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Issue 5: Feb 2012 

3 rachel barton pIne, vIolIn 

11 les ballets trockadero de monte carlo 

19 cIrca 

25 loudon waInwrIght III 

leo kottke 

29 erIc owens, bass-barItone 

robert spano, pIano 

51 chucho valdÉs 

and the aFro-cuban messengers 

56 the chIeFtaIns

efore the show 

Before the Curtain Rises, Please Play Your Part 

• As a courtesy to others, please turn off all electronic 

devices. 

• If you have any hard candy, please unwrap it before 

the lights dim. 

• Please remember that the taking of photographs 

or the use of any type of audio or video recording 

equipment is strictly prohibited. 

• Please look around and locate the exit nearest you. 

That exit may be behind 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. 

info 

Accommodations for Patrons with Disabilities 

530.754.2787 • TDD: 530.754.5402 

In the event of an emergency, patrons requiring 

physical assistance on the Orchestra Terrace, Grand Tier 

and Upper Tier levels please proceed to the elevator 

alcove refuge where this sign appears. Please let us 

know ahead of time for any special seating requests or 

accommodations. See page 67 for more information. 

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. 

Friends of Mondavi Center 530.754.5000 

Contributors to the Mondavi Center are eligible to join 

the Friends of Mondavi Center, a volunteer support 

group that assists with educational programs and 

audience development. 

Volunteers 530.754.1000 

Mondavi Center volunteers assist with numerous 

functions, including house ushering and the activities 

of the Friends of Mondavi Center and the Arts and 

Lectures Administrative Advisory Committee. 

Tours 530.754.5399 

One-hour guided tours of the Mondavi Center’s Jackson 

Hall, Vanderhoef Studio Theatre and Yocha Dehe Grand 

Lobby are given regularly by the Friends of Mondavi 

Center. Reservations are required. 

Lost and Found Hotline 530.752.8580 

Recycle We reuse our playbills! Thank you for 

returning your recycled playbill in the bin located 

by the main exit on your way out. 

Photo: Lynn Goldsmith 

Since October, the Mondavi Memory Booth has had a steady line of 

audience members lining up to sit down and be counted! (Our wonderful 

stage crew built the booth, and I think they did a beautiful job—complete 

with photographic reminders of each of our first 10 seasons.) Purposely 

reminiscent of one of those old-time coin-operated take-your-own photo 

booths, the Memory Booth is a place to reminisce. To prepare for our 10th 

anniversary celebration, which begins in earnest next October, we want to hear 

from you about your favorite memories from this first decade. We live in a time, 

fortunately, when technology makes this a relatively pain-free phenomenon. 

Currently, we are putting together a 10th anniversary season (to be announced 

in a few months) that we think you will find appropriately celebratory. We’ll 

bring back a number of your favorite stars, as well as re-introduce some of our 

favorite shows that might not have been on your radar screen the first 

time around. We hope to spend most of next season looking forward, finding 

ways to make a second decade at the Mondavi Center even better in terms 

of serving our public on this campus and in our region. 

When the Mondavi Center was just a gleam, visionaries like Larry Vanderhoef 

and others believed that this place could make a great difference in our lives 

and could be a center for beautiful things, for familiar things, for new things, 

for art, entertainment, for learning and stimulation. When I joined the Center 

in 2006, I was attracted here because all of these things were already being 

achieved. So now it gives me great pleasure to ask you all for your impressions 

of (as New York’s Mayor Koch used to say) “how’re we doin’?” In particular, how 

has your life been different in the Mondavi Center era? What difference has the 

Center made for you? What more would you like us to do? 

Send me an email in response to these 

questions at Memories@MondaviArts.org. 

Your responses, like those from the Memory 

Booth, will help us build a picture not only 

of Mondavi Center past, but, like Scrooge 

and Christmas, a view of present and future 

as well. 

Enjoy February at the MC. The lineup this 

month is one of my favorite “slices” of this 

season; if you have time, hear and see it 

all! 

Don Roth, Ph.D. 

Executive Director 

Mondavi Center for the Performing Arts, UC Davis 

from the director 

Tell Your Story 

Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 5: Feb 2012 | 1

2 | mondaviarts.org 

WHAT DO YOU SEE? 

We see cells that regenerate heart muscle. 

You see a way to reinvigorate your life. 

As the region’s only academic health center, UC Davis is on the leading edge 

of discovery and innovation in heart care for adults and children. Here, worldrenowned 

health-care specialists conduct research, teach, and offer breakthrough 

treatments—including the promise of using a patient’s own cells to regenerate heart 

muscle that has been lost due to a heart attack. And that’s just the beginning. 

To see the full story and more, visit YouSeeTheFuture.UCDavis.edu. 

For more information, call 800-2-UC DAVIS. 

YOU SEE A NEW LIFE 

Copyright © UC Regents, Davis campus, 2011. All Rights Reserved.

RobeRt and MaRgRit Mondavi Center foR the PeRfoRMing aRts | UC davis 

PResents 

Debut 

MC 

RAChEl BARTON PINE, VIOlIN 

with 

The Chamber Soloists Orchestra of New York 

A Wells Fargo Concert Series Event 

Saturday, February 4, 2012 • 8PM 

Jackson Hall, Mondavi Center, UC Davis 

There will be one intermission. 

Sponsored by 

Additional support provided by Shipley and Dick Walters 

Pre-Performance Talk 



Speaker: Rachel Barton Pine in conversation with 

Don Roth, Executive Director, Mondavi Center, UC Davis (see bio p. 4) 

FuRThER lISTENING 

see p. 6 

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. 


capradio.org 

welcoMe to Davis 

WHERE WORLD-CLASS 

PERfORmAnCE PAiRS 

bEAutifuLLy WitH 

LocaL foods 

Downtown Davis’ only grocery store 

620 g street, Downtown Davis 

open daily 7am to 10pm 

www.davisfood.coop 


PRE-PERFORMANCE TAlk MODERATOR: 

DON ROTh, Ph.D 

Dr. Don Roth is the executive director of the Robert and 

Margrit Mondavi Center for the Performing Arts, UC Davis. 

A native of Brooklyn, New York, Roth joined the Mondavi 

Center in June 2006, arriving from the Aspen Music Festival 

and School where he served as president from 2001–06. 

Previously Roth served as president of the Saint Louis 

Symphony and of the Oregon Symphony and as general 

manager of the San Francisco Symphony. 

In 2010, Sacramento Mayor Kevin Johnson appointed 

Roth to co-chair the For Art’s Sake regional arts initiative. 

Roth also serves on the Board of Overseers for the Curtis 

Institute of Music, on the Board of Directors of the San 

Francisco Classical Voice and the Advisory Council of 

American Bach Soloists. He has chaired numerous panels 

for the National Endowment for the Arts and has served on 

the Executive Committee of the Sacramento Philharmonic 

board. In addition, he is a member of the Directors Council 

(emeritus Board) of the League of American Orchestras, the 

national organization of symphony orchestra professionals, 

trustees and volunteers. For almost 10 years, Roth chaired 

the League’s Orchestra Management Fellowship Program, 

the leading training program for symphony executives in 

the U.S. More recently, he taught non-profit management 

in the arts in the Graduate School of Management, 

UC Davis.


with 

The Chamber Soloists Orchestra of New York 

Emily Popham Gillins, violin 

Miki-Sophia Cloud, violin 

Michael Dabroski, violin 

April Johnson, violin 

Veronique Mathieu, violin 

Linda Quan, violin 

DeAnn Letourneau, violin 

Ynez Lynch, viola 

PROGRAM 

Wolfgang Amadeus Mozart 

(1756–91) 

Cadenzas by Rachel Barton Pine 

Concerto No. 4 for violin and orchestra in D Major, K. 218 

Allegro-Sonata Form 

Andante cantabile 

Rondo (Andante grazioso - Allegro ma non troppo) 

Concerto No. 1 for violin and orchestra in B-flat Major, K. 207 

Allegro 

Adagio 

Rondo 

Concerto No. 3 for violin and orchestra in G Major, K. 216 

Allegro 

Adagio 

Rondo 

Intermission 

Jack Rosenberg, viola 

Adam Grabois, cello 

Peter Seidenberg, cello 

Kurt Muroki, bass 

Melvin Kaplan, oboe 

Marc Schachman, oboe 

Sharon Moe, horn 

Ian Donald, horn 

Concerto No. 2 for violin and orchestra in D Major, K. 211 

Allegro moderato 

Andante 

Rondo, Allegro 

Concerto No. 5 for violin and orchestra in A Major, K. 219 

Allegro Aperto - Adagio - Allegro Aperto 

Adagio 

Rondo - Tempo di Minuetto 

Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 5: Feb 2012 | 5 

RAChEl BARTON PINE, VIOlIN



by jEFF huDSON 

There are plenty of rockers who, at a certain age, 

try their hand at classical music. Paul McCartney 

has written choral works and a ballet score. Elvis 

Costello made an album with the Brodsky String 

Quartet. 

There’s a related urge among classical musicians. 

I once saw conductor Michael Tilson Thomas sit 

down at a piano and jam with former members of 

the Grateful Dead at Davies Hall in San Francisco. 

But violinist Rachel Barton Pine, whose career as a 

classical recording artist was launched in 1994, has 

taken the next step, gotten dressed up in black 

leather with metal studs and released an entire 

album (Dismal Times) with doom metal band 

Earthen Grave. She plays screaming fast passages 

on electric violin (one of Mark Wood’s “Viper” 

instruments). Tracks include “Burning a Sinner,” 

“Relentless” and “Death on the High Seas.” 

This wasn’t entirely a bolt from the blue. Recall 

that in 1997, Pine’s album Stringendo: Storming the 

Citadel mixed covers of tunes by AC/DC, Megadeth 

and Black Sabbath with Paganini’s 24th Caprice and 

a scorching arrangement of Handel’s “Passacaglia.” 

In 1998, Pine dressed up in black and held a flaming 

violin on the cover of her (classical) album 

Instrument of the Devil, which featured fire-breathing 

violin showpieces (with infernal implications) 

like Tartini’s “Devil’s Trill” Sonata, Paganini’s “The 

Witches,” “Mephisto Waltz” and more. 


Jeff Hudson contributes coverage of the performing 

arts to Capital Public Radio, the Davis Enterprise 

and Sacramento News and Review. 

She’s also gone in big time for sweet, rich, 

mainstream Romantic-era music for the violin, 

including this year’s recording of the Glazunov 

Violin Concerto (with the Russian National 

Orchestra, conducted by José Serebrier), an album 

of short works by Pablo de Sarasate, the Bruch 

Scottish Fantasy, a disc of chamber works by Liszt, 

etc. 

She’s also a Baroque music performer, having recorded 

an album of Handel sonatas (accompanied by 

cello and harpsichord) and two albums of German 

music (including Bach, Buxtehude and Biber). 

She’s also released a very interesting disc of violin 

concertos by black composers of the 18th and 19th 

centuries, including Chevalier de Saint-Georges (a 

prominent musician and dashing swordsman in 

Paris during the late 1700s). 

In summer 2010, Pine did the trifecta in a threepart 

concert. The first set featured Baroque music 

on period instruments with Trio Settecento; the 

second set paired her with an orchestra for the 

flashy Tchaikovsky Violin Concerto; the third set 

featured her on electric violin with Earthen Grave. 

Rachel Barton Pine has also written (and published) 

her own cadenzas for several well-known concertos, 

including the violin concertos of Mozart.

PROGRAM NOTES 

“You have no idea how well you play the violin. If only you would 

do yourself justice and play with boldness, spirit and fire, as if 

you were the greatest violinist in Europe!” Thus Leopold Mozart 

admonished his son Wolfgang Amadeus in 1777. A fine violinist, 

respected composer and famous pedagogue, Leopold had published 

a popular treatise on violin playing in 1756, the year his 

son was born. The treatise, Versuch einer gründlichen Violinschule, 

remains very influential to this day. 

The young Mozart began violin lessons at the tender age of six 

under the primary tutelage of his father. As a touring child prodigy, 

he performed on both violin and keyboard throughout Europe. At 

age 13, Mozart became second concertmaster to Michael Haydn 

(brother of Franz Joseph) of the Archbishop of Salzburg’s court 

orchestra. He led the orchestra frequently and took solo parts, 

often in his own works. But by 1777, he had been succeeded in 

this position by the Italian virtuoso Antonio Brunetti. Mozart’s 

concert activities were focused on the piano, and he usually 

favored the viola for playing chamber music. His father must have 

been quite disappointed. Perhaps their complex relationship had 

played a role in Mozart’s choices. 

The last three of Mozart’s five violin concertos were composed in 

1775 when he was 19. From analysis of his handwriting and manuscript 

paper, scholars have concluded that the first concerto was 

composed two years earlier. For stylistic reasons, it is believed that 

the second concerto also must have been written prior to 1775. 

It is uncertain whether Mozart composed these five concertos for 

his own use or for Brunetti; both men had a set of parts in their 

possession. We do know that Mozart chose the alto voice in the 

Salzburg premiere of his final concerted work for violin, the 1779 

Sinfonia concertante in E-flat major for violin and viola KV364. 

Brunetti performed as his soprano-voiced partner. 

All five concertos follow the same basic pattern. The first movements 

are in sonata-allegro form with a double exposition (the first 

taken by the orchestra and the second by the soloist). The soloist 

is expected to perform an improvised or composed cadenza at the 

end of the recapitulation. The second movement of each concerto 

is in a contrasting key from the outer movements. They are also in 

sonata-allegro form and leave room for a cadenza just before the 

concluding phrase. 

The last movements of all except the first concerto are in rondo 

form. KV207’s is in sonata-allegro form, though Mozart also wrote 

an alternate Rondo in B-flat major, KV269, which remains in the 

repertoire as a stand-alone piece. The Rondos of KV216, 218 and 

219 each feature a middle section of a contrasting and individual 

character. Perhaps this is one of the reasons that they are performed 

more often than KV207 or 211. Before each return to the rondo 

theme, the soloist is invited to play an eingang, a miniature cadenzalike 

flourish that serves as a connecting bridge. 

KV207 in B-flat major and KV211 in D Major are clearly modeled 

on the baroque concerto grosso. There are strong contrasts between 

forte and piano, the soloist and tutti are often in dialogue and many 

passages are lightly scored for accompaniment only by the violins. 

Both second movements are beautifully lyrical. The last movement 

of KV207 is brilliant and witty, bearing the unusual tempo marking 

Presto. The last movement of KV211 is in the style of a French 

minuet. Mozart’s creativity is evident in the textural variety of the 

soloist’s iterations of the rondo theme. The first two times, the 

accompaniment is provided by the violins. The third time, the 

soloist plays an octave lower with an oboe doubling at the octave 

above; and the last time, horns are added to the scoring. 

KV216 in G Major, my personal favorite, is in Mozart’s friendliest 

key. It is often the first Mozart concerto studied by children, as it 

lies lower on the fingerboard than KV218 or 219. The first movement 

begins with a theme closely resembling the shepherd-king 

Aminta’s first-act aria “Aer tranquillo” from his recently-composed 

opera Il rè pastore, KV208: “Tranquil air and serene days, fresh 

springs and green fields, these are the prayers to fortune of the 

shepherd and his flocks.” The solo sections contain additional 

themes beyond those stated in the orchestral introduction, and 

the oboes and horns have a more significant role than in Mozart’s 

earlier violin concertos. In the aria-like second movement, the 

delicate texture includes muted upper strings and pizzicato lower 

strings. Flutes replace the oboes, the only time Mozart includes 

flutes in his violin concertos. When the five concertos are performed 

as a cycle, these parts usually are taken by the oboes for 

practical reasons. At the end of the movement, after the usual brief 

tutti following the cadenza, the soloist makes one last unexpected 

appearance. After beginning to play the main theme once again, 

she quickly changes her mind and concludes the phrase. The 

cheerful third movement, in 3/8, has a contrasting middle section 

in duple time. Beginning with a serenade-like melody in a minor 

key, accompanied by pizzicato strings, it then launches into a 

rustic folk song from Strasbourg. This tune, which you may recognize 

from the 2003 film Master and Commander, includes a drone 

accompaniment and fiddle variations featuring left-hand pizzicato 

and chromatic triplets. Notes also are plucked in the soloist’s final 

statement of the rondo theme. The concerto ends graciously, with 

the winds alone playing the final phrase. 

KV218 in D Major is more extroverted and virtuosic than are 

Mozart’s first three concertos. Composed in the traditional key 

of trumpets and horns, the opening tutti and the soloist’s first 

entrance begin with a brass-like fanfare. Interestingly, the fanfare 

never returns, and the first movement’s recapitulation enters with 

the soloist’s secondary melody. Calmness and simplicity characterize 

the second movement as the exposition proceeds directly into 

the recapitulation. The “A” section of the concluding rondo is 

actually a pair of themes, an incomplete section in a moderate 2/4 

that leads into a lively section in 6/8. In the middle of the movement, 

Mozart surprises us with a stately gavotte, played in part 

over a drone in imitation of a musette. The last two iterations of 

the first rondo theme are very abbreviated, and each one features 

a different accompaniment texture. In contrast to the strong and 

definitive conclusion to his first D major violin concerto, KV218 

simply fades away. 

KV219 in A Major is the most popular of Mozart’s five violin concertos. 

It is the longest as well as the most original and adventurous, 

featuring some daringly imaginative structural experiments. 

The first movement is marked Allegro aperto (“open,” “frank”), a 

rare marking in Mozart’s instrumental music but more common 

in his operas. The joyful opening tutti is followed by a surprise; 




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the soloist enters with a tender Adagio, a type of interlude that 

does not appear in any of his other concertos. The Adagio material 

never again appears in the movement. After this brief digression, 

the soloist continues to startle by playing an entirely new 

Allegro melody while the orchestra repeats the original opening 

theme of the exposition, now transformed into an accompaniment. 

The soloist introduces additional new material of such a dramatic 

nature that one can almost imagine an operatic dialogue taking 

place between two characters, at times flirtatious, sentimental, 

anxious and even angry. The second movement is calm, filled with 

graceful sighing figures and lovely melodies of an almost painful 

beauty. After the poignant development section, the main theme 

returns as a brief fugato. Inexplicably, Brunetti was dissatisfied 

with this movement and requested a replacement that became the 

equally gorgeous Adagio in E major, KV261. 

The last movement is a gracious minuet. The solo and tutti iterations 

of the rondo theme are constantly varied with an inventiveness 

and playfulness that feels improvisatory. Halfway through the 

movement, aggressive, exotic-sounding music suddenly intrudes. 

Menacing and march-like, this music is typical of the “alla Turca” 

style that was immensely popular in the Classical period. Mozart 

imitates the clanging percussion of a Turkish military band by 

directing the cellos and basses to bang the wooden parts of their 

bows against the strings. “Alla Turca” music was used by such 

composers as Gluck and Haydn and famously by Mozart in his 

KV331 piano sonata and The Abduction from the Seraglio. So widespread 

was the fad for this type of faux-Turkish music that pianos 

built for home use often included an extra pedal that operated a 

pair of cymbals. 

Far from a harmless amusement, this type of caricature stems 

from deep-seated cultural and political attitudes that reflected the 

Western world’s fear of and fascination with Eastern and Arabic 

cultures and which exaggerated the “otherness” in order to retain a 

sense of superiority. In his 2010 book, Representations of the Orient 

in Western Music: Violence and Sensuality, musicologist Nasser 

Al-Taee effectively argues that such problematic artistic responses 

are not confined to past centuries and memories of the Ottoman 

Empire, but in fact continue in our own time. While perhaps 

not as controversial as, for instance, American music in the minstrelsy 

tradition, an informed performer’s decision whether to play 

Western music in the “alla Turca” style presents something of a 

moral dilemma. However, at least some of today’s classical musicians 

in Turkey do not share my ambivalence. During my February 

2011 Turkish debut, my colleagues in Ankara’s Bilkent Symphony 

explained that they proudly embrace Mozart’s Violin Concerto in 

A Major, even augmenting the orchestra with authentic Turkish 

percussion instruments during the “Turkish” section of the last 

movement. 

In Mozart’s day, concertos usually were performed without the 

benefit of a baton-wielding conductor. The soloist would lead the 

orchestra and join in with the first violin section when not playing 

his own solo part, or would direct the tuttis with his hands if playing 

a different instrument such as the piano or clarinet. I follow 

this tradition even for performances when a conductor helps me 

in the leadership duties. This chamber music approach, in which I 

am the first among equals, enables the music’s flow and texture to 

sound more authentic and to feel more satisfying than if I were to 

drop in and out as in a Romantic concerto.

Mozart did not leave any written cadenzas or eingänge for the 

violin concertos as he did for the piano. Soloists from Mozart’s 

time created cadenzas extemporaneously. Later on, many great 

violinists of the 19th and 20th centuries composed and published 

their cadenzas. Contemporary soloists often choose to play these, 

particularly Joseph Joachim’s. However, I always play my own, as 

I feel that this is the most personal and organic way to express 

my feelings about the music. My cadenzas for KV211, 216, 218 

and 219 are included in The Rachel Barton Pine Collection, a book 

of sheet music published by Carl Fischer. 

—Rachel Barton Pine 

Rachel Barton Pine (violin), in both art and life, has an 

extraordinary ability to connect with people. Her performances 

exude passion and conviction, and her honesty in communicating 

the core emotions of great works moves listeners worldwide. 

Pine’s scholarly fascination with history enables her to bring 

informed interpretations to her extensive repertoire, while her 

innate ability to understand and perform music of many diverse 

genres captivates music lovers of all backgrounds. Audiences are 

thrilled and uplifted by her dazzling technique, lustrous tone and 

infectious joy in music-making. 

During her 2011–12 season she will perform with Brazil’s 

Orquesta Filarmonica de Minas Gerais, Poland’s Beethoven 

Academy Orchestra, the Calgary and Las Vegas philharmonics 

and the Columbus and Tallahassee symphonies among others. 

Throughout the season she will play works by Bernstein, Brahms, 

Bruch, Corigliano, Glazunov, Korngold, Ravel, Sarasate, Vaughan 

Williams and Vivaldi. She will also perform the five Mozart 

Violin Concertos with the Chamber Soloists Orchestra of New 

York in Florida, Texas and California. 

A Chicago native, Pine began violin studies at age three and 

made her professional debut at age seven with the Chicago String 

Ensemble. Her earliest appearances with the Chicago Symphony 

(at ages 10 and 15) were broadcast on television. Her principal 

teachers were Roland and Almita Vamos, and she has also 

studied with Ruben Gonzalez, Werner Scholz, Elmira Darvarova 

and several early music specialists. She performs on the Joseph 

Guarnerius del Gesu (Cremona 1742), known as the “ex-Soldat,” 

on generous loan from her patron. Pine lives in Chicago with her 

family. 

Chamber Soloists Orchestra of New York 

Acclaimed as an outstanding ensemble of distinguished virtuosi, 

performing widely diverse repertoire in creatively programmed 

concerts, the Chamber Soloists Orchestra of New York has maintained 

a unique niche in the chamber music world for more than 

five decades. This 12-member ensemble of strings, winds and 

keyboard can increase to as many as 20 with the addition of guest 

artists, giving it the flexibility to offer many works that are seldom 

heard due to the unusual instrumental combinations for which 

they were written. 

With more than 250 works in their repertoire, the Chamber 

Soloists have made a valuable contribution to the musical life of 

this country and have helped to expand the audience for chamber 

music. Their programming innovations have included Bach’s complete 

Brandenburg Concerti in a single concert, Paris in the ’20s, 

an American Classics program, the complete Mozart horn concerti 

and song cycles, cantatas and operas from Monteverdi to Aitken. 

