M e n d e l s s o h n

8 pm, Sunday, 8 March 2009Jackson Hall, Mondavi Center

ElijahD. Kern Holoman conDucting

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P r o g r a M

Eugene Brancoveanu, baritone

Robin Fisher, sopranoCatherine Cook, mezzo-soprano

Joseph Palarca, tenor

Peter Ludden, tenor (Ahab) | Jack Lundquist* (Youth)David Kerns, Henry Nelson, Christian Ricco* (Angels)

University Chorus and Alumni Chorus

UC Davis Symphony Orchestra

D. Kern Holoman conducting

This performance is presented in memory of Beta Popper (1912–2008).

There will be one intermission. The performance will conclude at approximately 10:45 pm.

* Members of the Pacific Boychoir Academy: Kevin Fox, artistic director

This concert is being professionally recorded for the University archive. Please remain seated during the music, remembering that distractions will be audible on the recording. Please deactivate cell phones, pagers, and wristwatches.

Flash photography and audio and video recording are prohibited during the performance.

ELIJAH PREDICTS DROUGHT

Introduction (Elijah): As God the LORD of Israel liveth

Overture

No. 1: Chorus: Help, LORD! Wilt Thou quite destroy us?

Recitative (Chorus): The deeps afford no water

No. 2: Duet with Chorus: LORD, bow thine ear to our prayer!

No. 3: Recitative (Obadiah): Ye people, rend your hearts

No. 4: Air (Obadiah): If with all your hearts ye truly seek Me

No. 5: Chorus: Yet doth the LORD see it not

No. 6: Recitative (An Angel): Elijah, get thee hence

No. 7: Double Quartet: For He shall give His angels

No. 8: Recitative (An Angel): Now Cherith’s brook is dried up

No. 9: Recitative, Air, and Duet (The Widow, Elijah): What have I to do with thee?

Chorus: Blessed are the men who fear Him

THE CONTEST ON MOUNT CARMEL

No. 10: Recitative and Chorus: As God the LORD of Sabaoth liveth

No. 11: Chorus: Baal, we cry to thee

No. 12: Recitative and Chorus: Call him louder! For he is a god!

No. 13: Recitative and Chorus: Call him louder! He heareth not

No. 14: Air (Elijah): LORD God of Abraham, Isaac, and Israel

No. 15: Quartet (Angels): Cast thy burden upon the LORD

No. 16: Recitative and Chorus: O Thou, who makest Thine angels

No. 17: Air (Elijah): Is not His word like a fire?

No. 18: Arioso (Alto solo): Woe unto them who forsake Him

ELIJAH BRINGS RAIN

No. 19: Recitative and Chorus: O man of God, help thy people!

No. 20: Chorus: Thanks be to God!

I n t e r m i s s i o n

Pa r T T H E S E C o N D

JEZEBEL ORDERS ELIJAH’S DEATH

No. 21: Air (Soprano): Hear ye, Israel

No. 22: Chorus: Be not afraid, saith God the LORD

No. 23: Recitative and Chorus: The LORD hath exalted thee

No. 24: Chorus: Woe to him!

ELIJAH FLEES TO MOUNT HOREB

No. 25: Recitative: Man of God, now let my words

No. 26: Air (Elijah): It is enough

No. 27: Recitative (Tenor solo): See, now he sleepeth

No. 28: Trio (The Angels): Lift thine eyes to the mountains

No. 29: Chorus (The Angels): He, watching over Israel

No. 30: Recitative: Arise, Elijah

No. 31: Air (The Angel): O rest in the LORD

No. 32: Chorus: He that shall endure to the end

ELIJAH IS SWEPT BY A WHIRLWIND TO HEAVEN

No. 33: Recitative: Night falleth round me

No. 34: Chorus: Behold! God the LORD passed by!

No. 35: Recitative (Quartet and Chorus): Above Him stood the Seraphim

No. 36: Chorus: Go, return upon thy way!

No. 37: Arioso (Elijah): For the mountains shall depart

No. 38: Chorus: Then did Elijah the prophet break forth

No. 39: Air (Tenor solo): Then shall the righteous shine

No. 40: Chorus: And then shall your light break forth

Pa r T T H E F I r S T

Felix Mendelssohn(1809–47)

Elijahopus 70

Oratorio in two parts after words from the Old Testament

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A b o u t t h e A r t i s t sA b o u t t h e A r t i s t s

Lyric coloratura soprano robin Fisher has performed to critical acclaim in such cities as Paris, Vienna, Prague, Hamburg, Chicago, and Dallas. Reviews remark on her “amazingly precise coloratura, melting diminuendi, splendid high notes and delightful musicality” (Opernwelt) and her “mature timbre and total self-assurance ... an extremely exciting singer-actress” (Westdeutsche Zeitung). The Sacramento Bee described her performance at the Mondavi Center in Mendelssohn’s “Lobgesang” Symphony “thrilling.” In 2007 Fisher performed with the West Bay and Sacramento opera companies. She has also performed locally as guest artist at the Sonora Bach Festival and at Music in the Mountains in Nevada County. Fisher won a Fulbright-Hayes Scholarship and a Rotary Foundation Award to pursue studies in Europe, and she received the Artist’s Diploma cum laude from the Vienna Hochschule für Musik. Fisher most recently played Susannah in Sacramento Opera’s Marriage of Figaro and will be soprano soloist on the Sacramento Choral Society’s all-J.S. Bach program in March. A native of California, she began her vocal studies at San José State University. Currently, Fisher is associate professor of voice at California State University, Sacramento.

Eugene Brancoveanu’s robust baritone and superior stagecraft have earned him critical acclaim in both North America and Europe. The San Francisco Chronicle has described Brancoveanu as “extravagantly gifted,” citing his “unforced charisma” and “vocal clarity.” Add to this a 2008 San Francisco Classical Voice performance review by Jason Victor Serinus, who describes Brancoveanu as “endowed with a uniquely rich, at this point lyric voice that can encompass bass-baritone roles yet sing a high B-flat ... an extremely intelligent, energized artist who is unafraid to take risks.” Over this past year, he debuted at the Spoleto Festival USA and the New York City Opera. In 2002 he won an honorary Tony Award and a Los Angeles Stage Alliance Ovation Award for his performance on Broadway in Baz Luhrmann’s La Bohème. As an Adler Fellow with the San Francisco Opera, Brancoveanu appeared in multiple productions over two seasons, 2005–07, including the world premiere of The Little Prince and, most recently, for the role of Belcore in The Elixir of Love.

Mezzo-soprano Cather ine Cook has excelled in a wide range of roles with leading companies throughout the United States, including the New York Metropolitan Opera, the Lyric Opera of Chicago, the Los Angeles Opera, and the Houston Grand Opera. Cook is a former Merola participant and Adler Fellow with the San Francisco Opera, where she continues to be a frequent presence. She has performed more than 40 roles to date with the company and in September 2008 created the role of Arlene Kamen in the world premiere of The Bonesetter’s Daughter. Cook is a graduate of the Cincinnati College-Conservatory of Music, where she won the Norman Triegle Award in opera. She has also been a Metropolitan Opera National Council Winner. In addition to maintaining a voice studio and conducting frequent audition workshops in the Bay Area, Cook holds the position of professor of voice at the San Francisco Conservatory of Music.

