa Monica, California, Robertson was educated at London’s Royal Academy of Music, where he studied French horn and composition before turning to orchestral conducting. Robertson received Columbia University’s 2006 Ditson Conductor’s Award, and he and the SLSO are recipients of two major awards from ASCAP and the League of American Orchestras: the 2008-09 Award for Programming of Contemporary Music and the 2005-06 Morton Gould Award for Innovative Programming. Musical America named Robertson Conductor of the Year for 2000. In 1997, he received the Seaver/National Endowment for the Arts Conductors Award, the premier prize of its kind, given to excep-tionally gifted American conductors. He is the recipient of honor-ary doctorates from Webster University and Maryville University. David Robertson and his wife, pianist Orli Shaham, are parents of twin boys. Robertson also has two teenage sons.

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gil shahamViolinist Gil Shaham is internationally rec-ognized by audiences and critics alike as one of today’s most virtuosic and engaging classical artists. He is sought after through-out the world for concerto appearances with celebrated orchestras and conductors, as well as for recital and ensemble appear-ances on the great concert stages and at the most prestigious festivals.

Shaham’s 2009-10 season will be marked by several exciting proj-ects. His “Violin Concertos of the 1930s” project highlights mas-terpieces by influential composers in that decade and features 35 performances of works by Barber, Berg, Prokofiev, Stravinsky, and Walton. Highly anticipated performances include appearances with Gustavo Dudamel and the Los Angeles Philharmonic, Michael Tilson Thomas and the London Symphony Orchestra, David Robertson and the New York Philharmonic, and Mariss Jansons and the Bavarian Radio Symphony Orchestra.

In addition to his many orchestral engagements Shaham regularly makes recital appearances. This season Shaham will give a series of all-Bach recitals beginning with an appearance at the Perimeter Institute in Waterloo, Ontario, and then again during European tours that include performances in London, Istanbul, Milan, Prague, and Cologne. Shaham has the good fortune to enjoy musical collaboration with his family as well, including his wife, violinist Adele Anthony, his sister, pianist Orli Shaham, and his brother-in-law, conductor David Robertson. In 2007, his dream of bringing together friends and colleagues for chamber music came to fruition in a tour of Brahms programs, culminating in a series of three concerts at Carnegie’s Zankel Hall. An encore of this project took place during spring 2009.

Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where at the age of 7, he began violin studies with Samuel Bernstein of the Rubin Academy of Music, and was granted annual scholarships by the America-Israel Cultural Foundation. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year, he began his studies with Dorothy DeLay and Jens Ellerman at Aspen. In 1982, after taking first prize in Israel’s Claremont Competition, he became a scholar-ship student at Juilliard, where he has worked with DeLay and Hyo Kang. He has also studied at Columbia University.

Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008, he received the coveted Avery Fisher Award. He plays the 1699 “Countess Polignac” Stradivarius. He lives in New York City with his wife, violinist Adele Anthony, and their two children.

saint Louis symphony orchestraFounded in 1880, the Saint Louis Symphony Orchestra (SLSO) is the second-oldest orchestra in the country and is widely consid-ered one of the world’s finest. In 2005, internationally acclaimed conductor David Robertson became the 12th Music Director and second American-born conductor in the orchestra’s history. In its 130th season, the SLSO continues to strive for artistic excellence, fiscal responsibility, and community connection. In addition to its regular concert performances at Powell Hall, the SLSO is an integral part of the St. Louis community, presenting more than 250 free education and community partnership programs each year.

The SLSO is one of only a handful of major American orches-tras invited to perform annually at Carnegie Hall. Recordings by the SLSO have been honored with six Grammy Awards and 56 Grammy nominations over the years. The SLSO has embraced technological advances in music distribution by offering record-ings over the Internet. The SLSO downloading initiative includes live recordings of John Adams’s Harmonielehre and Szymanowski’s Violin Concerto No. 1, with Christian Tetzlaff, available exclu-sively on iTunes and Amazon.com. In 2009, the SLSO’s Nonesuch recording of John Adams’s Doctor Atomic Symphony and Guide to Strange Places reached No. 2 on the Billboard chart for classical music and was named “Best CD of the Decade” by the Times of London.

In 2008, the SLSO launched Building Our Business, which takes a proactive, two-pronged approach: build audiences and re-invigorate the SLSO brand, making the SLSO and Powell Hall the place to be; and build the donor base for enhanced institutional commitment and donations. This is all part of a larger strategic plan adopted in May 2009 that includes new core ideology and a 10-year strategic vision focusing on artistic and institutional excel-lence, doubling the existing audience, and revenue growth across all key operating areas.

SAINT LOUIS SYMPHONY ORCHESTRA130th Season, 2009-10

Ned O. LemkemeierChairman of the Board of TrusteesFred BronsteinPresident and Executive DirectorDavid Robertson, Music Director

Ward StareResident Conductor and Director of the Saint Louis Symphony Youth OrchestraAmy KaiserDirector of Saint Louis Symphony ChorusAT&T Foundation ChairRobert Ray Director of the IN UNISON Chorus

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see p.6


the st. LouIs syMPhony oRChestRA, john ADAMs, AnD gIL shAhAM

by jeFF huDson

Jeff Hudson contributes coverage of the performing

arts to Capital Public Radio, the Davis Enterprise,

and Sacramento News and Review.

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Since conductor David Robertson assumed musical leader-ship of the Saint Louis Symphony Orchestra (SLSO) in 2005, he’s programmed several major works by composer John Adams, including Harmonielehre in 2007 (a recording is downloadable from the orchestra’s website), El Niño (a Nativity oratorio) in 2008, and the American premiere of the Doctor Atomic Symphony that same year. A Nonesuch CD of the Doctor Atomic Symphony by Robertson and the SLSO followed in 2009.

There are many other recordings by the Saint Louis Symphony Orchestra, extending back seven decades, includ-ing eight CDs recorded under Hans Vonk, who led the orchestra from 1996–2002. Local audiences may remember Vonk and the SLSO at the Sacramento Community Center Theater in 1999, hosted by the old UC Davis Presents pro-gram. There’s also a six-CD retrospective covering highlights under conductor Leonard Slatkin (an advocate of American music who led the SLSO from 1979-1996).

