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Issue 3: nov 2012 

shakespeare’s globe, Hamlet p. 4 

eTHeL with special guest 

Todd rundgren p. 11 

stephen Waarts, violin p. 15 

B.B. King p. 20 

Philharmonia Baroque p. 23 

Dance Theatre of Harlem p. 28 

Joshua Bell, violin p. 37 

Ballet Folkórico de méxico 

de Amalia Hernández p. 43 

David sedaris p. 47 

Jogja Hip Hop Foundation p. 48 

One Man Star Wars Trilogy p. 50 

AnniversAry 

2012—13 

Season Sponsors 

ProgrAm 

MondaviArts.org | 1

We’ve lifted health care to an art form. 

Who better to create the perfect health plan but 

health care professionals with families of their 

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

UC Davis Health System, Dignity Health and 

NorthBay Healthcare System came together to 

create a quality alternative to national HMOs. 

The result is a health plan committed to improving 

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

you are interested in getting just what the doctor 

ordered, give us a call. 

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

AnnIversAry 

2012—13 

season sponsors 

Linda P.B. Katehi 

UC Davis Chancellor 

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. 

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, life-transforming experiences with great artists and thinkers 

for our region. 

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

season. 


10th AnnIversAry seAson sPonsors 

corPorAte PArtners 

Platinum 

gold 

silver 

Bronze 

sPecIAl thAnks 

Anderson Family 

Catering & BBQ 

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 

Fiore Event Design 

Hot Italian 

Hyatt Place 

Osteria Fasulo 

Seasons 

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 3: nov 2012 

mondAvI center stAff 

DON ROTH, Ph.D. 

Executive Director 

Jeremy Ganter 

Associate Executive 

Director 

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 


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 

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 

Morissa Rubin 

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 

Michael T. Hayes 

Head Audio Engineer 

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 

George Edwards 

Linda Gregory 

Donna Horgan 

Mike Tracy 

Susie Valentin 

Janellyn Whittier 

Terry Whittier

Photo: Lynn Goldsmith 

RObeRt aNd MaRgRIt Mondavi Center for the Performing Arts • UC DAvis 

A messAge from 

don roth 

Mondavi Center Executive Director 

this month we are turning our attention to artistic royalty 

in a variety of forms. 

• The King of the Blues, Blues Boy (a.k.a. B.B.) King, 

makes a welcome return to Jackson Hall in a command 

performance sure to bring a little bit of Mississippi— 

and a whole lot of the blues—to the Sacramento region. 

• Palace intrigue doesn’t get richer than in Hamlet. The 

Mondavi Center is one of very few venues in the U.S. to 

host Shakespeare’s Globe from London and its acclaimed 

touring production of the Bard’s classic tale of the Prince of 

Denmark. 

• Speaking of princes, our Focus on Opera series returns 

to Jackson Hall this season, kicking off with Mozart’s 

The Magic Flute and the trials of Prince Tamino. 

• And to round out our court, we welcome Todd Rundgren, 

Rock and Roll royalty by any measure, who continues to 

push the boundaries of music, this time in collaboration 

with string quartet ETHEL. 

The balance of our busy November is filled with a diversity of equally 

regal artists that you will find only here at the Mondavi Center: the 

Bay Area’s Philharmonia Baroque performing an all-Beethoven 

program, with soloist Emanuel Ax playing a fortepiano built in 

Beethoven’s time; violin recitals from the well-known (Joshua Bell) 

and the soon-to-be well-known (Stephen Waarts); Indonesian 

rap—yes, you heard me right—delivered with a global perspective 

from Yogyakarta’s finest crew, Jogja Hip Hop Foundation; 

traditional dance, music and spectacle from Amalia Hernandez’s 

Ballet Folklorico de Mexico; America’s pre-eminent humorist David 

Sedaris; and an incredible voyage to a galaxy far, far away in Charles 

Ross’s One Man Star Wars Trilogy. 

Of course, it is you, our adventurous, arts loving audiences that 

are the true royalty here at the Mondavi Center. Your willingness 

to share this artistic journey with us, month in and month out, 

reinforces our belief that the arts have the ability to connect and 

transform us all. 

Don Roth, Ph.D. 


Mondavi Center for the Performing Arts, UC Davis 

in this issue: 

before the show 

� O A H 

• As a courtesy to others, please turn off all 

electronic devices. 

Program 

Issue 3: NOV 2012 

• ShakeSpeare’S Globe, Hamlet p. 4 

• eThel with special guest todd rUndgren p. 11 

• STephen waarTS, violin 

mileS Graber, piano p. 15 

• b.b. kinG p. 20 

• philharmonia baroque p. 23 

• dance TheaTre of harlem p. 28 

• joShua bell, violin 

Sam haywood, piano p. 37 

• balleT folkórico de méxico 

de AmAlIA hernández p. 43 

• An evening with dAvId sedArIs p. 47 

• joGja hip hop foundaTion p. 48 

• One man star wars trilOgy 

wiTh charleS roSS p. 50 

• Mondavi Center PoliCies and inforMation p.56 

• If you have any hard candy, please unwrap it 

before the lights dim. 

• Please remember that the taking of photographs 

or the use of any type of audio or video recording 

equipment is strictly prohibited. 

• Please look around and locate the exit nearest 

you. That exit may be behind, to the side or 

in front of you. In the unlikely event of a fire alarm 

or other emergency please leave the building 

through that exit. 

• As a courtesy to all our patrons and for your 

safety, anyone leaving his or her seat during the 

performance may not be re-admitted to his/her 

ticketed seat while the performance is in progress. 


Photo by Jeff Malet 

A Mondavi Center Just Added Event 

Thursday–Friday, November 1–2, 2012 • 8PM 

Jackson Hall, Mondavi Center, UC Davis 

There will be one intermission. 

Program is subject to change. The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have 

switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal. 


ShakeSpeare’S Globe 

Hamlet 

Hamlet by william Shakespeare 

Dominic Dromgoole, Artistic Director 

Sacha Milroy, Executive Producer 

Dominic Dromgoole and Bill Buckhurst, Directors 

Jonathan Fensom, Set and Costume Designer 

Laura Forrest-Hay, Original Score 

Bill Barclay, Composer/Arranger 

Paul Russell, Lighting Designer 

Siân Williams, Choreographer 

Kevin McCurdy, Fight Director 

Giles Block, Globe Associate—Text 

Glynn McDonald, Globe Associate—Movement 

Martin McKellan, Voice and Dialect 

Alison Convey, Assistant Director 

Chloe Stephens, Assistant Choreographer 

Ng Choon Ping, Assistant Text Work 

Paul Russell and Dave McEvoy, Production Managers 

Wills, Technical Manager 

Marion Marrs, Company Manager 

Peter Huntley, Touring Associate 

Eleanor Oldham and John Luckacovic, 2Luck Concepts, U.S. General Management 

Claire Godden, Shakespeare’s Globe Theatre, U.K. General Management 

Shakespeare’s Globe Theatre u.S. board: 

Audre D Carlin (life president), Jo Maitland Weiss (chair), 

Gerald H Cromack, Jim Dale MBE, Barry Day OBE, Peter Hilton, 

Alan Jones, Peter Kent CMG, Sara Mill er McCune, Shelley Parker, 

Natalie T Pray, Christie-Anne Weiss, Warren Whitaker and 

Neil Constable CEO, Shakespeare’s Globe.

cAst lIst 

Michael Benz, Hamlet 

Peter Bray, Rosencrantz / Marcellus / Prince Fortinbras / Osric 

Miranda Foster, Gertrude / Second Player / Player Queen / 

Second Gravedigger 

Tom Lawrence, Horatio / Reynaldo / Captain 

Carlyss Peer, Ophelia / Voltemand 

Matthew Romain, Laertes / Bernardo / Guildenstern / Lucianus 

Christopher Saul, Polonius / Francisco / Player / First Gravedigger 

/ Priest 

Dickon Tyrrell, Claudius / Ghost / First Player / Player King 

Other parts played by members of the company. 

ProgrAm notes 

synopsis 

Guarding the castle at Elsinore, Marcellus and Bernardo tell Horatio 

that they have seen the ghost of the dead King Hamlet. The ghost 

reappears, and they decide they must tell the dead King’s son, 

Hamlet, about it. Hamlet is present at a reception being given by his 

uncle Claudius, who has just married Hamlet’s mother, Gertrude. 

Claudius is sending ambassadors to Norway to stop a planned invasion 

by young Fortinbras. He gives Polonius’s son Laertes permission 

to return to France. Hamlet reflects on the hasty marriage and learns 

of the ghost’s visit. That night he meets the ghost, who reveals that 

King Hamlet was murdered by Claudius, and Hamlet willingly agrees 

to be the means of revenge. He warns Horatio and the others not to 

speak of what has happened, even if he should behave strangely. 

Polonius bids farewell to Laertes and warns his daughter Ophelia 

against Hamlet’s courtship. Later, she tells Polonius of a strange visitation 

by Hamlet, and Polonius reports to the King and Queen that 

rejected love is the cause of Hamlet’s supposed madness. Hamlet’s 

fellow students Rosencrantz and Guildenstern arrive, invited by the 

King to find out what is wrong. Polonius arranges for Ophelia to 

meet Hamlet where he and Claudius can observe them. Hamlet and 

Ophelia argue, and Hamlet, having become suspicious about being 

observed, tells her she should go to a nunnery. Claudius is convinced 

that love is not the cause of Hamlet’s behavior and decides to send 

him abroad. 

Meanwhile, traveling players have arrived, and Hamlet asks them to 

perform “The Murder of Gonzago” before the King, so that he and 

Horatio can judge Claudius’s guilt by his reaction. When one of the 

players enacts the poisoning of a king, Claudius leaves in high emotion. 

Gertrude asks to see Hamlet, and Polonius decides to hide in 

the room to hear what is said. 

Hamlet arrives in his mother’s room and kills the person he discovers 

in hiding, thinking it to be Claudius but finding it to be Polonius. 

He argues fiercely with Gertrude. The ghost appears, restraining 

Hamlet’s anger towards his mother and reminding him of the need 

for revenge. Claudius instructs Rosencrantz and Guildenstern to take 

Hamlet immediately to England. 

Ophelia descends into madness. Laertes returns, blaming Claudius 

for his father’s death and is incensed to see Ophelia in this state. 

Claudius persuades him that Hamlet is to blame. When Claudius 

receives a letter from Hamlet reporting his return to Denmark, he 

plots with Laertes to kill him. They arrange a duel in which Laertes’s 

sword will be unblunted and poisoned. Claudius will also poison a 

drink, which he will offer Hamlet. Gertrude arrives with the news 

that Ophelia has drowned. 

Hamlet meets Horatio on returning to Elsinore. On the way, they 

see two men digging a grave, and Hamlet talks to the first, reflecting 

on the skulls he finds. They discover that the grave is for Ophelia. 

Hamlet reveals himself to the funeral party, grappling with Laertes 

and proclaiming his love for Ophelia. Later, Hamlet tells Horatio 

how the trip to England was a subterfuge for his death, arranged by 

Claudius, and how he managed to escape. 

Osric enters with news of the proposed fencing match, and Hamlet 

accepts the challenge. With Hamlet in the lead, Gertrude toasts him 

and drinks from the poisoned cup. Laertes wounds Hamlet with the 

poisoned rapier and is then wounded with it by Hamlet. Before he 

dies, Laertes blames Claudius, and Hamlet kills the King. Hamlet, 

close to death, passes the Danish succession to Fortinbras and 

instructs Horatio to tell his story. 

—Synopsis adapted from Shakespeare’s Words by David Crystal and 

Ben Crystal, Penguin, 2002. 

www.shakespeareswords.com 

Bill Barclay (composer and arranger) is music manager at the Globe, 

and his previous credits for the Globe include Much Ado About 

Nothing. Barclay is an American composer, actor and director. He 

has been a company member at Shakespeare & Company in Lenox, 

Massachusetts, for 10 seasons and its Resident Music Director from 

2006–11. He is a member of the Resident Acting Company as well as 

a composer and director at the Actors’ Shakespeare Project in Boston 

(eight seasons). Barclay has performed and devised original work 

for the Mercury Theatre Company in Colchester and has performed, 

composed and lectured on the Music of the Spheres in theaters 

and universities throughout the United States. Winner of two Meet 

the Composer grants as well as a Fox Foundation Resident Actor 

Fellowship, the largest grant for actors in the U.S. 

Michael Benz (Hamlet) trained at RADA. He has previously appeared 

at Shakespeare’s Globe in As You Like It, A New World, Love’s Labour’s 

Lost and The Winter’s Tale. His other theater credits include: The 

Tempest (Theatre Royal Haymarket); Rosencrantz and Guildenstern 

are Dead (Chichester and Theatre Royal Haymarket); Hay Fever 

(West Yorkshire Playhouse); Romeo and Juliet (Royal Shakespeare 

Company); The American Clock, You May Go Now and The December 

Man (Finborough Theatre). His film credits include City Slackers. 

His television credits include: BBC Prefaces to Shakespeare, Mike and 

Angelo, Little Lord Fauntleroy and JD Salinger Doesn’t Want to Talk. 

Giles Block (Globe associate—text) has led the text work at 

Shakespeare’s Globe since 1999, and to date has been involved 

in more than 50 productions. This season he’ll add several new 

Shakespeare productions to the list. His directing credits at 


Shakespeare’s Globe include Antony and Cleopatra (1999), Hamlet 

(2000) and Troilus and Cressida (2005). His posts include associate 

director at Ipswich Theatre (1974-77); staff director at the National 

Theatre (1977-81); and director of platforms at the National Theatre 

(1981-84). His theater direction includes: The Fawn, She Stoops 

to Conquer (National Theatre), Macbeth, The Cherry Orchard, King 

Lear, Richard III, Hamlet, Skylight and Vincent in Brixton (Shochiku 

Company, Japan). In 2000, the Association of Major Theatres of 

Japan recognized Giles for services to the Japanese Theatre. In recent 

years, Giles has directed The Tempest, Henry V and The Comedy of 

Errors at the Blackfriars Theatre in Virginia. 

Peter Bray (Rosencrantz / Marcellus / Prince Fortinbras / Osric) 

trained at Central School of Speech and Drama. His previous work 

for Shakespeare’s Globe includes A Midsummer Night’s Dream. 

His theater credits include: The Boy from Centreville (Pleasance, 

Edinburgh Festival); Shooting Rats (Oval House Theatre); Moshing 

Lying Down (U.K. Tour); After Violence (Raynes Park Festival); 

Stories Project 2 (Southwark Playhouse); Blowing (fanSHEN Theatre 

Company); A Midsummer Night’s Dream (The Lord Chamberlain’s 

Men); Lion Boy workshop (Complicite); and The Heart of Robin Hood 

(Royal Shakespeare Company). 

Bill Buckhurst’s (director) directing credits include A Midsummer 

Night’s Dream, Macbeth, Romeo and Juliet (Shakespeare’s Globe/UAE 

tour, Playing Shakespeare); Barbarians, Tinderbox (Tooting Arts 

Club); Hamlet, Much Ado About Nothing, A Midsummer Night’s Dream 

(Stafford Festival Shakespeare); Riff Raff (Arcola); The Vegemite Tales 

(West End/Riverside Studios); Normal (The Union); Penetrator, The 

Night Before Christmas (Theatre503). As assistant director, his credits 

include Get Santa! and Aunt Dan and Lemon (Royal Court). As an 

actor, his theater credits include seasons at the Royal Shakespeare 

Company, Royal Court, Shakespeare’s Globe, Propeller, Chichester, 

Northampton and Oxford Stage Company. His film and television 

credits include Skyfall, World War Z, New Tricks, Spooks, Collision, 

Murphy’s Law, EastEnders, Coronation Street, Holby, Bad Girls and 

As If. 

Ng Choon Ping (assistant text work) was trained at York University 

and the Central School of Speech and Drama. His credits for 

Shakespeare’s Globe include Henry V, The Taming of the Shrew, 

Richard III and Twelfth Night. He specializes in theater direction and 

actor training. He directed in Singapore for six years before coming 

to the U.K. and is experienced in Shakespeare, Greek and East Asian 

Classics. In 2011, he completed the King’s Head trainee director program 

in London, debuting with Pure O, a dark piece of comic new 

writing about Obsessive Compulsive Disorder. 

Alison Convey’s (assistant director) credits as assistant director 

include The Madness of George III, Kean (Apollo Theatre and U.K. 

tour) and Arsenic and Old Lace (Salisbury Playhouse). Her credits 

as director include Three Loops of the Moon (Chichester Festival 

Theatre—rehearsed reading); Sweet Engineering of the Lucid Mind 

(Hen and Chickens Theatre and Old Red Lion Theatre—winner of 

Off Cut Festival 2010 Best Director Award); Playbites, One Flew Over 

the Cuckoo’s Nest (Oxford Playhouse); Amadeus (The North Wall); 

Pygmalion (Old Fire Station); The Country Wife (Brasenose Arts 

Festival) and The Sound of Music (Shimla, India). 


Dominic Dromgoole was appointed artistic director of Shakespeare’s 

Globe in 2006. Since 2006 the Globe has increased its diet of new 

work, has begun a small scale touring operation, which now travels 

all over the U.K. and Europe, has done two large scale tours of North 

America and its first across England, has initiated winter performances 

and has filmed many of its productions for distribution in cinemas 

and on DVD. During his time at Shakespeare’s Globe, Dromgoole 

has directed Shakespeare’s Henry V (2012), Hamlet (2011), Henry IV 

Parts 1 and 2 (2010), Love’s Labour’s Lost (2007 and 2009), Romeo 

and Juliet (2009), King Lear (2008), Coriolanus and Antony and 

Cleopatra (both 2006) as well as Trevor Griffiths’ new play A New 

World (2009). He was artistic director of the Oxford Stage Company, 

1999-2005 and the Bush Theatre 1990-96, and Director of New Plays 

for the Peter Hall Company in 1996/7. In addition, Dromgoole has 

directed at the Tricycle Theatre, in the West-End and in America and 

Romania. He has written two books The Full Room (Methuen 2001) 

and Will and Me (Penguin 2006), has had a column in the New 

Statesman and The Guardian, and has written extensively for many 

journals, most often the Sunday Times. 

Jonathan Fensom’s (set and costume designer) theater credits 

include Henry V, The Globe Mysteries, Much Ado About Nothing, 

Hamlet, Henry IV Parts 1 and 2, King Lear, Love’s Labour’s Lost 

(Shakespeare’s Globe); Goat (Traverse Theatre); Six Degrees of 

Separation, National Anthems (Old Vic); Brighton Beach Memoirs 

(Watford); Philadelphia, Here I Come! (Gaiety Theatre Dublin); A 

Midsummer Night’s Dream (Canada); Rain Man, Some Girls, Twelfth 

Night, Smaller, Blackbird (West End); Swan Lake (San Francisco 

Ballet); Journey’s End (West End and Broadway); The American Plan, 

Pygmalion (New York); The Homecoming, Big White Fog (Almeida 

Theatre); Happy Now?, The Mentalists, Burn, Citizenship, Chatroom 

(National Theatre); In the Club, Born Bad, In Arabia We’d All Be 

Kings, Abigail’s Party, What the Butler Saw (Hampstead Theatre); 

Duck, Talking to Terrorists, The Sugar Syndrome (Royal Court); 

Kindertransport, Breakfast with Emma (Shared Experience); The 

Tempest (Tron Theatre); Crown Matrimonial (Guildford, Tour); 

The Faith Healer (The Gate, Dublin and Broadway); God of Hell 

(Donmar); M.A.D., Little Baby Nothing (Bush Theatre); Be My Baby 

(Soho Theatre); Candide, Charley’s Aunt (Oxford Playhouse); Small 

Family Business, Little Shop of Horrors (West Yorkshire Playhouse); 

My Night With Reg, Dealer’s Choice (Birmingham Repertory); After 

the Dance, Hay Fever (Oxford Stage Company); So Long Life (Theatre 

Royal Bath) and Wozzeck (Birmingham Opera and European tour). 

He was associate designer on Disney’s The Lion King, which premiered 

at the New Amsterdam Theatre on Broadway and has subsequently 

opened worldwide. His set design for Journey’s End was 

nominated for a Tony Award in 2007. 

Miranda Foster (Gertrude / Second Player / Player Queen / Second 

Gravedigger) trained at Webber Douglas. Her previous credits at 

Shakespeare’s Globe include The God of Soho, Romeo and 

Juliet and The Bible. Her other theater credits include The Talented 

Mr. Ripley (Royal and Derngate, Northampton); Madagascar 

(Theatre503); Shraddha (Soho Theatre); Greenwash, The Marrying 

of Ann Leete, King Cromwell, Summer Again (Orange Tree Theatre); 

Born in the Gardens (Rose Theatre Kingston and Bath Theatre Royal); 

Shadow Language (Theatre503); Festen (U.K. Tour); The Memory 

of Water (Watford Palace Theatre); The Lucky Ones (Hampstead 

Theatre); Pera Palas (The Gate and National Theatre); Love You 

Too (Bush Theatre); The People Downstairs (Young Vic); Hamlet, As

You Like It (AFTLS U.S. tour); Blithe Spirit (Royal Exchange); Our 

Country’s Good, A Doll’s House (Leicester Haymarket); The Cherry 

Orchard (Aldwych); Gilgamesh, Schism in England, King Lear, Antony 

and Cleopatra, Neaptide, The Women, The Futurists, Pravda, The 

Government Inspector, Animal Farm, The Spanish Tragedy, Strider: 

The Story of a Horse and The Fawn (National Theatre). Her television 

credits include The Trial of Gemma Lang, Rosemary and Thyme, 

Dream Team, Where the Heart Is, The Bill, The Knock, Sharman, The 

Turnaround, Doctors, Holby, Brotherly Love, Casualty, Thin Ice, The 

Contractor, Cockles and The Merry Wives of Windsor. Her film credits 

include Beggar’s Belief. 

