mondavi center playbill issue 4: dec 2012

MondaviArts.org | 1

AnniversAry

2012—13Season Sponsors

ProgrAm

Issue 4: DeC 2012• Charles Bradley and Menahan Street Band p. 5• Alexander String Quartet p. 8• Danú p. 12• Lucy Guerin Untrained p. 15• Cantus p. 19• American Bach Soloists Holiday Concert p. 25

• San Francisco Symphony p. 38

MondaviArts.org | 1

I t is my pleasure to welcome you to the Robert and Margrit Mondavi Center for the Performing Arts, a genuine jewel of

our UC Davis campus. In its 10 years of existence, the Center has truly transformed our university and the Sacramento region.

Arts and culture are at the heart of any university campus, both as a source of learning and pleasure and of creative and intellectual stimulation. I have been fortunate to be a part of several campuses with major performing arts centers, but no program I have experi-enced exceeds the quality of the Mondavi Center. The variety, quality and impact of Mondavi Center presentations enhance the worldwide reputation of our great research university.

Of course, this great Center serves many purposes. It is a place for our students to develop their cultural literacy, as well as a venue where so many of our wonderful faculty can share ideas and expertise. It is a world-class facility that our music, theater and dance students use as a learning laboratory.

As a land grant university, UC Davis values community service and engagement, an area in which the Mondavi Center also excels. Through school matinees, nearly 100,000 K–12 students have had what is often their first exposure to the arts. And through the Center’s many artist residency activities, we provide up close and personal, life-transforming experiences with great artists and thinkers for our region.

Thank you for being a part of the Mondavi Center’s 10th anniversary season.

Linda P.B. KatehiUC Davis Chancellor

A messAge from the chAncellor

AnnIversAry2012—13

season sponsors

2 | Mondavi Center Presents Program issue 4: deC 2012

mondAvI center stAff

DON ROTH, Ph.D.Executive Director

Jeremy GanterAssociate Executive Director

ProgrammingJeremy GanterDirector of Programming

Erin PalmerProgramming Manager

Ruth RosenbergArtist EngagementCoordinator

Lara DownesCurator: Young Artists Program

arTS EDUCaTionJoyce DonaldsonAssociate to the Executive Director for Arts Educationand Strategic Projects

Jennifer MastArts Education Coordinator

aUDiEnCE SErViCESDavid SzymanskiAudience Services Manager

Yuri RodriguezHouse/Events Manager

Nancy TempleAssistant House/Events Manager

Natalia DeardorffAssistant House/Events Manager

BUSinESS SErViCESDebbie ArmstrongSenior Director of Support Services

Mandy JarvisFinancial Analyst

Russ PostlethwaiteBilling System & Rental Coordinator

DEVELoPmEnTDebbie ArmstrongSenior Director of Development

Alison Morr KolozsiDirector of Major Gifts& Planned Giving

Elisha FindleyCorporate & Annual Fund Officer

Amanda TurpinDonor Relations Manager

oPEraTionSHerb GarmanDirector of Operations

Greg BaileyBuilding Engineer

inFormaTion TECHnoLogYDarren MarksWeb Specialist/ Graphic Artist

Mark J. JohnstonLead Application Developer

marKETingRob TocalinoDirector of Marketing

Will CrockettMarketing Manager

Erin KelleySenior Graphic Artist Morissa Rubin Senior Graphic Artist

Amanda CarawayPublic Relations Coordinator

TiCKET oFFiCESarah HerreraTicket Office Manager

Steve DavidTicket Office Supervisor

Susie EvonTicket Agent

Russell St. ClairTicket Agent

ProDUCTionDonna J. FlorProduction Manager

Daniel J. GoldinAssistant Production Manager/Master Electrician

Zak Stelly-RiggsAssistant Production Manager/Master Carpenter

Christi-Anne SokolewiczSenior Stage Manager, Jackson Hall

Christopher OcaSenior Stage Manager, Vanderhoef Studio Theatre

Michael T. HayesHead Audio Engineer

Jenna BellArtist Services Coordinator

Daniel B. ThompsonCampus Events Coordinator, Theatre and Dance Department Liaison/Scene Technician

Kathy GlaubachMusic Department Liaison/Scene Technician

Adrian GalindoAudio Engineer— Vanderhoef Studio Theatre/Scene Technician

Gene NelsonRegistered Piano Technician

HEaD USHErSHuguette Albrecht George Edwards Linda Gregory Donna Horgan Mike Tracy Susie Valentin Janellyn Whittier Terry Whittier

Anderson Family Catering & BBQAtria Senior Living Boeger WineryBuckhorn CateringCaffé Italia Ciocolat

El Macero Country ClubFiore Event DesignHot ItalianHyatt PlaceOsteria FasuloSeasonsWatermelon Music

The Andrew W. Mellon Foundation

gold

silver

Bronze

Platinum

mondAvI center grAntors And Arts edUcAtIon sPonsors

sPecIAl thAnks

offIce of cAmPUscommUnIty relAtIons

10th AnnIversAry seAson sPonsors

corPorAte PArtners

For more information about how you can support the Mondavi Center, please contact: Mondavi Center Development Department 530.754.5438

2 | Mondavi Center Presents Program issue 4: deC 2012 MondaviArts.org | 3

A t the Mondavi Center, we are proud to present some of the finest artists working in every genre. The performances you experience in

Jackson Hall and the Vanderhoef Studio Theatre are often born of remark-able stories. We do our best to give you a rounded picture of our artists through our website, playbills, Facebook page and many engagement activities (which include our popular Pre-Performance Talks and post-performance Question & Answer sessions). But often, the stories are so extraordinary, that it is worth pausing for a moment to call attention to them. This month, we have two shows that illustrate this need.

A Brooklyn Tale: Charles Bradley, as a young resident of my native Brooklyn, had the good fortune to witness one of James Brown’s legendary 1962 performances at Harlem’s Apollo Theatre. Inspired by the Godfather of Soul, he spent the better part of his life bouncing between jobs, always finding work, but never finding success as an artist. After being discovered leading a James Brown cover band, Bradley released his first album, No Time for Dreaming, at the age of 62. Rolling Stone proclaimed it one of the 10 best releases of 2011. Come seeCharles Bradley living his dream on December 1.

A Tale from the Front: It is Christmas Eve on the front lines, World War I. A German soldier begins to sing a Christmas carol; a British soldier recognizes the tune and joins in. Soon, soldiers on both sides lay down their arms, creating an informal truce as they share songs together to celebrate their common humanity amidst the horrors of war. The marvelous a cappella group Cantus relives this story in song and prosein All is Calm on December 8.

The holidays are an ideal time to share stories and the arts, and the holiday spirit is abundant in our programming in December. For the first time, the San Francisco Symphony brings a holiday program, which includes a screening of the animated film The Snowman and a sing-along of the season’s favorites. Danú shares a traditional Irish Christmas, replete with step dancing, fiddles and the beautiful voice of Muireann Nic Amhlaoibh. And we turn a new page in our relationship with the American Bach Soloists, which will present a new holiday program featuring Vivaldi’s Gloria and the San Francisco Girls Chorus.

You don’t have to be the Grinch to enjoy non-holiday fare this month. For example, you can look to our Vanderhoef Studio Theatre, where our first Studio Dance performances feature Lucy Guerin’s Untrained, which pairs two trained dancers with two newbies attempting to dance the same work. You can also catch the Alexander String Quartet continuing their Schubert series, or a screening of Carol Reed’s remarkable 1948 film, The Fallen Idol.

All of us at the Mondavi Center wish you a very happy holiday season. We look forward to celebrating a remarkable 2013 with you all.

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

Phot

o: L

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ith A messAge from don roth Mondavi Center Executive Director

ProgramIssue 4: dec 2012RobeRt and MaRgRIt Mondavi Center for the Performing Arts • UC DAvis

• 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.

• 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 re-admitted to his/her ticketed seat while the performance is in progress.

before the show

O A H

in this issue:

• Charles Bradley and Menahan Street Band p. 5

• Alexander String Quartet p. 8

• Danú p. 12

• Lucy Guerin Untrained p. 15

• Cantus p. 19

• American Bach Soloists Holiday Concert p. 25

• San Francisco Symphony p. 38

• Mondavi Center Policies and Information p. 48


A Chevron American Heritage Series Event

Saturday, December 1, 2012 • 8PM

Jackson Hall, Mondavi Center, UC Davis

Sponsored by

Individual support provided by

Joe and Betty Tupin.

Pre-Performance TalkSaturday, December 1, 2012 • 7PM


Speaker: Cory Combs, Director of Outreach,

Music and Enrichment, The Nueva School

chArles BrAdley And menAhAn street BAnd

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

DebutMC

Charles Bradley, Vocals

Michael Deller, Organ

Homer Steinweiss, Drums

Nicholas Movshon, Bass

Thomas Brenneck, Guitar

David Guy, Trumpet

Freddy Deboe, Tenor Saxophone

Charles Bradley and Menahan Street Band

Ph

oto

by K

ish

a B

ari


As the region’s nationally ranked, comprehensive children’s hospital, UC Davis saves the lives ofchildren every day. Here, parents find family-centered care from world-renowned health-care experts on the leading edge of pediatric medicine. With state-of-the-art neonatal, pediatric and pediatric cardiac intensive care units and a host of pediatric specialists available 24-hours a day, UC Davis offers expert care close to home – bringing families peace of mind.

To learn more, visit YouSeeTheFuture.UCDavis.edu. For more information, call 800-2-UC DAVIS.

YOU SEE REASSURANCE

We see the youngest lives saved.You see your child in the best possible hands.

WHAT DO YOU SEE?


Cory Combs is an educator, historian, lecturer, bassist and composer living in the San Francisco Bay area. He earned his bachelor’s and master’s degrees from the Eastman School of Music, where he studied classical performance, jazz and composition. He is currently director of outreach, music and enrichment at the Nueva School. He previously served as director of education at SFJAZZ, the non-profit organiza-tion behind the San Francisco Jazz Festival. Additionally, he served as music director at Waldorf High School in San Francisco and directed the jazz program at the American Festival of the Arts in Houston, Texas. He continues to be an active guest clinician and educator at colleges and high schools.

Combs has presented frequent lectures on music history and culture throughout San Francisco and nationally, includ-ing the Asian Art Museum, Pacific Asian Museum, Jewish Community Center, Davies Symphony Hall, Herbst Theater, City College, San Francisco Public Library, San Francisco State University and on KQED Forum. He has released three CDs, which have all received positive reviews in DownBeat and All About Jazz. His CD Valencia was listed as one of the 10 best CDs of the year by All About Jazz.

Charles Bradley is no stranger to hard times. Born in Gainesville, Florida, in 1948 and raised in Brooklyn, Bradley spent the better part of his childhood living on the streets. One of the more optimistic moments of his childhood came in 1962, when his sister took him to see James Brown at the Apollo. With his newfound inspiration came an urgent desire to get off the streets and make something of himself.

Bradley made his way out of Brooklyn via Job Corps, a federal pro-gram for helping underprivileged families. His job placement took him to Bar-Harbor, Maine, where he learned to cook. After nine years cooking for 3,500 people a day, being harassed by local police offi-cers and having no musical outlet, Bradley decided to leave Wassaic and head west in search of a dream.

Bradley spent more than 20 years in California, making his living as a chef, all the while playing music on the side. Things seemed to be looking up for Bradley, but just as he was about to put a down payment on his first house, he was laid-off from his job of 17 years. Being fired forced him to re-evaluate his life out west. Ultimately, he decided to come home to Bushwick, Brooklyn, to be with his family again. Bradley finally found an audience when he began making appear-ances in local Brooklyn clubs performing his James Brown routines under the alter ego “Black Velvet.” At 51, he was finally making a life for himself back home. His musical career was moving forward, but he was to be tested once again.

Bradley awoke in his mother’s house one morning to the sounds of police sirens. He was devastated to find that his brother had been shot and killed. Life did not seem worth living anymore.

Bradley was down and out when Gabriel Roth of Daptone Records happened upon him performing his Black Velvet act at the Tarheel Lounge in Bed-Stuy. Roth recognized his raw talent and brought Bradley out to Staten Island to meet Thomas Brenneck, songwriter and guitarist for the Bullets. The two hit it off and began working together. They released two singles on Daptone under the name Charles Bradley and the Bullets, but the Bullets soon dismantled in order to form the afrobeat-influenced Budos Band.

In time, they became close friends and Bradley confided his life story to Brenneck. The young producer was moved when he heard Bradley tell the painful story of his brother’s death. Brenneck said, “Charles, we gotta put that story to music.” Brenneck had put together a small bedroom studio and was working on instrumentals with a new group soon to be named the Menahan Street Band. Many late-night writing and recording sessions later, he and Brenneck completed their first full-length record, No Time For Dreaming. Charles always knew he was born to entertain, but in the making of this record he discovered a proclivity for songwriting as well.

The record was a labor of love for both Bradley and Brenneck. In 2011, No Time for Dreaming was released on Dunham Records. Bradley has been touring with the Menahan Street Band and honing his passion as a singer and an entertainer. If you know him today, then you know one of the most loving, humble, honest and genuine human beings you will ever know. Bradley spent most of his life dreaming of a better one, and now there is no more time for dream-ing, just time for singing, dancing and loving.

PPt

Pre-Performance Talk Speaker: Cory Combs


An Alexander String Quartet Series Event

Sunday, December 2, 2012 • 2PM and 7PM

Vanderhoef Studio Theatre, Mondavi Center, UC Davis

Individual support provided by Anne Gray and

Thomas and Phyllis Farver.

Question & Answer SessionSunday, December 2, 2012 • 7PM only


With Members of the Alexander String Quartet

Question & Answer Sessions take place in the theater

after the event.

ALexAnDer STrinG QuArTeTZakarias Grafilo and Frederick Lifsitz, Violins

Paul Yarbrough, ViolaSandy Wilson, Cello

robert Greenberg, Lecturer (2PM concert only)


String Quartet No. 15 in G Major, D. 887 SchubertAllegro molto moderatoAndante un poco motoScherzo: Allegro vivaceAllegro assai

There will be one intermission in the 2 p.m. performance.

7PM onlyString Quartet No. 21 in D Major, K. 575 Mozart

AllegrettoAndanteMenuetto: AllegrettoAllegretto

ProgrAm


ProgrAm notes

String Quartet No. 15 in G Major, D. 887 (1826)Franz Schubert (Born January 31, 1797, in Vienna; died November 19, 1828, in Vienna)

Schubert wrote his 15th and final string quartet in the unbelievably short span of 11 days (June 20–30, 1826). Mozart himself would have been hard-pressed to get a work of this breadth done in so brief a time. The Quartet in G Major is in every way a striking piece of music: in length (it stretches out to 45 minutes even when some of the most important repeats are omitted); in scope (its huge sonori-ties, often underpinned by violent tremolos, frequently suggest orchestral writing); and key relationships. Schubert was a master of the ingenious modulation, and this quartet’s quicksilvery shifts of tonality mirror the flickering moods within the music itself. This is mercurial music—elusive, haunting and finally very moving. From a near-silent beginning, the Allegro molto moderato suddenly bursts to life on great chords, sharply-dotted rhythms and jagged thematic edges. Within its first instants, the music pitches uneasily between G major and G minor and over orchestra-like tremolos, the opening idea (derived from the jagged edges of the introduction) is announced pianissimo by first violin and cello. The gracefully syncopated second subject arrives as a chordal melody, and—curi-ously—the rest of the exposition consists of a set of variations on this theme. The development at first concentrates on the opening idea then resumes the variations on the second subject. The move-ment drives to a close that returns to the powerful (and harmonically unstable) manner of the very beginning. The Andante un poco molto opens conventionally—the cello tune in the opening measures is pure Schubert—but suddenly come great rips of sound, discordant cries from the first violin over harmonically ambiguous tremolos in the lower voices. Agitated, dark and almost shrill, these passages break in throughout the movement, which finally resolves peacefully. The Scherzo, in B minor, is reminiscent of the scherzo of the “Great” C Major Symphony—it bristles with energy as individual voices leap out of the general bustle. In complete contrast, the trio section is a laendler, and the languorous lilt of its main idea—introduced by the cello—brings an interlude of calm; the sudden jump back to the needle-sharp entrances of the scherzo is dramatic. The finale—Allegro assai—has been described as a perpetual-motion movement. Actually, it is a tarantella-like rondo that rides exuberantly along its 6/8 meter. Schubert supplies contrasting episodes along the way (smoothly making the 6/8 meter sound like 3/4 in the process), but it is the dancing opening music that finally takes the quartet to its energetic close. Schubert apparently never heard this quartet. There is speculation that its opening movement might have been performed at the famous Schubertiad in March 1828, but even the best evidence is conjectur-al, and there is no convincing suggestion of a performance during his lifetime. The Quartet in G Major appears to have been consigned to the silence of dusty shelves, where it remained until it was premiered by the Hellmesberger Quartet in Vienna on December 8, 1850, 22 years after its composer’s death.

String Quartet No. 15 in G Major, D. 887 SchubertAllegro molto moderatoAndante un poco motoScherzo: Allegro vivaceAllegro assai

There will be one intermission in the 2 p.m. performance.

7PM onlyString Quartet No. 21 in D Major, K. 575 Mozart

AllegrettoAndanteMenuetto: AllegrettoAllegretto

String Quartet No. 21 in D Major, K. 575 (1789) Wolfgang Amadeus Mozart (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna)

In the spring of 1789, Mozart made an extended visit to Berlin. His fortunes in Vienna had waned, and he hoped that in the music-loving King Friedrich Wilhelm II he might find a royal patron who would understand his worth and commission new music. Mozart returned to Vienna early in June with the news that the trip had been in all ways a success: he had performed before the king and queen, who were so enthralled by his playing that on the spot the king com-missioned a set of six quartets and six easy keyboard sonatas for his daughter. Mozart even had the money in hand to confirm his story. Yet this inspiring tale, which has been part of the Mozart legend for two centuries, remains a troubling episode because the evidence sug-gests that it never happened. There is no record of a royal reception at Potsdam (the king in fact refused to meet Mozart and sent him instead to the court Kapellmeister), and scholars have come to the uncomfort-able conclusion that Mozart—humiliated and unable to face returning to Vienna in shame—made up the whole story of the commission and borrowed money so that he could pass it off as the king’s payment. He made a great show of starting to compose the cycle of quartets, but soon lost interest and wrote only three of the projected six. These were eventually published with no mention of a royal dedication.