Composer John Adams, who lives in the Bay Area, has some two dozen albums on the Nonesuch label, extending back into the 1970s. In terms of his orchestral music, a good place to start is Harmonielehre. The piece originated when the composer dreamed he saw “a gigantic supertanker take off from the surface of San Francisco Bay and thrust itself into the sky like a Saturn rocket.” I’ve been listening to the San Francisco Symphony’s 1985 premiere recording (a Nonesuch release that I first bought on cassette!) for nearly 25 years, and my pulse still quickens every time I play it. Simon Rattle’s 1994 version with the City of Birmingham Symphony Orchestra (EMI) is also good.

Adams’ music is being done all over nowadays. The New York Philharmonic and baritone Thomas Hampson toured Europe in January/February with Adams’ “TheWound-Dresser” (from 1988, incorporating Civil War-era poetry by Walt Whitman). The Los Angeles Philharmonic premiered a new Adams piece—City Noir—last October; Adams is serving under conductor Gustavo Dudamel as LA Phil’s “Creative Chair.” And the Metropolitan Opera will be stag-ing a (long overdue) first Met production of Adams’ land-mark opera Nixon in China (1985–87) in February 2011, with the composer conducting.

Violinist Gil Shaham likewise has a big discography, with some 18 albums for Deutsche Grammophon, including big concertos (by the likes of Barber, Bartók, Brahms, Sarasate, Sibelius, and Saint-Saëns, et al.) as well as albums of cham-ber works. Shaham and composer/pianist Andre Previn picked up a Grammy for Best Chamber Music Performance in 1999 with their disc American Scenes (Works of Copland, Previn, Barber, Gershwin).

CenteRMondavi

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Download the season Brochure:

MondaviArts.orgor call:530.754.2787 866.754.2787 (toll-free)

The Silk Road Ensemble with Yo-Yo Ma

Steve Martin and the Steep Canyon Rangers

San Francisco Symphony and Chorus

Alvin Ailey American Dance Theater

Madeleine Albright

Mark Morris Dance Group

Kronos Quartet

Dianne Reeves

Dan Zanes and Friends

Cirque Éloize

Tango Fire

and many more!

BEST SEATS.

LOWEST PRICES.

SERIES SUBSCRIPTIONS

ON SALE NOW.


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Saint Louis Symphony Orchestra130th Season, 2009-10

David Robertson, conductor

First ViolinsDavid Halen

ConcertmasterEloise and Oscar Johnson, Jr. Chair

Heidi HarrisAssociate ConcertmasterLouis D. Beaumont Chair

Silvian IticoviciSecond Associate Concertmaster

Erin SchreiberAssistant Concertmaster

Dana Edson MyersJustice Joseph H. and Maxine Goldenhersh Chair

Manuel RamosDarwyn AppleJessica Cheng

Margaret B. Grigg ChairCharlene ClarkEmily HoJenny Lind JonesJoo KimAngie Smart

Mary and Oliver Langenberg Chair

Takaoki SugitaniHaruka Watanabe

Jane and Whitney Harris ChairHiroko Yoshida

Second ViolinsAlison Harney

PrincipalDr. Frederick Eno Woodruff Chair

Kristin AhlstromAssociate PrincipalVirginia V. Weldon, M.D. Chair

Eva KozmaAssistant Principal

Rebecca Boyer HallNicolae BicaDeborah BloomLisa ChongElizabeth DziekonskiLorraine Glass-HarrisLing Ling GuanJooyeon KongAsako KubokiWendy Plank RosenShawn Weil

ViolasJonathan Vinocour***

PrincipalBen H. and Katherine G. Wells Chair

Kathleen MattisActing Principal

Christian WoehrActing Associate Principal

Weijing WangMike ChenGerald FlemingerSusan GordonLeonid GotmanLynn HagueMorris JacobShannon Farrell WilliamsChris Tantillo**

VioloncellosDaniel Lee

PrincipalFrank Y. and Katherine G. Gladney Chair

Melissa BrooksAssociate PrincipalRuth and Bernard Fischlowitz Chair

Catherine LehrAssistant Principal

Anne FagerburgRichard BrewerJames CzyzewskiSébastien GingrasDavid KimAlvin McCallBjorn Ranheim

Double BassesErik Harris

PrincipalHenry Loew Chair

Carolyn WhiteAssociate Principal

Christopher CarsonAssistant Principal

David DeRisoWarren GoldbergSarah HoganDonald MartinRonald Moberly

HarpFrances Tietov

PrincipalElizabeth Eliot Mallinckrodt Chair

FlutesMark Sparks

PrincipalHerbert C. and Estelle Claus Chair

Andrea KaplanAssistant Principal

Jennifer Nitchman

PiccoloChair vacant

OboesPeter Bowman

PrincipalMorton D. May Chair

Barbara OrlandAssistant Principal

Philip RossCarolyn Banham

English HornCarolyn Banham

ClarinetsScott Andrews

PrincipalWalter Susskind Chair

Diana HaskellAssistant PrincipalWilfred and Ann Lee Konneker Chair

Tina WardJames Meyer

E-flat ClarinetDiana Haskell

Bass ClarinetJames Meyer

BassoonsGeorge Berry

PrincipalMolly Sverdrup Chair

Andrew GottAssistant Principal

Felicia FolandBradford Buckley

ContrabassoonBradford Buckley

HornsRoger Kaza

Principal W.L. Hadley and Phoebe P. Griffin Chair

Tod BowermasterActing Assistant Principal

James WehrmanGregory RoosaLawrence StriebyJulia Erdmann**

TrumpetsSusan Slaughter

PrincipalSymphony Women’s Association Chair

Thomas DrakeAssistant Principal

Joshua MacCluerMichael Walk

David J. Hyslop Chair

TrombonesTimothy Myers

PrincipalMr. and Mrs. William R. Orthwein, Jr. Chair

Stephen LangeAssistant Principal

Jonathan ReycraftGerard Pagano

Bass TromboneGerard Pagano

TubaMichael Sanders

PrincipalLesley A. Waldheim Chair

TimpaniRichard Holmes

PrincipalSymphony Women’s Association Chair

Thomas StubbsAssistant PrincipalPaul A. and Ann S. Lux Chair

PercussionWilliam James

Principal St. Louis Post-Dispatch Foundation Chair

John KasicaDistinguished Percussion Chair

Thomas Stubbs

Keyboard InstrumentsPrincipal*

Florence G. and Morton J. May Chair

Music LibraryJohn Tafoya

LibrarianElsbeth Brugger

Associate LibrarianRoberta Gardner

Library Assistant

Stage StaffMichael Lynch

Stage ManagerJoseph Clapper

Assistant Stage ManagerJoshua Riggs

Stage TechnicianBruce Mourning

*Chair vacant**Replacement***Leave of Absence


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Artists on tourMonDAVI CenteR ARts eDuCAtIon has a long-standing traditionof providing touring artists to schools for master classes and lecturedemonstrations. In addition to augmenting ever-diminishing classroominstruction in performing arts—drama, music, dance—these classroom visits can help shape the personal connection of artist to audience. Artists on touris the heart of our outreach to aspiring young artists as well as children who never have seen a musical instrument in their classroom.