Tom Lawrence (Horatio / Reynaldo / Captain) trained at Exeter 

University and RADA. His previous work for Shakespeare’s 

Globe includes Hamlet. His theater credits include Summer and 

Smoke (Apollo Theatre and Nottingham Playhouse); When We 

Are Married (West Yorkshire Playhouse); Oliver Twist (Library 

Theatre, Manchester); Death in Venice (Snape Maltings and Bregenz 

Festspielhaus); House and Garden (Salisbury Playhouse); Biloxi Blues 

(Vanburgh Theatre) and Forest Sale (Royal Opera House, Deloitte 

Ignite). Lawrence is a founder member of Punchdrunk, with which 

he has co-devised and performed in several site-specific productions, 

including the South Bank Show Best Theatre Award-nominated The 

Masque of the Red Death and Woyzeck, The House of Oedipus, The 

Cherry Orchard, The Black Diamond and The Firebird Ball. His film 

credits include Age of Heroes, Christ’s Dog, Isaac and Jack and Jill. 

His television credits include Prefaces to Shakespeare: Hamlet, Silent 

Witness, Inspector Lynley, Doctors, The Rating Game and Ingham 

Investigates. His radio credits include Night of the Hunter (Sony 

Award Winner), To Sicken and So Die, Made in China, Dixon of Dock 

Green, Like An Angel and numerous readings for Poetry Please. He has 

made many recordings, including readings of All Quiet on the Western 

Front, Wild Abandon and The Collected Works of John Betjeman. 

Glynn MacDonald (Globe associate—movement) trained in the 

Alexander Technique at the Constructive Teaching Centre in 1972. 

She has worked with the Actors’ Centre and the Field Day Theatre 

Company in Ireland, Dramaten in Stockholm, Norskspillersforbund 

in Norway, Holback Engstheatre in Denmark, Bremen Opera 

Company in Germany and in Poland, Switzerland, Japan, Australia 

and the U.S. Since 1997, she has been resident director of movement 

at Shakespeare’s Globe on all theater productions. In 2002, she 

directed Transforming September 11th at the Linbury Studio, Royal 

Opera House for Peace Direct. She works for Globe Education, giving 

movement workshops for schools, undergraduates and Continuing 

Professional Development for teachers. For the last six years, she 

has worked on Playing Shakespeare with Deutsche Bank, Globe 

Education’s flagship project, which 16,000 students attend annually. 

She heads the Movement Department for the Conservatory Training 

Program for Rutgers University at Shakespeare’s Globe. She also works 

on the Jette Parker Young Artists program at the Royal Opera House. 

Kevin McCurdy (fight director) trained at the Welsh College of 

Music and Drama, where he is a resident teacher. His previous 

credits at Shakespeare’s Globe include Hamlet, As You Like It, We the 

People, The Frontline, Helen, Troilus and Cressida and Macbeth. His 

other theater credits include A Midsummer Night’s Dream, Romeo 

and Juliet, The Three Musketeers, Bloody Mary and The Virgin Queen, 

The Caucasian Chalk Circle, Of Mice and Men, Twelfth Night, Sleeping 

Beauty, Dick Whittington, A View From the Bridge, The Bystanders, 

The Pirates of Penzance, Phaedra, Taboo, Things We Do For Love, Maid 

Marian and Her Merry Men, The Mikado, Badfinger, Closer, Woyzeck, 

Il Trovatore, Die Fledermaus, Oliver!, Botticelli’s Bonfire, House and 

Garden, Jack and the Beanstalk, Quadrophenia, Killer Joe, Beauty and 

the Beast, Women Beware Women, Cyrano de Bergerac, Richard III and 

Treasure Island. His television credits include The Chosen, Belonging, 

The Bench, The Story of Tracey Beaker, Hearts of Gold, Carrie’s War, 

Young Dracula, Doctor Who Christmas Special, Pobol Y Cwm, Y Pris, 

Alys and Gwaith Cartref. His feature film credits include The Big I 

Am, Season of the Witch and John Carter of Mars. 

Martin McKellan’s (voice & dialect) previous work for Shakespeare’s 

Globe includes Henry V, The God of Soho, Hamlet, As You Like It, 

Doctor Faustus and Anne Boleyn. His recent theater credits include 

The Madness of George III, Our Private Life (Royal Court); The History 

Boys (National Tour); When We are Married (Garrick Theatre); Joseph 

K (Gate); Enjoy (Gielgud Theatre and National Tour); The Rocky 

Horror Show (National Tour); Timings (King’s Head); Sisters and Alice 

(Sheffield Crucible) and Breed (Theatre503). His other theater credits 

include Alphabetical Order (Hampstead Theatre); The History Boys 

(West Yorkshire Playhouse and National Tour); Lord Arthur Savile’s 

Crime (National Tour); The Lord of the Rings (Theatre Royal, Drury 

Lane); This Much is True (Theatre503); Riflemind (Trafalgar Studios); 

The Laramie Project (Sound Theatre); Single Spies (National Tour); 

A Model Girl (Greenwich Theatre); My Matisse (Jermyn St Theatre); 

Rocky Horror Show (Comedy Theatre); Our House (National Tour); 

Christine (New End Theatre); The Arab Israeli Cookbook (Tricycle 

Theatre); A Small Family Business (Watford Palace); Candida (Oxford 

Stage Company); The Importance of Being Earnest (National Tour) 

and You Might As Well Laugh (New End Theatre). 

Carlyss Peer (Ophelia / Voltemand) trained at RADA. Her previous 

work for Shakespeare’s Globe includes A Midsummer Night’s Dream 

(Playing Shakespeare with Deutsche Bank). Her other theater credits 

include The Rivals (Peter Hall Company U.K. Tour and Theatre Royal 

Haymarket); Les Liaisons Dangereuses (Salisbury Playhouse), and 

her credits with the National Youth Theatre include The Master and 

Margarita (Lyric Hammersmith); Cell Sell (Soho Theatre). Her television 

credits include Eternal Law, Doctors, Silent Witness, Missing and 

Holby City. 

Matthew Romain (Laertes / Bernardo / Guildenstern / Lucianus) 

trained at Bristol Old Vic Theatre School. His theater credits include 

The Recruiting Officer (Donmar Warehouse); Privates on Parade, See 

How They Run, Trelawny of the ‘Wells’, My Fair Lady (Pitlochry Festival 

Theatre); Onassis (Novello Theatre/Derby Theatre); Alma Mater 

(Augustine’s, Edinburgh) and The Shape of Things (Arts Theatre). 

Paul Russell’s (lighting designer and production manager) theater 

lighting credits include Liberty (Shakespeare’s Globe/Lifeblood 

Productions), Love’s Labour’s Lost (Shakespeare’s Globe on tour Korea), 

Hard Times (The Watermill directed by Guy Retallack); Trainspotting, 

Backstroke in a Crowded Pool, Cardboys, One Flea Spare (Bush Theatre); 

My Mother Said I Never Should (Tour and Young Vic); Peribanez 

(Arts Theatre Cambridge); Closer (Royal National Theatre/Tour); 

Not a Game For Boys, Herons, Mother Teresa is Dead (Royal Court 

Theatre); Exquisite Sister, Four Nights in Knaresborough (West Yorkshire 

Playhouse); Romeo and Juliet (Young Vic Theatre); M. Butterfly 

(Singapore Repertory Theatre). 


8 | Mondavi Center Presents Program issue 3: nov 2012

Christopher Saul (Polonius / Francisco / Player / First Gravedigger 

/ Priest) trained at Rose Bruford College. His theater credits include 

King Lear, The Canterbury Tales, Julius Caesar, The Two Gentlemen of 

Verona, A Servant to Two Masters, Richard II, Henry IV Parts 1 & 2, 

The Comedy of Errors, The Thebans, Columbus, Breaking the Silence, 

The Merry Wives of Windsor, Man is Man, Richard III, Hamlet, Henry 

V (Royal Shakespeare Company); Oedipus (National Theatre); An 

Inspector Calls, Goodbye Gilbert Harding (National Tour); When the 

World Was Green, More Grimm Tales, As I Lay Dying, Twelfth Night, 

Waiting for Godot (Young Vic); Night Songs (Royal Court); The Crucible 

(Abbey, Dublin); The Comedy of Errors, Romeo and Juliet (English 

Shakespeare Company); ’Tis Pity She’s a Whore (West Yorkshire 

Playhouse); A Voyage Round My Father, Othello (Salisbury Playhouse); 

As You Like It (Sheffield Crucible); Fiddler on the Roof (Original 

Production, Tour and Her Majesty’s) and seasons at Oxford Playhouse, 

Leeds Playhouse, Liverpool Playhouse, Everyman Theatres and 

Newcastle Playhouse. His television credits include Doctors, Judge John 

Deed, The Bill, London’s Burning, Coronation Street, Grange Hill, Between 

the Lines, One Foot in the Grave, Never Come Back, Brookside, Casualty, 

Poirot, Small Zones, Watching, Bust, Pericles, The Professionals, Doctor 

Who and Triangle. His film credits include Sahara, Wilt, Mountbatten: 

The Last Viceroy and Mr Right. His radio credits include The Archers, 

White Horse Hill, BBC English Repertory Company and Listen with 

Mother. He is a regular narrator for the National Geographic Channel. 

Chloe Stephens (assistant choreographer) specializes in movement 

and devised theater. After completing a B.A. in drama and 

theater arts at Goldsmiths College, she set up performance company 

SKIPtheatre with Charlotte Croft and Laura Hemming-Lowe. 

Her previous credits for Shakespeare’s Globe include Henry V. 

Her collaborative productions include Arts Council-funded tour 

of The Mermaid’s Curse (Porlock and East Prawle); So...? (charity 

shop, Leytonstone); Decadence and Descendants (empty mansion 

house, Mayfair); Departure: 3 (Union Theatre & Shunt); 35 Albury 

Street (empty house, Deptford); Fill Up Full Stop (Camden People’s 

Theatre) and (Glastonbury Festival). She is currently completing 

the M.A. Movement Studies course at Central School of Speech and 

Drama while developing a new piece of theater for children, initiated 

with the support of the Unicorn Theatre. 

Dickon Tyrrell (Claudius / Ghost / First Player / Player King) 

trained at Liverpool University, the National Youth Theatre and the 

Royal Welsh College of Music and Drama. His previous work at 

Shakespeare’s Globe includes Othello, Henry VIII and Anne Boleyn. 

His other theater credits include Rutherford and Son (Northern 

Stage); Animal Farm (Derby Playhouse); The Romans in Britain 

(Sheffield Crucible); Harvest (The Royal Court and National Tour); 

The Merchant of Venice (UK tour, Japan, Malaysia, America and 

China); Henry IV Parts I & II, Richard II, Richard III, Julius Caesar, 

The Devil is an Ass (Royal Shakespeare Company); Major Barbara 

(Peter Hall Company); Romeo and Juliet, Dracula, A Midsummer 

Night’s Dream (Northern Broadsides); Ninagawa’s Peer Gynt (Barbican 

London, Manchester, Norway and Japan); Much Ado About Nothing 

(West End); The Plough and the Stars (West Yorkshire Playhouse); 

and Seven Doors (Gate Theatre). His television credits include Law 

and Order, The Bill, The Trial of Tony Blair, Coronation Street, Simon 

Schama’s Rough Crossings; Aberfan, Coup!, Doctors, Peak Practice, 

Harry and Spender. His directing credits include Mammals, Harvest 

(Royal Welsh College of Music and Drama) and As You Like It 

(Oxford School of Drama). His radio credits include Antony and 

Cleopatra and Major Barbara. Dickon has also featured in a music 

video for The Beautiful South. 

Siân Williams (choreographer) trained at the London College of 

Dance and Drama. She founded The Kosh dance theater company 

with Michael Merwitzer. Williams has worked as choreographer for 

Shakespeare’s Globe since 1999, as Movement Director for the Royal 

Shakespeare Company and is a member of The Factory theater company. 

Her choreography credits include The Glass Slipper, Oh! What 

a Lovely War (Northern Stage); The Snow Queen (The Rose Theatre, 

Kingston); You Can’t Take It With You (Royal Exchange, Manchester); 

The Storeroom (The Kosh); Hamlet, All’s Well That Ends Well, Much 

Ado About Nothing, Anne Boleyn, The Mysteries, The Comedy of Errors, 

Henry V (Shakespeare’s Globe); Macbeth, A Midsummer Night’s Dream 

(Globe Education); The Merchant of Venice (Royal Shakespeare 

Company); Adolph Hitler: My Part in His Downfall (Rho Delta); 

The Magic Flute and The Rake’s Progress (Royal College of Music). 

Her directing credits include productions for The Kosh and The 

Handsomest Drowned Man (Circus Space). Her performing credits 

include all of The Kosh productions, The Odyssey (The Factory); the 

role of Grisette in La Traviata (Opera North); The Tempest, The Storm, 

A Midsummer Night’s Dream and Timon of Athens (Shakespeare’s 

Globe). Williams is currently choreographer for Shakespeare’s Globe 

productions in 2012 and for Café Chaos (The Kosh). 


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A Crossings Series Event 

Saturday, November 3, 2012 • 8PM 


pre-performance Talk 



Speaker: A member of ETHEL 

There will be one intermission. 

Debut 

MC 

with special guest todd rundgren 

tell me something good 

Tonight’s program and order will be announced from the stage. 

ETHEL’s solo repertoire to include: 

Octet 1979 Judd Greenstein, 2011 

Spiegel im Spiegel Arvo Pärt, arr. R. Farris, 1978 

Selection from Quartet Set Lou Harrison, 1972 

Todd Rundgren’s solo repertoire and ETHEL/Rundgren collaborative repertoire 

may include: 

I Saw the Light Todd Rundgren 

Flamingo Todd Rundgren, arr. P. Brantley 

Zen Archer Todd Rundgren, arr. P. Brantley 

Stood Up Todd Rundgren, arr. R. Farris 

Soul Brother Todd Rundgren, arr. D. Lawson 

Black Maria Todd Rundgren, arr. R. Farris 

Lord Chancellor’s Nightmare Song Gilbert and Sullivan, arr. D. Lawson 

Todd Rundgren appears courtesy of Panacea Entertainment. 

ETHEL endorses the Avid/Sibelius family of software solutions. 

ETHEL endorses the beyerdynamic family of microphones. 




an excluSive wine TaSTinG 

experience of feaTured winerieS 

for Inner cIrcle donors 

Complimentary wine pours in the Bartholomew room for inner 

Circle donors: 7–8 p.m. and during intermission if scheduled. 

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 

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 

2012—13 

for information about becoming a donor, please call 

530.754.5438 or visit us online: www.mondaviarts.org. 


ProgrAm notes 

As each generation comes into its prime, it affects the contemporary 

musical environment, bringing in elements of the sounds it grew up 

with. These days, we are surrounded by references to the culture and 

sounds of the 1970s; the era of funk, glam rock, early minimalism, 

the bi-centennial, Watergate and the Vietnam War. The 1970s was 

a restless, intelligent, dissatisfied time—a decade of contradictions, 

a decade of loss, a decade of discovery. This vibrant program brings 

ETHEL and special guest Todd Rundgren together as they draw 

material—and inspiration—from the sounds and scenes of “the Me 

Decade.” 

ETHEL, acclaimed as “one of the most exciting quartets around” 

(Strad Mag) and “a necessary jet of cold water in the contemporary 

classical scene” (Pitchfork.com), has been a post-classical pioneer 

since it was founded in 1998. ETHEL invigorates contemporary 

concert music with exuberance, intensity, imaginative programming 

and exceptional artistry. With an eye on tradition and an ear to the 

future, ETHEL is a leading force in concert music’s reengagement 

with musical vernaculars, fusing diverse traditions into a vibrant 

sound that resonates with audiences the world over. The New York 

City-based quartet comprises Ralph Farris (viola), Dorothy Lawson 

(cello), Kip Jones (violin) and Tema Watstein (violin). 

ethel 

ETHEL’s 2012–13 season commences with a nationwide tour of Tell 

Me Something Good, a celebration of the culture and sounds of the 

1970s featuring rock icon Todd Rundgren. Other highlights include 

a preliminary performance/workshop of ETHEL’s Documerica as 

part of the Park Avenue Armory’s week-long Under Construction 

series in New York City; the world premiere in the Netherlands of 

Cross Avenue, a new work by composers Jeroen Strijbos and Rob 

van Rijswijk; collaborative projects and concerts with virtuoso 

guitarist Kaki King; ongoing performances with Native American 

flutist Robert Mirabal; appearances as the official house band of 

TEDxManhattan; and newly commissioned works by Mary Ellen 

Childs, Jerod Impichchaachaaha’ Tate, Ulysses Owens Jr., James 

“Kimo” Williams, Hannis Brown, Lainie Fefferman and Dan Friel. 

Off-stage, ETHEL continues to receive acclaim for its third album, 

Heavy (Innova Recordings, 2012), which has been described as 

“another beautiful reality of contemporary music” (All About Jazz). 

Over the past three years, ETHEL has premiered more than 50 

new works by 20th-and 21st-century composers, including pieces 

that were commissioned by the quartet or composed by ETHEL. 

Recent premieres and noteworthy performances include Phil Kline’s 

SPACE at the gala reopening of Alice Tully Hall; RADIO by Osvaldo 

Golijov at the debut of WNYC Radio’s Jerome L. Greene Space; 

ETHEL’s TruckStop: The Beginning at BAM’s Next Wave Festival; 

ETHEL Fair: The Songwriters at opening night of Lincoln Center’s 

Out of Doors Festival; WAIT FOR GREEN with choreography by 

Annie-B Parson, commissioned by arts World Financial Center; 

ETHEL’s HonBiBaekSan by Dohee Lee at Meet the Composer’s 3-City 

Dash Festival; ETHEL’s HomeBaked series featuring commissioned 

works by emerging NYC composers Andy Akiho, Anna Clyne, Judd 

Greenstein and Matt Marks, as well as premieres by Rick Baitz and 

Randall Woolf at the Tribeca New Music Festival; and works by contemporary 

music luminaries such as Julia Wolfe, John Zorn, Steve 

Reich, John King, Raz Mesinai, David Lang, Scott Johnson, Kenji 

Bunch, Don Byron, Marcelo Zarvos and Evan Ziporyn.

ETHEL has initiated innovative collaborations with an extraordinary 

community of international artists that include David Byrne, Bang 

on a Can, Kaki King, Ursula Oppens, Loudon Wainwright III, STEW, 

Ensemble Modern, Jill Sobule, Dean Osborne, Howard Levy, Joshua 

Fried, Andrew Bird, Iva Bittová, Colin Currie, Thomas Dolby, Jeff 

Peterson, Steve Coleman, Stephen Gosling, Jake Shimabukuro and 

Polygraph Lounge. ETHEL has appeared as a guest artist on a dozen 

music labels and was recently featured on A Map of the Floating City 

by Thomas Dolby (2012); The Duke by Joe Jackson (2012); John the 

Revelator: A Mass for Six Voices by Phil Kline (Cantaloupe Music, 

2008) with vocal group Lionheart; and the Grammy Award-winning 

Dedicated to You: Kurt Elling Sings the Music of Coltrane and Hartman 

(Concord Records, 2009). The quartet also serves as the Ensemblein-Residence 

at the Grand Canyon Music Festival as part of the 

Native American Composers Apprenticeship Project. ETHEL recorded 

Oshtali: Music for String Quartet (Thunderbird Records, 2010), the 

first commercial recording of American Indian student works. 

For more information, please visit www.ethelcentral.org. 

todd rundgren (electric guitar, acoustic guitar, ukulele and 

piano) is A Wizard, A True Star. The title of Rundgren’s 1973 solo 

album aptly sums up the contributions of this multi-faceted artist 

to state-of-the-art music. As a songwriter, video pioneer, producer, 

recording artist, computer software developer, conceptualist and, most 

recently, interactive artist (re-designated TR-i), Rundgren has made a 

lasting impact on both the form and content of popular music. 

Born and raised in Philadelphia, Rundgren began playing guitar as 

a teenager going on to found and front the Nazz, the quintessential 

1960s cult group. In 1969, he left the band to pursue a solo career, 

recording his debut offering, the legendary Runt. But it was the seminal 

Something/Anything? (1972), on which he played all the instruments, 

sang all the vocal parts and acted as his own producer, that 

catapulted Rundgren into the superstar limelight, prompting the press 

to unanimously dub him “Rock’s New Wunderkind.” It was followed 

by such landmark LPs as The Hermit of Mink Hollow and A Wizard, A 

True Star, as well as such hit singles as “I Saw The Light,” “Hello It’s 

Me,” “Can We Still Be Friends” and “Bang The Drum.” 

In 1974, Rundgren formed Utopia, an entirely new approach to the 

concept of interactive musicianship and embarked on an extensive 

round of touring and recording. Standout Utopia offerings included 

Oops! Wrong Planet, Adventures in Utopia and Oblivion. Along the 

way, Utopia combined technical virtuosity and creative passion to 

create music that for millions defined the term “progressive rock.” 

Rundgren’s myriad production projects include albums by Patti 

Smith, Cheap Trick, the Psychedelic Furs, Meatloaf, XTC, Grand 

Funk Railroad and Hall & Oates. Rounding out his reputation as 

rock’s Renaissance Man, Rundgren composed all the music and lyrics 

for Joe Papp’s 1989 off-Broadway production of Joe Orton’s Up 

Against It (the screenplay commissioned by the Beatles for what was 

meant to have been their third motion picture). He also has composed 

the music for a number of television series, including Pee Wee’s 

Playhouse and Crime Story. 

Early last year Rundgren performed his iconic 1973 album A Wizard, 

A True Star in concert in its entirety for the first time ever, and recently 

did the same with a double bill: Todd & Healing. His latest two studio 

albums, Todd Rundgren’s Johnson, a collection of classic Robert Johnson 

songs, and reProduction, covers of songs Todd has produced for other 

artists. This past summer he toured with Ringo Starr for the third time. 