These three quartets, inevitably (if ironically) known as the “King of Prussia” Quartets, feature unusually prominent parts for the cello. The king was an amateur cellist, and—the story went—Mozart gave that instrument a leading role as a bow to his royal patron. Mozart actu-ally began work on the Quartet in D Major, K. 575 on the way back to Vienna from Berlin and had it done about the time he arrived home. The quartet is full of refined and agreeable music, but the surprise is how restrained this music is. Three of its movements are marked Allegretto, a marking that implies not just a tempo slower than Allegro but also a more relaxed and playful character; further, both the first and second movements are marked sotto voce, suggesting a subdued presentation. The first violin immediately introduces the main theme of the opening Allegretto, and its rising-and-falling shape will recur in a number of forms. The second subject is announced by the cello (characteristically, it is marked dolce), and the music proceeds in sonata form, with a fairly literal recapitulation and a short coda. The Andante is music of inspired simplicity. Mozart sometimes sets the three upper voices against the cello here, and these unison sonorities contribute to the movement’s atmosphere of clarity and simplicity. Both themes of this sonata-form movement sing gracefully, and the sotto voce marking at the opening might apply to the entire movement. There is more unison writing in the Menuetto, though the second strain breaks the melodic line nicely between the three upper voices in turn. By contrast, Mozart turns the trio section over to the cello, which sings its graceful song as the upper strings accompany.

The concluding Allegretto is the most contrapuntal—and the most impressive—of the four movements. It begins with something quite unusual in Mozart’s music—a main theme that is clearly derived from the main theme of the first movement. He then offers extended polyphonic treatment of this singing idea, sometimes setting it in close canon between the various voices, at other times varying this simple melody in surprising ways—his music flows and sparkles and seems constantly to be in the process of becoming something new. In its good spirits, intelligence and utter ease, it is music fit for a king (even if it wasn’t actually written for one).

—Eric Bromberger


The Alexander String Quartet has performed in the major music capitals of five continents, securing its standing among the world’s premier ensembles over three decades. Widely admired for its interpretations of Beethoven, Mozart and Shostakovich, the quartet has also established itself as an important advocate of new music through more than 25 commissions and numerous premiere performances. The Alexander String Quartet is a major artistic presence in its home base of San Francisco, serving there as direc-tors of the Morrison Chamber Music Center at the School of Music and Dance in the College of Arts and Humanities at San Francisco State University and Ensemble in Residence of San Francisco Performances.

The Alexander String Quartet’s annual calendar of concerts includes engagements at major halls throughout North America and Europe. The quartet has appeared at Lincoln Center, the 92nd Street Y and the Metropolitan Museum in New York City; Jordan Hall in Boston; the Library of Congress and Dumbarton Oaks in Washington; and chamber music societies and universities across the North American continent. Recent overseas tours have brought them to the U.K., Czech Republic, Netherlands, Italy, Germany, Spain, Portugal, Switzerland, France, Greece, the Republic of Georgia, Argentina and the Philippines. The many distinguished artists to collaborate with the Alexander String Quartet include pianists Menahem Pressler, Gary Graffman, Roger Woodward, Jeremy Menuhin and Joyce Yang; clarinetists Eli Eban, Charles Neidich, Joan Enric Lluna and Richard Stoltzman; cellists Lynn Harrell, Sadao Harada and David Requiro; violist Toby Appel; mezzo-soprano Joyce DiDonato; and soprano Elly Ameling. Among the quartet’s more unusual collaborations have been numerous performances of Eddie Sauter’s seminal Third Stream work, Focus, in collaboration with Branford Marsalis, David Sánchez and Andrew Speight.

A particular highlight of the 2012–13 season was a celebratory concert presented by San Francisco Performances marking the quartet’s 30th anniversary. For the occasion, San Francisco Performances commis-sioned a new work by Jake Heggie, Camille Claudel: Into the Fire, a work for string quartet and mezzo-soprano; the Alexander was joined in the world premiere by Joyce DiDonato. Highlights of the current season include multi-concert Schubert projects for San Francisco Performances, Mondavi Center and Baruch College in New York, as well as a series of programs for San Francisco Performances interweav-ing observations of the Britten centennial and the 75th anniversary of the outbreak of World War II. They also continue their annual residen-cies at Allegheny College and St. Lawrence University in collaboration with the Crane School of Music at SUNY Potsdam. There are also performances at Amherst College, Duke University and an unusual collaboration in an all-Shostakovich program in collaboration with the poet Carolyn Fourché reading from her works at Seton Hall University.

The Alexander String Quartet added considerably to its distinguished and wide-ranging discography over the past decade. Recording exclusively for the FoghornClassics label, their recording of music of Gershwin and Kern was released in the summer of 2012, and this past spring there was a recording of the clarinet quintet of Brahms and a new quintet from César Cano, in collaboration with Joan Enric Lluna, as well as a disc in collaboration with the San Francisco Choral Artists. Coming up are the combined string quartet cycles of Bartók and Kodály (recorded on the renowned Ellen M. Egger matched quartet of instruments built by San Francisco luthier

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2012—13


Francis Kuttner) and a multidisc Brahms album. The Alexander’s 2009 release of the complete Beethoven cycle was described by Music Web International as performances “uncompromising in power, inten-sity and spiritual depth,” while Strings Magazine described the set as “a landmark journey through the greatest of all quartet cycles.” The FoghornClassics label released a three-CD set (Homage) of the Mozart quartets dedicated to Haydn in 2004. Foghorn released a six-CD album (Fragments) of the complete Shostakovich quartets in 2006 and 2007, and a recording of the complete quartets of Pulitzer Prize-winning San Francisco composer Wayne Peterson was released in the spring of 2008. BMG Classics released the quartet’s first recording of the Beethoven cycle on its Arte Nova label to tremen-dous critical acclaim in 1999.

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

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

robert Greenberg was born in Brooklyn, New York, in 1954, and has lived in the San Francisco Bay area since 1978. Greenberg received a B.A. in music, magna cum laude, from Princeton University in 1976. In 1984, Greenberg received a Ph.D. in music compo-sition, with distinction, from the University of California, Berkeley, where his principal teachers were Andrew Imbrie and Olly Wilson in composition and Richard Felciano in analysis.

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

Greenberg has received numerous honors, including three Nicola de Lorenzo Composition Prizes and three Meet-The-Composer Grants. Recent commissions have been received from the Koussevitzky Foundation in the Library of Congress, the Alexander String Quartet, San Francisco Contemporary Music Players, Strata Ensemble, San

Francisco Performances and the XTET ensemble. Greenberg is a board member and an artistic director of Composers, Inc., a compos-ers’ collective/production organization based in San Francisco.

Greenberg has performed, taught and lectured extensively across North America and Europe. He is currently music historian-in residence with San Francisco Performances, where he has lectured and performed since 1994, and a faculty member of the Advanced Management Program at the University of Pennsylvania’s Wharton School of Business. He has served on the faculties of the University of California, Berkeley; California State University, East Bay; andthe San Francisco Conservatory of Music, where he chaired the Department of Music History and Literature from 1989–2001 and served as the Director of the Adult Extension Division from 1991–96. Greenberg has lectured for some of the most presti-gious musical and arts organizations in the United States, includ-ing the San Francisco Symphony (where for 10 years he was host and lecturer for the Symphony’s nationally acclaimed “Discovery Series”), the Ravinia Festival, Lincoln Center for the Performing Arts, Van Cliburn Foundation, Chautauqua Institute (where he was the Everett Scholar in Residence for the summer of 2006), Dallas Symphony Orchestra, Hartford Symphony Orchestra and Music@Menlo and the University of British Columbia (where he was the Dal Grauer Lecturer in 2006). In addition, Greenberg is a sought after lecturer for businesses and business schools, and has recently spoken for such diverse organizations as S.C. Johnson, Canadian Pacific, Deutsches Bank, the University of California/Haas School of Business Executive Seminar, the University of Chicago Graduate School of Business, Harvard Business School Publishing, Kaiser-Permanente, the Strategos Institute, Quintiles Transnational, the Young Presidents’ Organization, the World Presidents’ Organization and the Commonwealth Club of San Francisco.

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

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

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



A Mondavi Center Special Event

Wednesday, December 5, 2012 • 8PM


There will be one intermission.

dAnú

An Nollaig in Éirinn (Christmas in Ireland)

Muireann Nic Amhlaoibh, Lead Vocals, Flute & Whistles

Benny McCarthy, Button Accordion & Melodeon

Donal Clancy, Guitar & Vocals

Liam Flanagan, Fiddle and Tenor Banjo

Éamon Doorley, Irish Bouzouki and Backing Vocals

Martin O’Neill, Bodhran (Irish Drum) and Piano

Guest Irish Step Dancers

ProgrAmRepertoire will be selected from the following songs

and announced from the stage.

All songs are arranged by Danú.

The Wexford Carol (Song) Traditional

Apples in Winter/The Frost is all Over (Jig, Instrumental) Traditional

Oiche Chiuin/Silent Night (Song) Traditional

Christmas Eve (Reel, Instrumental) Traditional

Angels We Have Heard on High (Song) Traditional

Le Coinnle na N’Aingeal/The Candles of Angels (Song) Traditional

Scartaglen Slide Set (Instrumental) Traditional

The Boys Of Barr na Straide (Song) Traditional

Kilfenora Jigs Set (Instrumental) Traditional

Polka Selection (Instrumental) Traditional

Breton Lullaby (Instrumental) Traditional

The Parting Glass (Song) Traditional

Ph

oto

by J

ohn

D. K

elly

dAnú


ProgrAm notes

The Wexford Carol This very old Christmas carol has been a favorite in Ireland for many years. It is in English, and the song tells us about the holy story.

Apples in Winter/The Frost is all OverTwo lovely traditional Irish jigs with beautiful titles that depict great images of winter time and the Christmas season.

Oiche Chíuín/Silent Night“Silent Night” is a song that is known the world over. We perform it as “Oiche Chiuin” in the Irish language and follow it into the English version where we encourage everybody to join in and sing along with us.

Christmas Eve“Christmas Eve” reel is probably the most well-known Christmas tune in Ireland. It would not be Christmas time for Irish musicians without “Christmas Eve” the reel.

Angels We Have Heard on High This is another favorite Christmas carol that everyone can sing along. The song is a great favorite in Ireland during the season of Christmas.

Le Coinnle na N’Aingeal This beautiful Irish song translates as “The Candles of Angels” and is a lovely song about the old Irish tradition of candle lighting in people’s windows as a sign of welcome.

Scartaglen Slide Set Scartaglen is a village in the beautiful Sliabh Luachra area, which borders Counties Cork and Kerry. The first type is a “Slide” and it is followed by some great reels, “The Hunters Purse” and “The Reconciliation.”

The Boys of Barr na StráideThis is a great song from County Kerry which mentions “Hunting for the Wren” as sung in the last line of each verse. The wren hunt is an ancient tradition in Ireland which takes place on December 26, St. Stephens Day, a great day of music, song and celebration.

Kilfenora Jigs SetKilfenora is a beautiful village in County Clare. This jig is named after the village and played commonly in Ireland by traditional musicians.

Polka SelectionIrish polkas are mostly associated with the Munster region in southern Ireland.

Breton LullabyThis is a beautiful Breton dance tune that we arranged as a lullaby. We got this from a great musician named Ronan Pellen from Brittany in France, a Celtic region also.

The Parting GlassThis song is one of Ireland’s greatest farewell songs and is always sung at the end of the evening.

Danú, the acclaimed Irish ensemble, celebrates a traditional Irish Christmas with An Nollaig in Éirinn. Celtic music lovers around the globe have been thrilled by the ensemble’s virtuoso players on fiddle, flutes, button accordion, percussion and the gorgeous voice of Muireann Nic Amhlaoibh. Winner of major awards from the BBC and Irish Music Magazine, Danú returns to the U.S. in December 2012 with special guests and a glorious celebration of Christmas from their homeland.

In Ireland, the festival of Christmas has for centuries been celebrated by traditional Irish music and song. There are many musical tributes that pay homage to early Irish traditions such as The Laden Table, placing a candle in a window and touring from house to house on St. Stephen’s Day. An Nollaig in Éirinn: Christmas in Ireland is a Celtic music celebration that warms the heart.

Danú has seven CDs and one DVD, which are all available in stores or online

Danú Debut, 1997Think Before You Think, 2000All Things Considered, 2002

The Road Less Traveled, 2003Up In the Air, 2004

When All Is Said and Done, 2005One Night Stand (DVD) 2005

Seanchas, 2010

Baylin Artists Managementwww.baylinartists.com

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10th anniversary season sponsors

AnnIversAry2012–13

’Tis the Season

Danú: An Nollaig in Éirinn (Christmas in Ireland)Wed, deC 5

Cantus: All Is CalmThe Christmas Truce of 1914Sat, deC 8 American Bach Soloists Holiday ConcertSUN, DEC 16

Gift Certificates Available!

Tickets and more: mondaviarts.org • 866.754.2787

San Francisco Symphony Family Concert The Snowman

FRI, DEC 21


A Studio Dance Series Event

Thursday–Saturday, December 6–8, 2012 • 8PM


Each performance will be preceded by a screening

of selections from The Dancer Films.

Question & Answer Session

Moderators

Dec. 6: Ruth Rosenberg, Artist Engagement Coordinator,

Mondavi Center, UC Davis

Dec. 7: Nita Little, Performance Studies doctoral

candidate, Department of Theatre and Dance, UC Davis

Dec. 8: David A. Hawkins, Professor of Neurobiology,

Physiology and Behavior, College of Biological Science,

UC Davis

Question & Answer Sessions take place in the theater

after the event.

lUcy gUerInUntrained


DebutMC

UntrainedLucy Guerin, Concept and Direction

Performers: Michael Dunbar, Alisdair Macindoe,

Ross McCormack, Jake Shackleton

Cusp by Duplo Remote, Music

Matt Scott, Production Manager and Film Realisation

Michaela Coventry, Producer

Harold Norris, H-Art Management, North American Agent


dIrector’s notesUntrained has had several incarnations now in different contexts and with different casts. It has been shown at several major Australian festivals and has also been presented internationally. Last year we toured it to 17 regional and country areas in Australia, picking up different untrained men in towns along the way.

The cast for the 2008 premiere season was two men that I knew, my brother-in-law Simon Obarzanek and his friend Ross Coulter, both visual artists from Melbourne. Since then I have mostly found the untrained through an audition process. Surprisingly for me, when I think through my lists of friends and acquaintances, very few of them could be considered “untrained!” When holding these audi-tions, initially I found it quite difficult to articulate what I was look-ing for. Someone who can move well? Someone who is uncoordi-nated and interesting? A regular bloke? Though it is very clear when I see it. It’s the same thing I look for in trained dancers, I think. Someone who is able to give us a glimpse into their personal world without too much artifice or reserve. Someone who can “be them-selves” on stage.

When we auditioned for this latest U.S. cast, as one can imagine, we were inundated with applicants. After all, a paid trip to the States with the chance to perform at BAM in New York and Davis in California was a very attractive proposition to a lot of men. Out of 79 applicants we auditioned 38, and Jake and Michael were successful.

This necessity to update the cast regularly stems from the fact that one of the things Untrained is about is how training affects each man’s approach to performing. The performers respond to a list of written instructions, and it is surprising how quickly the untrained men adapt to being on stage. They don’t necessarily become good dancers, but they begin to learn the timing and finesse of the trained performer. It is delightfully refreshing to work with people who have no experience of theater. One man asked me if he could just run down the street and get some Kentucky Fried Chicken 20 minutes before curtain because he was a bit hungry. Another got terribly sunburned and had a few beers before the show, things a seasoned performer would (mostly) never do. They wear their costumes home and answer their mobile phones during rehearsal. But pretty soon they lose their credibility as “untrained,” and sadly we must say good-bye.

Initially in Untrained, I was interested in how non-dancers dealt with choreographed dance steps. It brought up the question of what we mostly respond to in a performance. Is it dancers doing remarkable, virtuosic things that we as audience members could never achieve; or the visible efforts and real attempts by people like ourselves, who try something to the best of their ability? Is it admiration or empathy that delights us?

Over the course of remounting the work, which takes one week, all the performers contribute to the pool of instructions that make up the work, so that the skills and interests of each individual are repre-sented. Many of these show not only the differences in how the men dance, but in how they do many other things in which none of them are trained. For the dancers, it seems that their thinking and the way they tackle almost everything is explored through the connection they have with their bodies and how it has been trained. For the non-dancers, it’s a leap into the unknown requiring courage and a sense of humor, with no experience to draw on to achieve the tasks.

We feel admiration for the dancers and non-dancers alike, for differ-ent reasons. But whether they can dance or not, what clearly emerges is a portrait of each man, arrived at through an examination of their physical selves.

Lucy Guerin (director) was born in Adelaide, Australia, and graduated from the Centre for Performing Arts in 1982 before join-ing the companies of Russell Dumas (Dance Exchange) and Nanette Hassall (Danceworks). She moved to New York in 1989 for seven years, where she danced with Tere O’Connor Dance, the Bebe Miller Company and Sara Rudner and began to produce her first choreo-graphic works.

She returned to Australia in 1996 and worked as an independent artist, creating new dance works including Two Lies, Robbery Waitress on Bail, Heavy and The Ends of Things. In 2002, she established Lucy Guerin Inc. in Melbourne to support the development, creation and touring of new works with a focus on challenging and extending the concepts and practice of contemporary dance.