The following comments were received by Mondavi Center following a visitby Curtis on Tour to Davis high school in March 2010:

thank you both for all your organization to get the Curtis studentsto our schools to perform. Your students did a wonderful job andwere a real inspiration to the Jr. High students. their commitmentand passion for their music was a real ear opener for these youngmusicians to observe. Would love to have you back every year!

thanks again to you and the Curtis players,

Angelo Moreno Orchestra DirectorDavis high school

Mondavi Center Arts education


Mondavi Center is deeply grateful

for the generous contributions of the

dedicated patrons who give annual

financial support to our organization.

These donations are an important

source of revenue for our program,

as income from ticket sales covers

less than half of the actual cost of our

performance season.

Their gifts to the Mondavi Center

strengthen and sustain our efforts,

enabling us not only to bring

memorable performances by world-

class artists to audiences in the

capital region each year, but also

to introduce new generations to

the experience of live performance

through our Arts Education Program,

which provides arts education and

enrichment activities to more than

35,000 K-12 students annually.

For more information on

supporting the Mondavi Center,

visit MondaviArts.org or call

530.754.5437.

MonDAVI CenteR

INDIVIDuAl suPPORTERs

InneR CIRCLe DonoRs are dedicated arts patrons whose

leadership gifts to the Mondavi Center

are a testament to the value of the

performing arts in our lives.

iMPrEsario circLE $25,000 anD uPJohn and Lois Crowe†*Barbara K. Jackson†*

MaEstro circLE $10,000 - $24,999Joyce and Ken AdamsonWayne and Jacque Bartholomew†*Dolly and David Fiddyment†Samia and Scott Foster†Friends of Mondavi CenterAnn and Gordon Getty FoundationAnne Gray†*Benjamin and Lynette Hart†*Mary B. Horton*Grant and Grace Noda*William and Nancy Roe†*Lawrence and Nancy Shepard†Joe and Betty Tupin†*Shipley and Dick Walters*

BEnEfactors circLE $6,000 - $9,999Michael Alexander

Michael and Tootie Beeman

California Statewide Certified Development Corporation

Camille Chan†

Patti Donlon†

First Northern Bank†

Bonnie and Ed Green†*

Dee and Joe Hartzog†

The One and Only Watson

Margaret Hoyt*

Sarah and Dan Hrdy

William and Jane Koenig

Garry Maisel†

Stephen Meyer and Mary Lou Flint†

Derry Ann Moritz and Charles R.S. Shepard

M. A. Morris*

Ben L. O’Brien

Grace and John Rosenquist

Hal and Carol Sconyers†*

Raymond and Jeanette Seamans

Tony and Joan Stone†

Della Aichwalder Thompson

Larry and Rosalie Vanderhoef†*

And one donor who prefers to remain anonymous† Mondavi Center Advisory Board Member* Friends of Mondavi Center


Cantor & Company, A Law CorporationSusie WilliamsElizabeth F. and Charles E. WiltsBob and Joyce Wisner*

And six donors who prefer to remain anonymous

DirEctors circLE $1,100 - $2,999Beulah and Ezra AmsterdamRussell and Elizabeth AustinLydia and Ron Baskin*Virginia and Michael BiggsKay and Joyce Blacker*Phyllis and Robert BoltJo Anne Boorkman*Clyde and Ruth BowmanEdwin BradleyPatricia Brown and Leslie Axelrod*Ralph and Clairelee Leiser Bulkley*Robert Burgerman and Linda RamatowskiDavis and Jan CampbellLynne CannadySeeley Chandler and James KellyJacqueline ClemensRob and Liz ComanEric and Michael ConnDavid J. ConverseJohn and Gail CoolurisJim and Kathy Coulter*John and Celeste Cron*Robert CrummeyChuck Cunningham and Deborah DunhamTerry and Jay DavisonJim and Carolyn DeHayesCecilia M. DeluryCheryl DemasBruce and Marilyn DeweyMartha Dickman*Rex and Joyce Donaldson*Richard and Joy Dorf*Thomas and Phyllis Farver*Nancy McRae FisherRon and Pam Fisher*Tom Forrester and Shelly FauraDr. Andy and Wendy Huang FrankJoseph GeorgeKarl Gerdes and Pamela RohrichHenry and Dorothy GietzenPatty and John Goss*Donald GreenFlorence and Jack Grosskettler*Diane GunsulCharles and Ann HalstedDonine Hedrick and David StuderTimothy HeflerCharles and Eva HessSharna and Mike HoffmanSuzanne Horsley*Claudia and Christoph HulbeThe International Wine & Spirit CompetitionRuth W. JacksonAlessa Johns and Christopher ReynoldsClarence and Barbara KadoBarbara Katz*Robert Kingsley and Melissa Thorme

Matthew and Cheryl KurowskiBrian and Dorothy LandsbergMary Jane Large and Marc LevinsonEdward and Sally Larkin*Allan and Claudia LeavittHyunok Lee and Daniel SumnerYvonne LeMaitre*Lin and Peter LindertAngelique LouieNatalie and Malcolm MacKenzie*Dennis H. Mangers and Michael SestakJudith and Mark MannisMarilyn MansfieldRichard and Anne MarderYvonne L. MarshShirley Maus*In memory of Wm F. McCoyKenneth McKinstryGary and Susan McLaughlinDon and Lou McNary*Sonja and Steve MemeringJoy Mench and Clive WatsonFred and Linda Meyers*Doc MillerJohn Meyer and Karen MooreEldridge and Judith MooresJim and Paula MunsonPatricia and Surl NielsenJames Nordin and Linda OrranteAlice Oi in memory of Richard H. OiRobert Ono and Betty MasuokaPhilip and Miep PalmerSuzanne and Brad PolingLinda and Lawrence Raber*Kay Resler*Rick and Susie RodgersTom RoehrDon Roth† and Jolán FriedhoffLiisa A. RussellBeverly “Babs” Sandeen and Marty SwingleEd and Karen SchelegleMarc and Heath SchenkerNeil and Carrie SchoreJeff and Bonnie SmithWilson and Kathryn SmithRonald and Rosie Soohoo*Richard L. Sprague and Stephen C. OttMaril Revette Stratton and Patrick StrattonKarmen StrengJerome Suran and Helen Singer Suran*George and Rosemary TchobanoglousJennifer ThorntonClaude and Barbara Van MarterMarie Lopez and John WalkerLouise and Larry WalkerJanda J. WaraasMike and Ann WatembachBruce and Patrice WhiteDale and Jane WiermanFred and Mary WoodRichard and Judy WydickPaul WymanElizabeth and Yin Yeh