Joseph Palarca, tenor, is a graduate of the UC Davis Department of Music. While here, his interests in music spanned both classical and popular music performance, and he participated in local musical theater productions. His portrayal of Mr. Snow in Carousel earned him an Elly Award for best supporting actor in a musical. After UC Davis, Palarca went on to earn a master’s degree in vocal performance from New York University. He has sung as a soloist with the American Symphony Orchestra and various ensembles in the New York area, including the Vocal Ensemble of Queens College, the Mineola Choral Society, Central City Chorus, and the Choral Symphony Society. He most recently participated in the 2008 Aspen Music Festival and Aspen School’s Opera Theater Center. This past fall, he joined Opera Omaha’s Voices in Residence program.

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Elizabeth “Beta” Popper died September 4, 2008, as the result of an automobile accident in Palo Alto, where she lived. She was 95. Popper was born December 2, 1912. She and her late husband, Jan Popper (1907–87), lived happily in Davis in 1979, when they produced Jerome Rosen’s opera Calisto and Melibea on the UC Davis campus. Beta Popper became active in the Davis Costume Guild during that period and maintained close contact with her Davis friends for the rest of her life.

Mrs. Popper was born Elizabeth Rankin and grew up in the Bay Area, where she studied opera, became a mezzo-soprano, and sang with the San Francisco Opera Company. After she married Jan Popper, who taught at Stanford University in the 1940s, she became actively involved in its opera workshop. The Poppers are credited with offering the first West Coast production of Mozart’s Così fan tutte, in which Beta played the role of Dorabella.

From 1949 to 1975, the Poppers lived in Los Angeles, where Jan taught at UCLA and established the Opera Workshop there. The venue where those performances took place is now the Jan Popper Theatre at the Arnold Schoenberg Hall at UCLA. After leaving UCLA, the Poppers traveled widely in their work, notably to China and Japan, where they presented operas in the language of the home country, often first productions. They also appeared together in Taiwan, Iran, Belgium, and Austria.

Mrs. Popper left an important bequest to the Davis campus, which will be known as the Jan and Beta Popper Fund in the Department of Music. Contributions in memory of the beloved couple may be made to the Popper Fund/UC Davis Foundation, in care of the Department of Music, UC Davis, at One Shields Avenue, Davis, Calif., 95616.

Beta Popper (19 12 –2008)

Beta and Jan Popper

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Our performance omits one recitative and chorus near the end of the work and shortens slightly the chorus “Be not afraid.” One movement scored by Mendelssohn for soloists—“Cast thy burden”—has become choral favorites, and so it is performed here by the full chorus and boy choir.

Elijah was composed in 1846 at the invitation of the Birmingham Musical Festival and first performed (in English) on August 26, 1846, at Birmingham Town Hall under the

composer’s direction. The text, originally in German, was prepared by Pastor Schubring after passages from the Old Testament in Luther’s translation. (As early as 1836, there had been efforts to secure an Elijah text, but they were laid aside until the Birmingham invitation was tendered.) The skillful English translation was by William Bartholomew, following the King James Version.

After the grueling rehearsals and first performance, Mendelssohn revised his score extensively and began work on a third oratorio, Christus. In April 1847, he made his tenth and last trip to England, where he conducted six further performances of Elijah. On May 14, he learned of the death of his beloved sister, Fanny, and collapsed with a frightful cry. He spent the summer preparing for performances of Elijah in Berlin, Leipzig, and Vienna, but by October, the combined trials of his personal and professional lives led to several nervous attacks that prevented further work. On the first day of November, he suffered a serious stroke, followed by a second on November 3. The next day, Mendelssohn died in his sleep. Elijah is thus Mendelssohn’s last major work, and, to paraphrase Eric Werner, posterity has viewed the oratorio as his chef d’œuvre.

Part I concerns Elijah’s prediction of drought, the story of the widow’s son, the contest on Mount Carmel, and the end of the drought. Wind chords at the beginning are associated with the character of Elijah throughout the first part, and the sequence of two diminished fifths immediately following constitute a leitmotif associated with Elijah’s curse. (This motive appears again in the chorus, no. 5, at the words “His curse hath fallen down upon us,” and again in the recitative at the beginning of no. 9.) The scene with the widow (no. 8) is the most operatic in the oratorio and one of the most convincing in terms of its musical structure. There is no narration, and several characters are portrayed by each of the soloists (except for Elijah himself)—making it necessary for listeners to follow a copy of the text during the performance.

Part II, more reflective and tranquil than the first, tells the story of Elijah’s flight from the wrath of Jezebel, his sojourn in the wilderness, and—for Mendelssohn, the climax of the story—the appearance of the Lord before the prophet. At the conclusion, Elijah is swept, living, to Heaven by a whirlwind. The soprano aria that opens the second part was written, incidentally, for Jenny Lind, and it centers on the high F-sharp that Mendelssohn so admired in her voice. (She did not, in fact, sing the role until after Mendelssohn’s death, and Madame Caradori-Allan, who did sing it, found it “unladylike.”)

To be sure, Elijah has its inconsistencies and limitations in terms of dramatic unity and rhetorical solidarity, but, after all, it was written hurriedly to a libretto finished just in the nick of time. Nevertheless, the composer, always a great melodist, was at the peak of his technical control of harmony, counterpoint, and—particularly—the performing force. Surely one reason for Elijah’s popularity is the skill with which Mendelssohn deploys the chorus: here as the frenzied horde of Baal-worshippers, there as the drought-stricken people of Israel, later as the Heavenly Host, and throughout as the community of the faithful, reflecting on the Lord’s majesty. (In this multiplicity of roles for the chorus, Mendelssohn consciously is following the precedent of Bach’s Passions.) To the orchestra is delegated the task of descriptive representation of the events portrayed: it offers fire, flood, and whirlwind music, but also (and more impressive still) the quietly undulating arabesques of “Blessed are the men who fear Him” (no. 9) and “He, watching over Israel” (no. 29). And the composer’s command of tone color—the brass choir to suggest religious devotion, for example, or the sounds of violas, divisi celli, bassoons, and contrabasses associated with the reflection of the prophet himself—is unsurpassed.

Mendelssohn: elijah, op. 70

For soloists (B [Elijah], T [Obadiah, Ahab], S I [the widow, an angel], S II, A [an angel, Jezebel], boy soprano); chorus (SATB, with some divided choruses, an angel trio, and a double quartet); flutes I-II, oboes I-II, clarinets I-II, bassoons I-II; horns I-IV, trumpets I-II, trombones I-III, ophicléide; timpani; organ; strings

Composed spring–summer 1846 at the invitation of the Birmingham Music Festival

First performed 26 August 1846 at the Birmingham Town Hall, Mendelssohn conducting

Published by N. Simrock (Bonn, 1847)

Duration: about two hours, 45 minutes

N o T E S N o T E S

I know Mendelssohn best as Berlioz’s companion: when, as young men visiting Italy, they first encountered one another. Berlioz’s memoirs and Mendelssohn’s recently uncovered

diaries show that they rode together in the Roman countryside, talked to one another about Shakespeare and symphonies, then went off and worried about what the other one might compose as a result. (The answer was: scherzos. Berlioz wrote a Queen Mab scherzo into his Romeo and Juliet; Mendelssohn added one to his Midsummer Night’s Dream music.) They were together again at middle age, in Leipzig in 1843, when Mendelssohn welcomed Berlioz, by then an orchestra conductor of growing international celebrity, to conduct his Gewandhaus Orchestra. One result of this was Berlioz’s L’Enfance du Christ, composed after Mendelssohn’s untimely demise in a kind of homage to his German counterpart—and to the Gewandhaus, the local singers and choruses, and their common Leipzig ancestor, J. S. Bach, whose legacy Mendelssohn had done some much to foster.

