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Ballet Preljocaj: Blanche Neige 

Photo by Jean-Claude Carbonne 

mondavi 

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2o11–12 

program 

Issue 2: oct-nov 2011 

3 scottIsh ballet 

15 k.d. lang and the sIss boom bang 

18 rIsIng stars of opera 

31 hIlary hahn, vIolIn 

38 so percussIon 

43 cInematIc tItanIc

efore the show 

Before the Curtain Rises, Please Play Your Part 

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

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

the lights dim. 

• Please remember that the taking of photographs or the 

use of any type of audio or video recording equipment 

is strictly prohibited. 

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That exit may be behind you, to the side or in front 

of you. In the unlikely event of a fire alarm or other 

emergency please leave the building through that exit. 

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

anyone leaving his or her seat during the performance 

may not be re-admitted to his/her ticketed seat while 

the performance is in progress. 

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Accommodations for Patrons with Disabilities 

530.754.2787 • TDD: 530.754.5402 

In the event of an emergency, patrons requiring physical 

assistance on the Orchestra Terrace, Grand Tier and Upper 

Tier levels please proceed to the elevator alcove refuge 

where this sign appears. Please let us know ahead of time 

for any special seating requests or accommodations. 

See page 55 for more information. 

Donors 530.754.5438 

Donor contributions to the Mondavi Center presenting program 

help to offset the costs of the annual season of performances 

and lectures and provide a variety of arts education 

and outreach programs to the community. 

Friends of Mondavi Center 530.754.5000 

Contributors to the Mondavi Center are eligible to join 

the Friends of Mondavi Center, a volunteer support group 

that assists with educational programs and audience 

development. 

Volunteers 530.754.1000 

Mondavi Center volunteers assist with numerous 

functions, including house ushering and the activities 

of the Friends of Mondavi Center and the Arts and Lectures 

Administrative Advisory Committee. 

Tours 530.754.5399 

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

Hall, Vanderhoef Studio Theatre and Yocha Dehe Grand 

Lobby are given regularly by the Friends of Mondavi Center. 

Reservations are required. 

Lost and Found Hotline 530.752.8580 

Recycle We reuse our playbills! Thank you for returning 

your recycled playbill in the bin located by the main exit 

on your way out. 

As co-chair of Sacramento’s For Arts Sake initiative (along with 

Mondavi Center Advisory Board member Garry Maisel), it is my 

pleasure to draw your attention to Artober, a month-long showcase 

of the Sacramento region’s rich array of performing and visual arts. Civic 

and cultural leaders in the region have created Artober to highlight the 

high quality, varied and accessible arts we have in this area. (For a full list 

of Artober events go to http://artobersac.com/.) 

Here at the region’s premier performing arts venue, our “Artober” is another 

one of those great Mondavi Center months, rich in a variety of offerings 

which range from the best of the classics (Hilary Hahn plays the 3 B’s: Bach, 

Beethoven and Brahms) to the essence of the contemporary (k.d. lang), 

from comic cinema (Cinematic Titanic) to percussive John Cage (Brooklyn’s 

Sō Percussion). I especially welcome you to join us for Sō Percussion, 

the very first event in our Studio Classics series, now funded in part by a 

landmark Mellon Foundation grant in support of expanding audiences 

for classical music. Welcome to the Vanderhoef Studio Theatre, which for 

one weekend becomes the only classical music nightclub in town. Enjoy a 

beverage at one of our four-top tables, come early for a talk with the artists 

and engage with one of the most exciting ensembles of young musicians 

performing today. If all you know about John Cage is 4’33”, his famous silent 

piece, there is a lot more music to experience. 

We are proud to present the 30-member Scottish Ballet on its first tour 

of the U.S. Who knew that Gustav Mahler, he of the Nietzschean angst, 

Freudian dislocations and enormous orchestras (don’t get me wrong, I am 

a Mahlerian from way back), was in reality a ballet composer? His “tenth 

symphony”—Das Lied von der Erde—forms the backdrop for wonderful 

MacMillan choreography showing off the marvelous technique of the 

Scottish dancers. Later this season, Ballet Preljocaj’s Blanche Neige, having 

its American premiere in Jackson Hall, draws on some of Mahler’s most 

beautiful and emotive passages to accompany this wonderful 

re-telling of the Snow White legend. 

For a second season, our great friend Barbara K. Jackson has made 

possible a free performance of her beloved opera, with the young stars 

from San Francisco Opera’s Adler Fellows program in the first half and the 

UCD Symphony Orchestra accompanying baritone Eugene Brancoveanu, 

an Adler graduate, in a series of opera arias. Thank you, Barbara, for 

sharing your passion for opera with our campus and our community. 

Enjoy the performances and please let me know what the Mondavi Center 

can do to increase your enjoyment of the experience. 

Don Roth, Ph.D. 

Executive Director 

Mondavi Center for the Performing Arts, UC Davis 

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PResents 

Debut 

MC 

SCOTTISh BAllET 

A Hallmark Inn, Davis Dance Series Event 

Wednesday, October 19, 2011 • 8PM 

Jackson Hall, Mondavi Center, UC Davis 

There will be one intermission. 

Post-Performance Q&A 

Moderated by Ruth Rosenberg, Artist Engagement Coordinator, Mondavi Center, UC Davis 

Sponsored by 

The artists and your fellow audience members appreciate silence during the performance. Please be sure that you have switched off all electronic devices. 

Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal. 

Printed on recycled paper. Please recycle this playbill for reuse. MONDAVI CENTER PROGRAM Issue 2: Oct-Nov 2011 | 3



1st Song 

Christopher Harrison 

Owen Thorne Remi Andreoni Jamiel Laurence 

Andrew Peasgood Lewis Landini 

2nd Song 

Tomomi Sato 

Constance Devernay Quenby Hersh Laura Joffre 

Owen Thorne Remi Andreoni 

Andrew Peasgood Lewis Landini 

3rd Song 

Constance Devernay 

Amy Hadley Bethany Kingsley–Garner 

Nathalie Dupouy Katie Webb 

Lewis Landini Daniel Davidson 

William Smith Andrew Peasgood 


Kings 2 Ends (2011) 

Choreography: Jorma Elo 

Music: Violin Concerto No. 1 by Wolfgang Amadeus Mozart 

and Double Sextet by Steve Reich 

Costume design: Yumiko Takeshima 

Lighting design and scenic design: Jordan Tuinman 

Choreographer’s assistant: Nancy Euverink 

Cast: 

Tomomi Sato Daniel Davidson 

Brenda Lee Grech Owen Throne 

Katie Webb Teun van Roosmalen 

Quenby Hersh Jamiel Laurence 

Kara McLaughlin Victor Zarallo 

Amy Hadley Remi Andreoni 

Eva Lombardo Christopher Harrison 

Intermission 

Song of the Earth (1965) 

Choreography: Kenneth MacMillan 

Music: Das Lied von der Erde by Gustav Mahler 

Design: Nicholas Georgiadis 

Lighting design: John B Read 

Répétiteur: Grant Coyle and Donald MacLeary 

Cast: 

Messenger of Death – Victor Zarallo 

4th Song 

Quenby Hersh Owen Thorne 

Laura Joffre Brenda Lee Grech 

Nathalie Dupouy Bethany Kingsley-Garner 

Amy Hadley Katie Webb Andrew Peasgood 

Lewis Landini Daniel Davidson William Smith 

Remi Andreoni Jamiel Laurence 

5th Song 

Christopher Harrison 

Owen Thorne Daniel Davidson 

6th Song 

Full Company

PROGRAM NOTES 

Kings 2 Ends (2011) 

As Resident Choreographer at Boston Ballet, Finnish-born Jorma 

Elo has become an increasingly sought-after talent across the U.S. 

and Europe and has created works for many companies including 

San Francisco Ballet, New York City Ballet, Nederlands Dans 

Theater and Finnish National Ballet. Kings 2 Ends, created for 

Scottish Ballet, is a collision of the two very different energies 

found in Mozart’s Violin Concerto No. 1 and Steve Reich’s Double 

Sextet. Both lyrical and playful, Elo’s vibrant choreography invites 

the audience to simply immerse themselves in the piece and to discover 

their own personal meaning. 

Song of the Earth (1965) 

Kenneth MacMillan created Song of the Earth for Stuttgart Ballet 

in 1965 at the invitation of Artistic Director John Cranko. Set 

to Mahler’s song cycle Das Lied von der Erde, the lyrics to which 

were freely translated from a collection of 8th century Chinese 

poems offering bittersweet reflections on human emotion, Song 

of the Earth explores man’s struggle to accept mortality, with the 

Messenger of Death stalking the action throughout, and the hope 

and renewal that come with death. 

Scottish Ballet 

Scottish Ballet is Scotland’s national dance company. The company 

performs across Scotland, the U.K. and abroad, with strong classical 

technique at the root of all of its work. The broad repertoire 

includes new versions of the classics, seminal pieces from the 20th 

century modern ballet canon, signature pieces by living choreographers 

and new commissions. 

Scottish Ballet provides a comprehensive education and outreach 

program to complement its production and touring activity. 

Education initiatives and classes include work with people of all 

ages and abilities, and Scottish Ballet’s Associate Program encourages 

young dancers to train for a career in the industry. As part of 

this commitment to broadening audiences, Scottish Ballet was the 

first dance company in the U.K. to offer live audio-description for 

the visually impaired and maintains a program of regular audiodescribed 

performances today. 

In 2009, Scottish Ballet moved to its purpose-built home at the 

Tramway complex in Glasgow, creating a production and presentation 

facility of a scale and artistic mix unrivaled in the U.K. 

DANCERS 

Principals 

Soloists 

Coryphée 

Sophie Martin was born in Cherbourg, France, and 

trained at Conservatoire National Superieur de Paris 

de musique et de danse. She joined Scottish Ballet in 

2003 and was promoted to Principal in 2008. 

Tomomi Sato was born in Nagoya, Japan, and 

trained at the Royal Conservatory and The Hague. 

She joined Scottish Ballet in 2000 and has been a 

Principal since 2005. 

Adam Blyde was born in London and trained at 

Royal Ballet School. He joined Scottish Ballet in 

2003 and was promoted to Principal in 2008. 

Erik Cavallari was born in Brescia, Italy, and trained 

at Associazione Balletto Classico. He joined Scottish 

Ballet in 2001 and has been a Principal since 2004. 

Eve Mutso was born in Tallinn, Estonia, and trained 

at Tallinn Ballet School. She joined Scottish Ballet as 

a Soloist in 2003. 

Luke Ahmet was born in London and trained at 

Royal Ballet School. He joined Scottish Ballet in 

2004 and was promoted to Soloist in 2011. 

Christopher Harrison was born in Kippen, Scotland, 

and trained at Dance School of Scotland and Royal 

Ballet Upper School. He joined Scottish Ballet in 

2005 and was promoted to Soloist in 2009. 

Laura Joffre was born in Perpignan, France, and 

trained at L’Ecole Nationale de Danse de Marseille 

and Paris Opera Ballet School. She joined Scottish 

Ballet in 2010. 

Quenby Hersh was born in California and trained at 

Southland Ballet Academy and Royal Ballet School. 

She joined Scottish Ballet in 2006 and was promoted 

to Coryphée in 2011. Quenby is sponsored 

by Brooks Brothers, supported by Arts and Business 

Scotland. 

Coryphée continued on page 7 


SCOTTISh BAllET

6 | mondaviarts.org

Artists 

Coryphée continued 

Sophie Laplane was born in Paris and trained 

at Paris Opera Ballet School and Conservatoire 

National Superieur de Paris de musique et de danse. 

She joined Scottish Ballet in 2004 and was promoted 

to Coryphée in 2011. 

Eva Lombardo was born in Rome and trained at 

Accademia Nazionale di Danza. She joined Scottish 


Kara McLaughlin was born in Irvine, Scotland, 

and trained at Dance School of Scotland. She 

joined Scottish Ballet in 1996 and was promoted to 

Coryphée in 2007. Kara is sponsored by Reid, supported 

by Arts and Business Scotland. 

Luciana Ravizzi was born in Buenos Aires, 

Argentina, and trained at Royal Ballet School. She 


Coryphée in 2009. Luciana is sponsored by Baillie 

Gifford. 

Daniel Davidson was born in Edinburgh, Scotland, 

and trained at Millennium Dance and Dance School 

of Scotland. He joined Scottish Ballet in 2005 and 

was promoted to Coryphée in 2009. 

William Smith was born in Virginia and trained at 

Joffrey Ballet. He joined Scottish Ballet in 2004. 

Owen Thorne was born in New Orleans and 

trained at San Francisco Ballet School, Nashville 

Ballet and Central Pennsylvania Youth Ballet. He 


Coryphée in 2011. Owen is sponsored by Brooks 

Brothers. 

Noëllie Conjeaud was born in France and trained at 

Paris Opera Ballet School. She joined Scottish Ballet 

in 2011. 

Constance Devernay was born in Amiens, France, 

and trained at Rosella Hightower’s School in Cannes 

and English National Ballet School. She first danced 

with Scottish Ballet in 2008 and joined in 2009. 

Nathalie Dupouy was born in Paris and trained at 

L’Ecole Nationale Supérieure de Danse de Marseille. 

She joined Scottish Ballet in 2005. 

Brenda Lee Grech was born in Zejtun, Malta, and 

trained at Johane Casabene Dance Conservatoire 

and Scuola di Ballo del Teatro alla Scala. She 

joined Scottish Ballet in 2008. 

Amy Hadley was born in West Midlands, England 

and trained at Birmingham Royal Ballet Associates 

and the Royal Ballet School. She joined Scottish 


Bethany Kingsley-Garner was born in Devon, 

England, and trained at Royal Ballet School. She 

joined Scottish Ballet in 2007. Bethany is sponsored 

by The Daily Telegraph. 

Laura Kinross was born in Queensland, Australia, 

and trained at Ransley Gold Coast Youth Ballet and 

English National Ballet School. She first danced 

with Scottish Ballet in 2009 and joined in 2010. 

Katie Webb was born in Worcester, England, and 

trained at Tring Park School for the Performing 

Arts. She first danced with Scottish Ballet in 2009 

and joined in 2010. 

Remi Andreoni was born in Toulouse, France, 

and trained at a private school in Toulouse. He 

joined Scottish Ballet in 2010. 

Lewis Landini was born in West Yorkshire, 

England, and trained at Central School Of Ballet. 

He joined Scottish Ballet in 2007. 

Jamiel Laurence was born in London and trained 

at Tring Park School and the Central School of 

Ballet. He first danced with Scottish Ballet in 2009 

and joined in 2010. 

Andrew Peasgood was born in Lincolnshire, 

England, and trained at the Royal Ballet School. 

He joined Scottish Ballet in 2010. 

Teun van Roosmalen was born in Uden, 

The Netherlands, and trained at the Royal 

Conservatoire. He joined Scottish Ballet in 2010. 

Victor Zarallo was born in Barcelona and trained 

at Institut del Theatre, John Cranko School and 

Royal Ballet Upper School. He first danced with 

Scottish Ballet in 2008 and joined in 2009. 


SCOTTISh BAllET

Coralie F. & F. earl Corin 


Two of the benefactors of 

the Mondavi Center, the 

couple Coralie F. & F. Earl 

Corin, are long-time Roseville 

residents and natives of 

California. Corin Courtyard, 

a space just outside the 

Mondavi Center, is named 

because of their generous 

support. 

Coralie is the great-granddaughter 

of the Sacramento 

Valley pioneer Elizabeth Jane 

Crawford Atkinson, who 

brought Coralie’s grandfather, 

Walter F. Fiddyment, with her 

in 1854 at the age of one year 

from Joliet, Illinois, across the 

Isthmus of Panama to be with 

her sisters in Walnut Grove 

after her young husband had 

been murdered. Elizabeth 

Jane was “a well-informed 

and most estimable woman,” 

who settled a large ranch west 

of Roseville in 1856, “all of 

which was devoted to stock 

raising and general farming.” 

Coralie’s grandfather, Walter 

F. Fiddyment, was a teacher, 

banker, retailer and one of 

the original founders and 

stockholders of the Roseville 

Telephone Company (now 

Surewest). Her father, Russell 

F. Fiddyment, established 

himself on the Roseville 

property, Fiddyment Ranch, 

as a successful sheep and 

turkey rancher, also raising 

cattle and wheat. Her mother, 

Cora S. Fiddyment, was 

In memorIam 

Earl Corin 

raised in Chico and became 

a teacher and an established 

Christian Science Practitioner 

in Sacramento until her passing 

in 1992 at the age of 103. 

Coralie, the fourth of four 

children, was educated at 

Roseville High School, the 

Principia in Elsah, Illinois 

and UCLA. She was a member 

of the Junior League of 

Sacramento and of Alpha Phi 

Sorority at UCLA. 

Frederick Earl, born 85 

years ago on July 10, 1925, 

in Hollywood as the second 

of four children of Fred M. 

and Florence Corin, passed 

away on June 12, 2011. 

Coralie and Earl’s three children 

are Charlene (married 

to Walter Brunner in Chur, 

Switzerland), Camela (Dave 

Labhard in Sacramento) and 

John Corin (Dana Jones in 

Roseville), and their eight 

grandchildren are Karin, Nina 

Cantieni-Brunner, Simon 

Brunner, Sarah Labhard 

Watkins, Chris Labhard and 

Dustin, Ben and Elena Corin. 

Earl Corin was educated at 

USC and UCLA, where he 

played basketball for John 

Wooden in his first year of 

coaching. He was a member 

of Kappa Sigma fraternity. 

He is a Navy veteran of 

World War II, as a radarman 

deployed in the South Pacific 

from 1943-46. 

Earl was honored to have 

been named a Paul Harris 

Fellow of the Rotary 

Foundation of Rotary 

International. He was a member 

of the Auburn Rotary 

Club from 1995 until his 

death. 

Earl’s service to the public 

was paramount in his life. He 

was elected to the office of 

Placer County Treasurer/Tax 

Collector in 1959 until 1993. 

He also served as president of 

numerous service organizations. 

Earl Corin was proud to have 

been commended in 1968 by 

former Vice President Hubert 

Humphrey and Presidential 

candidate Richard Nixon for 

being the first Californian 

to be elected president of 

the National Association 

of County Treasurers 

and Finance Officers. 