In 1998, Rundgren debuted his new PatroNet technology, which for 

the first time allowed fans of a musical artist to subscribe directly to 

the artist’s musical output via the Internet. This caps a long history 

of groundbreaking early multimedia “firsts,” including: 

• 1978: The first interactive television concert, broadcast live over 

the Warner/QUBE system in Columbus, Ohio (the home audience 

chose each song.in real time during the concert by voting via QUBE’s 

2-way operating system). 

• 1978: The first live nationally broadcast stereo radio concert (by 

microwave), linking 40 cities around the country. 

• 1979: The opening of Utopia Video Studios, a multi-million dollar 

state-of-the-art facility. The first project produced by Rundgren there 

was Gustav Holst’s The Planets, commissioned by RCA SelectaVision 

as the first demonstration software for its new videodisc format. 

• 1980: Creation of the first color graphics tablet, which was licensed 

to Apple and released as The Utopia Graphics Tablet. 

• 1981: Time Heals, the first music video to utilize state-of-the-art 

compositing of live action and computer graphics (produced and 

directed by Todd), becomes the second video to be played on MTV 

(after Video Killed the Radio Star). 

• 1982: The first live national cablecast of a rock concert (on the 

USA Network), simulcast in stereo to more than 120 radio stations. 

• 1982: The first two commercially released music videos, one of 

which was nominated for the first ever Grammy awarded for “Best 

Short Form Video” in 1983. 

• 1992: The release of No World Order, the world’s first interactive 

record album on CD-i. Also the first commercially available music 

downloads via CompuServe. 

• 1994: The release of The Individualist, the world’s first full-length 

Enhanced CD. 

• 1995: The world’s first interactive concert tour. 

• 1998: Launches PatroNet, the world’s first direct artist subscription 

service. 

eThel gratefully acknowledges its supporters: 

The Board of ETHEL’s Foundation for the Arts; the Aaron Copland 

Fund for Music; American Composer’s Forum; the Amphion 

Foundation; Argosy Foundation; Bloomberg Philanthropies; the 

Carnegie Corporation of New York; CECArtsLink; Chamber Music 

America; the Gladys Krieble Delmas Foundation; the Double-R 

Foundation; the Greenwall Foundation; the Murray Hidary 

Foundation; the Jerome Foundation; LEF Foundation; Meet the 

Composer’s Commissioning Music/USA; Meet the Composer’s 

Cary New Music Performance Fund, Meet the Composer’s Creative 

Connections Program; Mid Atlantic Arts Foundation through 

USArtists International in partnership with the National Endowment 

for the Arts and the Andrew W. Mellon Foundation; the Multi-Arts 

Production Fund, a program of Creative Capital supported by the 

Rockefeller Foundation; the National Endowment for the Arts; the 

Netherland-America Foundation, the New York State Council on the 

Arts; New York Community Trust, the New York City Department 

of Cultural Affairs; the New York State Music Fund, established by 

the New York State Attorney General at Rockefeller Philanthropy 

Advisors; the James E. Robinson Foundation; the Fan Fox and Leslie 

R. Samuels Foundation; the September 11th Fund; Sibelius Software 

and the A.Woodner Fund. 



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.

A Debut Series Event 

Sunday, November 4, 2012 • 2PM 

Vanderhoef Studio Theatre, Mondavi Center, 

UC Davis 

Individual support for the Debut Series 

artist residency program provided by 

Oren and Eunice Adair-Christensen. 

Individual support provided by 

Mary B. Horton. 

Debut 

MC 

STephen waarTS, violin 

mileS Graber, piano 

ProgrAm 

Sonata No. 8 for Violin and Piano in G Major, Op. 30, No. 3 Beethoven 

Allegro assai 

Tempo di Minuetto, ma molto moderato e grazioso 

Allegro vivace 

Sonata for Violin and Piano Debussy 

Allegro vivo 

Intermède: Fantasque et léger 

Finale: Très animé 

Valse-Scherzo for Violin and Piano, Op. 34 Tchaikovsky 

Intermission 

Sonata No. 1 for Violin and Piano in A Minor, Op. 105 Schumann 

Mit leidenschaftlichem Ausdruck 

Allegretto 

Lebhaft 

Sonata No. 6 for Unaccompanied Violin in E Major, Op. 27, No. 6 Ysaÿe 

Selections from Porgy and Bess, arr. Heifetz Gershwin 

Summertime 

A Woman Is a Sometime Thing 

Fantaisie Brillante on Themes from Gounod’s Faust Wieniawski 

for Violin and Piano, Op. 20 




ProgrAm notes 

Sonata No. 8 for Violin and Piano in G Major, Op. 30, No. 3 (1802) 

Ludwig van Beethoven 

(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) 

In the summer of 1802, Beethoven’s physician ordered him to leave 

Vienna and take rooms in Heiligenstadt, today a friendly suburb at 

the northern terminus of the city’s subway system, but two centuries 

ago a quiet village with a view of the Danube across the river’s rich 

flood plain. It was three years earlier, in 1799, that Beethoven first 

noticed a disturbing ringing and buzzing in his ears, and he sought 

medical attention for the problem soon thereafter. On the advice of 

his doctor, Beethoven left the noisy city for the quiet countryside 

with the assurance that the lack of stimulation would be beneficial 

to his hearing and his general health. On October 6, 1802, following 

several months of wrestling with his diminishing hearing (and 

a constant digestive distress), Beethoven penned the so-called 

“Heiligenstadt Testament.” 

Intended as a will written to his brothers (it was never sent, though 

he kept it in his papers to be found after his death), it is a cry of 

despair over his fate. “O Providence—grant me at last but one day 

of pure joy,” he lamented. But—and this is the miracle—he not only 

poured his energy into self-pity, he also channeled it into music. 

The Symphonies Nos. 2-5, a dozen piano sonatas, the Fourth Piano 

Concerto and Triple Concerto, Fidelio, three violin and piano sonatas 

(Op. 30), many songs, chamber works and keyboard compositions 

were all composed between 1802 and 1806. 

Beethoven had completed the three Op. 30 Sonatas for Piano and 

Violin by the time he returned from Heiligenstadt to Vienna in the 

middle of October 1802. The Sonata No. 3, in G major, is the most 

compact and cheerful such piece in his creative output. The main 

theme of the opening sonata-form movement balances a frisky 

motive in rolling scale steps with a more lyrical idea. The second 

theme is full of incident, with mercurial shifts of harmony, a halfdozen 

thematic fragments, sudden changes of dynamics and sharply 

accented notes. The trills and bustling rhythmic activity that close 

the exposition are carried into the development section, which 

provides only a brief formal deflection before a full recapitulation 

of the exposition’s materials rounds out the movement. The second 

movement is music grown from song rather than dance, sweet 

and lyrical and gracious, then returns to its lovely opening strain 

throughout in the manner of a refrain. The finale is a genial rondo 

filled with sunny vivacity and sparkling passagework. 

Sonata for Violin and Piano (1916–17) 

Claude Debussy 

(Born August 2, 1862, in St. Germain-en-Laye, near Paris; died 

March 25, 1918, in Paris) 

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 Sonata’s 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. The spirit and wit of the Italian commedia dell’arte are 

evoked in the Intermède, 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. 

Valse-Scherzo for Violin and Piano, Op. 34 (1877) 

Peter Ilyich Tchaikovsky 

(Born May 7, 1840, in Votkinsk, Russia; died November 6, 1893, in 

St. Petersburg) 

Tchaikovsky composed his tuneful and brilliant Valse-Scherzo early 

in 1877 for Joseph Kotek, a recent violin graduate of the Moscow 

Conservatory who had taken a composition class with Tchaikovsky 

at the school and developed a strong affection for both the man and 

his music. There is more waltz than scherzo in the Valse-Scherzo, one 

of Tchaikovsky’s many splendid examples of the most popular and 

elegant dance form of his day. The piece takes as its main theme a 

lilting strain given by the violin after a few preludial gestures from 

the orchestra. A complementary episode of considerable technical 

challenge for the soloist intervenes before the main theme returns 

to round out the work’s first section. The center of the piece (the 

“trio” of Tchaikovsky’s scherzo form) is occupied by music of a 

more thoughtful nature and culminates in a cadenza that serves as a 

bridge to the recall of the opening music which closes this delightful 

composition. 

Sonata No. 1 for Violin and Piano in A Minor, Op. 105 (1851) 

Robert Schumann 

(Born June 8, 1810, in Zwickau, Germany; died July 29, 1856, in 

Endenich, near Bonn) 

In September 1850, the Schumanns left Dresden to take up residence 

in Düsseldorf, where Robert assumed the post of municipal music 

director. He was welcomed to the city with a serenade, a concert 

of his works, a supper and a ball. Though he had been cautioned 

a few years before by his friend Felix Mendelssohn that the local 

musicians were a shoddy bunch, he was eager to take on the variety 

of duties that awaited him in the Rhenish city, including conducting 

the orchestra’s subscription concerts, leading performances of 

church music, giving private music lessons, organizing a chamber 

music society and composing as time allowed. Despite Schumann’s 

promising entry into the musical life of Düsseldorf, it was not long 

before things turned sour. His fragile mental health, his ineptitude 

as a conductor and his frequent irritability created a rift with the 

musicians, and the orchestra’s governing body presented him with 

the suggestion that, perhaps, his time would be better devoted 

entirely to composition. Schumann, increasingly unstable though 

at first determined to stay, complained to his wife, Clara, that he 

was being cruelly treated. Proceedings were begun by the orchestra

committee to relieve him of his position, but his resignation in 1853 

ended the matter. By early the next year, Schumann’s reason had 

completely given way. On February 27, he tried to drown himself 

in the Rhine, and a week later he was committed to the asylum in 

Endenich, where he lingered with fleeting moments of sanity for 

nearly two-and-a-half years. His faithful Clara was there with him 

when he died on July 29, 1856, at the age of 46. 

Though Schumann’s tenure in Düsseldorf proved difficult and 

ended sadly, he enjoyed there one of his greatest outbursts of 

creativity—nearly one-third of his compositions were written in the 

city. His two Sonatas for Violin and Piano (A minor and D minor) 

were composed in a rush during the autumn of 1851 (September 

12-16 and October 26-November 2). A restless theme, marked 

“with passionate expression,” opens the A minor Sonata. The music 

brightens as it enters its formal second theme area, though its 

melodic content continues to be spun from the same motives. Rapid 

harmonic changes lend an unsettled quality to the development 

section. After a full recapitulation, the movement ends abruptly in 

the anxious, minor-mode manner in which it began. The Allegretto, 

more a pleasant intermezzo than an emotional slow movement, takes 

as its principal theme a three-part melody: the outer phrases are 

sweet and lyrical; the center one, quick-moving and staccato. Two 

short episodes, one reminiscent of the lyrical strain, the other of the 

staccato phrase, separate the returns of the main theme. The sonataform 

finale resumes the restless mood of the opening movement, 

though the level of tension here is heightened by the music’s fast 

tempo and tightly packed imitative texture. Episodes in brighter 

tonalities provide some expressive contrast, but the Sonata ends with 

agitated cadential gestures that reaffirm the work’s pervasive anxious 

mood. 

Sonata No. 6 for Unaccompanied Violin in E Major, Op. 27, No. 6 

(1924) 

Eugène Ysaÿe 

(Born July 16, 1858, in Liège, Belgium; died May 12, 1931, in 

Brussels) 

Though he was famed internationally as a supreme master of the 

violin (in his book on The Art of Violin Playing), the noted scholar 

and performer Carl Flesch called him “the most outstanding and 

individual violinist I have ever heard in my life”), Ysaÿe also 

composed a sizeable number of original works, most of them for his 

own instrument. He was never formally trained in the discipline, 

but he had a natural talent for composition that manifested itself in 

a Romantic virtuoso style in his early works (notably eight violin 

concertos which were never published and are virtually unknown) 

and in the utilization of progressive techniques in his later 

creations. His smaller pieces for violin and piano are regular recital 

items, but his most admired compositions are the six Sonatas for 

Unaccompanied Violin (Op. 27), which he was inspired to compose 

after hearing Joseph Szigeti play a Bach solo sonata in 1924. These 

Sonatas are in an advanced stylistic idiom influenced by the modern 

music of France and call for feats of technical mastery that rival 

those required by the Solo Caprices of Paganini. 

The one-movement Sonata No. 6 was dedicated to the Spanish 

violinist Manuel Quiroga, who toured Europe and America with 

great success until a street accident in New York in 1937 ended 

his performing career. Ysaÿe’s flamboyant work, almost constantly 

in double-stops, evokes the rhapsodic Gypsy style of Quiroga’s 

homeland. 

Selections from Porgy and Bess (1935) 

George Gershwin 

(Born September 26, 1898, in Brooklyn, New York; died July 11, 

1937, in Hollywood, California) 

Arranged by Jascha Heifetz (1899-1987) 

During a retreat in October and November 1944 at Harbor Island 

in San Diego Bay to recover from two years of constant concertizing 

and touring throughout America and the theaters of war to play for 

the troops, Jascha Heifetz transcribed several of the most beloved 

numbers from Gershwin’s Porgy and Bess for violin and piano. 

Gershwin was a friend and a frequent guest when Heifetz lived 

in New York in the late 1920s (rumor had it that he may have 

been interested in one of Heifetz’s daughters), and the violinist’s 

arrangements respectfully retain the substance and the character 

of the vocal originals. Heifetz did suit them to his luminous and 

impeccable style, however, with frequent double-stops, quickly 

shifting registers, and occasional virtuoso flourishes between phrases. 

Fantaisie Brillante on Themes from Gounod’s Faust for Violin and 

Piano, Op. 20 (1868) 

Henryk Wieniawski 

(Born July 10, 1835, in Lublin, Poland; died March 31, 1880, in 

Moscow) 

Henryk Wieniawski was one of the most accomplished musical 

artists of the mid-19th century—Anton Rubinstein called him 

“without a doubt the greatest violinist of his time.” He was known 

for the richness of his tone, the perfection of his technique and 

the fiery Slavic temperament that electrified his playing. The two 

concertos are the most important of his four dozen compositions, 

but several of his smaller pieces are familiar items in the violin 

literature: The Fantaisie Brillante on Themes from Gounod’s “Faust” 

of 1868 is not just a virtuoso showpiece, but also a testament to the 

instant popularity that greeted Gounod’s opera following its premiere 

in Paris just nine years before. 

—Dr. Richard E. Rodda 


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—Sacramento Magazine (2010)

Stephen waarts, age 16, started his violin studies in the Bay 

Area at age five and piano studies at eight. After graduating from 

both high school and the San Francisco Conservatory Preparatory 

at 14, he is currently pursuing a bachelor of music at the prestigious 

Curtis Institute of Music in Philadelphia. Since age 11, Waarts 

has been performing with numerous professional and community 

orchestras all over the world, playing a large repertoire including 

many rarely performed violin concertos. Winner of numerous international 

violin competitions, including the Menuhin Competition, 

Spohr Competition and Sarasate Competition, Waarts has received 

acclaim on several continents for his soulful and poetic playing, 

his artistry, unique tone and true virtuosity. On his prize winning 

performances the UK’s Daily Telegraph commented “... something 

special ... not just the mechanical wonder, but a soul.” And the 

Strad magazine, “from the first note … I was hooked, and within a 

few bars I was moved to tears from … such an experience is rare … 

Although it is possible to analyze it (Waarts’s playing) ... perhaps it 

is better not to try … truly poetic and sincere.” 

Waarts has performed in Germany, Spain, Norway, Russia and at 

venues in numerous states in the U.S. including at New York’s 

Carnegie Hall, in San Francisco and Los Angeles, as well as at 

hundreds of concerts in the Bay Area. He has played, often multiple 

times, more than 25 concertos, with the Staatskapelle Weimar 

Orchestra, Navarra Symphony, Kostroma Symphony, San Francisco 

Chamber Orchestra, Los Angeles Jewish Symphony, Fremont 

Symphony, Symphony Parnassus, Redwood Symphony, Silicon Valley 

Symphony, Saratoga Symphony, Solano Symphony, Prometheus 

Symphony and a multitude of others. Fairfield’s Daily Republic commented: 

“Even in a region rich in musical talent, young Waarts is an 

exceptional talent.” The Los Angeles-based reviewer Baruch Cohon 

says: “Hands down hit of the evening was the young violinist Stephen 

Waarts ... masterful performance ... he (the composer) would have 

been overjoyed ...” The San Mateo Daily Journal said: “the emotionevoking 

quality of his sound, brings me to tears with that rare 

beauty” and “extraordinary technique.” 

At the Curtis Institute in Philadelphia, Waarts studies violin with 

celebrated violinist and master teacher Aaron Rosand, and he 

continues there his studies in piano and composition. Since 2005, 

Waarts has been a student at the studio of world-renowned Bay 

Area violin pedagogue Li Lin, with whom he continues his close 

collaboration. Concurrently, since 2009, Waarts has studied with 

Alexander Barantschik, Concertmaster of San Francisco Symphony, 

and with Baroque violinist Elizabeth Blumenstock and since 2010, 

he is also a student at the Perlman Music Program, headed by 

Itzhak Perlman. Waarts started his music education with violin 

lessons as part of a Suzuki violin program with Krishnabai Lewis 

and continued lessons with Jenny Rudin. He started piano studies 

with Steve Lightburn and since 2006, he continued them with Irina 

Sharogradski. A passionate chamber music player, Waarts has been 

part of the Music at Menlo program led by David Finckel and Wu 

Han for four summers since 2005, and he continues his chamber 

playing at the Curtis Institute and at the Perlman Program. During 

Waarts’s frequent visits to his Bay Area home he continues working 

with local orchestras and volunteering recitals at local retirement 

communities. 

Waarts is also an enthusiastic mathematician (having won many 

national math awards) and a visual artist. In the rest of his free time 

he enjoys reading, table tennis, swimming, card games and playing 

with his friends, including his younger sister and twin brother. 

Find out more about Waarts at www.stephenwaarts.com 

miles graber received his musical training at the Juilliard School, 

where he studied with Anne Hull, Phyllis Kreuter, Hugh Aitken and 

Louise Behrend. He has lived in the San Francisco Bay Area since 

1971, where he has developed a wide reputation as an accompanist 

and collaborative pianist for instrumentalists and singers. He has 

performed with numerous solo artists, including Sarah Chang, 

Cho-Liang Lin, Camilla Wicks, Axel Strauss, Mimi Stillman and 

Judith LeClair. Graber currently performs frequently with violinists 

Christina Mok and Mariya Borozina, flutists Gary Woodward, Amy 

Likar and Ai Goldsmith and clarinetist Tom Rose. He is a member of 

the chamber groups Trio Concertino, MusicAEterna, Sor Ensemble 

and the new music group Sounds New. 

Graber has been associated with such ensembles as the New 

Century Chamber Orchestra, Midsummer Mozart, Oakland-East 

Bay Symphony, Berkeley Symphony, California Symphony, Santa 

Rosa Symphony, Oakland Lyric Opera, Berkeley Opera and Opera 

San Jose. He has accompanied master classes by such artists as 

Midori, Joseph Silverstein, Nadja Salerno-Sonnenberg, Pamela Frank, 

Alexander Barantchik, James Galway, Lynn Harrell and Yo-Yo Ma. He 

has been a frequent performance accompanist and chamber player 

with members of San Francisco Symphony, San Jose Symphony, 

Berkeley Symphony, California Symphony, Santa Rosa Symphony, 

San Francisco Symphony Youth Orchestra, Oakland-East Bay Youth 

Orchestra and UC Berkeley Symphony. He is on the faculty of the 

Crowden School in Berkeley, and he regularly coaches and accompanies 

students of the Young Musicians Program at UC Berkeley. He 

is currently a staff accompanist at the San Domenico Conservatory 

in San Anselmo, the San Francisco Conservatory of Music and 

Northern California Flute Camp in Carmel Valley. 

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A Mondavi Center Just Added Event 




b.b. kinG 

B.B. King, since he started recording in the late 1940s, has released more than 

60 albums many of them considered blues classics, like the definitive live 

blues album Live At The Regal (1965) and collaboration with Bobby “Blue” 

Bland, Together For The First Time (1976). 

Over the years, King has had two number one R & B hits, “Three O’Clock 

Blues” (1951) and “You Don’t Know Me” (1952) and four number two 

R & B hits, “Please Love Me” (1953) and “You Upset Me Baby” (1954), 

“Sweet Sixteen, Part I” (1960) and “Don’t Answer The Door, Part I” (1966). 

King’s most popular crossover hit, “The Thrill Is Gone” (1970), went to 

number 15 pop. 

But King, as well as the entire blues genre, is not radio oriented. His classic 

songs such as “Payin The Cost To Be the Boss,” “Caldonia,” “How Blue Can 

You Get,” “Everyday I Have the Blues” and “Why I Sing the Blues” are concert 

(and fan) staples. 

King was born Riley B. King on September 16, 1925, on a cotton plantation 

in Itta Bene, Mississippi, just outside the Mississippi Delta town of Indianola. 

He used to play on the corner of Church and Second Street for dimes and 

would sometimes play in as many as four towns on a Saturday night. With 

his guitar and $2.50, he hitchhiked north to Memphis in 1947 to pursue his 

musical career. Memphis was the city to which every important musician of 

the South gravitated and which supported a large, competitive musical community, 

where virtually every black musical style was heard. King stayed with 

his cousin Bukka White, one of the most renowned rural blues performers of 

his time, who schooled King further in the art of the blues. 


switched off all electronic devices. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

King’s first big break came in 1948, when he performed on Sonny 

Boy Williamson’s radio program on KWEM out of West Memphis. 

This led to steady performance engagements at the Sixteenth Avenue 

Grill in West Memphis and later to a 10 minute spot on black 

staffed and managed radio station WDIA. King’s Spot, sponsored by 

Pepticon, a health tonic, became so popular that it was increased in 

length and became the Sepia Swing Club. Soon, King needed a catchy 

radio name. What started out as Beale Street Blues Boy was shortened 

to Blues Boy King, and eventually B.B. King. Incidentally, King’s 

middle initial “B” is just that; it is not an abbreviation. 

