PROGRAM - Mondavi Center

Issue 2: OCT 2012 

• lang lang, piano p. 5 

• rising stars of opera p. 11 

• alexander string quartet p. 17 

• the dancer films live event p. 22 

• stanley clarke trio p. 25 

• akram khan company p. 28 

AnniversAry 

2012—13 

Season Sponsors 

• From the top with host christopher o’riley p. 34 

ProgrAm 

• eddie izzard p. 36 

• in conversation with steve wozniak p. 38

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. 

MondaviArts.org | 1

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 2: oCt 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 

As we enter our second Mondavi Center decade, my hope is that 

we continue to always ask ourselves how we can keep getting 

better at what we do: providing the best mix of artists and art works; 

impacting the lives of those on campus and in the community; and 

helping audiences engage with, and students be educated about, 

the art we present. 

The above paragraph could also serve as a description for this first 

full month of our 10th Anniversary Season. The great artistry on 

display includes a solo recital by classical piano superstar Lang Lang; 

our good friends from the Alexander String Quartet kicking off a yearlong 

series exploring Schubert’s quartets; jazz bassist Stanley Clarke 

leading a dynamic trio that includes his Return to Forever bandmate 

Lenny White; and two imports from across the pond, the magnificent 

Akram Khan Company (which I highly recommend to those of you that 

enjoyed our U.S. premiere of Blanche Neige last season) and comedian 

Eddie Izzard, both making their Mondavi Center debuts. 

A major campus partnership with the UC Davis College of 

Engineering has made possible our evening with Apple co-founder 

and Silicon Valley philanthropist Steve Wozniak, a conversation which 

will be moderated by Dean Enrique Lavernia. It is wonderful that we 

can share in the fiftieth anniversary of this distinguished campus 

unit, and we appreciate their foresight in bringing the arts and 

sciences together for a very special evening. 

Finally, in our quest to help audiences and students engage with 

the arts, we are pleased to be able to offer two special free events 

during our tenth anniversary season opening celebration. First, the 

third annual Rising Stars of Opera concert, supported by our dear 

friend Barbara Jackson, is an enriching opportunity for audiences 

of all ages to be touched by wonderful operatic singing. And the 

next afternoon, we host the free Dancer Films Live Event, inspired 

by Jules Feiffer, the iconic American cartoonist, illustrator and artist. 

Audiences are encouraged to join former Merce Cunningham dancer 

Andrea Weber and jazz saxophonist Jane Ira Bloom onstage in this 

fun and interactive dance and film event. 

Thank you for joining us as we launch the Mondavi Center’s 10th 

Anniversary season. 

Don Roth, Ph.D. 


Mondavi Center for the Performing Arts, UC Davis 

in this issue: 

• lang lang, piano p. 5 

• rising stars of opera p. 11 

• alexander string quartet p. 17 

before the show 

� O A H 

• As a courtesy to others, please turn 

off all electronic devices. 

• If you have any hard candy, please 

unwrap it before the lights dim. 

• Please remember that the taking of 

photographs or the use of any type 

of audio or video recording equipment 

is strictly prohibited. 

Program 

Issue 2: oct 2012 

• the dancer films live event p. 22 

• stanley clarke trio p. 25 

• akram khan company p. 28 

• From the top 

wIth host chrIstoPher o’rIley p. 34 

• eddie izzard p. 36 

• In conversation with steve wozniak p. 38 

• Mondavi Center PoliCies and inforMation p. 44 

• Please look around and locate the exit 

nearest you. That exit may be behind you, 

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. 


4 | Mondavi Center Presents Program issue 2: oCt 2012

A Wells Fargo Concert Series Event 

Monday, October 1, 2012 • 8PM 

Jackson Hall, Mondavi Center, UC Davis 

Sponsored by 

RobeRt and MaRgRIt Mondavi Center for the Performing Arts • UC DAvis 

Individual support provided by 

John and Lois Crowe and 

Joyce and Ken Adamson. 

© Peter Hönnemann—under exclusive license to Sony Classical 

for Lang Lang’s new release The Chopin Album 

lang lang, piano 

ProgrAm 

Sonata No. 5 in G Major, K. 283 (K. 189h) Mozart 

Allegro 

Andante 

Presto 

Sonata No. 4 in E-flat Major, K. 282 (K. 189g) 

Adagio 

Menuetto I — Menuetto II 

Allegro 

Sonata No. 8 in A Minor, K. 310 (K. 300d) 

Allegro maestoso 

Andante cantabile con espressione 

Presto 

Intermission 

Ballade No. 1 in G Minor, Op. 23 Chopin 

Ballade No. 2 in F Major, Op. 38 

Ballade No. 3 in A-flat Major, Op. 47 

Ballade No. 4 in F Minor, Op. 52 

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. 



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.

ProgrAm notes 

Sonata No. 5 in G Major, K. 283 (K. 189h) (1775) 

Sonata No. 4 in E-flat Major, K. 282 (K. 189g) (1775) 

Wolfgang Amadeus Mozart 

(Born January 27, 1756, in Salzburg; died December 5, 1791, 

in Vienna) 

Much of Mozart’s biography could be written in terms of his job 

hunts. From the time that Wolfgang was a teenager, he and Papa 

Leopold worked inordinately hard at placing the young musician 

in a prestigious position in one of Europe’s music capitals. January 

1775 found father and 19-year-old son in Munich for the premiere 

of La Finta Giardiniera (The Pretended Gardener), an opera buffa 

commissioned by the Court Theater in that city, with which Mozart 

hoped to create enough of a stir to win a position on the musical 

staff of the Elector, Maximilian Joseph III. (Salzburg was then part of 

Bavaria and subject politically to the Elector of Munich.) The opera 

did not gain Mozart a place at court, however, and he and Leopold 

left Munich, disappointed, on March 6. In the months preceding the 

Munich venture or immediately after arriving in the Bavarian capital, 

Mozart composed a set of six piano sonatas (K. 279-284) to display 

to local music lovers there and for possible publication. 

The opening movement of the G Major Sonata (K. 283/189h) 

follows a crystalline sonata form, with a quiet main theme and a 

smooth subsidiary subject with gently pulsing syncopations. The 

brief central section is unrelated to the earlier thematic materials. 

The recapitulation reprises the themes with subtle but striking 

harmonic alterations. The sonata-form Andante takes as its principal 

subject an unpretentious melody saved from music-box banality 

by the perfection of its voicing and part-writing; the second theme 

is more animated in rhythm and scalar in contour. The expressive 

potential of the apparently simple main theme is revealed through 

its chromatic alterations and brooding character in the development 

so that its recapitulation seems less like a conventional formal return 

than an attempt to recapture a lost state of purity and innocence. 

The finale, another sonata structure, uses a bounding melody as its 

main theme and a strain in tiny circling phrases for its subsidiary 

subject. The main theme is treated in the development before a full 

recapitulation of the exposition’s materials rounds out the movement. 

The E-flat Major Sonata (K. 282/189g) is a product of the time 

when the form, style and architecture of the modern instrumental 

genres were still gestating. Rather than beginning with the vigorous 

quick-tempo movement in the clear-cut form that later came to 

characterize most works of this type, this Sonata first presents a 

rather pensive Adagio in loose sonata structure (i.e., the main theme 

is heard not to begin the recapitulation, but only as the very final 

gesture of the movement). Next comes a pair of minuets, the first 

(repeated to round out the movement), polite and genteel; the 

second, more fiery in character. The work concludes with another 

compact sonata-form essay of which William Glock wrote, “Here the 

pianist should sit with a sword at his side, all spirit and bravado.” 

Sonata No. 8 in A Minor, K. 310 (K. 300d) (1778) 

Wolfgang Amadeus Mozart 

Mozart arrived in Paris, chaperoned by his mother, on March 23, 

1778, hoping that the music lovers of the French capital would 

recognize his genius and reward him with an appropriate position. 

In May, it appeared that his foray into Parisian cultural life might be 

rewarded. He reported to his father that he had been offered the post 

of organist at Versailles, a job with light duties, six months leave per 

year and proximity to the royal family. His longing was not for the 

royal chapel, however, but for the opera house (and for a sweetheart, 

Aloysia Weber, whom he had met on the stop in Mannheim while 

journeying to Paris), and he refused the post. “After all, 2,000 livres 

is not such a big sum,” he rationalized in a letter to his furious 

father. Mozart’s stay in Paris grew sad. His mother fell ill in June and 

died the following month. He lingered in Paris, sorrowful and alone, 

until September 26, when, without the position he sought or the 

commissions he hoped to receive, he returned to Salzburg. 

Mozart’s motivation for composing the A Minor Piano Sonata (K. 

310/300d) is unknown. He seems to have had no prospect for its 

publication or public performance and may have written it to play 

at private homes in his search for new pupils or to present at the 

occasional musical gatherings of his Mannheim friends in Paris. 

The Sonata’s nature, “dramatic and full of unrelieved darkness,” 

according to Alfred Einstein, suggests that Mozart composed the 

piece for himself rather than for any applause-seeking situation. 

The stormy opening movement revives the world of proto-Romantic 

expression that Mozart first entered with the “Little” G Minor 

Symphony of 1773 (K. 183) and which was to inform some of the 

greatest works of his maturity—Don Giovanni, G Minor Symphony 

(K. 550), G Minor Quintet, Requiem. The movement’s pervading 

sense of drama—its dynamic contrasts, unrelenting rhythms, 

expressive harmonies—mark an important advance in Mozart’s 

musical language. The Andante opens in a bright major key but soon 

shades into the minor, and in its middle section recalls the dramatic 

emotion of the preceding movement. The masterful alternation 

of major and minor, of light and shadow, of melancholy and hope 

pervades the gossamer textures of the concluding Presto. 

The Four Ballades (1831, 1838, 1840–41, 1842) 

Frédéric Chopin 

(Born February 22, 1810, in Poland; Died October 17, 1849, 

in Paris) 

The first ideas for the Ballade No. 1 (G Minor, Op. 23) were sketched 

in May and June 1831, when Chopin was living anxiously in Vienna, 

almost unknown as a composer and only slightly appreciated as 

a pianist. By the time the work was completed four years later, 

however, he had achieved such fame and fortune in Paris that he 

could dedicate the piece to Baron de Stockhausen, the Hanoverian 

ambassador to France, whom he counted among his noble pupils. 

Schumann called this Ballade “the most spirited and daring work of 

Chopin” and reported that it was inspired by Mickiewicz’s Konrad 

Valenrod, a poetic epic concerning the battles between the pagan 

Lithuanians and the Christian Knights of the Teutonic Order. The 

work exhibits both the ingenious conflation of sectional, sonata and 

rondo forms and the voluptuous, wide-ranging harmonic palette that 

mark all of the Ballades. 


lAng lAng by jeff hUdson 

Lang Lang is having another busy year. 

This summer, he helped carry the Olympic Torch in London 

(a 370-yard trot, wearing a commemorative t-shirt). Earlier in 

2012, he donned an academic robe and received an honorary 

doctorate from the Manhattan School of Music. And, oh yes, in 

June, he marked his 30th birthday. 

He’s come quite a long way from the teenage wonder I heard 

at Freeborn Hall in November 2000. I can still picture Lang Lang 

at that recital, his eyes closed as his face glowed with a beatific 

smile, his hands dancing over the keyboard. I recall thinking he 

was impressive and also something of a showman. 

Some things never change. On the cover of Lang Lang’s recent 

album Liszt—My Piano Hero (Sony, 2011—issued just in time 

for the 100th anniversary of the composer’s birth), Lang Lang’s 

eyes are closed, and he’s wearing a blissful expression. 

Lang Lang’s reputation for a flashy stage presence has only 

grown through the years. When Lang Lang performed 

earlier this year at the Queen’s Diamond Jubilee Concert at 

Buckingham Palace, the critic for The Independent said the concert 

“confirmed him as the new Liberace of classical piano, unafraid 

of the grand gestures to match his striking outfits. 

” The critic hastened to add that there were “many moments 

when his natural gifts overcame his showmanship.” 

And when Lang Lang played this year at the opera house in 

Chicago, the critic for classical station WFMT remarked on “a 

tendency to spectacle” that “has run through his phenomenal, 

almost 13-year career”—but then added, “when he wants to 

focus on his unique and breathtaking technical ability ... he can 

hold an audience as few others can.” 

And when Lang Lang played at Carnegie Hall in May, the New 

York Times review mentioned “his charismatic stage presence, 

passionate playing and astounding technique” as well as his 

“flamboyant tendencies,” adding, “he has recently been keen 

to prove that he is more than a virtuoso showman.” 

But really, should this come as a surprise? Lang Lang adores 

Liszt, and Liszt was a figure for whom artistry and ostentation 

famously went hand-in-hand. Let’s just say that for Lang Lang, 

a degree of splashy style is simply part of who he is. 

We’ve recently seen a slew of Lang Lang releases. In June, 

Deutsche Grammophon, his label for nearly a decade, issued 

The Complete Recordings, 2000–9, a 12-CD set. And, having 

already released The Best of Lang Lang in 2010, DG followed up 

quite logically with an album called The Very Best of Lang Lang 

this year. 


fUrther lIstenIng 

Lang Lang, however, moved to Sony in 2010, as a recording 

artist and “global brand ambassador,” promoting the company’s 

high-tech gizmos. He has a new album, due sometime this 

month, a recital disc featuring works by Chopin. 

P.S. He’ll also be appearing with the San Francisco Symphony 

on November 1-2, playing the Concerto No. 2 by Bartók. 

Jeff Hudson contributes coverage of the 

performing arts to Capital Public Radio, 

the Davis Enterprise and Sacramento News 

and Review.

The Ballade No. 2 (F Major, Op. 38) was the product of 1838, when 

Chopin had retreated to Majorca with George Sand. The composition 

was dedicated to Schumann, whose review (“Hats off, gentleman! A 

genius!”) of the 1827 Variations on Mozart’s “Là ci darem la mano” 

was among the earliest recognitions of Chopin’s talent (Schumann 

dedicated his Kreisleriana of 1838 to Chopin in appreciation). 

Schumann claimed that the music was based on Mickiewicz’s Le Lac 

de Wallis, though Herbert Weinstock could find no such title in the 

poet’s catalog. Undeterred by the lack of a firm literary foundation, 

the Russian pianist and pedagogue Anton Rubinstein erected 

upon the Second Ballade the following slightly lurid program, so 

characteristic of the 19th-century quest to invest mere musical 

notes with referential import: “A field flower, a windstorm, the 

wind caressing the flower, stormy fight of the wind, pleading of the 

flower—the flower lies broken. Or, paraphrased, the flower can be 

regarded as a country lass, the wind as a knight.” 

The Ballade No. 3 (A-flat Major, Op. 47) was composed during the 

quiet and happy period he spent with George Sand in Paris in 1840– 

41. The work was said to have been inspired by Mickiewicz’s Ondine, 

which Laurent Cellier paraphrased: “On the shores of a lake, a 

young man pledges fidelity to a young girl. Doubting the faithfulness 

of men, despite the protestations of her lover, she disappears and 

returns in the bewitching form of a water sprite. As soon as she 

tempts the young man, he succumbs to her charms. To expiate his 

sin, he is dragged to the bottom of the water and condemned to a 

breathless pursuit of the sprite, whom he can never catch.” 

