NOVEMBER â€“ DECEMBER 2013 - Mondavi Center

NOVEMBER – DECEMBER 2013

WELCOME 

A MESSAGE FROM THE CHANCELLOR 

It is my pleasure to welcome you to the 2013–14 season at the Robert 

and Margrit Mondavi Center for the Performing Arts, UC Davis. 

LINDA P.B. KATEHI 

UC DAVIS CHANCELLOR 

The Mondavi Center 

is a generous 

contributor to the 

quality of life 

in the region— 

a beautiful tribute 

to its namesakes. 

This year we honor the legacy of Robert Mondavi on the occasion 

of what would have been his centennial. An expert winemaker, a 

wise businessman, a philanthropist and patron of the arts—Robert 

contributed immeasurably to his industry, the University and the 

community. The generous philanthropic support of both Robert and 

Margrit leaves more than buildings; it enhances the quality of life for 

many generations to come. 

It is an ongoing testament to this vision that the Mondavi Center serves 

as a welcoming community gathering place. Truly, it is a crossroads 

where cultures from around our nation and the world come together: 

at once a source of learning and entertainment, a place of creative 

and intellectual stimulation and a venue for celebrating classics and 

exploring new pieces. 

The impact of Mondavi Center programs goes beyond the events in 

the venue itself. Many of the artists and speakers featured in Jackson 

Hall or the Vanderhoef Studio Theatre also venture out onto our 

campus and into our community. This exchange of ideas and expertise, 

the up close and personal experiences that can only happen during 

artist residencies, create inspiration and stimulation that benefit us all. 

Rich conversations radiate from the seats in the hall to the lobby or the 

rehearsal room and continue on to homes, cafés and other places in 

our community. This sort of dialogue ensures that the Mondavi Center 

stands firmly as a generous contributor to the quality of life in the 

region—a beautiful tribute to its namesakes. 

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

encoreartsprograms.com 3

PONSORS 

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SPECIAL THANKS 

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MONDAVI CENTER STAFF 

Don Roth, Ph.D. 

EXECUTIVE DIRECTOR 

Jeremy Ganter 

ASSOCIATE EXECUTIVE 

DIRECTOR 

Becky Cale 

EXECUTIVE ASSISTANT 

PROGRAMMING 

Jeremy Ganter 

DIRECTOR OF PROGRAMMING 

Erin Palmer 

PROGRAMMING MANAGER 

Ruth Rosenberg 

ARTIST ENGAGEMENT 

COORDINATOR 

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CURATOR: YOUNG 

ARTISTS PROGRAM 

ARTS EDUCATION 

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DIRECTOR FOR ARTS 

EDUCATION AND STRATEGIC 

PROJECTS 

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ARTS EDUCATION 

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MANAGER 

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Christi-Anne Sokolewicz 

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JACKSON HALL 

Christopher Oca 

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VANDERHOEF STUDIO THEATRE 

Rodney Boon 

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Dale Proctor 

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Emily Hartman 

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Kathleen Foster 

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VANDERHOEF STUDIO 

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Gene Nelson 

REGISTERED PIANO 

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HEAD USHERS 

Huguette Albrecht 

Ralph Clouse 

Eric Davis 

George Edwards 

Donna Horgan 

Paul Kastner 

Jan Perez 

Mike Tracy 

Janellyn Whittier 

Terry Whittier 

4 MONDAVIARTS.ORG

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performance. We applaud the Robert and Margrit Mondavi Center for the Performing 

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Serving Our Community Since 1917

A MESSAGE 

FROM THE 

EXECUTIVE 

DIRECTOR 

DON ROTH, Ph.D. 

EXECUTIVE DIRECTOR 

Arts lovers around the Sacramento valley are well aware that the 

Mondavi Center presents more than 100 performances—from 

superstars like Diana Krall to discoveries like Theo Bleckmann— 

each and every year. What is less obvious, but no less important, 

is the work we do to provide the young people of our region a 

chance to connect with the arts—work that reflects the UC Davis 

commitment to bettering the world around it. At a time when 

school finances have starved the arts out of many schools, this 

part of our mission seems more critical with each passing day. 

Since our opening, more than 250,000 school children from 

14 Northern California counties have experienced a school 

matinee in the Mondavi Center. As John Updike said, “Art offers 

… a certain breathing room for the spirit.” That is precisely the 

kind of impact we hope to have on the children who attend 

our matinees; even if they don’t become regular arts patrons, 

we want them to have art in their lives. 

Fortunately, the artists we bring to the Mondavi Center are as 

committed to education as they are to performance. When 

a world-class conductor like David Robertson lifts the spirits 

of more than 1,000 fifth graders in a joyful take on Copland’s 

Appalachian Spring; when jazz trombonist Delfeayo Marsalis 

works with middle schoolers on improvisational skills; when Yo-Yo 

Ma takes time out of his touring to teach cello master classes; 

when Harry Belafonte inspires a classroom of UC Davis freshmen 

with tales of his work with Martin Luther King, Jr.—they are 

providing life-changing experiences for the students involved. 

Another unique role we play is supporting the growth of aspiring 

young artists through our Young Artists Competition (YAC) and 

the Mondavi Center SFJAZZ High School All-Stars program. 

For more than half a dozen years, YAC has celebrated budding 

classical musicians and provided the winner a spot on our Debut 

Series. The dedicated young jazz musicians in the High School 

All-Stars program work closely with mentors in Sacramento and 

San Francisco and culminate their experience with performances 

on stages from Jackson Hall to the new SFJAZZ Center. 

Our third focus in arts education is providing professional 

development for teachers. Each year, 12 teachers from around 

the region participate in a year-long program, learning to use 

Shakespeare’s work as a teaching tool in their classrooms. Their 

final exam? A performance under the stars at Shakespeare’s 

Globe Theatre in London. For those teachers, now close to 100 

in number, this program is transformational, both personally and 

professionally, and thousands of their students have benefitted 

from this work. 

So, as you sit in Jackson Hall, I encourage you to reflect on the 

work the Mondavi Center does behind the scenes, in our schools 

and around our towns, work to ensure that the arts remain a 

vibrant part of our lives and our children’s lives. 

IN THIS ISSUE 

BEFORE THE SHOW 

ROBERT AND MARGRIT 

MONDAVI CENTER 

FOR THE PERFORMING ARTS 

8 Gil Shaham, violin 

17 THE INTERGALACTIC NEMESIS 

18 Pink Martini 

20 Leah Crocetto, soprano 

24 Lara Downes 

27 Jeff Tweedy, solo 

29 Blind Boys of Alabama 

31 American Bach Soloists 

• The artists and your fellow audience members appreciate silence 

during the performance. 

• 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. 

Violators are subject to removal. 

• Please look around and locate the exit nearest you. That exit may be 

behind, to the side or in front of you. In the unlikely event of a fire 

alarm or other emergency, please leave the building through that exit. 

• As a courtesy to all our patrons and for your safety, anyone leaving 

his or her seat during the performance may not be readmitted to 

his/her ticketed seat while the performance is in progress. 

• Assistive Listening Devices and opera glasses are available at the 

Patron Services Desk near the lobby elevators. Both items may be 

checked out at no charge with a form of ID. 

6 MONDAVIARTS.ORG

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GIL SHAHAM 

PROGRAM NOTES 

VIOLIN SONATA NO.1 

IN G MINOR, BWV 1001 

J.S. BACH 

(Born March 31, 1685, in Eisenach, Germany; died July 28, 1750, 

Leipzig, Germany.) 

It is generally agreed—although by 

no means certain—that Bach began 

work on Sei Solo a Violino Senza Basso 

Accompagnato (“Six Violin Solos without 

Bass Accompaniment”) while employed 

in the Weimar court, where he served 

from 1708 to 1717 as violinist as well 

as organist, composer and eventually 

concertmaster. The completion date 

is much more secure, thanks to a 

manuscript in Bach’s own hand from 

1720, about midway through his service 

to Prince Leopold of Anhalt-Cöthen. 

The collection is made up of three each 

partitas (suites) and sonatas. 

A benign spirit hovers over those 

three sonatas: the revered Italian 

composer-violinist Arcangelo Corelli, 

who had just recently gone to his rest in 

1713. Corelli had meticulously refined 

his sonatas into creations of rare beauty 

and sophistication, leaving behind 

models that were the inspiration (and 

despair) of composers everywhere. The 

Corellian sonata comes in two flavors. 

The “church” sonata da chiesa lays 

out its materials in four movements, 

slow-fast-slow-fast, with infrequent 

changes of key. By contrast, the “court” 

sonata da camera resembles a suite of 

short movements, including dances. 

By following the da chiesa model for 

his sonatas, Bach not only honored an 

already rich tradition, but also elevated 

string playing (and writing) to heights 

unimaginable to Corelli or his Italian 

contemporaries. 

The G Minor sonata opens with a 

free-form Adagio that bears a striking 

resemblance to those intricate obbligato 

arabesques for violin or oboe that often 

complement the vocal line in Bach’s 

arias. Here, however, the solo violin 

carries the weight of the whole: it is 

soloist, accompanist, and orchestra all 

in one. Bach manages that by writing 

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GIL SHAHAM 

wide-spanned chords that serve as 

harmonic pillars, establishing a stately 

underlying chordal pulse that supports 

the movement’s vinelike and expansive 

melodic lines. 

The second movement is a fugal 

Allegro, right out of the Corellian 

playbook. However, Bach was never 

one to follow tradition slavishly, and 

here he enlivens the standard template 

of subjects-separated-by-episodes by 

interleaving his fugal elements with 

glittering single-line passagework 

that could have stepped right out of a 

virtuoso concerto. Bach’s astounding 

ingenuity at implying a full complement 

...near-nonstop sixteenth 

notes erupt from the 

strings like so many 

wheels whirring and 

gears clicking... 

of polyphonic voices with just a few 

strings was noted by admirers from 

early on. Even after Bach’s own 

polyphonically-enhanced transcriptions 

for organ (BWV 539) and lute (BWV 

1000), not to mention the passing of 

almost three centuries, the solo violin 

original has lost none of its capacity to 

inspire and astonish. 

The third-place Siciliano returns 

us to song, a Bachian aria that brings 

both soloist and accompaniment to 

vivid life via the four strings of a solo 

violin. Gentle and faintly melancholic, 

the major-mode movement provides 

the perfect foil for the conclusion, a 

minor-key Presto that reminds us of the 

18th century’s fascination with all things 

scientific and mechanical. Resembling 

a finger-bending keyboard fantasia, 

near-nonstop sixteenth notes erupt from 

the strings like so many wheels whirring 

and gears clicking, in a virtuoso moto 

perpetuo finale that brings the sonata 

to an appropriately dazzling close. 

—Scott Foglesong 

PARTITA NO. 1 FOR SOLO VIOLIN 

IN B MINOR, BWV 1002 

Suites (partitas in Italian) make up 

a substantial percentage of Bach’s 

instrumental works. Consider the 18 

keyboard suites, divided into six each 

English Suites, French Suites, and Partitas, 

plus the substantial “French Ouverture” 

Partita and a few oddball remainders. 

Bach also wrote suites for solo flute, 

orchestra, lute, and solo cello in addition 

to the three partitas for solo violin. 

Given the dance suite’s international 

provenance, Bach routinely mixed Italian 

and French dance dialects, despite 

their often striking differences—such 

as the zippy Italian corrente versus the 

stately, rhythmically complex French 

courante. Although Bach routinely 

organized his keyboard suites around 

four standardized dances—Allemande, 

Courante, Sarabande, Gigue—he took a 

more idiosyncratic approach in the three 

violin partitas, no doubt recognizing the 

unique requirements of writing for a solo 

string instrument. 

In the B Minor Partita for Solo Violin, 

Bach provides four dance movements, 

each followed by an étude-like variation 

called a “double.” (This is the only 

suite in which Bach sustained such a 

scheme throughout.) Listeners lacking 

a program might be confused by the 

opening Allemanda, thinking that they 

are hearing the stately dotted-rhythm 

opening of an ouverture à la française. 

Certainly the Allemanda represents 

the French style at its most grand and 

ceremonious, but the following Double 

abandons the Gallic character in favor of 

smoothly arpeggiated (i.e., chordal) lines 

that rise and fall with almost hypnotic 

regularity as they outline the movement’s 

underlying harmonies. 

The rest of the suite is resolutely 

Italianate. The bubbly, perpetualmotion 

second dance is actually a 

Corrente, but in keeping with Bach’s 

overall label-agnostic cosmopolitanism, 

many editions (including the Bach 

Gesellschaft) dub it as a Courante. On 

the page the movement might look as 

though it consists of a single melodic 

line, but to the ear the situation is 

markedly different: at least three voices 

are easily audible, especially a high 

soprano that etches out brisk two-note 

figures answered by arpeggios in a 

middle voice and supported by a solid 

bass line down below. The Corrente’s 

virtuosic stance is proudly unabashed, 

but that’s nothing compared to its 

Double, which halves the note values and 

turns a dance into a scamper. 

The Sarabande follows the traditional 

Italian vein with fetching lyricism 

over steady, regular chord changes. 

Movements such as this, featuring 

numerous instances of four-note 

chords, led to sincere but misguided 

efforts in the 20th century to design a 

special violin bow that could be quickly 

loosened to play four strings at once. 

Such gimmicks are not only unhistoric 

but unnecessary; sensitive technique 

and careful attention to sonority 

will ensure success in playing Bach’s 

expansive chords. The Double transforms 

the Sarabande’s block harmonies into 

lilting and graceful arpeggios. 

Bach chose an alternative to the 

Gigue for his finale, a Tempo di Borea, 

a.k.a. bourrée, a dance normally found 

between the Sarabande and Gigue of 

a traditional suite. Jumpy, athletic and 

vivacious, both the Tempo di Borea and 

its perpetual-motion Double provide 

a fine and festive wrap-up to the 

proceedings. —Scott Foglesong 

SUITE NO. 2 FOR SOLO VIOLIN 

WILLIAM BOLCOM 

(Born May 26, 1938, in Seattle, Wash.) 

I’d wished to learn the violin when 

young, but for several reasons (including 

the theft of my grandfather’s Sears 

“Stradivarius” from the family car), I never 

got to learn to play; I still wish I had. I 

had to settle for learning how to write 

for the violin by working with violinists 

from a young age—in fact a principal 

joy for me as a composer has been to 

write for others what I might have been 

delighted to be able to perform myself— 

but the added dividend is that writing 

for someone else can then become a 

portrait of the performer. That makes 

it actually more gratifying for me than 

writing for myself to play, a thing I rarely 

do nowadays. 

My first solo violin suite was written 

at the request of Sergiu Luca, who 

10 MONDAVIARTS.ORG

GIL SHAHAM 

died two years ago. A flamboyant and 

mercurial piece, it exists in a recording 

by Philip Ficsor. I owe him the birth of 

my most often played violin sonata 

and a violin concerto, both inspired 

by Serge’s relationship with the great 

jazzman Joe Venuti and brilliantly 

recorded by Luca. A few seasons ago, 

the violin concerto was executed by 

Gil Shaham and the Toronto Symphony 

under Leonard Slatkin; his almost 

opposite approach from Luca’s also 

worked extremely well, proving the 

possible success of performing a piece 

more than one way. 

The solo suite I wrote for Gil is very 

different in mood from the first suite, 

lyrical and playful by turns. Distantly 

referring to the Baroque dance-suite 

form, Suite No. 2 is in nine movements. 

“Morning Music,” a short rhapsodic 

prelude, leads to the lively “Dancing 

in Place,” featuring “fingerboard notes” 

executed by drumming the left-hand 

fingers onto the string and board. 

“Northern Nigun” is a gentle lament 

and “Lenny in Spats” is a fanciful image 

of Leonard Bernstein dressed like Fred 

Astaire or Jack Buchanan in tuxedo with 

white spats covering his patent-leather 

uppers while dancing with a cane. 

“Tempo di Gavotte” is however not in 

the Baroque gavotte form; Barcarolle, in 

12/8 and 6/8 time, portrays a leisurely 

afternoon on the water. A two-voiced 

Fuga Malinconica provides a tragic 

mood to the suite, while the following 

Tarantella’s frenzy recalls the legendary 

centuries-old belief that wild dancing 

would neutralize a tarantula’s poisonous 

bite. The concluding “Evening Music” 

recalls the opening phrase of the suite 

and ends with “duettini” in double stops, 

pairing different sets of strings for a 

peaceful close. —William Bolcom 

PARTITA NO. 3 FOR SOLO VIOLIN 

IN E MAJOR, BWV 1006 

JOHANN SEBASTIAN BACH 

The E Major Partita drops all pretense 

at maintaining a traditional layout. 

Of the usual quartet of dances only 

the concluding Gigue is retained; 

instead we find an assortment of the 

“optional” dances normally found 

between Sarabande and Gigue, the 

whole headed up by a celebrated 

Preludio. 

That Preludio stands proudly amongst 

Bach’s most familiar and well-loved 

pieces, virtually a concerto movement 

that encompasses orchestral ritornelli 

and soloist passages within the four 

strings of a violin. In keeping with its 

concertante nature, the movement 

is peppered with the forte and piano 

12 

markings that one might encounter 

in the Italian Concerto BWV 971 for 

harpsichord or other Bach works that 

mimic the lob-and-volley of a Baroque 

concerto. Bach was fully aware of the 

movement’s orchestral potential: as 

a sinfonia for organ and orchestra it 

pops up in two cantatas (BWV 29 and 

120a), as well as in a transcription for 

lute, BWV 1006a. Later composers have 


GIL SHAHAM 

found the piece irresistible; perhaps 

its most notable admirer was Sergei 

Rachmaninoff, who gifted posterity 

with a scintillating recording of his 

superb 1933 transcription for solo 

piano. Nevertheless, the Preludio’s 

original setting remains the touchstone, 

a glittering musical jewel that has 

provided generations of violinists 

(and their audiences) with fascination, 

challenge, and delight. 