Furthermore, he received 

commendation from President 

Ronald Reagan in 1983 for 

being the first person in 

Placer County government to 

have been elected as President 

of the California State 

Association of Local Elected 

Officials. He also received a 

commendation in 1993 from 

California Governor Pete 

Wilson for completion of 34 

years serving Placer County 

and its residents.

ARTISTIC STAff 

Ashley Page (artistic director) was born in 

Rochester, Kent, England. Page joined the 

Royal Ballet School after having trained in his 

hometown. After joining the Royal Ballet in 

1976, he worked with choreographers such as 

Frederick Ashton, Kenneth MacMillan, Glen 

Tetley and Richard Alston. Although his subsequent 

encounter with modern dance was a revelation, he never 

refuted ballet. 

In 1984, the year he was promoted to Principal Dancer, Page 

created A Broken Set of Rules for the Royal Ballet. By the end of 

the 1980s, he had created dances for several other companies: 

Rambert Dance Company, Second Stride, Western Australian 

Ballet, Turkuaz Modern Dance Company and the Dutch National 

Ballet. Each collaboration enhanced the investigation of new 

formula, which, in turn, informed the creation of works such 

as Pursuit (1987), Bloodlines (1990), Fearful Symmetries (1994), 

Ebony Concerto (1995), Sleeping with Audrey (1996), Two-Part 

Invention (1996), Room of Cooks (1997) and Cheating, Lying, 

Stealing (1998). The collaboration with cutting-edge artists such as 

Michael Nymam, Orlando Gough, John Adams, Howard Hodgkin, 

Deanna Petherbridge, John Morrell and Antony McDonald is one 

of the most evident traits of his dance making, together with a 

vibrantly multilayered choreographic style. 

Such signature features are at the core of his artistic directorship 

for Scottish Ballet, which he took in 2002. Works by Balanchine, 

Ashton, Alston, Robbins, Brown, Petronio and Forsythe are presented 

along with his own works and his successfully modernist 

takes on classics such as The Nutcracker (2003), Cinderella (2005), 

The Sleeping Beauty (2007) and Alice (2011). Page received an 

OBE for his service to dance in 2006. 

Paul Tyers (deputy artistic director) was born in 

Leicester and trained at the Rambert and Royal 

Ballet Schools. During his time as a Principal 

dancer with Scottish Ballet, Paul danced many 

leading roles for the Company. He subsequently 

became Répétiteur and then Ballet Master in 

1986. Paul was promoted to the role of Assistant 

Artistic Director in 2002 and Deputy Artistic Director in 2005. 

In addition to his role at Scottish Ballet, Paul was appointed 

Artistic Director of the BA in Modern Ballet course at the Royal 

Scottish Academy of Music and Drama in 2009. 

Maria Jimenez (ballet mistress) obtained a degree 

in Classical Dance from the Royal Academy of 

Dramatic Art and Dance of Madrid, while training 

at the School of Dance Maria De Avila in Zaragoza, 

where she subsequently taught from 1991 to 

2001. She then studied for a certificate in HE in 

Contemporary Dance at London Contemporary 

Dance School and Benesh Notation at the Benesh Institute where 

she graduated as a Professional Notator with Distinction in 2005. In 

the meantime, she became Ballet Mistress and Répétiteur for Ballet 

Zaragoza in 2004, before joining Scottish Ballet in 2005. 

Hope Muir (ballet mistress) was born in 

Toronto. Muir was a founding member of Peter 

Schaufuss’s London Festival Ballet School. 

Upon graduation she joined the company (now 

English National Ballet) where she danced 

numerous soloist and principal roles. In 1994, 

Muir joined Rambert Dance Company with the 

appointment of Christopher Bruce CBE. There, 

she danced a wide variety of repertoire from some of the most 

prolific choreographers of our time, including Ek, Kylián, Naharin, 

Tharp, Tetley, De Frutos, Cunningham and more than a dozen 

Bruce works. After 10 years with RDC, she moved to Hubbard 

Street Dance Chicago and expanded her repertoire to include 

Forsythe, Duato and Lubovitch amongst others. After a 19-year 

career, Muir retired from performing and holds a diploma from 

the Royal Academy of Dance (PDTD) and coaches both classical 

and contemporary technique. She assists Christopher Bruce CBE 

with the setting of his work internationally and recently worked 

as Guest Rehearsal Director for both Crystal Pite at the National 

Ballet of Canada and Emily Molnar at Ballet British Columbia. 

Muir joined Scottish Ballet as Ballet Mistress in 2009. 

Kings 2 Ends 

Jorma Elo (choreography) is one of the most 

sought-after choreographers in the world. 

Elo, who was named Resident Choreographer 

of Boston Ballet in 2005, was singled out as 

a talent to follow by Anna Kisselgoff in her 

2004 Year in Review for The New York Times. 

It was an astute observation. He has since 

created numerous works in the U.S. and internationally, including 

Slice to Sharp for New York City Ballet, Glow-Stop and C. to C. 

(Close to Chuck) for American Ballet Theatre, Double Evil for San 

Francisco Ballet, Carmen for Boston Ballet, A Midsummer Night’s 

Dream for Vienna State Opera Ballet, Pur ti Miro for National Ballet 

of Canada, 10 to Hyper M for Royal Danish Ballet and Offcore for 

Finnish National Ballet. His From All Sides debuted in 2007 for 

Hubbard Street Dance Chicago to a commissioned score from 

Chicago Symphony Orchestra’s Mead Composer-in-Residence 

Mark Anthony Turnage, and the piece was conducted by Maestro 

Esa-Pekka Salonen. 

Elo trained with the Finnish National Ballet School and the Kirov 

Ballet School in Leningrad. Prior to joining Netherlands Dance 

Theatre in 1990, he danced with Finnish National Ballet from 

1978-84 and Cullberg Ballet from 1984-90. 

For Boston Ballet, Elo has created six world premieres: Sharp 

Side of Dark (2002), Plan to B (2004), Carmen (2006), Brake the 

Eyes (2007), In On Blue (2008) and Le Sacre du Printemps (2009). 

Elo has received commissions from Netherlands Dance Theatre 

1, Basel Ballet, Houston Ballet, Royal Danish Ballet, Norwegian 

National Ballet, Finnish National Ballet, Royal Ballet of Flanders, 

Stockholm 59° North, Alberta Ballet, Staatstheater Nurnberg, 

Aspen Santa Fe Ballet, Ballet X, Stuttgart Ballet and Pennsylvania 

Ballet. He is also a skilled designer of costumes, lighting and video 

effects for his ballets. 

The 2005 Helsinki International Ballet Competition awarded 

Elo a choreographic prize, and he is the recipient of the Prince 


SCOTTISh BAllET


Charitable Trust Prize and the Choo-San Goh Choreographic 

Award in 2006. Dance magazine (April 2007) featured Elo on its 

cover with a corresponding article, Pointe named him a Dance 

VIP of 2006 and Esquire named him a Master Artist in 2008. 

In 2011, Elo won the prestigious Benois de la Danse prize for 

best choreography of 2010 in Moscow. Elo was nominated for 

his production of A Midsummer Night’s Dream, commissioned 

by Vienna State Opera Ballet, and Slice to Sharp, a new version 

of the ballet created for the Ballet Company of Stanislavsky and 

Nemirovich-Danchenko Music Theatre. 

Wolfgang Amadeus Mozart (composer) was 

born January 27, 1756, in Salzburg. Son of 

the violinist and composer Leopold Mozart 

(1719–87), Mozart was born the year of the 

publication of Leopold’s best-selling treatise on 

violin playing. He and his older sister, Maria 

Anna (1751–1829), were prodigies; at age five he 

began to compose and gave his first public performance. 

From 1763, Leopold toured throughout Europe with his children, 

showing off the “miracle that God allowed to be born in Salzburg.” 

The first round of touring (1763–69) took them as far as France and 

England, where Wolfgang met Johann Christian Bach and wrote his 

first symphonies (1764). Tours of Italy followed (1769–73); there 

he first saw the string quartets of Joseph Haydn and wrote his own 

first Italian opera. In 1775–77, he composed his violin concertos 

and his first piano sonatas. He returned to Salzburg as cathedral 

organist and in 1781, wrote his opera seria Idomeneo. Chafing 

under the archbishop’s rule, he was released from his position in 

1781; he moved in with his friends the Weber family and began 

his independent career in Vienna. He married Constanze Weber, 

gave piano lessons and wrote The Abduction from the Seraglio 

(1782) and many of his great piano concertos. 

The later 1780s were the height of his success, with the string 

quartets dedicated to Haydn (who called Mozart the greatest 

living composer), the three great operas on Lorenzo Da Ponte’s 

librettos—The Marriage of Figaro (1786), Don Giovanni (1787) and 

Così fan tutte (1790)—and his superb late symphonies. In his last 

year he composed the opera The Magic Flute and his great Requiem 

(left unfinished). His death at age 35 may have resulted from a 

number of illnesses; among those that have been suggested are 

military fever, rheumatic fever and Schönlein-Henoch syndrome. 

No other composer left such an extraordinary legacy in so short a 

lifetime. 

Steve Reich (composer), recipient of the Pulitzer 

Prize for 2008, has been called “America’s greatest 

living composer” by The Village Voice, “the most 

original musical thinker of our time” by The New 

Yorker and “among the great composers of the 

century” by The New York Times. 

His music has been influential to composers and mainstream 

musicians all over the world. He is a leading pioneer of 

minimalism, having in his youth broken away from the 

establishment that was serialism. His music is known for steady 

pulse, repetition and a fascination with canons; it combines 

rigorous structures with propulsive rhythms and seductive 

instrumental color. It also embraces harmonies of non-Western 


and American vernacular music (especially jazz). His studies have 

included the Gamelan, African drumming (at the University of 

Ghana) and traditional forms of chanting the Hebrew Scriptures. 

Different Trains and Music for 18 Musicians have each earned him 

Grammy Awards, and his documentary video opera works—The 

Cave and Three Tales, done in collaboration with video artist Beryl 

Korot—have pushed the boundaries of the operatic medium. Over 

the years his music has significantly grown both in expanded 

harmonies and instrumentation, resulting in a Pulitzer Prize for 

his 2007 composition, Double Sextet. In 2008, Reich wrote his first 

piece for rock band set-up, 2x5, which premiered on the opening 

night of Manchester International Festival on a double-bill with 

German electronic music legends Kraftwerk. Reich is published by 

Boosey & Hawkes. 

Yumiko Takeshima (costume design) was born 

in Asahikawa, Japan. She has performed as a 

principal dancer with Universal Ballet, Alberta 

Ballet, Feld Ballet NY and Het National Ballet 

and is currently Principal dancer with Dresden 

Semper Oper Ballet. 

In 2002, she founded dancewear company YUMIKO and continues 

to design for it. She has designed costumes for Dawson’s A Million 

Kisses to my Skin, The Grey, 00:00, Morning Ground and Gentle 

Chapter (all Het National Ballet), Reverence (Marinsky Ballet), The 

Disappeared, Giselle and The World According to Us (Semper Oper 

Ballet), Sweet Spell of Oblivion and The Third Light (Royal Ballet 

of Flanders), A Million Kisses to my Skin and Faun(e) (English 

National Ballet), Dancing Madly Backwards (Norwegian National 

Ballet) and On the Nature of Daylight (gala piece). She has also 

designed for Jorma Elo’s Golden Partita (Basel Ballet) and Suit 

Murder (Finnish National Ballet), William Forsythe’s The Second 

Detail (Semper Oper Ballet), Krzysztof Pastor’s And the Rain Will 

Pass (Polish National Ballet) and Annabelle Lopez Ochoa’s Solitaire 

(Het National Ballet). 

Jordan Tuinman (lighting and scenic design) 

was born in Rotterdam. Tuinman’s career 

began with a traineeship at Netherlands Dance 

Theatre’s technical department in 1999. He 

toured the world with all three NDT companies 

as a lighting technician, and was named Senior 

Lighting technician for NDT1 in 2003. 

During this time, Tuinman worked with renowned choreographers 

Jiri Kylian, Hans van Manen, Lightfoot León and Ohad Naharin 

and designed lighting for various NDT workshops and Jorma Elo’s 

1st Flash and Plan to A. 

Between 2005-07, Tuinman worked as stage manager and DSM 

when major Disney Broadway musicals The Lion King and Tarzan 

were performed in Holland. Since 2007, when Aspen Santa Fé 

Ballet performed 1st Flash, he has worked as a freelance lighting 

designer for companies including Royal New Zealand Ballet, Ballet 

BC, Croatian National Ballet, Ballet Basel and several theater and 

opera companies in The Netherlands.

Other lighting design credits include Verdi Codes, Swan Lake, 

Running Red, La Traviata, Red Sweet, Boléro, Charlie and the 

Chocolate Factory, Carmen, A Song in the Dark, Silhouette, Milk & 

Honey, Alice in Wonderland, Giselle, Air, Spectre de la Rose, Golden 

Partita, La Valse, several remakes of both 1st Flash and Plan to A 

and gala performances including soloists from the Ballet Opéra de 

Paris, the Royal Ballet London and the Bolshoi Ballet Moscow. 

Nancy Euverink (choreographer’s assistant) 

trained at the Ballet Academy of the Royal 

Conservatory in The Hague and Boston 

Ballet. In 1986, she was a Prix de Lausanne 

finalist and in the same year performed with 

Boston Ballet 2 and Boston Ballet. She joined 

Nederlands Dans Theatre II in 1987 and NDT 

I in 1989 and retired from the stage in 2007. 

Euverink has had roles created on her and performed works by 

renowned choreographers such as Jirí Kylián, Mats Ek, William 

Forsythe, Ohad Naharin, Nacho Duato, Jorma Elo and Lightfoot 

León. She has created numerous ballets for Nederland Dans 

Theatre’s annual Choreographic Workshop, also creating her 

own sound designs, of which one was used in Jorma Elo’s Brake 

the Eyes for Boston Ballet. In March 2011, for Boston Ballet’s Elo 

Experience, Euverink created the sound design Tchaibits. 

She has acted as ballet master with the Nederlands Dans Theatre 

for Jirí Kylián’s Petite Mort and Whereabouts Unknown and has 

assisted Lightfoot León in setting work for Norwegian National 

Ballet and Ballet Mainz. She has assisted Jorma Elo with the 

creation of several works at the Hubbard Street Dance Company, 

American Ballet Theater, San Francisco Ballet, Royal Danish Ballet, 

Norwegian National Ballet, Boston Ballet, Vienna State Opera Ballet, 

National Ballet of Canada, Stuttgart Ballet and Gothenburg Ballet, as 

well as staging Plan to A (Royal New Zealand Ballet and Ballet Basel) 

and Slice to Sharp (Stanislavski Ballet). She has also worked with 

Ballet Basel, Lyon Opera Ballet, National Ballet of Finland and State 

Ballet of Georgia acting as ballet master for Jirí Kylián. 

Euverink received the award of achievement by Dancers-Foundation 

’79 in January 2005. As of September 2011, she is Artistic Director 

of the Ballet Academy of the Royal Conservatory in The Hague. 

Song of the Earth 

Sir Kenneth MacMillan (choreography) was 

born in Dunfermline on December 11, 1929. 

MacMillan grew up in Great Yarmouth where 

he took lessons from Phyllis Adams. Training 

a t at Sadler’s Wells (now Royal) Ballet School, 

he became a founder member of the Sadler’s 

Wells Theatre Ballet, for which he made his 

first experimental workshop ballets. Their 

success and their promise led Ninette de 

Valois to commission the Stravinsky ballet Dances. 

MacMillan then danced with the Covent Garden Company, returning 

to Sadler’s Wells eventually abandoning dancing for choreography, 

and in The Barrow, he discovered the dramatic gifts of Lynne 

Seymour, who was to become his muse. 

During a period of remarkable creativity he created plotless ballets 

like Diversions and Symphony to big company works such as The 

Rite of Spring and Romeo and Juliet. MacMillan’s first full-length 

ballet was created in 1965 for Seymore and Christopher Gable, 

followed by Anastasia, Manon, Mayerling, Isadora and The Prince 

and the Pagodas. 

MacMillan also created ballets in Stuttgart, served as Director of 

Ballet at the Deutsche Oper Berlin and was Artistic Associate of 

Houston Ballet. He directed plays and worked on award-winning 

television productions. His last choreography was for the National 

Theatre’s Carousel for which he won the Tony Award on Broadway. 

He was much honored for his services to British ballet, culminating 

in his knighthood in 1983. In 1993, he was given a special 

Laurence Olivier Award for lifetime achievement. 

MacMillan died in 1992. He is survived by his widow, the artist 

Deborah MacMillan, who realized the company’s new production of 

Anastasia in 1996 and is responsible for all revivals of his ballets. 

Gustav Mahler (composer) was born in 

Kalist, Bohemia. In 1875, he was admitted to 

the Vienna Conservatoire where he studied 

piano under Julius Epstein. Subsequently, 

Mahler attended lectures given by Anton 

Bruckner at Vienna University. His first 

major attempt at composition came with Das 

Klagende Lied, which he entered in a competition 

as an opera (he later turned it into a cantata). However, he 

was unsuccessful, and turned his attention to conducting. After 

his first conducting job at Bad Hall, he took posts at a succession 

of increasingly larger opera houses. He then secured his first longterm 

post at the Hamburg Opera in 1891, where he stayed until 

1897. He completed his Symphony No. 1 and the Lieder aus Des 

Knaben Wunderhorn during this period. 

In 1897, Mahler converted from Judaism to Roman Catholicism 

in order to secure a post as artistic director of the prestigious 

Vienna Opera (Jews were virtually prohibited from holding the 

post at that time). For the next 10 years he stayed at Vienna, 

where he was noted as a great perfectionist. He ran the Opera for 

nine months of the year, spending the other three composing—he 

composed his symphonies two through eight. In 1907, he discovered 

he had heart disease, and he lost his job at Vienna, hounded 

out by a largely anti-Semitic press after trying to promote his own 

music, which was not well received on the whole. Indeed, not 

until the performance of his Symphony No. 8 in 1910 did Mahler 

have a true public success with his music. The pieces he wrote 

after that were not performed in his lifetime. 

In 1907, Mahler received an offer to conduct the Metropolitan 

Opera in New York. He conducted a season there in 1908 and 

became conductor of the newly formed New York Philharmonic 

Orchestra the following year. Around this time, he completed Das 

Lied von der Erde and the Symphony No. 9, which turned out to be 

his last completed work. During his last visit to America in 1911, 

he fell seriously ill and was taken back to Vienna at his request. He 

died there from blood poisoning in May 1911 in Vienna. 


