of Mondavi Center

Transcription

of Mondavi Center

NOVEMBER – DECEMBER 2013
WELCOME
A MESSAGE FROM THE CHANCELLOR
It is my pleasure to welcome you to the 2013–14 season at the Robert
and Margrit Mondavi Center for the Performing Arts, UC Davis.
This year we honor the legacy of Robert Mondavi on the occasion
of what would have been his centennial. An expert winemaker, a
wise businessman, a philanthropist and patron of the arts—Robert
contributed immeasurably to his industry, the University and the
community. The generous philanthropic support of both Robert and
Margrit leaves more than buildings; it enhances the quality of life for
LINDA P.B. KATEHI
UC DAVIS CHANCELLOR
many generations to come.
It is an ongoing testament to this vision that the Mondavi Center serves
as a welcoming community gathering place. Truly, it is a crossroads
where cultures from around our nation and the world come together:
at once a source of learning and entertainment, a place of creative
and intellectual stimulation and a venue for celebrating classics and
exploring new pieces.
The Mondavi Center
is a generous
contributor to the
quality of life
in the region—
a beautiful tribute
to its namesakes.
The impact of Mondavi Center programs goes beyond the events in
the venue itself. Many of the artists and speakers featured in Jackson
Hall or the Vanderhoef Studio Theatre also venture out onto our
campus and into our community. This exchange of ideas and expertise,
the up close and personal experiences that can only happen during
artist residencies, create inspiration and stimulation that benefit us all.
Rich conversations radiate from the seats in the hall to the lobby or the
rehearsal room and continue on to homes, cafés and other places in
our community. This sort of dialogue ensures that the Mondavi Center
stands firmly as a generous contributor to the quality of life in the
region—a beautiful tribute to its namesakes.
Thank you for being a part of the Mondavi Center’s season.
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SPONSORS
CORPORATE PARTNERS
PLATINUM
MONDAVI CENTER STAFF
Don Roth, Ph.D.
EXECUTIVE DIRECTOR
Jeremy Ganter
Alison Morr Kolozsi
Erin Palmer
Amanda Turpin
Ruth Rosenberg
Casey Schell
Lara Downes
FACILITIES
CURATOR: YOUNG
ARTISTS PROGRAM
ARTS EDUCATION
Joyce Donaldson
ASSOCIATE TO THE EXECUTIVE
DIRECTOR FOR ARTS
EDUCATION AND STRATEGIC
PROJECTS
Jennifer Mast
ARTS EDUCATION
COORDINATOR
AUDIENCE
SERVICES
Marlene Freid
AUDIENCE SERVICES MANAGER
Yuri Rodriguez
PUBLIC EVENTS MANAGER
Nancy Temple
Anderson Family
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4 MONDAVIARTS .ORG
DEVELOPMENT AND SUPPORT
SERVICES ASSISTANT
ASSISTANT PRODUCTION
MANAGER
Jenna Bell
ARTIST SERVICES
COORDINATOR
Christi-Anne Sokolewicz
SENIOR STAGE MANAGER,
JACKSON HALL
Christopher Oca
SENIOR STAGE MANAGER,
VANDERHOEF STUDIO THEATRE
Rodney Boon
HEAD AUDIO ENGINEER
Dale Proctor
MASTER ELECTRICIAN
Greg Bailey
Emily Hartman
BUILDING ENGINEER
INTERIM CAMPUS EVENTS
COORDINATOR, THEATRE
INFORMATION
TECHNOLOGY
Kathleen Foster
Darren Marks
WEB DEVELOPER AND
DESIGNER
Mark J. Johnston
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MARKETING
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SCENE TECHNICIAN
Adrian Galindo
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VANDERHOEF STUDIO
THEATRE/SCENE TECHNICIAN
Gene Nelson
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TECHNICIAN
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HEAD USHERS
Will Crockett
Huguette Albrecht
Ralph Clouse Eric Davis
George Edwards
Donna Horgan
Paul Kastner
Jan Perez
Mike Tracy
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TICKET OFFICE
SENIOR GRAPHIC ARTIST
Sarah Herrera
TICKET OFFICE MANAGER
SENIOR DIRECTOR OF
SERVICES
Steve David
Mandy Jarvis
Susie Evon
FINANCIAL ANALYST
TICKET AGENT
Russ Postlethwaite
Russell St. Clair
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Daniel J. Goldin
DIRECTOR OF OPERATIONS
BUSINESS
SERVICES
Casey Schell
PRODUCTION MANAGER
Herb Garman
Erin Kelley
BILLING SYSTEM
ADMINISTRATOR AND RENTAL
COORDINATOR
El Macero County Club
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MANAGER
Debbie Armstrong
SPECIAL THANKS
Elisha Findley
CORPORATE & ANNUAL FUND
OFFICER
ARTIST ENGAGEMENT
COORDINATOR
MONDAVI CENTER GRANTORS
AND ARTS EDUCATION SPONSORS
DIRECTOR OF MAJOR GIFTS &
PLANNED GIVING
DIRECTOR OF PROGRAMMING
PROGRAMMING MANAGER
COPPER
Donna J. Flor
Becky Cale
Jeremy Ganter
BRONZE
Debbie Armstrong
ASSOCIATE EXECUTIVE
DIRECTOR
PROGRAMMING
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PRODUCTION
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GOLD
DEVELOPMENT
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TICKET AGENT
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Serving Our Community Since 1917
IN THIS ISSU
A MESSAGE
FROM THE
EXECUTIVE
DIRECTOR
DON ROTH, Ph.D.
EXECUTIVE DIRECTOR
Arts lovers around the Sacramento valley are well aware that the
Mondavi Center presents more than 100 performances—from
superstars like Diana Krall to discoveries like Theo Bleckmann—
each and every year. What is less obvious, but no less important,
is the work we do to provide the young people of our region a
chance to connect with the arts—work that reflects the UC Davis
commitment to bettering the world around it. At a time when
school finances have starved the arts out of many schools, this
part of our mission seems more critical with each passing day.
Since our opening, more than 250,000 school children from
14 Northern California counties have experienced a school
matinee in the Mondavi Center. As John Updike said, “Art offers
… a certain breathing room for the spirit.” That is precisely the
kind of impact we hope to have on the children who attend
our matinees; even if they don’t become regular arts patrons,
we want them to have art in their lives.
Fortunately, the artists we bring to the Mondavi Center are as
committed to education as they are to performance. When
a world-class conductor like David Robertson lifts the spirits
of more than 1,000 fifth graders in a joyful take on Copland’s
Appalachian Spring; when jazz trombonist Delfeayo Marsalis
works with middle schoolers on improvisational skills; when Yo-Yo
Ma takes time out of his touring to teach cello master classes;
when Harry Belafonte inspires a classroom of UC Davis freshmen
with tales of his work with Martin Luther King, Jr.—they are
providing life-changing experiences for the students involved.
Another unique role we play is supporting the growth of aspiring
young artists through our Young Artists Competition (YAC) and
the Mondavi Center SFJAZZ High School All-Stars program.
For more than half a dozen years, YAC has celebrated budding
classical musicians and provided the winner a spot on our Debut
Series. The dedicated young jazz musicians in the High School
All-Stars program work closely with mentors in Sacramento and
San Francisco and culminate their experience with performances
on stages from Jackson Hall to the new SFJAZZ Center.
Our third focus in arts education is providing professional
development for teachers. Each year, 12 teachers from around
the region participate in a year-long program, learning to use
Shakespeare’s work as a teaching tool in their classrooms. Their
final exam? A performance under the stars at Shakespeare’s
Globe Theatre in London. For those teachers, now close to 100
in number, this program is transformational, both personally and
professionally, and thousands of their students have benefitted
from this work.
So, as you sit in Jackson Hall, I encourage you to reflect on the
work the Mondavi Center does behind the scenes, in our schools
and around our towns, work to ensure that the arts remain a
vibrant part of our lives and our children’s lives.
6 MONDAVIARTS .ORG
ROBERT AND MARGRIT
MONDAVI CENTER
FOR THE PERFORMING ARTS
8
Gil Shaham, violin
17 THE INTERGALACTIC NEMESIS
18 Pink Martini
20 Leah Crocetto, soprano
24 Lara Downes
27 Jeff Tweedy, solo
29 Blind Boys of Alabama
31 American Bach Soloists
BEFORE THE SHOW
• The artists and your fellow audience members appreciate silence
during the performance.
• As a courtesy to others, please turn off all electronic devices.
• If you have any hard candy, please unwrap it before the lights dim.
• Please remember that the taking of photographs or the use of any
type of audio or video recording equipment is strictly prohibited.
Violators are subject to removal.
• Please look around and locate the exit nearest you. That exit may be
behind, to the side or in front of you. In the unlikely event of a fire
alarm or other emergency, 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 performance may not be readmitted to
his/her ticketed seat while the performance is in progress.
• Assistive Listening Devices and opera glasses are available at the
Patron Services Desk near the lobby elevators. Both items may be
checked out at no charge with a form of ID.
November – December 2013
Volume 1, No. 2
an exclusive wine tasting experience oF Featured
wineries For inner circle donors
2012—13
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november
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january
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February
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Dr. Lonnie Smith Trio Navarro Vineyards
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Caladh Nua Cline Cellars
Academy of St. Martin in the Fields
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A Wells Fargo Concert Series Event
Friday, November 1, 2013 • 8PM
Jackson Hall
SPONSORED BY
INDIVIDUAL SUPPORT PROVIDED BY
Patti Donlon
Pre-Performance Talk • 7PM
Composer William Bolcom in
conversation with Don Roth, Executive
Director, Mondavi Center, UC Davis
PRE-PERFORMANCE TALK MODERATOR
Don Roth
Don Roth is the executive director of the
Robert and Margrit Mondavi Center for the
Performing Arts, UC Davis. A native of New
York City, Roth joined the Mondavi Center
in June 2006, arriving from the Aspen Music
Festival and School, where he served as
president from 2001–06. His tenure at the
Mondavi Center has seen the initiation of
new artistic and educational partnerships
with the San Francisco Symphony and
the Curtis Institute; the development of
residencies by world-renowned companies
such as Shakespeare’s Globe and the St.
Louis Symphony; the launching of initiatives
to increase interest in classical music funded
by a major Andrew W. Mellon Foundation
grant; and the beginnings of the popular
Just Added events. Previously, Roth served
as president of the St. Louis and Oregon
Symphonies and as general manager of the
San Francisco Symphony.
GIL SHAHAM
Violin
LUKE RATRAY
PROGRAM
Violin Sonata No.1 in G Minor,
BWV 1001
Adagio
Fuga
Siciliana
Presto
J.S. Bach
Partita No. 1 for Solo Violin in B Minor,
BWV 1002
Allemanda
Double
Courante
Double
Sarabande
Double
Tempo di Borea (“Gavotte”)
Double
INTERMISSION
8 MONDAVIARTS .ORG
Suite No. 2 for Solo Violin William Bolcom
Morning Music
Dancing in Place
Northern Nigun
Lenny in Spats
Tempo di Gavotte
Barcarolle
Fuga Malinconica
Tarantella
Evening Music
Partita No. 3 in E Major,
BWV. 1006 Preludio
Loure
Gavotte en Rondeau
Menuet I and II
Bourée
Gigue
J.S. Bach
GIL SHAHAM
PROGRAM NOTES
Centrally located in
Downtown Davis
VIOLIN SONATA NO.1
IN G MINOR, BWV 1001
J.S. BACH
(Born March 31, 1685, in Eisenach, Germany; died July 28, 1750,
Leipzig, Germany.)
It is generally agreed—although by
no means certain—that Bach began
work on Sei Solo a Violino Senza Basso
Accompagnato (“Six Violin Solos without
Bass Accompaniment”) while employed
in the Weimar court, where he served
from 1708 to 1717 as violinist as well
as organist, composer and eventually
concertmaster. The completion date
is much more secure, thanks to a
manuscript in Bach’s own hand from
1720, about midway through his service
to Prince Leopold of Anhalt-Cöthen.
The collection is made up of three each
partitas (suites) and sonatas.
A benign spirit hovers over those
three sonatas: the revered Italian
composer-violinist Arcangelo Corelli,
who had just recently gone to his rest in
1713. Corelli had meticulously refined
his sonatas into creations of rare beauty
and sophistication, leaving behind
models that were the inspiration (and
despair) of composers everywhere. The
Corellian sonata comes in two flavors.
The “church” sonata da chiesa lays
out its materials in four movements,
slow-fast-slow-fast, with infrequent
changes of key. By contrast, the “court”
sonata da camera resembles a suite of
short movements, including dances.
By following the da chiesa model for
his sonatas, Bach not only honored an
already rich tradition, but also elevated
string playing (and writing) to heights
unimaginable to Corelli or his Italian
contemporaries.
The G Minor sonata opens with a
free-form Adagio that bears a striking
resemblance to those intricate obbligato
arabesques for violin or oboe that often
complement the vocal line in Bach’s
arias. Here, however, the solo violin
carries the weight of the whole: it is
soloist, accompanist, and orchestra all
in one. Bach manages that by writing
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GIL SHAHAM
wide-spanned chords that serve as
harmonic pillars, establishing a stately
underlying chordal pulse that supports
the movement’s vinelike and expansive
melodic lines.
The second movement is a fugal
Allegro, right out of the Corellian
playbook. However, Bach was never
one to follow tradition slavishly, and
here he enlivens the standard template
of subjects-separated-by-episodes by
interleaving his fugal elements with
glittering single-line passagework
that could have stepped right out of a
virtuoso concerto. Bach’s astounding
ingenuity at implying a full complement
...near-nonstop sixteenth
notes erupt from the
strings like so many
wheels whirring and
gears clicking...
of polyphonic voices with just a few
strings was noted by admirers from
early on. Even after Bach’s own
polyphonically-enhanced transcriptions
for organ (BWV 539) and lute (BWV
1000), not to mention the passing of
almost three centuries, the solo violin
original has lost none of its capacity to
inspire and astonish.
The third-place Siciliano returns
us to song, a Bachian aria that brings
both soloist and accompaniment to
vivid life via the four strings of a solo
violin. Gentle and faintly melancholic,
the major-mode movement provides
the perfect foil for the conclusion, a
minor-key Presto that reminds us of the
18th century’s fascination with all things
scientific and mechanical. Resembling
a finger-bending keyboard fantasia,
near-nonstop sixteenth notes erupt from
the strings like so many wheels whirring
and gears clicking, in a virtuoso moto
perpetuo finale that brings the sonata
to an appropriately dazzling close.
—Scott Foglesong
10 MONDAVIARTS .ORG
PARTITA NO. 1 FOR SOLO VIOLIN
IN B MINOR, BWV 1002
Suites (partitas in Italian) make up
a substantial percentage of Bach’s
instrumental works. Consider the 18
keyboard suites, divided into six each
English Suites, French Suites, and Partitas,
plus the substantial “French Ouverture”
Partita and a few oddball remainders.
Bach also wrote suites for solo flute,
orchestra, lute, and solo cello in addition
to the three partitas for solo violin.
Given the dance suite’s international
provenance, Bach routinely mixed Italian
and French dance dialects, despite
their often striking differences—such
as the zippy Italian corrente versus the
stately, rhythmically complex French
courante. Although Bach routinely
organized his keyboard suites around
four standardized dances—Allemande,
Courante, Sarabande, Gigue—he took a
more idiosyncratic approach in the three
violin partitas, no doubt recognizing the
unique requirements of writing for a solo
string instrument.
In the B Minor Partita for Solo Violin,
Bach provides four dance movements,
each followed by an étude-like variation
called a “double.” (This is the only
suite in which Bach sustained such a
scheme throughout.) Listeners lacking
a program might be confused by the
opening Allemanda, thinking that they
are hearing the stately dotted-rhythm
opening of an ouverture à la française.
Certainly the Allemanda represents
the French style at its most grand and
ceremonious, but the following Double
abandons the Gallic character in favor of
smoothly arpeggiated (i.e., chordal) lines
that rise and fall with almost hypnotic
regularity as they outline the movement’s
underlying harmonies.
The rest of the suite is resolutely
Italianate. The bubbly, perpetualmotion second dance is actually a
Corrente, but in keeping with Bach’s
overall label-agnostic cosmopolitanism,
many editions (including the Bach
Gesellschaft) dub it as a Courante. On
the page the movement might look as
though it consists of a single melodic
line, but to the ear the situation is
markedly different: at least three voices
are easily audible, especially a high
soprano that etches out brisk two-note
figures answered by arpeggios in a
middle voice and supported by a solid
bass line down below. The Corrente’s
virtuosic stance is proudly unabashed,
but that’s nothing compared to its
Double, which halves the note values and
turns a dance into a scamper.