They have added substantially to the catalog of 20th century 

chamber works, with more than 25 compositions written for 

them by such significant composers as Gunther Schuller, Mario 

Davidovsky, Ezra Laderman and Mel Powell. The group has also 

commissioned works for children, including Ferdinand the Bull 

from noted American composer Hugh Aitken and compositions 

based on Alice’s Adventures in Wonderland by Gerald Fried and 

Tania French. 

The ensemble has compiled an impressive record of repeat engagements 

in North America and abroad, including 11 European tours, 

six Latin American tours and numerous tours of Asia and the 

South Pacific. 

In the United States, the Chamber Soloists have appeared frequently 

in New York City at the Metropolitan Museum of Art 

and Lincoln Center, in Washington at the Library of Congress, 

the National Academy of Sciences, Kennedy Center and National 

Gallery of Art, at major universities across the country from 

Boston to Berkeley and at the Mostly Mozart, Sun Valley and 

Caramoor festivals. Recent performances include two at the 

Casals Festival, as well as the debut of the Chamber Soloists’ new 

initiative, a large-scale orchestral program featuring luminaries 

such as Richard Stoltzman, Menahem Pressler and Anton Kuerti. 

These programs have been huge successes at venues including the 

Metropolitan Museum of Art, the Kravis Center, UCLA and the 

University of Arizona. The Chamber Soloists of New York were in 

residence at the Vermont Mozart Festival every summer from its 

inception in 1974 through its last year in 2010. 




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. 

lES BAllETS 

TROCkADERO DE 

MONTE CARlO


PResents 

lES BAllETS TROCkADERO DE MONTE CARlO 

A With a Twist Series Event 

Thursday, February 9, 2012 • 8PM 


There will be two intermissions. 

Individual support provided by Dolly and David Fiddyment 







Featuring: 

Colette Adae Lariska Dumbchenko Ephrosinya Drononova 

Nina Immobilashvili Irina Kolesterolikova Sonia Leftova 

Sveltlana Lofatkina Katya Lukinatmeya Ida Nevasayneva 

Marina Plezegetovstageskaya Olga Supphozova 

Vera Tchumpakova Yakatarina Verbosovich Vanya Verikosa Giuseppina Zambellini 

and 

Jacques d’Aniels Roland Deaulin Pepe Dufka 

Stanislas Kokitch Andrei Leftov Araf Legupski 

Dimitri Legupski Ivan Legupski Marat Legupski Vladimir Legupski 

Tino Xirau Lopez R.M. “Prince” Myshkin 

Velour Pilleaux Yuri Smirnov Andrei Verikose 

Eugene McDougle General Director 

Tory Dobrin Artistic Director 

Isabel Martinez Rivera Associate Director 

PROGRAM 

Program is subject to change without notice. 

Swan Lake 

Intermission 

Pas de Deux 

(to be announced) 

Go for Barocco 

Intermission 

Majisimas

Le Lac Des Cygnes (Swan Lake), Act II 

Music by Pyotr Ilyich Tchaikovsky 

Choreography after Lev Ivanovich Ivanov 

Costumes by Mike Gonzales 

Décor by Jason Courson 

Lighting by Kip Marsh 

Swept up into the magical realm of swans (and birds), this elegiac phantasmagoria of variations and ensembles in line and music is the signature 

work of Les Ballets Trockadero. The story of Odette, the beautiful princess turned into a swan by the evil sorcerer, and how she is nearly saved 

by the love of Prince Siegfried, was not so unusual a theme when Tchaikovsky wrote his ballet in 1877—the metamorphosis of mortals to 

birds and visa versa occurs frequently in Russian folklore. The original Swan Lake at the Bolshoi Theatre in Moscow was treated unsuccessfully; 

a year after Tchaikovsky’s death in 1893, the St. Petersburg Maryinsky Ballet produced the version we know today. Perhaps the world’s best 

known ballet, its appeal seems to stem from the mysterious and pathetic qualities of the heroine juxtaposed with the canonized glamour of 

19th century Russian ballet. 

Benno Dimitri Legupski (friend and confidant to … ) 

Prince Siegfried Andrei Verkose (who falls in love with … ) 

Odette Olga Supphozova (Queen of the … ) 

Swans: Ephrosinya Kronovnoa, Nina Immobilashvili, Irina Kolesteroliknova, Katya Lukinatmeya, 

Sonia Leftova, Vera Tchumpakova, Maya Thickenthighya, Giuseppina Zambellini 

(all of whom got this way because of … ) 

Von Rothbart R.M. “Prince” Myshkin (an evil wizard who goes about turning girls into swans) 

Pas de Deux 

(to be announced) 

Go for Barocco 

Music by J.S. Bach 

Choreography by Peter Anastos 

Costumes by Mike Gonzales 

Lighting by Kip Marsh 

Stylistic heir to Balanchine’s Middle-Blue-Verging-On-Black-and-White Period, this ballet has become a primer in identifying stark coolness 

and choreosymphonic delineation in the new (neo) neo-new classic dance. It has been called a wristwatch for Balanchine clock-time. 

First Movement (Moderato) Vanya Verikosa and Yakaterina Verbosovich 

with Ephrosinya Drononova, Nina Immobilashvili, Sonia Leftkova and Katya Lukinatmeya 

Second Movement (Adagio) Vanya Verikosa and Yakaterina Verbosovich 

Third Movement (Allegro) All 

Intermission 

Intermission 

Majisimas 

Music by Jules Massenet 

Stages with additional Choreography by Raffaele Morra 

Costumes by Christopher Anothony Vergara 

Lighting by Jax Messenger 

The music for Majisimas, which occurs in the second act of the 1885 opera El Cid, provides the opportunity for a seductive, exotic and 

Spanish-flavored demonstration of the intricate beauty of classical ballet technique. 

Olga Supphozova and Jacques d’Aniels 

Sveltlana Lofatkina 

Lariska Dumbchenko and Yakatarina Verbosovich 

Marat Legupski, Dimitri Legupski, Tino Xirau Lopez 

with Corps de Ballet 


lES BAllETS TROCkADERO DE MONTE CARlO


COMPANY hISTORY 

Founded in 1974 by a group of ballet enthusiasts for the purpose 

of presenting a playful, entertaining view of traditional, classical 

ballet in parody form and en travesti, Les Ballets Trockadero 

de Monte Carlo first performed in the late-late shows in off-off 

Broadway lofts. The Trocks, as they are affectionately known, 

quickly garnered a major critical essay by Arlene Croce in The New 

Yorker, and combined with reviews in The New York Times and The 

Village Voice, established the company as an artistic and popular 

success. By 1975, the Trocks’s inspired blend of their loving knowledge 

of dance, their comic approach and the astounding fact that 

men can, indeed, dance en pointe without falling flat on their faces, 

was being noted beyond New York. Articles and notices in publications 

such as Variety, Oui, The London Daily Telegraph, as well as a 

Richard Avedon photo essay in Vogue, made the company nationally 

and internationally known. 

The 1975–76 season was a year of growth and full professionalization. 

The company found management, qualified for the National 

Endowment for the Arts Touring Program and hired a full-time 

teacher and ballet mistress to oversee daily classes and rehearsals. 

Also in this season, they made their first extended tours of the 

United States and Canada. Packing, unpacking and repacking tutus 

and drops, stocking giant-sized toe shoes by the case, running for 

planes and chartered buses all became routine parts of life. 

Since those beginnings, the Trocks have established themselves 

as a major dance phenomenon throughout the world. They have 

participated in dance festivals in Bodrum (Turkey), Holland, San 

Luis Potosi, Madrid, Montreal, New York, Paris, Spoleto, Turin 

and Vienna. There have been television appearances as varied as a 

Shirley MacLaine special, the Dick Cavett Show, What’s My Line?, 

Real People, On-Stage America, with Kermit and Miss Piggy on 

their show Muppet Babies, a BBC Omnibus special on the world of 

ballet hosted by Jennifer Saunders. There have been solo specials 

on national networks in Japan and Germany, as well as a French 

television special with Julia Migenes. A documentary was filmed 

and aired internationally by the acclaimed British arts program The 

South Bank Show. The company was featured in the PBS program 

The Egg, about arts in America, winning an Emmy Award for the 

director, and appeared in a segment of Nightline in 2008. Several 

performances were taped by a consortium of Dutch, French 

and Japanese TV networks at the Maison de la Danse in Lyon, 

France, for worldwide broadcast and DVD distribution. Awards 

that the Trocks have won over the years include for best classical 

repertoire from the prestigious Critic’s Circle National Dance 

Awards (U.K.), the Theatrical Managers Award (U.K.) and the 

2007 Positano Award (Italy) for excellence in dance. In December 

2008, the Trocks appeared at the 80th anniversary Royal Variety 

Performance, to aid the Entertainment Artistes’ Benevolent Fund, 

in London, attended by members of the British royal family. 

The Trocks’s numerous tours have been both popular and critical 

successes. Their frenzied annual schedule has included seven tours 

to Australia and New Zealand, 27 to Japan (where their annual 

summer tours have created a nationwide cult following and a fan 

club), seven to other parts of Asia, 11 to South America, three to 

South Africa and 66 tours of Europe, including 20 tours of the 

United Kingdom. In the United States, the company has become 

a regular part of the college and university circuit in addition to 


regular dance presentations in cities in 49 states. The company 

has appeared in more than 30 countries and more than 500 cities 

worldwide since its founding in 1974. Increasingly, the company is 

presenting longer seasons, which have included extended engagements 

in Amsterdam, Athens, Auckland, Barcelona, Beijing, Berlin, 

Brisbane, Buenos Aires, Caracas, Cologne, Edinburgh, Glasgow, 

Hamburg, Hong Kong, Johannesburg, Lisbon, London, Lyon, 

Madrid, Melbourne, Moscow (at the famed Bolshoi Theater), Paris 

(Chatelet Theater), Perth, Rome, Singapore, Sydney, Tokyo, Vienna 

and Wellington. 

The company continues to appear in benefits for international 

AIDS organizations such as DRA (Dancers Responding to AIDS) 

and Classical Action in New York City, the Life Ball in Vienna, 

Dancers for Life in Toronto, London’s Stonewall Gala and 

Germany’s AIDS Tanz Gala. In addition, the Trocks have given, 

or participated in special benefit performances for Connecticut 

Ballet Theater, Ballet Hawaii, Indianapolis Ballet Theater, Rochester 

City Ballet, Dancers in Transition (NYC), Sadler’s Wells Theater 

in London, the Gay and Lesbian Community Center and Young 

Audiences/Arts for Learning Organization and the Ali Forney 

Center, benefiting homeless gay youths in New York City. In 

2009, the Trocks gave a benefit performance for Thailand’s Queen 

Sirikit’s Scholarship Fund in Bangkok, which helps finance schooling 

for children of impoverished Thai families. The benefit helped 

raise more than $400,000. 

The original concept of Les Ballets Trockadero de Monte Carlo 

has not changed. It is a company of professional male dancers 

performing the full range of the ballet and modern dance repertoire, 

including classical and original works in faithful renditions 

of the manners and conceits of those dance styles. The comedy is 

achieved by incorporating and exaggerating the foibles, accidents 

and underlying incongruities of serious dance. The fact that men 

dance all the parts—heavy bodies delicately balancing on toes as 

swans, sylphs, water sprites, romantic princesses, angst-ridden 

Victorian ladies—enhances rather than mocks the spirit of dance 

as an art form, delighting and amusing the most knowledgeable, 

as well as novices, in the audiences. For the future, there are plans 

for new works in the repertoire; new cities, states and countries to 

perform in and the continuation of the Trocks’s original purpose: 

to bring the pleasure of dance to the widest possible audience. 

They will, as they have done for more than 38 years, “keep on 

Trockin’.” 

www.trockadero.org

CAST OF ChARACTERS 

ThE DANCERS 

Olga Supphozova and Yuri Smirnov Robert Carter 

Sonia Leftova and Andrei Leftov Boysie Dikobe 

Marina Plezegetovstageskaya and Vladimir Legupski Roberto Forleo 

Colette Adae and Dimitri Legupski Claude Gamba 

Ida Nevasayneva and Velour Pilleaux Paul Ghiselin 

Vanya Verikosa and Andrei Verikose Brock Hayhoe 

Yakatarina Verbosovich and Roland Deaulin Chase Johnsey 

Vera Tchumpakova and Tino Xirau Lopez Roberto Lara 

Giuseppina Zambellini and Ivan Legupski Davide Marongiu 

Sveltlana Lofatkina and R.M. “Prince” Myshkin Fernando Medina Gallego 

Lariska Dumbchenko and Pepe Dufka Raffaele Morra 

Nina Immobilashvili and Stanislas Kokitch Alberto Pretto 

Irina Kolesterolikova and Marat Legupski Giovanni Ravelo 

Katya Lukinatmeya and Jacques d’Aniels Britton Spitler 

Ephrosinya Drononova and Araf Legupski Joshua Thake 

COMPANY STAFF 

General Director Eugene McDougle 

Artistic Director Tory Dobrin 

Associate Director/Production Manager Isabel Martinez Rivera 

Ballet Master Paul Ghiselin 

Lighting Supervisor Paul Frydrychowski 

Wardrobe Supervisor Jeff Sturdivant 

Associate Production Manager Barbara Domue 

Costume Designer (emeritus) Mike Gonzales 

Company Archivist (emeritus) Anne Dore Davids 

Stylistic Guru Marius Petipa 

Program Notes P. Anastos, et al. 

Orthopedic Consultant Dr. David S. Weiss 

Website Designer Steven Sunderland 

Photographer Sascha Vaughan 

Colette Adae was orphaned at the age of three when her mother, 

a ballerina of some dubious distinction, impaled herself on the 

first violinist’s bow after a series of rather uncontrolled fouette voyage. 

Colette was raised and educated with the “rats” of the Opera 

House, but the trauma of her childhood never let her reach her 

full potential. However, under the kind and watchful eye of the 

Trockadero, she has begun to flower, and we are sure you will 

enjoy watching her growth. 

Ephrosinya Drononova, people’s artist and Cat’s Meow, was educated 

at the Revanchist Institute. She began her career as Pistachia 

in V. Stolichnaya’s production of the The Nutcracker and achieved 

stardom as Odette/Odile/Juliet/Giselle/Aurora in the famous “Night 

of the 1000 Tsars.” Her repertoire encompasses nearly all the 

works she appears in. 

Lariska Dumbchenko. Before defecting to the West, Lariska’s 

supreme agility aroused the interest of the Russian space program, 

and in 1962, she became the first ballerina to be shot into orbit. 

Hurtling through the stratosphere, she delivered handy make-up 

tips to an assembled crowd of celebrities back on earth, including 

the now legendary “… Whitney Houston, we have a problem …” 

Nina Immobilashvili, for more years than she cares to admit, has 

been the Great Terror of the international ballet world. The omniscient 

and ubiquitous Immobilashvili is reputed to have extensive 

dossiers on every major dance figure, living and/or dead. This 

amazing collection has assured her entree into the loftiest choreographic 

circles; the roles she has thus been able to create are too 

numerous to mention. We are honored to present this grand dame 

in her spectacular return to the ballet stage. 

Irina Kolesterolikova was discovered, along with Rasputin’s boot, 

adrift in a basket on the river Neva by kindly peasants. Her debut 

at the Maryinsky Theatre, St. Petersburg, was marred by her overzealous 

grand jete into the Tsar’s box, impaling a Grand Duchess. 

Banished from Russia, she made her way arduously to New York, 

where she founded and still directs the Ecole de Ballet de Hard- 

Nox. Her most famous exercise is the warm-up consisting of a 

martini and an elevator. 

Sonia Leftova, “The Prune Danish of Russian Ballet,” abandoned 

an enormously successful career as a film actress to become a 

Trockadero ballerina. Her faithful fans, however, need not despair 

as most of her great films have been made into ballets: the searing 

Back to Back, the tear-filled Thighs and Blisters and the immortal 

seven-part Screams from a Carriage. Because of her theatrical flair, 

Sonia has chosen to explore the more dramatic aspects of ballet, 

causing one critic to rename her Giselle, “What’s my Line?” 

Sveltlana Lofatkina, lyrical, lissome, long-legged, “the Chernobyl 

Cherub,” has produced frissons in audiences on every continent 

but two with her ineffable delicacy and refinement. This limber 

gamine has captivated hearts since her auspicious debut as 

Talyusha, the Left Nostril, in the ballet drawn from The Nose by 

N. Gogol. She is renowned for her portrayal of sensitive, tortured, 

neurotic ladies and other kvetches. 




Katya Lukinatmeya. Due to persistence in attending company 

classes and all the rehearsals over the past year, the company was 

forced to accept her into the ranks as a ballerina, proving that even 

in the dictatorial world of ballet, there is room for heart. 

Ida Nevasayneva, socialist Real ballerina of the working peoples 

everywhere, comes flushed from her triumphs at the Varna 

Festival, where she was awarded a specially created plastic medal 

for Bad Taste. Comrade Ida became known as a heroine of the 

Revolution when, after effortlessly boureeing through a mine field, 

she lobbed a loaded toe shoe into a capitalist bank. 

Marina Plezegetovstageskaya. Any ballet goer who saw Mme. 

Plezegetovstageskaya dancing on a herring in her first American 

tour is not likely to forget her outstanding performance as the Sour 

Cream Fairy. One of the world’s great dialectical sophists, Honored 

Artist Plezegetovstageskaya came to the stage from the Bolshoi 

Academy of Dance Polemics, where she excelled in heroic parts 

and tableaux vivifies. There she gained youthful fame as a practitioner 

of barefoot naturalism right up to the eyebrows. Following 

her graduation she was drafted by the Trockadero for a player to 

be named later. 

Olga Suppozova made her first public appearance in a KGB lineup 

under dubious circumstances. After a seven-year-to-life hiatus, 

she now returns to her adoring fans. When questioned about her 

forced sabbatical, Olga’s only comment was “I did it for Art’s sake.” 

Art said nothing however. 

Vera Tchumpakova, a celebrated child prodigy back in the 

Brezhnev era, astounded her parents at the age of two by taking 

a correspondence course in ballet. Sadly, due to the unreliable 

Russian postal system, she has only just graduated. 

Yakatarina Verbosovich. Despite possessing a walk-in wardrobe so 

large that it has its own post code, Yakatarina remains a true ballerina 

of the people. Indeed, she is so loved in her native Russia that 

in 1993, the grateful citizens of Minsk awarded her the key to the 

city. That might well have remained the “golden moment” of this 

great ballerina’s career had they not subsequently changed the lock 

Vanya Verikosa, the hardest working living ballerina, has survived 

three revolutions, two counter-insurgencies and a Transit strike. 

Her most unforgettable portrayal was the title role of Godzilla in 

Croise, praise for which was unanimous, not undue to the lengthy 

hospitalization required by certain hostile journalists. 

Giuseppina Zambellini created many original roles in St. 

Petersburg, where she was the last of a long line of Italian Etoiles 

to appear at the Maryinsky Theater. It was her dazzling triumph in 

the role of “Electricity” in the extravagant “Excelsior” in her native 

Milan which brought her fame. However, no less electrifying was 

the lineup of perfectly trained elephants, performing like the present 

day Rockettes. Unfortunately, Mlle. Zambellini’s jealous scenes 

over the publicity given to these elephants and their ensuing 

popularity with the public caused numerous problems. She subsequently 

refused to appear again in this role. 

Jacques d’Aniels was originally trained as an astronaut before 

entering the world of ballet. Strong but flexible, good natured but 

dedicated, sensible but not given to unbelievable flights of fantastic 

behavior, Mr. d’Aniels is an expert on recovering from ballet injuries 

(including the dread “Pavlova’s clavicle”). 


Roland Deaulin. Having invented the concept of the “bad hair 

year” or “annus hairibilis,” French-born Roland now devotes his 

spare time to selling his new line of Michael Flatley Wigs on the 

QVC shopping channel. 

Pepe Dufka. The ballet world was rocked to its foundations last 

month when Pepe Dufka sued 182 of New York’s most ardent ballet 

lovers for loss of earnings. Mr. Dufka claims that 19 years of 

constant exposure to rotten fruit and vegetables has led to painful 

and prolonged bouts of leafmold, cabbage root fly and bottom end 

rot. Sadly, this historic court case comes too late for a former colleague, 

whose legs were recently crushed by a genetically modified 

avocado and will never dance again. 

Stanislas Kokitch, “The Forgotten Man” of ballet, is hardly ever 

mentioned in reviews by critics or in discussions by devoted balletomanes 

despite having created several important roles in now 

forgotten ballets. He is the author of The Tragedy of My Life, an 

autobiography not at all reliable. 

The Legupski Brothers. Araf, Dimitri, Ivan, Marat or Vladimir are 

not really brothers, nor are their names really Araf, Dimitri, Ivan, 

Marat or Vladimir nor are they real Russians, nor can they tell the 

difference between a pirouette and a jete … but … well … they do 

move about rather nicely … and … they fit into the costumes. 

Andrei Leftov. “The Prune Danish of Russian Ballet,” abandoned 

an enormously successful career as a film actor to become a 

Trockadero premier danseur. His faithful fans, however, need not 

despair as most of his great films have been made into ballets: the 

searing Back to Back, the tear-filled Thighs and Blisters and the 

immortal seven-part Screams from a Carriage. Because of his theatrical 

flair, Andrei has chosen to explore the more dramatic aspects of 

ballet, causing one critic to rename his Siegfried, “What’s my Line?” 

Tino Xirau Lopez, a disciple of the Great Panjandrums, is the 

world’s foremost exponent of “do it” Romanticism. His style 

becomes a great foil to the “go for it” approach of many of today’s 

leading ballerinas, especially in the art of the Pas De Deux. 

R.M.“Prince” Myshkin. Mongolian-born, Cream of the Tartars, 

the artist formerly known as Prince Myshkin, electrified the 

world over a decade ago when he leapt Over The Wall or Under 

the Curtain, whichever came first. Since his arrival in the West, 

Myshkin’s mercurial charm has quickened pulses, bruised shins 

and caused gasps of disbelief. Although the current tour marks 

Myshkin’s American debut, the sovereign of the Steppes has 

already created a reputation abroad, where he is not expected to 

return. Recipient of many rewards since his days at the prestigious 

Young Pioneer’s Academy of Tashkent, he was most recently 

named People’s Artist of the Komsomol Prospekt with Pirozhki. 

Myshkin, the beau ideal, brings dignity, restraint, elegance, reserve 

and pep to his roles and will soon be seen as the entire cast of The 

Little Troika That Could. 

Velour Pilleaux, whose political adaptability saw him through 

two world wars and numerous police actions, comes to America 

in conjunction with the release of his 10th cookbook, Ma Brie. 

When asked by an American reporter to describe his most exciting 

experience in ballet, M. Pilleaux referred to pages 48–55: the 

night he danced the Rose Adagio (en travesti) in Buenos Aires with 

four political figures, the names of whom he assured us we would 

recognize.

Yuri Ismirnov. At the age of 16, Yuri ran away from home and 

joined the Kirov Opera because he thought Borodin was a prescription 

barbiturate. Luckily for the Trockadero he soon discovered 

that he didn’t know his arias from his elbow and decided to 

become a ballet star instead. 

Andrei Verikose, the hardest working living premier danseur, 

has survived three revolutions, two counter-insurgencies and a 

Transit strike. His most unforgettable portrayal was the title role of 

Godzilla in Croise, praise for which was unanimous, not undue to 

the lengthy hospitalization required by certain hostile journalists. 

DANCERS 

Robert Carter 

Birthplace: Charleston, South Carolina. Training: Robert Ivey 

Ballet School, Joffrey Ballet School. Joined Trockadero: November 

1995. Previous Companies: Florence Civic Ballet, Dance Theater of 

Harlem Ensemble, Bay Ballet Theater. 

Boysie Dikobe 

Birthplace: Brits, South Africa. Training: South African Ballet 

Theatre School, National School of the Arts, Washington School 

of Ballet. Joined Trockadero: February 2011. Previous Companies: 

South African Ballet Theatre, Cape Town City Ballet. 

