PROGRAM - Mondavi Center

ISSUE
Issue
7:
9:
MAR
AprIl/MAy
2013
2013
•
Young
Thomas
Artists
Hampson,
Competition
baritone
Winners
with Jupiter
Concert
String
p. 5
Quartet p. 5
•
Julian
Alvin Ailey
Lage
American
Group p. 8
Dance Theater p. 17
•
Sarah
Sacramento
Chang,
Ballet p. 26
violin; Ashley Wass, piano p. 11
•
The
Christopher
Improvised
Taylor,
Shakespeare
piano p. 31
Company p. 16
•
Cashore
Elena Urioste,
Marionettes
violin p. 36
Simple Gifts p. 19
• St.
Gabriela
Louis Symphony
Martinez, piano
p. 23
•
Jazz
Curtis
at
on
Lincoln
Tour p. 41
Center Orchestra
with Wynton Marsalis p. 29
•
Lara
Lara
Downes,
Downes Family
Piano;
Concert p. 47
Build p. 34
ANNIVERSARY
2012—13
Season Sponsors
• In Conversation with Ira Glass, Moderated by Daniel Handler p. 45
PROGRAM

Anniversary
2012—13
A message from the chancellor
It 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.
Linda P.B. Katehi
UC Davis Chancellor
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 experienced
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, lifetransforming
experiences with great artists and thinkers for our region.
Thank you for being a part of the Mondavi Center’s 10th anniversary
season.
Season Sponsors
MondaviArts.org | 1

10th Anniversary Season sponsors
Corporate Partners
Platinum
Gold
Silver
Bronze
special thanks
Anderson Family
Catering & BBQ
Atria Senior Living
Boeger Winery
Buckhorn Catering
Caffé Italia
Ciocolat
El Macero Country Club
Office of Campus
Community Relations
MONDAVI CENTER GRANTORS
AND ARTS EDUCATION SPONSORS
The Andrew W. Mellon Foundation
Elliott Fouts Gallery
Fiore Event Design
Hot Italian
Hyatt Place
Osteria Fasulo
Seasons
Sherman Clay
Watermelon Music
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 9: APR–may 2013
mondavi center Staff
DON ROTH, Ph.D.
Executive Director
Jeremy Ganter
Associate Executive
Director
Becky Cale
Executive Assistant
Programming
Jeremy Ganter
Director of
Programming
Erin Palmer
Programming
Manager
Ruth Rosenberg
Artist Engagement
Coordinator
Lara Downes
Curator: Young
Artists Program
ARTS EDUCATION
Joyce Donaldson
Associate to the
Executive Director
for Arts Education
and Strategic Projects
Jennifer Mast
Arts Education
Coordinator
AUDIENCE SERVICES
Yuri Rodriguez
House/Events Manager
Nancy Temple
Assistant House/Events
Manager
Natalia Deardorff
Assistant House/Events
Manager
BUSINESS SERVICES
Debbie Armstrong
Senior Director of
Support Services
Mandy Jarvis
Financial Analyst
Russ Postlethwaite
Billing System &
Rental Coordinator
DEVELOPMENT
Debbie Armstrong
Senior Director
of Development
Alison Morr Kolozsi
Director of Major Gifts
& Planned Giving
Elisha Findley
Corporate & Annual
Fund Officer
Amanda Turpin
Donor Relations
Manager
Casey Schell
Development/Support
Services Assistant
operations
Herb Garman
Director of
Operations
Greg Bailey
Building Engineer
INFORMATION
TECHNOLOGY
Darren Marks
Web Specialist/
Graphic Artist
Mark J. Johnston
Lead Application
Developer
MARKETING
Rob Tocalino
Director of
Marketing
Will Crockett
Marketing Manager
Erin Kelley
Senior Graphic Artist
Amanda Caraway
Public Relations
Coordinator
TICKET OFFICE
Sarah Herrera
Ticket Office Manager
Steve David
Ticket Office Supervisor
Susie Evon
Ticket Agent
Russell St. Clair
Ticket Agent
production
Donna J. Flor
Production Manager
Daniel J. Goldin
Assistant Production
Manager/Master
Electrician
Zak Stelly-Riggs
Assistant Production
Manager/Master
Carpenter
Christi-Anne
Sokolewicz
Senior Stage Manager,
Jackson Hall
Christopher Oca
Senior Stage Manager,
Vanderhoef Studio
Theatre
Jenna Bell
Artist Services
Coordinator
Daniel B. Thompson
Campus Events
Coordinator, Theatre
and Dance Department
Liaison/Scene
Technician
Kathy Glaubach
Music Department
Liaison/Scene
Technician
Adrian Galindo
Audio Engineer—
Vanderhoef Studio
Theatre/Scene
Technician
Gene Nelson
Registered Piano
Technician
Head Ushers
Huguette Albrecht
Eric Davis
George Edwards
Linda Gregory
Donna Horgan
Paul Kastner
Mike Tracy
Susie Valentin
Janellyn Whittier
Terry Whittier

Robert and Margrit Mondavi Center for the Performing Arts • UC Davis
Program
Issue 9: april–may 2013
Photo: Lynn Goldsmith
A Message From
Don Roth
Mondavi Center Executive Director
We have heard from you, our remarkable audience, that the Mondavi
Center’s 10th anniversary season has been one of our most successful
and fulfilling ever. You responded in record numbers to events like
the MC debuts of the blues greats B.B. King and Bonnie Raitt; a thoughtprovoking
talk from Harry Belafonte; unique theater from Scotland,
London and from Shakespeare (improvised); a once-in-a-life time, upto-date
psychedelic light show; a youthful Russian piano virtuoso Daniil
Trifonov playing Tchaikovsky; and, I hope, many more memories that you
will treasure for years to come. Yes, it has been a wonderful season and a
privilege to share it with you.
Frankly, for me, it is even more exciting to look ahead at what Associate
Executive Director Jeremy Ganter and I have been able to put together
for a brand new Mondavi Center season. Even after a decade of great
performances, there are so many amazing artists who have not yet been
to the Mondavi Center—next season will see MC debuts of iconic artists
Emmylou Harris, Ahmad Jamal and Murray Perahia; by the best-selling
classical ensemble of our time, the Academy of St. Martin in the Fields
(with their brand new music director, our old friend Joshua Bell). And we
get to welcome back favorite artists like violinists Gil Shaham and Pinchas
Zukerman; the mandolin god Chris Thile (playing Bach and Bluegrass!);
the Brazilian dance masters Grupo Corpo; and the still-going-strong
Orquesta Buena Vista Social Club. You will have the chance to experience
some events unlike any others in our history: the all-day Beethoven
Marathon on October 5, when pianist Stewart Goodyear tackles the
complete (32!) Beethoven piano sonatas. The Salzburg Marionettes come
to town to perform three opera programs (including the Wagner Ring
Cycle in 75 minutes!) and Salzburg-sited The Sound of Music. There are 70
presentations in all, so there is much much more to explore in our new
brochure.
Subscriptions are on sale now. Visit our subscription table before any
of our remaining shows, or get acquainted with the new season at
mondaviarts.org. If you haven’t received a brochure, please email us at
mcfeedback@ucdavis.edu, and we will drop one in the mail to you.
Of special note in this playbill is the world premiere of a new piece for
baritone Thomas Hampson and the Jupiter String Quartet composed by
Mark Adamo. This is the kind of work you will find only at the Mondavi
Center. Our membership in the Music Accord commissioning consortium
gives us access to rare opportunities to present significant new works,
and I am thrilled at the opportunity to be among the first to hear this
setting of a lovely poem by former U.S. Poet Laureate Billy Collins.
You will hear more about the good work Music Accord is doing next season,
as we present Gil Shaham performing solo violin pieces by William
Bolcom—another commission made possible by this robust partnership.
Thank you, again, for celebrating this milestone season with us. I look
forward to welcoming you all back in 2013–14.
in this issue:
• Thomas Hampson, baritone
with Jupiter String Quartet p. 5
• Alvin Ailey American Dance Theater p. 17
• Sacramento Ballet p. 26
• Christopher Taylor, piano p. 31
• Elena Urioste, violin p. 36
Gabriela Martinez, piano
• Curtis on Tour p. 41
• In Conversation with Ira Glass
Moderated by Daniel Handler p. 45
• Lara Downes Family Concert p. 47
• Mondavi Center Policies and Information p. 61
before the show
O A H
• 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 tpe 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.
Don Roth, Ph.D.
Executive Director
Mondavi Center for the Performing Arts, UC Davis
MondaviArts.org | 3

an exclusive wine tasting
experience of featured wineries
for inner circle donors
september
18 Bonnie Raitt Justin Vineyards & Winery
27 San Francisco Symphony Chimney Rock Winery
october
6 Rising Stars of Opera Le Casque Wines
25 From The Top with Christopher O'Riley Oakville Station
november
7 Philharmonia Baroque Carol Shelton Wines
16 David Sedaris Senders Wines
December
5 Danú Boeger Winery
2012—13
Complimentary wine pours in the Bartholomew Room for Inner
Circle Donors: 7–8 p.m. and during intermission if scheduled.
january
18 Monterey Jazz Festival Pine Ridge Vineyards
29 Yo-Yo Ma Robert Mondavi Winery
february
7 Kodo ZD Wines
16 Itzhak Perlman Valley of the Moon Winery
march
7 Sarah Chang Michael David Winery
19 Jazz at Lincoln Center Ramey Wine Cellars
April
5 Bobby McFerrin Groth Vineyards & Winery
19 Arlo Guthrie Trefethen Family Vineyards
may
3 Christopher Taylor Flowers Winery
23 David Lomelí Francis Ford Coppola Winery
Featured wineries
For information about becoming a donor, please call
530.754.5438 or visit us online: www.mondaviarts.org.
PPT
Pre-Performance Talk Speaker:
Carol A. Hess
Carol A. Hess teaches in the Music Department at the University
of California, Davis. The first Ph.D. in musicology to graduate
from UC Davis, she began her university career in Ohio
and then taught in Michigan. In fall 2012, she returned to
California and is delighted to be back. She has received the
ASCAP-Deems Taylor Award and the American Musicological
Society’s Robert M. Stevenson Award for Outstanding
Scholarship in Iberian Music, among other prizes. Her books
include Manuel de Falla and Modernism in Spain, 1898–1936
(University of Chicago Press, 2001), Sacred Passions: The Life
and Music of Manuel de Falla (Oxford University Press, 2005)
and Representing the Good Neighbor: Music, Difference and the
Pan American Dream (2013). Her articles have appeared in the
Journal of the Society for American Music, Brahms Studies, Journal
of the American Musicological Society (forthcoming) and various
Spanish-language publications. She is also active in the
American Musicological Society and the Society for American
Music. Twice a Fulbright Lecturer, Hess has taught in Spain and
Argentina.
4 | Mondavi Center Presents Program Issue 9: APR–may 2013

Thomas Hampson, baritone
with Jupiter String Quartet
Photo by Dario Acosta
Photo by Dario Acosta
A Director’s Choice Series Event
Wednesday, April 24, 2013 • 8PM
Jackson Hall
String Quartet in Eb, D. 87
Langsamer Satz for String Quartet
Schubert
Webern
Individual support provided by Barbara K. Jackson.
Aristotle for Voice and String Quartet
Adamo
Supported by a generous grant from
The Andrew W. Mellon Foundation
Aristotle by Mark Adamo commissioned for
baritone Thomas Hampson and Jupiter String
Quartet by Music Accord.
Intermission
Italian Serenade for String Quartet
Selected Lieder for Voice and String Quartet
Wolf
Pre-Performance Talk
Wednesday, April 24, 2013 • 7PM
Jackson Hall
Speakers: Members of Jupiter String Quartet
in conversation with Carol Hess, Professor of
Musicology, Department of Music, UC Davis
Thomas Hampson, baritone
with Jupiter String Quartet
Nelson Lee, Violin
Meg Freivogel, Violin
Liz Freivogel, Viola
Daniel McDonough, Cello
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.
MondaviArts.org | 5

6 | Mondavi Center Presents Program Issue 9: APR–may 2013

Program Notes
String Quartet in E-flat Major, D. 87 (Op. 125, No. 1) (1813)
Franz Schubert
(Born January 31, 1797, in Vienna; died November 19, 1828, in Vienna)
“Although Schubert had already reached great artistic heights, he was
very modest, and the last to recognize the important position he occupied.
Simple and unpretentious, good-natured, somewhat neglectful of
his outward appearance and the enemy of affectation, he was happiest
in the company of his friends. Apparently phlegmatic, he had nevertheless
an enthusiastic temperament, and was not lacking in wit and
humor.” Thus was the young musician described by his friend Albert
Stadler in 1813, Schubert’s last term at the School of the Court Chapel
in Vienna, where he had begun his studies in 1808 at the age of 11.
In the autumn of 1813, Schubert had to face a decision about his
future. He had been tendered a scholarship to continue as a senior
chorister at the Chapel School after his voice broke (“Franz Schubert
crowed for the last time on July 26, 1812,” he scribbled into his stillpreserved
part of a Mass by Peter Winter), but his schoolmaster-father,
Franz, coerced him into matriculating at the St. Anna Normal School
to undertake training as a teacher beginning in December, not least
because teachers were exempt from military conscription. Among
Schubert’s projects during the brief hiatus in his education that fall was
the composition of the String Quartet in E-flat major in November for
one of the informal amateur musical soirées in which he participated
to maintain his school friendships after leaving the Royal Chapel. Like
the other works of his teenage years, the E-flat Quartet shows clearly
the influence of the Classical models that formed the basis of Schubert’s
musical education, while at the same time looking forward to some of
the qualities of the encroaching Romantic era. While it lacks the insight
and profundity of his subsequent realizations of the genre, there is
nothing immature or ill-considered about this endearing quartet. It is
bright, melodious and ingratiating, and almost too easy to love.
The quartet’s first movement follows a crystalline sonata form indebted
to the musical structures of Schubert’s most revered predecessor,
Wolfgang Mozart. (“O Mozart, immortal Mozart, what countless images
of a brighter and better world thou hast stamped upon our souls!”
he wrote in his diary in 1816.) The main theme is initiated by two
measures of quiet chordal harmony and acquires only a modest rhythmic
and emotional animation as it unfolds. The subsidiary theme is a
flowing melody entrusted to the first violin. The development section
is perfunctory and leads quickly to the recapitulation of the earlier
themes. The middle movements comprise a teasing Scherzo and an
effulgently lyrical Adagio in three-part form (A–B–A). The sonataform
finale is one of those vibrant, ceaselessly moving creations that
Schubert favored throughout his life for closing his large instrumental
compositions.
—Dr. Richard E. Rodda
Aristotle (World Premiere, April 2013 Mondavi Center)
Mark Adamo
(Born in 1962, in Philadelphia)
A piece for baritone and string quartet can, legitimately, be nothing
more—or nothing less—than a song group, or cycle, with the
strings standing in for the more usual piano. But if you’re awarded the
privilege of making music for a singing actor the caliber of Thomas
Hampson, and for young musicians of the caliber of the Jupiters, you
want—well, I wanted—to compose a piece that is both a substantial
monologue and a structurally rewarding string quartet at the same
time. Billy Collins’s pellucid “Aristotle” made that possible. His poem
is built in three long but continuous sections, each spinning numerous,
surprising variations on some necessary (to the philosopher) element
of drama—beginning, middle, end. The range of Collins’s images
nudged the string writing into new (for me) colors and registers while
demanding each movement retain its own character. However, while
Collins’s language was minutely expressive of his narrator’s observations,
it remained reticent about his emotions. How does the singer
experience, rather than merely list, “the letter A … the song of betrayal,
salted with revenge … the hat on a peg, and, outside the cabin, falling
leaves?” The poem doesn’t tell you, so the vocal line must: which made the
baritone’s music needful, urgent, dramatic rather than merely decorative.
“Aristotle” the poem is about drama. As well as a tribute to the artistry
of its performers, I intend Aristotle the score as a drama itself.
—Mark Adamo
Langsamer Satz (“Slow Movement”) for String Quartet (1905)
Anton Webern
(Born December 3, 1883, in Vienna; died September 15, 1945, in
Mittersill, Austria)
The genesis of the Langsamer Satz is revelatory of the state of Webern’s
creative and personal thinking in 1905, when he was 22 years
old. Three years earlier, on Easter 1902, he set eyes on his cousin
Wilhelmine Mörtl, then 16, for the first time. They immediately
became friends, and, during the following years, very much more. In
the spring of 1905, he and Wilhelmine went on a five-day walking
excursion in the Waldwinkel, a picturesque region in Lower Austria.
Webern reveled in the beauty of the springtime countryside and the
companionship of the woman who would become his wife six years
later. “The sky is brilliantly blue,” he confided to his diary. “To walk
forever like this among flowers, with my dearest one beside me, to feel
oneself so entirely at one with the universe, without care, free as the
lark in the sky above—O what splendor! We wandered through forests.
It was a fairyland!” In June, still suffused with the glory of the Austrian
countryside and the soaring emotions of his young love, he composed
his Langsamer Satz.
Webern’s Langsamer Satz occupies the same emotionally charged
expressive and stylistic sphere as Schoenberg’s programmatic string
sextet of 1899, Verklärte Nacht. Though firmly tonal (E-flat major) in
its harmonic idiom, the Langsamer Satz shows the sort of sophisticated
thematic manipulation (especially in the inversion of its theme)
that became an integral component of Webern’s later atonal and
serial music, though its lyricism and overt emotionalism find little
equivalent in his precise and pristine later works. The Langsamer Satz
is in traditional three-part form. The first (and last) section utilizes
two themes: a melody of broad arching phrases that broaches an
almost Brahmsian mixture of duple and triple rhythmic figurations;
and a complementary motive of greater chromaticism, begun by the
second violin, that climbs a step higher to begin each of its subsequent
phrases. The central portion of the work is based on a rhapsodic
theme in flowing triplet figurations that works itself up to a climax
of aggressive unisons to mark the mid-point of the movement. An
epilogue of quiet, floating harmonies (zögernd, “lingeringly,” Webern
wrote repeatedly in the score above these measures) closes this
touching souvenir of Webern’s youth, which Hans and Rosaleen
—continued on page 8
MondaviArts.org | 7

Moldenhauer, in their biography of Webern, called “pure and exalted
love music.”
—Dr. Richard E. Rodda
Italian Serenade for String Quartet (1887)
Hugo Wolf
(Born March 13, 1860, in Windischgraz, Styria, Austria [now Slovenj
Gradec, Slovenia]; died February 22, 1903, in Vienna)
The inspiration for the Italian Serenade seems to have come to Wolf
from the novella Aus dem Leben eines Taugenichts (From the Life of a
Ne’er-Do-Well) by the German Romantic writer Joseph Eichendorff. The
Serenade was composed for string quartet in the space of only three
days (May 2-4, 1887), during a time when Wolf was immersed in setting
a number of Eichendorff’s verses for voice and piano and bears a
thematic resemblance to the first of the songs, “Der Soldat I,” about
the love of a soldier for a lady who lives in a castle. “The Eichendorff
novella has that same theme,” explained Eric Sams in his study of the
composer. “Central to its plot is an Italian serenade played by a small
orchestra ... Its hero is a young musician, a violinist, who leaves his
country home and his grumbling father to seek his fortune. He soon
charms everyone with his gifts, or antagonizes them with his inconsequence.
Wolf could hardly have found a more congenial or compelling
self-portrait in all German literature.”
Wolf originally called his work simply Serenade in G Major, but around
1890, he began referring to it as his “Italian Serenade.” In 1893, he
made sketches for a slow movement in G minor, but, already suffering
from the emotional turmoil brought on by his impulsive personality
and by the syphilis that would send him to an asylum in 1897, could
not bring it to completion. If two of his letters from 1894 are to be
taken at face value, he did finish another movement early that year, but
that score has never been recovered and only 45 measures of it survive
in sketches. The last notations he made for this ultimately unrealized
project were a few pages of a Tarantella he jotted down in 1897, shortly
before he was committed. Though thoughts of the suite based on the
Italian Serenade were in his mind for the last decade of his life, he died
in 1903 having finished no more of this proposed work than the first
movement, written some 15 years before.
The work’s several sections, joined in a loose rondo structure, allow for
the depiction of various moods and characters—the gossamer strains
of the lilting serenade serve as the background and foil for the ardent
entreaties of the suitor (in instrumental recitative) and the coquettish
replies of the lady. The joining together of these contrasts representing
the two stylistic poles of Wolf’s musical speech within a single
piece marks the pinnacle of his success as an instrumental composer,
and it is much to be regretted that his short life and his sad last years
deprived him of the chance to provide the musical world with further
such works as this masterful miniature.
Selected Songs for Baritone and String Quartet
Hugo Wolf
Hugo Wolf was the greatest German composer of songs after Schubert.
A seething emotional turmoil dominated his life—from his inability to
subject himself to the rigors of formal training, through his vehemently
zealous support of Wagner and his bouts of near-manic compositional
frenzy, to his suicide attempts and his death in an insane asylum. His
life and his music blaze with a white-hot inflammability that speaks of
the deepest feelings of an age that was just beginning to sense the end
of the artistic, social, political and ideological era that culminated in the
catastrophe of World War I.
Wolf’s career was marked by periods of intense creativity separated by
bouts of despondency. His work as a music critic and his often debilitating
depression limited his output for many years, but the publication
of a few of his songs in early 1888 was the catalyst for the most fecund
years of his life: between February and September 1888, he set 53
verses by Eduard Mörike; a book of 20 songs to Joseph Eichendorff’s
poems followed before the end of October; and Goethe’s writings provided
the texts for 50 more songs by February, 1889. Wolf was then
deserted by his creative muse (“Polyhymnia,” as he referred to his
inspiration) for eight months, but in October 1889, he began setting
16th- and 17th-century Spanish poems that had been translated into
German by Emmanuel Geibel and Paul Heyse; by April, he had completed
the 44 songs of his Spanisches Liederbuch (“Spanish Songbook”).
In September 1890, he took up Heyse’s translations of Italian poems
and had wrapped 22 of them in music by early the next year. The
remaining 24 numbers of the Italienisches Liederbuch date from 1896,
after Wolf had completed his comic opera Der Corregidor, based on the
1874 novel by Pedro de Alarcon (which also served as the basis for
Falla’s ballet The Three-Cornered Hat). Wolf managed a handful of songs
the following year—three settings of poems by Michelangelo were the
last music that he wrote—but by autumn 1897, he had lost his reason,
largely as a result of an untreated case of syphilis contracted 20 years
before. He had periods of lucidity during the following year, but in
October 1898, after he had tried to drown himself, he was permanently
confined to an asylum in Vienna, where he died on February 22, 1903,
three weeks before his 43rd birthday.
The 6th-century B.C.E. Greek poet Anacreon wrote on a variety of subjects,
but he was especially prized for his verses in praise of love, wine
and revelry. (“The Star-Spangled Banner” uses the melody of an 18thcentury
English drinking song titled “To Anacreon in Heaven,” whose
original text suggests the contemporary lubricious view of the ancient
poet: “And long may the sons of Anacreon entwine/The myrtle of Venus
with Bacchus’ vine”). Anacreon inspired an almost cult-like following
among 19th-century poets, many of whom sought to incorporate into
their verses the exalted as well as the very human aspects he embodied.
In Anakreon’s Grab (“Anacreon’s Grave”), Goethe erected his own
memorial to the poet, and Wolf captured its serenity and timelessness
in the setting he made for it on November 4, 1888. Despite Goethe’s
enthusiasm for the poet, the site of Anacreon’s grave is unknown, and
he could not have visited it in any case, since he never traveled the
Mediterranean coast beyond Italy.
The legendary Pied Piper of Hamelin was said to have been hired by
that Saxon town in 1284 to rid it of an infestation of rats. A mysterious
piper in multi-colored (i.e., “pied”) clothing appeared in town, offered
his services and lured the rats into the Weser River, where all but one
drowned. When the mayor refused to pay him the agreed fee, however,
the piper used the same method to lead the local children away from
their homes. In some versions they are lost forever; in others, they are
returned when the piper receives several times his original due. In his
1803 poem, Goethe turned the piper into a singing lutenist who makes
rodents disappear, children behave and young ladies swoon. Wolf made
a mini-opera around Goethe’s verse in his virtuoso Der Rattenfänger
(“The Rat-Catcher”) of November 1888.
* * *
8 | Mondavi Center Presents Program Issue 9: APR–may 2013