I met him again through the Société des Concerts du Conservatoire—the Paris Conservatory Orchestra—where Mendelssohn’s work became the most popular in the repertoire, after only Beethoven and Haydn, and where in 1847 the news of his death went at first unbelieved and then for a week stopped the season’s forward motion altogether as the shocked musicians stopped to ponder their response. And again through the great French conductor, Charles Munch (1891–1968), a Protestant partisan who had begun his career as concertmaster in Leipzig, and who quit Nazi Germany just before his conductor, Bruno Walter, a Jew, returned to the Gewandhaus to find his position lost and Mendelssohn’s statue pulled down and destroyed. Munch went on to repopularize the Mendelssohn repertoire in Boston and then, through the justly famous RCA Living Stereo recordings, the country at large.

Each of these encounters has drawn the orchestral music of this great thinker, multi-tasker, and sound-scape poet more permanently into my list of Music That Matters. Even if Mendelssohn’s share of the standard repertoire is considerably smaller now than it was in 1850, we hear his voice all around us: with the Wedding March and Hark! the Herald Angels Sing; in the fairy-music of the scherzos; in the panoramas of the “Scottish,” “Reformation,” and “Italian” Symphonies; perhaps most memorably in the four once-upon-a-time chords that begin the Midsummer Night’s Dream overture. The Violin Concerto, which you will hear here in June, comfortably leads all the rest in popularity.

Mendelssohn nevertheless feels a little less familiar, today, than his co-founders of Romanticism: Berlioz, Chopin, Schumann, and Liszt. The Mendelssohn industry is alive and well and meaning to address that matter: an ambitious Mendelssohn Project led by the New Yorker Stephen Somary, for instance, expects to record the entire œuvre, including several dozen minutes of recently found music, as part of the bicentenary salute.

What you hear tonight, meanwhile, is to the oratorio roughly what the Art of Fugue is to initiative counterpoint: its summa, a veritable encyclopedia of early Romanticism’s goals and sounds—and some favorite tunes as well. —DKH

Felix Mendelssohn (1809–47)

Mendelssohn at 200

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T E X T

Mendelssohn: El ijah, op. 70

T E X T

ParT THE F Ir ST

ELIJAH PREDICTS DROUGHTIntroduction: ElijahAs God the LORD of Israel liveth, before whom I stand, there shall not be dew nor rain these years, but according to my word.

I Kings 17:1

Overture

No. 1: ChorusHelp, LORD! wilt Thou quite destroy us? The harvest now is over, the summer days are gone, and yet no power cometh to help us! Will then the LORD be no more God in Zion?

Jeremiah 8:19–20

Recitative: ChorusThe deeps afford no water; and the rivers are exhausted! The suckling’s tongue now cleaveth for thirst to his mouth: the infant children ask for bread, and there is no one breaketh it to feed them!

I Kings 17:7; Lamentations 4:4

No. 2: Duet with ChorusLORD! bow Thine ear to our prayer! Zion spreadeth her hands for aid; and there is neither help nor comfort.

Psalm 86:1; Lamentations 1:17

No. 3: Recitative: ObadiahYe people, rend your hearts, and not your garments, for your transgressions the Prophet Elijah hath sealed the heavens through the word of God. I therefore say to ye, forsake your idols, return to God; for He is slow to anger, and merciful, and kind and gracious, and repenteth Him of the evil.

Joel 2:12–13

No. 4: Air: ObadiahIf with all your hearts ye truly seek Me, ye shall ever surely find Me. Thus saith our God. Oh! that I knew where I might find Him, that I might even come before His presence.

Deuteronomy 4:29; Job 23:3

No. 5: ChorusYet doth the LORD see it not: He mocketh at us; His curse hath fallen down upon us; His wrath will pursue us, till he destroy us! For He, the LORD our God, He is a jealous God; and He visiteth all the fathers’ sins on the children to the third and the fourth generation of them that hate Him. His mercies on thousands fall—fall on all them that love Him, and keep His commandments.

Deuteronomy 28:22; Exodus 20:5–6

No. 6: Recitative: An AngelElijah! get thee hence; Elijah! depart and turn thee eastward: thither hide thee by Cherith’s brook. There shalt thou drink its waters; and the LORD thy God hath commanded the ravens to feed thee there: so do according unto His word.

I Kings 17:3–4

No. 7: Double QuatetFor he shall give his angels charge over thee, that they shall protect thee in all the ways thou goest, that their hands shall uphold and guide thee, lest thou dash thy foot against a stone.

Psalm 91:11–12

ELIJAH RAISES THE WIDOW’S SONNo. 8: Recitative: An AngelNow Cherith’s brook is dried up, Elijah, arise and depart, and get thee to Zarepath; thither abide; for the LORD hath commanded a widow woman there to sustain thee. And the barrel of meal shall not waste, neither shall the cruse of oil fail, until the day that the LORD sendeth rain upon the earth.

I Kings 17:7, 9, 14

No. 9: Recitative, Air, and Duet: The Widow, ElijahThe Widow: What have I to do with thee, O man of God? art thou come to me, to call my sin unto remembrance—to slay my son art thou come hither? Help me, man of God! my son is sick! and his sickness is so sore, that there is no breath left in him! I go mourning all the day long; I lie down and weep at night. See mine affliction. Be thou the orphan’s helper! Help my son! there is no breath left in him!

Elijah: Give me thy son. Turn unto her, O LORD my God; in mercy help this widow’s son! For Thou art gracious, and full of compassion, and plenteous in mercy and truth. LORD, my God, let the spirit of this child return, that he again may live!

The Widow: Wilt thou show wonders to the dead? There is no breath in him!

Elijah: LORD, my God, let the spirit of this child return, that he again may live!

The Widow: Shall the dead arise and praise thee?

Elijah: LORD, my God, O let the spirit of this child return, that he again may live!

The Widow: The LORD hath heard thy prayer, the soul of my son reviveth!

Elijah: Now behold, thy son liveth!

The Widow: Now by this I know that thou art a man of God, and that His word in thy mouth is the truth. What shall I render to the LORD for all his benefits to me?

Elijah: Thou shalt love the LORD thy God, love Him with all thine heart, and with all thy soul, and with all thy might.

Both: O blessed are they who fear Him! I Kings 17:17–19, 21-24; Job 10:15;

Psalms 38:6; 6:7; 10:14; 86:15–16; 88:10; 116:12; Deuteronomy 6:5; Psalm 128:1

No. 9: ChorusBlessed are the men who fear Him: they ever walk in the ways of peace. Through darkness riseth light to the upright. He is gracious, compassionate: He is righteous. Psalms 128:1; 112:1, 4

THE CONTEST ON MOUNT CARMELNo. 10: Recitative and ChorusElijah: As God the LORD of Sabaoth liveth, before whom I stand, three years this day fulfilled, I will show myself unto Ahab; and the LORD will then send rain again upon the earth.