SCOTTISh BAllET


WHAT DO YOU SEE? 

We see the health care needs of a unique individual. 

You see health care with a human touch. 

We know that personalized, compassionate care is important to you and your family. 

When you choose a UC Davis doctor, you’ll be welcomed by an entire team of expert 

physicians, nurses and specialists. You’ll receive the high-quality care you deserve 

while enjoying the conveniences you desire—including online communication with 

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your UC Davis doctor and experience personalized health care today. 

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

To choose a UC Davis physician, call 800-2-UC DAVIS. 

YOU SEE THE DIFFERENCE 

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

Nicholas Georgiadis (design) was born in 

Greece and in 1953 went to England. He studied 

architecture in Athens, New York, and the 

Slade School of Fine Art in London, where he 

went on to lecture on stage design. 

His designs for the ballet include Kenneth MacMillan’s Danses 

Concertantes, House of Birds, Noctambules, Agon, The Burrow, The 

Invitation, Las Hermanas, Song of the Earth, Manon, Mayerling, 

Orpheus (for The Royal Ballet), Benjamin Britten’s Prince of the 

Pagodas (for the Royal Opera House), Swan Lake (for the Berlin 

Opera House), Nureyev’s production of The Nutcracker, The Tempest 

and MacMillan’s production of Manon (for the Royal Ballet and the 

Paris Opera Ballet), Swan Lake (Vienna State Opera House), The 

Sleeping Beauty (La Scala, Milan, National Ballet of Canada, Vienna 

State Opera and London Festival Ballet), Raymonda (American 

Ballet Theatre, Zurich Opera House and Paris Opera Ballet), 

Manfred (Zurich Opera House), Don Quixote (Zurich, Berlin and 

Paris Opera Houses and International Ballet Festival, Boston) and 

Lynn Seymour’s Intimate Letters (Sadler’s Wells Royal Ballet). 

Georgiadis’s designs for Orpheus and The Tempest won the London 

Evening Standard Ballet Award for the most outstanding achievement 

in 1982. Georgiadis’s designs for opera include Aida and 

The Trojans (Royal Opera), Medea (Frankfurt Opera House), 

Anna Bolena (Athens Opera House) and Don Giovanni (Athens 

Festival). He also designed for Aix-en-Provence Festival Mozart’s 

La Clemence de Tito and last year Chillea’s Adriana Lecouvreur 

for the Athens Opera. His designs for plays include Lysistrata 

(Royal Court), Montherlant’s La Reine Morte (Oxford Playhouse), 

Julius Caesar (Old Vic), Antony and Cleopatra (Prospect Theatre 

Company), All for Love (Prospect), Captain Brassbound’s 

Conversion (Haymarket) and more recently Pirandello’s As 

You Desire Me (for which he received the Carlos Koun Prize) 

and Schintzler’s Anatol. His costume designs for films include 

Euripides’s The Trojan Woman and the reconstruction of the Ballets 

Russes designs for Nijinksy. Georgiadis received the CBE at the 

1984 Birthday Honours. He died in 2001. 

John B Read (lighting design) was for 24 years 

lighting consultant to the Royal Opera and the 

Royal Ballet companies. He is largely responsible 

for establishing lighting as an integral part of 

dance presentation through his work with most 

major classical and contemporary ballet companies 

on four continents, including dance companies in Berlin, 

Paris, Stockholm, Milan, Australia and throughout North America. 

Theater lighting in London includes Kafka’s The Trial at the 

National Theatre and On Your Toes, Song and Dance and Ibsen’s 

Ghosts in the West End. 

He was lighting designer for several Britten premieres with the 

English Music Theatre and Opera groups; he lit many Royal Opera 

productions including Der Ring Der Niebelungen. Much of his 

dance work has been televised and is available on video and DVD. 

Grant Coyle (répétiteur) was born in Australia and 

attended the Australian Ballet School and danced 

with companies in Australia and Germany. In 

1976, he moved to London where he trained at the 

Institute of Choreology. After graduating in 1978, 

he worked as a dance notator with Scottish Ballet and SWRB. In 

1987, he was invited to join the Royal Ballet as its Principal Notator. 

He has worked with many choreographers including Balanchine, 

MacMillan, Ashton, Darrell and Bintley, reproducing ballets for 

many companies abroad including Paris Opera Ballet, National 

Ballet of Canada, ABT, San Francisco Ballet, Boston Ballet, Bavarian 

State Opera Ballet, Hamburg Ballet, National Ballet of Hungary 

and La Scala Ballet, Milan. In 2008, he was made a Fellow of the 

Institute of Choreology. 

Donald MacLeary (répétiteur) was born in 

Glasgow. He joined the Royal Ballet School at 

age 13 having had no ballet training at all. Three 

years later he joined the Sadler’s Wells Theatre 

Ballet, becoming a Soloist in 1954 and transferring 

to the main Covent Garden Company as a 

Principal in 1959. 

Renowned as a danseur noble and an exemplary partner, his many 

principal roles included acclaimed performances in Romeo and 

Juliet, The Firebird, Cinderella, Song of the Earth and Symphonic 

Variations, and he partnered Margot Fonteyn, Svetlana Beriosova 

and Natalia Makarova among others. He was appointed Ballet 

Master in 1975, a post he retained until 1979, when he left to 

resume his dancing career as a guest with Scottish Ballet and other 

companies. He returned to the Royal Ballet as Répétiteur in 1981 

and was appointed Répétiteur to the Principal Artists in 1985. 

He returned to the stage as Catalabutte in Natalia Makarova’s The 

Sleeping Beauty in 2003. He retired in 2002 and continues to work 

as Guest Principal Répétiteur. 

Scottish Ballet Staff 

Chief Executive/Executive Producer Cindy Sughrue 

Artistic Director Ashley Page 

Ballet Mistress Maria Jimenez 

Ballet Mistress Hope Muir 

Company Manager John Aitken 

Technical Manager George Thomson 

Production Manager Tim Palmer 

Chief Electrician Matthew Strachan 

Stage Manager Susan May Hawley 

Deputy Stage Manager Sheelagh McCabe 

Wardrobe Mistress Mary Mullen 

Assistant Wardrobe Mistress Joanna McLean 

Kings 2 Ends costumes made by Jackie Hallatt, Suzanne Parkinson 

and Brigitte Houston. 

Headdresses made by Linda Rowland. 

Song of the Earth costumes made by Scottish Ballet Wardrobe. 

Masks by Robert Allsopp. 

Dyeing by Gabrielle Firth. 

Tights by Klaus Schreck. 

Song of the Earth scenery constructed and painted by Scottish Opera. 

Exclusive North American Representation: 

IMG Artists 

Carnegie Hall Tower 

152 West 57th Street, 5th Floor 

New York, NY 10019 


SCOTTISh BAllET


BALLET DIRECTOR 

RON 

CUNNINGHAM 

ISSUE #6 

PLAYWRIGHT 

GREGG COFFIN 

ISSUE #7 

TONY WINNER 

FAITH PRINCE 

ISSUE #8 

ACTOR 

COLIN HANKS 

ISSUE #15 

PERFORMANCE ARTIST 

DAVID GARIBALDI 

ISSUE #16 

BROADWAY STAR 

MARA DAVI 

ISSUE #19 

Available at Raley's, Nugget Markets and Barnes & Noble.


PResents 

k.d. lang AND ThE SISS BOOM BANG 

wITh TEDDy ThOMPSON 

A Mondavi Center Special Event 

Thursday, October 20, 2011 • 8PM 



Sponsored by 





k.d. lang and the Siss Boom Bang 

“I love going where I’m not supposed to go. I love being the 

underdog, I’ve always loved being the underdog. I love feeling like 

I’m starting at square zero again. I thrive on it,” says k.d. lang. 

She’s talking about touring with her new band, the Siss Boom 

Bang, and the prospect of playing in some fresh settings, but the 

sentiment could just as well describe the making of Sing it Loud, 

her first record made entirely with a band of her own since the 

pair of albums with the Reclines that launched her career. 

Highlights from those early cow-punk recordings were collected 

in Reintarnation (2006) while Recollection (2010) showcased the 

broad range of styles she explored thereafter. Last year, as she 

celebrated the 25th anniversary of her recording debut, lang found 

herself being pulled back to square zero, yearning to hear country 

music at sound checks and longing for the richly collaborative 

experience that comes from being part of a band. 

“I always felt like there was a part of me that wanted to continue 

the cow-punk thing,” says lang, who has won four Grammy 

Awards in the U.S. and eight Juno Awards in her native Canada. 

“But I didn’t want to push it. It’s something that has to arise 

naturally. And this was just the year. I felt it in the back of my 

soul. I kept thinking I was going to find this guitar player who was 

a lyricist and more rock-oriented. And then Joe appeared.” 

Sensing the direction she was headed in, Gord Reddy, a member 

of lang’s road crew, arranged for her to meet Joe Pisapia when 

she played Nashville’s Ryman Auditorium. “The second I laid 

eyes on him, I just instantly felt something,” she recalls. After the 

tour, she emailed Joe and he sent her some material. She felt an 

immediate connection and jumped on a plane to Nashville—a 

highly uncharacteristic move for lang, who admits, “I’m usually 

more deliberate and premeditated than that.” They met for coffee 

and before the day was out, the pair had written two songs for the 

album, “The Water’s Edge” and “Perfect Word.” 

“I just really struck gold when I found Joe,” marvels lang, who 

co-produced Sing it Loud with him. “When he writes, that boy 

will go off like a kid. When you write from a place of naïveté or 

childlike expression, it’s the best because it erases the restraints of 

self-consciousness. Generally you pre-edit yourself, but he erases 

that. There’s a freedom, a liberty.” 



k.d. lang Vocals, Guitar 

Joe Pisapia Guitar, Backing Vocals 

Daniel Clarke Keyboards, Backing Vocals 

Fred Eltringham Drums, Backing Vocals 

Joshua Grange Guitar, Pedal Steel Guitar, Backing Vocals 

Lex Price Bass 

Finding Pisapia, who also plays numerous instruments on the 

album and serves as the Siss Boom Bang’s musical director, was 

just the first in a string of serendipitous moments that nudged 

lang along on her new journey. Guitarist Joshua Grange and 

keyboardist Daniel Clarke had played with lang on the tour for 

Watershed, her last studio album, which bowed in the Top 10 of 

the Billboard 200 in 2008. She knew they would suit her new 

project. “They’re extraordinarily talented—and good looking, too,” 

she says with a smile. 

Pisapia brought in bassist Lex Price, but they were still in search of 

a drummer. Clarke suggested Fred Eltringham (The Wallflowers), 

whom he had been working with, and the band was complete. The 

sessions began over Fourth of July weekend at Middletree Studios 

in Nashville, marking the first recordings at Pisapia’s new backyard 

studio. They planned on just tracking three songs that lang had 

written with Grange and Clarke—“I Confess,” “Habit of Mind” 

and “Sorrow Nevermore”—but wound up recording eight tracks in 

a mere three days. 

“The second the band walked in, the energy was palpable,” 

remembers lang. “This music called for the immediacy, rawness, 

and communication that happens when it goes down live. To me, 

live off the floor vocally is where I feel my most confident because, 

again, the editor’s not there. You’re completely coming from a 

spontaneous place where you have to perform. Tony Bennett and 

I recorded Wonderful World live off the floor and Drag was pretty 

much done the same way. When you’re given the opportunity to 

just record a moment, that’s ultimate for me.” 

She found the environment conducive to exploring new ways of 

singing. “It was like being given wings,” she says. “I could go from 

an extraordinarily soft, vulnerable sounding vocal technique to 

really loud, almost shouting. To have a vocal situation that can 

handle that sort of dynamic is rare.” 

As she traded the finely calibrated subtleties of her recent work for 

a more visceral approach, it seemed only natural to make “Sing it 

Loud,” a song Pisapia had written several years ago, the title track. 

“I think we all feel like outsiders,” observes lang. “Part of us feels 

like we really don’t fit in anywhere, and I think that’s great. That 

part of us should be celebrated.”

The collection kicks off with “I Confess,” which is the lead single. 

“I’d been feeling a big connection to my Roy Orbison days. Roy’s 

music left an indelible mark on me and I really wanted to write a 

song that had that kind of Orbison swagger, but take it a bit more 

to the contemporary side,” explains lang, who won the first of her 

four Grammy Awards for her 1987 duet with Orbison, “Crying.” 

In the course of making Sing it Loud, lang and Pisapia frequently 

swapped song ideas via their iPhones. While working together 

on a chord progression one day, lang suddenly remembered their 

exchange about another potential song, “Sugar Buzz.” She pulled 

out her phone, started singing the lyrics they had been texting 

back and forth, and everything just came together. From the 

lighthearted “Sugar Buzz,” which likens a lover to the rush that 

comes from consuming too much sugar, to the wordplay of “Habit 

of Mind” to the striking version of Talking Heads’ “Heaven,” Sing 

it Loud is infused with warmth and humor. 

“It’s just music. I think I took it so seriously at certain points in 

my life that it took away the joy and the spontaneity,” she says. 

“That’s what I’m talking about when I say ‘I’ve lost my edge’ in 

‘Habit of Mind.’ I always felt like there was a huge portion of k.d. 

lang that was based in humor and somehow I kind of forgot that 

truckload. Now I’ve found it again.” 

capradio.org 

After the album was mixed, lang gave a copy to her best friend, 

asking for feedback. Her friend’s take on it: “It starts off like a k.d. 

lang record. You’re thinking: ‘this is a beautiful, typical k.d. lang 

record’—and then, siss, boom, bang, the band kicks in!” It was 

another a-ha moment for lang, who realized the phrase described 

her new band to a T. 

“It’s one of those things I had nothing to do with. It was really a 

magical instant where you’re just part of it,” says lang. “I would 

have to say that Sing it Loud is actually probably the pinnacle of 

my creative life because it happened so fast, so naturally and with 

so much joy.” 

www.kdlang.com 

www.twitter.com/kd_sissboombang 

www.facebook.com/kdlang 


k.d. lang AND ThE SISS BOOM BANG



PResents 

RISING STARS Of OPERA 

Resident Artists of the San francisco Opera 

Adler fellowship 

UC Davis Symphony Orchestra 

Christian Baldini, music director and conductor 

Eugene Brancoveanu, baritone 

A Mondavi Center Special Event 

Friday, October 21, 2011 • 8PM 


Individual support provided by Barbara K. Jackson 



Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

Program Notes 


Piano Program of Opera Highlights and Song Works 

Members of the San Francisco Opera Adler Fellowship 

Allen Perriello, Piano 

Overture to I vespri siciliani Giuseppe Verdi 

“Largo al factotum” from Il barbiere di Siviglia Gioacchino Rossini 

“Wenn mein Schatz Hochzeit macht” from 

Lieder eines fahrenden Gesellen (Songs of a Wayfarer) Gustav Mahler 

“Within this frail crucible of light” 

from Act II of The Rape of Lucretia, Op. 37 Benjamin Britten 

“Hai già vinta la causa” and “Vedrò mentr’io sospiro” 

from Act III of Le nozze di Figaro, K. 492 Wolfgang Amadeus Mozart 

Overture to I vespri siciliani 

Giuseppe Verdi 

(Born October 10, 1813, in Busseto; died January 27, 1901, in 

Milan.) 

By the mid-1850s Verdi was one of the most popular musicians in 

the world, having recently composed the very successful operas 

Rigoletto, Il trovatore and La traviata. I vespri siciliani (originally 

titled Les vêpres siciliennes) was commissioned for the Paris 

Universal Exhibition of 1855, and it is the least performed of all 

the operas Verdi wrote in the 50 years between Rigoletto and his 

death in 1901. The story’s action centers on the efforts of 13thcentury 

Sicily to free itself from the French occupation, with a 

romantic involvement between members of the opposing sides. 

Because of political reasons, the opera was initially not performed 

much in Italy. At the time of composition Italy was in the midst of 

its unification, which took place in 1861 when Rome was declared 

capital of the new kingdom. After this date, many of Verdi’s operas 

were reinterpreted as Risorgimento works with hidden revolutionary 

messages. The Risorgimento was the political and social movement 

that helped Italy become a single unified state. As a result, 

the motto “Viva VERDI” was used as an acronym for “Viva Vittorio 

Emanuele Re D’Italia” (long live Victor Emmanuel King of Italy). 

The opera is remembered for its very elaborate ballet episode, a 

30-minute number called “The Four Seasons,” and for its remark- 

Program will be announced from the stage. 

Intermission 

Program is subject to change. 

able overture, which the UCDSO is performing tonight. Francis 

Toye, Verdi’s first English biographer, wrote: “Undoubtedly the 

best thing about the opera is the overture, perhaps the most successful 

written by the composer, which is both vigorous and ingenious.” 

The overture begins with a very quiet introduction in which the 

strings ask a simple question; the drum answers in a laconic fashion, 

after which the winds comment sympathetically. It eventually 

evolves organically into a very uplifting finale that is as energetic 

as it is exciting. 

—Christian Baldini 

“Largo al factotum” (“I Am the Busiest Man in Town”) from The 

Barber of Seville (1816) 

Gioacchino Rossini 

(Born February 29, 1792, in Pesaro; died November 13, 1868, in 

Paris) 

Count Almaviva is in love with Rosina, ward and prospective bride 

of the mean and suspicious old Dr. Bartolo, and sings a serenade 

below her window. Figaro, the Barber of Seville, enters noisily 

upon the scene with his famous aria, describing the virtues of 

himself and his profession, and offering his services as jack-of-all 

trades in arranging a liaison between Almaviva and Rosina. 