The year 1888 was one of furious composition for Wolf. He set poems
by Mörike, Eichendorff and Goethe, and later wrote to his mother that
“it was the most fruitful and therefore the happiest year of my life.
During this year I composed ... no fewer than 92 songs and ballads,
and not a single one among them miscarried. I think I can be satisfied
with the year 1888.” In his biography of Wolf, Frank Walker described
Eduard Mörike (1804–75) as “a Protestant pastor with leanings toward
Catholicism, a man who had known both the happiness and bitterness
of love, and, in his youth, in the encounter with the mysterious
‘Peregrina,’ plumbed the depths of erotic emotion, a man profoundly
responsive to the moods of nature, a lover of his kind blessed with an
observant eye and a sense of humor. His poetry reflects all this, sometimes
with overpowering emotional intensity, sometimes with classical
measure, very often with inimitable sensual grace.” Wolf’s 53 Mörike
settings are marked by extraordinary sensitivity to the images and emotions
of the texts, as well as by great refinement in their combining of
voice and piano and in their subtle formal integration.
—Dr. Richard E. Rodda
Texts and Translations
Aristotle
By Billy Collins
This is the beginning.
Almost anything can happen.
This is where you find
the creation of light, a fish wriggling onto land,
the first word of Paradise Lost on an empty page.
Think of an egg, the letter A,
a woman ironing on a bare stage
as the heavy curtain rises.
This is the very beginning.
The first-person narrator introduces himself,
tells us about his lineage.
The mezzo-soprano stands in the wings.
Here the climbers are studying a map
or pulling on their long woolen socks.
This is early on, years before the Ark, dawn.
The profile of an animal is being smeared
on the wall of a cave,
and you have not yet learned to crawl.
This is the opening, the gambit,
a pawn moving forward an inch.
This is your first night with her,
your first night without her.
This is the first part
where the wheels begin to turn,
where the elevator begins its ascent,
before the doors lurch apart.
This is the middle.
Things have had time to get complicated,
messy, really. Nothing is simple anymore.
Cities have sprouted up along the rivers
teeming with people at cross-purposes—
a million schemes, a million wild looks.
Disappointment unshoulders his knapsack
here and pitches his ragged tent.
This is the sticky part where the plot congeals,
where the action suddenly reverses
or swerves off in an outrageous direction.
Here the narrator devotes a long paragraph
to why Miriam does not want Edward’s child.
Someone hides a letter under a pillow.
Here the aria rises to a pitch,
a song of betrayal, salted with revenge.
And the climbing party is stuck on a ledge
halfway up the mountain.
This is the bridge, the painful modulation.
This is the thick of things.
So much is crowded into the middle—
the guitars of Spain, piles of ripe avocados,
Russian uniforms, noisy parties,
lakeside kisses, arguments heard through a wall—
too much to name, too much to think about.
And this is the end,
the car running out of road,
the river losing its name in an ocean,
the long nose of the photographed horse
touching the white electronic line.
This is the colophon, the last elephant in the parade,
the empty wheelchair,
and pigeons floating down in the evening.
Here the stage is littered with bodies,
the narrator leads the characters to their cells,
and the climbers are in their graves.
It is me hitting the period
and you closing the book.
It is Sylvia Plath in the kitchen
and St. Clement with an anchor around his neck.
This is the final bit
thinning away to nothing.
This is the end, according to Aristotle,
what we have all been waiting for,
what everything comes down to,
the destination we cannot help imagining,
a streak of light in the sky,
a hat on a peg, and outside the cabin, falling leaves.
MondaviArts.org | 9

Anakreon’s Grab (“Anacreon’s Grave”)
Text: Johann Wolfgang von Goethe
Wo die Rose hier blüht,
wo Reben um Lorbeer sich schlingen,
Wo das Turtelchen lockt,
wo sich das Grillchen ergötzt,
Welch ein Grab ist hier,
das alle Götter mit Leben
Schön bepflanzt und geziert?
Es ist Anakreons Ruh.
Frühling, Sommer, und Herbst
genoss der glückliche Dichter;
Vor dem Winter hat
ihn endlich der Hügel geschützt.
Here, where the rose blooms,
where vine twines round laurel,
Where the turtle-dove calls,
where the cricket sings with delight,
What grave is here that
all the gods have adorned
Like a garden with the beauty of life?
It is Anacreon’s resting place.
Spring, summer, autumn
that happy poet has enjoyed;
And at the last this mound
has protected him from winter.
Im Frühling (“In Spring”)
Text: Eduard Mörike
Hier lieg ich auf dem Frühlingshügel;
Die Wolke wird mein Flügel,
Ein Vogel fliegt mir voraus.
Ach, sag mir, alleinzigeliebe,
Wo du bleibst, dass ich bei dir bliebe!
Doch du und die Lüfte, ihr habt kein Haus.
Der Sonnenblume gleich steht mein Gemüte offen,
Sehnend,
Sich dehnend
In Lieben und Hoffen.
Frühling, was bist du gewillt?
Wann werd ich gestillt?
Die Wolke seh ich wandeln und den Fluss,
Es dringt der Sonne goldner Kuss
Mir tief bis ins Geblüt hinein;
Die Augen, wunderbar berauschet,
Tun, als schliefen sie ein,
Nur noch das Ohr dem Ton der Biene lauschet.
Ich denke dies und denke das,
Ich sehne mich, und weiss nicht recht, nach was:
Halb ist es Lust, halb ist es Klage:
Mein Herz, o sage,
Was webst du für Erinnerung
In golden grüner Zweige Dämmerung?
Alte unnennbare Tage!
Here I lie on the hill of spring;
The clouds become my wings,
A bird flies ahead of me.
Oh tell me, one and only love,
where you live, that I may dwell with you!
But you and the breezes have no home.
Like a sunflower my mind stands open,
Yearning,
Expanding
In love and hope.
Spring, what is it you want of me?
When shall I be stilled?
I see the cloud moving, and the river;
The golden kiss of the sun
Drives deep into my veins;
My eyes, wondrously enchanted,
Close as if in sleep.
Only my ears still catch the hum of the bee.
I think of this and that,
I yearn without quite knowing why.
It is half pleasure, half lament.
Tell me, my heart,
What memories you are weaving
Here in the twilight shade of golden-green
boughs?
Old unnameable days.
10 | Mondavi Center Presents Program Issue 9: APR–may 2013

Fussreise (“Journey on Foot”)
Text: Eduard Mörike
Am frischgeschnittnen Wanderstab,
Wenn ich in der Frühe
So durch die Wälder ziehe,
Hügel auf und ab:
Dann, wie’s Vöglein im Laube
Singet und sich rührt,
Oder wie die gold’ne Traube
Wonnegeister spürt
In der ersten Morgensonne:
So fühlt auch mein alter, lieber
Adam Herbst und Frühlingsfieber,
Gottbeherzte,
Nie verscherzte
Erstlings Paradiseswonne.
Also bist du nicht so schlimm, o alter
Adam, wie die strengen Lehrer sagen;
Liebst und lobst du immer doch,
Singst und preisest immer noch,
Wie an ewig neuen Schöpfungstagen,
Deinen lieben Schöpfer und Erhalter.
Möcht’ es dieser geben
Und mein ganzes Leben
Wär’ im leichten Wanderschweisse
Eine solche Morgenreise!
With my fresh-cut walking staff
early in the morning
I go through the woods,
over the hills, and away.
Then, like the birds in the arbor
that sing and stir,
or like the golden grapes
that trace their blissful spirits
in the first morning light
I feel in my age, too, beloved
Adam’s autumn—and spring-fever—
God fearing,
but not discarded:
the first delights of Paradise.
You are not so bad, oh old
Adam, as the strict teachers say;
you love and rejoice,
sing and praise—
as it is eternally the first day of creation—
your beloved Creator and Preserver.
I would like to be given to this
and my whole life
would be in simple wandering wonder
of one such morning stroll.
Auf einer Wanderung (“On a Walk”)
Text: Eduard Mörike
In ein freundliches Städtchen tret’ ich ein,
in den Strassen liegt roter Abendschein.
Aus einem offnen Fenster eben,
über den reichsten Blumenflor
hinweg, hört man Goldglockentöne schweben,
und eine Stimme scheint ein Nachtigallenchor,
dass die Blüten beben,
dass die Lüfte leben,
dass in höherem Rot die Rosen. leuchten vor
Lang hielt ich staunend, lustbeklommen.
Wie ich hinaus vor’s Tor gekommen,
Into a friendly little town I stroll—
In its streets lie the red evening glow.
From an open window,
Across the most splendid riot of flowers,
One can hear the gold chimes floating past,
And its one voice sounds like a chorus o
f nightingales,
So that the blossoms tremble,
So that the breezes come to life,
And so that the roses glow even redder.
Long I pause, astounded and oppressed by joy.
How I finally found myself past the gate
MondaviArts.org | 11

ich weiss es wahrlich selber nicht.
Ach hier, wie liegt die Welt so licht!
Der Himmel wogt in purpurnem Gewühle,
rückwärts die Stadt in goldnem Rauch:
wie rauscht der Erlenbach,
wie rauscht im Grund die Mühle,
ich bin wie trunken, irrgeführt
o Muse, du hast mein Herz berührt
mit einem Liebeshauch!
I truly do not know.
Ah, here, where the world lies in such light!
The heavens sway in a purple crowd,
Back there, the town is a golden haze:
How the alder brook rushes,
How the mill roars on the ground;
I am as if drunk and disoriented;
O Muse, you have stirred my heart
With a breath of love!
Verborgenheit (“Seclusion”)
Text: Johann Wolfgang von Goethe
Lass, o Welt, o lass mich sein!
Locket nicht mit Liebesgaben,
Lasst dies Herz alleine haben
Seine Wonne, seine Pein!
Was ich traure, weiss ich nicht,
Es ist unbekanntes Wehe;
Immerdar durch Tränen sehe
Ich der Sonne liebes Licht.
Oft bin ich mir kaum bewusst,
Und die helle Freude zücket
Durch die Schwere, die mich drücket,
Wonniglich in meiner Brust.
Lass, o Welt, o lass mich sein!
Locket nicht mit Liebesgaben,
Lasst dies Herz alleine haben
Seine Wonne, seine Pein!
Oh, world, let me be!
Entice me not with gifts of love.
Let this heart in solitude have
your bliss, your pain!
What I mourn, I know not.
It is an unknown pain;
forever through tears shall I see
the sun’s love-light.
Often, I am scarcely conscious
and the bright joys break
through the pain, thus pressing
delightfully into my breast.
Oh, world, let me be!
Entice me not with gifts of love.
Let this heart in solitude have
your bliss, your pain!
Auf ein altes Bild (“An Old Painting”)
Text: Eduard Mörike
In grüner Landschaft Sommerflor,
Bei kühlem Wasser, Schilf und Rohr,
Schau, wie das Knäblein Sündelos
Frei spielet auf der Jungfrau Schoss!
Und dort im Walde wonnesam,
Ach, grünet schon des Kreuzes Stamm!
In the green landscape of a blossoming summer,
Beside cool water, reeds, and canes,
Behold, how the sinless Child
Plays freely on the virgin’s knee.
And there, in the woods, blissfully,
Alas, growing already is the stem that will become
the Cross.
12 | Mondavi Center Presents Program Issue 9: APR–may 2013

Thomas Hampson (baritone) enjoys a singular international career
as an opera singer and recording artist. The “Ambassador of Song”
maintains an active interest in research, education, musical outreach
and technology. An American baritone, Hampson has performed in
the world’s most important concert halls and opera houses with many
renowned singers, pianists, conductors and orchestras. Recently honored
as a Metropolitan Opera Guild “Met Mastersinger,” he has been
praised by The New York Times for his “ceaseless curiosity” and is one
of the most respected, innovative and sought-after soloists performing
today.
Hampson’s operatic engagements this season brim with Verdi, from his
company role debut as Iago in Otello at the Metropolitan Opera to singing
Giorgio Germont in La traviata at the Vienna State Opera. Having
wowed critics this fall in the title role of Simon Boccanegra at Chicago’s
Lyric Opera, the baritone now looks forward to reprising the Doge at
London’s Royal Opera House and, in concert and live recording, at
Vienna’s Konzerthaus. It was as Scarpia in Puccini’s Tosca that Hampson
opened the 2012–13 season at Santa Fe Opera, and he revisits the
role at Zurich Opera, where he also portrays Wolfram in Wagner’s
Tannhäuser this winter. He returns to Wagner in summer 2013, singing
Amfortas in Parsifal at the Munich Opera Festival, before rejoining
the Salzburg Festival as Rodrigo in a new Pappano/Stein production of
Verdi’s Don Carlo.
Hampson’s 2012–13 international concert and recital engagements
include performances in New York, Munich, London, Vienna, San
Francisco and more. He made a gala appearance at Baden-Baden’s
Festspielhaus with Rolando Villazón on New Year’s Eve and looks
forward to joining Lang Lang, Janine Jansen and Mariss Jansons in
Amsterdam to celebrate the Concertgebouw Orchestra’s 125th anniversary
in spring 2013. Other collaborative projects include a European
tour with the Wiener Virtuosen (his partners on a 2010 recording of
Mahler’s Des Knaben Wunderhorn), an appearance with the Borusan
Istanbul Philharmonic Orchestra and concerts with the Jupiter String
Quartet—featuring a world premiere by Mark Adamo—in New York,
Boston, and Davis, California. Recent artistic partnerships include performances
with the Munich and Israel philharmonic orchestras under
Zubin Mehta, the National Symphony with Christoph Eschenbach
and the Los Angeles Philharmonic under Gustavo Dudamel. Hampson
recently sang Strauss’s orchestral songs with the Pittsburgh Symphony
and looks forward to reprising them with the London Philharmonic in
spring 2013.
Internationally recognized for his versatility in operatic repertoire
both classical and contemporary, the baritone created the role of Rick
Rescorla in the San Francisco Opera’s world premiere production of
Christopher Theofanidis’s Heart of a Soldier, which commemorated
the 10th anniversary of the 9/11 attacks. Other important firsts for
Hampson in the 2011–12 season included his role debuts as Iago in
Otello and in the title role of Hindemith’s Mathis der Maler, both at
Zurich Opera, as well as his house role debut as Verdi’s Macbeth at the
Metropolitan Opera.
For more information, please visit www.thomashampson.com.
Mark Adamo (composer) prepares for San Francisco Opera’s première
of his third full-length opera, The Gospel of Mary Magdalene, amid
a busy season of opera and chamber premieres. In May, Fort Worth
Opera presented a new production of Adamo’s second opera Lysistrata;
in September, Cincinnati’s Constella Festival opened their season with
August Music for flute duo and string quartet and in December, the
New York Festival of Song introduced The Racer’s Widow, a cycle of five
American poems for mezzo-soprano, cello and piano sung by Sasha
Cooke, who creates the title rôle of The Gospel of Mary Magdalene.
Adamo’s first opera, Little Women, has had more than 80 productions in
cities in seven countries, including New York, Minneapolis, Adelaide,
Mexico City, Banff and Tokyo: its telecast, by PBS/WNET in 2001,
was released by Naxos on DVD and on Blu-ray in 2010. Lysistrata followed
its acclaimed premieres in Houston (2005) New York, (2006)
and Washington (2008) with last season’s Fort Worth revival, which
was included on the best-of-2012 lists of both D Magazine and the Fort
Worth Star-Telegram.
Adamo’s first concerto, Four Angels: Concerto for Harp and Orchestra,
was commissioned and introduced by the National Symphony
Orchestra in 2007; the Utah Symphony and Opera under Keith
Lockhart performed it in 2011. Its slow movement, Regina Coeli, is featured
on Late Victorians, (2008) Eclipse Chamber Orchestra’s all-Adamo
recording for Naxos, which also includes the first recordings of Late
Victorians, his symphonic cantata for singing voice, speaking voice and
chamber orchestra; Alcott Music, a suite from Little Women, for strings,
harp, celesta and percussion and the Overture to Lysistrata.
His choral work has been commissioned and performed by Chanticleer,
Conspirare, The Esoterics, The Gregg Smith Singers, Choral Arts
Society in Washington, Young People’s Chorus of New York City and
The New York Virtuoso Singers. His music is published exclusively by
G. Schirmer. www.markadamo.com.
The Jupiter String Quartet, formed in 2001, is a particularly intimate
group, consisting of violinists Nelson Lee and Megan Freivogel,
violist Liz Freivogel (older sister of Meg) and cellist Daniel McDonough
(husband of Meg, brother-in-law of Liz). As they enter their 11th year
of making music together, this tightly knit ensemble has firmly established
itself as an important voice in the world of chamber music. The
Jupiters are thrilled to be joining the faculty of the University of Illinois
as String Quartet-in-Residence this year. In addition, they hold visiting
faculty residencies at Oberlin Conservatory and Adelphi University and
will continue a multi-year residency at Atlanta’s beautiful Spivey Hall.
The quartet concertizes across the U.S., Canada, Europe, Asia and the
Americas. They have enjoyed playing in some of the world’s finest
halls, including New York’s Carnegie Hall and Lincoln Center, London’s
Wigmore Hall, Boston’s Jordan Hall, Mexico City’s Palacio de Bellas
Artes, Washington, D.C.’s Kennedy Center and Library of Congress
and Seoul’s Sejong Chamber Hall. They have also been enthusiastically
received at several major music festivals, including the Aspen Music
Festival (where they recently performed their first complete Beethoven
quartet cycle), the Caramoor International Music Festival, Music@
Menlo, the Honest Brook Festival, the Skaneateles Festival, the Yellow
Barn Music Festival and the Seoul Spring Festival.
In addition to its formal concert schedule, the Jupiter String Quartet
places a strong emphasis on developing relationships with future classical
music audiences through outreach work in school systems and
other educational performances. They believe that chamber music,
because of the intensity of its interplay and communication, is one of
the most effective ways of spreading an enthusiasm for “classical” music
to new audiences.
MondaviArts.org | 13

Indeed, it was early exposure to chamber music that brought these four
musicians to found the Jupiter String Quartet. Meg and Liz grew up
playing string quartets with their two brothers, Ben and J. Rehearsals
were often quite raucous, but they grew to love chamber music during
weekly coachings with Oliver Edel, a wonderful cellist and teacher who
taught generations of students in the Washington, D.C. area. Nelson
also comes from a musical family—both of his parents are pianists
(his father also conducts) and his twin sisters, Alicia and Andrea, play
clarinet and cello. Although Daniel originally wanted to be a violinist,
he ended up on the cello because the organizers of his first strings
program declared that he had “better hands for the cello.” He remains
skeptical of this comment (he was, after all, only five), but is happy
that he ended up where he did.
The Jupiter Quartet also feels great indebtedness to the wise instruction
of members of the Takacs and Cleveland quartets, who guided
them through the early years of their development as an ensemble. The
quartet chose its name because Jupiter was the most prominent planet
in the night sky at the time of its formation and the astrological symbol
for Jupiter resembles the number four.
The Jupiters have been fortunate to receive several chamber music honors
over the course of their career. In 2008, they received an Avery Fisher
Career Grant and, in 2007, they were given the Cleveland Quartet Award
from Chamber Music America. Before that, the Jupiters were awarded
first prize in the Banff International String Quartet Competition (where
they also received the Szekely Prize for best performance of a Beethoven
quartet) and grand prize in the Fischoff National Chamber Music
Competition. The quartet’s career began to take off after being selected in
the Young Concert Artists International auditions in 2005. From 2007–
10, the quartet was in residence at the Chamber Music Society of Lincoln
Center’s Chamber Music Two, and, in 2009, they received a grant from
the Fromm Foundation to commission a new quartet from Dan Visconti
for a CMSLC performance at Alice Tully Hall.
While relishing the opportunity to work with living composers, the
Jupiters still feel a strong and fundamental connection to the core
string quartet literature, particularly the wonderful set of 16 quartets
by Beethoven and the six quartets of Bela Bartók. The quartet has
recorded works by Mendelssohn, Beethoven, Shostakovich and Britten
for Marquis Records. American works by Barber, Seeger and Gershwin
were also recorded for iTunes in conjunction with the Chamber Music
Society of Lincoln Center and Deutsche Grammophon.
The Jupiter Quartet is managed by Bill Capone of Arts Management
Group (www.artsmg.com).
www.jupiterquartet.com
Music Accord
Comprised of top classical music presenting organizations throughout
the United States, Music Accord is a consortium that commission new
works in the chamber music, instrumental recital and song genres from
American composers for American artists. The Consortium’s goal is
to create a significant number of new works and to ensure presentation
of these works in venues throughout this country. Members are
the Celebrity Series of Boston, the Center for the Performing Arts at
Penn State, the Chamber Music Society of Lincoln Center, Hancher
Auditorium/University of Iowa, the Krannert Center for the Performing
Arts, the Library of Congress, the Robert and Margrit Mondavi Center
for the Performing Arts, the Tanglewood Music Center, San Francisco
Performances and the University Musical Society/University of Michigan.
Mondavi
center
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On Sale Now! April 15
Prepare yourself for:
• An all-day Beethoven marathon
• One of America’s favorite country songbirds
• A legendary cross-dressing ballet troupe
• Three generations of jazz greats
And much, much more!
MondaviArts.org
14 | Mondavi Center Presents Program Issue 9: APR–may 2013

Thomas Hampson by jeff hudson
A vocalist performing with a string quartet? It may strike you as a
novel idea—at least initially. But there is actually more music out
there for this combination than many people realize, much of it
written in the 20th century. As in:
• Arnold Schoenberg’s famous String Quartet No. 2 (1908), with
the soprano coming in toward the end, as the composer begins
to exit conventional tonality (“I feel wind from other planets …”).
• Ottorino Resphighi’s “Il Tramonto” (“The Sunset”), written in 1914.
• Samuel Barber’s early piece “Dover Beach” (1931).
• Alberto Ginastera’s String Quartet No. 3 (1973).
• Elvis Costello’s “The Juliet Letters” (1993).
There are more examples. But it does seem that while many
composers try it, not so many come back to the combination
repeatedly.
In the last few years, Thomas Hampson has been involved
in projects relating to the American poet Walt Whitman. In
2010, Hampson did several performances of John Adams’ “The
Wound-Dresser,” a 19-minute piece for baritone and orchestra
that incorporates an intense Whitman text describing the poet’s
experience as a nurse during the Civil War, when wounded
soldiers got on-the-spot amputations and many died of
infections.
Hampson has also recently been singing “Ethiopia Saluting the
Colors,” a setting of a Whitman poem by the pioneering African-
American composer and arranger Henry Burleigh (1866–1949).
further listening
You may recall that Burleigh was Antonín Dvořák’s personal
assistant when Dvořák spent several years in this country during
the 1890s. Burleigh also became the first black vocalist to be
hired at a major Episcopal church and a Jewish synagogue in
New York.
Hampson’s recent disks include a reissue last year of his
1997 recording of the Schubert song cycle “Winterreise” with
Wolfgang Sawallisch (who ordinarily comes to mind as a
conductor) at the piano.
The Jupiter String Quartet, formed in 2001, has released
several albums, including a pairing of the final quartets by
Mendelssohn and Beethoven; a pairing of the String Quartet
No. 3 by Shostakovich and the String Quartet No. 2 of Britten
(both reflecting the turmoil of World War II); and a recording
of Chausson’s Concert for Violin, Piano and String Quartet with
pianist Jeremy Denk (who appeared at the Mondavi Center
a few years back as Joshua Bell’s recital partner). The Jupiter
Quartet was scheduled to record a new album of music by Ravel
in January.
Jeff Hudson contributes coverage of the
performing arts to Capital Public Radio, the
Davis Enterprise and Sacramento News and Review.
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As the Mondavi Center celebrates
our 10th Anniversary Season, please
join us in recognizing and thanking
all the volunteer ushers who serve at
each performance. These talented
and dedicated individuals are an
invaluable asset as they give their
time and hospitality to provide
our audiences with a memorable
performance experience.
We could not open our doors
without them!
If you are interested in becoming
a volunteer usher, applications are
available at our Patron Services Desk
or email us at
mcvolunteers@ucdavis.edu.
MondaviArts.org | 15

16 | Mondavi Center Presents Program Issue 9: APR–may 2013

Alvin Ailey ®
American Dance Theater
Robert Battle, artistic director
Masazumi Chaya, associate artistic director
Alicia Graf Mack, Photo by Andrew Eccles
A Mondavi Center Special Event
Monday–Tuesday, April 29–30, 2013 • 8PM
Jackson Hall
Monday, April 29
Arden Court
Pause
Tuesday, April 30
Night Creature
Pause
Major funding is provided by the National Endowment for the Arts, the
New York State Council on the Arts, the New York City Department
of Cultural Affairs, American Express, Bank of America, Diageo, FedEx
Corporation, Ford Foundation, the Prudential Foundation, the Shubert
Foundation, Target, TD Bank and Wells Fargo.
Toyota Avalon is the Official Vehicle Partner of Alvin Ailey American Dance
Theater.
Alvin Ailey American Dance Theater gratefully acknowledges
the Joan & Sandy Weill Global Ambassador Fund,
which provides vital support for Ailey’s national and international tours.
The Ailey dancers are supported, in part, by
the Judith McDonough Kaminski Dancer Endowment Fund.
Takademe
Intermission
Home
Intermission
Revelations
Strange Humors
Intermission
Petite Mort
Intermission
Revelations
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.
MondaviArts.org | 17