And eight donors who prefer to remain anonymous

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ProDucErs circLE $3,000 - $5,999Neil and Carla AndrewsApel FamilyJeff and Karen BertlesonCordelia S. BirrellNeil and Joanne BodineBarry and Valerie BooneBrian Tarkington and Katrina BoratynskiMichael and Betty ChapmanRobert and Wendy ChasonChris and Sandy Chong*Oren and Eunice Adair-Christensen*Michele Clark and Paul SimmonsTony and Ellie Cobarrubia*Nancy DuBois*Catherine and Charles FarmanMr. and Mrs. Domenic FaveroDonald and Sylvia FillmanJudith and Andrew GaborKay GistRobert and Kathleen GreyJudy and Bill Hardardt*Tom and Mary Ann HerbertLorena Herrig*Diana and Glenn HoferLesley and Ronald HsuDebra Johnson, M.D. and Mario GutierrezGerald and Virginia JostesTeresa and Jerry Kaneko*Dean and Karen Karnopp*Nancy Lawrence, Gordon Klein, and Linda LawrenceGreiner Heating and AirDr. Richard E. LatchawJeffrey and Ginger LeacoxJohn T. Lescroart and Lisa SawyerNelson Lewallyn and Marion Pace-LewallynBetty J. LewisDr. and Mrs. Ashley T. LipshutzPaul and Diane Makley*Kathryn MarrJanet Mayhew*Helga and Robert MedearisVerne Mendel*Mary Ann and Richard MurrayJeff and Mary NicholsonCharles and Joan PartainSusan Strachan and Gavin PayneLois and Dr. Barry RamerRoger and Ann Romani*Melodie RuferEllen ShermanTom and Meg Stallard*Tom and Judy Stevenson*Nathan and Johanna TruebloodKen Verosub and Irina DelusinaJohn Max Vogel M.D.and Jeanne Hanna Vogel*Claudette Von Rusten


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MEMBERsEncorE circLE$600 - $1,099Gregg T. Atkins and Ardith AllreadRobert and Joan BallDoreen T. ChanGale and Jack ChapmanWilliam and Susan ChenDotty Dixon*John and Cathie DuniwayJoan and Gregory EddyMark E. Ellis and Lynn ShapiroCarole Franti*Paul J. and Dolores L. Fry Charitable FundDavid and Mae GundlachRobin HansenRoy and Miriam HatamiyaKatherine HessMary JenkinBarbara and Robert JonesIrene KennedyKent and Judy KjelstromPaula KuboAnesiades S. LeonardSusan MannMaria ManoliuMichael MantellJohn and Polly MarionGary C. and Jane L. MattesonBarbara MorielRobert and Janet MukaiDon and Sue MurchisonRobert MurphyJohn PascoeAnn and Jerry Powell*Harriet PratoLarry and Celia RabinowitzHeather and Jeep RoemerChristian Sandrock and Dafna GatmonJudith and Richard SternTony and Beth TankeLynn Taylor and Mont HubbardRoseanna Torretto*Henry and Lynda Trowbridge*Robert and Helen TwissBarbara D. Webster and Grady L. WebsterSteven and Andrea Weiss*Frances and Nickols WhiteKandi Williams and Dr. Frank JahnkeKarl and Lynn Zender

And five donors who prefer to remain anonymous

orchEstra circLE$300 - $599Steve Abramowitz and Dr. Alberta Nassi Jill and John AguiarMitzi S. AguirrePaul and Nancy AikinSteven Albrecht and Jessica FriedmanDrs. Ralph and Teresa AldredgeThomas and Patricia AllenDavid and Penny AndersonAlvan and Patricia ArthurMichael and Shirley Auman*Rex AvakianMurry and Laura Baria*Lupie and Richard BartonDrs. Noa and David BellCarol L. BenedettiTonya and Jack BergerMarvin Berman and Susan FlynnRobert and Diane Carlson BiggsEduardo Blumwald and Angela GelliBobbie BoldenElizabeth BradfordPaul BraunJoan Brenchley and Kevin JacksonIrving and Karen Broido*Frank Brown MDGreg Brucker

John and Christine BruhnManuel Calderon de la Barca and Karen ZitoJackie CaplanMichael and Louise CaplanMichael and Susan CarlRichard CarlsenAnne CarlsonAmy Chen and Raj AmirtharajahCharles and Mary Anne CooperMichael Y. Corbett and AssociatesJames and Patricia CothernPaul Cox and Catherine BrennanLarry Dashiell and Peggy Siddons Thomas B. and Eina C. DuttonVincent ElliotBrian Ely and Robert HoffmanSheila and Steve EplerMicki and Les FaulkinJanet FeilDoris and Earl FlintMurray and Audrey FowlerTom and Barbara FrankelSevgi and Edwin Friedrich*Dr. Deborah and Brook GaleCraig GladenMarvin and Joyce GoldmanPaul N. and E. F. GoldsteneStephen and Deirdre GreenholzMarilyn and Alexander GrothGwen and Darrow HaagensenWanda J. HaasSharon and Don HallbergDavid and Donna HarrisJacqueline and Robert HarrisLauren L. HastingsStephen and Joanne HatchettLen and Marilyn HerrmannPaula HigashiDavid HoffstenRobert Hollingsworth and Carol BeckhamFrederick and B.J. HoytJames and Patricia Hutchinson*Nancy JohnsonDon and Diane JohnstonWeldon and Colleen JordanDavid Kalb and Nancy GelbardEdith KanoffLouise Kellogg and Douglas NeuhauserRuth Ann Kinsella*Ken and Susan KirbyJoseph Kiskis and Diana VodreyPeter Klavins and Susan KauzlarichPaul and Pamela KramerCharlene R. KunitzAllan and Norma LammersRichard Lawrence and Katie ThomasRuth LawrenceFrances and Arthur Lawyer*Patrick D. Leathers and Kathrine Cole-LeathersCarol and Robert LedbetterJH Edmund LeeStanley LevinBarbara LevineMary Ann and Ernest Lewis*Michael and Sheila Lewis*David and Ruth LindgrenSpencer LocksonMonica R. LohrBill and Harriet LovittJim and Nancy LyonsJeffrey and Helen MaJamie MadisonBunkie MangumPatricia Martin*Robert Mazalewski and Yvonne ClintonJulie and Craig McNamaraNancy and Glen MichelJulianne and Dexter MorinRobert and Susan Munn*Beverly MyersWilliam and Nancy MyersForrest OdleMarilyn OlmsteadMargaret Ong and Murray Levison*John and Carol OsterSally Ozonoff and Thomas RicheyJack and Sue PalmerDr. John and Barbara Parker