RISING STARS Of OPERA

AN ExClUSIVE wINE TASTING ExPERIENCE Of fEATURED wINERIES 

fOR INNER CIRClE DONORS 

Complimentary wine pours for Inner Circle donors at 7-8Pm 

and during intermission in the Bartholomew Room 

October 

21 Rising Stars of Opera • David Girard Vineyards 

December 

8 mariachi sol de méxico de Jóse Hernàndez • Ceja Vineyards 

15 Blind Boys of Alabama Holiday Show • Boeger Winery 

January 

19 Soledad Barrio & Noche Flamenca • Truchard Vineyards 

27 Royal Philharmonic Orchestra • Robert Mondavi Winery 

february 

9 Les Ballets Trockadero de Monte Carlo • Honig Winery 

17 Eric Owens • Silverado Vineyards 

March 

2 Angelique Kidjo • Fiddlehead Cellars 

24 Circus Oz • Silver Oak Cellars 

April 

17 Anoushka Shankar • Roessler Cellars 

28 Maya Beiser • Corison Winery 

May 

2 San Francisco Symphony Chamber Ensemble • Traverso Wines 

12 New York Philharmonic • D’Argenzio Winery 

For information about becoming a donor, please call 530.754.5438 or visit us online: 

www.mondaviarts.org. 

sponsored by 


Featured wineries

“Wenn mein Schatz Hochzeit macht” (“My Sweetheart’s Wedding 

Day”) from Songs of a Wayfarer (1883-85) 

Gustav Mahler 

(Born July 7, 1860, in Kalist, Bohemia; died May 18, 1911, in 

Vienna) 

Mahler was 23 in 1883 when he was appointed to his first 

important post: assistant conductor at the Opera House in Kassel. 

He took up his new duties late that summer, and soon met 

another young artist who had also just joined the staff—Johanna 

Richter, a blue-eyed, flaxen-haired singer who immediately 

became the center of young Gustav’s attentions. An affair (whose 

intimate details Mahler gallantly guarded) soon sprang up between 

conductor and soprano. Each of Mahler’s love affairs was marked 

by a seething, obsessive emotional turmoil, and this encounter 

was no different. On New Year’s Day 1885, he wrote to his friend 

Friedrich Löhr about Johanna, “She is everything that is lovable 

in this world. I would shed my last drop of blood for her.” His 

enthusiasm was apparently not fully requited—the affair ran a 

bumpy course and ended when Johanna refused to marry him. 

This bitter personal fruit had the sweet seed of artistic inspiration 

hidden inside, however, since the first work of Mahler’s maturity, 

the Lieder eines fahrenden Gesellen (Songs of a Wayfarer) grew 

directly from his experience in Kassel. 

Mahler wrote his own texts for these songs, modeling them closely 

on the poems of Des Knaben Wunderhorn (The Youth’s Magic Horn); 

the early-19th-century collection of German folk poems by Achim 

von Arnim and Clemens Brentano provided much inspiration for 

him during the years of his early creative maturity. Like those of 

the Arnim-Brentano collection, Mahler’s poems are simple, direct 

expressions of strong emotions, filled with images of nature and 

country life. This framework allowed Mahler a rich range of moods 

through the ironic juxtaposition of distraught, modern, civilized 

man with the sunny, humble joys of peasant life, and he returned to 

this theme many times throughout his creative life. 

The opening song, “Wenn mein Schatz Hochzeit macht” (“My 

Sweetheart’s Wedding Day”), is divided into three parts, beginning 

and ending with the same mournful strain. The central section is 

given over to bright evocations of spring flowers and chirruping 

birds. It also contains the cycle’s first reference to “blue,” the color 

of Johanna Richter’s eyes. 

“Within this frail crucible of light” from Act II of The Rape of 

Lucretia, Op. 37 (1946) 

Benjamin Britten 

(Born November 22, 1913, in Lowestoft, Suffolk, England; died 

December 4, 1976, in Aldeburgh, Suffolk, England) 

Following the brilliant premiere of Peter Grimes at Covent Garden, 

London in June 1945, Britten was commissioned by Glyndebourne 

Opera to write a work suited to the straitened resources of postwar 

England. He chose as a subject the ancient Roman figure of 

Lucretia as realized in André Obey’s 1931 play Le Viol de Lucrèce 

(The Rape of Lucretia), which was worked into a libretto by the 

English poet, journalist and dramatist Ronald Duncan. Britten 

scored his opera for a chamber orchestra of 13 players and eight 

vocal soloists: the Etruscan prince Tarquinius; the Roman generals 

Collatinus and Junius; Collatinus’s wife, Lucretia; two servants of 

Lucretia; and a Male Chorus and Female Chorus who comment 

on the action. In the opera, Tarquinius, Collatinus and Junius are 

stationed near Rome, but have received word that the wives of all 

the Roman commanders have been unfaithful to them save only 

Lucretia. Tarquinius, whom the Male and Female Chorus have 

recounted “treats the proud city as if it were his whore,” takes 

Lucretia’s devotion to her husband as a challenge to his wooing, 

and heads to Rome to “prove Lucretia chaste.” While she sleeps 

and dreams of Collatinus, Tarquinius steals into her bedroom and 

sings the aria “Within this frail crucible of light” while the Female 

Chorus voices her hope for Lucretia not to awake. Tarquinius 

kisses Lucretia. She responds drowsily, dreaming that it is her 

husband’s caress, but then she awakens, realizes her danger and 

tries to fight off Tarquinius. She cannot. After Tarquinius leaves, 

Lucretia orders her servant to tell Collatinus of the attack. He 

hurries to his wife, but she says that she cannot live with her 

shame. She plunges a dagger into her breast and dies. 

“Hai già vinta” and “Vedrò mentr’io sospiro” (“You’ve Won Your 

Case Already” and “Am I to See a Lackey of Mine Happy?”) from 

The Marriage of Figaro, K. 492 (1786) 

Wolfgang Amadeus Mozart 

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

Vienna) 

Count Almaviva is determined to force his amorous advances 

upon Susanna, maid to the Countess. Susanna agrees to a 

nocturnal assignation with him, but as she leaves their interview, 

she meets Figaro, her fiancé and the Count’s valet, and tells him 

that she is arranging a joke on the Count. The Count vows to 

frustrate his servant’s planned marriage by insisting that Figaro 

marry the housekeeper Marcellina in lieu of repayment of a debt to 

her, or by encouraging Antonio, the gardener and Susanna’s uncle, 

not to give his consent to the union, or through his own ingenuity. 

The Count expresses his rage that his servant should gain his 

heart’s desire while he, a nobleman, should be stymied. 

—Dr. Richard E. Rodda 

Rising Stars of Opera is provided free to the community 

through the generosity of our dear Mondavi Center friend, 

Barbara K. Jackson. Thank you, Barbara, for sharing your 

passion for opera with the campus, community and region. 



Offering Private 

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Texts and Translations 

Rossini: “Largo al factotum” from The Barber of Seville 

La ran la lera, la ran la la. La ran la lera, la ran la la. 

La ran la lera, la ran la la. La ran la lera, la ran la la. 

Largo al factotum della città, largo! I am the busiest man in the town, 

La ran la, la ran la, la ran la, la! La ran la, la ran la, la ran la, la! 

Presto a bottega, chè l’alba è già, presto! Off to my shop I must go at the dawn. 

La ran la, la ran la, la ran la, la. La ran la, la ran la, la ran la, la. 

Ah, che bel vivere, Yes, there’s a livelihood, 

Che bel piacere Yes, there’s a fine trade, 

Che bel piacere No trade so fine! 

Per un barbiere, di qualità, For I’m a barber, 

Di qualità! First in my line! 

Ah, bravo Figaro, bravo, bravissimo, bravo! My name is Figaro, take heed. 


Fortunatissimo per verità! No one to equal me, no one indeed. 


Pronto a far tutto, la notte, il giorno Ready from daylight into the evening, 

Sempre d’intorno in giro sta. That’s what a barber always must be. 

Miglior cuccagna per un barbiere, But of all trades a barber’s the finest; 

Vita più nobile, no, non si dà. There’s not a man more important than me. 

La, la ran la, la ran la, la ran la. La, la ran la, la ran la, la ran la. 

Rasori e pettini, lancette e forbici Brushes and combs for you, 

Al mio comando tutto qui sta, scissors and razors too, 

V’è la risorsa poi del mestiere Patches and powders, best that are made; 

Colla donnetta, col cavaliere. Shave you and blister you, 

Ah, che bel vivere, bleed you and bandage you, 

Che bel piacere, If it’s a case for surgical aid. 

Che bel piacere And I may tell you, I can be useful 

Per un barbiere di qualità, di qualità! To pretty ladies and their admirers! 

Tutti mi chiedono, tutti mi vogliono, Everyone sends for me, everyone calls for me, 

Donne, ragazzi, vecchi, fanciulle; Married or single, youthful or aged; 

Qua la parrucca...presto la barba... Periwig powdered...shave in a hurry... 

Qua la sanguigna, presto il biglietto! Quick with a lancet, quick with a letter! 

Figaro, Figaro, Figaro, Figaro! Figaro, Figaro, Figaro, Figaro! 

Ahimè! ahimè! che furia! ahimè! che folla! And all are so insistent and so impatient! 

Uno alla volta per carità! For mercy’s sake, please, one at a time! 

Figaro! son qua. Figaro! I’m here. 

continued on page 24 




Rossini: “Largo al factotum” from The Barber of Seville continued 

Ehi, Figaro...son qua, Hey, Figaro...I’m here, 

Figaro qua, Figaro là, Figaro here, Figaro there, 

Figaro qua, Figaro là, Figaro quick, Figaro slow, 

Figaro su, Figaro giù, Figaro high, Figaro low, 

Figaro su, Figaro giù! Figaro come, Figaro go! 

Pronto prontissimo Lord, how they hurry me, 

Son come il fulmine, Lord, how they flurry me, 

Sono il factotum della città, della città! I am the busiest man in the town, in the town! 

Ah, bravo Figaro, Ah, brave Figaro, 

Bravo, bravissimo! Bravo, bravissimo! 

A te fortuna, a te fortuna, a te fortuna You’ll make your fortune before you have 

non mancherà. done. 

La, la ran la, la ran la, la ran; La, la ran la, la ran la, la ran; 

A te fortuna, a te fortuna, a te fortuna non mancherà! You’ll make your fortune before you have done! 

Sono il factotum della città! I am the busiest man in the town! 

Mahler: “Wenn mein Schatz Hochzeit macht” from Songs of a Wayfarer 

Wenn mein Schatz Hochzeit macht, My sweetheart’s wedding day, 

Fröhliche Hochzeit macht, merry wedding day, 

Hab ich meinen traurigen Tag! is a dismal one for me! 

Geh ich in mein Kämmerlein, I go into my little room, 

Dunkles Kämmerlein! my dark little room! 

Weine! Wein! um meinen Schatz, And I weep, I weep for my love, 

Um meinen lieben Schatz! for my dearest love! 

Blümlein blau, Blümlein blau! Little blue flower, little blue flower! 

Verdorre nicht, verdorre nicht! Do not wither, do not wither! 

Vöglein süss, Vöglein süss! Sweet little bird, sweet little bird! 

Du singst auf grüner Heide. You are singing in the green meadow. 

Ach! Wie ist die Welt so schön! Oh, how beautiful is the world! 

Ziküht! Ziküht! Chirp, chirp! 

Singet nicht, blühet nicht, Do not sing, do not blossom, 

Lenz ist ja vorbei, Spring is gone, 

Alles singen ist nun aus. All singing is now over. 

Des Abends, wenn ich schlafen geh, At night when I go to bed, 

Denk ich an mein Leide, an mein Leide! I think of my sorrow, my sorrow! 

24 | mondaviarts.org

Britten: “Within This Frail Crucible of Light” from The Rape of Lucretia 

TARQUINIUS  

Within this frail crucible of light  

Like a chrysalis contained  

Within its silk oblivion.  

How lucky is this little light,  

It knows her nakedness  

And when it’s extinguished  

It envelops her as darkness  

Then lies with her at night.  

Loveliness like this is never chaste;  

If not enjoyed, it is just waste!  

Wake up, Lucretia!   

FEMALE CHORUS 

No! sleep and outrace Tarquinius’ horse  

And be with your Lord Collatinus.  

Sleep on, Lucretia! Sleep on, Lucretia!   

TARQUINIUS 

As blood red rubies  

Set in ebony  

Her lips illumine  

The black lake of night.  

To wake Lucretia with a kiss  

Would put Tarquinius asleep awhile.   

(He kisses Lucretia.) 

FEMALE CHORUS 

Her lips receive Tarquinius, 

She dreaming of Collatinus.  

And desiring him draws down Tarquinius  

And wakes to kiss again and...   

(Lucretia wakes.) 




Mozart: “Hai già vinta” and “Vedrò mentr’io sospiro” from The Marriage of Figaro, K. 492 

Hai già vinta la causa! cosa sento! You’ve won your case already! What’s that? 

In qual laccio cadea? Perfidi, io Here’s a trap! Treacherous pair, 

voglio di tal modo punirvi, a piacer I’ll punish you and exact such a penalty! 

mio la sentenza sarà. Ma se pagasse But supposing he should pay off old Marcellina? 

la vecchia pretendente? Pagarla! in Pay her? How could he? 

qual maniera? E poi v’è Antonio che Besides Antonio will not give Susanna 

all’incognito Figaro ricusa di dare in marriage to Figaro, who doesn’t even 

una nipote in matrimonio. Coltivando know who his parents are. It will help 

l’orgoglio di questo mentecatto...tutto my plan to foster the old zany’s pride. 

giova a un raggiro...il colpo è fatto. The die is cast! 

Vedrò mentr’io sospiro, Am I to see a lackey of mine 

Felice un servo mio! happy whilst I sigh in vain? 

E un ben che invan desio Is he to possess the object 

Ei posseder dovrà? of my frustrated desire? 

Vedrò per man d’amore Must I see the one who stirred 

Unita a un vile oggetto my affection, alas, unrequited, 

Che in me destò un affetto by love’s agency 

Che per me poi non ha? to a clodhopper united? 

Vedrò mentr’io sospiro, etc. Am I to see a lackey of mine, etc. 

Vedrò, vedrò, vedrò, vedrò? Am I, am l? 

Ah, no! Lasciarti in pace Oh no! I shall not give you 

Non vo’ questo contento, that satisfaction. 

Tu non nascesti, audace, You were not born, you upstart, 

Per dare a me tormento, to torment me so 

E forse ancor per ridere nor to mock me neither 

Di mia infelicità! in my misery! 

Già la speranza sola Only the hope 

Delle vendette mie of vengeance 

Quest’anima consola, consoles me 

E giubilar mi fa. and fills me with exultation. 

Ah, no! Lasciarti in pace, etc. Oh, no! I shall not give you, etc. 


SAN fRANCISCO OPERA CENTER 

San Francisco Opera Center presents the highest calibre of 

international singers and pianists/coaches assembled in a resident 

artist program. Discover this select group of extraordinary artists 

as they take the stage, demonstrating why San Francisco Opera 

always has the best talent to unveil. 

Under the leadership of Sheri Greenawald, San Francisco Opera 

Center is dedicated to promoting the stars of our operatic future. 

For more than 25 years they have prided themselves on looking 

ahead, recognizing, cultivating and nurturing the finest talent. 

Their track record speaks for itself. Past Adler Fellows include 

Ruth Ann Swenson, Mark Delavan, Carol Vaness, Patricia Racette, 

Brian Asawa, Deborah Voigt and Dolora Zajick. Don’t you wish 

you could be in the group of people who all whisper “I knew 

them when...”? Tonight you are on the ground floor to see the 

up and coming singers that San Franciscans are already talking 

about. 

history 

San Francisco Opera’s numerous affiliate educational and training 

programs were started under the directorship of Kurt Herbert 

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

director, Terence A. McEwen, created the San Francisco Opera 

Center to oversee and combine the operation and administration 

of these programs. Providing a coordinated sequence of 

performance and study opportunities for young artists, the 

San Francisco Opera Center represents a new era in which 

young artists of major operatic potential can develop through 

intensive training and performance, under the aegis of a major 

international opera company. 

ADlER fEllOwS 

Founded in 1977 as the San Francisco Affiliate Artists-Opera 

Program, Adler Fellowships are performance-oriented residencies 

for the most advanced young singers and coach/accompanists. 

Under the guidance of San Francisco Opera General Director 

David Gockley and Opera Center Director Sheri Greenawald, the 

Adler Fellowship Program offers intensive individual training and 

roles of increasing importance in San Francisco Opera’s mainstage 

season. Each year, a select group of exceptionally gifted 

singers from Merola Opera Program is invited to continue their 

education as Adler Fellows. As with Merola participants selected 

from a pool of more than 800 candidates, these young artists 

represent what the classical music world can and should expect 

to see on celebrated opera house stages throughout the world in 

the very near future. 

Alumni from the Program 

Former Adler Fellows include sopranos Nicolle Foland, Nancy 

Gustafson, Mary Mills, Patricia Racette, Ruth Ann Swenson and 

Deborah Voigt; mezzo-sopranos Zheng Cao and Dolora Zajick; 

countertenor Brian Asawa; baritone David Okerlund; and bassbaritones 

Monte Pederson and John Relyea. 

Christian Baldini (conductor) has 

worked as a conductor with numerous 

orchestras and ensembles around the 

world including the BBC Symphony 

Orchestra in London, Buenos Aires 

Philharmonic (Argentina), the San 

Francisco Contemporary Music Players, 

Plural Ensemble (Spain) and also as 

an opera conductor for the Aldeburgh 

Festival (United Kingdom). After he 

conducted the Sao Paulo Symphony 

Orchestra (OSESP, Brazil), critic Arthur 

Nestrovski from the Folha de Sao Paulo praised this “charismatic 

young conductor” who “conducted by heart Brahms’s First 

Symphony, lavishing his musicality and leaving sighs all over the 

hall and the rows of the orchestra.” 

Baldini is also a composer, and his music has been performed 

throughout Europe, South America, North America and Asia by 

orchestras and ensembles including the Orchestre National de 

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

Music Ensemble, Memphis Symphony Orchestra, Daegu Chamber 

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

and the International Ensemble Modern (Frankfurt). His music 

appears on the Pretal Label and has been broadcast on SWR 

(German Radio) as well as in the National Classical Music Radio 

of Argentina. He has also conducted and recorded contemporary 

Italian music for the RAI Trade label. 

Baldini’s work has received awards in several competitions including 

the top prize at the Seoul International Competition for 

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

2005), the Ossia International Competition (Rochester, NY, 

2008), the Daegu Chamber Orchestra International Competition 

(South Korea, 2008) and the Sao Paulo Orchestra International 

Conducting Competition (Brazil, 2006). He has been an assistant 

conductor with the Britten-Pears Orchestra (England) and a cover 

conductor with the National Symphony Orchestra (Washington, 

D.C.). After teaching and conducting at the State University of 

New York in Buffalo, Baldini is now assistant professor of music 

at the University of California, Davis, where he is music director 

of the UC Davis Symphony Orchestra. He regularly appears as a 

guest conductor with ensembles and orchestras on both sides of 

the Atlantic. Forthcoming projects include conducting engagements 

with the English Chamber Orchestra in London. 