The Ballade No. 4 (F Minor, Op. 52) dates from the summer of 

1842, when Chopin was staying with Sand at her country villa in 

Nohant, some distance south of Paris in the province of Berry. No 

poetic source is known for the work, nor is one really needed for 

this music of drama and authority. The pianist and scholar Paul 

Badura-Skoda spoke of the music’s “real explosive power”; Chopin’s 

biographer Casimir Wierzynski called it “a true musical novel, 

boundlessly rich.” It is a fitting capstone to this superb collection of 

masterworks, of which Frédérick Niecks wrote, “None of Chopin’s 

compositions surpass in masterliness of form and beauty and poetry 

of content his Ballades. In them he attains the acme of his power as 

an artist.” 

—Dr. Richard E. Rodda 

lang lang (piano), heralded as the “hottest artist on the classical 

music planet” by the New York Times and the “world’s ambassador 

of the keyboard” by the New Yorker, Lang Lang has played sold out 

concerts in every major city in the world. 

Lang Lang’s success has catapulted him into the world spotlight. 

In 2008, Lang Lang was featured in concert with jazz pianist Herbie 

Hancock at the 50th Annual Grammy Awards and was a featured 

performer at the Opening Ceremonies of the 2008 Beijing Olympics. 

In 2009, Lang Lang appeared in the Time’s annual list of the 100 

Most Influential People in the World. Most recently, Lang Lang 

has been chosen as an official worldwide ambassador for the 2010 

Shanghai Expo. 

Lang Lang is seen as a symbol of the youth and future of China, and 

is an inspiration to the 40 million classical piano students there. 

Therefore, Lang Lang has made it his mission to broaden the reach 

of classical music around the world, with a focus on children. In 

2008, he established the Lang Lang International Music Foundation 

with the goal of expanding young audiences and inspiring the next 

generation of musicians through outreach programs. 

His biography, Journey of a Thousand Miles, published by Random 

House in 11 languages, was released to critical acclaim. As part of his 

commitment to the education of children, he released a version of 

his autobiography specifically for younger readers, entitled Playing 

with Flying Keys. 

Lang Lang has performed for numerous international dignitaries 

including the former Secretary-General of the United Nations Kofi 

Annan, Secretary-General Ban Ki-moon, President Barack Obama, 

George H. W. Bush, George W. Bush, William J. Clinton, Her Majesty 

Queen Elizabeth II, President Hu Jin-Tao of China, President Horst 

Koehler of Germany, H.R.H. Prince Charles, Russian President 

Vladimir Putin, French President Nicolas Sarkozy and Poland 

President Lech Kaczynski. Most recently, he performed for President 

Barack Obama and President Hu Jin-tao at the White House State 

Dinner and recently performed on the Queen’s Diamond Jubilee 

concert for Elizabeth II. 

In 2004, Lang Lang was appointed International Goodwill 

Ambassador to the United Nations Children’s Fund (UNICEF). 

As Chairman of the Montblanc de la Culture Arts Patronage Award 

Project, Lang Lang celebrates another aspect of arts commitment. 

He also currently serves on the Weill Music Institute Advisory 

Committee as part of Carnegie Hall’s educational program and is 

the youngest member of Carnegie Hall’s Artistic Advisory Board. 

He has been added as one of the 250 Young Global Leaders picked 

by the World Economic Forum and received the 2010 Crystal Award 

in Davos. In May 2011, Lang Lang received an Honorary Doctorate 

of Music from His Royal Highness The Prince of Wales at the Royal 

College of Music, and received his second Honorary Doctor Degree 

in Musical Arts at the Manhattan School of Music in May 2012. In 

December 2011, he was honored the highest prize awarded by the 

Ministry of Culture of the People’s Republic of China. In August 

2012, he received the highest German civilian honor, the Order of 

Merit of the Federal Republic of Germany, in recognition of his 

distinguished services to music. 

For further information visit: 

www.langlang.com / www.langlangfoundation.org. 


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WHAT DO YOU SEE? 

We see a child who deserves the best medical care. 

You see world leaders in children’s emergency medicine. 

YOU SEE EXPERTISE

A Mondavi Center Special Event 

Saturday, October 6, 2012 • 8PM 


Provided free to the community through the generosity 

of Barbara K. Jackson. 

rIsIng stArs of oPerA 

san francisco opera Adler fellows 

mark morash, Piano 

sara gartland, Soprano 

sean panikkar, Tenor 

Uc davis symphony orchestra 

christian Baldini, Music Director & Conductor 

ProgrAm 

Program of songs and opera excerpts 

Members of the San Francisco Opera Adler Fellowship 

Intermission 

Act I of La Traviata Verdi 



Photo by Kristina Sherk 


ProgrAm notes 

First half of the program will be announced from the stage. 

Act I, La Traviata (1852–53) 

Giuseppe Verdi (Born October 10, 1813, in Le Roncole, Italy; 

died January 27, 1901, in Milan) 

Libretto by Francesco Maria Piave (Born May 18, 1810; 

died March 5, 1876) 

Marie Duplessis—or Alphonsine Plessis, as she was born on a farm 

in Normandy—was one of the most sparkling jewels in the tiara 

of the Parisian demi-monde for a short but notoriously brilliant 

period in the 1840s. Marie, disturbingly beautiful and abundantly 

blessed with grace, charm, wit and dignity, fell into the glamorous if 

unseemly life of the courtesan soon after she arrived in the French 

capital. The writer Jules Janin observed her one evening at the 

theater: “Amid the splendor of a benefit performance at the Opéra, 

we suddenly saw one of the great proscenium boxes opened, with 

a certain noise, and the beautiful Marie advanced, a bouquet in 

her hand. She was ravishingly coiffed, her radiant hair entwined 

with diamonds and flowers and pinned up with that studied grace 

that gives movement and life; her arms and décolletage were bare, 

and she wore necklaces, bracelets, emeralds. What was the color 

of the bouquet in her hand? I could not say: one needs the eyes 

of a young man and the imagination of a child to distinguish the 

color of the flower from the lovely face which bent over it ..." Marie 

loved gambling and horse races and riotous parties and demanded 

constant diversion. When a friend once advised her to take things 

easier, she replied, “If I do I shall die. Only a life of excitement can 

keep me alive.” After taking a series of high-born lovers, Marie 

married one of her noble admirers, Count Edouard Perregaux, but 

her reckless lifestyle had already cost her too dearly, and she died of 

consumption in March 1847; she was 23. 

Alexandre Dumas, son of the famous eponymous author of The 

Count of Monte Cristo and The Three Musketeers, met Marie in 1845 

and lost his heart to her. (One of the most delicious Parisian rumors 

of the day had it that the young man’s illustrious father had also 

received Marie’s favors.) Alexandre’s frantic affair with Marie lasted 

only a few months, but included a memorably idyllic episode at a 

country house outside Paris. He was crushed when she left him (“I 

am not rich enough to love you as you would wish, and not poor 

enough to be loved as you would desire,” he wrote to her) and 

tried to staunch his feelings with a vigorous tour through Spain and 

North Africa in the company of his father. When he returned to 

Paris, he learned that Marie had died just a week earlier. “She was 

one of the last and few courtesans who had a heart. This is no doubt 

why she died so young,” he recalled 20 years later. “She did not 

lack wit or generosity.” Dumas vented his mingled love and sadness 

for Marie in a novel, La Dame aux camélias, in which she became 

Marguerite Gautier and was associated forever with the symbol of 

the camelia flower. The book spilled out of Dumas in just three 

weeks, but it did not expend his emotions, which also inspired him 

to write a play on the same subject in only eight days. The novel 

was published in 1848, but the sensibilities of the time forestalled 

the production of the drama until February 2, 1852, when it was 

premiered at the Thêátre des Vaudevilles. Many saw these tandem 

portraits of a loose woman as subversive tracts advocating free love 

and lax morals, but more progressive souls realized that La Dame 

aux camélias represented a distillation of the liberal ideas and the 

realistic examination of the life of the senses advocated by George 

Sand, Jules Janin, Alfred de Musset and other writers. The play La 


Dame aux camélias became the sensation of the 1852 Paris season 

and has continued, both in its original version and in its English 

translation (as Camille), as a living part of the theatrical repertory. 

Giuseppe Verdi went to Paris in December 1851 with his 

companion, the singer Giuseppina Streponi, in order to finalize 

the contract with the Opéra for The Sicilian Vespers. Before leaving 

Paris in March, they attended a performance of La Dame aux 

camélias and were much moved by the tale. Verdi, widowed since 

1840 and living without benefit of wedlock with Giuseppina, the 

mother of two illegitimate children, undoubtedly felt empathy 

with the play’s heroine and began considering Dumas’s play as a 

possible subject for an opera. He was dickering with the Teatro 

La Fenice in Venice at just that time about composing an opera 

to follow his wildly successful Rigoletto, premiered there in March 

1851, and soon after signing the contract with the theater in May, 

settled on La Dame aux camélias as his next project. By August, the 

rights to Dumas’s drama had been secured, and Verdi’s dependable 

librettist Francesco Maria Piave (author of the books for Ernani, 

Macbeth, Rigoletto and La Forza del Destino) was engaged to rework 

the text for the opera house. 

There were some misgivings about Verdi’s proposal to depict a 

French prostitute on the operatic stage, but the composer, strongwilled 

and cognizant that the notoriety of the play would provide an 

eager audience for his opera, explained to his friend and business 

manager in Naples, Cesare De Sanctis, “It is a contemporary subject. 

Another might have avoided it on account of the costumes, the 

period and a thousand other foolish scruples, but I am delighted 

with the idea. Everyone groaned when I proposed putting a 

hunchback on the stage. Well, I enjoyed writing Rigoletto, and I am 

doing this opera with total pleasure.” Verdi worked through the 

autumn on the score of the Dumas opera, which he and Piave titled 

La Traviata (roughly, “The One Who Went Astray”), and continued 

composing while he was in Rome for the premiere of Il Trovatore 

on January 19, 1853. He completed the orchestration at his country 

home, Sant’Agata, near Busseto, despite being depressed by a painful 

bout of arthritis in his arms and the foul winter weather. The 

premiere was given at La Fenice on March 6, 1853, just one year 

after Verdi had first encountered Dumas’s drama in Paris. 

ACT I 

The action takes place in Paris and environs, circa 1850 

A salon in Violetta Valery’s elegant house in Paris 

The curtain rises on a lively party in Violetta’s house. Viscount 

Gastone introduces Violetta to a young man, Alfredo Germont, 

who, Gastone tells her, has admired her from afar for some time. 

Gastone asks Alfredo to sing a drinking song. Alfredo begins the 

“Brindisi” (Libiamo ne’ lieti calici) and soon Violetta and all the 

guests join in. Music is heard from the adjoining ballroom, and 

Violetta suggests that the party go in and dance. As they move 

toward the door, she becomes faint. She claims to be all right and 

tells the guests she will join them in a few minutes. She notices 

that Alfredo has stayed behind. He warns her that she will kill 

herself if she persists with her present mode of living and then 

confesses that he has loved her since the day he first saw her a 

year before. Violetta says she is incapable of love and can only 

offer him friendship. Taking a flower from her corsage, however, 

she tells him to return to her when it has faded. “Tomorrow?” he 

asks. “Very well ... tomorrow.” He accepts the flower and departs. 

The guests reappear and take their leave. Violetta, alone, muses 

con’t on p. 13

on the night’s happenings and is surprised at how strangely Alfredo’s 

words have affected her (È strano! è strano!). She reveals her longing 

“to love and be loved” in the aria Ah, forse’è lui but soon dismisses 

these thoughts as hopeless folly for a woman of her sort. 

—Dr. Richard E. Rodda 

san francisco opera center 

San Francisco Opera’s numerous affiliate educational and training 

programs were started under the directorship of Kurt Herbert 

Adler beginning in 1954. In 1982, the Opera’s third general director, 

Terence A. McEwen, created the San Francisco Opera Center to oversee 

and combine the operation and administration of these programs. 

Providing a coordinated sequence of performance and study opportunities 

for young artists, the San Francisco Opera Center represents 

a new era in which young artists of major operatic potential can 

develop through intensive training and performance, under the aegis 

of a major international opera company. 

Adler fellows 

Founded in 1977 as the San Francisco Affiliate Artists-Opera 

Program, Adler Fellowships are performance-oriented residencies for 

the most advanced young singers and coach/accompanists. Under the 

guidance of San Francisco Opera General Director David Gockley 

and Opera Center Director Sheri Greenawald, the Adler Fellowship 

Program offers intensive individual training and roles of increasing 

importance in San Francisco Opera’s main-stage season. Each year, 

a select group of exceptionally gifted singers from Merola Opera 

Program is invited to continue their education as Adler Fellows. 

With Merola participants selected from a pool of more than 800 

candidates, these young artists represent whom the classical music 

world can and should expect to see on celebrated opera house stages 

throughout the world in the very near future. 

sheri greenawald (San Francisco Opera Center director) 

has had a distinguished international operatic singing career as a 

soprano, noted in particular for her enormous range of roles. She 

has sung featured roles with San Francisco Opera, Metropolitan 

Opera, Lyric Opera of Chicago, Venice’s La Fenice, Munich State 

Opera, Paris’s Châtelet Theater, Welsh National Opera, Seattle Opera 

Company, Houston Grand Opera, Netherlands Opera, Santa Fe 

Opera, Los Angeles Opera, Naples’s Teatro San Carlos and Opera 

Theatre of St. Louis, among others. She has worked with most of 

opera’s great conductors and directors, and she is featured on several 

recordings, including singing the title role of Blitztein’s Regina 

conducted by John Mauceri and recorded on Decca. A graduate 

of the University of Northern Iowa, Greenawald completed the 

Professional Studies Program at the Juilliard School of Music and 

has received a Rockefeller Grant, NEA Grant and was Seattle Opera 

Association’s Artist of the Year in 1998. She has taught privately, was 

a visiting artist at the University of Charleston, an artist-in-residence 

at the University of Northern Iowa, the vocal coach of the Santa 

Fe Apprentice Program in 1999 and opera director of the program 

in 2000 and has given master classes with the Opera Theatre of St. 

Louis. She was also a professor of voice and opera at the Boston 

Conservatory, with a full vocal studio and specializing in coursework 

on English and American song repertory and has directed for the 

Opera Studio. Since 2002, she has served as director of San Francisco 

Opera Center and artistic director of the Merola Opera Program. 

mark morash (piano) is a conductor and pianist originally from 

Halifax, Canada. He serves as the director of musical studies for 

San Francisco Opera Center where he has conducted for the Merola 

program, the Adler Fellow Showcase and Western Opera Theater. 

In recent years, he has also led performances of Rigoletto for Opera 

Colorado, Don Giovanni and The Turn of the Screw for the Lincoln 

Theater in Yountville and La Serva Padrona and Trouble in Tahiti for 

Opera Santa Barbara. San Francisco Opera Center performances 

have included The Barber of Seville, Albert Herring, Così fan tutte, Die 

Fledermaus, The Merry Wives of Windsor and Pasatieri’s The Seagull. 

As a collaborative pianist, Morash’s performances have taken him 

throughout Canada and the U.S. as well as to Japan and Russia. 

Artists with whom Morash has appeared include Michael Schade, 

Tracy Dahl, Leah Crocetto, Melody Moore and Elza van den Heever. 