The Sarabande follows the traditional
Italian vein with fetching lyricism
over steady, regular chord changes.
Movements such as this, featuring
numerous instances of four-note
chords, led to sincere but misguided
efforts in the 20th century to design a
special violin bow that could be quickly
loosened to play four strings at once.
Such gimmicks are not only unhistoric
but unnecessary; sensitive technique
and careful attention to sonority
will ensure success in playing Bach’s
expansive chords. The Double transforms
the Sarabande’s block harmonies into
lilting and graceful arpeggios.
Bach chose an alternative to the
Gigue for his finale, a Tempo di Borea,
a.k.a. bourrée, a dance normally found
between the Sarabande and Gigue of
a traditional suite. Jumpy, athletic and
vivacious, both the Tempo di Borea and
its perpetual-motion Double provide
a fine and festive wrap-up to the
proceedings. —Scott Foglesong
SUITE NO. 2 FOR SOLO VIOLIN
WILLIAM BOLCOM
(Born May 26, 1938, in Seattle, Wash.)
I’d wished to learn the violin when
young, but for several reasons (including
the theft of my grandfather’s Sears
“Stradivarius” from the family car), I never
got to learn to play; I still wish I had. I
had to settle for learning how to write
for the violin by working with violinists
from a young age—in fact a principal
joy for me as a composer has been to
write for others what I might have been
delighted to be able to perform myself—
but the added dividend is that writing
for someone else can then become a
portrait of the performer. That makes
it actually more gratifying for me than
writing for myself to play, a thing I rarely
do nowadays.
My first solo violin suite was written
at the request of Sergiu Luca, who
GIL SHAHAM
died two years ago. A flamboyant and
mercurial piece, it exists in a recording
by Philip Ficsor. I owe him the birth of
my most often played violin sonata
and a violin concerto, both inspired
by Serge’s relationship with the great
jazzman Joe Venuti and brilliantly
recorded by Luca. A few seasons ago,
the violin concerto was executed by
Gil Shaham and the Toronto Symphony
under Leonard Slatkin; his almost
opposite approach from Luca’s also
worked extremely well, proving the
possible success of performing a piece
more than one way.
The solo suite I wrote for Gil is very
different in mood from the first suite,
lyrical and playful by turns. Distantly
referring to the Baroque dance-suite
form, Suite No. 2 is in nine movements.
“Morning Music,” a short rhapsodic
prelude, leads to the lively “Dancing
in Place,” featuring “fingerboard notes”
executed by drumming the left-hand
fingers onto the string and board.
“Northern Nigun” is a gentle lament
and “Lenny in Spats” is a fanciful image
of Leonard Bernstein dressed like Fred
Astaire or Jack Buchanan in tuxedo with
white spats covering his patent-leather
uppers while dancing with a cane.
“Tempo di Gavotte” is however not in
the Baroque gavotte form; Barcarolle, in
12/8 and 6/8 time, portrays a leisurely
afternoon on the water. A two-voiced
Fuga Malinconica provides a tragic
mood to the suite, while the following
Tarantella’s frenzy recalls the legendary
centuries-old belief that wild dancing
would neutralize a tarantula’s poisonous
bite. The concluding “Evening Music”
recalls the opening phrase of the suite
and ends with “duettini” in double stops,
pairing different sets of strings for a
peaceful close. —William Bolcom
whole headed up by a celebrated
Preludio.
That Preludio stands proudly amongst
Bach’s most familiar and well-loved
pieces, virtually a concerto movement
that encompasses orchestral ritornelli
and soloist passages within the four
strings of a violin. In keeping with its
concertante nature, the movement
is peppered with the forte and piano
markings that one might encounter
in the Italian Concerto BWV 971 for
harpsichord or other Bach works that
mimic the lob-and-volley of a Baroque
concerto. Bach was fully aware of the
movement’s orchestral potential: as
a sinfonia for organ and orchestra it
pops up in two cantatas (BWV 29 and
120a), as well as in a transcription for
lute, BWV 1006a. Later composers have
12
PARTITA NO. 3 FOR SOLO VIOLIN
IN E MAJOR, BWV 1006
JOHANN SEBASTIAN BACH
The E Major Partita drops all pretense
at maintaining a traditional layout.
Of the usual quartet of dances only
the concluding Gigue is retained;
instead we find an assortment of the
“optional” dances normally found
between Sarabande and Gigue, the
GIL SHAHAM
found the piece irresistible; perhaps
its most notable admirer was Sergei
Rachmaninoff, who gifted posterity
with a scintillating recording of his
superb 1933 transcription for solo
piano. Nevertheless, the Preludio’s
original setting remains the touchstone,
a glittering musical jewel that has
provided generations of violinists
(and their audiences) with fascination,
challenge, and delight.
The E Major Partita is by and large
a lighthearted work, its vibrant mood
spearheaded by the virtuosic brilliance
of the Preludio and sustained throughout
its six dances. The second-place Louré—a
rarely-encountered dance of French
The E Major Partita is by
and large a lighthearted
work, its vibrant mood
spearheaded by the
virtuosic brilliance of the
Preludio and sustained
throughout its six dances.
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12 MONDAVIARTS .ORG
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courtly origin—is the closest the partita
comes to a bonafide slow movement,
but the Louré’s overall character is more
languid than serious, rather like a French
gigue in slow motion.
The Gavotte en Rondeaux is a hybrid
movement in which Bach blends a
traditional dance—the bright doubleupbeat Gavotte found in many
suites—with rondo form in which a
central reprise returns repeatedly after
contrasting episodes, in this case five
instances of the reprise separated by
four episodes. The two Minuets that
follow give the lie to notions of a
reactionary, fuddy-duddy Bach who
was sassed by his impertinent sons as
“the old wig.” Forward-thinking rather
than backward, the paired Minuets
clearly prefigure the forthcoming and
soon-to-be-ubiquitous Minuet and Trio
GIL SHAHAM
movements of Haydn, Mozart, and their
Viennese Classical colleagues, including
Bach’s mouthy offspring.
The Bourrée savors of the “echo”
movements popular in French suites, in
which a forte statement is immediately
mirrored by a piano repeat. One
might achieve such an effect with
clever orchestration—or a shift from
one keyboard to another—but a
violinist must rely on fingers and bow
arm to negotiate Bach’s quicksilver
changes from one dynamic to another.
To conclude, Bach conjures up a
thoroughgoing albeit brief Italianate
Gigue that positively emits buoyant
good cheer, the perfect ending to one
of the sunniest works in the literature.
GIL SHAHAM
Gil Shaham is one of the foremost
violinists of our time, whose
combination of flawless technique
with inimitable warmth has solidified
his legacy as an American master.
Highlights of his 2013–14 season
include: Korngold’s Violin Concerto with
the Vienna Philharmonic at Carnegie
Hall, the Cleveland Orchestra and the
Orchestre de Paris; a continuation
of his exploration of the concertos
of the 1930s with the San Francisco
Symphony, Los Angeles Philharmonic
and on tour with the Bavarian Radio
Symphony; the world, Asian and
European premieres of a new concerto
by Bright Sheng; and a recital tour
featuring Bach’s Sonatas and Partitas
for solo violin.
Shaham has more than two dozen
concerto and solo CDs to his name,
including bestsellers that have
appeared on record charts in the U.S.
and abroad, winning him multiple
Grammys, a Grand Prix du Disque,
Diapason d’Or and Gramophone
Editor’s Choice. His recent recordings
are produced on the Canary Classics
label, which he founded in 2004;
they comprise Nigumin: Hebrew
Melodies, Haydn Violin Concertos and
Mendelssohn’s Octet with Sejong
Soloists, Sarasate: Virtuoso Violin
Works, Elgar’s Violin Concerto with the
Chicago Symphony, The Butterfly Lovers
and Tchaikovsky’s Violin Concerto,
Tchaikovsky’s Piano Trio in A with Yefim
Bronfman and Truls Mork, The Prokofiev
Album, The Fauré Album, Mozart in Paris
and works by Haydn and Mendelssohn.
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 three children.
WILLIAM BOLCOM
Named 2007 Composer of the Year
by Musical America and honored
with multiple Grammy Awards for his
groundbreaking setting of Blake’s Songs
of Innocence and of Experience, William
Bolcom is a composer of cabaret songs,
concertos, sonatas, operas, symphonies
and much more. He was awarded the
1988 Pulitzer Prize in Music for his 12
New Etudes for Piano.
With his wife mezzo-soprano Joan
Morris, he has performed in concert
for 39 years throughout the United
States, Canada and abroad. In addition
to their live performances, Bolcom
and Morris have recorded two dozen
albums. Their first one, After the Ball,
garnered a Grammy nomination
for Joan Morris. Their most recent
recordings are two albums of songs by
lyricist E. Y. “Yip” Harburg and Gus Kahn
on Original Cast Records; Bolcom’s
complete Cabaret Songs, written with
lyricist Arnold Weinstein, on Centaur;
and Someone Talked: Memories of World
War II with tenor Robert White and
narrator Hazen Schumacher (available
on Equilibrium).
Some recent premieres include
Canciones de Lorca with tenor Plácido
Domingo, the Pacific Symphony
Orchestra and conductor Carl St. Clair
at the gala opening concert of the
Renée and Henry Segerstrom Concert
Hall, Orange County Performing Arts
Center, Costa Mesa, Calif. (September
2006); Eighth Symphony with the
Boston Symphony Orchestra and
Tanglewood Festival chorus conducted
by James Levine [February 2008];
Lucrezia, a one-act opera for five singers
and two pianists (March 2008); and First
Symphony for Band with the University
Ron Cunningham’s
at the Community Center Theater
December 7 - 22, 2013
Evening and Matinee Performances
Select Shows with Live Music Performed by:
the Sacramento Region Performing Arts Alliance - Two in Tune
(formerly known as the Sacramento Philharmonic)
Tickets:
Individual: $19 - $90
Call: 916-808-5181
(Community Center Theater Box Office Mon - Sat: 10am-6pm)
Online:
www.sacballet.org
Mee
Sugar Plut the
m Fairy
and the e
ntire Cast
at
our annua
l
Sugar Plu
m Fairy
Tea
Sunda
y, Decem
b
Tickets: $
3
er 8
0 each
www.sacb
allet.org
Photo by Jay Mather
The Nutcracker Sponsored By:
The Nutcracker
is sponsored by:
GIL SHAHAM
of Michigan Symphony Band conducted
by Michael Haithcock (February 2009).
In the spring of 2007, Bolcom
was feted in Minneapolis-St. Paul,
Minnesota, with a two and a half-week
festival of his music, including master
classes, recitals and concerts of his
vocal, organ and chamber music. Titled
Illuminating Bolcom, the festival was
highlighted by two performances of
Songs of Innocence and of Experience
accompanied by animated projections
of Blake’s illuminations. The animations
were commissioned by VocalEssence
and created by projection designer
Wendall K. Harrington, who designed
the projections for Bolcom’s opera, A
View from the Bridge.
In November 2007, his opera A
View from the Bridge was produced
by the Washington National Opera
in Washington, D.C. A new chamber
orchestration was premiered at the
University of Texas at Austin in April
2010. In February 2008 his Eighth
Symphony was premiered by the
Boston Symphony Orchestra and
Chorus in three performances.
Bolcom taught composition at the
University of Michigan from 1973–2008.
In the fall of 1994 the University of
Michigan named him the Ross Lee
Finney Distinguished University
Professor of Composition.
He has recorded for Advance,
Jazzology, Musical Heritage, Nonesuch,
Vox and Omega, among others.
For more information, please visit
William Bolcom’s website at
www.williambolcom.com.
FURTHER LISTENING
by Jeff Hudson
GIL SHAHAM
and WILLIAM BOLCOM
Gil Shaham will turn 43 in a few
months. That would be considered
fairly young for a conductor or
a composer, and you’ll certainly
see plenty of dads that age taking
their young children to elementary
schools around Davis. But Shaham
made a big splash as boy wonder
violinist in the 1980s, and he got
a big break in 1989, when he was
called on to replace the ailing Itzhak
Perlman in a set of concerts by
the London Symphony Orchestra
(under conductor Michael Tilson
Thomas). Shaham’s been recording
since 1990, with some 30 albums to
his credit. So when Shaham joked
about going through his “midlife
crisis” during an interview with San
Francisco Classical Voice earlier this
year, he was perhaps reflecting on
how long he’s been performing
at important venues around the
world. After his solo recital in Davis
this evening, Shaham will appear
with the Chicago Symphony
Orchestra next week, then the
Atlanta Symphony Orchestra in midmonth and then the Bavarian Radio
Symphony Orchestra in Munich
after that.
Shaham recorded for Deutsche
Grammophon for many years, then
he launched his own label—Canary
Classics—in 2004. He’s recorded
several albums with pianist Orli
Shaham (his younger sister),
including this year’s Nigunim,
which features a new piece
(commissioned by the Shaham
siblings) by Israeli composer Avner
Dorman, which created a stir in
several cities when Shaham toured
a few months ago.
Tonight, Shaham will play another
very recent piece composed with
him in mind—William Bolcom’s Suite
No. 2 for Solo Violin, which Shaham
premiered in February. Bolcom
completed his First Symphony in
1957; he studied composition at
Mills College in Oakland under
Darius Milhaud from 1958 to
1961 (around the time Milhaud
was commissioned by UC Davis
to write his Twelfth Symphony for
the dedication of Freeborn Hall).
Over his lengthy career, Bolcom
has composed operas (including
McTeague, based on the Frank Norris
novel, set in San Francisco and
Death Valley circa 1900), numerous
orchestral and chamber works,
songs, ragtime tunes and more. His
12 New Etudes for Piano received the
Pulitzer Prize for Music in 1988; the
Naxos recording of Bolcom’s setting
of William Blake’s Songs of Innocence
and of Experience won four Grammy
Awards in 2006. Bolcom’s very
popular rag “Graceful Ghost” (1970)
is often performed as an encore by
pianists and violinists … including
Gil Shaham.
JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO,
THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
THE
INTERGALACTIC NEMESIS
Live-Action Graphic Novel
Book One: Target Earth
A With A Twist Series Event
Written and Directed by Jason Neulander
CAST (in order of appearance)
Friday, November 15, 2013 • 8PM
Adapted from the stage play by
Jason Neulander and Chad Nichols
Danu Uribe
Molly Sloan, Bird, Lead Hive Voice,
Aughy, Claire, Queen of Zygon
Jackson Hall
THERE WILL BE ONE 15-MINUTE INTERMISSION.
Adapted from the radio drama by
Ray Patrick Colgan, Jessica Reisman,
Julia Edwards, Lisa D’Amour
Based on an original idea by
Ray Patrick Colgan
Comic-Book Artwork by Tim Doyle
Color Art by Paul Hanley and Lee Duhig
Production Designed by Jason Neulander
Sound Effects Created by Buzz Moran
Original Improvised Score Composed by
Graham Reynolds
Brock England
Timmy Mendez, Assassin, Jeeves,
Shopkeeper, Clint, X-7, Silcron,
Zygonian guard, Little Girl
Christopher Lee Gibson
Vlad, Ben Wilcott, Driver, Mysterion
the Magnificent, Lord Crawford,
Thug, Omar, Jean-Pierre Desperois,
Elbee-Dee-Oh
Foley Sound Effects Cami Alys
Piano and Organ Kenneth Redding, Jr.
Sound Engineering by
George R. Stumberg IV
Company Manager, Jessie Douglas
Associate Company Manager, Erin J. Hause
Comic books, sound-effects gadgets, posters, shirts and Zygonian Slime are available in the lobby at
intermission and after the performance. The cast will be signing books after the show.