Alvin Ailey, Founder
Judith Jamison, Artistic Director Emerita
Robert Battle, Artistic Director
Masazumi Chaya, Associate Artistic Director
Company Members
Guillermo Asca
Kirven James Boyd
Hope Boykin
Sean A. Carmon
Sarah Daley
Ghrai DeVore
Antonio Douthit
Renaldo Gardner
Vernard J. Gilmore
Jacqueline Green
Daniel Harder
Demetia Hopkins
Michael Jackson, Jr.
Megan Jakel
Yannick Lebrun
Alicia Graf Mack
Michael Francis
McBride
Rachael McLaren
Aisha Mitchell
Akua Noni Parker
Matthew Rushing, Rehearsal Director & Guest Artist
Collin Heyward, Guest Artist
Bennett Rink, Executive Director
Monday, April 29
Arden Court (1981)
Paul Taylor, Choreography
Cathy McCann Buck, Restaging
William Boyce, Music
Gene Moore, Set and Costumes
Jennifer Tipton, Lighting
First performed by the Paul Taylor Dance Company
Belen Pereyra
Briana Reed
Jamar Roberts
Samuel Lee Roberts
Kelly Robotham
Kanji Segawa
Glenn Allen Sims
Linda Celeste Sims
Jermaine Terry
Marcus Jarrell Willis
Dancers: Vernard J. Gilmore, Yannick Lebrun, Megan Jakel,
Demetia Hopkins, Daniel Harder, Kelly Robotham, Renaldo Gardner,
Kanji Segawa, Jarmaine Terry
Generous support for this company premiere was provided by
Natasha I. Leibel, M.D. & Harlan B. Levine, M.D. and
the Ellen Jewett & Richard L. Kauffman New Works Endowment Fund.
Original production by the Paul Taylor Dance Company was made possible by
contributions from the National Endowment for the Arts, the Mobil Foundation,
Inc. and the New York State Council on the Arts.
Excerpts from Symphonies Nos. 1, 3, 5, 7, 8 by William Boyce, edited by Max Goberman,
by arrangement with Doblinger U.S.A. for the publisher and copyright owner.
Takademe (1999)
Robert Battle, Choreography
Sheila Chandra, Music
Missoni, Costumes
Jon Taylor, Costume Recreation
Bruke Wilmore, Lighting
Dancer: Antonio Douthit
Generous support for this company premiere was provided by
the Pamela D. Zilly & John H. Schaefer New Works Endowment Fund and
the Kansas City Friends of Alvin Ailey through the generosity of
the Muriel McBrien Kauffman Foundation and individual donors.
“Speaking in Tongues II” performed by Sheila Chandra. Courtesy of Real World Records Ltd.
Home (2011)
Rennie Harris, Choreography
Nina Flagg, Assistant to the Choreographer
Dennis Ferrer and Raphael Xavier, Music
Jon Taylor, Costumes
Stephen Arnold, Lighting
Dancers: Daniel Harder,
Ghrai DeVore, Sarah Daley, Aisha Mitchell, Akua Noni Parker,
Jacqueline Green, Demetia Hopkins, Belen Pereyra, Samuel Lee Roberts,
Sean A. Carmon, Yannick Lebrun, Marcus Jarrell Willis,
Vernard J. Gilmore, Jermaine Terry
Bristol-Myers Squibb is proud to support this work which was inspired by the
“Fight HIV Your Way” initiative.
“Underground Is My Home” written and performed by Dennis Ferrer. Published by Sfere
Music (BMI) Administered by Bug. Courtesy of BPM King’s Street Sounds/Nite Groove by
arrangement with Bug. All rights reserved. Used by permission. “I See…Do You” composed
by Raphael Xavier. Performed by Raphael Xavier, with D. Sabela Grimes.
Revelations (1960)
Alvin Ailey, Choreography
Traditional Music
Ves Harper, Décor and Costumes
Barbara Forbes, Costume Redesign for “Rocka My Soul”
Nicola Cernovitch, Lighting
Pilgrim Of Sorrow
“I Been ‘Buked”................................................................. The Company
Hall Johnson*, Music
“Didn’t My Lord Deliver Daniel”..................Daniel Harder, Megan Jakel,
James Miller+, Music
Aisha Mitchell
“Fix Me, Jesus”................................Akua Noni Parker, Collin Heyward^
Hall Johnson*, Music
Take Me To The Water
“Processional/Honor, Honor”......................Kanji Segawa, Belen Pereyra,
Howard A. Roberts, Music Sean A. Carmon, Marcus Jarrell Willis
“Wade in the Water”..............................Ghrai DeVore, Vernard J. Gilmore,
Howard A. Roberts, Music
Briana Reed
“Wade in the Water” sequence by Ella Jenkins
“A Man Went Down to the River” is an original composition by Ella Jenkins
18 | Mondavi Center Presents Program Issue 9: APR–may 2013

“I Wanna Be Ready”....................................................... Yannick Lebrun
James Miller+, Music
Move, Members, Move
“Sinner Man”..................................Marcus Jarrell Willis, Jermaine Terry,
Howard A. Roberts, Music
Samuel Lee Roberts
“The Day is Past and Gone”.............................................. The Company
Howard A. Roberts and Brother John Sellers, Music
“You May Run On”........................................................... The Company
Howard A. Roberts and Brother John Sellers, Music
“Rocka My Soul in the Bosom of Abraham”...................... The Company
Howard A. Roberts, Music
^ Guest Artist
* Used by arrangement with G. Schirmer, Inc., publisher and copyright owner.
+ Used by special arrangement with Galaxy Music Corporation, New York City.
All performances of Revelations are permanently endowed by a generous gift
from Donald L. Jonas in celebration of the birthday of his wife Barbara
and her deep commitment to Alvin Ailey American Dance Theater.
Tuesday, April 30
Night Creature (1974)
Alvin Ailey, Choreography
Duke Ellington, Music
Jane Greenwood, Costumes
Barbara Forbes, Costume Recreation
Chenault Spence, Lighting
“Night creatures, unlike stars, do not come OUT at night—they come ON,
each thinking that before the night is out he or she will be the star.”
—Duke Ellington
Movement 1
Alicia Graf Mack, Vernard J. Gilmore and The Company
Movement 2
Alicia Graf Mack, Jamar Roberts,
Kelly Robotham, Megan Jakel, Sarah Daley,
Belen Pereyra, Jacqueline Green, Aisha Mitchell,
Renaldo Gardner, Sean A. Carmon, Kanji Segawa,
Samuel Lee Roberts, Michael Francis McBride, Collin Heyward^
Movement 3
Alicia Graf Mack, Vernard J. Gilmore and The Company
This production was made possible, in part, by a grant from Ford Foundation
and with public funds from the National Endowment for the Arts.
^ Guest Artist
Fabric dyeing of costumes by Elissa Tatigikis Iberti.
“Night Creature” used by arrangement with G. Schirmer, Inc., publisher and
copyright owner
Strange Humors (1998)
Robert Battle, Choreography
John Mackey, Music
Missoni, Costumes
Jon Taylor, Costume Reconstruction
Burke Wilmore, Lighting
Dancers: Jermaine Terry, Yannick Lebrun
Support for this company premiere was provided by
the Ellen Jewett and Richard L. Kauffman New Works Endowment Fund and
Daria L. Foster.
“Strange Humors” original score by John Mackey.
Petite Mort (1991)
Jirí ˇ Kylián, Choreography, Lighting Concept and Set Design
Patrick Delcroix, Restaging
W. A. Mozart, Music
Joke Visser, Costumes
Joop Caboort, Lighting
First performed by the Nederlands Dans Theater
Dancers: Belen Pereyra, Jermaine Terry, Rachael McLaren,
Kirven James Boyd, Jacqueline Green, Yannick Lebrun,
Linda Celeste Sims, Glenn Allen Sims, Demetia Hopkins,
Vernard J. Gilmore, Sarah Daley, Jamar Roberts
Support for this company premiere has been provided by
Denise R. Sobel and The Kansas City Friends of Alvin Ailey –
Sara & Bill Morgan New Works Endowment Fund.
W. A. Mozart. “Piano Concerto in A Major (KV 488), Adagio” and “Piano Concerto in
C Major (KV 467), Andante” performed by the English Chamber Orchestra, Jeffrey Tate
(conductor), featuring pianist Mitsuko Uchida.
Revelations (1960)
Alvin Ailey, Choreography
Traditional Music
Ves Harper, Décor and Costumes
Barbara Forbes, Costume Redesign for “Rocka My Soul”
Nicola Cernovitch, Lighting
Pilgrim Of Sorrow
“I Been Buked” ................................................................The Company
Hall Johnson*, Music
“Didn’t My Lord Deliver Daniel” ............................Samuel Lee Roberts,
James Miller+, Music
Kelly Robotham, Aisha Mitchell
“Fix Me, Jesus”........................... Linda Celeste Sims, Glenn Allen Sims
Hall Johnson*, Music
Take Me To The Water
“Processional/Honor, Honor” ......................Kanji Segawa, Megan Jakel,
Howard A. Roberts, Music Sean A. Carmon, Collin Heyward^
“Wade in the Water”....................Rachael McLaren, Kirven James Boyd,
Howard A. Roberts, Music
Alicia Graf Mack
“Wade in the Water” sequence by Ella Jenkins
“A Man Went Down to the River” is an original composition by Ella Jenkins
MondaviArts.org | 19

“I Wanna Be Ready”..........................................................Jamar Roberts
James Miller+, Music
Move, Members, Move
“Sinner Man”...................................Sean A. Carmon, Yannick Lebrun,
Howard A. Roberts, Music
Michael Francis McBride
“The Day is Past and Gone”.............................................. The Company
Howard A. Roberts and Brother John Sellers, Music
“You May Run On”........................................................... The Company
Howard A. Roberts and Brother John Sellers, Music
“Rocka My Soul in the Bosom of Abraham”...................... The Company
Howard A. Roberts, Music
^ Guest Artist
* Used by arrangement with G. Schirmer, Inc., publisher and copyright owner.
+ Used by special arrangement with Galaxy Music Corporation, New York City.
All performances of Revelations are permanently endowed by a generous gift
from Donald L. Jonas in celebration of the birthday of his wife Barbara
and her deep commitment to Alvin Ailey American Dance Theater.
Alvin Ailey American Dance Theater grew from a now-fabled
performance in March 1958 at the 92nd Street Y in New York City.
Led by Alvin Ailey and a group of young African-American modern
dancers, that performance changed forever the perception of American
dance. The Ailey company has gone on to perform for an estimated
23 million people at theaters in 48 states and 71 countries on six
continents—as well as millions more through television broadcasts.
In 2008, a U.S. Congressional resolution designated the company as
“a vital American cultural ambassador to the world” that celebrates
the uniqueness of the African-American cultural experience and the
preservation and enrichment of the American modern dance heritage.
When Ailey began creating dances, he drew upon his “blood memories”
of Texas, the blues, spirituals and gospel as inspiration, which resulted
in the creation of his most popular and critically acclaimed work,
Revelations. Although he created 79 ballets over his lifetime, Ailey
maintained that his company was not exclusively a repository for his
own work. Today, the company continues Ailey’s mission by presenting
important works of the past and commissioning new ones. In all, more
than 200 works by more than 80 choreographers have been part of the
Ailey company’s repertory. Before his untimely death in 1989, Alvin
Ailey named Judith Jamison as his successor, and over the next 21
years, she brought the company to unprecedented success. Jamison, in
turn, personally selected Robert Battle to succeed her in 2011, and The
Washington Post declared he “has the troupe’s forward momentum well
in hand.”
Robert Battle (artistic director) became artistic director of Alvin
Ailey American Dance Theater in July 2011, after being personally
selected by Judith Jamison, making him only the third person to head
the company since it was founded in 1958. Battle has a long-standing
association with the Ailey organization. A frequent choreographer and
artist-in-residence at Ailey since 1999, he has set many of his works
on Alvin Ailey American Dance Theater and Ailey II and at the Ailey
School. The company’s current repertory includes his ballets Strange
Humors, The Hunt, In/Side and Takademe. In addition to expanding the
Ailey repertory with works by artists as diverse as Paul Taylor, Rennie
Harris, Jirí ˇ Kylián, Garth Fagan and Kyle Abraham, Battle has also
instituted a New Directors Choreography Lab, to help develop the next
generation of choreographers. His journey to the top of the modern
dance world began in the Liberty City neighborhood of Miami, Florida.
Battle showed artistic talent early and studied dance at a high school
arts magnet program before moving on to Miami’s New World School
of the Arts, under the direction of Daniel Lewis and Gerri Houlihan,
and finally to the dance program at the Juilliard School, under the
direction of Benjamin Harkarvy, where he met his mentor, Carolyn
Adams. He danced with the Parsons Dance Company from 1994–2001,
and also set his choreography on that company starting in 1998. Battle
then founded his own Battleworks Dance Company, which made its
premiere in 2002 in Düsseldorf, Germany, as the U.S. representative to
the World Dance Alliance’s Global Assembly. Battleworks subsequently
performed extensively at venues including the Joyce Theater, Dance
Theater Workshop, American Dance Festival and Jacob’s Pillow Dance
Festival. Battle was honored as one of the “Masters of African-American
Choreography” by the Kennedy Center for the Performing Arts in
2005, and he received the prestigious Statue Award from the Princess
Grace Foundation-USA in 2007. He is a sought-after keynote speaker
and has addressed a number of high-profile organizations including the
United Nations Leaders Program and the UNICEF Senior Leadership
Development Program.
Masazumi Chaya (associate artistic director) was born in Fukuoka,
Japan, where he began his classical ballet training. Upon moving to
New York in 1970, he studied modern dance and performed with
the Richard Englund Repertory Company. Chaya joined Alvin Ailey
American Dance Theater in 1972 and performed with the company
for 15 years. In 1988, he became the company’s rehearsal director after
serving as assistant rehearsal director for two years. A master teacher,
both on tour with the company and in his native Japan, he served as
choreographic assistant to Alvin Ailey and John Butler. In 1991, Chaya
was named associate artistic director of the company. He continues to
provide invaluable creative assistance in all facets of its operations. In
2002, Chaya coordinated the company’s appearance at the Rockefeller
Center Christmas tree-lighting ceremony, broadcast on NBC. Chaya
has restaged numerous ballets, including Alvin Ailey’s Flowers for the
State Ballet of Missouri (1990) and The River for the Royal Swedish
Ballet (1993), Ballet Florida (1995), National Ballet of Prague (1995),
Pennsylvania Ballet (1996) and Colorado Ballet (1998). He has also
restaged The Mooche, The Stack-Up, Episodes, Bad Blood, Hidden Rites,
Urban Folk Dance and Witness for the company. At the beginning of
his tenure as associate artistic director, Chaya restaged Ailey’s For
‘Bird’—With Love for a Dance in America program entitled Alvin Ailey
American Dance Theater: Steps Ahead. In 2000, he restaged Ailey’s Night
Creature for the Rome Opera House and The River for La Scala Ballet.
In 2003, he restaged The River for North Carolina Dance Theatre and
for Julio Bocca’s Ballet Argentina. Most recently, Chaya restaged Blues
Suite, Forgotten Time, Streams, Urban Folk Dance and Vespers for the
company. As a performer, Chaya appeared on Japanese television in both
dramatic and musical productions. He wishes to recognize the artistic
contribution and spirit of his late friend and fellow artist, Michihiko Oka.
Alvin Ailey (founder) was born on January 5, 1931, in Rogers, Texas.
His experiences of life in the rural South would later inspire some of
his most memorable works. At age 12, he moved with his mother to
Los Angeles, where he was introduced to dance by performances of
the Ballet Russe de Monte Carlo and the Katherine Dunham Dance
Company. His formal dance training began with an introduction to
Lester Horton’s classes by his friend, Carmen de Lavallade. Horton,
the founder of one of the first racially integrated dance companies in
the United States, became a mentor for Ailey as he embarked on his
20 | Mondavi Center Presents Program Issue 9: APR–may 2013

professional career. After Horton’s death in 1953, Ailey became director
of the Lester Horton Dance Theater and began to choreograph his own
works. In the 1950s and 1960s, Ailey performed in four Broadway
shows including House of Flowers and Jamaica. Ailey studied dance with
Martha Graham, Doris Humphrey, Charles Weidman, Hanya Holm and
Karel Shook and also took acting classes with Stella Adler.
In 1958, he founded Alvin Ailey American Dance Theater to carry out
his vision of a company dedicated to enriching the American modern
dance heritage and preserving the uniqueness of the African-American
cultural experience. He established the Alvin Ailey American Dance
Center (now the Ailey School) in 1969 and formed the Alvin Ailey
Repertory Ensemble (now Ailey II) in 1974. Ailey was a pioneer of
programs promoting arts in education, particularly those benefiting
underserved communities. Throughout his lifetime, he was awarded
numerous honorary doctoral degrees, NAACP’s Spingarn Award, the
United Nations Peace Medal, the Dance Magazine Award, the Capezio
Award and the Samuel H. Scripps American Dance Festival Award.
In 1988, he received the Kennedy Center Honor in recognition of his
extraordinary contribution to American culture. When Ailey died on
December 1, 1989, The New York Times said of him, “You didn’t need
to have known [him] personally to have been touched by his humanity,
enthusiasm and exuberance and his courageous stand for multi-racial
brotherhood.”
Judith Jamison (artistic director emerita) joined Alvin Ailey
American Dance Theater in 1965 and quickly became an international
star. Over the next 15 years, Ailey created some of his most enduring
roles for her, most notably the tour-de-force solo Cry. During the
1970s and 1980s, she appeared as a guest artist with ballet companies
all over the world, starred in the hit Broadway musical Sophisticated
Ladies and formed her own company, the Jamison Project. She returned
to Alvin Ailey American Dance Theater in 1989 when Ailey asked
her to succeed him as artistic director. In the 21 years that followed,
she brought the company to unprecedented heights—including two
historic engagements in South Africa and a 50-city global tour to
celebrate the company’s 50th anniversary. Jamison is the recipient
of numerous awards and honors, among them a prime time Emmy
Award, an American Choreography Award, the Kennedy Center Honor,
a National Medal of Arts, a “Bessie” Award, the Phoenix Award and
the Handel Medallion. She was also listed in “The TIME 100: The
World’s Most Influential People” and honored by First Lady Michelle
Obama at the first White House Dance Series event. As a highly
regarded choreographer, Jamison has created many celebrated works,
including Divining (1984), Forgotten Time (1989), Hymn (1993), HERE
… NOW (commissioned for the 2002 Cultural Olympiad), Love Stories
(with additional choreography by Robert Battle and Rennie Harris,
2004) and Among Us (Private Spaces: Public Places) (2009). Jamison’s
autobiography, Dancing Spirit, was edited by Jacqueline Kennedy
Onassis and published in 1993. In 2004, under Jamison’s artistic
directorship, her idea of a permanent home for the Ailey company
was realized and named after beloved chairman Joan Weill. Jamison
continues to dedicate herself to asserting the prominence of the arts in
our culture, and she remains committed to promoting the significance
of the Ailey legacy—using dance as a medium for honoring the past,
celebrating the present and fearlessly reaching into the future.
Matthew Rushing (rehearsal director and guest artist) was born
in Los Angeles. He began his dance training with Kashmir Blake in
Inglewood and later continued his training at the Los Angeles County
High School for the Arts. He is the recipient of a Spotlight Award and
Dance Magazine Award and was named a Presidential Scholar in the
Arts. He was a scholarship student at the Ailey School and later became
a member of Ailey II, where he danced for a year. During his career,
Rushing has performed as a guest artist for galas in Vail, Colorado, as
well as in Austria, Canada, France, Italy and Russia. He has performed
for Presidents George H. W. Bush, Bill Clinton, George W. Bush and
Barack Obama, as well as at the 2010 White House Dance Series.
During his time with the company, he has choreographed two ballets:
Acceptance In Surrender (2005), a collaboration with Hope Boykin and
Abdur-Rahim Jackson, and Uptown (2009), a tribute to the Harlem
Renaissance. In 2012, he created Moan, which was set on Philadanco
and premiered at the Joyce Theater. Rushing joined the company in
1992 and became rehearsal director in June 2010.
Choreographers & composer
Paul Taylor (choreographer) is the last living member of the
pantheon that created America’s indigenous art of modern dance. He
continues to win acclaim for the vibrancy, relevance and power of his
new works as well as his classics, while offering cogent observations
on life’s complexities and society’s thorniest issues. His ever-growing
collection of works is performed by the Paul Taylor Dance Company,
Taylor 2 and dance companies throughout the world. The Paul Taylor
Dance Company has performed continuously around the globe since
Taylor established it in 1954.
Rennie Harris (choreographer) was born and raised in an African-
American community in North Philadelphia. In 1992, he founded
Rennie Harris Puremovement, a hip-hop dance theater company
dedicated to preserving and disseminating hip-hop culture. Voted
one of the most influential people in the last one hundred years of
Philadelphia history, Harris has received several accolades, including
the Herb Alpert Award in the Arts, the Governor’s Arts Award, a
United States Artist Fellowship, and an honorary doctorate from Bates
College. The London Times wrote of Harris that he is “the Basquiat of
the U.S. contemporary dance scene.” Most recently, Rennie Harris
Puremovement was chosen by DanceMotion USA as one of four
companies to serve as citizen diplomats, and the company toured
Egypt, Israel, Palestinian territories and Jordan in 2012.
Duke Ellington (composer), born in Washington, D.C. in 1899, is an
American composer, pianist and jazz band leader. He was one of the
most influential figures in the history of music. In the early l930s his
band became renowned at the legendary Cotton Club in Harlem. Later,
the band toured nationally and internationally. The “Duke” wrote more
than 900 compositions before his death in l974; among his classics are
Mood Indigo, Solitude, Caravan, Sophisticated Lady and Black, Brown, and
Beige.
John Mackey (choreographer) has received commissions from
Parsons Dance Company, New York City Ballet Choreographic Institute,
Dallas Wind Symphony, Zzyzx Saxophone Quartet, the U.S. Air
Force Band and many others. A frequent collaborator, he has worked
with artists ranging from The Blue Devils Drum to conductor Marin
Alsop and from choreographer Robert Battle to the U.S. Olympic
synchronized swim team. Mackey holds degrees from Juilliard and the
Cleveland Institute of Music.
MondaviArts.org | 21

Jirí ˇ Kylián (choreographer) was born in Czechoslovakia in 1947
and trained at the School of the National Ballet in Prague and the
Royal Ballet School in London. Kylián then joined the Stuttgart Ballet
and made his debut there as a choreographer. After having made
three ballets for Nederlands Dans Theater, he became NDT’s artistic
director in 1975. In 1978, he put NDT on the international map with
Sinfonietta. That same year, with Carel Birnie, he founded NDT II for
young talent. In 1991, Kylián initiated NDT III for dancers 40 and
older. This structure was unique in the world of dance. In 1999, he
handed over the artistic leadership, but remained house choreographer
until 2009. Kylián has created nearly 100 works, many of which are
performed by ballet companies and schools all over the world.
Dancers
Guillermo Asca (Rego Park, NY) or “Moe,” as he is affectionately
known, graduated from LaGuardia High School of the Performing Arts.
He was a scholarship student at the Ailey School and danced with Ailey
II, Ballet Metropolitano de Caracas, Ballet Hispanico, Dance Compass,
Shapiro & Smith and Footprints Dance Project. In 2010, he performed
at the White House Dance Series. Asca joined the company in 1999.
Kirven James Boyd (Boston, MA) began his formal dance training
at the Boston Arts Academy and joined Boston Youth Moves in 1999
under the direction of Jim Viera and Jeannette Neill. He also trained on
scholarship at the Boston Conservatory and as a scholarship student at
the Ailey School. Boyd has danced with Battleworks Dance Company,
the Parsons Dance Company and Ailey II. He performed at the White
House Dance Series in 2010. Boyd joined the company in 2004.
Hope Boykin (Durham, NC) is a three-time recipient of the American
Dance Festival’s Young Tuition Scholarship. She attended Howard
University and while in Washington, D.C., she performed with Lloyd
Whitmore’s New World Dance Company. Boykin was a student and
intern at the Ailey School. She was assistant to the late Talley Beatty
and an original member of Complexions. Boykin was a member of
Philadanco and received a New York Dance and Performance “Bessie”
Award. In 2005, Boykin choreographed Acceptance In Surrender in
collaboration with Abdur-Rahim Jackson and Matthew Rushing for
Alvin Ailey American Dance Theater. Most recently she choreographed
Go In Grace with award-winning singing group Sweet Honey in the
Rock for the company’s 50th anniversary season. Boykin joined the
company in 2000.
Sean A. Carmon (Beaumont, TX) began his dance training under
Bonnie Cokinos with guidance from Lucia Booth and Eva LeBlanc. He
is a graduate of the Ailey/Fordham B.F.A. Program in Dance and was a
member of Elisa Monte Dance. Carmon was an original cast member of
the 2010 revival of La Cage Aux Folles on Broadway and was also a cast
member of the Broadway production of The Phantom of the Opera. As an
assistant to Christopher L. Huggins, he appeared as a guest artist with
the International Dance Association in Italy and with the Cape Dance
company in South Africa. Carmon joined the company in 2011.
Sarah Daley (South Elgin, IL) began her training at the Faubourg
School of Ballet in Illinois under the direction of Watmora Casey
and Tatyana Mazur. She is a 2009 graduate of the Ailey/Fordham
B.F.A. Program in Dance. Daley has trained at institutions such as
the Kirov Academy, National Ballet School of Canada, San Francisco
Conservatory of Dance and intensives such as Ballet Camp Illinois and
Ballet Adriatico in Italy. She is a recipient of a Youth America Grand
Prix Award and an ARTS Foundation Award. She was a member of
Ailey II and joined the company in 2011.
Ghrai Devore (Washington, DC) began her formal dance training at
the Chicago Multicultural Dance Center and was a scholarship student
at the Ailey School. She has completed summer programs at the Kirov
Academy, Ballet Chicago, Deeply Rooted Dance Theater, American
Ballet Theatre and Alonzo King LINES Ballet. DeVore was a member
of Deeply Rooted Dance Theater 2, Hubbard Street 2, Dance Works
Chicago and Ailey II. She is a recipient of the Danish Queen Ingrid
Scholarship of Honor and the Dizzy Feet Foundation Scholarship,
and she was a 2010 nominee for the first annual Clive Barnes Award.
DeVore joined the company in 2010.
Antonio Douthit (St. Louis, MO) began his dance training at age 16
at the Center of Contemporary Arts under the direction of Lee Nolting
and at the Alexandra School of Ballet. He also trained at North Carolina
School of the Arts, Joffrey Ballet School, San Francisco Ballet and the
Dance Theatre of Harlem School. Douthit became a member of Dance
Theatre of Harlem in 1999 and appeared in featured roles in the ballets
South African Suite, Dougla, Concerto in F, Return and Dwight Rhoden’s
Twist. He was promoted to soloist in 2003. He also performed with Les
Grands Ballets Canadiens de Montréal. Douthit joined the company in
2004.
Renaldo Gardner (Gary, IN) began his dance training with
Tony Simpson and is a graduate of Talent Unlimited High School.
He attended the Emerson School for Visual and Performing Arts
and studied with Larry Brewer and Michael Davis. Gardner was a
scholarship student at the Ailey School, has trained on scholarship
at Ballet Chicago and Deeply Rooted Dance Theater and had an
internship at the Martha Graham School of Contemporary Dance. In
2008, he received second place in modern dance from the National
Foundation for Advancement in the Arts and received the Dizzy Feet
Scholarship in 2009. In February 2012, Gardner was honored with the
key to the city of Gary, Indiana, his hometown. He was a member of
Ailey II and joined the company in 2011.
Vernard J. Gilmore (Chicago, IL) began dancing at Curie
Performing and Creative Arts High School in Chicago and later
studied at the Joseph Holmes Chicago Dance Theatre with Harriet
Ross, Marquita Levy and Emily Stein. He attended Barat College as
a dance scholarship recipient and received first place in the all-city
NAACP ACT-SO Competition in Dance in 1993. He studied as a
scholarship student at the Ailey School and was a member of Ailey
II. In 2010, he performed at the White House Dance Series. Gilmore
is an active choreographer for the Ailey Dancers Resource Fund and
has choreographed for Fire Island Dance Festival 2008 and Jazz
Foundation of America Gala 2010; he also produced the Dance of
Light Project in 2010. Gilmore is a certified Zena Rommett Floor-Barre
instructor. He continues to teach workshops and master classes around
the world. Gilmore joined the company in 1997.
Jacqueline Green (Baltimore, MD) began her dance training at
the Baltimore School for the Arts under the direction of Norma Pera,
Deborah Robinson and Anton Wilson. She is a graduate of the Ailey/
22 | Mondavi Center Presents Program Issue 9: APR–may 2013