Suzanne and Robert PearlBonnie A. Plummer*Jerry L. PlummerJohn W. and Deborah Nichols PoulosMs. Ann PrestonJ. and K. RedenbaughJohn ReitanJudy, David, and Hannah Reuben*Guy and Eva RichardsTracy Rodgers and Richard BudenzBob and Tamra RuxinTom and Joan SalleeKathleen and David SandersMark and Ita Sanders*Howard and Eileen SarasohnJerry and Kay SchimkeMervyn SchnaidtMaralyn Molock ScottJay and Jill ShepherdKathryn ShigakiJames and Rita Seiber*Elizabeth SmithwickAl and Sandy SokolowFrancis and Laurel SousaCurtis and Judy SpencerElizabeth St. GoarSherman and Hannah SteinTim and Julie StephensLes and Mary Stephens DewallRob and Andrea StonePieter Stroeve, Jodie Stroeve, and Diane BarrettEric and Patricia Stromberg*Kristia SuutalaJulia SwainJohn and Donna TewartJeanne Shealor and George ThelenButch and Virginia ThreshDennis and Judy TsuboiAnn-Catrin VanRobert Vassar and Nanci ManceauDonald Walk, M.D.Kathrine and Robert WareNorma and Richard WatsonDr. Fred and Betsy WeilandDaniel Weiss and Elena Friedman-WeissJeanne WheelerCharles White and Carrie Schucker, PhDJim and Genia Willett*Denise and Alan WilliamsSally Wood and William W. VaseyCharlotte C. XandersLisa Yamauchi and Michael O’BrienIris Yang and G. Richard BrownRonald M. YoshiyamaGeorge and Hanni Zweifel

And nine donors who prefer to remainanonymous

MainstaGE circLE$100 - $299Michelle AdamsTom and Betty AdamsMary AftenJack and Karin AguilarSusan AhlquistRudy AhumadaJohn and Tuesday AirolaSuzanne and David AllenBrandy AndersonElinor Anklin Alex ArdansClemens ArrasmithDeborah ArringtonJerry and Barbara AugustKevin BakerGeorge and Irma BaldwinBeverly and Clay BallardCharlotte BallardElizabeth BanksMichele BarefootPaul and Linda BaumannNicole BaumgarthLynn Baysinger*Delee and Jerry BeaversClaire and Marion BeckerBee Happy ApiariesMarie BeesonLorna Belden and Milton BlackmanMerry BenardWilliam and Marie Benisek

Robert C. and Jane D. BennettMarta BeresDonald and Katheryn Bers*Boyd and Lucille BevingtonHeather, Gary and Erica BevowitzErnst and Hannah BibersteinElizabeth V. BiggertJohn and Katy BillAndrea Bjorklund and Sean DugganCaroline and Sam BledsoeDeborah BornSteve and Cecelia BoswellMary and Jill BowersRobert and Maxine BraudeDan and Millie Braunstein*Richard BreedonMargaret and Jack BrockhouseDon and Liz BrodeurKarla Broussard-BoydEdelgard BrunelleDon and Mary Ann BrushJanet BurauMike and Marian BurnhamDr. Margaret Burns and Dr. Roy W. Bellhorn Victor and Meredith BurnsWilliam and Karolee BushJohn and Marguerite CallahanEdward CallawayLita Campbell*Jean and Bob CanaryJohn and Nancy CapitanioJames and Patty CareyHoy and Patricia Carman*Jan Carmikle ‘90Nancy CarrJohn CarrollBruce and Mary Alice Carswell*Jan B. and Barbara J. Carter*Joan and Jack ChambersDorothy Chikasawa*Frank ChisholmAnnette ChowMichael and Paula ChuladaGail E. ClarkLinda Clevenger and Seth BrunnerBill and Linda ClineBarbara CodyStephan CohenChristina ColeSheri and Ron ColeHarold and Marj CollinsSteve and Janet CollinsJan ConroyRoberta CookTerry and Marybeth CookCatherine Coupal*Victor Cozzalio and Lisa Heilman-CozzalioCrandallicious FamilySusan and Fitz-Roy CurryElizabeth Dahlstrom-Bushnell*John and Joanne DanielsSheila David and Peter BealDena DavidsonJohanna DaviesMary Hanf DawsonPeter and Jennifer DemelloLeigh DibbThe Dillon FamilyJoel and Linda DobrisVal Dolcini and Solveig MonsonVal and Marge Dolcini*Keith DoramKatherine DouglasSue Drake*Ray DudonisAnne DuffeyLeslie DunsworthEdward and Norma EasonJulia Couzens and Jay-Allen EisenHarold and Anne EisenbergEliane EisnerAllen EndersMerrilee EngelAdrian and Tamara EngelSid EnglandRichard Epstein and Gwendolyn Doebbert Gary and Barbara EricksonCarol Erickson and David PhillipsM. Richard and Gloria M. ErikssonJeff ErsigChristine FacciottiNell FarrAndrew D. and Eleanor E. Farrand*Elizabeth FasslerDavid and Kerstin FeldmanElizabeth Fenton