This production received its world premiere at the Long Center for the Performing Arts in Austin, Texas,
2010. New York premiere at the New Victory Theatre, 2012.
PINK MARTINI
AUTUMN DEWILDE
A Just Added Event
Monday, December 2, 2013 • 8PM
Jackson Hall
SPONSORED BY
Pink Martini
Thomas Lauderdale, piano
China Forbes, vocals
Nick Crosa, violin
Timothy Nishimoto, vocals, percussion
Dan Faehnle, guitar
Phil Baker, bass
Anthony Jones, drums
Brian Davis, drums
Derek Rieth, drums
Gavin Bondy, trumpet
Jeff Budin, trombone
18 MONDAVIARTS .ORG
In 1994 in his hometown of Portland,
Oregon, Thomas Lauderdale was working
in politics, thinking that one day he
would run for mayor. Like other eager
politicians-in-training, he went to every
political fundraiser under the sun, but
was dismayed to find the music at these
events underwhelming, lackluster, loud
and un-neighborly. Drawing inspiration
from music from all over the world—
crossing genres of classical, jazz and
old-fashioned pop—and hoping to
appeal to conservatives and liberals
alike, he founded the “little orchestra”
Pink Martini in 1994 to provide beautiful
and inclusive musical soundtracks for
political fundraisers for progressive
causes such as civil rights, affordable
housing, the environment, libraries, public
broadcasting, education and parks.
After three years and a cast of different
singers, Lauderdale called China Forbes,
an old Harvard classmate who was
living in New York City, and asked her
to join Pink Martini. The band began
to write songs together, and their first
song “Sympathique”—with the chorus
Je ne veux pas travailler (“I don’t want to
work”)—became an overnight sensation
in France and was even nominated for
“Song of the Year” at France’s Victoires de la
Musique Awards.
“All of us in Pink Martini have studied
different languages as well as different
styles of music from different parts of
the world. So inevitably, our repertoire is
wildly diverse,” says Lauderdale. “At one
moment, you feel like you’re in the middle
of a samba parade in Rio de Janeiro, and in
the next moment, you’re in a French music
hall of the 1930s or a palazzo in Napoli.
It’s a bit like an urban musical travelogue.
We’re very much an American band,
but we spend a lot of time abroad, and
therefore have the incredible diplomatic
opportunity to represent a broader, more
inclusive America, the America which
remains the most heterogeneously
populated country in the world,
comprised of people from every country,
every language, every religion.”
Featuring 12 regular musicians, Pink
Martini performs its multilingual repertoire
on concert stages and with symphony
orchestras throughout Europe, Asia,
Greece, Turkey, the Middle East, Northern
Africa, Australia, New Zealand, South
America and North America. Pink Martini
made its European debut at the Cannes
Film Festival in 1997 and its orchestral
debut with the Oregon Symphony in 1998
under the direction of Norman Leyden.
Since then, the band has gone on to play
with more than 25 orchestras around the
world, including multiple engagements
with the Los Angeles Philharmonic at the
“It’s a bit like an urban
musical travelogue.”
Hollywood Bowl, the Boston Pops, the
National Symphony at the Kennedy Center,
the San Francisco Symphony and the
BBC Concert Orchestra in London. Other
appearances include the grand opening of
the Los Angeles Philharmonic’s new Frank
Gehry-designed Walt Disney Concert Hall
with return sold-out engagements for New
Year’s Eve 2003, 2004 and 2008; two soldout concerts at Carnegie Hall; the opening
party of the remodeled Museum of
PINK MARTINI
Modern Art in New York City; the Governor’s
Ball at the 80th Annual Academy Awards in
2008 and the opening of the 2008 Sydney
Festival in Australia.
Pink Martini’s debut album Sympathique
was released independently in 1997 on the
band’s own label Heinz Records (named
after Lauderdale’s dog) and quickly became
an international phenomenon, garnering
the group nominations for “Song of the
Year” and “Best New Artist” in France’s
Victoires de la Musique Awards in 2000.
Pink Martini released Hang On Little Tomato
in 2004, Hey Eugene! in 2007 and Splendor
In The Grass in 2009. In November 2010,
the band released Joy To The World—a
festive, multi-denominational holiday
album featuring songs from around the
globe. Joy To The World received rave
reviews and was carried in Starbucks stores
during the 2010 holiday season. All five
albums have gone gold in France, Canada,
Greece and Turkey and have sold more than
2 million copies worldwide.
Who’s
Your
Jeweler?
FURTHER LISTENING
PINK MARTINI
Retro—focusing on the ‘50s and early
‘60s. Campy—but in an affectionate and
sincere way. Bohemian—you can tell they
like to party. And international—their new
album Get Happy (a September release)
includes lyrics in Japanese, Turkish, Farsi,
Romanian and more.
That’s Pink Martini, the “little orchestra”
presided over by irrepressible pianist
Thomas Lauderdale. Get Happy features
some special guest vocalists including
NPR White House correspondent Ari
Shapiro (singing in Spanish, as quite a
crooner). Also a swansong by the late
comedienne Phyllis Diller (recorded
in 2012 at age 95, singing Charlie
Chaplin’s “Smile”).
There’s also a bit of J-pop, in the
form of “Zundoko,” a hit in 1969 for a
Japanese vocal quintet/boy band called
The Drifters. Lauderdale, whose heritage
includes a bit of what he describes as
“mystery Asian” ancestry, also worked a
Japanese translation of “White Christmas”
into Pink Martini’s 2010 holiday season
album Joy to the World, which has turned
into one of their best-selling disks.
Lauderdale’s musical interests are
many and varied. He told an NPR
interviewer earlier this year that as
a boy growing up in Indiana, he had
six big influences: “Ray Conniff, Ray
by Jeff Hudson
Charles, the New Christy Minstrels, the
Mormon Tabernacle Choir, Roger Miller
and the album Jesus Christ Superstar.” He
also mentioned a recent fondness for
Tammy Wynette’s 1969 country version
of “Just a Closer Walk with Thee.” And he
confessed that he really does respect
the nimble keyboard work on Liberace’s
recordings from the early 1950s, when
he played everything from Liszt classics
to “Malagueña” to the “Bumblebee
Boogie” in the days his appearances
were primarily about music, long before
the sequined costumes took over. “I’m
inching closer to Liberace-land every
day,” Lauderdale said, only half in jest.
Pink Martini is also unusual in that
it works with two lead singers. China
Forbes—scheduled to sing at tonight’s
concert—was a founding member of the
group; she and Lauderdale were friends
during their college days at Harvard, 20odd years ago. Forbes took a hiatus after
experiencing vocal trouble two years ago.
When Pink Martini visited the Mondavi
Center for the first time in July 2011, their
guest vocalist was Storm Large. China
Forbes, now recovered, sings at many of
Pink Martini’s concerts; Storm Large also
continues in an ongoing role as the band’s
co-lead vocalist. (And they’re both heard
on the new album.)
JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO,
THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW.
Frank, Vasiliy, Liz, Sophia, Carmen,
Luz & Cliff
• Jewelry
& Watch Repair
• Ring Sizing
& Refurbishing
• Engraving —
Inside Rings, Bracelets
• FREE Ring Cleaning
& Inspection
• Appraisals
903 3rd Street
Downtown Davis
(530) 753-5000
www.3rdstreetjewelers.com
A Director’s Choice Series Event
Saturday, December 7, 2013 • 8PM
Jackson Hall
Barbara K. Jackson
LEAH CROCETTO, Soprano
MARK MARKHAM, Piano
“REJOICE, REJOICE GREATLY”
FROM MESSIAH, HWV 56
PROGRAM
“Rejoice, rejoice greatly”
from Messiah
GEORGE FRIDERIC HANDEL
Handel
Three Songs
Barber
Sleep now, oh sleep now
Sure on this Shining Night
Nocturne
Die Nacht
Strauss
Morgen
Cacelie
“Glück, das mir verblieb” (Marietta’s
Lied) from Die Tote StadtKorngold
INTERMISSION
Eternal Recurrence
The Void
Graciso
Vivace, Naïve
By Chance
Recit, Hollow.
Liquide, molto rubato
Largo, proud
Verklärt
Playful, leggiero
The Void
Con amores la mi madre
Del Cabello mas sutil
Chiquitita la novia
20 MONDAVIARTS .ORG
Peebles
(Born February 23, 1685, in Halle, Germany; died April 14, 1759,
in London, England.)
Messiah librettist Charles Jennens took his
text from Zechariah 9:9–10, which fortells
of a savior who shall “speak peace unto the
heathen.” As such, “Rejoice, rejoice greatly”
is dramatic and virtuosic, its two major-key
sections (both setting “Rejoice greatly”)
flanking a relatively introverted passage in
minor mode that sets “He is the righteous
Saviour.” A bit of Messiah trivia is in order:
as performed at the 1742 Dublin premiere,
“Rejoice greatly” was in compound triple time,
which gave it a grandly billowing character,
but when Handel recast it in common time
for the 1743 London performances, the aria
acquired the propulsive angularity for which
it has become known.
“SLEEP NOW, OH SLEEP NOW”
“SURE ON THIS SHINING NIGHT”
“NOCTURNE”
SAMUEL BARBER
Obradors
(Born March 9, 1910, in West Chester, Pa.; died January 23, 1981,
New York City)
“Throughout his life Barber was never
without a volume or two of poetry at his
bedside. Poetry was as necessary to his
existence as oxygen.” That’s pianist John
Browning on his friend and mentor Samuel
Barber, American song composer par
excellence who found it difficult to read
poetry for pleasure because “I always have in
the back of my mind the feeling that I may
come across a usable song text.”
In his youth Barber was particularly drawn
to Celtic poets such as James Stephens and
William Butler Yeats. In James Joyce he found
a kindred soul whose 1907 Chamber Music
provided the text for the Three Songs, Op. 10,
composed in 1935-6 and published in 1939.
The second song, “Sleep now, oh sleep now,”
begins with a quiet exhortation for the heart
to sleep, then rises to an impassioned cry as
“the voice of the winter is heard at the door”
before sinking back into the intimate hush
of the beginning. In the 1940 Four Songs, Op.
13 we find “Sure on this Shining Night,” to
a text by James Agee. The celebrated song
resembles those great lieder by such worthies
as Johannes Brahms and Robert Schumann,
particularly in its long floating cantilena
melodic line over a quietly pulsating piano
accompaniment, such as might be found in
Schumann’s Dichterliebe. The Four Songs are
also the source for the haunting “Nocturne,”
to a poem from Carnival by Frederic Prokosch,
a moody writer with a flair for mysticism.
Barber sets Prokosch’s richly metaphoric
text in a manner more Debussyean than
Schumannesque, with clear references to the
superheated style of Alexander Scriabin, one
of Barber’s favorite composers.
“DIE NACHT” OP. 10 NO. 3
“MORGEN” OP. 27 NO. 4
“CÄCILIE” OP. 27 NO. 2
RICHARD STRAUSS
(Born June 11, 1864, in Munich, Germany; died September 8, 1949,
in Garmisch-Partenkirchen, Germany)
Richard Strauss wrote lieder throughout his
long life. The first to appear in print, published
in 1885 as Op. 10, were the Eight Poems from
Hermann Gilm’s “Letzte Blätter,” composed by
Strauss at the age of 20. “Die Nacht,” the third
song in the cycle, offers a quintessentially
Romantic image of a personified night that
“takes everything that is lovely,” and may
very well steal “you, too, from me.” But dawn
comes after the dark, as “Morgen,” from an
1894 set of four lieder, promises that “the sun
will shine again” as “we shall look into each
other’s eyes” and revel in silent happiness.
After the introversion of those two songs,
“Cäcilie” comes as a welcome contrast,
bursting with a lover’s most heartfelt
passions, its effusive piano part supporting
an ecstatically soaring vocal line.
Hyatt Place UC Davis
The only hotel located on Campus
“GLÜCK, DAS MIR VERBLIEB”
(MARIETTA’S LIED)
FROM DIE TOTE STADT
We are a proud corporate sponsor of the
Robert and Margrit Mondavi Center for the Performing Arts
ERICH WOLFGANG KORNGOLD
(Born May 29, 1897, in Brno, Czech Republic; died November 29,
1957, in Los Angeles)
Child prodigies at the level of Erich
Wolfgang Korngold come along only rarely.
He was still in short pants when his works
were being played throughout Europe by
the likes of pianist Artur Schnabel. He was all
of 23 years old when his opera Die Tote Stadt
(The Dead City) erupted into international
prominence, staged even at the Metropolitan
Opera within a few years of its dual 1920
premieres in Cologne and Hamburg. The
story—which bears more than a passing
resemblance to Alfred Hitchcock’s Vertigo—
features a superb soprano role in Marietta,
the lovely young dancer who vividly
reminds the protagonist Paul of his recentlydeceased wife. In the opera, “Glück, das mir
verblieb” (“My happiness that remained”) is a
rapturous duet between Marietta and Paul,
but in concert it is typically presented as an
aria for solo soprano.
Enjoy the show!
173 Old Davis Road, Davis CA 95616
HP 080213 mondavi 1_3s.pdf
ETERNAL RECURRENCE
GREGORY PEEBLES
(Born in 1975, in Hartselle, Alabama)
Travel is at the heart of Eternal Recurrence.
The narrative—albeit abstract—is in the form
of a journey. At the literal level, the primary
character is activated by the vastness of
experiential possibilities, and sets out for as
much of it as he or she can bear. First on the
path we encounter Love and the difficulties
that Intimacy presents. The protagonist
responds by running across the wide world. A
musical stop along the river Seine is indicative
HP 080213 mondavi 1_3s.indd 1
LEAH CROCETTO
of the European landscape of the heart of the
work, through which the composer traveled
while composing the poetry. The conclusion of
this poetic journey is the realization that home,
travel, motion and time itself are illusory;
subsequently, we witness and coexperience
Sybil and the ineluctable Death and the
surprise of longing for crossing the River Styx.
But as every birth must conclude in death,
so must death follow birth in endless cycle,
and arrive again at the beginning. The large
structure of the work is palindromic in regards
to motive and harmony.
“CON AMORES LI MI MADRES”
“DEL CABELLO MAS SUTIL”
“CHIQUITITA LA NOVIA”
FERNANDO OBRADORS
(Born 1897, in Barcelona , Spain; died 1945 in Barcelona , Spain.)
The self-taught Catalan composer,
103
YEARS FIRST
NORTHERN BANK
HAS EXISTED
LEAH CROCETTO
22
YEARS I’VE BEEN A
CERTIFIED TRUST &
FINANCIAL ADVISOR
1
CHRIS ANN BACHTEL, Senior Vice PreSident, truSt Manager
SINGULAR
CLIENT FOCUS
“
pianist, and conductor Fernando Obradors
(1897–1945) wrote music in a variety
of genres, but he is best known for his
collections of folk and popular songs.
The Dos Cantares Populares (Two Popular
Songs) are “Con amores, la mi madre,” from
a 15th-century text by Juan de Anchieta
that speaks of a mother’s love and the rest
it brings, and the anonymous “Del Cabello
mas sutil,” in which a swain pines for the
“softest hair” of his lady love. “Chiquitita
la novia,” the “tiny bride” with her equally
tiny groom and tiny bed, comes from a set
of verses by 19th century flamenco singer
Francisco Fernández Boigas, better known
under the pseudonym Curro Dulce.
- Member, Crocker Art Museum’s Board of Directors
- Chair, Arts & Antiquities Committee for a private organization
- Nominee, Individual Leadership in the Arts, Sacramento Arts & Business Council
Mastering the fine art of
estate & investment planning.
As a true lover of the arts, I get joy from volunteering over
300 hours annually to various arts-related organizations in
the capital region. That same passion I have for the arts I
apply to my work as Trust Manager at First Northern Bank.
”
FIRST NORTHERN BANK
Asset MAnAgeMent & trust DepArtMent
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Auburn | Davis | Dixon | Fairfield | Roseville
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www.thatsmybank.com
Investments Not FDIC Insured • May Lose Value • No Bank Guarantee
22 MONDAVIARTS .ORG
Recognized as a rising star in the next
generation of singers, Leah Crocetto
represented the United States at the
2011 Cardiff BBC Singer of the World
Competition where she was a finalist in
the Song Competition. She is a 2010 Grand
Finals Winner of the Metropolitan Opera
National Council Auditions and was the
First Place Winner, People’s Choice and
the Spanish Prize Winner of the 2009 José
Iturbi International Music Competition,
and winner of the Bel Canto Foundation
competition. A former Adler fellow at San
Francisco Opera, Crocetto has appeared
frequently with the company, most recently
in the role of Liu in Turandot
Crocetto begins the current season
singing a concert of sacred pieces by Verdi
with Orchestre National de France under
the direction of Daniele Gatti. She returns
to Opera de Bordeaux to sing Desdemona
in Otello, and she returns to Frankfurt
Opera for her first performances of Alice
Ford in Falstaff. Her concert engagements
take her to the Green Music Center in
Sonoma, California, and the Speed Museum
in Louisville, Kentucky. This season, she
sings the Verdi Requiem with San Francisco
Opera and with the Radio Orchestra of
Saarbrücken, Germany. She makes her
debut with Pittsburgh Opera singing her
first performances of Mimi in La bohème,
and she performs Handel’s Messiah with
the National Symphony Orchestra at the
Kennedy Center.