Fordham B.F.A. Program in Dance. Green has attended summer
programs at Pennsylvania Regional Ballet, Chautauqua Institution, Earl
Mosley’s Institute of the Arts and Jacob’s Pillow Dance Festival. She
has performed works by a variety of choreographers, including Elisa
Monte, Helen Pickett, Francesca Harper, Aszure Barton, Earl Mosley
and Michael Vernon. Green was the recipient of the Martha Hill Fund’s
Young Professional Award in 2009 and the Dizzy Feet Scholarship in
2010. She was a member of Ailey II and joined the company in 2011.
Daniel Harder (Bowie, MD) began dancing at Suitland High School’s
Center for the Visual and Performing Arts in Maryland. He is a recent
graduate of the Ailey/Fordham B.F.A. Program in Dance where he
was awarded the Jerome Robbins/Layton Foundation Scholarship and
participated in the Holland Dance Festival with the school and as a
member of the Francesca Harper Project. After dancing in the European
tour of West Side Story, Harder became a member of Ailey II. He joined
the company in 2010.
Demetia Hopkins (Orange, VA) began her dance training at the
Orange School of Performing Arts under the direction of her uncle
Ricardo Porter and Heather Powell. She has studied with the National
Youth Ballet of Virginia, Virginia School of the Arts, the Summer
Dance International Course in Burgos, Spain, the Rock School and
Dance Theatre of Harlem School. Hopkins graduated with honors
from the Ailey/Fordham B.F.A. Program in Dance in 2009, and she was
a recipient of a Leonore Annenberg Fellowship in the Arts in 2011.
Hopkins was a member of Ailey II and joined the company in 2010.
Michael Jackson, Jr. (New Orleans, LA) began his dance training
at age 14 at the Duke Ellington School of the Arts in Washington,
D.C. under the direction of Charles Augins. He became a member
of Dance Theatre of Harlem’s Dancing through Barriers Ensemble in
2005. In 2006, he joined Dallas Black Dance Theatre and in 2008,
joined Philadanco, where he also worked as Artistic Director of D3. He
has performed works by Arthur Mitchell, Milton Myers and Gene Hill
Sagan. Jackson joined the company in 2011.
Megan Jakel (Waterford, MI) trained in ballet and jazz in her
hometown. As a senior in high school, she spent a year dancing with
the City Ballet of San Diego. In 2005, Jakel was an apprentice and
rehearsal director for the Francesca Harper Project. She graduated with
honors in 2007 from the Ailey/Fordham B.F.A. Program in Dance. Jakel
has performed works by choreographers David Parsons, Debbie Allen,
Thaddeus Davis, Hans van Manen and Dwight Rhoden. She was a
member of Ailey II and joined the company in 2009.
Yannick Lebrun (Cayenne, French Guiana) began training in his
native country at the Adaclam School under the guidance of Jeanine
Verin. After graduating high school in 2004, he moved to New York
City to study at the Ailey School as a scholarship student. Lebrun has
performed works by choreographers Troy Powell, Debbie Allen, Scott
Rink, Thaddeus Davis, Nilas Martins and Dwight Rhoden and danced
with the Francesca Harper Project Modo Fusion. He was named one
of Dance Magazine’s “25 to Watch” in 2011. Lebrun was a member of
Ailey II and joined the company in 2008.
Alicia Graf Mack (Columbia, MD) trained at Ballet Royale Institute
of Maryland under Donna Pidel and attended summer intensives at
the School of American Ballet and American Ballet Theatre. Prior to
dancing with Alvin Ailey American Dance Theater from 2005–08, Mack
was a principal dancer with Dance Theatre of Harlem and a member
of Complexions. In addition to several galas and festivals, she has been
a guest performer with Alonzo King LINES Ballet and with André
3000 and Beyoncé at Radio City Music Hall. She is the recipient of the
Columbia University Medal of Excellence and Smithsonian Magazine’s
Young Innovator Award. Mack graduated magna cum laude with
honors in history from Columbia University and received an M.A. in
nonprofit management from Washington University in St. Louis. Most
recently, she served as a visiting assistant professor of dance at Webster
University in St. Louis. Mack rejoined the company in 2011.
Michael Francis McBride (Johnson City, NY) began his training
at the Danek School of Performing Arts and later trained at Amber
Perkins School of the Arts in Norwich, New York. McBride attended
Earl Mosley’s Institute of the Arts for two consecutive summers and
was also assistant to Mosley when he set the piece Saddle UP! on the
Company in 2007. In 2012, McBride performed and taught as a Guest
Artist with the JUNTOS Collective in Guatemala. McBride graduated
magna cum laude from the Ailey/Fordham B.F.A. Program in Dance in
2010 after he joined the company in 2009.
Rachael McLaren (Manitoba, Canada) began her formal dance
training at the Royal Winnipeg Ballet School. After graduating high
school, she joined the Toronto cast of Mamma Mia! McLaren moved
to New York City to study at the Ailey School as a scholarship student
and later joined Ailey II. She has performed works by Karole Armitage,
Dwight Rhoden, Francesca Harper and Nilas Martins. McLaren joined
the company in 2008.
Aisha Mitchell (Syracuse, NY) received her primary dance training at
the Onondaga Dance Institute, Dance Centre North and with Anthony
Salatino of Syracuse University. She studied at North Carolina Dance
Theatre, LINES Ballet School, the Joffrey Ballet School and the Ailey
School as a scholarship student. Mitchell is a graduate of the Ailey/
Fordham B.F.A. Program in Dance and was a member of Ailey II.
She has performed works by choreographers Alonzo King, Dwight
Rhoden, Debbie Allen, Seán Curran and Nacho Duato. She recently
served as co-choreographer for the Syracuse Opera’s Les Pecheurs de
Perles. Mitchell was also a medalist at the NAACP National ACT-SO
competition. She joined the company in 2008.
Akua Noni Parker (Kinston, NC) began her ballet training at the age
of three and moved to Wilmington, Delaware, at age 12 to continue her
professional training at the Academy of the Dance. In 2000, she joined
Dance Theatre of Harlem, where she danced lead roles in Agon, Giselle
and The Four Temperaments. Thereafter, she danced with Cincinnati
Ballet and Ballet San Jose. Parker joined the company in 2008.
Belen Pereyra (Lawrence, MA) began her formal dance training at
the Boston Arts Academy, where she graduated as valedictorian. She
was also a member of Origination Cultural Arts Center in Boston. Upon
moving to New York City, Pereyra has been closely mentored by Earl
Mosley and danced with Camille A. Brown & Dancers for three years,
during which time she performed at the Joyce Theater, Jacob’s Pillow
Dance Festival and the Dancers Responding to AIDS annual events,
Dance from the Heart and the Fire Island Dance Festival. Pereyra was
an apprentice for Ronald K. Brown/Evidence, A Dance Company and
MondaviArts.org | 23

has performed with Lula Washington Dance Theater, Nathan Trice and
Roger C. Jeffrey. She assisted Matthew Rushing with his ballet Uptown
for the Ailey company in 2009. Pereyra joined the company in 2011.
Briana Reed (St. Petersburg, FL) began her dance training at the
Academy of Ballet Arts and the Pinellas County Center for Arts. She
then studied at the Ailey School as a scholarship student. In 1997,
Reed graduated from the Juilliard School and became a member of
Ailey II. In 2010, she performed at the White House Dance Series. She
is a licensed Gyrotonic trainer. Reed joined the company in 1998.
Jamar Roberts (Miami, FL) graduated from the New World School
of the Arts. He trained at the Dance Empire of Miami and as a
fellowship student at the Ailey School. Roberts was a member of Ailey
II and Complexions. He joined the company in 2002.
Samuel Lee Roberts (Quakertown, PA) began his dance training
under the direction of Kathleen Johnston and attended the Juilliard
School. He performed in the first international show of Radio City
Christmas Spectacular in Mexico City and danced with the New York
cast from 1999-2004. Roberts performed during the awards ceremony
at the 2002 Salt Lake City Winter Olympics, worked with Corbin
Dances and Keigwin + Company and was a founding member of
Battleworks Dance Company. In 2006, Roberts was named Dance
Magazine’s “On the Rise” Dancer. He performed several roles in Julie
Taymor’s film Across the Universe and the original opera Grendel. Roberts
joined the company in 2009.
Kelly Robotham (New York, NY) is a graduate of New World School
of the Arts and trained as a scholarship student at the Ailey School
and the Dance Theatre of Harlem School. She is also a graduate of the
Juilliard School, where she studied under the direction of Lawrence
Rhodes and worked with Robert Battle. Robotham has performed
works by José Limón, Martha Graham, Mark Morris and Jerome
Robbins. In 2009, she was selected from the Juilliard Dance Division
to participate in a cultural exchange tour to Costa Rica and soon after
became an apprentice with River North Chicago Dance Company.
Robotham was a member of Ailey II and joined the company in 2011.
Kanji Segawa (Kanagawa, Japan) began his modern dance training
with his mother, Erika Akoh, and studied ballet with Kan and Ju
Horiuchi at Unique Ballet Theatre in Tokyo. In 1997, Segawa came to
the U.S. under the Japanese Government Artist Fellowship to train at
the Ailey School. Segawa was a member of Ailey II from 2000–02 and
Battleworks Dance Company from 2002–10. He worked extensively
with choreographer Mark Morris from 2004–11, repeatedly appearing
in Morris’s various productions, including as a principal dancer in John
Adams’s Nixon in China at Metropolitan Opera. He has also worked
with Jennifer Muller/The Works, Aszure Barton’s Aszure and Artists and
Jessica Lang Dance. Segawa joined the company in 2011.
Glenn Allen Sims (Long Branch, NJ) began his classical dance
training at the Academy of Dance Arts in Red Bank, New Jersey. He
attended the Juilliard School under the artistic guidance of Benjamin
Harkarvy. In 2004, Sims was the youngest person to be inducted into
the Long Branch High School’s Distinguished Alumni Hall of Fame.
He has been seen in several network television programs including
BET Honors, Dancing with the Stars, The Today Show and So You Think
You Can Dance. In 2010, Sims taught as a master teacher in Ravenna,
Italy, for “Dance Up Ravenna,” sponsored by the International Dance
Association, and performed in the White House Dance Series. He has
performed for the King of Morocco and is a certified Zena Rommett
Floor-Barre instructor. In 2011, Sims wrote a featured guest blog for
Dance Magazine. Sims joined the company in 1997.
Linda Celeste Sims (Bronx, NY) began her dance training at Ballet
Hispanico School of Dance and is a graduate of LaGuardia High School
of the Performing Arts. In 1994, Sims was granted an award by the
National Foundation for Advancement in the Arts. She was highlighted
in the “Best of 2009” list in Dance Magazine and has performed as a
guest star on So You Think You Can Dance, Dancing with the Stars and The
Today Show. She has also made guest appearances at the White House
Dance Series, Youth America Grand Prix, Vail International Dance
Festival and galas in Budapest and Vienna. Sims joined the company in
1996.
Jermaine Terry (Washington, DC) began his dance training in
Kissimmee, Florida at James Dance Center. He graduated cum laude
with a B.F.A. in Dance Performance from the University of South
Florida, where he received scholarships for excellence in performance
and choreography. Terry was a scholarship student at the Ailey School
and a member of Ailey II, and he has performed with Buglisi Dance
Theatre, Arch Dance, Dance Iquail and Philadanco. Terry joined the
company in 2010.
Marcus Jarrell Willis (Houston, TX) began his formal training at
the Johnston Performing Arts Middle School, the High School for the
Performing and Visual Arts and Discovery Dance Group in Houston.
At age 16, he moved to New York City and studied at the Ailey School
as a scholarship student. Willis is a recipient of a Level 1 ARTS award
given by the National Foundation for Advancement in the Arts and has
received scholarships to many schools, including the Juilliard School.
He was a member of Ailey II and also worked with Pascal Rioult
Dance Theater, Dominic Walsh Dance Theater and Tania Pérez-Salas
Compañía de Danza. Willis joined the company in 2008.
Guest Artist
Collin Heyward (Newport News, VA) began his training at The
Academy of Dance and Gymnastics in Newport News, under the
direction of Linda Haas and Denise Wall’s Dance Energy in Virginia
Beach. Heyward also attended several dance intensives, including
Earl Mosley’s Institute for the Arts, and has performed works by a
variety of choreographers including Robert Battle, Sidra Bell, Francisco
Martinez, Elisa Monte and Scott Rink. He dances in the upcoming
Fox Searchlight film Black Nativity, directed by Kasi Lemmons and
choreographed by Otis Sallid. Heyward is an honors graduate of the
Ailey/Fordham B.F.A. Program in Dance and was a member of Ailey II
from 2010–12.
24 | Mondavi Center Presents Program Issue 9: APR–may 2013

BALLET DIRECTOR
RON
CUNNINGHAM
ISSUE #6
PLAYWRIGHT
GREGG COFFIN
ISSUE #7
TONY WINNER
FAITH PRINCE
ISSUE #8
ACTOR
COLIN HANKS
ISSUE #15
PERFORMANCE ARTIST
DAVID GARIBALDI
ISSUE #16
BROADWAY STAR
MARA DAVI
ISSUE #19
Available at Raley's, Nugget Markets and Barnes & Noble.
MondaviArts.org | 25

SACRAMENTO BALLET
AN EVENING OF SOLOS, DUETS AND TRIOS
Photo by Jackie Pinto
A Studio Dance Series Event
Thursday–Saturday, May 2–4, 2013 • 8PM
Vanderhoef Studio Theatre
Tarantella
Music by Louis Moreau Gottschalk, orchestrated by Hershey Kay
Choreography by George Balanchine
Second Before The Ground (Excerpt)
Music by Foday Musa Suso, performed by Kronos Quartet
Choreography by Trey McIntyre
Each performance will be preceeded by a screening of The Dancer Films.
Scars Already Seen
Music by Civil Wars
Choreography by Nicole Haskins
(Created for the Sacramento Ballet, May 11, 2012)
The Dancer Films
The 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.
Wunderland (Excerpts)
Music by Philip Glass
Choreography by Edwaard Liang
Jazzin’ (Excerpts)
Original music by Duke Ellington, Andy Razaf, Count Basie, Wynton
Marsalis
Choreography by Darrell Grand Moultrie
(Created for the Sacramento Ballet March 29, 2012)
—continued on page 27
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.
26 | Mondavi Center Presents Program Issue 9: APR–may 2013

Spring in My Step
Takin’ No Mess
Wild Sweet Love (Excerpts)
Music by the Partridge Family, Lou Reed, Jose Alfredo Jimenez
Choreography by Trey McIntyre
(Created for the Sacramento Ballet, March 22, 2007)
I Think I Love You
A Perfect Day
Mexican Trio
Intermission
Tchaikovsky Pas de Deux
Music by Peter Ilyich Tchaikovsky
Choreography by George Balanchine
La Sonnambula Pas de Deux
Music by Vittorio Rieti
Choreography by George Balanchine
Who Cares? (Excerpt)
Music by George Gershwin, arranged by Hershey Kay
Choreography by George Balanchine
Figures F + L
Music by Michael Nyman
Choreography by Stefan Calka
(Created for the Sacramento Ballet, May 11, 2012)
Ron Cunningham and Carinne Binda (artistic directors)
Under the artistic vision and creative leadership of this husband-andwife
team, the Sacramento Ballet has risen to national prominence for
its artistic excellence and outstanding work in the community. Serving
with distinction for 25 years, they have transitioned the company from
a small, regional ballet to an integral centerpiece in the rich cultural
tapestry of northern California.
Having enjoyed extensive international careers as performing artists,
Cunningham and Binda have brought a wealth of experience,
knowledge and creativity to the Sacramento Ballet. They have added
more than 50 world premieres and 50 Sacramento premieres to the
repertory, including 18 masterpieces by the great George Balanchine.
Cunningham has created or staged more than 75 of his original ballets
to define the company’s aesthetic with signature works such as:
Romeo & Juliet, A Midsummer Night’s Dream, Alice in Wonderland, Hamlet,
Carmina Burana, Dracula, A Streetcar Named Desire, Etosha and many
others. Cunningham’s The Nutcracker incorporates almost 500 children
each year, making it the largest cast of children in a professional production
anywhere in the world. Together, they have invented dozens
of initiatives designed to deepen, broaden and diversify audiences
with innovative programs such as Modern Masters, Beer & Ballet, Inside
The Director’s Studio, Living Sculptures, Red Hot Valentine Nights and the
Capital Choreography Competition. In 2007, the company made its first
international tour to the People’s Republic of China receiving accolades
and praise in both Shanghai and Beijing.
Cunningham and Binda have been in the vanguard of forging creative
partnerships with their fellow arts organizations for many years. They
have fostered outreach programs to more than 40 different social
service agencies and full immersion education programs for children
at risk in elementary, middle and high schools. Together as a team,
Cunningham and Binda embody the Sacramento Ballet’s mission statement
to engage, inspire and educate through the powerful vehicle of
dance.
In recognition of their 25 years of service to the community,
Cunningham and Binda are the recipients of the 2012 Lifetime
Achievement Award from the Sacramento Arts & Business Council.
They are the first artists to be recognized in this category.
Ron Cunningham and Carinne Binda, Artistic Directors
Caitlin Sapunor-Davis, Production Manager
Kyle Lemoi, Lighting Design
Theresa Kimbrough, Wardrobe Supervision
Lynlee Towne, Ballet Mistress
Dancers
Lauren Breen
Oliver-Paul Adams
Ava Chatterson
Alexander Biber
Alexandra Cunningham
Stefan Calka
Kaori Higashiyama
Chris Nachtrab
Isha Lloyd
Richard Porter
Katie Miller
Richard Smith
Amanda Peet
Alex Stewart
Evelyn Turner
Mate Szentes
Lauryn Winterhalder
Rex Wheeler
George Balanchine (choreographer), born in St. Petersburg, Russia,
in 1904, was a product of the Imperial Russian Ballet and the founder
of the New York City Ballet. His early ballets presaged a revolution
in choreography and he went on to become the last brilliant choreographer
of the legendary Ballet Russes. Widely considered to be the
greatest choreographer of the 20th century, his genius and influence is
often compared to that of Picasso and Stravinsky. He changed forever
how we look at dance and created a prolific pantheon of masterpieces
that defined the “American Style.” His Serenade, created to the music
of Tchaikovsky in 1934, was the first masterpiece created on American
soil and continues to hold a place of honor in repertories of companies
all over the world. Balanchine passed away on April 30, 1983, leaving a
legacy of more than 400 ballets created during his lifetime.
The performance of Tarantella, Tchaikovsky Pas de Deux, La Sonnambula
Pas de Deux and Who Cares? (excerpt), all Balanchine ballets, is presented
by arrangement with the George Balanchine Trust and has been
—continued on page 28
MondaviArts.org | 27

campus community relations
is a proud sponsor of
the robert and margrit
mondavi Center for the performing arts
produced in accordance with the Balanchine Style and Balanchine
Technique Service standards established and provided by the Trust.
The George Balanchine ballet presented in this program is protected
by copyright. Any unauthorized recording is prohibited without
the express written consent of the George Balanchine Trust and the
Sacramento Ballet.
Trey McIntyre (choreographer) is one of the most sought-after
choreographers working today. Indeed, The Denver Post said of him,
“Trey McIntyre could hardly have come along at a better time.” Born
in Wichita, Kansas, McIntyre studied at North Carolina School of the
Arts and the Houston Ballet Academy. In 1989, he was named choreographic
apprentice to Houston Ballet, a position created especially for
him by artistic director Ben Stevenson, and in 1995, elevated to choreographic
associate. Since then, McIntyre has created a canon of more
than 80 works for companies including Stuttgart Ballet, American Ballet
Theatre, Hubbard Street Dance Chicago, New York City Ballet, Ballet de
Santiago (Chile) and Trey McIntyre Project.
McIntyre has served as Resident Choreographer for Oregon Ballet
Theatre, Ballet Memphis and the Washington Ballet. He has received
many grants and awards, including two choreographic fellowships from
the National Endowment for the Arts and a Choo-San Goh Award for
Choreography. He was named one of Dance Magazine’s “25 to Watch” in
2001, one of People Magazine’s “25 Hottest Bachelors” 2003 and one of
Out Magazine’s 2008 “Tastemakers.” McIntyre established his critically
acclaimed Trey McIntyre Project as a dance company that allows him
to continue his artistic and creative relationships with a select group of
high-caliber dancers. In 2008, Trey McIntyre Project launched as a fulltime
company operating out of Boise, Idaho. The Trey McIntyre Project
tours extensively across the nation and the world. McIntyre has created
two world premiere works for Sacramento Ballet, both of which were
wildly popular.
Edwaard Liang (choreographer) was born in Taiwan and raised and
trained in Marin. He joined New York City Ballet (NYCB) in 1993—the
same year he was a medal winner at the Prix de Lausanne International
Ballet Competition. He was a lead in the Broadway cast of Fosse and
danced, choreographed and staged ballets for the acclaimed Nederlands
Dans Theater in Holland. Liang has received rave reviews for his
numerous choreographic works. He now has ballets in the repertoires
of such prestigious companies as NYCB, Kirov Ballet (Russia), Pacific
Northwest Ballet and Shanghai Ballet (China), to name only a few.
In the last season alone, he completed new ballets for San Francisco
Ballet, Joffrey Ballet and Washington Ballet, and his full-length version
of Romeo & Juliet for the Tulsa Ballet will premiere this season. He is the
recipient of numerous choreographic awards, and his television appearances
include the PBS Great Performances broadcast Dance in America:
From Broadway: Fosse.
Darrell Grand Moultrie (choreographer) is emerging as one of
America’s very diverse and much sought-after choreographers and master
teachers. Born and raised in Harlem, New York City, Moultrie’s work
has been commissioned by the Juilliard School, Atlanta Ballet, Colorado
Ballet, Ailey 2, Milwaukee Ballet, North Carolina Dance Theatre,
Cleo Parker Robinson and BalletMet Columbus. Upcoming creations
include Tulsa Ballet and Ballet X. He is the recipient of a Princess Grace
Choreography Fellowship Award. As a performer, he was a part of the
—continued on page 29
28 | Mondavi Center Presents Program Issue 9: APR–may 2013
12 | mondaviarts.org