Roberto Forleo 

Birthplace: Bari, Italy. Training: Scuola di Balletto Classico 

Cose-Stafanesco, Rudra Bejart. Joined Trockadero: December 

2008. Previous Companies: Grupo Corpo (Brazil), Bejart Ballet 

(Lausanne), Rambert Dance Company, Ballet Biarritiz, La 

Parenthese, Cie Marie-Laure Agrapart (Paris), Cie Le Guetteur-Luc 

Petton (Reims). 

Claude Gamba 

Birthplace: Nice, France. Training: Paris Opera Ballet School, 

Rosella Hightower School of Dance. Joined Trockadero: August 

2008. Previous Companies: Nice Opera Ballet, Paris Opera Ballet, 

Zurich Opera Ballet, La Scala Opera Ballet, Les Ballets de Monte 

Carlo. 

Paul Ghiselin 

Birthplace: Chapel Hill, North Carolina. Training: Tidewater Ballet 

Academy, Joffrey Ballet School. Joined Trockadero: May 1995. 

Previous Companies: Ohio Ballet, Festival Ballet of Rhode Island. 

Brock Hayhoe 

Birthplace: Toronto, Canada. Training: National Ballet of Canada 

School. Joined Trockadero: May 2008. Previous Company: Cape 

Town City Ballet. 

Chase Johnsey 

Birthplace: Winter Haven, Florida. Training: Harrison Arts Center, 

Virginia School of the Arts. Joined Trockadero: April 2004. 

Previous Company: Florida Dance Theatre. 

Roberto Lara 

Birthplace: Mexico City, Mexico. Training: National School of 

Classic Dance. Joined Trockadero: December 2006. Previous 

Company: National Dance Company of Mexico. 

Davide Marongiu 

Birthplace: Cagliari, Italy. Training: English National Ballet School, 

American Ballet Theater School. Joined Trockadero: May 2005. 

Fernando Medina Gallego 

Birthplace: Madrid, Spain. Training: Rudra Bejart School 

(Lausanne), Escuela Victor Ullate (Madrid). Joined Trockadero: 

December 1998. Previous Companies: Classical Ballet of Barcelona, 

Basler Ballet, Introdans, Ballet de L’Opera de Nice. 

Raffaele Morra 

Birthplace: Fossano, Italy. Training: Estudio de Danzas (Mirta & 

Marcelo Aulicio), Accademia Regionale di Danza del Teatro Nuovo 

di Torino. Joined Trockadero: May 2001. Previous Company: 

Compagnia di Danza Teatro Nuovo di Torino. 

Alberto Pretto 

Birthplace: Vicenza, Italy. Training: Academie de Danse Classique 

Princesse Grace, Monaco Montecarlo. Joined Trockadero: February 

2011. Previous Companies: English National Ballet, Stadttheater 

Koblenz. 

Giovanni Ravelo 

Birthplace: Bucaramanga, Colombia. Training: Ballet Anna Pavlova 

(Bogota), the Rock School, Escuela del Ballet Nacional de Cuba. 

Joined Trockadero: October 2008. Previous Companies: Roxey 

Ballet, Ballet Nacional de Colombia. 

Britton Spitler 

Birthplace: Dayton, Ohio. Training: Pontecorvo Ballet Studios, 

University of Cincinnati-College Conservatory of Music. Joined 

Trockadero: January 2011. Previous Companies: Cincinnati Ballet, 

Charleston Ballet Theater. 

Joshua Thake 

Birthplace: Providence, Rhode Island. Training: Boston Ballet 

School, San Francisco Ballet School, Brae Crest School of Classical 

Ballet. Joined Trockadero: November 2011. Previous Company: 

Man Dance Company of San Francisco 

Les Ballets Trockadero de Monte Carlo, Inc. is a nonprofit dance 

company chartered by the State of New York. 

Special thanks to: 

The Harkness Foundations for Dance, Theodore S. Bartwink, 

Keiko Tomita, Elena Kunikova, Charla Genn, Caridad Martinez, 

Ludmila Raianova, Julia Glawe, Abby Kahn and Johanna Rajamaki 

of IMG Artists. 

Music for Swan Lake, Go for Barocco and Paquita conducted by 

Pierre Michel Durand with the Czech Philharmonic Chamber 

Orchestra, Pavel Prantl, Leader. 

The Trocks rehearse in New York City at the new 42nd Street 

Studios and City Center Studios. 

Worldwide Representation by IMG Artists 




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


PResents 

Debut 

MC 

Circa 

CirCa 

A Bistro 33 Marvels Series Event 


Sunday, February 12, 2012 • 3PM 


Sponsored by 

Please be sure that you have switched off all electronic devices. 



CIRCA 


Circa 

CirCa 

A Circa Production 

Presented in Association with Arktype 

Artistic Director Yaron Lifschitz 

Associate Director Ben Knapton 

Producer Diane Stern 

Lighting Designer Jason Organ 

Costume Designer Libby McDonnell 

Executive Producer, U.S. Tour Arktype/Thomas O. Kriegsmann 

Ensemble Members Valérie Doucet 

Casey Douglas 

Darcy Grant 

Scott Grove 

Emma McGovern 

Lewis West 

Circa acknowledges the assistance of the Australian Government through the Australia Council, 

its arts funding and advisory body, and the Queensland Government through Arts Queensland.

ABOuT ThE COMPANY 

Australia’s Circa is a company of national and international significance 

with an impressive reputation of innovation, touring 

and developing repertoire and local workshop programs. Having 

performed in more than 20 countries since 2006, its work continues 

to be rapturously received by audiences, presenters and critics 

alike. Artistic Director Yaron Lifschitz describes Circa’s work as 

one that defies description: “It is, in its heart, a report on what is 

alive, nourishing and contemporary in circus. It is also a strange 

and curious new beast; at once savage, funny, lyrical, pure and 

challenging. 

“We cause beauty. We make a kind of physical poetry from the 

languages of circus. Where other companies tend to add elements 

(story, character) our work is a stripped-back circus of the heart. 

It finds new emotional landscapes inside what is generally considered 

to be a spectacle. Our work has toured to 22 countries across 

five continents in the past three years. It works across cultures, 

audiences and venues. I think it is the appeal of something that 

is skillful but hasn’t forgotten that to be human is, in the first 

instance, to feel.” 

ABOuT ThE ShOw 

CIRCA is a work created for seven performers from three of Circa’s 

acclaimed works: The Space Between, by the light of stars that are no 

longer … and Furioso. 

Over 75 intense minutes, the performers move from highly connected 

acrobatic and tumbling sequences through fast-paced intricate 

scenes through to the hauntingly beautiful closing scenes of 

by the light of stars of stars that are no longer … Circa’s signature 

style—combining poetic physical beauty, extraordinary circus 

skills and an immersive use of sound, light and projection. 

With CIRCA, audiences can expect to see amazing circus skills 

in new and startling configurations, bold and innovative use of 

video and lights, a moving soundtrack and a muscular and precise 

movement sensibility. Circa’s work is very fresh—contemporary 

circus, acrobatic dance, multi-media. But at the end of it all, Circa’s 

work brings human emotion to circus. Our shows are deeply felt 

and make audiences think and feel. 

We are all looking for some way to make our work more powerful. 

In the actuality of circus, in acrobatics, there is immediacy, a 

danger and a skill that is extraordinary. I think many people want 

to tap into this and use its power. I am lucky because I work in a 

circus, so we start with these elements. They are our basic script. 

Rather than add circus to choreography, we discover choreographic 

possibilities inside circus. 

ACkNOwlEDGEMENTS 

Created by Yaron Lifschitz and the Circa Ensemble 

Directed by Yaron Lifschitz 

Lighting Design Jason Organ 

Yaron Lifschitz is a graduate of the University of New South 

Wales, University of Queensland and the National Institute of 

Dramatic Arts (NIDA), where he was the youngest director ever 

accepted into its prestigious graduate director’s course. Since graduating, 

Lifschitz has directed more than 60 productions including 

large scale events, opera, theater, physical theater and circus. His 

work has been seen in 22 countries, across five continents by more 

than 500,000 people. 

Lifschitz was founding artistic director of the Australian Museum’s 

Theatre Unit, head tutor in Directing at Australian Theatre for 

Young People and has been regular guest tutor in directing at 

NIDA since 1995. He is currently artistic director and CEO of 

Circa. 

With Circa, Lifschitz has created works such as Wunderkammer, 

CIRCA, by the light of stars that are no longer …, The Space Between 

and 61 Circus Acts in 60 Minutes. His recent works have been 

described in reviews as being “beautiful and moving” and “the 

standard to which all other circuses can aspire.” 

Lifschitz lives in Brisbane with his son Oscar. His passion is creating 

works of philosophical and poetic depth from the traditional 

languages of circus. 

Valérie Doucet has always wanted to be part of the circus, joining 

a cymnastics center at the age of six. When she was 12, she left 

gymnastics behind to co-open Les Fous Du Cirque, a small school 

brought together for the love of circus. As the school expanded 

Doucet did more and more shows and festivals to expand her 

skills in both silks and hoop. After turning 15, she finished high 

school while attending the National Circus School of Montreal, 

getting into a college program and specializing in hand balancing. 

Doucet’s performance experiences include performing in Palazzo 

Colombino, a variety cabaret in Germany and working for Cirque 

en Vol and Cirque éloize. Valérie joined Circa in 2011. 

Casey Douglas was born in Perth, Western Australia. Right from 

the beginning he was a hyper-active child playing all the sports 

possible, leading him to 10 years as a competitive gymnast. 

After completing his degree at the National Institute of Circus Arts 

(NICA) he received a grant for a training project in Chattellaraut, 

France, where he completed further studies with seven handstandprofessors 

from the European Federation of Professional Circus 

Schools (FEDEC). 

On returning to Melbourne, Douglas ran Hardy Street Productions, 

a circus training and arts center before becoming a founding 

member of ThisSideUp Acrobatics. With this company he has 

performed at Chalon and Aullriac in France, London and the 

Edinburgh Fringe, Watch This Space and Galway International 

Art festivals. ThisSideUp was also commissioned by the Sydney 

Festival to create Smoke and Mirror, which won Best New 

Australian Work, Best Cabaret Performer and Best New Score in 

the prestigious Helpmann Awards. 

Darcy Grant joined the Flying Fruit Fly Circus at age 13, graduating 

when he was 18. At 19, he joined Rock’n’Roll Circus, now 

known as Circa. Darcy specializes in floor-based acrobatics and 

pointless party tricks from a performance perspective but his talents 

also extend to training and directing, having led a Circa team 

on a tour of Regional Queensland. 

Grant particularly enjoyed the 2008 season of by the light of the 

stars that are no longer… presented at La Tohu, Canada, and is 

excited to see what the 2011 tour brings his way. 


CIRCA


Written by Federico García Lorca 

Directed by Granada Artist-in-Residence 

JuLiette carriLLo 

thu–Sat March 8-10 8pM | Sun March 11 & 18 2pM 

thu–Sat March 15-17 8pM 

M ain TheaTre 

TickeTs & inforMaTion: 530.754. artS 

theatredance.ucdaviS.edu

Scott Grove has been performing professionally as an acrobat since 

he was 15. He has toured all over Australia and Asia doing shows 

at schools, theaters, clubs and corporate events. Over the years 

he has also worked with various companies including the English 

National Ballet, the 2000 Sydney Olympics Opening Ceremony, 

Flying Trapeze Australia and the Tom Tom Crew. 

Grove joined Circa in February 2010. His highlights thus far are 

the Circa Festival at Auch, France, and the fantastic audiences at 

the Dublin Theatre Festival in 2010. 

Emma McGovern’s passion for the physical art forms have led her 

on a journey through dance, physical theater, circus and martial 

arts. Studying dance at the Conservatorium of Arts in Lismore in 

1999 then merging into the world of circus, she has been working 

professionally for the last eight years in Australia and overseas 

with a variety of companies. 

McGovern became a Circa ensemble member in 2009, having previously 

toured with the company. She has many highlights including 

the Barbican in the U.K., the Circus Festival at Auch, 46 Circus 

Acts in 45 Minutes at the New Victory Theatre, New York, and 

performing in the world premiere of Wunderkammer in her home 

town of Brisbane as part of the Brisbane Festival 2010. 

Lewis West was born on Australia Day 1988 as the youngest of 

four boys. With a background in gymnastics, trampolining, breakdance 

and various circus disciplines, West graduated from National 

Institute of Circus Artists (NICA) in 2008 with high distinction in 

both theory and practice. The next day he flew to Brisbane to join 

Circa’s professional ensemble. 

West’s highlights so far have included performing at La Tohu, 

Canada, the New Victory Theatre, New York and the Barbican, U.K 

Arktype was founded in 2006 under the direction of Thomas O. 

Kriegsmann toward the long-term development, production and 

touring of internationally based performance work and curating. 

His acclaimed work as producer has been seen worldwide. 

Kriegsmann began his work in the production and development 

of emerging ensembles and is currently represented off- 

Broadway and on tours worldwide with Yael Farber/The Farber 

Foundry (South Africa); Nalaga’at (Tel Aviv); Peter Brook/CICT 

(Paris); Phantom Limb (New York); Jessica Blank & Erik Jensen’s 

AFTERMATH (New York); Circa (Brisbane); Mikhail Baryshnikov/ 

Krymov Laboratory (Moscow/NYC); T.P.O. (Italy); Superamas 

(Vienna); Aurélia and Victoria Thiérrée-Chaplin (France); KMA 

(London); Jay Scheib (Cambridge); World/Inferno Friendship 

Society (Brooklyn); Rude Mechs (Austin, Texas); Theatre for a 

New Audience (New York), as well as producing the Baryshnikov 

Arts Center/FSU Ringling International Arts Festival in Sarasota, 

Florida. Upcoming premieres include Phantom Limb’s 69˚S. in collaboration 

with Kronos Quartet, Yael Farber’s The Ramayana and 

Jim Jarmusch and Phil Kline’s Tesla in New York. 

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PResents 

Debut 

MC 

lOuDON wAINwRIGhT III 

lEO kOTTkE 

An American Heritage Series Event 

Tuesday, February 14, 2012 • 8PM 



Individual support provided by 

John and Lois Crowe 




capradio.org 

campus community relations 

is a proud sponsor of 

the robert and margrit 

mondavi Center for the performing arts 

26 | mondaviarts.org

lOuDON wAINwRIGhT III 

lEO kOTTkE 

Musical selections will be announced from the stage. 

loudon wainwright III 

Loudon Wainwright III was born in Chapel Hill, North Carolina 

in 1946. His father was Loudon Wainwright Jr., a columnist and 

senior editor for LIFE magazine, and his mother, Martha Taylor, 

was a housewife and yoga teacher. He studied acting at Carnegie- 

Mellon University but dropped out to partake in the Summer of 

Love in San Francisco. 

Loudon wrote his first song in 1968, “Edgar,” about a Watch Hill, 

Rhode Island, lobsterman and was soon signed to Atlantic Records 

by Nesuhi Ertegun. Several years later, Clive Davis lured him to 

Columbia Records, where Album III (1972) yielded the Top 20 hit 

“Dead Skunk.” His recording career spans a total of 23 albums, 

including Grammy-winning High Wide & Handsome (2009), a 

musical tribute to Charlie Poole (1893–1931) the legendary yet 

obscure North Carolina singer and banjo player (awarded Album 

of the Year status by Entertainment Weekly editor and NPR contributor 

Ken Tucker). 

Wainwright collaborated with songwriter/producer Joe Henry on 

the music for Judd Apatow’s hit movie Knocked Up, wrote music 

for the British theatrical adaptation of the Carl Hiaasen novel 

Lucky You and composed topical songs for NPR’s Morning Edition 

and All Things Considered and ABC’s Nightline. Wainwright’s 

songs have been recorded by Johnny Cash, Earl Scruggs, Rufus 

Wainwright and Mose Allison among others. 

Loudon’s acting career includes a recurring role as Captain Calvin 

Spalding, the singing surgeon, in TV’s M.A.S.H. and a stint in 

Pump Boys & Dinettes on Broadway and more recent work in 

films directed by Hal Ashby, Tim Burton, Cameron Crowe, Martin 

Scorsese, Christopher Guest and Judd Apatow. He also appeared as 

a regular in Apatow’s critically acclaimed TV series Undeclared. 

Loudon’s newest CD release is Songs For the New Depression 

(2010), a collection of topical songs on his own label, 

Cummerbund Records. 

www.lw3.com 

leo kottke 

Acoustic guitarist Leo Kottke was born in Athens, Georgia, but his 

family moved after a year and a half. Raised in 12 different states, 

he absorbed a variety of musical influences as a child, flirting with 

both violin and trombone before abandoning Stravinsky for the 

guitar at age 11. 

After adding a love for the country-blues of Mississippi John 

Hurt to the music of John Phillip Sousa and Preston Epps, Kottke 

joined the Navy underage and worked underwater, eventually losing 

some hearing through shooting at light bulbs in the Atlantic 

while serving on the USS Halfbeak, a diesel submarine. 

Kottke attended the University of Missouri, dropping out after a 

year to hitchhike across the country to South Carolina, then to 

New London and to rejoin the Navy, with his 12 string. “The trip 

was not something I enjoyed,” he has said. “I was broke and met 

too many interesting people.” 

Discharged in 1964, he settled in the Twin Cities area and became 

a fixture at Minneapolis’s Scholar Coffeehouse, which had been 

home to Bob Dylan and John Koerner. He released his 1968 

recording debut Twelve String Blues, recorded on a Viking quarterinch 

tape recorder, for the Scholar’s tiny Oblivion label. (The label 

released one other LP by the Langston Hughes Memorial Eclectic 

Jazz Band.) 

After sending tapes to guitarist John Fahey, Kottke was signed to 

Fahey’s Takoma label, releasing what is now called the Armadillo 

record. Fahey and his manager Denny Bruce soon secured a production 

deal for Kottke with Capitol Records. 

Kottke’s 1971 major-label debut, Mudlark, positioned him somewhat 

uneasily in the singer/songwriter vein, despite his own wishes 

to remain an instrumental performer. Still, despite arguments 

with label heads as well as with Bruce, Kottke flourished during 

his tenure on Capitol, as records like Greenhouse and the live My 

Feet Are Smiling and Ice Water found him branching out with guest 

musicians and honing his guitar technique. 

With Chewing Pine (1975), Kottke reached the U.S. Top 30 for the 

second time. He also gained an international following thanks to 

his continuing tours in Europe and Australia. 

His collaboration with Phish bassist Mike Gordon, Clone, caught 

audiences’ attention in 2002. Kottke and Gordon followed with a 

recording in the Bahamas called Sixty Six Steps, produced by Leo’s 

old friend and Prince producer David Z. 

Kottke has been awarded two Grammy nominations; a 

Doctorate in Music Performance by the Peck School of Music 

at the University of Wisconsin, Milwaukee; and a Certificate of 

Significant Achievement in Not Playing the Trombone from the 

University of Texas at Brownsville with Texas Southmost College. 


lOuDON wAINwRIGhT III AND lEO kOTTkE


Mondavi Gala 

Ballet Preljocaj’s 

Blanche Neige 

SATuRDAY, MARCh 17, 2012 

5:30 p.m. Champagne reception – Vanderhoef Studio Theatre, Mondavi Center 

7:00 p.m. Blanche Neige – Jackson Hall, Mondavi Center 

Post-performance dinner with Gala Executive Chef Michael Chiarello – Robert Mondavi Institute 

For further information or to purchase tickets by phone, please call 530.752.0991 

Lois and John Crowe 

Morton and Marcy Friedman 

ann and gordon getty 

Kathryn and Craig Hall 

featuring the U.S. premiere of 

Black tie • RSVP by February 17, 2012 

Chancellor linda P.B. katehi 

University of California, Davis 

honorary Gala Committee 

Barbara K. Jackson 

garry maisel 

Paul and sandra montrone 

Teresa and Richard Niello 

randy reynoso 

Margrit Mondavi 

Chair, Honorary Gala Committee 

Lead Presenting Sponsor Presenting Sponsor 

Consul General of France 

Romain Serman and Laura Serman 

Arlene Schnitzer 

Sofia and Angelo K. Tsakopoulos


PResents 

Debut 

MC 

ERIC OwENS, BASS-BARITONE 

ROBERT SPANO, PIANO 

A Director’s Choice Series Event 

Friday, February 17, 2012 • 8PM 



Individual support provided by 



see p. 30 






by jEFF huDSON 

You wouldn’t know it from his program at the 

Mondavi Center tonight or from his discography, 

but when Ebony magazine asked Eric Owens about 

“a role you haven’t sung yet that you are dying to 

do,” his answer was decisive. 

“Any time I get a chance to sing Johann Sebastian 

Bach, it’s just like a gift. Any time I get to do Bach’s 

St. Matthew Passion, it’s a thrill to me,” Owens said. 

Owens likes singing Handel, too. He has appeared 

in Handel’s operas Giulio Cesare, Ariodante, Hercules 

(the title role, naturally), Jeptha and the oftperformed 

oratorio Messiah. 

Owens made a considerable splash in 2010 as 

Alberich in the Met’s new production of Wagner’s 

Das Rheingold—the high-tech production directed 

by Robert Lepage, with the 45-ton “machine” on 

stage. (Davis locals may recall the then-impressive 

but not-nearly-so-large gizmo that the Canadian 

actor/director brought to town in 2001 for his solo 

piece the far side of the moon. When music professor 

D. Kern Holoman saw that mechanical marvel of a 

decade ago, Holoman worried that Lepage’s equipment 

would “blow every fuse in the Main Theater” 

when it was turned on. But the performance came 

off beautifully.) 

Owens earned praise from Anthony Tommasini 

of The New York Times for presenting Alberich 

(a dwarf) as “a barrel-chested, intimidating foe, 

singing with stentorian vigor, looking dangerous 

in his dreadlocks and crazed in his fantasy of 


Jeff Hudson contributes coverage of the performing 

arts to Capital Public Radio, the Davis Enterprise 

and Sacramento News and Review. 

ruling the universe.” Owens was due back at the 

Met in January to continue the role of Alberich in 

Götterdämmerung. Look for broadcasts and DVDs 

to come of these productions. 

Owens also appears in contemporary opera—he 

played the hard-driving Gen. Leslie Groves in the 

San Francisco Opera premiere of John Adams’s 

Doctor Atomic (and appears in the DVD version). 

As Groves, Owens sings what some call “the diet 

aria,” referencing “three pieces of chocolate cake, 

300 calories.” It is one of the few light moments 

in an otherwise serious opera about the atomic 

bomb. Owens told an interviewer that “When I sing 

the line about the cake, it is like having a therapy 

session in front of a few thousand people, since I’m 

not exactly a small guy.” 

Owens has also recorded Adams’s two-act opera 

A Flowering Tree and sung in performances of 

Adams’s nativity oratorio El Niño. 

Owens is relatively young (born in 1970), but 

he’s made a career playing older guys. He told an 

interviewer, “Mostly, the bass-baritone repertoire 

consists of: either you’re somebody’s father or 

you’re the king, or you’re someone in the clergy, 

or you’re playing this very wise character. That’s 

just the nature of the voice type. You’re not going 

to be the romantic interest, that’s sorta reserved to 

tenors.”


ROBERT SPANO, PIANO 

Drei Lieder nach Gedichten von Michelangelo Wolf 

“Wohl denk ich oft” 

“Alles endet, was entstehet” 

“Fühlt meine Seele das ersehnte Licht” 

Mein Herz ist schwer, Op. 25, No. 15 Schumann 

Muttertraum, Op. 40, No. 2 

Der Schatzgräber, Op. 45, No. 1 

Melancholie, Op. 74, No. 6 

Prometheus, D. 674 Schubert 

Fahrt zum Hades, D. 526 

Gruppe aus dem Tartarus, D. 583 

Amphiaraos, D. 166 

Intermission 

Beau Soir Debussy 

Fleur des Blés 

Romance 

Nuit d’étoiles 

L’Invitation au Voyage Duparc 

Le Manoir de Rosemonde 

Élégie 

La Vague et la Cloche 

Don Quichotte à Dulcinée Ravel 

“Chanson romanesque” 

“Chanson épique” 

“Chanson à boire” 

Les Deux Grenadiers Wagner 

Program is subject to change. 