He has accompanied numerous emerging singers in San Francisco 

Opera’s esteemed Schwabacher Debut recitals. He performed in the 

west coast premiere of Ned Rorem’s song cycle Evidence of Things Not 

Seen for Other Minds Music Festival. 

In addition to his work with young artists in San Francisco, Morash 

has been involved with the Opera Center of Pittsburgh Opera, Wolf 

Trap Opera, the Banff Centre and Hawaii Opera Theater as well as 

having taught at the University of Toronto. He has given master 

classes throughout the U.S. and Canada and most recently in New 

Zealand. 

Morash is a graduate of the University of Michigan, where he studied 

collaborative piano with Martin Katz. 

sara gartland (soprano) a former Adler Fellow, made her San 

Francisco Opera main stage debut last season singing Micaela in 

Carmen. She appeared as Barbarina (Le Nozze di Figaro) and Kate 

Pinkerton (Madama Butterfly) with San Francisco Opera in 2010, 

and as Suzel (L’Amico Fritz) with the 2009 Merola Opera Program, 

where she also performed in scenes as Gilda (Rigoletto) and Nannetta 

(Falstaff). Other recent engagements include performances with Utah 

Opera as Curley’s Wife in Of Mice and Men, and Des Moines Metro 

Opera as Alexandra in Blitzstein’s Regina, Opera Iowa as Norina 

(Don Pasquale), and the Ohio Light Opera as Elisabeth Bennet in the 

world premiere of Baker and Jacob’s Pride and Prejudice, Valencienne 

(The Merry Widow), and as Marianne (Romberg’s The New Moon). 

Gartland earned a master’s degree in vocal performance from the 

University of Colorado Boulder and a bachelor’s degree in vocal performance 

from the University of Wisconsin-Madison. She is a former 

Eastern Region finalist at the Metropolitan Opera National Council 

Auditions and fourth place winner of the Denver Lyric Opera Guild 

Competition. 

sean Panikkar (tenor) is recognized for his “surpassing musicality 

and passion, commanding self-confidence and gorgeous 

expression.” The American tenor of Sri Lankan heritage made his 

Metropolitan Opera debut in the 2007-08 season under the baton 

of James Levine as Edmondo in Manon Lescaut (commercially available 

on DVD on EMI), and his European operatic debut as Gomatz 

in Mozart’s Zaïde at the Aix-en-Provence Festival in a production 

directed by Peter Sellars and conducted by Louis Langrée 

(commercially available on DVD on Opus Arte). 

During the present season, operatic engagements include a new 

production of The Magic Flute at Chicago Opera Theatre, Don 

con’t on p. 15 


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 

For information about becoming a donor, please call 

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


2012—13

Giovanni at Pittsburgh Opera, La rondine and Otello at the 

Metropolitan Opera, and the tenor’s first Rodolfo in La bohème 

with Fort Worth Opera. On the concert stage, Panikkar joins the 

Baltimore Symphony Orchestra for Händel’s Messiah and sings 

Alfredo in scenes from La traviata with the UC Davis Symphony 

Orchestra. 

The tenor debuted last season with Opera Boston in the title role 

of Berlioz’ Béatrice et Bénédict, at the Glimmerglass Festival as The 

Leader in Kurt Weill’s Lost in the Stars and at San Diego Opera singing 

Narraboth in Salome. Pannikar was featured in return engagements 

at Pittsburgh Opera as Nadir in Les pêcheurs de perles, New 

Orleans Opera as Narraboth in Salome, and at Washington National 

Opera in a new production of Nabucco under the baton of music 

director Philippe Auguin. 

Highlights of recent seasons include Salome both at Washington 

National Opera in the company’s new Francesca Zambello production 

and at the Saito Kinen Festival in performances conducted by 

Omer Meir Wellber, a debut at Santa Fe Opera as Kodanda in a new 

production of Menotti’s rarely produced The Last Savage directed by 

Ned Canty and conducted by George Manahan, Cassio in a new production 

of Otello, conducted by Graeme Jenkins and directed by Tim 

Albery, to open the Winspear Opera House at the Dallas Center for the 

Performing Arts, Ricky Ian Gordon’s The Grapes of Wrath at Pittsburgh 

Opera and with the American Symphony Orchestra in his Carnegie 

Hall debut, and both Lensky in Eugene Onegin and Count Almaviva in 

The Ghosts of Versailles with the Opera Theatre of Saint Louis. 

His numerous appearances at the Metropolitan Opera feature 

performances of Tybalt in Roméo et Juliette sharing the stage with 

Hei-Kyung Hong and Piotr Beczala under the baton of Plácido 

Domingo, Arturo in Lucia di Lammermoor conducted by Marco 

Armiliato, and Brighella in Ariadne auf Naxos led by Kirill Petrenko. 

A graduate of the San Francisco Opera Adler Fellowship Program, 

Panikkar’s many performances with that Company include roles in 

The Queen of Spades, Le Pauvre Matelot, The Maid of Orleans, Manon 

Lescaut, Tristan und Isolde, Fidelio, Norma and Die Zauberflöte. 

Symphonic performances include Mendelssohn’s Elijah with Michael 

Christie and the Phoenix Symphony, Mahler’s Das Lied von der Erde 

with the Saint Paul Chamber Orchestra at the Ojai Festival, and The 

Tristan Project with Esa-Pekka Salonen, Peter Sellars and the Los 

Angeles Philharmonic. www.seanpanikkar.com 

the Uc davis symphony orchestra is committed to 

presenting concerts at the highest artistic level. They also pride 

themselves in collaborating with living composers, and performing 

works by students, faculty and artists-in-residence. Established in 

1959, the orchestra has performed in California, Canada, Australia, 

French Polynesia, Spain and France. As of 2011, the UCDSO has 

grown to approximately 100 members. The orchestra’s endowment 

was established in 1992 thanks to the generous support of many 

individuals, and it continues to assure access to excellent teachers, 

soloists, instruments and music, and it provides remarkable opportunities 

for UC Davis students. The UC Davis Symphony Orchestra 

is a resident ensemble of Jackson Hall at the Mondavi Center. For 

more information on the 2012–13 season, see the schedule at www. 

mondaviarts.org. 

christian Baldini (music 

director and conductor) 

has worked as a conductor 

with numerous orchestras 

and ensembles around the 

world, including the BBC 

Symphony Orchestra in 

London, The Munich Radio 

Symphony Orchestra, Buenos 

Aires Philharmonic, the San 

Francisco Contemporary 

Music Players, Plural Ensemble 

(Spain) and as an opera conductor 

for the Aldeburgh 

Festival (United Kingdom). 

After he conducted the Sao 

Paulo Symphony Orchestra 

(OSESP, Brazil), critic Arthur Nestrovski from the Folha de Sao Paulo 

praised this “charismatic young conductor” who “conducted by 

heart Brahms’s First Symphony, lavishing his musicality and leaving 

sighs all over the hall and the rows of the orchestra.” He has been 

an assistant conductor with the Britten-Pears Orchestra (England) 

and a cover conductor with the National Symphony Orchestra 

(Washington, D.C.). After teaching and conducting at the State 

University of New York in Buffalo, Baldini came to UC Davis, where 

he is an assistant professor of music. He regularly appears as a guest 

conductor with ensembles and orchestras in Europe, the U.S. and 

South America. Forthcoming projects include conducting engagements 

with the English Chamber Orchestra in London. 

Baldini is a composer, and his compositions have been performed 

throughout Europe, South America, North America and Asia by 

orchestras and ensembles including the Orchestre National de 

Lorraine (France), Southbank Sinfonia (London), New York New 

Music Ensemble, Memphis Symphony Orchestra, Daegu Chamber 

Orchestra (South Korea), Chronophonie Ensemble (Freiburg) and 

the International Ensemble Modern (Frankfurt). His music appears 

on the Pretal label and has been broadcast on SWR (German radio), 

Bayerischer Rundfunk (Bayern Radio) as well as on the National 

Classical Music Radio of Argentina. He has also conducted and 

recorded contemporary Italian music for the RAI Trade label. His 

work has received awards in several competitions, including the 

top prize at the Seoul International Competition for Composers 

(South Korea, 2005), the Tribune of Music (UNESCO, 2005), Ossia 

International Competition (Rochester, NY, 2008), Daegu Chamber 

Orchestra International Competition (South Korea, 2008), and the 

Sao Paulo Orchestra International Conducting Competition (Brazil, 

2006). For more information about Professor Baldini, visit www. 

christianbaldini.info. 


A performance-based haunted house and costume dance party. 


Thursday-Sunday October 25-28 

Tuesday-Wednesday October 30-31 

HAunted House 7:30-10:30 p.m. with start times every 15 minutes 

dAnce pArty 7:30-Midnight 

Various locations at Wright Hall 

tickets $15 (or $10 for dance only) pG-13 

All tickets sold only at Main Theatre, Wright Hall box office before the show. 

costuMe rentAls the enchanted cellar 

530.752.0740 rcfemling@ucdavis.edu 

TheaTredance.ucdaviS.edu

An Alexander String Quartet Series Event 

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

Vanderhoef Studio Theatre, Mondavi Center, UC Davis 

Individual support provided by Anne Gray and 

Thomas and Phyllis Farver. 

question & answer session 

Sunday, October 7, 2012 • 7PM only 

Vanderhoef Studio Theatre, Mondavi Center, UC Davis 

Moderator: Members of the Alexander String Quartet 

Question & Answer Sessions take place in the theater 

after the event. 

alexander string quartet 

zakarias grafilo and frederick lifsitz, Violins 

paul yarbrough, Viola 

sandy wilson, Cello 

robert greenberg, Lecturer (2PM concert only) 

ProgrAm 

String Quartet No. 8 in B-flat Major, D. 112 Schubert 

(7PM only) 

Allegro non troppo 

Andante sostenuto 

Menuetto: Allegro 

Presto 

String Quartet No. 12 in C Minor, D. 703 “Quartettsatz” 

Intermission (2PM only) 

String Quartet No. 13 in A Minor, D.804 “Rosamunde” 

Allegro ma non troppo 

Andante 

Menuetto: Allegretto 

Allegro moderato 




ProgrAm notes 

String Quartet No. 8 in B-flat Major, D. 112 (1814) 

Franz Schubert 

(Born January 31, 1797, in Vienna; died November 19, 1828, 

in Vienna) 

Schubert was the youngest son of a prodigiously musical family. 

Father Franz Theodor was an amateur cellist of modest gifts, 

and the composer’s brothers Ignaz and Ferdinand both played 

the violin. Young Franz was a fine violinist but preferred to play 

viola in string quartets (as did Mozart, Beethoven and Dvořák), 

perhaps because it let him be right at the center of the harmony. 

The Schubert family members formed a string quartet in 1811, 

when the composer was 14, and played together for three years, 

performing—for themselves only—quartets by Haydn, Mozart, 

Beethoven and many others. 

One of the “others” was Schubert himself, for the boy was already 

composing. Of his 15 string quartets, the first eight were written 

for the family quartet. The Quartet in B-flat Major performed on 

this concert, sometimes called the Eighth Quartet, was the last 

of these, and some scholars feel that it is the first of Schubert’s 

quartets to show characteristics of his mature style. He wrote it 

in the space of nine days (September 5–13, 1814), carefully noting 

the date of completion after each movement. He was 17 years 

old, and one month later he would write the song “Gretchen am 

Spinnrade,” one of his first masterpieces. 

The form of this quartet is quite conventional, though already 

Schubert shows some of the harmonic freedom that would mark 

his greatest work. The first violin alone immediately announces 

the main theme of the Allegro ma non troppo, and this melody 

quickly appears in the other voices. The exposition is unusually 

long, and Schubert makes extensive use of triplets in the development; 

in the manuscript he proudly noted after the final bar 

that he had written this movement in four-and-a-half hours. The 

Andante sostenuto caused Schubert more difficulty; he began the 

next day, September 6, but this movement took four days to complete. 

A duet of second violin and viola announce the first subject, 

in G minor, but Schubert moves to F major for the second theme, 

and the development takes him through at least three more keys. 

The minuet dances sturdily; its gentle trio section is marked dolce. 

The concluding Presto belongs largely to the first violin: lower 

voices provide the shifting harmony while the first violin dances 

athletically above them. Listeners may recognize, both rhythmically 

and thematically, some pre-echoes of the scherzo of Schubert’s 

“Great” C Major Symphony, written 11 years later. 

Schubert completed this quartet on September 13, 1814, and 

doubtless it was performed within days by the family quartet. And 

there it remained for years. The first public performance took 

place in Vienna on February 23, 1862, 48 years after it was composed. 

The quartet was published the following year as Schubert’s 

Opus 168. 


String Quartet No. 12 in C Minor, D. 703 “Quartettsatz” (1820) 

Schubert composed the Quartettsatz—that title, which did not 

originate with Schubert, means simply “quartet movement”—in 

December 1820, when he was just a few weeks short of his 24th 

birthday. He had apparently planned to write a standard fourmovement 

quartet, but completed only the first movement and a 

41-measure fragment of what would have been an Andante second 

movement. No one knows why he set so promising a work aside 

and left it unfinished, but—like the “Unfinished” Symphony—the 

surviving movement is significant enough by itself to stand as a 

satisfying whole. 

Curiously, the Allegro assai opening movement of this quartet 

is similar to the first movement of the “Unfinished” Symphony: 

both feature the same sort of double-stroked opening idea in the 

first violins, both are built on unusually lyric ideas and both offer 

unexpected key relations between the major theme-groups. In fact, 

the key relationships are one of the most remarkable aspects of the 

quartet: it begins in C minor with the first violin’s racing, nervous 

theme, and this quickly gives way to the lyric second idea in A-flat 

major, which Schubert marks dolce. The quiet third theme—a 

rocking, flowing melody—arrives in G major. As one expects 

in Schubert’s mature music (and the 23-year-old who wrote this 

music was a mature composer), keys change with consummate 

ease, though one surprise is that the opening idea does not reappear 

until the coda, where it returns in the closing instants to hurl 

the movement to its fierce conclusion. 

Listed as the 12th of Schubert’s 15 string quartets, the Quartettsatz 

is generally acknowledged as the first of his mature quartets. The 

first 11 had been written as Hausmusik for a quartet made up of 

members of Schubert’s own family: his brothers played the violins, 

his father, the cello and the composer, the viola. Because he was 

writing for amateur musicians in those quartets, Schubert had 

kept the demands on the players relatively light—his cellist-father 

in particular was given a fairly easy part in those quartets. But in 

the Quartettsatz and the three magnificent final quartets, Schubert 

felt no such restrictions. The Quartettsatz, which makes enormous 

technical demands (including virtuoso runs for the first violin that 

whip upward over a span of three octaves), was clearly intended 

for professional performers. 

String Quartet No. 13 in A Minor, D. 804 (1824) "Rosamunde" 

The year 1823 was devastating for Schubert. He had become ill the 

previous fall (every indication is that he had contracted syphilis), 

and by May he had to be hospitalized. Much weakened (and with 

his head shaved as part of the hospital treatment), he required the 

rest of the year simply to regain strength to function, and early in 

1824 he turned to chamber music. His friend Franz von Schober 

described him in February: “Schubert now keeps a fortnight’s 

fast and confinement. He looks much better and is very bright, 

very comically hungry and writes quartets and German dances 

and variations without number.” But—despite Schober’s hopes— 

Schubert had not made a triumphant return to life and strength. 