Ron Cunningham by jeff hudson
A quarter century at the helm, through sometimes turbulent times.
That’s the thumbnail description of artistic director Ron
Cunningham’s tenure with the Sacramento Ballet. He came
onboard in 1988—a heady year. Right around the same time
Cunningham began laying out his plans to grow his company,
actor/producer Tim Busfield was setting up the B Street Theatre;
the long-established Music Circus series of locally-produced
summer musicals sprouted Broadway Sacramento (hosting
touring shows) and a certain basketball team moved into a hastily
constructed ARCO Arena.
Cunningham is now the longest serving artistic director with any of
Sacramento’s arts organizations— and early on, he started sharing
those duties with his spouse Carinne Binda. (If you visit Sac Ballet’s
studios, you will quickly observe that they really do function as a
team—but Ron generally takes the lead with the public.)
One thing for sure: Cunningham appreciates Shakespeare (ordinarily
thought of as a “word guy”). Cunningham’s choreographed
Romeo and Juliet, A Midsummer Night’s Dream, Hamlet and The
Tempest (which premiered at the Mondavi Center in fall 2002).
He’s also likes American material, like A Streetcar Named Desire
(also performed at the Mondavi Center), and his big project this
year—an original ballet based on The Great Gatsby.
I fondly recall Cunningham’s ballet in 2007 based on Tamsen
Donner, a member of the ill-fated Donner Party. (Cunningham
told me that he got the idea when he drove past Donner Lake on
his way from Boston to Sacramento in 1988; he researched
further listening
the idea and considered for years before bringing the piece
to fruition.)
All the while, Sacramento Ballet has staged classics by the
likes of Balanchine, and newer works by contemporary
choreographers.
Cunningham also added sparkle Sac Ballet’s Nutcracker, with
lovely scrims and backdrops commissioned from Russian artists
in St. Petersburg.
Directing 25 years of Nutcracker productions—including, over
the years, literally thousands of Sacramento area youngsters—
have made Cunningham into an expert on child psychology.
He’s learned that it’s best when he introduces the big mouse
costumes (worn by adult male dancers) g-r-a-d-u-a-l-l-y, so that
the younger kids aren’t shocked to find themselves standing
next to a seven-foot-tall dancing rodent.
Along the way, Sac Ballet has kindled a love of dance in the
hearts of countless youngsters (and their parents, too), even
as the company survived two sharp downturns in regional
company, among other adversities. It’s really quite a record
of artistic leadership and community connectivity— no small
accomplishment.
Jeff Hudson contributes coverage of the
performing arts to Capital Public Radio, the
Davis Enterprise and Sacramento News and Review.
original cast of Billy Elliot the Musical and performed on Broadway in
Hairspray and Aida. The New York Times wrote “Moultrie moves his
dancers around the stage with remarkable authority[and]… is obviously
someone to watch.” Darrellgrandmoultrie.com.
Nicole Haskins (choreographer), a former company dancer with the
Sacramento Ballet, has danced in George Balanchine’s Four Temperments
(Melancholic), Scotch Symphony (Scotch Girl), Concerto Barocco, Allego
Brilliante, Serenade and Donizetti Variations, Ron Cunningham’s Alice in
Wonderland, Etosha, Carmina Burana and The Nutcracker (Rose, Lead
Marzipan, Solo Candy Cane), Petipa’s The Sleeping Beauty (Fairy of
Happiness, Pas de Cinq), Septime Webre’s Fluctuating Hemlines, David
Lichine’s Graduation Ball (Fouette Competition) and Amy Seiwart’s end
quote. She has danced in premieres by John Selya, Sidra Bell and Ron
de Jesus. Haskins received her training from the Westside School of
Ballet under the direction of Yvonne Mounsey, where she was a recipient
of the Rosemary Valaire Scholarship and was a 2004 Los Angeles
Music Center Spotlight Award winner. Haskin’s choreography has been
chosen three times for the McCallum Theater’s Dancing Under the Stars
Choreographic Competition, and this year she has been selected for the
prestigious New York Choreographic Institute. She is currently in her
first season dancing with the Washington Ballet.
Stefan Calka (choreographer) is a graduate of Indiana
University, where he trained with the legendary Violette Verdy.
There he performed the roles of the Cavalier in The Nutcracker and
Siegfried in Swan Lake. In his eighth season with the Sacramento
Ballet, he has danced numerous principal roles including Romeo
and Juliet (Romeo), The Sleeping Beauty (Prince Desire), Ron
Cunningham’s Bolero, Carmina Burana (Beige Couple), and he
created the role of Jonathan Harker in Dracula as well as dancing
the title role. Calka has also danced principal roles in the works
of George Balanchine, Twyla Tharp, Trey McIntyre, Lila York,
Septime Webre, Amy Seiwert, Mathew Neenan, Darrell Grand
Moultrie and Edwaard Liang to name a few. He has toured China
with John Clifford’s production of Casablanca and assisted him in
staging Balanchine ballets for the Kirov and Bolshoi Ballets.
MondaviArts.org | 29

Thank you to
our Faculty
Anderson Family
Catering & BBQ
Our name has become synonymous
with great food, service
and attention to detail.
It is our privilege at the Mondavi Center to draw on the
expertise of our great UC Davis faculty. Through engagement
activities, such as Pre-Performance Talks and post-performance
Q&A’s, faculty members help audiences achieve a richer
understanding of Mondavi Center performances.
We gratefully acknowledge the work of the following faculty
who graciously participated in audience engagement
activities during the 2012–13 season:
PPT
Contact us today at
andersonfamilycatering.com
for a quote.
Pre-Performance Talk Speaker:
Jeremy Ganter
• Elizabeth Constable
Associate Professor, Women
and Gender Studies, UC Davis
• Jaimey Fisher
Associate Professor of German
and Cinema and Technocultural
Studies Program Director,
Cinema and Technocultural
Studies, UC Davis
• Sarah Geller
Ph.D. Candidate in
Ethnomusicology, UC Davis
Department of Music
• Milmon F. Harrison
Associate Professor, African
American & African Studies,
UC Davis
• David A. Hawkins
Professor of Neurobiology,
Physiology and Behavior,
College of Biological Science,
UC Davis
• Carol Hess
Professor of Musicology,
Department of Music, UC Davis
• Enrique Lavernia
UC Davis Dean of the College
of Engineering
• Katherine In-Young Lee
Assistant Professor,
Ethnomusicology, UC Davis
Department of Music
• Nita Little
Performance Studies doctorial
candidate, Department of
Theatre and Dance, UC Davis
• Sam Nichols
Lecturer, Department of Music,
UC Davis
• Lorena Oropeza
Associate Professor, Department
of History, UC Davis
• Sudipta Sen
Professor, Department of
History, UC Davis
• Henry Spiller, Chair,
UC Davis Department of Music
Jeremy Ganter became the associate executive director &
director of programming at the Mondavi Center, UC Davis
in September 2006, after serving as the artistic administrator
and then director of programming for five years. Ganter oversees
the programming and implementation of each Mondavi
Center season and recently directed the development of the
Mondavi Center’s 10th anniversary celebration for its 2012–13
season. He has also recently led Mondavi Center staff in the
development and implementation of several programs focused
on developing young talent, including the expansion of the
Mondavi Center’s Young Artists Competition, the Mondavi
Center SFJAZZ High School All-Stars and an arts administration
internship for UC Davis students (“Aggie Arts”). Ganter is
on the Board of Directors of the Western Arts Alliance (WAA),
serves as the chair of the WAA Professional Development and
Membership Committees and served several terms on the board
of California Presenters, both as a director and as treasurer.
Prior to coming to UC Davis, Ganter worked as a professional
guitarist and as a campaign and legislative staffer for the New
York State Assembly. He lives in Davis with his wife Allison and
their two sons.
30 | Mondavi Center Presents Program Issue 9: APR–may 2013

Christopher Taylor, piano
The Goldberg Variations
On the Steinway-Moór Concert Grand
A Director’s Choice Series Event
Friday, May 3, 2013 • 8PM
Jackson Hall
Aria mit 30 Veränderungen
(Clavierübung, Part IV)
BWV 988 (Goldberg Variations)
Bach
Pre-Performance Talk
Friday, May 3, 2013 • 7PM
Jackson Hall
Speakers: Christopher Taylor in conversation with
Jeremy Ganter, Associate Executive Director and Director
of Programing, Mondavi Center, UC Davis
Aria
Variation 1. a 1 Clav.
Variation 2. a 1 Clav.
Variation 3. Canone all’Unisono a 1 Clav.
Variation 4. a 1 Clav.
Variation 5. a 1 ovvero 2 Clav.
Variation 6. Canone alla Seconda a 1 Clav.
Variation 7. a ovvero 2 Clav. al tempo di Giga
Variation 8. a 2 Clav.
Variation 9. Canone alla Terza a 1 Clav.
Variation 10. Fughetta. a 1 Clav.
Variation 11. a 2 Clav.
Variation 12. Canone alla Quarta a 1 Clav.
Variation 13. a 2 Clav.
Variation 14. a 2 Clav.
Variation 15. Canone alla Quinta in moto contrario a 1 Clav.
Intermission
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.
MondaviArts.org | 31

Variation 16. Ouverture a 1 Clav.
Variation 17. a 2 Clav.
Variation 18. Canone alla Sesta a 1 Clav.
Variation 19. a 1 Clav.
Variation 20. a 2 Clav.
Variation 21. Canone alla Settima a 1 Clav.
Variation 22. a 1 Clav.
Variation 23. a 2 Clav.
Variation 24. Canone all’Ottava a 1 Clav.
Variation 25. a 2 Clav.
Variation 26. a 2 Clav.
Variation 27. Canone alla Nona a 2 Clav.
Variation 28. a 2 Clav.
Variation 29. a 1 ovvero 2 Clav.
Variation 30. Quodlibet a 1 Clav.
Aria da capo e fine
Aria mit 30 Veränderungen (Clavierübung, Part IV)
BWV 988 (Goldberg Variations) (1741)
Johann Sebastian Bach
(Born March 21, 1685, in Eisenach, Germany; died July 28, 1750, in
Leipzig, Germany)
A famous story, probably apocryphal, underlies the nickname by which
this greatest of variation sets is known. To quote from Forkel’s 1802
Bach biography:
“We are indebted to Count Keyserlingk, formerly Russian envoy to the
Elector of Saxony, who frequently resided in Leipzig, and brought with
him Goldberg [Johann Gottlieb Goldberg, 1727–56] ... to have him
instructed by Bach in music. The Count was often sickly, and then had
sleepless nights. At these times Goldberg, who lived in the house with
him, had to pass the night in an adjoining room to play something to
him .... The Count once said to Bach that he should like to have some
clavier pieces for his Goldberg, which should be of such a soft and
somewhat lively character that he might be a little cheered up by them
in his sleepless nights. Bach thought he could best fulfill this wish by
variations, which, on account of the constant sameness of the fundamental
harmony, he had hitherto considered as an ungrateful task. But
as at this time all his works were models of art, these variations also
became such under his hand ... The Count thereafter ... was never
weary of hearing them; and for a long time, when the sleepless nights
came, he used to say: ‘Dear Goldberg, do play me one of my variations.’
Bach was, perhaps, never so well rewarded for any work as for this: the
Count made him a present of a golden goblet, filled with a hundred
Louis d’ors. But their worth as a work of art would not have been paid
if the present had been a thousand times greater.”
Despite many inconsistencies and implausibilities in the account,
the tale has become attached to the work as part of its incomparable
charm. Concerning the work’s origins only a handful of incontrovertible
facts remain: the set was composed late in Bach’s life, around 1741,
and was one of the few works published before his death. The theme is
first found in the Notebook for Anna Magdalena Bach, dating back to
1725: an elegant and gently tuneful sarabande, a slow dance in 3/4 that
provides the fundamental bass line upon which all the following variations
are built.
The massive compendium that follows has a logical architecture whose
rigorous ingenuity and scale were unprecedented in 1741. After the
first two preliminary variations (one a vigorous wake-up call, the other
a gentler evocation of a trio sonata), we enter a cycle that recurs every
third variation. Variations 3, 6, 9, 12 and so forth up to 27, are all canons,
number 3 having its two imitative voices separated by the interval
of the unison, number 6 having a separation of a second, variation 9
being at the third, and so on. Their moods vary from boisterous (#12)
to sorrowful (#21), but the cleverness and beauty of Bach’s contrapuntal
writing atop a constant bass background in all cases boggle the
mind. The variations preceding the canons (5, 8, 11 and onward to 26)
are all virtuoso toccatas intended originally for the double keyboards
available on the larger harpsichords of Bach’s day; to perform them on
a single modern keyboard involves many technical complications, with
hands crossing and tangling in ways that are as entertaining to see as to
hear. Finally, the remaining variations in the scheme (4, 7, 10 ... 25) are
a varied and individually distinctive group, many of them illustrating
popular forms from Bach’s time: the fanfare, the gigue, the fugue and
the French overture, among others.
Despite the seeming abstractness of this almost mathematical arrangement,
the variations share an extraordinary lyricism, serene and touching,
and at the same time an astonishing diversity and liveliness that
belies their supposed origins as lullabies for an insomniac. Towards
the end Bach approaches the depths of tragic despair in the excruciatingly
chromatic variation 25; but after this the mood gently returns to
normal in 26, becoming thereafter increasingly energized and triumphant
right up to the finale, variation 30. The triune scheme, which
would have predicted a canon at the 10th in this position, has by now
dissolved; instead, Bach provides a Quodlibet (a term from the Latin
“what you will”), a subtly witty combination of two rough popular
tunes into a contrapuntally impeccable mix, exuberant and exquisite.
Following this the theme makes a final reappearance, seeming, in the
words of Ralph Kirkpatrick, “transfigured in the light of the traversed
spiritual journey” and leaving the listener “cleansed, renewed and
matured.”
—Christopher Taylor
Christopher Taylor is represented by Jonathan Wentworth Associates,
Ltd. www.jwentworth.com
Steinway–Moór Concert Grand
The piano used in today’s recital is a model D concert grand by
Steinway & Sons and is the only Steinway equipped with a double
keyboard developed by Emanuel Moór (1863–1931). It was built by
Steinway for Werner von Siemens of Berlin and sold to him in 1929.
The piano was purchased by the University of Wisconsin-Madison in
1961 for the use of Gunnar Johansen, artist-in-residence at the university
at the time. After Johansen’s death in 1991, it remained unused
for many years until John Schaffer, director of the School of Music and
Christopher Taylor, professor of piano at the school, began discuss-
32 | Mondavi Center Presents Program Issue 9: APR–may 2013

ing the prospect of restoring it to optimum playing capacity several
years ago. The 2007 completion of the rebuilding project by Steinway
marked the beginning of a new stage in the instrument’s life; it is now
used for selected tour dates by Taylor, and heard in concert at its home
at the university.
modified for extra height. The overstrung scale design is standard, first
made 1884 in its earliest form with subsequent modifications. The
Hamburg factory (Steinway’s Pianofabrik) received unfinished Ds from
New York from 1884–88. Since 1888, Model D has been in regular
production in Hamburg.
The lower keyboard of 88 keys resembles that of a typical piano. The
upper keyboard of 76 keys is one octave shorter in the treble, but
sounds one octave higher than the corresponding key on the lower
keyboard. Each keyboard can be played independently, but both can
be coupled together as well, by depressing a pedal located between the
una corda (far left) and sostenuto (second-from-right) pedals. A catch
mechanism allows the pedal to be retained in its depressed position.
When the keyboards are coupled, each note played on the lower keyboard
sounds both its own pitch and that of the key directly behind
it on the upper keyboard, one octave higher. As a result, polyphonic
textures available to the player are greatly expanded, volume levels may
be increased and chords which extend over two octaves may be played
with one hand.
Steinway-Moór Concert Grand Serial Number 268675
Steinway & Sons piano of Hamburg manufacture
Case Number: 706 CC
Model: D (Orchestral Concert Grand; custom case height, custom
action)
Length: 9'2½"
Width: 4'11 3 ∕8"
Rim Height: 1'6¾"
Overall Height from Floor: 3'7¼"
Approximate Weight: 1000 lbs.
Finish: ebonized
Sold to: Werner von Siemens, Berlin-Lankwitz, December 14, 1929
Plate Casting Number: 1517 (standard Hamburg cupola plate)
Modifiers: Una Corda, Coupler, Sostenuto, and Damper pedals. Except
for the latter, a catch mechanism is available for retaining the pedals in
their depressed positions.
Lower Keyboard Compass: 7¼ octaves - AAA–c5 - 88 notes
Upper Keyboard Compass: 6¼ octaves - AAA–c4 - 76 notes
Action: Double Keyboard developed by Emanuel Moór (1863–1931).
Upper keys are relatively short, are in a slightly slanted position, and
are retained by a key stop rail. This keyboard, directly above the lower,
plays the piano one octave higher than normal. The ivories of the
lower keys are elevated at their backs between the sharps. All of the
lower keys are on the same level at their backs. The sides of the lower
sharps are hollowed out. Capstans from the lower keys consist of long
rods with one or two adjusting nuts. The let-off buttons are fairly large
wooden cylinders felted on their bottoms. Both keyblocks are single
pieces of custom design held in place by one screw each. The keyslip
has four screws.
History: This piano is the only known instrument from Steinway &
Sons with the Moór Double Keyboard. A few of these actions have been
built into pianos by Bechstein, Bösendorfer and Weber (Aeolian Co.).
The bent-rim case design with round arms is standard for the period,
In 1961, the Steinway-Moór Concert Grand was purchased by biochemist
Harry Steenbock for the use of Gunnar Johansen. Johansen
passed away in 1991. On October 4, 1998 the piano was reported to
be in the Johansen residence studio approximately 30 miles west of
Madison, Wisconsin, under the care of Mrs. Johansen.
Jahrgang Steinway & Sons Mitteilungen Number 14, page 1011, Signed
[F. Wo.]:
Upon the order of Werner von Siemens we recently built a Steinway-
Moór Concert Grand for use in his private music salon, accommodating
450 persons, in Berlin. The peculiarities of this grand, for which is
responsible the creative genius of the Hungarian pianist and composer
Emanuel Moór, consist of two keyboards, or manuals and the octavecoupling
system.
Of the two keyboards, which are placed one above the other, the lower
and foremost is the same as that of an ordinary piano. With the aid of
a special pedal the action can be “coupled,” so that every key on the
ordinary keyboard, when struck, will play simultaneously the normal
note with the higher octave.
The upper keyboard, in its function, is quite independent of the coupling
device and only operates the upper octaves. The ivories of the
lower keyboard are provided with an elevation at the back of the key
between the sharps so that all the keys are on the same level at this
particular place. In order to facilitate the playing of the ivories the sides
of the sharps are hollowed out.
Owing to the position of the two manuals, magnificent possibilities
for polyphonic play have been achieved. For instance, it is possible to
strike chords which extend over two octaves with one hand. With the
assistance of the coupling device, tonal effects of unsuspected volume
are produced.
The four pedals of the Steinway & Sons–Moór (Flügel) Concert Grand
as counted from the left, are as follows: 1) Piano [soft]; 2) Coupling; 3)
Sustaining [sostenuto]; 4) Forte [damper].
The first three pedals are equipped with a device for retaining the pedals
in their depressed positions when necessary.
Acknowledgements
Many individuals have played a part in the restoration of the Steinway
double-manual piano and in providing the means for it to be heard on
tour.
John Wiley, Chancellor, University of Wisconsin-Madison
John Schaffer, Director, School of Music, UW-Madison
Baoli Liu and Mark Ultsch, piano technicians, School of Music
MondaviArts.org | 33

Christopher Taylor, Associate Professor of Piano, School of Music
Chris Arena, Bonnie Barrett, Ljubomir Begonja, Ed Carrasco, Peter
Goodrich and Michael Megaloudis, Steinway & Sons
Kenneth Wentworth, Jonathan Wentworth Associates, Ltd.
Christopher Taylor (piano) is known for his passionate advocacy
of music written in the past 100 years, but his repertoire spans four
centuries. Whatever the genre or era of the composition, Taylor
brings to it imagination, intellect, intensity and grace.
Taylor has concertized around the globe: Korea, China, Russia,
Singapore, Italy and Venezuela. He has appeared with major U.S.
orchestras: the New York and Los Angeles philharmonics, the
Detroit, St. Louis, Atlanta and Houston symphonies and the Boston
Pops. He gave the world premiere of Sir Peter Maxwell Davies’s Sea
Orpheus at Carnegie Hall with Orpheus Chamber Orchestra and
has appeared as soloist at Tully Hall, the Kennedy Center and the
Ravinia and Aspen festivals. This season includes his debut at the
Metropolitan Museum of Art (Messiaen’s Vingt regards sur l’enfant-Jésus)
and a debut at the Sarajevo Chamber Music Festival.
Taylor has collaborated with many of today’s eminent musicians,
including Robert McDuffie, Robert Mann and the Borromeo, Shanghai,
Pro Arte and Ying quartets. His recordings have featured works by
Liszt, Messiaen and American composers William Bolcom and Derek
Bermel. Apart from concertizing, recording and teaching, Taylor has
undertaken various unusual projects: the series of performances on the
unique Moór double-manual Steinway (He has actively promoted the
rediscovery and refurbishment of this unique Steinway and is in the
process of developing a modernized version of it.), the development of
topographic mapping software, development of a novel system of text
entry for Android phones and endeavors in mathematics (summa cum
laude, Harvard, 1992); philosophy (a coauthored article appears in the
Oxford Free Will Handbook) and linguistics. Taylor lives in Middleton,
Wisconsin, with his wife and two daughters and biking is his primary
means of commuting. His newest project is a concert tour via bicycle
with composer, clarinetist and friend Derek Bermel. Taylor is the Paul
Collins Associate Professor of Piano Performance at University of
Wisconsin, Madison, and he is a Steinway artist.
Numerous awards have confirmed Taylor’s high standing in the
musical world. He received an Avery Fisher Career Grant in 1996
and the Bronze Medal in the 1993 Van Cliburn International Piano
Competition. In 1990, he took first prize in the William Kapell
International Piano Competition and also became one of the first
recipients of the Irving Gilmore Young Artists’ Award. He was named
an American Pianists’ Association Fellow in 2000.
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34 | Mondavi Center Presents Program Issue 9: APR–may 2013

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MondaviArts.org | 35

MC
Debut
Elena Urioste, violin
Gabriela Martinez, piano
A Debut Series Event
Sunday, May 5, 2013 • 2PM
Vanderhoef Studio Theatre
Sonata for Violin and Piano
Con moto
Ballada: Con moto
Allegretto
Adagio
ˇ
Janácek
Individual support for the Debut Series
artist residency program provided by
Oren and Eunice Adair-Christensen.
Sonata for Violin and Piano
Allegro vivo
Intermède: Fantasque et léger
Finale: Très animé
Debussy
Intermission
Sonata for Violin and Piano in F Major, Op. 24, “Spring”
Allegro
Adagio molto espressivo
Scherzo: Allegro molto
Rondo: Allegro ma non troppo
Beethoven
Additional selections to be announced from the stage.
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.
36 | Mondavi Center Presents Program Issue 9: APR–may 2013