Crocetto began the 2012–13 season with
her debut in Venice, singing Desdemona in
Otello at Teatro la Fenice. She reprised the
LEAH CROCETTO
role with the company in their tour of Japan
later in the season, as well as with Frankfurt
Opera in her company debut. Crocetto also
made her debut with the Israeli Opera as
the title role of Luisa Miller. She joined the
Calgary Philharmonic in performances of the
Verdi Requiem, and she returned to Italy to
sing Leonora in Il trovatore in her debut at the
Arena di Verona.
PERSONAL DIRECTION:
Willam G. Guerri, Vice-president
Columbia Artists Management LLC
(212) 841-9680 [email protected]
MARK MARKHAM
Pianist Mark Markham made his debut
in 1980 as soloist with the New Orleans
Symphony Orchestra and in the same
year was invited by the renowned Boris
Goldovsky to coach opera at the Oglebay
Institute, hence the beginning of a
multi-faceted career. His teachers at the
time, Robert and Trudie Sherwood, were
supportive of all his musical endeavors
from solo repertoire, vocal accompanying,
and chamber music to Broadway and jazz.
During the next 10 years as a student at the
Peabody Conservatory, where he received
bachelor’s, master’s and doctoral degrees
in piano performance, this same support
for the diversity of his musical gifts came
from Ann Schein, a pupil of the great Artur
Rubinstein. While under her tutelage, he
won several competitions including the First
Prize and the Contemporary Music Prize
at the 1988 Frinna Awerbuch International
Piano Competition in New York City. He has
given solo recitals at the National Gallery of
Art in Washington, D.C.; the New York Public
Library; the Baltimore Museum of Art and
the Getty Museum in Los Angeles. In 1987,
Markham was appointed pianist of the
Contemporary Music Forum of Washington,
D.C. During five seasons he gave numerous
premiere performances at the Corcoran
Gallery with this ensemble. This work led
to other premieres throughout the U.S. by
composers Shulamit Ran, Larence Smith
and Richard Danielpour. Markham has also
performed with the Brentano, Mozarteum,
Glinka and Castagnieri quartets and the
Baltimore Woodwind Quintet, as well as
with Edgar Meyer, Ron Carter, Grady Tate
and Ira Coleman. While a student at the
conservatory, Markham toured with soprano
Phyllis Bryn-Julson. This collaboration
resulted in critically acclaimed recordings
of works by Messiaen, Carter, Dallapiccola,
Schuller and Wuorinen. In addition, he
has toured the US, Europe and Asia with
countertenor Derek Lee Ragin.
Since 1995, Markham has been the
recital partner of Jessye Norman, giving
nearly 300 performances in over 25
countries, including recitals in Carnegie
Hall, the Concertgebouw in Amsterdam, La
Palau de la Musica in Barcelona, London’s
Royal Festival Hall, the Musikverein in
Vienna, the Salzburg Festival, Bunka
Kaikan in Tokyo, Mann Auditorium in Tel
Aviv, the Ancient Theatre of Epidaurus in
Greece and at the 2002 Nobel Peace Prize
presentation to President Jimmy Carter
in Oslo. Recently he has performed with
Norman in London, Paris, Lyon, Moscow,
St. Petersburg, Ghent, Zurich, Oman,
Beirut, Baden-Baden, Washington, D.C. and
San Francisco.
Much appreciated by the public for his
improvisational skills, Markham performed
at the Expo 2000 in Hannover, Germany,
where he collaborated with Sir Peter
Ustinov for a live television broadcast
throughout the country. His gift for jazz has
been recognized in the Sacred Ellington, a
program created by Norman in which he
serves as pianist and musical director and
which has toured Europe and the Middle
East. Most recently, his recording with Jessye
Norman of Roots: My Life, My Song was
nominated for a Grammy.
In 1990, Markham was invited to join
the faculty of the Peabody Conservatory,
where he served for ten years as vocal
coach and professor of vocal repertoire and
accompanying. A former faculty member
of Morgan State University, the BrittenPears School in England and the Norfolk
Chamber Festival of Yale University, he has
presented master classes for pianists and
singers throughout the U.S., Europe and
Asia and has been a guest lecturer for the
Metropolitan Opera Guild and the Johns
Hopkins University. Markham currently
resides in New York City.
Voted Best Dessert in Yolo County 6 Years in a Row
• Breakfast • Lunch • High Tea • Catering • Weddings
Bring in your Mondavi ticket stub to receive a 15% discount on your purchase.
A Hallmark Inn, Davis Children’s Stage Event
Sunday, December 8 • 3PM
SPONSORED BY
Lara Downes, piano
LARA DOWNES
FAMILY CONCERT
The Magic Fish
Daren Jackson, bass, Magic Fish
(2013 FOUNDERS’ PRIZE WINNER OF THE
MONDAVI CENTER YOUNG ARTISTS COMPETITION)
Lauren Woody: Mother Zachary Gordin: Father Ann Moss: Otter/Girl Darron Flagg: Boy
Davis High School Orchestra
Angelo Moreno, Conductor
Mindy Cooper, Director
LARA DOWNES, a critically acclaimed American
pianist and a captivating presence both on and
offstage, is recognized as one of the most exciting
and communicative classical artists of her generation.
Called “a delightful artist with a unique blend of
musicianship and showmanship” by NPR and praised
by the Washington Post for her stunning performances
“rendered with drama and nuance,” Downes presents
the piano repertoire—from iconic favorites to newly
commissioned works—in new ways that bridge
musical tastes, genres and audiences.
Since making concert debuts at Queen Elizabeth
Hall London, the Vienna Konzerthaus and the Salle
Gaveau Paris, Downes has won over audiences
at Carnegie Hall, Kennedy Center, Lincoln Center,
the American Academy Rome, San Francisco
Performances, the Montreal Chamber Music Festival,
Portland Piano International and the University of
Washington World Series, among many others. Her
original solo performance projects have received
support from prominent organizations such as
the National Endowment for the Arts, the Barlow
Endowment for Music Composition, the Center for
Cultural Innovation and American Public Media.
Downes’s chamber music appearances include
collaborations with noted soloists and ensembles
including cellist Zuill Bailey, violinist Rachel Barton
Pine, jazz pianist Dan Tepfer and the Alexander
String Quartet. Commissions and premieres of new
works for Downes have come from composers
Mohammed Fairouz, David Sanford, Benny Golson
and Eve Beglarian, among others.
Downes’s solo recordings have met with
tremendous critical and popular acclaim. Her
debut CD, Invitation to the Dance (2000), was called
“magical” by NPR, and her second release, American
Ballads (2001), was ranked by Amazon among
the best recordings of American concert music
ever made. Dream of Me (2006) was praised for
“exquisite sensitivity” by American Record Guide. 13
Ways of Looking at the Goldberg (2011) was called
24 MONDAVIARTS .ORG
Music by Sunny Knable;
Libretto by Jim Knable
“addicting” by the Huffington Post, and “magnificent
and different” by Sequenza 21. Her chart-topping
new release, Exiles’ Café (2013), featured as CD of
the Week by radio stations from WQXR New York
to KDFC San Francisco, was called “ravishing” by
Fanfare magazine. She is regularly heard nationwide
on radio programs including NPR Performance
Today, WNYC New Sounds, WFMT Impromptu, TPR
Classical Spotlight and WWFM Cadenza. Downes ‘s busy performance career is strongly
driven by her commitment to expanding and
developing new audiences for the arts. She is the
founder and president of the 88 KEYS® Foundation, a
non-profit organization that fosters opportunities for
music experiences and learning in America’s public
schools, and she regularly works and performs with the
next generation of talented young musicians as artistic
director of the Young Artists program at the Mondavi
Center for the Performing Arts, UC Davis, where she
serves as artist-in-residence. Downes is founder and
director of The Artist Sessions, San Francisco.
Lara Downes is a Steinway Artist.
www.LaraDownes.com
A Broadway veteran for over 25 years, MINDY
COOPER has performed (Chicago, Titanic, Beauty
and The Beast, Song & Dance and Tenderloin),
choreographed (Dracula, Wrong Mountain) and
produced (Soul Doctor) on Broadway. As a director,
she has worked extensively around the country,
including Off-Broadway, New York Theater
Workshop, Town Hall (NYC), Manhattan Theater Club,
Koener Hall (Toronto), Sacramento Music Circus and
CenterRep, where her work has won 10 Bay Area
Theater Critics Awards. She most recently directed
the American premiere of the one-man show Men
are from Mars, Women are from Venus Live, now
touring nationwide. She has also choreographed for
TV, film, industrials, commercials and benefits, and
is delighted to return to the Mondavi Center for the
fourth time with Lara Downes’s family concert.
Based on the Brothers Grimm fairy
tale, The Fisherman and His Wife
DARRON FLAGG is a singer-actor posed to become
one of the opera world’s most exciting discoveries
of recent memory. Flagg’s celebrated performances
of the treacherously difficult title role in Rossini’s
comedic masterpiece Le Conte D’Ory as well as his
portrayal of the Honorable Elijah Mohammed in a
2006 production of Anthony Davis’ Life and Times
of Malcolm X have cemented his reputation in
contemporary and bel canto roles.
Flagg has performed roles with regional opera
companies on the West Coast of the United States.
These houses include Sacramento Opera, West
Bay Opera, Festival Opera, Livermore Valley Opera,
Pocket Opera, San Francisco Opera, Verismo Opera,
West Edge Opera and Oakland Opera Theater.
Internationally, Flagg has participated in the Young
Artist Program at the New Israel Opera House. Flagg
has performed as a soloist on stages in Russia, Sweden
and Germany. On the concert stage, Flagg has been
as soloist in works such as Herrmann’s Moby Dick,
Handel’s Messiah, Verdi’s Requiem, Bruckner’s Te Deum,
Haydn’s Creation and Haydn’s Paukenmesse. At the Los
Angeles Philharmonic’s Walt Disney Hall, Flagg served
as tenor soloist in a performance of Beethoven’s
Ninth Symphony. On the theatrical stage, Flagg has
performed works of William Shakespeare, Johann
Goethe and Friedrich Dürrenmatt. Flagg’s assumed the
role of Sal Jr. in feature film Baghdad Café, co-starring
Oscar-winning actor Jack Palance and CCH Pounder.
A former recitalist in Lincoln Center’s Meet the
Artist series, Flagg is a past winner of the Southeast
Symphony Young Artist competition and a former
member of the New Israel Opera House Young
Artists Studio in Tel Aviv. ZACHARY GORDIN is renowned for bringing
masterful singing and strong physicality to a wide
variety of roles from baroque heroes to contemporary
works written specifically for him. For his recent debut
at the Olympic Music Festival, the Seattle Times hailed
him as “a singer already capable of some arresting
LARA DOWNES FAMILY CONCERT
musical insights. The occasional big effects were
commanding and intense without ever descending
into coarseness, and the delicacy and tonal allure he
brought to the cycle’s preponderance of quiet songs
were deeply impressive.” Recent performances on the
operatic stage include Escamillo in Carmen with Diablo
Symphony Orchestra and San Francisco Lyric Opera,
Ben in The Telephone with Blue Sage Center for the
Arts, Silvio in Pagliacci and Monterone in Rigoletto with
Sacramento Opera, Aeneas in Dido and Aeneas and El
Cantaor in La vida breve with West Bay Opera, Germont
in La Traviata with West Bay Opera and Center Stage
Opera, Enrico in Lucia di Lammermoor with North Bay
Opera and Center Stage Opera and many others.
Gordin has been in high demand as a guest artist
with the Oakland East Bay Symphony, where has
sung Fauré’s Requiem, Verdi’s Otello, Kurt Weill’s Street
Scene and Orff’s Carmina Burana. Gordin’s talent
has been recognized as a winner of prestigious
vocal competitions, including the Pacific Musical
Society Competition, East Bay Opera League Vocal
Competition, Bellini International Voice Competition
and the Ibla Grand Prize Baroque Music Competition.
He was the recipient of the Irene Patti Swartz
Encouragement Award for the Florida Grand Opera
National Voice Competition and Grantee of the Vocal
Arts Foundation in San Francisco. He was also World
Finalist for the Academia at Teatro alla Scala, Regional
Finalist for the Metropolitan Opera National Council
Auditions and the youngest candidate selected for
the ORFEO 2000 World Competition of International
Finalists hosted by Hannover Staatsoper.
DAREN JACKSON is the Founders’ Prize winner of
the 2013 Mondavi Center Young Artists Competition.
He began voice studies at age 8 in Wilmington, NC.
At 15, he was accepted as the youngest student at
North Carolina School of the Arts, where he currently
studies with Glenn Siebert. He has performed
diverse roles in works such as Andrew Lloyd Weber’s
Requiem, Bernstein’s Kaddish and Rossini’s Stabat
Mater. He is the recipient of the Bill and Judy Watson
Scholarship and the William Bondurant Scholarship
at UNCSA, and in 2013 he won 1st place in the North
Carolina and Mid-Atlantic Region NATS auditions.
SUNNY KNABLE was raised in a family of artists. As
an adult, he became an award-winning composer,
classical pianist, jazz player, songwriter, percussionist
and educator. As a composer, he has won three
Best Composition awards at the Festival of New
American Music, and in 2009, he was the recipient
of the Iron Composers Award (for which he wrote
a four-minute piece in five hours). His works have
been heard throughout the U.S. and internationally.
After receiving his bachelor’ of music degree in
composition, piano performance and jazz studies at
California State University, Sacramento, he moved to
New York City, where he makes his living as a pianist.
In 2010, his 30-minute work Music of the Rails was
commissioned and premiered by the Sacramentobased sextet Citywater in celebration of the Crocker
Art Museum’s reopening. In 2011, Half Moon Theatre
of Poughkeepsie, NY, commissioned his children’s
opera, The Magic Fish, with his brother Jim Knable as
librettist. In 2012, he received his master’s of arts degree
in composition at the Aaron Copland School of Music
where he served as president of the Queens College
New Music Group for two years. His debut composition
CD American Variations was released in 2012 on
Centaur Records. He serves as music director of The
Church-in-the-Gardens in Forest Hills, NY, while fulfilling
commissions from around the country. He continues his
doctoral education at Stony Brook University.
ANGELO MORENO is a graduate of UC Davis where
he received his bachelor of arts and master of arts
in orchestral conducting under the direction of Dr.
D. Kern Holoman in the fall of 2002. He also received
his teaching credential in music education from
Sacramento State University. Moreno is the director
of the Sacramento Youth Symphony’s Academic
Orchestra. In addition to his youth symphony work,
Moreno has been directing the Davis Schools
Secondary Orchestras since 2000. He was orchestra
director at Emerson Junior High and is currently the
director of the Davis Senior High and Holmes Junior
High School Orchestra Programs.
In 2005, Moreno was awarded the Teacher of the Year
Award presented by the CSUS College of Education in
recognition of outstanding service to public education.
In 2006, he was honored by State Assemblywoman
Lois Wolk and given a resolution from the California
Legislature recognizing his work in music education. In
2009, the Sacramento News & Review honored Moreno
at the Jammies Concert with the Sacramento Music
Educators Outstanding Achievement Award.
In addition, DownBeat Magazine recognized
Moreno and his Combined Junior High Advanced
Orchestra and the Davis Senior High School
Symphony Orchestra to be Best Classical Ensemble at
the high school level nationwide in 2010 and 2011.
In the fall of 2011, Moreno was given the Harmony
in Our Lives Award for excellence in music education
by the Davis Schools Arts Foundation. In the fall of
2012, the California Music Educators Association
(CMEA) unanimously recognized Moreno as the
state’s Richard L. Levin Orchestra Educator awardee.
ANN MOSS is an ardent and acclaimed champion
of contemporary vocal music who performs and
collaborates with a dynamic array of American
composers. Her high, silvery, flexible voice has been
singled out by Opera News for its “beautifully pure
floated high notes” and by San Francisco Classical Voice
for its “powerful expression.” September 2013 marks
the release of her debut CD CURRENTS, produced by
multiple Grammy Award-winner Leslie Ann Jones
and featuring a dream team of collaborators from the
chamber music, new music and jazz communities
performing some of the extraordinary new and
recent American vocal/chamber music Moss has
championed over the past decade.