Recent works include Untrained, Human Interest Story and Conversation Piece. Guerin has toured her work extensively in Europe, Asia and North America as well as to most of Australia’s major festivals and venues. She has had works commissioned by Chunky Move, Dance Works Rotterdam, Ricochet (U.K.) and Mikhail Baryshnikov’s White Oak Dance Project (U.S.) among many others and has been invited to create a new work for the Lyon Opera Ballet in 2013. Her many awards include the Sidney Myer Performing Arts Award, a New York Dance and Performance Award (a “Bessie”), several Green Room Awards, a Helpmann Award and an Australian Dance Award.

Michael Dunbar (performer) originally trained as a communica-tion designer at RMIT University in Melbourne and then completed a Ph.D. in Communication Studies in 2009. Dunbar’s research explored the contribution of communication design within interaction design projects, reframing its role from designer of surface aesthetics to co-shaper of broader product or service experience. Dunbar is currently a freelance interaction designer applying his experience-centered approach to the design of digital products and services. He recently worked with Smartface and The Song Room to design an iPad application that transforms classrooms into collaborative music recording studios, allowing students to learn music by recording and mixing samples into songs. In Untrained,his debut dance performance, Dunbar takes his exploration of experience, aesthetics and collaboration into personally uncharted territory, excited about its challenges and discoveries.

Alisdair Macindoe (performer) is a Melbourne-based dancer and choreographer who trained in dance at the VCA. He has performed in works for Chunky Move (Connected, Assembly, Black Marrow and I Like This), Antony Hamilton (Drift), Leigh Warren and Dancers (Seven) and Lucy Guerin Inc. (Conversation Piece, Untrained, Human Interest Story), along with pieces by Katrina Lazarof, Lina Limosani, Nat Cursio Inc, Jo Lloyd, Gerard Van Dyke, Underpass, Bare Bones Collective, BalletLab and Coby Orger. Macindoe has also performed his own creations, including Bromance and 525600LOVE.


ross McCormack (performer) graduated from the New Zealand School of Dance in 2001 and worked with Douglas Wright Dance Company and the Royal New Zealand Ballet. In 2003, he joined Australian Dance Theatre and in 2005, was awarded a Helpmann Award for his performance in Held. McCormack joined Les Ballets C dela B in 2004 to work with Alain Platel in Belgium and has worked with the company for the past seven years. In 2007, McCormack worked with Lisi Estaras, an Argentinean director/choreographer inside Les Ballets, for the production Patagonia. In 2008, he created Symbiotic a graduation work at the New Zealand School of Dance. In 2009, he was commissioned to create his first full-length work, Nowhere Fast, for Dance North (Australia), which recently toured to the Macua Festival in Hong Kong. In 2010, McCormack returned to Belgium to work with Alain Platel and Les Ballets on Out Of Context, a work in dedication to Pina Bausch. He is now based in New Zealand and Australia and continues to tour with Les Ballets C del a B. In 2011, McCormack performed with Chunky Move in Connected.

Jake Shackleton (performer) attended the University of Melbourne’s Conservatorium of Music (2000–03) where he studied classical piano. After working a few different odd jobs here and there, a prosperous career in music seemed unlikely, so Jake returned to study in 2008. In 2011, Shackleton graduated with a Bachelor of Environmental Science (Chemistry) and a Bachelor of Business (Management) from the Royal Melbourne Institute of Technology (RMIT). He currently works as an environmental engineer for the Port of Melbourne Corporation, ensuring that shipping opera-tions are conducted in an environmentally responsible manner. In his work Shackleton also helps develop long-term solutions to the impacts of climate change on the Port of Melbourne and to promote ideas that reduce the Port’s carbon footprint. Pianist to environmen-tal engineer seems like an unlikely transition, and Jake is looking forward to keeping future employers baffled by adding (un)trained dancer to his resume.

Lucy Guerin inc. is an Australian dance company established in Melbourne in 2002 to create and tour new dance works. Renowned for the skill and originality of its small group of performers, it is a flexible organization dedicated to challenging and extending the art of contemporary dance. The company is committed to the exploration of everyday events and the redefinition of the formal concerns of dance. New productions are generated through an experimental approach to creative process and may involve voice, video, sound, text and industrial design as well as Guerin’s lucid physical structures. Crucially, this is always a choreographic exploration, striving for visual, emotional and physical revelations that could not be generated or communicated in any other art form than dance. Lucy Guerin Inc. has been a major influence on the growing identity of Australian dance, which stems from the company’s programmatic research into choreographic practice supported through several initiatives. Pieces for Small Spaces is its annual curated program for new dance works by emerging choreographers in Melbourne. First Run provides an opportunity for artists to share their current practice through studio showings of first-draft works. The company also offers workshops with local and international artists, presents one-off special events and maintains an artist-in-residence and secondment program.

Lucy Guerin, Artistic Director Michaela Coventry, Executive Producer

Laura Levitus, Assistant Producer Board Members: Cory Parfett (Chair), Elly Bloom, Michaela

Coventry, Lucy Guerin, Peter McCoy, Lorrae Nicholson, Sarah Miller, Chloe Munro and Gary Rothville

lucyguerininc.com

Lucy Guerin Inc. would like to thank Ross Coulter, Antony Hamilton, Simon Obarzanek and Byron Perry, the original cast of Untrained.

This tour was supported by Arts Victoria. In 2012, Lucy Guerin Inc. has been supported by the Australia Council for the Arts, Arts Victoria, City of Melbourne, Besen Family Foundation, Ian Potter Foundation, Sidney Myer Fund and the Angior Family Foundation.

Ruth Rosenberg (12/6) is the artist engagement coordinator for the Mondavi Center, UC Davis. She started her career as a dancer, performing with the Sacramento Ballet, Capitol City Ballet and Ed Mock & Dancers of San Francisco before found-ing her own company, the Ruth Rosenberg Dance Ensemble. She is a recipient of numerous awards and honoraria, includ-ing a Dance Fellowship and five choreography grants from the Sacramento Metropolitan Arts Commission.

Nita Little (12/7) is internationally recognized as a pioneerin improvisational dance. She participated in the emergence and development of Contact Improvisation in 1972. She has been exploring the embodied mind in the physics of motion, creative action and the performance of presence ever since. Little tours worldwide teaching technical and creative skills through improvisational techniques. Now a doctoral candidate in Performance Studies, her writing furthers the work of physical philosophy into a mind-body pedagogy for dancers.

David A. Hawkins (12/8) is a professor of Neurobiology, Physiology and Behavior in the College of Biological Science, UC Davis. He works in the Human Performance Laboratory, where he studies the basic structure and function of the musculoskeletal system and its influence on human move-ment performance and develops tools and interventions based on this information that can be used to increase human quality of life by increasing physical performance capabilities while minimizing the risk of injury.

Question & Answer Session Moderators

The Dancer FilmsThe Dancer Films are a collection of very short films based on legendary cartoonist Jules Feiffer’s beloved character, the modern Dancer—with a live dancer.

Audiences may remember The Dancer (she hasn’t aged) or may be meeting her for the first time. Cool men, bad weather and stultifying past Presidents sometimes foil her efforts to dance; she springs back with an irrepressible desire to express herself as she navigates the complicated, bracing and rapturous world in which we all reside.


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

BALLET DIRECTOR

RONCUNNINGHAM

ISSUE #6

PLAYWRIGHT

GREGG COFFINISSUE #7

TONY WINNER

FAITH PRINCEISSUE #8

ACTOR

COLIN HANKSISSUE #15

PERFORMANCE ARTIST

DAVID GARIBALDIISSUE #16

BROADWAY STAR

MARA DAVIISSUE #19



Saturday, December 8, 2012 • 8PM


cAntUsTheater Latté Da

All is Calm: The Christmas Truce of 1914


Aaron Humble, Tenor

Paul J. Rudoi, Tenor

Gary Ruschman, Tenor

Shahzore Shah, Tenor

David Walton, Tenor

Adam Reinwald, Baritone

Matthew Tintes, Baritone

Chris Foss, Bass

Timothy C. Takach, Bass

Actors: Matt Rein, David Roberts, Alan Sorensen

Ph

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by C

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is J

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fUrther lIstenIng cAntUs by jeff hUdson

Cantus returns to Jackson Hall this evening with All Is Calm—a thoughtful piece they presented here in December 2009. Ever since I attended that performance, I’ve been turning over these questions in my mind: Is it a concert with a storyline and dramatic interludes? Or is it a play, with an abundance of singing? Personally, I think it’s (more than anything) the kind of performance that once formed the foundation of live radio broadcasts back in the day, before television, augmented with visuals for the benefit of those of us in the seats (as compared to those listening to radios at home, using their imaginations to “see” the pictures).

There is, of course, an album version of All Is Calm, which came out in 2008. But Cantus has quite a few other albums as well:

—That Eternal Day (2011). A collection of American music that includes several classic Negro spirituals (“He Never Said a Mumberlin’ Word,” “Been in the Storm”), hymns like “In The Sweet By and By,” choral works written in New England in the 1700s by self-taught composer William Billings (who earned a very modest living tanning hides) and jazz vocalist Bobby McFerrin’s setting of Psalm 23, dedicated to his mother.

—While You Are Alive (2008). A set of contemporary choral works incorporating poetry, including the first recording of several works and a multi-part piece commissioned by Cantus.

—Deep River (2003). A blast-from-the past (dating from the days when Cantus had 12 singers, rather than nine), this album features spirituals, spirituals, spirituals, in a handsome a cappella format.

“Swing Low, Sweet Chariot,” “Ezekiel Saw de Wheel” and of course the title track. There are several historic arrangements by Henry Burleigh, the black singer from Erie, Pennsylvania, who served as personal assistant to Antonín Dvořák in the 1890s during the Czech composer’s three-year sojourn in America—Dvořák would often ask Burleigh to sing spirituals at his home in the evening and encouraged Burleigh to write the old traditional songs down and publish them.

—The Christmas albums, and there are several of them. Christmas with Cantus dates from 2011, while the two volumes of Comfort and Joy date from 2004 and 2005, respectively. And, of course, All Is Calm is a Christmas album as well, albeit of a somewhat different stripe.

—The new release, On the Shoulders of Giants, which came out on October 23. This survey ranges from ancient choral masters (Thomas Tallis, Claudio Monteverdi), up through German standards (Schubert, Schumann, Mendelssohn) to Americans like Stephen Foster, Randall Thompson and Leonard Bernstein. You’ll also find the “Finlandia Hymn” by Sibelius, “MLK” (adapted from U2), and “Zikr” by Bollywood composer A.R. Rahman.

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


PreludeCarols for Male Voices, arr. Ralph Vaughan Williams “God Rest You Merry” “As Joseph Was A-walking” “The First Noel” “The Lord at First” “Coventry Carol” “I Saw Three Ships” Pause

Prologue “Will Ye Go to Flanders?”

Scottish Folk Song, arr. Erick LichteThe Optimistic Departure

“Come on and Join” (Alexander’s Ragtime Band) Irving Berlin“God Save the King”

English Traditional“It’s a Long Way to Tipperary” Jack Judge and Harry Williams“Les Godillots” Paul Briollet and Eugene Rimbault, based on traditional French song

The Grim Reality “Pack Up Your Troubles”

George Henry and Felix Powell “The Old Barbed Wire”

English Traditional “I Want to Go Home”

Lieut. Gitz Rice“Deutschlandlied”

Franz Joseph Haydn “Keep the Home-Fires Burning”

Ivor NovelloChristmas

“Christmas in the Camp” Harrington and Scott

“We Wish You a Merry Christmas”English Traditional Carol

“Die Wacht am Rhein” Karl Wilhelm “Christmas Day in the Cookhouse”

Traditional English “O Tannenbaum”

German Carol, arr. Timothy C. TakachThe Truce

“Silent Night”Franz Gruber, arr. Erick Lichte

“Angels We Have Heard on High”French Traditional

“Bring a Torch”Jeannette, Isabella, French Carol

“In Dulci Jubilo”German Carol

“Wassail”Erick Lichte, based on traditional texts

“Minuit chrétiens” (“O Holy Night”)Adolph Adam, harm. Erick Lichte

“Will Ye Go to Flanders?” (Reprise)Scottish Folksong, arr. Erick Lichte

“Wie schön leuchtet der Morgenstern” Philip Nicolai, arr. Erick Lichte

“Good King Wenceslas”Piae Cantionis

The Return to Battle “Auld Lang Syne”

Scottish Folk Tune, arr. Timothy C. TakachEpilogue

“The Last Post” English Bugle Call

“Silent Night” (Reprise)Franz Gruber, arr. Erick Lichte

ProgrAm notesCreating All is Calm: The Christmas Truce of 1914I studied World War I in high school and college, but I don’t remem-ber reading about the Christmas Truce in any of my textbooks. If I had, I certainly would have remembered. This extraordinary event took place in 1914, the first year of the war, and was never repeated. Thousands of men put down their guns and left their trenches to meet their enemies in No Man’s Land. They exchanged gifts of tobacco, rum and chocolates; even photographs of loved ones. They sang songs, played a game of soccer and buried each other’s dead. Upon orders from above, they eventually returned to their trenches and re-instigated a war that would last four more years.

So why did I not learn of this remarkable event? The propaganda machine of war is powerful, and news of soldiers fraternizing across enemy lines would put a human face on the Germans and readily undermine public support for the war. The heroes of this story are the lowest of the ranks—the young, the hungry, the cold and the optimistic—those who acted with great courage to put down their guns, overcoming a fear that placed a gun in their hands in the first place. Their story puts a human face on war, and that’s the story I hope to tell.

In 2005, I attended a Cantus Christmas concert. I was struck by not only their remarkable sound, but also how their work was pushing the boundaries of chamber music in the ways Theater Latté Da was pushing the boundaries of musical theater. I approached Cantus about collaborating on a piece about the Christmas Truce. They immediately said yes, and our work began.

I am interested in creating performance where the content dictates the form. In the creative process I continually ask myself: If the char-acters were left to their own devices, how would they tell their story? What language, what tools were available to them? There was our answer—radio. Radio was critical to military operations; it was the primary means of mass communication and mass entertainment. Our piece would be a radio musical drama, using only the tools of radio: music and text. The music ranges from trench songs to patriotic and sentimental tunes, as well as Christmas music from the participating countries. The text is taken from a wide range of sources includingletters, journals, official war documents, poetry and grave stone inscriptions—even an old radio broadcast.

One of the reasons I love working in the theater versus film or televi-sion is because the theater is a two-way street. It asks the audience to engage their imagination in order to complete the story. So, here are the words and the songs of these remarkable men. Completing the story, putting a human face on war—well, that’s up to you.

To the thousands of men who changed history, thank you. May we do your story justice.

—Peter Rothstein

ProgrAm

All songs harmonized by Cantus except where noted.


PeoPle cItedPrivate Frank Bass, 9th Battalion Norfolk Regiment Robert Burns, 7th Queen’s Own Cameron Highlanders Dick Barron, 2nd London Mounted Brigade Winston Churchill, First Lord of the Admiralty Private W. T. Colyer, Artists’ Rifles Corporal John Fergusen, Seaforth Highlanders Count Gleichen, Brigadier General, 15th Brigade Captain Sir Edward Hulse, Scots Guards Hugo Klemm, 133rd Saxon Regiment Maurice Laurentin, Commandant 6e Compagnie Francis Edward Ledwidge, Royal Inniskilling Fusiliers Second Lieutenant Geoffrey Lillywhite, Royal Engineers George Littlefair, Durham Light Infantry Private Tom Macdonald, 9th Battallion Royal Sussex Regiment Patrick MacGill, London Irish Regiment Lt. General C.F.N. Macready, British Army Private Peter McGregor, 14th Battallion Argyle & Sutherland Highlanders Albert Moren, 2nd Queen’s Regiment Sgt. G. H. Morgan, Royal Warwickshire Regiment Oberstleutnant Johannes Niemann, 133rd Royal Saxon Regiment Wilfred Owen, Manchester Regiment Second Lieutenant Arthur Pelham-Burn, 6 Gordon Highlanders Pope Benedict XV Jack Rogers, Sherwood Foresters Siegfried Sassoon, Royal Welch Fusiliers Private Frank Sumpter, London Rifle Brigade Private Jack Sweeney, 1st Battallion, Lincolnshire Regiment G. T. Forrestier-Walker, Brigadier General Frank and Maurice Wray, London Rifle Brigade

Matt Rein (actor) Hometown: Minneapolis, MN. Stage Credits: The Guthrie Theater, Park Square Theatre, Illusion Theater and Children’s Theatre Company.

David Roberts (actor) Hometown: St. Paul, MN. Stage Credits: Jungle Theater, Theater Latté Da, Commonweal Theatre, Minnesota Jewish Theatre, Plymouth Playhouse, Theater Mu, Children’s Theater Company and Illusion Theater.

Alan Sorensen (actor) Hometown: Minneapolis, MN. Stage Credits: Mixed Blood, Park Square, Gremlin, Frank Theatre, Minneapolis Musical Theatre, History Theatre, Starting Gate, Bloomington Civic Theatre, TRP and the Minnesota Opera.

Aaron Humble (tenor) Hometown: Kent, OH. Education: M.M. and D.M. Indiana University; BM Millikin University. All Degrees in Vocal Performance and Literature.

Paul Rudoi (tenor) Hometown: Keene, NH. Education: B.M. Vocal Performance, The Hartt School.

Gary Ruschman (tenor) Hometown: Erlanger, KY. Education: M.M., San Francisco Conservatory of Music; B.M., Northern Kentucky University.

Shahzore Shah (tenor) Hometown: Chicago, IL; then Stillwater, MN. Education: B.M. Vocal Performance, B.M. Music Education, B.A. French, Lawrence University Conservatory of Music.

David Walton (tenor) Hometown: Nashville, TN. Education: M.M. Vocal Performance, University of Mississippi; B.M.E. Music Education, Harding University.

Adam Reinwald (baritone) Hometown: Eugene, OR. Education: B.M. in Vocal Music Education, St. Olaf College.

Matthew Tintes (baritone) Hometown: Fargo, ND. Education: M.M. Vocal Performance, University of Wisconsin—Madison; B.M. Secondary Vocal Music Education, North Dakota State University.