Program Notes
Sonata for Violin and Piano (1914–21)
Leos Janácek ˇ
(Born July 3, 1854, in Hukvaldy, Moravia; died August 12, 1928, in
Ostrava)
Leoš Janácek was among those many Czechs at the turn of the
20th century who longed for freedom for their native land from the
Habsburgs. Janácek believed that this end could best be achieved by
an alliance of all the Slavic peoples led by Russia since, as he wrote in
a letter to his friend Richard Vesely, “In the whole world there are to
be found neither fires nor tortures strong enough to destroy the vitality
of the Russian nation.” It was therefore with mingled feelings that
Janácek observed his 60 birthday, on July 3, 1914—apprehensive on
one hand over the war that threatened to erupt in Europe, hopeful on
the other as rumors of advancing Russian armies flashed through the
Czech lands. It was during those crucial, unsettling summer months of
1914—“when we were expecting the Russian armies to enter Moravia,”
he recalled—that Janácek composed his Sonata for Violin and Piano.
The Sonata’s first movement, a compact and quirky sonata form, is
built from two thematic elements: a broad, arching violin melody and
a sharp, stabbing rhythmic motive of two, or sometimes three or four,
quick notes. The violin alone introduces the stabbing motive at the
outset, which is then taken over by the piano and extended to become
an anxious accompaniment to the violin’s broad theme. While the
piano whispers the broad melody, the stabbing motive is reinforced by
the pizzicato violin to serve as a transition to the lyrical transformation
of the main theme that provides a sort of formal second subject. The
development juxtaposes the piano’s obsessive repetitions of the stabbing
motive (while the violin trills) and the violin’s fragmented recollections
of the broad melody (while the piano trills). The Ballada tells a
peaceable story, quiet, nocturnal and almost completely unruffled. The
third movement fills its three-part form (A–B–A) with a folkish dance
melody in the outer sections and a melancholy strain at its center
The elegiac finale describes an unusual formal arch. At first, the piano
tries to give out the movement’s main theme, a hymnal melody, only
to be interrupted by stuttering interjections from the violin. The piano
continues, however, and the violin is gradually won over to the hymn
tune, which it states in its full form as the climax of the movement.
Doubt is here not to be held long at bay, however, and the Sonata ends
with the broken statements and stuttering interruptions of the movement’s
opening.
Sonata for Violin and Piano (1916–17)
Claude Debussy
(Born August 2, 1862, in St. Germain-en-Laye, France; died March 25,
1918, in Paris)
When the Guns of August thundered across the European continent
in 1914 to plunge the world into “the war to end all wars,” Claude
Debussy was already showing signs of the colon cancer that was to end
his life four years later. Apprehensive about his health and tormented
by the military conflict, his creative production came to a virtual halt.
Except for a Berceuse Héroïque written “as a tribute of homage to His
Majesty King Albert I of Belgium and his soldiers,” Debussy wrote no
new music in 1914. At the end of the year, he undertook (with little
enthusiasm) the preparation of a new edition of Chopin’s works to
help compensate Durand for the regular advances the publisher had
been sending. The death of Debussy’s mother in March 1915 further
deepened his depression. That same month, however, he appeared in
a recital in the Salle Gaveau with the soprano Ninon Vallin, and his
mood brightened somewhat during the following months. “I have a few
ideas at the moment,” he wrote to Durand in June, “and, although they
are not worth making a fuss about, I should like to cultivate them.”
That summer he completed En blanc et noir for Two Pianos and the
Études for Piano, and projected a series of six sonatas for various instrumental
combinations inspired by the old Baroque school of French
clavecinists. The first of the Sonatas, for Cello and Piano, was completed
quickly in July and August 1915 during a holiday at Pourville,
near Dieppe; the second one, for Flute, Viola (originally oboe) and
Harp, was also written at Pourville before Debussy returned to Paris
on October 12. Surgery in December prevented him from further work
until October 1916, when he began the Sonata for Violin and Piano. A
sonata for oboe, horn and harpsichord never went beyond the planning
stage; the remainder of the projected set did not get that far. The Violin
Sonata, completed in 1917, was his last important work; he premiered
the piece on May 5, 1917 in Paris with violinist Gaston Poulet, and
played it again in September at St.-Jean-de-Luz, where he was summering.
It was his final public appearance.
For the Violin Sonata’s inspiration, style and temperament, Debussy
looked back far beyond the Impressionism of his earlier works to the
elegance, emotional reserve and textural clarity of the music of the
French Baroque. The form of the first movement is tied together by the
iterations of the simple falling triadic motive given by the violin at its
initial entrance. Various episodes separate the motive’s returns, some
passionate, some exotically evocative in their sliding intervals, some
deliberately archaic in their open-interval harmonies. Debussy said that
he had tried to evoke the spirit of the Italian commedia dell’arte in his
earlier Cello Sonata, and much of the wit and insouciance of that old
satirical stage genre carried over into the central Intermède of the Violin
Sonata, which is instructed to be played “with fantasy and lightness.”
The finale begins with a ghost of the first movement’s opening theme
before proceeding to a modern mutation of the traditional rondo form,
which takes as its subject a violin melody in flying triplets that Debussy
borrowed from his Ibéria. The composer noted that this theme “is
subjected to the most curious deformations, and ultimately leaves the
impression of an idea turning back upon itself, like a snake biting its
own tail.” The music exudes energy bordering on enervation and seems
almost to have expended its strength as the final measures approach,
but finds sufficient reserve to mount a quick but brilliant close.
Sonata for Violin and Piano in F Major, Op. 24, “Spring” (1800–01)
Ludwig van Beethoven
(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)
Among Beethoven’s early patrons in Vienna was Count Moritz von
Fries, proprietor of the prosperous Viennese banking firm of Fries &
Co. and treasurer to the imperial court. Fries, seven years Beethoven’s
ˇ
junior, was a man of excellent breeding and culture. A true disciple
of the Enlightenment, Fries traveled widely (Goethe mentioned meeting
him in Italy) and lived for a period in Paris, where he had himself
ˇ
painted by Élisabeth Vigée-Lebrun (remembered for her famous portraits
of Marie Antoinette and Mme. de Staël) and, with his wife and
baby, by François Gérard (court painter to Louis XVIII). Fries’s palace
in the Josefplatz was designed by one of the architects of Schönbrunn,
ˇ
the Emperor’s suburban summer residence, and it housed an elegant
—continued on page 38
MondaviArts.org | 37

private theater that was the site of frequent musical presentations. In
April 1800, Fries hosted what developed into a vicious piano-playing
competition between Beethoven and the visiting German virtuoso and
composer Daniel Steibelt (1765–1823), which Beethoven won in a
unanimous decision. Following that victory, Beethoven composed for
Fries two Sonatas for Violin ˇ and Piano (Op. 23 and 24) and the String
Quintet, Op. 29, whose dedications the Count eagerly accepted. Fries
remained among Beethoven’s most devoted patrons, providing him
with a regular stipend until he tumbled into bankruptcy in 1825 following
the Napoleonic upheavals; the Seventh Symphony of 1813 was
dedicated to Fries.
The F Major Sonata, “Spring,” one of Beethoven’s most limpidly beautiful
creations, is well characterized by its vernal sobriquet. The opening
movement’s sonata form is initiated by a gently meandering melody
first chanted by the violin. The grace-note-embellished subsidiary
subject is somewhat more vigorous in rhythm and chromatic in harmony,
but maintains the music’s bucolic atmosphere. Wave-form scales
derived from the main theme close the exposition. The development
section attempts to achieve a balance between a downward striding
arpeggio drawn from the second theme and flutters of rising triplet figures.
A full recapitulation and an extended coda based on the flowing
main theme round out the movement. The Adagio is a quiet flight of
wordless song, undulant in its accompanimental figuration and delicately
etched in its melodic arabesques. The tiny gossamer Scherzo is
the first such movement that Beethoven included in one of his Violin
Sonatas. The finale, a rondo that makes some unexpected digressions
into distant harmonic territories, is richly lyrical and sunny of disposition.
—Dr. Richard E. Rodda
Gabriela Martinez (piano), lauded by the New York Times as
“compelling, elegant and incisive,” Venezuelan pianist, is quickly
establishing a reputation and earning praise as a versatile artist who
combines “panache and poetry” (Dallas Morning News) with a “sense of
grace and clarity” (The Star Ledger).
Martinez has performed as orchestral soloist, chamber musician and
recitalist at such venues as Carnegie, Avery Fisher and Alice Tully
Hall, Grosses Festspielhaus in Salzburg; Semperoper in Dresden,
Tivoli Gardens in Copenhagen, Palace of Versailles (Paris); Snow
and Symphony Festival in St. Moritz; Festival de Radio France et
Montpellier, Festival dei Due Mondi and the Mostly Mozart, Ravinia,
Rockport, Verbier and Tokyo International Music Festivals. She has
appeared as soloist with the Chicago, New Jersey, Fort Worth, Pacific
and San Francisco symphonies; Stuttgarter Philharmoniker; MDR
Rundfunkorchester, Symphonisches Staatsorchester Halle; Tivoli
Philharmonic and regularly performs with the Simón Bolívar Youth
Symphony Orchestra with Gustavo Dudamel. An avid chamber
musician, she has collaborated with numerous musicians and
ensembles including Itzhak Perlman and the Takacs quartet.
Martinez has won numerous national and international prizes
and awards. Her most recent accomplishments include first prize
and audience award at the Anton Rubinstein International Piano
Competition in Dresden. She was a semifinalist at the 12th Van
Cliburn International Piano Competition, where she also received
a Jury Discretionary Award. She earned her Bachelor and Master of
Music degrees from The Juilliard School as a full scholarship student of
Yoheved Kaplinsky, and her doctorate in Germany with Marco Antonio
de Almeida. Since 2008, Martinez was appointed Concert Artist Faculty
at Kean University.
Elena Urioste (violin), recently selected as a BBC New Generation
Artist and featured on the cover of Symphony magazine, has been
hailed by critics and audiences for her rich tone, nuanced lyricism
and commanding stage presence. Since making her debut with
the Philadelphia Orchestra at age 13, she has appeared with major
orchestras in the U.S. and abroad including the London and New
York Philharmonics, the Cleveland Orchestra, the Boston Pops and
the Chicago, Atlanta, Detroit, Pittsburgh and National Symphony
Orchestras. Urioste has collaborated with acclaimed conductors Sir
Mark Elder, Keith Lockhart and Robert Spano; pianists Mitsuko Uchida
and Christopher O’Riley; cellists Carter Brey and Zuill Bailey and
violinists Shlomo Mintz and Cho-Liang Lin. She has been a featured
artist at the Marlboro, Ravini, and La Jolla music festivals, among
others.
Winner of Switzerland’s Sion International Violin Competition,
recipient of London Music Masters and Salon di Virtuosi career
grants and a Sphinx Medal of Excellence, Urioste has appeared on
NBC’s Today Show, Telemundo, Performance Today, From the Top and
the Emmy award-winning documentary Breaking the Sound Barrier.
Chosen by Latina Magazine as one of the “Future Fifteen,” she was
featured in the magazine’s 15th anniversary issue.
Urioste performs with an Alessandro Gagliano violin, Naples c. 1706,
and a Pierre Simon bow, both on generous extended loan from the
private collection of Dr. Charles E. King through the Stradivari Society
of Chicago.
10529-78289 License #577000881
38 | Mondavi Center Presents Program Issue 9: APR–may 2013

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Available at Varsity box office
Produced by
CINEMA and TECHNOCULTURAL STUDIES
ART STUDIO
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C o - s p o n s o r e d b y
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MondaviArts.org | 39

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Pre-Performance Talk Speakers:
David Ludwig and Roberto Díaz
David Ludwig’s music has been performed internationally by
leading musicians in some of the world’s most prestigious locations.
His music has been described as “arresting, dramatically
hued” (The New York Times), “supercharged with electrical
energy and raw emotion” (Fanfare) and that it “promises to
speak for the sorrows of this generation” (Philadelphia Inquirer).
NPR Music listed him as one of the Top 100 Composers Under
40 in the world in 2011. Commissions for prominent artists
and ensembles include soloists Jonathan Biss and Jaime Laredo,
ensembles like eighth blackbird and the PRISM quartet, and
orchestras including the Philadelphia, Minnesota and National
symphonies. He has held residencies with the Marlboro Music
School, the Isabella Gardner Museum and the MacDowell and
Yaddo artist colonies to name a few. Ludwig directs composition
programs at the Atlantic and Lake Champlain festivals
and is guest faculty at Yellow Barn. Born in Bucks County,
Pennsylvania, he holds degrees from Oberlin, the Manhattan
School of Music, Curtis and Juilliard, as well as a Ph.D. from
the University of Pennsylvania. Ludwig is on the composition
faculty of the Curtis Institute, where he serves as the artistic
chair of performance studies and as the director of the Curtis
20/21 Contemporary Music Ensemble.
40 | Mondavi Center Presents Program Issue 9: APR–may 2013

Curtis on Tour
Featuring Curtis 20/21 Ensemble
With Roberto Díaz, President & Viola
David Ludwig
Stanislav Chernyshev
Dana Cullen
Anna Davidson
Roberto Díaz
Arlen Hlusko
Zoë Martin-Doike
Patrick Williams
Xiaohui Yang
A Mondavi Center Add-On Event
Sunday, May 12, 2013 • 2PM
Vanderhoef Studio Theatre
Pre-Performance Talk
Sunday, May 12, 2013 • 1PM
Speakers: Curtis Institute of Music President Roberto
Díaz with David Ludwig, Curtis 20/21 Director
Sextet for Clarinet, Horn, Violin, Viola, Cello and Piano
Allegro moderato
Larghetto
Stanislav Chernyshev, Clarinet
Dana Cullen, Horn
Zoë Martin-Doike, Violin
Roberto Díaz, Viola
Arlen Hlusko, Cello
Xiaohui Yang, Piano
Intermission
Penderecki
Pierrot Lunaire, Op.21
Schoenberg
Part I:
Mondestrunken (“Moon Drunk”)
Columbine
Der Dandy (“The Dandy”)
Eine blasse Wäscherin (“An Ethereal Washerwoman”)
Valse de Chopin (“Chopin Waltz”)
—continued on page 42
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.
MondaviArts.org | 41

Madonna
Der kranke Mond (“The Sick Moon”)
Part II:
Nacht (Passacaglia) (“Night”)
Gebet an Pierrot (“Prayer to Pierrot”)
Raub (“Theft”)
Rote Messe (“Red Mass”)
Galgenlied (“Gallows Song”)
Enthauptung (“Beheading”)
Die Kreuze (“The Crosses”)
Part III:
Heimweh (“Homesickness”)
Gemeinheit! (“Vulgarity”)
Parodie (“Parody”)
Der Mondfleck (“The Moonspot”)
Serenade
Heimfahrt (Barcarole) (“Homeward Bound”)
O Alter Duft (“O Ancient Fragrance”)
Anna Davidson, Soprano
Patrick Williams, Flute
Stanislav Chernyshev, Clarinet
Zoë Martin-Doike, Violin
Arlen Hlusko, Cello
Xiaohui Yang, Piano
Program Notes
Sextet for Clarinet, Horn, Violin, Viola, Cello and Piano (2000)
Krzysztof Penderecki
(Born November 23, 1933, in Debica, Poland)
Krzysztof Penderecki (pen-de-RET-skee), born in 1933 in Debica, 70
miles east of Cracow, is the most significant Polish composer of his
generation and one of the most inspired and influential musicians to
emerge from Eastern Europe after World War II. His music first drew
attention at the 1959 competition sponsored by the Youth Circle of the
Association of Polish Composers when three of his works—entered
anonymously—each won first prize in its class. He gained international
fame only a year later with his Threnody to the Victims of Hiroshima,
winner of UNESCO’s “Tribune Internationale des Compositeurs.” His
stunning St. Luke Passion of 1966 enjoyed enormous success in Europe
and America, and led to a steady stream of commissions and performances.
During the mid-1960s, Penderecki began incorporating more
traditional techniques into his works without fully abandoning the
powerfully dramatic avant-garde style that energized his early music.
Utrenia (a choral setting of texts treating Christ’s Entombment and
Resurrection), the oratorio Dies Irae (dedicated to the memory of those
murdered at Auschwitz), the opera Paradise Lost, the Violin Concerto
and other important scores showed an increasing reliance on orthodox
Romanticism in their lyricism and introspection filtered through his
modern creative sensibility. Even though his compositions are filled
with fascinating aural events, Penderecki insists that these soundscapes
are not ends in themselves, but the necessary means to communicate
his vision. “I am not interested in sound for its own sake and never
have been,” wrote Penderecki. “Anyone can make a sound: a composer,
if he be a composer at all, must fashion it into an aesthetically satisfying
experience.”
Penderecki showed some interest in music during his early years by
taking lessons on piano and violin and writing a few pieces in traditional
style, but he enrolled at the University of Cracow when he
was 17 with the intention of studying humanities. Cracow’s musical
life excited his creative inclinations, however, and he began studying
composition privately with Franciszek Skołyszewski; a year later he
transferred to the Cracow Academy of Music as a composition student
of Artur Malewski and Stanislas Wiechowicz. Upon graduating from
the Academy in 1958, Penderecki was appointed to the school’s faculty
and soon began establishing an international reputation for his
compositions. In 1966, he went to Münster for the premiere of his St.
Luke Passion, and his presence and music made such a strong impression
in West Germany that he was asked to join the faculty of the
Volkwäng Hochschule für Musik in Essen. He returned to Cracow in
1972 to become director of the Academy of Music; while guiding the
school during the next 15 years, he also held an extended residency at
Yale University (1973–78). Penderecki has been active as a conductor
since 1972, appearing with leading orchestras worldwide, recording
many of his own works and serving as artistic director of the Cracow
Philharmonic (1987–90), music director of the Casals Festival in Puerto
Rico (1992–2002) and artistic advisor for the North German Radio
Symphony Orchestra in Hamburg (1988–92) and the Beijing Music
Festival (1998); he has been artistic advisor and a frequent conductor
of Warsaw’s Sinfonia Varsovia since 1997. Among Penderecki’s many
distinctions are the prestigious Grawemeyer Award from the University
of Louisville, Order of the White Eagle (Poland’s highest honor), Three
Star Order of Latvia, Prince of Asturias Award, Sibelius Gold Medal,
Fellowship in the Hong Kong Academy for Performing Arts, honorary
doctorates from several European and American universities and honorary
memberships in many learned academies.
Penderecki’s Sextet, composed in 2000 for that year’s Vienna Festwochen
(“Festival Weeks”), is in two expansive movements, the first fast and
energetic, the second slow and dramatic. The writing is virtuosic, the
sense of momentum inexorable and the instrumental interplay complex
and kaleidoscopic. The opening movement recalls traditional sonata
form in the broad unfolding of its expressive plan if not in its details.
An introduction in moderate tempo presents some thematic seeds
that are developed in the movement, most notably a heart-beat pulse
sounded low in the piano and a step-wise staccato motive with leaping
insertions begun by the clarinet and taken up by horn and then violin.
A sudden quickening of the tempo and chattering repeated-note figures
mark the arrival at the “first theme.” The pace slows for the cello
to present an idea with dotted rhythms, a sort of “second theme” in
its contrasting nature if not in its brief duration, which is given much
prominence as the movement progresses. The center of the movement
deals with the earlier motives and culminates in an episode in the
style of a bolero that is driven by a transformation of the piano’s heartbeat
figure from the opening measures. The large closing section (the
“recapitulation”) begins with the return of the quickened tempo and
the chattering figures. The movement concludes with a fiery coda that
suggests a demonic mutation of the bolero. The second movement is a
—continued on page 43
42 | Mondavi Center Presents Program Issue 9: APR–may 2013

study in half-steps, with much of its melodic motion based on neighboring
tones and chromatic scales, thus allowing the use of larger intervals
to help define its frequent moments of expressive intensity.
Pierrot Lunaire, Op. 21 (1912)
Arnold Schoenberg
(Born September 13, 1874, in Vienna; died July 13, 1951, in
Brentwood, California)
By 1912, Arnold Schoenberg, having succeeded in “emancipating the
dissonance” and abandoning traditional tonality in order to create a
more richly expressive musical art with his compositions following
the Piano Pieces, Op. 11 of 1908, had already established himself as
a high priest of modernity when the actress Albertine Zehme asked
him to write a new work for her. Frau Zehme was a specialist in melodrama,
the venerable German theatrical form in which a monologue
is spoken above a musical background, and she specified that the solo
part be for a speaker rather than for a singer. To fulfill the commission,
Schoenberg chose to set 21 of the 50 poems from the 1884 cycle
Pierrot Lunaire by the Belgian critic and dramatist Albert Giraud (1860–
1929). Schoenberg knew the poems not in their original French, however,
but in an 1892 translation, actually a thorough reworking into
German, by the playwright Erich Hartleben (1864–1905). (Schoenberg,
an avid numerologist, chose 21 poems to match the opus number of
the work.) To evoke the strong images of Giraud’s verses and to meet
Frau Zehme’s requirement, Schoenberg developed a startlingly innovative
style of vocal delivery that he called Sprechstimme—“Speaking-
Voice”—which required a delivery that is partly spoken and partly sung
(He had already experimented with Sprechstimme in his Gurrelieder
of 1900–01). The songs were composed quickly between March and
June 1912, some in a single day, and the actress began experimenting
with Sprechstimme as soon as Schoenberg had started work. She had
perfected the difficult new style by the time of the premiere (October
16, 1912, in Berlin, with Schoenberg conducting), and Pierrot Lunaire
was enthusiastically received by the public, though the critical response
was rather cool. Schoenberg toured Germany and Austria with Pierrot
during the winter, and it created a sensation at every performance (The
United States premiere occurred in New York in 1923). Except for the
Three Songs of Op. 22, it was the last music he was to write for the next
decade, the crucial time when he withdrew from active composition to
formulate his 12-tone theory.
Pierrot is the painted-face clown of French pantomime, descended
from the Italian commedia dell’ arte, who is “moon-struck” (“luna”—
“loony”—“Lunaire”) for love. By the late 19th century, Pierrot had
become an artistic vehicle for the depiction of deep emotions masked
by a carefree appearance, symbolizing the sufferings of a sensitive
person showing a happy face to the world (Frau Zehme dressed as
Columbine for the premiere; Schoenberg and the instrumentalists
were hidden behind screens). Schoenberg grouped the poems into
three parts comprising seven numbers each. In Part I, Pierrot, drunk,
is subject to a whirlpool of feelings and fantasies about love, sexual
longing, religious hysteria and neurasthenia. Part II finds him plunged
into a nightmare world of pillage, violence and blasphemy. He climbs
slowly from this murky depth in Part III, journeying toward his home
in sunny Bergamo and returning, at last, to the daylight world and
thoughts of a fabled, contented yesteryear. Though Schoenberg claimed
to have conceived the work in a “light, ironical, satirical tone” (Pierre
Boulez went so far as to call it “un ‘cabaret’ supérieur”), the words of
Pierrot Lunaire and their musical realizations form one of the most difficult
and challenging of all listening experiences. “In their intense and
morbid expressivity they seem to breath the stuffy atmosphere of that
enclosed nightmare world of expressionist German art in the decade
before 1914,” wrote the late Charles Rosen in his perceptive study of
the composer. “Even the wit and gaiety are macabre; against a background
of controlled hysteria, the moments of repose take on an air of
death ... To approach this work, we need a sympathy for the period in
which it was written (or at least a suspension of distaste).”
Each of Giraud’s poems was disposed in the form of a rondeau, an
ancient French 13-line genre in which lines one and two are repeated
as lines seven and eight and line one as line 13. Schoenberg virtually
ignored the rigor of the verses’ construction in his musical settings,
however, investing the work with an enormous formal and sonorous
variety. The ensemble of eight instruments played by five musicians
(piano, flute/piccolo, clarinet/bass clarinet, violin/viola and cello) is
disposed differently in each of the 21 numbers, with all of the instruments
heard only in the last song. The formal types range from a free,
non-repetitive stream of counterpoint (Enthauptung—“Decapitation”) to
one of the most tightly controlled and elaborate canons written since
the end of the Renaissance (Mondfleck—“Moonspot”).
—Dr. Richard E. Rodda
The Curtis Institute of Music educates and trains exceptionally
gifted young musicians for careers as performing artists on the highest
professional level. One of the world’s leading conservatories, Curtis
is highly selective, with an enrollment of about 165. In this intimate
environment, students receive personalized attention from a celebrated
faculty. A busy schedule of performances is at the heart of Curtis’s distinctive
“learn by doing” approach, which has produced an impressive
number of notable artists since the school’s founding in Philadelphia in
1924. Grounded in this rich heritage, Curtis is looking to the future in
a flexible and forward-thinking way, evolving strategically to serve its
time-honored mission.
Curtis 20/21, directed by David Ludwig, is flexible in size and
scope and performs a wide range of music from the 20th and 21st
centuries, including works by Curtis students and alumni. The
ensemble performs regularly at Curtis and has represented the school
at major U.S. venues and abroad. Curtis 20/21 has collaborated
with some of the most prominent artists of today, including eighth
blackbird, Matthias Pintscher and Charles Dutoit; and has presented
portrait concerts of iconic resident composers John Corigliano, George
Crumb and Joan Tower. (The New York Times wrote: “Ms. Tower could
hardly have hoped for more passionate performances.”) This season’s
composer-in-residence is 2005 Pulitzer Prize-winner Steven Stucky.
Stanislav Chernyshev (clarinet), from St. Petersburg, Russia,
entered the Curtis Institute of Music in 2009 and studies with Donald
Montanaro, former associate principal clarinet of the Philadelphia
Orchestra. All students at Curtis receive merit-based full-tuition scholarships,
and Chernyshev is the Stanley and Bertha Rogasner Fellow.
MondaviArts.org | 43