The E Major Partita is by and large 

a lighthearted work, its vibrant mood 

spearheaded by the virtuosic brilliance 

of the Preludio and sustained throughout 

its six dances. The second-place Louré—a 

rarely-encountered dance of French 

The E Major Partita is by 

and large a lighthearted 

work, its vibrant mood 

spearheaded by the 

virtuosic brilliance of the 

Preludio and sustained 

throughout its six dances. 

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courtly origin—is the closest the partita 

comes to a bonafide slow movement, 

but the Louré’s overall character is more 

languid than serious, rather like a French 

gigue in slow motion. 

The Gavotte en Rondeaux is a hybrid 

movement in which Bach blends a 

traditional dance—the bright doubleupbeat 

Gavotte found in many 

suites—with rondo form in which a 

central reprise returns repeatedly after 

contrasting episodes, in this case five 

instances of the reprise separated by 

four episodes. The two Minuets that 

follow give the lie to notions of a 

reactionary, fuddy-duddy Bach who 

was sassed by his impertinent sons as 

“the old wig.” Forward-thinking rather 

than backward, the paired Minuets 

clearly prefigure the forthcoming and 

soon-to-be-ubiquitous Minuet and Trio 

12 MONDAVIARTS.ORG

GIL SHAHAM 

movements of Haydn, Mozart, and their 

Viennese Classical colleagues, including 

Bach’s mouthy offspring. 

The Bourrée savors of the “echo” 

movements popular in French suites, in 

which a forte statement is immediately 

mirrored by a piano repeat. One 

might achieve such an effect with 

clever orchestration—or a shift from 

one keyboard to another—but a 

violinist must rely on fingers and bow 

arm to negotiate Bach’s quicksilver 

changes from one dynamic to another. 

To conclude, Bach conjures up a 

thoroughgoing albeit brief Italianate 

Gigue that positively emits buoyant 

good cheer, the perfect ending to one 

of the sunniest works in the literature. 

GIL SHAHAM 

Gil Shaham is one of the foremost 

violinists of our time, whose 

combination of flawless technique 

with inimitable warmth has solidified 

his legacy as an American master. 

Highlights of his 2013–14 season 

include: Korngold’s Violin Concerto with 

the Vienna Philharmonic at Carnegie 

Hall, the Cleveland Orchestra and the 

Orchestre de Paris; a continuation 

of his exploration of the concertos 

of the 1930s with the San Francisco 

Symphony, Los Angeles Philharmonic 

and on tour with the Bavarian Radio 

Symphony; the world, Asian and 

European premieres of a new concerto 

by Bright Sheng; and a recital tour 

featuring Bach’s Sonatas and Partitas 

for solo violin. 

Shaham has more than two dozen 

concerto and solo CDs to his name, 

including bestsellers that have 

appeared on record charts in the U.S. 

and abroad, winning him multiple 

Grammys, a Grand Prix du Disque, 

Diapason d’Or and Gramophone 

Editor’s Choice. His recent recordings 

are produced on the Canary Classics 

label, which he founded in 2004; 

they comprise Nigumin: Hebrew 

Melodies, Haydn Violin Concertos and 

Mendelssohn’s Octet with Sejong 

Soloists, Sarasate: Virtuoso Violin 

Works, Elgar’s Violin Concerto with the 

Chicago Symphony, The Butterfly Lovers 

and Tchaikovsky’s Violin Concerto, 

Tchaikovsky’s Piano Trio in A with Yefim 

Bronfman and Truls Mork, The Prokofiev 

Album, The Fauré Album, Mozart in Paris 

and works by Haydn and Mendelssohn. 

Shaham was awarded an Avery 

Fisher Career Grant in 1990 and in 2008 

he received the coveted Avery Fisher 

Award. He plays the 1699 Countess 

Polignac Stradivarius. He lives in New 

York City with his wife, violinist Adele 

Anthony, and their three children. 

WILLIAM BOLCOM 

Named 2007 Composer of the Year 

by Musical America and honored 

with multiple Grammy Awards for his 

groundbreaking setting of Blake’s Songs 

of Innocence and of Experience, William 

Bolcom is a composer of cabaret songs, 

concertos, sonatas, operas, symphonies 

and much more. He was awarded the 

1988 Pulitzer Prize in Music for his 12 

New Etudes for Piano. 

With his wife mezzo-soprano Joan 

Morris, he has performed in concert 

for 39 years throughout the United 

States, Canada and abroad. In addition 

to their live performances, Bolcom 

and Morris have recorded two dozen 

albums. Their first one, After the Ball, 

garnered a Grammy nomination 

for Joan Morris. Their most recent 

recordings are two albums of songs by 

lyricist E. Y. “Yip” Harburg and Gus Kahn 

on Original Cast Records; Bolcom’s 

complete Cabaret Songs, written with 

lyricist Arnold Weinstein, on Centaur; 

and Someone Talked: Memories of World 

War II with tenor Robert White and 

narrator Hazen Schumacher (available 

on Equilibrium). 

Some recent premieres include 

Canciones de Lorca with tenor Plácido 

Domingo, the Pacific Symphony 

Orchestra and conductor Carl St. Clair 

at the gala opening concert of the 

Renée and Henry Segerstrom Concert 

Hall, Orange County Performing Arts 

Center, Costa Mesa, Calif. (September 

2006); Eighth Symphony with the 

Boston Symphony Orchestra and 

Tanglewood Festival chorus conducted 

by James Levine [February 2008]; 

Lucrezia, a one-act opera for five singers 

and two pianists (March 2008); and First 

Symphony for Band with the University 


Ron Cunningham’s 

at the Community Center Theater 

December 7 - 22, 2013 

Evening and Matinee Performances 

Select Shows with Live Music Performed by: 

the Sacramento Region Performing Arts Alliance - Two in Tune 

(formerly known as the Sacramento Philharmonic) 

The Nutcracker Sponsored By: 

Tickets: 

Individual: $19 - $90 

Call: 916-808-5181 

(Community Center Theater Box Office Mon - Sat: 10am-6pm) 

Online: www.sacballet.org 

The Nutcracker 

is sponsored by: 

Meet the 

Sugar Plum Fairy 

and the entire Cast at 

our annual 

Sugar Plum Fairy 

Tea 

Sunday, December 8 

Tickets: $30 each 

www.sacballet.org 

Photo by Jay Mather

GIL SHAHAM 

of Michigan Symphony Band conducted 

by Michael Haithcock (February 2009). 

In the spring of 2007, Bolcom 

was feted in Minneapolis-St. Paul, 

Minnesota, with a two and a half-week 

festival of his music, including master 

classes, recitals and concerts of his 

vocal, organ and chamber music. Titled 

Illuminating Bolcom, the festival was 

highlighted by two performances of 

Songs of Innocence and of Experience 

accompanied by animated projections 

of Blake’s illuminations. The animations 

were commissioned by VocalEssence 

and created by projection designer 

Wendall K. Harrington, who designed 

the projections for Bolcom’s opera, A 

View from the Bridge. 

In November 2007, his opera A 

View from the Bridge was produced 

by the Washington National Opera 

in Washington, D.C. A new chamber 

orchestration was premiered at the 

University of Texas at Austin in April 

2010. In February 2008 his Eighth 

Symphony was premiered by the 

Boston Symphony Orchestra and 

Chorus in three performances. 

Bolcom taught composition at the 

University of Michigan from 1973–2008. 

In the fall of 1994 the University of 

Michigan named him the Ross Lee 

Finney Distinguished University 

Professor of Composition. 

He has recorded for Advance, 

Jazzology, Musical Heritage, Nonesuch, 

Vox and Omega, among others. 

For more information, please visit 

William Bolcom’s website at 

www.williambolcom.com. 

FURTHER LISTENING 

by Jeff Hudson 

GIL SHAHAM 

and WILLIAM BOLCOM 

Gil Shaham will turn 43 in a few 

months. That would be considered 

fairly young for a conductor or 

a composer, and you’ll certainly 

see plenty of dads that age taking 

their young children to elementary 

schools around Davis. But Shaham 

made a big splash as boy wonder 

violinist in the 1980s, and he got 

a big break in 1989, when he was 

called on to replace the ailing Itzhak 

Perlman in a set of concerts by 

the London Symphony Orchestra 

(under conductor Michael Tilson 

Thomas). Shaham’s been recording 

since 1990, with some 30 albums to 

his credit. So when Shaham joked 

about going through his “midlife 

crisis” during an interview with San 

Francisco Classical Voice earlier this 

year, he was perhaps reflecting on 

how long he’s been performing 

at important venues around the 

world. After his solo recital in Davis 

this evening, Shaham will appear 

with the Chicago Symphony 

Orchestra next week, then the 

Atlanta Symphony Orchestra in midmonth 

and then the Bavarian Radio 

Symphony Orchestra in Munich 

after that. 

Shaham recorded for Deutsche 

Grammophon for many years, then 

he launched his own label—Canary 

Classics—in 2004. He’s recorded 

several albums with pianist Orli 

Shaham (his younger sister), 

including this year’s Nigunim, 

which features a new piece 

(commissioned by the Shaham 

siblings) by Israeli composer Avner 

Dorman, which created a stir in 

several cities when Shaham toured 

a few months ago. 

Tonight, Shaham will play another 

very recent piece composed with 

him in mind—William Bolcom’s Suite 

No. 2 for Solo Violin, which Shaham 

premiered in February. Bolcom 

completed his First Symphony in 

1957; he studied composition at 

Mills College in Oakland under 

Darius Milhaud from 1958 to 

1961 (around the time Milhaud 

was commissioned by UC Davis 

to write his Twelfth Symphony for 

the dedication of Freeborn Hall). 

Over his lengthy career, Bolcom 

has composed operas (including 

McTeague, based on the Frank Norris 

novel, set in San Francisco and 

Death Valley circa 1900), numerous 

orchestral and chamber works, 

songs, ragtime tunes and more. His 

12 New Etudes for Piano received the 

Pulitzer Prize for Music in 1988; the 

Naxos recording of Bolcom’s setting 

of William Blake’s Songs of Innocence 

and of Experience won four Grammy 

Awards in 2006. Bolcom’s very 

popular rag “Graceful Ghost” (1970) 

is often performed as an encore by 

pianists and violinists … including 

Gil Shaham. 

JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, 

THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW. 


THE 

INTERGALACTIC NEMESIS 

Live-Action Graphic Novel 

Book One: Target Earth 

A With A Twist Series Event 

Friday, November 15, 2013 • 8PM 

Jackson Hall 

THERE WILL BE ONE 15-MINUTE INTERMISSION. 

Written and Directed by Jason Neulander 

Adapted from the stage play by 

Jason Neulander and Chad Nichols 

Adapted from the radio drama by 

Ray Patrick Colgan, Jessica Reisman, 

Julia Edwards, Lisa D’Amour 

Based on an original idea by 

Ray Patrick Colgan 

Comic-Book Artwork by Tim Doyle 

Color Art by Paul Hanley and Lee Duhig 

Production Designed by Jason Neulander 

Sound Effects Created by Buzz Moran 

Original Improvised Score Composed by 

Graham Reynolds 

Sound Engineering by 

George R. Stumberg IV 

Company Manager, Jessie Douglas 

Associate Company Manager, Erin J. Hause 

CAST (in order of appearance) 

Danu Uribe 

Molly Sloan, Bird, Lead Hive Voice, 

Aughy, Claire, Queen of Zygon 

Brock England 

Timmy Mendez, Assassin, Jeeves, 

Shopkeeper, Clint, X-7, Silcron, 

Zygonian guard, Little Girl 

Christopher Lee Gibson 

Vlad, Ben Wilcott, Driver, Mysterion 

the Magnificent, Lord Crawford, 

Thug, Omar, Jean-Pierre Desperois, 

Elbee-Dee-Oh 

Foley Sound Effects Cami Alys 

Piano and Organ Kenneth Redding, Jr. 

Comic books, sound-effects gadgets, posters, shirts and Zygonian Slime are available in the lobby at 

intermission and after the performance. The cast will be signing books after the show. 

This production received its world premiere at the Long Center for the Performing Arts in Austin, Texas, 

2010. New York premiere at the New Victory Theatre, 2012. 


PINK MARTINI 

A Just Added Event 

Monday, December 2, 2013 • 8PM 

Jackson Hall 

SPONSORED BY 

Pink Martini 

Thomas Lauderdale, piano 

China Forbes, vocals 

Nick Crosa, violin 

Timothy Nishimoto, vocals, percussion 

Dan Faehnle, guitar 

Phil Baker, bass 

Anthony Jones, drums 

Brian Davis, drums 

Derek Rieth, drums 

Gavin Bondy, trumpet 

Jeff Budin, trombone 

AUTUMN DEWILDE 

In 1994 in his hometown of Portland, 

Oregon, Thomas Lauderdale was working 

in politics, thinking that one day he 

would run for mayor. Like other eager 

politicians-in-training, he went to every 

political fundraiser under the sun, but 

was dismayed to find the music at these 

events underwhelming, lackluster, loud 

and un-neighborly. Drawing inspiration 

from music from all over the world— 

crossing genres of classical, jazz and 

old-fashioned pop—and hoping to 

appeal to conservatives and liberals 

alike, he founded the “little orchestra” 

Pink Martini in 1994 to provide beautiful 

and inclusive musical soundtracks for 

political fundraisers for progressive 

causes such as civil rights, affordable 

housing, the environment, libraries, public 

broadcasting, education and parks. 

After three years and a cast of different 

singers, Lauderdale called China Forbes, 

an old Harvard classmate who was 

living in New York City, and asked her 

to join Pink Martini. The band began 

to write songs together, and their first 

song “Sympathique”—with the chorus 

Je ne veux pas travailler (“I don’t want to 

work”)—became an overnight sensation 

in France and was even nominated for 

“Song of the Year” at France’s Victoires de la 

Musique Awards. 

“All of us in Pink Martini have studied 

different languages as well as different 

styles of music from different parts of 

the world. So inevitably, our repertoire is 

wildly diverse,” says Lauderdale. “At one 

moment, you feel like you’re in the middle 

of a samba parade in Rio de Janeiro, and in 

the next moment, you’re in a French music 

hall of the 1930s or a palazzo in Napoli. 

It’s a bit like an urban musical travelogue. 

We’re very much an American band, 

but we spend a lot of time abroad, and 

therefore have the incredible diplomatic 

opportunity to represent a broader, more 

inclusive America, the America which 

remains the most heterogeneously 

populated country in the world, 

comprised of people from every country, 

every language, every religion.” 

Featuring 12 regular musicians, Pink 

Martini performs its multilingual repertoire 

on concert stages and with symphony 

orchestras throughout Europe, Asia, 

Greece, Turkey, the Middle East, Northern 

Africa, Australia, New Zealand, South 

America and North America. Pink Martini 

made its European debut at the Cannes 

Film Festival in 1997 and its orchestral 

debut with the Oregon Symphony in 1998 

under the direction of Norman Leyden. 

Since then, the band has gone on to play 

with more than 25 orchestras around the 

world, including multiple engagements 

with the Los Angeles Philharmonic at the 

“It’s a bit like an urban 

musical travelogue.” 

Hollywood Bowl, the Boston Pops, the 

National Symphony at the Kennedy Center, 

the San Francisco Symphony and the 

BBC Concert Orchestra in London. Other 

appearances include the grand opening of 

the Los Angeles Philharmonic’s new Frank 

Gehry-designed Walt Disney Concert Hall 

with return sold-out engagements for New 

Year’s Eve 2003, 2004 and 2008; two soldout 

concerts at Carnegie Hall; the opening 

party of the remodeled Museum of 

18 MONDAVIARTS.ORG

Modern Art in New York City; the Governor’s 

Ball at the 80th Annual Academy Awards in 

2008 and the opening of the 2008 Sydney 

Festival in Australia. 

Pink Martini’s debut album Sympathique 

was released independently in 1997 on the 

band’s own label Heinz Records (named 

after Lauderdale’s dog) and quickly became 

an international phenomenon, garnering 

the group nominations for “Song of the 

Year” and “Best New Artist” in France’s 

Victoires de la Musique Awards in 2000. 

PINK MARTINI 

Pink Martini released Hang On Little Tomato 

in 2004, Hey Eugene! in 2007 and Splendor 

In The Grass in 2009. In November 2010, 

the band released Joy To The World—a 

festive, multi-denominational holiday 

album featuring songs from around the 

globe. Joy To The World received rave 

reviews and was carried in Starbucks stores 

during the 2010 holiday season. All five 

albums have gone gold in France, Canada, 

Greece and Turkey and have sold more than 

2 million copies worldwide. 

Who’s 

Your 

Jeweler? 

FURTHER LISTENING 

by Jeff Hudson 

PINK MARTINI 

Retro—focusing on the ‘50s and early 

‘60s. Campy—but in an affectionate and 

sincere way. Bohemian—you can tell they 

like to party. And international—their new 

album Get Happy (a September release) 

includes lyrics in Japanese, Turkish, Farsi, 

Romanian and more. 

That’s Pink Martini, the “little orchestra” 

presided over by irrepressible pianist 

Thomas Lauderdale. Get Happy features 

some special guest vocalists including 

NPR White House correspondent Ari 

Shapiro (singing in Spanish, as quite a 

crooner). Also a swansong by the late 

comedienne Phyllis Diller (recorded 

in 2012 at age 95, singing Charlie 

Chaplin’s “Smile”). 

There’s also a bit of J-pop, in the 

form of “Zundoko,” a hit in 1969 for a 

Japanese vocal quintet/boy band called 

The Drifters. Lauderdale, whose heritage 

includes a bit of what he describes as 

“mystery Asian” ancestry, also worked a 

Japanese translation of “White Christmas” 

into Pink Martini’s 2010 holiday season 

album Joy to the World, which has turned 

into one of their best-selling disks. 