Chris Foss (bass) Hometown: Council Bluffs, IA. Education: M.M. Choral Conducting, University of Nebraska; B.M. Commercial Music, Millikin University.

Timothy C. Takach (bass, arranger) Hometown: Lake Zurich, IL; then Eden Prairie, MN. Education: B.A. in Music Theory/Composition, B.A. in Studio Art, St. Olaf College.

Erick Lichte (arranger) Hometown: Appleton, WI. Education: B.M. in Music Education, St. Olaf College.


Peter Rothstein (playwright, director) Hometown: Grand Rapids, MN. Directing Credits: Guthrie Theater, Children’s Theatre Company, The Playwrights’ Center, Illusion Theater, Minnesota Jewish Theatre, Ten Thousand Things and the Minnesota Opera.

cantus, acclaimed as “the premier men’s vocal ensemble in the United States” (Fanfare), is known worldwide for its trademark warmth and blend and its engaging performances of music rang-ing from the Renaissance to the 21st century. The Washington Post has hailed the ensemble’s sound as having both “exalting finesse” and “expressive power” and refers to its music making as “spon-taneous grace.” Cantus performs more than 70 concerts each year both in national and international touring, as well as in its home of Minneapolis-St. Paul, Minnesota. Past performances have brought Cantus to the stages of the Kennedy Center, UCLA, San Francisco Performances, Atlanta’s Spivey Hall, Bravo! Vail Valley Music Festival and New York’s Merkin Concert Hall, to name just a few. During the 2012–13 season, Cantus makes its first trip to the Middle East with appearances in Muscat, Oman, Dubai and UAE, along with perfor-mances in Chicago, Washington, D.C. and Dallas/Fort Worth among numerous other North American engagements. As one of the nation’s few full-time men’s ensembles, Cantus has grown in prominence with its distinctive approach to creating music. Working without a conductor, the members of Cantus rehearse and perform as chamber musicians, each contributing to the entirety of the artistic process. Committed to the expansion of the vocal music repertoire, Cantus actively commissions new music for men’s voices including work from Nico Muhly, Lee Hoiby, Steven Sametz, Kenneth Jennings, Peter Hamlin, Edie Hill and Robert Kyr. Cantus has received commission-ing grants from the National Endowment for the Arts, American Composers Forum and Chamber Music America. Cantus has a rich history of collaborations with other performing arts organizations, including the Saint Paul Chamber Orchestra, the Boston Pops, James Sewell Ballet and the Minnesota Orchestra. Each holiday season in partnership with Theater Latté Da, the ensemble continues to tour its celebrated presentation of All is Calm: The Christmas Truce of 1914 throughout the country. The ensemble is heard frequently on public radio including Performance Today, their annual Thanksgiving program Thanksgiving with Cantus and two recent performances on A Prairie Home Companion with Garrison Keillor. Cantus is the recipient of numerous awards, including Chorus America’s highest honor, the Margaret Hillis Award for Choral Excellence (2009), as well as Chorus America’s Education Outreach Award (2011). Cantus was also the 2010–11 Artist in Residence on Minnesota Public Radio and American Public Media’s Performance Today. Integral to the Cantus mission is its commitment to preserve and deepen music education in the schools. Cantus works with more than 5,000 students each year in masterclass and workshop settings across the country. Now in its fifth year, the award-winning High

School Residency program brings Cantus into Minnesota schools several times a year at no charge for mentoring with a culminating public concert in the spring. Cantus has released 14 albums on its own self-titled label, each to considerable acclaim. Of That Eternal Day (2010), The New York Times said, “The Cantus recording offers many satisfactions, none greater than a touching, ineffably simple performance of The 23rd Psalm (dedicated to my mother) by Bobby McFerrin.” The new-est Cantus recording, On the Shoulders of Giants, was released in October.

Theater Latte Da is a Twin Cities-based musical theater company recognized for its ability to connect artists, audiences and communi-ties through diverse stories that resonate with our current world. Committed to innovative musical theater, Theater Latté Da’s bold approach expands the genre by originating new works, radically reinventing classics from the musical theater canon and experiment-ing with unusual forms, musical styles and storytelling techniques. Founded in 1998 by Artistic Director Peter Rothstein and Music Director Denise Prosek, Theater Latté Da boasts an impressive histo-ry of work that has received significant popular and critical acclaim including 50 main stage productions, with eight world premieres, a new works initiative and a student matinee program for teens. For more information, please visit www.LatteDa.org.

recordings available at today’s concertOn the Shoulders of Giants (2012). There are artists who have left an indelible mark in music with works that are both timeless and instantly recognizable. On the Shoulders of Giants includes repertoire that spans nearly a thousand years from “Sederunt”—one of the first known works of polyphony—to U2’s “MLK,” along with works by Sibelius, Mendelssohn, Schubert and Randall Thompson.

Christmas with Cantus (2011). The men of Cantus bring the sounds of the holidays to you and your family. Including audience favorites “Do You Hear What I Hear,” “Carol of the Bells,” “Noël Nouvelet,” “Have Yourself a Merry Little Christmas” and of course the Franz Biebl “Ave Maria,” this collection of songs old and new is full of light and life.

That Eternal Day (2010). This recording is a wonderful collection of American sacred music. Including audience favorites “There’s a Meetin’ Here Tonight,” “Wanting Memories” and new arrangements of “Keep Your Lamps,” “Sweet By and By” and “Simple Gifts,” this program is emotionally invigorating and musically fulfilling.

All Is Calm: The Christmas Truce of 1914 (2008). The Western Front, Christmas, 1914. Out of the violence comes a silence, then a song. A German soldier steps into No Man’s Land singing “Stille Nacht.” Thus begins an extraordinary night of camaraderie, music, peace. A remarkable true story, told in the words and songs of the men who lived it.


Friday, december 7, 2012 7:00 pmJackson Hall, mondavi center

University Chorus | Jeffrey Thomas, conductorUC Davis Symphony Orchestra | Christian Baldini, music director and conductorPacific Boychoir | Kevin Fox, director

Mozart: Laudamus Dominum from Vesperae solennes de confessore, K. 339

Beethoven: Fantasia for Piano, Chorus, and Orchestra in C Minor, op. 80Steven Bailey, piano

Andrew Lloyd Webber: RequiemShawnette Sulker, sopranoWesley Rogers, tenor

$8 Students & Children, $12/15/17 Adults | Standard Seating



Sunday, December 16, 2012 • 4PM


Sponsored by

AmerIcAn BAch soloIsts holIdAy concert

American Bach Soloists and American Bach ChoirSan Francisco Girls Chorus

Mary Wilson, sopranoJeffrey Thomas, music director


GLORIA! A Baroque Christmas

Gloria in D Major, RV 589 Vivaldi San Francisco Girls Chorus

Brett Ruona, Cheryl Cain, Rita Lilly, sopranosWilliam Sauerland, countertenor

Concerto in G Minor, “Fatto per la notte di natale,” Op. 6, No. 8 Corelli Vivace—Grave • Allegro Adagio—Allegro—Adagio • Vivace Allegro • Largo (Pastorale ad libitum)

Elizabeth Blumenstock & Tekla Cunningham, violins William Skeen, violoncello • Corey Jamason, harpsichord

In Nativitatem Domini Nostri Jesu Christi Canticum, H 414 M.A. Charpentier Brett Ruona, Cheryl Cain, Rita Lilly, sopranos Daniel Harper, tenor

Four Noëls H 534 M.A. Charpentier A la venue de noël • Joseph est bien marié Or nous dites, Marie • Où s’en vont ces gais bergers?

Laudate, pueri, Dominum, HWV 237 Handel Mary Wilson, soprano

Intermission


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The Warmth of Other Suns: The Epic Story of America’s Great Migration

February 12, 2013 8 PM–9:30 PM

Jackson Hall ROBERT AND MARGRIT MONDAVI CENTER FOR THE PERFORMING ARTS To purchase tickets, please visit mondavicenter.ucdavis.edu or call the Mondavi Center Box Office at (530) 754-2787.

CAMPUS COMMUNITY BOOK PROJECTThe Campus Community Book Project was initiated after September 11th to promote dialogue and build community by encouraging diverse members of the campus and surrounding communities to read the same book and attend related events. The book project advances the Office of Campus Community Relations’ mission to improve both the campus climate and relations, to foster diversity and to promote equity and inclusiveness.

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ProgrAm notes

Gloria in D Major, RV 589 Antonio Vivaldi (1678–1741)

The course of Antonio Vivaldi’s professional career is well charted and rather uncomplicated. At the age of 25, he was ordained (lead-ing to his subsequent nickname as the “Red Priest,” owing to his red hair) and began his appointment at the Pio Ospedale della Pietà, a home for abandoned children in Venice. He remained in the employ of that organization until the year before his death, despite occasional absences in order to follow his career as a suc-cessful composer of opera that took him to Mantua, Vienna and Prague. In his final year—his music having gone out of fashion—he moved to Vienna, primarily to take on a position as composer at the imperial court of Charles VI, Holy Roman Emperor. But shortly after his arrival, the emperor died, leaving Vivaldi without any solid source of steady income. Vivaldi died a pauper less than a year later.

His nearly four decades of service to the Ospedale brought fame to Vivaldi and to the orchestra and chorus that were under his direc-tion. Boys at the orphanage were taught a trade and were forced to leave at the age of 15, but the girls received musical education and the most talented ones became members of the ensembles that performed for the public, and which quickly gained in reputation and esteem throughout Europe. Hundreds of compositions were written for the girls, whose abilities were astoundingly impressive. In the chorus, the soprano, alto, and even tenor parts were sung by the young, budding virtuosi and bass parts were probably sung by older women, including one known as Anna dal basso. Another notion is that some of the tenor and bass choral parts would have been sung an octave higher by additional sopranos and altos.

Vivaldi showcases his charges in the solo movements of the Gloria, all set for soprano or alto. Several of the movements present nice details of text-expression. After the exuberant opening movement in D major, Vivaldi shifts to the more somber key of B minor for “Et in terra pax”; descending arpeggios in the strings over a throb-bing bass line suggest a literal descent of peace from above, and moments of adventuresome chromatic harmony in the choral writing suggest that the attainment of peace may not be altogether easy. Later, in the “Domine fili,” the bass line repeats a stepwise descent through an octave, in the manner of a ground bass, sug-gesting the “descent” of Christ to human form alluded to in the text. More rich chromatic writing appears in “Qui tollis peccata,” evocative of the pain of sin. The opening material of “Gloria in excelsis” makes a brief return as the text reverts to praise and jubi-lation at “Quoniam tu solus.” This gives way to a double fugue on “cum sancto spiritu” for the final section; Vivaldi cribbed this fugue from a lesser-known compatriot, Ruggieri, adapting it not only in this Gloria, but in his other setting, RV 588, as well. Even if he was shy of creating his own contrapuntal structures, he shows a sure hand in adapting his colleague’s material; the fugue brings the Gloria as a whole to a fitting end.

—Alan Lewis and Jeffrey Thomas

Concerto Grosso in G Minor Op. 6, No. 8 “Fatti per la notte di natale” (Composed for the evening of the Nativity)Arcangelo Corelli (1653–1713)

Arcangelo Corelli’s career flourished during one of Rome’s most artistically fertile periods. He was born in 1653 near Ravenna to a family of well-to-do landowners, and was sent to study the violin in Bologna, home of a number of famous string players who handed on the tradition to their young prodigies. By 1675, he had moved to Rome where he quickly established himself as one of the city’s greatest virtuosos and most celebrated musicians, known equally as a performer and composer. He earned further fame as an orchestral director who imposed exceptional disci-pline on his players. He led performances in the homes of Queen Christina of Sweden, Cardinal Benedetto Pamphili and Cardinal Pietro Ottoboni; and directed public concerts at civil ceremonies, religious services or private banquets. Throughout the 1680s and 1690s his works appeared in print at regular intervals, culminating in the celebrated Opus 5 sonatas.

The decades surrounding 1700 saw a rapid increase in the num-ber of music publishers and music publications in Europe. Corelli was among the composers who most benefited from the expanded audience and wider dissemination of instrumental music. He was the first popular composer whose reputation derived from his publications, and because of them, his works became the earliest instrumental classics. The Opus 5 violin sonatas, for example, went through 42 editions and countless arrangements and parodies in the century from its publication to 1800. From about 1710, Corelli retired from public appearances and concentrated on selecting and revising pieces for the set of concertos that he would publish as Opus 6. The set was published in 1712 in Amsterdam, where they were beautifully engraved rather than printed from moveable type. While Corelli certainly composed a vast quantity of chamber music, only his 12 concertos for two violins and violoncello—along with an Introduction and Sinfonia to Giovanni Lorenzo Lulier’s oratorio Santa Beatrice d’Este—are all that remain of his orchestral music.

Corelli’s collection of concerti grossi represents a lifetime of public performance, during which he may have composed well more than a hundred concertos. These 12 are in fact a set of individual move-ments, assembled by Corelli to form models of his concerto grosso style. Corelli repeatedly made improvements to his works, hardly being able to leave well enough alone. And all the Opus 6 concer-tos have more movements than a typical concerto, providing yet another reason to believe that they were assembled from various manuscripts. It is likely that any one of them derives material from as many previous sources as there are movements.

They are usually divided into two groups. The first eight are in the sonata da chiesa (church sonata) style, though only one—the so-called “Christmas concerto” with its final pastoral movement—has a tie to religious imagery or celebrations. The last four follow the format of the sonata da camera, indicated by the presence of dance movements. But such a division hardly does justice to either the heterogeneity or the kaleidoscopic variety of Opus 6. The style of the music reflects Corelli’s playing style: “learned, elegant, pathetic,” in the words of one contemporary. All the concertos are models of subtlety and nuance, and they share a singing, cantabile expressiveness that spurred a thousand imitations.


In 1708, he wrote “[I am] fully aware of my own weaknesses, so that only recently, in spite of numerous, long drawn-out correc-tions, I scarcely had the confidence to put before the public eye those few works I entrusted to the printer.” Despite his humble-ness, these concertos are brilliant examples of the oft-changing and contrasting elements that are so integral to Corelli’s composi-tional style. It is interesting to note the full title of the collection: Concerti Grossi con duoi Violini e Violoncello di Concertino obligati e duoi altri Violini, Viola e Basso de Concerto Grosso ad arbitrio, che si potranno radoppiare (Concerti grossi for two violins and vio-loncello in the obligatory solo group and two other violins, viola and bass in the orchestra [ripieno], which is optional and whose numbers may be increased). In other words, the elasticity of their scoring enables performances by as few as three or four players or as many as are available.

—Jeffrey Thomas and Michael Zweibach.

In Nativitatem Domini Nostri Jesu Christi Canticum, H 414 (Song of the Birth of our Lord Jesus Christ)Marc-Antoine Charpentier (1643–1704)

The exact date of Marc-Antoine Charpentier’s birth in Paris is lost to us, but it probably was around 1640, give or take a decade. While still a youth he spent several years in Rome, studying with Carissimi, a composer best remembered today as the inventor of the oratorio. Charpentier brought back from Italy not only a fine sense of dramatic church music, but also a keen appreciation for the ability of music to depict intense emotions, particularly through the introduction of chromaticism. These characteristics, when blended with Charpentier’s native French taste for suave melody, dense, dissonant harmonies and a lively instrumental pal-ette, produced a remarkable and distinctive musical language. The richness of his style did not go unnoticed by his contemporaries, whether for good (“Ninths and tritones glittered under his hands”) or for ill (“Such mournful chords grate on our ears”), but was a clear expression of his philosophy: “Diversity is the soul of music.”

After his return from Italy, Charpentier seems to have plunged headlong into Parisian musical life, in which he was enormously successful, even without ever holding an official post at court. Around 1670 he began a fruitful collaboration with Molière, composing for the theatrical troupe which became (in 1680) the Comédie Française. He was employed during the 1680s by the Duchess of Guise, one of the most benevolent patrons of music in France. All the while, he steadily built his reputation as composer of church music, receiving commissions from a wide range of ecclesiastical establishments. For unknown reasons, Charpentier gravitated towards the Jesuits, composing occasional works for a number of their colleges and finally being named to the post of maître de musique for the principal Jesuit church in Paris, St. Louis. The church is still there (now called St. Paul-St. Louis), next to the St-Paul Métro stop in the Marais. The pinnacle of Charpentier’s career came in 1698, when he was appointed maître de musique of the Sainte-Chapelle. It is difficult to imagine now, when that exquisite building is embedded within a warren of offices which contain the bureaucracy of the French judicial sys-tem, but in those days the Sainte-Chapelle was the chapel of the royal palace on the Île de la Cité; only the director of music at the royal chapel at Versailles ranked higher. Here he remained until his death in 1704.

In Nativitatem Domini Nostri Jesu Christi Canticum is a motet or cantata based on a text from Luke 2:8-16. It is a typical pasto-rale, featuring a prelude depicting the calm of the night before the shepherds are told of the birth of Jesus. The text is a poetic paraphrase of Luke 2: 8-16. In a scene that reminds us of other settings by Bach and Handel, we are told by the Evangelist (sung as a soprano duet) about the visitation upon the shepherds by an angel. The angel (solo soprano) sings an especially lovely aria, accompanied by two violins and continuo. The shepherds then sing a rousing six-part chorus as they prepare to make their jour-ney to the crib. The joy and exhilaration is reiterated in the fol-lowing “march.” But the work’s most touching moment is the final movement. Despite the warnings of the Evangelist (this time sung by a tenor) that we are about to hear an “artless” but heartfelt song of adoration, it is hardly artless. Rather we hear three verses of one of the most beautiful, lilting and peaceful melodies to have come from Charpentier’s pen.

—Victor Gavenda and Jeffrey Thomas

Four Noëls H 534 A la venue de noël (At the Coming of Christmas)Joseph est bien marié (Joseph is Well Betrothed)Or nous dites, Marie (Now tell us, Mary)Où s’en vont ces gais bergers? (Where are those Happy Shepherds Going?)