ERIC OwENS, BASS-BARITONE, AND ROBERT SPANO, PIANO

ERIC OwENS, BASS-BARITONE, AND ROBERT SPANO, PIANO 

PROGRAM NOTES 

Drei Lieder nach Gedichten von Michelangelo (Three Songs on 

Poems by Michelangelo) (1897) 

Hugo Wolf 

(Born March 13, 1860, in Windischgraz, Austria; Died February 

22, 1903, in Vienna) 

As a Christmas gift in 1896, Wolf received a copy of Walter 

Robert-Tornow’s just-published German translations of poems by 

Michelangelo from Paul Müller, a friend in Berlin and founder 

there of the first Hugo Wolf Society, and the following March, only 

six months before his final mental breakdown, Wolf set three of 

them. They were his last works, and in his 1910 biography of the 

composer, English musicologist Ernest Newman wrote that they 

contain “the throb of feeling as profound as in anything Wolf ever 

wrote.” 

In a letter to a friend, Wolf provided his own description of 

the first song, “Wohl denk’ ich oft an mein vergang’nes Leben” 

(“I often think on my past life,” excerpted from Michelangelo’s 

Io crederrei, se tu fussi di sasso—“I believe I could, even if you 

were made of stone, love you so faithfully”): “[It] begins with a 

melancholy introduction and holds fast to this tone until the line 

before the last. Then it takes on unexpectedly a vigorous character 

(developed from the previous motive) and closes festively with 

triumphal fanfares, like a flourish of trumpets sounded for 

[Michelangelo] by his contemporaries in homage.” 

The second song—Alles endet, was entstehet (Everything ends 

which comes to be, based on Michelangelo’s Chiunche nasce a morte 

arriva)—is one of Wolf’s most profound utterances. He once 

considered titling it “Vanitas Vanitatum.” 

Fühlt meine Seele das ersehnte Licht von Gott? (Is my soul feeling 

the longed-for light of God? based on Michelangelo’s Non so se s’è la 

desïata luce) yearns for spiritual fulfillment but can find no answer 

within, and ends by tracing the unsettled state of the poet’s mind 

to an unnamed beloved: I am driven by a yes and a no, a sweet and 

a bitter—that, mistress, is the doing of your eyes. 

The four songs by Robert Schumann 

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

Endenich, Germany) 

In 1815, Lord Byron (1788–1824) published a collection of Hebrew 

Melodies, poems inspired by verses from the Old Testament, which 

the would-be composer Isaac Nathan, the son of a Jewish cantor 

in Canterbury, had persuaded him to fit to his adaptations of a 

number of melodies from the synagogue services. My Soul Is Dark, 

based on I Samuel 16:14-23, was rendered into German as Mein 

Herz ist schwer by Karl Julius Körner (1793–1873) and given 

a new and deeply thoughtful setting by Robert Schumann for 

inclusion in his song cycle Myrthen (Myrtles) of 1840. 

In 1840, Schumann set five verses by Hans Christian Andersen 

(1805–75), the prolific Danish writer of novels, travelogues, poetry 

and fantasy tales, as his Fünf Lieder, Op. 40. In October 1842, 

the composer sent Andersen a copy of the Op. 40 songs with the 

following note: “Perhaps the settings will seem strange to you. So 

at first did your poems to me. But as I grew to understand them 

better, my music took on a more unusual style.” The strangeness 

that Schumann perceived in Andersen’s verses is exemplified by 

the second number of the set, Muttertraum (A Mother’s Dream), 


in which a mother lovingly cradles her child while just outside 

the window ravens, symbolic ill omens since ancient times, gather 

with sinister intent. 

In November 1840, two months after his wedding, Schumann 

created a pendant to his song cycles—Liederkreis—on poems 

by Heine (1797–1856) and Eichendorff (1788–1857) with the 

Romanzen und Balladen I, Op. 45, which contains two poems by 

Eichendorff and one by Heine. The first song—Der Schatzgräber 

(The Treasure-Seeker)—is a grim morality tale by the devoutly 

Catholic Eichendorff about the wages of avarice. 

The verses of Emanuel von Geibel (1815–84), one of Germany’s 

most popular Romantic poets, were set to music hundreds of times 

through the early 20th century. Schumann and Geibel met in 

Dresden four times between April and June 1846, and it is possible 

that the poet presented the composer on one of those occasions 

with a copy of his Volkslieder und Romanzen der Spanier (1843), 

translations of song texts and poems by Spanish and Portuguese 

Renaissance authors. In 1848, Schumann took over direction of 

the Dresden Verein für Chorgesang (Association for Choral Singing), 

and the following March, he set 10 of Geibel’s verses for that 

ensemble as the Spanisches Liederspiel, Op. 74, which included 

Melancholie, based on a text by the 16th-century Spanish writer 

Francisco de Sá de Miranda. 

The four songs by Franz Schubert 

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

Vienna) 

Prometheus was the mythological titan of ancient Greece who 

stole fire, the symbol of enlightenment, from the gods to release 

mankind from ignorance through science and art. For his brazen 

disregard of Zeus, Prometheus was chained to a rock, where daily 

an eagle tore at his liver until he was released by Hercules. Goethe 

(1749–1832) began a drama on the subject of Prometheus in 1773 

but sketched only three scenes, one of which is a poem of raging 

defiance that Schubert made into a dramatic song (D. 674) in 

October 1819. 

The poet Johann Baptist Mayrhofer (1787–1836) met Schubert in 

1814, and the two became close friends despite their contrasting 

character—Mayrhofer was moody and melancholic; Schubert, 

ebullient and outgoing. Schubert set Fahrt zum Hades (Journey to 

Hades, D. 526), Mayrhofer’s evocation of the soul’s journey across 

the River Styx, the mythical boundary separating the lands of the 

quick and the dead, in January 1817. 

There is no more disturbing and violent page anywhere in 

Schubert’s creative output than Gruppe aus dem Tartarus 

(Group from Tartarus, D. 583), his 1817 setting of Friedrich 

von Schiller’s (1759–1805) chilling vision of a most fearsome 

hell. The frightening imagery of Schiller’s poem is heightened by 

references to ancient mythology: Tartarus was the sunless abyss 

below Hades, the underworld inhabited by departed souls, where 

Zeus imprisoned the Titans after defeating them; Cocytus was 

a tributary of the Acheron, the river over which Charon ferried 

the souls of the dead; Saturn was the god of agriculture, believed 

to have ruled earth during a period of happiness and plenty and 

“shattering his sickle asunder” portends the death of hope itself. 

In March 1815, Schubert created a marvelous dramatic scena 

from a poem about the legendary Amphiaraus by the precocious 

poet and playwright Karl Theodor Körner (1791–1813), who 

was appointed house dramatist at the Vienna Burgtheater at age

19. Graham Johnson, the English pianist and an authority on the 

German Lied, summarized the ancient story: “In Greek legend, 

Amphiaraus was a renowned warrior under the special protection 

of Zeus and Apollo. He married Eriphyle, sister of Adrastus, and 

one of the marriage stipulations was that if the two brothers-inlaw 

disagreed on any issue, Eriphyle’s arbitration was binding. 

Adrastus wanted to make war on Thebes, but Amphiaraus, gifted 

with a seer’s powers, knew that this would be disastrous. Bribed 

by a gold and diamond necklace, Eriphyle declared herself in 

favor of the expedition and, bound by his promise, Amphiaraus 

was forced to take part in a war that he knew would lead to his 

death. He made his young sons swear to avenge him against 

Eriphyle and departed as part of the disastrous expedition which 

was the subject of a play by Aeschylus, Seven against Thebes. 

The war was a long one, but in combat at the city’s Homoloian 

gate (each of the seven champions attempted to storm one of 

Thebes’ seven gates) Amphiaraus was finally put to flight by the 

Theban hero Periclymenus, who chased him to the banks of the 

Ismenus. Amphiaraus would have been slain had not Zeus sent a 

thunderbolt which made a cleft in the ground into which horse, 

chariot and driver disappeared.” 

The four songs by Claude Debussy 

(Born August 22, 1862, in St. Germain-en-Laye, France; Died 

March 25, 1918, in Paris) 

Debussy’s Romance (1881) and Beau Soir (1882) are settings of 

evocative poems by the French writer Paul Bourget (1852–1935), 

who was noted for his critical essays and his psychologically 

penetrating novels. Fleur des Blés (Wheat Flower) is Debussy’s 

winsome setting of a poem by André Girod, who was a director of 

the Parisian music publishing firm that issued a bi-weekly journal 

titled L’Art Musical in the 1880s and handled several lesser-known 

French composers; Girod published the song in 1891. Théodore 

Faullin de Banville (1823–91) gained prominence through his 

20 volumes of poetry, but he was also known as a literary and 

drama critic, essayist and author of several plays produced at 

the Comédie-Française. Debussy’s 15 settings of Banville’s verses 

include a dreamy setting of Nuit d’étoiles (Starry Night) from 

1880, which was the young composer’s first published work. 

The four songs by Henri Duparc 

(Born January 21, 1848, in Paris; Died February 12, 1933, in 

Mont-de-Marsan, France) 

Troubled in spirit and health and sufficiently self-critical to 

destroy much of what he composed, Henri Duparc is remembered 

almost entirely for his handful of songs, but what songs they 

are—exquisite, fluid, precisely inflected musical wrappings 

of voluptuously beautiful verse that count among the greatest 

contributions to the French vocal repertory. 

The sweet, fantastic vision evoked by Charles Baudelaire (1821–67) 

in his L’Invitation au voyage is perfectly reflected in Duparc’s music. 

Le Manoir de Rosemonde (Rosemonde’s Manor) sets a text by 

the Parisian novelist, journalist and poet Robert de Bonnières 

(1850–1905), a close friend with whom Duparc once shared an 

apartment. The poem tells of a feverish quest to find the refuge 

of love in the cryptic “blue domain of Rosemonde,” perhaps a 

reference to the beautiful Rosamund Clifford, mistress of King 

Henry II of England (1133–89), who lost his beloved when 

she had to enter a nunnery after their liaison became public 

knowledge shortly before her death in 1176. 

Élégie is Duparc’s setting of the French translation of the verse 

that Irish poet Thomas Moore (1779–1852) wrote in memory of 

Robert Emmet, a close friend and fellow student at Trinity College 

in Dublin, who was captured, tried and hanged for participating in 

an uprising of the United Irishmen in 1803. 

The dramatic La Vague et La Cloche (The Wave and the Bell, 

1871) takes its text from a poem by François Coppée (1842– 

1908), known as the poète des humbles for his sympathetic 

treatment of ordinary Parisians. 

Don Quichotte à Dulcinée (1932) 

Maurice Ravel 

(Born March 3, 1875, in Ciboure, France; Died December 28, 

1937, in Paris) 

Ravel spent four months early in 1932 on tour with Marguerite 

Long putting his new Piano Concerto in G on display throughout 

much of central Europe to enthusiastic praise. When he returned 

to the Basque countryside for a rest, he found waiting for him 

a commission to write music for a film version of Don Quixote 

starring the legendary Russian basso Feodor Chaliapin. Ravel, 

despite an ambitious beginning during the summer, was unable 

to complete any of his assignment on time, and Jacques Ibert was 

entrusted to take over in his stead. Ravel, however, continued the 

songs as a concert work and completed them sometime early the 

following year. Don Quichotte à Dulcinée was Ravel’s last work. 

Each of the three settings of poems by Paul Morand (1888– 

1976) is based on a traditional dance rhythm of Spain: Chanson 

romanesque on the quajira, Chanson épique on the zortzico and 

Chanson à boire on the jota. The first is a love song of near manic 

devotion to the beloved Dulcinée in the characteristic Spanish 

meter produced by alternate measures of 6/8 and 3/4. The second 

song presents Quixote as a holy warrior invoking the aid of the 

Madonna and Saint Michael to sustain him in his valiant quest. 

The closing Drinking Song paints the hero in his one undeniable 

virtue—as an expansive tippler. 

Les Deux Grenadiers (The Two Grenadiers) (1840) 

Richard Wagner 

(Born May 22, 1813, in Leipzig; Died February 13, 1883, in 

Venice) 

In 1840, during the miserable time he spent in Paris debt-ridden 

and unable to bring his visions of vast operatic ventures to the 

stage (he was then working on Rienzi), Wagner wrote a few songs 

to French texts “in order,” he recalled in his autobiography, “to 

gain the graces of the Parisian salon world through its favorite 

singers.” He demonstrated his nascent sense of drama early in 

1840 in a setting of Die beiden Grenadiere (The Two Grenadiers) by 

Heinrich Heine that had been rendered into French by François- 

Adolphe Loève-Veimar. (Robert Schumann set Heine’s poem in the 

original German that April.) The poem imagines two of Napoleon’s 

soldiers captured in Russia who only learn of their emperor’s 

ultimate defeat at Waterloo in June 1815 on their long trek home. 

One says that it is time to return to his wife and child, but the 

other experiences one last surge of patriotism that culminates in a 

fervent reference to La Marseillaise. 

—Dr. Richard E. Rodda 




Wohl denk ich oft an mein vergangnes Leben, I often think of my past life, 

Wie es vor meiner Liebe für dich war; The way it was before my love for you; 

Kein Mensch hat damals Acht auf mich gegeben, no one had paid any attention to me then, 

Ein jeder Tag verloren für mich war; each and ever day was lost to me; 

Ich dachte wohl, ganz dem Gesang zu leben, I thought that I would dedicate my life to song, 

Auch mich zu flüchten aus and flee from human throng. 

der Menschen Schar. 

Genannt in Lob und Tadel bin ich heute, Today my name spoken in praise and criticism, 

Und, dass ich da bin, wissen alle Leute! and that I exist—that is known by all. 

Alles endet, was entstehet. Everything ends which comes to be. 

Alles, alles rings vergehet, Everything everywhere passes away, 

Denn die Zeit flieht, und die Sonne for time moves on, and the sun 

Sieht, dass alles rings vergehet, sees that everything passes away, 

Denken, Reden, Schmerz, und Wonne; thinking, speaking, pain and joy; 

Und die wir zu Enkeln hatten and those who had been our grandchildren 

Schwanden wie bei Tag die Schatten, have vanished as shadows flee the day, 

Wie ein Dunst im Windeshauch. as a breath of wind dispels the mist. 

Menschen waren wir ja auch, Yes, we once were people too, 

Froh und traurig, so wie ihr, glad and sad, just like you, 

Und nun sind wir leblos hier, and now we are here lifeless, 

Sind nur Erde, wie ihr sehet. Are but earth, as you can see. 

Alles endet, was entstehet. Everything ends which comes to be. 

Alles, alles rings vergehet. Everything everywhere passes away. 

Fühlt meine Seele das ersehnte Licht Is my soul feeling the longed-for light 

Von Gott, der sie erschuf? Ist es der Strahl of God who created it? Is it the gleam 

Von andrer Schönheit aus dem Jammertal, of a different beauty from the valley of misery, 

Der in mein Herz Erinnrung weckend bricht? reflecting in my heart and evoking memory? 

Ist es ein Klang, ein Traumgesicht, Is it a sound, a dream vision, 

Das Aug und Herz mir füllt mit einem Mal that suddenly fills my eye and heart 

In unbegreiflich glüh’nder Qual, in incomprehensibly burning pain, 

Die mich zu Tränen bringt? Ich weiss es nicht. that brings me to tears? I do not know. 

Was ich ersehne, fühle, was mich lenkt, What I long for, the sense of what directs me, 

Ist nicht in mir: sag mir, wie ich’s erwerbe? is not within me: Tell me how do I acquire it? 

Mir zeigt es wohl nur eines Andren Huld; To me it reveals only another’s grace and love; 

Darein bin ich, seit ich dich sah, versenkt. I have been their captive since I first saw you. 

Mich treibt ein Ja und Nein, ein Süss I am driven by a yes and a no, a sweet 

und Herbe— and a bitter— 

Daran sind, Herrin, deine Augen Schuld. that, mistress, is the doing of your eyes. 


TExTS FOR ERIC OwENS, BASS-BARITONE 

Hugo Wolf: Drei Lieder nach Gedichten von Michelangelo 

Text by Walter Heinrich Robert-Tornow (1852–95) 

Based on the Italian text by Michelangelo Buonarroti (1475–1564) 

“Wohl denk ich oft” (“I Often Think of My Past Life”) 

“Alles endet, was entstehet” (“Everything Ends Which Comes To Be”) 

“Fühlt meine Seele das ersehnte Licht” (“Is My Soul Feeling the Longed-for Light?”)

The four songs by Robert Schumann 

Mein Herz ist schwer (My Soul Is Dark) from Myrthen (Myrtles), Op. 25, No. 15 

Text by Karl Julius Körner (1793–1873) 

Based on the English text by George Gordon Noel Byron, Lord Byron (1788–1824) 

Mein Herz ist schwer! Auf! My heart is heavy! Arise! 

Von der Wand die Laute— Take the lute from the wall, 

Nur sie allein mag ich noch hören, it alone I still wish to hear; 

Entlocke mit geschickter Hand with a skilful hand entice from it 

Ihr Töne, die das Herz betören. sounds that beguile the heart. 

Kann noch mein Herz ein Hoffen nähren, If my heart can still nurture a hope, 

Es zaubert diese Töne her, these sounds shall magically call it forth, 

Und birgt mein trocknes Auge Zähren, and if my dry eyes harbour tears, 

Sie fliessen, und mich brennt’s nicht mehr! they shall flow, and I shall no longer be 

burned by pain! 

Nur tief sei, wild der Töne Fluss, Only deep, wild be the flow of the notes, 

Und von der Freude weggekehret! and turned away from joy! 

Ja, Sänger, dass ich weinen muss, Yea, singer, that I must weep, 

Sonst wird das schwere Herz verzehret! otherwise my heavy heart shall be consumed! 

Denn sieh! Von Kummer ward’s genähret, For look! It was nourished by anguish, 

Mit stummem Wachen trug es lang, with mute watching it long bore its burden, 

Und jetzt vom Äussersten belehret, and now, having been taught by the extremes 

of pain, 

Da brech es oder heil im Sang. it must break or heal in song. 

Muttertraum (A Mother’s Dream), Op. 40, No 2 

Text by Adelbert von Chamisso (1781–1838) 

Based on a Danish text by Hans Christian Andersen (1805–75) 

Die Mutter betet herzig und schaut The mother prays sweetly and gazes with delight 

Entzückt auf den schlummernden Kleinen. upon her slumbering little one. 

Er ruht in der Wiege so sanft und traut. He rests in his cradle, so tender and cozy. 

Ein Engel muss er ihr scheinen. He must seem to be an angel to her. 

Sie küsst ihn und herzt ihn, She kisses him and hugs him, 

sie hält sich kaum. she cannot restrain herself. 

Vergessen der irdischen Schmerzen, Forgetting all earthly pain, 

Es schweift in die Zukunft ihr Hoffnungstraum. her hopeful dreams wander into the future. 

So träumen Mütter im Herzen. Thus do mothers often dream. 

Der Rab indes mit der Sippschaft sein The raven meanwhile, with its clan, 

Kreischt draussen am Fenster die Weise: shrieks a tune outside the window: 

Dein Engel, dein Engel wird unser sein, your angel, your angel will be ours— 

Der Räuber dient uns zur Speise. the brigand shall serve us at supper. 




Wenn alle Wälder schliefen, When all the forests were sleeping, 

Er an zu graben hub, he began to dig 

Rastlos in Berges Tiefen without rest in the mountain deep: 

Nach einem Schatz er grub. for a treasure did he dig. 

Die Engel Gottes sangen Angels of God sang 

Dieweil in stiller Nacht, while, in the still night, 

Wie rote Augen drangen like red eyes, 

Metalle aus dem Schacht. metals emerged from the shaft. 

“Und wirst doch mein,” und grimmer “And you will be mine!” and more grimly 

Wühlt er und wühlt hinab! did he burrow and burrow downward! 

Da stürzen Steine und Trümmer Then the stones and rubble tumbled 

Über den Narren herab. down upon the fool. 

Hohnlachen wild erschallte Scornful, wild laughter resounded 

Aus der verfallnen Gruft, from the collapsed vault, 

Der Engelsang verhallte and the angel-song faded away 

Wehmütig in der Luft. sadly into the air. 

Wann, wann erscheint der Morgen, When, when will the morning come, 

Wann denn, wann denn, wann denn, when, when, when, 

Der mein Leben löset that will release my life from these bonds? 

Aus diesen Banden! You my eyes, so clouded by sorrow, 

Ihr Augen, vom Leide saw only torment instead of love, 

So trübe, so trübe! saw no joy; 

Saht nur Qual für Liebe, saw only wounds upon wounds, 

Saht nicht eine Freude, agony upon agony inflicted on me; 

Saht nur Wund’ auf Wunde, and in my long life, 

Schmerz auf Schmerz mir geben, not one cheerful hour. 

Und im langen Leben If it would only finally happen 

Keine frohe Stunde. that the hour would arrive 

Wenn es endlich doch geschähe, when I could no longer see! 

Dass ich säh’ die Stunde, When will the morning come, 

Wo ich nimmer sähe! that will release my life from these bonds? 

Bedecke deinen Himmel, Zeus, Cover your heavens, Zeus, 

Mit Wolkendunst with gauzy clouds, 

Und übe, dem Knaben gleich, and practice, like a boy 

Der Disteln köpft, who beheads thistles, 

An Eichen dich und Bergeshöh’n; on the oaks and peaks of mountains; 

Musst mir meine Erde but you must allow 

Doch lassen stehn my world to stand, 

Und meine Hütte, die du nicht gebaut, and my hut, which you did not build, 

Und meines Herd, and my hearth, 

Um dessen Glut whose glow 

Du mich beneidest. you envy me. 

continued on p.37 


Der Schatzgräber (The Treasure-Seeker), Op. 45, No. 1 

Text by Josef Karl Benedikt von Eichendorff (1788–1857) 

Melancholie (Melancholy) from Spanisches Liederspiel (Spanish Song Play), Op. 74, No. 6 

Text by Emanuel von Geibel (1815–84) 

Based on a Spanish text by Francisco de Sá de Miranda (1481?–1558) 

The four songs by Franz Schubert 

Prometheus, D. 674 

Text by Johann Wolfgang von Goethe (1749–1832)

Prometheus continued 

Ich kenne nichts Ärmeres I know nothing more shabby 

Unter der Sonn’, als euch, Götter! under the sun than you gods! 

Ihr nähret kümmerlich You wretchedly nourish, 

Von Opfersteuern from offerings 

Und Gebetshauch and the breath of prayers, 

Eure Majestät your majesty; 

Und darbtet, wären And you would starve, were 

Nicht Kinder und Bettler children and beggars not 

Hoffnungsvolle Toren. such hopeful fools. 

Da ich ein Kind war When I was a child 

Nicht wusste, wo aus noch ein, I did not know in from out; 

Kehrt’ ich mein verirrtes Auge I turned my confused eyes 

Zur Sonne, als wenn drüber wär’ to the sun, as if above it there were 

Ein Ohr, zu hören meine Klage, an ear to hear my laments— 

Ein Herz wie meins, a heart like mine 

Sich des Bedrängten zu erbarmen. that would pity the oppressed. 

Wer half mir Who helped me 

Wider der Titanen Übermut? against the pride of the titans? 