Lauderdale’s musical interests are 

many and varied. He told an NPR 

interviewer earlier this year that as 

a boy growing up in Indiana, he had 

six big influences: “Ray Conniff, Ray 

Charles, the New Christy Minstrels, the 

Mormon Tabernacle Choir, Roger Miller 

and the album Jesus Christ Superstar.” He 

also mentioned a recent fondness for 

Tammy Wynette’s 1969 country version 

of “Just a Closer Walk with Thee.” And he 

confessed that he really does respect 

the nimble keyboard work on Liberace’s 

recordings from the early 1950s, when 

he played everything from Liszt classics 

to “Malagueña” to the “Bumblebee 

Boogie” in the days his appearances 

were primarily about music, long before 

the sequined costumes took over. “I’m 

inching closer to Liberace-land every 

day,” Lauderdale said, only half in jest. 

Pink Martini is also unusual in that 

it works with two lead singers. China 

Forbes—scheduled to sing at tonight’s 

concert—was a founding member of the 

group; she and Lauderdale were friends 

during their college days at Harvard, 20- 

odd years ago. Forbes took a hiatus after 

experiencing vocal trouble two years ago. 

When Pink Martini visited the Mondavi 

Center for the first time in July 2011, their 

guest vocalist was Storm Large. China 

Forbes, now recovered, sings at many of 

Pink Martini’s concerts; Storm Large also 

continues in an ongoing role as the band’s 

co-lead vocalist. (And they’re both heard 

on the new album.) 

JEFF HUDSON CONTRIBUTES COVERAGE OF THE PERFORMING ARTS TO CAPITAL PUBLIC RADIO, 

THE DAVIS ENTERPRISE AND SACRAMENTO NEWS AND REVIEW. 

Frank, Vasiliy, Liz, Sophia, Carmen, 

Luz & Cliff 

• Jewelry 

& Watch Repair 

• Ring Sizing 

& Refurbishing 

• Engraving — 

Inside Rings, Bracelets 

• FREE Ring Cleaning 

& Inspection 

• Appraisals 

903 3rd Street 

Downtown Davis 

(530) 753-5000 

www.3rdstreetjewelers.com 


A Director’s Choice Series Event 

Saturday, December 7, 2013 • 8PM 

Jackson Hall 

INDIVIDUAL SUPPORT PROVIDED BY 

Barbara K. Jackson 

LEAH CROCETTO, Soprano 

MARK MARKHAM, Piano 

PROGRAM 

“Rejoice, rejoice greatly” 

from Messiah 

Handel 

Three Songs 

Barber 

Sleep now, oh sleep now 

Sure on this Shining Night 

Nocturne 

Die Nacht 

Strauss 

Morgen 

Cacelie 

“Glück, das mir verblieb” (Marietta’s 

Lied) from Die Tote Stadt Korngold 

INTERMISSION 

Eternal Recurrence 

The Void 

Graciso 

Vivace, Naïve 

By Chance 

Recit, Hollow. 

Liquide, molto rubato 

Largo, proud 

Verklärt 

Playful, leggiero 

The Void 

Con amores la mi madre 

Del Cabello mas sutil 

Chiquitita la novia 

Peebles 

Obradors 

“REJOICE, REJOICE GREATLY” 

FROM MESSIAH, HWV 56 

GEORGE FRIDERIC HANDEL 

(Born February 23, 1685, in Halle, Germany; died April 14, 1759, 

in London, England.) 

Messiah librettist Charles Jennens took his 

text from Zechariah 9:9–10, which fortells 

of a savior who shall “speak peace unto the 

heathen.” As such, “Rejoice, rejoice greatly” 

is dramatic and virtuosic, its two major-key 

sections (both setting “Rejoice greatly”) 

flanking a relatively introverted passage in 

minor mode that sets “He is the righteous 

Saviour.” A bit of Messiah trivia is in order: 

as performed at the 1742 Dublin premiere, 

“Rejoice greatly” was in compound triple time, 

which gave it a grandly billowing character, 

but when Handel recast it in common time 

for the 1743 London performances, the aria 

acquired the propulsive angularity for which 

it has become known. 

“SLEEP NOW, OH SLEEP NOW” 

“SURE ON THIS SHINING NIGHT” 

“NOCTURNE” 

SAMUEL BARBER 

(Born March 9, 1910, in West Chester, Pa.; died January 23, 1981, 

New York City) 

“Throughout his life Barber was never 

without a volume or two of poetry at his 

bedside. Poetry was as necessary to his 

existence as oxygen.” That’s pianist John 

Browning on his friend and mentor Samuel 

Barber, American song composer par 

excellence who found it difficult to read 

poetry for pleasure because “I always have in 

the back of my mind the feeling that I may 

come across a usable song text.” 

In his youth Barber was particularly drawn 

to Celtic poets such as James Stephens and 

William Butler Yeats. In James Joyce he found 

a kindred soul whose 1907 Chamber Music 

provided the text for the Three Songs, Op. 10, 

composed in 1935-6 and published in 1939. 

The second song, “Sleep now, oh sleep now,” 

begins with a quiet exhortation for the heart 

to sleep, then rises to an impassioned cry as 

“the voice of the winter is heard at the door” 

before sinking back into the intimate hush 

of the beginning. In the 1940 Four Songs, Op. 

13 we find “Sure on this Shining Night,” to 

a text by James Agee. The celebrated song 

resembles those great lieder by such worthies 

as Johannes Brahms and Robert Schumann, 

particularly in its long floating cantilena 

melodic line over a quietly pulsating piano 

accompaniment, such as might be found in 

Schumann’s Dichterliebe. The Four Songs are 

also the source for the haunting “Nocturne,” 

to a poem from Carnival by Frederic Prokosch, 

a moody writer with a flair for mysticism. 

Barber sets Prokosch’s richly metaphoric 

text in a manner more Debussyean than 

Schumannesque, with clear references to the 

superheated style of Alexander Scriabin, one 

of Barber’s favorite composers. 

“DIE NACHT” OP. 10 NO. 3 

“MORGEN” OP. 27 NO. 4 

“CÄCILIE” OP. 27 NO. 2 

RICHARD STRAUSS 

(Born June 11, 1864, in Munich, Germany; died September 8, 1949, 

in Garmisch-Partenkirchen, Germany) 

Richard Strauss wrote lieder throughout his 

long life. The first to appear in print, published 

in 1885 as Op. 10, were the Eight Poems from 

20 MONDAVIARTS.ORG

Hermann Gilm’s “Letzte Blätter,” composed by 

Strauss at the age of 20. “Die Nacht,” the third 

song in the cycle, offers a quintessentially 

Romantic image of a personified night that 

“takes everything that is lovely,” and may 

very well steal “you, too, from me.” But dawn 

comes after the dark, as “Morgen,” from an 

1894 set of four lieder, promises that “the sun 

will shine again” as “we shall look into each 

other’s eyes” and revel in silent happiness. 

After the introversion of those two songs, 

“Cäcilie” comes as a welcome contrast, 

bursting with a lover’s most heartfelt 

passions, its effusive piano part supporting 

an ecstatically soaring vocal line. 

“GLÜCK, DAS MIR VERBLIEB” 

(MARIETTA’S LIED) 

FROM DIE TOTE STADT 

ERICH WOLFGANG KORNGOLD 

(Born May 29, 1897, in Brno, Czech Republic; died November 29, 

1957, in Los Angeles) 

Child prodigies at the level of Erich 

Wolfgang Korngold come along only rarely. 

He was still in short pants when his works 

were being played throughout Europe by 

the likes of pianist Artur Schnabel. He was all 

of 23 years old when his opera Die Tote Stadt 

(The Dead City) erupted into international 

prominence, staged even at the Metropolitan 

Opera within a few years of its dual 1920 

premieres in Cologne and Hamburg. The 

story—which bears more than a passing 

resemblance to Alfred Hitchcock’s Vertigo— 

features a superb soprano role in Marietta, 

the lovely young dancer who vividly 

reminds the protagonist Paul of his recentlydeceased 

wife. In the opera, “Glück, das mir 

verblieb” (“My happiness that remained”) is a 

rapturous duet between Marietta and Paul, 

but in concert it is typically presented as an 

aria for solo soprano. 

Hyatt Place UC Davis 

The only hotel located on Campus 

HP 080213 mondavi 1_3s.pdf 

We are a proud corporate sponsor of the 

Robert and Margrit Mondavi Center for the Performing Arts 

Enjoy the show! 

173 Old Davis Road, Davis CA 95616 

ETERNAL RECURRENCE 

GREGORY PEEBLES 

(Born in 1975, in Hartselle, Alabama) 

Travel is at the heart of Eternal Recurrence. 

The narrative—albeit abstract—is in the form 

of a journey. At the literal level, the primary 

character is activated by the vastness of 

experiential possibilities, and sets out for as 

much of it as he or she can bear. First on the 

path we encounter Love and the difficulties 

that Intimacy presents. The protagonist 

responds by running across the wide world. A 

musical stop along the river Seine is indicative 

HP 080213 mondavi 1_3s.indd 1 


LEAH CROCETTO 

of the European landscape of the heart of the 

work, through which the composer traveled 

while composing the poetry. The conclusion of 

this poetic journey is the realization that home, 

travel, motion and time itself are illusory; 

subsequently, we witness and coexperience 

Sybil and the ineluctable Death and the 

surprise of longing for crossing the River Styx. 

But as every birth must conclude in death, 

so must death follow birth in endless cycle, 

103 

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and arrive again at the beginning. The large 

structure of the work is palindromic in regards 

to motive and harmony. 

“CON AMORES LI MI MADRES” 

“DEL CABELLO MAS SUTIL” 

“CHIQUITITA LA NOVIA” 

FERNANDO OBRADORS 

(Born 1897, in Barcelona , Spain; died 1945 in Barcelona , Spain.) 

The self-taught Catalan composer, 

CHRIS ANN BACHTEL, Senior Vice PreSident, truSt Manager 

- Member, Crocker Art Museum’s Board of Directors 

- Chair, Arts & Antiquities Committee for a private organization 

- Nominee, Individual Leadership in the Arts, Sacramento Arts & Business Council 

Mastering the fine art of 

estate & investment planning. 

“As a true lover of the arts, I get joy from volunteering over 

300 hours annually to various arts-related organizations in 

the capital region. That same passion I have for the arts I 

apply to my work as Trust Manager at First Northern Bank. 

” 

FIRST NORTHERN BANK 

Asset MAnAgeMent & trust DepArtMent 

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Investments Not FDIC Insured • May Lose Value • No Bank Guarantee 

pianist, and conductor Fernando Obradors 

(1897–1945) wrote music in a variety 

of genres, but he is best known for his 

collections of folk and popular songs. 

The Dos Cantares Populares (Two Popular 

Songs) are “Con amores, la mi madre,” from 

a 15th-century text by Juan de Anchieta 

that speaks of a mother’s love and the rest 

it brings, and the anonymous “Del Cabello 

mas sutil,” in which a swain pines for the 

“softest hair” of his lady love. “Chiquitita 

la novia,” the “tiny bride” with her equally 

tiny groom and tiny bed, comes from a set 

of verses by 19th century flamenco singer 

Francisco Fernández Boigas, better known 

under the pseudonym Curro Dulce. 

LEAH CROCETTO 

Recognized as a rising star in the next 

generation of singers, Leah Crocetto 

represented the United States at the 

2011 Cardiff BBC Singer of the World 

Competition where she was a finalist in 

the Song Competition. She is a 2010 Grand 

Finals Winner of the Metropolitan Opera 

National Council Auditions and was the 

First Place Winner, People’s Choice and 

the Spanish Prize Winner of the 2009 José 

Iturbi International Music Competition, 

and winner of the Bel Canto Foundation 

competition. A former Adler fellow at San 

Francisco Opera, Crocetto has appeared 

frequently with the company, most recently 

in the role of Liu in Turandot 

Crocetto begins the current season 

singing a concert of sacred pieces by Verdi 

with Orchestre National de France under 

the direction of Daniele Gatti. She returns 

to Opera de Bordeaux to sing Desdemona 

in Otello, and she returns to Frankfurt 

Opera for her first performances of Alice 

Ford in Falstaff. Her concert engagements 

take her to the Green Music Center in 

Sonoma, California, and the Speed Museum 

in Louisville, Kentucky. This season, she 

sings the Verdi Requiem with San Francisco 

Opera and with the Radio Orchestra of 

Saarbrücken, Germany. She makes her 

debut with Pittsburgh Opera singing her 

first performances of Mimi in La bohème, 

and she performs Handel’s Messiah with 

the National Symphony Orchestra at the 

Kennedy Center. 

Crocetto began the 2012–13 season with 

her debut in Venice, singing Desdemona in 

Otello at Teatro la Fenice. She reprised the 

22 MONDAVIARTS.ORG

LEAH CROCETTO 

role with the company in their tour of Japan 

later in the season, as well as with Frankfurt 

Opera in her company debut. Crocetto also 

made her debut with the Israeli Opera as 

the title role of Luisa Miller. She joined the 

Calgary Philharmonic in performances of the 

Verdi Requiem, and she returned to Italy to 

sing Leonora in Il trovatore in her debut at the 

Arena di Verona. 

PERSONAL DIRECTION: 

Willam G. Guerri, Vice-president 

Columbia Artists Management LLC 

(212) 841-9680 guerri@cami.com 

MARK MARKHAM 

Pianist Mark Markham made his debut 

in 1980 as soloist with the New Orleans 

Symphony Orchestra and in the same 

year was invited by the renowned Boris 

Goldovsky to coach opera at the Oglebay 

Institute, hence the beginning of a 

multi-faceted career. His teachers at the 

time, Robert and Trudie Sherwood, were 

supportive of all his musical endeavors 

from solo repertoire, vocal accompanying, 

and chamber music to Broadway and jazz. 

During the next 10 years as a student at the 

Peabody Conservatory, where he received 

bachelor’s, master’s and doctoral degrees 

in piano performance, this same support 

for the diversity of his musical gifts came 

from Ann Schein, a pupil of the great Artur 

Rubinstein. While under her tutelage, he 

won several competitions including the First 

Prize and the Contemporary Music Prize 

at the 1988 Frinna Awerbuch International 

Piano Competition in New York City. He has 

given solo recitals at the National Gallery of 

Art in Washington, D.C.; the New York Public 

Library; the Baltimore Museum of Art and 

the Getty Museum in Los Angeles. In 1987, 

Markham was appointed pianist of the 

Contemporary Music Forum of Washington, 

D.C. During five seasons he gave numerous 

premiere performances at the Corcoran 

Gallery with this ensemble. This work led 

to other premieres throughout the U.S. by 

composers Shulamit Ran, Larence Smith 

and Richard Danielpour. Markham has also 

performed with the Brentano, Mozarteum, 

Glinka and Castagnieri quartets and the 

Baltimore Woodwind Quintet, as well as 

with Edgar Meyer, Ron Carter, Grady Tate 

and Ira Coleman. While a student at the 

conservatory, Markham toured with soprano 

Phyllis Bryn-Julson. This collaboration 

resulted in critically acclaimed recordings 

of works by Messiaen, Carter, Dallapiccola, 

Schuller and Wuorinen. In addition, he 

has toured the US, Europe and Asia with 

countertenor Derek Lee Ragin. 

Since 1995, Markham has been the 

recital partner of Jessye Norman, giving 

nearly 300 performances in over 25 

countries, including recitals in Carnegie 

Hall, the Concertgebouw in Amsterdam, La 

Palau de la Musica in Barcelona, London’s 

Royal Festival Hall, the Musikverein in 

Vienna, the Salzburg Festival, Bunka 

Kaikan in Tokyo, Mann Auditorium in Tel 

Aviv, the Ancient Theatre of Epidaurus in 

Greece and at the 2002 Nobel Peace Prize 

presentation to President Jimmy Carter 

in Oslo. Recently he has performed with 

Norman in London, Paris, Lyon, Moscow, 

St. Petersburg, Ghent, Zurich, Oman, 

Beirut, Baden-Baden, Washington, D.C. and 

San Francisco. 

Much appreciated by the public for his 

improvisational skills, Markham performed 

at the Expo 2000 in Hannover, Germany, 

where he collaborated with Sir Peter 

Ustinov for a live television broadcast 

throughout the country. His gift for jazz has 

been recognized in the Sacred Ellington, a 

program created by Norman in which he 

serves as pianist and musical director and 

which has toured Europe and the Middle 

East. Most recently, his recording with Jessye 

Norman of Roots: My Life, My Song was 

nominated for a Grammy. 

In 1990, Markham was invited to join 

the faculty of the Peabody Conservatory, 

where he served for ten years as vocal 

coach and professor of vocal repertoire and 

accompanying. A former faculty member 

of Morgan State University, the Britten- 

Pears School in England and the Norfolk 

Chamber Festival of Yale University, he has 

presented master classes for pianists and 

singers throughout the U.S., Europe and 

Asia and has been a guest lecturer for the 

Metropolitan Opera Guild and the Johns 

Hopkins University. Markham currently 

resides in New York City. 

Voted Best Dessert in Yolo County 6 Years in a Row 

• Breakfast • Lunch • High Tea • Catering • Weddings 

Bring in your Mondavi ticket stub to receive a 15% discount on your purchase. 


A Hallmark Inn, Davis Children’s Stage Event 

Sunday, December 8 • 3PM 

SPONSORED BY 

LARA DOWNES 

FAMILY CONCERT 

The Magic Fish 

Lara Downes, piano 

Daren Jackson, bass, Magic Fish 

(2013 FOUNDERS’ PRIZE WINNER OF THE 

MONDAVI CENTER YOUNG ARTISTS COMPETITION) 

Lauren Woody: Mother 

Zachary Gordin: Father 

Ann Moss: Otter/Girl 

Darron Flagg: Boy 

Davis High School Orchestra 

Angelo Moreno, Conductor 

Mindy Cooper, Director 

Music by Sunny Knable; 

Libretto by Jim Knable 

Based on the Brothers Grimm fairy 

tale, The Fisherman and His Wife 

LARA DOWNES, a critically acclaimed American 

pianist and a captivating presence both on and 

offstage, is recognized as one of the most exciting 

and communicative classical artists of her generation. 

Called “a delightful artist with a unique blend of 

musicianship and showmanship” by NPR and praised 

by the Washington Post for her stunning performances 

“rendered with drama and nuance,” Downes presents 

the piano repertoire—from iconic favorites to newly 

commissioned works—in new ways that bridge 

musical tastes, genres and audiences. 