Ahab: Art thou Elijah? art thou he that troubleth Israel?

Chorus: Thou art Elijah, thou, he that troubleth Israel!

Elijah: I never troubled Israel’s peace: it is thou, Ahab, and all thy father’s house. Ye have forsaken God’s commands: and thou hast followed Baalim! Now send and gather to me the whole of Israel unto Mount Carmel: there summon the prophets of Baal, and also the prophets of the groves, who are feasted at Jezebel’s table. Then we shall see whose god is the LORD.

Chorus: And then we shall see whose god is God the LORD.

Elijah: Rise then, ye priests of Baal: select and slay a bullock, and put no fire under it: uplift your voices, and call the god ye worship; and I then will calI on the LORD JEHOVAH: and the God who by fire shall answer, let him be God.

Chorus: Yea; and the God who by fire shall answer, let him be God.

Elijah: Call first upon your god: your numbers are many: I, even I, only remain, one prophet of the LORD! Invoke your forest-gods and mountain-deities. I Kings 18:1, 15, 17–19, 23–25

No. 11: ChorusPriests of Baal: Baal, we cry to thee; hear and answer us! Heed the sacrifice we offer! Baal, O hear us, and answer us! Hear us, Baal! Hear, mighty god! Baal, O answer us! Baal, let thy flames fall and extirpate the foe! Baal, O hear us! I Kings 18:26

No. 12: Recitative and ChorusElijah: Call him louder, for he is a god! He talketh; or he is pursuing; or he is on a journey; or, peradventure, he sleepeth; so awaken him: call him louder.

Priests of Baal: Hear our cry, O Baal! Now arise! wherefore slumber? I Kings 18:27

No. 13: Recitative and ChorusElijah: Call him louder! he heareth not. With knives and lancets cut yourselves after your manner: leap upon the altar ye have made: call him, and prophesy. Not a voice will answer you; none will listen, none heed you.

Priests of Baal: Hear and answer, Baal! Mark how the scorner derideth us! Hear and answer.

Elijah: Draw near, all ye people: come to me! I Kings 18:28–30

No. 14: Air: ElijahLORD God of Abraham, Isaac, and Israel, this day let it be known that Thou art God; and that I am Thy servant! O show to all this people that I have done these things according to Thy word! O hear me, LORD, and answer me; and show this people that Thou art LORD God; and let their hearts again be turned! I Kings 18:36–37

No. 15: Quartet: AngelsCast thy burden upon the LORD, and He shall sustain thee. He never will suffer the righteous to fall: He is at thy right hand. Thy mercy, LORD, is great; and far above the heav’ns. Let none be made ashamed that wait upon Thee. Psalms 55:22; 16:8; 108:5; 25:3

No. 16: Recitative and ChorusElijah: O Thou, who makest thine angels spirits; Thou, whose ministers are flaming fires, let them now descend!

Chorus: The fire descends from heaven; the flames consume his offering. Before Him upon your faces fall! The LORD is God: O Israel, hear! Our God is one LORD: and we will have no other gods before the LORD!

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Elijah: Take all the prophets of Baal; and let not one of them escape you; bring them down to Kishon’s brook, and there let them be slain.

Chorus: Take all the prophets of Baal; and let not one of them escape us: bring all, and slay them! Psalm 104:4; I Kings 18:38–40

No. 17: Air: ElijahIs not His word like a fire: and like a hammer that breaketh the rock into pieces? For God is angry with the wicked ev’ry day; and if the wicked turn not, the LORD will whet His sword; and He hath bent His bow, and made it ready. Jeremiah 23:29; Psalm 7:11–12

No. 18: ARIOSO: Alto soloWoe unto them who forsake Him! Destruction shall fall upon them, for they have transgressed against Him. Though they are by Him redeemed, yet they have spoken falsely against Him: even from Him have they fled.

Hosea 7:13

ELIJAH BRINGS RAINNo. 19: Recitative and ChorusObadiah: O man of God, help thy people! Among the idols of the Gentiles, are there any that can command the rain, or cause the heavens to give their showers? The LORD our God alone can do these things.

Elijah: O LORD, Thou hast overthrown Thine enemies and destroyed them. Look down on us from heaven, O LORD; regard the distress of Thy people: open the heavens and send us relief: help, help Thy servant now, O God!

The People: Open the heavens and send us relief: help, help Thy servant now, O God!

Elijah: Go up now, child, and look toward the sea. Hath my prayer been heard by the LORD?

The Youth: There is nothing. The heavens are as brass, they are as brass above me.

Elijah: When the heavens are closed up because they have sinned against Thee; yet if they pray and confess Thy name, and turn from their sin when Thou dost afflict them: then hear from heaven, and forgive the sin! Send Thou Thy servant help, O God!

The People: Then hear from heaven, and forgive the sin! Send Thou Thy servant help, O LORD!

Elijah: Go up again, and still look toward the sea.

The Youth: There is nothing. The earth is as iron under me!

Elijah: Hearest thou no sound of rain? Seest thou nothing arise from the deep?

The Youth: No; there is nothing.

Elijah: Have respect to the prayer of Thy servant, O LORD, my God! Unto Thee I will cry, LORD, my rock; be not silent to me; and Thy great mercies remember, Lord!

The Youth: Behold, a little cloud ariseth now from the waters; it is like a man’s hand! The heavens are black with clouds and wind: the storm rusheth louder and louder!

The People: Thanks be to God, for all His mercies!

Elijah: Thanks be to God, for He is gracious, and His mercy endureth for evermore! Jeremiah 14:22; II Chronicles 6:19, 26, 27;

Deuteronomy 28:23; Psalms 28:1; 106:1; I Kings 18:43–45

No. 20: Chorus Thanks be to God! He laveth the thirsty land! The waters gather; they rush along; they are lifting their voices! The stormy billows are high, their fury is mighty. But the LORD is above them, and Almighty! Psalm 93:3–4

ParT THE SECoND

JEZEBEL ORDERS ELIJAH’S DEATH No. 21: Air: Soprano Hear ye, Israel; hear what the LORD speaketh: “Oh, hadst thou heeded my commandments!” Who hath believed our report; to whom is the arm of the LORD revealed? Thus saith the LORD, the Redeemer of Israel, and His Holy One, to him oppressed by tyrants: thus saith the LORD: “I am He that comforteth; be not afraid, for I am thy God, I will strengthen thee. Say, who art thou, that thou art afraid of a man that shall die; and forgettest the LORD thy Maker, who hath stretched forth the heavens, and laid the earth’s foundations? Be not afraid, for I, thy God, will strengthen thee.” Isaiah 48:1, 18; 53:1; 49:7; 41:10; 51:12–13

No. 22: Chorus Be not afraid, saith God the LORD. Be not afraid! thy help is near. God, the LORD thy God, saith unto thee, “Be not afraid!” Though thousands languish and fall beside thee, and

tens of thousands around thee perish, yet still it shall not come nigh thee. Isaiah 41:10; Psalm 91:7

No. 23: Recitative and Chorus

Elijah: The LORD hath exalted thee from among the people: and o’er His people Israel hath made thee king. But thou, Ahab, hast done evil to provoke Him to anger above all that were before thee: as if it had been a light thing for thee to walk in the sins of Jeroboam. Thou hast made a grove and an altar to Baal, and served him and worshipped him. Thou has killed the righteous, and also taken possession. And the LORD shall smite all Israel, as a reed is shaken in the water; and He shall give Israel up, and thou shalt know He is the LORD.