Wer rettete vom Tode mich, Who rescued me from death— 

Von Sklaverei? from slavery? 

Hast du nicht alles selbst vollendet Did you not accomplish it all yourself, 

Heilig glühend Herz? my sacred, glowing heart? 

Und glühtest jung und gut, Yet did you not glow with ardent 

and youthful goodness, 

Betrogen, Rettungsdank deceived, and full of gratitude 

Dem Schlafenden da droben? to the sleepers above? 

Ich dich ehren? Wofür? I, honor you? Why? 

Hast du die Schmerzen gelindert Have you ever alleviated the pain 

Je des Beladenen? of one who is oppressed? 

Hast du die Tränen gestillet Have you ever quieted the tears 

Je des Geängsteten? of one who is distressed? 

Hat nicht mich zum Manne geschmiedet Was I not forged into a man 

Die allmächtige Zeit by all-mighty Time 

Und das ewige Schicksal, and eternal Fate, 

Meine Herrn und deine? my masters and yours? 

Wähntest du etwa, You were deluded if you thought 

Ich sollte das Leben hassen, I should hate life 

In Wüsten fliehen, and fly into the wilderness 

Weil nicht alle because not all of my 

Blütenträume reiften? budding dreams blossomed. 

Hier sitz’ ich, forme Menschen Here I will sit, forming men 

Nach meinem Bilde. after my own image. 

Ein Geschlecht, das mir gleich sei, It will be a race like me, 

Zu leiden, zu weinen, to suffer, to weep, 

Zu geniessen und zu freuen sich to enjoy and to rejoice, 

Und dein nicht zu achten, and to pay no attention to you, 

Wie ich! as I do! 




Der Nachen dröhnt, Cypressen flüstern, The dory creaks, cypresses whisper; 

Horch, Geister reden schaurig drein; hear, spirits’ eerie cries. 

Bald werd’ ich am Gestad’, dem düstern, Soon I will be on the gloomy shore 

Weit von der schöne Erde sein. far removed from beautiful Earth. 

Da leuchten Sonne nicht, noch Sterne, Sunlight, starlight, neither shines there, 

Da tönt kein Lied, da ist kein Freund. no song sounds, no friend is found. 

Empfang die letzte Träne, o Ferne, Take, o distant land, these final 

Die dieses müde Auge weint. tears my eyes have left to shed. 

Schon schau’ ich die blassen Danaiden, Already I see the wan Danaids, 

Den fluchbeladnen Tantalus; and curse-burdened Tantalus; 

Es murmelt todesschwangern Frieden, heavy with death’s stillness, 

Vergessenheit, dein alter Fluss. Oblivion, your age-old river, murmurs. 

Vergessen nenn’ ich zwiefach Sterben, I call forgetting a second death. 

Was ich mit höchster Kraft gewann, To lose what I spent utmost strength 

Verlieren, wieder es erwerben— to win, and then repeat the struggle— 

Wann enden diese Qualen? Wann? When will these tortures finish? When? 

Der Nachen dröhnt, Cypressen flüstern, The dory creaks, cypresses whisper; 

Horch, Geister reden schaurig drein; hear, spirits’ eerie cries. 

Bald werd’ ich am Gestad’, dem düstern, Soon I will be on the gloomy shore 

Weit von der schöne Erde sein. far removed from beautiful Earth. 

Horch—wie Murmeln des empörten Meeres, Hark—like the angered ocean’s murmuring, 

Wie durch hohler Felsen Becken like a brook weeping through rocky hollows, 

weint ein Bach, 

Stöhnt dort dumpfigtief ein schweres, leeres groans yonder, dankly deep, a grievous, vain, 

Qualerpresstes Ach! Torment-extracted moan. 

Schmerz verzerret Agony contorts 

Ihr Gesicht, Verzweiflung sperret their faces, despair opens 

Ihren Rachen fluchend auf. wide their jaws in imprecation. 

Hohl sind ihre Augen, ihre Blicke Hollow their eyes: their gaze 

Spähen bang nach des Cocytus Brücke, fixes fearfully on Cocytus’ bridge, 

Folgen tränend seinem Trauerlauf. or, weeping, follows Cocytus’ drear course. 

Fragen sich einander ängstlich leise, Softly and in fear, each of the other asks 

Ob noch nicht Vollendung sei! whether it be not yet the end. 

Ewigkeit schwingt über ihnen Kreise, Eternity above them whirls in circles, 

Bricht die Sense des Saturns entzwei. and shatters Saturn’s sickle asunder. 


Fahrt zum Hades (Journey to Hades), D. 526 

Text by Johann Baptist Mayrhofer (1787–1836) 

Gruppe aus dem Tartarus (Group from Tartarus), D. 583 

Text by Friedrich von Schiller (1759–1805)

Amphiaraos, D. 166 

Text by (Karl) Theodor Körner (1791–1813) 

Vor Thebens siebenfach gähnenden Toren Before the seven wide-open gates of Thebes, 

Lag im furchtbaren Brüderstreit in dreadful fratricidal dispute 

Das Heer der Fürsten zum Schlagen bereit, lay the prince’s army, ready for battle, 

Im heiligen Eide zum Morde verschworen. sworn in sacred oaths to murder. 

Und mit des Panzers blendendem Licht And with the dazzling light of their armor, 

Gerüstet, als gält’ es, die Welt zu bekriegen, girt as if they intended to wage war with the world, 

Träumen sie jauchzend von Kämpfen they dreamed with joy of battles 

und Siegen, and triumphs— 

Nur Amphiaraos, der Herrliche, nicht. all but Amphiaros the magnificent. 

Denn er liest in dem ewigen Kreise der Sterne, For he reads in the eternal cycle of the stars 

Wen die kommenden Stunden feindlich bedrohn. whom the coming hours threaten with hostility. 

Des Sonnenlenkers gewaltiger Sohn The sun-god’s powerful son 

Sieht klar in der Zukunft nebelnde Ferne. sees clearly into the future’s nebulous distance. 

Er kennt des Schicksals verderblichen Bund, He knows of Destiny’s fatal covenant: 

Er weiss, wie die Würfel, die eisernen, fallen, he knows how the dice—the iron ones—will fall; 

Er sieht die Moira mit blutigen Krallen; he sees Moira with bloody claws ... 

Doch die Helden verschmähen den heiligen Mund. but heroes spurn the sacred mouth. 

Er sah des Mordes gewaltsame Taten, He saw the violent acts of murder, 

Er wusste, was ihm die Parze spann. and knew what the Fates were spinning for him. 

So ging er zum Kampf, ein verlor’ner Mann, So he went to battle, a lost man, 

Von dem eig’nen Weibe schmählich verraten. by his own wife shamefully betrayed. 

Er war sich der himmlischen Flamme bewusst, He was aware of the heavenly flame, 

Die heiss die kräftige Seele durchglühte; which hotly burned in his strong soul; 

Der Stolze nannte sich Apolloide, the proud man called himself a son of Apollo, 

Es schlug ihm ein göttliches Herz in der Brust. with a divine heart beating in his breast. 

“Wie?—ich, zu dem die Götter geredet, “What? I, to whom the gods have spoken, 

Den der Weisheit heilige Düfte umwehn, I, surrounded by the sacred, wafting fragrance of Wisdom— 

Ich soll in gemeiner Schlacht vergehn, am I, in common battle, 

Von Periklymenos’ Hand getötet? to be killed at the hand of Periklymenos? 

Verderben will ich durch eigene Macht, I would rather die through my own power 

Und staunend vernehm’ es and in the time to come it will be heard 

die kommende Stunde with astonishment 

Aus künftiger Sänger geheiligtem Munde, from the sacred lips of future singers 

Wie ich kühn mich gestürzt in die ewige Nacht.” how I boldly leapt into the eternal night.” 

Und als der blutige Kampf begonnen, And when the bloody struggle began, 

Und die Eb’ne vom Mordgeschrei widerhallt, and the plains echoed with murderous cries, 

So ruft er verzweifelnd: “Es naht mit Gewalt, he called desperately: “It approaches with force, 

Was mir die untrügliche Parze gesponnen. what the infallible Fates have woven. 

Doch wogt in der Brust mir ein göttliches Blut, But in my breast surges divine blood, 

Drum will ich auch, wert des Erzeugers, verderben.” so, worthy of my father, I will die.” 

continued on p.40 




Amphiaraos continued 

Und wandte die Rosse auf Leben und Sterben, And he turned the horses for life or for death, 

Und jagt zu des Stromes and plunged toward the river’s high, 

hochbrausender Flut. raging flood. 

Wild schnauben die Hengste, Wildly the horses snort, 

laut rasselt der Wagen, loudly the chariot rattles, 

Das Stampfen der Hufe zermalmet die Bahn. the stamping of hoofs crush the road. 

Und schneller und schneller noch And faster and faster still it races, 

rast es heran, 

Als gält’ es, die flüchtige Zeit zu erjagen. as if it were hunting the fleeing Time. 

Wie wenn er die Leuchte des Himmels geraubt, As if he had stolen the torch of heaven, 

Kommt er in Wirbeln der Windsbraut geflogen; he comes flying in a tornado of wind; 

Erschrocken heben die Götter der Wogen terrified, the gods lift their reedy heads 

Aus schäumenden Fluten das schilfichte Haupt. from the waves of the foaming flood. 

Doch plötzlich, als wenn der Himmel erglühte, But suddenly, as if heaven were on fire, 

Stürzet ein Blitz aus der heitern Luft, a lightning-bolt plunges down from the sky 

Und die Erde zerreisst sich and the earth tears apart into terrible gaps; 

zur furchtbaren Kluft; 

Da rief laut jauchzend der Apolloide: then the son of Apollo calls loudly, rejoicing: 

“Dank dir, Gewaltiger, fest steht mir der Bund. “Thank you, o Powerful One! You stand by me. 

Dein Blitz ist mir der Unsterblichkeit Siegel; Your lightning is the seal of immortality; 

Ich folge dir, Zeus!”—und er fasste die Zügel I will follow you, Zeus!” and he seized the reins 

Und jagte die Rosse hinab in den Schlund. and spurred the horse down into the abyss. 

Lorsque au soleil couchant When streams turn pink 

les rivières sont roses, in the setting sun, 

Et qu’un tiède frisson court and a slight shudder rushes 

sur les champs de blé, through the wheat fields, 

Un conseil d’être heureux semble a plea for happiness seems to rise out 

sortir des choses of all things 

Et monter vers le coeur troublé. and it climbs up towards the troubled heart. 

Un conseil de goûter le charme d’être au monde, A plea to relish the charm of life 

Cependant qu’on est jeune et que le soir est beau, while there is youth and the evening is fair, 

Car nous nous en allons comme s’en va cette onde, for we pass away, as the wave passes: 

Elle à la mer, nous au tombeau. the wave to the sea, we to the grave. 


The four songs by Claude Debussy 

Beau Soir (Beautiful Evening) 

Text by Paul Bourget (1852–1935)

Fleur des Blés (Wheat Flower) 

Text by André Girod 

Le long des blés que la brise Amid the wheat that the breeze 

Fait onduler puis défrise has ruffled in playful teasing, 

En un désordre coquet, leaving disorder so gay, 

J’ai trouvé de bonne prise here I seize my chance to please you, 

De t’y cueillir un bouquet. and pluck for you a sweet bouquet. 

Mets-le vite à ton corsagen— Place it lightly on your breast; 

Il est fait à ton image I made it in your image blest 

En même temps que pour toi … and do you say, “Tell me why?” 

Ton petit doigt, je le gage, A little bird, I have guessed, 

T’a déjà soufflé pourquoi: has already told you why! 

Ces épis dorés, c’est l’onde First some ears of wheat, the flare 

De ta chevelure blonde of your lovely hair, 

Toute d’or et de soleil; golden tresses full of sun; 

Ce coquelicot qui fronde, now the scarlet poppies fair, 

C’est ta bouche au sang vermeil. These your lips that love has won. 

Et ces bluets, beau mystère! And these bluets, how enchanting, 

Points d’azur que rien n’altère, but of azure disconcerting, 

Ces bluets ce sont tes yeux, these bluets are your own eyes, 

Si bleus qu’on dirait, sur terre, no blue on this earth so dazzling, 

Deux éclats tombés des cieux. heaven’s flow’rs fall’n from the skies. 

Romance 

Text by Paul Bourget (1852–1935) 

L’âme évaporée et souffrante, The vanishing and suffering soul, 

L’âme douce, l’âme odorante the sweet soul, the fragrant soul 

Des lys divins que j’ai cueillis of divine lilies that I have picked 

Dans le jardin de ta pensée, in the garden of your thoughts, 

Où donc les vents l’ont-ils chassée, where, then, have the winds chased it, 

Cette âme adorable des lys? this charming soul of the lilies? 

N’est-il plus un parfum qui reste Is there no longer a perfume that remains 

De la suavité céleste of the celestial sweetness 

Des jours où tu m’enveloppais of the days when you enveloped me 

D’une vapeur surnaturelle, in a supernatural haze, 

Faite d’espoir, d’amour fidèle, made of hope, of faithful love, 

De béatitude et de paix? … of bliss and of peace? 




Nuit d’étoiles, sous tes voiles, Starry night, beneath your pinions, 

sous ta brise et tes parfums, beneath your breeze and your perfumes, 

Triste lyre qui soupire, lyre, in sorrow, softly sighing, 

je rêve aux amours défunts. I dream of a love long past. 

La sereine mélancolie vient éclore Melancholy, so sadly tranquil, fills with gloom 

au fond de mon coeur, my poor weary heart. 

Et j’entends l’âme de ma mie And I hear your dear soul, my darling, 

Tressaillir dans le bois rêveur. quivering in the dreamy wood. 

Dans les ombres de la feuillée, In the shadows of the greenwood, 

Quand tout bas je soupire seul, when, alone, I am sighing low, 

Tu reviens, pauvre âme éveillée, you come back, O! poor soul awaken’d, 

Toute blanche dans ton linceuil. pure and white as snow in your shroud. 

Je revois à notre fontaine I watch here at this, your small fountain 

tes regards bleus comme les cieux; your blue eyes like the sky; 

Cettes rose, c’est ton haleine, this rose, it is my dear hope, 

Et ces étoiles sont tes yeux. and these fair stars they are your eyes. 

Mon enfant, ma soeur, My child, my sister, 

Songe à la douceur think of the sweetness 

D’aller là-bas vivre ensemble, of going there to live together! 

Aimer à loisir, To love at leisure, 

Aimer et mourir to love and to die 

Au pays qui te ressemble. in a country that is the image of you! 

Les soleils mouillés The misty suns 

De ces ciels brouillés of those changeable skies 

Pour mon esprit ont les charmes have for me the same 

Si mystérieux mysterious charm 

De tes traîtres yeux, as your fickle eyes 

Brillant à travers leurs larmes. shining through their tears. 

Là, tout n’est qu’ordre et beauté, There, all is harmony and beauty, 

Luxe, calme et volupté. luxury, calm and delight. 

Vois sur ces canaux See how those ships, 

Dormir ces vaisseaux nomads by nature, 

Dont l’humeur est vagabonde; are slumbering in the canals. 

C’est pour assouvir To gratify 

Ton moindre désir your every desire 

Qu’ils viennent du bout du monde. they have come from the ends of the earth. 


Nuit d’étoiles (Starry Night) 

Text by Théodore Faullin de Banville (1823–91) 

The four songs by Henri Duparc 

L’invitation au voyage (The Invitation to the Voyage) 

Text: Charles Baudelaire (1821–67) 

continued on p.43

L’invitation continued 

Les soleils couchants The westering suns 

Revêtent les champs, clothe the fields, 

Les canaux, la ville entière, the canals and the town 

D’hyacinthe et d’or; with reddish-orange and gold. 

Le monde s’endort The world falls asleep 

Dans une chaude lumière! bathed in warmth and light. 

Là, tout n’est qu’ordre et beauté, There, all is harmony and beauty, 

Luxe, calme et volupté. luxury, calm and delight. 

Le Manoir de Rosemonde (Rosemonde’s Manor) 

Text: Robert de Bonnières (1850–1905) 

De sa dent soudaine et vorace, With its sudden, voracious fangs, 

Comme un chien l’amour m’a mordu … love, like a dog, has bitten me … 

En suivant mon sang répandu, Following my spilled blood, 

Va, tu pourras suivre ma trace … come, you will be able to retrace my path … 

Prends un cheval de bonne race, Take a horse of good breed, 

Pars, et suis mon chemin ardu, set out, and follow my arduous road, 

Fondrière ou sentier perdu— marsh, or lost pathway— 

Si la course ne te harasse! if the journey does not exhaust you! 

En passant par où j’ai passé Passing where I have passed, 

Tu verras que seul et blessé you will see that, alone and wounded, 

J’ai parcouru ce triste monde, I have traversed this sorry world, 

Et qu’ainsi je m’en fus mourir and that I thus went off to die 

Bien loin, bien loin, sans découvrir far, far away, without discovering 

Le bleu manoir de Rosemonde. the blue domain of Rosemonde. 

Élégie 

Text: Anonymous 

Based on an English text by Thomas Moore (1779–1852) 

Oh! ne murmurez pas son nom! Oh! breathe not his name. 

Qu’il dorme dans l’ombre, Let it sleep in the shade, 

Où froide et sans honneur repose Where cold and unhonor’d his relics 

sa dépouille. are laid: 

Muettes, tristes, glacées, Sad, silent and dark, be the tears 

tombent nos larmes, that we shed, 

Comme la rosée de la nuit, As the night-dew that falls 

qui sur sa tête humecte la gazon; on the grass o’er his head. 

Mais la rosée de la nuit, But the night-dew that falls, 

bien qu’elle pleure en silence, though in silence it weeps, 

Fera briller la verdure sur sa couche Shall brighten with verdure the grave where he sleeps; 

Et nos larmes, en secret répandues, And the tear that we shed, though in secret it rolls, 

Conserveront sa mémoire fraîche et verte 

dans nos coeurs. Shall long keep his memory green in our souls. 




Une fois, terrassé par un puissant breuvage, Once, laid low by a potent draught, 

J’ai revé que parmi les vagues et let bruit I dreamed that amid the waves and the roar 

De la mer, je vouguais sans fanal of the black sea I drifted without beacon 

dans la nuit, at night, 

Morne ramuer, n’ayant plus l’espoir a bleak oarsman, with no hope 

du rivage … of reaching land … 

L’Ocean me crachait ses braves sur le front, The ocean spat its foam on my brow, 

Et le vent me glacait d’horreur and the wind froze me through with horror, 

jusqu’aux entrailles, 

Les vagues s’écroulaient ainsi que the waves crashed down like walls about me, 

des murailles 

Avec ce rythem lent qu’un with that slow rhythm a silence severs … 

silence interrompt … 

Puis, tout changea … la mer et Then everything changed. The sea and 

sa noire melée its black tumult 

Sombrérent … sous mes pieds s’effondra subsided … beneath my feet the floor 

le plancher of the boat 

De la barque … et j’étais seul dans Gave way … and I was alone in 

un vieux clocher, an old bell-tower, 

Chevauchant avec rage une cloche ébranlée. furiously riding a swaying bell. 

J’éreignais la criarde opiniatrement, I endured this shrill persistence, 

Convulsif et fermant dans l’ effort convulsed and screwing up my eyelids 

mes paupiéres. in the effort, 

Le grondement faisait trembler the rumbling caused the ancient stones 

les vieilles peirres, to shake, 

Tant j’activais sans fin le lourd balancement. so that I had difficulty in keeping my balance. 

Pourquoi n’as-tu pas dit, o reve, Why did you not say, O dream, 

Ou Dieu nous méne? where God leads us? 

Pourquoi n’as-tu pas dit s’ils ne finiraient pas, Why did you not say if they will ever end, 

L’inutile travail et l’éternel fracas the fruitless toil and the endless strife 

Dont est faite la vie, hélas, la vie humaine! of which human life, alas, is made? 


La Vague et La Cloche (The Wave and the Bell) 

Text by François Coppée (1842–1908)

Maurice Ravel: Don Quichotte à Dulcinée 

Text by Paul Morand (1888–1976) 

“Chanson romanesque” (“Romanesque Song”) 

Si vous me disiez que la terre If ever for rest you are yearning, 

A tant tourner vous offensa I’ll hush the winds and the seas, my love, 

Je lui dépêcherais Pança: I will say to the sun above, 

Vous la verriez fixe et se taire. “Cease in your flight, stay in your turning!” 

Si vous me disiez l’ennui If ever for morning you sigh, 

Vous vient du ciel trop fleuri d’astres, the stars I will hide and their wonder, 

Déchirant les divins cadastres, the splendor of heaven tear asunder, 

Je faucherais d’un coup la nuit. and banish the night from the sky. 

Si vous me disiez que l’espace, If space lost in chaos was o’er you, 

Ainsi vidé ne vous plaît point, filling your soul with nameless fear, 

Chevalier-dieu, la lance au poing, god-like I’d come, shaking my spear, 

J’étoilerais le vent qui passe. and sow the stars, radiant before you. 

Mais si vous disiez que mon sang But if ever I hear you cry, 

Est plus à moi qu’à vous, ma Dame, “Give me your life! Prove how you love me!” 

Je blêmirais, dessous le blâme Darkness will fall, shadows above me, 

Et je mourrais, vous bénissant. blessing you still, then I shall die. 

O Dulcinée. O Dulcinée. 

“Chanson épique” (“Epic Song”) 

Bon Saint Michel qui me donnez loisir Saint Michael, come! my lady bring to me, 

De voir ma Dame et de l’entendre, unto my soul her presence lending, 

Bon Saint Michel qui me daignez choisir Saint Michael, come! he champion let me be, 

Pour lui complaire et la défendre, with knightly grace her fame defending, 

Bon Saint Michel veuillez descendre Saint Michael, come! to earth descending, 

Avec Saint Georges sur l’autel with good Saint George before the shrine 

De la Madone au bleu mantel. of the Madonna with face divine. 

D’un rayon du ciel bénissez ma lame May the light of heaven on my sword be lying, 

Et son égale en pureté give to my spirit purity, 

Et son égale en piété and lend my heart sweet piety, 

Comme en pudeur et chasteté: Ma Dame, and lift my soul in ecstasy, undying! 

(O grands Saint Georges et Saint Michel) (O good Saint George and Saint Michael, 

hear me!) 

L’ange qui veille sur ma veille, An angel watches ever near me, 

Ma douce Dame si pareille A Vous, my own beloved, so like to you, 

Madone au bleu mantel! Amen. Madonna, maid divine! Amen. 




Foin du bátard, illustre Dame, Lady adored! Wherefore this sorrow? 

Qui pour me perdre à vos doux yeux I live in your glances divine, 

Dit que l’amour et le vin vieux say not that love, love and good wine, 

Mettent en deuilmon coeur, mon âme! Ah! brings to us mortals grief tomorrow! Ah! 

Je bois A la joie! Drink then! drink to joy! 

La joie est la seul but O! je vais droit … For good wine makes you laugh like a merry boy! 

lorsque j’ai ... lorsque j’ai bu! Makes you laugh, laugh like a boy! 

Ah! Ah! Ah! la joie! La La La! Ah! Ah! Ah! to joy! La La La! 

Je bois A la joie! Drink on, drink to joy! 

Foin du jaloux, brune maîtresse, Who wants a maid (not I, I’m thinking!), 

Qui geind, qui pleure et fait serment a maiden who mopes all day long, 

D’être toujours cepâle amant silent and pale, never a song, 

Qui met de l’eau dans son ivresse! Ah! frowning to see her lover drinking! Ah! 

Je bois A la joie! Drink then! drink to joy! 

La joie est la seul but O! je vais droit … For good wine makes you laugh like a merry boy! 

lorsque j’ai ... lorsque j’ai bu! Makes you laugh, laugh like a boy! 

Ah! Ah! Ah! la joie! La La La! Ah! Ah! Ah! to joy! La La La! 