Since making concert debuts at Queen Elizabeth 

Hall London, the Vienna Konzerthaus and the Salle 

Gaveau Paris, Downes has won over audiences 

at Carnegie Hall, Kennedy Center, Lincoln Center, 

the American Academy Rome, San Francisco 

Performances, the Montreal Chamber Music Festival, 

Portland Piano International and the University of 

Washington World Series, among many others. Her 

original solo performance projects have received 

support from prominent organizations such as 

the National Endowment for the Arts, the Barlow 

Endowment for Music Composition, the Center for 

Cultural Innovation and American Public Media. 

Downes’s chamber music appearances include 

collaborations with noted soloists and ensembles 

including cellist Zuill Bailey, violinist Rachel Barton 

Pine, jazz pianist Dan Tepfer and the Alexander 

String Quartet. Commissions and premieres of new 

works for Downes have come from composers 

Mohammed Fairouz, David Sanford, Benny Golson 

and Eve Beglarian, among others. 

Downes’s solo recordings have met with 

tremendous critical and popular acclaim. Her 

debut CD, Invitation to the Dance (2000), was called 

“magical” by NPR, and her second release, American 

Ballads (2001), was ranked by Amazon among 

the best recordings of American concert music 

ever made. Dream of Me (2006) was praised for 

“exquisite sensitivity” by American Record Guide. 13 

Ways of Looking at the Goldberg (2011) was called 

“addicting” by the Huffington Post, and “magnificent 

and different” by Sequenza 21. Her chart-topping 

new release, Exiles’ Café (2013), featured as CD of 

the Week by radio stations from WQXR New York 

to KDFC San Francisco, was called “ravishing” by 

Fanfare magazine. She is regularly heard nationwide 

on radio programs including NPR Performance 

Today, WNYC New Sounds, WFMT Impromptu, TPR 

Classical Spotlight and WWFM Cadenza. 

Downes ‘s busy performance career is strongly 

driven by her commitment to expanding and 

developing new audiences for the arts. She is the 

founder and president of the 88 KEYS® Foundation, a 

non-profit organization that fosters opportunities for 

music experiences and learning in America’s public 

schools, and she regularly works and performs with the 

next generation of talented young musicians as artistic 

director of the Young Artists program at the Mondavi 

Center for the Performing Arts, UC Davis, where she 

serves as artist-in-residence. Downes is founder and 

director of The Artist Sessions, San Francisco. 

Lara Downes is a Steinway Artist. 

www.LaraDownes.com 

A Broadway veteran for over 25 years, MINDY 

COOPER has performed (Chicago, Titanic, Beauty 

and The Beast, Song & Dance and Tenderloin), 

choreographed (Dracula, Wrong Mountain) and 

produced (Soul Doctor) on Broadway. As a director, 

she has worked extensively around the country, 

including Off-Broadway, New York Theater 

Workshop, Town Hall (NYC), Manhattan Theater Club, 

Koener Hall (Toronto), Sacramento Music Circus and 

CenterRep, where her work has won 10 Bay Area 

Theater Critics Awards. She most recently directed 

the American premiere of the one-man show Men 

are from Mars, Women are from Venus Live, now 

touring nationwide. She has also choreographed for 

TV, film, industrials, commercials and benefits, and 

is delighted to return to the Mondavi Center for the 

fourth time with Lara Downes’s family concert. 

DARRON FLAGG is a singer-actor posed to become 

one of the opera world’s most exciting discoveries 

of recent memory. Flagg’s celebrated performances 

of the treacherously difficult title role in Rossini’s 

comedic masterpiece Le Conte D’Ory as well as his 

portrayal of the Honorable Elijah Mohammed in a 

2006 production of Anthony Davis’ Life and Times 

of Malcolm X have cemented his reputation in 

contemporary and bel canto roles. 

Flagg has performed roles with regional opera 

companies on the West Coast of the United States. 

These houses include Sacramento Opera, West 

Bay Opera, Festival Opera, Livermore Valley Opera, 

Pocket Opera, San Francisco Opera, Verismo Opera, 

West Edge Opera and Oakland Opera Theater. 

Internationally, Flagg has participated in the Young 

Artist Program at the New Israel Opera House. Flagg 

has performed as a soloist on stages in Russia, Sweden 

and Germany. On the concert stage, Flagg has been 

as soloist in works such as Herrmann’s Moby Dick, 

Handel’s Messiah, Verdi’s Requiem, Bruckner’s Te Deum, 

Haydn’s Creation and Haydn’s Paukenmesse. At the Los 

Angeles Philharmonic’s Walt Disney Hall, Flagg served 

as tenor soloist in a performance of Beethoven’s 

Ninth Symphony. On the theatrical stage, Flagg has 

performed works of William Shakespeare, Johann 

Goethe and Friedrich Dürrenmatt. Flagg’s assumed the 

role of Sal Jr. in feature film Baghdad Café, co-starring 

Oscar-winning actor Jack Palance and CCH Pounder. 

A former recitalist in Lincoln Center’s Meet the 

Artist series, Flagg is a past winner of the Southeast 

Symphony Young Artist competition and a former 

member of the New Israel Opera House Young 

Artists Studio in Tel Aviv. 

ZACHARY GORDIN is renowned for bringing 

masterful singing and strong physicality to a wide 

variety of roles from baroque heroes to contemporary 

works written specifically for him. For his recent debut 

at the Olympic Music Festival, the Seattle Times hailed 

him as “a singer already capable of some arresting 

24 MONDAVIARTS.ORG

LARA DOWNES FAMILY CONCERT 

musical insights. The occasional big effects were 

commanding and intense without ever descending 

into coarseness, and the delicacy and tonal allure he 

brought to the cycle’s preponderance of quiet songs 

were deeply impressive.” Recent performances on the 

operatic stage include Escamillo in Carmen with Diablo 

Symphony Orchestra and San Francisco Lyric Opera, 

Ben in The Telephone with Blue Sage Center for the 

Arts, Silvio in Pagliacci and Monterone in Rigoletto with 

Sacramento Opera, Aeneas in Dido and Aeneas and El 

Cantaor in La vida breve with West Bay Opera, Germont 

in La Traviata with West Bay Opera and Center Stage 

Opera, Enrico in Lucia di Lammermoor with North Bay 

Opera and Center Stage Opera and many others. 

Gordin has been in high demand as a guest artist 

with the Oakland East Bay Symphony, where has 

sung Fauré’s Requiem, Verdi’s Otello, Kurt Weill’s Street 

Scene and Orff’s Carmina Burana. Gordin’s talent 

has been recognized as a winner of prestigious 

vocal competitions, including the Pacific Musical 

Society Competition, East Bay Opera League Vocal 

Competition, Bellini International Voice Competition 

and the Ibla Grand Prize Baroque Music Competition. 

He was the recipient of the Irene Patti Swartz 

Encouragement Award for the Florida Grand Opera 

National Voice Competition and Grantee of the Vocal 

Arts Foundation in San Francisco. He was also World 

Finalist for the Academia at Teatro alla Scala, Regional 

Finalist for the Metropolitan Opera National Council 

Auditions and the youngest candidate selected for 

the ORFEO 2000 World Competition of International 

Finalists hosted by Hannover Staatsoper. 

DAREN JACKSON is the Founders’ Prize winner of 

the 2013 Mondavi Center Young Artists Competition. 

He began voice studies at age 8 in Wilmington, NC. 

At 15, he was accepted as the youngest student at 

North Carolina School of the Arts, where he currently 

studies with Glenn Siebert. He has performed 

diverse roles in works such as Andrew Lloyd Weber’s 

Requiem, Bernstein’s Kaddish and Rossini’s Stabat 

Mater. He is the recipient of the Bill and Judy Watson 

Scholarship and the William Bondurant Scholarship 

at UNCSA, and in 2013 he won 1st place in the North 

Carolina and Mid-Atlantic Region NATS auditions. 

SUNNY KNABLE was raised in a family of artists. As 

an adult, he became an award-winning composer, 

classical pianist, jazz player, songwriter, percussionist 

and educator. As a composer, he has won three 

Best Composition awards at the Festival of New 

American Music, and in 2009, he was the recipient 

of the Iron Composers Award (for which he wrote 

a four-minute piece in five hours). His works have 

been heard throughout the U.S. and internationally. 

After receiving his bachelor’ of music degree in 

composition, piano performance and jazz studies at 

California State University, Sacramento, he moved to 

New York City, where he makes his living as a pianist. 

In 2010, his 30-minute work Music of the Rails was 

commissioned and premiered by the Sacramentobased 

sextet Citywater in celebration of the Crocker 

Art Museum’s reopening. In 2011, Half Moon Theatre 

of Poughkeepsie, NY, commissioned his children’s 

opera, The Magic Fish, with his brother Jim Knable as 

librettist. In 2012, he received his master’s of arts degree 

in composition at the Aaron Copland School of Music 

where he served as president of the Queens College 

New Music Group for two years. His debut composition 

CD American Variations was released in 2012 on 

Centaur Records. He serves as music director of The 

Church-in-the-Gardens in Forest Hills, NY, while fulfilling 

commissions from around the country. He continues his 

doctoral education at Stony Brook University. 

ANGELO MORENO is a graduate of UC Davis where 

he received his bachelor of arts and master of arts 

in orchestral conducting under the direction of Dr. 

D. Kern Holoman in the fall of 2002. He also received 

his teaching credential in music education from 

Sacramento State University. Moreno is the director 

of the Sacramento Youth Symphony’s Academic 

Orchestra. In addition to his youth symphony work, 

Moreno has been directing the Davis Schools 

Secondary Orchestras since 2000. He was orchestra 

director at Emerson Junior High and is currently the 

director of the Davis Senior High and Holmes Junior 

High School Orchestra Programs. 

In 2005, Moreno was awarded the Teacher of the Year 

Award presented by the CSUS College of Education in 

recognition of outstanding service to public education. 

In 2006, he was honored by State Assemblywoman 

Lois Wolk and given a resolution from the California 

Legislature recognizing his work in music education. In 

2009, the Sacramento News & Review honored Moreno 

at the Jammies Concert with the Sacramento Music 

Educators Outstanding Achievement Award. 

In addition, DownBeat Magazine recognized 

Moreno and his Combined Junior High Advanced 

Orchestra and the Davis Senior High School 

Symphony Orchestra to be Best Classical Ensemble at 

the high school level nationwide in 2010 and 2011. 

In the fall of 2011, Moreno was given the Harmony 

in Our Lives Award for excellence in music education 

by the Davis Schools Arts Foundation. In the fall of 

2012, the California Music Educators Association 

(CMEA) unanimously recognized Moreno as the 

state’s Richard L. Levin Orchestra Educator awardee. 

ANN MOSS is an ardent and acclaimed champion 

of contemporary vocal music who performs and 

collaborates with a dynamic array of American 

composers. Her high, silvery, flexible voice has been 

singled out by Opera News for its “beautifully pure 

floated high notes” and by San Francisco Classical Voice 

for its “powerful expression.” September 2013 marks 

the release of her debut CD CURRENTS, produced by 

multiple Grammy Award-winner Leslie Ann Jones 

and featuring a dream team of collaborators from the 

chamber music, new music and jazz communities 

performing some of the extraordinary new and 

recent American vocal/chamber music Moss has 

championed over the past decade. 

Moss has sung premieres and performed 

contemporary repertoire with M2B, Earplay, Eco 

Ensemble, One Art Ensemble, New Music Works, 

San Francisco Lyric Opera, the Ives String Quartet, 

Alexander String Quartet, Hausmann Quartet, Sanford 

Dole Ensemble and Composers in Red Sneakers. She 

has performed at the Sacramento Festival of New 

American Music, Fresno New Music Festival, PARMA 

Festival, SF Song Festival, Other Minds Festival, 

Switchboard Music Festival, Sonic Harvest, CNMAT 

and in frequent recitals of contemporary art song. 

Equally sought after for her vibrant and affecting 

interpretations of masterworks from the oratorio 

and operatic literature, Moss has recently been heard 

performing solos in Beethoven’s Ninth Symphony with 

the UC Berkeley Symphony Orchestra, Haydn’s Missa 

in Angustiis with Oakland Symphony Chorus, Handel’s 

Acis & Galatea with California Bach Society, and 

Poulenc’s Gloria and Ravel’s L’enfant et les sortilèges 

with Berkeley Opera. Other operatic roles include 

Nannetta, Blondchen, Despina and Dew Fairy. 

A native of Boston and a graduate of the Longy 

School of Music and San Francisco Conservatory, Moss 

currently resides and teaches in the San Francisco 

Bay Area. She has participated in master classes with 

artists including Jose Van Dam, Nathan Gunn, Graham 

Johnson, Martin Katz, Jake Heggie, John Harbison, 

Craig Smith and Barbara Kilduff. Private teachers 

include Sheri Greenawald, Wendy Hillhouse, Anna 

Gabriali and Rodney Gisick; coaches include Steven 

Bailey, Brian Moll, Paul Hersh, Wayman Chen, Brenda 

Miller and Tim Bach. She attended the internationally 

renowned Songfest program for two summers. 

Soprano LAUREN WOODY recently returned from 

performing at Lincoln Center with the New York 

City Opera Orchestra and on a National U.S. tour 

with the prestigious Young Artist program, I Sing 

Beijing. She is garnering recognition for her artistry, 

beautiful vocal timbre and ringing high notes. 

In 2012, she made her international debut in 

China at the National Center for the Performing 

Arts, where she studied under the tutelage of 

internationally acclaimed faculty members, including 

Metropolitan Opera bass Hao Jiang Tian, Maestro 

Paul Nadler and coach Katherine Chu. 

A winner of the Career Bridges Grant Award in 

New York, Woody has been described as possessing 

a “wonderful lyric soprano voice capable of many 

styles and genres.” Over the years, she has been 

tackling leading roles in The Magic Flute (Second 

Lady), Haydn’s La Vera Costanza (Rosina), and the 

title roles in Gilbert and Sullivan’s Patience and 

Iolanthe. Her performances have been characterized 

as “superb ... engaging the audience with both her 

singing and acting” (Maestro Brian Sparks). 

Currently based in the San Francisco Bay Area, 

she sings with the contemporary hybrid hip-hop 

orchestra, Ensemble Mik Nawooj, premiering new 

works by composer Joowan Kim. Woody studies with 

world-renowned soprano and San Francisco Opera 

Center Director Sheri Greenawald, specializing in lyric 

soprano repertoire by Puccini, Mozart and Verdi. 


JEFF TWEEDY, Solo 


Tuesday, December 10, 2013 • 8PM 

Jackson Hall 

According to Salon.com, Jeff Tweedy is “one of 

the most daring songwriters of his generation” and 

his band Wilco is hailed as “vital, adventurous … 

breaking new stylistic ground with each ambitious 

and creatively restless album.” 

As the founding member and leader of the 

American rock band Wilco and before that the 

co-founder of alt-country band Uncle Tupelo, Jeff 

Tweedy is one of contemporary American music’s 

most accomplished songwriters, musicians and 

performers. Since starting Wilco in 1994, Tweedy 

has written original songs for eight Wilco albums 

and collaborated with folk singer Billy Bragg to 

bring musical life to three albums full of Woody 

Guthrie-penned lyrics in the Mermaid Avenue series. 

Tweedy has had a firm hand in producing all 

of Wilco’s eight studio albums, and over the past 

decade has created the Wilco Loft, a state-of-the-art 

recording studio and rehearsal space on Chicago’s 

North Side “where eccentric vintage instruments sit 

side by side with near classics … industrial-grade 

shelves filled to the ceiling with guitar cases and 

amps. Everywhere you look, there are instruments” 

(Fretboard Journal). 

Tweedy, an accomplished and in-demand 

producer beyond the Wilco realm, has 

collaborated twice with soul and gospel legend 

Mavis Staples. First on her 2010 release You Are 

Not Alone, and more recently, on the just-released 

One True Vine. Both albums were produced by 

Tweedy and recorded at the Wilco Loft. Both have 

garnered widespread critical acclaim. “One True 

Vine sounds at once contemporary and true to 

Staples’s lengthy career and history … haunting, 

beautifully restrained … A-” (The A.V. Club). 

“Guided by the brilliant production of Wilco’s Jeff 

Tweedy, [the album] mixes triumphant gospel 

and evocative blues, infusing each with hard-won 

wisdom,” says NPR on You Are Not Alone, which 

went on to win Best Americana Album in the 53rd 

Annual Grammy Awards. 

Tweedy’s most recent producer credits include 

The Invisible Way by the Minneapolis trio Low, 

Wassaic Way by folk-rock duo Sarah Lee Guthrie 

& Johnny Irion (co-produced with Wilco’s Patrick 

Sansone) and a forthcoming album by Austin’s 

psychedelic rockers White Denim. 

A touring tour-de-force since the release of 

The Whole Love in September 2011 on the band’s 

own dBpm Records, Wilco has played more than 

170 concerts worldwide including multiple tours 

of North America and Europe as well as tours 

of Australia, New Zealand and Japan. Wilco also 

mans the helm at its own Solid Sound Festival 

at MASS MoCA in The Berkshires—a three-day 

event blending music, comedy, world-class 

contemporary art and more. 

In addition to his work with Wilco, Tweedy 

tours frequently as a solo artist, playing intimate, 

unscripted acoustic sets that draw from his 400-plus 

song repertoire. A departure from Wilco’s carefully 

orchestrated, sonically complex performances, 

Tweedy’s solo concerts showcase his prolific output 

as a songwriter, his proficiency as a guitarist, his 

charismatic and compelling stage presence and his 

wry sense of humor. 