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Steven and Susan FerronatoMargery FindlayKieran and Martha FitzpatrickManfred FleischerDavid and Donna FletcherDon and Eloise FoleySusan and Gary FordGlenn E. FortiniMurray and Audrey FowlerRobert Fowles and Linda ParzychMarion FranckBarbara and Ed FrankelAnthony and Jorgina FreeseBill and Joyce FreyJoel I. FriedmanKerim and Josina FriedrichJoan M. FutscherMyra A. GableLillian GabrielCharles and Joanne GambleClaude and Nadja GarrodIvan GennisPeggy GerickGerald Gibbons and Sibilla HersheyEleanor GlassburnerMarnelle Gleason*Roberta R. GleesonBurton Goldfine and Deborah BirnbaumPat and Bob Gonzalez*Robert and Velma GoodlinMichael Goodman Victor GrafPhyllis GrahamLewis GrayMrs. Marshall GreenbergPaul and Carol GrenchJune and Paul GulyassyWesley and Ida Hackett*Jim and Jane HagedornFrank and Rosalind HamiltonWilliam and Sherry HamreMarsha HandJim and Laurie HanschuMarylee and John HardieMichael and Carol HarrisRichard and Vera HarrisCathy Brorby and Jim HarrittGary HartThe Hartwig-Lee FamilyMr. and Mrs. K. HashagenCynthia Hearden*Barbara HegenbartMarjorie HeinekeMartin Helmke and Joan Frye WilliamsNancy and Larry Hendrick and Rich and Karol McCormacRand and Mary HerbertEric Herrgesell DVM DACVRTerry HewettRoger and Rosanne HeymLuAnne Higgs and Jim LaneAlouise HillierCalvin Hirsch and Deborah FrancisFrederick HodgesMichael and Peggy HoffmanJeannette HoganBryan Jeff Holcomb, M.D.Jan and Herb HooverSteve and Nancy HopkinsAlice HowellHull and Honeycutt Marketing and Design David and Gail HulseEva Peters HuntingLorraine J. HwangWilliam JacksonDr. and Mrs. Ronald C. JensenPamela R. JessupJane Johnson*Steve and Naomi JohnsonMichelle Johnston and Scott ArrantoWarren and Donna JohnstonMason JonesMartin and JoAnn Joye*Mary Ann and Victor JungJohn and Nancy JungermanCarole KaneFred and Selma KapatkinShari and Timothy KarpinJean and Stephen KarrYasuo KawamuraPhyllis and Scott Keilholtz*Patricia KelleherDave and Gay KentMichael Kent and Karl JandreyRobert and Cathryn KerrPat and John Kessler

Jong Sook KimLouise Bettner and Larry KimbleKris and Pat KingPatricia M. Kivela*Dorothy KlishevichPaulette KnoxWinston and Katy KoDouglas Krause and Martha OzonoffDave and Nina KrebsMarcia and Kurt KreithSandra KristensenC.R. and E. KuehnerBill and Joan KuhnsNate KuppermanLeslie KurtzCecilia KwanDonald and Yoshie KyhosRay and Marianne KyonoTerri LabriolaCorrine and Michael LaingBonnie and Kit Lam*Marsha LangLawrence and Ingrid LapinBruce and Susan LarockSharon Adlis and Harry LaswellDarnell LawrenceLeon E. LaymonC and J LearnedMarceline Lee and Philip SmithNancy and Steve LegeRobert and Barbara LeidighSuzanne LeinekeThe Lenk-Sloane FamilyEvelyn A. LewisMelvyn and Rita LibmanGuille Levin LibrescoJim and Jami LongKim LongworthRubin and Carol LopezMary and Jack LowryHenry LuckieMaryanne LynchEd and Sue MacDonaldLeslie Macdonald and Gary FrancisJulin Maloof and Stacey HarmerFrances MaraJoseph and Mary Alice MarinoPam Marrone and Mick RogersDonald and Mary MartinFrank MartinGarth and Linda MartinJeanne MartinPatti MartinezMr. and Mrs. William R. MasonEvelyn Matteucci and Richard VorpeBob and Vel MatthewsLeslie MaulhardtKatherine F. MawdsleyBarrett McBrideSean and Sebine McCarthyKaren McCluskey*Del and Doug McColmBabe McCormickJohn and Kathy McCoyNora McGuinness*Donna and Dick McIlvaineTim and Linda McKennaRichard and Virginia McRostieKent and Laurie McVayMartin A. Medina and Laurie PerryStanley MeizelBarry Melton and Barbara LangerSharon MenkeThe Merchant FamilyRoland MeyerLeslie Michaels and Susan KattLisa MillerSue and Rex MillerMelva MillsDouglas MinnisSteve and Kathy Miura*Kei and Barbara MiyanoSydney MobergVicki and Paul MoeringJoanne K. MoldenhauerAmy MooreMarcie MortenssonChristopher MotleyTony and Linda MrasThe Muller FamilyTerry and Judith MurphyM.A. NelsonRichard NelsonMargaret Neu†*Cathy Neuhauser and Jack HolmesRobert and Donna Nevraumont*Dana Newell and Keri MistlerMalvina NismanNobriga Family

Nancy Nolte and James LittleLisa Nowell and Stan RobinsonJohn and Freddie OakleyPatricia O’BrienAnn O’ConnellDrs. Joseph and Martha O’DonnellKay Yae OgasawaraMark Olander and Nancy FarwellGarrett Koslan and Phyliss OliveiraJames and Sharon OltjenMarvin O’RearLois and Henry OrtmannBob and Beth OwensJay OwensJessie Ann OwensCarlene and Mike Ozonoff*Michael Pach and Mary WindJoan S. PackardFrank PajerskiThomas Pavlakovich and Kathryn DemakopoulosKathryn PalmieriAnn Peterson and Marc HoescheleRobert and Nancy PetersonEdward A. PhillipsIn memory of Walter PilgrimPat PiperVicki and Bob PlutchokRalph and Jane Pomeroy*Kevin PowersJerry and Bernice PresslerOtto and Evelyn RaabeEdward and Jane RabinJan and Anne-Louise RadimskyKathryn Radtkey-GaitherMark and Cathryn RakichJ. David RamseyLawrence and Norma RappaportEvelyn and Dewey RaskiOlga RavelingDorothy and Frederick ReardonSandi Redenbach*Mrs. John Reese, Jr.Martha Rehrman*Michael A. Reinhart and Dorothy YerxaNancy ReitzEugene and Elizabeth RenkinMr. and Mrs. Alexander RiceFred and Bernadeen RichardsonRalph and Judy RiggsKristyn RinggoldCaroline and Stephen RobertsDavid and Kathy RobertsonRichard and Evelyne RomingerSharon and Elliott Rose*Andrea G. RosenGeorge and Jean RosenfeldBarbara and Alan RothDavid and Catherine RowenJennifer RyanHugh SaffordBob and Joyce SaharaTerry Sandbek and Sharon Billings*Elia and Glenn SanjumeFred and Polly SchackJohn and Joyce SchaeubleLeon Schimmel and Annette CodyFred and Colene SchlaepferJulie Schmidt*Bob Schmidt and Jennifer KerrJanis J. Schroeder and Carrie L. MarkelJeanette and Peter SchulzChristopher SearcyBrian Sehnert and Janet McDonaldDan Shadoan and Ann LincolnNancy Sheehan and Rich SimpsonBarbara SheldonValerie Brown and Edward ShieldsRuth and Robert ShumwayDr. and Mrs. Richard L. SieglerSandra and Clay SiggAndrew SihDr. and Mrs. James SilvermanMark Berman and Lynn SimonMichael and Elizabeth SingerBarbara SlemmonsMarion E. SmallAlexandra SmithAnnabelle SmithDon R.C. SmithJames and Suzette SmithMichael and Judith SmithSusan and Virgil Smith*Jean SnyderRoger and Freda SornsenGreg and Pam SparksEdward and Sharon Speegle