Je bois A la joie! Drink on, drink to joy! 


“Chanson à boire” (“Drinking Song”)

Richard Wagner: Les deux grenadiers (The Two Grenadiers) 

Text by François-Adolphe Loève-Veimar 

Based on a German text by Heinrich Heine (1797–1856) 

Longtemps captifs chez le Russe lointain, Two grenadiers were returning to France, 

Deux grenadiers retournaient vers la France; from Russian captivity they came. 

Déjà leurs pieds touchent le sol germain; And as they crossed into German lands 

Mais on leur dit: Pour vous plus d’espérance; they hung their heads in shame. 

L’Europe a triomphé, vos braves ont vécu! Both heard there the tale that they dreaded most, 

C’en est fait de la France, that France had been conquered in war, 

et de la grande armée! defeated and shattered! 

Et rendant son épée, That once proud host— 

l’Empereur est captif et vaincu! And the Emperor, a free man no more. 

Ils ont frémi; chacun d’eux sent tomber The grenadiers both started to weep 

des pleurs brülants sur sa mâle figure. at hearing so sad a review. 

“Je suis bien mal” ... dit l’un, “je vois couler The first said, “My pain is too deep; 

des flots de sang de ma vieille blessure!” my old wound is burning anew!” 

“Tout est fini,” dit l’autre, “ô, je voudrais mourir! The other said, “The song is done; 

Mais au pays mes fils m’attendent, et leur mère, like you, I’d not stay alive; 

qui mourrait de misère! but at home I have wife and son, 

J’entends leur voix plaintive; il faut vivre et souffrir!” who would not survive without me.” 

“Femmes, enfants, que m’importe! “What matters son? What matters wife? 

Mon coeur par un seul voeu tient encore à la terre. By nobler needs I set store; 

Ils mendieront s’ils ont faim, let them go beg to sustain their life! 

l’Empereur, il est captif, mon Empereur! My Emperor, a free man no more! 

Ô frère, écoute-moi, ... je meurs! Promise me, brother, one thing: 

Aux rives que j’aimais, if at this time I should die, 

rends du moins mon cadavre, Take my corpse to France 

et du fer de ta lance, for its final rest; 

au soldat de la France as a French soldier 

creuse un funèbre lit sous le soleil français! let me lie in France’s dear earth. 

Fixe à mon sein glacé par le trépas The Cross of Valor, on its red band, 

la croix d’honneur que mon sang a gagnée; over my heart you shall lay; 

dans le cerceuil couche-moi l’arme au bras, my musket place into my hand; 

mets sous ma main la garde d’une épée; and my sword at my side display. 

de là je prêterai l’oreille au moindre bruit, So shall I lie and listen in the ground, 

jusqu’au jour, où, tonnant sur la terre ébranlée, a guard watching, silently staying 

l’écho de la mêlée till once more I hear the cannon’s echo 

m’appellera du fond de l’éternelle nuit! and the hoofbeats of neighing horses. 

Peut-être bien qu’en ce choc meurtrier, Perhaps in the shock of battle, 

sous la mitraille et les feux de la bombe, under fire and with bombs falling, 

mon Empereur poussera son coursier my Emperor will pass right over my grave, 

vers le gazon qui couvrira ma tombe. with each sword a flashing reflector. 

Alors je sortirai du cerceuil, tout armé; And I, fully armed, will rise up from that grave, 

et sous les plis sacrés du drapeau tricolore, and under the sacred folds of the tricolor, 

j’irai défendre encore I’ll again defend 

la France et l’Empereur, France and the Emperor, 

l’Empereur bien aimé.” the beloved Emperor.” 





ERIC OwENS 

Acclaimed for his commanding stage presence and inventive 

artistry, American bass-baritone Eric Owens has carved a unique 

place in the contemporary opera world as both an esteemed 

interpreter of classic works and a champion of new music. 

Equally at home in concert, recital and opera performances, 

Owens continues to bring his powerful poise, expansive voice 

and instinctive acting faculties to stages around the world. 

The 2010–11 season saw Owens’s Ring cycle debut as Alberich 

in Wagner’s Das Rheingold in Robert Lepage’s new production 

at the Metropolitan Opera, conducted by James Levine on the 

opening night of the Metropolitan’s season. Universally praised, 

Owens’s performance was considered a standout of the production. 

The 2010–11 season also saw Owens as Ramfis in Aida at 

San Francisco Opera and in the title role in Peter Sellars’s new 

Hercules at Lyric Opera of Chicago. On the concert stage, Owens 

appeared as Lodovico in Otello with the Chicago Symphony 

Orchestra and conductor Riccardo Muti in performances at 

Symphony Center in Chicago and Carnegie Hall in New York. 

During 2011–12, Owens embarks on a significant recital tour 

with pianists Robert Spano and Craig Rutenberg. With engagements 

in Washington, D.C., Berkeley, Portland and Philadelphia, 

Owens will also perform at Carnegie Hall’s Zankel Hall. He 

sang Bach Cantatas with the Chamber Music Society of Lincoln 

Center on December 6. This season, Owens continues his work 

with the Metropolitan Opera’s Ring Cycle, with his character 

Alberich reappearing in October in Siegfried and in January in 

Götterdämmerung. The complete cycles will begin in April 2012. 

Owens will perform Beethoven’s Missa solemnis with the Boston 

Symphony Orchestra at Carnegie Hall, one of three appearances 

there in 2011–12. Appearing as Jochanaan in Strauss’s Salome 

with the Cleveland Orchestra, Owens assumes the role in both 

Cleveland and at Carnegie Hall in May. Summer 2012 begins 

with Owens reprising the role of the Storyteller in A Flowering 

Tree by John Adams with the Atlanta Symphony Orchestra. 

Owens will continue his summer at Glimmerglass Festival 2012 

as the Artist in Residence, where he will appear in Aida and Lost 

in the Stars and will perform a jazz concert. 

Owens has created an uncommon niche for himself in the evergrowing 

body of contemporary opera works through his determined 

tackling of new and challenging roles. He received great 

critical acclaim for portraying the title role in the world premiere 

of Elliot Goldenthal’s Grendel with the Los Angeles Opera and 

again at the Lincoln Center Festival in a production directed and 

designed by Julie Taymor. Owens also enjoys a close association 

with John Adams, for whom he created the role of General 

Leslie Groves in the world premiere of Doctor Atomic at the San 

Francisco Opera and of the Storyteller in the world premiere of 

A Flowering Tree at Peter Sellars’s New Crowned Hope Festival 

in Vienna and later with the Los Angeles Philharmonic. Owens 

made his Boston Symphony Orchestra debut under the baton of 

David Robertson in Adams’s Nativity oratorio El Niño. 

Owens’s career operatic highlights include his San Francisco 

Opera debut in Otello conducted by Donald Runnicles; his Royal 

Opera, Covent Garden debut in Norma; Aida at Houston Grand 

Opera; Rigoletto, Il Trovatore and La Bohème at Los Angeles

Opera; Die Zauberflöte for his Paris Opera (Bastille) debut and 

Ariodante and L’Incoronazione di Poppea at the English National 

Opera. He sang Collatinus in a highly acclaimed Christopher 

Alden production of Britten’s The Rape of Lucretia at Glimmerglass 

Opera. A former member of the Houston Grand Opera Studio, 

Owens has sung Sarastro, Mephistopheles in Faust, Frère Laurent, 

Angelotti in Tosca and Aristotle Onassis in the world premiere of 

Jackie O (available on the Argo label) with that company. Owens 

is featured on two Telarc recordings with the Atlanta Symphony: 

Mozart’s Requiem and scenes from Strauss’s Elektra and Die 

Frau ohne Schatten, both under the baton of Donald Runnicles. 

He is featured on the Nonesuch Records release of A Flowering 

Tree. In addition to great popular and critical acclaim, Owens 

has been recognized with multiple awards, including the 2003 

Marian Anderson Award, a 1999 ARIA award and second prize 

in the Plácido Domingo Operalia Competition, the Metropolitan 

Opera National Council Auditions and the Luciano Pavarotti 

International Voice Competition. 

A native of Philadelphia, Owens began his musical training as 

a pianist at the age of six, followed by formal oboe study at age 

11 under Lloyd Shorter of the Delaware Symphony and Louis 

Rosenblatt of the Philadelphia Orchestra. He later studied voice 

while an undergraduate at Temple University and then as a graduate 

student at the Curtis Institute of Music. He currently studies 

with Armen Boyajian. He serves on the Board of Trustees of both 

the National Foundation for Advancement in the Arts and Astral 

Artistic Services. 

ROBERT SPANO 

Robert Spano (piano) is one of the brightest and most imaginative 

conductors of his generation. As music director of the Atlanta 

Symphony Orchestra, he has enriched and expanded its repertoire 

and elevated the ensemble to new levels of international 

prominence. In 2012, Robert Spano became music director of the 

Aspen Music Festival and School and is also a fellow of the Aspen 

Institute as part of the Harman-Eisner Artist in Residence Program. 

Spano’s 2011–12 engagements include appearances with Seattle 

Symphony, Minnesota Orchestra, City of Birmingham Symphony 

Orchestra, Hong Kong Philharmonic, Deutsches Symphonie- 

Orchester Berlin, West Australian Symphony Orchestra, Sydney 

Symphony and Orchestra of St. Luke’s. Respected as a collaborative 

pianist and composer, Spano joins bass-baritone Eric Owens for 

three recitals in Denver, Davis and Carnegie Hall’s Zankel Hall in 

New York. Spano conducts the Juilliard Symphony Orchestra as 

well as the Curtis Symphony Orchestra in Philadelphia and at the 

Dresden Music Festival. Twenty-eleven marked the final year of 

Spano’s three-year residency at Emory University. In its 165-year 

history, Emory University has honored only seven other individuals 

with such expansive residencies, including the Dalai Lama, 

President Jimmy Carter and author Salman Rushdie. 

Spano opened the Atlanta Symphony’s 2011–12 season last 

September and in October conducted the U.S. premiere of Esa- 

Pekka Salonen’s Nyx in both Atlanta and New York’s Carnegie 

Hall. Spano conducts three world premieres in Atlanta this season: 

an ASO commission by Atlanta School of Composers member 

Adam Schoenberg and works by Alvin Singleton and Marcus 

Roberts. Spano oversees two Theater of a Concert performances: 

Bach’s St. Matthew Passion and John Adams’s A Flowering Tree. 

With an extensive discography of 16 critically acclaimed recordings 

for Telarc and Deutsche Grammophon, Spano has garnered 

six Grammy Awards. In February 2011, the Atlanta Symphony 

Orchestra and Naxos created ASO Media and the label’s first 

recording was released in April 2011. The unanimously praised 

premiere recording featured new works by Atlanta School of 

Composers members Jennifer Higdon and Michael Gandolfi conducted 

by Robert Spano: Higdon’s On a Wire and Gandolfi’s QED: 

Engaging Richard Feynman. The second recording on the label was 

released in June 2011; a recording of the Atlanta Symphony commission 

of Christopher Theofanidis’s Symphony paired with Peter 

Lieberson’s Neruda Songs, exquisitely sung by mezzo-soprano 

Kelley O’Connor. 

Musical America’s 2008 Conductor of the Year, Spano is on the 

faculty of Oberlin Conservatory and has received honorary doctorates 

from Bowling Green State University, the Curtis Institute of 

Music, Emory University and Oberlin. Spano served as director 

of the prestigious Festival of Contemporary Music at the Boston 

Symphony Orchestra’s Tanglewood Music Center in 2003 and 

2004, and from 1996–2004 was Music Director of the Brooklyn 

Philharmonic. He headed the Conducting Fellowship Program at 

the Tanglewood Music Center from 1998–2002 and was music 

director of the 2006 Ojai Festival. In May 2009, Spano was 

awarded Columbia University’s Ditson Conductor’s Award for the 

advancement of American music. 

Born in 1961 in Conneaut, Ohio, and raised in Elkhart, Indiana, 

Robert Spano grew up in a musical family, composing and playing 

flute, violin and piano. He is a graduate of Oberlin, where he studied 

conducting with Robert Baustian, and continued his studies 

at the Curtis Institute of Music with the late Max Rudolf. In 2004 

at the Tanglewood Festival of Contemporary Music, Spano performed 

under water, a work for solo piano he composed based on 

Debussy’s Engulfed Cathedral. He has been featured on CBS’s Late 

Night with David Letterman, CBS Sunday Morning, A&E’s Breakfast 

with the Arts and PBS’s City Arts. He makes his home in Atlanta. 



50 | mondaviarts.org


PResents 

Debut 

MC 

ChuChO VAlDéS 

AND ThE AFRO-CuBAN MESSENGERS 

A Chevron World Stage Series Event 



Sponsored by 

Pre-Performance Talk 



Speaker: Raúl Fernández, Professor, School of Social Sciences, UC Irvine (see bio p. 52) 




Offering Private 

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PRE-PERFORMANCE TAlk SPEAkER: 

RAúl FERNáNDEz 

Professor Raúl Fernandez completed his secondary 

education in Cuba, received his B.A. from the University 

of California at Berkeley in 1966 and his Ph.D. from 

Claremont Graduate University in 1971. He has been in 

the faculty at UC Irvine since 1969 and is the Chair of the 

UC-Cuba Multi-Campus Research Program. 

His research is focused on economic and cultural transactions 

between the U.S. and Latin America. He has 

authored six books, including Latin Jazz: The Perfect 

Combination (Chronicle Books) and From Afro-Cuban 

Rhythms to Latin Jazz (University of California Press, 2006). 

Fernandez was the Curator of the Smithsonian Institution 

traveling exhibit Latin Jazz: La Combinación Perfecta, 

which opened in Washington, D.C. in 2002 and traveled to 

12 U.S. cities through 2006.


Winner of five Grammy Awards and three Latin Grammy Awards, 

Dionisio Jesús “Chucho” Valdés Rodríguez has performed all 

over the world in such prestigious venues as Carnegie Hall, the 

Kennedy Center and the Hollywood Bowl and has shared the stage 

with such musical luminaries as Herbie Hancock, Billy Taylor, 

Chick Corea, Gonzalo Rubalcaba, Branford and Wynton Marsalis, 

Carlos Santana, Grover Washington Jr., Dizzy Gillespie, Taj Mahal 

and Tito Puente, to name but a few. 

Born in Havana, Cuba, in 1941, the pianist, composer, arranger, 

band leader and music professor began his musical life at home 

under the direction of his parents: his mother, Pilar Rodríguez, a 

singer and piano teacher, and his father, the great Bebo Valdés. 

At three years old, Valdés could already play the melodies he 

heard on the radio by ear using both hands in any key. At age 

five, Valdés began piano, theory and solfège lessons with Professor 

Oscar Muñoz Boufartique, finishing his studies at the Municipal 

Music Conservatory of Havana at the age of 14. He also took private 

lessons in piano and composition with such noted teachers as 

Zenaida Romeu, Rosario Franco, Federico Smith and Leo Brouwer. 

At the age of 15, he formed his first jazz trio with Emilio del 

Monte and Luis Rodríguez and later worked as pianist in the 

Deauville and St. John hotels in Havana. He also played with 

the Sabor de Cuba Orchestra directed by his father, accompanying 

important singers of the time like Rolando Laserie, Fernando 

Alvarez and Pio Leyva. 

Between1961–63, he worked as pianist at the Martí Theatre, 

International Salon of the Havana Riviera Hotel and at the Musical 


AND ThE AFRO-CuBAN MESSENGERS 

Chucho Valdés, Piano and Band Leader 

Mayra Caridad Valdés, Vocals 

Lázaro Rivero Alarcón, Bass 

Juan Carlos Rojas Castro, Drums 

Yaroldy Abreu Robles, Percussion 

Dreiser Durruthy Bambolé, Batá Drum and Vocals 

Carlos Manuel Miyares Hernandez, Tenor Saxophone 

Reinaldo Melián Álvarez, Trumpet 

Music selections will announced from the stage. 

Theatre of the Havana Orchestra. At Leo Brouwer’s recommendation, 

he simultaneously created his Combo that in 1965 added the 

singer Amado Borcela (better known as “Guapachá”), paving the 

way for a new era of Cuban popular music. This Combo was like 

Irakere’s preamble, where many of the founders came together. In 

1967, he started playing with the Cuban Modern Music Orchestra 

under the direction of Armando Romeu and Rafael Somavilla 

and became the group leader before long. In1970, he debuted 

his Combo in a quintet format at the Jamboree International Jazz 

Festival in Poland, marking the first time a Cuban group participated 

in a jazz festival abroad and giving Valdés international 

recognition as one of the five greatest piano players in the world 

along with Bill Evans, Oscar Peterson, Herbie Hancock and Chick 

Corea. 

In 1972, after recording Jazz Bata with Carlos del Puerto and 

Oscar Valdés, Valdés decided to add a brass section and drums to 

his Combo. It was then, in 1973, that he founded Irakere, widely 

recognized as the most important group in Cuban musical history 

in the second half of the 20th century. An explosive mixture of 

jazz, rock, classical and traditional Cuban music, Irakere produced 

a sound that had never been heard before and that revolutionized 

Latin music. 

In 2006, in a ceremony held at the Vatican, Valdés was named 

Good Will Ambassador by the Food and Agricultural Association 

of the United Nations. He gives annual benefit concerts in Havana 

on October 16, World Food Day. 

In 2009, he formed Chucho Valdés & the Afro-Cuban Messengers. 

The group tours internationally and recorded Valdés’s most recent 

release, Chucho’s Steps (2011). 


ChuChO VAlDéS AND ThE AFRO-CuBAN MESSENGERS

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Mayra Caridad Valdés (vocals) is one of the more intense and 

versatile voices in contemporary Cuban Latin jazz. Born in 1956 to 

Bebo Valdés, a legendary Cuban jazz pianist, Valdés studied at the 

National Art School in Cuba and graduated in 1975 with a degree 

in choral music. In 1980, Harry Belafonte invited her to perform 

with him at his concert in Cuba. This was the beginning of her 

professional career as a vocalist. She toured Japan and Europe as 

a solo vocalist and as a member of numerous groups including 

Irakere, a group she permanently joined in 1994, and also in 

her brother Chucho Valdés’s quartet. Valdés has shared the stage 

with international figures such as Gladys Knight, Flora Purim 

and Tania María. In 2002, she released her debut solo album, 

La Diosa del Mar, a collection of Afro-Cuban jazz standards and 

traditional folkloric songs. Her second CD, Obatalá Estoy Aquí, was 

nominated for the Cubadisco Prize 2008. 

Lázaro Rivero Alarcón (bass) was born in Manicaragua, Cuba, 

in 1966. In 1982, he entered the National Art School where he 

studied clarinet and contrabass. In 1996, he joined the group Otra 

Vision directed by the flautist and composer Orlando Valle Maraca 

and performed in numerous jazz festivals throughout Europe. As an 

instrumentalist he has participated in Pa los Malos Ojos and Malembe 

together with Carlos del Puerto, Tata Guines, Emilio del Monte 

and Roberto Vizcaino among many other projects. Since 2000, as 

a member of the Chucho Valdés Jazz Quartet, he has toured more 

than 20 countries. Alarcón records for the Blue Note label, sharing 

discography projects and the stage with international figures such 

as Bebo Valdés, Concha Buika and Michel Legrand. He has recorded 

Color de la Vida with Charles Aznavour, Obatala with Mayra Caridad 

Valdés and El Ultimo Trago with Concha Buika. 

Juan Carlos Rojas Castro (drums) graduated with honors with a 

degree in percussion from Cuba’s National Art School of Music in 

1982. That same year, he began his professional career in the Santa 

Clara’s Modern Music Orchestra in Villa Clara, his hometown. 

Castro has performed with prestigious Cuban groups including 

Varadero International Orchestra, All Stars Orchestra with Tata 

Guines, Frank Emilio, Richard Egúes and Omara Portuondo 

among others. As a member of the group Otra Vision from 1995– 

2006, he participated in various recordings including La habana 

llama with Miguel Diaz Anga and Habana Flauta with Jane Bunnett 

among others. Castro has toured the U.S., Europe and Canada 

with Wynton Marsalis and his orchestra. In 2006, he joined the 

Chucho Valdés Jazz Quartet and appeared at such prestigious 

musical events as the Sevilla International Festival (Spain), 

Cape Town Jazz Festival (South Africa), Blue Note Jazz Festival 

(Italy), Orleans Jazz Festival (France), Canaries Jazz Festival 

(Spain) among many others. His work as instrumentalist has been 

reviewed in the magazines Jazz Hot and in different editions of 

Latin Beat Magazine in the U.S. The author of a percussion method 

based on the mixing of drums and timbales, Castro has taught 

percussion in Europe, the U.S. and South America. 

Yaroldy Abreu Robles (percussion) was born in Sagua de Tanamo, 

Cuba. He started his professional career in Holguin in 1995 with 

the group Agua and then formed the experimental percussion 

ensemble Cinco Puntos. He graduated with honors with a 

bachelor’s degree in percussion from the Higher Institute of Art 

in 2001. While Robles was still a student, Chucho Valdés invited 

him to join his group Irakere and in 2001, the Chucho Valdés Jazz 

Quartet. Robles has shared the stage and recorded with many 

musicians inside and outside of Cuba: Muñequitos de Matanzas, 

Roberto Vizcaino, Jose Luis Cortes, David Sanchez, Giovanni 

Hidalgo, Mañenguito (Puerto Rico), Wynton Marsalis, Chico 

Freeman, Dave Valentin, Sonny Rollings, Michel Camilo, Arturo 

Sandoval (U.S.) and Tania Maria (Brazil). In 2003, Robles was 

nominated for a Grammy Award in the category of Best Traditional 

Tropical Album for Amadito Valdés’ Bajando Gervasio; in 2004 

he won the Latin Grammy Award in the Latin jazz category for 

Chucho Valdés Jazz Quartet’s New Conceptions. An esteemed 

teacher, Robles has been invited to teach master classes in Europe 

and the U.S. and at various music festivals throughout the world. 

Dreiser Durruthy Bambolé (batá drum and vocals) was born in 

Guantánamo in 1977. In 1994, he toured France with the French 

Young Ballet, as part of an exchange program between Cuba 

and France. In 1997, he entered the Higher Institute of Art in 

Cuba from which he graduated with a degree in dramatic arts in 

2004. He toured the world from 2003–06 with the Carlos Acosta 

Company. Bambolé appeared in the CD Afrocuban Jazz Project with 

Orlando Maraca Valle and with the Cuba Jazz Sanchez on the CD 

Semos. In 2007, he worked with Lady Salsa Company and toured 

Russia, Estonia, Lithuania, Japan, England, South Africa, Germany, 

Belarus and Australia. In 2009, Bambolé joined Valdés’s Afro- 

Cuban Messengers and recorded the CD Chucho’s Steps, on which 

he both sings and plays the batás. 

Carlos Manuel Miyares Hernandez (tenor saxophone) was born 

in 1980 in Santiago de Cuba, Cuba, and started his music studies 

at the age of seven at the Vocational School of Arts, where he 

initially studied piano, but then switched to saxophone after four 

years. He studied with Julio Cesar Gonzalez at the Esteban Salas 

Conservatory, graduating in 1999. Hernandez has appeared at 

festivals throughout the world and has toured Jamaica, Mexico, 

Guatemala, Costa Rica, Venezuela, Brazil, Switzerland, France, 

Spain, Portugal, Italy, England, Scotland, Luxembourg, Belgium, 

the Netherlands, Ireland and Austria. Selected discography: 

Chucho’s Steps (Chucho Valdés), Puertas Liuba (Maria Hevia), Full 

Time (Jorge Chicoy), Columpio (Coro Diminuto), Amaray (Ricardo 

Amaray), Sentimiento (Francis del Río) and Beat Cubano (Manolito 

Simonet). He has collaborated with Alexis Bosch, Pasaje Abierto, 

David Álvarez, Juego de Manos, Chala Cubana, Carlos Varela and 

many others. 