Friday, January 10, 2014 

Jackson Hall, mondavi center 

London-Haydn String Quartet 

and Eric Hoeprich, basset clarinet 

Haydn: Quartet in G Major, op. 33, no. 5 

Weber: Clarinet Quintet, op. 34 

7:00 pm 

Tickets are available through the Mondavi Center Box Office | 530.754.2787 | mondaviarts.org

BLIND BOYS OF ALABAMA 

Go Tell It on the Mountain 

CAMERON WITTING 


Friday, December 13, 2013 • 8PM 

Jackson Hall 

Jimmy Carter, vocals 

Ben Moore, vocals 

Ricky McKinnie, vocals 

Joey Williams, guitar/vocals 

Tracy Pierce, bass 

Peter Levin, keys 

Austin Moore, drums 

The Blind Boys of Alabama are recognized 

worldwide as living legends of gospel music. Nearly 

75 years after they hit their first notes together, the 

Blind Boys of Alabama are exceptional not only in 

their longevity, but also in the breadth of their catalog 

and their relevance to contemporary roots music. 

Since 2000, they have won five Grammy® Awards and 

four Gospel Music Awards, and have delivered their 

spiritual message to countless listeners. 

Longevity and major awards aside, the Blind 

Boys have earned praise for their remarkable 

interpretations of everything from traditional 

gospel favorites to contemporary spiritual material. 

With as much momentum as the Blind Boys have 

gathered in the last several years, there is no chance 

of slowing them down. 

I’ll Find A Way, the Blind Boys’ most recent release, 

was produced by Justin Vernon (of Bon Iver). A 

unique collaboration between one of popular 

music’s longest-running acts and one of its fastestrising 

stars, it is a powerful collection of gospel 

and spiritual songs new and old, featuring some 

of the Blind Boys’s most fervent vocals as well as 

contributions by a new generation of Blind Boys 

fans—Sam Amidon, Shara Worden of My Brightest 

Diamond, Merrill Garbus of tUnE-yArDs, Casey 

Dienelof White Hinterland, Patty Griffin and Justin 

Vernon himself. 

The Blind Boys’ live shows are roof-raising 

musical events that appeal to audiences of all 

cultures, as evidenced by an international itinerary 

that has taken them to virtually every continent. 

The Blind Boys of Alabama have attained the 

highest levels of achievement in a career that 

spans more than 75 years and shows no signs 

of diminishing. 


Copyright © UC Regents, Davis campus, 2013. All Rights Reserved. 

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UC Davis is the one place where you’ll find the best minds in health care backed by the 

expertise of an entire research university. You’ll find health care that’s tailored to your personal 

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You’ll find it at any of our convenient primary care centers throughout the area, from 

Davis to Folsom and Auburn to Elk Grove. We accept most major health insurance plans. 

When it comes to your health care, the one you choose, the one you trust and the one 

you see makes all the difference. 

There’s only one UC Davis. Find your team at medicalcenter.ucdavis.edu 

ONE TEAM, ONE CHOICE

A Holiday Event 

Sunday, December 15, 2013 • 4PM 

SPONSORED BY 

INDIVIDUAL SUPPORT PROVIDED BY 

Hansen Kwok 

AMERICAN 

BACH SOLOISTS 

Messiah 

American Bach Choir 

American Bach Soloists 

Jeffrey Thomas, conductor 

Shawnette Sulker, soprano 

Eric Jurenas, countertenor* 

Aaron Sheehan, tenor 

Mischa Bouvier, baritone* 

AMERICAN BACH CHOIR 

SOPRANO 

Jennifer Brody 

Cheryl Cain 

Tonia D’Amelio 

Julia Earl 

Susan Judy 

Clare Kirk 

Rita Lilly 

Allison Zelles Lloyd 

Diana Pray 

Brett Ruona 

Cheryl Sumsion 

ALTO 

James Apgar 

Dan Cromeenes 

Elisabeth Elliassen 

Danielle Reutter- 

Harrah * 

William Sauerland * 

Gabriela Solis * 

Amelia Triest 

Celeste Winant 

TENOR 

Edward Betts 

John Davey-Hatcher 

Andrew Morgan 

Mark Mueller 

Sigmund Siegel 

Sam Smith 

BASS 

John Kendall Bailey 

Hugh Davies 

Thomas Hart 

Raymond Martinez 

Jefferson Packer 

Daniel Pickens-Jones 

Jere Torkelsen 

David Varnum 

AMERICAN BACH SOLOISTS 

VIOLIN 

Elizabeth Blumenstock 

(leader) ** 

Tekla Cunningham 

(principal second) 

Tatiana Chulochnikova * 

Karin Cuellar * 

Andrew Davies 

Rachel Hurwitz 

Mishkar Núñez-Mejía * 

Janet Strauss 

Lindsey Strand-Polyak * 

Noah Strick * 

David Wilson 

Jude Ziliak * 

VIOLA 

Jason Pyszkowski 

(principal) * 

Vijay Chalasani * 

Daria D’Andrea 

Clio Tilton * 

VIOLONCELLO 

William Skeen 

(principal & 

continuo) ** 

Gretchen Claassen * 

Elisabeth Reed ** 

Andres Vera * 

CONTRABASS 

Steven Lehning 

(principal & 

continuo) ** 

Christopher Deppe 

Josh Lee 

TRUMPET 

John Thiessen (solo) ** 

William B. Harvey 

TIMPANI 

Allen Biggs 

OBOE 

John Abberger 

Debra Nagy ** 

BASSOON 

Charles Koster 

ORGAN CONTINUO 

Steven Bailey 

HARPSICHORD 

CONTINUO 

Corey Jamason ** 

* ABS Academy Alumnus 

** ABS Academy Faculty 

PROGRAM NOTES 

Within the decade that followed Handel’s 

composition of Messiah in 1741, nearly a 

dozen different casts and configurations 

of vocal soloists were employed by the 

composer during those first 10 years of what 

would become a never-ending history of 

performances worldwide. In each case, and for 

the remaining years of Handel’s life, he made 

revisions to his score that made the best use of 

the particular talents of his solo singers. While 

it is certainly true that Handel’s arrangements 

and transcriptions of arias that were employed 

for the work’s premiere in Dublin (1742) 

were due to the inadequacy of some of the 

singers at his disposal there, all subsequent 

revisions sought to show both the artists and 

the work in their best light. Customizing a 

musical work for the sake of the performers 

was not uncommon. In fact, it was not unheard 

of for an operatic vocalist (of necessarily 

considerable reputation) to carry along his 

or her favorite arias from city to city, insisting 

that they be incorporated into otherwise 

intact and singularly-composed musical works 

for the stage. This indulgence was not as 

unreasonable as one might first assume. 

The operatic style during Handel’s day has 

since become known as opera seria, a term that 

literally means “serious opera” and that was 

devised to mark the differences between those 

works and opera buffa, “comic operas” that were 



the outgrowth of commedia dell’arte. There were 

strict conventions within opera seria, including 

the utilization of the da capo, or A-B-A, format 

for arias. Secco recitatives, accompanied only by 

continuo (harpsichord and violoncello), were used 

to reveal plot details and to introduce the arias (or 

rarely, duets) that would illuminate the emotions 

of whichever character would sing them. But there 

were also non-musical conventions of equally 

practical importance. In most cases the singer 

would exit at the end of an aria; hence the term 

The magic of 

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inDOOR & 

OUtDOOR 

Dining Rooms 

“exit aria.” Of course, one of the primary reasons for 

this theatrical device was to solicit applause from 

the audience for the singer (although some of the 

approval might just as well have been intended 

for the composer). And each principal singer 

would fully expect to sing a number of arias in a 

variety of moods: lamentation, revenge, defiance, 

melancholy, anger and heroic virtue were common 

sentiments. The texts of the arias were rarely longer 

than four or eight lines, and rather generic, so it 

was more or less reasonable that a singer could 

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substitute a favorite aria from another work so long 

as the general emotion was appropriate. 

Other traditions further supported this kind 

of expected artistic license. In most cases, final 

arias within any opera of the period were always 

awarded to the most important singer, not 

necessarily the most important character. This 

sort of deference to the talent made a great deal 

of sense as, during Handel’s day, the singers 

themselves were as much of an attraction to the 

audience, if not more so, as the composers and 

their works might have been. So, in Handel’s 

implementations of various casts of Messiah 

soloists, he made redistributions of the workload 

to be fair or, in some cases, to be flattering to 

the members of any particular roster. When 

surveying all of the versions of Messiah, it is very 

interesting to look first at the assignment of the 

final aria, “If God be for us.” Although originally 

composed for soprano, even for the premiere he 

altered the key so that it could be sung by the 

contralto, Susanna Cibber, a singing actress that 

Handel found to be tremendously compelling. 

Over the next few years he continued to assign 

that “status” aria to her until 1749, the year before 

the first performance of Messiah in London’s 

Foundling Hospital. In this case it was awarded to 

a treble, or boy soprano, perhaps as a prescient 

indication of discussions that were underway 

to bring the oratorio into that venue, a home 

for abandoned or orphaned children. And the 

following year, in 1750, it was again transposed 

down a few keys so that it could be sung by the 

most recently arrived operatic star, the great 

Italian castrato, Gaetano Guadagni (1728–1792). 

Only for the last performance of Messiah 

conducted by Handel in 1754 was the final aria 

heard as it was first composed, for soprano. 

London’s Foundling Hospital, a home “for the 

maintenance and education of exposed and 

deserted young children,” was established in 

1739 in the Bloomsbury area. Its founder, Thomas 

Coram (1668-1751), was a sea captain and had 

spent a number of his early years in the American 

colonies. Following a career as a successful London 

merchant, he turned his attention to philanthropy 

and, in particular, rescuing homeless, abandoned 

children. At that time, charity and philanthropy 

had become not only critically essential to the 

survival of Londoners as a whole, but it had also 

gained an oddly self-serving functionality as 

part of the fantastic expansion of London and 

the greater English empire. The rate of growth of 

London during the 18th century was exponential. 

About three-fourths of Londoners had been 

born elsewhere. Its culture was as diverse as the 

most modern 21st-century city. London offered 

32 MONDAVIARTS.ORG


opportunities and wealth to the industrious 

and ambitious, as well as a thriving underworld, 

anonymity and meager subsistence to criminals and 

the unskilled. Its hierarchical systems of social status 

were engrained, accepted and treasured, despite the 

fact that the 18th century offered all Londoners the 

chance to upgrade their places and stations within 

that cosmopolis. Ironically, though, even those 

who were able to buy into higher levels of society 

through their success as merchants were as eager as 

the blue-blooded aristocracy to maintain whatever 

distinctions of social status could be maintained. 

The wealthy typically lived in five-story townhouses 

while the lower classes (those not housed as servants 

in the top floors of the elite’s homes) often lived in 

terribly unhealthy and cramped hovels. During most 

of the 1700s, Londoners were subjected to dreadful 

pollution, reprehensibly unsanitary conditions and 

mostly unbridled crime. 

Many of those poor conditions were the result 

of the preponderance of manufacturing industries 

within London’s commercial organism. About 

a third of London’s population was employed 

by manufacturing ventures, and the resulting 

pollution had turned the Thames River into, 

literally, a sewer. Still, this flourishing business 

culture helped increase overseas trade at least 

threefold during the century, and the spoils were 

global political power and domestic wealth. But 

the victims of all this were the children. Many 

lived only a few short years, and still others were 

abandoned to live on their own in the filth, smoke 

and mire of London’s poorer quarters. 

In the face of such undeniable misery, the 

wealthy could hardly turn a blind eye. During an 

era of destitution, depravity and victimization, the 

beliefs of the Latitudinarian branch of the Church 

of England were timely assertions that benevolent 

and charitable deeds, rather than (or at least in 

addition to) the formalities of church worship, were 

essential to the quality of the moral state of the 

individual. Only by engaging in acts of compassion 

and by the establishment of a supporting 

relationship with the less fortunate could their 

plights, their suffering and the terrible waste of 

human life be acceptably mitigated and tolerated. 

Thus, charity became fashionable. Merchants 

supported charities that in turn supported the 

working class. They needed healthy workers in 

great numbers to keep their machines well-oiled 

and their industries thriving. Consumers were 

needed on the other side of the coin, so to speak, 

so the maintenance of the lower classes was in 

the best interest of those entrepreneurs. The 

kingdom itself needed to be defended at sea and 

abroad, so healthy battalions had to be provided. 

By supporting the less fortunate and encouraging 

their strength and independence—to a degree— 

those who had newly-acquired wealth could 

gain prestige and propriety while nurturing their 

economic self-interests. To have a “bleeding heart” 

was especially in vogue among London’s upperclass 

women. Their ever-increasing opportunities 

to fashion socially relevant activities led quite 

naturally to their involvement in charities, which in 

turn substantiated their refinement, respectability 

and moral rank. William Hogarth (1697–1764), the 

great English painter, satirist and cartoonist, called 

this transformative time “a golden age of English 

philanthropy” and one of the greatest results of it 

was the Foundling Hospital. 

In 18th-century London, the term “hospital” 

was applied to institutions for the physically ill as 

well as for the mentally ill, and to organizations 

that, through hospitality, supported particular 

factions of London’s population including sailors, 

refugees, penitent prostitutes and destitute 

children. To a great degree, the efforts of Coram, 

assisted by Hogarth and Handel, firmly established 

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the Foundling Hospital as one of England’s most 

long-lived and admirable benevolent institutions. 

Even before the buildings were completed—a 

process that took 10 years from 1742 to 1752— 

children were first admitted to temporary housing 

in March 1741. No questions were asked, but 

overcrowding quickly led to the establishment of 

rules for acceptance. The requirement that children 

be aged no more than two months was relaxed by 

the House of Commons in 1756 so that children up 

to 12 months would be accepted. During the next 

few years, more than 15,000 infants were left at its 

doors. Even within the Hospital, though, more than 

two-thirds of them would not survive long enough 

to be apprenticed during their teenage years. 

In the same year that the Foundling Hospital 

accepted its first charges, Handel composed 

Messiah. Charles Jennens, the librettist for Messiah, 

had probably made the suggestion to Handel 

that the premiere of the work might take place 

in Dublin as a charity event. In fact, on March 

27, 1742, Faulkner’s Dublin Journal published an 

announcement that: 

“For Relief of the Prisoners in the several Gaols, 

and for the Support of Mercer’s Hospital in 

Stephen’s Street, and of the Charitable Infirmary 

on the Inns Quay, on Monday the 12th of 

April, will be performed at the Musick Hall 

in Fishamble Street, Mr. Handel’s new Grand 

Oratorio, call’d the Messiah…” 

The previous decade or so had been quite 

unpleasant for Handel. He had begun to suffer 

financial difficulties, and by the early 1730s his 

professional life was simply unraveling. He was 

nearly bankrupt and had fallen very much out of 

the critical favor of the aristocratic public for whom 

he had composed his Italian operas. They were 

expensive to produce and not accessible enough 

for his audience. But, in fact, Handel himself was the 

object of what must have felt like brutal betrayal by 

his patrons, his audience and even his musicians. 

For the first half of his life, Handel had led a 

charmed existence. He seems to have waltzed into 

one happy situation after another, in which he 

enjoyed the patronage of royalty, the aristocracy 

and the culture-seeking population at large. He 

was unexaggeratedly a national hero, despite his 

non-domestic origins. He had lived in extravagant 

estates, kept the most celebrated artists, writers 

and musicians in his closest circles, and profited— 

although, not necessarily financially—from the 

tremendous favor that was bestowed upon him by 

9/23/13 9:21 AM 

an entire empire. His unprecedented success was 

so irreproachable that he was, without a doubt, 

completely unprepared for what amounted to 

34 MONDAVIARTS.ORG 

EAP 092513 mondavi 1_3s.indd 1 

10/14/13 3:03 PM


a staggering fall from grace. But what emerged 

in 1741–42 was a work that would transcend 

the boundaries of musical forms, subject matter, 

social and cultural expectations, and eventually, 

the bitterness of his rivals. It would restore “the 

great Mr. Handel” to the revered status that he had 

enjoyed decades before. 

The first performance of Messiah took place 

on April 13, 1742, in Dublin’s new music hall on 

Fishamble Street and was a tremendous success. 

The review that appeared in Faulkner’s Dublin 

Journal proclaimed: 

“Words are wanting to express the exquisite 

Delight it afforded to the admiring crowded 

Audience. The Sublime, the Grand, and the 

Tender, adapted to the most elevated, majestick 

and moving Words, conspired to transport and 

charm the ravished Heart and Ear.” 

Performances in subsequent years took place in 

London, but those were met with less enthusiastic 

receptions. Messiah had blurred the distinctions 

between opera, oratorio, passion and cantata, 

and perhaps some Londoners found this to be a 

fundamental fault. So it is fascinating to note that 

when the function of Messiah was returned to that 

of a work presented for the benefit of charities, and 

when the venue became an ecclesiastical structure 

rather than a theatre, the oratorio took hold of its 

permanent place in the hearts of audiences, then 

in London and now throughout the world. 

For at least one year before the first Foundling 

Hospital performance of Messiah in 1750, Handel 

was involved with the charity, probably drawn to 

it through his associations with Hogarth and the 

music publisher John Walsh (1709–1766) who had 

been elected a governor in 1748. On May 4, 1749, 

Handel had made an offer, which was gratefully 

accepted, to present a benefit concert of vocal 

and instrumental music to help in the completion 

of the hospital’s chapel. The hospital reciprocated 

with an invitation to Handel, which he declined, to 

become one of its governors. On May 27, Handel 

directed a performance (in the unfinished chapel) 

of excerpts from his Fireworks Music, Solomon 

and the newly-composed Foundling Hospital 

Anthem, “Blessed are they that considereth the 

poor and needy.” (The Foundling Hospital Anthem 

was Handel’s last work of English church music.) 

The “Hallelujah” chorus from Messiah was the final 

work, a premonition of what was in store for the 

following year. Royalty were in attendance. 

Nearly one year later, on May 1, 1750, Handel 

performed Messiah in the (still-unfinished) chapel. 

That day marked what could be seen as the most 

significant day in Handel’s career. The benefit 

concert’s success was extraordinary. More than 

1,000 people crowded into the space, and more 

were turned away. Massive public attention to the 

event, coupled with unequivocal approbation for 

the oratorio, served Handel well and generated 

new commitment on the part of the London 

audience to uphold Handel and his oratorios as 

the great beacons of English music that they are. 

He became a governor of the hospital; since more 

than £1,000 had been raised by his performances, 

the fee required of governors was waived. 