Moss has sung premieres and performed
contemporary repertoire with M2B, Earplay, Eco
Ensemble, One Art Ensemble, New Music Works,
San Francisco Lyric Opera, the Ives String Quartet,
Alexander String Quartet, Hausmann Quartet, Sanford
Dole Ensemble and Composers in Red Sneakers. She
has performed at the Sacramento Festival of New
American Music, Fresno New Music Festival, PARMA
Festival, SF Song Festival, Other Minds Festival,
Switchboard Music Festival, Sonic Harvest, CNMAT
and in frequent recitals of contemporary art song.
Equally sought after for her vibrant and affecting
interpretations of masterworks from the oratorio
and operatic literature, Moss has recently been heard
performing solos in Beethoven’s Ninth Symphony with
the UC Berkeley Symphony Orchestra, Haydn’s Missa
in Angustiis with Oakland Symphony Chorus, Handel’s
Acis & Galatea with California Bach Society, and
Poulenc’s Gloria and Ravel’s L’enfant et les sortilèges
with Berkeley Opera. Other operatic roles include
Nannetta, Blondchen, Despina and Dew Fairy.
A native of Boston and a graduate of the Longy
School of Music and San Francisco Conservatory, Moss
currently resides and teaches in the San Francisco
Bay Area. She has participated in master classes with
artists including Jose Van Dam, Nathan Gunn, Graham
Johnson, Martin Katz, Jake Heggie, John Harbison,
Craig Smith and Barbara Kilduff. Private teachers
include Sheri Greenawald, Wendy Hillhouse, Anna
Gabriali and Rodney Gisick; coaches include Steven
Bailey, Brian Moll, Paul Hersh, Wayman Chen, Brenda
Miller and Tim Bach. She attended the internationally
renowned Songfest program for two summers.
Soprano LAUREN WOODY recently returned from
performing at Lincoln Center with the New York
City Opera Orchestra and on a National U.S. tour
with the prestigious Young Artist program, I Sing
Beijing. She is garnering recognition for her artistry,
beautiful vocal timbre and ringing high notes.
In 2012, she made her international debut in
China at the National Center for the Performing
Arts, where she studied under the tutelage of
internationally acclaimed faculty members, including
Metropolitan Opera bass Hao Jiang Tian, Maestro
Paul Nadler and coach Katherine Chu.
A winner of the Career Bridges Grant Award in
New York, Woody has been described as possessing
a “wonderful lyric soprano voice capable of many
styles and genres.” Over the years, she has been
tackling leading roles in The Magic Flute (Second
Lady), Haydn’s La Vera Costanza (Rosina), and the
title roles in Gilbert and Sullivan’s Patience and
Iolanthe. Her performances have been characterized
as “superb ... engaging the audience with both her
singing and acting” (Maestro Brian Sparks).
Currently based in the San Francisco Bay Area,
she sings with the contemporary hybrid hip-hop
orchestra, Ensemble Mik Nawooj, premiering new
works by composer Joowan Kim. Woody studies with
world-renowned soprano and San Francisco Opera
Center Director Sheri Greenawald, specializing in lyric
soprano repertoire by Puccini, Mozart and Verdi.
JEFF TWEEDY, Solo
A Just Added Event
Tuesday, December 10, 2013 • 8PM
Jackson Hall
According to Salon.com, Jeff Tweedy is “one of
the most daring songwriters of his generation” and
his band Wilco is hailed as “vital, adventurous …
breaking new stylistic ground with each ambitious
and creatively restless album.”
As the founding member and leader of the
American rock band Wilco and before that the
co-founder of alt-country band Uncle Tupelo, Jeff
Tweedy is one of contemporary American music’s
most accomplished songwriters, musicians and
performers. Since starting Wilco in 1994, Tweedy
has written original songs for eight Wilco albums
and collaborated with folk singer Billy Bragg to
bring musical life to three albums full of Woody
Guthrie-penned lyrics in the Mermaid Avenue series.
Tweedy has had a firm hand in producing all
of Wilco’s eight studio albums, and over the past
decade has created the Wilco Loft, a state-of-the-art
recording studio and rehearsal space on Chicago’s
North Side “where eccentric vintage instruments sit
side by side with near classics … industrial-grade
shelves filled to the ceiling with guitar cases and
amps. Everywhere you look, there are instruments”
(Fretboard Journal).
Tweedy, an accomplished and in-demand
producer beyond the Wilco realm, has
collaborated twice with soul and gospel legend
Mavis Staples. First on her 2010 release You Are
Not Alone, and more recently, on the just-released
One True Vine. Both albums were produced by
Tweedy and recorded at the Wilco Loft. Both have
garnered widespread critical acclaim. “One True
Vine sounds at once contemporary and true to
Staples’s lengthy career and history … haunting,
beautifully restrained … A-” (The A.V. Club).
“Guided by the brilliant production of Wilco’s Jeff
Tweedy, [the album] mixes triumphant gospel
and evocative blues, infusing each with hard-won
wisdom,” says NPR on You Are Not Alone, which
went on to win Best Americana Album in the 53rd
Annual Grammy Awards.
Tweedy’s most recent producer credits include
The Invisible Way by the Minneapolis trio Low,
Wassaic Way by folk-rock duo Sarah Lee Guthrie
& Johnny Irion (co-produced with Wilco’s Patrick
Sansone) and a forthcoming album by Austin’s
psychedelic rockers White Denim.
A touring tour-de-force since the release of
The Whole Love in September 2011 on the band’s
own dBpm Records, Wilco has played more than
170 concerts worldwide including multiple tours
of North America and Europe as well as tours
of Australia, New Zealand and Japan. Wilco also
mans the helm at its own Solid Sound Festival
at MASS MoCA in The Berkshires—a three-day
event blending music, comedy, world-class
contemporary art and more.
In addition to his work with Wilco, Tweedy
tours frequently as a solo artist, playing intimate,
unscripted acoustic sets that draw from his 400-plus
song repertoire. A departure from Wilco’s carefully
orchestrated, sonically complex performances,
Tweedy’s solo concerts showcase his prolific output
as a songwriter, his proficiency as a guitarist, his
charismatic and compelling stage presence and his
wry sense of humor.
Friday, January 10, 2014
7:00 pm
Jackson Hall, mondavi center
London-Haydn String Quartet
and Eric Hoeprich, basset clarinet
Haydn: Quartet in G Major, op. 33, no. 5
Weber: Clarinet Quintet, op. 34
Tickets are available through the Mondavi Center Box Office | 530.754.2787 | mondaviarts.org
BLIND BOYS OF ALABAMA
Go Tell It on the Mountain
CAMERON WITTING
A Just Added Event
Friday, December 13, 2013 • 8PM
Jackson Hall
Jimmy Carter, vocals
Ben Moore, vocals
Ricky McKinnie, vocals
Joey Williams, guitar/vocals
Tracy Pierce, bass
Peter Levin, keys
Austin Moore, drums
The Blind Boys of Alabama are recognized
worldwide as living legends of gospel music. Nearly
75 years after they hit their first notes together, the
Blind Boys of Alabama are exceptional not only in
their longevity, but also in the breadth of their catalog
and their relevance to contemporary roots music.
Since 2000, they have won five Grammy® Awards and
four Gospel Music Awards, and have delivered their
spiritual message to countless listeners.
Longevity and major awards aside, the Blind
Boys have earned praise for their remarkable
interpretations of everything from traditional
gospel favorites to contemporary spiritual material.
With as much momentum as the Blind Boys have
gathered in the last several years, there is no chance
of slowing them down.
I’ll Find A Way, the Blind Boys’ most recent release,
was produced by Justin Vernon (of Bon Iver). A
unique collaboration between one of popular
music’s longest-running acts and one of its fastestrising stars, it is a powerful collection of gospel
and spiritual songs new and old, featuring some
of the Blind Boys’s most fervent vocals as well as
contributions by a new generation of Blind Boys
fans—Sam Amidon, Shara Worden of My Brightest
Diamond, Merrill Garbus of tUnE-yArDs, Casey
Dienelof White Hinterland, Patty Griffin and Justin
Vernon himself.
The Blind Boys’ live shows are roof-raising
musical events that appeal to audiences of all
cultures, as evidenced by an international itinerary
that has taken them to virtually every continent.
The Blind Boys of Alabama have attained the
highest levels of achievement in a career that
spans more than 75 years and shows no signs
of diminishing.
Copyright © UC Regents, Davis campus, 2013. All Rights Reserved.
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You’ll find it at any of our convenient primary care centers throughout the area, from
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When it comes to your health care, the one you choose, the one you trust and the one
you see makes all the difference.
There’s only one UC Davis. Find your team at medicalcenter.ucdavis.edu
ONE T EAM , O NE C H O IC E
A Holiday Event
Sunday, December 15, 2013 • 4PM
SPONSORED BY
Hansen Kwok
AMERICAN
BACH SOLOISTS
Messiah
American Bach Choir
American Bach Soloists
Jeffrey Thomas, conductor
Shawnette Sulker, soprano
Eric Jurenas, countertenor*
Aaron Sheehan, tenor
Mischa Bouvier, baritone*
SOPRANO
AMERICAN BACH CHOIR
TENOR
VIOLIN
AMERICAN BACH SOLOISTS
CONTRABASS
PROGRAM NOTES
Jennifer Brody
Cheryl Cain
Tonia D’Amelio
Julia Earl
Susan Judy
Clare Kirk
Rita Lilly
Allison Zelles Lloyd
Diana Pray
Brett Ruona
Cheryl Sumsion
Edward Betts
John Davey-Hatcher
Andrew Morgan
Mark Mueller
Sigmund Siegel
Sam Smith
Elizabeth Blumenstock
(leader) **
Tekla Cunningham
(principal second)
Tatiana Chulochnikova *
Karin Cuellar *
Andrew Davies
Rachel Hurwitz
Mishkar Núñez-Mejía *
Janet Strauss
Lindsey Strand-Polyak *
Noah Strick *
David Wilson
Jude Ziliak *
Steven Lehning
(principal &
continuo) **
Christopher Deppe
Josh Lee
Within the decade that followed Handel’s
composition of Messiah in 1741, nearly a
dozen different casts and configurations
of vocal soloists were employed by the
composer during those first 10 years of what
would become a never-ending history of
performances worldwide. In each case, and for
the remaining years of Handel’s life, he made
revisions to his score that made the best use of
the particular talents of his solo singers. While
it is certainly true that Handel’s arrangements
and transcriptions of arias that were employed
for the work’s premiere in Dublin (1742)
were due to the inadequacy of some of the
singers at his disposal there, all subsequent
revisions sought to show both the artists and
the work in their best light. Customizing a
musical work for the sake of the performers
was not uncommon. In fact, it was not unheard
of for an operatic vocalist (of necessarily
considerable reputation) to carry along his
or her favorite arias from city to city, insisting
that they be incorporated into otherwise
intact and singularly-composed musical works
for the stage. This indulgence was not as
unreasonable as one might first assume.
The operatic style during Handel’s day has
since become known as opera seria, a term that
literally means “serious opera” and that was
devised to mark the differences between those
works and opera buffa, “comic operas” that were
ALTO
James Apgar
Dan Cromeenes
Elisabeth Elliassen
Danielle ReutterHarrah *
William Sauerland *
Gabriela Solis *
Amelia Triest
Celeste Winant
BASS
John Kendall Bailey
Hugh Davies
Thomas Hart
Raymond Martinez
Jefferson Packer
Daniel Pickens-Jones
Jere Torkelsen
David Varnum
VIOLA
Jason Pyszkowski
(principal) *
Vijay Chalasani *
Daria D’Andrea
Clio Tilton *
TRUMPET
John Thiessen (solo) **
William B. Harvey
TIMPANI
Allen Biggs
OBOE
John Abberger
Debra Nagy **
BASSOON
Charles Koster
ORGAN CONTINUO
Steven Bailey
VIOLONCELLO
William Skeen
(principal &
continuo) **
Gretchen Claassen *
Elisabeth Reed **
Andres Vera *
HARPSICHORD
CONTINUO
Corey Jamason **
* ABS Academy Alumnus
** ABS Academy Faculty
the outgrowth of commedia dell’arte. There were
strict conventions within opera seria, including
the utilization of the da capo, or A-B-A, format
for arias. Secco recitatives, accompanied only by
continuo (harpsichord and violoncello), were used
to reveal plot details and to introduce the arias (or
rarely, duets) that would illuminate the emotions
of whichever character would sing them. But there
were also non-musical conventions of equally
practical importance. In most cases the singer
would exit at the end of an aria; hence the term
“exit aria.” Of course, one of the primary reasons for
this theatrical device was to solicit applause from
the audience for the singer (although some of the
approval might just as well have been intended
for the composer). And each principal singer
would fully expect to sing a number of arias in a
variety of moods: lamentation, revenge, defiance,
melancholy, anger and heroic virtue were common
sentiments. The texts of the arias were rarely longer
than four or eight lines, and rather generic, so it
was more or less reasonable that a singer could
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substitute a favorite aria from another work so long
as the general emotion was appropriate.
Other traditions further supported this kind
of expected artistic license. In most cases, final
arias within any opera of the period were always
awarded to the most important singer, not
necessarily the most important character. This
sort of deference to the talent made a great deal
of sense as, during Handel’s day, the singers
themselves were as much of an attraction to the
audience, if not more so, as the composers and
their works might have been. So, in Handel’s
implementations of various casts of Messiah
soloists, he made redistributions of the workload
to be fair or, in some cases, to be flattering to
the members of any particular roster. When
surveying all of the versions of Messiah, it is very
interesting to look first at the assignment of the
final aria, “If God be for us.” Although originally
composed for soprano, even for the premiere he
altered the key so that it could be sung by the
contralto, Susanna Cibber, a singing actress that
Handel found to be tremendously compelling.
Over the next few years he continued to assign
that “status” aria to her until 1749, the year before
the first performance of Messiah in London’s
Foundling Hospital. In this case it was awarded to
a treble, or boy soprano, perhaps as a prescient
indication of discussions that were underway
to bring the oratorio into that venue, a home
for abandoned or orphaned children. And the
following year, in 1750, it was again transposed
down a few keys so that it could be sung by the
most recently arrived operatic star, the great
Italian castrato, Gaetano Guadagni (1728–1792).
Only for the last performance of Messiah
conducted by Handel in 1754 was the final aria
heard as it was first composed, for soprano.
London’s Foundling Hospital, a home “for the
maintenance and education of exposed and
deserted young children,” was established in
1739 in the Bloomsbury area. Its founder, Thomas
Coram (1668-1751), was a sea captain and had
spent a number of his early years in the American
colonies. Following a career as a successful London
merchant, he turned his attention to philanthropy
and, in particular, rescuing homeless, abandoned
children. At that time, charity and philanthropy
had become not only critically essential to the
survival of Londoners as a whole, but it had also
gained an oddly self-serving functionality as
part of the fantastic expansion of London and
the greater English empire. The rate of growth of
London during the 18th century was exponential.
About three-fourths of Londoners had been
born elsewhere. Its culture was as diverse as the
most modern 21st-century city. London offered
opportunities and wealth to the industrious
and ambitious, as well as a thriving underworld,
anonymity and meager subsistence to criminals and
the unskilled. Its hierarchical systems of social status
were engrained, accepted and treasured, despite the
fact that the 18th century offered all Londoners the
chance to upgrade their places and stations within
that cosmopolis. Ironically, though, even those
who were able to buy into higher levels of society
through their success as merchants were as eager as
the blue-blooded aristocracy to maintain whatever
distinctions of social status could be maintained.
The wealthy typically lived in five-story townhouses
while the lower classes (those not housed as servants
in the top floors of the elite’s homes) often lived in
terribly unhealthy and cramped hovels. During most
of the 1700s, Londoners were subjected to dreadful
pollution, reprehensibly unsanitary conditions and
mostly unbridled crime.
Many of those poor conditions were the result
of the preponderance of manufacturing industries
within London’s commercial organism. About
a third of London’s population was employed
by manufacturing ventures, and the resulting
pollution had turned the Thames River into,
literally, a sewer. Still, this flourishing business
culture helped increase overseas trade at least
threefold during the century, and the spoils were
global political power and domestic wealth. But
the victims of all this were the children. Many
lived only a few short years, and still others were
abandoned to live on their own in the filth, smoke
and mire of London’s poorer quarters.