Joseph and Dolores SpencerDeAna SpiessLenore and Henry SpotoHarriet Steiner and Miles SternJohn and Johanna StekRaymond StewartDeb and Jeff StrombergBecky and James SullivanJean E. SwearingenStewart and Ann Teal*Pouneh TehraniFrancie TeitelbaumJulie A. Theriault, PA-CJanet ThomeMarc Thompson, CRE, FRICSCynthia ThorburnHenry and Kathy ThornhillRobert ThorpeBrian TooleKatharine TraciMichael and Heidi TraunerRich and Fay TraynhamGary and Jan TruesdailBarbara and Jim TuttChris and Betsy Van KesselBart and Barbara Vaughn*Denise VerbeckRichard J VielbigMerna and Don VillarejoCharles and Terry VinesHyla WagnerM. Therese WagnonCarol Walden and Sharon Jane MatthewsCaroline and Royce WatersMarya Welch*Carolyn WellsDaniel and Eleanor WendinRobert and Leslie Westergaard*William and Laura WheelerLinda K. WhitneyBarbara WeimanMrs. Jane L. WilliamsKeith WilliamsJanet WintererThe Wolf FamilyLinda YassingerTimothy and Vicki YearnshawFan and Viola YeeNorman and Manda YeungPhillip and Iva YoshimuraHeather M. Young and Peter B. QuinbyLarry Young and Nancy LeePhyllis YoungVerena Leu Young*Melanie and Medardo ZavalaPhyllis and Darrel Zerger*Scott and Linda ZimmermanTim and Sonya ZindelMark and Wendy Zlotlow

And 61 donors who prefer to remain anonymous

CoRPoRAte MAtChIng gIFts

American Express Foundation Gift Matching ProgramBank of America Matching Gifts ProgramChevron/Texaco Matching Gift FundExxonMobil FoundationMcGraw-Hill CompanyMerrill Lynch & Co. FoundationMonsanto CompanyThe Sacramento BeeWachovia Foundation Matching Gifts ProgramWells Fargo Foundation

We appreciate the many Members who par-ticipate in their employers’ matching gift pro-gram. Please contact your Human Resources department to find out about your company’s matching gift program.

Note: We are pleased to recognize the Members of Mondavi Center for their gener-ous support of our program. We apologize if we inadvertently listed your name incorrectly; please contact the Development Office at 530.754.5436 to inform us of corrections.


MonDAVI CenteR

CORPORATE suPPORT

JOIN MONDAVI CENTER’s CORPORATE PARTNERPROGRAM and align your company with one of the nation’s most prestigious university performing arts presenters. Partnerships are available at a wide range of levels, from single-event sponsorships to affiliation with an entire season of performances. Our staff will work with you to create a customized benefits package that meets your company’s marketing objectives.

beneFIts InCLuDe: • Broad regional marketing exposure

• Unique client entertainment opportunities

• Priority ticketing services

• On-site event presence

• Business-to-business networking opportunities

• Access to UC Davis leadership and campus community

For more information about how you can support the Mondavi Center, please contact:

James WarhoverAssociate Director of [email protected] | 530.754.5419

CORPORATE PARTNERs

MONDAVI CENTER GRANTORs AND ARTs EDuCATION sPONsORs

Friends of Mondavi Center

Boeger WineryCiocolatDavis Food Co-op

Seasons RestaurantWatermelon Music

EVENT & ADDITIONAl suPPORT PARTNERs

gold

Platinum

silver

bronze

GivinghOw DOEs My GIfT MAkE A DIffERENCE? The Mondavi Center uses the support of its donors to ensurethat season presentations are culturally diverse, affordably priced, and meet the highest standards of excellence.

ticket sales cover only 40% of our costs.

your charitable donation makes it all possible:

• Brings world-class artists and distinguished speakers to your doorstep

• Supports a nationally recognized Arts Education Program, serving more than 35,000 K-12 children and teachers

• Showcases and supports talented, young artists

For more information, visit us at MondaviArts.org/supportus

the ARt oF gIVIng

40%office of campus community relations


DON ROTH, Ph.D.Executive Director

Jeremy GanterAssociate Executive Director

PROGRAMMINGJeremy GanterDirector of Programming

Erin PalmerProgramming Manager

Lara DownesCurator: Young Artists Program

ARTS EDUCATIONJoyce DonaldsonAssociate to the Executive Director for Arts Educaton and Strategic Projects

Jennifer MastArts Education Coordinator

Ruth RosenbergProfessional Development Coordinator

AUDIENCE SERVICESEmily TaggartAudience Services Manager/Artist Liaison Coordinator