Especially during the 17th and 18th centuries, French compos-ers routinely prepared settings of Noëls, or Christmas carols. Charpentier’s slightly senior colleagues—among them Jean-Nicolas Geoffroy (1633–94), Nicolas Gigault (1627–1707) and Nicolas Lebèque (1631–1702)—wrote arrangements for organ, a practice that was again taken up a generation or two later by Louis-Claude d’Acquin (1694–1772). Charpentier’s slightly younger colleague, Michel-Richard Delalande (1657–1726), composed a famous set of orchestral Symphonies des Noëls for the Chapelle Royale, the ensemble of singers, organists and instrumentalists who provided music for the royal chapel of the French kings. While it is uncer-tain whose orchestral settings came first, Charpentier’s simple harmonizations are a joy to hear. He captured both the lightness of their dance-like structures, while maintaining a quiet sobriety appropriate to the liturgy of the Christmas midnight mass.

—Jeffrey Thomas

Laudate, pueri, Dominum, HWV 237(Praise the Lord, ye servants)George Frideric Handel (1685–1759)

At the age of 21, George Frideric Handel embarked on an expe-dition that would prove enjoyable, enlightening, profitable and integral to his career. The Florentine prince Gian Gastone de’ Medici had invited Handel to visit Italy. He packed up his things in Hamburg—where he had been employed at the Hamburg Opera for two years and premiered his first two operas (with German librettos)—and in August 1706 began his journey to Florence, Rome, Naples and Venice. Italy was the center of European music, and one of the most valuable traits of Italian music was the expres-sive style in which its composers wrote for the voice. Italian vocal writing was characterized by its qualities of suppleness, expansive-


ness, flexibility and lyricism. Handel would quickly master the art, and Italian opera would become the bedrock of his career. But in Rome, where he spent most of his time from 1706–10, papal decrees had closed the public theaters since 1698, the ban not lifted until 1709. Nevertheless, the musical styles of opera, barely disguised, were manifested in concert performances and in par-ticular through the Italian cantata.

Opera had already become Handel’s passion. His experiences at the Hamburg Opera and the intellectual and musical stimulation he enjoyed there with his friend and fellow composer Johann Mattheson had made permanent impressions. But now he was in Rome where opera was—at least for the time being—an unprofit-able medium. The genre that would provide Handel with the most opportunity to grow and to succeed as a composer was the Italian cantata. In fact, Handel would compose more than a hundred such cantatas during the few years of his Italian journey. It was a popular genre, due in part to the constraints of the papal ban, and further supported by the patronage of foreign visitors and local aristocrats—ironically including church officials—who were eager to hear the considerable talent of Venetian singers put to good use, even if opera was out of the question. Performances of cantatas, which in some cases were actually operas in all ways except by name, were often presented in the “academies” held in the private theaters of discerning (and wealthy) patrons of the arts. These academies were the outgrowth of the scuole grandi (charitablefraternities) popular in Venice during the previous century.

Nevertheless, and operatic restrictions notwithstanding, Handel was in Italy to hone what would become his mature musical style, absorbing technique at every turn, developing his traits of adapt-ability and malleability and showing the Italians that he could one-up their skills and produce “Italian” music better than native composers. Perhaps recalling the intuitions he felt as a young boy, however, he was there for another reason, too. Donald Burrows, the most important living biographer of Handel, wrote that “Handel wanted to be where the music was, and where the patrons were”—that is certainly what he found.

One generous patron was the Marchese (later Prince) Francesco Maria Ruspoli, whose Roman palace and country estates were the venues for performances of Handel’s works. Handel had been engaged by Ruspoli between 1707–09 to compose a new secular cantata each week for performances every Sunday. But the Church scrutinized even these private productions. For example, in 1708 Ruspoli was commanded to replace a female singer with a castrato for the role of Mary Magdalene in a performance of Handel’s La Resurrezione. Among the other patrons for whom Handel wrote cantatas were members of the Accademia dell’Arcadia, a literary society that welcomed Rome’s best musicians, and the cardinals Benedetto Pamphili and Pietro Ottoboni. Handel was clearly at ease in the lush and privileged environs in which he found him-self. And his talents and charm were met with unending opportu-nities to compose works including the great cantata, “Delirio amo-roso,” to a text supplied by Cardinal Pamphili, who seems to have been quite taken by Handel’s musical gifts. Pamphili expressed some kind of generous affection for Handel in the form of an ode in which he compared Handel to Orpheus, which Handel shyly, but appreciatively, set to music.

A notable manifestation of the flexibility of Handel’s social and musical skills is the fact that he was engaged to compose music for the Roman Catholic liturgy within only a few months of his arrival in Rome. He was, of course, a rather staunch Lutheran, and remained so all of his life, not even conceding to the implications by the British monarchs (later in his life) that he should consider a conversion to the Church of England. The Latin church music he composed in Rome is superb. His lifelong reputation could have been set on the basis of the stunning “Dixit Dominus” alone, composed in 1707. But many more equally compelling works come from those years, including the “Laudate, pueri, Dominum” of 1707. It represents (perhaps intentionally?) a veritable catalogue of Italian musical forms, all masterfully employed by Handel. Each movement has a different texture including ritornello form (first movement), trio sonata texture (“Sit nomen Domini” and “Qui habi-tare facit”), typical imitative polyphony (“A solis ortu usque”), con-certo grosso style (“Exclsus super omnes”), homophony (“Quis sicut Dominus”), continuo aria (“Suscitans a terra”) and the hybrid style of the final movement with its predictable return to the music of the first movement at the words “Sicut erat in principio” (“as it was in the beginning”).

—Jeffrey Thomas

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texts And trAnslAtIons

Gloria in D Major, RV 589Soprano I, Soprano II, Alto solos; SATB chorus; Trumpet; Oboe; Violin I & II; Viola;

Basso continuo

Gloria in excelsis Deo. Glory be to God in the highest.

Et in terra pax hominibus bonae voluntatis. And in earth peace to men of good will.

Laudamus te; benedicimus te; adoramus te; We praise thee; we bless thee, we worship thee; glorificamus te. we glorify thee.

Gratias agimus tibi We give thanks to thee

propter magnam gloriam tuam. for thy great glory.

Domine Deus, Rex coelestis, Lord God, heavenly King, Deus Pater omnipotens. God the Father almighty.

Domine Fili unigenite Jesu Christe altissime: O Lord, the only-begotten Son Jesus Christ most high: Domine Deus, Agnus Dei, Filius Patris: Lord God, Lamb of God, Son of the Father:

Qui tollis peccata mundi, miserere nobis: Thou that takest away the sins of the world,Qui tollis peccata mundi, suscipe have mercy upon us: Thou that takest away deprecationem nostram: the sins of the world, receive our prayer:

Qui sedes ad dexteram Patris, Thou that sittest at the right hand of the Father, miserere nobis: have mercy upon us:

Quoniam tu solus sanctus, Tu solus Dominus, For thou only art holy, thou only art the Lord, Tu solus altissimus, Jesu Christe: thou only art the most high, Jesus Christ: Cum Sancto Spiritu in gloria Dei Patris. Amen. With the Holy Ghost in the glory of God the Father. Amen.


Prelude

Recitative of the EvangelistFrigidæ noctis umbra totum orbem tegebat, The shade of the icy night covered all the et immersi jacebant omnes in somno profundo. earth and plunged everyone into a deep Pastores autem Judææ vigilabant sleep. And the shepherds of Judea kept super gregem suum. Et ecce Angelus Domini watch over their flocks. And, lo, an angel of stetit juxta eos, the Lord came and stood beside them, et claritas Dei circumfulsit eos. and the glory of the Lord shone about them. Timuerunt autem pastores timore magno; Overcome were the shepherds with great fear;et dixit illis angelus: but then the angel said to them: Air of the AngelNolite timere, pastores; ecce enim annuntio Fear not, shepherds. For, behold now, vobis gaudium magnum quod erit omni populo: I bring good tidings of joy, which shall be to all people. quia natus est hodie Salvator vester in civitate David; For today in the city of David a Savior unto you is born.et hoc erit vobis signum: And to you shall this be the sign:invenietis infantem pannis involutum Ye shall find the babe all wrapped in swaddling clothes et reclinatum in præsepio. and lying within a manger. Ite, ite, pastores, et adorate illum. Quickly go ye, shepherds, and there adore Him. Chorus of the ShepherdsSurgamus, properemus, festinemus, Arise now, let us hasten eamus usque Bethlehem. to go unto Bethlehem.Ibi videbimus puerum qui natus est nobis. There shall we see the child who is born to us.Ibi laudabimus et adorabimus There shall we offer praise and there adore him, Deum sub forma peccatoris velatum. God now in the form of a sinner lowly disguised. Quid, quid moramur, quid cunctamur, o pastores in ertes? Why linger, why tarry? O shepherds, so drowsy? March Recitative of the Evangelist Euntes autem pastores pervenerunt Anon these humble shepherds did arrive at the place ad locum ubi puer natus erat, wherein the child had been born. et intrantes domum And when they were come into the house, invenerunt Mariam et Joseph they saw Mary and Joseph,et puerum involutum pannis and the child wrapped in swaddling clothes et reclinatum in præsepio. and lying in a manger.Et procidentes adoraverunt eum, And kneeling there, they sang of inculto sed devoto carmine dicentes: their adoration in artless but devoted song of praise, saying:

Air & Chorus of the ShepherdsSalve, puerule, salve, tenellule, Hail, little boy, hail, tender little one, O nate parvule, quam bonus es. O tiny baby, how good you are! Tu coelom deseris, tu mundo nasceris, You have left heaven; you are born on the earth, nobis te’ut miseris assimiles. to make yourself the same as wretched us. O summa bonitas, excelsa deitas, O greatest good, highest deity vilis humanitas, fit hodie. has become today common humanity. Aeternus nascitur, immensus capitur, The eternal is born; the immense is encompassed,et rei tegitur, sub specie. and is concealed in the cloak of matter.

Virgo puer pera, beata viscera, Virgin child-bearer, blessed womb,Dei cum opera, dant filium. through the work of God they give a son. Gaude flos virginum, gaude spes hominum, Rejoice, flower of virgins, rejoice, hope of mankind, fons lavans criminum proluvium. fountain washing the slurry of sin.

In Nativitatem Domini Nostri Jesu Christi Canticum, H 414 Soprano I, Soprano II, Alto, Tenor, Baritone solos; SSAATB chorus; Violin I & II; Basso continuo


Laudate, pueri, Dominum, HWV 237Soprano solo; SSATB chorus; Oboe I & II; Violin I & II; Viola I & II; Basso continuo

Laudate, pueri, Dominum; laudate nomen Praise the Lord, ye servants; O praise the Domini. Name of the Lord.

Sit nomen Domini benedictum ex hoc nunc Blessed be the Name of the Lord from this et usque in sæculum. time forth for evermore.

A solis ortu usque ad occasum laudabile The Lord’s Name is praised from the rising nomen Domini. up of the sun unto the going down of the same.

Excelsus super omnes gentes Dominus, The Lord is high above all nations and his et super cælos gloria ejus. glory above the heavens.

Quis sicut Dominus Deus noster, qui in Who is like unto the Lord our God, that altis habitat, et humilia respicit in cælo hath his dwelling so high, and yet humbleth et in terra? himself to behold the things that are in heaven and earth?

Suscitans a terra inopem, He taketh up the simple out of the dust, and et de stercore erigens pauperem: lifteth the poor out of the mire; That he may ut collocet eum cum principibus, set him with the princes, cum principibus populi sui. even with the princes of his people.

Qui habitare facit sterilem in domo, He maketh the barren woman to keep matrem filiorum lætantem. house, and to be a joyful mother of children.

Gloria Patri, gloria Filio, et Spiritui Sancto. Glory to the Father, and to the Son, and to Sicut erat in principio, et nunc, et semper, the Holy Ghost. As it was in the beginning, et in saecula saeculorum. Amen. is now, and ever shall be; world without end. Amen.

—Psalm 113 (Latin Vulgate Psalm 112)

Prelude

Recitative of the EvangelistFrigidæ noctis umbra totum orbem tegebat, The shade of the icy night covered all the et immersi jacebant omnes in somno profundo. earth and plunged everyone into a deep Pastores autem Judææ vigilabant sleep. And the shepherds of Judea kept super gregem suum. Et ecce Angelus Domini watch over their flocks. And, lo, an angel of stetit juxta eos, the Lord came and stood beside them, et claritas Dei circumfulsit eos. and the glory of the Lord shone about them. Timuerunt autem pastores timore magno; Overcome were the shepherds with great fear;et dixit illis angelus: but then the angel said to them: Air of the AngelNolite timere, pastores; ecce enim annuntio Fear not, shepherds. For, behold now, vobis gaudium magnum quod erit omni populo: I bring good tidings of joy, which shall be to all people. quia natus est hodie Salvator vester in civitate David; For today in the city of David a Savior unto you is born.et hoc erit vobis signum: And to you shall this be the sign:invenietis infantem pannis involutum Ye shall find the babe all wrapped in swaddling clothes et reclinatum in præsepio. and lying within a manger. Ite, ite, pastores, et adorate illum. Quickly go ye, shepherds, and there adore Him. Chorus of the ShepherdsSurgamus, properemus, festinemus, Arise now, let us hasten eamus usque Bethlehem. to go unto Bethlehem.Ibi videbimus puerum qui natus est nobis. There shall we see the child who is born to us.Ibi laudabimus et adorabimus There shall we offer praise and there adore him, Deum sub forma peccatoris velatum. God now in the form of a sinner lowly disguised. Quid, quid moramur, quid cunctamur, o pastores in ertes? Why linger, why tarry? O shepherds, so drowsy? March Recitative of the Evangelist Euntes autem pastores pervenerunt Anon these humble shepherds did arrive at the place ad locum ubi puer natus erat, wherein the child had been born. et intrantes domum And when they were come into the house, invenerunt Mariam et Joseph they saw Mary and Joseph,et puerum involutum pannis and the child wrapped in swaddling clothes et reclinatum in præsepio. and lying in a manger.Et procidentes adoraverunt eum, And kneeling there, they sang of inculto sed devoto carmine dicentes: their adoration in artless but devoted song of praise, saying:

Air & Chorus of the ShepherdsSalve, puerule, salve, tenellule, Hail, little boy, hail, tender little one, O nate parvule, quam bonus es. O tiny baby, how good you are! Tu coelom deseris, tu mundo nasceris, You have left heaven; you are born on the earth, nobis te’ut miseris assimiles. to make yourself the same as wretched us. O summa bonitas, excelsa deitas, O greatest good, highest deity vilis humanitas, fit hodie. has become today common humanity. Aeternus nascitur, immensus capitur, The eternal is born; the immense is encompassed,et rei tegitur, sub specie. and is concealed in the cloak of matter.

Virgo puer pera, beata viscera, Virgin child-bearer, blessed womb,Dei cum opera, dant filium. through the work of God they give a son. Gaude flos virginum, gaude spes hominum, Rejoice, flower of virgins, rejoice, hope of mankind, fons lavans criminum proluvium. fountain washing the slurry of sin.


TrumpetAndreas Stoltzfus Rainer Egger, Basel, 2009;

after Johann Leonhard Ehe II, Nuremberg 1746.

OboeJohn Abberger

H. A. Vas Dias, Decatur, GA; after Thomas Stanesby, Sr., London, circa 1700.

Meg Owens Bernard Schermer, Basel,

1996; after Jonathan Bradbury, London, circa 1720.

RecorderJohn Abberger Levin & Silverstein,

Greenpond, NJ, 1988.Meg Owens Rob Turner, Charlottesville,

VA, 1980.

ViolinElizabeth Blumenstock

(leader) Andrea Guarneri, Cremona,

1660. *Tekla Cunningham (principal second) Sanctus

Seraphin, Venice, 1746.Daria d’Andrea Anonymous, Neapolitan

school, circa 1760.Katherine Kyme Johann Gottlob Pfretzchner,

Mittenwald, 1791.Tyler Lewis Timothy Johnson, Hewitt,

TX, 2009; after Stradivari, Cremona, 18th century.

Maxine Nemerovski Timothy Johnson,

Bloomington, IN, 1999; after Stradivari, Cremona, 17th century.

David Wilson Timothy Johnson, Hewitt,

TX, 2007; after Stradivari, Cremona, 18th century.

Janet Worsley Strauss Matthias Joannes Koldiz,

Munich, 1733.

* The 1660 Andrea Guarneri violin played by Ms. Blumenstock, is made available to her though the generosity of the Philharmonia Baroque Period Instrument Trust.

ViolaKathrine Kyme Anonymous, Germany, 18th

century.Jason Pyszkowski (principal) Jay Haide, El Cerrito, CA,

2008; after Giovanni Paolo Maggini, Brescia, circa 1580.

Clio Tilton Eric Lourme, Le Havre,

France, 2009, after Brothers Amati, Cremona, 16th

century.Aaron Westman Francis Beaulieu, Montreal,

2012; after Brothers Amati, Cremona, circa 1620.

VioloncelloElisabeth Reed Anonymous, circa 1685.William Skeen (continuo) Anonymous, Italy, circa

1680.

ContrabassSteven Lehning (continuo) Anonymous, Austria, circa

1830.

OrganCorey Jamason (continuo) John Brombaugh &

Associates, OR, 1980.