Reinaldo Melián Álvarez (trumpet) was born in 1960 and 

graduated from Cuba’s National Art School in 1982. He gave 

trumpet lessons at the Music School of Pinar del Rio from 1982– 

85, simultaneously working with the Cuban popular music band 

Ireme, with which he went on tour to Russia, Angola and Tunisia. 

He participated in the recording of musical tracks for films and TV 

series such as En Silencio ha tenido que Ser and El Regreso de David. 

In 1985, he joined Gupo Proyecto, a jazz band directed by pianist 

Gonzalo Rubalcaba.Working with the band until 1997, he traveled 

worldwide to various festivals including Montreal, Vancouver, 

North Sea Jazz (Netherlands), San Sebastián (Spain), Mont Fuji 

Festival (Tokyo) and others in France, Belgium, Switzerland, 

Turkey, Germany, Finland, Russia, Luxembourg, Brazil, Italy and 

Norway. Álvarez has performed at the Blue Note clubs in New 

York, Tokyo, Osaka, Yoshi’s in San Francisco and Ronnie Scott’s in 

London. During this period, and as part of Rubalcaba´s band, he 

participated in the following projects: Giraldilla, Mi Gran Pasión and 

4 y 20. From 1997–2009, he worked with Orlando Maraca Valle’s 

band Otra Vision. In 2009, he joined Chucho Valdés and the Afro 

Cuban Messengers and recorded Chucho’s Steps with the band. 


ChuChO VAlDéS AND ThE AFRO-CuBAN MESSENGERS



PResents 

ThE ChIEFTAINS 

50th Anniversary Tour: Voice of ages 

Paddy Moloney & The Chieftains 

with Special Guests 

A Mondavi Center Special Event 

Wednesday, February 22, 2012 • 8PM 


There will be no intermission. 

Sponsored by 


Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.


Six-time Grammy Award-winning artists the Chieftains are now 

recognized for bringing traditional Irish music to the attention 

of the world. They have uncovered the wealth of traditional Irish 

music that has accumulated over the centuries, making the music 

their own with a style that is as exhilarating as it is definitive. 

The Chieftains were formed in 1962 by Paddy Moloney from 

the ranks of the top folk musicians in Ireland. Moloney brought 

together musicians such as fiddler Martin Fay, flautist Michael 

Tubridy, tin whistle virtuoso Seán Potts and bodhrán player David 

Fallon. They recorded a supposedly one-off instrumental album 

but five years later were reunited with some additions— 

fiddler Seán Keane and Peader Mercier replacing Fallon. Harpist 

Derek Bell came on board in 1973. It wasn’t until 1975 that the 

Chieftains began playing together full time and they marked the 

event with a historic performance at Royal Albert Hall in London. 

The following few years saw the departure of Mercier and the addition 

of bodhrán player and vocalist Kevin Conneff. Another lineup 

change in 1978–79 saw the departure of Potts and Tubridy and the 

addition of a new flautist, Matt Molloy. 

Although their early following was purely a folk audience, the 

range and variety of their music very quickly captured a much 

broader public, making them the best known Irish band in the 

world today. 


50th Anniversary Tour: Voice of ages 

Paddy Moloney & The Chieftains 

with Special Guests 

Paddy Moloney, Tin Whistle & Uilleann Pipes 

Kevin Conneff, Bodhran & Vocals 

Matt Molloy, Flute 

Triona Marshall, Harp 

Alyth McCormack, Vocals 

Jeff White, Guitar, Vocals 

Deanie Richardson, Fiddle 

Jon Pilatzke, Fiddle & Dancer 

Nathan Pilatzke, Dancer 

Cara Butler, Dancer 

Never afraid to shock purists and push boundaries, in their nearly 

50 years together the Chieftains have amassed a dizzyingly varied 

resume. They have been involved in such historic events as a tour 

of China (being the first Western group to perform on the Great 

Wall), Roger Waters’s The Wall performance in Berlin in 1990, 

being the first group to give a concert in the Capitol Building in 

Washington, D.C. (at the invitation of former Speaker Thomas 

“Tip” O’ Neill), and in October 2001, Moloney performed at a 

Ground Zero memorial service in New York for the victims of 

September 11. They have performed with many symphony and 

folk orchestras worldwide and have broken many musical boundaries 

by collaborating and performing with some of the biggest 

names in rock, pop and traditional music in Ireland and around 

the world. 

On top of their six Grammy Awards, they have been honored in 

their own country by being officially named Ireland’s Musical 

Ambassadors, performed during the Pope’s visit to Ireland in 1979 

in front of a 135,000,000 strong audience and were the subject of 

a Late Late Show tribute in 1987, their 25th anniversary. In 2010, 

Paddy’s whistle and Matt’s flute traveled to outer space with a 

NASA astronaut and this past year in 2011, the band performed 

for HRH Queen Elizabeth II during her historic visit to Ireland. 


ThE ChIEFTAINS


In 2010, the Chieftains released a collaboration with guitarist/ 

producer Ry Cooder entitled San Patricio on the Concord 

Music Group label. The album was named after the San Patricio 

Battalion, a group of Irish immigrant conscripts who deserted the 

U.S. Army in 1846 to fight on the Mexican side of the Mexican- 

American War. This release proved a remarkable collaboration, 

with many of the most distinguished Hispanic musicians including 

Lila Downs, Los Tigres Del Norte, Los Cenzontles, and Carlos 

Nunez, as well as narration by Liam Neeson and a piece featuring 

Linda Ronstadt. 

A commercial and critical success, the album sold more than 

60,000 copies in North America and charted number 37 in the 

Billboard 200, the highest-charting of all 58 Chieftains albums. 

Extraordinarily, San Patricio was the subject of a St. Patrick’s Day 

2010 New York Times editorial, which celebrated the unlikely juxtaposition 

between the Irish and the Mexicans: “The rest is joy, 

thoroughly Mexican yet utterly Irish, carried aloft by tin whistles, 

skin drums, pipes, harps, guitars, and stomping feet. It’s a mix 

you’ve never heard, but eerily familiar … We are all people who 

have lost our land in one sad way and found another. Whether we 

lament and celebrate in a pub or cantina, whether our tricolour 

flag has a cactus on it or not, we are closer to one another than we 

remember.” 

The trappings of fame have not altered the band’s love of, and 

loyalty to, their roots; they are as comfortable playing spontaneous 

Irish sessions as they are headlining a concert at Carnegie Hall. 

After all these years of making some of the most beautiful music 

in the world, the music of the Chieftains remains as fresh and relevant 

as when they first began. 

The year 2012 will mark the group’s 50th anniversary, and they 

plan to celebrate the momentous occasion by collaborating with 

old and new friends alike, reliving past memories and introducing 

the Chieftains historic career to a whole new generation of fans. 

Alyth McCormack (vocals) is one of the most exciting singers on 

the Celtic scene. Her vocal talent and her understanding approach 

give her an ability to cross over diverse singing styles, making her 

comfortable performing with a variety of artists. 

She was born and raised on the Island of Lewis off the northwest 

coast of Scotland. Having been immersed in the culture of these 

islands and being given the opportunity to perform from a young 

age, McCormack decided to feed her love of performing and 

expand on her traditional background and studied classical singing 

and drama at the RSAMD in Glasgow, where she enjoyed the 

freedom to experiment and develop her vocal technique. 

After the academy, McCormack returned to her roots and began 

another education altogether, touring with various bands throughout 

Germany, Spain, Italy, Estonia, North America, the U.K., 

Brazil, Ireland, Switzerland, Greece, Austria, Hungary, Norway 

and Sweden. During this time she recorded with various artists, 

appearing on 16 albums to date, and in 2000 released her first solo 

CD An Iomall (The Edge) on Vertical Records. 


She has appeared at various festivals—Celtic Colours, Celtic 

Connections, Edinburgh International, Lammertree, Hebridean 

Celtic Festival—and in 2001, she performed with her trio as part 

of “Distilled-Scotland Live in New York.” 

McCormack also works as an actress performing for both stage 

and screen. She has worked with such directors as Alison Peebles, 

Ian McElhinney and Chris Baldock and is a founding member of 

the Scottish theater group Dogstar, taking leading roles in their 

award-winning productions. McCormack has appeared on various 

film soundtracks, most notably Festival by Annie Griffin, winner of 

the British Comedy Award for Best Comedy Film 2005. 

She is an artist who thrives on discovery and diversity. She has 

shared the stage with folk greats Martin Carthy and Norma 

Waterston, jazz singers Jacqui Dankworth, Sara Colman and 

Leanne Carol, Brazilian ensembles, Bulgarian choirs and Scotland’s 

own Eddi Reader. 

Her performance is inspired by the beautiful, harsh and natural 

landscape of her youth, its vibrant oral and musical tradition and 

the passion of the songs she learned as a child, which she has 

endeavored to carry on in her interpretation and performance as 

an adult and through her desire to communicate with her audience. 

Cara Butler (dancer) Under the tutelage of renowned Irish dance 

master Donny Golden, Butler won numerous Irish dance championships 

at world-class levels, including five regional and six 

national titles. Her competitive years were also intermingled with 

performing with Cherish the Ladies, Green Fields of America and 

Solas. Since 1992, she has been the principal female dancer with 

the Chieftains. Butler is famous for her starring role as the lead 

dancer in the nationwide Folgers coffee commercial, A Dancer’s 

Morning, and can be seen dancing in Shania Twain’s video Don’t be 

Stupid. In 1999, Butler opened as a principal dancer in Jean Butler 

and Colin Dunne’s Dancing on Dangerous Ground in London’s 

Theatre Royal Drury Lane. She continues to work with her sister 

(of Riverdance fame) doing dance workshops and appearing in Jean 

Butler’s Masterclass, an instructional DVD. Butler’s expertise lies 

in her formal Irish dance training but is not limited by it. She is 

a performer at heart and her various talents have enabled her to 

excel in many mediums. In 1996, she toured with Ashley MacIsaac 

showcasing her virtuosity as a singer and dancer and is now 

performing with the StepCrew, which has brought together tap, 

Canadian and Irish step dancing in a thrilling new dance show. 

Deanie Richardson (fiddle) Long regarded as one of country 

and bluegrass music’s most soulful and heartfelt fiddle players, 

Nashville native Richardson has toured and recorded with some 

of the most respected names in the industry, including Vince Gill 

and Patty Loveless, who’s Grammy-nominated Mountain Soul and 

Sleepless Nights showcase her unique and inimitable musicianship. 

Despite her busy touring, performance and recording schedule, 

Richardson devotes much of her time to her school, the Main 

Stage, teaching and guiding a new crop of young fiddle, guitar and 

mandolin players down Tennessee’s rich country music roads.

Jeff White (singer and guitar) has been active on the bluegrass and 

country scene for the last 20 years. Starting out with Alison Krauss 

and Union Station back in the late 1980s White contributed to two 

of Alison’s early recordings, playing guitar and singing harmonies 

on Two Highways and the Grammy Award-winning I’ve got that Old 

Feeling. After arriving in Nashville in 1992, White started playing 

and singing harmonies with country artist Vince Gill. He has contributed 

to many of Gill’s records, most recently his box set These 

Days, which was nominated for Album of the Year honors at this 

year’s Grammy Awards. White began touring with the Chieftains 

in 2000, and in 2002 he helped the band with its two bluegrass/ 

greengrass records, Down the Old Plank Road and Further Down 

the Old Plank Road, and their Live in Dublin: Tribute to Derek Bell 

album. He has appeared on records or toured with Tim O’Brien, 

Patty Loveless, Lyle Lovett, Keith Whitley, Charley Pride and made 

two solo albums on the Rounder label. He is a fiddle freak who 

loves all styles of fiddling. He has produced two award-winning 

albums with fiddle ace Michael Cleveland the last of which featured 

an all-star lineup with guests Del McCoury, Vince Gill, Dan 

Tyminski and Tim O’Brien. He is a songwriter as well, his songs 

having been covered by Alison Krauss and Union Station, Del 

McCoury and Dan Tyminski. 

Jon & Nathan Pilatzke (step dancers) This duo, undoubtedly 

the most dynamic and energetic pair of step dancers to ever hit 

the stage, have been performing together for upwards of 20 years 

and have more than 45 years of step-dance experience between 

them. Hailing from the Ottawa Valley of Ontario, Canada, Jon and 

Nathan (who has been aptly nicknamed “Crazy Legs”) started 

step dancing at the tender ages of four and five, respectively. Jon 

picked up the fiddle at age nine. Since 2002, these brothers have 

been touring the world with Irish moguls the Chieftains, visiting 

Sweden, Norway, China, Australia and most of Eastern Europe and 

North America. They have performed everywhere from the Ryman 

Auditorium with Emmylou Harris, Ricky Skaggs and Alison Krauss 

to Late Night with David Letterman and Conan O’Brien. Jon was 

invited in 2001 to join 10 of Canada’s best fiddlers in a diverse 

musical show called Bowfire, which is currently touring North 

America. The year 2005 proved triumphant for the Pilatzke brothers, 

as they garnered a Gemini Award (the Canadian equivalent of 

the Emmy) for “Best Performance in a Variety Program” on The 

Chieftains in Canada. Jon and Nathan were also extremely proud 

to be performing throughout the 2005 Grammy-nominated record 

The Chieftains Live From Dublin: A Tribute to Derek Bell. Back in 

Canada, Jon and Nathan perform with the StepCrew, a group that 

combines tap, Canadian and Irish step-dancing in a thrilling new 

show. 

Tríona Marshall (harp) Trained as a classical harpist, Marshall was 

principal harpist with the RTE Concert Orchestra for five years 

up to 2003, when she was invited to play as guest harpist with 

the Chieftains. Since then she has performed solely on the Irish 

harp, playing as both guest harpist with the Chieftains on tours 

throughout the world and as a solo performer, with performances 

at the 9th World Harp Congress, the Special Olympics Opening 

Ceremony held in Croke Park, Dublin and at the 2005 Edinburgh 

Fringe Festival where with Thomas Ranjo—the sole non-Japanese 

performer on the Satsuma biwa or “Lute of the Samurai”—she successfully 

performed both Japanese and Irish music with harp and 

shakuhachi as well as harp and biwa. 

As principal harpist with the RTE Concert Orchestra, she likewise 

explored a number of different styles varying from jazz to 

modern Irish and standard classical. These included, among others, 

the premiere performance of contemporary jazz artist Bobby 

Lamb’s “Shining Sea” for harp and orchestra, Robert Farnon’s 

“Intermezzo” for harp and strings, Bill Whelan’s “Seville Suite” and 

the “Concierto de Aranjuez” by Joaquin Rodrigo. 

Marshall comes from Portlaoise in Ireland. She is one of five in 

a family of musicians and started playing the harp when she was 

seven. After winning numerous harp competitions throughout 

Ireland, her studies and performances took her around Europe. 

She also made a number of tours as a member of the EUYO 

(European Union Youth Orchestra) for four years. 

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 


ThE ChIEFTAINS

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OFFICE OF CAMPuS 

COMMuNITY RElATIONS 

MONDAVI CENTER GRANTORS AND 

ARTS EDuCATION SPONSORS 

The Andrew W. Mellon Foundation 

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the art of giving 

Donors 

Your generous donation allows us to bring world-class 

artists and speakers to the Sacramento Valley and energize 

and inspire tens of thousands of school children and teachers 

through our nationally recognized Arts Education programs. 

In appreciation of your gift, you receive a host of benefits which 

can include: 

• Priority Seating 

• Access to Donor-Only Events 

• Advance ticket sales for Just Added shows 

• Invitation to a cast party 

• Much, much more … 

Remember: Ticket sales cover only 

40% of our costs. 

For more information about how you can support the Mondavi 

Center, please contact: Mondavi Center Development Department 

530.754.5438. 

visit our video booth and share your 

Mondavi Moment. 

tell 

Your 

Story 

Simply pop in by yourself 

or with a friend or family 

member and start talking! 

As our audience, you have been a vital part of our success 

over the last 10 years. Now that we’re approaching our 

10th anniversary, we want to hear your stories. Tell us 

how the performing arts at the Mondavi Center have 

thrilled you, inspired you and entertained you! 

Talk to us about: 

• A favorite show 

• A time with friends or family 

• Something that surprised you 

• The show that made you think 

The video booth will be in the lobby before the 

shows and during intermission. Your few moments 

of sharing will play an important role as we get 

ready to celebrate our 10th season. 

mondavi 

center


Individual Supporters 

MondaviCenter 

InnerCircle 

Inner Circle Donors 

are dedicated arts patrons whose 

leadership 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. 

Their gifts to the Mondavi Center 

strengthen and sustain our efforts, 

enabling us not only to bring 

memorable performances by worldclass 

artists to audiences in the 

capital region each year, but also to 

introduce new generations to the experience 

of live performance through 

our Arts Education Program, which 

provides arts education and enrichment 

activities to more than 35,000 

K-12 students annually. 

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 

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Friends of Mondavi Center 

And one donor who prefers to remain 

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Prewoznik Foundation 

Linda and Lawrence Raber* 

Larry and Celia Rabinowitz 

Kay Resler* 

Prof. Christopher Reynolds and 

Prof. Alessa Johns 

Thomas Roehr 

Don Roth and Jolán Friedhoff 

Liisa A. Russell 

Beverly “Babs” Sandeen and 

Marty Swingle 

Ed and Karen Schelegle 

The Schenker Family 

Neil and Carrie Schore 

Bonnie and Jeff Smith 

Wilson and Kathryn Smith 

Ronald and Rosie Soohoo* 

Richard L. Sprague and Stephen C. Ott 

Maril Revette Stratton and 

Patrick Stratton 

Brandt Schraner and Jennifer Thornton 

Verbeck and friends 

Louise and Larry Walker 

Scott Weintraub 

Dale L. and Jane C. Wierman 

Mary Wood, Ph.D. 

Paul Wyman 

Yin Yeh 

Howard and Diane Zumsteg 

And five donors who prefer to remain 

anonymous


Donors 

encore circle 

$600 - $1,099 

Gregg T. Atkins and Ardith Allread 

Drs. Noa and David Bell 

Marion Bray 

Don and Dolores Chakerian 

Gale and Jack Chapman 

William and Susan Chen 

Robert and Nancy Nesbit Crummey 

John and Cathie Duniway 

Shari and Wayne Eckert 

Doris and Earl Flint 

Murray and Audrey Fowler 

Gatmon-Sandrock Family 

Jeffery and Marsha Gibeling 

Paul N. and E. F. “Pat” Goldstene 

David and Mae Gundlach 

Robin Hansen and Gordon Ulrey 

Cynthia Hearden* 

Lenonard and Marilyn Herrmann 

Katherine Hess 

Barbara and Robert Jones 

Paula Kubo 

Frances and Arthur Lawyer* 

Gary and Jane Matteson 

Don and Sue Murchison 

Robert Murphy 

Richard and Kathleen Nelson 

Frank Pajerski 

John Pascoe and Susan Stover 

Jerry and Ann Powell* 

J. and K. Redenbaugh 

John and Judy Reitan 

Jeep and Heather Roemer 

Jeannie and Bill Spangler 

Sherman and Hannah Stein 

Les and Mary Stephens Dewall 

Judith and Richard Stern 

Eric and Patricia Stromberg* 

Lyn Taylor and Mont Hubbard 

Cap and Helen Thomson 

Roseanna Torretto* 

Henry and Lynda Trowbridge* 

Donald Walk, M.D. 

Geoffrey and Gretel Wandesford-Smith 

Steven and Andrea Weiss* 

Denise and Alan Williams 

Kandi Williams and Dr. Frank Jahnke 

Karl and Lynn Zender 

And three donors who prefer to 

remain anonymous 

orchestra circle 

$300 - $599 

Michelle Adams 

Mitzi Aguirre 

Susan Ahlquist 

Paul and Nancy Aikin 

Jessica Friedman 

Drs. Ralph and Teresa Aldredge 

Thomas and Patricia Allen 

Fred Arth and Pat Schneider 

Al and Pat Arthur 

Shirley and Michael Auman* 

Robert and Joan Ball 

Beverly and Clay Ballard 

In memory of Ronald Baskin 

Delee and Jerry Beavers 

Robert Hollingsworth and Carol Beckham 

Carol L. Benedetti 

Donald and Kathryn Bers* 

Bob and Diane Biggs 

Al J. Patrick, Bankruptcy Law Center 

Elizabeth Bradford 

Paul Braun 

Rosa Maquez and Richard Breedon 

Joan Brenchley and Kevin Jackson 

Irving and Karen Broido* 

In memory of Rose Marie Wheeler 

John and Christine Bruhn 

Manuel Calderon De La Barca Sanchez 

Jackie Caplan 

Michael and Louise Caplan 

Anne and Gary Carlson 

Koling Chang and Su-Ju Lin 

Jan Conroy, Gayle Dax-Conroy, Edward 

Telfeyan, Jeri Paik-Telfeyan 

Charles and Mary Anne Cooper 

James and Patricia Cothern 

Cathy and Jon Coupal* 

David and Judy Covin 

Larry Dashiell and Peggy Siddons 

Thomas B. and Eina C. Dutton 

Micki Eagle 

Janet Feil 

David and Kerstin Feldman 

Sevgi and Edwin Friedrich* 

Dr. Deborah and Brook Gale 

Marvin and Joyce Goldman 

Stephen and Deirdre Greenholz 

Judy Guiraud 

Sandeep Kumar Guliani 

Darrow and Gwen Haagensen 

Sharon and Don Hallberg 

Alexander and Kelly Harcourt 

David and Donna Harris 

Roy and Miriam Hatamiya 

Stephen and Joanne Hatchett 

Paula Higashi 

Brit Holtz 

Herb and Jan Hoover 

Frederick and B.J. Hoyt 

Pat and Jim Hutchinson* 

Mary Jenkin 

Don and Diane Johnston 

Weldon and Colleen Jordan 

Mary Ann and Victor Jung 

Nancy Gelbard and David Kalb 

Douglas Neuhauser and Louise Kellogg 

Charles Kelso and Mary Reed 

Ruth Ann Kinsella* 

Joseph Kiskis 

Judy and Kent Kjelstrom 

Peter Klavins and Susan Kauzlarich 

Charlene Kunitz 

Allan and Norma Lammers 

Darnell Lawrence and Dolores Daugherty 

Richard Lawrence 

Ruth Lawrence 

Carol and Robert Ledbetter 

Stanley and Donna Levin 

Barbara Levine 

Ernest and Mary Ann Lewis* 

Michael and Sheila Lewis* 

David and Ruth Lindgren 

Jeffrey and Helen Ma 

Pat Martin* 

Yvonne Clinton Mazalewski and 

Robert Mazalewski 

Sean and Sabine McCarthy 

Catherine McGuire 

Michael Gerrit 

Nancy Michel 

Hedlin Family 

Robert and Susan Munn* 

Anna Rita and Bill Neuman 

John and Carol Oster 

Sally Ozonoff and Tom Richey 

John and Sue Palmer 

John and Barbara Parker 

Brenda Davis and Ed Phillips 

Bonnie A. Plummer* 

Deborah Nichols Poulos and 

Prof. John W. Poulos 

Harriet Prato 

John and Alice Provost 

J. David Ramsey 

Rosemary Reynolds 

Guy and Eva Richards 

Ronald and Sara Ringen 

Tracy Rodgers and Richard Budenz 

Sharon and Elliott Rose* 

Barbara and Alan Roth 

Marie Rundle 

Bob and Tamra Ruxin 

Tom and Joan Sallee 

Mark and Ita Sanders 

Eileen and Howard Sarasohn 

Mervyn Schnaidt 

Maralyn Molock Scott 

Ruth and Robert Shumway 

Michael and Elizabeth Singer 

Al and Sandy Sokolow 

Edward and Sharon Speegle 

Curtis and Judy Spencer 

Tim and Julie Stephens 

Pieter Stroeve, Diane Barrett and 

Jodie Stroeve 

Kristia Suutala 

Tony and Beth Tanke 

Butch and Virginia Thresh 

Dennis and Judy Tsuboi 

Ann-Catrin Van Ph.D. 