UC Davis Symphony Orchestra is committed to presenting 

repertoire from different periods and styles at the highest artistic 

level. We pride ourselves also in performing works by students, 

faculty and visiting composers. Established in 1959, the orchestra 

has performed in California, Canada, Australia, French Polynesia, 

and France. As of 2011, the UCDSO has grown to approximately 

100 members. The orchestra’s endowment was established in 1992 

thanks to the generous support of many individuals, and it continues 

to assure access to excellent teachers, soloists, instruments and 

music, and it provides us with remarkable opportunities for our 

students. The UC Davis Symphony Orchestra is a resident ensemble 

of Jackson Hall at the Robert and Margrit Mondavi Center for the 

Performing Arts, Davis, California. In a typical season the orchestra 

performs seven to eight concerts. For more information on the 

2011–12 season, please see the schedule at www.mondaviarts.org or 

at the orchestra’s website: www.music.ucdavis.edu/symphony. 



capradio.org 


help Us Reach Our Goal and Support Our Students! 

From March 24 to April 4, 2012, the UC Davis Symphony 

Orchestra will perform in four cities in Spain: Madrid, 

Granada,Valencia and Barcelona—including the famous Palau de 

la Música Catalana in Barcelona. This is a vital experience for its 

students and an expensive undertaking. Because these are difficult 

economic times, we are offering every student in the orchestra 

a $1,000 Scholarship to help them attend the tour, and we need 

your help to make this possible. We have already raised $30,000, 

which is half of our goal. If you can and would like to further 

help the orchestra meet its fundraising goal for this subsidy (we 

have approximately $27,000 left to fulfill our goal) please contact 

the College of Letters and Science Development Director, Debbie 

Wilson, at 530.754.2221 or at dbwilson@ucdavis.edu. 

Eugene Brancoveanu’s (baritone) virile 

voice and superior stagecraft have earned 

him critical acclaim in both North America 

and Europe. Following recent performances 

of San Francisco Opera’s The Little 

Prince, the San Francisco Chronicle lauded 

“the superb cast as being led by extravagantly 

gifted baritone Eugene Brancoveanu 

as the Pilot. With his unforced charisma, 

vocal clarity, and total heft, Brancoveanu managed the tricky feat 

of doing most of the show’s heavy lifting.” 

In 2011-12, Brancoveanu sings as soloist in Carmina Burana 

with the Fresno Philharmonic Orchestra and continues his extensive 

recital career, performing with Brookings Harbor Friends of 

Music. In the 2010-11 season he appeared with the Philadelphia 

Orchestra, New World Symphony and New York Philharmonic 

at Carnegie Hall, in Michael Tilson Thomas’s The Thomashevskys 

conducted by the composer. He also returned to the Santa Cruz 

County Orchestra in Beethoven’s Symphony No. 9 and sang as 

soloist in Carmina Burana with Spokane Symphony Orchestra. 

Recent successes include the role of Marcello in La bohème with 

Virginia Opera, Gonzalvo in Schreker’s Die Gezeichneten with 

Los Angeles Opera, the title role in Don Giovanni with Berkeley 

Opera, Yeletzky in Pique Dame with the Israeli Opera, singing as 

soloist in Carmina Burana with Santa Cruz County Symphony 

and with Peninsula Symphony Orchestra, an appearance in recital 

with California’s prestigious San Francisco Performances concert 

series, a return to San Francisco Opera as Belcore in L’elisir 

d’amore, Karnak in Lalo’s Le Roi d’ys with the American Symphony 

Orchestra, the Count in Le nozze di Figaro with Livermore Valley 

Opera and singing as soloist in Elijah with University of California, 

Davis. With the Los Angeles Philharmonic he continued his performing 

of Michael Tilson Thomas’s The Tomashevskys, a work 

which he premiered at Carnegie Hall in 2005-06, has reprised 

with the New World Symphony and the San Francisco Symphony 

and which he performed again at the Tanglewood Music Center 

under Seiji Ozawa in 2009. 

Other highlights include his New York City Opera debut as 

Pandolfe in Cendrillon, the role of The Pilot in Portman’s The Little 

Prince for San Francisco Opera, soloist in Brahms’s Requiem with 

the Alabama Symphony Orchestra and in a concert of Bernstein 

repertoire with the Pacific Symphony Orchestra. He made his 

debut with San Francisco Opera in 2005-06 as Second Prisoner in 

Fidelio. Also that season he sang the role of Boris in Shostakovich’s 

Moskau, Tscherkomuschki at Staatstheater Stuttgart. He held a 

prestigious appointment as an Adler Fellow at San Francisco 

Opera for two seasons, directly following his critically acclaimed 

summer 2004 performances of Tarquinius in The Rape of Lucretia 

with the company’s Merola Opera Program. With San Francisco 

Opera he has performed Christian in Un ballo in maschera, Marullo 

in Rigoletto, Moralès in Carmen, Frank in Die Fledermaus, Fiorello 

in Il barbiere di Siviglia and the Innkeeper and the Captain in 

Manon Lescaut. 

Originating the role of Marcello in Baz Luhrmann’s Broadway production 

of La Bohème, the honorary Tony Award winner is also a 

recipient of a 2004 LA Stage Alliance Ovation Award for his performances 

of this production in Los Angeles. Other career highlights 

include performing the role of Nicomedes in the rarely heard Lou 

Harrison opera Young Caesar, for Ensemble Paralèlle; a recital as 

part of the prestigious Schwabacher Debut Recital Series; the title 

role in Le nozze di Figaro with the International Music Festival in 

Gut-Immling, Germany; and the title role in Philip Glass’s Orphée 

with the Universität Mozarteum Salzburg. Brancoveanu’s numerous 

performances with the Romanian State Opera include the Count 

in Le nozze di Figaro, the title role in Don Giovanni, Silvio in I 

Pagliacci, Figaro in Il barbiere di Siviglia, Escamillo in Carmen and 

Uberto in La serva pedrona. 

Brancoveanu is a graduate of the American Institute of Musical 

Studies in Graz and the Universität Mozarteum Salzburg. He is 

a recent winner of the National Young Opera Singer Competition 

in Leipzig, the International Music Award in Leonberg and the 

International Opera contest “Ferruccio Tagliavini.” 

hOTITAlIAN.NET 




El Macero Country Club 

•18-hole championship golf course 

• Managed by Troon Golf, the world leader in upscale Club management 

• Seasonal, regional dining options 

• Meeting and event space for outside parties 

• Just a few minutes from UC Davis campus 

To inquire about banquets or membership, please call or visit El Macero Country Club 

530-753-3363 

www.elmacerocc.org


Photo by Glenn Ross 

PResents 

Debut 

MC 

hIlARy hAhN, VIOlIN 

Valentina lisitsa, piano 

A Wells Fargo Concert Series Event 

Saturday, October 29, 2011 • 8PM 



Sponsored by 

fURThER lISTENING 

see p. 32 





fURThER lISTENING 

hIlARy hAhN 

by JEff hUDSON 


Hilary Hahn made her formal debut as a recording artist in 1997 at age 17, starting with an album of 

Bach solo violin works for the Sony label. 

The choice of Bach was intriguing, because while most music students nowadays learn selected Bach 

pieces early on, there are also several highly regarded musicians who consciously delay recording 

Bach’s music in a big way. Mstislav Rostropovich (b.1927) famously told interviewers in the 1990s he 

regretted the recordings of two Bach cello suites that he made before his 40th birthday, and added 

that he didn’t feel fully prepared to record the complete Bach cello suites until he was in his 60s. (You 

know what they say about Bach: the older you get, the better Bach’s music sounds.) 

This writer takes no position regarding “the right age to record Bach.” I think Hahn’s 1997 album 

(Partitas 2 and 3 and Sonata No. 3) is delightful. Hahn told the public radio program St. Paul Sunday in 

1999 that “Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure 

in double stops, bringing out the various voices where the phrasing requires it, crossing the strings 

so that there are not inadvertent accents, presenting the structure in such a way that it is clear to the 

listener without being pedantic—one cannot fake things in Bach.” 

Hahn first visited Davis in November 1999, performing under the aegis of the former UC Davis 

Presents program (before the Mondavi Center was built). At the time, she was seven days short of her 

20th birthday, and a very recent graduate (May 1999) of the Curtis Institute in Philadelphia. 

Her career has gone up, up, up since that time. She picked up Grammy Awards for her 2001 recording 

of the Brahms and Stravinsky violin concertos (on the Sony label). She got another Grammy for her 

2008 album (on Deutsche Grammophon) featuring the Schoenberg and Sibelius violin concertos. 

She apparently likes to pair more traditional concertos with more modern concertos on her albums. 

In 2010, Hahn released an album featuring the violin concerto by Jennifer Higdon (written for Hahn). 

The Higdon concerto also won the Pulitzer Prize for Music. On the album, the Higdon is paired with 

the popular Tchaikovsky Violin Concerto. And she’s come back to Bach twice, with albums featuring 

Bach violin concertos and works by Bach for violin, voice and orchestra. 

Hahn is also fond of You Tube and has posted various videos in recent years offering advice to musicians 

about chin rests for the violin, how to spot a good music teacher and so on. 

Hahn’s website says she also like to write—her albums often feature liner notes that she has written, 

and her website includes a section “By Hilary” (which she insists is not a blog) that features essays 

about her travels and her thoughts that she posts from time to time. 

There is also an ongoing Twitter account, with authorship credited to “the snitch that is international 

violinist Hilary Hahn’s instrument case. Rants, raves, snippets, tidbits, insider info—the full case study.” 

Being a Twitter account, the posts are concise observations like “I am feeling ignored. The fingernail 

clippers I carry haven’t been used in weeks” and “Hilary has been watching movies for two days.” 

She is a woman of her era, with an impish sense of humor to boot. 

Jeff Hudson contributes coverage of the performing 

arts to Capital Public Radio, the Davis Enterprise 

and Sacramento News and Review.


Valentina lisitsa, piano 

Works may not be performed in this order. 

Intermission will be announced from the stage. 

Sonata No. 1 for Unaccompanied Violin in G Minor, BWV 1001 Bach 

Adagio 

Fuga (Allegro) 

Siciliana 

Presto 

Sonata for Violin and Piano in A Major, Op. 12, No. 2 Beethoven 

Allegro vivace 

Andante, più tosto allegretto 

Allegro piacevole 

Scherzo for Violin and Piano in C Minor from the “F.A.E.” Sonata Brahms 

“Selected Shorts” from In 27 Pieces: The Hilary Hahn Encores 

Selections will be announced from the stage. 

Speak, Memory Lera Auerbach 

Blue Curve of the Earth Tina Davidson 

Memory Games Avner Dorman 

Levitation Søren Nils Eichberg 

Coming To Christos Hatzis 

Echo Dash Jennifer Higdon 

Solitude d’automne Bun-Ching Lam 

Blue Fiddle Paul Moravec 

Two Voices Nico Muhly 

Whispering Einojuhani Rautavaara 

Mercy Max Richter 

Bifu Somei Satoh 

Torua Gillian Whitehead 

Hilary Hahn and Valentina Lisitsa appear by arrangement with IMG Artists. 

Hilary Hahn’s recordings are available on Deutsche Grammophon and Sony Classical. 

Hahn and Lisitsa will be on hand to personally autograph programs and recordings in the lobby following the performance. 


hIlARy hAhN, VIOlIN


Program Notes 

Sonata No. 1 for Unaccompanied Violin in G Minor, BWV 1001 

(before 1720) 

Johann Sebastian Bach 

(Born March 21, 1685, in Eisenach, Germany; died July 28, 1750, 

in Leipzig) 

Bach composed the set of three sonatas and three partitas for 

unaccompanied violin before 1720, the date on the manuscript, 

while he was director of music at the court of Anhalt-Cöthen, north 

of Leipzig. Though there is not a letter, preface, contemporary 

account or shred of any other documentary evidence extant to 

shed light on the genesis and purpose of these pieces, the technical 

demands that they impose upon the player indicate that they 

were intended for a virtuoso performer: Johann Georg Pisendel, a 

student of Vivaldi; Jean Baptiste Volumier, leader of the Dresden 

court orchestra; and Joseph Spiess, concertmaster of the Cöthen 

orchestra, have been advanced as possible candidates. 

After the introduction of the basso continuo early in the 17th 

century, it had been the seldom-broken custom to supply a 

work for solo instrument with keyboard accompaniment, so 

the tradition behind Bach’s solo violin sonatas and partitas is 

slight. Johann Paul von Westhoff, a violinist at Weimar when 

Bach played in the orchestra there in 1703, published a set of 

six unaccompanied partitas in 1696, and Heinrich Biber, Johann 

Jakob Walther and Pisendel all composed similar works. All of 

those composers were active in and around Dresden. Bach visited 

Dresden shortly before assuming his post at Cöthen, and he may 

well have become familiar at that time with most of this music. 

Though Bach may have found models and inspiration in the 

music of his predecessors, his works for unaccompanied violin far 

surpass any others in technique and musical quality. 

Though the three violin partitas, examples of the sonata da camera 

(chamber sonata) or suite of dances, vary in style and structure, 

the three solo sonatas uniformly adopt the precedent of the more 

serious church sonata, the sonata di chiesa deriving their mood 

and makeup from the works of the influential Roman master 

Arcangelo Corelli. The sonatas follow the standard four-movement 

disposition of the sonata da chiesa—slow–fast–slow–fast—though 

Bach replaced the first quick movements with elaborate fugues 

and suggested certain dance-like buoyancy in the finales. The 

Sonata No. 1 in G minor opens with a deeply expressive Adagio 

whose mood of stern solemnity is heightened by considerable 

chromaticism and harmonic piquancy. The four-voice Fugue that 

follows appealed sufficiently to Bach that he transcribed it for 

both organ (BWV 539) and lute (BWV 1000). The G minor Sonata 

concludes with a lilting Siciliano and a moto perpetuo movement in 

two-part dance form. 

Sonata for Violin and Piano in A Major, Op. 12, No. 2 (1798) 

Ludwig van Beethoven 

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

Vienna) 

Beethoven took some care during his first years after arriving in 

Vienna from his native Bonn in November 1792 to present himself 

as a composer in the day’s more fashionable genres, one of which 

was the sonata for piano nominally accompanied, according to 

the taste of the time, by violin. Mozart had addressed the form 


in 42 works, some of which moved beyond the convention that 

expected the keyboard to dominate the string instrument toward 

a greater equality between the partners. Beethoven continued on 

this tack so decisively that, despite their conservative structure 

and idiom, his first three string sonatas, Op. 12 of 1798, presage 

the full parity that marks the 19th-century duo sonata. The Op. 

12 sonatas are products of Beethoven’s own practical experience 

as both pianist and violinist, an instrument he had learned while 

still in Bonn and on which he took lessons shortly after settling 

in Vienna with the noted performer (and, later, great champion of 

his chamber music) Ignaz Schuppanzigh. In view of their gestating 

friendship, it was fitting that Schuppanzigh and the composer 

presented one of the Op. 12 sonatas at a public concert benefiting 

the singer Josefa Duschek on March 29, 1798. 

The A major Sonata opens with a teasing two-note motive that 

tumbles downward through the piano’s range to constitute the 

first movement’s main theme and set the playful mood (one of 

Beethoven’s rarest emotions) for what follows. A melody buoyed 

upon a surprising harmonic excursion, emphasized by accented 

notes, provides the gateway to the second subject, a phrase of 

snappy, descending, neighboring tones that is first cousin to the 

main theme. Transformations of all three themes occupy the 

development section. The recapitulation provides another hearing 

of the thematic material before the movement ends, almost in 

mid-thought, with an airy coda spun from the main theme. Jelly 

d’Aranyi (1893-1966), the distinguished Hungarian violinist who 

inspired Ravel’s Tzigane in 1924, left a charming word-picture of 

the images conjured for her by the plaintive second movement: 

“The Andante has the most touching and wonderful dialogue. I can 

only imagine that St. Francis and St. Clara spoke of things like this 

when they met at Assisi, and which Beethoven alone could put 

into music, as he did so many conversations, each lovelier than 

the other.” The finale is an elegant rondo whose expressive nature 

is indicated by its heading: piacevole—agreeable and pleasant 

Scherzo for Violin and Piano in C Minor from the “F.A.E.” 

Sonata (1853) 

Johannes Brahms 

(Born May 7, 1833, in Hamburg; died April 3, 1897, in Vienna) 

In April 1853, the 20-year-old Johannes Brahms set out from his 

native Hamburg for a concert tour of Germany with the Hungarian 

violinist Eduard Reményi. The following month in Hanover they 

met the violinist Joseph Joachim, whom Brahms had heard give an 

inspiring performance of the Beethoven Concerto five years earlier 

in Hamburg. Brahms was at first somewhat shy in the presence of 

the celebrated virtuoso, but the two men warmed to each other 

when the young composer began to play some of his recent music 

at the piano. Before the interview was done, Joachim had been 

overwhelmed by his visitor: “Brahms has an altogether exceptional 

talent for composition, a gift which is further enhanced by the 

unaffected modesty of his character. His playing, too, gives every 

presage of a great artistic career, full of fire and energy...In brief, he 

is the most considerable musician of his age that I have ever met.” 

The following summer, Brahms and Joachim spent eight weeks 

at Göttingen, discussing music, studying scores, playing chamber 

works together and setting the foundation for a creative friendship 

that would last for almost half a century. Joachim learned of 

Brahms’s desire to take a walking tour through the Rhine Valley,

and he arranged a joint recital to raise enough money to finance 

the trip. Along with the proceeds of the gate, Joachim gave Brahms 

as a parting gift several letters of introduction, including one to 

Robert and Clara Schumann in Düsseldorf. 

On the last day of September 1853, Brahms met the Schumanns 

for the first time. “Here is one of those who comes as if sent 

straight from God,” Clara recorded in her diary. Brahms was 

introduced around town, and among those he befriended was the 

young composer and conductor Albert Dietrich, a favorite student 

of Schumann and a frequent visitor to his home. Joachim was 

scheduled for an appearance in Düsseldorf at the end of October 

to give the premiere of Schumann’s Fantasy for Violin and Orchestra 

(Op. 131) as part of the Music Festival of the Lower Rhine, with 

the composer conducting. 