The Queen: Have ye not heard that he hath prophesied against all Israel?

The People: We heard it with our ears.

The Queen: Have ye not heard that he hath prophesied also against the king of Israel?

The People: We heard it with our ears.

The Queen: And why hath he spoken in the name of the LORD? Doth Ahab govern the kingdom of Israel while Elijah’s power is greater than the king’s? The gods do so to me, and more, if by tomorrow about this time, I make not his life as the life of one of them whom he hath sacrificed at the brook of Kishon!

Chorus: He shall perish!

The Queen: Hath he not destroyed Baal’s prophets? Chorus: He shall perish!

The Queen: Yea, by sword he destroyed them all!

Chorus: He destroyed them all!

The Queen: He also closed the heavens!

Chorus: He also closed the heavens!

The Queen: And called down a famine upon the land.

Chorus: And called down a famine upon the land.

The Queen: So go ye forth and seize Elijah, for he is worthy to die; slaughter him! do unto him as he hath done! I Kings 14:7, 9, 15–16; 16:30–33; Jeremiah 26:9, 11;

I Kings 18:10; 21:7

No. 24: Chorus Woe to him, he shall perish; for he closed the heavens! And why hath he spoken in the Name of the LORD? Let the guilty prophet perish! He hath spoken falsely against our land and us, as we have heard with our ears. So go ye forth; seize on him! He shall die! Ecclesiasticus 48:2–3

ELIJAH FLEES TO MOUNT HOREB No. 25: Recitative Obadiah: Man of God, now let my words be precious in thy sight. Thus saith Jezebel: “Elijah is worthy to die.” So the mighty gather against thee, and they have prepared a net for thy steps; that they may slay thee. Arise, then, and hasten for thy life; to the wilderness journey. The LORD thy God doth go with thee; He will not fail thee, He will not forsake thee. Now begone, and bless me also.

Elijah: Though stricken, they have not grieved! Tarry here, my servant: the LORD be with thee. I journey hence to the wilderness.

II Kings 19:1, 3; Jeremiah 5:3; 26:11; Psalm 59:3;I Kings 19:3–4; Deuteronomy 31:6;

Exodus 12:32; I Samuel 17:37

No. 26: Air: Elijah It is enough; O LORD, now take away my life, for I am not better than my fathers! I desire to live no longer: now let me die, for my days are but vanity! I have been very jealous for the LORD God of Hosts! for the children of Israel have broken Thy covenant, and thrown down Thine altars, and slain all Thy prophets—slain them with the sword: and I, even I, only am left; and they seek my life to take it away.

Job 7:16; I Kings 19:4, 10

No. 27: Recitative: Tenor solo See, now he sleepeth beneath a juniper tree in the wilderness: but the angels of the LORD encamp round about all them that fear Him. I Kings 19:5; Psalm 34:7

No. 28: Trio: The Angels Lift thine eyes to the mountains, whence cometh help. Thy help cometh from the LORD, the Maker of heaven and earth. He hath said, thy foot shall not be moved: thy Keeper will never slumber.

Psalm 121:1–3

T E X T T E X T

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U C D av I S D E Pa r T M E N T o F M U S I C P r o D U C T I o N S Ta F FPhil Daley, events and publicity manager

Josh Paterson, events and production managerRudy Garibay, graphic designer

Jessica Kelly, writerChristina Acosta, editor

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vio l in I Cynthia Bates,

concertmaster*John Abdallah,

associate concertmaster*Angelo Arias* Eric van Boer Clairelee Leiser Bulkley* Joan Crow Yosef Farnsworth* Jordan Kirkner Raphael Moore* Marie Park Amanda Perry Vanessa Rashbrook John Wu

viol in I I Aaron Gong,

principal*Shari Gueffroy,

associate principal*Lucile Cain Jonathan Chan Tulin Gurer Grace Hermle Peilin Hsieh Sharon Inkelas Margaux Kreitman Jason Lee Morgan McMahon Keun-yung Park Wesley Wang

viola James Chitwood,

principal*Pablo Frias Jason Haberman*Holly Harrison Margaret Hermle Melissa Lyans Katie Miller Jesse Simons Alice Tackett An Tan

Cel lo Anne-Marie Noble,

principal*Christopher Allen* Lara Brown* Susan Lamb Cook Olivia GlassJulie Hochman Carrie Miller Eldridge Moores* Isabel Ortiz Milena Schaller

Ba ss Amanda Wu,

principal*Robin Croen Thomas Derthick Thomas Mykytyn Melissa Zerofsky

Flute Susan Monticello,

principal*Michelle Hwang* oboe Jaclyn Howerton,

principal*Benjamin Harris Clar ine t Robert Brosnan

principal*Al Bona Ba ssoon Matt Wong,

principal*Allison Peery

Hor n Rachel Howerton,

principal*Stephen Hudson Victoria LauAdam Morales Trumpet Randall Veirs,

principal*Jordan Kraft Trombone Jenny Mun,

principal*John Matter* Robert Thomas* Tu ba David Moschler* Percu ss ion Kevin Koo,

principal* organJeffrey Thomas*

* Holder of endowed seat

No. 29: Chorus: The Angels He, watching over Israel, slumbers not, nor sleeps. Shouldst thou, walking in grief, languish, He will quicken thee.

Psalms 121:4; 138:7

No. 30: Recitative An Angel: Arise, Elijah, for thou hast a long journey before thee. Forty days and forty nights shalt thou go to Horeb, the mountain of God.

Elijah: O LORD, I have laboured in vain; yea, I have spent my strength for naught! O that Thou wouldst rend the heavens, that Thou wouldst come down; that the mountains would flow down at Thy presence, to make Thy Name known to Thine adversaries, through the wonders of Thy works!

O LORD, why hast Thou made them to err from Thy ways, and hardened their hearts that they do not fear Thee? O that I now might die!

I Kings 19:7–8; Isaiah 49:4; 64:1–2; 63:17; I Kings 19:4

No. 31: Air: The Angel O rest in the LORD; wait patiently for Him, and He shall give thee thy heart’s desires. Commit thy way unto Him, and trust in Him, and fret not thyself because of evil doers.

Psalm 37:1, 4, 7

No. 32: Chorus He that shall endure to the end, shall be saved.

Matthew 24:13

ELIJAH IS SWEPT BY A WHIRLWIND TO HEAVEN No. 33: Recitative Elijah: Night falleth round me, O LORD! Be Thou not far from me! hide not Thy face, O LORD, from me; my soul is thirsting for Thee, as a thirsty land.

The Angel: Arise, now! get thee without, stand on the mount before the LORD; and there His glory will appear and shine on thee! Thy face must be veiled, for He draweth near.

Psalm 143:6–7; I Kings 19:11, 13

No. 34: Chorus Behold! God the LORD passed by! And a mighty wind rent the mountains around, brake in pieces the rocks, brake them before the LORD: but yet the LORD was not in the tempest. Behold! God the LORD passed by! And the sea was upheaved, and the earth was shaken: but yet the LORD was not in the earthquake. And after the earthquake there came a fire: but yet the LORD was not in the fire. And after the fire there came a still small voice; and in that still voice, onward came the LORD.