Instead, he entered the new year with the bittersweet knowledge 

that although he may have survived that first round of illness, he 

would never be fully well again. 

Schober was right, though, that his friend returned to composing 

with chamber music. Schubert first wrote the Octet, and then in

February and March 1824, he composed two extraordinary quartets: 

the Quartet in A Minor heard on this program and the Quartet in D 

Minor, nicknamed Death and the Maiden. The Quartet in A Minor 

was first performed on March 14 by a quartet led by the violinist 

Ignaz Schuppanzigh, one of Beethoven’s close friends. It is nearly 

impossible to define the quality that makes this quartet—and much 

of Schubert’s late music—so moving. His lyricism has now been 

transformed by a new emotional maturity, and a quality of wistfulness, 

almost sadness, seems to touch even the music’s happiest 

moments. Schubert’s biographer Brian Newbould draws attention to 

the fact that this quartet takes some of its themes from Schubert’s 

own songs, and the texts of those songs furnish a clue to the quartet’s 

emotional content. This music is also full of harmonic surprises 

(keys change suddenly, almost like shifts of light) and is marked by 

a complex and assured development of themes. The Quartet in A 

Minor may lack the dramatic, hard-edged impact of Death and the 

Maiden, but many consider it Schubert’s finest quartet. 

From its first instant, the Allegro ma non troppo shows the hand 

of a master. The accompaniment—a sinuous, winding second 

violin line over pulsing viola and cello—is static, and Newbould 

points out that this is precisely the form of the accompaniment 

of Schubert’s great song “Gretchen am Spinnrade” (1814), which 

begins with the words Meine Ruh’ ist hin: “My peace is gone, My 

Heart is sore, I shall find it never and nevermore.” Over this, 

the first violin’s long-lined main melody seems to float endlessly, 

beginning to develop and change harmonically even before 

it has been fully stated. The remarkable thing about this “lyric” 

theme is that it can be developed so effectively as an “instrumental” 

theme: its long flow of melody is finally interrupted by a 

fierce trill motto in the lower strings that will figure importantly 

in the development. A second theme, shared by the two violins, 

is similar in character to the opening idea and this movement— 

which arcs over a very long span—finally concludes with the trill 

motto. 

Listeners will recognize the theme of the Andante as a Schubert 

favorite, though this one is not from a song; he had already used 

this poised melody in his incidental music to Rosamunde and would 

later use it in one of the piano Impromptus. This song-like main 

idea remains simple throughout (it develops by repetition), but the 

accompaniment grows more and more complex and soon there are 

swirling voices and off-the-beat accents beneath the gentle melody. 

The Menuetto opens with a three-note figure from the cello’s deep 

register, and that dark, expectant sound gives this movement its distinct 

character. Newbould notes that Schubert took the theme of the 

trio section from his 1819 song “Die Götter Griechenlands,” where 

it sets Schiller’s nostalgic lament Schöne Welt, wo bist du?: “Beautiful 

world, where are you?” The minuet returns, and this movement 

dances solemnly to its close 

The A-major tonality of the finale may come as a surprise, given 

the gravity of the first three movements, but it does make an effective 

conclusion. This Allegro moderato is a rondo in which all three 

themes have a dancing character, though at moments one feels the 

wistfulness of the earlier movements creeping into the music’s otherwise 

carefree progress. Full of energy, this movement is also marked 

by Schubert’s careful attention to detail: in the parts, he notes with 

unusual care the phrasing, accents and dynamic shadings and contrasts 

that give this music its rich variety. 

—Eric Bromberger 

the alexander string quartet has performed in the major 

music capitals of five continents, securing its standing among the 

world’s premier ensembles over three decades. Widely admired 

for its interpretations of Beethoven, Mozart and Shostakovich, the 

quartet has also established itself as an important advocate of new 

music through more than 25 commissions and numerous premiere 

performances. The Alexander String Quartet is a major artistic 

presence in its home base of San Francisco, serving there as directors 

of the Morrison Chamber Music Center at the School of Music 

and Dance in the College of Arts and Humanities at San Francisco 

State University and Ensemble in Residence of San Francisco 

Performances. 

The Alexander String Quartet’s annual calendar of concerts includes 

engagements at major halls throughout North America and Europe. 

The quartet has appeared at Lincoln Center, the 92nd Street Y and 

the Metropolitan Museum in New York City; Jordan Hall in Boston; 

the Library of Congress and Dumbarton Oaks in Washington; and 

chamber music societies and universities across the North American 

continent. Recent overseas tours have brought them to the U.K., 

Czech Republic, Netherlands, Italy, Germany, Spain, Portugal, 

Switzerland, France, Greece, the Republic of Georgia, Argentina and 

the Philippines. The many distinguished artists to collaborate with 

the Alexander String Quartet include pianists Menahem Pressler, 

Gary Graffman, Roger Woodward, Jeremy Menuhin and Joyce Yang; 

clarinetists Eli Eban, Charles Neidich, Joan Enric Lluna and Richard 

Stoltzman; cellists Lynn Harrell, Sadao Harada and David Requiro; 

violist Toby Appel; and soprano Elly Ameling. Among the quartet’s 

more unusual collaborations have been numerous performances of 

Eddie Sauter’s seminal Third Stream work, Focus, in collaboration 

with Branford Marsalis, David Sánchez and Andrew Speight. 

A particular highlight of last season was a celebratory concert presented 

by San Francisco Performances in February 2012 marking the quartet’s 

30th anniversary. For the occasion, San Francisco Performances 

commissioned a new work by Jake Heggie, Camille Claudel: Into the 

Fire, a work for string quartet and mezzo-soprano; the Alexander was 

joined in the world premiere by Joyce DiDonato. Other highlights 

of the 2011–12 season included two multiple concert series for San 

Francisco Performances, one presenting the complete quartets of 

Bartók and Kodály and the other music of Schubert; a Dvořák series 

for Mondavi Center; and a continuing annual series at Baruch College 

in New York City, this season featuring the Bartók cycle. Other important 

series include Concerts International in Memphis, the Tuesday 

Evening Concert Series in Charlottesville, the Asheville Chamber 

Music Series and the inaugural concert of a new chamber music series 

at the Capitol Theatre for Ruth Eckerd Hall in Clearwater, Florida. 

They also continue their annual residencies at Allegheny College and 

St. Lawrence University, this year in collaboration with the Crane 

School of Music at SUNY Potsdam. 

The Alexander String Quartet’s 25th anniversary (as well as the 20th 

anniversary) of its association with New York City’s Baruch College as 

Ensemble in Residence was celebrated through a performance by the 

ensemble of the Shostakovich string quartet cycle. Of these performances 

at the Baruch Performing Art Center Engelman Recital Hall, 

The New York Times wrote, “The intimacy of the music came through 

with enhanced power and poignancy in the Alexander quartet’s 

vibrant, probing, assured and aptly volatile performances ... Seldom 

have these anguished, playful, ironic and masterly works seemed so 

profoundly personal.” The Alexander was also awarded Presidential 


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AUTHOR’S TALK 

ISABEL WILKERSON 

The Warmth of Other Suns: 

The Epic Story of America’s Great Migration 

February 12, 2013 

8 PM–9:30 PM 

Jackson Hall 

ROBERT AND MARGRIT MONDAVI CENTER 

FOR THE PERFORMING ARTS 

To purchase tickets, please visit mondavicenter.ucdavis.edu 

or call the Mondavi Center Box Office at (530) 754-2787. 

CAMPUS COMMUNITY BOOK PROJECT 

The Campus Community Book Project was initiated after September 11th to promote dialogue and build community by 

encouraging diverse members of the campus and surrounding communities to read the same book and attend related 

events. The book project advances the Office of Campus Community Relations’ mission to improve both the campus 

climate and relations, to foster diversity and to promote equity and inclusiveness. 

For more information about the Campus Community Book Project 

and other events visit occr.ucdavis.edu/ccbp2012/. 

The magic of 

102 F STReeT, DavIS | (530) 750-1801 www.SeaSONSDavIS.COM 

Voted “Best Place to Eat Before a 

Mondavi Center Performance.” 

—Sacramento Magazine (2010)

Medals in honor of their longstanding commitment to the arts and 

education and in celebration of their two decades of service to Baruch 

College. 

The Alexander String Quartet added considerably to its distinguished 

and wide-ranging discography over the past decade. Recording 

exclusively for the FoghornClassics label, the Alexander’s release 

(June 2009) of the complete Beethoven cycle was described by Music 

Web International as performances “uncompromising in power, intensity 

and spiritual depth,” while Strings Magazine described the set 

as “a landmark journey through the greatest of all quartet cycles.” 

The FoghornClassics label released a three-CD set (Homage) of the 

Mozart quartets dedicated to Haydn in 2004. Foghorn released a 

six-CD album (Fragments) of the complete Shostakovich quartets in 

2006 and 2007 and a recording of the complete quartets of Pulitzer 

Prize-winning San Francisco composer Wayne Peterson was released 

in 2008. BMG Classics released the quartet’s first recording of the 

Beethoven cycle on its Arte Nova label to tremendous critical acclaim 

in 1999. The ASQ’s three newest releases on FoghornClassics in the 

spring of 2012 include works by Brahms, Gershwin, Kern, Beethoven 

and new commissions from Paul Chihara, Veronika Krausas and 

Michael Gandolfi. A forthcoming Bartók/Kodály cycle recorded on 

the renowned Ellen M. Egger matched quartet of instruments built 

by San Francisco luthier Francis Kuttner will be released in the fall. 

Recent Alexander premieres include Rise Chanting by Augusta Read 

Thomas, commissioned for the Alexander by the Krannert Center 

and premiered there and simulcast by WFMT radio in Chicago. The 

quartet has also premiered String Quartets Nos. 2 and 3 by Wayne 

Peterson and works by Ross Bauer (commissioned by Stanford 

University), Richard Festinger, David Sheinfeld, Hi Kyung Kim and a 

Koussevitzky commission by Robert Greenberg. 

The Alexander String Quartet was formed in New York City in 1981 

and the following year became the first string quartet to win the 

Concert Artists Guild Competition. In 1985, the quartet captured 

international attention as the first American quartet to win the 

London International String Quartet Competition, receiving both 

the jury’s highest award and the Audience Prize. In 1995, Allegheny 

College awarded Honorary Doctor of Fine Arts degrees to the members 

of the quartet in recognition of their unique contribution to 

the arts. Honorary degrees were conferred on the ensemble by St. 

Lawrence University in 2000. 

robert greenberg was born in Brooklyn, New York, in 1954, 

and has lived in the San Francisco Bay area since 1978. Greenberg 

received a B.A. in music, magna cum laude, from Princeton University 

in 1976. In 1984, Greenberg received a Ph.D. in music composition, 

with distinction, from the University of California, Berkeley, where 

his principal teachers were Andrew Imbrie and Olly Wilson in composition 

and Richard Felciano in analysis. 

Greenberg has composed more than 45 works for a wide variety of 

instrumental and vocal ensembles. Recent performances of his works 

have taken place in New York, San Francisco, Chicago, Los Angeles, 

England, Ireland, Greece, Italy and the Netherlands, where his Child’s 

Play for String Quartet was performed at the Concertgebouw of 

Amsterdam. 

Greenberg has received numerous honors, including three Nicola de 

Lorenzo Composition Prizes and three Meet-The-Composer Grants. 

Recent commissions have been received from the Koussevitzky 

Foundation in the Library of Congress, the Alexander String 

Quartet, San Francisco Contemporary Music Players, Strata 

Ensemble, San Francisco Performances and the XTET ensemble. 

Greenberg is a board member and an artistic director of 

Composers, Inc., a composers collective/production organization 

based in San Francisco. 

Greenberg has performed, taught and lectured extensively across 

North America and Europe. He is currently music historian-in 

residence with San Francisco Performances, where he has lectured 

and performed since 1994, and a faculty member of the Advanced 

Management Program at the University of Pennsylvania’s Wharton 

School of Business. He has served on the faculties of the University 

of California, Berkeley; California State University, East Bay; and 

the San Francisco Conservatory of Music, where he chaired the 

Department of Music History and Literature from 1989–2001 

and served as the Director of the Adult Extension Division from 

1991–96. Greenberg has lectured for some of the most prestigious 

musical and arts organizations in the United States, including the 

San Francisco Symphony (where for 10 years he was host and lecturer 

for the Symphony’s nationally acclaimed “Discovery Series”), 

the Ravinia Festival, Lincoln Center for the Performing Arts, Van 

Cliburn Foundation, Chautauqua Institute (where he was the 

Everett Scholar in Residence for the summer of 2006), Dallas 

Symphony Orchestra, Hartford Symphony Orchestra, Music@ 

Menlo and the University of British Columbia (where he was the 

Dal Grauer Lecturer in September 2006). In addition, Greenberg is 

a sought after lecturer for businesses and business schools, and has 

recently spoken for such diverse organizations as S.C. Johnson, 

Canadian Pacific, Deutsches Bank, University of California/Haas 

School of Business Executive Seminar, the University of Chicago 

Graduate School of Business, Harvard Business School Publishing, 

Kaiser-Permanente, Strategos Institute, Quintiles Transnational, 

Young Presidents’ Organization, World Presidents’ Organization 

and the Commonwealth Club of San Francisco. 

Greenberg has been profiled in The Wall Street Journal, the Times 

of London, Los Angeles Times, Christian Science Monitor and San 

Francisco Chronicle. For many years Greenberg was the resident 

composer and music historian to National Public Radio’s Weekend 

All Things Considered and presently plays that role on Weekend 

Edition, Sunday with Liane Hansen. 

In 2003, the Bangor (Maine) Daily News referred to Greenberg as 

“the Elvis of music history and appreciation,” an appraisal that has 

given him more pleasure than any other. Greenberg is currently 

writing a book on opera and its impact on Western culture, to be 

published by Oxford University Press. 

In 1993, Greenberg recorded a 48-lecture course, How to Listen to 

and Understand Great Music for the Teaching Company/SuperStar 

Teachers Program, the preeminent producer of college-level 

courses-on-media in the United States. Twelve further courses— 

Concert Masterworks, Bach and the High Baroque, The Symphonies 

of Beethoven, How to Listen to and Understand Opera, Great Masters, 

The Operas of Mozart, The Life and Operas of Verdi, The Symphony, 

The Chamber Music of Mozart, The Piano Sonatas of Beethoven, The 

Concerto and The Fundamentals of Music—have been recorded 

since, totaling more than 500 lectures. 



Sunday, October 7, 2012 • 3PM 



the dAncer fIlms lIve event 

featuring Andrea weber and jane Ira Bloom 

Debut 

MC 

Andrea weber, Dancer 

jane Ira Bloom, Soprano Sax 

jeff denson, Bass 

Adam kolker, Bass Clarinet and Flute 

john santos, Congas and Bongo 

christian tamburr, Vibes 

tristian goik, Animation 

The Dancer Films are a collection of very short films based 

on legendary cartoonist Jules Feiffer’s beloved character, the 

modern Dancer—with a live dancer. 