In the face of such undeniable misery, the
wealthy could hardly turn a blind eye. During an
era of destitution, depravity and victimization, the
beliefs of the Latitudinarian branch of the Church
of England were timely assertions that benevolent
and charitable deeds, rather than (or at least in
addition to) the formalities of church worship, were
essential to the quality of the moral state of the
individual. Only by engaging in acts of compassion
and by the establishment of a supporting
relationship with the less fortunate could their
plights, their suffering and the terrible waste of
human life be acceptably mitigated and tolerated.
Thus, charity became fashionable. Merchants
supported charities that in turn supported the
working class. They needed healthy workers in
great numbers to keep their machines well-oiled
and their industries thriving. Consumers were
needed on the other side of the coin, so to speak,
so the maintenance of the lower classes was in
the best interest of those entrepreneurs. The
kingdom itself needed to be defended at sea and
abroad, so healthy battalions had to be provided.
By supporting the less fortunate and encouraging
their strength and independence—to a degree—
those who had newly-acquired wealth could
gain prestige and propriety while nurturing their
economic self-interests. To have a “bleeding heart”
was especially in vogue among London’s upperclass women. Their ever-increasing opportunities
to fashion socially relevant activities led quite
naturally to their involvement in charities, which in
turn substantiated their refinement, respectability
and moral rank. William Hogarth (1697–1764), the
great English painter, satirist and cartoonist, called
this transformative time “a golden age of English
philanthropy” and one of the greatest results of it
was the Foundling Hospital.
In 18th-century London, the term “hospital”
was applied to institutions for the physically ill as
well as for the mentally ill, and to organizations
that, through hospitality, supported particular
factions of London’s population including sailors,
refugees, penitent prostitutes and destitute
children. To a great degree, the efforts of Coram,
assisted by Hogarth and Handel, firmly established
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the Foundling Hospital as one of England’s most
long-lived and admirable benevolent institutions.
Even before the buildings were completed—a
process that took 10 years from 1742 to 1752—
children were first admitted to temporary housing
in March 1741. No questions were asked, but
overcrowding quickly led to the establishment of
rules for acceptance. The requirement that children
be aged no more than two months was relaxed by
the House of Commons in 1756 so that children up
to 12 months would be accepted. During the next
few years, more than 15,000 infants were left at its
doors. Even within the Hospital, though, more than
two-thirds of them would not survive long enough
to be apprenticed during their teenage years.
In the same year that the Foundling Hospital
accepted its first charges, Handel composed
Messiah. Charles Jennens, the librettist for Messiah,
had probably made the suggestion to Handel
that the premiere of the work might take place
in Dublin as a charity event. In fact, on March
27, 1742, Faulkner’s Dublin Journal published an
announcement that:
“For Relief of the Prisoners in the several Gaols,
and for the Support of Mercer’s Hospital in
Stephen’s Street, and of the Charitable Infirmary
on the Inns Quay, on Monday the 12th of
April, will be performed at the Musick Hall
in Fishamble Street, Mr. Handel’s new Grand
Oratorio, call’d the Messiah…”
The previous decade or so had been quite
unpleasant for Handel. He had begun to suffer
financial difficulties, and by the early 1730s his
professional life was simply unraveling. He was
nearly bankrupt and had fallen very much out of
the critical favor of the aristocratic public for whom
he had composed his Italian operas. They were
expensive to produce and not accessible enough
for his audience. But, in fact, Handel himself was the
object of what must have felt like brutal betrayal by
his patrons, his audience and even his musicians.
For the first half of his life, Handel had led a
charmed existence. He seems to have waltzed into
one happy situation after another, in which he
enjoyed the patronage of royalty, the aristocracy
and the culture-seeking population at large. He
was unexaggeratedly a national hero, despite his
non-domestic origins. He had lived in extravagant
estates, kept the most celebrated artists, writers
and musicians in his closest circles, and profited—
although, not necessarily financially—from the
tremendous favor that was bestowed upon him by
9/23/13 9:21 AM
an entire empire. His unprecedented success was
so irreproachable that he was, without a doubt,
completely unprepared for what amounted to
a staggering fall from grace. But what emerged
in 1741–42 was a work that would transcend
the boundaries of musical forms, subject matter,
social and cultural expectations, and eventually,
the bitterness of his rivals. It would restore “the
great Mr. Handel” to the revered status that he had
enjoyed decades before.
The first performance of Messiah took place
on April 13, 1742, in Dublin’s new music hall on
Fishamble Street and was a tremendous success.
The review that appeared in Faulkner’s Dublin
Journal proclaimed:
“Words are wanting to express the exquisite
Delight it afforded to the admiring crowded
Audience. The Sublime, the Grand, and the
Tender, adapted to the most elevated, majestick
and moving Words, conspired to transport and
charm the ravished Heart and Ear.”
Performances in subsequent years took place in
London, but those were met with less enthusiastic
receptions. Messiah had blurred the distinctions
between opera, oratorio, passion and cantata,
and perhaps some Londoners found this to be a
fundamental fault. So it is fascinating to note that
when the function of Messiah was returned to that
of a work presented for the benefit of charities, and
when the venue became an ecclesiastical structure
rather than a theatre, the oratorio took hold of its
permanent place in the hearts of audiences, then
in London and now throughout the world.
For at least one year before the first Foundling
Hospital performance of Messiah in 1750, Handel
was involved with the charity, probably drawn to
it through his associations with Hogarth and the
music publisher John Walsh (1709–1766) who had
been elected a governor in 1748. On May 4, 1749,
Handel had made an offer, which was gratefully
accepted, to present a benefit concert of vocal
and instrumental music to help in the completion
of the hospital’s chapel. The hospital reciprocated
with an invitation to Handel, which he declined, to
become one of its governors. On May 27, Handel
directed a performance (in the unfinished chapel)
of excerpts from his Fireworks Music, Solomon
and the newly-composed Foundling Hospital
Anthem, “Blessed are they that considereth the
poor and needy.” (The Foundling Hospital Anthem
was Handel’s last work of English church music.)
The “Hallelujah” chorus from Messiah was the final
work, a premonition of what was in store for the
following year. Royalty were in attendance.
Nearly one year later, on May 1, 1750, Handel
performed Messiah in the (still-unfinished) chapel.
That day marked what could be seen as the most
significant day in Handel’s career. The benefit
concert’s success was extraordinary. More than
1,000 people crowded into the space, and more
were turned away. Massive public attention to the
event, coupled with unequivocal approbation for
the oratorio, served Handel well and generated
new commitment on the part of the London
audience to uphold Handel and his oratorios as
the great beacons of English music that they are.
He became a governor of the hospital; since more
than £1,000 had been raised by his performances,
the fee required of governors was waived.
In subsequent years, the Foundling Hospital
continued to rely upon annual performances of
Messiah for significant income.
The most noteworthy musical aspect of the
1750 Foundling Hospital version of Messiah is
the reworking of the aria, “But who may abide.”
Gaetano Guadagni had arrived in London at
the age of 20 in 1748, as part of an Italian opera
company. The music historian Charles Burney
(1726–1814) wrote about Guadagni:
“His voice was then a full and well toned
counter-tenor; but he was a wild and careless
singer. However, the excellence of his voice
attracted the notice of Handel, who assigned
him the parts in his oratorios of the Messiah
and Samson, which had been originally
composed for Mrs. Cibber…”
Handel composed a new middle section of the
aria, taking advantage of Guadagni’s bravura vocal
technique as well as his apparently considerable
low notes. Two other arias were also reworked for
Guadagni: “Thou art gone up on high” and “How
beautiful are the feet.” Recent research seems
to indicate that the alto arrangement of “How
beautiful are the feet” was only an afterthought.
For the May 1, 1750, performance, Handel had
six soloists (female soprano, boy treble, female
contralto, male castrato, counter-tenor, tenor and
bass). But two weeks later, on May 15, when the
work was offered for a second time especially to
those who were turned away a fortnight before,
the soprano must have fallen ill. Emergency
reassignments were put in place, and the alto
arrangement of “How beautiful are the feet” was
one of them. In all fairness, however, it might have
been that Handel was so pleased with Guadagni’s
singing that he took that opportunity to give the
singer another one of the oratorio’s “gem” arias.
© Jeffrey Thomas
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LIBRETTO
THE FOLLOWING LIBRETTO IS ADAPTED FROM THE PRINTED WORD-BOOK FOR THE FIRST LONDON PERFORMANCES OF MESSIAH IN 1743 AND INCORPORATES
HANDEL’S OWN DESIGNATIONS OF PART HEADINGS, SCENES, AND MOVEMENT HEADINGS.
MESSIAH
AN ORATORIO SET TO MUSICK BY
GEORGE-FRIDERIC HANDEL, ESQ.
PART THE FIRST
CHORUS
SCENE IV
SONG – Alto & Soprano
And he shall purify the Sons of Levi,
that they may offer unto the Lord an
Offering in Righteousness.
PIFA
He shall feed his Flock like a shepherd:
and He shall gather the Lambs with
his Arm, and carry them in his Bosom,
and gently lead those that are with
young. Come unto Him all ye that
labour, come unto Him all ye that
are heavy laden, and He will give you
Rest. Take his Yoke upon you and
learn of Him; for He is meek and lowly
of Heart: and ye shall find Rest unto
your souls.
RECITATIVE - Soprano
(MALACHI 3:3)
SINFONY
SCENE III
There were Shepherds abiding in the
Field, keeping Watch over their Flock
by Night.
RECITATIVE - Alto
(LUKE 2:8)
Behold, a Virgin shall conceive, and
bear a Son, and shall call his Name
Emmanuel, GOD WITH US.
ARIOSO - Soprano
SCENE I
RECITATIVE, accompanied - Tenor
Comfort ye, comfort ye my People,
saith your God; speak ye comfortably
to Jerusalem, and cry unto her, that
her Warfare is accomplish’d, that her
Iniquity is pardon’d. The Voice of him
that crieth in the Wilderness, prepare
ye the Way of the Lord, make straight
in the Desert a Highway for our God.
(ISAIAH 40:1–3)
SONG - Tenor
Ev’ry Valley shall be exalted, and ev’ry
Mountain and Hill made low, the Crooked
straight, and the rough Places plain.
(ISAIAH 40:4)
(ISAIAH 7:14; MATTHEW 1:23)
SONG - Alto
& CHORUS
(ISAIAH 40:9; ISAIAH 60:1)
And the Glory of the Lord shall be
revealed, and all Flesh shall see it together;
for the Mouth of the Lord hath spoken it.
RECITATIVE, accompanied - Bass
SCENE II
Thus saith the Lord of Hosts; Yet once a
little while, and I will shake the Heav’ns
and the Earth; the Sea and the dry
Land: And I will shake all Nations; and
the Desire of all Nations shall come.
(HAGGAI 2:6-7)
The Lord whom ye seek shall
suddenly come to his Temple, ev’n the
Messenger of the Covenant, whom ye
delight in: Behold He shall come, saith
the Lord of Hosts.
(MALACHI 3:1)
SONG – Alto
But who may abide the Day of his
coming? And who shall stand when He
appeareth? For He is like a Refiner’s Fire.
(MALACHI 3:2)
36 MONDAVIARTS .ORG
(ISAIAH 40:11; MATTHEW 11:28–29)
(LUKE 2:9)
His Yoke is easy, his Burthen is light.
CHORUS
(MATTHEW 11:30)
O thou that tellest good Tidings
to Zion, get thee up into the high
Mountain: O thou that tellest good
Tidings to Jerusalem, lift up thy Voice
with Strength; lift it up, be not afraid:
Say unto the Cities of Judah, Behold
your God. O thou that tellest good
Tidings to Zion, Arise, shine, for thy
Light is come, and the Glory of the
Lord is risen upon thee.
CHORUS
(ISAIAH 40:5)
And lo, the Angel of the Lord came
upon them, and the Glory of the Lord
shone round about them, and they
were sore afraid.
For behold, Darkness shall cover the
Earth, and gross Darkness the People:
but the Lord shall arise upon thee,
and his Glory shall be seen upon thee.
And the Gentiles shall come to thy
Light, and Kings to the Brightness of
thy Rising.
RECITATIVE - Soprano
—INTERMISSION—
And the Angel said unto them, Fear not;
for behold, I bring you good Tidings of
great Joy, which shall be to all People. For
unto you is born this Day, in the City of
David, a Saviour, which is Christ the Lord.
PART THE SECOND
SCENE I
(LUKE 2:10–11)
CHORUS
RECITATIVE, accompanied - Soprano
Behold the Lamb of God, that taketh
away the Sin of the World.
And suddenly there was with the
Angel a Multitude of the heav’nly Host,
praising God, and saying ...
(JOHN 1:29)
(LUKE 2:13)
CHORUS
Glory to God in the Highest, and Peace
on Earth, Good Will towards Men.
(LUKE 2:14)
(ISAIAH 60:2–3)
SONG - Alto
He was despised and rejected
of Men, a Man of Sorrows, and
acquainted with Grief. He gave his
Back to the Smiters, and his Cheeks
to them that plucked off the Hair:
He hid not his Face from Shame and
Spitting.
(ISAIAH 53:3; ISAIAH 50:6)
SCENE V
SONG - Bass
CHORUS
SONG - Soprano
The People that walked in Darkness
have seen a great Light; And they
that dwell in the Land of the Shadow
of Death, upon them hath the Light
shined.
(ISAIAH 9:2)
Rejoice greatly, O Daughter of Sion,
shout, O Daughter of Jerusalem; behold,
thy King cometh unto thee: He is the
righteous Saviour; and He shall speak
Peace unto the Heathen. (ZECHARIAH
Surely he hath borne our Griefs
and carried our Sorrows: He was
wounded for our Transgressions, He
was bruised for our Iniquities; the
Chastisement of our Peace was
upon Him.
CHORUS
9:9–10)
(ISAIAH 53:4–5)
For unto us a Child is born, unto
us a Son is given; and the Government
shall be upon his Shoulder; and His
Name shall be called Wonderful,
Counsellor, The Mighty God, The
Everlasting Father, The Prince of Peace.
RECITATIVE - Alto
CHORUS
Then shall the Eyes of the Blind be
open’d, and the Ears of the Deaf
unstopped; then shall the lame Man
leap as an Hart, and the Tongue of the
Dumb shall sing.
And with His Stripes we are healed.
(ISAIAH 9:6)
(ZECHARIAH 35:5–6)
(ISAIAH 53:5)
CHORUS
SCENE IV
SCENE VII
SONG - Bass
All we, like Sheep, have gone astray,
we have turned ev’ry one to his own
Way, and the Lord hath laid on Him
the Iniquity of us all.
RECITATIVE - Tenor
RECITATIVE - Tenor
Unto which of the Angels said He at
any time, Thou art my Son, this Day
have I begotten thee?
He that dwelleth in Heaven shall laugh
them to scorn; the Lord shall have
them in Derision.
(HEBREWS 1:5)
(PSALM 2:4)
The trumpet shall sound, and the
Dead shall be rais’d incorruptible,
and We shall be chang’d. For
this corruptible must put on
Incorruption, and this Mortal must
put on Immortality.
CHORUS
SONG - Tenor
(PSALM 22:7)
Let all the Angels of God
worship Him.
(Hebrews 1:6)
Thou shalt break them with a Rod of
Iron; thou shalt dash them in pieces
like a Potter’s Vessel.
CHORUS
SCENE V
He trusted in God, that he would
deliver him: let him deliver him, if he
delight in him.
SONG - Alto
(ISAIAH 53:6)
All they that see him laugh him to
scorn; they shoot out their Lips, and
shake their Heads, saying ...
(1 CORINTHIANS 15:52–54)
SCENE III
(PSALM 2:9)
CHORUS
(PSALM 22:8)
Thou art gone up on High;
Thou has led Captivity captive,
and received Gifts for Men, yea,
even for thine Enemies, that the
Lord God might dwell among them.
Thy Rebuke hath broken his Heart; He is
full of Heaviness: He looked for some to
have Pity on him, but there was no Man,
neither found he any to comfort him.
(PSALM 68:18)
(PSALM 69:21)
The Lord gave the Word: Great was the
Company of the Preachers.
SONG - Tenor
(PSALM 68:11)
Behold, and see, if there be any Sorrow
like unto his Sorrow! (LAMENTATIONS 1:12)
ARIA - Soprano
How beautiful are the Feet of them
that preach the gospel of peace, and
bring glad tidings of good things.
(ROMANS 10:15)
He was cut off out of the Land of the
Living: For the Transgression of thy
People was He stricken.
CHORUS
(REVELATION 19:6; 11:15; 19:16)
O Death, where is thy Sting?