HarpsichordCorey Jamason (continuo)

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

SopranoJennifer BrodyCheryl Cain (soloist) Tonia D’Amelio Julia Earl Rita Lilly (soloist) Allison Zelles Lloyd Diana Pray Brett Ruona (soloist)

Alto/CountertenorJesse AntinJames Apgar Daniel Cromeenes Katherine McKee William Sauerland (soloist)

TenorJohn Davey-HatcherDaniel Harper (soloist) Andrew Morgan Colby Roberts

BassJohn Kendall Bailey Hugh Davies Jefferson Packer Jere Torkelsen

American Bach Soloists and American Bach Choir

Jeffrey Thomas, music director

San Francisco Girls Chorus

Brandon Brack, interim music director

Soprano ILucie Bhisitkul, Juliette Bobrow, Emma Fulweiler, Evelyn Goessling, Phoebe Hicks,

Tess Luhmann, Caroline Miskovsky, Juliana Wilczynski

Soprano IILivia Camperi, Charlotte Ensley, Gwen Luhmann, Elise Mills, Michelle Pavlova, Isabelle Rim,

Oona Sullivan-Marcus, Darya Verzhbinsky, Sarah Vinnett

Alto ILaine Aro, Teresa Dayrit, Emma Gould, Anna Gray, Katie Jonckheer,

Becka Padgett, Juliette Saux

Alto IISarah Ancheta, Charlene De Joya, Maya Greenhill, Alessandra Hee,

Evie Hidysmith, Margaret Martin, Michelle Pang


The American Bach Soloists (ABS) and American Bach Choir were founded in 1989 with the mission of introducing contemporary audiences to the cantatas of Johann Sebastian Bach through historically informed performances. Under the leadership of co-founder and music director Jeffrey Thomas, the ensemble has achieved its vision of assembling the world’s finest vocalists and period-instrument performers to bring this brilliant music to life. Critical acclaim has been extensive: The Wall Street Journal named ABS “the best American specialists in early music … a flaw-less ensemble … a level of musical finesse one rarely encounters.” San Francisco Classical Voice declared “there is nothing routine or settled about their work. Thomas is still pushing the musical Baroque envelope.” The American Bach Soloists present an annual subscription series with performances in Belvedere, Berkeley, Davis and San Francisco. Their annual holiday performances of Handel’s Messiah—presented each December before capacity audi-ences since 1992—have become a Bay Area tradition. Each season culminates with the American Bach Soloists Festival, held every summer in July in the spectacular facilities of the San Francisco Conservatory of Music. Components of the annual summer Bach Festival include the Masterworks Series, Chamber Music Series, Distinguished Artist Series, Academy-in-Action Series, free Lecture and Master Class Series and public Colloquia on a variety of top-ics. In addition to their regular subscription season, the American Bach Soloists have been presented at some of the world’s leading early music and chamber music festivals and have appeared world-wide from Santa Fe to Hong Kong and Singapore.

San Francisco Girls Chorus, founded in 1978, is a regional center for music education and performance for girls and young women, ages 5–18. Each year 400 singers from 45 Bay Area cities participate in this internationally recognized program, deemed “a model in the country for training girls’ voices” by the California Arts Council. The organization consists of a professional level performance, recording and touring ensemble and the Alumnae Chorus; the four-level Chorus School training program and a Preparatory Chorus for 5-7 year olds. Annually, its dedicated young artists present season concerts, tour nationally or internationally and appear with respected partner organizations, including San Francisco Symphony and San Francisco Opera. SFGC’s 30th Anniversary season, 2008–09, culminated in a per-formance at President Barack Obama’s swearing-in ceremony and a debut concert at Alice Tully Hall at New York’s Lincoln Center. The Girls Chorus has won many honors, including, the prestigious Margaret Hillis Award in 2001, given annually by Chorus America to a chorus that demonstrates artistic excellence, a strong organi-zational structure and a commitment to education. Other awards include three ASCAP awards for Adventurous Programming in 2001, 2004 and 2011 and five Grammy awards.

Jeffrey Thomas (music director) has brought thought-ful, 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 and 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 first recipients of the San Francisco Opera Company’s prestigious Adler Fellowships. Cited by The Wall Street Journal as “a superstar among oratorio tenors,” Thomas’s extensive discography of vocal music includes dozens of record-ings 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, includ-ing two cycles written especially for him. He has performed lieder recitals at the Smithsonian, song recitals at various universities and appeared with his own vocal chamber music ensemble, L’Aria Viva. 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.


fUrther lIstenIng AmerIcAn BAch soloIsts by jeff hUdson

If you enjoy this evening’s concert by the American Bach Soloists—and if you like Handel’s setting of Psalm 113 (“Laudate, pueri, Dominum”) with soprano Mary Wilson in particular—you may want to watch for an upcoming album that the American Bach Soloists and Wilson will be putting together.

The projected album will be an all-Handel affair, featuring “Laudate, pueri, Dominium” as well as the Handel motet “Silete Venti” (a piece that Handel penned when he was a young man in his 20s visiting Rome; the American Bach Soloists will be performing “Silete Venti” next May in Belvedere, Berkeley, San Francisco and in Davis at Davis Community Church). Rounding out this projected disc will be Handel’s setting of the “Gloria” (not to be confused with the Vivaldi setting on tonight’s program). The Handel “Gloria” was long considered to be lost, but a copy was found in the Royal Academy of Music’s library in 2001, bound in a collection of arias.

Jeffrey Thomas, music director of the American Bach Soloists, told me that “the all-Handel program for the album fits Mary Wilson’s voice to a ‘t’.”

Thomas is also very happy with the American Bach Soloists Festival and Academy, held last July. “For a number of years, we held summer festival concerts in Belvedere (southern Marin), and we repeated some of those concerts at the Mondavi Center in Davis for a while,” Thomas said. “Gradually, our idea for summer concerts evolved into the Bach festival we now have in the beautiful venue at the San Francisco Conservatory of Music. It

is geared toward young emerging professionals—the cream of the crop of the early music specialists from around the country who are just beginning their careers. Working with these young professionals has been a joy for me, because in addition to some wonderful performances in July, we have found several new permanent members for the American Bach Soloists!”

As you have doubtless noticed, today’s concert does not feature Handel’s famous oratorio Messiah—a piece that the American Bach Soloists have performed in Jackson Hall annually each December since 2002. Think of it as a “change of pace”—you’ll also find that most theater companies also give Scrooge an occasional rest, even if they have a tradition of presenting A Christmas Carol most years in December. The Mondavi Center hasn’t announced plans for the 2013–14 season, so it’s too soon to say what music the American Bach Soloists will perform in Jackson Hall a year hence. But given the longstanding popularity of Messiah over200-plus years, I have a strong hunch that you’ll be hearing Messiah again in Jackson Hall. (And remember: Messiah premiered in Dublin April 1742, and the first London performance was in March 1743; it was only later that the piece became strongly associated with the Christmas season in the minds of audiences.)

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

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Mary Wilson (soprano) is acknowledged as one of today’s most exciting young artists. Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” (Dallas Morning News). Receiving consistent critical acclaim from coast to coast, “she proves why many in the opera world are heralding her as an emerging star. She is simply amazing, with a voice that induces goose bumps and a stage presence

that is mesmerizing. She literally stole the spotlight ...” (Arizona Daily Star).

In high demand on the concert stage, she has most-recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Jacksonville Symphony, Dayton Philharmonic, VocalEssence and at the Hollywood Bowl. She has worked with conductors including Jeffrey Thomas, Bernard Labadie, Nicholas McGegan, Martin Pearlman, Martin Haselböck, JoAnn Falletta, Michael Stern, Anton Armstrong, Philip Brunelle and Leonard Slatkin. An exciting interpreter of Baroque repertoire, especially Handel, she has appeared with American Bach Soloists, Musica Angelica, Boston Baroque, Grand Rapids Bach Festival, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival, Philharmonia Baroque, Brooklyn Academy of Music, the Casals Festival and the Carmel Bach Festival. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle Songs Old and New written especially for her by Ned Rorem. She was named an Emerging Artist by Symphony Magazine in 2004 in the publication’s first ever presentation of promising classical soloistson the rise.

On the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro and Gilda in Rigoletto. She has created leading roles in North American and world premiere performances of Dove’s Flight, Glass’ Galileo Galilei and Petitgirard’s Joseph Merrick dit L’Elephant Man. She has appeared most recently with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Mississippi Opera, Southwest Opera, Brooklyn Academy of Music and the Goodman Theatre. Also an accomplished pianist, Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota and Washington University in St. Louis, Missouri. She currently resides in Memphis, Tennessee, with her husband and son.

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A Hallmark Inn, Davis Children’s Stage

Series Event

Friday, December 21, 2012 • 7PM


Sponsored by

sAn frAncIsco symPhonyMichael Tilson Thomas, music director

Donato Cabrera, conductor Pacific Boychoir, Kevin Fox, director


A Christmas Festival Anderson Do You Hear What I Hear? Baker & Regney arr. Simeone Children’s Christmas Medley Connor/Bennett & Tepper/Gardner arr. Sharon Sleigh Ride Anderson Selections from The Nutcracker, Op. 71 Tchaikovsky March Dance of the Reed Flutes Russian Dance Waltz of the Snowflakes

The Snowman Blake (Film directed by Dianne Jackson and Jimmy T. Murakami) Carol Sing-Along

Frosty, the Snowman Nelson/Rollins

Santa Claus is Coming to Town Coots

Jingle Bells Pierpont arr. Finnegan

Rudolph, the Red-Nosed Reindeer Marks arr. Ployhar

Intermission

The Snowman

Texts begin on p. 40.


ProgrAm notes

This evening, along with the animated classic The Snowman, we hear a variety of music for the holidays. Most of it is well known and needs no introduction. Here are a few words on some of the composers:

Leroy Anderson (1908–75) composed engaging tunes such as “The Syncopated Clock” and such oddities as “The Typewriter,” whose orchestration calls for a manual keyboard probably found most readi-ly today in your grandmother’s attic or on eBay. If you like tunes that work their way into your memory and stay there, Leroy Anderson is your man. “A Christmas Festival” is an arrangement (from 1950) of holiday hits. “Sleigh Ride” is a perennial favorite.

Piotr Ilyich Tchaikovsky (1840–93) is among our most durable com-posers. He possessed an amazing well of melody and brilliant powers of orchestration, and those are the characteristics most evident in his suite from the ballet The Nutcracker, first heard in 1892. The March is the ballet’s opening music. The dances are from the second act, in which Clara and her prince, having been magically transported to the Land of Sweets, are entertained by a succession of performers.

The Snowman first aired on British television in 1982 and was an immediate sensation. Based on a children’s book by Raymond Briggs, it was nominated for an Oscar for Best Animated Short Film. The movie includes no dialogue and needs none: The music, by com-poser Howard Blake, comments on the action with the deft timing and good humor of a master storyteller. The only words we hear in the film’s roughly half-hour duration are in a song, “Walking on Air,” sung as boy and Snowman fly toward the North Pole.

We’re getting ahead of the story. About that boy. He lives in the country with his parents, far from neighbors and friends. One morn-ing he awakens to find the world white with falling snow. Delighted, he runs outdoors and fashions a snowman. That night he gazes out his window and sees the snowman come to life. The two of them cavort through the house. The snowman is a joker. He terrifies the family cat. Aiming for a more natural look to the smile the boy has drawn on his face, he tries out father’s dentures. Their adventures continue outdoors with a spin on a motorbike. Racing through the forest and across snowy fields, they rouse rabbits, fox and horse. All this is preamble to the treat the snowman has in store. He takes the boy’s hand and, together, they lift off, flying through the sky. Their destination: Santa’s home and workshop. The boy meets Santa and the reindeer, and as a souvenir of the visit he receives a scarf, which he drapes around his neck. All good things end, and as the snowman takes him in tow they return home. The next morning, the sun has emerged from the clouds. The air is clear. The snowman has melted. Was it a dream? One would think so, were it not for the scarf that remains behind.

The Snowman by Raymond Briggs by arrangement with Snowman Enterprises Ltd. Also see thesnowman.co.uk.

Special thanks to the San Francisco Symphony’s Holiday Series Media Partners, SF Chronicle | SFGate.com, Comcast, 96.5 KOIT Radio

and San Francisco Municipal Transportation Agency.

The San Francisco Symphony gave its first concerts in December 1911. Its music directors have included Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award and the United States’s Grammy. For RCA Red Seal, Michael Tilson Thomas and the SFS have recorded music from Prokofiev’s Romeo and Juliet, Berlioz’s Symphonie fantas-tique, two Copland collections, a Gershwin collection, Stravinsky ballets (Le Sacre du printemps, The Firebird and Perséphone) and Charles Ives: An American Journey. Their cycle of Mahler symphonies has received seven Grammys and is available on the Symphony’s own label, SFS Media. Some of the most important conductors of the past and recent years have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein and Sir Georg Solti, and the list of composers who have led the Orchestra includes Stravinsky, Ravel, Copland and John Adams. The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and Godfather III. For two decades, the SFS Adventures in Music program has brought music to every child in grades 1–5 in San Francisco’s public schools. SFS radio broadcasts, the first in the U.S. to feature symphonic music when they began in 1926, today carry the Orchestra’s concerts across the country. In a multimedia program designed to make classical music accessible to people of all ages and backgrounds, the SFS has launched Keeping Score on PBS-TV, DVD, radio and at the website keepingscore.org. San Francisco Symphony recordings are available at sfsymphony.org/store, as is the book Music for a City, Music for the World, a history recounting the Symphony’s first century.

Donato Cabrera is San Francisco Symphony Resident Conductor and Wattis Foundation Music Director of the SFS Youth Orchestra. He made his symphony debut in 2009, con-ducting on short notice in a program that included works of Mozart and Ravel’s orchestra-tion of Mussorgsky’s Pictures at an Exhibition. In 2002, he was a Herbert von Karajan conducting fellow at the Salzburg Festival.

From 2005–08, he was associate conductor of the San Francisco Opera. He has assisted in productions at the Metropolitan Opera, Lyric Opera of Chicago and Los Angeles Philharmonic and has served as an assistant conductor at the Ravinia, Spoleto (Italy) and Aspen music festivals and the Music Academy of the West. Last summer Cabrera led the SFS Youth Orchestra on an acclaimed tour of Europe, including performances at the Berlin Philharmonie and the Rheingau Music Festival. This season he returns for his sec-ond year as Music Director of the Green Bay Symphony Orchestra, makes debuts with the Elgin Symphony Orchestra and Grand Rapids Symphony and returns to the Orquesta Clásica de Santa Cecilia in Madrid and the California Symphony. Since 2008, he has returned each year to conduct symphonic and operatic repertory with the Orquesta Sinfónica de Concepción, in Concepción, Chile. Dedicated to music education and community outreach, Cabrera has worked


sIng-Along texts

Frosty the Snowman

Frosty the snowmanWas a jolly, happy soul,With a corncob pipe and a button noseAnd two eyes made out of coal.

Frosty the snowmanIs a fairy tale, they say.He was made of snow, But the children knowHow he came to life one day.

There must have been some magic In that old silk hat they found,For when they placed it on his headHe began to dance around!

Oh, Frosty the snowmanWas alive as he could be.And the children say He could laugh and play Just the same as you and me.

Thumpety thump thump,Thumpety thump thump,Look at Frosty go!

Thumpety thump thump,Thumpety thump thump,Over the hills of snow!

Santa Claus Is Coming To Town

Oh! You better watch out, You better not cry, You better not pout, I’m telling you why: Santa Claus is coming to town!

He’s making a list, He’s checking it twice, He’s gonna find out Who’s naughty or nice. Santa Claus is coming to town!

He sees you when you’re sleeping, He knows when you’re awake. He knows when you’ve been bad or good, So be good for goodness sake!

So...You better watch out, You better not cry You better not pout, I’m telling you why. Santa Claus is coming to town.

with the young artist programs of the San Francisco Opera, Lyric Opera of Chicago and Portland Opera and was a frequent conduc-tor of Young People’s Concerts with the New Jersey Symphony. In 2009, he was one of eight participants in the Bruno Walter National Conductor Preview. He has been recognized as a Luminary by the Friends of Mexico Honorary Committee for his contributions to the Bay Area’s Mexican community. Donato Cabrera holds a bachelor’s degree in music from the University of Nevada, Reno; a master’s degree in conducting from the University of Illinois; and has pur-sued graduate studies in conducting at Indiana University and the Manhattan School of Music.

Pacific Boychoir made its San Francisco Symphony debut in 2002 in Mahler’s Symphony No. 3 and is heard with the SFS on the Grammy-winning recording of that work conducted by Michael Tilson Thomas, as well as the Grammy-winning recording of Mahler’s Symphony No. 8. Based in Oakland, the Pacific Boychoir Academy was founded in 1998 with six boys and today involves more than 160 boys in seven choirs. In addition to an after-school training program, the PBA operates a day school and is the only choir school in the western U.S. Pacific Boychoir has performed with the Berkeley Symphony, American Bach Soloists, Youth Orchestra of the Americas, Lithuanian State Orchestra, National Symphony Orchestra of Brasil, Marcus Shelby Jazz Orchestra, Johannesburg Festival Orchestra, Vienna Boys Choir and many other ensembles. The choir has toured throughout the U.S. and to Australia, New Zealand, eastern and western Europe, South America, South Africa, China and Russia. The choir’s recordings feature Bach’s Cantata 150, Britten’s Ceremony of Carols and two of Bach’s “Lutheran” Masses. For That Promised Land, a recording of American spirituals, the Boychoir was honored by the Friends of Negro Spirituals and the Academy of Gospel Music Awards; most recently the choir released Show Me the Way, its second collection of spirituals from America’s choral heritage. This season Pacific Boychoir performs with the San Francisco Symphony, Oakland East Bay Symphony and the Simón Bolívar Symphony Orchestra of Venezuela.

Kevin Fox, Founding Artistic Director of the Pacific Boychoir Academy, holds a degree in music from Wesleyan University in Connecticut, where he received the Lipsky Prize for outstanding scholarship in choral studies. He studied music at Oxford University and choral conducting at Westminster Choir College in Princeton. Fox worked for the American Boychoir and has sung with the choirs of Trinity Church New Haven, Trinity Church Princeton, American Bach Soloists, Philharmonia Baroque Chorale and the Grace Cathedral Choir in San Francisco, where he also has served as Interim Assistant Choirmaster.


sIng-Along texts

Frosty the Snowman

Frosty the snowmanWas a jolly, happy soul,With a corncob pipe and a button noseAnd two eyes made out of coal.

Frosty the snowmanIs a fairy tale, they say.He was made of snow, But the children knowHow he came to life one day.

There must have been some magic In that old silk hat they found,For when they placed it on his headHe began to dance around!