Dana Cullen (horn), from Reading, Pennsylvania, entered the Curtis
Institute of Music in 2010 and studies with Jennifer Montone, principal
horn of the Philadelphia Orchestra. All students at Curtis receive meritbased
full-tuition scholarships, and Cullen is the Schroder Investment
Management Annual Fellow.
Anna Davidson (soprano), from Los Angeles, entered the Curtis
Institute of Music in 2009 and studies in the opera program with
Marlena Kleinman Malas. All students at Curtis receive merit-based
full-tuition scholarships, and Davidson is the Lee Shlifer Annual Fellow.
Roberto Díaz (viola) is president and CEO of the Curtis Institute of
Music. As president of Curtis and a member of its viola faculty, and as
former principal viola of the Philadelphia Orchestra, Díaz has had a
significant impact on American musical life and will continue to do so
in his dual roles as performer and educator. He was principal viola of
the National Symphony under Mstislav Rostropovich, a member of the
Boston Symphony under Seiji Ozawa and a member of the Minnesota
Orchestra under Sir Neville Marriner.
Arlen Hlusko (cello) from Lowville, Ontario, entered the Curtis
Institute of Music in 2011 and studies with Carter Brey, principal cello
of the New York Philharmonic, and Peter Wiley, cello of the Guarneri
String Quartet. All students at Curtis receive merit-based full-tuition
scholarships, and Hlusko is the Jacqueline du Pré Memorial Fellow.
David Ludwig’s (director, Curtis 20/21) music has been performed
internationally by leading musicians in some of the world’s most
prestigious locations. Commissions for prominent artists and ensembles
include soloists Jonathan Biss and Jaime Laredo; ensembles like
eighth blackbird and the PRISM quartet; and orchestras including the
Philadelphia, Minnesota and National Symphony orchestras. Born
in Bucks County, Pennsylvania, he holds degrees from Oberlin, the
Manhattan School of Music, Curtis and Juilliard, as well as a Ph.D.
from the University of Pennsylvania. Ludwig is on the composition
faculty of Curtis, where he serves as the Gie and Lisa Liem artistic
chair of performance studies and artistic director of the Curtis 20/21
contemporary music ensemble.
Zoë Martin-Doike (violin), from Honolulu, entered the Curtis
Institute of Music in 2008 and studies with renowned violinist Pamela
Frank. All students at Curtis receive merit-based full-tuition scholarships,
and Martin-Doike is the Mitchell Family Annual Fellow.
Patrick Williams (flute) entered the Curtis Institute of Music in 2010
and studies with Jeffrey Khaner, principal flute of the Philadelphia
Orchestra. All students at Curtis receive merit-based full-tuition scholarships,
and Williams is the Gerry and Marguerite Lenfest Fellow.
Xiaohui Yang (piano), from Chaoyang, China, entered the Curtis
Institute of Music in 2008 and studies with renowned pianist Ignat
Solzhenitsyn. All students at Curtis receive merit-based full-tuition
scholarships, and Yang is the Michael and Cecilia Iacovella Capuzzi
Memorial Fellow.
HOT ITALIAN
MIDTOWN | PUBLIC MARKET
.NET
44 | Mondavi Center Presents Program Issue 9: APR–may 2013

MC
Debut
In Conversation with Ira Glass
Moderated by Daniel Handler
A Distinguished Speakers Series Event
Saturday, May 18, 2013 • 8PM
Jackson Hall
Individual support provided by Lor and Nancy Shepard.
Ira Glass is the host and creator of the public radio program This
American Life. The show premiered on Chicago’s public radio station
WBEZ in 1995 and is now heard on more than 500 public radio stations
each week by more than 1.7 million listeners. Most weeks, the
podcast of the program is the most popular podcast in America. The
show also airs each week on the CBC in Canada and on the Australian
Broadcasting Corporation’s radio network.
Question & Answer Session
Moderated by Daniel Handler
Questions & Answer Sessions take place in the theater
following the event.
Glass began his career as an intern at National Public Radio’s network
headquarters in Washington, D.C. in 1978, when he was 19 years old.
Over the years, he worked on nearly every NPR network news program
and held virtually every production job in NPR’s Washington headquarters.
He has been a tape cutter, newscast writer, desk assistant, editor
and producer. He has filled in as host of Talk of the Nation and Weekend
All Things Considered.
Under Glass’s editorial direction, This American Life has won the highest
honors for broadcasting and journalistic excellence, including several
Peabody and DuPont-Columbia awards. The American Journalism
Review declared that the show is “at the vanguard of a journalistic
revolution.”
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.
MondaviArts.org | 45

A television adaptation of This American Life ran on the Showtime network
for two seasons, in 2007 and 2008, winning three Emmy awards,
including Outstanding Nonfiction Series. The show has put out its own
comic book, three greatest hits compilations, DVDs of live shows and
other events, a “radio decoder” toy, temporary tattoos and a paint-bynumbers
set. Half a dozen stories are in development to become feature
films.
Glass is married and owns a disturbingly allergic dog.
Daniel Handler is the author of the literary novels The Basic Eight,
Watch Your Mouth and, most recently, Adverbs. Under the name Lemony
Snicket he has also written a sequence of books for children, known
collectively as A Series of Unfortunate Events, which have sold more than
60 million copies and were the basis of a feature film. His intricate
and witty writing style has won him numerous fans for his critically
acclaimed literary work and his wildly successful children’s books.
Born and raised in San Francisco, Handler attended Wesleyan
University and returned to his hometown after graduating. He cofounded
the magazine American Chickens! with illustrator Lisa Brown
(with whom he soon became smitten) and they moved to New York
City, where Handler eventually sold his first novel after working as a
book and film critic for several newspapers. He continued to write and
he and his wife returned to San Francisco, where they now live.
Handler has worked intermittently in film and music, most recently
in collaboration with composer Nathaniel Stookey on a piece commissioned
by the San Francisco Symphony, entitled The Composer Is Dead,
which has been performed all over the world and is now a book with
CD. An adjunct accordionist for the music group the Magnetic Fields,
he is also the author of Lemony Snicket: The Unauthorized Autobiography,
The Beatrice Letters, Horseradish: Bitter Truths You Can’t Avoid and two
books for Christmas: The Lump of Coal and The Latke Who Couldn’t
Stop Screaming: a Christmas Story. He is the screenwriter of the film
Rick, a revamp of the Verdi opera Rigoletto and the film adaptation of
Joel Rose’s novel Kill the Poor, and has written for The New York Times,
Newsday, San Francisco Chronicle, The Believer, Chickfactor and various
anthologies and was the chair of the Judging Panel for the National
Book Awards in Young People’s Literature, 2008. Most recently he has
collaborated with illustrator Maira Kalman on two books—a picture
book titled 13 Words, and a novel for young adults called Why We Broke
Up. Writing as Lemony Snicket he recently contributed a commentary
in the New American Haggadah. As Lemony Snicket he is also working
on a new series for children, the first book of which, Who Could That Be
at This Hour?, was released in October 2012. A picture book, The Dark,
is to be published in spring 2013. He is also working on a fourth novel
for adults.
Innovative Make Over Coming Fall 2012
www.hallmarkinn.com
(800)753-0035
46 | Mondavi Center Presents Program Issue 9: APR–may 2013

Lara Downes Family Concert
Gertrude McFuzz, Carnival of the Animals and more!
Photo by Rik Keller
Yertle the Tultle and Other Stories & © 1958
Dr. Suess Enterprises, L.P. Used by Permission. All rights reserved
A Hallmark Inn, Davis Children’s Stage Event
Sunday, May 19, 2013 • 3PM
Jackson Hall
Sponsored by
Carnival of the Animals
Introduction
Hens and Roosters
Tortoises
Elephant
Kangaroos
Aviary
The Swan
Finale
Saint-Säens
Davis High School Orchestra Ensemble
Havanaise
Alex Zhou, violin and Lara Downes, piano
Saint-Säens
Gertrude McFuzz
Anush Avetisyan, soprano
Lily Linaweaver, girl soprano
Lara Downes, piano
Davis High School Orchestra
Kapilow
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.
MondaviArts.org | 47

Lara Downes, piano
Alex Zhou, Violin (Mondavi Center Young Artists Competition, 2012)
Anush Avetisyan, Soprano (Mondavi Center Young Artists Competition,
2012)
Lily Linaweaver, Girl Soprano
Davis High School Orchestra
Angelo Moreno, Conductor
Mindy Cooper, Director
Christopher McCoy, Assistant Director
Please join Lara Downes, for a CD signing immediately following the performance.
“addicting” by the Huffington Post and “magnificent and different” by
Sequenza 21.
Downes is the founder and president of the 88 KEYS Foundation, a
non-profit organization that fosters opportunities for music experiences
and learning in America’s public schools, and she regularly works
and performs with the next generation of talented young musicians
as Curator of the Young Artists program at the Robert and Margrit
Mondavi Center for the Performing Arts, UC Davis, where she serves as
artist in residence. She is the artistic director of The Artist Sessions in
San Francisco, launching in April 2013. [Film design and production
by Brawlio Elias]
Lara Downes is a Steinway Artist. Worldwide representation for Lara
Downes: Inverne Price Music Consultancy
Lara Downes (piano), a captivating presence both on and off stage, is
a critically acclaimed American pianist who has garnered wide acclaim
as one of the most exciting and communicative pianists of today’s generation.
Lauded by NPR as “a delightful artist with a unique blend of
musicianship and showmanship” and praised by the Washington Post
for her stunning performances “rendered with drama and nuance,”
Downes presents the piano repertoire—from iconic favorites to newly
commissioned works—in new ways that bridge musical tastes, genres
and audiences.
As she continues to move the solo piano recital in exciting new directions,
Downes’s fresh interpretations bring her widespread acclaim.
Since making concert debuts at Queen Elizabeth Hall London, the
Vienna Konzerthaus and the Salle Gaveau Paris, she has won over
audiences at Carnegie Hall, Kennedy Center, Lincoln Center, the
American Academy Rome, San Francisco Performances, the University
of Vermont Lane Series, Montreal Chamber Music Festival, El Paso Pro
Musica Festival and the University of Washington World Series, among
many others. Her solo performance projects have received support
from prominent organizations such as the National Endowment for the
Arts, the Barlow Endowment for Music Composition and American
Public Media.
Downes’s chamber music appearances include collaborations with
other noted soloists and ensembles, including violinist Rachel Barton
Pine, cellist Zuill Bailey, the Alexander String Quartet and the Brubeck
Institute Jazz Quintet. Commissions and premieres of new works for
Downes have come from composers Aaron Jay Kernis, David Sanford,
Benny Golson, Eve Beglarian and Mohammed Fairouz, among others.
Downes has been heard nationwide on major radio programs, including
NPR’s Performance Today, WNYC’s New Sounds, WFMT’s Impromptu,
Texas Public Radio’s Classical Spotlight and WBGO’s Jazz Set. She is
featured in a documentary produced by WFMT Radio Network, syndicated
nationally in 2011.
In addition to the excitement Downes brings to the concert stage, her
solo recordings have met with tremendous critical and popular acclaim.
Her debut CD, Invitation to the Dance, was called “a magical recording”
by NPR, and her second release, American Ballads, was ranked
by Amazon.com among the four best recordings of American concert
music ever made. Dream of Me was praised for “exquisite sensitivity” by
American Record Guide and 13 Ways of Looking at the Goldberg was called
Anush Avetisyan (soprano) was awarded the Founders’ Prize for
Vocalist in the 2012 Mondavi Center Young Artists Competition. She
received her bachelor’s degree from UCLA in Vocal Performance where
she was a student of Vladimir Chernov. Avetisyan has most recently
been heard in UCLA’s Opera Gala singing the role of Amelia in excerpts
from Simon Boccanegra and the role of Leonora in an excerpt from La
forza del destino under the baton of Donald Neuen. She created the role
of Alice B. Toklas in the world premiere of a new chamber version of
Jonathan Sheffer’s Blood on the Dining Room Floor with text by Gertrude
Stein and is featured in a recording recently released with Sheffer conducting.
She has sung in Bach cantatas under Neuen and sang the role
of Barbarina in UCLA’s production of Le nozze di Figaro directed by
Peter Kazaras. Avetisyan recently won First Prize at the Palm Springs
Opera Competition and First Prize in the the New Century Singers
Whittier competition.
Mindy Cooper (director), a Broadway veteran for over 25 years, has
performed (Chicago, Titanic, Beauty and The Beast, Song & Dance and
Tenderloin) and choreographed (Dracula, Wrong Mountain and the soonbe-produced
Soul Doctor) on Broadway. As a director, she has worked
extensively around the country, including Off-Broadway, New York
Theater Workshop, Town Hall (NYC), Manhattan Theater Club, Koener
Hall (Toronto), Sacramento Music Circus and CenterRep, where her
work has won 10 Bay Area Theater Critics Awards. She most recently
directed the American premiere of the one-man show Men are from
Mars, Women are from Venus Live, coming soon to a theater near you.
She has also choreographed for TV, film, Industrials, commercials and
benefits, and is delighted to return to the Mondavi Center with Lara
Downes’ Family Concert.
Lily Linaweaver (soprano) is proud to be involved in the Gertrude
McFuzz performance at the Mondavi Center. Linaweaver is 10 years old
and a fifth grader at Pioneer Elementary in Davis. Linaweaver began
her love of singing at Davis Music Theater Company (DMTC) when
she was seven years old. She has performed in 11 musicals at DMTC
and has loved every minute of it. Her favorite roles were Veruca Salt
in Willy Wonka, and Gracie Shin in The Music Man. She most recently
completed The Davis Children’s Nutcracker where she stared as The
Mouse Queen. When she is not on stage, you can find her reading,
listening to music or hanging out with friends. Linaweaver would like
to thank her Mom, Dad and sister Chloe for their loving support. She
would also like to thank Lara Downes for this valuable experience.
48 | Mondavi Center Presents Program Issue 9: APR–may 2013

Angelo Moreno (conductor) is a graduate of UC Davis where he
received his bachelor of arts and master of arts in orchestral conducting
under the direction of D. Kern Holoman in 2002. Moreno
is a former member of the Napa Valley Philharmonic, in which he
served as Concert Master and soloist. Moreno has been directing the
DJUSD Secondary Orchestras since 2000. He was orchestra director at
Emerson Junior High and is currently the director of the Davis Senior
High and Holmes Junior High School Orchestra Programs. In addition
to his work in the public schools, Moreno is the director of the
Sacramento Youth Symphony, Academic Symphony Orchestra, which
he began conducting in the fall of 2002. In 2005, Moreno was awarded
Teacher of the Year presented by the CSUS College of Education in
recognition of outstanding service to public education. In 2006, he was
honored by State Assemblywoman Lois Wolk and given a resolution
from the California Legislature recognizing his work in music education.
Alex Zhou (violin) age 11, is currently a student of Zhao Wei at the
San Francisco Conservatory of Music. He began to study the violin
with Kwok-Ping Koo at six. Zhou has won first place at the 2010
Junior Menuhin-Dowling Competition, first place at the 2011 Pacific
Musical Society Competition, first place and Best Chinese Piece at the
2011 CMTANC Competition, Grand Prize in the Junior Division at the
Mondavi Center Young Artists Competition, Instrumental first prize
winner at the 2012 CYS Concerto Competition and first place in Group
A at the 2012 Andrea Postacchini International Violin Competition in
Italy. He has also attended the Music@Menlo Chamber Music Festival
& Institute twice and the 2010 Steinway Society Festival & Master
class. In 2009, he was invited to play at Weill Recital Hall in Carnegie
Hall for the American Fine Arts Festival. In July 2012, he was invited
to perform at the Concerts at the Presidio series in San Francisco. He
has also appeared on National Public Radio’s From the Top with pianist
Christopher O’Riley in October 2012. He is currently in the sixth grade
at The King’s Academy in Sunnyvale. Aside from music, Alex likes to
read and play tennis.
MAy 23
A U C T
A T
I O N
S E A S O N
2013
T H E C R O C K E R
JUNE 1
Complimentary
Mondavi Dessert
Special
TITlE SpONSORS
crockerartmuseum.org
MondaviArts.org | 49

The Art of
Giving
Mondavi Center Donors
are dedicated arts patrons whose gifts to the
Mondavi Center are a testament to the value
of the performing arts in our lives.
Mondavi Center is deeply grateful for the
generous contributions of the dedicated
patrons who give annual financial support
to our organization. These donations are an
important source of revenue for our program,
as income from ticket sales covers less than
half of the actual cost of our performance
season.
Gifts to the Mondavi Center strengthen and
sustain our efforts, enabling us not only to
bring memorable performances by worldclass
artists to audiences in the capital region
each year, but also to introduce new generations
to the experience of live performance
through our Arts Education Program, which
provides arts education and enrichment
activities to more than 35,000 K-12 students
annually.
Legacy Circle
During this 10th Anniversary season, we are pleased to
announce the creation of the Mondavi Center Legacy Circle,
an honorary society that recognizes our supporters who have
remembered the Center in their estate plans. These gifts make
a difference for the future of performing arts, and we are most
grateful.
Please join us in thanking our founding Legacy Circle members:
Wayne and Jacque Bartholomew
John and Lois Crowe
Anne Gray
Margaret E. Hoyt
Barbara K. Jackson
Jerry and Marguerite Lewis
Don McNary
Verne E. Mendel
Kay E. Resler
Hal and Carol Sconyers
Anonymous
For more information on
supporting the Mondavi Center,
visit MondaviArts.org or call 530.754.5438.
If you have already named the Mondavi Center in your own estate
plans, we thank you. We would love to hear of your giving plans
so that we may express our appreciation.
If you are interested in learning about planned giving opportunities
to help the Mondavi Center bring performing arts to future
generations, please contact Ali Morr Kolozsi, Director of Major
Gifts and Planned Giving (530) 754-5420 or amkolozsi@ucdavis.edu.
50 | Mondavi Center Presents Program Issue 9: APR–may 2013

Donors
Impresario Circle
$25,000 and above
John and Lois Crowe †*
Barbara K. Jackson †*
virtuoso Circle
$15,000 – $24,999
Joyce and Ken Adamson
Friends of Mondavi Center
Ann and Gordon Getty Foundation
Anne Gray †*
Mary B. Horton*
William and Nancy Roe *
Lawrence and Nancy Shepard
Tony and Joan Stone †
Joe and Betty Tupin †*
Maestro Circle
$10,000 – $14,999
Wayne and Jacque Bartholomew †*
Ralph and Clairelee Leiser Bulkley*
Thomas and Phyllis Farver*
Dolly and David Fiddyment
Robert and Barbara Leidigh
Mary Ann Morris*
Carole Pirruccello, John and
Eunice Davidson Fund
Larry and Rosalie Vanderhoef †*
Dick and Shipley Walters*
And one donor who prefers
to remain anonymous
Benefactors Circle
$6,500 – $9,999
Camille Chan †
Michael and Betty Chapman †
Cecilia Delury and Vince Jacobs †
Patti Donlon †
Wanda Lee Graves
Samia and Scott Foster
Benjamin and Lynette Hart †*
Lorena Herrig
Margaret Hoyt
Bill Koenig and Jane O’Green Koenig
Greiner Heating and A/C, Inc.
Hansen Kwok
Garry Maisel
Stephen Meyer and Mary Lou Flint †
Randall E. Reynoso †
and Martin Camsey
Grace and John Rosenquist
Raymond Seamans
Jerome Suran and Helen Singer Suran *
Producers Circle $3,250 – $6,499
Neil and Carla Andrews
Jeff and Karen Bertleson
Cordelia S. Birrell
California Statewide Certified Development Corporation
Neil and Joanne Bodine
Mr. Barry and Valerie Boone
Brian Tarkington and Katrina Boratynski
Robert and Wendy Chason
Chris and Sandy Chong*
Michele Clark and Paul Simmons
Tony and Ellie Cobarrubia*
Claudia Coleman
Eric and Michael Conn
Nancy DuBois*
Merrilee and Simon Engel
Charles and Catherine Farman
Andrew and Judith Gabor
Henry and Dorothy Gietzen
Kay Gist in Memory of John Gist
Ed and Bonnie Green*
Robert and Kathleen Grey
Diane Gunsul-Hicks
Charles and Ann Halsted
Judith and William Hardardt*
Dee and Joe Hartzog
The One and Only Watson
Charles and Eva Hess
Suzanne Horsley*
Dr. Ronald and Lesley Hsu
Jerry and Teresa Kaneko*
Dean and Karen Karnopp*
Nancy Lawrence, Gordon Klein and Linda Lawrence
Brian and Dorothy Landsberg
Ed and Sally Larkin*
Drs. Richard Latchaw and Sheri Albers
Ginger and Jeffrey Leacox
Claudia and Allan Leavitt
Yvonne LeMaitre
Shirley and Joseph LeRoy
Nelson Lewallyn and Marion Pace-Lewallyn
Dr. Clare Hasler-Lewis and Cameron Lewis
Dr. Ashley and Shiela Lipshutz
Paul and Diane Makley*
Kathryn Marr
Verne Mendel*
Jeff and Mary Nicholson
Grant and Grace Noda*
Alice Oi
Philip and Miep Palmer
Gerry and Carol Parker
Susan Strachan and Gavin Payne
Sue and Brad Poling
Lois and Dr. Barry Ramer
David Rocke and Janine Mozée
Roger and Ann Romani*
Hal and Carol Sconyers*
Ellen Sherman
Wilson and Kathryn R. Smith
Tom and Meg Stallard*
Tom and Judy Stevenson*
Priscilla Stoyanof and David Roche
David Studer and Donine Hedrick
Nancy and Robert Tate
Rosemary and George Tchobanoglous
† Mondavi Center Advisory Board Member
* Friends of Mondavi Center
MondaviArts.org | 51

Nathan and Johanna Trueblood
Ken Verosub and Irina Delusina
Jeanne Hanna Vogel
Claudette Von Rusten
John Walker and Marie Lopez
Cantor & Company, A Law Corporation
Patrice White
Robert and Joyce Wisner*
Richard and Judy Wydick
And three donors who prefer
to remain anonymous
Directors Circle $1,250 – $3,249
Ezra and Beulah Amsterdam
Russell and Elizabeth Austin
In Honor of Barbara K. Jackson
Murry and Laura Baria*
Lydia Baskin In Memory of Ronald Baskin*
Drs. Noa and David Bell
Daniel R. Benson
Kay and Joyce Blacker*
Jo Anne Boorkman*
Clyde and Ruth Bowman
Edwin Bradley
Linda Brandenburger
Patricia Brown*
Robert Burgerman and Linda Ramatowski
Jim and Susie Burton
Davis and Jan Campbell
David J. Converse, ESQ.
Jim and Kathy Coulter*
John and Celeste Cron*
Jay and Terry Davison
Bruce and Marilyn Dewey
Martha Dickman*
Dotty Dixon*
DLMC Foundation
Richard and Joy Dorf
Wayne and Shari Eckert
Sandra and Steven Felderstein
Nancy McRae Fisher
Carole Franti*
Paul J. and Dolores L. Fry Charitable Fund
Christian Sandrock and Dafna Gatmon
Karl Gerdes and Pamela Rohrich
Fredric Gorin and Pamela Dolkart Gorin
Patty and John Goss*
Jack and Florence Grosskettler*
In Memory of William F. McCoy
Tim and Karen Hefler
Sharna and Mike Hoffman
John and Magda Hooker
Sarah and Dan Hrdy
Ruth W. Jackson
Clarence and Barbara Kado
Barbara Katz
Joshua Kehoe and Jia Zhao
Thomas Lange and Spencer Lockson
Mary Jane Large and Marc Levinson
Hyunok Lee and Daniel Sumner
Lin and Peter Lindert
David and Ruth Lindgren
Angelique Louie
Natalie and Malcolm MacKenzie*
Douglas Mahone and Lisa Heschong
Dennis H. Mangers and Michael Sestak
Susan Mann
Marilyn Mansfield
John and Polly Marion
Yvonne L. Marsh
Robert Ono and Betty Masuoka
Shirley Maus*
Janet Mayhew*
Ken McKinstry
Mike McWhirter
Joy Mench and Clive Watson
John Meyer and Karen Moore
Eldridge and Judith Moores
Barbara Moriel
Augustus and Mary-Alice Morr
Patricia and Surl Nielsen
John and Misako Pearson
Bonnie A. Plummer*
Prewoznik Foundation
Linda and Lawrence Raber*
Kay Resler*
Christopher Reynolds and Alessa Johns
Tom Roehr
Don Roth and Jolán Friedhoff
Liisa Russell
Beverly Babs Sandeen and Marty Swingle
Ed and Karen Schelegle
The Schenker Family
Neil and Carrie Schore
Bonnie and Jeff Smith
Ronald and Rosie Soohoo*
Richard L. Sprague and Stephen C. Ott
Maril Revette Stratton and Patrick Stratton
Brandt Schraner and Jennifer Thornton
Denise Verbeck and Rovida Mott
Donald Walk, M.D.
Louise and Larry Walker
Geoffrey and Gretel Wandesford-Smith
Barbara D. Webster
Weintraub Family
Dale L. and Jane C. Wierman
Paul Wyman
Yin and Elizabeth Yeh
And nine donors who prefer to remain
anonymous
Encore Circle $600 – $1,249
Aboytes Family
Michelle Adams
Mitzi Aguirre
Paul and Nancy Aikin
Gregg T. Atkins and Ardith Allread
Merry Benard
Donald and Kathryn Bers*
Marion Bray
Rosa Marquez and Richard Breedon
Irving and Karen Broido*
Dolores and Donald Chakerian
Gale and Jack Chapman
William and Susan Chen
John and Cathie Duniway
Mark E. Ellis and Lynn Shapiro
Doris and Earl Flint
Murray and Audrey Fowler
Dr. Deborah and Brook Gale
Paul and E. F. Goldstene
David and Mae Gundlach
Robin Hansen and Gordon Ulrey
John and Katherine Hess
Barbara and Robert Jones
Mary Ann and Victor Jung
Robert Kingsley and Melissa Thorme
Paula Kubo
Charlene Kunitz
Frances and Arthur Lawyer*
Dr. Henry Zhu and Dr. Grace Lee
Kyoko Luna
Debbie and Stephen
Wadsworth-Madeiros
Maria M. Manoliu
Gary C. and Jane L. Matteson
Catherine McGuire
Robert and Helga Medearis
Suzanne and Donald Murchison
Robert and Kinzie Murphy
Linda Orrante and James Nordin
Frank Pajerski
John Pascoe and Susan Stover
Jerry L. Plummer and Gloria G. Freeman
Larry and Celia Rabinowitz
J. and K. Redenbaugh
John and Judith Reitan
Jeep and Heather Roemer
Tom and Joan Sallee
The Shepard Family
The Shepard Gusfield Family
Jeannie and Bill Spangler
Edward and Sharon Speegle
Elizabeth St. Goar
Sherman and Hannah Stein
Les and Mary Stephens De Wall
Judith and Richard Stern
Eric and Patricia Stromberg*
Lyn Taylor and Mont Hubbard
Roseanna Torretto*
Henry and Lynda Trowbridge*
Steven and Andrea Weiss*
Denise and Alan Williams
Kandi Williams and Dr. Frank Jahnke
Ardath Wood
Bob and Chelle Yetman
Karl and Lynn Zender
And three donors who prefer to
remain anonymous
Indulge
Fine ITALIAN CUISINE
2657 Portage Bay
East, Davis CA 95616
(530) 758-1324
osteriafasulo.com
FREE PARKING
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52 | Mondavi Center Presents Program Issue 9: APR–may 2013