O Grave, where is thy Victory?
The Sting of Death is Sin, and the
Strength of Sin is the Law.
(1 Corinthians 15:55–56)
PART THE THIRD
CHORUS
SCENE I
But Thanks be to God, who giveth Us
the Victory through our Lord Jesus
Christ.
(ISAIAH 53:8)
SONG - Tenor
(ROMANS 10:18)
SCENE VI
SEMICHORUS
Lift up your Heads, O ye Gates, and be ye
lift up, ye everlasting Doors, and the King
of Glory shall come in. Who is this King
of Glory? The Lord Strong and Mighty;
the Lord Mighty in Battle. Lift up your
Heads, O ye Gates, and be ye lift up, ye
everlasting Doors, and the King of Glory
shall come in. Who is this King of Glory?
The Lord of Hosts: he is the King of Glory.
(1 CORINTHIANS 15:57)
I know that my Redeemer liveth,
and that He shall stand at the latter
Day upon the Earth: And tho’ Worms
destroy this Body, yet in my Flesh
shall I see God. For now is Christ risen
from the Dead, the First-Fruits of
them that sleep.
(JOB 19:25–26; 1 CORINTHIANS 15:20)
Their Sound is gone out into all
Lands, and their Words unto the
Ends of the World.
SCENE III
DUET - Alto and Tenor
CHORUS
SCENE II
(PSALM 16:10)
Then shall be brought to pass the
Saying that is written; Death is
swallow’d up in Victory.
(1 CORINTHIANS 15:54)
Hallelujah! for the Lord God
Omnipotent reigneth. The Kingdom
of this World is become the
Kingdom of our Lord and of his
Christ; and He shall reign for ever
and ever, King of Kings, and Lord of
Lords. Hallelujah!
SONG - Soprano
But Thou didst not leave his Soul in
Hell, nor didst Thou suffer thy Holy
One to see Corruption.
RECITATIVE - Alto
SONG - Bass
Why do the Nations so furiously
rage together? and why do the
People imagine a vain Thing?
The Kings of the Earth rise up, and
the Rulers take Counsel together
against the Lord and against
his Anointed.
(PSALM 2:1–2)
CHORUS
Let us break their Bonds asunder, and
cast away their Yokes from us.
CHORUS
SONG - Alto
If God is for us, who can be against
us? Who shall lay anything to the
Charge of God’s Elect? It is God
that justifieth; Who is he that
condemneth? It is Christ that died,
yea, rather that is risen again; who
is at the Right Hand of God, who
maketh intercession for us.
Since by Man came Death, by Man
came also the Resurrection of the
Dead. For as in Adam all die, even so in
Christ shall all be made alive.
(ROMANS 8:31 AND 33–34)
CHORUS
SCENE II
Behold, I tell you a Mystery:
We shall not all sleep, but we
shall all be chang’d, in a Moment,
in the Twinkling of an Eye, at the
last Trumpet.
Worthy is the Lamb that was slain,
and hath redeemed us to God by
His Blood, to receive Power, and
Riches, and Wisdom, and Strength,
and Honour, and Glory, and Blessing.
Blessing and Honour, Glory and
Pow’r be unto Him that sitteth upon
the Throne, and unto the Lamb, for
ever and ever.
(REVELATION 5:12–14)
SCENE IV
CHORUS
(PSALM 2:3)
Amen.
(PSALM 24:7-10)
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JEFFREY THOMAS (conductor) has brought
thoughtful, meaningful and informed perspectives to
his performances as artistic and music director of the
American Bach Soloists for more than two decades.
He has directed and conducted recordings of more
than 25 cantatas, the Mass in B Minor, Brandenburg
Concertos, St. Matthew Passion, harpsichord concertos,
Handel’s Messiah works by Schütz, Pergolesi, Vivaldi,
Haydn and Beethoven. Fanfare magazine has praised
his series of Bach recordings, stating that “Thomas’
direction seems just right, capturing the humanity
of the music … there is no higher praise for Bach
performance.” Before devoting all of his time to
conducting, he was one of the inaugural recipients
of the San Francisco Opera Company’s prestigious
Adler Fellowships. Cited by The Wall Street Journal
as “a superstar among oratorio tenors,” Thomas’
extensive discography of vocal music includes dozens
of recordings of major works for Decca, EMI, Erato,
Koch International Classics, Denon, Harmonia Mundi,
Smithsonian, Newport Classics and Arabesque.
Thomas is also an avid exponent of contemporary
music and has conducted the premieres of new
operas, including David Conte’s Gift of the Magi and
Firebird Motel, and premiered song cycles of several
composers, including two cycles written especially
for him. He has performed lieder recitals at the
Smithsonian, song recitals at various universities
and appeared with his own vocal chamber music
ensemble, L’Aria Viva. He has collaborated on several
occasions as conductor with the Mark Morris Dance
Group. Educated at the Oberlin Conservatory of
Music, Manhattan School of Music and the Juilliard
School of Music, with further studies in English
literature at Cambridge University, he has taught at
the Amherst Early Music Workshop, Oberlin College
Conservatory Baroque Performance Institute, San
Francisco Early Music Society and Southern Utah Early
Music Workshops, presented master classes at the
New England Conservatory of Music, San Francisco
Conservatory of Music, SUNY at Buffalo, Swarthmore
College and Washington University, been on the
faculty of Lehigh University in Pennsylvania and was
artist-in-residence at the University of California, where
he is now professor of music (Barbara K. Jackson
Chair in Choral Conducting) and director of choral
ensembles in the Department of Music at UC Davis. He
was a UC Davis Chancellor’s Fellow from 2001 to 2006;
the Rockefeller Foundation awarded him a prestigious
Residency at the Bellagio Study and Conference
Center at Villa Serbelloni for April 2007 to work on his
manuscript, Handel’s Messiah: A Life of Its Own. Thomas
serves on the board of Early Music America and hosts
two public radio programs on Classical KDFC.
SHAWNETTE SULKER (soprano) has been praised
by Opera News for the “natural warmth and charm”
of her singing and noted for “displaying a bright,
superbly controlled soprano with perfectly placed
coloratura” (San Francisco Chronicle). ABS patrons
may remember her appearances with ABS a few
seasons ago in Virgil Thomson’s Four Saints in Three
Acts with the Mark Morris Dance Group and Henry
Purcell’s Dido & Aeneas in ABS’s collaboration with
the San Francisco Opera Center and The Crucible. A
frequent collaborator with Maestro Thomas, Sulker
has performed under his baton in performances
of Andrew Lloyd Webber’s Requiem and Carl Orff’s
Carmina Burana. A video of that performance, with the
UC Davis Symphony Orchestra and University/Alumni
Chorus at the Mondavi Center for the Performing
Arts, is one of the most requested classical music films
on YouTube, with more than 10 million views. On
the operatic stage, Sulker has been a featured artist
with the San Francisco Opera, Hawaii Opera Theatre,
Internationale Opera Producties (The Netherlands),
Festival Opera, Union Avenue Opera, Natchez Opera
Festival, Mendocino Music Festival, West Bay Opera,
Berkeley West Edge Opera and Livermore Valley
Opera, to name but a few. She has performed roles
from Handel and Purcell, to Mozart, Bizet, Verdi and
Puccini, as well as contemporary composers. She
created the role of Corina in the world-premiere
of David Conte’s opera Firebird Motel for Thick
Description. In concert, Sulker has performed with the
Santa Clara Chorale and Orchestra, the San Francisco
Choral Society and the Masterworks Chorale. Sulker
has been a special guest of the Ritz-Carlton in Osaka,
Japan where she performed a series of Christmas
concerts. Her film résumé includes a soundtrack
performance for the movie Mimic and an on-screen
operatic appearance in the feature film Jackson.
Sulker earned scholarships to attend Bennington
College and graduated with a bachelor’s degree in
vocal performance. She was awarded scholarships
to attend both the Contemporary Opera and Song
Program at the Banff Centre for the Arts in Canada
and the OperaWorks Summer Intensive Program in
Los Angeles. Sulker was also a resident artist for the
Natchez Music Festival in Mississippi. A winner of
career scholarships from the East Bay Opera League
Vocal Competition, Sulker has also been a regional
finalist with the National Association of Teachers of
Singing Competition and a finalist and award winner
with the Irene Dalis Vocal Competition.
ERIC JURENAS (countertenor), proclaimed as
“the real deal” (Grand Rapids Press) and defined as
having a “rich, mature voice” (Third Coast Digest)
with “incredible power” (Opus Colorado), has quickly
established himself as a dynamic and versatile
performer in both opera and concert. Jurenas has
performed as a featured soloist with American Bach
Soloists, Michigan Opera Theatre, Opera Philadelphia,
The Dayton Philharmonic, Colorado Bach Ensemble,
Calvin College Choirs, Kentucky Bach Choir and the
Bel Canto Chorus of Milwaukee, among others. An
alumnus of the American Bach Soloists Academy, he
has been featured in ABS performances of Handel’s
Ariodante and Dixit Dominus and Vivaldi’s Beatus vir. His
professional debut was with Michigan Opera Theatre
(Handel’s Giulio Cesare) where he was applauded by
Opera News for his “performances of admirable
gusto.” An avid competitor around the country and
the world, Jurenas has won and received awards
from several vocal competitions, including first
place in the Hal Leonard Online Vocal Competition,
Dayton Opera Guild Competition, Kentucky Bach
Choir Competition and the Bel Canto Chorus of
Milwaukee Competition. Additional awards have
been received from Ft. Worth Opera’s McCammon
Competition, Opera Columbus Competition,
Washington International Competition, Marcello
Giordani Competition and the Nico Castel
International Master Singer Competition held at
Weill Recital Hall at Carnegie Hall NYC. Having
begun his vocal studies at an early age with his
mother, soprano Joan Jurenas, he received his
bachelor’s degree from the University of Cincinnati
College-Conservatory of Music and is presently
pursuing his master’s degree at The Juilliard School.
AARON SHEEHAN (tenor) has established
himself as a first rate singer in many styles. His
performances are heard regularly in the United
States, South America and Europe, and he excels
equally in repertoire ranging from oratorio and
chamber music to opera. His singing has taken
him to many festivals and venues including
Tanglewood, Lincoln Center, the Metropolitan
Museum of Art, Washington National Cathedral,
the early music festivals of Boston, San Francisco,
Vancouver, Houston, Tucson, Washington D.C.
and Madison, as well as the Regensburg Tage
Alter Musik. Known especially for his Baroque
interpretations, his voice has been described by
the Boston Globe as “superb: his tone classy, clear
and refined, encompassing fluid lyricism and
ringing force” and the Washington Post praised
his “polished, lovely tone.” Sheehan is a first-rate
interpreter of the oratorios and cantatas of Bach
and Handel. He has appeared in concert with
ensembles including the American Bach Soloists
(most recently as the Evangelist in Bach’s St. John
Passion), Orpheus Chamber Orchestra, Handel
and Haydn Society, Boston Baroque, New York
Collegium, Les Voix Baroque, Boston Early Music
Festival, Aston Magna Festival, Washington
National Cathedral, Pacific Music Works, Boston
Museum Trio, Tragicomedia, the Folger Consort
and Concerto Palatino. On the opera stage, he has
appeared in the Boston Early Music Festival’s world
premiere staging of Mattheson’s Boris Gudenow,
Lully’s Psyché, Charpentier’s Actéon and in Handel’s
Acis and Galatea. He also has worked with
American Opera Theater and Intermezzo Chamber
Opera in leading roles of operas by Cavalli, Handel,
Weill and Satie. Sheehan has appeared on many
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recordings, including the Grammy-nominated
operas Thésée and Psyché of Lully, recorded with
the Boston Early Music Festival on the CPO label.
A native of Minnesota, Sheehan holds a Bachelor
of Arts degree from Luther College and a Master
of Music degree in Early Voice Performance from
Indiana University. He is currently on the voice
faculties of Boston University, Wellesley College
and Towson University.
MISCHA BOUVIER (baritone) has been noted
by The New York Times for his “rich timbre” and “fine
sense of line,” and his performances have been
called a “delight to encounter for the first time”
by the Pittsburgh Tribune-Review. He continues to
impress audiences with his keen musicality and
remarkable communicative ability. Bouvier is an
alumnus of the inaugural class of the American
Bach Soloists Academy, at which he performed
the role of Lucifer in Handel’s dramatic oratorio, La
Resurrezione. He has performed with a wide array
of ensembles including Anonymous 4, the Mark
Morris Dance Group, Boston Symphony Orchestra,
American Handel Society, the Bach and the
Baroque Ensemble of Pittsburgh, Bronx Opera, the
Five Boroughs Music Festival, the Folger Consort,
Sacred Music in a Sacred Space and Christopher
Williams Dance. An avid proponent of art song,
he has presented recitals at the Baldwin-Wallace
Art Song Festival, the Trinity Church Concerts at
One Series, Internationale Meisterkurse für Musik
Zürich, the Cincinnati Grandin Festival and the
Music Room at the Lindberg Farm series. He has
offered regional premieres of Lori Laitman’s Men
With Small Heads and Paul Moravec’s Songs of Love
and War and a world premiere of Charles Fussell’s
cycle Venture during the Festival of Contemporary
Music at Tanglewood. A singer of tremendous
versatility, Bouvier made his professional musical
theater debut under the baton of Keith Lockhart
in Rodgers and Hammerstein’s Carousel with
the Boston Pops. Other notable non-traditional
performances have included Gilbert and Sullivan’s
Trial By Jury and The Pirates of Penzance; Jerry
Bock’s She Loves Me for Lyric Opera Cleveland
and collaborations with Sting on Songs from
the Labyrinth at Disney Hall. Bouvier holds
performance degrees from Boston University and
the University of Cincinnati College-Conservatory
of Music and has participated in programs at Lyric
Opera Cleveland, the Internationale Meisterkurse
für Musik Zürich, the Carmel Bach Festival and the
Tanglewood Music Festival. Recognition awards
have included the American Bach Soloists Henry
I. Goldberg Young Artist Award, the Oratorio
Society of New York Solo Competition’s Docia
Goodwin Franklin and Richard Westenberg
Awards, the Louisville Bach Society Gerhard Herz
Young Artist Competition, the American Prize’s
Vocal Competition and the Concert Artists Guild
International Competition.
THE ART OF GIVING
The Mondavi Center is deeply grateful for
the generous contributions of our dedicated
patrons whose gifts are a testament to the
value of the performing arts in our lives.
Annual donations to the Mondavi Center
directly support our operating budget and
are an essential source of revenue. Please
join us in thanking our loyal donors whose
philanthropic support ensures our ability
to bring great artists and speakers to our
region and to provide nationally recognized
arts education programs for students and
teachers.
For more information on supporting the Mondavi Center, visit MondaviArts.org or call 530.754.5438.
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Louis J. Fox and Marnelle Gleason
Pat and Bob Gonzalez
Michele Tracy and Dr. Michael
Goodman
Jeffrey and Sandra Granett
Steve and Jacqueline Gray
Mary Louise Greenberg
Paul and Carol Grench
THE ART OF GIVING
Alex and Marilyn Groth
Wesley and Ida Hackett
Paul W. Hadley
Jane and Jim Hagedorn
Frank and Rosalind Hamilton
William Hamre
Pat and Mike Handley
Jim and Laurie Hanschu
Susan and Robert Hansen
Vera Harris
Sally Harvey
Buzz Haughton
Mary Helmich
Joan Williams and Martin Helmke
Roy and Dione Henrickson
Rand and Mary Herbert
Eric Herrgesell, DVM
Fred Taugher and Paula Higashi
Larry and Elizabeth Hill
Bette Hinton and Robert Caulk
Calvin Hirsch and Deborah Francis
Michael and Margaret Hoffman
David and Gail Hulse
Eva Peters Hunting
Patricia Hutchinson
Lorraine Hwang
Marta Induni
Tom and Betsy Jennings
Dr. and Mrs. Ronald C. Jensen
Mun Johl
Phil and Carole Johnson
Michelle Johnston and Scott
Arranto
Warren and Donna Johnston
Valerie Jones
Jonsson Family
Andrew and Merry Joslin
James Anthony Joye
Martin and JoAnn Joye
Fred and Selma Kapatkin
Tim and Shari Karpin
Yasuo Kawamura
Phyllis and Scott Keilholtz
Charles Kelso and Mary Reed
Dr. Michael Sean Kent
Robert and Cathryn Kerr
Pat Kessler
Jeannette Kieffer
Gary and Susan Kieser
Larry Kimble and Louise Bettner
Dr. and Mrs. Roger Kingston
Dorothy Klishevich
Mary Klisiewicz
Paulette Keller-Knox
Winston and Katy Ko
Marcia and Kurt Kreith
Sandra Kristensen
Elizabeth and C.R. Kuehner
Leslie Kurtz
Cecilia Kwan
Ray and Marianne Kyono
Bonnie and Kit Lam
Marsha M. Lang
Susan and Bruce Larock
Leon E. Laymon
Marceline Lee and Philip Smith
The Hartwig-Lee Family
Nancy and Steve Lege
The Lenk-Sloane Family
Joel and Jeannette Lerman
Evelyn Lewis
David and Susan Link
Motoko Lobue
Mary Lowry
Henry Luckie
Ariane Lyons
Edward and Susan MacDonald
Leslie Macdonald and Gary Francis
Kathleen Magrino
Alice Mak and Wesley Kennedy
Vartan Malian
Joseph and Mary Alice Marino
Pamela Marrone and Michael
J. Rogers
David and Martha Marsh
J. A. Martin
Bob and Vel Matthews
Leslie and Michael Maulhardt
Katherine Mawdsley
Sean and Sabine McCarthy
Karen McCluskey
Nora McGuinness
Dr. Thomas and Paula McIlraith
Donna and Dick McIlvaine
Tim and Linda McKenna
Martin A. Medina and Laurie Perry
CORPORATE MATCHING GIFTS
Chevron/Texaco Matching Gift Fund
DST Systems
Morgan Stanley
U.S. Bank
We appreciate the many donors who
participate in their employers’ matching
gift program. Please contact your Human
Resources Department for more information.