Robert Vassar 

Don and Merna Villarejo 

Rita Waterman 

Norma and Richard Watson 

Regina White 

Wesley and Janet Yates 

Jane Y. Yeun and Randall E. 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 

Jill Aguiar 

Suzanne and David Allen 

David and Penny Anderson 

Elinor Anklin and George Harsch 

Janice and Alex Ardans 

Debbie Arrington 

Shota Atsumi 

Jerry and Barbara August 

George and Irma Baldwin 

Charlotte Ballard and Bob Zeff 

Diane and Charlie Bamforth* 

Elizabeth Banks 

Michele Barefoot and Luis Perez-Grau 

Carole Barnes 

Paul and Linda Baumann 

Lynn Baysinger* 

Claire and Marion Becker 

Sheri Belafsky 

Merry Benard 

Robert and Susan Benedetti 

William and Marie Benisek 

Robert C. and Jane D. Bennett 

Marta Beres 

Elizabeth Berteaux 

Bevowitz Family 

Boyd and Lucille Bevington 

Ernst and Hannah Biberstein 

Katy Bill 

Andrea Bjorklund and Sean Duggan 

Lewis J. and Caroline S. Bledsoe 

Fred and Mary Bliss 

Bobbie Bolden 

William Bossart 

Mary and Jill Bowers 

Alf and Kristin Brandt 

Robert and Maxine Braude 

Daniel and Millie Braunstein* 

Pat and Bob Breckenfeld 

Francis M. Brookey 

Linda Clevenger and Seth Brunner 

Mike and Marian Burnham 

Margaret Burns and Roy W. Bellhorn 

Victor W. Burns 

William and Karolee Bush 

Gary Campbell and Sharon Lewis 

Lita Campbell* 

Robert and Lynn Campbell 

Robert Canary 

John and Nancy Capitanio 

James and Patty Carey 

Michael and Susan Carl 

John and Inge Carrol 

Bruce and Mary Alice Carswell* 

Jan and Barbara Carter* 

Dorothy Chikasawa* 

Frank Chisholm 

Richard and Arden Christian 

Michael and Paula Chulada 

Betty M. Clark 

Gail Clark 

L. Edward and Jacqueline Clemens 

James Cline 

Wayne Colburn 

Sheri and Ron Cole 

Steve and Janet Collins 

In honor of Marybeth Cook 

Nicholas and Khin Cornes 

Victor Cozzalio and Lisa Heilman-Cozzalio 

Lorraine Crozier 

Bill and Myra Cusick 

Elizabeth Dahlstrom-Bushnell* 

John and Joanne Daniels 

Nita Davidson 

Johanna Davies 

Voncile Dean 

Mrs. Leigh Dibb 

Ed and Debby Dillon 

Joel and Linda Dobris 

Gwendolyn Doebbert and Richard Epstein 

Val Docini and Solveig Monson 

Val and Marge Dolcini* 

Katherine and Gordon Douglas 

Anne Duffey 

Marjean Dupree 

Victoria Dye and Douglas Kelt 

David and Sabrina Eastis 

Harold and Anne Eisenberg 

Eliane Eisner 

Terry Elledge 

Vincent Elliott 

Brian Ely and Robert Hoffman 

Allen Enders 

Adrian and Tamara Engel 

Sidney England 

Carol Erickson and David Phillips 

Jeff Ersig 

David and Kay Evans 

Valerie Eviner 

Evelyn Falkenstein 

Andrew D. and Eleanor E. Farrand* 

Richard D. Farshler 

Liz and Tim Fenton 

Steven and Susan Ferronato 

Bill and Margy Findlay 

Judy Fleenor* 


Lisa Foster 

Robert Fowles and Linda Parzych 

Marion Franck and Bob Lew 

Anthony and Jorgina Freese 

Joel Friedman 

Larry Friedman 

Kerim and Josina Friedrich 

Joan M. Futscher 

Myra Gable 

Charles and Joanne Gamble 

Peggy E. Gerick 

Gerald Gibbons and Sibilla Hershey 

Louis J. Fox and Marnelle Gleason* 

Pat and Bob Gonzalez* 

Michael Goodman 

Susan Goodrich 

Louise and Victor Graf 

Jeffrey and Sandra Granett 

Jacqueline Gray* 

Donald Green 

Mary Louis Greenberg 

Paul and Carol Grench 

Alexander and Marilyn Groth 

June and Paul Gulyassy 

Wesley and Ida Hackett* 

Paul W. Hadley 

Jim and Jane Hagedorn 

Frank and Ro Hamilton 

William Hamre 

Jim and Laurie Hanschu 

Marylee and John Hardie 

Richard and Vera Harris 

Cathy Brorby and Jim Harritt 

Ken and Carmen Hashagen 

Mary Helmich 

Martin Helmke and Joan Frye Williams 

Roy and Dione Henrickson 

Rand and Mary Herbert 

Roger and Rosanne Heym 

Larry and Elizabeth Hill 

Calvin Hirsch and Deborah Francis 

Frederick and Tieu-Bich Hodges 

Michael and Peggy Hoffman 

Steve and Nancy Hopkins 

Darcie Houck 

David and Gail Hulse 

Lorraine J. Hwang 

Marta Induni 

Jane Johnson* 

Kathryn Jaramillo 

Robert and Linda Jarvis 

Tom and Betsy Jennings 

Dr. and Mrs. Ronald C. Jensen 

Pamela R. Jessup 

Carole and Phil Johnson 

SNJ Services Group 

Michelle Johnston and Scott Arranto 

Warren and Donna Johnston 

In memory of Betty and Joseph Baria 

Andrew and Merry Joslin 

Martin and JoAnn Joye* 

John and Nancy Jungerman 

Nawaz Kaleel 

Fred Kapatkin 

Shari and Timothy Karpin 

Anthony and Beth Katsaris 

Yasuo Kawamura 

Phyllis and Scott Keilholtz* 

Patricia Kelleher* 

Dave and Gay Kent 

Robert and Cathryn Kerr 

Gary and Susan Kieser 

Louise Bettner and Larry Kimble 

Ken and Susan Kirby 

Dorothy Klishevich 

Paulette Keller Knox 

Paul Kramer 

Dave and Nina Krebs 

Kurt and Marcia Kreith 

Sandra Kristensen 

Leslie Kurtz 

Cecilia Kwan 

Donald and Yoshie Kyhos 

Ray and Marianne Kyono 

Bonnie and Kit Lam* 

Angelo Lamola 

Marsha M. Lang 

Bruce and Susan Larock 


Harry Laswell and Sharon Adlis 

C and J Learned 

Marceline Lee 

Lee-Hartwig Family 

Nancy and Steve Lege 

Suzanne Leineke 

The Lenk-Sloane Family 

Joel and Jeannette Lerman 

Evelyn A. Lewis 

Melvyn Libman 

Motoko Lobue 

Mary S. Lowry 

Henry Luckie 

Maryanne Lynch 

Ariane Lyons 

Ed and Sue MacDonald 

Leslie Macdonald and Gary Francis 

Thomas and Kathleen Magrino* 

Deborah Mah* 

Mary C. Major 

Vartan Malian 

Julin Maloof and Stacey Harmer 

Joan Mangold 

Bunkie Mangum 

Raymond and Janet Manzi 

Joseph and Mary Alice Marino 

Donald and Mary Martin 

J. A. Martin 

Mr. and Mrs. William R. Mason 

Bob and Vel Matthews 

Leslie Maulhardt 

Katherine F. Mawdsley* 

Karen McCluskey* 

John McCoy 

Nora McGuinness* 

Donna and Dick McIlvaine 

Tim and Linda McKenna 

Blanche McNaughton* 

Richard and Virginia McRostie 

Martin A. Medina and Laurie Perry 

Cliva Mee and Werner Paul Harder III 

DeAna Melilli 

Barry Melton and Barbara Langer 

Sharon Menke 

The Merchant Family 

Roland and Marilyn Meyer 

Leslie Michaels and Susan Katt 

Jean and Eric Miller 

Phyllis Miller 

Sue and Rex Miller 

Douglas Minnis 

Steve and Kathy Miura* 

Kei and Barbara Miyano 

Vicki and Paul Moering 

Joanne Moldenhauer 

Lloyd and Ruth Money 

Louise S. Montgomery 

Amy Moore 

Hallie Morrow 

Marcie Mortensson 

Christopher Motley 

Robert and Janet Mukai 

Bill and Diane Muller 

Terry and Judy Murphy 

Steve Abramowitz and Alberta Nassi 

Judy and Merle Neel 

Sandra Negley 

Cathy Neuhauser and Jack Holmes 

Robert Nevraumont and 

Donna Curley Nevraumont* 

Keri Mistler and Dana Newell 

K. C. Ng 

Denise Nip and Russell Blair 

Forrest Odle 

Yae Kay Ogasawara 

James Oltjen 

Marvin O’Rear 

Jessie Ann Owens 

Bob and Beth Owens 

Mike and Carlene Ozonoff* 

Michael Pach and Mary Wind 

Charles and Joan Partain 

Thomas Pavlakovich and 

Kathryn Demakopoulos 

Dr. and Mrs. John W. Pearson 

Bob and Marlene Perkins 

Pat Piper 

Mary Lou Pizzio-Flaa 

David and Jeanette Pleasure 

Bob and Vicki Plutchok 

Ralph and Jane Pomeroy* 

Bea and Jerry Pressler 

Ann Preston 

Rudolf and Brigitta Pueschel 

Evelyn and Otto Raabe 

Edward and Jane Rabin 

Jan and Anne-Louise Radimsky 

Kathryn Radtkey-Gaither 

Lawrence and Norma Rappaport 

Evelyn and Dewey Raski 

Olga Raveling 

Dorothy and Fred Reardon 

Sandi Redenbach* 

Paul Rees 

Sandra Reese 

Martha Rehrman* 

Eugene and Elizabeth Renkin 

David and Judy Reuben* 

Al and Peggy Rice 

Joyce Rietz 

Ralph and Judy Riggs* 

David and Kathy Robertson 

Richard and Evelyne Rominger 

Andrea Rosen 

Catherine and David Rowen 

Rina Roy 

Paul and Ida Ruffin 

Michael and Imelda Russell 

Hugh Safford 

Dr. Terry Sandbek* and Sharon Billings* 

Kathleen and David Sanders* 

Glenn Sanjume 

Fred and Polly Schack 

John and Joyce Schaeuble 

Patsy Schiff 

Tyler Schilling 

Leon Schimmel and Annette Cody 

Fred and Colene Schlaepfer 

Julie Schmidt* 

Janis J. Schroeder and Carrie L. Markel 

Rick Schubert 

Brian A. Sehnert and Janet L. McDonald 

Dinendra Sen 

Andreea Seritan 

Dan Shadoan and Ann Lincoln 

Ed Shields and Valerie Brown 

Sandi and Clay Sigg 

Joy Skalbeck 

Barbara Slemmons 

Marion Small 

Judith Smith 

Juliann Smith 

Robert Snider 

Jean Snyder 

Blanca Solis 

Roger and Freda Sornsen 

Marguerite Spencer 

Johanna Stek 

Raymond Stewart 

Karen Street* 

Deb and Jeff Stromberg 

Mary Superak 

Thomas Swift 

Joyce Takahashi 

Francie Teitelbaum 

Jeanne Shealor and George Thelen 

Julie Theriault, PA-C 

Virginia Thigpen 

Janet Thome 

Robert and Kathryn Thorpe 

Brian Toole 

Lola Torney and Jason King 

Michael and Heidi Trauner 

Rich and Fay Traynham 

James E. Turner 

Barbara and Jim Tutt 

Robert Twiss 

Ramon and Karen Urbano 

Chris and Betsy Van Kessel 

Diana Varcados 

Bart and Barbara Vaughn* 

Richard and Maria Vielbig 

Charles and Terry Vines 

Rosemarie Vonusa* 

Richard Vorpe and Evelyn Matteucci 

Carolyn Waggoner* 

M. Therese Wagnon 

Carol Walden 

Marny and Rick Wasserman 

Caroline and Royce Waters 

Marya Welch* 

Dan and Ellie Wendin* 

Douglas West 

Martha S. West 

Robert and Leslie Westergaard* 

Linda K. Whitney 

Jane Williams 

Marsha Wilson 

Linda K. Winter* 

Janet Winterer 

Michael and Jennifer Woo 

Ardath Wood 

Timothy and Vicki Yearnshaw 

Elaine Chow Yee* 

Norman and Manda Yeung 

Teresa Yeung 

Phillip and Iva Yoshimura 

Heather Young 

Phyllis Young 

Verena Leu Young* 

Melanie and Medardo Zavala 

Mark and Wendy Zlotlow 

And 47 donors who prefer to remain 

anonymous 

CORPORATE 

MATChING GIFTS 

Bank of America Matching Gifts 

Program 

Chevron/Texaco Matching Gift Fund 

DST Systems 

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.

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 

School Matinee Support 

Friends of Mondavi Center support the school matinee series which serves 

students and teachers throughout our region. One aspect of the support is 

our pre-matinee classroom talks in which docents visit classrooms before a 

school matinee to prepare students for their visit to the Mondavi Center. 

Sub-Chair Lydia Baskin organizes the docent guide writers who prepare 

extensive materials for the classroom visits and docent schedulers who 

orchestrate the program, offering docent visits to any class attending a 

matinee. 

During the 2010–11 season, 

17 docents visited 63 classes, 

travelling 1,756 miles to schools 

in Nevada City, Loomis, Folsom, 

Sacramento, Suisun City, Woodland, 

Esparto, Winters, Davis, 

Vacaville, Vallejo and Napa. 

Friends listed below volunteer 

as docents. If you see one of 

them, be sure to say, “Thanks.” 

Friends of Mondavi Center also support the Arts Education Program by 

ushering students and teachers to their seats at school matinees. During the 

2010–11 season, Friends ushered almost 10,000 enthusiastic students from 

12 school districts. It takes a well-organized army of volunteers to accomplish 

this task and Sub-Chair Karen Broido and her excellent group of volunteers 

deserve a pat on the back for a job well done. 

DOCENTS 

Shirley Auman 

Lydia Baskin 

Lynn Baysinger 

Kathy Bers 

Dan Braunstein 

Catherine Coupal 

Joy Dorf 

Judy Fleenor 

Bob Gonzalez 

Jacqueline Gray 

Judy Hardardt 

Sally Harvey 

Phyllis Keilholtz 

DOCENT GUIDE WRITERS AND SCHEDULERS 

Lydia Baskin 

Lynn Baysinger 

Edelgard Brunelle 

Phyllis Farver 

Teresa Kaneko 

Sally Larkin 

Shirley Maus 

Linda Meyers 

Henry Trowbridge 

Francie Lawyer 

Michael Lewis 

Linda Meyers 

Margaret Neu 

Sandi Redenbach 

Ralph Riggs 

Sharon Rose 

Julie Schmidt 

Hal Sconyers 

Linda Winter 

Joyce Wisner 

Phyllis Zerger 


Mondavi Center Staff 

DON ROTH, Ph.D. 


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 Educaton 

and Strategic Projects 

Jennifer Mast 

Arts Education 

Coordinator 

AUDIENCE SERVICES 

Emily Taggart 

Audience Services 

Manager/ 

Artist Liaison 

Coordinator 

Yuri Rodriguez 

Events Manager 

Natalia Deardorff 

Assistant Events 

Manager 

Nancy Temple 

Assistant Public Events 

Manager 

BUSINESS SERVICES 

Debbie Armstrong 

Senior Director of 

Support Services 

Mandy Jarvis 

Financial Analyst 

Russ Postlethwaite 

Billing System 

Administrator 


DEVELOPMENT 

Debbie Armstrong 

Senior Director of 

Development 

Alison Morr Kolozsi 

Director of Major Gifts 

Elisha Findley 

Corporate & Annual 

Fund Officer 

Amanda Turpin 

Donor Relations 

Manager 

Angela McMillon 

Development and 

Support Services 

Assistant 

FACILITIES 

Herb Garman 

Director of Operations 

Greg Bailey 

Lead Building 

Maintenance Worker 

INFORMATION 

TECHNOLOGY 

Darren Marks 

Programmer/Designer 

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 

Christopher Oca 

Stage Manager 

Christi-Anne 

Sokolewicz 

Stage Manager 

Jenna Bell 

Production Coordinator 

Zak Stelly-Riggs 

Master Carpenter 

Daniel Goldin 

Master Electrician 

Michael Hayes 

Head Sound Technician 

Daniel F. Dannenfelser 

Registered Piano 

Technician 

Adrian Galindo 

Scene Technician 

Kathy Glaubach 


Daniel Thompson 


HEAD USHERS 

Huguette Albrecht 

George Edwards 

Linda Gregory 

Donna Horgan 

Mike Tracy 

Susie Valentin 

Janellyn Whittier 

Terry Whittier 

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. 

11-12 SEASON BOARD OFFICERS 

John Crowe, Chair 

Joe Tupin, Patron Relations Chair 

Randy Reynoso, Corporate Relations Co-Chair 

Garry P. Maisel, Corporate Relations Co-Chair 

MEMBERS 

Jeff Adamski 

Wayne Bartholomew 

Camille Chan 

Michael Chapman 

John Crowe 

Lois Crowe 

Cecilia Delury 

Patti Donlon 

David Fiddyment 

Dolly Fiddyment 

Mary Lou Flint 

Anne Gray 

Benjamin Hart 

Lynette Hart 

Dee Hartzog 

Joe Hartzog 

Vince Jacobs 

Ex OFFICIO 

Linda P.B. Katehi, Chancellor, UC Davis 

Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis 

Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis 

Jo Anne Boorkman, Friends of Mondavi Center Board 

Don Roth, Executive Director, Mondavi Center, UC Davis 

Erin Schlemmer, Arts & Lectures Chair 

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. 

11-12 COMMITTEE MEMBERS 

Erin Schlemmer, Chair 

Celeste Chang 

Prabhakara Choudary 

Adrian Crabtree 

Susan Franck 

Kelley Gove 

Aaron Hsu 

Holly Keefer 

Danielle McManus 

Bella Merlin 

Lee Miller 

Kayla Rouse 

Hulleah Tsinhnahjinnie 

Garry P. Maisel 

Stephen Meyer 

Randy Reynoso 

Nancy Roe 

William Roe 

Lawrence Shepard 

Nancy Shepard 

Joan Stone 

Tony Stone 

friendS of Mondavi Center 

11-12 ExECUTIVE BOARD 

Joe Tupin 

Larry Vanderhoef 

Rosalie Vanderhoef 

HONORARY MEMBERS 


Margrit Mondavi 

Jo Anne Boorkman, President 

Laura Baria, Vice President 

Francie Lawyer, Secretary 

Jim Coulter, Audience Enrichment 

Jacqueline Gray, Membership 

Sandra Chong, School Matinee Support 

Martha Rehrman, Friends Events 

Leslie Westergaard, Mondavi Center Tours 

Phyllis Zerger, School Outreach 

Eunice Adair Christensen, Gift Shop Manager, Ex Officio 

Joyce Donaldson, Director of Arts Education, Ex Officio

Policies and information 

TICkET ExChANGE 

• Tickets must be exchanged at least one business day prior 

to the performance. 

• Tickets may not be exchanged after your 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. 


POlICIES

september 2011 

21 Return To Forever IV 

with Zappa Plays Zappa 

30 Ricky Skaggs and Kentucky Thunder 

october 2011 

1 Wayne Shorter Quartet 

2 Alexander String Quartet 

6 Yamato 

8 Jonathan Franzen 

13 San Francisco Symphony 

19 Scottish Ballet 

20 k.d. lang and the Siss Boom Bang 

21 Rising Stars of Opera 

24 Focus on Film: Thirty Two Short 

Films About Glenn Gould 

29 Hilary Hahn, violin 

29–30 So Percussion: “We Are All Going 

in Different Directions”: 

A John Cage Celebration 

november 2011 

4 Cinematic Titanic 

5–6 Jennifer Johnson Cano, mezzo-soprano 

7–8 If God Is Willing and da Creek Don’t Rise 

9–11 Hot 8 Brass Band 

12 Trey McIntyre Project 

and Preservation Hall Jazz Band 

12–13 Lara Downes: 

13 Ways of Looking at the Goldberg 

14 Focus on Film: Salaam Bombay! 

14–15 Growing Up In India: 

A Film and Photo Exhibition 

december 2011 

7–10 Tia Fuller Quartet 

8 Mariachi Sol de México 

de Jóse Hernàndez 

11 Lara Downes Family Concert: 

Green Eggs and Ham 

15 Blind Boys of Alabama Christmas Show 

18 American Bach Soloists: Messiah 

january 2012 


9 Focus on Film: Platoon 

14–15 Alexi Kenney, violin and 

Hilda Huang, piano 

19 Soledad Barrio and Noche Flamenca 

25–28 Alfredo Rodriguez Trio 

27 Royal Philharmonic Orchestra 


30 Focus on Opera: Tosca 

february 2012 

3 Oliver Stone 

4 Rachel Barton Pine, violin, with the 

Chamber Soloists Orchestra 

of New York 

9 Les Ballets Trockadero de Monte Carlo 

11–12 CIRCA 

14 Loudon Wainwright III & Leo Kottke 

17 Eric Owens, bass-baritone 

18 Chucho Valdés and the 

Afro-Cuban Messengers 

22 The Chieftains 

25 Overtone Quartet 

CAll FOR TICkETS! 

530.754.2787 

Media clips & More info: 

MondaviArts.org 

Rachel Barton Pine 

68 | mondaviarts.org MondaviArts.org 530.754.2787 866.754.2787 (toll-free) 

mondavi 

center 

2o11–12 

march 2012 

2 Angelique Kidjo 

9 Garrick Ohlsson, piano 

10–11 Curtis On Tour 

17–18 Ballet Preljocaj: Blanche Neige 


22 Zakir Hussain and 

Masters of Percussion 

24–25 Circus Oz 

29 SFJAZZ Collective 

april 2012 

1 Young Artists Competition 

Winners Concert 

9 Focus on Opera: The Elixir of Love 

11 Sherman Alexie 

13 Bettye LaVette 

14–15 Zippo Songs: Poems from the Front 

17 Anoushka Shankar 

18–21 The Bad Plus 

19–22 The Improvised Shakespeare 

Company 

28 Maya Beiser: Provenance 

may 2012 


Chamber Ensemble 

9 Patti Smith 

12 New York Philharmonic 

13 ODC/Dance: 

The Velveteen Rabbit 

14 Focus on Opera: 

Lucia di Lammermoor 

16–19 Supergenerous: 

Cyro Baptista and Kevin Breit

07_02705 

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 and it brings us 

together from the moment the lights go down and the curtains come up. 

wellsfargo.com 

© 2011 Wells Fargo Bank, N.A. All rights reserved. 

Member FDIC. (594507_02705) 

594507_02705 7.25x9.25 4c.indd 1 8/4/11 3:10 PM

can 

The health plan that 

take care of your employees. 

And your bottom line. 

As a founding partner of the Mondavi Center, Western Health Advantage 

has been a strong supporter of local arts. Which might explain why we’ve 

lifted local health care to an art form. What’s our method? We deliver 

friendly, responsive service, keep costs low, and provide access to 2,300 

area physicians and specialists. Maybe that’s why over 4,000 local businesses 

offer our plans and 90,000 individuals and families choose our coverage. 

That kind of recognition is worthy of a standing ovation. 

Visit westernhealth.com to learn more about our health plans.

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