I Kings 19:11–12

No. 35: Recitative: Quartet and Chorus Above Him stood the Seraphim, and one cried to another: Holy, holy, holy is God the LORD—the LORD Sabaoth! Now His glory hath filled all the earth.

Isaiah 6:2, 3

No. 36: Chorus, Recitative Chorus: Go, return upon thy way! For the LORD yet hath left Him seven thousand in Israel, knees which have not bowed to Baal. Go thy way, thus the LORD commandeth.

Elijah: I go on my way in the strength of the LORD. For Thou art my LORD; and I will suffer for Thy sake. My heart is therefore glad, my glory rejoiceth, and my flesh shall also rest in hope.

I Kings 19:15, 18; Psalms 71:16; 16:9

No. 37: Arioso: Elijah For the mountains shall depart, and the hills be removed; but Thy kindness shall not depart from me, neither shall the covenant of Thy peace be removed.

Isaiah 54:10

No. 38: Chorus Then did Elijah the prophet break forth like a fire; his words appeared like burning torches. Mighty kings by him were overthrown. He stood on the Mount of Sinai, and heard the judgements of the future; and in Horeb its vengeance. And when the LORD would take him away to heaven, lo! there came a fiery chariot, with fiery horses; and he went by a whirlwind to heaven.

Ecclesiasticus 48:1, 6, 7; II Kings 2:1, 11

No. 39: Air: Tenor solo Then shall the righteous shine forth as the sun in their heavenly Father’s realm. Joy on their heads shall be for everlasting, and all sorrow and mourning shall flee away for ever.

Matthew 13:43; Isaiah 51:11

No. 40: Chorus And then shall your light break forth as the light of morning breaketh; and your health shall speedily spring forth then; and the glory of the LORD ever shall be thy reward. Lord, our Creator, how excellent Thy Name is in all the nations! Thou fillest heaven with Thy glory. Amen!

Isaiah 53:8; Psalm 8:1

T E X T U C D av I S S Y M P H o N Y o r C H E S T r aD . K E r N H o l o M a N , C o N D U C T o r

D av i D m o s c H l e r , a s s i s ta n t c o n D u c t o r a l e X a n D r a e n g e n , m a n a g e r a n D l i b r a r i a n

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SopranoJennifer AdlerAlyssa BlackJoanna BrownKa Ian ChanChun-Yi ChenRosemary CostelloSarah FloresEmma GoldinWendy HoSarah JimisonKimberly KurotoriLinda NguyenElizabeth Parks*Laura PutnamEmily RandallAnne RichardsonMiriam RockeDiane SotoLindsay Van Amringe *Acacia WangChristina WhiddenSara Wilson *Chloris Wong

altoSherry ChenChristine ChouMeghan Eberhardt *Lisa EleazarianApril FerreSara FranssenElizabeth Frey *Daniela GalassoSusan GarbiniEmma Gavenda *Sally GrayAnne Ish GreenKirstin Haag *Amy Harris *Mary HerbertLaura HockettRebecca JiaJulia Kulmann *Linda McCannKrysten MelgarVisnja MilojicicShanna MokOaggin ParkCarrie RockeSarah Shuken *Kelsey StroshaneHaeri Kate Suh

TenorMatthew Halverson *Milton JacksonHarry JinRichard KulmannMichael LahrSpencer Little *Peter Ludden *David MoschlerJeffrey PatersonMatthew RotwittPeter Shack *Janghee (John) Woo

Ba ssJohn BergClyde BowmanRobert CrummeyKenneth FiresteinKevin Foster *Christopher Gee *David Green *James HutchinsonDavid Kashevaroff *Tetsushi KawaguchiBryan KlingmanStephen LightfooteIan MacGregorLeonard MargueReid NonnenbergJohnny SanchezEric SpearsDoug UnderwoodKevin Young

* Members of semi-chorus in “For He shall give His angels”

U N I v E r S I T Y C H o r U SJ E F F r E Y T H o M a S , C o N D U C T o r

D av i D m o s c H l e r , a s s i s ta n t c o n D u c t o r

SopranoBeth Baker Grose 1981Noreen Barnett 1983Amanda Boardman 2008Susan Conwell 1995Barbara Cowie 1977Melissa Hallas 2002Marjorie Halloran 2007Jeanne Howe 1974Lauren Kaplan 1977Airy Krich-Brinton 2005Barbara Lachendro 1985Joan Lunderville 1965Jennifer McEwen 2008Megan McKee-Schulman 2001Aileen Nichols 2006Elenka Proulx 2004Lisa Sueyres 2008Paula Thompson 1976Kelley Way 2007Rebecca Wendlandt 2007Kendra Williams 1986

altoLindsay Allen 1973DeeDee Banegas 1996Barbara CelliLeslie Cooper 1976Aimee Dour-Smith 1992Robin Drechsler 1981Evelynne Drinker 1978Ann HalstedElizabeth HolomanKatherine Ivanjack 1998Charlene KunitzJulia LazzaraLeslie Leong 1981Sara Margulis 1997Sara Martin 1976Mari Masuko 2008Christine Meairs 1979Barbara Meixner 1964Martha Morgan 1985Linnea Nasman 2008Nancy Nelle 1974Lyn Parker 1971Mardi Paulson 1977Regina Sikora 2005Cynthia Sperry 2006Mary Sprifke 1965Lynne Swant 2002Joyce TakahashiKristina Trombly 2007Katherine Unger 1990Karen Walton 1977Cynthia Wight 1976

TenorSeth Arnopole 1998Stephen Fasel 2008Tatz IshimaruGary Matteson 1960Matthew McGibney 1993Jeff Ouye 1993Darren Pollock 2001Asa Stern 1997

Ba ssJeff Aran 1980John Baker 2000David Benjamin 1999Jim Draper 1944Joshua Eichorn 1998Thomas Estes 1980John Grose 1981Kirk Kolodji 2004Michael LazzaraNoca 1994Erick Lorenz 1962Ed MartinClarence McProud 1976Charles Monson 1997Chester Moore 1960Jeff Pettit 1976Keith Rode 2002Barry Smith 1984Paul David Terry 2001

a l U M N I C H o r U SJ E F F r E Y T H o M a S , C o N D U C T o r

D av i D a n D e l l e n D e f f n e r , a c c o m p a n i s t s

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John R. Berg, Ph.D., and Anne M. BergKathleen CadyBarbara P. and Kenneth D. CelliDonna M. Di GraziaLeland and Susan FaustAnn & Gordon Getty FoundationJohn Tracy Grose and Beth Baker-GroseProf. and Mrs. D. Kern HolomanJames and Patricia HutchinsonIBM International Foundation, LLP

Barbara K. JacksonJoan and Russell JonesMr. and Mrs. Norman JonesProf. Joseph E. Kiskis Jr.Julia and Richard KulmannElizabeth Langland and Jerry JahnLeslie and Dana LeongGary and Jane MattesonHugh and Deborah McDevittAlbert and Helen McNeilCindy and Dennis McNeil

Patricia K. Moore and Chester G. Moore Jr., Ph.D.