In the mid-1950s, while King was performing at a dance in Twist, 

Arkansas, a few fans became unruly. Two men got into a fight and 

knocked over a kerosene stove, setting fire to the hall. King raced 

outdoors to safety with everyone else, but then realized that he left 

his $30 guitar inside, so he rushed back inside to retrieve it, narrowly 

escaping death. When he later found out that the fight had been 

over a woman named Lucille, he decided to give the name to his guitar. 

Each one of King’s guitars since that time has been called Lucille. 

Soon after his number one hit, “Three O’Clock Blues,” King began 

touring nationally, and he has never stopped, performing an average 

of 125 concerts a year. In 1956, King and his band played an astonishing 

342 one-night stands. From the chitlin circuit with its small 

town cafes, ghetto theaters, country dance halls and roadside joints 

to jazz clubs, rock palaces, symphony concert halls, college concerts, 

resort hotels and prestigious concert halls nationally and internationally, 

King has become the most renowned blues musician of the past 

60 years. 

King’s technique is nonetheless complex, featuring delicate filigrees 

of single string runs punctuated by loud chords, subtle vibratos, 

and “bent” notes. The technique of rock guitar playing is to a large 

degree derived from King’s playing. 

Over the years, King has developed one of the world’s most readily 

identified guitar styles. He borrowed from Lonnie Johnson, Blind 

Lemon Jefferson, T-Bone Walker and others integrating his precise 

vocal-like string bends and his left hand vibrato, both of which have 

become indispensable components of rock guitarist vocabulary. His 

economy, his every-note-counts phrasing, has been a model for thousands 

of players including Eric Clapton, George Harrison and Jeff 

Beck. 

King has mixed traditional blues, jazz, swing, mainstream pop and 

jump into a unique sound. His singing is richly melodic, both vocally 

and in the “singing” that comes from his guitar. In King’s words, 

“When I sing, I play in my mind; the minute I stop singing orally, I 

start to sing by playing Lucille. 

“I’m trying to get people to see that we are our brother’s keeper, I 

still work on it. Red, white, black, brown, yellow, rich, poor, we all 

have the blues. 

“From my own experience, I would say to all people but maybe to 

young people especially black, white or whatever color, follow your 

own feelings and trust them; find out what you want to do, and do it 

and then practice it every day of your life and keep becoming what 

you are despite any hardships and obstacles you meet.” 

“I’m me,” King told Time magazine in 1969. “Blues is what I do best. 

If Frank Sinatra can be the best in his field, Nat King Cole in his, 

Bach and Beethoven in theirs, why can’t I be great and known for it, 

in blues?” 

King has influenced Eric Clapton, Mike Bloomfield, Albert Collins, 

Buddy Guy, Freddie King, Jimi Hendrix, Otis Rush, Johnny Winter, 

Albert King and many others while being influenced by Charles 

Brown, Lowell Fulsom, Elmore James, Blind Lemon Jefferson, Jimmy 

Rushing, T-Bone Walker, Bukka White and others. 

In 1969, B.B. was chosen by the Rolling Stones to open 18 American 

concerts for them; Ike and Tina Turner also played on 18 shows. 

King also made the first of his numerous appearances on Johnny 

Carson’s The Tonight Show. In 1970, King premiered in Las Vegas at 

Caesar’s Palace and at the Royal Box in the American Hotel in New 

York City as well as on The Ed Sullivan Show. 

In the early 1970s, B.B. toured Ghana, Lagos, Chad and Liberia 

under the auspices of the United States State Department, besides 

playing the major jazz festivals around the world. 

King was inducted into the Blues Foundation Hall of Fame in 1984 

and into the Rock and Roll Hall of Fame in 1987, where Sting of the 

Police made the induction speech. King was the recipient of the 1986 

National Association for Campus Activities Hall of Fame Award. 

King was Blues Act of the Year in 1985, 1987 and 1988 Performance 

Award Polls. He is a founding member of the John F. Kennedy 

Performing Arts Center. King received the Grammy “Lifetime 

Achievement Award” in 1987. He won the Lifetime Achievement 

Award from the Blues Foundation in 1997. King has received four 

honorary doctorates: Tougaloo (Mississippi) College (L.H.D.) in 

1973; Yale University (D. Music) in 1977; Berklee College of Music 

(D. Music) in 1982 and Rhodes College of Memphis (D. Fine Arts) 

in 1990. In 1992, he received the National Award of Distinction from 

the University of Mississippi. 

On May 3, 1991, “B.B. King’s Blues Club” opened in Memphis and 

also at the Universal City Walk in Los Angeles in 1994, and although 

King resides in Las Vegas, he plans to play at his clubs at least four 

times a year. A B.B. King Blues Club opened in New York’s Times 

Square’s E-Walk in early 2000. 

In 1996, the CD-ROM On The Road With B.B. King: An Interactive 

Autobiography was released to rave reviews including an “A-” in 

Entertainment Weekly. Also in 1996, King’s autobiography Blues All 

Around Me (written with David Ritz) was published and won second 

prize in the prestigious Eighth Annual Ralph J. Gleason Music Book 

Awards. The biography The Arrival of B.B. King by Charles Sawyer 

was published in 1980 by Doubleday. 

In 1997, MCA released King’s album Deuces Wild with King in tandem 

with 13 legendary artists. The lineup included Eric Clapton, 

the Rolling Stones, Bonnie Raitt, Willie Nelson, Joe Cocker, Tracy 

Chapman, Mick Hucknall (Simply Red), Dr. John, Marty Stuart, 

D’Angelo, David Gilmore & Paul Carrick and Heavy D. Deuces Wild 

became King’s second gold album. In 1999, B.B. King released Let 

the Good Times Roll, his tribute to Louis Jordan. “Louis Jordan was 

a great musician,” says King, “and in my opinion, was way ahead of 

his time. As people get to know him, they will realize what a great 

contribution he left to the music of today.” 


philharmonia baroque by jeff hudSon 

Over the past three decades, Philharmonia Baroque has 

issued quite a few albums under conductor Nicholas 

McGegan—and pianist Emanuel Ax has released even more 

recordings, featuring both orchestral and chamber works, 

going back into the 1970s. Here are a few highlights from 

recent years and decades past: 

—Philharmonia Baroque launched its own label a few years 

ago, and earlier this year it issued a two-disc album featuring 

the rarely encountered Handel opera Atalanta, written in 

1736 (to celebrate the marriage of Prince of Wales) and 

premiered in Covent Garden. 

—Last year, Philharmonia’s label also issued one of the 

most popular and frequently recorded works in the 

Baroque repertoire: Vivaldi’s Four Seasons. The soloist was 

Philharmonia’s concertmaster Elizabeth Blumenstock (who’s 

appeared in Davis many times with the American Bach 

Soloists). There are three other Vivaldi concertos on the 

album as well. 

—Last year, Philharmonia Baroque also issued (for the first 

time) some historic recordings with the late mezzo Lorraine 

Hunt Lieberson, dating from the 1990s. She sings arias 

by Handel, as well as Nuits d’Ete by Hector Berlioz. Davis 

audiences will recall that Lorraine Hunt Lieberson sang in 

Jackson Hall during the opening week of concerts at the 

Mondavi Center in October 2002. She died, age 52, in 2006. 

—Emanuel Ax has released multiple albums over the decades 

with cellist Yo-Yo Ma, covering sonatas by Beethoven, Brahms, 

Rachmaninoff, Prokofiev and others—well worth looking up. 

Then in 2010, Ax and Ma partnered for the first time with 

Itzhak Perlman for an album featuring the two Mendelssohn 

piano trios. 

PPt 

pre-performance Talk moderator: don roth, ph.d. 

Don Roth is the executive director of the Robert and Margrit 

Mondavi Center for the Performing Arts, UC Davis. A native 

of New York City, Roth joined the Mondavi Center in June 

2006, arriving from the Aspen Music Festival and School, 

where he served as president from 2001–06. His tenure at the 

Mondavi Center has seen the initiation of new artistic and 

educational partnerships with the San Francisco Symphony 

and the Curtis Institute; the development of residencies by 

world-renowned companies such as Shakespeare’s Globe 

and the St. Louis Symphony; the launching of a program to 

increase interest in Classical Music funded by a major Andrew 

W. Mellon Foundation grant; and the beginnings of the popular 

“Just Added” events. Previously Roth served as president 

of the St. Louis Symphony and of the Oregon Symphony and 

as general manager of the San Francisco Symphony. 


fUrther lIstenIng 

—Tonight’s concert features Ax on a historic fortepiano—the 

sort of keyboard that existed when Beethoven wrote the 

Concerto No. 4 in 1805–6. In the 1990s, Ax also recorded the 

two Chopin piano concertos on an 1851 Erard keyboard—the 

kind of instrument that Chopin played—under the baton 

of Sir Charles Mackerras with the Orchestra of the Age of 

Enlightenment. And if you’re looking for Ax performing 

these works on a modern piano, he recorded the Beethoven 

concertos with the Royal Philharmonic Orchestra under 

Andre Previn and Chopin concertos with the Philadelphia 

Orchestra under Eugene Ormandy. 

—Ax also has an interest in newer music, and in March of this 

year he performed Morton Feldman’s Piano and Orchestra— 

an unconventional 1975 piece that the composer described 

as one of his “still-life titles”—at Carnegie Hall with the San 

Francisco Symphony under Michael Tilson Thomas. No word 

thus far whether a recording of that performance will be 

issued. 

—Ax has a new recital album scheduled for release sometime 

around the time of this concert. It will feature music by Josef 

Haydn, Robert Schumann (whose music Ax played when 

he visited Mondavi in 2010) and Aaron Copland, organized 

around the concept of theme-and-variations. 

Jeff Hudson contributes coverage of the 

performing arts to Capital Public Radio, the 

Davis Enterprise and Sacramento News and Review. 

Currently, Roth serves as the co-chair of Sacramento Mayor 

Kevin Johnson’s regional arts initiative, “For Arts’ Sake.” Roth 

is also an overseer of the Curtis Institute of Music and a member 

of the Directors Council (emeritus Board) of the League of 

American Orchestras. He has chaired numerous panels for the 

National Endowment for the Arts and chaired the Orchestra 

League’s Management Fellowship Program. Roth has served 

as a member of the Executive Committee of the Board of 

Directors of the Sacramento Philharmonic. Roth holds a doctorate 

from the University of Texas with a specialty in African- 

American History. He has written about popular music for 

Rolling Stone and Texas Monthly.

Photo by Randi Beach 

A Western Health Advantage Orchestra 

Series Event 

Wednesday, November 7, 2012 • 8PM 


Sponsored by 

Individual support provided by Shipley 

and Dick Walters. 

pre-performance Talk 

Wednesday, November 7, 2012 • 7PM 


Speaker: Nicholas McGegan 

in conversation with Don Roth, 

Executive Director, Mondavi Center, 

UC Davis. 

philharmonia baroque orcheSTra 

Photo by Randi Beach 

nicholas mcGegan, music director and conductor 

emanuel ax, fortepiano 

ProgrAm 

Concerto No. 4 for Fortepiano and Orchestra in G Major, Op. 58 Beethoven 

Allegro moderato 

Andante con moto 

Rondo: Vivace 

Emanuel Ax, fortepiano 

Intermission 

Twelve Contredanses for Orchestra, WoO 14 

Symphony No. 4 in B-flat Major, Op. 60 

Adagio – Allegro vivace 

Adagio 

Menuetto: Allegro vivace – Trio: Un poco meno allegro 

Allegro ma non troppo 



Photo by Harald Haugan 


ProgrAm notes 

Ludwig van Beethoven 

(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) 

Ludwig van Beethoven was born in Bonn, then an independent electorate. 

His baptismal certificate is dated December 17, 1770, and he 

died in Vienna on March 26, 1827. He began work on his Fourth 

Piano Concerto in 1805 and completed the score early the next year. 

He was soloist in its first performance, a private one in March 1807 

at the Vienna town house of Prince Franz Joseph von Lobkowitz (the 

Symphony No. 4 was introduced on the same occasion). He made his 

last appearance as a concerto soloist in the first public performance 

of this music, which was part of the famous Akademie in the Theater 

an der Wien on December 22, 1808, when the Fifth and Pastoral 

symphonies and the Choral Fantasy had their premieres along with 

the first hearings in Vienna of the Mass in C major and the concert 

aria “Ah! perfido,” not to forget one of Beethoven’s remarkable solo 

improvisations. The first North American performance was given on 

February 4, 1854, at the Boston Odeon by Robert Heller with Carl 

Bergmann conducting the Germania Musical Society. The orchestra 

consists of flute, two oboes, two clarinets, two bassoons, two horns, 

two trumpets, timpani and strings. The second movement is for 

strings only, and the trumpets and drums make their first appearance 

in the finale. Emanuel Ax plays the cadenzas by Beethoven. 

Beethoven wrote the Symphony No. 4 in the summer and early fall 

of 1806. As noted above, it was first performed in March 1807, in 

Vienna. The first performance in the United States was given on 

November 24, 1849, by the New York Philharmonic Society, Theodor 

Eisfeld conducting. 

Concerto No. 4 for Fortepiano and Orchestra in G Major, Op. 58 

Charles Rosen remarks in The Classical Style that “the most important 

fact about the concerto form is that the audience waits for 

the soloist to enter, and when he stops playing they wait for him 

to begin again.” Most of the Fourth Piano Concerto’s early listeners 

would have expected Beethoven to begin his new concerto as 

he began his previous ones and virtually all others they knew, that 

is, with a tutti lasting a couple of minutes and introducing several 

themes, after which the soloist would make a suitably prepared 

entrance. 

Concerto is a form of theater. Beethoven, an experienced and commanding 

pianist, had a keen feeling for that, and his first three piano 

concertos (not counting the one he wrote as a boy of 13) and his 

Violin Concerto, all of which had been heard in Vienna by the spring 

of 1807, make something quite striking of the first solo entrance. 

The older Beethoven grew, the more imaginative he became. In the 

Triple Concerto, a beautiful, problematic and unpopular work that 

was completed a couple of years before the Fourth Piano Concerto, 

the cello enters with the first theme, but a breath later than you 

expect and with a magical transformation of character. In the Violin 

Concerto, the solo arises spaciously from the receding orchestra; 

after that comes the Emperor Concerto, where right at the beginning 

three plain chords provoke three grand fountains of broken chords, 

trills and scales. But it is here, in this most gently spoken and poetic 

of all his concertos, that Beethoven offers his most radical response 

to Rosen’s Law—to begin with the piano alone. It is a move without 


precedent. What is also remarkable is how rarely Beethoven, imitated 

so often and in so many things, has been copied in this stroke. 

What the piano says is as remarkable as its saying anything at all at 

this point. Sir Donald Tovey recalled Sir George Henschel “happening 

to glance at a score of the Missa solemnis, open at its first page, 

putting his finger upon the first chord and saying, ‘Isn’t it extraordinary 

how you can recognize any single common chord scored by 

Beethoven?’” The orchestra’s exordial chord in the Emperor is an 

example, and so is the soft, densely voiced dolce chord with which 

the piano begins the Concerto in G major. The whole brief phrase is 

arresting in its subtle rhythmic imbalance, but the still greater wonder 

is the orchestra’s hushed, sensitive and far seeing, harmonically 

remote response. The persistent three note upbeat makes this music 

tender cousin to the Fifth Symphony (in progress at the same time 

though completed only two years later). The rhythmic elasticity of 

the first solo and orchestra statement and response foreshadows an 

uncommon range of pace. 

The second movement has become the concerto’s most famous. Its 

comparison to Orpheus taming the wild beasts with his music was 

for years attributed to Liszt, though more recently the musicologist 

Owen Jander has pointed out that it was Adolph Bernard Marx 

“who first began to bring the Orpheus program of the Fourth Piano 

Concerto into focus” in his Beethoven biography of 1859. Even 

earlier than that, in his book On the Proper Performance of All of 

Beethoven’s Works for Piano (1842), Beethoven’s pupil Carl Czerny 

had suggested that “in this movement (which, like the entire concerto, 

belongs to the finest and most poetical of Beethoven’s creations) 

one cannot help thinking of an antique dramatic and tragic scene, 

and the player must feel with what movingly lamenting expression 

his solo must be played in order to contrast with the powerful and 

austere orchestral passages.” 

In this second movement, the orchestra is loud, staccato, in stark 

octaves. The piano is soft, legato, songful, richly harmonized. At the 

end, after a truly Orphic cadenza—and Beethoven almost persuades 

us that he invented the trill expressly for this moment—the orchestra 

has learned the piano’s way. Only the cellos and basses remember 

their opening music, but just briefly, and their mutterings are pianissimo. 

Until the conclusion of this sublime andante, this is Beethoven’s 

most quietly scored piano concerto. In the finale, which takes a 

charmingly Haydnesque, oblique approach to the question of how 

to resume the work after the evocative scene just played, trumpets 

and drums appear for the first time. Not that this movement is in 

any way grand; rather, it is lyrical and witty. It is also, with its two 

sections of violas, given to outrageously lush sounds—one more surprise 

in this most subtle, suggestive and multi-faceted of Beethoven’s 

concertos.

Symphony No. 4 in B flat-Major, Op. 60 

Beethoven’s work on the Fifth Symphony brackets that on the 

Fourth. Robert Simpson discusses their relationship in his illuminating 

booklet on the Beethoven symphonies for the BBC Music Guides: 

“[The B-flat major symphony] is highly compact, as the C minor was 

going to be, yet lighter in character, as if Beethoven, unsure how to 

release the thing that roared in his head like a caged tiger, turned 

his attention to less obstreperous inhabitants of his extraordinary 

domain. If the Eroica is like a noble stallion, the C minor and B-flat 

symphonies might be thought of as belonging to the cat family, the 

one fierce, the other lovable, but both sharing compact suppleness 

of movement, a dangerous lithe economy that makes them akin, and 

together, different from their predecessor. The Fourth belongs to the 

Fifth—and ever so much as in the Stygian darkness of its introduction, 

abruptly obliterated by vivid light.” 

It has often been observed that Beethoven’s even numbered symphonies 

and concertos tend to be more lyrical, less aggressive than 

their odd-numbered neighbors. To Robert Schumann, the Fourth 

Symphony was “a slender Grecian maiden between two Nordic 

giants.” Beethoven spent the summer of 1806 at the Silesian estate 

in Grätz of Prince Carl von Lichnowsky, one of the most steadfast 

and knowledgeable of the composer’s admirers during his early years 

in Vienna. It was through Lichnowsky that Beethoven met Count 

Franz von Oppersdorff, to whom he eventually dedicated the new 

symphony. Oppersdorff maintained an excellent orchestra, insisting 

that all persons employed in his household be proficient on some 

instrument. 

As Haydn did in most of his last symphonies and as in his own first 

two, Beethoven begins with a slow preface, and, while the key signature 

does not admit it, the music is actually in B-flat minor. The 

most musical of the guests at the Palais Lobkowitz in 1807 would 

have been more aware than most of us today of just how slowly this 

music moves—not so much in terms of notes per minute as in the 

passage of events. The harmony stands all but still, and the effect 

of suspended motion is underlined by the pianissimo that lasts—as 

Beethoven stresses four times—unbroken through the first 12 measures. 

Those 12 measures lead us, with exquisitely wrought suspense, 

back to the beginning. The five octaves of B-flat are sounded 

just a bit more emphatically than before, but the continuation is the 

same, a pianissimo expansion of the note G-flat. The effect of the 

G-flat is delicately dissonant, unstable, and the first time Beethoven 

resolves it quite normally down a half step to F, the note that has the 

most powerful magnetic pull back toward home, to B-flat. This time, 

however, Beethoven treats the G-flat as though it were in no need of 

resolution and continues by submitting to its own magnetic pull in 

the direction of B-natural, which, in the context of a universe whose 

center has been defined as B-flat, comes across as an absolutely reckless 

excursion. 

Beethoven finds his way back to the threshold of his proper harmonic 

home—not, of course, without adventure and suspense—and the 

first entrance of the trumpets and drums helps push the music into 

a quick tempo. The material is of an almost studied neutrality. The 

life of this ebullient allegro resides in the contrast between passages 

when the harmonies change slowly (as they mostly do) and others in 

which harmonic territory is traversed at a great rate, in the syncopations, 

the sudden fortissimo outbursts and in such colorful details as 

the stalking half notes in pianissimo. The development ventures a few 

moments of lyric song, but most of the orchestra is impatient to get 

on and to get back. The task of getting back to the home key and the 

first theme sends Beethoven into one of his most wonderful passages, 

in which wit and mystery are deliciously combined. 

The Adagio is an expansive, rapt song; rarely does Beethoven insist 

so often on the direction cantabile. Before the song begins, we hear 

a measure of ticking accompaniment in the second violins. What is 

characteristic of Beethoven is the refusal of that accompaniment to 

disappear. It remains an insistent presence and a fascinating foil to 

the flowing melodies. Not until the Ninth would Beethoven again 

write a symphony with a really slow movement. 

Concerned with bringing the scherzo in step with the expanding 

scale of the symphony as a whole, Beethoven makes an extra trip 

around the scherzo-trio-scherzo cycle. In the finale, certain of the 

characters from the first movement reappear, newly costumed, but 

this last Allegro (ma non troppo) is a more relaxed kind of movement 

than the first (Allegro vivace). 

Having mentioned Schumann, we can end with some good words of 

his: “Yes, love [Beethoven], love him well, but never forget that he 

reached poetic freedom only through long years of study, and revere 

his never ceasing moral force. Do not search for the abnormal in 

him, but return to the source of his creativeness. Do not illustrate 

his genius with the Ninth Symphony alone, no matter how great its 

audacity and scope, never uttered in any tongue. You can do as much 

with his First Symphony, or with the Greek like slender one in B-flat 

major!” 