Audiences may remember The Dancer (she hasn’t aged), 

or may be meeting her for the first time. Cool men, bad 

weather and stultifying past Presidents sometimes foil her 

efforts to dance; she springs back with an irrepressible 

desire to express herself as she navigates the complicated, 

bracing and rapturous world in which we all reside.

judy dennis (director) and ellen dennis (producer), 

filmmakers and twin sisters, created The Dancer Films after decades 

of adventures in the mainstream of American and international film, 

television, theater and dance. As director, producer, casting director 

or manager, they have worked with the preeminent artists of their 

time, ranging from Alan J. Pakula, Terrence Malick, Andrzej Wadja 

and Harold Pinter to Peter Brook, Mikhail Baryshnikov, Twyla Tharp 

and Diamanda Galas. They’ve contributed to Oscar/Emmy/Obie/ 

Peabody award-winning projects and have worked on 150 plays and 

with 150 dance companies in the great theaters of the world. They 

have traveled with work to six continents and to HBO. Their first 

film together traveled from New York’s Museum of Modern Art to 

Ucan Superge Women’s Film Festival in Ankara, Turkey. Highlights: 

Festival Producer, Season of Cambodia (current) and Producer, six 

seasons, New York City Center Fall for Dance (Ellen); Director, 

PATRIOTIC, New Directors/New Films and Episode 603 of OZ 

(Judy). 

jules feiffer (writer) is a cartoonist, playwright, screenwriter, 

children’s book author and illustrator. From Village Voice 

editorial cartoons to his plays and screenplays including Little 

Murders and Carnal Knowledge, Feiffer’s satirical outlook has defined 

us politically, sexually and socially for more than 50 years. He was 

the first cartoonist commissioned by The New York Times to create 

comic strips for its Op-Ed page. His children’s books include A 

Room With A Zoo, The Man In The Ceiling, The Odious Ogre and The 

Phantom Tollbooth. Honors include Pulitzer Prize and George Polk 

Award for his cartoons; Obie Award; Academy Award for animation 

of his cartoon satire Munro; Lifetime Achievement Awards from 

Writers Guild of America and National Cartoonist Society; major 

retrospectives at the New York Historical Society, Library of Congress 

and School of Visual Arts. 

Andrea weber (dancer) was a dancer with Merce Cunningham 

Dance Company through its final eight years, performing roles in 

more than 25 works. Andrea received her BFA from the Juilliard 

School under the direction of Benjamin Harkarvy. She has danced 

and taught for Canadian-based Coleman Lemieux & Compagnie, 

participating in the Manitoba and Gros Morne Project, and joined 

them this summer for a project in Banff National Park. She has 

assisted and staged Lila York’s works on ballet companies throughout 

the United States and in Denmark. Andrea was a collaborator in 

Anne Carson’s Possessive Used As Drink (ME) and has also danced 

with Jessica Lang, Jonah Bokaer and Charlotte Griffin. She has been 

a faculty member at the Merce Cunningham Dance Studio, Brown 

University and American Dance Festival. 

jane Ira Bloom (composer), a Guggenheim Fellow in music 

composition and soprano saxophone luminary, has performed at 

Carnegie Hall, Jazz at Lincoln Center, MOMA, the Kennedy Center, 

United Nations, Smithsonian’s Einstein Planetarium and at jazz 

festivals worldwide. She has received commissions from American 

Composers Orchestra, St. Luke’s Chamber Ensemble; Pilobolus, 

Paradigm and Philadanco dance companies; and from dancer/ 

choreographer Carmen deLavallade. Awards include Mary Lou 

Williams Women In Jazz Award for lifetime service to jazz, the Jazz 

Journalists Award for Soprano Sax and the Charlie Parker Fellowship 

for Jazz Innovation. Bloom is the first musician commissioned by 

the NASA Art Program. She is a professor at New School for Jazz & 

Contemporary Music. 

Innovative Make Over Coming Fall 2012 

www.hallmarkinn.com 

(800)753-0035 


stAnley clArke by jeff hUdson 

When the most recent incarnation of 

Return to Forever visited the Mondavi 

Center in September 2011, the highlight 

of the concert (at least for me and many 

others) was the thrilling bass solo by 

Stanley Clarke. 

Clarke credits his early years with that 

band—he was barely 20 when Return to 

Forever formed—for launching him as 

a solo artist in the 1970s. In those days, 

it was rare for a bass player to become 

a band leader. “Going on stage as a bass 

player is a total natural thing now,” Clarke 

said earlier this year. “But (back) then, for 

the bass player to play shows and release 

an album, it was a no-no.” 

Even though he was bucking the standard 

practices of those times, Clarke’s high 

profile within Return to Forever and 

his early solo albums for the Epic label 

(recently reissued as a set by Sony/Legacy) 

put him on the map. Clarke said earlier this 

year that “My solo albums developed from 

my playing with Return to Forever. The first 

Return to Forever records were acoustic, 

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but then we had an electric period. Playing 

the electric bass was completely different 

for me, like going from the piano to the 

trumpet—two different worlds.” 

This year marks the 40th anniversary of 

the first Return to Forever album, and we 

are fast approaching the 40th anniversary 

of Clarke’s solo debut. Clarke’s early discs 

came quickly—a new album almost every 

year through 1980. 

Clarke is probably best known for School 

Days (1976). Clarke told an interviewer 

this year that “One of my friends said that 

everyone should have a ‘career song,’ and 

I would say that ‘School Days’ might be 

just that for me. It’s kind of a bass anthem. 

Wherever I go and play, anywhere in the 

world, people still wants to hear that song.” 

It was on the set list for Return to Forever’s 

concert here last year, and it still sounds 

strong. 

Nowadays, there’s generally a space of a 

few years between Clarke’s releases, but 

he’s hardly resting on his laurels. His 2010 

PPt 

fUrther lIstenIng 

disc, The Stanley Clarke Band (on the Heads 

Up label), finds Clarke on electric bass. And 

as the album’s title indicates, Clarke shares 

the spotlight with the other musicians 

in the group. The album picked up the 

2011 Grammy for Best Contemporary Jazz 

Album. 

Clarke has also become a morning person. 

(Hey, it happens when you reach a certain 

age—even if you’re a jazz musician.) “I’m 

a real early bird these days,” he said in an 

interview earlier this year. “When I was 

younger it was different; you’d spend all 

night hanging out in clubs and get up at 

midday, but I don’t do that too much now. 

I get up early, I like to exercise. I live in the 

mountains with my wife and kids right 

near the coast and I like to run out up on 

the mountains; it’s incredible.” 

Jeff Hudson contributes coverage of the 

performing arts to Capital Public Radio, the 

Davis Enterprise and Sacramento News and Review. 

Pre-Performance talk speaker: cory combs 

Cory Combs is an educator, historian, lecturer, bassist and 

composer living in the San Francisco Bay area. He earned 

his bachelor’s and master’s degrees from the Eastman 

School of Music, where he studied classical performance, 

jazz and composition. He is currently director of outreach, 

music and enrichment at the Nueva School. He previously 

served as director of education at SFJAZZ, the nonprofit 

organization behind the San Francisco Jazz Festival. 

Additionally, he served as music director at Waldorf High 

School in San Francisco and directed the jazz program at 

the American Festival of the Arts in Houston, Texas. He 

continues to be an active guest clinician and educator at 

colleges and high schools. 

Combs has presented frequent lectures on music history 

and culture throughout San Francisco and nationally, 

including the Asian Art Museum, Pacific Asian Museum, 

Jewish Community Center, Davies Symphony Hall, Herbst 

Theater, City College, San Francisco Public Library, San 

Francisco State University and on KQED Forum. He has 

released three CDs under his name, which have all received 

positive reviews in DownBeat and All About Jazz. His CD 

Valencia was listed as one of the 10 best CDs of the year by 

All About Jazz.

A Capital Public Radio Jackson Hall Jazz Series Event 

Wednesday, October 10, 2012 • 8PM 


Sponsored by 

Individual support provided by Tony and Joan Stone. 

Pre-Performance talk 

Wednesday, October 10, 2012 • 7PM 


Speaker: Cory Combs, Director of Outreach, Music 

and Enrichment, The Nueva School 

stAnley clArke trIo 

featuring lenny white and ruslan sirota 

stanley clarke (bass), a 2011 and 2012 Grammy Award 

winner, became the first bassist in history who could double on 

acoustic and electric bass with equal ferocity and the first bassist 

ever to headline tours, selling out shows worldwide. A veteran of 

more than 40 albums, he won the 2011 Best Contemporary Jazz 

Album Grammy Award for The Stanley Clarke Band. Clarke cofounded 

the seminal fusion group Return to Forever with Chick 

Corea and Lenny White. This year Return to Forever won a Grammy 

Award and Latin Grammy for Best Jazz Instrumental Album, Forever, 

and concluded a highly successful worldwide RTF reunion tour. 

Born in Philadelphia, Clarke has been a constant force of nature 

in American music since the early 1970s with the success of the 

jazz-fusion group Return to Forever. That accomplishment gave 

way to a number of extremely successful solo albums for Clarke. 

Along the way, he has collaborated with Quincy Jones, Stan Getz, 

Art Blakey, Paul McCartney, Keith Richards, Aretha Franklin, Stevie 

Wonder, Chaka Khan, the Police, Jeff Beck, Herbie Hancock and 

many more and has shared the stage with Bob Marley and Miles 

Davis. 

Clarke’s creativity has been recognized and rewarded in every way 

imaginable. He was Rolling Stone’s very first Jazzman of the Year and 

bassist winner of Playboy’s Music Award for 10 straight years. In 

2011, he was honored with the prestigious Miles Davis Award at the 

Montreal Jazz Festival for his body of work. 




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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 

hYatt PlaCe 

Is A ProUd sPonsor 

OF THe ROBeRT AnD MARGRIT 

MOnDAVI CenTeR FOR THe PeRFORMInG 

ARTS, UC DAVIS 

hYatt PlaCe uC davis 

173 old davis road extension 

DAVIS, CA 95616, USA 

Phone: +1 530 756 9500 fax: +1 530 297 6900 

www.HyATTPLACeUCDAVIS.COM

An accomplished film and TV composer of more than 60 projects, 

his credits include Boyz N The Hood, the Tina Turner biopic What’s 

Love Got To Do With It, Romeo Must Die and The Transporter. He has 

garnered three Emmy nominations and a BMI Award for his scoring. 

Clarke heads his own record label, Roxboro Entertainment Group. 

Four artists were chosen for its first releases: Lloyd Gregory, Sunnie 

Paxson, Ruslan Sirota and Kennard Ramsey. Currently all artists are 

moving up the smooth jazz, indy charts and radio play charts. 

Clarke believes in giving back to help young musicians hone 

their skills. He and his wife Sofia established the Stanley Clarke 

Foundation 12 years ago as a charitable organization that offers 

scholarships to talented young musicians each year. 

lenny white (drums), alternating between drummer and producer 

and always on the cutting edge of the music scene, has been continually 

pushing the musical envelope. As one of the founding fathers of 

the musical movement that became known as “fusion,” White earned 

a worldwide reputation as the drummer in the mid-1970s super- 

group Return to Forever. In 2011 he won a Latin Grammy along 

with RTF’s Chick Corea and Stanley Clarke for their album Forever. 

They also won a Grammy Award for Best Jazz Instrumental Album in 

2012. This was all in conjunction with a highly successful worldwide 

tour in 2010 and 2011 of the reunited RTF. 

White was still a teenager in 1967 when Jackie McLean asked the 

lanky left-hander to join his band. Within a year he had played on 

two of the most important fusion records ever made: Miles Davis’s 

Bitches Brew and Freddie Hubbard’s Red Clay. White established his 

rock and roll credentials in the Escovedo brothers’ Latin rock band 

Azteca in 1972. 

After Return to Forever’s split in 1977, White proved his individual 

mettle by recording three critically acclaimed jazz rock records on 

his own, contributing significantly to a new form of danceable jazzfunk 

that he describes as “progressive-pop.” His late-1970s bands, 

Best of Friends and Twennynine, are often cited as outstanding 

examples of a new transitional sound made famous by friends Earth, 

Wind & Fire. 

White’s versatility has attracted the attention of the finest jazz musicians, 

leading to collaborations with Joe Henderson, Woody Shaw, 

Gato Barbieri, Gil Evans, Stan Getz, Jaco Pastorius, Carlos Santana 

and RTF band mates Stanley Clarke, Al Di Meola and Chick Corea. 

Most notably, he worked with Corea on two straight-ahead jazz projects 

in the early 1980s, Griffith Park and the Grammy-nominated 

Echoes of an Era with vocalist Chaka Khan (both produced by 

White). At the other end of the spectrum, White again teamed up 

with bassist Marcus Miller (who had played on his 1978 Streamline 

record) for the drum-and-bass-dominated Jamaica Boys and Spike 

Lee’s School Daze soundtrack. 

White has excelled as a composer and producer, effectively bringing 

all genres together on a number of solo projects. He also recorded 

and produced a number of records for the Hip-Bop record label 

ruslan sirota (acoustic piano), a child prodigy now 27, has 

already traveled the world, playing with some of the biggest names 

in classical and pop music. Along with band members Stanley 

Clarke and Ronald Bruner, Jr., he won a 2011 Grammy for Best 

Contemporary Jazz Album for this collaboration on The Stanley 

Clarke Band. 

Born in the Ukraine, Sirota was exposed early in his youth to 

American jazz and improvisation and now shows an intelligence 

and understanding of the genre way beyond his years. In 1990, his 

family moved to Israel, where he continued to study piano at the 

Bat-Yam music school. At 17, Sirota auditioned for the Berklee 

College of Music, where he received a full-tuition scholarship, and 

moved to Boston in 2000 with personal assistance from legendary 

vibraphonist Gary Burton. During his studies at Berklee, Sirota 

displayed growing interest in R&B, funk and soul music. In 2004, 

Sirota joined the Stanley Clarke Band and moved to Los Angeles, 

thus marking the beginning of his professional career. 

Since then, Sirota has been touring, performing and recording with 

major artists such as Dennis Chambers, Ne-Yo, Stanley Clarke, 

Marcus Miller, Chick Corea, Seal, Brian McKnight, Eric Benét, 

Rachelle Ferrell and Diane Warren. 

Although still playing with others, Sirota is focused on his self-titled 

debut solo album. Guest artists on the album include renowned pianists 

Chick Corea and George Duke as well as bassist Stanley Clarke. 

The album was released late in 2011 on the Roxboro Entertainment 

Group label. 

Sirota brings an unparalleled contribution to piano performances, 

not only on keyboard but with his profound melodic techniques on 

the acoustic piano. On the 2011 Grammy-winning album The Stanley 

Clarke Band, he wrote “Soldiers” and performs on almost all tracks. 

instruments • accessories • sheet music • lessons • rentals • repairs 

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207 E Street • Davis • CA • 95616 • 530.758.4010 

M-F • 10-7 • Sa • 10-6 • Su 12-6 • www.watermelonmusic.com 


Photo by Laurent Ziegler 

A Dance Series Event 

Friday, October 12, 2012 • 8PM 


question & answer session 

With members of Akram Khan Company, 

moderated by Ruth Rosenberg, Artist Engagement 

Coordinator, Mondavi Center, UC Davis 

Question & Answer Sessions take place 

in the performance hall after the event. 