Yuri RodriguezEvents Manager

Nancy TempleAssistant Public Events Manager

BUSINESS SERVICESDebbie ArmstrongSenior Director for Support Services

Carolyn WarfieldHuman Resources Analyst

Mandy JarvisFinancial Analyst

Russ PostlethwaiteBilling System Administrator

Dena GildayPayroll and Travel Assistant

DEVELOPMENTRobert AvalosDirector of Development

James WarhoverAssociate Director of Development

Christine VargasDonor Event Manager

Elisha FindleyDevelopment Coordinator

FACILITIESSteve McFerronDirector of Facilities

Greg BaileyLead Building Maintenance Worker

Robert J. BeauregardLead Building Maintenance Worker

INFORMATION TECHNOLOGYDarren MarksProgrammer/Designer

Mark J. JohnstonLead Application Developer

Tim Kendall Programmer

MARKETINGRob TocalinoDirector of Marketing

Rebecca SummersMarketing Manager

Erin KelleySenior Graphic Artist

Morissa RubinSenior Graphic Artist

PRODUCTIONEric RichardsonDirector of Production

Jessie EtingStage Manager

Christopher OcaStage Manager

Jenna BellProduction Coordinator

Zak Stelly-RiggsMaster Carpenter

Daniel GoldinMaster Electrician

Michael HayesHead Sound Technician

Adrian GalindoScene Technician

Jon FosterScene Technician

Christi-Anne SokolewiczScene Technician

TICKET OFFICESarah HerreraTicket Office Manager

Erin McDowellTicket Office Supervisor

Steve DavidTicket Agent

Russell St. ClairTicket Agent

HEAD USHERSHuguette AlbrechtJennifer CarriereGeorge EdwardsLinda GregoryDonna HorganJames NordinJoe SchwartzLinda SchwartzMike TracySusie ValentinTerry WhittierJanellyn Whittier

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

09-10 SEASON BOARD OFFICERSJohn Crowe, ChairLynette Hart, Vice-ChairJoe Tupin, Vice-ChairDee Hartzog, Patrons Relations Co-ChairLor Shepard, Patrons Relations Co-ChairGarry P. Maisel, Corporate Relations Co-ChairCamille Chan, Corporate Relations Co-ChairGarry P. Maisel, Immediate Past Chair

Ex OFFICIOLinda Katehi, Chancellor, UC DavisEnrique Lavernia, Provost and Executive Vice Chancellor, UC DavisJessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC DavisMargaret Neu, President, Friends of Mondavi CenterVeronica Passalacqua, Chair, Arts & Lectures Administrative Advisory Committee Don Roth, Executive Director, Mondavi Center

MEMBERS Wayne BartholomewCamille ChanJohn and Lois CrowePatti DonlonDavid and Dolly FiddymentMary Lou FlintSamia and Scott FosterAnne Gray

Bonnie and Ed GreenBenjamin and Lynette HartDee and Joe HartzogBarbara K. JacksonGarry P. MaiselStephen MeyerJohn and Rita OnsumWilliam and Nancy RoeHal and Carol Sconyers

Lawrence and Nancy ShepardTony and Joan StoneChris ThompsonJoe TupinRosalie Vanderhoef

ARts & LeCtuRes ADMInIstRAtIVe ADVIsoRy CoMMIttee

09-10 COMMITTEE MEMBERSVeronica Passalacqua, ChairJessica CvetkoAngie DernersesianJochen DitterichSusan Franck

Stephen HudsonErin KleinOluwafunmilayo LadeindeJade McCutcheonBella MerlinClaire O’Brien

Hearne PardeeKayla RouseSally RyenMikal SaltveitErin SchlemmerJames Smith

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 CenteR

09-10 ExECUTIVE BOARDMargaret Neu, President Laura Baria, Vice President/MembershipLois Crowe, SecretaryJo Anne Boorkman, Adult EducationSandra Chong, K-12 EducationJohn Cron, Mondavi Center Tours Phyllis Zerger, Outreach Martha Rehrman, School Matinee Ticket Program FundraisingEunice Adair Christensen, Gift Shop Manager, Ex OfficioJoyce Donaldson, Associate to Executive Director, Ex Officio Member


ticket exchange Policy• Once a season ticket request is processed, there are no refunds.• If you exchange for a higher priced ticket, you will be charged the difference. The difference between a higher and lower priced exchanged ticket is not refundable. • Tickets must be exchanged at least one business day prior to the performance.• Tickets may not be exchanged after your performance date.• Gift certificates will not be issued for returned tickets.

ParkingYou may purchase parking passes for individual Mondavi Center events for $6 for each event at the parking lot or with your ticket order. Rates are subject to change. Parking passes that have been lost or stolen will not be replaced.

group DiscountsEntertain friends, family, classmates, or business associatesand save money. Groups of 20 or more qualify for a 10% discount. 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*)Eligibility: Full-time students age 12 & over enrolled for thecurrent academic year at an accredited institution andmatriculating towards a diploma or a degree.(Continuing education enrollees are not eligible).Proof Requirements: School ID for the current academic yearOR photocopy of your transcript/report card/tuition bill receipt for the current academic year.

ChildrenFor events other than the family series it is recommended that children under the age of 5 not be brought into the performance for the enjoyment of all patrons. A ticket is required of all chil-dren regardless of age; any child attending a performance should be able to sit quietly throughout the performance.

Privacy PolicyMondavi Center collects information from patrons solely for the purpose of gaining necessary information to conduct business and serve our patrons more efficiently. We also 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 www.MondaviArts.org.

POlICIEs AND INfORMATION

ACCoMMoDAtIons FoR PAtRonswIth DIsAbILItIes

Mondavi Center is proud to be a state-of-the-art public facility that meets or exceeds all state and federal ADA requirements and is fully accessible to patrons with disabilities.

Parking for patrons with DMV placards is available on the street level (mid-level) of the nearby parking structure, and on the surface lots near the covered walkway. There is also a short-term drop-off area directly in front of the entrance.

Patrons with disabilities or special seating needs should notifythe Mondavi Center Ticket Office of those needs at the time of ticket purchase. Requests for sign language interpreting, real-time captioning, Braille programs, and other reasonable accommodations should be made with at least two weeks notice. Mondavi Centermay not be able to accommodate special needs brought to ourattention at the performance.

Seating spaces for wheelchair users and their companions are located at all levels and prices for all performances. Ushers are available at the doors to Jackson Hall and the Vanderhoef Studio Theatre. Please explain to the usher how best to assist you, if needed.

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].

Listening enhancement DevicesListening Infrared Systems are installed in both Jackson Hall and the Vanderhoef Studio Theatre. Receivers that can be used with or without hearing aids are available for patrons who have difficulty understanding dialogue or song lyrics. They may be checked out at no charge from the Patron Services Desk near the lobby elevators.

elevatorsMondavi Center has two passenger elevators serving all levels.They are located at the north end of the Rumsey RancheriaGrand 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 publicrestrooms in the building: two on the Orchestra level; two onthe Orchestra Terrace level; and two on the Grand Tier level.

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

*Only one discount per ticket.

Mondavi Center 09-10: Playbill 10

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Transcript of Mondavi Center 09-10: Playbill 10