—Michael Steinberg 

Michael Steinberg, the San Francisco Symphony’s program annotator 

from 1979–99 and a contributing writer to the Symphony’s program 

book until his death in 2009, was one of the nation’s pre-eminent writers 

on music. His books are available at the Symphony Store in Davies 

Symphony Hall and at sfsymphony.org/store. The notes on Beethoven’s 

Piano Concerto No. 4 and Symphony No. 4 are copyright © San 

Francisco Symphony and reprinted by permission. 


nicholas mcgegan is loved by audiences and orchestras for performances 

that match authority with enthusiasm, scholarship with 

joy and curatorial responsibility with evangelical exuberance. He 

has been music director of Philharmonia Baroque Orchestra for 26 

years and was Artistic Director of the International Handel Festival 

Göttingen for 20 years. 

He has been a pioneer in the process of exporting historically 

informed practice beyond the world of period instruments to conventional 

symphonic forces, guest-conducting orchestras including 

the Chicago, St. Louis, Toronto and Sydney symphonies, the 

Cleveland and Philadelphia orchestras, the New York, Los Angeles 

and Hong Kong philharmonics and the Northern Sinfonia and the 

Scottish Chamber Orchestra, as well as opera companies including 

Covent Garden, San Francisco, Santa Fe and Washington. 

Born in England, McGegan was educated at Cambridge and Oxford. 

He was made an Officer of the Most Excellent Order of the British 

Empire (OBE) “for services to music overseas.” His awards also 

include the Halle Handel Prize; the Order of Merit of the State 

of Lower Saxony (Germany); the Medal of Honour of the City of 

Göttingen; and an official Nicholas McGegan Day, declared by the 

Mayor of San Francisco in recognition of his distinguished work 

with the Philharmonia Baroque. 

Visit McGegan on the web at www.nicholasmcgegan.com. 

emanuel Ax was born in Lvov, Poland, and moved to Winnipeg, 

Canada, with his family when he was a young boy. His studies 

at the Juilliard School were supported by the sponsorship of the 

Epstein Scholarship Program of the Boys Clubs of America, and he 

subsequently won the Young Concert Artists Award. Additionally, 

he attended Columbia University, where he majored in French. Ax 

captured public attention in 1974, when he won the first Arthur 

Rubinstein International Piano Competition in Tel Aviv. In 1975, 

he won the Michaels Award of Young Concert Artists, followed four 

years later by the coveted Avery Fisher Prize. 

As Artist-in-Residence with the New York Philharmonic for the 

2012–13 season, he will appear in multiple weeks at Lincoln Center 

with repertoire ranging from Bach to Christopher Rouse in addition 

to a spring tour with the orchestra to Europe. He will return to the 

orchestras in Los Angeles, St. Louis, Atlanta, Detroit, Washington 

and Pittsburgh where he is a beloved regular. 

Highlights of the 2011–12 season included return visits to the 

symphonies of Boston, Houston, Toronto, Philadelphia, Pittsburgh, 

Detroit and Cincinnati; New York and Los Angeles philharmonics 

and San Francisco Symphony, with which he collaborated in 

the “American Mavericks” festival presented in San Francisco, 

Ann Arbor and Carnegie Hall. As curator and participant with the 

Chicago Symphony for a two-week spring residency “Keys to the 

City,” he performed multiple roles as leader and collaborator in a festival 

celebrating the many varied facets of the piano. 

In recognition of the bicentenaries of Chopin and Schumann in 

2010 and in partnership with London’s Barbican, Amsterdam’s 

Concertgebouw, New York’s Carnegie Hall, the Los Angeles 

Philharmonic and the San Francisco Symphony, Ax commissioned 


new works from composers Thomas Adés, Peter Lieberson and 

Stephen Prutsman for three recital programs presented in each of 

those cities with colleagues Yo-Yo Ma and Dawn Upshaw. In addition 

to this large-scale project, recent tours included performances 

in Asia with the New York Philharmonic on its first tour with Music 

Director Alan Gilbert and European tours with both the Chamber 

Orchestra of Europe and James Conlon as well as the Pittsburgh 

Symphony with Manfred Honeck. 

Ax has been an exclusive Sony Classical recording artist since 1987. 

Due for release later this year is a new recital disc of works from 

Haydn to Schumann to Copland reflecting their different uses of the 

“variation” concept. 

Recent releases include Mendelssohn Trios with Yo-Yo Ma and 

Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart 

and discs of two-piano music by Brahms and Rachmaninoff with 

Yefim Bronfman. Ax has received Grammy Awards for the second 

and third volumes of his cycle of Haydn’s piano sonatas. He has also 

made a series of Grammy-winning recordings with cellist Yo-Yo Ma 

of the Beethoven and Brahms sonatas for cello and piano. His other 

recordings include the concertos of Liszt and Schoenberg, three solo 

Brahms albums, an album of tangos by Astor Piazzolla and the premiere 

recording of John Adams’s Century Rolls with the Cleveland 

Orchestra for Nonesuch. In the 2004–5 season, Ax also contributed 

to an International Emmy Award-winning BBC documentary commemorating 

the Holocaust that aired on the 60th anniversary of the 

liberation of Auschwitz. 

Innovative Make Over Coming Fall 2012 

www.hallmarkinn.com 

(800)753-0035

VIOLIN 

Katherine Kyme, concertmaster 

Johann Gottlob Pfretzschner, 

Mittenwald, 1791 

Elizabeth Blumenstock 

Andrea Guarneri, Cremona, 

1660; on loan from 

Philharmonia Baroque 

Orchestra Period Instrument 

Trust 

Jolianne von Einem 

Rowland Ross, Guildford, 

England, 1979; after Antonio 

Stradivari, Cremona 

Lisa Grodin 

Laurentius Storioni, Cremona, 

1796 

Tyler Lewis 

Timothy Johnson, Hewitt, Texas, 

2009; after A. Stradivari 

Carla Moore † 

Johann Georg Thir, Vienna, 

1754 

Maxine Nemerovski 

Timothy Johnson, Bloomington, 

Indiana, 1999; after A. 

Stradivari 

Sandra Schwarz 

Johannes Cuypers, Portsmouth, 

England, 1789; after A. 

Stradivari 

David Sego 

Josephus Pauli, Linz, 1785 

Laurie Young Stevens 

Rowland Ross, London, 1995; 

after A. Amati 

Noah Strick 

Celia Bridges, Cologne, 1988 

Sara Usher 

Desiderio Quercetani, Parma, 

2001; after A. Stradavari 

Lisa Weiss 

Anonymous, London; after 

Testore 

Alicia Yang 

Richard Duke, London, 1762 

philharmonia baroque orcheSTra 

nicholas mcGegan, music director and conductor 

VIOLA 

Anthony Martin * 

Ægidius Kloz, Mittenwald, 

1790 

David Daniel Bowes 

Richard Duke, London, c. 1780 

Maria Ionia Caswell 

William Old, Falmouth, 

England, 1895 

Ellie Nishi 

Ægidius Klotz, Mittenwald, 

1790 

Aaron Westman 

Dmitry Badiarov, Brussels, 2003 

VIOLONCELLO 

Tanya Tomkins * 

Joseph Panormo, London, 1811 

Phoebe Carrai 

Anonymous, Italy, c. 1690 

Paul Hale 

Joseph Grubaugh & Sigrun 

Seifert, Petaluma, 1988; after A. 

Stradivari 

Robert Howard 

Anonymous, Venice, 1750 

William Skeen 

Anonymous, Holland, c. 1680 

DOUBLE BASS 

Kristin Zoernig * 

Joseph Wrent, Rotterdam, 

Holland, 1648 

Michelle Burr 

Anonymous, Tyrol, 1790 

Farley Pearce 

Armando Altavilla, Naples, 

1924; after F. Gagliano 

emanuel ax, fortepiano 

Philharmonia’s musicians perform on historically accurate instruments. 

Below each player’s name is information about his or her instrument’s maker and origin. 

FLUTE 

Janet See * 

R. Tutz, Innsbruck, 1989; after 

H. Grenser, c. 1790 

OBOE 

Marc Schachman * 

Sand Dalton, Lopez Island, 

Washington, 1993; after Floth, 

c. 1800 

Gonzalo Ruiz 

H. A. Vas Dias, Decatur, 

Georgia, 1988; after C. A. 

Grenser, Dresden, c. 1780 

CLARINET 

Eric Hoeprich * 

A. Grenser, Dresden, c. 1785 

Diane Heffner 

Daniel Bangham, Cambridge, 

England, 1993; after H. Grenser, 

Dresden, c. 1810 

BASSOON 

Andrew Schwartz * 

Guntram Wolf, Kronach, 

Germany, 2007; after Grenser 

Kate van Orden 

Peter de Koningh, Hall, 

Holland, 1985; after Grenser, 

Dresden, c. 1800 

HORN 

R. J. Kelley * 

M. A. Raoux, Paris, 1850 

Paul Avril 

Richard Seraphinoff, 

Bloomington, Indiana, 1998; 

after A. Halari, Paris, 1825 

TRUMPET 

John Thiessen * 

Rainer Egger, Basel, 2003; after 

J. L. Ehe III, Nuremburg, 1746 

Fred Holmgren 

Fred Holmgren, Massachusetts, 

2004; after J. L. Ehe III, 

Nuremburg, 1746 

TIMPANI 

Kent Reed * 

Anonymous, England, c. 1840 

FORTEPIANO 

Emanuel Ax 

Johann Fritz, Vienna, 

c. 1805-10; restored by 

Edwin Beunk and Johan 

Wennink, Enschede, Holland, 

2002 

* Principal 

† Principal 2nd Violin 

TOURING STAFF 

Michael Costa, 


David Daniel Bowes, 

Music Librarian 

E. J. Chavez, 

Stage Coordinator 

Rose Frazier, 

Artistic Intern 

Janine Johnson, 

Keyboard Technician 

Alexander Kort, 

Stage Manager 

Jeffrey Phillips, 

Artistic Administrator 


A Dance Series Event 

Friday, November 9, 2012 • 8PM 


Sponsored by 

Photo by Rachel Neville 

offIce of cAmPUs 

commUnIty relAtIons 

There will be two intermissions. 

question & answer Session 

With members of the Dance Theatre of 

Harlem 

Moderated by Halifu Osumare, Associate 

Professor and Director of African 

American and African Studies, UC Davis. 

Question & Answer Sessions take place in 

the performance hall after the event. 


dAnce theAtre of hArlem 

dance theatre of harlem 

Arthur Mitchell and Karel Shook, Founders 

Virginia Johnson, Artistic Director 

Laveen Naidu, Executive Director 

Keith Saunders, Ballet Master 

Elizabeth England, General Manager 

dance Theatre of harlem company: 

Michaela DePrince, Chyrstyn Fentroy, Jenelle Figgins, Emiko Flanagan, 

Alexandra Jacob, Ashley Murphy, Lindsey Pitts, Gabrielle Salvatto, 

Ingrid Silva, Stephanie Williams, Fredrick Davis, Da’ Von Doane, 

Taurean Green, Jehbreal Jackson, Dustin James, Francis Lawrence, 

Anthony Savoy and Samuel Wilson 

Arthur Mitchell, Artistic Director Emeritus 

Dance Theatre of Harlem is supported in part by 

public and private funds from: 

The Andrew W. Mellon Foundation 

Thompson Family Foundation 

The Ford Foundation 

Bloomberg Philanthropies 

The Carl & Lilly Pforzheimer Foundation 

The Rockefeller Foundation NYC Cultural Innovation Fund 

The Shubert Foundation 

NYC Department of Cultural Affairs in Partnership with City Council 

New York State Council on the Arts with the support 

of Governor Andrew Cuomo and the New York State Legislature 

National Endowment for the Arts 

Upper Manhattan Empowerment Zone 



ProgrAm 

gloria 

(World Premiere: October 20, 2012) 

Robert Garland, Choreography 

Francis Poulenc, Music 

Pamela Allen-Cummings, Costume Design and Execution 

Roma Flowers, Lighting 

“Gloria in excelsis Deo” 

The Company 

“Laudamus te” 

Michaela Deprince, Samuel Wilson, 

Jenelle Figgins, Taurean Green 

“Domine Deus, Rex caelestis” 

DA’ VON DOANE 

ASHLEY MURPHY 

Chyrstyn Fentroy, Lindsey Pitts, Ingrid Silva, 

Stephanie Williams, Frederick Davis, 

Dustin James, Francis Lawrence, Anthony Savoy 

“Domine Fili unigenite” 

Chyrstyn Fentroy, Lindsey Pitts, Ingrid Silva, Stephanie Williams 

Frederick Davis, Dustin James, Francis Lawrence, Anthony Savoy 

“Domine Deus, Agnus Dei” 

ASHLEY MURPHY 


Michaela Deprince, Samuel Wilson, 


“Qui sedes” 

The Company 

Harlem has rich cultural legacy that includes music, (jazz, hip-hop), 

and literature (the Harlem Renaissances’ Zora Neale Hurston and 

Langston Hughes to name a few). Not as well known, but equally 

vibrant, is its spiritual legacy. Gloria stands as a tribute to that history 

and legacy that still abides in the community of Harlem. 

The choreographer dedicates this work to the Abyssinian Baptist 

Church in Harlem, and its current Pastor, the Reverend Calvin Otis 

Butts III. 

Gloria was developed in part at Vineyard Arts Project: Ashley Melone, 

Founder and Artistic Director. 

The children performing in this piece are appearing courtesy of Sacramento 

Ballet. 

Pause 

when love 

(World Premiere: October 2, 2012) 

Helen Pickett, Choreography 

Philip Glass, Music 

Charles Heightchew, Costumes 

Gary Kleinschmidt, Original Artwork for Fabric 

Mark Stanley, Lighting 

Kellye A. Sanders, Assistant to the Choreographer 

EMIKO FLANAGAN, DUSTIN JAMES 

Insistent time maps our days. But when we are in love we surrender 

to unbridled time. What we share together during this span seems 

“out of time.” And then, too suddenly, time shifts into focus again. 

An imprint of what we shared lingers, and traces of remembrances 

float into view. Yes, we crawl, walk, run and love in time. But in 

these brief, wondrous periods we experience timeless love, and we 

dance our being. 

—Helen Pickett 

Music: Knee 5 from Einstein on the Beach 

The choreographer wishes to thank Thomas F. DeFrantz. 

When Love was created as part of Harlem Dance Works 2.0, and was funded 

by the Rockefeller Foundation. 

Intermission 

the lark ascending 

(World premiere: 1972) 

(Dance Theatre of Harlem Premiere: October 2012) 

Alvin Ailey, Choreography 

Elizabeth Roxas Dobrish, Staging 

Ralph Vaughan Williams, Music 

Bea Feitler, Costumes 

Chenault Spence, Lighting 

GABRIELLE SALVATTO, FREDRICK DAVIS 


Emiko Flanagen, Stephanie Williams, Alexandra Jacob, Lindsey Pitts 

Anthony Savoy, Dustin James, Jehbreal Jackson, Francis Lawrence 

To Vaughan Williams, with his intense love of the English countryside 

that he knew in his youth, the lark represented the heart’s rapture 

and the soul’s aspiration. A miniature violin concerto in all but 

name, the composer called it a “Romance” when he completed it in 

1920, after beginning it before war broke out in 1914. The violin rises 

and soars aloft above a delicate orchestral accompaniment, followed by 

a short folk song-like middle section, and then the soloist again takes 

wing. Some lines from a poem by George Meredith are inscribed on 

the score and aptly define the music’s rhapsodic character: 

Singing till his heaven fills 

Tis love of earth that he instils 

And ever winging up and up 

Our valley is his golden cup 

And he the wine which overflows 

To lift us with him as he goes. 

(Poems and Lyrics of the Joys of Earth by Noel Goodwin) 

The restaging and performance of The Lark Ascending has been made possible 

by the National Endowment for the Arts as part of American Masterpieces: Three 

Centuries of Artistic Genius. 


Pause 

Black swan Pas de Deux 

(Dance Theatre of Harlem Premiere: November 9, 2012) 

Staged by Anna-Marie Holmes after 

Marius Petipa and Nicholas Sergeyev 

Pyotr Illyich Tchaikovsky, Music 

Costumes Courtesy of Boston Ballet 

Peter D. Leonard, Lighting 

MICHAELA DEPRINCE, SAMUEL WILSON 

Anna-Marie Holmes first learned this pas de deux in St Petersburg, 

Russia, from Natalia Dudinskaya (her coach and teacher), who 

was famous for her interpretation of Swan Lake. She performed the 

full Swan Lake internationally and was the first dancer in Holland 

to perform both the white and black Swan. It was in Holland that 

she worked with Karl Shook, before he came back to New York to 

help Arthur Mitchell build Dance Theater of Harlem. New to Dance 

Theatre of Harlem, the Black Swan pas de deux, usually performed 

in the third act of Swan Lake, is a universal favorite and a showcase 

for bravura classical technique. 

Intermission 

return 

(World Premiere: September 21, 1999) 

Robert Garland, Choreography 

James Brown, Alfred Ellis, Aretha Franklin 

and Carolyn Franklin, Music 

Pamela Allen-Cummings, Costume Design and Execution 

Roma Flowers, Lighting 

“Mother Popcorn” 

MICHAELA DEPRINCE 

Ingrid Silva, Alexandra Jacob, Chyrstyn Fentroy, 

Stephanie Williams and Jenelle Figgens 


Samuel Wilson, Dustin James, Francis Lawrence, 

Jehbreal Jackson and Anthony Savoy 

“Baby, Baby, Baby” 

STEPHANIE WILLIAMS, ANTHONY SAVOY 

Chrystyn Fentroy, Francis Lawrence, Alexandra Jacob 

and Dustin James 

“I Got The Feelin’” 

SAMUEL WILSON, MICHAELA DEPRINCE, DUSTIN JAMES 

Jenelle Figgins, Jehbreal Jackson, Ingrid Silva 

“Call Me” 

CHRYSTYN FENTROY, FRANCIS LAWRENCE 

The Company 

“Superbad” 


The Company 


“Mother Popcorn” and “Superbad” performed by James Brown 

Courtesy of Dynatone Publishing Company 

By arrangement with Warner Special Products 

“Baby, Baby, Baby” and “Call Me” performed by Aretha Franklin 

Courtesy of Pronto Music and Fourteenth Hour Music, Inc. 

By arrangement with Warner Special Products 

“I Got the Feelin’” performed by James Brown 

By arrangement with Fort Knox Music, Inc. 

Return was commissioned by Arthur Mitchell and Dance Theatre of Harlem. 

question & answer Session moderator: 

halifu osumare 

Halifu Osumare is associate professor and director of African 

American and African Studies at UC Davis. She has been involved 

with dance and black popular culture internationally for more 

than 30 years as a dancer, choreographer, teacher, administrator 

and scholar. She is a former soloist with the Rod Rodgers Dance 

Company of New York in the early 1970s and is the founding 

director of the current Malonga Casquelourd Center for the Arts 

in Oakland. As a scholar, she was a 2008 Fulbright Scholar, teaching 

at the University of Ghana, Legon’s Department of Dance 

Studies and conducting research on the effects of hip-hop culture 

in the capital city of Accra. Her second book The Hiplife in Ghana: 

West African Indigenization of Hip-Hop (Palgrave Macmillan, 2012) 

is the result. Her first book, The Africanist Aesthetic in Global 

Hip-Hop: Power Moves (2007), established her as one of the foremost 

authorities on hip-hop internationally. Having taught and 

researched in Malawi, Kenya, Ghana and Nigeria, her work has 

spanned traditional African performance to contemporary African 

American dance and performance.

About dance theatre of harlem 

Dance Theatre of Harlem is a leading dance institution of unparalleled 

global acclaim that uses the art form of classical ballet to 

change people’s lives. Through performances by its internationally 

acclaimed Company, training in its world-class school and 

participation in its multi-faceted arts education program, Dance 

Theatre of Harlem has made a difference in the world for 43 

years. 

Inspired by the example of Dr. Martin Luther King, Jr. to bring 

new opportunity to the lives of the young people in the Harlem 

neighborhood in which he grew up, Arthur Mitchell and the late 

Karel Shook founded Dance Theatre of Harlem in the basement 

of a church in 1969. Mitchell, who had found success as a principal 

dancer with the renowned New York City Ballet, understood 

the power of training in a classical art form to bring discipline 

and focus to a challenged community. Dance Theatre of Harlem’s 

unprecedented success, as a racially diverse company, school and 

source of arts education was built on creating innovative and 

bold new forms of artistic expression. Through these varied artistic 

interactions, our ambassadors have helped to build character 

and have provided valuable life skills to countless people in New 

York City, across the country and around the world. 

As Dance Theatre of Harlem traverses its fifth decade, we remain 

committed to the excellence that has sustained us over the years. 

At the same time, we dedicate ourselves to reaching new audiences 

with a message of self-reliance, self-expression and individual 

responsibility through the re-launch of the Dance Theatre 

of Harlem. 

Now under the leadership of a second generation of artists 

inspired by Arthur Mitchell’s vision, Artistic Director Virginia 

Johnson, founding member/former prima ballerina, and 

Executive Director Laveen Naidu, former school director/choreographer, 

our goal for the 21st century is to build community, 

inspire and uplift through the power of art. 

Photo by Oliver Morris 

Virginia Johnson (artistic director) was 

a founding member of Dance Theatre of 

Harlem and its principal ballerina over a 

career that spanned nearly 30 years. After 

retiring in 1997, Johnson founded Pointe 

Magazine where she was editor-in-chief for 

10 years. 

A native of Washington, D.C., Johnson 

began her training with Therrell Smith and 

studied with Mary Day at the Washington 

School of Ballet. She graduated from the 

Academy of the Washington School of Ballet and was University 

Scholar in the School of the Arts at New York University before joining 

Dance Theatre of Harlem. 

Johnson is universally recognized as one of the great ballerinas of her 

generation and is perhaps best known for her performances in such 

ballets as Giselle, A Streetcar Named Desire and Fall River Legend. 

She has received such honors as a Young Achiever Award from the 

National Council of Women, Outstanding Young Woman of America, 

the Dance Magazine Award, a Pen and Brush Achievement Award, 

the Washington Performing Arts Society’s 2008–09 Pola Nirenska 

Lifetime Achievement Award and the 2009 Martha Hill Fund Mid- 

Career Award. 