In subsequent years, the Foundling Hospital 

continued to rely upon annual performances of 

Messiah for significant income. 

The most noteworthy musical aspect of the 

1750 Foundling Hospital version of Messiah is 

the reworking of the aria, “But who may abide.” 

Gaetano Guadagni had arrived in London at 

the age of 20 in 1748, as part of an Italian opera 

company. The music historian Charles Burney 

(1726–1814) wrote about Guadagni: 

“His voice was then a full and well toned 

counter-tenor; but he was a wild and careless 

singer. However, the excellence of his voice 

attracted the notice of Handel, who assigned 

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him the parts in his oratorios of the Messiah 

and Samson, which had been originally 

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Handel composed a new middle section of the 

aria, taking advantage of Guadagni’s bravura vocal 

technique as well as his apparently considerable 

low notes. Two other arias were also reworked for 

Guadagni: “Thou art gone up on high” and “How 

beautiful are the feet.” Recent research seems 

to indicate that the alto arrangement of “How 

beautiful are the feet” was only an afterthought. 

For the May 1, 1750, performance, Handel had 

six soloists (female soprano, boy treble, female 

contralto, male castrato, counter-tenor, tenor and 

bass). But two weeks later, on May 15, when the 

work was offered for a second time especially to 

those who were turned away a fortnight before, 

the soprano must have fallen ill. Emergency 

reassignments were put in place, and the alto 

arrangement of “How beautiful are the feet” was 

one of them. In all fairness, however, it might have 

been that Handel was so pleased with Guadagni’s 

singing that he took that opportunity to give the 

singer another one of the oratorio’s “gem” arias. 

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LIBRETTO 

THE FOLLOWING LIBRETTO IS ADAPTED FROM THE PRINTED WORD-BOOK FOR THE FIRST LONDON PERFORMANCES OF MESSIAH IN 1743 AND INCORPORATES 

HANDEL’S OWN DESIGNATIONS OF PART HEADINGS, SCENES, AND MOVEMENT HEADINGS. 

MESSIAH 

AN ORATORIO SET TO MUSICK BY 

GEORGE-FRIDERIC HANDEL, ESQ. 

PART THE FIRST 

SINFONY 

SCENE I 

RECITATIVE, accompanied - Tenor 

Comfort ye, comfort ye my People, 

saith your God; speak ye comfortably 

to Jerusalem, and cry unto her, that 

her Warfare is accomplish’d, that her 

Iniquity is pardon’d. The Voice of him 

that crieth in the Wilderness, prepare 

ye the Way of the Lord, make straight 

in the Desert a Highway for our God. 

(ISAIAH 40:1–3) 

SONG - Tenor 

Ev’ry Valley shall be exalted, and ev’ry 

Mountain and Hill made low, the Crooked 

straight, and the rough Places plain. 

(ISAIAH 40:4) 

CHORUS 

And the Glory of the Lord shall be 

revealed, and all Flesh shall see it together; 

for the Mouth of the Lord hath spoken it. 

(ISAIAH 40:5) 

SCENE II 

RECITATIVE, accompanied - Bass 

Thus saith the Lord of Hosts; Yet once a 

little while, and I will shake the Heav’ns 

and the Earth; the Sea and the dry 

Land: And I will shake all Nations; and 

the Desire of all Nations shall come. 

(HAGGAI 2:6-7) 

The Lord whom ye seek shall 

suddenly come to his Temple, ev’n the 

Messenger of the Covenant, whom ye 

delight in: Behold He shall come, saith 

the Lord of Hosts. 

(MALACHI 3:1) 

SONG – Alto 

But who may abide the Day of his 

coming? And who shall stand when He 

appeareth? For He is like a Refiner’s Fire. 

(MALACHI 3:2) 

CHORUS 

And he shall purify the Sons of Levi, 

that they may offer unto the Lord an 

Offering in Righteousness. 

(MALACHI 3:3) 

SCENE III 

RECITATIVE - Alto 

Behold, a Virgin shall conceive, and 

bear a Son, and shall call his Name 

Emmanuel, GOD WITH US. 

(ISAIAH 7:14; MATTHEW 1:23) 

SONG - Alto 

& CHORUS 

O thou that tellest good Tidings 

to Zion, get thee up into the high 

Mountain: O thou that tellest good 

Tidings to Jerusalem, lift up thy Voice 

with Strength; lift it up, be not afraid: 

Say unto the Cities of Judah, Behold 

your God. O thou that tellest good 

Tidings to Zion, Arise, shine, for thy 

Light is come, and the Glory of the 

Lord is risen upon thee. 

(ISAIAH 40:9; ISAIAH 60:1) 


For behold, Darkness shall cover the 

Earth, and gross Darkness the People: 

but the Lord shall arise upon thee, 

and his Glory shall be seen upon thee. 

And the Gentiles shall come to thy 

Light, and Kings to the Brightness of 

thy Rising. 

(ISAIAH 60:2–3) 

SONG - Bass 

The People that walked in Darkness 

have seen a great Light; And they 

that dwell in the Land of the Shadow 

of Death, upon them hath the Light 

shined. 

(ISAIAH 9:2) 

CHORUS 

For unto us a Child is born, unto 

us a Son is given; and the Government 

shall be upon his Shoulder; and His 

Name shall be called Wonderful, 

Counsellor, The Mighty God, The 

Everlasting Father, The Prince of Peace. 

(ISAIAH 9:6) 

SCENE IV 

PIFA 

RECITATIVE - Soprano 

There were Shepherds abiding in the 

Field, keeping Watch over their Flock 

by Night. 

(LUKE 2:8) 

ARIOSO - Soprano 

And lo, the Angel of the Lord came 

upon them, and the Glory of the Lord 

shone round about them, and they 

were sore afraid. 

(LUKE 2:9) 

RECITATIVE - Soprano 

And the Angel said unto them, Fear not; 

for behold, I bring you good Tidings of 

great Joy, which shall be to all People. For 

unto you is born this Day, in the City of 

David, a Saviour, which is Christ the Lord. 

(LUKE 2:10–11) 

RECITATIVE, accompanied - Soprano 

And suddenly there was with the 

Angel a Multitude of the heav’nly Host, 

praising God, and saying ... 

(LUKE 2:13) 

CHORUS 

Glory to God in the Highest, and Peace 

on Earth, Good Will towards Men. 

(LUKE 2:14) 

SCENE V 

SONG - Soprano 

Rejoice greatly, O Daughter of Sion, 

shout, O Daughter of Jerusalem; behold, 

thy King cometh unto thee: He is the 

righteous Saviour; and He shall speak 

Peace unto the Heathen. (ZECHARIAH 

9:9–10) 


Then shall the Eyes of the Blind be 

open’d, and the Ears of the Deaf 

unstopped; then shall the lame Man 

leap as an Hart, and the Tongue of the 

Dumb shall sing. 

(ZECHARIAH 35:5–6) 

SONG – Alto & Soprano 

He shall feed his Flock like a shepherd: 

and He shall gather the Lambs with 

his Arm, and carry them in his Bosom, 

and gently lead those that are with 

young. Come unto Him all ye that 

labour, come unto Him all ye that 

are heavy laden, and He will give you 

Rest. Take his Yoke upon you and 

learn of Him; for He is meek and lowly 

of Heart: and ye shall find Rest unto 

your souls. 

(ISAIAH 40:11; MATTHEW 11:28–29) 

CHORUS 

His Yoke is easy, his Burthen is light. 

(MATTHEW 11:30) 

—INTERMISSION— 

PART THE SECOND 

SCENE I 

CHORUS 

Behold the Lamb of God, that taketh 

away the Sin of the World. 

(JOHN 1:29) 

SONG - Alto 

He was despised and rejected 

of Men, a Man of Sorrows, and 

acquainted with Grief. He gave his 

Back to the Smiters, and his Cheeks 

to them that plucked off the Hair: 

He hid not his Face from Shame and 

Spitting. 

(ISAIAH 53:3; ISAIAH 50:6) 

CHORUS 

Surely he hath borne our Griefs 

and carried our Sorrows: He was 

wounded for our Transgressions, He 

was bruised for our Iniquities; the 

Chastisement of our Peace was 

upon Him. 

(ISAIAH 53:4–5) 

CHORUS 

And with His Stripes we are healed. 

(ISAIAH 53:5) 

36 MONDAVIARTS.ORG


CHORUS 

SCENE IV 

SCENE VII 

SONG - Bass 

All we, like Sheep, have gone astray, 

we have turned ev’ry one to his own 

Way, and the Lord hath laid on Him 

the Iniquity of us all. 

(ISAIAH 53:6) 


All they that see him laugh him to 

scorn; they shoot out their Lips, and 

shake their Heads, saying ... 

(PSALM 22:7) 

CHORUS 

He trusted in God, that he would 

deliver him: let him deliver him, if he 

delight in him. 

(PSALM 22:8) 


Thy Rebuke hath broken his Heart; He is 

full of Heaviness: He looked for some to 

have Pity on him, but there was no Man, 

neither found he any to comfort him. 

(PSALM 69:21) 

SONG - Tenor 

Behold, and see, if there be any Sorrow 

like unto his Sorrow! (LAMENTATIONS 1:12) 

SCENE II 


He was cut off out of the Land of the 

Living: For the Transgression of thy 

People was He stricken. 

(ISAIAH 53:8) 

SONG - Tenor 

But Thou didst not leave his Soul in 

Hell, nor didst Thou suffer thy Holy 

One to see Corruption. 

(PSALM 16:10) 

SCENE III 

SEMICHORUS 

Lift up your Heads, O ye Gates, and be ye 

lift up, ye everlasting Doors, and the King 

of Glory shall come in. Who is this King 

of Glory? The Lord Strong and Mighty; 

the Lord Mighty in Battle. Lift up your 

Heads, O ye Gates, and be ye lift up, ye 

everlasting Doors, and the King of Glory 

shall come in. Who is this King of Glory? 

The Lord of Hosts: he is the King of Glory. 

(PSALM 24:7-10) 

RECITATIVE - Tenor 

Unto which of the Angels said He at 

any time, Thou art my Son, this Day 

have I begotten thee? 

(HEBREWS 1:5) 

CHORUS 

Let all the Angels of God 

worship Him. 

(Hebrews 1:6) 

SCENE V 

SONG - Alto 

Thou art gone up on High; 

Thou has led Captivity captive, 

and received Gifts for Men, yea, 

even for thine Enemies, that the 

Lord God might dwell among them. 

(PSALM 68:18) 

CHORUS 

The Lord gave the Word: Great was the 

Company of the Preachers. 

(PSALM 68:11) 

ARIA - Soprano 

How beautiful are the Feet of them 

that preach the gospel of peace, and 

bring glad tidings of good things. 

(ROMANS 10:15) 

CHORUS 

Their Sound is gone out into all 

Lands, and their Words unto the 

Ends of the World. 

(ROMANS 10:18) 

SCENE VI 

SONG - Bass 

Why do the Nations so furiously 

rage together? and why do the 

People imagine a vain Thing? 

The Kings of the Earth rise up, and 

the Rulers take Counsel together 

against the Lord and against 

his Anointed. 

(PSALM 2:1–2) 

CHORUS 

Let us break their Bonds asunder, and 

cast away their Yokes from us. 

(PSALM 2:3) 

RECITATIVE - Tenor 

He that dwelleth in Heaven shall laugh 

them to scorn; the Lord shall have 

them in Derision. 

(PSALM 2:4) 

SONG - Tenor 

Thou shalt break them with a Rod of 

Iron; thou shalt dash them in pieces 

like a Potter’s Vessel. 

(PSALM 2:9) 

CHORUS 

Hallelujah! for the Lord God 

Omnipotent reigneth. The Kingdom 

of this World is become the 

Kingdom of our Lord and of his 

Christ; and He shall reign for ever 

and ever, King of Kings, and Lord of 

Lords. Hallelujah! 

(REVELATION 19:6; 11:15; 19:16) 

PART THE THIRD 

SCENE I 

SONG - Soprano 

I know that my Redeemer liveth, 

and that He shall stand at the latter 

Day upon the Earth: And tho’ Worms 

destroy this Body, yet in my Flesh 

shall I see God. For now is Christ risen 

from the Dead, the First-Fruits of 

them that sleep. 

(JOB 19:25–26; 1 CORINTHIANS 15:20) 

CHORUS 

Since by Man came Death, by Man 

came also the Resurrection of the 

Dead. For as in Adam all die, even so in 

Christ shall all be made alive. 

(1 CORINTHIANS 15:21–22) 

SCENE II 


Behold, I tell you a Mystery: 

We shall not all sleep, but we 

shall all be chang’d, in a Moment, 

in the Twinkling of an Eye, at the 

last Trumpet. 


The trumpet shall sound, and the 

Dead shall be rais’d incorruptible, 

and We shall be chang’d. For 

this corruptible must put on 

Incorruption, and this Mortal must 

put on Immortality. 


SCENE III 


Then shall be brought to pass the 

Saying that is written; Death is 

swallow’d up in Victory. 

(1 CORINTHIANS 15:54) 

DUET - Alto and Tenor 

O Death, where is thy Sting? 

O Grave, where is thy Victory? 

The Sting of Death is Sin, and the 

Strength of Sin is the Law. 

(1 Corinthians 15:55–56) 

CHORUS 

But Thanks be to God, who giveth Us 

the Victory through our Lord Jesus 

Christ. 

(1 CORINTHIANS 15:57) 

SONG - Alto 

If God is for us, who can be against 

us? Who shall lay anything to the 

Charge of God’s Elect? It is God 

that justifieth; Who is he that 

condemneth? It is Christ that died, 

yea, rather that is risen again; who 

is at the Right Hand of God, who 

maketh intercession for us. 

(ROMANS 8:31 AND 33–34) 

SCENE IV 

CHORUS 

Worthy is the Lamb that was slain, 

and hath redeemed us to God by 

His Blood, to receive Power, and 

Riches, and Wisdom, and Strength, 

and Honour, and Glory, and Blessing. 

Blessing and Honour, Glory and 

Pow’r be unto Him that sitteth upon 

the Throne, and unto the Lamb, for 

ever and ever. 

(REVELATION 5:12–14) 

CHORUS 

Amen. 



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Handel’s Messiah works by Schütz, Pergolesi, Vivaldi, 

Haydn and Beethoven. Fanfare magazine has praised 

his series of Bach recordings, stating that “Thomas’ 

direction seems just right, capturing the humanity 

of the music … there is no higher praise for Bach 

performance.” Before devoting all of his time to 

conducting, he was one of the inaugural recipients 

of the San Francisco Opera Company’s prestigious 

Adler Fellowships. Cited by The Wall Street Journal 

as “a superstar among oratorio tenors,” Thomas’ 

extensive discography of vocal music includes dozens 

of recordings of major works for Decca, EMI, Erato, 

Koch International Classics, Denon, Harmonia Mundi, 

Smithsonian, Newport Classics and Arabesque. 

Thomas is also an avid exponent of contemporary 

music and has conducted the premieres of new 

operas, including David Conte’s Gift of the Magi and 

Firebird Motel, and premiered song cycles of several 

composers, including two cycles written especially 

for him. He has performed lieder recitals at the 

Smithsonian, song recitals at various universities 

and appeared with his own vocal chamber music 

ensemble, L’Aria Viva. He has collaborated on several 

occasions as conductor with the Mark Morris Dance 

Group. Educated at the Oberlin Conservatory of 

Music, Manhattan School of Music and the Juilliard 

School of Music, with further studies in English 

literature at Cambridge University, he has taught at 

the Amherst Early Music Workshop, Oberlin College 

Conservatory Baroque Performance Institute, San 

Francisco Early Music Society and Southern Utah Early 

Music Workshops, presented master classes at the 

New England Conservatory of Music, San Francisco 

Conservatory of Music, SUNY at Buffalo, Swarthmore 

College and Washington University, been on the 

faculty of Lehigh University in Pennsylvania and was 

artist-in-residence at the University of California, where 

he is now professor of music (Barbara K. Jackson 

Chair in Choral Conducting) and director of choral 

ensembles in the Department of Music at UC Davis. He 

was a UC Davis Chancellor’s Fellow from 2001 to 2006; 

the Rockefeller Foundation awarded him a prestigious 

Residency at the Bellagio Study and Conference 

Center at Villa Serbelloni for April 2007 to work on his 

manuscript, Handel’s Messiah: A Life of Its Own. Thomas 

serves on the board of Early Music America and hosts 

two public radio programs on Classical KDFC. 

SHAWNETTE SULKER (soprano) has been praised 

by Opera News for the “natural warmth and charm” 

of her singing and noted for “displaying a bright, 

superbly controlled soprano with perfectly placed 

coloratura” (San Francisco Chronicle). ABS patrons 

may remember her appearances with ABS a few 

38 MONDAVIARTS.ORG 

OF 080713 indulge 1_3s.pdf

seasons ago in Virgil Thomson’s Four Saints in Three 

Acts with the Mark Morris Dance Group and Henry 

Purcell’s Dido & Aeneas in ABS’s collaboration with 

the San Francisco Opera Center and The Crucible. A 

frequent collaborator with Maestro Thomas, Sulker 

has performed under his baton in performances 

of Andrew Lloyd Webber’s Requiem and Carl Orff’s 

Carmina Burana. A video of that performance, with the 

UC Davis Symphony Orchestra and University/Alumni 

Chorus at the Mondavi Center for the Performing 

Arts, is one of the most requested classical music films 

on YouTube, with more than 10 million views. On 

the operatic stage, Sulker has been a featured artist 

with the San Francisco Opera, Hawaii Opera Theatre, 

Internationale Opera Producties (The Netherlands), 

Festival Opera, Union Avenue Opera, Natchez Opera 

Festival, Mendocino Music Festival, West Bay Opera, 

Berkeley West Edge Opera and Livermore Valley 

Opera, to name but a few. She has performed roles 

from Handel and Purcell, to Mozart, Bizet, Verdi and 

Puccini, as well as contemporary composers. She 

created the role of Corina in the world-premiere 

of David Conte’s opera Firebird Motel for Thick 

Description. In concert, Sulker has performed with the 

Santa Clara Chorale and Orchestra, the San Francisco 

Choral Society and the Masterworks Chorale. Sulker 

has been a special guest of the Ritz-Carlton in Osaka, 

Japan where she performed a series of Christmas 

concerts. Her film résumé includes a soundtrack 

performance for the movie Mimic and an on-screen 

operatic appearance in the feature film Jackson. 