As a surprise for the violinist, Schumann, Dietrich and Brahms 

each agreed to write a movement of a sonata for violin and piano 

and then challenge Joachim to guess the respective authors. 

Dietrich was assigned the opening movement, Schumann 

volunteered an intermezzo and finale, and Brahms offered to 

supply the scherzo. They dubbed the project the “F.A.E.” Sonata, 

after the phrase that Joachim had taken as his motto: Frei aber 

einsam (“Free but alone”). The music was finished quickly, 

assembled into a performing edition and inscribed with a reversedinitial 

dedication: “In Expectation of the Arrival of an honored 

and beloved Friend.” Joachim was delighted with the gift, played 

the entire Sonata through immediately with Clara at the keyboard, 

and correctly announced each movement’s composer without a 

moment of hesitation. He kept the score for the rest of his life, 

and only in 1906, just a year before his death, did he finally allow 

Brahms’ Scherzo to be published. 

The Scherzo is Brahms’s earliest extant piece for violin and piano, 

though he had already composed at least one full sonata for that 

instrumental combination that either he or Schumann lost on 

its way to the publisher. The piece (“good fun—and harmless,” 

according to William Murdoch) follows the traditional three-part 

scherzo form, with a rather stormy C minor paragraph at the 

beginning and end surrounding a more lyrical central trio. 

Brahms’ Scherzo was not only a charming memento of an 

important friendship, but was also further proof to Schumann that 

he had met a genius. On October 23, 1853, Schumann’s article 

New Paths appeared in the widely read journal that he edited, 

Neue Zeitschrift für Musik (“New Journal for Music”). “I thought 

that sooner or later,” Schumann wrote, “someone would and must 

appear, destined to give ideal expression to the spirit of the times... 

And he has come, a young blood at whose cradle Graces and 

Heroes kept watch. His name is Johannes Brahms.” Brahms was 

famous from that day forward. 

—Dr. Richard E. Rodda 

In 27 Pieces: The Hilary Hahn Encores 

At age 31, two-time Grammy Award-winning violinist Hilary Hahn 

has already made a lasting impact upon the violin repertoire, premiering 

two concertos written for her by American composers and 

championing both well- and lesser-known works in performance 

and recording. Hahn now delves deeper into the world of contemporary 

classical music, commissioning more than two dozen composers 

to write short-form pieces for acoustic violin and piano. 

She will tour these new works over the 2011-12 and 2012-13 seasons 

and then record them. The project is called In 27 Pieces: The 

Hilary Hahn Encores. 

This idea began to take shape nearly a decade ago, when Hahn 

noticed that new encore pieces were not being showcased as much 

as other types of contemporary works. Shorter pieces remain a 

crucial part of every violinist’s education and repertoire, and Hahn 

believed potential new favorites should be encouraged and performed 

as well. 

Of the project, she writes, “My initial goal was to expand the 

encore genre to embrace works of different styles. Because I was 

planning to play the commissioned pieces myself, it was important 

that the composers’ writing spoke to me in some way. I listened to 

a lot of contemporary classical music, for hours on end, often late 

into the night. I loved hearing things I had never heard before. I 

made nerve-wracking ‘cold calls’ to composers to ask them to participate 

in my project. I wasn’t sure what the reactions would be, 

but to my surprise, so many people were receptive that the project 

gained exhilarating momentum. 

“It has been thrilling and an honor to get to know these composers 

as artists and to work with such different personalities and 

styles. Going into this project, I had no idea how much I would 

learn from it. Each composer brings his or her own musical language 

to the table. As a performer, the process of exploring these 

pieces is both challenging and exciting. The structure may be concise, 

but each work contains a wealth of expression. 

“When composers put ideas down on paper, the aural world takes 

on a greater dimension. My hope is that these particular contributions 

will showcase the range of music being written today, while 

bringing enjoyment to listeners and performers alike.” 


hIlARy hAhN, VIOlIN

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hilary hahn (violin) is a 31-year-old 

violinist and two-time Grammy Award 

winner celebrated for her probing interpretations, 

technical brilliance and spellbinding 

stage presence. Extensive touring and 

acclaimed recordings over the past decade 

and a half have made Hahn one of the 

most sought-after artists on the international 

concert circuit. 

Hilary Hahn appears regularly with the 

world’s elite orchestras and on the most 

prestigious recital series in Europe, Asia, Australasia, and North 

and South America. In the 2010-11 season, Hahn performed in 

fifty-six cities across four continents. 

In the dozen years since she began recording, Hahn has released 

11 feature albums on the Deutsche Grammophon and Sony labels, 

in addition to three DVDs, an Oscar-nominated movie soundtrack 

and more. One of Hahn’s recent concerto recordings, which 

paired Schoenberg and Sibelius, debuted at No. 1 and spent the 

next 23 weeks on the Billboard classical charts. This acclaimed 

album brought Hahn her second Grammy: the 2009 Award for 

Best Instrumental Soloist Performance with Orchestra. Her first 

Grammy win came in 2003 for her Brahms and Stravinsky concerto 

album. 

Hahn is also active on the contemporary classical music scene. In 

1999, she premiered and recorded the violin concerto written for 

her by the American bassist and composer Edgar Meyer, and in 

2009, she did the same with Jennifer Higdon’s violin concerto, also 

written for and dedicated to her. A recording of the Pulitzer Prizewinning 

Higdon concerto, paired with the Tchaikovsky violin concerto, 

was released on Deutsche Grammophon in 2010. 

An avid writer, Hahn posts journal entries and information for 

musicians and concertgoers on her website (www.hilaryhahn. 

com). In video, she produces a YouTube channel (www.youtube. 

com/hilaryhahnvideos). Elsewhere, her violin case comments on 

life as a traveling companion, on Twitter (www.twitter.com/violincase). 

Hilary Hahn was born in Lexington, Virginia, in 1979. 

Valentina lisitsa (piano), whose 

multi-faceted playing has been described 

as “dazzling,” is at ease in a vast repertoire 

ranging from Bach and Mozart to 

Shostakovich and Bernstein. Her orchestral 

repertoire alone includes more than 40 

concerti. She admits to having a special 

affinity for the music of Rachmaninoff and 

Beethoven and continues to add to her 

vast repertoire each season. In May 2010, 

Lisitsa performed the Dutch premiere of Rachmaninoff’s “New 

5th” Concerto in her debut with the Rotterdam Symphony. 

Previous highlights include debuts with the Chicago Symphony, 

Seattle Symphony, WDR Cologne, Seoul Philharmonic and the 

Pittsburgh Symphony, collaborating with conductors Manfred 

Honeck, Yannick Nézet-Séguin and Jukka-Pekka Saraste, among 

others. 

Her 2011-12 season will feature her San Francisco Symphony 

debut, as well as debut performances with the Helsinki 

Philharmonic and the Colorado Symphony and recitals at Ravinia, 

Teatro de Colon in Buenos Aires and the Casals Festival. 

Lisitsa has recorded three independently released DVDs, including 

her best-selling set of Chopin’s 24 Etudes, which long held 

the coveted #1 spot on the Amazon music video list. A champion 

in the use of new media, Lisitsa pushes traditional boundaries 

to reach out to audiences around the globe. With more than 28 

million YouTube channel views, Lisitsa is one of the most soughtafter 

classical musicians on the web. Last summer, thousands of 

bedazzled music fans worldwide witnessed the live broadcast of 

Lisitsa’s practice sessions, allowing her to show a different aspect 

of her artistic persona. For two weeks, world audiences watched 

Lisitsa learn and prepare to the utmost detail almost four hours 

of new music in daily 14-hour long sessions. Similar initiatives 

followed for the recording sessions of her upcoming CDs, receiving 

the enthusiastic approval and support from fans around the 

world. In addition, Lisitsa has recently completed recordings of 

the complete concerti of Rachmaninoff and Rhapsody on a Theme 

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Debut 

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SO PERCUSSION 

“we Are All Going in Different Directions” 

A John Cage Celebration 

A Studio Classics: Replay Series Event 

Saturday, October 29, 2011 • 8PM 

Sunday, October 30, 2011 • 2PM 

Vanderhoef Studio Theatre, Mondavi Center, UC Davis 

Post-Performance Q&A 

Saturday, October 29, 2011 

Moderated by Lara Downes, Artist in Residence, Mondavi Center, UC Davis (see page 42) 

Pre-Performance Talk 

Speakers: So Percussion members in conversation with 

Lara Downes, Artist in Residence, Mondavi Center, UC Davis 

Sunday, October 30, 2011 • 1PM 

Vanderhoef Studio Theatre, Mondavi Center, UC Davis 

Additional support provided by 


Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

SO PERCUSSION 

“we Are All Going in Different Directions” 


Eric Beach 

Josh R. Quillen 

Adam Sliwinski 

Jason Treuting 

with Guests: 

Cenk Ergün, electronics 

Beth Meyers, viola 

Credo in US (1942) John Cage 

Needles (2010) Sō Percussion/Matmos 

Imaginary Landscape #1 (1939) John Cage 

Use (with Cenk Ergün and Beth Meyers) (2009) Cenk Ergün 

Bottles from Ghostbuster Cook: The Origin of the Riddler (2011) Dan Deacon 

18’12”, a simultaneous performance of Cage works 

Inlets (Improvisation II) (1977) John Cage 

0’00” (4’33” No.2) (1962) 

Duet for Cymbal (1960) 

45’ for a speaker (1954) 

24 x 24 (with special guests) (2011) Sō Percussion 

Third Construction (1941) John Cage 


SO PERCUSSION

SO PERCUSSION 

Program Notes 

John Cage’s artistic legacy is formidable. 

His innovations and accomplishments are truly staggering: He 

wrote some of the first electric/acoustic hybrid music, the first 

significant body of percussion music, the first music for turntables, 

invented the prepared piano and had a huge impact in the fields of 

dance, visual art, theater and critical theory. 

Somehow Cage’s prolific output seems not to stifle, but rather to 

spur creativity in others. He certainly deserves surveys, tributes 

and concert portraits during the centenary of his birth. But Sō 

Percussion wanted to do him honor by allowing his work and 

spirit to infuse our own. 

We have chosen some of our favorite Cage pieces to present 

on this celebration concert. We believe that although they are 

historical in fact, each is stunningly present and even prophetic. 

The pieces are woven in with new music: some by our close 

friends, and some of our own creation. 

Tonight’s Cage works 

Credo in US was Cage’s first collaboration with the dancer and 

choreographer Merce Cunningham. It was originally a dance 

drama satirizing middle-class dysfunction and blind patriotism in 

the midst of World War II. The use of random radio and record 

samples means that no two performances are exactly the same. 

Imaginary Landscape #1 is credited by many as the first electric/ 

acoustic hybrid piece ever written in America. It is certainly the 

first piece written for turntables as instruments, predating hip-hop 

by many decades. 

Inlets asks the performers to improvise using gurgling sounds 

of water in conch shells. It also utilizes the sounds of burning 

pinecones and a lone conch shell. 

0’0” consists of a single instruction: “In a situation provided with 

maximum amplification (no feedback), perform a disciplined action.” 

45’ for a Speaker is a text that appears in Silence, Cage’s seminal 

collection of writings and pieces. It is precisely written to be 

performed in 45 minutes, and essentially constitutes a collage of 

earlier lectures. 

Duet for Cymbal is not a piece that Cage actually wrote, but a realization 

of his piece Cartridge Music that is suggested in the performance 

notes of the score. The performers make parts by layering 

transparencies with dots and circles over sheets with irregular 

shapes. 

Third Construction is one of Cage’s most-often performed works: 

a densely constructed, astonishingly inventive piece of chamber 

music that calls on the performers to choose tin cans, pod rattles, 

cowbells and a number of other instruments. It is symmetrically 

structured in 24 sections of 24 measures each, a solution to the 

vexing problem of how to organize music without harmony, as 

well as the inspiration behind our own “24 x 24” on this program. 


So Percussion 

Since 1999, Sō Percussion has been creating music that explores 

all the extremes of emotion and musical possibility. It has not been 

an easy music to define. Called an “experimental powerhouse” by 

the Village Voice, “astonishing and entrancing” by Billboard and 

“brilliant” by the New York Times, the Brooklyn-based quartet’s 

innovative work with today’s most exciting composers and its own 

original music has quickly helped it forge a unique and diverse 

career. 

Although the drum is one of humanity‘s most ancient instruments, 

Europe and America have only recently begun to explore its full 

potential, aided by explosions of influence and experimentation 

from around the world. In the 20th century, musical innovators 

like Edgard Varese, John Cage, Steve Reich and Iannis Xenakis 

brought these instruments out from behind the traditional orchestra 

and gave them new voice. It was excitement about these 

composers and the sheer fun of playing together that inspired the 

members of Sō Percussion to begin performing together while students 

at the Yale School of Music. Cage’s Third Construction wove 

elaborate rhythmic counterpoint using ordinary objects, while 

Reich’s Drumming harnessed African inspiration to ecstatic effect. 

A blind call to David Lang, Pulitzer Prize-winning composer 

and co-founder of New York’s Bang on a Can Festival, yielded 

their first big commissioned piece, the so-called laws of nature, 

which appeared with Evan Ziporyn’s gamelan-inspired Melody 

Competition on their first album, entitled Sō Percussion. In the following 

years, the thrill of working with amazing composers would 

yield new pieces by Paul Lansky, Dan Trueman, Steve Reich, Steve 

Mackey, Fred Frith and many others. 

For their next disc they tackled Drumming, one of the first (and 

few) percussion pieces of symphonic scope (well over an hour 

long). A landmark American work, Drumming fuses African 

aesthetics, western philosophical concepts and technologically 

inspired processes into a minimalist masterpiece. In 2010, Sō 

Percussion presented the U.S. premiere of Reich’s Mallet Quartet, 

written for the group and several other renowned percussion 

ensembles. 

Sō Percussion’s third album, Amid the Noise, heralded a new 

direction: original music, written by member Jason Treuting. 

Eager to expand their palette, the members experimented with 

glockenspiel, toy piano, vibraphones, bowed marimba, melodica, 

tuned and prepared pipes, metals, duct tape, a wayward ethernet 

port and all kinds of sound programming. The resulting idiosyncratic 

tone explorations were synchronized to Jenise Treuting’s 

haunting films of street scenes in Brooklyn and Kyoto. This ongoing 

work has resulted in exciting new projects such as the sitespecific 

Music For Trains in southern Vermont and Imaginary City, 

a sonic meditation on urban soundscapes commissioned by the 

Brooklyn Academy of Music’s 2009 Next Wave Festival in consortium 

with five other venues. 

For the past several years, Sō Percussion has been joining the 

electronic duo Matmos for shows around the country and in 

Europe, exploring the sonic and theatrical possibilities of beer 

cans, hair clippers, ceramic bowls and dry ice. This collaboration 

culminated in Treasure State, released on Cantaloupe Music in 

2010.

Sō Percussion is becoming increasingly involved in mentoring 

young artists. Starting in the fall of 2011, its members will be 

co-directors of a new percussion department at the Bard College- 

Conservatory of Music. This top-flight undergraduate program 

will enroll each student in a double-degree (Bachelor of Music and 

Bachelor of Arts) course in the Conservatory and Bard College, 

and will expose them to both traditional western conservatory 

training and a variety of world traditions. The summer of 2009 

saw the creation of the annual Sō Percussion Summer Institute on 

the campus of Princeton University. The Institute is an intensive 

two-week chamber music seminar for college-age percussionists. 

For their latest festival, the four members of Sō Percussion served 

as faculty in rehearsal, performance and discussion of contemporary 

music to 26 students from around the world. 

Sō Percussion has performed this unusual and exciting music 

all over the United States, with concerts at the Lincoln Center 

Festival, Carnegie Hall, Brooklyn Academy of Music, Stanford 

Lively Arts, Cleveland Museum of Art and many other venues. 

In addition, recent tours to Russia, Australia, Italy, Germany, 

Spain and Ukraine have brought them international acclaim. 

They won second prize overall and the Concerto Prize at the 

2005 Luxembourg International Percussion Quartet Competition. 

With an audience comprised of “both kinds of blue hair...elderly 

matron here, arty punk there” (as the Boston Globe described it), 

Sō Percussion makes a rare and wonderful breed of music that 

both instantly compels and offers rewards for engaged listening. 

Edgy (at least in the sense that little other music sounds like this) 

and ancient (in that people have been hitting objects for eons), 

perhaps it doesn‘t need to be defined after all. 

Sō Percussion would like to thank Pearl/Adams Instruments, 

Zildjian cymbals, Vic Firth drumsticks, Remo drumheads and 

Estey organs for their sponsorship. 

Eric Beach, in addition to his work with Sō Percussion, performs 

often as a soloist and chamber musician. Studying with Robert Van 

Sice, he received his Bachelor of Music and Graduate Performance 

Diploma at the Peabody Conservatory, where he won the Yale 

Gordon Concerto Competition, and his Master of Music at the Yale 

School of Music. He also received a Fulbright fellowship and pursued 

additional study with Bernhard Wulff in Freiburg, Germany. 

He has taught as Adjunct Professor of Percussion at the University 

of Bridgeport and in the Hearing and Undergraduate Percussion 

programs at the Yale School of Music. 

Josh R. Quillen, in addition to his work with Sō Percussion, has 

performed in steel drumming ensembles all over the country. He 

played with Len “Boogsie” Sharpe’s Phase II Pan Groove in Trinidad/ 

Tobago during Carnival in 2002. He has commissioned several new 

works for contemporary steel drum including Roger Zahab’s “I 

Still Dream” and “Pan Man” by Bruce J. Taub, the second of which 

was premiered in New York City in 2004. He has participated in 

premieres of pieces as part of the New Music Ensemble, Daedulus, 

under the direction of Roger Zahab. He has performed as a section 

percussionist with the Akron Symphony Orchestra and is well 

versed in marimba and multiple-percussion. A recent performance 

included a solo piece with the University of Akron Steel Drum Band 

accompanying the Ohio Ballet. Quillen studied with Robert Van Sice 

at Yale University (MM) as well as Dr. Larry Snider at the University 

of Akron (BM, ME). Quillen serves as the artistic director for the 

steel band at New York University. 