Arthur Mitchell (co-founder and artistic 

director emeritus) is known around 

the world for creating and sustaining 

the Dance Theatre of Harlem, the internationally 

acclaimed ballet company he 

co-founded with Karel Shook in 1969. 

Following a brilliant career as a principal 

artist with the New York City Ballet, 

Mitchell dedicated his life to changing 

perceptions and advancing the art form 

of ballet through the first permanently 

established African American and racially 

diverse ballet company. 

Born in New York City in 1934, Mitchell began his dance training at 

New York City’s High School of the Performing Arts, where he won 

the coveted annual dance award and subsequently a full scholarship 

to the School of American Ballet. In 1955, he became the first 

African American to become a permanent member of a major ballet 

company when he joined New York City Ballet. Mitchell rose quickly 

to the rank of Principal Dancer during his 15-year career with New 

York City Ballet and electrified audiences with his performances in 

a broad spectrum of roles. Upon learning of the death of Reverend 

Dr. Martin Luther King, Jr. and with financial assistance from Alva B. 

Gimbel, the Ford Foundation and his own savings, Mitchell founded 

Dance Theatre of Harlem with his mentor and ballet instructor Karel 

Shook. 

With an illustrious career that has spanned more than 50 years, 

Mitchell is the recipient of the Kennedy Center Honors, National 

Medal of the Arts, MacArthur Foundation Fellowship, New York 

Living Landmark Award, Handel Medallion, NAACP Image Award 

and more than a dozen honorary degrees. 


Fredrick Davis (dancer) was born in New 

York City and moved to Chattanooga, 

Tennessee, and started his training at the 

age of 11 with a full scholarship for Ballet 

Tennessee. In 2004, he graduated from the 

Chattanooga High School Center for Creative 

Arts and moved back to New York City to 

continue his training with the Joffrey Ballet 

School. After completing three years with 

Joffrey, he was able to study with a full scholarship 

at summer intensives by American Ballet Theatre, Boston 

Ballet, North Carolina Dance Theatre, Ballet Academy East, Magnus 

Midwest Dance and Ballet Tennessee. Davis then joined Roxey 

Ballet Company, dancing in works such as Othello, Carmen, Diana 

and Actaeon and Sleeping Beauty. Soon after finishing his season 

with Roxey, Davis joined the Dance Theatre of Harlem. He has also 

worked as a freelancer with Ballet Fantastique, Benjamin Briones 

Ballet, Staten Island Ballet and Ajkun Ballet Theatre. Davis has 

participated in the Dance for America Tour, DTH Vision Gala, the 

Kennedy Center Honors, the Donald McKayle Tribute performance 

in Irvine, California, and the Paramount Theatre Gala in Seattle. 

Michaela DePrince (dancer) was born in 

Sierra Leone, orphaned by the civil war there 

and adopted by an American family in New 

Jersey when she was four years old. She began 

dancing at the age of five, studying ballet, 

modern, tap and jazz at Dalia Hay’s Dance 

Academy in Cherry Hill, New Jersey. She 

began her formal ballet studies at the Rock 

School for Dance Education, where she continued 

her interest in other dance forms as 

well. While at the Rock School, she won both the Hope Award and 

the Junior Grand Prix at the Philadelphia Regional Youth America 

Grand Prix. From ages 11 to 13, DePrince studied ballet in Vermont 

with Vanina Wilson, Alaina Albertson-Murphy and Alexander 

Nagiba. She also studied with Daniel Seillier in Montreal and Arthur 

Mitchell at the Dance Theatre of Harlem’s Summer Intensive. She 

attended the American Ballet Theatre’s Summer Intensive in New 

York City when she was 13 and was named a National Training 

Scholar. DePrince was a participant in the 2010 International Ballet 

Competition in Jackson, Mississippi. As a finalist at the Youth 

America Grand Prix in New York City, she was awarded a scholarship 

to the Jacqueline Kennedy Onassis School of the American 

Ballet Theatre. She is also a two-year recipient of the Beverly G. 

Smith Scholarship at ABT and was featured in the documentary First 

Position. She has danced for Darrell Grand Moultrie, the Harlem 

School of the Arts Dance Benefit, the Francesca Harper Project in 

the 2011 Denise Jefferson Memorial, Ballet Vérité in the Levi HaLevi 

Memorial Concert, Daniel Ulbricht’s Dance Against Cancer Gala, De 

Dutch Don’t Dance’s production of Abdallah en de Gazelle van Basra 

and the South African Ballet Theatre, as well as the TV program 

Dancing with the Stars. 


Da’ Von Doane (dancer) began his training 

at the Salisbury Studio of Dance (now 

Salisbury Dance Academy), where he trained 

with Betty Webster, Tatiana Akinfieva-Smith 

and Elena Manakhova. As a member of the 

school’s regional dance company, the Eastern 

Shore Ballet Theatre, he performed various 

roles in annual productions of The Nutcracker, 

Coppélia, Scheherazade and the Polovtsian 

Dances¸ among others. Doane has attended summer intensives at 

the Kirov Academy of Ballet (Washington, D.C.) and the Atlantic 

Contemporary Ballet Theatre. At age 15, he returned to ACBT as a 

full-time academic student and trained there for four years. In 2008, 

Doane moved to New York City to join the Dance Theatre of Harlem 

and performed at the Jacob’s Pillow Dance Festival that summer. In 

2009, Doane performed with Ballet Noir at East River Park as part 

of SummerStage and with Jacob’s Pillow once again. In 2009, he 

danced as part of Dance Theatre of Harlem with roles in the Joplin 

Dances, New Bach, the excerpt “Mother Popcorn,” Concerto In F, Fete 

Noir and South African Suite. And in 2009, he began touring with 

DTH as a part of its Dance for America Tour. As a guest artist, Doane 

has performed with the Classical Contemporary Ballet Theatre and 

with choreographer Ja’ Malik in E-moves Emerging Choreographers 

Showcase (2009). In 2010, Doane performed once again with Ballet 

Noir in the 200th Anniversary Chopin Celebration and the 2010 

World Dance Gala in Kielce, Poland. In 2011, Doane danced roles in 

Glinka Pas de Trois, In the Mirror Of Her Mind and Contested Space. 

Chyrstyn Fentroy (dancer) was born and 

raised in Los Angeles, where she trained with 

her mother Ruth Fentroy until the age of 17. 

She then moved to New York City after being 

offered a scholarship to the Joffrey Ballet 

School trainee program. During her first year 

there, she was asked to join the Joffrey Ballet 

School Performance Company, in which 

she danced several principal roles in works 

such as Gerald Arpino’s Birthday Variations and Davis Robertson’s 

UnEquilibrium. Fentroy competed in the Youth America Grand 

Prix finals in New York in 2010 and 2011, and she was then asked 

to compete in the Beijing International Ballet and Choreography 

Competition. She has also had her contemporary choreography recognized 

in other competitions.

Jenelle Figgins (dancer) began her training 

at the Jones-Haywood School of Ballet, Dance 

Institute of Washington and Duke Ellington 

School of the Performing Arts. While training, 

she received scholarships to attend 

Dance Theatre of Harlem’s Kennedy Summer 

Intensive. She attended SUNY Purchase on 

partial scholarship and in 2011 received her 

B.F.A. with honors in dance. Following graduation, 

she attended Springboard Danse Montreal in 2011. Figgins 

has been featured in works by Sarah Mettin, Kevin Thomas, Emily 

Molnar, Twyla Tharp, Paul Taylor, George Balanchine, Nora Reynolds 

and Hinton Battle. She has danced professionally with Mettin 

Movement Collective, Collage Dance Collective and Les Grands 

Ballet Canadiens de Montréal. 

Emiko Flanagan (dancer) is originally from 

Westlake Village, California. She received her 

early dance training from California Dance 

Theatre and attended summer programs at 

Pacific Northwest Ballet, Boston Ballet and San 

Francisco Conservatory of Dance. She continued 

her studies at UC Irvine as a B.F.A. student 

in Dance Performance. After her sophomore 

year, she took a leave of absence from school 

to be a trainee with the Joffrey Ballet in Chicago. The following year 

Flanagan was an apprentice with the Richmond Ballet for its 2010– 

11 season and then spent one year in the Alonzo King LINES Ballet 

Training Program. She has performed in works by choreographers 

such as George Balanchine, William Forsythe, Salvatore Aiello, Jodie 

Gates, Alexei Kremnev and Keelan Whitmore. 

Taurean Green (dancer) returned to Dance 

Theatre of Harlem in 2011 after eight seasons 

dancing with companies such as Pacific 

Northwest Ballet, City Ballet of San Diego 

and, most recently, Company C Contemporary 

Ballet. At DTH, Green danced featured roles 

in George Balanchine’s Agon and The Four 

Temperaments, Michael Smuin’s A Song for 

Dead Warriors and St. Louis Woman and 

Jerome Robbins’s Fancy Free, among others. At PNB, Green was 

featured in many Balanchine ballets as well as original works created 

for the company. In San Diego, he performed leading roles in 

Don Q, Apollo, A Midsummer Night’s Dream, The Four Seasons and La 

Bayadère and in San Francisco, Green had several original works set 

on him as well as reprised older works by noted choreographers such 

as Twyla Tharp and Lar Lubovitch. 

Jehbreal Muhammad Jackson (dancer) began 

his formal training in ballet at age 10, being 

placed accidentally into the wrong classroom 

by an afterschool program advisor. He found 

his heart in classical and contemporary dance 

and studied at the Dallas Black Dance Academy, 

W. E. Greiner Middle School of the Exploratory 

and Performing Arts and the Booker T. 

Washington High School for the Performing 

and Visual Arts. Jackson is a graduate of the Juilliard School in New 

York under the direction of Lawrence Rhodes, where he performed 

the works of Alexander Ekman, Stijn Celis, Mark Morris, Jerome 

Robbins, William Forsythe and Ohad Naharin. Recently, Jackson 

performed as a guest with Ballet Noir NYC, sharing the stage with 

performers from American Ballet Theatre and the Polish National 

Ballet for their Chopin festival. In 2010, he performed with Keigwin 

+ Company at the annual Fall for Dance festival at New York City 

Center. He has also been a featured vocalist with various jazz bands 

at Juilliard and embarked on a concert tour to Brazil. 

Alexandra Jacob (dancer) began her first 

formal Vaganova ballet training at the age 

of eight at Berkeley City Ballet. Jacob also 

attended summer programs at the Dance 

Theatre of Harlem and Alonzo King LINES 

Ballet on scholarships. After graduating high 

school, she pursued an architecture degree 

at the California College of the Arts. Three 

years into her college career, she rediscovered 

her love for ballet and decided to return to New York in the 

fall of 2004 to attend the Joffrey Ballet School. She joined the Dance 

Theatre of Harlem in 2005. Jacob toured with the ensemble throughout 

the United States and internationally, performing featured roles 

by Peter Pucci, Donald Byrd, Christopher L. Huggins, Lowell Smith 

and Arthur Mitchell. 

Dustin James (dancer) began his dance 

training at age 11 in Houston and attended 

the city’s High School for the Performing 

and Visual Arts. While attending HSPVA, he 

also began studying at Houston Ballet’s Ben 

Stevenson Academy and became a member of 

Houston Ballet II for two years. While there, 

James was trained and coached by Claudio 

Muñoz as well as Lázaro Carreño, Phillip 

Broomhead and Priscilla Nathan-Murphy. After completing his training, 

James joined BalletMet Columbus, where he danced for four 

seasons and performed works by such choreographers as Stanton 

Welch, Darrell Grand Moultrie and Ma Cong. 


Francis Lawrence (dancer) studied at the 

Australian Ballet School, where he graduated 

with a diploma in dance. While at the 

school, he danced with the Australian Ballet 

and with its regional Dancers Company 

for two years. Upon arriving in the U.S., 

Lawrence joined New York Theatre Ballet 

for its 30th season in Cinderella and Dance/ 

Speak: The Life of Agnes de Mille and has danced for the Grand 

Rapids Ballet Company under the direction of Patricia Barker. 

During his time in the company, he performed repertoire by George 

Balanchine, Twyla Tharp, José Limón, Paul Taylor, Ulysses Dove, 

Lew Christensen, David Parson and Mario Radacovsky. He has studied 

under programs offered by the Ailey School, Complexions and 

Hubbard Street, working with choreographers Pedro Ruiz, Dwight 

Rhoden and Desmond Richardson. Lawrence most recently worked 

with Olivier Weavers on Fragments, as well as a new work, The 

Couch. 

Ashley Murphy (dancer) began her dance 

training at age three. She was enrolled in 

the pre-professional division at Carol Anglin 

Dance Center from 1993–2002, where 

she became a member of Louisiana Dance 

Theatre, an Honor Company of Regional 

Dance America. She has also performed for 

Shreveport Opera and Moscow State Ballet 

as well as in the premiere of William Joyce’s 

The Leaf Men and The Brave Good Bugs. She represented LDT in the 

Regional Dance America performance at the International Ballet 

Competition in Jackson, Mississippi, and attended summer programs 

at New York’s Joffrey Ballet School and the Ailey School. In 2002, 

Murphy trained and performed with Dance Theatre of Harlem’s 

Dancing Through Barriers Ensemble. The following year, she was 

accepted into the DTH company and toured throughout the United 

States and to Great Britain, Germany, Italy and Greece. Murphy has 

also taught for the DTH Pre-Professional Residency at the Kennedy 

Center. In 2011, she was chosen for a new work by Christopher L. 

Huggins that was commissioned for Dancers Responding to AIDS. 

Lindsey Pitts (dancer) began her formal ballet 

training at Coleman Academy under the 

direction of Susan Clark and Judy Coleman. 

She studied during summer intensives with 

Milwaukee Ballet, Atlanta Ballet, Orlando 

Ballet, Ballet Austin and the Ailey School. 

She attended Butler University, where she 

received dual degrees in dance arts administration 

and strategic communications. Pitts 

began her professional career with Nashville 

Ballet’s second company, performing under the direction of Paul 

Vasterling in full-length ballets that included The Nutcracker, Giselle 

and Swan Lake. 


Gabrielle Salvatto (dancer) a native New 

Yorker born and raised in the Bronx, studied 

at the School of American Ballet and 

received her high school diploma from La 

Guardia H.S. of Music & Art and Performing 

Arts. She graduated from the Juilliard dance 

B.F.A. program, where she performed repertoire 

by Ohad Naharin, Jerome Robbins, 

Nacho Duato, Eliot Feld and José Limón. 

Salvatto has since danced for Austin McCormick’s Company XIV 

and Sarah Berges Dance. Further training includes Hubbard Street, 

Complexions and Springboard Danse Montreal. 

Anthony H. Javier Savoy, Jr. (dancer) began 

his formal training at the age of 15, studying 

at various schools in and around Maryland. 

In 2004, he was accepted on full scholarship 

to train at Abigail Francisco School of 

Classical Ballet, working with artists such 

as Sascha Radestsky, Stephanie Walz and 

Lainie Munro. In 2006, Savoy was selected 

Maryland All-State Dancer and continued 

his training and studies at Point Park University on an Artistic 

Achievement Scholarship with a concentration in ballet. He has 

attended summer intensives at Earl Mosley’s Institute for the Arts, 

Point Park University, the Kirov Academy of Ballet, American Ballet 

Theatre and Dance Theatre of Harlem. In 2008, Savoy left Point Park 

University to pursue a more academic schedule at Anne Arundel 

Community College, working towards a B.F.A. with additional concentrations 

in biology and psychology. He has worked with choreographers 

Francesca Harper and Jason McDole and performed works 

by Brian Reeder, Melissa Barak, Juan Carlos Peñuela and Robert 

Garland. 

Ingrid Silva (dancer) began her formal ballet 

training at the age of eight at Dançando Para 

Não Dançar, the Deborah Colker School and 

Escola de Dança Maria Olenewa. She has also 

apprenticed with Company Grupo Corpo 

in Brazil. After entering the Univercidade 

da Cidade College, she decided to follow 

her passion and traveled to New York in 

2007. That summer, she attended the Dance 

Theatre of Harlem Summer Intensive Program and afterwards joined 

the school’s Professional Training Program. She became a member of 

the Dance Theatre of Harlem in 2008. Silva has also performed with 

Armitage Gone! Dance performing GAGA-Gaku at the Joyce Theater 

in 2011.

Stephanie Williams (dancer) was born in 

Utah and raised in Texas, and had her early 

training at Dallas Dance Academy with 

Fiona Fairrie. Williams made her professional 

debut with Ben Stevenson’s Texas 

Ballet Theater in 2006-07, and she most 

recently danced as a company member 

with the Francesca Harper Project and 

Ballet Black. Williams was an apprentice 

with Complexions in 2009 and has studied during summers 

at the Juilliard School, Alonzo King LINES Ballet and Houston 

Ballet’s Ben Stevenson Academy. She was a fellowship recipient at 

the Ailey School a 2006 National Foundation on the Arts award 

winner 2006 Youth America Grand Prix Finalist and 2004 Texas 

Commission on the Arts Young Master. 

Samuel Wilson (dancer) started dancing 

ballet at the age of 15 with the Peninsula 

Dance Theatre. Since then, he has danced 

in summer programs such as Summer 

Dance Lab in Walla Walla, Washington and 

American Ballet Theatre in Austin, Texas. 

It wasn’t until 2003, when Wilson came to 

Dance Theatre of Harlem, that he started his 

professional career and joined the Dancing 

Through Barriers Ensemble. DTH has provided Wilson with the 

opportunity to perform in venues such as the White House, BET’s 

106 & Park, Fox 5 News, the Kennedy Center and the Joyce 

Theater in New York. He has worked with world-renowned choreographers 

and studied under influential teachers like Arthur 

Mitchell and Eva Evdokimava. Wilson has also developed into 

a high caliber teacher and dance coach himself, working in ballet 

schools and summer programs such as Usdan Center for the 

Creative and Performing Arts and the Voorhees Ballet. 

Keith Saunders (ballet master), a native 

of Baltimore, Maryland, began dancing in 

1971 while a student at Harvard University. 

He began his ballet training in 1973 at the 

National Center for Afro-American Artists in 

Dorchester, Massachusetts. Saunders joined 

Dance Theatre of Harlem in 1975 and continued 

his development under the tutelage 

of Arthur Mitchell, Karel Shook and William 

Griffith. He became a principal dancer with DTH and performed a 

wide range of roles throughout the company’s repertoire for more 

than 17 years. He also danced with France’s Ballet du Nord (1986) 

and BalletMet of Columbus, Ohio (1987–89). 

As a guest artist, Saunders appeared with Boston Repertory Ballet, 

Maryland Ballet, Eglevsky Ballet, Ballethnic Dance Company and 

the David Parsons Company, among others. He has been a faculty 

member of the Dance Theatre of Harlem School, BalletMet Dance 

Academy (where he also served as education director), New Ballet 

School (now Ballet Tech) and the 92nd Street Y. In 2003, Saunders 

was guest artist-in-residence in the Dance Department at the 

University of Wyoming, and he taught and choreographed at its 

Snowy Range Dance Festival from 2003–8. 

Saunders was appointed Dance Theatre of Harlem’s assistant ballet 

master in 1994 and ballet master in 1996. From 2004–10, Saunders 

was director of Dancing Through Barriers, Dance Theatre of Harlem’s 

international education and outreach initiative, in addition to directing 

the DTH Ensemble. 


Stravinsky: 


Rite of Sp r ing 

Beethoven: 

Tr iple Conce rto 

Jolán Friedhoff, violin violin 

Mark A lex Friedhoff, cello cello 

Isaac Friedhoff, piano 

Sunday, November 18, 2012 • 7:00 pm 

Jackson Hall, Mondavi Center 

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

A Wells Fargo Concert Series Event 



Sponsored by 

Photo by Lisa Marie Mazzucco 


John and Lois Crowe. 

Joshua Bell, violin 

sam haywood, piano 

program 

Rondo for Violin and Piano in B Minor, Op. 70 (D. 895) Schubert 

Violin Sonata in A Major Franck 

Allegretto ben moderato 

Allegro 

Recitativo—Fantasia: Ben moderato—molto lento 

Allegretto poco mosso 

Intermission 

Sonata No. 2 for Violin and Piano in D Major, Op. 94a Prokofiev 

Andantino 

Scherzo: Allegretto 

Andante 

Allegro con brio 

Additional works to be announced from the stage. 



Photo by Ovidiu Micsik 


Joshua Bell by Jeff hudson 

When Joshua Bell visited the Mondavi Center in February 

2011 with pianist Sam Haywood, Bell shared a few 

remarks during an interview that presaged much that has 

occurred during the subsequent year-and-a-half. 

“I’m starting to move toward conducting,” Bell told me. 

“I’ve now directed a couple of Beethoven symphonies— 

the 4th and the 7th—and there are a lot of great 

symphonic works I’d like to tackle and direct.” 

A few weeks later (May 2011), the Academy of St. Martin 

in the Fields announced that Bell would become that 

orchestra’s new music director, giving Bell the opportunity 

to lead performances of any number of symphonic 

works (including, but not limited to, the violin concerto 

repertoire). And Bell led the Academy on a 15-city 

American tour in April 2012, including performances of 

(you guessed it) the Beethoven 4th and Beethoven 7th, as 

well as Beethoven’s Violin Concerto. 

It soon became clear that Bell will lead the Academy in a 

manner similar to the way another violin-soloist-turnedmusic-director, 

Nadja Salerno-Sonnenberg, leads the 

Bay Area’s New Century Chamber Orchestra—from the 

concertmaster’s chair. As Allan Kozinn of The New York 

Times put it in his review of Bell and the Academy at Avery 

Fischer Hall in April, “As it turns out, the (conductor’s) 

position does not actually demand that he let the fiddle 

slip from his hands, let alone exchange it for a stick.” Bell 

was soloist in the Beethoven Violin Concerto on that 

program, “and led the orchestra standing, though as much 

with his head and upper torso as with his hands (even 

when he was not playing),” Kozinn wrote. 