Orchestra Circle $300 – $599
Drs. Ralph and Teresa Aldredge
Thomas and Patricia Allen
Fred Arth and Pat Schneider
Michael and Shirley Auman*
Frederic and Dian Baker
Beverly and Clay Ballard
Delee and Jerry Beavers
Carol Beckham and
Robert Hollingsworth
Mark and Betty Belafsky
Carol L. Benedetti
Bob and Diane Biggs
Dr. Gerald Bishop
Al Patrick and Pat Bissell
Donna Anderson and Stephen Blake
Fred and Mary Bliss
Elizabeth Bradford
Paul Braun
Margaret E. Brockhouse
Christine and John Bruhn
Manuel Calderon De La Barca Sanchez
Jackie Caplan
Michael and Louise Caplan
Anne and Gary Carlson
Amy Chen and Raj Amirtharajah
Frank Chisholm
Betty M. Clark
Wayne Colburn
Mary Anne and Charles Cooper
James and Patricia Cothern
David and Judy Covin
Robert Crummey and
Nancy Nesbit Crummey
Larry Dashiell and Peggy Siddons
Sue Drake*
Thomas and Eina Dutton
Dr. and Mrs. John Eisele
Mark E. Ellis and Lynn Shapiro
Leslie Faulkin
Janet Feil
David and Kerstin Feldman
Lisa Foster and Tom Graham
Sevgi and Edwin Friedrich*
Marvin and Joyce Goldman
Judy and Gene Guiraud
Darrow and Gwen Haagensen
Sharon and Don Hallberg
Marylee Hardie
David and Donna Harris
Roy and Miriam Hatamiya
Cynthia Hearden*
Mary Helmich
Lenonard and Marilyn Herrmann
Fred Taugher and Paula Higashi
Darcie Houck
B.J. Hoyt
Pat and Jim Hutchinson*
Don and Diane Johnston
Weldon and Colleen Jordan
Nancy Gelbard and David Kalb
Ruth Ann Kinsella*
Joseph Kiskis
Kent and Judy Kjelstrom
Peter Klavins and Susan Kauzlarich
Allan and Norma Lammers
Darnell Lawrence
Ruth Lawrence
Carol Ledbetter
The Lenk-Sloane Family
Dr. and Mrs. Stanley Levin
Ernest and Mary Ann Lewis*
Michael and Sheila Lewis*
Sally Lewis
Melvyn Libman
Jeffrey and Helen Ma
Bunkie Mangum
Pat Martin*
Yvonne Clinton-Mazalewski
and Robert Mazalewski
Gerrit Michael
Nancy Michel
Hedlin Family
Robert and Susan Munn*
William and Nancy Myers
Bill and Anna Rita Neuman
K. C. N
Dana K. Olson
John and Carol Oster
Sally Ozonoff and Tom Richey
John and Sue Palmer
John and Barbara Parker
John and Deborah Poulos
Jerry and Ann Powell*
Harriet Prato
John and Alice Provost
J. David Ramsey
John and Rosemary Reynolds
Guy and Eva Richards
Sara Ringen
Tracy Rodgers and Richard Budenz
Sharon and Elliott Rose*
Bob and Tamra Ruxin
Dwight E. and Donna L. Sanders
Mark and Ita Sanders*
Eileen and Howard Sarasohn
John and Joyce Schaeuble
Robert and Ruth Shumway
Michael and Elizabeth Singer
Judith Smith
Robert Snider
Al and Sandy Sokolow
Tim and Julie Stephens
Karmen Streng
Pieter Stroeve, Diane Barrett
and Jodie Stroeve
Kristia Suutala
Tony and Beth Tanke
Cap and Helen Thomson
Virginia Thresh
Dennis and Judy Tsuboi
Peter Van Hoecke
Ann-Catrin Van, Ph.D.
Robert Vassar
Rita Waterman
Jeanne Wheeler
Charles White and Carrie Schucker
James and Genia Willett
Iris Yang and G. Richard Brown
Wesley and Janet Yates
Jane Yeun and Randall Lee
Ronald M. Yoshiyama
Hanni and George Zweifel
And six donors who prefer to remain
anonymous
Mainstage Circle $100 – $299
Leal Abbott
Thomas and Betty Adams
Mary Aften
John and Jill Aguiar
Susan Ahlquist
The Akins
Jeannie Alongi
David and Penny Anderson
Valerie Jeanne Anderson
Elinor Anklin and George Harsch
Alex and Janice Ardans
Debbie Arrington
Jerry and Barbara August
Alicia Balatbat*
George and Irma Baldwin
Charlotte Ballard and Robert Zeff
Charles and Diane Bamforth*
Elizabeth Banks
Michele Barefoot and Luis Perez-Grau
Carole Barnes
Connie Batterson
Paul and Linda Baumann
Lynn Baysinger*
Janet and Steve Collins
Robert and Susan Benedetti
William and Marie Benisek
Alan and Kristen Bennett
Robert C. and Jane D. Bennett
Mrs. Vilmos Beres
Bevowitz Family
Boyd and Lucille Bevington
Robert and Sheila Beyer
John and Katy Bill
Andrea Bjorklund and Sean Duggan
Sam and Caroline Bledsoe
Bobbie Bolden
William Bossart
Brooke Bourland*
Mary A. and Jill Bowers
Alf and Kristin Brandt
Robert and Maxine Braude
Dan and Millie Braunstein*
Edelgard Brunelle*
Linda Clevenger and Seth Brunner
Don and Mary Ann Brush
Martha Bryant
Mike and Marian Burnham
Dr. Margaret Burns and Dr. Roy W. Bellhorn
Victor W. Burns
William and Karolee Bush
John and Marguerite Callahan
Lita Campbell*
John and Nancy Capitanio
James and Patty Carey
Michael and Susan Carl
Hoy Carman
Jan Carmikle, ‘87 ‘90
Bruce and Mary Alice Carswell*
John and Joan Chambers
Caroline Chantry and James Malot
Dorothy Chikasawa*
Rocco Ciesco
Gail Clark
L. Edward and Jacqueline Clemens
James Cline
Stephan Cohen
Stuart Cohen
Sheri and Ron Cole
Harold E. Collins
Janet and Steve Collins
David Combies
Ann Brice
Rose Conroy
Terry Cook
Nicholas and Khin Cornes
Fred and Ann Costello
Catherine Coupal*
Victor Cozzalio and Lisa Heilman-Cozzalio
Crandallicious Clan
Mrs. Shauna Dahl
Robert Bushnell, DVM and
Elizabeth Dahlstrom-Bushnell*
John and Joanne Daniels
Nita Davidson
Mary H. Dawson
Judy and David Day
Carl and Voncile Dean
Joel and Linda Dobris
Gwendolyn Doebbert and Richard Epstein
Val and Marge Dolcini*
John and Margaret Drake
Anne Duffey
Marjean DuPree
John Paul Dusel Jr.
Harold and Anne Eisenberg
Eliane Eisner
Robert Hoffman
Allen Enders
Randy Beaton and Sidney England
Carol Erickson and David Phillips
Evelyn Falkenstein
Andrew D. and Eleanor E. Farrand*
Ophelia and Michael Farrell
Richard D. Farshler
Eric Fate
Liz and Tim Fenton
Steven and Susan Ferronato
Bill and Margy Findlay
Dave Firenze
Kieran and Marty Fitzpatrick
Bill and Judy Fleenor*
David and Donna Fletcher
Alfred Fong
Glenn Fortini
Marion Franck and Bob Lew
Frank Brown
Andrew and Wendy Frank
Marion Rita Franklin*
William E. Behnk and Jennifer D. Franz
Anthony and Jorgina Freese
Larry Friedman
Kerim and Josina Friedrich
Joan M. Futscher
Myra A. Gable
Lillian Gabriel
Charles and Joanne Gamble
Tony Cantelmi
Peggy Gerick
Patrice and Chris Gibson*
Mary Gillis
Eleanor Glassburner
Louis J. Fox and Marnelle Gleason*
Pat and Bob Gonzalez*
MondaviArts.org | 53

Michele Tracy and Dr. Michael Goodman
Victor and Louise Graf
Jeffrey and Sandra Granett
Steve and Jacqueline Gray*
Tom Green
David and Kathy Greenhalgh
Paul and Carol Grench
Alex and Marilyn Groth
Janine Guillot and Shannon Wilson
June and Paul Gulyassy
Wesley and Ida Hackett*
Jane and Jim Hagedorn
Frank and Rosalind Hamilton
William and Sherry Hamre
Pat and Mike Handley
Jim and Laurie Hanschu
N. Tosteson-Hargreaves
Michael and Carol Harris
Richard and Vera Harris
Cathy Brorby and Jim Harritt
Sally Harvey*
Sharon Heath-Pagliuso
Paul and Nancy Helman
Martin Helmke and Joan Frye Williams
Roy and Dione Henrickson
Rand and Mary Herbert
Eric Herrgesell, DVM
Jeannette Higgs*
Larry and Elizabeth Hill
Bette Hinton and Robert Caulk
Calvin Hirsch and Deborah Francis
Frederick and Tieu-Bich Hodges
Michael and Margaret Hoffman
Garnet Holden
Mr. and Mrs. Hoots*
Herb and Jan Hoover
Steve and Nancy Hopkins
David and Gail Hulse
Eva Peters Hunting
Lorraine Hwang
Marta Induni
Jane and John Johnson*
Tom and Betsy Jennings
Dr. and Mrs. Ronald C. Jensen
Carole and Phil Johnson
Steve and Naomi Johnson
Michelle Johnston and Scott Arranto
Warren and Donna Johnston
In Memory of Betty and Joseph Baria
Andrew and Merry Joslin
Martin and JoAnn Joye*
Fred and Selma Kapatkin
Shari and Tim Karpin
Anthony and Elizabeth Katsaris
Yasuo Kawamura
Phyllis and Scott Keilholtz*
Patricia Kelleher*
Charles Kelso and Mary Reed
Dave Kent
Dr. Michael Sean Kent
Robert and Cathryn Kerr
Frank Kieffer
Gary and Susan Kieser
Larry Kimble and Louise Bettner
Bob and Bobbie Kittredge
Dorothy Klishevich
Mary Klisiewicz*
Paulette Keller Knox
Paul Kramer
Nina and David Krebs
Marcia and Kurt Kreith
Sandra Kristensen
Leslie Kurtz
Cecilia Kwan
Don and Yoshie Kyhos
Ray and Marianne Kyono
Corrine Laing
Bonnie and Kit Lam*
Marsha M. Lang
Susan and Bruce Larock
Leon E. Laymon
Peggy Leander*
Marceline Lee
The Hartwig-Lee Family
Nancy and Steve Lege
Joel and Jeannette Lerman
Evelyn A. Lewis
David and Susan Link
Motoko Lobue
Henry Luckie
Robert and Patricia Lufburrow
Linda Luger
Ariane Lyons
Edward and Susan MacDonald
Leslie Macdonald and Gary Francis
Kathleen Magrino*
Debbie Mah and Brent Felker*
Alice Mak and Wesley Kennedy
Renee Maldonado*
Vartan Malian
Julin Maloof and Stacey Harmer
Joan Mangold
Marjorie March
Joseph and Mary Alice Marino
Pamela Marrone and Mick Rogers
Dr. Carol Marshall
Donald and Mary Martin
J. A. Martin
Bob and Vel Matthews
Leslie Maulhardt
Katherine Mawdsley*
Karen McCluskey*
Doug and Del McColm
Nora McGuinness*
Donna and Dick McIlvaine
Tim and Linda McKenna
R. Burt and Blanche McNaughton*
Richard and Virginia McRostie
Martin A. Medina and Laurie Perry
Cliva Mee and Paul Harder
Julie Mellquist
Barry Melton and Barbara Langer
Sharon Menke
The Merchant Family
Roland and Marilyn Meyer
Fred and Linda J. Meyers*
Beryl Michaels and John Back
Leslie Michaels and Susan Katt
Eric and Jean Miller
Lisa Miller
Phyllis Miller
Sue and Rex Miller
Douglas Minnis
Kathy and Steve Miura*
Kei and Barbara Miyano
Vicki and Paul Moering
Joanne Moldenhauer
Lloyd and Ruth Money
Mr. and Mrs. Ken Moody
Amy Moore
Hallie Morrow
Marcie Mortensson
Barbara Mortkowitz*
Robert and Janet Mukai
The Muller Family
Terence and Judith Murphy
Steve Abramowitz and Alberta Nassi
Judy and Merle Neel
Sandra Negley
Nancy and Chris Nelle
Romain Nelsen
Margaret Neu*
Jack Holmes and Cathy Neuhauser
Robert Nevraumont and
Donna Curley Nevraumont*
Keri Mistler and Dana Newell
Jenifer Newell*
Janet Nooteboom
Forrest Odle
Jim and Sharon Oltjen
Marvin O’Rear
Mary Jo Ormiston*
Bob and Elizabeth Owens
Jessie Ann Owens
Mike and Carlene Ozonoff*
Thomas Pavlakovich and
Kathryn Demakopoulos
Bob and Marlene Perkins
Ann Peterson and Marc Hoeschele
Harry Phillips
Pat Piper
Drs. David and Jeanette Pleasure
Jane Plocher
Bob and Vicki Plutchok
Bea and Jerry Pressler
Ashley Prince*
Diana Proctor
Dr. and Ms. Rudolf Pueschel
Evelyn and Otto Raabe
Edward and Jane Rabin
Dr. Anne-Louise and Dr. Jan Radimsky
Lawrence and Norma Rappaport
Olga Raveling
Sandi Redenbach*
Mrs. John Reese, Jr.
Martha Rehrman*
Michael A. Reinhart and Dorothy Yerxa
Eugene and Elizabeth Renkin
Francis Resta
David and Judy Reuben*
Al and Peggy Rice
Joyce Rietz
Ralph and Judy Riggs*
Peter Rodman
Richard and Evelyne Rominger
Barbara and Alan Roth
Cathy and David Rowen
Chris and Melodie Rufer
Paul and Ida Ruffin
Francisca Ruger
Kathy Ruiz
Michael and Imelda Russell
Hugh and Kelly Safford
Dr. Terry Sandbek and Sharon Billings*
Fred and Polly Schack
Patsy Schiff
Tyler Schilling
Julie Schmidt*
Janis J. Schroeder and Carrie L. Markel
Brian A. Sehnert and Janet L. McDonald
Andreea Seritan
Dan Shadoan and Ann Lincoln
Jill and Jay Shepherd
Ed Shields and Valerie Brown
The Shurtz
Dr. and Mrs. R.L. Siegler
Sandra and Clay Sigg
Marion E. Small
Brad and Yibi Smith
James Smith
Jean Snyder
Roger and Freda Sornsen
Curtis and Judy Spencer
Marguerite Spencer
Miriam Steinberg
Harriet Steiner and Miles Stern
Johanna Stek
Raymond Stewart
Ed and Karen Street*
Deb and Jeff Stromberg
Yayoi Takamura
Constance Taxiera*
Stewart and Ann Teal*
Francie F. Teitelbaum
Julie A. Theriault, PA-C
Janet and Karen Thome
Brian Toole
Lola Torney and Jason King
Robert and Victoria Tousignant
Benjamen Tracey and Beth Malinowski
Michael and Heidi Trauner
Rich and Fay Traynham
Elizabeth Treanor
Mr. Michael Tupper
James E. Turner
Barbara and Jim Tutt
Liza Tweltridge*
Robert Twiss
Mr. Ananda Tyson
Nancy Ulrich*
Gabriel Unda
Ramon and Karen Urbano
Chris and Betsy Van Kessel
Diana Varcados
Bart and Barbara Vaughn*
Richard and Maria Vielbig
Don and Merna Villarejo
Charles and Terry Vines
Catherine Vollmer
Rosemarie Vonusa*
Evelyn Matteucci and Richard Vorpe
Carolyn Waggoner*
Carol Walden
Andrew and Vivian Walker
Anthony and Judith Warburg
Marny and Rick Wasserman
Caroline and Royce Waters
Dan and Ellie Wendin*
Douglas West
Martha S. West
Robert and Leslie Westergaard*
Susan Wheeler
Carol Marie White*
Linda K. Whitney
Mrs. Jane L. Williams
Marsha L. Wilson
Janet Winterer
Henry and Judy Wolf*
Dr. Harvey Wolkov
Jennifer and Michael Woo
Timothy and Vicki Yearnshaw
Jeffrey and Elaine Yee*
Norman and Manda Yeung
Sharon and Doyle Yoder
Phillip and Iva Yoshimura
Heather Young
In Memory of Larry Young
Larry Young and Nancy Edwards
Phyllis Young
Verena Leu Young
Medardo and Melanie Zavala
Drs. Matthew and Meghan Zavod
Phyllis and Darrel Zerger*
Sonya and Tim Zindel
Mark and Wendy Zlotlow
And 44 donors who prefer to remain
anonymous
CORPORATE
MATCHING GIFTS
Bank of America Matching Gifts
Program
Chevron/Texaco Matching Gift Fund
DST Systems
U.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.
Aggie Arts Students/Members
Rob Epstein
Aide B. Mora
54 | Mondavi Center Presents Program Issue 9: APR–may 2013

School Outreach
K-12 student outreach is a major purpose among the activities of the
Friends of Mondavi Center. Two Friends committees are dedicated solely
to engaging students in live performance: School Outreach, chaired by
Karen Street, and School Matinee Support, chaired by Lydia Baskin.
Friends on the School Outreach Committee visit schools to establish relationships
with the principal by delivering materials on Mondavi Center
Arts Education school matinees, docent-led Pre-matinee Classroom Talks
and Mondavi Center Tours. A sub-committee of School Outreach provides
transportation for visiting artists who give master classes at schools in the
region.
The core responsibility of the School Outreach Committee, however, is to
administer funds raised at Friends’ events for the School Matinee Ticket
Program. Annually, the committee selects schools and targeted school
programs to receive tickets to a Mondavi Center school matinee, students
may not otherwise have an opportunity to attend a performance at the
Mondavi Center. These schools are chosen based on an application process
that ensures the principals’ support. For the 2012–13 season, 2,352
tickets have been distributed for students and their chaperones to attend
student matinees.
The School Matinee Support Committee includes a program in which
docents visit classrooms before a matinee to prepare students for their visit
to the Mondavi Center. Docent guide writers prepare extensive materials
for the classroom visits and docent schedulers orchestrate the visits, offering
docent visits to any class attending a matinee. During the 2012/2013
season, docents have visited classrooms in Davis, Woodland and Winters
to Sacramento, El Dorado Hills, Nevada City and Loomis, to name a few.
The Friends of Mondavi Center also supports the school matinee program
by providing front of house support: ushering and ticket-taking. During the
2012–13 season, ushers will expertly direct more than 17,000 enthusiastic
students from 12 school districts in our region to their seats. It takes a
well-organized cadre of volunteers to accomplish this task. Thanks go to
Karen Broido for an excellent job.
For information on becoming a Friend of Mondavi Center, email Jennifer Mast at
jmmast@ucdavis.edu or call 530.754.5431
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. When you join the Friends of Mondavi
Center, you are able to choose from a variety of activities and work
with other Friends who share your interests.
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 presenting
program 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 Members
Joe 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
The Friends of Mondavi Center is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting
program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center
performances. For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431.
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 • Mary Horton, Gift Shop Ad Hoc • Joyce Donaldson, Chancellor’s Designee, Ex-Officio
Arts & Lectures Administrative Advisory Committee
The Arts & Lectures Administrative Advisory Committee is made up
12–13 committee members
of interested students, faculty and staff who attend performances,
Lee Miller • Jim Forkin • Erin Jackson • Sharon Knox
review programming opportunities and meet monthly with the director Maria Pingul • Prabhakara Choudary • Charles Hunt • Gabrielle Nevitt
of the Mondavi Center. They provide advice and feedback for the Mondavi Schipper Burkhard • Carson Cooper • Daniel Friedman • Kelley Gove
Center staff throughout the performance season.
Aaron Hsu • Susan Perez • Don Roth • Jeremy Ganter • Erin Palmer
MondaviArts.org | 55

Policies and Information
Ticket Exchange
• Tickets must be exchanged at least one business day prior
to the performance.
• Tickets may not be exchanged after the performance date.
• There is a $5 exchange fee per ticket for non-subscribers
and Pick 3 purchasers.
• If you exchange for a higher-priced ticket, the difference will be
charged. The difference between a higher and a 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.
Parking
You may purchase parking passes for individual Mondavi Center
events for $7 per event at the parking lot or with your ticket order.
Rates are subject to change. Parking passes that have been lost
or stolen will not be replaced.
Group Discounts
Entertain friends, family, classmates or business associates and save!
Groups of 20 or more qualify for a 10% discount off regular prices.
Payment must be made in a single check or credit card transaction.
Please call 530.754.2787 or 866.754.2787.
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. Each
student ticket holder must present a valid student ID card at the door
when entering the venue where the event occurs, or the ticket must
be upgraded to regular price.
Children (50% off the full single ticket price*)
Children’s tickets are for all patrons age 17 and younger. No additional
discounts may be applied. As a courtesy to other audience members,
please use discretion in bringing a young child to an evening performance.
All children, regardless of age, are required to have tickets,
and any child attending an evening performance should be able
to sit quietly through the performance.
Privacy Policy
The Mondavi Center collects information from patrons solely for the
purpose of gaining necessary information to conduct business and
serve our patrons efficiently. We sometimes share names and addresses
with other not-for-profit arts organizations. If you do not wish to be
included in our email communications or postal mailings, or if you do
not want us to share your name, please notify us via email, U.S. mail
or telephone. Full Privacy Policy at MondaviArts.org.
Accommodations for Patrons with
Disabilities
The Mondavi Center is proud to be a fully accessible state-of-the-art
public facility that meets or exceeds all state and federal ADA
requirements.
Patrons with special seating needs should notify the Mondavi Center
Ticket Office at the time of ticket purchase to receive reasonable
accommodation. The Mondavi Center may not be able to accommodate
special needs brought to our attention at the performance.
Seating spaces for wheelchair users and their companions are located
at all levels and prices for all performances.
Requests for sign language interpreting, real-time captioning, Braille
programs and other reasonable accommodations should be made
with at least two weeks’ notice. The Mondavi Center may not be able
to accommodate last-minute requests. Requests for these accommodations
may be made when purchasing tickets at 530.754.2787 or TDD
530.754.5402.
Special Seating
Mondavi Center offers special seating arrangements for our patrons
with disabilities. Please call the Ticket Office at 530.754.2787 or TDD
530.754.5402.
Assistive Listening Devices
Assistive Listening Devices are available for Jackson Hall and the
Vanderhoef Studio Theatre. Receivers that can be used with or without
hearing aids may be checked out at no charge from the Patron Services
Desk near the lobby elevators. The Mondavi Center requires an ID to be
held at the Patron Services Desk until the device is returned.
Elevators
The Mondavi Center has two passenger elevators serving all levels.
They are located at the north end of the Yocha Dehe Grand Lobby,
near the restrooms and Patron Services Desk.
Restrooms
All public restrooms are equipped with accessible sinks, stalls, babychanging
stations and amenities. There are six public restrooms in the
building: two on the Orchestra level, two on the Orchestra Terrace level
and two on the Grand Tier level.
Service Animals
Mondavi Center welcomes working service animals that are necessary
to assist patrons with disabilities. Service animals must remain on a
leash or harness at all times. Please contact the Mondavi Center
Ticket Office if you intend to bring a service animal to an event so
that appropriate seating can be reserved for you.
Lost and Found Hotline 530.752.8580
Tours
Group tours of the Mondavi Center are free, but reservations are required.
To schedule a tour call 530.754.5399 or email mctours@ucdavis.edu.
*Only one discount per ticket.
56 | Mondavi Center Presents Program Issue 9: APR–may 2013