Adam Sliwinski has been a member of Sō Percussion since 2002. 

During his time in Sō Percussion, he has had the opportunity to 

collaborate with some of today’s most exciting composers and 

performers, including Steve Reich, David Lang, Paul Lansky, Steve 

Mackey, Matmos, Kronos Quaret, Kneebody and many others. 

He has performed at Carnegie Hall, Lincoln Center, the Brooklyn 

Academy of Music, Stanford Lively Arts, Cleveland Museum of 

Art and hundreds of other venues. Sliwinski has taught percussion 

both in masterclass and privately at more than 80 conservatories 

and universities in the U.S. and internationally. Along with the 

other three members of Sō Percussion, he serves as faculty at the 

annual Sō Percussion Summer Institute, which draws college-age 

percussion students from around the country. 

Sliwinski has performed extensively as a soloist, both as percussionist 

and marimbist. In 2000, he was the alternate winner of 

the Sorantin Young Artist competition in San Angelo, Texas. His 

marimba playing has been described as “beautifully delineated” 

by the Cleveland Plain Dealer and “expertly parsed” by the Boston 

Globe. Adam also performs as a percussionist and conductor 

with the International Contemporary Ensemble, a group based in 

Chicago and New York. 

Adam received his Bachelors in Music at the Oberlin Conservatory 

of Music studying with Michael Rosen. He received his Master of 

Music and Doctor of Musical Arts at the Yale School of Music with 

Robert Van Sice, where his thesis engaged the percussion music of 

Iannis Xenakis. Other teachers have included Jack Bell and Peggy 

Benkesar. 

Jason Treuting, in addition to his work with Sō Percussion, performs 

in the duo Alligator Eats Fish with guitarist Grey McMurray. 

He also improvises with composer/performer Cenk Ergun and in 

a duo setting with composer/guitarist Steve Mackey. His compositions 

are featured on Sō’s album Amid the Noise from Cantaloupe 

Music.Treuting received his Bachelor in Music at the Eastman 

School of Music where he studied percussion with John Beck and 

drum set and improvisation with Ralph Alessi, Michael Cain and 

Steve Gadd. He received his Master in Music along with an Artist 

Diploma from Yale University where he studied percussion with 

Robert Van Sice. He has also traveled to Japan to study marimba 

with Keiko Abe and Bali to study gamelan with Pac I Nyoman 

Suadin. 


SO PERCUSSION

SO PERCUSSION MODERATOR: lARA DOwNES 

Lauded by NPR as “a delightful artist with a unique blend 

of musicianship and showmanship” and praised by the 

Washington Post for her stunning performances “rendered 

with drama and nuance,” Lara Downes has won acclaim 

as one of the most exciting and communicative young 

pianists of today’s generation. Since making early debuts 

at Queen Elizabeth Hall in London and the Vienna 

Konzerthaus, this powerfully charismatic artist has appeared 

on many of the world’s most prestigious stages, including 

Carnegie Hall, Kennedy Center and Lincoln Center. Recent 

appearances include Portland Piano International, San 

Francisco Performances, University of Vermont Lane Series, 

American Academy Rome, El Paso Pro Musica Festival, 

Montreal Chamber Music Festival and the University of 

Washington World Series. 

Downes’s unique performance style, praised as “a voyage of 

discovery” (Sacramento Bee), infuses repertoire both iconic 

and unfamiliar with passion, profound musicality, intellectual 

insight and humor. Her diverse performance works have 

received support from the NEA, the Barlow Endowment and 

American Public Media. Downes’s six solo recordings have 

met with tremendous critical and popular acclaim. Her latest 

CD, 13 Ways of Looking at the Goldberg (Tritone), was released 

in Fall 2011. Downes is a Steinway Artist. 

Indulge 

Fine iTALiAn CUiSine 

2657 PorTAge BAy 

eAST, DAviS CA 95616 

(530) 758-1324 

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Free PArKing 

FASTeST & eASieST WAy 

To THe monDAvi CenTer 


HYATT PLACE 

IS A PROUD SPONSOR 

of tHE robErt and margrit 

MONDAVI CENTER FOR THE PERFORMING 

ARTS, UC DAVIS 

HYATT PLACE UC DAVIS 

173 old davis road ExtEnsion 

DAVIS, CA 95616, USA 

PHONE: +1 530 756 9500 FAx: +1 530 297 6900


PResents 

Debut 

MC 

CINEMATIC TITANIC 

The Original Creators of MST3K present: 

DooMSDay MacHInE 

A With a Twist Series Event 

Friday, November 4, 2011 • 8PM 






Saturday, November 19, 2011 7:00 pm 

Vanderhoef Studio Theatre — Classical Cabaret Seating 

Empyrean Ensemble: Fabián Panisello Composer Portrait 

Fabián Panisello (artist-in-residence) is conductor of the Ensemble 

Plural in Madrid, and has been guest conductor of orchestras 

and ensembles, including musikFabrik of Cologne, Ensemble 

Contemporain of Lyon, Musiques Nouvelles of Brussels, and 

the Israel Contemporary Players of Tel-Aviv. Panisello has been 

commissioned by the National Orchestra of Spain and the 

Southwestern German Radio Symphony Orchestra. 

$8 Students & Children, $20 Adults. 

SuNday, November 20, 2011 7:00 pm 

Jackson Hall — Standard Seating 

UC Davis Symphony Orchestra 

Stravinsky: Berceuse and Finale from The Firebird 

Panisello: Violin Concerto 

Hrabba Atladottir, violin 

Fabián Panisello, guest conductor and artist-in-residence 

Strauss: Don Juan 

Verdi: Overture to I vespri siciliani 

$8 Students & Children, $12/15/17 Adults. 

Tickets are available through the Mondavi Center Box Office 

12–6 pm Monday–Saturday 

(530) 754.2787 | mondaviarts.org

CINEMATIC TITANIC 

Doomsday Machine 

American spies discover the Chinese have built a weapon capable 

of destroying planet Earth, a “doomsday machine” if you will, 

and that they plan to use it within a matter of days. Immediately, 

Project Astra, a manned U.S. space mission to Venus, is taken 

over by the military and half of its all-male crew is replaced by 

women just hours before launch. The reason for this becomes 

apparent when, shortly after Astra leaves Earth’s orbit, said planet 

is completely destroyed (in a cataclysm of stock footage). 

Will the crew of the Astra make it safely to Venus? Will the human 

race survive? Will you wish it didn’t once you’ve seen this movie? 

Not when you watch with Cinematic Titanic! The riff light is on as 

they go head-to-head with this 1972 non-classic. 

cinematic Titanic is the new feature-length movie riffing show 

from the creator and original cast of Mystery Science Theatre 3000. 

Like MST3K, the show was created by Joel Hodgson and features 

the same team that first brought the Peabody Award-winning cultclassic 

series to life: Trace Beaulieu (Crow, Dr. Forrester), J. Elvis 

Weinstein (Tom Servo, Dr. Erhardt), Frank Conniff (TV’s Frank), 

and Mary Jo Pehl (Pearl Forrester). Cinematic Titanic continues 

the tradition of riffing on “the unfathomable,” “the horribly great,” 

and the just plain “cheesy” movies from the past. 

Founded in late 2007, Cinematic Titanic is an artist-funded and 

artist-owned and operated venture. With 10 feature-length DVDs 

(available in our store) and an ever-growing schedule of live 

shows, the CT crew is reconnecting with MSTies around the 

world as well as bringing new fans to the comedy art form first 

introduced by this group 20 years ago on television. 

Trace Beaulieu was a founding writer/performer on Mystery 

Science Theater 3000 playing Dr. Forrester and Crow for the show’s 

first seven seasons as well as the feature film version of MST. 

Trace continues to work as both a performer and writer. As an 

actor, he has appeared on Freaks and Geeks (six episodes), The 

West Wing and several independent features. He was also the host 

of People Traps on Animal Planet. Trace’s writing credits include 

ABC’s America’s Funniest Home Videos, Fast Food Films on FX and 

authoring the popular comic book Here Come the Big People!. Trace 

is also a dedicated visual artist with pieces in many collections. 

Visit his website for information about his new book, Silly Rhymes 

for Belligerent Children. 

Frank Conniff played the beloved character TV’s Frank on MST3K 

for five seasons as well as writing on the show through that span. 

Since moving to Los Angeles, Frank has worked as a writer/ 

producer on the ABC series The Drew Carey Show and Sabrina the 

Teenage Witch, HBO’s Perversions of Science and The New Tom Green 

Show on MTV. Frank has also worked extensively in animation as 

head writer for Nickelodeon’s Invader Zim and writer for Disney’s 

Twisted Fairy Tales. He has created both animated and live pilots 

for USA, Bravo, Nickelodeon and MTV. Frank also stays busy as 

a performer in TV roles, with his stand-up act and as creator and 

host of the live show/webcast series Cartoon Dump. 

Joel Hodgson started his comedy career while at Bethel College in 

Minneapolis, opening for Christian rock bands. He then moved to 

Los Angeles and performed stand-up in comedy clubs across the 

country, becoming a regular performer on Late Night with David 

Letterman and Saturday Night Live and was selected to be on HBO’s 

Eighth Young Comedians Special. After talking a hiatus from standup 

and moving back to Minneapolis, Joel created MST3K, which 

he also hosted for five seasons. Joel has written several movies, 

including Disney’s Honey We Shrunk Ourselves with Nell Scovell. 

Over the last 10 years, Joel has been a consultant with his brother, 

studio artist and designer Jim Hodgson, working on projects as 

diverse as ride theme-ing The Beatles Yellow Submarine (Sony), 

magic consultants for Sabrina, The Teenage Witch (ABC) and Penn 

and Teller’s Sin City Spectacular (FOX), supervising producers 

for the live event Robot Wars and Everything you need to Know 

(Discovery), and creative consulting on the game shows You Don’t 

Know Jack (ABC) and Smush (USA) as well as Jimmy Kimmel Live 

(ABC). Joel sporadically appears in the long running play Girly 

Magazine Party as well as Frank Conniff’s Cartoon Dump. 

Mary Jo Pehl spent seven years as a writer and performer on 

MST3K, both in character roles and then regularly as the evil 

Pearl Forrester. She is a regular contributor to Minnesota Monthly, 

and she’s also written for the Minneapolis Star Tribune, Catholic 

Digest, Bon Appetit and PBS. Her work has also appeared in several 

anthologies, including Life’s A Stitch: The Best of Contemporary 

Women’s Humor and Travelers’ Tales: The Thong Also Rises. Mary Jo 

most recently co-hosted a weekly radio show in the Twin Cities. 

In addition, her commentaries have aired on NPR’s All Things 

Considered and Weekend America and PRI’s The Savvy Traveler. She 

has appeared in various stage productions from New York to Los 

Angeles and most recently has been featured in Bad Seed in Los 

Angeles. 

J. Elvis Weinstein began his stand-up career in Minneapolis at 

age 15. He was 17 when he became one of the founding writer/ 

performers on MST3K. He was the original voice of Servo and 

Gypsy and played Mad Scientist Dr. Lawrence Erhardt. Since 

moving to Los Angeles at age 20, he has worked as a writer/ 

producer on Freaks and Geeks (NBC), Malcolm and Eddie (UPN), 

Dead Last (WB), My Guide to Becoming a Rock Star (WB) and 

Talk Soup (E!). He was also the head writer on America’s Funniest 

Home Videos (ABC) and Later with Greg Kinnear (NBC). J. Elvis 

has also written drama pilots for HBO, UPN, Sony, and co-created 

and executive produced Fast Food Films for FX. He continues 

to perform as a stand-up comic and musician (he penned the 

Cinematic Titanic theme) and has written material for comedians 

Garry Shandling, Dennis Miller, Roseanne Barr and Louie 

Anderson. 


CINEMATIC TITANIC


Written by Tom SToppard 

Directed by Granada Artist-in-Residence 

michael Bar akiva 

Thu-SaT Nov 17-19 8pm | SuN Nov 20 2pm | Thu-SaT dec 1-3 8pm 

M ain TheaTre 

TickeTs & infor M aTion: 530.754.arTS 

TheaTredaNce.ucdaviS.edu 

Produced by special arrangement with Samuel French, Inc. for permitted uses.

shakespeare Works 

when shakespeare Plays 

a three-day workshop conference for teachers 

at the Mondavi Center, UC Davis, January 13-15, 2012 

“Here let us breathe, and haply institute 

A course of learning and ingenious studies.” 

—The Taming of the Shrew 

Teaching Artists from some of the world’s most respected Shakespeare Theaters share active 

and playful approaches that will enliven your teaching of Shakespeare. 

This conference of hands-on workshops at the Mondavi Center, UC Davis, will also transform 

your teaching across the curriculum to support the VAPA standards. 

The weekend is presented by the UC Davis School of Education and the Robert and Margrit Mondavi 

Center for the Performing Arts at UC Davis in association with Globe Education (Shakespeare’s Globe, 

london) and the shakespeare theatre association. 

Register now for just $299: www.regonline.com/shakespeare_works 

After November 1, registration is $349. limited openings will sell out fast. 

Visit the Conference Website for more information: http://shakespeareplays.ucdavis.edu 

Invited Presenters: 

Shakespeare festival/lA 

San francisco Shakespeare Company 

Oregon Shakespeare festival 

Bard on the Beach (Vancouver) 

American Shakespeare Center (Virginia) 

Shakespeare and Company (lennox, Mass) 

Shakespeare’s Globe Education (london) 

folger Shakespeare Theater 


Mondavi Center 

Corporate Partners 

PlATINUM 

GOlD 

SIlVER 

BRONzE 

Boeger Winery 

Ciocolat 

El Macero Country Club 

Hot Italian 

Hyatt Place 


Office of Campus 

Community Relations 

MONDAVI CENTER GRANTORS AND 

ARTS EDUCATION SPONSORS 

The Andrew W. Mellon Foundation 

EVENT & ADDITIONAl SUPPORT PARTNERS 

Osteria Fasulo 

Seasons Restaurant 

Strelitzia Flower Company 

Watermelon Music 

the art of giving 

Donors 

Your generous donation allows us to bring world-class 

artists and speakers to the Sacramento Valley and energize 

and inspire tens of thousands of school children and teachers 

through our nationally recognized Arts Education programs. 

In appreciation of your gift, you receive a host of benefits which 

can include: 

• Priority Seating 

• Access to Donor-Only Events 

• Advance ticket sales for Just Added shows 

• Invitation to a cast party 

• Much, much more… 

Remember: Ticket sales cover only 

40% of our costs. 

For more information about how you can support the Mondavi 

Center, please contact: Mondavi Center Development Department 

530.754.5438. 

A Special Thank You 

to our Blanche Neige Presenting Sponsors! 

Lead Presenting Sponsor Presenting Sponsor 

Dance Series Sponsor


Individual Supporters 

MondaviCenter 

InnerCircle 

Inner Circle Donors 

are dedicated arts patrons whose 

leadership gifts to the Mondavi Center 

are a testament to the value of the 

performing arts in our lives. 

Mondavi Center is deeply grateful 

for the generous contributions of the 

dedicated patrons who give annual 

financial support to our organization. 

These donations are an important 

source of revenue for our program, 

as income from ticket sales covers 

less than half of the actual cost of our 

performance season. 

Their gifts to the Mondavi Center 

strengthen and sustain our efforts, 

enabling us not only to bring 

memorable performances by worldclass 

artists to audiences in the 

capital region each year, but also to 

introduce new generations to the experience 

of live performance through 

our Arts Education Program, which 

provides arts education and enrichment 

activities to more than 35,000 

K-12 students annually. 

For more information on 

supporting the Mondavi Center, 

visit MondaviArts.org or call 

530.754.5438. 

† Mondavi Center Advisory Board Member 

* Friends of Mondavi Center 

IMPRESARIO CIRClE $25,000 AND UP 

John and Lois Crowe †* 

Barbara K. Jackson †* 

Friends of Mondavi Center 

VIRTUOSO CIRClE $15,000 - $24,999 

Joyce and Ken Adamson 

Ann and Gordon Getty Foundation 

Anne Gray †* 

Mary B. Horton* 

Grant and Grace Noda* 

William and Nancy Roe †* 

Lawrence and Nancy Shepard † 

Tony and Joan Stone † 

Joe and Betty Tupin †* 

MAESTRO CIRClE $10,000 - $14,999 

Wayne and Jacque Bartholomew †* 

Ralph and Clairelee Leiser Bulkley* 

Oren and Eunice Adair-Christensen* 

Dolly and David Fiddyment † 

M. A. Morris* 

Shipley and Dick Walters* 

BENEfACTORS CIRClE $6,000 - $9,999 

California Statewide Certified Development Corporation 

Camille Chan † 

Cecilia Delury and Vince Jacobs † 

Patti Donlon † 

First Northern Bank † 

Samia and Scott Foster † 

Benjamin and Lynette Hart †* 

Dee and Joe Hartzog † 

Margaret Hoyt* 

Bill Koenig and Jane O’Green Koenig 

Garry Maisel † 

Stephen Meyer and Mary Lou Flint† 

Grace and John Rosenquist* 

Chris and Melodie Rufer 

Raymond and Jeanette Seamans 

Ellen Sherman 

Larry and Rosalie Vanderhoef †* 


ProDuCers CIrCle $3,000 - $5,999 

Neil and Carla Andrews 

Hans Apel and Pamela Burton 

Cordelia Stephens Birrell 

Kay and Joyce Blacker* 

Neil and Joanne Bodine 

Mr. Barry and Valerie Boone 

Brian Tarkington and Katrina Boratynski 

Michael and Betty Chapman 

Robert and Wendy Chason 

Chris and Sandy Chong* 

Michele Clark and Paul Simmons 

Tony and Ellie Cobarrubia* 

Claudia Coleman 

Eric and Michael Conn 

Nancy DuBois* 

Stephen Duscvha and Wanda Lee Graves 

Merrilee and Simon Engel 

Catherine and Charles Farman 

Domenic and Joan Favero 

Donald and Sylvia Fillman 

Andrew and Judith Gabor 

Kay Gist 

Fredric Gorin and Pamela Dolkart Gorin 

Ed and Bonnie Green* 

Robert Grey 

Diane Gunsul-Hicks 

Charles and Ann Halsted 

Judith and Bill Hardardt* 

The One and Only Watson 

Lorena Herrig* 

Charley and Eva Hess 

Suzanne and Chris Horsley* 

Sarah and Dan Hrdy 

Dr. Ronald and Lesley Hsu 

Debra Johnson, MD and Mario Gutierrez 

Teresa and Jerry Kaneko* 

Dean and Karen Karnopp* 

Nancy Lawrence, Gordon Klein, and 

Linda Lawrence 

Greiner Heat, Air, and Solar 

Brian and Dorothy Landsberg 

Drs. Richard Latchaw and Sheri Alders 

Ginger and Jeffrey Leacox 

Claudia and Allan Leavitt 

Robert and Barbara Leidigh 

Yvonne LeMaitre 

John T. Lescroart and Lisa Sawyer 

Nelson Lewallyn and 

Marion Pace-Lewallyn 

Dr. Ashley and Shiela Lipshutz 

Paul and Diane Makley* 

In memory of Jerry Marr 

Janet Mayhew* 

Robert and Helga Medearis 

Verne Mendel* 

Derry Ann Moritz 

Jeff and Mary Nicholson 

Philip and Miep Palmer 

Gavin Payne 

Suzanne and Brad Poling 


Lois and Dr. Barry Ramer 

David Rocke and Janine Mozée 

Roger and Ann Romani* 

Hal and Carol Sconyers* 

Tom and Meg Stallard* 

Karen and Jim Steidler 

Tom and Judy Stevenson 

Donine Hedrick and David Studer 

Jerome Suran and Helen Singer Suran* 

Rosemary and George Tchobanoglous 

Della Aichwalder Thompson 

Nathan and Johanna Trueblood 

Ken Verosub and Irina Delusina 

Jeanne Hanna Vogel 

Claudette Von Rusten 

John Walker and Marie Lopez 

Cantor & Company, A Law Corporation* 

Bob and Joyce Wisner* 

Richard and Judy Wydick 

And six donors who prefer to remain 

anonymous 

DIreCtors CIrCle $1,100 - $2,999 

John and Kathleen Agnew 

Dorrit Ahbel 

Beulah and Ezra Amsterdam 

Russell and Elizabeth Austin 

Murry and Laura Baria* 

Lydia Baskin* 

Connie Batterson 

Jo Anne Boorkman* 

Clyde and Ruth Bowman 

Edwin Bradley 

Linda Brandenburger 

Robert Burgerman and Linda Ramatowski 

Davis and Jan Campbell 

David J. Converse, ESQ. 