Last summer, Bell premiered a new double concerto 

(violin and bass) composed by Edgar Meyer (no stranger 

to the Mondavi stage) with performances at Tanglewood, 

Aspen and the Hollywood Bowl. 

Bell also issued a new album last January—a recital 

disc titled French Impressions in partnership with pianist 

Jeremy Denk. The album’s content features half of the 

program that Bell and Denk performed here in Jackson 

Hall in 2010: the Sonata No. 1 for Violin and Piano in D 

Minor by Camille Saint-Saëns (Op. 75, from 1885), and the 

one-and-only Violin Sonata by Maurice Ravel (1923-27). 


further listening 

The album also features Bell and Denk in the Violin Sonata 

by César Franck (1886)—Franck wrote it for violinist 

Eugène Ysaÿe, whose pupils included Josef Gingold; Bell 

became Gingold’s pupil. In July, French Impressions picked 

up the ECHO Klassik Award for Best Chamber Music 

Recording (19th Century). 

When Bell appears in recital, as he does tonight, he has 

the admirable trait of giving his recital partners equal 

billing. The French Impressions album cover include Denk’s 

name in the same font and point size as Bell’s. 

This is likewise the situation tonight with Bell and pianist 

Sam Haywood, who is noted for his interpretations of 

Chopin. Haywood lives in the Lake District in northern 

England (where the pastoral scenery has influenced many 

artists, including poet William Wordsworth). 

Jeff Hudson contributes coverage of the 

performing arts to Capital Public Radio, the 

Davis Enterprise and Sacramento News and Review. 

HOT ITALIAN .NET 

MIDTOWN | PUBLIC MARKET

program notes 

Rondo for Violin and Piano in B Minor, Op. 70 (D. 895) (1826) 

Franz Schubert 

(Born January 31, 1797, in Vienna; died November 19, 1828, in 

Vienna) 

The Rondo in B minor (D. 895), one of the handful of compositions 

that Schubert wrote for violin, was composed in October 1826 for 

the 20-year-old Czech virtuoso Josef Slavík, whom Chopin described 

as “the second Paganini.” Slavík arrived in Vienna early in 1826 

after having established an excellent reputation in Prague, and he 

inspired from Schubert both this Rondo and the Fantasy in C major 

the following year. A performance of the Rondo by Slavík and pianist 

Carl Maria von Bocklet (to whom Schubert had dedicated the D 

major Piano Sonata, D. 850 of 1825) was arranged early in 1827 in 

the Viennese office of the publisher Domenico Artaria, who thought 

highly enough of the new work to publish it in April as Schubert’s 

Op. 70. “The whole piece is brilliant,” stated a review in the Wiener 

Zeitschrift. “The spirit of invention has here often beaten its wings 

mightily indeed and has borne us aloft with it. Both the pianoforte and 

violin require accomplished performers who must be equal to passages 

... which reveal a new and inspired succession of ideas.” 

The Rondo opens with a dignified introduction before launching into 

the principal theme, a melody of Hungarian flavor probably modeled 

on the songs and dances that Schubert heard when he served as 

music master to the Johann Esterházy family at their villa in Zelesz 

during the summer of 1824. The main theme returns twice to frame 

one episode given to some showy violin figurations and another one 

of more lyrical character. A dashing coda in the bright key of B major 

closes this handsome work. 

Sonata for Violin and Piano in A Major (1886) 

César Franck 

Born December 10, 1822, in Belgium; Died November 8, 1890, in 

Paris) 

Franck first considered writing a violin sonata in 1859, when he 

offered to compose such a piece for Cosima von Bülow (née Liszt, 

later Wagner) in appreciation for some kind things she had said 

about his vocal music. He was, however, just then thoroughly 

absorbed with his new position as organist at Ste.-Clotilde, and was 

unable to compose anything that year except a short organ piece and 

a hymn. (His application to his duties had its reward—he occupied 

the prestigious post at Sainte-Clotilde until his death 31 years later.) 

No evidence of any work on the proposed sonata for Cosima has ever 

come to light, and it was not until 20 years later that he first entered 

the realm of chamber music with his Piano Quintet of 1879. Franck’s 

next foray into the chamber genres came seven years after the 

Quintet with his Sonata for Violin and Piano, which was composed 

as a wedding gift for his friend and Belgian compatriot, the dazzling 

virtuoso Eugene Ysaÿe, who had been living in Paris since 1883 and 

befriending most of the leading French musicians; Ysaÿe first played 

the piece privately at the wedding ceremony on September 28, 1886. 

In tailoring the Sonata to the warm lyricism for which Ysaÿe’s violin 

playing was known, Franck created a work that won immediate and 

enduring approval, and which was instrumental in spreading the 

appreciation for his music beyond his formerly limited coterie of 

students and local devotees. The formal premiere, given by Ysaÿe 

and pianist Léontine Bordes-Pène at the Musée moderne de peinture 

in Brussels on December 16, 1886, was an extraordinary event, of 

which Franck’s pupil Vincent d’Indy left the following account: 

“It was already growing dark as the Sonata began. After the first 

Allegretto, the players could hardly read their music. Unfortunately, 

museum regulations forbade any artificial light whatever in rooms 

containing paintings; the mere striking of a match would have been 

an offense. The audience was about to be asked to leave but, brimful 

of enthusiasm, they refused to budge. At this point, Ysaÿe struck his 

music stand with his bow, demanding, ‘Let’s go on!’ Then, wonder of 

wonders, amid darkness that now rendered them virtually invisible, 

the two artists played the last three movements from memory with a 

fire and passion the more astonishing in that there was a total lack of 

the usual visible externals that enhance a concert performance.” 

The quality of verdant lyricism that dominates Franck’s Sonata is 

broken only by the anticipatory music of the second movement 

and the heroic passion that erupts near the end of the finale. The 

work opens in a mood of twilit tenderness with a main theme 

built largely from rising and falling thirds, an intervallic germ from 

which later thematic material is derived to help unify the overall 

structure of the Sonata. The piano alone plays the second theme, 

a broad melody given above an arpeggiated accompaniment never 

shared with the violin. The movement’s short central section, hardly 

a true development at all, consists only of a modified version of 

the main theme played in dialogue between violin and piano. The 

recapitulation of the principal and secondary subjects (dolcissima ... 

semper dolcissima ... molto dolcissima — “sweetly ... always sweetly ... 

very sweetly,” cautions the score repeatedly) rounds out the form of 

the lovely opening movement. The quick-tempo second movement 

fulfills the function of a scherzo in the Sonata, though its music is 

more in the nature of an impetuous intermezzo. Two strains alternate 

to produce the movement’s form. One (“scherzo”) is anxious and 

unsettled, though it is more troubled than tragic; the other (“trio”) 

is subdued and rhapsodic. They are disposed in a pattern that yields 

a fine balance of styles and emotions: scherzo—trio—scherzo— 

trio—scherzo. The third movement (Recitativo—Fantasia) begins 

with a cyclical reference to the third-based germ motive that opened 

the Sonata. The violin’s long winding line in the Recitativo section 

is succeeded by the Grecian purity of the following Fantasia, one 

of the most chaste and moving passages in the entire instrumental 

duet literature. The main theme of the finale is so richly lyrical that 

its rigorous treatment as a precise canon at the octave is charming 

rather than pedantic. When the piano and violin do eventually take 

off on their own paths, it is so that the keyboard may recall the 

chaste melody of the preceding Fantasia. Other reminiscences are 

woven into the movement—a hint of the third-based germ motive in 

one episode, another phrase from the Fantasia—which unfolds as a 

free rondo around the reiterations of its main theme in a variety of 

keys. The Sonata is brought to a stirring climax by a grand motive 

that strides across the closing measures in heroic step-wise motion. 


Sonata No. 2 for Violin and Piano in D Major, Op. 94a (1942–43) 

Sergei Prokofiev 

(Born April 23, 1891, in Sontzovka, Russia; died March 5, 1953, in 

Moscow) 

Prokofiev conceived a special fondness for the flute during his stay 

in the 1920s in the United States, where he encountered what he 

called the “heavenly sound” of the French virtuoso Georges Barrère, 

solo flutist of the New York Symphony Orchestra and teacher at 

Juilliard. Two decades later, during some of the darkest days of 

World War II in the Soviet Union, Prokofiev turned to the flute as 

the inspiration for one of his most halcyon compositions. The Sonata 

for Flute and Piano in D major, his only such work for a wind 

instrument, was begun in September 1942 in Alma-Ata, where he 

and many other Russian artists had been evacuated as a precaution 

against the invading German armies. Indeed, the city served as an 

important movie production site for the country at that time, and 

Prokofiev worked there with director Sergei Eisenstein on their 

adaptation of the tale of Ivan the Terrible as a successor to their 

brilliant Alexander Nevsky of 1938. It was as something of a diversion 

from the rigors and subject matter of Ivan that Prokofiev undertook 

the Flute Sonata, telling his fellow composer Nikolai Miaskovsky 

that creating such a cheerful, abstract work during the uncertainties 

of war was “perhaps inappropriate at the moment, but pleasurable.” 

Early in 1943, Prokofiev moved to Perm in the Urals, and it was in 

the relative calm of that city that the Sonata was completed during 

the summer. When the work was premiered in Moscow on December 

7, 1943, by flutist Nikolai Kharkovsky and pianist Sviatoslav Richter, 

it drew as much attention from violinists as flutists, and David 

Oistrakh persuaded the composer to make an adaptation for violin, 

which that master string player and Lev Oborin introduced on June 

17, 1944, as the Violin Sonata No. 2, Op. 94a. The D major Sonata 

has since come to be regarded equally as the province of wind and 

string recitalists. 

Each of the Sonata’s four movements is erected upon a Classical 

formal model. The main theme of the opening sonata-form Andantino 

is almost wistful in the simplicity with which it outlines the 

principal tonality of the work. A transition of greater animation leads 

to the subsidiary subject, whose wide range and dotted rhythms do 

not inhibit its lyricism. In typical Classical fashion, the exposition 

is marked to be repeated. The development elaborates both of 

the themes and adds to them a quick triplet figure played by the 

violin to begin the section. A full recapitulation, with appropriately 

adjusted keys, rounds out the movement. The second movement 

is a brilliantly virtuosic scherzo whose strongly contrasting trio is 

a lyrical strain in duple meter. The Andante follows a three-part 

form (A–B–A), with a skittering central section providing formal 

balance for the lovely song of the outer paragraphs. The finale is a 

joyous rondo based on the dancing melody given by the violin in the 

opening measures. 

—Dr. Richard E. Rodda 


Joshua Bell (violin), often referred to as the “poet of the violin,” 

is one of the world’s most celebrated violinists. His stunning virtuosity, 

beautiful tone and charismatic stage presence have brought him 

universal acclaim. 

Among numerous awards and honors, Bell is an Avery Fisher Prize 

recipient and Musical America’s 2010 Instrumentalist of the Year. 

Recently appointed Music Director of the Academy of St. Martin in 

the Fields, he is the first person to hold this title since Sir Neville 

Marriner formed the orchestra in 1958. 

Summer of 2012 highlights include the premiere of Edgar Meyer’s 

new concerto for violin and double bass, which they perform at 

Tanglewood, Aspen and the Hollywood Bowl. Summer appearances 

include the Festival del Sole, Ravinia, Verbier, Salzburg, Saratoga and 

Mostly Mozart festivals. Bell launches the San Francisco Symphony’s 

fall season followed by orchestral performances in Philadelphia, 

Boston, Seattle, Cincinnati and Detroit. Additional fall highlights 

include a South African tour, an European tour with the Academy of 

St. Martin in the Fields and a recital tour with pianist Sam Haywood. 

In 2013, Bell tours the U.S. with the Cleveland Orchestra, Europe 

with the New York Philharmonic and performs with the Tucson, 

Pittsburgh, San Diego, and Nashville symphony orchestras. 

An exclusive Sony Classical artist, Bell has recorded more than 40 

CDs garnering Mercury, Grammy, Gramophone and Echo Klassik 

awards. Recent releases include French Impressions with pianist Jeremy 

Denk, the eclectic At Home With Friends, the Defiance soundtrack, 

Vivaldi’s The Four Seasons and Tchaikovsky’s Violin Concerto with the 

Berlin Philharmonic. His discography encompasses critically acclaimed 

performances of most of the major violin repertoire in addition to John 

Corigliano’s Oscar-winning soundtrack, The Red Violin. 

Born in Bloomington, Indiana, Bell received his first violin at age 

four and at 12 began studying with revered violinist Josef Gingold at 

Indiana University. Two years later, Bell came to national attention in 

his debut with Riccardo Muti and the Philadelphia Orchestra and, at 

age 17, made his Carnegie Hall debut. Bell’s extensive career has now 

spanned more than 30 years as a soloist, chamber musician, recording 

artist and conductor. 

Joshua Bell performs on the 1713 Huberman Stradivarius. 

Bell records exclusively for Sony Classical—a MASTERWORKS Label. 

www.joshuabell.com 

Bell appears by arrangement with IMG Artists, LLC 

Carnegie Hall Tower 

152 West 57th Street, 5th Floor 

New York, NY 10019 

www.imgartists.com 

Bell will personally autograph programs and recordings in the lobby 

following the performance.

sam haywood (piano), a British pianist, has performed to 

critical acclaim all over the world. Alongside his busy solo and 

chamber music career, he is also a composer, transcriber and artistic 

director of the Solent Music Festival (www.solentmusicfestival.com). 

Haywood is a regular duo partner to violinist Joshua Bell, with 

whom he has toured in the U.S., Canada, China, South America and 

throughout Europe. They have performed for the Vice Presidents 

of the U.S. and China. He also regularly appears with cellist Steven 

Isserlis and will be recording a CD of piano works by Julius Isserlis, 

Steven’s grandfather, for Hyperion. Haywood’s latest CD, Composers 

in Love, features a selection of works inspired by the objects of 

composers’ desires. 

Chopin has been a central theme throughout Haywood’s musical 

life. To celebrate the composer’s bicentennial year he made the world 

premiere recording on Chopin’s own Pleyel piano of 1846. It has 

since been broadcast numerous times on BBC Radio 3. He used the 

same instrument to perform with Steven Isserlis at Lancaster House 

in the presence of HRH Princess Alexandra where Chopin performed 

on the exact date in front of Queen Victoria and Prince Albert in 

1848. Haywood has also given private performances of Chopin for 

Princess Diana and more recently a Chopin seminar for TED. 

Following his early success in the BBC Young Musician of the 

Year competition, the Royal Philharmonic Society awarded him its 

prestigious Isserlis award. Haywood studied with Paul Badura-Skoda 

in Vienna, where he began his enduring passion for opera. At the 

Royal Academy of Music in London he was mentored by Maria 

Curcio, the renowned teacher and pupil of Artur Schnabel. 

Outside the musical world he is passionate about nature, food, 

magic, literature and technology. 

Haywood appears by arrangement 

with Ten Sixty Six Artist Management 

Flat 20, Cranford Lodge 

80 Victoria Drive 

London, SW19 6HH, U.K. 

For more information on Haywood, please visit 

www.samhaywood.com 

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Illustration Courtesy of Stanford University 


Directed by Granada Artist-in-Residence Barry McGovern 

Translated by Derek Mahon 

Written by euripiDes 

Thu-saT nov 29-Dec 1 8 pM 

Dec 6-8 8 pM 

sun Dec 2 2 pM 

Main TheaTre, WriGhT hall 

TickeTs 530.754.arTs 

TheaTreDance.ucDavis.eDu

Ballet folklórico de méxico de amalia hernández 

A World Stage Series Event 



Sponsored by 

office of campus 

community relations 


William and Nancy Roe 

Amalia Hernández, Founder ALIA HERNÁNDEZ 

Norma López Hernández and Viviana Basanta Hernández, Artistic Directors 

Salvador López, General Director 

program 

The Mayas 

Tixtla Plataform 

Live Music: typical group 

The Group Dance: El Toro—El Arrancazacate —La Iguana 

Revolution 

Live Music: Mariachis 

Charreada 


The Rope Dance 

Tlacotalpan Festivity 

Live Music: Jarochos 

Matachines 

The Danzon and the Jarana 

Live Music: typical group 

Deer Dance 

Jalisco 


Intermission 




Program notes 

The Mayas 

This is the story of a prince who left his loved one when he was 

bewitched by the Hunting Goddess. Based on the sacred books of the 

Mayas, Popol Vuh and Chilam Balam, this ballet combines three outstanding 

elements: the Myth of the Xtabay, Hunting Goddess, who likes 

to hunt and seduce men and carry them to the sacred forest; the legend 

of the three prince brothers, one of which mysteriously vanishes, 

which brings about the brothers’ vengeance to the other world and the 

religious beliefs of the Mayas. 

It begins with the ceremonial dances of the Princess and her court, 

and the Prince with the Princess. The goddess interrupts dramatically 

and casts her spell. In the following scene, the Maidens of Nic Te, 

virgins who guard the Sacred Well, give council to the bereaved 

Princess and offers her the help of a sorceress who possesses magical 

powers to turn the water of the well into a love-potion. But, when the 

Princess offers the filter to the Prince, Xtabay creates a whirlpool that 

makes him refuse the drink. 

Alone, at the edge of the forest, the Prince contemplates the goddess 

who dances the Dance of Seduction. Possessed, he goes into the forest 

where the Ceibas surround him. The priestesses of Xtabay slowly 

make him lose his mind. 

Tixtla Plataform 

Modern Mexico began with the revolution in 1910. For the first 

time in the country’s history Mexico joined the men in their political 

struggle. The ballet is dedicated to the Soldaderas, the women who 

supported their men and even bore arms with them in Mexico’s fight 

for liberty. 

Contrasted with the footsore men and women is a group of young 

aristocrats dancing European polkas’ and flirting unconcerned with 

the peoples’ fight for freedom a group of revolutionaries breaks up the 

party brandishing their weapons. 

Now it is the peasants who dance in the aristocratic drawing room. 

Juana Gallo, and Adelitas are dedicated to these two heroines. Then, 

the final song of the Revolution. 

Tlacotalpan Festivity 

January 31 marks the celebration of the Candelaria Virgin. In the town 

of Tlacotalpan, stages are built in the main square where musicians 

and dancers of fandangoes are presented. The Mojigangas are huge 

figures representing characters alive and legends of the village. 

In the midst of it, Caribean music, is played with Congas (drums), 

as in a mardi-gras celebration parade. 

Fisher Dance The woodpeckerd bird The clown 

The Indian María The weeper The Cu Bird 

The fans The girl from Veracruz Veracruz Musicians 

The Coco song The angel The brown skinned girl 

The Bamba The moor The devil 

The Mange The little black boy 


Matachines 

The Matachines dance is danced in the North side of Mexico City, 

during the religious celebrations. It comes from the costume of the 

pre-Hispanic people to dance to their gods. 

The Spaniards brought with the conquest the dances of the middle age 

that existed in Spain, and since the 16th Century, has been danced 

for Christian Gods. This is the way the dance of The Matachines was 

created, and it remains intact today. 

The Danzon and the Jarana 

The Danzon is one of the traditional urban dances. The environment 

of the Danzon in Mexico precedes the assimilation of the Habanera 

and the Danza rhythms. 

The Danzon is added to the qualitative accumulation of the blood and 

culture of different countries of Europe, Africa and the Antilles. The 

Danzon is the sum of the blood and culture of the towns, this is the 

reason of its immortality. It came to Mexico from the state of Yucatan, 

and extended to the Gulf of Mexico’s coast. 

Its popularity is supported by the appearance of the first Mexican 

danzones such as the Great Nereidas´ Danzon. 

The Mexican people’s approval of the rhythm is a consumed and 

persistent fact since the time that the Salon Mexico welcomes it 

in the Federal District, as well as other dance Halls. 

Jarana 

It was inevitable that the implantation of the many different musical 

and dance traditions classified generally as “Spanish” among the differing 

traditions of the distinct people who occupied pre-conquest 

Mexico should produce an endless range of different styles in present 

day Mexican music and dance. One of the most interesting of 

these mixtures occurs in Yucatan. There the exotic exuberance of the 

Caribbean influence, so visible in Veracruz, that it has been largely 

ignored. Instead, the great dignity of ancient Mayan traditions has 

amalgamated with the music of 17th and 18th Century Spanish dances 

such as the Jota, Zapateado and above all the Sarabande. The dances 

of Yucatan have preserved the courtly elegance of early Spanish dance 

and acquired certain exotic, though always restrained, overtones. The 

sternness and aristocratic severity of Mayan artistic tradition has led 

Spanish Music in a direction contrary to that taken by similar music in 

Veracruz or the Huasteca. 

Deer Dance 

The Yaqui people, excellent hunters have stayed away from the 

Spanish influence and constitute the only aboriginal tribe of the 

country which conserves its original autonomy. Free from any racial 

mingling and modern cultures the Yaquis continue hunting with bows 

and arrows, cultivating the land according to their ancestor’s methods 

and celebrating their ritual dances with their same hermetic fervor. 

The Deer Dance forms a part of the rite at the time that is organized 

as the preparation of the hunt and it produces, with an astonishing 

fidelity, the movements of the persuade prey. Because of its oldness, 

and for its present mastery of execution, it constitutes one of the best 

examples of imitative magic.

Jalisco 

The state of Jalisco is the land of Charros, Chinas and Mariachis. Since 

the last century is has become a symbol of Mexican nationality. The 

Charros of Jalisco are known for their high spirits and joyous grasping 

of life. Jalisco’s folklore captures the soul of Mexico in its sensual 

music, refined dances and dazzling costumes. This ballet closes every 

performance of the Ballet Folklorico’s Touring Company. It opens with 

a Mariachi parade playing lively sones at the start of a fiesta. In the 

background is the traditional gazebo found in all the small towns of 

Mexico. During the fiesta merry songs and dances, such as The Snake, 

El Tranchete, La Negra and El Jarabe Tapatío and the famous Mexican 

Hat Dance, are performed. At the end of the performance the dancers 

salute the audience, throwing colorful paper streamers to them. 