Sponsored by COLAS 

Co-produced by ADACH 


AkrAm khAn comPAny 

Vertical road 

Debut 

MC 

Vertical road 

WARNING: Strobe Light, Smoke, Loud Sound 

Duration: approximately 70 minutes with no interval 

Tour details: www.akramkhancompany.net 

Akram Khan, Artistic Director & Choreographer 

Nitin Sawhney, Composer 

Jesper Kongshaug, Lighting Designer 

Kimie Nakano, Costume Designer 

Farooq Chaudhry, Producer 

Fabiana Piccioli, Technical Director 

Set conceived by 

Akram Khan, Kimie Nakano, Jesper Kongshaug 

Material devised and performed by 

Salah El Brogy, 

Yen-Ching Lin, Andrej Petrovic, 

Elias Lazaridis, Sung Hoon Kim, Sade Alleyne, 

Rudi Cole, Pauline De Laet 

Ruth Little, Dramaturg 

Jess Gormley, Researcher 

Andrej Petrovic, Rehearsal Director 

Richard Fagan, Technical Coordinator 

Marcus Hyde, Sound Engineer 

Gillian Tan, Stage Manager 

Arthur Laurent, Tour Manager 

Con’t. on p. 29 


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

Co-produced by ADACH 

(Abu Dhabi Authority for Culture and Heritage), 

Curve Leicester, Sadler’s Wells London, Theatre de la Ville Paris, 

National Arts Centre Ottawa, Mercat de les Flors Barcelona 

q&a 

Produced during residencies at 

Curve, Leicester and DanceEast, Ipswich 

Supported by Arts Council England 

Special thanks to: 

Assis Carreiro, Paul Kerryson, Alistair Spalding, 

Béatrice Abeille Robin, Isadora Papadrakakis, Jayne Stevens, 

Su-Man Hsu, Paul Zivkovich, Young Jin Kim, 

Konstandina Efthymiadou, Eulalia Ayguade Farro, Nicola Monaco, 

Shanell Winlock, Mr. and Mrs. Khan, Ruth Barclay, Vicki Jacobs, 

Rachel Farrer, Tia-Monique Pilgrim and Ottilie Robin 

Sponsored by COLAS 

Akram Khan is an Associate Artist of MC2: 

Grenoble and Sadlers Wells, London in a 

special international co-operation 

2 Luck Concepts, North American 

Executive Producer and general management 

www.2luck.com 

question & answer session moderator: 

ruth rosenberg 

Ruth Rosenberg is the artist engagement coordinator 

for the Mondavi Center, overseeing residencies by touring 

artists, Pre-Performance Talks and Question & Answer 

sessions with the artists. She has organized in-depth residencies 

with such artists as Delfeayo Marsalis, ABT II and 

the Merce Cunningham and Limon dance companies. 

Rosenberg started her career as a dancer. Artistic director 

of the Sacramento-based Ruth Rosenberg Dance Ensemble 

from 1990-2001, she also performed with Sacramento 

Ballet, Capitol City Ballet and Ed Mock & Dancers of 

San Francisco. She was the recipient of numerous awards 

and honors, including a Dance Fellowship and five choreography 

grants from the Sacramento Metropolitan Arts 

Commission. In 2008, she was included in Sacramento 

Magazine’s Power & Influence 100 and named a finalist 

for the Arts & Business Council’s Individual Leadership 

Award. 

In 2009–10, she served on Sacramento Mayor Kevin 

Johnson’s “For Arts’ Sake” Arts Initiative leadership team as 

arts education chair and currently co-chairs the Any Given 

Child Program/Professional Development committee. 

Message from Hervé Le Bouc, Chairman and CEO of COLAS 

I met Akram Khan before I had ever actually seen his work. We both 

spoke of the paths we had taken, of our lives and of the meaning, 

the value of the social link created by roads. He explained to me the 

role of the human body as he sees it—a vector of communication, 

cultural memory and personal history. And, then, both of us began 

to see that our two worlds obviously shared the idea of forming links 

between people and peoples. From the confrontation of our ideas on 

diversity emerged a common image: the Vertical Road. That is also 

how this partnership came to be. 

“More and more, I am pulled reluctantly towards a strong horizontal 

current, which is a place where time is moving at such high velocity that 

even our breath is forced to accelerate just in order for us humans to survive. 

And I have always believed that it is in our slow exhalation where 

the sense of this deep spiritual energy resides. In a world moving so fast, 

with the growth of technology and information, I am somehow inclined 

to move against this current, in search of what it might mean to be connected 

not just spiritually, but also vertically.” 

—Akram Khan 

Vertical Road is Akram Khan’s latest contemporary ensemble work. 

Khan has assembled a cast of very special performers from across 

Asia, Europe and the Middle East. With a specially commissioned 

score by long-term collaborator, composer Nitin Sawhney, Vertical 

Road draws inspiration from the Sufi tradition and the Persian poet 

and philosopher Rumi. Exploring man’s earthly nature, his rituals 

and the consequences of human actions, Vertical Road becomes a 

meditation on the journey from gravity to grace. 

“I died from minerality and became vegetable; 

And from vegetativeness I died and became animal. 

I died from animality and became man. 

Then why fear disappearance through death? 

Next time I shall die 

Bringing forth wings and feathers like angels; 

After that, soaring higher than angels— 

What you cannot imagine, 

I shall be that.” 

—Rumi 


Akram khan (artistic director and choreographer) is one of 

the most acclaimed choreographers of his generation working in 

England today. Born in London into a family of Bangladeshi origin, 

he began dancing at seven and studied with the renowned kathak 

dancer and teacher Sri Pratap Pawar. 

After studying contemporary dance and working on the X-Group 

project with Anne Teresa de Keersmaeker in Brussels, he presented 

his first solo works in the late 1990s, maintaining his commitment 

to classical kathak as well as developing modern work. He 

was choreographer-in-residence and later associate artist at the 

Southbank Centre London. Khan is currently an associate artist 

of MC2: Grenoble and Sadler’s Wells, London in a special international 

cooperation. 

DESH (2011), Khan’s first full-length contemporary solo, is a 

partly-autobiographical work which is at once intimate yet epic. 

Vertical Road (2010) is Khan’s new contemporary ensemble work 

and continues his ambition to explore the interfaces between different 

cultures and creative disciplines. He brings together a host 

of performers and artists from East and West. Vertical Road, as well 

as Khan’s recent creation Gnosis (2009), where he combined his 

classical Indian and contemporary dance roots, received critical 

acclaim and continue to tour worldwide. 

Khan’s notable company works are bahok (2008), originally produced 

in collaboration with National Ballet of China; Variations 

(2006), a production with London Sinfonietta in celebration 

of Steve Reich’s 70th birthday; ma (2004), with text by Hanif 

Kureishi; and Kaash (2002), a collaboration with artist Anish 

Kapoor and composer Nitin Sawhney. 

Besides his company work, Khan also created duets In-I (2008) 

with Oscar-winning actress Juliette Binoche, Sacred Monsters 

(2006) with internationally acclaimed dancer Sylvie Guillem and 

award-winning zero degrees (2005) with Sidi Larbi Cherkaoui in 

collaboration with Antony Gormley and Nitin Sawhney. 

In 2006, Khan was invited by Kylie Minogue to choreograph a section 

of her Showgirl concert, which opened in Australia that year. 

Khan has been the recipient of numerous awards throughout his 

career including the prestigious ISPA (International Society for 

the Performing Arts) Distinguished Artist Award in New York 

(2011), the South Bank Sky Arts Award for Dance (2011, Gnosis) 

in the U.K. and The Age Critics’ Award for Best New Work (2010, 

Vertical Road) at the Melbourne Arts Festival. He was awarded 

an MBE for services to dance in 2005 and received an Honorary 

Doctorate of Arts from Roehampton and De Montfort universities. 

nitin sawhney (composer) is arguably the busiest, most versatile 

and most sought-after composer and producer alive today. 

Having recently signed a lucrative deal with Universal Publishing, 

he has made eight studio albums, for which he has been nominated 

for a Mercury Music prize, won a MOBO, two BBC Radio 3 

awards and a South Bank Show award. He has scored more than 

40 films for cinema and television, including Salman Rushdie’s 

new screenplay Midnight’s Children, Mira Nair’s film The Namesake, 

two film scores for live performance by the London Symphony 

Orchestra and biopics about Brian Epstein and Jean Charles De 

Menezes. 


He has been a regular DJ with London club Fabric; performed 

around the world with leading orchestras and his band; composed 

extensively for renowned dancer Akram Khan, winning a New 

York Performance and Dance Award for best score for zero degrees; 

and has composed for many theatrical productions, including 

Olivier Award-winning work from Complicite’s A Disappearing 

Number. 

His career includes production and composition work with Sting, 

Cirque Du Soleil, Shakira, Paul McCartney, Jeff Beck, Tao Cruz, 

Imogen Heap, Anoushka Shankar and many others. He has also 

scored for videogames, including Sony Playstation’s number one 

game Heavenly Sword and the forthcoming Enslaved. He is currently 

scoring a major eight-part TV series for the BBC, Human Planet. 

As the recipient of four honorary doctorates from separate universities, 

fellowships from LIPA and Southbank University and considerable 

critical acclaim, he also acts as a patron to many educational 

establishments, is now a judge for the Ivor Novello Awards, 

BAFTA, BIFA and sits on the board of trustees for London’s 

Whitechapel Gallery and Somerset House. Recently he has been 

made an Associate Artist at the Sadler’s Wells. 

farooq chaudhry (producer), born in Pakistan, graduated 

from the London Contemporary Dance School in 1986. As a professional 

dance artist he worked in a variety of dance mediums 

in various European countries, the highlight being his time as a 

company member of the Belgian modern dance company Rosas 

during the mid-1990s. In 1988, he received an Asian Achievement 

Award for his work as a dancer. He retired from dancing in 1999, 

after which he completed an M.A. in Arts Management from City 

University in London. 

In 1999, Chaudhry teamed up with Akram Khan, and they founded 

Akram Khan Dance Company a year later. As the company 

producer, he has played a key role in forming innovative business 

models to support Akram Khan’s artistic ambitions as well as offering 

creative support during the development of Akram Khan’s 

projects. 

Chaudhry is a regular speaker in arts management and cultural 

entrepreneurship courses around the world. He is also the Chair 

of Dance U.K.’s Board and a member of the Strategic Advisory 

Committee for Clore Leadership Programme. In 2011, he became 

an honorary artistic advisor to Guangzhou Opera House in China. 

The French Ministry of Foreign Affairs acknowledged him in a list 

of the world’s top 100 cultural actors and entrepreneurs in 2008. 

salah el Brogy (dancer) was born in Ismailia, Egypt. As a 

street dancer looking for something meaningful, he joined the 

Ismailia Folkloric Dance Troupe, where his professional dance 

career began. He worked with Reda Folkloric Dance Troupe, 

the biggest dance troupe in the Middle East, before moving to 

Cairo to pursue a diploma in dance. After graduating from the 

Contemporary Dance Theatre School in the Cairo Opera House, 

he became a member of its troupe as a soloist and has since started 

developing his own technique.

yen-ching lin (dancer), born in Taiwan, studied at the Taipei 

National University of the Arts and the London Contemporary Dance 

School (LCDS), where she completed the postgraduate diploma program 

in 2003 and obtained an M.A. in Contemporary Dance in 2007. 

During her studies at LCDS Yen-Ching worked with choreographers 

Maresa von Stockert, Charles Lawrence, Jonathan Lunn and Jan de 

Schynkel. She was a member of a post-graduate company Edge05, 

joined the Bern Ballet in 2006 and danced for Hofesh Shechter 

Company from 2007–10. 

Andrej Petrovic (dancer and rehearsal director), born in Bojnice, 

Slovakia, graduated from the Dance Conservatory in Banska Bystrica 

before joining Študio Tanca Professional Dance Theatre/Zuzana 

Hájková. He is one of the co-founders of professional dance company 

Dajv/Marta Polákova. He has collaborated with Editta Braun 

Company in Salzburg, Fatou Traore in Brussels and Giorgio Barberio 

Corsetti and Fatore Kappa physical theater in Rome. More recently 

he graduated in dance teaching from the University of Music and 

Dramatic Arts in Bratislava and worked with Jean Abreu Dance 

Company in London and Jaroslav Vinarsky in Prague before joining 

the Akram Khan Company in 2007. 

elias lazaridis (dancer) was born in Kavala, Greece. He started 

dancing at the age of eight in classical ballet. Elias was a keen athlete 

and participated in many international competitions, including 

winning 400m hurdle events. After high school he studied architecture, 

later to study dance in Athens, where he performed with the 

Greek National Opera and the Adlib Dances (Kat Valastur). After 

his graduation in 2004, he continued his research with Anne Teresa 

De Keersmaeker’s PARTS (Performing Arts Research and Training 

Studio) in Brussels. He is based in London and has performed with 

Hofesh Shechter and Eastman companies. 

sung hoon kim (dancer) was born in Seoul, Korea. He graduated 

from the Korean National University of Art with an M.A. in Dance 

Performance. Since 2004, he has been a member of the Laboratory 

Dance Company in Seoul. He teaches extensively and has performed 

and choreographed for numerous venues and festivals around Korea 

and internationally. He joined the Akram Khan Company in 2009, 

touring with bahok. 

sade Alleyne (dancer) formally trained as an athlete for Enfield 

and Haringey. Her first experience of dance was with hip-hop 

companies Boy Blue Entertainment and Dance 2Xess. Sade trained 

at the BRITS School (London, 2004) and at the Northern School 

of Contemporary Dance (Leeds, 2008). Since graduating, Sade 

has worked with Tavaziva Dance, IJAD Dance and Vocab Dance 

Company, both U.K. and international performances. Sade has 

worked as a performer and rehearsal director for companies Ace 

Dance and Music (Birmingham) and State of Emergency (London). 

Sade has worked with choreographers Vincent Mantsoe, Luyanda 

Sidya, Andlie Sotyia, Douglas Thorpe, Akiko Kitamura and Gregory 

Vuyani Maqoma. She joined the Akram Khan Company in 2012. 

rudi cole (dancer), dancing from an early age, decided between 

a career in water polo and dance, to attend the Northern School of 

Contemporary Dance at the age of 16. After graduating, he joined 

Company Thor in Brussels where he worked and toured internationally. 

Since then he has been involved in projects inside of Belgium 

and the UK and has worked with Akram Khan for the London 2012 

Olympics Opening Ceremony. 

Pauline de laet (dancer), was born in Belgium and she 

graduated from the Kunsthumaniora Dans in Antwerp in 2007 

and Rotterdamse Dance Academy in 2011. In 2007, she won the 

second prize dance and audience award at the 11th International 

Solo-Tanz-Theatre Festival in Stuttgart. She danced for Conny 

Janssen Danst in RUIS in 2009, Scapino Ballet Rotterdam in Ed 

Wubbe's Holland in 2010 and Retina Dance Company where she 

danced Layers Of Skin in 2011. She joined Akram Khan Company 

in 2012. 

jesper kongshaug (lighting designer) was educated in the U.S. 

and has worked in theater, opera, ballet, art exhibitions and television. 

He has created unique lighting designs for the Royal Theatre 

in Copenhagen, most recently for Wagner’s Das Ring des Nibelungens 

Den Jyske Opera, Hotel Pro Forma, as well as theaters in Norway, 

Sweden and Germany. He has done architectural lighting design, 

most recently in Kastrup Copenhagen airport and Højbro Plads, a 

complete redesign of an old central square in Copenhagen. 