Mary Ann Morris, Ph.D.Jeffrey and Janice PettitSteven RosenauMr. and Mrs. Roy ShakedPatricia L. ShepherdSteven TallmanJeffrey ThomasLarry and Rosalie VanderhoefEd and Eleanor Witter

F o U N D E r ’ S C l U B M E M B E r S

Mitzi S. AguirrePriscilla AlexanderMartha AmorochoRenee ArmstrongRenee BodieClyde and Ruth BowmanLynn and Robert CampbellHugh C. and Susan B. ConwellMartha DickmanDotty DixonJeremy FaustDarlene Franz and James Van HornSally S. GrayBenjamin and Lynette HartDavid and Annmarie HellerJames H. HillmanBetty and Robin HoustonDonald Johnson and Elizabeth MillerWinston and Katy Ko

Kirk KolodjiAiry Krich-BrintonDr. Katherine T. LandschulzLeslie and Dana LeongNatalie and Malcolm MacKenzieMaria MangeSusan MannMarjorie MarchMatthew McGibneyClarence H. McProudAmelie Mel de FontenayJeffrey MihalyMartha MorganJonathan and Jessie NewhallRebecca NewlandNaomi NewmanGrant and Grace NodaJohn and Elizabeth OwensMike and Carlene Ozonoff

Patricia PeacockAnn PrestonGerry ProdyWarren G. RobertsCarrie RockeJerry and Sylvia RosenWilliam and Linda SchmidtCarl SeymourKevin ShellooeEllen ShermanG. William Skinner and Susan MannBarry SmithSteven and Patricia WaldoShipley and Dick WaltersDouglas and Carey WendellRebecca and Jansen WendlandtBank of America Matching Gift ProgramIBM Matching Gift ProgramJewish Community Endowment Fund

a N N U a l D o N o r S

U C D av I S C H o r U S E N D o W M E N T

Mitzi S. AguirrePriscilla AlexanderW. Jeffery Alfriend, DVM**Thomas and Patricia AllenDavid M. Ashkenaze, M.D.*Robert and Joan Ball*Cynthia Bates*Matthew and Shari Benard-

Gueffroy**Robert Biggs and Diane CarlsonOscar and Shula BlumenthalRebecca A. Brover**Robert and Hilary Brover**Gregory A. BruckerRalph E. Bulkley and

Clairelee Leiser Bulkley**Walter and Marija Bunter*Ray and Mary Cabral*Lynn and Robert CampbellDon and Dolores Chakerian*Terry and Marybeth CookElizabeth CorbettAllan and Joan Crow*Martha Dickman*Clare M. DriverNancy DuBois*Jonathan and Mickey ElkusThomas and Phyllis Farver**Ron FisherTyler T. Fong*Marvin and Susan Friedman**Edwin and Sevgi FriedrichAnne Gray*Vicki Gumm and Kling

Family Foundation**Prof. and Mrs. Said Haimor*Benjamin and Lynette Hart**Lorena Herrig*Barbara D. HoermannProf. and Mrs. D. Kern

Holoman**Debra A. Horney, M.D.**Brian and Louanne Horsfield**Ilia Howard*Margaret E. Hoyt*

Dr. and Mrs. Daniel R. Hrdy*Sharon InkelasBarbara K. Jackson**Prof. Joseph E. Kiskis Jr.*Winston and Katy KoFamily of Norman Lamb*Dr. Richard Levine*Paul and Lois LimSusan LinzMelissa Lyans and Andreas J.

Albrecht, Ph.D.*Natalie and Malcolm

MacKenzie*Douglas W. Macpherson and

Glayol Sabha, M.D.*Marjorie March*J. A. MartinGary and Jane Matteson**Katherine Mawdsley and

William F. McCoy*Scott and Caroline MayfieldGreg and Judy McCall*Tracy H. and Brendan J.

McCarthyUlla and Gerald McDanielDon and Lou McNary*Albert J. and Helen McNeil*Sharon Menke, esq.Maureen MillerAndrew Mollner**Joseph Dean Mollner**Eileen and Ole Mols*George MooreJolanta Moore**Raphael S. and Netania Moore*Eldridge and Judith Moores**James and Jocelyn Morris**Mary Ann Morris*Ken T. Murai*Russell and Alice OlsonJessie Ann OwensPaul and Linda Parsons*Herman and Dianne Phaff**Marjorie Phillips and

Robert Rice

James and Felicity PineJim and Nancy PollockAnn PrestonEugene and Elizabeth Renkin*Ralph and Judy Riggs**Susanne Rockwell and

Brian SwayJerome and Sylvia Rosen*Don RothRobert and Margaret Rucker**Tracey RudnickBeverly “Babs” Sandeen and

Marty Swingle**E. N. Sassenrath*Neil and Caroline Schore*Prof. and Mrs. Calvin Schwabe*Barbara L. SheldonEllen Sherman*Richard and Gayle Simpson**Wilson and Kathryn Smith**Lois Spafford*Sherman and Hannah SteinDr. and Mrs. Roydon SteinkeThomas Sturges*Joel and Susan Swift*Richard Swift*Alice Tackett*Steven D. Tallman*Damian Siu Ming Ting**Roseanna F. TorrettoRosalie and Larry Vanderhoef*Shipley and Dick Walters*Barbara D. and

Grady L. WebsterMarya Welch*

Arthur Andersen LLP Foundation*

Bank of America FoundationOffice of the Provost**The Swift Fund for the Arts*UC Davis Symphony Orchestra

1992–93, 1993–94**Weyerhaeuser

In honor ofBenjamin HartRandolph Hunt by Benjamin

and Lynette Hart*Ulla McDanielJerome and Sylvia Rosen*

In memory ofSusan Pylman AkinWilliam R. AlbrechtRonald J. AlexanderHilary BroverRobert M. CelloKaren Aileen DettlingJohn “Al” Driver Elizabeth ElkusCarl FlowersDr. Irena Anna HennerKatherine H. HolomanNorman E. LambLoren LeMaitreVerna Fournes LeMaitreMichelle MantayDorothy Dodge MillerJohn MouberMel OlsonHerman PhaffKeith RiddickWalter H. Rock Jr.Walter H. Rock Sr.Dorothy J. ShielyRichard and Dorothy SwiftWilliam E. ValenteBodil Wennberg

* = $1,000 or more ** = $10,000 or more

U C D av I S S Y M P H o N Y E N D o W M E N T

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r e C i t A l h A l l A n D t h e e n D o w M e n t s

The Department of Music extends a warm thank-you to the people who make possible everything we do. Gifts to the Symphony and Chorus Endowments allow students of those performing ensembles continued access to quality performance resources, which

include visiting artists, coaches, music, instruments, and performance venues. In October 2008 a new endowment was founded by Deborah Pinkerton and Bret Hewitt in honor of Joy M. Shinkoskey to support the free Thursday Noon Concert series.

The most important endeavor of the department today is to build the new Music Performance Building and Recital Hall—a much needed mid-size concert venue that will serve the campus and the region. Scheduled to open in fall 2011, the Recital Hall will provide an acoustically rich environment for small ensembles, soloists, and a superb teaching facility for a department with rapidly growing enrollment and increasing academic strength and breadth. The hall will also house Mondavi Center Presenting Program concerts. An effort to raise $5.5 million in private funding to augment state and campus funds for the project is underway. For information about the Recital Hall and how to support it, please visit the Department of Music web site (music.ucdavis.edu) or call Debbie Wilson, Director of Development for the Division of Humanities, Arts & Cultural Studies in the College of Letters & Science, at 530.754.2221.