Sulker earned scholarships to attend Bennington 

College and graduated with a bachelor’s degree in 

vocal performance. She was awarded scholarships 

to attend both the Contemporary Opera and Song 

Program at the Banff Centre for the Arts in Canada 

and the OperaWorks Summer Intensive Program in 

Los Angeles. Sulker was also a resident artist for the 

Natchez Music Festival in Mississippi. A winner of 

career scholarships from the East Bay Opera League 

Vocal Competition, Sulker has also been a regional 

finalist with the National Association of Teachers of 

Singing Competition and a finalist and award winner 

with the Irene Dalis Vocal Competition. 

ERIC JURENAS (countertenor), proclaimed as 

“the real deal” (Grand Rapids Press) and defined as 

having a “rich, mature voice” (Third Coast Digest) 

with “incredible power” (Opus Colorado), has quickly 

established himself as a dynamic and versatile 

performer in both opera and concert. Jurenas has 

performed as a featured soloist with American Bach 

Soloists, Michigan Opera Theatre, Opera Philadelphia, 

The Dayton Philharmonic, Colorado Bach Ensemble, 

Calvin College Choirs, Kentucky Bach Choir and the 

Bel Canto Chorus of Milwaukee, among others. An 

alumnus of the American Bach Soloists Academy, he 

has been featured in ABS performances of Handel’s 

Ariodante and Dixit Dominus and Vivaldi’s Beatus vir. His 

professional debut was with Michigan Opera Theatre 

(Handel’s Giulio Cesare) where he was applauded by 



Opera News for his “performances of admirable 

gusto.” An avid competitor around the country and 

the world, Jurenas has won and received awards 

from several vocal competitions, including first 

place in the Hal Leonard Online Vocal Competition, 

Dayton Opera Guild Competition, Kentucky Bach 

Choir Competition and the Bel Canto Chorus of 

Milwaukee Competition. Additional awards have 

been received from Ft. Worth Opera’s McCammon 

Competition, Opera Columbus Competition, 

Washington International Competition, Marcello 

Giordani Competition and the Nico Castel 

International Master Singer Competition held at 

Weill Recital Hall at Carnegie Hall NYC. Having 

begun his vocal studies at an early age with his 

mother, soprano Joan Jurenas, he received his 

bachelor’s degree from the University of Cincinnati 

College-Conservatory of Music and is presently 

pursuing his master’s degree at The Juilliard School. 

AARON SHEEHAN (tenor) has established 

himself as a first rate singer in many styles. His 

performances are heard regularly in the United 

States, South America and Europe, and he excels 

equally in repertoire ranging from oratorio and 

chamber music to opera. His singing has taken 

him to many festivals and venues including 

Tanglewood, Lincoln Center, the Metropolitan 

www.downeybrand.com 

Museum of Art, Washington National Cathedral, 

the early music festivals of Boston, San Francisco, 

Vancouver, Houston, Tucson, Washington D.C. 

and Madison, as well as the Regensburg Tage 

Alter Musik. Known especially for his Baroque 

interpretations, his voice has been described by 

the Boston Globe as “superb: his tone classy, clear 

and refined, encompassing fluid lyricism and 

ringing force” and the Washington Post praised 

his “polished, lovely tone.” Sheehan is a first-rate 

interpreter of the oratorios and cantatas of Bach 

and Handel. He has appeared in concert with 

ensembles including the American Bach Soloists 

(most recently as the Evangelist in Bach’s St. John 

Passion), Orpheus Chamber Orchestra, Handel 

and Haydn Society, Boston Baroque, New York 

Collegium, Les Voix Baroque, Boston Early Music 

Festival, Aston Magna Festival, Washington 

National Cathedral, Pacific Music Works, Boston 

Museum Trio, Tragicomedia, the Folger Consort 

and Concerto Palatino. On the opera stage, he has 

appeared in the Boston Early Music Festival’s world 

premiere staging of Mattheson’s Boris Gudenow, 

Lully’s Psyché, Charpentier’s Actéon and in Handel’s 

Acis and Galatea. He also has worked with 

American Opera Theater and Intermezzo Chamber 

Opera in leading roles of operas by Cavalli, Handel, 

Weill and Satie. Sheehan has appeared on many 

Proud Supporter of the 

Robert and Margrit 

MONDAVI CENTER 

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recordings, including the Grammy-nominated 

operas Thésée and Psyché of Lully, recorded with 

the Boston Early Music Festival on the CPO label. 

A native of Minnesota, Sheehan holds a Bachelor 

of Arts degree from Luther College and a Master 

of Music degree in Early Voice Performance from 

Indiana University. He is currently on the voice 

faculties of Boston University, Wellesley College 

and Towson University. 

MISCHA BOUVIER (baritone) has been noted 

by The New York Times for his “rich timbre” and “fine 

sense of line,” and his performances have been 

called a “delight to encounter for the first time” 

by the Pittsburgh Tribune-Review. He continues to 

impress audiences with his keen musicality and 

remarkable communicative ability. Bouvier is an 

alumnus of the inaugural class of the American 

Bach Soloists Academy, at which he performed 

the role of Lucifer in Handel’s dramatic oratorio, La 

Resurrezione. He has performed with a wide array 

of ensembles including Anonymous 4, the Mark 

Morris Dance Group, Boston Symphony Orchestra, 

American Handel Society, the Bach and the 

Baroque Ensemble of Pittsburgh, Bronx Opera, the 

Five Boroughs Music Festival, the Folger Consort, 

Sacred Music in a Sacred Space and Christopher 

Williams Dance. An avid proponent of art song, 

he has presented recitals at the Baldwin-Wallace 

Art Song Festival, the Trinity Church Concerts at 

One Series, Internationale Meisterkurse für Musik 

Zürich, the Cincinnati Grandin Festival and the 

Music Room at the Lindberg Farm series. He has 

offered regional premieres of Lori Laitman’s Men 

With Small Heads and Paul Moravec’s Songs of Love 

and War and a world premiere of Charles Fussell’s 

cycle Venture during the Festival of Contemporary 

Music at Tanglewood. A singer of tremendous 

versatility, Bouvier made his professional musical 

theater debut under the baton of Keith Lockhart 

in Rodgers and Hammerstein’s Carousel with 

the Boston Pops. Other notable non-traditional 

performances have included Gilbert and Sullivan’s 

Trial By Jury and The Pirates of Penzance; Jerry 

Bock’s She Loves Me for Lyric Opera Cleveland 

and collaborations with Sting on Songs from 

the Labyrinth at Disney Hall. Bouvier holds 

performance degrees from Boston University and 

the University of Cincinnati College-Conservatory 

of Music and has participated in programs at Lyric 

Opera Cleveland, the Internationale Meisterkurse 

für Musik Zürich, the Carmel Bach Festival and the 

Tanglewood Music Festival. Recognition awards 

have included the American Bach Soloists Henry 

I. Goldberg Young Artist Award, the Oratorio 

Society of New York Solo Competition’s Docia 

Goodwin Franklin and Richard Westenberg 

Awards, the Louisville Bach Society Gerhard Herz 

Young Artist Competition, the American Prize’s 

Vocal Competition and the Concert Artists Guild 

International Competition. 

40 MONDAVIARTS.ORG

HE ART OF GIVING 

The Mondavi Center is deeply grateful for 

the generous contributions of our dedicated 

patrons whose gifts are a testament to the 

value of the performing arts in our lives. 

Annual donations to the Mondavi Center 

directly support our operating budget and 

are an essential source of revenue. Please 

join us in thanking our loyal donors whose 

philanthropic support ensures our ability 

to bring great artists and speakers to our 

region and to provide nationally recognized 

arts education programs for students and 

teachers. 

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

Patti Donlon 

John and Lois Crowe 

Friends of Mondavi Center 

Anne Gray 

Joyce and Ken Adamson 

Ann and Gordon Getty Foundation 

Mary B. Horton 

William and Nancy Roe 

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Thomas and Phyllis Farver 

Dolly and David Fiddyment 

Wanda Lee Graves 

Dean and Karen Karnopp 

Hansen Kwok 

Camille Chan 

Michael and Betty Chapman 

Eric and Michael Conn 

Cecilia Delury and Vince Jacobs 

Samia and Scott Foster 

Benjamin and Lynette Hart 

Lorena Herrig 

Margaret Hoyt 

Nancy Lawrence, Gordon Klein, and 

Linda Lawrence 

COLORATURA CIRCLE 

$50,000 AND ABOVE 


IMPRESARIO CIRCLE 

$25,000 – $49,999 

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$15,000 – $29,999 

MAESTRO CIRCLE 

$10,000 – $14,999 

Wendell Jacob 

Larry and Rosalie Vanderhoef 

Lawrence and Nancy Shepard 

Tony and Joan Stone 

Joe and Betty Tupin 

M.A. Morris 

Gerry and Carol Parker 

Carole Pirruccello, John and Eunice 

Davidson Fund 

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And one donor who prefers to remain 

anonymous 

BENEFACTOR CIRCLE 

$6,500 – $9,999 

Garry Maisel 

Verne Mendel 

Stephen Meyer and Mary Lou Flint 

Suzanne and Brad Poling 

Randall E. Reynoso and Martin Camsey 

Grace and John Rosenquist 

Raymond Seamans 

Jerome Suran and Helen Singer Suran 

PRODUCERS CIRCLE 

$3,250 – $6,499 

Neil and Carla Andrews 

Jeff and Karen Bertleson Charitable Fund 

Hans Apel and Pamela Burton 

Daniel Benson 

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Neil and Joanne Bodine 

Brian Tarkington and Katrina Boratynski 

California Statewide Certified 

Development Corp. 

Cantor & Company, A Law Corporation 

Robert and Wendy Chason 

Chris and Sandy Chong 

Michele Clark and Paul Simmons 

Tony and Ellie Cobarrubia 

Claudia Coleman 

Martha Dickman 

Nancy DuBois 

Wayne and Shari Eckert 

Merrilee and Simon Engel 

Charles and Catherine Farman 

Ron Fisher and Pam Gill-Fisher 

Andrew and Judith Gabor 

Henry and Dorothy Gietzen 

Kay Gist in memory of John Gist 

Ed and Bonnie Green 

Robert and Kathleen Grey 

Diane Gunsul-Hicks 

Charles and Ann Halsted 

John and Regi Hamel 

Judith and William Hardardt 

Dee Hartzog 

Cameron and Clare Hasler-Lewis 

The One and Only Watson 

Charles and Eva Hess 

In Memory of Christopher Horsley 

Ronald and Lesley Hsu 

Teresa Kaneko 

Linda P.B. Katehi and Spyros I. Tseregounis 

Brian and Dorothy Landsberg 

Edward and Sally Larkin 

Drs. Richard Latchaw and Sheri Albers 

Ginger and Jeffrey Leacox 

Allan and Claudia Leavitt 

Robert and Barbara Leidigh 

Yvonne LeMaitre 

Joe and Shirley LeRoy 

Nelson Lewallyn and Marion 

Pace-Lewallyn 

Paul and Diane Makley 

In Memory of Jerry Marr 

Grant and Grace Noda 

Alice Oi 

Susan Strachan and Gavin Payne 

David Rocke and Janine Mozée 

Roger and Ann Romani 

Hal and Carol Sconyers 

Ellen Sherman 

Wilson and Kathryn Smith 

Tom and Meg Stallard 

Tom and Judy Stevenson 

Donine Hedrick and David Studer 

Rosemary and George Tchobanoglous 

Ken Verosub and Irina Delusina 

Wilbur Vincent and Georgia Paulo 

Jeanne Hanna Vogel 

Claudette Von Rusten 

John Walker and Marie Lopez 

Patrice White 

Robert and Joyce Wisner 

Richard and Judy Wydick 

Yin and Elizabeth Yeh 

And 3 donors who prefer to remain 

anonymous 

DIRECTOR CIRCLE 

$1,250 – 3,249 

Michelle Adams 

Ezra and Beulah Amsterdam 

Elizabeth and Russell Austin 

Laura and Murry Baria 

Lydia Baskin 

Drs. Noa and David Bell 

Jo Anne Boorkman 

Clyde and Ruth Bowman 

42 MONDAVIARTS.ORG

Edwin Bradley 

Linda Brandenburger 

Rosa Marquez and Richard 

Breedon 

Irving and Karen Broido 

Robert Burgerman and Linda 

Ramatowski 

Jim and Susie Burton 

Davis and Jan Campbell 

Kyra and Ken Carson 

William and Susan Chen 

Simon Cherry and Laura Marcu 

David J. Converse, ESQ. 

Jim and Kathy Coulter 

John and Celeste Cron 

Terry and Jay Davison 

Bruce and Marilyn Dewey 

Dotty Dixon 

Richard and Joy Dorf 

Sandra and Steven Felderstein 

Nancy McRae Fisher 

Doris and Earl Flint 

Carole Franti 

Paul J. and Dolores L. Fry 

Charitable Fund 

Christian Sandrock and Dafna 

Gatmon 

Karl Gerdes and Pamela Rohrich 

Fredric Gorin and Pamela 

Dolkart Gorin 

John and Patty Goss 

Jack and Florence Grosskettler 

Tim and Karen Hefler 

Sharna and Mike Hoffman 

Sarah and Dan Hrdy 

Ruth W. Jackson 

Clarence and Barbara Kado 

Barbara Katz 

Charlene R. Kunitz 

Mary Jane Large and Marc 

Levinson 

Frances and Arthur Lawyer 

Hyunok Lee and Daniel Sumner 

Sally Lewis 

Lin and Peter Lindert 

David and Ruth Lindgren 

Spencer Lockson and Thomas 

Lange 

Angelique Louie 

Mr. and Mrs. Richard Luna 

Natalie and Malcolm MacKenzie 

Debbie and Stephen 

Wadsworth-Madeiros 

Debbie Mah and Brent Felker 

Douglas Mahone and Lisa 

Heschong 

Dennis H. Mangers and Michael 

Sestak 

Susan Mann 

Judith and Mark Mannis 

Marilyn Mansfield 

John and Polly Marion 

Yvonne L. Marsh 

Robert Ono and Betty Masuoka 

Shirley Maus 

Janet Mayhew 

In memory of William F. McCoy 

Robert and Helga Medearis 

Joy Mench and Clive Watson 

John Meyer and Karen Moore 

Judith and Eldridge Moores 

Barbara Moriel 

Augustus and Mary-Alice Morr 

Patricia and Surl Nielsen 

John Pascoe and Sue Stover 

John and Misako Pearson 

Bonnie A. Plummer 

Prewoznik Foundation 

Linda and Lawrence Raber 

Lois and Dr. Barry Ramer 

John and Judith Reitan 

Kay Resler 

Christopher Reynolds and Alessa 

Johns 

Tom Roehr 

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Richard L. Sprague and Stephen 

C. Ott 

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Patrick M. Stratton 

Edward Telfeyan and Jerilyn 

Paik-Telfeyan 

Jennifer Thornton and Brandt 

Schraner 

Rovida Mott and Denise Verbeck 

Gretel and Geoffrey Wandesford- 

Smith 

Dan and Ellie Wendin 

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And 8 donors who prefer to 

remain anonymous 

ENCORE CIRCLE 

$600 – $1,249 

The Aboytes Family 

Michael and Shirley Auman 

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Don and Kathy Bers 

Muriel Brandt 

Dolores and Donald Chakerian 

John and Joan Chambers 

Gale and Jack Chapman 

Robert D. and Nancy Nesbit 

Crummey 

Sharon Cuthbertson 

John and Cathie Duniway 

John and Pamela Eisele 

Murray and Audrey Fowler 

Professor Andy and Wendy 

Huang Frank 

Paul and E. F. Goldstene 

David and Mae Gundlach 

Robin Hansen and Gordon Ulrey 

Lenonard and Marilyn Herrmann 

John and Katherine Hess 

B.J. Hoyt 

Robert and Barbara Jones 

Paula Kubo 

Ruth Lawrence 

Dr. Henry Zhu and Dr. Grace Lee 

Michael and Sheila Lewis 

Maria M. Manoliu 

Gary C. and Jane L. Matteson 

Don and Sue Murchison 

Bob and Kinzie Murphy 

Richard and Kathleen Nelson 

Linda Orrante and James Nordin 

Frank Pajerski 

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Larry and Celia Rabinowitz 

J. and K. Redenbaugh 

Ken Gebhart and Rhonda Reed 

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Budenz 

Jeep and Heather Roemer 

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Dwight E. and Donna L. Sanders 

Karen Zito and Manuel Calderon 

De La Barca Sanchez 

Betsy and Michael Singer 

Jeannie and Bill Spangler 

Elizabeth St. Goar 

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Les and Mary Stephens De Wall 

Judith and Richard Stern 

Eric and Patricia Stromberg 

Lyn Taylor and Mont Hubbard 

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Henry and Lynda Trowbridge 

Steven and Andrea Weiss 

Denise and Alan Williams 

Ardath Wood 

Paul Wyman 

The Yetman Family 

Karl and Lynn Zender 



ORCHESTRA CIRCLE 

$300 – $599 

Mitzi Aguirre 

Drs. Ralph and Teresa Aldredge 

Thomas and Patricia Allen 

Rick and Dian Baker 

Antonio and Alicia Balatbat 

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Delee and Jerry Beavers 

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Hollingsworth 

Carol L. Benedetti 

Al J. Patrick, Attorney at Law 

Elizabeth Bradford 

Paul Braun 

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Christine and John Bruhn 

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Michael and Louise Caplan 

Anne and Gary Carlson 

Bruce and Mary Alice Carswell 

Betty M. Clark 

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David and Judy Covin 

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Micki and Les Faulkin 

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Lisa Foster and Tom Graham 

William E. Behnk and Jennifer 

D. Franz 

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Marvin and Joyce Goldman 

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Robert and Betty Liu 

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Pat Martin 

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Jodie Stroeve 

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Jim and Genia Willett 

Richard and Sally Yamaichi 

Iris Yang and G.R. Brown 

Jane Yeun and Randall Lee 

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Drs. Matthew and Meghan Zavod 