Lighting design for the new Royal Playhouse earned Kongshaug 

the Danish Lighting Prize 2008 and Nordic Lighting Prize, Helsinki 

2008. He won an invited architectural competition in collaboration 

with architects Erik Brandt Dam and Nicolai Bo Andersen of refurbishing 

the Kings Garden of Odense. 

Kongshaug teaches at Danmarks Designskole (Danish School for 

Design) and the National Danish Theatre School and acts as consultant 

for museums, the Tivoli Gardens, private firms and public 

institutions. 

He has created several high-profile large-scale light installations 

both outdoors and indoors, including the 13-km long Vinterlys 

(Winterlight) during Copenhagen European Cultural Capital 

1996. 

His international works include extensive travels with Hotel Pro 

Forma’s Operation ORFEO, The Magic Flute in Boston Lyric Opera 

and the musical production of Hair, a Betty Nansen Theatre production 

at the Theatre Mogador in Paris, Rosenkavalier at Opera de Lyon 

in France, Le Grand Macabre at San Francisco Opera and L’Ecole 

des Femmes in Dramaten, Stockholm. In 2004, he did GOYA with 

Placido Domingo for Klangbogen Festival at Theater an der Wien, 

Vienna, where he returned in 2007 with Le Nozze di Figaro. He was 

lighting designer for Jesper Just Opera for Performa 05 in New York, 

Donna Karan Studio, La Traviata (2007), Stockholm Opera, Le nozze 

de Figaro (2008), Theater an der Wien, Don Carlos (2009), Royal 

Danish Opera and The Nutcracker (2009), The Royal Ballet. 

kimie nakano (costume designer) studied literature in 

Tokyo, theater costume at L’Ecole National Superieure des Arts et 

Techniques du Theatre in Paris and theater design at Wimbledon 

School of Art in London. 

She gained design-assisting experience at Opera de Paris and Saito 

Kinen Festival. She assisted in designing costume for films including 

8 and a half Women. She designed for the award-winning Yabu no 

Naka (modern noh/kyogen play) directed by Mansai Nomura in Japan 

Art Festival 1999 and her collaboration with Megumi Nakamura’s 

Sandflower received the Gold award in the Maastricht Festival 2000 

in Holland. 

Kimie’s international work as a designer includes Ali to Karim Tour 

(2008) directed by Hafiz Karmali, Pas, pas moi, va et vien for a 


Beckett celebration at Theatre National Populaire—Lyon (2006), 

The Oslo Experiment at Stratos Oslo (2007) and in the U.K., 2 

Graves at Arts Theatre and Edinburgh Festival (2006). Continuing 

to explore work in various media such as film, video, animation, 

installation and illustration, she designed for a short film Basho 

(2008). 

Directorial credits in the U.K. include Snow (workshop working 

with three blind singers) for the ENO studio, 8:15 for the Rambert 

Dance Company and a collaboration with Eda Megumi, Sandflower 

in Den Haag. 

fabiana Piccioli (technical director) studied philosophy at 

University La Sapienza di Roma. From 1999–2002, she worked as 

a dancer in Rome and Brussels. She then became technical coordinator 

and production manager at the Romaeuropa Festival before 

joining Akram Khan Company as technical manager in 2005. 

She was lighting designer for three of the company’s productions 

(Variations, bahok, Gnosis) and Svapnagata Festival, curated by 

Nitin Sawhney and Akram Khan at Sadler’s Wells. She also codesigned 

the set for bahok. 

ruth little (dramaturg) is a dramaturg, teacher, writer and 

former academic. She was literary manager at Griffin Theatre 

Company (Sydney), Out of Joint, Soho Theatre and the Royal 

Court Theatre and artistic associate at the Young Vic. Little is 

associate director of Cape Farewell, London. 

jess gormley (researcher) has been a researcher and dramaturge 

for Theatre de Complicite and is currently working on a 

Broadway musical of King Kong. She has just finished as trainee 

producer on Artangel’s latest feature film, The Arbor. She is currently 

assistant producer on a Channel 4 documentary entitled Guilty 

Pleasures and previously worked on four Three Minute Wonders 

for Tate Liverpool’s—Turner Prize 2007. She has a master’s in art 

history from the Courtauld Insititute of Art. 

richard fagan (technical coordinator) began his career in 1997 

as an electrician for Stagecraft Productions and went on to manage 

the lighting department at Poole Arts Centre. He toured extensively 

as stage manager and production manager for the Garnet 

Foundation and later as lighting designer for The Nuffield Theatre, 

Southampton. In 2004, he joined the lighting department of the 

English National Opera. Fagan now works as a freelance lighting 

designer and technician for both corporate and theater productions. 

Some of his more recent work includes Art Admin’s How to 

Live and Akram Khan Company’s bahok. 

marcus hyde (sound engineer) started his career working 

with leading dance companies such as Michael Clark, Martha 

Graham and English National Ballet. He is passionate with classical 

music and has mixed most of the British orchestras including 

London Philharmonic, BBC Symphony and Concert Orchestra’s, 

English National Opera and the Vienna Philharmonic. He has also 

worked with many of the world’s greatest singers Signor Pavarotti, 

Carreras, Bocelli and Jesse Norman. He has toured with Rihanna 

and Pet Shop Boys. Hyde also undertakes many large commercial 

events, such as major car launches or award shows; sports 

events, Barcelona Olympics, Tour de France, The Vendee Globe, 

Wimbledon tennis and Tour D’Oman cycle event. 


gillian tan (stage manager) was born in Singapore and based in 

London and is a freelance Production and Stage Manager. With an 

extensive background in music and dance, she particularly enjoys 

working on devised, movement, musical and opera performances. 

Apart from working backstage, she is also pursuing a MA in Arts 

Administration and Cultural Policy at Goldsmiths. 

Arthur laurent (tour manager) was born in Paris. After 

majoring in cultural project management, he started working 

in film marketing and publicity with the French Film Office in 

Los Angeles, Pathé International in Paris and IFC Films in New 

York. In 2009, he was personal assistant to French actress Juliette 

Binoche on the New York run of In-I. He joined Akram Khan 

Company in 2010 to tour Vertical Road. 

Akram khan company was founded in 2000 by choreographer 

Akram Khan and producer Farooq Chaudhry. Akram Khan 

Company journeys across boundaries to create uncompromising 

artistic narratives. Having established itself as one of the foremost 

innovative dance companies in the world, the company is 

renowned for its intercultural, interdisciplinary collaborations and 

for challenging conventional ideas of traditional dance forms. 

The dance language in each production is rooted in Akram Khan’s 

classical kathak and modern dance training and continually 

evolves to communicate ideas that are intelligent, courageous 

and new. 

Akram Khan Company tours extensively both within the United 

Kingdom and internationally at leading international festival and 

venues, performing a diverse range of programs including classical 

kathak solos, ensemble productions and artist-to-artist collaborations. 

The company has been awarded with several prestigious 

honors including the Olivier Award (2012, DESH), the U.K. Critics 

Circle National Dance Award (2011, Vertical Road), the South Bank 

Sky Arts Award for Dance (2010, Gnosis), the Age Critics Award 

for Best New Work (2010, Vertical Road) at the Melbourne Festival 

and the Helpmann Award for Best Choreography in Dance Work 

(2007, zero degrees) at the Sydney Festival. 

comPAny ProdUctIons 

Contemporary Work 

iTMOi (2013) 

DESH (2011) 

Vertical Road (2010) 

In-I (2008) 

bahok (2008) 

Sacred Monsters (2006) 

zero degrees (2005) 

Variations for Vibes, Strings & Pianos (2006) 

ma (2004) 

Kaash (2002) 

Related Rocks (2001) 

Rush (2000) 

Fix (2000) 

Loose in Flight (2000) 

Kathak 

Gnosis (2009) 

Third Catalogue (2005) 

Ronin (2003) 

Polaroid Feet (2001)

AkrAm khAn comPAny 

Vertical road Program credits 

Indulge 

Fine iTALiAn CUiSine 

2657 PorTAge BAy 

eAST, DAviS CA 95616 

(530) 758-1324 

oSTeriAFASULo.Com 

Free PArKing 

FASTeST & eASieST WAy 

To THe monDAvi CenTer 



Thursday, October 25, 2012 • 8PM 


From The Top can be heard on 

Capital Public Radio, Sundays at 3 p.m. 

This episode will air nationally 

in January, 2013. 


From the top 

wIth host chrIstoPher o’rIley 

Debut 

MC 

from the top is an independent non-profit organization that identifies, supports 

and celebrates the nation’s exceptional young classical musicians through media, 

live events, scholarships and education programs. From the Top prepares young 

musicians to connect with audiences, serve as positive role models and give back to 

their communities. These performers inspire the pursuit of excellence and encourage 

participation in the arts as an integral part of a vibrant and civil society. Based in 

Boston, From the Top was founded in 1999 by co-CEOs Gerald Slavet and Jennifer 

Hurley-Wales. 

Radio, Television and Online Media: From the Top on NPR, hosted by Christopher 

O’Riley, is one of the most popular weekly music programs on public radio 

and is heralded as “contemporary culture’s feel-good success story” (San Francisco 

Chronicle). The show reaches more than 700,000 loyal listeners on nearly 250 stations 

each week. In over a decade, From the Top has taped more than 250 episodes 

before live audiences in 35 states and featured more than 2,500 young artists, many 

of whom have now entered the professional music world. From the Top’s full radio 

archive, accompanied by photographs, video clips, a backstage blog series and written 

reflections from the performers, is available at fromthetop.org. 

The Emmy Award-winning PBS television series From the Top at Carnegie Hall is a 

fast-paced documentary-style show centered around the lives of phenomenal and 

inspiring young musicians. All 26 episodes and accompanying lesson plans are 

available at pbs.org/fromthetop. 

National Tour and Community Outreach: From the Top records its programs before 

live audiences in up to 20 cities annually. Approximately 3,500 students across the 

country experience the power of From the Top role models through classroom visits 

in conjunction with the national tour each year. 



From the top 

with host Christopher o’riley 

program addendum 

Duo for Flute and Piano Copland 

III. Lively, with bounce 

Annie Wu, flute 

Christopher O’Riley, piano 

Zigeunerweisen (“Gypsy Airs”) for Violin and Piano, Op. 20 Sarasate 

Alex Zhou, violin 

Christopher O’Riley, piano 

Soirée de Vienne (“Evening in Vienna”) Concert Paraphrase of Grünfeld 

Waltz Themes from Johann Strauss’ Die Fledermaus for Piano 

Phoebe Pan, piano 

Prelude No. 15 in D-flat Major, Op. 28 (“Raindrop”) Chopin 

Alec Holcomb, guitar 

The Four Seasons of Buenos Aires 

III. Primavera Porteña Piazzolla 

The Angeles Trio 

Kristina Zlatareva, violin 

Ji Sun Jung, cello 

Jia Ying Dong, piano 

Program and repertoire subject to change. 

This episode will air nationally in January of 2013. 

From the Top may be heard locally on Capital Public Radio Sundays at 3:00 p.m. 

Check other listings and listen online at fromthetop.org. 

From the Top’s radio program is made possible through grants from the National Endowment for the Arts and the Jack Kent Cooke Foundation 

and support from U.S. Trust. It is also supported through the generous contributions of individuals and institutions as well as public radio stations. From 

the Top is an independent non-profit organization headquartered in Boston. From the Top’s founding partners are New England Conservatory and WGBH. 

Annie Wu (flute) is 16 from Pleasanton, California, and attends 

Foothills High School. A student of Isabelle Chapuis, Wu won 

first place at the 2011 National Flute Association High School 

Soloist competition where she also received the award for Best 

Performance of a Newly Commissioned Work, “Three Beats for 

Beatbox Flute.” In addition to her musical pursuits, she enjoys 

painting, drawing and photography. 

Alex Zhou (violin) is 11 and from San Jose where he attends 

Country Lane Elementary School. He studies at San Francisco 

Conservatory of Music with Zhao Wei. He is the Junior Division 

Grand Prize Winner of the 2012 Mondavi Center Young Artists 

Competition. Aside from violin, he plays piano, and he enjoys 

playing badminton, ping-pong and swimming. 

Phoebe Pan (piano) is 15 and from Irvine where she is a student 

at Pacific Academy. She is a student with Yi Dong at Opus119 

School of Music. She received the Junior Division Piano Award 

at the 2010 Mondavi Center Young Artists Competition as well 

as first place in the 2012 David D. Dubois Piano Competition. 

Outside of music, she enjoys spending time with her dog, Dakota. 

Alec Holcomb (guitar) is 17 and from Franklin, Tennessee, where 

he attends Franklin High School. He studies with Andrew Zohn. 

Alec took first place in the 2012 Christopher Parkening Young 

Guitarist Competition at Pepperdine University in Malibu. He also 

plays electric guitar and really enjoys performing. 

The Angeles Trio is the Honors Piano Trio of the Colburn School 

of Music in Los Angeles and is coached by Mina Perry. Its members 

include 19-year-old violinist Kristina Zlatareva from Culver City, 

California, originally from Sofia, Bulgaria, a student of Danielle 

Belen; 18-year-old cellist Ji Sun Jung from Irvine, a student of 

Ronald Leonard and 18-year-old pianist Jia Ying Dong from El 

Monte, California, a student of Mina Perry. 

Joanne Robinson (announcer) has a broad arts and communications 

background. She has performed and toured with several 

children’s theater companies and worked on the production teams 

of two children’s television programs. In addition to being From the 

Top’s announcer, she serves as the organization’s graphic designer. 