ARTISTIC VENTURES FUND
We applaud our Artistic Ventures Fund’s
founding members, whose major gift
commitments support artist engagement
fees, innovative artist commissions, artist
residencies and programs made available
free to the public.
Patti Donlon
Anne Gray
Barbara K. Jackson
Larry and Rosalie Vanderhoef
In Honor of Werner Paul Harder, II
DeAna Melilli
Barry Melton and Barbara Langer
Sharon Menke
The Merchant Family
Fred and Linda J. Meyers
Beryl Michaels and John Bach
Lisa Miller
Phyllis Miller
Sue and Rex Miller
Douglas L. Minnis
Kathy and Steve Miura
Kei and Barbara Miyano
Vicki and Paul Moering
Joanne Moldenhauer
Elaine and Ken Moody
Amy Moore
Hallie Morrow
Diane and William Muller
Judith and Terry Murphy
Elaine Myer
Nachtergaele-Devos
Judy and Merle Neel
Margaret Neu
Cathy Neuhauser and Jack Holmes
Robert Nevraumont and Donna
Curley Nevraumont
Jenifer Newell
Keri Mistler and Dana Newell
Malvina and Eugene Nisman
Nancy Nolte and James Little
Dana K. Olson
Jim and Sharon Oltjen
Marvin O’Rear
Bob and Elizabeth Owens
Mike and Carlene Ozonoff
Pamela Pacelli
Michael Pach and Mary Wind
Thomas Pavlakovich and
Kathryn Demakopoulos
Brenda Davis and Ed Phillips
Pat Piper
Drs. David and Jeanette Pleasure
Jane Plocher
Vicki and Bob Plutchok
Jerry and Bea Pressler
Dr. and Ms. Rudolf Pueschel
Edward and Jane Rabin
LEGACY CIRCLE
Thank you to our supporters who have remembered the Mondavi
Center in their estate plans. These gifts make a difference for the
future of performing arts and we are most grateful.
Wayne and Jacque
Bartholomew
Ralph and Clairelee Leiser
Bulkley
John and Lois Crowe
Dotty Dixon
Anne Gray
Mary B. Horton
Margaret E. Hoyt
Barbara K. Jackson
Jerry and Marguerite Lewis
Robert and Betty Liu
Don McNary
Verne E. Mendel
Kay E. Resler
Hal and Carol Sconyers
Joe and Betty Tupin
Anonymous
If you have already
named the Mondavi
Center in your own estate
plans, we thank you.
We would love to hear
of your giving plans so
that we may express our
appreciation.
If you are interested in
learning about planned
giving opportunities,
please contact Ali Morr
Kolozsi, Director of
Major Gifts and Planned
Giving (530.754.5420 or
[email protected] ).
Dr. Anne-Louise and Dr. Jan
Radimsky
Mary Ralli
Lawrence and Norma Rappaport
Olga Raveling
Sandi Redenbach
Sandra Erslsine Reese
Fred and Martha Rehrman
Michael A. Reinhart and Dorothy
Yerxa
Eugene and Elizabeth Renkin
Francis Resta
David and Judy Reuben
Al and Peggy Rice
Stephen Michael Rico
Jeannette and David Robertson
Alice and Richard Rollins
Richard and Evelyne Rominger
Andrea G. Rosen
Linda Roth and Teddy Wilson
Cathy and David Rowen
Cynthia Jo Ruff
Paul and Ida Ruffin
Hugh Safford
Dr. Terry Sandbek and Sharon
Billings
Patsy Schiff
Janis J. Schroeder and Carrie L.
Markel
Jenifer and Bob Segar
Dan Shadoan and Ann Lincoln
Nancy Sheehan and Rich Simpson
Mamie Shen
Jill and Jay Shepherd
Valerie Brown and Ed Shields
Jane and Ray Shurtz
Sandi and Clay Sigg
Dan and Charlene Simmons
P. and C. Simpson
Marion E. Small
Robert Snider
Jean Snyder
Roger and Freda Sornsen
Curtis and Judy Spencer
Marguerite Spencer
Miriam Steinberg
Harriet Steiner and Miles Stern
Raymond Stewart
Deb and Jeff Stromberg
Mary Superak
Joyce Nao Takahashi
Yayoi Takamura and Jeff Erhardt
Stewart and Ann Teal
Julie A. Theriault, PA-C
Janet and Karen Thome
Brian Toole
Robert and Victoria Tousignant
Michael and Heidi Trauner
Rich and Fay Traynham
James Turner
Barbara and Jim Tutt
Robert and Helen Twiss
Nancy Ulrich
Unda/Serat Family
Chris and Betsy Van Kessel
Robert Vassar
Bart and Barbara Vaughn
Catherine Vollmer
Rosemarie Vonusa
Carolyn Waggoner and Rolf Fecht
Kim and James Waits
M. Wakefield and Wm Reichert
Carol Walden
Andy and Judy Warburg
Valerie Boutin Ward
Royce and Caroline Waters
Dr. Fred and Betsy Weiland
Jack and Rita Weiss
Douglas West
Martha S. West
Robert and Leslie Westergaard
Edward and Susan Wheeler
Linda K. Whitney
Jean and Don Wigglesworth
Janet G. Winterer
Timothy and Vicki Yearnshaw
Norman and Manda Yeung
Heather Young
Verena Leu Young
Melanie and Medardo Zavala
Darrel and Phyllis Zerger
Sonya and Tim Zindel
Dr. Mark and Wendy Zlotlow
remain anonymous
Thank you to the following donors for their program gifts during the past
fiscal year.
YOUNG ARTISTS COMPETITION AND PROGRAM
John and Lois Crowe
Merrilee and Simon Engel
Mary B. Horton
Barbara K. Jackson
ARTS EDUCATION STUDENT TICKET PROGRAM
Donald and Dolores Chakerian
Members of The Friends of Mondavi Center
Carole Pirruccello, John and Eunice Davidson Fund
DANCE FOR PARKINSON’S PROGRAM
Tom and Lynda Cadman
Douglas Clarke
Gerald Hayward
William and Madeleine Kenefick
John Springer and Melourd
Lagdamen
Phyllis and Sunny Lee
Joy McCarthy
Mia McClellan
Sybil and Jerry Miyamoto
Maureen and Harvey Olander
Samuel and Lynne Wells
John Whitted
UC DAVIS STUDENT MEMBERSHIP PROGRAM
Eric Joshua Smith
Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections.
44 MONDAVIARTS .ORG
BOARDS & COMMITTEES
MONDAVI CENTER ADVISORY BOARD
The 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,
Theatre and Dance, and the presenting
program of Mondavi Center, through
fundraising, public outreach and other
support for the mission of UC Davis and
Mondavi Center.
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 for the Mondavi Center
staff throughout the performance season.
13–14 COMMITTEE MEMBERS
Lee Miller • Jim Forkin • Erin Jackson •
Sharon Knox • Eleanor McAuliffe •
Marta Altisent • Charles Hunt • Gabrielle Nevitt •
Burkhard Schipper • Christine Chang •
Timothy Colopy • Daniel Friedman •
Susan Perez • Lauren Perry • Don Roth •
Jeremy Ganter • Erin Palmer • Becky Cale
THE FRIENDS OF MONDAVI CENTER is an
active donor-based volunteer organization
that supports activities of the Mondavi Center’s
presenting program. Deeply committed to arts
education, Friends volunteer their time and
financial support for learning opportunities
related to Mondavi Center performances. For
information on becoming a Friend of Mondavi
Center, email Jennifer Mast at jmmast@ucdavis.
edu or call 530.754.5431.
13–14 FRIENDS EXECUTIVE BOARD
& STANDING COMMITTEE CHAIRS:
Jo Anne Boorkman, President
Sandi Redenbach, Vice President
Jo Ann Joye, Secretary
Jim Coulter, Audience Enrichment
Lydia Baskin, School Matinee Support
Leslie Westergaard, Mondavi Center Tours
Karen Street, School Outreach
Martha Rehrman, Friends Events
Jacqueline Gray, Membership
Joyce Donaldson, Chancellor’s Designee, Ex-Officio
Shirley Auman, Gift Shop, Ex-Officio
13–14 ADVISORY BOARD MEMBERS
Joe Tupin, Chair • John Crowe, Immediate Past Chair
Camille Chan • Michael Chapman •
Lois Crowe • Cecilia Delury • Patti Donlon •
Mary Lou Flint • Anne Gray • Vince Jacobs •
Karen Karnopp • Nancy Lawrence • Garry Maisel •
Stephen Meyer • Randy Reynoso •
Grace Rosenquist • John Rosenquist •
Joan Stone • Tony Stone • Larry Vanderhoef
HONORARY MEMBERS
Barbara K. Jackson • Margrit Mondavi
EX OFFICIO
Linda P.B. Katehi, Chancellor, UC Davis •
Ralph J. Hexter, Provost and Executive Vice
Chancellor, UC Davis • Jo Anne Boorkman,
President, Friends of Mondavi Center •
Jessie Ann Owens, Dean, Division of
Humanities, Arts & Cultural Studies,
College of Letters & Sciences, UC Davis •
Don Roth, Executive Director, Mondavi
Center, UC Davis • Lee Miller, Chair,
Arts & Lectures Administrative
Advisory Committee
Friends
of Mondavi Center
is an active donor-based volunteer organization
that supports activities of Mondavi Center’s
presenting program.
Gift Shop at Mondavi Center
The Gift Shop at the Mondavi Center is located in
the southeast corner of the Yocha Dehe Grand Lobby.
The Gift Shop is currently stocking new and festive
holiday merchandise and is open prior to and during
intermission for performances in Jackson Hall.
Managed and staffed by Friends of Mondavi Center,
the Gift Shop is a friendly gathering spot and
perfect place to shop for a special gift.
We hope to see you there!
All profits from the Gift Shop help to support
Mondavi Center’s Arts Education program.
For more information regarding
the Friends of Mondavi Center,
call the Mondavi Center Arts Education Coordinator
at 530.754.5431
POLICIES & INFORMATION
TICKET EXCHANGE
• Tickets must be exchanged at least one
business day prior to the performance.
• Tickets may not be exchanged after the
performance date.
• There is a $5 exchange fee per ticket for
non-subscribers and Pick 3 purchasers.
• If you exchange for a higher-priced
ticket, the difference will be charged. The
difference between a higher and a lowerpriced ticket on exchange is non-refundable.
• Subscribers and donors may exchange
tickets at face value toward a balance
on their account. All balances must be
applied toward the same presenter and
expire June 30 of the current season.
Balances may not be transferred between
accounts.
• All exchanges subject to availability.
• All ticket sales are final for events
presented by non-UC Davis promoters.
• No refunds.
PARKING
You may purchase parking passes for
individual Mondavi Center events for $8
per 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.
Proof Requirements: School ID showing
validity for the current academic year and/
or copy of your transcript/report card/tuition
bill receipt for the current academic year.
Student discounts may not be available for
events presented by non-UC Davis promoters.
CHILDREN (AGE 17 AND UNDER)
A ticket is required for admission of all
children regardless of age. Any child
attending a performance should be able
to sit quietly through the performance.
For events other than the Children’s
Stage Series, it is recommended for the
enjoyment of all patrons that children
under the age of 5 not attend.
PRIVACY POLICY
The Mondavi Center collects information
from patrons solely for the purpose
of gaining necessary information to
conduct business and serve our patrons
efficiently. We sometimes share names
and addresses with other not-for-profit
arts organizations. If you do not wish to
be included in our email communications
or postal mailings, or if you do not want
us to share your name, please notify us via
email, U.S. mail or telephone. Full Privacy
Policy at mondaviarts.org.
GROUP DISCOUNTS
TOURS
Entertain friends, family, classmates or
business associates and save! Groups of
20 or more qualify for a 10% discount off
regular prices. Payment must be made in
a single check or credit card transaction.
Please call 530.754.2787 or 866.754.2787.
Group tours of the Mondavi Center are free,
but reservations are required. To schedule
a tour call 530.754.5399 or email mctours@
ucdavis.edu.
STUDENT TICKETS
The Mondavi Center is proud to be a
fully accessible state-of-the-art public
facility that meets or exceeds all state and
federal ADA requirements. Patrons with
special seating needs should notify the
Mondavi Center Ticket Office at the time
of ticket purchase to receive reasonable
accommodation. The Mondavi Center
may not be able to accommodate special
needs brought to our attention at the
performance. Seating spaces for wheelchair
users and their companions are located at
all levels and prices for all performances.
Requests for sign language interpreting,
UC Davis students are eligible for a 50%
discount on all available tickets.
Proof Requirements: School ID showing
validity for the current academic year.
Student ID numbers may also be used to
verify enrollment.
Non-UC Davis students age 18 and over,
enrolled full-time for the current academic
year at an accredited institution and
matriculating towards a diploma or a
degree are eligible for a 25% discount on
all available tickets. (Continuing education
enrollees are not eligible.)
46 MONDAVIARTS .ORG
ACCOMMODATIONS FOR
PATRONS WITH DISABILITIES
real-time captioning, Braille programs
and other reasonable accommodations
should be made with at least two weeks’
notice. The Mondavi Center may not be
able to accommodate last-minute requests.
Requests for these accommodations
may be made when purchasing tickets at
530.754.2787 or TDD 530.754.5402.
SPECIAL SEATING
Mondavi Center offers special seating
arrangements for our patrons with
disabilities. Please call the Ticket Office at
530.754.2787 or TDD 530.754.5402.
ASSISTIVE LISTENING DEVICES
Assistive Listening Devices are available
for Jackson Hall and the Vanderhoef
Studio Theatre. Receivers that can be
used with or without hearing aids may
be checked out at no charge from the
Patron Services Desk near the lobby
elevators. The Mondavi Center requires
an ID to be held at the Patron Services
Desk until the device is returned.
ELEVATORS
The Mondavi Center has two passenger
elevators serving all levels. They are located
at the north end of the Yocha Dehe Grand
Lobby, near the restrooms and Patron
Services Desk.
RESTROOMS
All public restrooms are equipped with
accessible sinks, stalls, babychanging stations
and amenities. There are six public restrooms
in the building: two on the Orchestra level,
two on the Orchestra Terrace level and two
on the Grand Tier level.
SERVICE ANIMALS
Mondavi Center welcomes working service
animals that are necessary to assist patrons
with disabilities. Service animals must
remain on a leash or harness at all times.
Please contact the Mondavi Center Ticket
Office if you intend to bring a service
animal to an event so that appropriate
seating can be reserved for you.
LOST AND FOUND HOTLINE
530.752.8580
The art of performance
draws our eyes to the stage
Sometimes the most meaningful communication happens without dialogue.
Great performances tell us that we are not alone with our emotions.
Mondavi Center, thank you for inspiring us.
© 2013 Wells Fargo Bank, N.A. All rights reserved.
Member FDIC. (1017346_09136)

of Mondavi Center

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