Hanni and George Zweifel 



MAINSTAGE CIRCLE 

$100 – $299 

Leal Abbott 

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David and Penny Anderson 

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Charlotte Ballard and Robert Zeff 

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Perez-Grau 

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Mark and Betty Belafsky 

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Robert C. and Jane D. Bennett 

Mrs. Vilmos Beres 

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Bevowitz Family 

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John and Katy Bill 

Andrea Bjorklund and Sean Duggan 

Sam and Caroline Bledsoe 

Fred and Mary Bliss 

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Alf and Kristin Brandt 

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Frank Brown, MD 

Valerie and David Brown 

Alan Brownstein 

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Don and Mary Ann Brush 

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Mike and Marian Burnham 

Dr. Margaret Burns and Dr. Roy 

W. Bellhorn 

Victor W. Burns 

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John and Nancy Capitanio 

Michael and Susan Carl 

Carolyn Chamberlain 

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Victor Cozzalio and Lisa 

Heilman-Cozzalio 

Crandallicious Clan 

Fitz-Roy and Susan Curry 

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John and Joanne Daniels 

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Judy and David Day 

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Carl and Voncile Dean 

Steven E. Deas 

Joel and Linda Dobris 

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Richard Epstein 

Val and Marge Dolcini 

Richard Doughty 

Mr. and Mrs. John Drake 

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Harold and Anne Eisenberg 

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Allen Enders 

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Phyllis and Scott Keilholtz 

Charles Kelso and Mary Reed 

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Robert and Cathryn Kerr 

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Mary Klisiewicz 

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Nancy and Steve Lege 

The Lenk-Sloane Family 

Joel and Jeannette Lerman 

Evelyn Lewis 

David and Susan Link 

Motoko Lobue 

Mary Lowry 

Henry Luckie 

Ariane Lyons 

Edward and Susan MacDonald 

Leslie Macdonald and Gary Francis 

Kathleen Magrino 

Alice Mak and Wesley Kennedy 

Vartan Malian 

Joseph and Mary Alice Marino 

Pamela Marrone and Michael 

J. Rogers 

David and Martha Marsh 

J. A. Martin 

Bob and Vel Matthews 

Leslie and Michael Maulhardt 

Katherine Mawdsley 

Sean and Sabine McCarthy 

Karen McCluskey 

Nora McGuinness 

Dr. Thomas and Paula McIlraith 

Donna and Dick McIlvaine 

Tim and Linda McKenna 

Martin A. Medina and Laurie Perry 

In Honor of Werner Paul Harder, II 

DeAna Melilli 

Barry Melton and Barbara Langer 

Sharon Menke 

The Merchant Family 

Fred and Linda J. Meyers 

Beryl Michaels and John Bach 

Lisa Miller 

Phyllis Miller 

Sue and Rex Miller 

Douglas L. Minnis 

Kathy and Steve Miura 

Kei and Barbara Miyano 

Vicki and Paul Moering 

Joanne Moldenhauer 

Elaine and Ken Moody 

Amy Moore 

Hallie Morrow 

Diane and William Muller 

Judith and Terry Murphy 

Elaine Myer 

Nachtergaele-Devos 

Judy and Merle Neel 

Margaret Neu 

Cathy Neuhauser and Jack Holmes 

Robert Nevraumont and Donna 

Curley Nevraumont 

Jenifer Newell 

Keri Mistler and Dana Newell 

Malvina and Eugene Nisman 

Nancy Nolte and James Little 

Dana K. Olson 

Jim and Sharon Oltjen 

Marvin O’Rear 

Bob and Elizabeth Owens 

Mike and Carlene Ozonoff 

Pamela Pacelli 

Michael Pach and Mary Wind 

Thomas Pavlakovich and 

Kathryn Demakopoulos 

Brenda Davis and Ed Phillips 

Pat Piper 

Drs. David and Jeanette Pleasure 

Jane Plocher 

Vicki and Bob Plutchok 

Jerry and Bea Pressler 

Dr. and Ms. Rudolf Pueschel 

Edward and Jane Rabin 

Dr. Anne-Louise and Dr. Jan 

Radimsky 

Mary Ralli 

Lawrence and Norma Rappaport 

Olga Raveling 

Sandi Redenbach 

Sandra Erslsine Reese 

Fred and Martha Rehrman 

Michael A. Reinhart and Dorothy 

Yerxa 

Eugene and Elizabeth Renkin 

Francis Resta 

David and Judy Reuben 

Al and Peggy Rice 

Stephen Michael Rico 

Jeannette and David Robertson 

Alice and Richard Rollins 

Richard and Evelyne Rominger 

Andrea G. Rosen 

Linda Roth and Teddy Wilson 

Cathy and David Rowen 

Cynthia Jo Ruff 

Paul and Ida Ruffin 

Hugh Safford 

Dr. Terry Sandbek and Sharon 

Billings 

Patsy Schiff 

Janis J. Schroeder and Carrie L. 

Markel 

Jenifer and Bob Segar 

Dan Shadoan and Ann Lincoln 

Nancy Sheehan and Rich Simpson 

Mamie Shen 

Jill and Jay Shepherd 

Valerie Brown and Ed Shields 

Jane and Ray Shurtz 

Sandi and Clay Sigg 

Dan and Charlene Simmons 

P. and C. Simpson 

Marion E. Small 

Robert Snider 

Jean Snyder 

Roger and Freda Sornsen 

Curtis and Judy Spencer 

Marguerite Spencer 

Miriam Steinberg 

Harriet Steiner and Miles Stern 

Raymond Stewart 

Deb and Jeff Stromberg 

Mary Superak 

Joyce Nao Takahashi 

Yayoi Takamura and Jeff Erhardt 

Stewart and Ann Teal 

Julie A. Theriault, PA-C 

Janet and Karen Thome 

Brian Toole 

Robert and Victoria Tousignant 

Michael and Heidi Trauner 

Rich and Fay Traynham 

James Turner 

Barbara and Jim Tutt 

Robert and Helen Twiss 

Nancy Ulrich 

Unda/Serat Family 

Chris and Betsy Van Kessel 

Robert Vassar 

Bart and Barbara Vaughn 

Catherine Vollmer 

Rosemarie Vonusa 

Carolyn Waggoner and Rolf Fecht 

Kim and James Waits 

M. Wakefield and Wm Reichert 

Carol Walden 

Andy and Judy Warburg 

Valerie Boutin Ward 

Royce and Caroline Waters 

Dr. Fred and Betsy Weiland 

Jack and Rita Weiss 

Douglas West 

Martha S. West 

Robert and Leslie Westergaard 

Edward and Susan Wheeler 

Linda K. Whitney 

Jean and Don Wigglesworth 

Janet G. Winterer 

Timothy and Vicki Yearnshaw 

Norman and Manda Yeung 

Heather Young 

Verena Leu Young 

Melanie and Medardo Zavala 

Darrel and Phyllis Zerger 

Sonya and Tim Zindel 

Dr. Mark and Wendy Zlotlow 



CORPORATE MATCHING GIFTS 

Chevron/Texaco Matching Gift Fund 

DST Systems 

Morgan Stanley 

U.S. Bank 

We appreciate the many donors who 

participate in their employers’ matching 

gift program. Please contact your Human 

Resources Department for more information. 

ARTISTIC VENTURES FUND 

We applaud our Artistic Ventures Fund’s 

founding members, whose major gift 

commitments support artist engagement 

fees, innovative artist commissions, artist 

residencies and programs made available 

free to the public. 

Patti Donlon 

Anne Gray 


Larry and Rosalie Vanderhoef 

LEGACY CIRCLE 

Thank you to our supporters who have remembered the Mondavi 

Center in their estate plans. These gifts make a difference for the 

future of performing arts and we are most grateful. 

Wayne and Jacque 

Bartholomew 

Ralph and Clairelee Leiser 

Bulkley 


Dotty Dixon 

Anne Gray 


Margaret E. Hoyt 


Jerry and Marguerite Lewis 

Robert and Betty Liu 

Don McNary 

Verne E. Mendel 

Kay E. Resler 

Hal and Carol Sconyers 

Joe and Betty Tupin 

Anonymous 

If you have already 

named the Mondavi 

Center in your own estate 

plans, we thank you. 

We would love to hear 

of your giving plans so 

that we may express our 

appreciation. 

If you are interested in 

learning about planned 

giving opportunities, 

please contact Ali Morr 

Kolozsi, Director of 

Major Gifts and Planned 

Giving (530.754.5420 or 

amkolozsi@ucdavis.edu ). 

Thank you to the following donors for their program gifts during the past 

fiscal year. 

YOUNG ARTISTS COMPETITION AND PROGRAM 


Merrilee and Simon Engel 



ARTS EDUCATION STUDENT TICKET PROGRAM 

Donald and Dolores Chakerian 

Members of The Friends of Mondavi Center 

Carole Pirruccello, John and Eunice Davidson Fund 

DANCE FOR PARKINSON’S PROGRAM 

Tom and Lynda Cadman 

Douglas Clarke 

Gerald Hayward 

William and Madeleine Kenefick 

John Springer and Melourd 

Lagdamen 

Phyllis and Sunny Lee 

Joy McCarthy 

Mia McClellan 

Sybil and Jerry Miyamoto 

Maureen and Harvey Olander 

Samuel and Lynne Wells 

John Whitted 

UC DAVIS STUDENT MEMBERSHIP PROGRAM 

Eric Joshua Smith 

Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. 

44 MONDAVIARTS.ORG

BOARDS & COMMITTEES 

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, 

Theatre and Dance, and the presenting 

program of Mondavi Center, through 

fundraising, public outreach and other 

support for the mission of UC Davis and 

Mondavi Center. 

13–14 ADVISORY BOARD MEMBERS 

Joe Tupin, Chair • John Crowe, Immediate Past Chair 

Camille Chan • Michael Chapman • 

Lois Crowe • Cecilia Delury • Patti Donlon • 

Mary Lou Flint • Anne Gray • Vince Jacobs • 

Karen Karnopp • Nancy Lawrence • Garry Maisel • 

Stephen Meyer • Randy Reynoso • 

Grace Rosenquist • John Rosenquist • 

Joan Stone • Tony Stone • Larry Vanderhoef 

HONORARY MEMBERS 

Barbara K. Jackson • Margrit Mondavi 

EX OFFICIO 

Linda P.B. Katehi, Chancellor, UC Davis • 

Ralph J. Hexter, Provost and Executive Vice 

Chancellor, UC Davis • Jo Anne Boorkman, 

President, Friends of Mondavi Center • 

Jessie Ann Owens, Dean, Division of 

Humanities, Arts & Cultural Studies, 

College of Letters & Sciences, UC Davis • 

Don Roth, Executive Director, Mondavi 

Center, UC Davis • Lee Miller, Chair, 

Arts & Lectures Administrative 

Advisory Committee 

THE 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. 

13–14 COMMITTEE MEMBERS 

Lee Miller • Jim Forkin • Erin Jackson • 

Sharon Knox • Eleanor McAuliffe • 

Marta Altisent • Charles Hunt • Gabrielle Nevitt • 

Burkhard Schipper • Christine Chang • 

Timothy Colopy • Daniel Friedman • 

Susan Perez • Lauren Perry • Don Roth • 

Jeremy Ganter • Erin Palmer • Becky Cale 

THE FRIENDS OF MONDAVI CENTER is an 

active donor-based volunteer organization 

that supports activities of the Mondavi Center’s 

presenting program. Deeply committed to arts 

education, Friends volunteer their time and 

financial support for learning opportunities 

related to Mondavi Center performances. For 

information on becoming a Friend of Mondavi 

Center, email Jennifer Mast at jmmast@ucdavis. 

edu or call 530.754.5431. 

13–14 FRIENDS EXECUTIVE BOARD 

& STANDING COMMITTEE CHAIRS: 

Jo Anne Boorkman, President 

Sandi Redenbach, Vice President 

Jo Ann Joye, Secretary 

Jim Coulter, Audience Enrichment 

Lydia Baskin, School Matinee Support 

Leslie Westergaard, Mondavi Center Tours 

Karen Street, School Outreach 

Martha Rehrman, Friends Events 

Jacqueline Gray, Membership 

Joyce Donaldson, Chancellor’s Designee, Ex-Officio 

Shirley Auman, Gift Shop, Ex-Officio 

Friends 

of Mondavi Center 

is an active donor-based volunteer organization 

that supports activities of Mondavi Center’s 

presenting program. 

Gift Shop at Mondavi Center 

The Gift Shop at the Mondavi Center is located in 

the southeast corner of the Yocha Dehe Grand Lobby. 

The Gift Shop is currently stocking new and festive 

holiday merchandise and is open prior to and during 

intermission for performances in Jackson Hall. 

Managed and staffed by Friends of Mondavi Center, 

the Gift Shop is a friendly gathering spot and 

perfect place to shop for a special gift. 

We hope to see you there! 

All profits from the Gift Shop help to support 

Mondavi Center’s Arts Education program. 

For more information regarding 

the Friends of Mondavi Center, 

call the Mondavi Center Arts Education Coordinator 

at 530.754.5431 


OLICIES & INFORMATION 

TICKET EXCHANGE 

• Tickets must be exchanged at least one 

business day prior to the performance. 

• Tickets may not be exchanged after the 

performance date. 

• There is a $5 exchange fee per ticket for 

non-subscribers and Pick 3 purchasers. 

• If you exchange for a higher-priced 

ticket, the difference will be charged. The 

difference between a higher and a lowerpriced 

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 $8 

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 

UC Davis students are eligible for a 50% 

discount on all available tickets. 

Proof Requirements: School ID showing 

validity for the current academic year. 

Student ID numbers may also be used to 

verify enrollment. 

Non-UC Davis students age 18 and over, 

enrolled full-time for the current academic 

year at an accredited institution and 

matriculating towards a diploma or a 

degree are eligible for a 25% discount on 

all available tickets. (Continuing education 

enrollees are not eligible.) 

Proof Requirements: School ID showing 

validity for the current academic year and/ 

or copy of your transcript/report card/tuition 

bill receipt for the current academic year. 

Student discounts may not be available for 

events presented by non-UC Davis promoters. 

CHILDREN (AGE 17 AND UNDER) 

A ticket is required for admission of all 

children regardless of age. Any child 

attending a performance should be able 

to sit quietly through the performance. 

For events other than the Children’s 

Stage Series, it is recommended for the 

enjoyment of all patrons that children 

under the age of 5 not attend. 

PRIVACY POLICY 

The Mondavi Center collects information 

from patrons solely for the purpose 

of gaining necessary information to 

conduct business and serve our patrons 

efficiently. We sometimes share names 

and addresses with other not-for-profit 

arts organizations. If you do not wish to 

be included in our email communications 

or postal mailings, or if you do not want 

us to share your name, please notify us via 

email, U.S. mail or telephone. Full Privacy 

Policy at mondaviarts.org. 

TOURS 

Group tours of the Mondavi Center are free, 

but reservations are required. To schedule 

a tour call 530.754.5399 or email mctours@ 

ucdavis.edu. 

ACCOMMODATIONS FOR 

PATRONS WITH DISABILITIES 

The Mondavi Center is proud to be a 

fully accessible state-of-the-art public 

facility that meets or exceeds all state and 

federal ADA requirements. Patrons with 

special seating needs should notify the 

Mondavi Center Ticket Office at the time 

of ticket purchase to receive reasonable 

accommodation. The Mondavi Center 

may not be able to accommodate special 

needs brought to our attention at the 

performance. Seating spaces for wheelchair 

users and their companions are located at 

all levels and prices for all performances. 

Requests for sign language interpreting, 

real-time captioning, Braille programs 

and other reasonable accommodations 

should be made with at least two weeks’ 

notice. The Mondavi Center may not be 

able to accommodate last-minute requests. 

Requests for these accommodations 

may be made when purchasing tickets at 

530.754.2787 or TDD 530.754.5402. 

SPECIAL SEATING 

Mondavi Center offers special seating 

arrangements for our patrons with 

disabilities. Please call the Ticket Office at 

530.754.2787 or TDD 530.754.5402. 

ASSISTIVE LISTENING DEVICES 

Assistive Listening Devices are available 

for Jackson Hall and the Vanderhoef 

Studio Theatre. Receivers that can be 

used with or without hearing aids may 

be checked out at no charge from the 

Patron Services Desk near the lobby 

elevators. The Mondavi Center requires 

an ID to be held at the Patron Services 

Desk until the device is returned. 

ELEVATORS 

The Mondavi Center has two passenger 

elevators serving all levels. They are located 

at the north end of the Yocha Dehe Grand 

Lobby, near the restrooms and Patron 

Services Desk. 

RESTROOMS 

All public restrooms are equipped with 

accessible sinks, stalls, babychanging stations 

and amenities. There are six public restrooms 

in the building: two on the Orchestra level, 

two on the Orchestra Terrace level and two 

on the Grand Tier level. 

SERVICE ANIMALS 

Mondavi Center welcomes working service 

animals that are necessary to assist patrons 

with disabilities. Service animals must 

remain on a leash or harness at all times. 

Please contact the Mondavi Center Ticket 

Office if you intend to bring a service 

animal to an event so that appropriate 

seating can be reserved for you. 

LOST AND FOUND HOTLINE 

530.752.8580 

46 MONDAVIARTS.ORG

The art of performance 

draws our eyes to the stage 

Sometimes the most meaningful communication happens without dialogue. 

Great performances tell us that we are not alone with our emotions. 

Mondavi Center, thank you for inspiring us. 

© 2013 Wells Fargo Bank, N.A. All rights reserved. 

Member FDIC. (1017346_09136)

NOVEMBER â€“ DECEMBER 2013 - Mondavi Center

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