You can follow Joanne’s adventures on tour with the show at our 

Green Room blog at fromthetop.org.

center for the development of Arts leaders: From the 

Top’s Center for the Development of Arts Leaders (CDAL) prepares 

and mentors young musicians across the country to be instruments 

of change in their communities. CDAL programs range from a halfday 

arts leadership orientation for all From the Top performers to 

community outreach events in schools across the country. In Boston, 

From the Top works with community partners on a year-long intensive 

Arts Leadership Program for high school musicians. 

jack kent cooke young Artist Awards: Annually From 

the Top and the Jack Kent Cooke Foundation award scholarships to 

deserving young artists who have financial need. Since 2005, this 

program has provided more than $1.6 million in scholarships to 159 

recipients. 

staff list 

Jennifer Hurley-Wales, co-CEO & Executive Producer 

Gerald Slavet, co-CEO & Executive Producer 

Wendy Perrotta, Executive Assistant 

Tom Voegeli, Producer 

Tim Banker, Producer & Radio Manager 

David Balsom, Tour Producer 

Tom Vignieri, Music Producer 

Elizabeth DeVore, Production Manager 

Kyle Moffat, Database Assistant 

Megan Lantz, Director of Jack Kent Cooke Scholarship Program 

Erin Nolan, Scholarship Program Assistant 

Linda Gerstle, Director of Education & Community Partnerships 

Johana Macdonald, Arts Leadership Program Manager 

Anne Gregory, Education Program Developer 

Erin Haran MacCurtain, Director of Marketing & Communications 

Robin Allen LaPlante, Marketing & Communications Manager 

Joanne Robinson, Graphic Designer & Radio Show Announcer 

Kate Gutierrez, Director of Development 

Kara Gavagan, Development Officer, Events & Stewardship 

Laura Cannata, Development Manager, Institutional Giving 

Nicole Wittlin, Development Manager, Individual Giving 

Dianne Collazo, Director of Finance & Administration 

Dorothy Zarren, Finance & Administration Associate 

Victor Gorospe, Manager of Information Systems 

David Guerrette, I.T. & Media Specialist 

Berred Ouelette, Technical Director 

John Servies, Sound Engineer 

David Forbes, Sound Engineer 

volunteer leadership 

Board of Directors 

Jeffrey Rayport, Chair 

John L. Pattillo, Vice Chair 

Stephen L. Symchych, Clerk 

Susan B. Cohen, David Feigenbaum, Corinne Ferguson, Jennifer 

Hurley-Wales, Beth S. Klarman, Elaine Lindley LeBuhn, Marie 

Pettibone Llewellyn, Gloria Rose, Stephen J. Shapiro, Gerald Slavet, 

Mark Volpe, Janet Whitla & Anthony Woodcock 

in memoriam: Francis O. Hunnewell, Founding Chair 

Board of Overseers 

Elaine Lindley LeBuhn, Chair 

Susan Beckerman, Ishik Kubali Camoglu, Cynthia K. Curme, 

Richard Davis, Eran Egozy, Constance Freedman, Phil Griffin, John 

Humphrey, Betsy Kessler, Dicken Ko, Karen S. Levy, José Lopez, 

Nancy Lubin, Meredith McPherron, Linda Dyer Millard, Stephanie 

Perrin, Matt Pillar, Russell Ricci, Bonnie Rosenberg, Elizabeth 

Sikorovsky, Anthony Tjan, Peter Vinella, Robert Williams and 

Gabrielle Wolohojian 

christopher o’riley (host/piano) has redefined the possibilities 

of classical music through media, contemporary music and innovative 

programming. In addition to hosting the From the Top radio and 

television programs and appearing with top orchestras and festivals 

around the world, O’Riley is also an interpreter of some of the most 

important popular music of our time. He lives by the Duke Ellington 

adage, “There are only two kinds of music, good music and bad.” 

O’Riley has performed two-piano arrangements of Astor Piazzolla’s 

tangos with Argentine pianist Pablo Ziegler and collaborated with 

choreographer Martha Clarke in a work which sets the staged stories 

of Anton Chekhov to the piano works of Alexander Scriabin. He has 

recorded two discs of his own re-imaginings of Radiohead songs, as 

well as those of singer/songwriter Nick Drake and a tribute to Elliot 

Smith. In 2009, he drew from the works of Nirvana, REM, Radiohead, 

Pink Floyd, Tori Amos, the Smiths, Cocteau Twins and Portishead 

among others in Out of My Hands. This year, O’Riley teamed up with 

cellist Matt Haimovitz on Shuffle.Play.Listen., a collaboration that 

plumbs the virtuosic possibilities of their instruments and blurs the 

boundaries between classical and pop music. O’Riley is a recipient 

of top prizes and awards from the Van Cliburn Competition and the 

Avery Fisher Career Grants. He is a graduate of the New England 

Conservatory in Boston. 

Photo by Wendy Lynch 


A Mondavi Center Just Added Event 

Friday, October 26, 2012 • 8PM 





eddie izzard 

Debut 

MC 

eddie Izzard, already one of the most acclaimed comics of his 

generation, is developing an equally stellar reputation as a film, 

television and stage actor. 

Izzard will next be seen in the Syfy Channel’s buccaneer classic 

Treasure Island starring as Long John Silver opposite Elijah Wood 

as Ben Gunn. Most recently, Izzard lent his voice to Disney’s 

animated feature Cars 2 opposite Owen Wilson. 

Last year, Believe: The Eddie Izzard Story received an Emmy 

Award nomination. The original documentary, culled from 

thousands of hours of footage, recounts his rise to fame from his 

early influences to now. Last year, Izzard was seen on Broadway 

in David Mamet’s Race and in the independent film Every Day, 

opposite Liev Schreiber, Helen Hunt and Carla Gugino. 

Other recent film roles include Valkyrie opposite Tom Cruise, 

MGM’s animated film Igor, Ocean’s Thirteen and Ocean’s Twelve 

opposite George Clooney and Brad Pitt, Julie Taymor’s Across 

the Universe, as well as lending his voice to Jerry Seinfeld’s Bee 

Movie. 

In 2011, Izzard became the first solo stand-up comedian to 

appear at the Hollywood Bowl in his hugely successful show 

Eddie Izzard: Stripped to the Bowl. In 2008, he embarked on

the largest comedy tour of his career, Stripped. In five months, he 

performed in 34 cities across the United States including three nights 

at New York’s legendary Radio City Music Hall. Upon his return 

to the U.K., he broke box office records by selling out a five-week 

tour in London’s West End in less than 48 hours. The Stripped tour 

returned to the U.S. for a run of arenas including a sellout show at 

Madison Square Garden. 

In 2005, Izzard demonstrated his musical flair in Romance and 

Cigarettes, a Coen Brothers production directed by John Turturro, 

starring Susan Sarandon and Kate Winslet. In 2004, he was seen in 

the mystical western Blueberry, alongside Kenneth Branagh and Zoe 

Wannamaker and he delighted children and adults alike as the voice 

of the “Sand Fairy” in Disney’s Five Children and It. In 2001, Izzard 

enjoyed great success in the U.S. and U.K. for his portrayal of Charlie 

Chaplin in Peter Bogdanovich’s The Cat’s Meow. 

His big-screen debut was alongside Bob Hoskins and Robin Williams 

in the 1996 movie Secret Agent. Other highlights in his feature film 

career include appearing in The Avengers with Sean Connery and 

Velvet Goldmine with Ewan McGregor. Izzard’s credits also include All 

the Queen’s Men, The Revenger’s Tragedy and as the voice of Nigel in 

the animated Disney movie The Wild. 

On television, Izzard starred in and served as producer on the 

critically acclaimed FX Network show The Riches opposite Minnie 

Driver. He also had a guest starring role in the final season of 

Showtime’s United States of Tara. 

Izzard has been hailed as one of the foremost stand-ups of his 

generation. His bizarre, tangential, absurd and surreal comic 

narratives are lauded for their creativity and wit. Izzard’s comedic 

musings have earned him top awards from Time Out and the Perrier 

Panel. Live at the Ambassadors received an Olivier Award nomination 

for Outstanding Achievement. He won the British Comedy Award for 

Top Stand-Up Comedian in 1993 and 1996 and Dress to Kill earned 

him a New York Drama Desk Award and two Emmys. 

Izzard’s stage appearances include David Mamet’s Race and The 

Cryptogram, the title role in Marlowe’s Edward II, 900 Oneonta and A 

Day in the Death of Joe Egg in London and on Broadway which won 

him a handful of awards, including a Tony nomination for Best Actor. 

Since his first stage appearance on London’s West End in 1993 in the 

one-man show Live at the Ambassadors, Izzard has inhabited a unique 

world of his own “carefully crafted rubbish.” Live at the Ambassadors 

was followed by a succession of critically acclaimed shows including 

Unrepeatable (1994), Definite Article (1996), Glorious I (1997), Dress 

to Kill (1998) and Circle (2000). 

Izzard recently ran 1,100 miles through England, Wales, North 

Ireland and Scotland for charity. He raised $250,000 for Sports 

Relief, which helps the less fortunate in Britain and poor countries 

worldwide. 

sIngle tIckets 

on sAle now! 

B.B. King 

Arlo Guthrie, solo 

Jazz at Lincoln Center Orchestra 

with Wynton Marsalis 

Itzhak Perlman, violin 

Dance Theatre of Harlem 

ETHEL with Todd Rundgren 

Shakespeare’s Globe: 

Hamlet 

David Sedaris 

Pilobolus Dance Theatre 

PLuS MuCH MORE! 

10th anniversary season sponsors 

AnnIversAry 

2012–13 

Tickets and more: mondaviarts.org • 866.754.2787 


A Distinguished Speakers Series Event 

Monday, October 29, 2012 • 8PM 


Presented in collaboration with the UC Davis College 

of Engineering as part of its 50th anniversary. 

Sponsored by 


in conversation with steve wozniak 

Individual support provided by Lor and Nancy Shepard. 

There will be a Question & Answer Session in the 

performance hall following the lecture. 

moderated By dean enrique lavernia, 

Photo by Michael Bulbenko 

Uc dAvIs college of engIneerIng 

Debut 

MC 

steve wozniak 

“the woz” 

Co-founder, Apple Computer, Inc. 

Chief Scientist, Fusion-IO 

A Silicon Valley icon and philanthropist for more than 30 years, 

Steve Wozniak has helped shape the computing industry with 

his design of Apple’s first line of products, the Apple I and II, 

and influenced the popular Macintosh. In 1976, Wozniak and 

Steve Jobs founded Apple Computer, Inc. with Wozniak’s Apple 

I personal computer. The following year, he introduced his 

Apple II personal computer, featuring a central processing unit, 

keyboard, color graphics and floppy disc drive. The Apple II 

was integral in launching the personal computer industry. 

In 1981, he went back to UC Berkeley and finished his degree 

in electrical engineering/computer science. For his achievements 

at Apple Computer, Wozniak was awarded the National Medal 

of Technology by President Reagan in 1985, the highest honor 

bestowed on America’s leading innovators. 



In 2000, he was inducted into the Inventors Hall of Fame and was 

awarded the prestigious Heinz Award for Technology, The Economy 

and Employment for single-handedly designing the first personal 

computer and for then redirecting his lifelong passion for mathematics 

and electronics toward lighting the fires of excitement for education 

in grade school students and their teachers. 

Through the years, Wozniak has been involved in various business 

and philanthropic ventures, focusing primarily on computer capabilities 

in schools and stressing hands-on learning and encouraging 

creativity for students. Making significant investments of both his 

time and resources in education, he adopted the Los Gatos School 

District, providing students and teachers with hands-on teaching 

and donations of state-of-the-art technology equipment. He founded 

the Electronic Frontier Foundation and was the founding sponsor 

of the Tech Museum, Silicon Valley Ballet and Children’s Discovery 

Museum of San Jose. 

Wozniak currently serves as Chief Scientist for Fusion-IO and is a 

published author with the release of his New York Times best-selling 

autobiography, iWoz: From Computer Geek to Cult Icon, in 2006 by 

Norton Publishing. His television appearances include reality shows 

Kathy Griffin: My Life on the D-List, ABC’s Dancing with the Stars and 

The Big Bang Theory. 

enrique lavernia (moderator) returned as dean to the UC Davis 

College of Engineering after serving as the provost and executive 

vice chancellor of UC Davis from January 2009 to December 2010. 

He joined the campus in 2002 as dean of the College of Engineering, 

where he was also promoted to Distinguished Professor in 2007. Prior 

to his arrival in Davis, Lavernia served as Chair and Chancellor’s 

Professor in the Department of Chemical Engineering and Materials 

Science at UC Irvine. 

Lavernia is a Fellow of the American Association for the Advancement 

of Science, American Society of Mechanical Engineers, ASM 

International and the Alexander von Humboldt Foundation. Named 

Presidential Young Investigator by the National Science Foundation, 

Lavernia also received a Young Investigator Award from the Office of 

Naval Research. In 2011, he received the Hispanic Engineer National 

Achievement Award (HEENAC) and the Society for the Advancement 

of Chicanos and Native Americans in Science (SACNAS) 

Distinguished Scientist Award. Lavernia is the recipient of the 2013 

Edward DeMille Campbell Memorial Lectureship and the 2013 ASM 

International Gold Medal Award. 

Lavernia earned his B.S. with honors in Solid Mechanics from 

Brown University and his M.S. in Metallurgy and Ph.D. in Materials 

Engineering from the Massachusetts Institute of Technology. 

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. 


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 up 

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 

Gary 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* 

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 

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 

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 

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 

Leslie Faulkin 

Dr. and Mrs. John Eisele 

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 

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 

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 

Jan Carmikle, '87 '90 

Bruce and Mary Alice Carswell* 

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* 

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 

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 

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 

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* 

Martha S. West 

Robert and Leslie Westergaard* 

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. 

Donors 530.754.5438 

Donor contributions to the 

Mondavi Center presenting 

program help to offset the 

costs of the annual season 

of performances and lectures 

and provide a variety of arts 

education and outreach 

programs to the community.

globe education 

Academy 

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. 

Now in its sixth year, participants in this 

collaborative project are immersed in the 

world of Shakespeare both at UC Davis and 

in London. They participate in workshops 

presented by Shakespeare’s Globe Theatre 

practitioners, and from faculty at UC Davis. 

The Academy travels to Shakespeare’s Globe 

in London for two weeks in the summer to 

work with Globe Education and celebrates 

their extraordinary experience with a festival 

day of theatre on stage with their students at 

the Mondavi Center in the fall. In 2012, the 

Academy studied Henry V. 

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 • 

Erin Schlemmer, Chair, Arts & Lectures Administrative Advisory Committee 

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. 

congratulations to the 

following teachers 

of the 2012 globe 

education Academy! 

Bernadette Cranmer 

Granite Bay High School, 

Roseville Joint Union High 

School District 

Lori DeLappe 

Sacramento City College, 

Los Rios Community 

College District 

Katie Gagnon 

Rodriquez High School, 

Fairfield-Suisun Unified 


Kimberly Karver 

Whitney High School, 

Rocklin Unified 


Joe Monroe 

St. Michael’s Episcopal Day 

School, private school 

Roxanne Morgan 

American River College, 



Geri Neylan 

Kimball High School, 

Tracy Joint Unified 


Tim O’Donnell 

River City High School, 

Washington Unified 


the frIends of mondAvI center is an active donor-based volunteer organization that supports activities of the Mondavi Center’s presenting 

program. Deeply committed to arts education, Friends volunteer their time and financial support for learning opportunities related to Mondavi Center performances. 

When you join the Friends of Mondavi Center, you are able to choose from a variety of activities and work with other Friends who share your interests. 

For information on becoming a Friend of Mondavi Center, email Jennifer Mast at jmmast@ucdavis.edu or call 530.754.5431. 

Carrie Pilon 

Harper Junior High School, 

Davis Joint Unified School 

District 

Lynne Ruvalcaba 

Hiram Johnson High School, 

Sacramento City Unified 


Elise Wallace 

Natomas Charter School 

Performing and Fine Arts 

Academy, Natomas Unified 


Marni Webb 

American River College, 



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 • Eunice Adair Christensen, Gift Shop Manager, Ex Officio • Joyce Donaldson, Chancellor’s Designee, Ex-Officio 

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

75_06032 

7.25x9.25 

4C 

The art of performance 

draws our eyes to the stage 

Our community’s commitment to arts and culture says a lot about where we live. It brings 

us together from the moment the lights go down and the curtains come up. 

Mondavi Center, we applaud this production. 

Davis Main • 340 F St. • 530-756-7660 

South Davis (Safeway) • 2121 Cowell Blvd. • 530-792-8530 

Covell Market Place • 1431 W. Covell Blvd. • 530-297-3720 

wellsfargo.com 

© 2012 Wells Fargo Bank, N.A. All rights reserved. 

Member FDIC. (731175_06032) 

Rachel Barton Pine 

MondaviArts.org 530.754.2787 866.754.2787 (toll-free)

PROGRAM - Mondavi Center

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