Oh, Frosty the snowmanWas alive as he could be.And the children say He could laugh and play Just the same as you and me.

Thumpety thump thump,Thumpety thump thump,Look at Frosty go!

Thumpety thump thump,Thumpety thump thump,Over the hills of snow!

Santa Claus Is Coming To Town

Oh! You better watch out, You better not cry, You better not pout, I’m telling you why: Santa Claus is coming to town!

He’s making a list, He’s checking it twice, He’s gonna find out Who’s naughty or nice. Santa Claus is coming to town!

He sees you when you’re sleeping, He knows when you’re awake. He knows when you’ve been bad or good, So be good for goodness sake!

So...You better watch out, You better not cry You better not pout, I’m telling you why. Santa Claus is coming to town.

Rudolph, the Red-Nosed Reindeer

Rudolph the red-nosed reindeer Had a very shiny nose.And if you ever saw it,You would even say it glows.

All of the other reindeerUsed to laugh and call him names.They never let poor RudolphJoin in any reindeer games.

Then one foggy Christmas Eve, Santa came to say:“O, Rudolph, with your nose so bright, Won’t you guide my sleigh tonight?”

Then how the reindeer loved himAs they shouted out with glee,“Rudolph the red-nosed reindeer,You’ll go down in history.”

ComplimentaryMondavi Dessert

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Jingle Bells

Dashing through the snowIn a one-horse open sleigh,O’er the fields we go Laughing all the way (ha, ha, ha)!

Bells on bobtail ring,Making spirits bright.What fun it is to ride and singA sleighing song tonight!

Jingle bells, jingle bells,Jingle all the way!Oh what fun it is to rideIn a one-horse open sleigh-eigh!(Repeat)

A day or two ago,I thought I’d take a rideAnd soon Miss Fanny BrightWas seated at my side.

The horse was lean and lank.Misfortune seemed his lot—We fell into a drifted bankAnd then we got upsot.

Jingle bells, jingle bellsJingle all the way.Oh, what fun it is to rideIn a one-horse open sleigh.(Repeat)


San Francisco SymphonyMichael Tilson Thomas, Music Director and Conductor

Donato Cabrera, Resident ConductorRagnar Bohlin, Chorus Director

Vance George, Chorus Director EmeritusHerbert Blomstedt, Conductor Laureate

First ViolinsAlexander Barantschik Concertmaster Naoum Blinder ChairNadya Tichman Associate Concertmaster San Francisco Symphony Foundation ChairMark Volkert Assistant Concertmaster 75th Anniversary ChairJeremy Constant Assistant ConcertmasterMariko Smiley Paula & John Gambs Second Century ChairMelissa Kleinbart Katharine Hanrahan ChairYun ChuSharon GrebanierNaomi Kazama HullIn Sun JangYukiko Kurakata Catherine A. Mueller ChairSuzanne LeonLeor MaltinskiDiane NicholerisSarn OliverFlorin ParvulescuVictor RomasevichCatherine Van Hoesen

Second ViolinsDan Nobuhiko Smiley Principal Dinner & Swig Families ChairDan Carlson Associate Principal Audrey Avis Aasen-Hull ChairPaul Brancato Assistant PrincipalJohn Chisholm The Eucalyptus Foundation Second Century ChairRaushan AkhmedyarovaDavid ChernyavskyCathryn DownDarlene GrayAmy HiragaKum Mo KimChunming MoKelly Leon-PearcePolina Sedukh Isaac Stern ChairRobert ZelnickChen ZhaoSarah Knutson†

ViolasJonathan Vinocour PrincipalYun Jie Liu Associate PrincipalKatie Kadarauch Assistant PrincipalJohn Schoening Joanne E. Harrington & Lorry I. Lokey Second Century ChairNancy EllisGina FeinauerDavid GaudryDavid KimChristina KingWayne RodenNanci SeveranceAdam SmylaMatthew Young

CellosMichael Grebanier Principal Philip S. Boone ChairPeter Wyrick Associate Principal Peter & Jacqueline Hoefer ChairAmos Yang Assistant PrincipalMargaret Tait Lyman & Carol Casey Second Century ChairBarbara Andres The Stanley S. Langendorf Foundation Second Century ChairBarbara BogatinJill Rachuy Brindel Gary & Kathleen Heidenreich Second Century ChairSébastien GingrasDavid Goldblatt Christine & Pierre Lamond Second Century ChairCarolyn McIntoshAnne Pinsker

BassesScott Pingel PrincipalLarry Epstein Associate PrincipalStephen Tramontozzi Assistant Principal Richard & Rhoda Goldman ChairS. Mark WrightCharles ChandlerLee Ann CrockerChris GilbertBrian MarcusWilliam Ritchen

FlutesTim Day Principal Caroline H. Hume ChairRobin McKee Associate Principal Catherine & Russell Clark Chair Linda Lukas Alfred S. & Dede Wilsey ChairCatherine Payne Piccolo

OboesWilliam Bennett Principal Edo de Waart Chair Jonathan Fischer* Associate PrincipalChristopher Gaudi† Acting Associate PrincipalPamela Smith Dr. William D. Clinite ChairRuss deLuna English Horn Joseph & Pauline Scafidi Chair

ClarinetsCarey Bell Principal William R. & Gretchen B. Kimball ChairLuis Baez Associate Principal E-flat ClarinetDavid NeumanJerome Simas Bass Clarinet

BassoonsStephen Paulson PrincipalSteven Dibner Associate PrincipalRob WeirSteven Braunstein Contrabassoon

HornsRobert Ward Principal Jeannik Méquet Littlefield ChairNicole Cash Associate PrincipalBruce Roberts Assistant PrincipalJonathan RingJessica ValeriKimberly Wright

TrumpetsMark Inouye Principal William G. Irwin Charity Foundation ChairJustin Emerich† Acting Associate Principal Peter Pastreich ChairGuy Piddington Ann L. & Charles B. Johnson ChairJeff Biancalana

TrombonesTimothy Higgins Principal Robert L. Samter ChairPaul WelcomerJohn Engelkes Bass Trombone

TubaJeffrey Anderson Principal James Irvine Chair

HarpDouglas Rioth Principal

TimpaniDavid Herbert Principal Marcia & John Goldman Chair

PercussionJames Lee Wyatt III Acting PrincipalRaymond FroehlichTom HemphillVictor Avdienko†

KeyboardsRobin Sutherland Jean & Bill Lane Chair

John D. Goldman PresidentBrent Assink Executive DirectorJohn Kieser General ManagerNan Keeton Director of External AffairsJohn Mangum Director of Artistic PlanningOliver Theil Director of Public RelationsRebecca Blum Orchestra Personnel ManagerMargo Kieser Orchestra Librarian Nancy & Charles Geschke ChairJohn Campbell Assistant LibrarianDan Ferreira Assistant LibrarianJoyce Cron Wessling Manager, Tours and Media ProductionRob Doherty Stage ManagerDennis DeVost Stage TechnicianRoni Jules Stage TechnicianMichael Olague Stage Technician

*On Leave

†Acting member of the San Francisco Symphony

The San Francisco Symphony string section utilizes revolv-ing seating on a systematic basis. Players listed in alpha-betical order change seats periodically.


Pacific BoychoirKevin Fox, Artistic Director

Henry Abrahamson

Calvin Achorn

Johannes Aplyn

James Applegate

Adam Arega

Amado Becerra

Christopher Berning

Noah Boonin

Andre Boucher

Jeroen Breneman

Liam Cochrane

Harrison Coorey

Maxim Culbeaux

Daniel DeBare

Neil Evans

Ryan Eyre

Quinn Freidenburg

Theo Frey

Spencer Fulweiler

Julian Gandhi

Eric Getreuer

George Goodhead

Matthew Gray

Derrick Hill

Jacob Itsekson

Kayman Jeffley

Avi Kabir

Peter Kenton

David Kerns

Atom Lai Costa

Matthew Lee

Owen Liquori

Evan Losito

Jack Lundquist

William Lundquist

Nicholas Main

Gregory Martin

Aidan Mattingly-App

Draven McGill

Ocean Milan

William Mitchell

Cameron Miya

Milo Mohr

Lakin Moser

Thomas Mosley

Michael Mueller

Leo Nakamura

Henry Nelson

Julian Nesbitt

Noah Patton

Ian Pitman

Daniel Pliskin

Zachary Presberg

Andrew Reinfranck

Christian Ricco

Tenzin Rosson

Max Ruiz

Zachary Salsburg-Frank

Aaron Sanchez

Abraham Sanchez

Nathan Savant

David Schneidinger

Cap Sharon

Sam Siegel

Brendan Singer

Christopher Singer

Oscar Thompson

Bryan Tierney

Elliot Vaughan

Jameson Wang

Jared Werlein


mondavi center donors are dedicated arts patrons whosegifts to the Mondavi Center are a testament to the value of the performing arts in our lives.

Mondavi Center is deeply gratefulfor the generous contributions of the dedicated patrons who give annual financial support to our organization. These donations are an important source of revenue for our program, as income from ticket sales covers less than half of the actual cost of our performance season.

Gifts to the Mondavi Center strengthen and sustain our efforts, enabling us not only to bringmemorable performances by world-class artists to audiences in the capital region each year, but also to introduce new generations to the experience of live perfor-mance through our Arts Education Program, which provides arts edu-cation and enrichment activities to more than 35,000 K-12 students annually.

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

ImPresArIo cIrcle $25,000 AnD ABoVeJohn and Lois Crowe †*Barbara K. Jackson †*

vIrtUoso cIrcle $15,000 – $24,999Joyce and Ken AdamsonFriends of Mondavi CenterAnn and Gordon Getty FoundationAnne Gray †*Mary B. Horton*William and Nancy Roe *Lawrence and Nancy Shepard Tony and Joan Stone †Joe and Betty Tupin †*

mAestro cIrcle $10,000 – $14,999Wayne and Jacque Bartholomew †*Ralph and Clairelee Leiser Bulkley*Thomas and Phyllis Farver*Dolly and David Fiddyment Robert and Barbara LeidighMary Ann Morris*Carole Pirruccello, John and Eunice Davidson FundLarry and Rosalie Vanderhoef †*Dick and Shipley Walters*

And one donor who prefers to remain anonymous

BenefActors cIrcle $6,500 – $9,999Camille Chan †Michael and Betty Chapman †Cecilia Delury and Vince Jacobs †Patti Donlon †Wanda Lee GravesSamia and Scott FosterBenjamin and Lynette Hart †*Lorena Herrig Margaret Hoyt *Bill Koenig and Jane O'Green KoenigGreiner Heating and A/C, Inc.Hansen KwokGarry MaiselStephen Meyer and Mary Lou Flint † Randall E. Reynoso † and Martin CamseyGrace and John Rosenquist Raymond SeamansJerome Suran and Helen Singer Suran *

† Mondavi Center Advisory Board Member* Friends of Mondavi Center

The Art of Giving

PRoduceRs cIRcle $3,250 – $6,499Neil and Carla AndrewsJeff and Karen BertlesonCordelia S. BirrellCalifornia Statewide Certified Development CorporationNeil and Joanne BodineMr. Barry and Valerie BooneBrian Tarkington and Katrina BoratynskiRobert and Wendy ChasonChris and Sandy Chong*Michele Clark and Paul SimmonsTony and Ellie Cobarrubia*Claudia ColemanEric and Michael ConnNancy DuBois*Merrilee and Simon EngelCharles and Catherine FarmanAndrew and Judith GaborHenry and Dorothy GietzenKay Gist in memory of John GistEd and Bonnie Green*Robert and Kathleen GreyDiane Gunsul-HicksCharles and Ann HalstedJudith and William Hardardt*Dee and Joe HartzogThe One and Only WatsonCharles and Eva HessSuzanne Horsley*Dr. Ronald and Lesley HsuJerry and Teresa Kaneko*Dean and Karen Karnopp*Nancy Lawrence, Gordon Klein and Linda LawrenceBrian and Dorothy LandsbergEd and Sally Larkin*Drs. Richard Latchaw and Sheri AlbersGinger and Jeffrey LeacoxClaudia and Allan LeavittYvonne LeMaitreShirley and Joseph LeRoyNelson Lewallyn and Marion Pace-LewallynDr. Clare Hasler-Lewis and Cameron LewisDr. Ashley and Shiela LipshutzPaul and Diane Makley*Kathryn MarrVerne Mendel*Jeff and Mary NicholsonGrant and Grace Noda*Alice OiPhilip and Miep PalmerGerry and Carol ParkerSusan Strachan and Gavin PayneSue and Brad PolingLois and Dr. Barry RamerDavid Rocke and Janine MozéeRoger and Ann Romani*Hal and Carol Sconyers*Ellen ShermanWilson and Kathryn R. SmithTom and Meg Stallard*Tom and Judy Stevenson*Priscilla Stoyanof and David RocheDavid Studer and Donine HedrickNancy and Robert TateRosemary and George TchobanoglousNathan and Johanna TruebloodKen Verosub and Irina DelusinaJeanne Hanna VogelClaudette Von RustenJohn Walker and Marie LopezCantor & Company, A Law CorporationPatrice WhiteRobert and Joyce Wisner*Richard and Judy WydickAnd three donors who prefer to remain anonymous

donors


dIRectoRs cIRcle $1,250– $3,249Ezra and Beulah AmsterdamRussell and Elizabeth AustinIn Honor of Barbara K. JacksonMurry and Laura Baria*Lydia Baskin In Memory of Ronald Baskin*Drs. Noa and David BellDaniel R. BensonKay and Joyce Blacker*Jo Anne Boorkman*Clyde and Ruth BowmanEdwin BradleyLinda BrandenburgerPatricia Brown*Robert Burgerman and Linda RamatowskiJim and Susie BurtonDavis and Jan CampbellDavid J. Converse, ESQ.Jim and Kathy Coulter*John and Celeste Cron*Jay and Terry DavisonBruce and Marilyn DeweyMartha Dickman*Dotty Dixon*Richard and Joy DorfWayne and Shari EckertSandra and Steven FeldersteinNancy McRae FisherCarole Franti*Paul J. and Dolores L. Fry Charitable FundChristian Sandrock and Dafna GatmonKarl Gerdes and Pamela RohrichFredric Gorin and Pamela Dolkart GorinPatty and John Goss*Jack and Florence Grosskettler*In Memory of William F. McCoyTim and Karen HeflerSharna and Mike HoffmanJohn and Magda HookerSarah and Dan HrdyRuth W. JacksonClarence and Barbara KadoBarbara KatzJoshua Kehoe and Jia ZhaoThomas Lange and Spencer LocksonMary Jane Large and Marc LevinsonHyunok Lee and Daniel SumnerLin and Peter LindertDavid and Ruth LindgrenAngelique LouieNatalie and Malcolm MacKenzie*Douglas Mahone and Lisa HeschongDennis H. Mangers and Michael SestakSusan MannMarilyn MansfieldJohn and Polly MarionYvonne L. MarshRobert Ono and Betty MasuokaShirley Maus*Janet Mayhew*Ken McKinstryMike McWhirterJoy Mench and Clive WatsonJohn Meyer and Karen MooreEldridge and Judith MooresBarbara MorielAugustus and Mary-Alice MorrPatricia and Surl NielsenJohn and Misako PearsonBonnie A. Plummer*Prewoznik FoundationLinda and Lawrence Raber*Kay Resler*Christopher Reynolds and Alessa JohnsTom RoehrDon Roth and Jolán FriedhoffLiisa RussellBeverly "Babs" Sandeen and Marty SwingleEd and Karen Schelegle

The Schenker FamilyNeil and Carrie SchoreBonnie and Jeff SmithRonald and Rosie Soohoo*Richard L. Sprague and Stephen C. OttMaril Revette Stratton and Patrick StrattonBrandt Schraner and Jennifer ThorntonDenise Verbeck and Rovida MottDonald Walk, M.D.Louise and Larry WalkerGeoffrey and Gretel Wandesford-SmithBarbara D. WebsterWeintraub FamilyDale L. and Jane C. WiermanPaul WymanYin and Elizabeth YehAnd eight donors who prefer to remain anonymous

encoRe cIRcle $600 – $1,249Michelle AdamsMitzi AguirrePaul and Nancy AikinGregg T. Atkins and Ardith AllreadMerry BenardDonald and Kathryn Bers*Marion BrayRosa Marquez and Richard BreedonIrving and Karen Broido*Dolores and Donald ChakerianGale and Jack ChapmanWilliam and Susan ChenJohn and Cathie DuniwayMark E. Ellis and Lynn ShapiroDoris and Earl FlintMurray and Audrey FowlerDr. Deborah and Brook GalePaul and E. F. GoldsteneDavid and Mae GundlachRobin Hansen and Gordon UlreyJohn and Katherine HessBarbara and Robert JonesMary Ann and Victor JungRobert Kingsley and Melissa ThormePaula KuboCharlene KunitzFrances and Arthur Lawyer*Dr. Henry Zhu and Dr. Grace LeeKyoko LunaDebbie and Stephen Wadsworth-MadeirosMaria M. ManoliuGary C. and Jane L. MattesonCatherine McGuireRobert and Helga MedearisSuzanne and Donald MurchisonRobert and Kinzie MurphyLinda Orrante and James NordinFrank PajerskiJohn Pascoe and Susan StoverJerry L. Plummer and Gloria G. FreemanLarry and Celia RabinowitzJ. and K. RedenbaughJohn and Judith ReitanJeep and Heather RoemerTom and Joan SalleeJeannie and Bill SpanglerEdward and Sharon SpeegleElizabeth St. GoarSherman and Hannah SteinLes and Mary Stephens De WallJudith and Richard SternEric and Patricia Stromberg*Lyn Taylor and Mont HubbardRoseanna Torretto*Henry and Lynda Trowbridge*Steven and Andrea Weiss*Denise and Alan WilliamsKandi Williams and Dr. Frank JahnkeArdath WoodBob and Chelle YetmanKarl and Lynn ZenderAnd three donors who prefer to remain anonymous

oRchestRa cIRcle $300 – $599Drs. Ralph and Teresa AldredgeThomas and Patricia AllenFred Arth and Pat SchneiderMichael and Shirley Auman*Frederic and Dian BakerBeverly and Clay BallardDelee and Jerry BeaversCarol Beckham and Robert HollingsworthMark and Betty BelafskyCarol L. BenedettiBob and Diane BiggsDr. Gerald BishopAl Patrick and Pat BissellDonna Anderson and Stephen BlakeFred and Mary BlissElizabeth BradfordPaul BraunMargaret E. BrockhouseChristine and John BruhnManuel Calderon De La Barca SanchezJackie CaplanMichael and Louise CaplanAnne and Gary CarlsonFrank ChisholmBetty M. ClarkWayne ColburnMary Anne and Charles CooperJames and Patricia CothernDavid and Judy CovinRobert Crummey and Nancy Nesbit CrummeyLarry Dashiell and Peggy SiddonsSue Drake*Thomas and Eina DuttonDr. and Mrs. John EiseleMark E. Ellis and Lynn ShapiroLeslie FaulkinJanet FeilDavid and Kerstin FeldmanLisa Foster and Tom GrahamSevgi and Edwin Friedrich*Marvin and Joyce GoldmanJudy and Gene GuiraudDarrow and Gwen HaagensenSharon and Don HallbergMarylee HardieDavid and Donna HarrisRoy and Miriam HatamiyaCynthia Hearden*Mary HelmichLenonard and Marilyn HerrmannFred Taugher and Paula HigashiDarcie HouckB.J. HoytPat and Jim Hutchinson*Don and Diane JohnstonWeldon and Colleen JordanNancy Gelbard and David KalbRuth Ann Kinsella*Joseph KiskisKent and Judy KjelstromPeter Klavins and Susan KauzlarichAllan and Norma LammersDarnell LawrenceRuth LawrenceCarol LedbetterThe Lenk-Sloane FamilyDr. and Mrs. Stanley LevinErnest and Mary Ann Lewis*Michael and Sheila Lewis*Sally LewisMelvyn LibmanJeffrey and Helen MaBunkie MangumPat Martin*Yvonne Clinton-Mazalewski and Robert MazalewskiGerrit MichaelNancy MichelHedlin FamilyRobert and Susan Munn*William and Nancy MyersBill and Anna Rita NeumanK. C. NDana K. OlsonJohn and Carol OsterSally Ozonoff and Tom RicheyJohn and Sue PalmerJohn and Barbara ParkerJohn and Deborah Poulos