Wayne and Jacque Bartholomew*Ralph and Clairelee Leiser Bulkley*John and Lois Crowe**Lorena J. Herrig*D. Kern and Elizabeth Holoman*Barbara K. Jackson****Albert McNeil*

Mary Ann Morris*Grant and Grant Noda****Jessie Ann Owens and

Anne L. Hoffmann*Wilson and Kathryn Smith*Richard and Shipley Walters*Edwin and Elen Witter*

In Memory of Kenneth N. MacKenzieNatalie and Malcolm Mackenzie*

* = Patron ($25K and higher)** = Director ($50K and higher)*** = Benefactor ($100K and higher)**** = Founder ($350K and higher)

r E C I Ta l H a l l S o C I E T YRecognized by gifts of $25,000 or more

Aguirre FamilyAngelo D. Arias and FamilyRobert and Joan BallCynthia BatesRoss Bauer, Ph.D.Martha DickmanNancy DuBoisRichard and Vera HarrisJulia and Richard KulmannCharlene R. KunitzMaureen MillerDeborah and Hugh McDevittGail M. OttesonKurt Rohde and Timothy AllenJerome and Sylvia RosenSchore FamilyThomas and Karen SlabaughHenry Spiller and Michael OrlandHannah and Sherman SteinHenry Ann StruderLynne Swant and FamilyUwate FamilyLarry and Rosalie VanderhoefCarla Wilson

Seth Singers, Alumni 1994–2008Seth ArnopoleJohn BakerDavid BenjaminPenn BrimberryJoshua Eichorn

Stephen FaselKatherine IvanjackEric and Jacque LeaverJoshua and Sara MargulisElizabeth ParksEllen ProulxKeith and Jennifer RodeSteven RosenauAsa SternStephanie SuganoThomas Wilberg

In Memory of Kenneth N. MacKenzieClyde and Ruth BowmanElizabeth BradfordKaren and Irving BroidoPaul and Nancy CaffoLaura Cameron Bruce and Mary CarswellLinton and Carol CorrucciniMary and George DahlgrenAllen and Mary Lou DobbinsJohn and Catherine DuniwayRobert and Ann EdmondsonAndrew and Judith GaborGovernment Affairs ConsultingPaul and June GulyassyRussell and Suzanne HansenJohn and Marylee HardieBenjamin and Lynette HartJohn and Patricia HershbergerBette Gabbard HintonDirk and Sharon HudsonJames and Patricia Hutchinson

Barbara K. JacksonJerry and Teresa KanekoKit and Bonita LamRuth LawrenceJerry and Marguerite LewisFrederick and Lucinda MarchTheresa MauerRobert and Margaret McDonald John and Norma MeyerMaureen MillerTeresa PaglieroniSarah and Thomas PattisonPhilip and Shirley PenlandDavid and Dair RauschElizabeth and Eugene RenkinG. Thomas and Joan SalleeKatherine SchimkeMaxine SchmalenbergerJ. Tracy and Sally SchreiberRoy and Polly SheffieldSuzette SmithRonald and Rosie SoohooJoe and Betty TupinLaura and Richard Van NostrandElisabetta Vivoda Richard and Shipley WaltersNoel and Pamela WarnerRobert and Christine WendinDebbie B. WilsonRobert and Joyce WisnerDonald and Diane Woods

St. Helena Hospital Foundation

S E aT S a N D S T o N E SRecognized by gifts of $1,000 or more

18

Cynthia Bates Cynthia Bates concertmaster

presented by Debra Horney, M.D.

John abdallah Damian Ting associate concertmaster

presented by Damian Siu Ming Ting

Clairelee leiser Bulkley Clairelee Leiser Bulkley violin I

presented by Clairelee Leiser Bulkley and Ralph E. Bulkley

Yosef Farnsworth Francis Dubois violin I

presented by Nancy Dubois

raphael S. Moore Raphael S. Moore violin I

presented by Jolanta Moore in memory of Raphael’s grandmother, Dr. Irena Anna Henner

angelo arias Ralph and Judy Riggs violin I

presented by Ralph and Judy Riggs

aaron gong Fawzi S. Haimor principal violin II

presented by Barbara K. Jackson

Shari Benard-gueffroy Shari Benard-Gueffroy assistant principal violin II

presented by Shari Benard-Gueffroy

James Chitwood Jocelyn Morris principal viola

presented by James and Jocelyn Morris

Jason HabermanBakos family associate principal viola

presented by John T. Bakos, M.D./Ph.D., in memory of Dr. John and Grace Bakos

anne-Marie Noble Herman Phaff principal cello

presented by Herman and Diane Phaff

Christopher allenTracy McCarthy cello

presented by Brian and Louanne Horsfield

Eldridge MooresEldridge Moores cello

presented by Eldridge and Judith Moores

lara BrownLouise McNary cello

presented by Don McNary

amanda Wu Barbara K. Jackson principal bass

presented by Barbara K. Jackson

Susan Monticello Principal flute

presented by Beverly “Babs” Sandeen and Marty Swingle

Michelle HwangPhyllis and Thomas Farver flute/piccolo

presented by Phyllis and Thomas Farver

Jaclyn Howerton Wilson and Kathryn Smith principal oboe

presented by Wilson and Kathryn Smith

robert BrosnanW. Jeffery Alfriend DVM principal clarinet

presented by Vicki Gumm and Kling Family Foundation

Matthew Wong Kling Family Foundation principal bassoon

presented by Vicki Gumm and Kling Family Foundation

rachel Howerton Kristin N. Simpson and David R. Simpson principal French horn

presented by Richard and Gayle Simpson

randall veirs Andrew Mollner principal trumpet

presented by Joseph Dean Mollner and Andrew Mollner

Jenny Mun Rebecca A. Brover principal trombone

presented by Rebecca A. Brover

John Matter Michael J. Malone trombone

presented by Brian McCurdy and Carol Anne Muncaster

robert Thomas Brian McCurdy bass trombone

presented by Barbara K. Jackson

David Moschler Robert B. Rucker tuba

presented by Robert and Margaret Rucker

Calvin B. Arnason principal harppresented by Benjamin and Lynette Hart

Kevin Koo Friedman family principal percussion

presented by Marvin and Susan Friedman

Jeffrey Thomas Gary C. Matteson orchestral piano

presented by Jane, Dwayne, and Donald Matteson

David Moschler Barbara K. Jackson assistant conductor

presented by Barbara K. Jackson

u C D A V i s s Y M P h o n Y o r C h e s t r A e n D o w e D s e A t s

Endowed seats are made possible by gifts of $10,000 or more.

The conductor’s podium was presented by Wilson and Kathryn Smith in honor of D. Kern Holoman.

MinDY CooPer, director & choreographer

granada artist-in-residence

DAViD MosChler, musical director

a joint production of the Departments of Music and theatre & Dance, with the uC Davis symphony orchestra

sat, 2 May, 8 pm || sun, 3 May, 2 pm — special matinee pricing (this performance only): $8/10/12 stU & cH, $12/14/16 a*

Fri, 8 May, 8 pm || sat, 9 May, 8 pm || sun, 10 May, 2 pm

JACkson hAll, MonDAVi Center || $12/16/20 stu & Ch, $20/24/28 A*www.mondaviarts.org *Tickets purchased at the door on the evening of the performance will be $2 higher.

roDgers & hAMMerstein’s