The ballet folklórico de méxico was founded in 1952 by 

Amalia Hernandez. The Ballet was initiated by performing a weekly 

program on television, sponsored by the Mexican government. Since 

1959, it is being permanently presented at the Palace of Fine Arts, 

foremost stage for Art Mexico City. The institution has two main artistic 

companies called The First Company and the Resident Company: 

both alternate tours and performances in Mexico and abroad. They 

have already performed more than five thousand presentations. The 

music, dance and costume of Mexican folklore united to the talent of 

their artists have achieved national and international success. 

Amalia hernández (dancer and choreographer) embarked at a 

very early age on a never ending quest to rescue the dancing traditions 

of Mexico. The vital search became a basic need to reflect not only in 

Mexico but the rest of the world, the beauty of the Universe in motion 

which started with the pre-Colombian civilizations and grew with the 

Hispanic influences of the Viceroyal era up to the popular strength of 

the Revolutionary years. 

In 1954, Hernández started a series of presentations that credited her 

as the Cultural Representative of Mexico to the world at large. The 

present time fades before your eyes and thus commences our journey 

through the past. The Lords of Heaven and Earth come back to life, 

the Jaguars, the Gods born of human flesh, thirty different cultures 

that blossomed in centuries once, leaving behind a trail of color 

in which Hernández was inspired to create the Ballet Folklorico of 

Mexico. 

In International success achieved during the first tours and maintained 

through the 50 years of incessant artistic endeavors, is always manifested 

in the excellence of the productions and serves as a portrait 

of Mexico’s folklore in every city that the Company visits around the 

world. 

This is how, starting from the 1960s, Amalia Hernández and the Ballet 

Folklórico of Mexico have developed 40 ballets, composed of 76 folk 

dancers. The music, technical perfection, sophisticated wardrobe and 

original choreography, create this singular character of the Ballet. 

Amalia Hernández and the Ballet Folklórico of Mexico have been 

distinguished with more than 400 awards in recognition to their 

artistic merits. 

hYatt PlaCe 

Is A ProUd sPonsor 

of the roBert and MarGrit 

Mondavi Center for the PerforMinG 

arts, uC davis 

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Special 



El Macero Country Club 

•18-hole championship golf course 

• Managed by Troon Golf, the world leader in upscale Club management 

• Seasonal, regional dining options 

• Meeting and event space for outside parties 

• Just a few minutes from UC Davis campus 

To inquire about banquets or membership, please call or visit El Macero Country Club 

530-753-3363 

www.elmacerocc.org 

Founded in 1962, the College of Engineering at UC Davis has 

awarded more than 21,000 graduate and undergraduate degrees. 

The college has more than 200 faculty, including 12 members of the 

prestigious National Academy of Engineering (NAE), 45 recipients 

of PECASE/CAREER awards, and numerous fellows. 

Our researchers collaborate with numerous partners at UC Davis, 

including those from the School of Medicine, the School of 

Veterinary Medicine and the Graduate School of Management. Our 

global industry and government partners include many from Silicon 

Valley, the Bay Area and the Sacramento Region. Annual research 

expenditures at the College of Engineering total more than $90 

million (2010-11). 

UC Davis Engineering is consistently ranked among the Top 20 U.S. 

public university engineering programs (U.S. News & World Report 

2011). UC Davis Engineering’s key research strengths are in 

energy, environment and sustainability; engineering in medicine; 

and information technology and applications.

A Just Added Event 



Sponsored by 

There will be a Question & Answer 

Session in the performance hall 

following the lecture. 

an eveninG wiTh david SedariS 

Photo by Anne Fishbein 

david sedaris 

With sardonic wit and incisive social critiques, David Sedaris has become one of 

America’s pre-eminent humor writers. The great skill with which he slices through 

cultural euphemisms and political correctness proves that Sedaris is a master of satire 

and one of the most observant writers addressing the human condition today. 

Sedaris is the author of Barrel Fever and Holidays on Ice, as well as collections of 

personal essays, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and 

Denim and When You Are Engulfed in Flames, each of which became a bestseller. 

There are a total of seven million copies of his books in print, and they have been 

translated into 25 languages. He was the editor of Children Playing Before a Statue 

of Hercules: An Anthology of Outstanding Stories. Sedaris’s pieces appear regularly 

in The New Yorker and have twice been included in “The Best American Essays.” 

His newest book, a collection of fables entitled Squirrel Seeks Chipmunk: A Modest 

Bestiary (with illustrations by Ian Falconer), was published in September 2010 and 

immediately hit The New York Times Bestseller Fiction List. His next book is Let’s 

Explore Diabetes with Owls and will be published in late spring 2013. 

He and his sister, Amy Sedaris, have collaborated under the name “The Talent 

Family” and have written half-a-dozen plays that have been produced at La Mama, 

Lincoln Center and The Drama Department in New York City. These plays include 

Stump the Host, Stitches, One Woman Shoe, which received an Obie Award, Incident 

at Cobbler’s Knob and The Book of Liz, which was published in book form by 

Dramatists Play Service. 

Sedaris’s original radio pieces can often be heard on This American Life, distributed 

nationally by Public Radio International and produced by WBEZ. Sedaris has been 

nominated for three Grammy Awards for Best Spoken Word and Best Comedy 

Album. His latest audio recording of new stories (recorded live) is David Sedaris: 

Live for Your Listening Pleasure (November 2009). 

You can follow Sedaris on Facebook at www.facebook.com/davidsedaris. 




A Crossings Series Event 

Thursday–Saturday, November 29–December 1, 2012 • 8PM 

Vanderhoef Studio Theatre, Mondavi Center, UC Davis 

Sponsored by 

question & answer Session 

With members of Jogja Hip Hop Foundation 

Moderators: 

Henry Spiller, Chair, UC Davis Department of Music 

Katherine In-Young Lee, Assistant Professor, Ethnomusicology, 

UC Davis Department of Music 

Sarah Geller, Ph.D. Candidate in Ethnomusicology, 

UC Davis Department of Music 

Question & Answer Sessions take place in the performance hall 

after the event. 


Debut 

MC 

joGja hip hop foundaTion 

Jogja Hip Hop Foundation 

Yogyakarta, Indonesia 

Muh Marzuki, (Kill the DJ) Director, Rapper 

Yanu Prihaminanto, (Ki Ageng Gantas) Rapper and Producer 

Balance Perdana Putra, (Balance) Rapper and Producer 

Heri Wiyoso, (M2MX) Rapper 

Vanda Verena Kartikasari, (Vanda) DJ 

Candra Bernhard Suandi, Film Maker 

Aulia Anindita, Manager 

Suzanne La, Center Stage Company Manager 

If there were still any doubt that hip-hop is a truly global culture, 

look no further than Indonesia’s Jogja Hip Hop Foundation (JHF). 



jojga hip hop foundation samples poems, wishes and curses 

in a mix with literary Javanese texts and colloquial riffs.Their musical 

hooks are pinned to global rhythms, traditional gamelan music 

and a love of language. Their songs speak out about corruption, 

shout for social justice and have been taken up as anthems in public 

demonstrations and rallies. 

Recognized as one of Southeast Asia’s foremost collectives, JHF 

was established to promote diversity and pluralism. After few small 

projects, JHF started the Indonesian poetries project in 2006 then 

produced the albums Poetry Battle 1 (2007) and Poetry Battle 2 

(2008). Both incorporate poetry and oral literature dating from the 

18th century and contemporary poetry they reinterpret for a new 

audience, reinvigorating an interest in the country’s rich past. In 

other instances JHF has successfully merged these ancient texts with 

Islamic teachings to exemplify the spirit of syncretism and plurality. 

On a national scale, the group has experimented with other 

Indonesian languages to create songs about anti-corruption. JHF 

engages various socio-political and cultural issues while aesthetically 

continuing to ground their work in popular and historical Javanese 

sources. They expand the Javanese-ness of their hip-hop in ways 

beyond their lyrics. Their hip-hop sounds are extremely hybrid. 

Founded by Marzuki Mohammad aka Kill the DJ in 2003, JHF is an 

umbrella for Yogyakarta-based hip-hop crews that mostly use traditional 

Javanese language. Even though the name might sound formal, 

JHF operates in a more communal way rather than as a formal 

institution. JHF is best known for three crews: Jahanam, Rotra and 

Kill the DJ; a bunch of Javanese rude boys standing still in the crossculture. 

Talking about yogyakarta 

It is almost impossible to leave Yogyakarta out of a discussion of 

Indonesian culture. It is a small province, the smallest among the 

four other provinces in Java, yet its pivotal role is enormous. It is the 

place where almost all signifiers of Javanese cultural production— 

such as gamelan, wayang kulit (shadow puppetry), wayang orang, 

court dance, oral literature, etc.—were developed for centuries, long 

before the dawn of the colonial age. And they eventually took part in 

shaping the national Indonesia as a modern idea. 

At the same time, Yogyakarta is not an enclosed and sterile space. 

Its glorified history is also strengthened by its post-independence 

function, which was to serve as the city of education. For decades, 

Yogyakarta has built a strong foundation for the growth of educational 

institutions, making it one of the most dynamic and youthful 

urban cities in Indonesia. 

—Ugoran Prasad 

An artist and independent researcher, Ugoran Prasad is a playwright and 

dramaturg in residence with Teater Garasi Yogyakarta as well as program 

manager at the Indonesian Society for the Performing Arts. He is a performing 

lyricist of Melancholic Bitch, a Yogyakarta-based shadow pop band. 

He was also featured in the first JHF Poetry Battle album. He was a visiting 

scholar at the Performance Studies Department at New York University and 

a fellow of the Asian Cultural Council in 2011. 

center stage 

Diplomacy doesn’t just happen in conference rooms or at embassies. 

It can burst out in classrooms and studios, on town greens and 

beside historic landmarks, in coffee shops and arts centers, 

moving from person to person, between artist and arts lover. From 

June–December 2012, 10 different contemporary performing 

arts ensembles from Haiti, Indonesia and Pakistan are making 

independent month-long tours in the U.S. as part of Center Stage. 

Residencies include performances, workshops, discussions, peopleto-people 

exchanges and community gatherings. This public-private 

partnership is the largest public diplomacy effort to bring foreign 

artists to American stages in recent history. 

Keep up with Center Stage and find additional information about 

Papermoon Puppet Theatre at www.CenterStageUS.org, on Facebook 

(www.facebook.com/CenterStagePage) and Twitter (@centerstage). 

Special thanks to Rachel Cooper and Asia Society. 

question & answer Session moderators: 

Henry Spiller, chair, Department of Music, UC Davis, is an 

ethnomusicologist whose research focuses on Sundanese music 

and dance from West Java, Indonesia. 

Katherine In-Young Lee, assistant professor, Ethnomusicology, 

joined the UC Davis Department of Music faculty in July 2012. 

Sarah Geller is a Ph.D. candidate in Ethnomusicology. She 

teaches African American Music at UC Davis and is currently 

writing her dissertation on hip-hop in America. 

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A With a Twist Series Event 




Debut 

MC 

one-man Star wars ® trilogy 

written and performed by 

chArles ross 

Written and Performed By Charles Ross 

Christine Fisichella, Stage Manager 

Mike Schaldemose, Lighting Design 

SL Feldman & Associates, Press Representative and General Management 

TJ Dawe, Director 

One Man Star Wars Trilogy performed with permission of Lucasfilm Ltd. 

All ‘Star Wars’ elements property of Lucasfilm Ltd. All rights reserved. 



ProgrAm notes 

I grew up in the northern British Columbia city of Prince George, 

a city of long winters. Between Halloween and Easter, I saw a lot of 

movies. My dad would bring videos home like Sinbad the Sailor, Clash 

of the Titans and Das Boot. He also took me to see Star Wars at the age 

of six. I cried when it was over. These were the days of Star Wars, Star 

Trek, E.T. and Close Encounters of the Third Kind. They were also the 

days when it was an event that a movie would air on TV for the first 

time. I taped over Shogun (my father bought the VCR specifically to 

record the mini-series) to have A New Hope in my possession. I would 

wake every morning at 5:30 to watch Star Wars before my family got 

up. I managed this for an entire winter before I guess my mom noticed, 

but it was too late: The story was imprinted on my brain. 

My acting “career” started early. More than one family dinner at 

restaurants would end with me being sent to wait in the car. When my 

folks split we moved south to Nelson, B.C., near the U.S. border. At 

13, I beat the school jazz band in a talent show by doing impressions 

of the teachers. I was a fairly responsible kid and tried to follow my 

interest in science, but at 17, I landed my first theater job and “responsibility” 

went out the window. I was so happy to be doing what 

I loved. I had to move to a neighboring town for the summer, during 

which I lost 70 pounds of baby fat. A year later I graduated and left 

Nelson for the University of Victoria. 

After university, I worked as an actor for four years. I worked as a historical 

interpreter and for theater companies in B.C. and Nova Scotia. 

For lengths of time, I had difficulty finding work, as many actors do. 

I’ve always been a bit pigheaded, and my frustration just strengthened 

my resolve to create something on my own. I can’t say exactly how the 

whole idea began to use the myth of Star Wars for a show. The world 

owns the story in a sense; it’s moved so many people, and for some it’s 

a sacred relationship they have with it. I found just such a fan in my 

friend TJ Dawe; we attended university at the same time. I remember 

playing a Frisbee game: When one threw the Frisbee they had to say 

a line from one of the Star Wars films, and when the other caught it, 

he had to say the next line. Neither of us beat the other. Our friendship 

grew into collaboration: I wrote many treatments of One-Man 

Star Wars Trilogy, and TJ directed me through an arduous rehearsal 

process. I just never knew if people would get it. 

Many moments led to the success of One-Man Star Wars Trilogy. I 

first performed it in Toronto for a group of strangers, afterwards in 

Kamloops, B.C., then it went to the Toronto Fringe Festival in 2002. 

Later that winter I had an impromptu performance when I went to 

backpack through Turkey. In 2003, I toured from Orlando, Forida, to 

Vancouver, B.C. During the Orlando Fringe I met Chicago producer 

Dan Roche. We exchanged emails, and six months later I was performing 

at Chicago’s Noble Fool Theatre. 

I wonder sometimes: Is this legitimate theater or novelty theater? My 

show draws out all types. Am I a legitimate geek or a novelty geek? 

Watching the same film every day for six months could certainly be 

called a monumental waste of time. I guess you need to make negatives 

into positives. I have performed to theater houses of one person 

in 2003 (a low point) and in 2005 at Star Wars Celebration III for 

3,500 ecstatic SW fans (a definite high point). I’ve performed benefit 

shows for small theater companies, cancer and AIDS research and forest 

fire victims. It isn’t always easy being a full-time theater geek with 

a legitimate piece of novelty theater to show the world, but I wouldn’t 

trade this for anything. Never underestimate the power of little 

choices you make everyday; take a chance, the worst that can happen 

is failure. Failure is nothing more than a momentary hurdle in a long 

series on the road to success. As the saying goes: Success is often little 

more than an opportunity to fail at greater and greater things. 

And, to Lisa Hebden, my hero and reason for doing this. I hope you 

like the show. 

charles ross (performer and author), best known as the mastermind 

behind the infamous One-Man Star Wars Trilogy and One-Man 

Lord of the Rings, is a Canadian actor who has followed his heart and 

his career from one side of the continent to the other. Since first performing 

his One-Man Star Wars Trilogy in Toronto in 2001, Ross has 

brought countless audiences, both large and small, to their feet with 

his surprisingly unique shows. Word of Ross’s one-of-a-kind talent 

has spread across North America, from Toronto, Atlanta and Boston 

to Chicago, San Diego and Vancouver. To mark the release of Star 

Wars: Episode 3: Revenge of the Sith, Charles was honored to perform at 

Lucasfilm’s official movie release convention, Celebration 3. Even the 

likes of Vin Diesel and Sir Ian McKellan have taken in his performances 

with rave reviews. 

Tj dawe (director) is a Vancouver-based writer/performer. He has 

toured the fringe festival circuits numerous times and toured extensively 

throughout North America and Australia. He received a Jessie 

Richardson Award for Best New Play or Musical in 1998 for Tired 

Cliches. In 2001, Dawe received the Just For Laughs Comedy Award in 

Montreal for The Slipknot and was remounted at the Just For Laughs 

On the Edge series, which also featured Scott Thompson of the Kids 

in the Hall. Dawe was the winner of the Best Male Performer award 

at the 2002 Orlando International Fringe Festival. His solo shows are 

influenced by Spalding Gray, Daniel MacIvor and George Carlin. He 

has frequently been likened to Lord Buckley, Jerry Seinfeld and Eric 

Bogosian. Although he uses elements of stand-up comedy, his shows 

are very theatrical, exploring serious subjects and using music and 

physical theater. 

michael schaldemose (lighting design), received the coveted 

Larry Lillo Award for Outstanding Direction for Kvetch by Steven 

Berkoff, a Way Off Broadway production. He has also been honored 

with Jessie nominations for Outstanding Lighting Design and 

Outstanding Set Design. Schaldemose is a Fringe veteran, appearing 

in more than 70 international festivals; produced daring and original 

works across Canada, in the U.S., London and Sweden. With WOB, 

he directed and co-created Bonnie Dangerously: Fast Times With That 

Guy Clyde, a shameless hussy production that earned two Jessie 

nominations including Outstanding Production. A graduate from the 

theater design program at the University of Victoria, Schaldemose 

is a freelance designer and director on the Vancouver scene. He is 

presently Technical Director of Presentation House Theatre in North 

Vancouver. In recent years he has written, produced and directed new 

works focused on the development of a new cinematic theatrical form 

culminating in this summer’s action adventure The Conspiracy. 

christine fisichella (production stage manager) has toured nationally 

with Footloose, Color Me Dark, Goldrush!, Romeo and Juliet. 

Regional: A Class Act, The Play About the Baby, Runaway Home (The 

Studio Theatre); Hansel and Gretel (The Children’s Theatre Company); 

Barefoot in the Park, Rounding Third, The Honey Harvest (Kentucky 

Repertory Theatre); Twelfth Night, The Rehearsal, The Last Night of 

Ballyhoo (Alabama Shakespeare Festival) and Romance, Romance! 

(Caldwell Theatre Company). She is proud to be a member of Actors’ 

Equity since 1998. 


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 

world-class artists to audiences in 

the capital region each year, but 

also to introduce new generations 

to the experience of live performance 

through our Arts Education 

Program, which provides arts education 

and enrichment activities 

to more than 35,000 K-12 students 

annually. 

For more information on 

supporting the Mondavi Center, 

visit MondaviArts.org or call 

530.754.5438. 

† Mondavi Center Advisory Board Member 

* Friends of Mondavi Center 


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 * 

donors 

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. 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 

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* 

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 eight donors who prefer to remain 

anonymous 

enCore CirCle $600 – $1,249 

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 

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 

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 

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 

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* 

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 

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 

Gary and Susan Kieser 

Larry Kimble and Louise Bettner 

Bob and Bobbie Kittredge 

Dorothy Klishevich 

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 

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* 

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 

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 

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 

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 

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 

Linda K. Whitney 

Mrs. Jane L. Williams 

Marsha L. Wilson 

Janet Winterer 

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 

Larry Young and Nancy Edwards 

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.

globe education 

Academy for teachers 

The Los Rios Community College District; the 

School Of Education, UC Davis; the Mondavi Center, 

UC Davis; and Shakespeare’s Globe in London are 

partners in a professional development initiative that 

provides in-depth learning opportunities for selected 

drama and English teachers of grades 7–12 and community 

colleges in the Sacramento region: The Globe Education Academy for Teachers. 

The Globe Education Academy is comprised of three segments: 

The first segment, in Spring 2013, will feature UC Davis faculty and Globe Education 

practitioners from London presenting three workshops at UC Davis designed to deepen 

the understanding of Shakespeare and his work and the applications, connections and 

relationships that his work inspires. 

The second segment, in June 2013, is comprised of a two-week residency in London, England, 

to study at Shakespeare’s Globe. 

The third and final segment, in November 2013, will take place at the Mondavi Center, 

UC Davis. Participating teachers and students will showcase scenes from a Shakespeare play 

and share in a final day of celebration. 

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 • Joyce Donaldson, Chancellor’s Designee, Ex-Officio 

arTS & lecTureS adminiSTraTive adviSory commiTTee 

The Arts & Lectures Administrative Advisory Committee is made up 

of interested students, faculty and staff who attend performances, 

review programming opportunities and meet monthly with the director 

of the Mondavi Center. They provide advice and feedback for the Mondavi 

Center staff throughout the performance season. 

We are currently recruiting for 

the 2013 Globe Education 

Academy for Teachers. 

Applications are available online 

at MondaviArts.org or 

by calling Mondavi Center Arts 

Education, 530-754-5431. 

Applications must be received or 

postmarked by December 17, 2012. 

Please mail them to: 

Joyce Donaldson 

Director of Arts Education 

Mondavi Center, UC Davis 

One Shields Avenue 

Davis, CA 95616 

Applicants will be notified of their 

acceptance by January 11, 2013. 

12–13 COMMITTEE MEMBERS: 

Erin Schlemmer • Jim Forkin • Erin Jackson • Sharon Knox • Maria Pingul 

Prabhakara Choudary • Charles Hunt • Lee Miller • Gabrielle Nevitt 

Schipper Burkhard • Carson Cooper • Daniel Friedman • Kelly Gove • Aaron Hsu 

Susan Perez • Don Roth • Jeremy Ganter • Erin Palmer 


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 e-mail communications or postal mailings, or if you do 

not want us to share your name, please notify us via e-mail, U.S. mail 

or telephone. Full Privacy Policy at MondaviArts.org. 

*Only one discount per ticket. 


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 

[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

We’ve lifted health care to an art form. 

Who better to create the perfect health plan but 

health care professionals with families of their 

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

UC Davis Health System, Dignity Health and 

NorthBay Healthcare System came together to 

create a quality alternative to national HMOs. 

The result is a health plan committed to improving 

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

you are interested in getting just what the doctor 

ordered, give us a call. 

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

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