Jerry and Ann Powell*Harriet PratoJohn and Alice ProvostJ. David RamseyJohn and Rosemary ReynoldsGuy and Eva RichardsSara RingenTracy Rodgers and Richard BudenzSharon and Elliott Rose*Bob and Tamra RuxinDwight E. and Donna L. SandersMark and Ita Sanders*Eileen and Howard SarasohnJohn and Joyce SchaeubleRobert and Ruth ShumwayMichael and Elizabeth SingerJudith SmithRobert SniderAl and Sandy SokolowTim and Julie StephensKarmen StrengPieter Stroeve, Diane Barrett and Jodie StroeveKristia SuutalaTony and Beth TankeCap and Helen ThomsonVirginia ThreshDennis and Judy TsuboiPeter Van HoeckeAnn-Catrin Van, Ph.D.Robert VassarRita WatermanJeanne WheelerCharles White and Carrie SchuckerJames and Genia Willett*Iris Yang and G. Richard BrownWesley and Janet YatesJane Yeun and Randall LeeRonald M. YoshiyamaHanni and George ZweifelAnd six donors who prefer to remainanonymous

MaInstage cIRcle $100 – $299Leal AbbottThomas and Betty AdamsMary AftenJohn and Jill AguiarSusan AhlquistThe AkinsJeannie AlongiDavid and Penny AndersonValerie Jeanne AndersonElinor Anklin and George HarschAlex and Janice ArdansDebbie ArringtonJerry and Barbara AugustAlicia Balatbat*George and Irma BaldwinCharlotte Ballard and Robert ZeffCharles and Diane Bamforth*Elizabeth BanksMichele Barefoot and Luis Perez-GrauCarole BarnesConnie BattersonPaul and Linda BaumannLynn Baysinger*Janet and Steve CollinsRobert and Susan BenedettiWilliam and Marie BenisekAlan and Kristen BennettRobert C. and Jane D. BennettMrs. Vilmos BeresBevowitz FamilyBoyd and Lucille BevingtonJohn and Katy BillAndrea Bjorklund and Sean DugganSam and Caroline BledsoeBobbie BoldenWilliam BossartBrooke Bourland*Mary A. and Jill BowersAlf and Kristin BrandtRobert and Maxine BraudeDan and Millie Braunstein*Edelgard Brunelle*Linda Clevenger and Seth BrunnerDon and Mary Ann BrushMartha BryantMike and Marian BurnhamDr. Margaret Burns and Dr. Roy W. BellhornVictor W. BurnsWilliam and Karolee BushJohn and Marguerite CallahanLita Campbell*John and Nancy Capitanio


corPorAte mAtchIng gIfts

Bank of America Matching Gifts ProgramChevron/Texaco Matching Gift FundDST SystemsU.S. Bank

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

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

James and Patty CareyMichael and Susan CarlHoy CarmanJan Carmikle, '87 '90Bruce and Mary Alice Carswell*John and Joan ChambersCaroline Chantry and James MalotDorothy Chikasawa*Rocco CiescoGail ClarkL. Edward and Jacqueline ClemensJames ClineStephan CohenStuart CohenSheri and Ron ColeHarold E. CollinsJanet and Steve CollinsDavid CombiesAnn BriceRose ConroyTerry CookNicholas and Khin CornesFred and Ann CostelloCatherine Coupal*Victor Cozzalio and Lisa Heilman-CozzalioCrandallicious ClanMrs. Shauna DahlRobert Bushnell, DVM and Elizabeth Dahlstrom-Bushnell*John and Joanne DanielsNita DavidsonMary H. DawsonJudy and David DayCarl and Voncile DeanJoel and Linda DobrisGwendolyn Doebbert and Richard EpsteinVal and Marge Dolcini*John and Margaret DrakeAnne DuffeyMarjean DuPreeJohn Paul Dusel Jr.Harold and Anne EisenbergEliane EisnerRobert HoffmanAllen EndersRandy Beaton and Sidney EnglandCarol Erickson and David PhillipsEvelyn FalkensteinAndrew D. and Eleanor E. Farrand*Ophelia and Michael FarrellRichard D. FarshlerEric FateLiz and Tim FentonSteven and Susan FerronatoBill and Margy FindlayDave FirenzeKieran and Marty FitzpatrickBill and Judy Fleenor*David and Donna FletcherAlfred FongGlenn FortiniMarion Franck and Bob LewFrank BrownAndrew and Wendy FrankMarion Rita Franklin*William E. Behnk and Jennifer D. FranzAnthony and Jorgina FreeseLarry FriedmanKerim and Josina FriedrichJoan M. FutscherMyra A. GableLillian GabrielCharles and Joanne GambleTony CantelmiPeggy GerickPatrice and Chris Gibson*Mary GillisEleanor GlassburnerLouis J. Fox and Marnelle Gleason*Pat and Bob Gonzalez*Michele Tracy and Dr. Michael GoodmanVictor and Louise GrafJeffrey and Sandra GranettSteve and Jacqueline Gray*Tom GreenDavid and Kathy GreenhalghPaul and Carol GrenchAlex and Marilyn GrothJanine Guillot and Shannon WilsonJune and Paul GulyassyWesley and Ida Hackett*Jane and Jim HagedornFrank and Rosalind HamiltonWilliam and Sherry HamrePat and Mike HandleyJim and Laurie HanschuN. Tosteson-HargreavesMichael and Carol HarrisRichard and Vera HarrisCathy Brorby and Jim Harritt

Sally Harvey*Sharon Heath-PagliusoPaul and Nancy HelmanMartin Helmke and Joan Frye WilliamsRoy and Dione HenricksonRand and Mary HerbertEric Herrgesell, DVMJeannette HiggsLarry and Elizabeth HillBette Hinton and Robert CaulkCalvin Hirsch and Deborah FrancisFrederick and Tieu-Bich HodgesMichael and Margaret HoffmanGarnet HoldenMr. and Mrs. HootsHerb and Jan HooverSteve and Nancy HopkinsDavid and Gail HulseEva Peters HuntingLorraine HwangMarta InduniJane and John Johnson*Tom and Betsy JenningsDr. and Mrs. Ronald C. JensenCarole and Phil JohnsonSteve and Naomi JohnsonMichelle Johnston and Scott ArrantoWarren and Donna JohnstonIn memory of Betty and Joseph BariaAndrew and Merry JoslinMartin and JoAnn Joye*Fred and Selma KapatkinShari and Tim KarpinAnthony and Elizabeth KatsarisYasuo KawamuraPhyllis and Scott Keilholtz*Patricia Kelleher*Charles Kelso and Mary ReedDave KentDr. Michael Sean KentRobert and Cathryn KerrFrank KiefferGary and Susan KieserLarry Kimble and Louise BettnerBob and Bobbie KittredgeDorothy KlishevichMary KlisiewiczPaulette Keller KnoxPaul KramerNina and David KrebsMarcia and Kurt KreithSandra KristensenLeslie KurtzCecilia KwanDon and Yoshie KyhosRay and Marianne KyonoCorrine LaingBonnie and Kit Lam*Marsha M. LangSusan and Bruce LarockLeon E. LaymonMarceline LeeThe Hartwig-Lee FamilyNancy and Steve LegeJoel and Jeannette LermanEvelyn A. LewisDavid and Susan LinkMotoko LobueHenry LuckieRobert and Patricia LufburrowLinda LugerAriane LyonsEdward and Susan MacDonaldLeslie Macdonald and Gary FrancisKathleen Magrino*Debbie Mah and Brent Felker*Alice Mak and Wesley KennedyRenee Maldonado*Vartan MalianJulin Maloof and Stacey HarmerJoan MangoldMarjorie MarchJoseph and Mary Alice MarinoPamela Marrone and Mick RogersDr. Carol MarshallDonald and Mary MartinJ. A. MartinBob and Vel MatthewsLeslie MaulhardtKatherine Mawdsley*Karen McCluskey*Doug and Del McColmNora McGuinness*Donna and Dick McIlvaineTim and Linda McKennaR. Burt and Blanche McNaughton*Richard and Virginia McRostieMartin A. Medina and Laurie PerryCliva Mee and Paul HarderJulie Mellquist

Barry Melton and Barbara LangerSharon MenkeThe Merchant FamilyRoland and Marilyn MeyerFred and Linda J. Meyers*Leslie Michaels and Susan KattEric and Jean MillerLisa MillerPhyllis MillerSue and Rex MillerDouglas MinnisKathy and Steve Miura*Kei and Barbara MiyanoVicki and Paul MoeringJoanne MoldenhauerLloyd and Ruth MoneyMr. and Mrs. Ken MoodyAmy MooreHallie MorrowMarcie MortenssonRobert and Janet MukaiThe Muller FamilyTerence and Judith MurphySteve Abramowitz and Alberta NassiJudy and Merle NeelSandra NegleyNancy and Chris NelleRomain NelsenMargaret Neu*Jack Holmes and Cathy NeuhauserRobert Nevraumont and Donna Curley Nevraumont*Keri Mistler and Dana NewellJenifer NewellJanet NooteboomForrest OdleJim and Sharon OltjenMarvin O'RearMary Jo Ormiston*Bob and Elizabeth OwensMike and Carlene Ozonoff*Thomas Pavlakovich and Kathryn DemakopoulosBob and Marlene PerkinsAnn Peterson and Marc HoescheleHarry PhillipsPat PiperDrs. David and Jeanette PleasureJane PlocherBob and Vicki PlutchokBea and Jerry PresslerAshley PrinceDiana ProctorDr. and Ms. Rudolf PueschelEvelyn and Otto RaabeEdward and Jane RabinDr. Anne-Louise and Dr. Jan RadimskyLawrence and Norma RappaportOlga RavelingSandi Redenbach*Mrs. John Reese, Jr.Martha Rehrman*Michael A. Reinhart and Dorothy YerxaEugene and Elizabeth RenkinFrancis RestaDavid and Judy Reuben*Al and Peggy RiceJoyce RietzRalph and Judy Riggs*Peter RodmanRichard and Evelyne RomingerBarbara and Alan RothCathy and David RowenChris and Melodie RuferPaul and Ida RuffinFrancisca RugerKathy RuizMichael and Imelda RussellHugh and Kelly SaffordDr. Terry Sandbek and Sharon Billings*Fred and Polly SchackPatsy SchiffTyler SchillingJulie Schmidt*Janis J. Schroeder and Carrie L. MarkelBrian A. Sehnert and Janet L. McDonaldAndreea SeritanDan Shadoan and Ann LincolnJill and Jay ShepherdEd Shields and Valerie BrownThe ShurtzDr. and Mrs. R.L. SieglerSandra and Clay SiggMarion E. SmallBrad and Yibi SmithJames SmithJean SnyderRoger and Freda SornsenCurtis and Judy SpencerMarguerite Spencer

Miriam SteinbergHarriet Steiner and Miles SternRaymond StewartEd and Karen Street*Deb and Jeff StrombergYayoi TakamuraConstance Taxiera*Stewart and Ann Teal*Francie F. TeitelbaumJulie A. Theriault, PA-CJanet and Karen ThomeBrian TooleLola Torney and Jason KingRobert and Victoria TousignantBenjamen Tracey and Beth MalinowskiMichael and Heidi TraunerRich and Fay TraynhamElizabeth TreanorMr. Michael TupperJames E. TurnerBarbara and Jim TuttLiza TweltridgeRobert TwissMr. Ananda TysonNancy Ulrich*Gabriel UndaRamon and Karen UrbanoChris and Betsy Van KesselDiana VarcadosBart and Barbara Vaughn*Richard and Maria VielbigDon and Merna VillarejoCharles and Terry VinesCatherine VollmerRosemarie Vonusa*Evelyn Matteucci and Richard VorpeCarolyn Waggoner*Carol WaldenAndrew and Vivian WalkerAnthony and Judith WarburgMarny and Rick WassermanCaroline and Royce WatersDan and Ellie Wendin*Douglas WestMartha S. WestRobert and Leslie Westergaard*Susan WheelerCarol Marie WhiteLinda K. WhitneyMrs. Jane L. WilliamsMarsha L. WilsonJanet WintererDr. Harvey WolkovJennifer and Michael WooTimothy and Vicki YearnshawJeffrey and Elaine Yee*Norman and Manda YeungSharon and Doyle YoderPhillip and Iva YoshimuraHeather YoungLarry Young and Nancy EdwardsVerena Leu YoungMedardo and Melanie ZavalaDrs. Matthew and Meghan ZavodPhyllis and Darrel Zerger*Sonya and Tim ZindelMark and Wendy ZlotlowAnd 44 donors who prefer to remain anonymous


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 and Theatre and Dance and the presentingprogram of the Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center. 12–13 ADVISORY BOARD MEMBERSJoe Tupin, Chair • John Crowe, Immediate Past Chair

Wayne Bartholomew • Camille Chan • Michael Chapman • Lois Crowe • Cecilia Delury • Patti Donlon • Mary Lou Flint • Anne Gray Benjamin Hart • Lynette Hart • Vince Jacobs • Stephen Meyer • Randall Reynoso • 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

ArTS & LeCTureS ADMiniSTrATiVe ADViSorY CoMMiTTeeThe 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.

12–13 COMMITTEE MEMBERS: Erin Schlemmer • Jim Forkin • Erin Jackson • Sharon Knox • Maria Pingul Prabhakara Choudary • Charles Hunt • Lee Miller • Gabrielle Nevitt Schipper Burkhard • Carson Cooper • Daniel Friedman • Kelley Gove • Aaron Hsu Susan Perez • Don Roth • Jeremy Ganter • Erin Palmer

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 [email protected] or call 530.754.5431.

12–13 FRIENDS ExECUTIVE BOARD & STANDING COMMITTEE CHAIRS: Jo Anne Boorkman, President • Sandi Redenbach, Vice President • Francie Lawyer, 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

The Gift Shop at Mondavi Center is located in the southeast corner of the Yocha Dehe Grand Lobby. The Gift Shop is currently stocking new and festive merchandise for this holiday season at affordable prices and is always open prior to Jackson Hall performances. 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. Shopping at Mondavi Center this holiday season is convenient and will add enjoyment to your Mondavi Center experience.

All profits from the Gift Shop help to support Mondavi Center’s Arts Education program.The Friends of Mondavi Center is an active donor-

based volunteer organization that supports activities of Mondavi Center’s presenting program.

Gift Shopat mondavi center


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 lower-priced ticket on exchange is non-refundable.• Subscribers and donors may exchange tickets at face value toward a balance on their account. All balances must be applied toward the same presenter and expire June 30 of the current season. Balances may not be transferred between accounts.• All exchanges subject to availability.• All ticket sales are final for events presented by non-UC Davis promoters.• No refunds.

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

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

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

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

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

PolIcIes And InformAtIon

ACCoMMoDATionS For PATronS WiTH dIsABIlItIesThe Mondavi Center is proud to be a fully accessible state-of-the-art public facility that meets or exceeds all state and federal ADArequirements.

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

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

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

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

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

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

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

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

lost And foUnd hotlIne 530.752.8580

*Only one discount per ticket.

We’ve lifted health care to an art form.

Who better to create the perfect health plan but

health care professionals with families of their

own. So that’s just what we did. Fifteen years ago,

UC Davis Health System, Dignity Health and

NorthBay Healthcare System came together to

create a quality alternative to national HMOs.

The result is a health plan committed to improving

the health and well-being of our community. So, if

you are interested in getting just what the doctor

ordered, give us a call.

As a founding partner, Western Health Advantage is proud to celebrate Mondavi Center’s 10th anniversary.

mondavi center playbill issue 4: dec 2012

Documents

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margrit mondavi center

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major performing arts

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