Gail and John Cooluris 

Jim and Kathy Coulter* 

John and Celeste Cron* 

Terry and Jay Davison 

Bruce and Marilyn Dewey 

Martha Dickman* 

Dotty Dixon* 

Richard and Joy Dorf* 

Thomas and Phyllis Farver* 

Tom Forrester and Shelly Faura 

Sandra and Steven Felderstein 

Nancy McRae Fisher 

Carole Franti* 

Paul J. and Dolores L. Fry Charitable Fund 

Karl Gerdes and Pamela Rohrich 

Henry and Dorothy Gietzen 

Craig A. Gladen 

John and Patty Goss* 

Jack and Florence Grosskettler* 

Virginia Hass 

Tim and Karen Hefler 

Sharna and Myron Hoffman 

Claudia Hulbe 

Ruth W. Jackson 

Clarence and Barbara Kado 

Barbara Katz* 

Hansen Kwok 

Thomas Lange and Spencer Lockson 

Mary Jane Large and Marc Levinson 

Edward and Sally Larkin* 

Hyunok Lee and Daniel Sumner 

Linda and Peter Lindert 

Angelique Louie 

Natalie and Malcolm MacKenzie* 

Stephen Madeiros 

Douglas Mahone and Lisa Heschong 

Dennis H. Mangers and Michael Sestak 

Susan Mann 

Judith and Mark Mannis 

Maria Manoliu 

Marilyn Mansfield 

John and Polly Marion 

Yvonne L. Marsh 

Robert Ono and Betty Masuoka 

Shirley Maus* 

Ken McKinstry 

Joy Mench and Clive Watson 

Fred and Linda J. Meyers* 

John Meyer and Karen Moore 

Eldridge and Judith Moores 

Barbara Moriel 

Patricia and Surl Nielsen 

Linda Orrante and James Nordin 

Alice Oi, In memory of Richard Oi 

Jerry L. Plummer 

Linda and Lawrence Raber* 

Larry and Celia Rabinowitz 

Kay Resler* 

Prof. Christopher Reynolds and 

Prof. Alessa Johns 

Thomas Roehr 

Don Roth and Jolán Friedhoff 

Liisa A. Russell 

Beverly “Babs” Sandeen and 

Marty Swingle 

Ed and Karen Schelegle 

The Schenker Family 

Neil and Carrie Schore 

Bonnie and Jeff Smith 

Wilson and Kathryn Smith 

Ronald and Rosie Soohoo* 

Richard L. Sprague and Stephen C. Ott 

Maril Revette Stratton and 

Patrick Stratton 

Brandt Schraner and Jennifer Thornton 

Verbeck and friends 

Louise and Larry Walker 

Scott Weintraub 

Dale L. and Jane C. Wierman 

Paul Wyman 

Yin Yeh 

And five donors who prefer to remain 

anonymous


Donors 

enCore CIrCle 

$600 - $1,099 

Gregg T. Atkins and Ardith Allread 

Drs. Noa and David Bell 

Marion Bray 

Don and Dolores Chakerian 

Gale and Jack Chapman 

William and Susan Chen 

Robert and Nancy Nesbit Crummey 

John and Cathie Duniway 

Shari and Wayne Eckert 

Doris and Earl Flint 

Murray and Audrey Fowler 

Gatmon-Sandrock Family 

Jeffery and Marsha Gibeling 

Paul N. and E. F. “Pat” Goldstene 

David and Mae Gundlach 

Robin Hansen and Gordon Ulrey 

Cynthia Hearden* 

Lenonard and Marilyn Herrmann 

Katherine Hess 

Barbara and Robert Jones 

Paula Kubo 

Frances and Arthur Lawyer* 

Gary and Jane Matteson 

Don and Sue Murchison 

Robert Murphy 

Richard and Kathleen Nelson 

Frank Pajerski 

John Pascoe and Susan Stover 

Jerry and Ann Powell* 

J. and K. Redenbaugh 

John and Judy Reitan 

Jeep and Heather Roemer 

Jeannie and Bill Spangler 

Sherman and Hannah Stein 

Les and Mary Stephens Dewall 

Judith and Richard Stern 

Eric and Patricia Stromberg* 

Lyn Taylor and Mont Hubbard 

Cap and Helen Thomson 

Roseanna Torretto* 

Henry and Lynda Trowbridge* 

Donald Walk, M.D. 

Geoffrey and Gretel Wandesford-Smith 

Steven and Andrea Weiss* 

Denise and Alan Williams 

Kandi Williams and Dr. Frank Jahnke 

Karl and Lynn Zender 

And three donors who prefer to 

remain anonymous 

orChestra CIrCle 

$300 - $599 

Michelle Adams 

Mitzi Aguirre 

Susan Ahlquist 

Paul and Nancy Aikin 

Jessica Friedman 

Drs. Ralph and Teresa Aldredge 

Thomas and Patricia Allen 

Fred Arth and Pat Schneider 

Al and Pat Arthur 

Shirley and Michael Auman* 

Robert and Joan Ball 

Beverly and Clay Ballard 

In memory of Ronald Baskin 

Delee and Jerry Beavers 

Robert Hollingsworth and Carol Beckham 

Carol L. Benedetti 

Donald and Kathryn Bers* 

Bob and Diane Biggs 

Al J. Patrick, Bankruptcy Law Center 

Elizabeth Bradford 

Paul Braun 

Rosa Maquez and Richard Breedon 

Joan Brenchley and Kevin Jackson 

Irving and Karen Broido* 

In memory of Rose Marie Wheeler 

John and Christine Bruhn 

Manuel Calderon De La Barca Sanchez 

Jackie Caplan 

Michael and Louise Caplan 

Anne and Gary Carlson 

Koling Chang and Su-Ju Lin 

Jan Conroy, Gayle Dax-Conroy, Edward 

Telfeyan, Jeri Paik-Telfeyan 

Charles and Mary Anne Cooper 

James and Patricia Cothern 

Cathy and Jon Coupal* 

David and Judy Covin 

Larry Dashiell and Peggy Siddons 

Thomas B. and Eina C. Dutton 

Micki Eagle 

Janet Feil 

David and Kerstin Feldman 

Sevgi and Edwin Friedrich* 

Dr. Deborah and Brook Gale 

Marvin and Joyce Goldman 

Stephen and Deirdre Greenholz 

Judy Guiraud 

Darrow and Gwen Haagensen 

Sharon and Don Hallberg 

Alexander and Kelly Harcourt 

David and Donna Harris 

Roy and Miriam Hatamiya 

Stephen and Joanne Hatchett 

Paula Higashi 

Brit Holtz 

Herb and Jan Hoover 

Frederick and B.J. Hoyt 

Pat and Jim Hutchinson* 

Mary Jenkin 

Don and Diane Johnston 

Weldon and Colleen Jordan 

Mary Ann and Victor Jung 

Nancy Gelbard and David Kalb 

Douglas Neuhauser and Louise Kellogg 

Charles Kelso and Mary Reed 

Ruth Ann Kinsella* 

Joseph Kiskis 

Judy and Kent Kjelstrom 

Peter Klavins and Susan Kauzlarich 

Charlene Kunitz 

Allan and Norma Lammers 

Darnell Lawrence and Dolores Daugherty 

Richard Lawrence 

Ruth Lawrence 

Carol and Robert Ledbetter 

Stanley and Donna Levin 

Barbara Levine 

Ernest and Mary Ann Lewis* 

Michael and Sheila Lewis* 

David and Ruth Lindgren 

Jeffrey and Helen Ma 

Pat Martin* 

Yvonne Clinton Mazalewski and 

Robert Mazalewski 

Sean and Sabine McCarthy 

Catherine McGuire 

Michael Gerrit 

Nancy Michel 

Hedlin Family 

Robert and Susan Munn* 

Anna Rita and Bill Neuman 

John and Carol Oster 

Sally Ozonoff and Tom Richey 

John and Sue Palmer 

John and Barbara Parker 

Brenda Davis and Ed Phillips 

Bonnie A. Plummer* 

Deborah Nichols Poulos and 

Prof. John W. Poulos 

Harriet Prato 

John and Alice Provost 

J. David Ramsey 

Rosemary Reynolds 

Guy and Eva Richards 

Ronald and Sara Ringen 

Tracy Rodgers and Richard Budenz 

Sharon and Elliott Rose* 

Barbara and Alan Roth 

Marie Rundle 

Bob and Tamra Ruxin 

Tom and Joan Sallee 

Mark and Ita Sanders 

Eileen and Howard Sarasohn 

Mervyn Schnaidt 

Maralyn Molock Scott 

Ruth and Robert Shumway 

Michael and Elizabeth Singer 

Al and Sandy Sokolow 

Edward and Sharon Speegle 

Curtis and Judy Spencer 

Tim and Julie Stephens 

Pieter Stroeve, Diane Barrett and 

Jodie Stroeve 

Kristia Suutala 

Tony and Beth Tanke 

Butch and Virginia Thresh 

Dennis and Judy Tsuboi 

Ann-Catrin Van Ph.D. 

Robert Vassar 

Don and Merna Villarejo 

Rita Waterman 

Norma and Richard Watson 

Regina White 

Wesley and Janet Yates 

Jane Y. Yeun and Randall E. Lee 

Ronald M. Yoshiyama 

Hanni and George Zweifel 

And six donors who prefer to remain 

anonymous 

maInstage CIrCle 

$100 - $299 

Leal Abbott 

Thomas and Betty Adams 

Mary Aften 

Jill Aguiar 

Suzanne and David Allen 

David and Penny Anderson 

Elinor Anklin and George Harsch 

Janice and Alex Ardans 

Debbie Arrington 

Shota Atsumi 

Jerry and Barbara August 

George and Irma Baldwin 

Charlotte Ballard and Bob Zeff 

Diane and Charlie Bamforth* 

Elizabeth Banks 

Michele Barefoot and Luis Perez-Grau 

Carole Barnes 

Paul and Linda Baumann 

Lynn Baysinger* 

Claire and Marion Becker 

Sheri Belafsky 

Merry Benard 

Robert and Susan Benedetti 

William and Marie Benisek 

Robert C. and Jane D. Bennett 

Marta Beres 

Elizabeth Berteaux 

Bevowitz Family 

Boyd and Lucille Bevington 

Ernst and Hannah Biberstein 

Katy Bill 

Andrea Bjorklund and Sean Duggan 

Lewis J. and Caroline S. Bledsoe 

Fred and Mary Bliss 

Bobbie Bolden 

William Bossart 

Mary and Jill Bowers 

Alf and Kristin Brandt 

Robert and Maxine Braude 

Daniel and Millie Braunstein* 

Francis M. Brookey 

Linda Clevenger and Seth Brunner 

Mike and Marian Burnham 

Margaret Burns and Roy W. Bellhorn 

Victor W. Burns 

William and Karolee Bush 

Lita Campbell* 

Robert and Lynn Campbell 

Robert Canary 

John and Nancy Capitanio 

James and Patty Carey 

Michael and Susan Carl 

John and Inge Carrol 

Bruce and Mary Alice Carswell* 

Jan and Barbara Carter* 

Dorothy Chikasawa* 

Frank Chisholm 

Richard and Arden Christian 

Betty M. Clark 

Gail Clark 

L. Edward and Jacqueline Clemens 

James Cline 

Wayne Colburn 

Sheri and Ron Cole 

Steve and Janet Collins 

In honor of Marybeth Cook 

Nicholas and Khin Cornes 

Victor Cozzalio and Lisa Heilman-Cozzalio 

Lorraine Crozier 

Bill and Myra Cusick 

Elizabeth Dahlstrom-Bushnell* 

John and Joanne Daniels 

Nita Davidson 

Johanna Davies 

Voncile Dean 

Mrs. Leigh Dibb 

Ed and Debby Dillon 

Joel and Linda Dobris 

Gwendolyn Doebbert and Richard Epstein 

Val Docini and Solveig Monson 

Val and Marge Dolcini* 

Katherine and Gordon Douglas 

Anne Duffey 

Marjean Dupree 

Victoria Dye and Douglas Kelt 

David and Sabrina Eastis 

Harold and Anne Eisenberg 

Eliane Eisner 

Terry Elledge 

Vincent Elliott 

Brian Ely and Robert Hoffman 

Allen Enders 

Adrian and Tamara Engel 

Sidney England 

Carol Erickson and David Phillips 

Jeff Ersig 

David and Kay Evans 

Valerie Eviner 

Evelyn Falkenstein 

Andrew D. and Eleanor E. Farrand* 

Richard D. Farshler 

Liz and Tim Fenton 

Steven and Susan Ferronato 

Bill and Margy Findlay 

Judy Fleenor* 

Manfred Fleischer 

David and Donna Fletcher 

Glenn Fortini 


Lisa Foster 

Robert Fowles and Linda Parzych 

Marion Franck and Bob Lew 

Anthony and Jorgina Freese 

Joel Friedman 

Larry Friedman 

Kerim and Josina Friedrich 

Joan M. Futscher 

Myra Gable 

Charles and Joanne Gamble 

Peggy E. Gerick 

Gerald Gibbons and Sibilla Hershey 

Louis J. Fox and Marnelle Gleason* 

Pat and Bob Gonzalez* 

Michael Goodman 

Susan Goodrich 

Louise and Victor Graf 

Jeffrey and Sandra Granett 

Jacqueline Gray* 

Donald Green 

Mary Louis Greenberg 

Paul and Carol Grench 

Alexander and Marilyn Groth 

June and Paul Gulyassy 

Wesley and Ida Hackett* 

Paul W. Hadley 

Jim and Jane Hagedorn 

Frank and Ro Hamilton 

William Hamre 

Jim and Laurie Hanschu 

Marylee and John Hardie 

Richard and Vera Harris 

Cathy Brorby and Jim Harritt 

Ken and Carmen Hashagen 

Mary Helmich 

Martin Helmke and Joan Frye Williams 

Roy and Dione Henrickson 

Rand and Mary Herbert 

Roger and Rosanne Heym 

Larry and Elizabeth Hill 

Calvin Hirsch and Deborah Francis 

Frederick and Tieu-Bich Hodges 

Michael and Peggy Hoffman 

Steve and Nancy Hopkins 

Darcie Houck 

David and Gail Hulse 

Lorraine J. Hwang 

Marta Induni 

Jane Johnson* 

Kathryn Jaramillo 

Robert and Linda Jarvis 

Tom and Betsy Jennings 

Dr. and Mrs. Ronald C. Jensen 

Pamela R. Jessup 

Carole and Phil Johnson 

SNJ Services Group 

Michelle Johnston and Scott Arranto 

Warren and Donna Johnston 

In memory of Betty and Joseph Baria 

Andrew and Merry Joslin 

Martin and JoAnn Joye* 

John and Nancy Jungerman 

Nawaz Kaleel 

Fred Kapatkin 

Shari and Timothy Karpin 

Anthony and Beth Katsaris 

Yasuo Kawamura 

Phyllis and Scott Keilholtz* 

Patricia Kelleher* 

Dave and Gay Kent 

Robert and Cathryn Kerr 

Gary and Susan Kieser 

Louise Bettner and Larry Kimble 

Ken and Susan Kirby 

Dorothy Klishevich 

Paulette Keller Knox 

Paul Kramer 

Dave and Nina Krebs 

Kurt and Marcia Kreith 

Sandra Kristensen 

Leslie Kurtz 

Cecilia Kwan 

Donald and Yoshie Kyhos 

Ray and Marianne Kyono 

Bonnie and Kit Lam* 

Angelo Lamola 

Marsha M. Lang 

Bruce and Susan Larock 


Harry Laswell and Sharon Adlis 

C and J Learned 

Marceline Lee 

Lee-Hartwig Family 

Nancy and Steve Lege 

Suzanne Leineke 

The Lenk-Sloane Family 

Joel and Jeannette Lerman 

Evelyn A. Lewis 

Melvyn Libman 

Motoko Lobue 

Mary S. Lowry 

Henry Luckie 

Maryanne Lynch 

Ariane Lyons 

Ed and Sue MacDonald 

Leslie Macdonald and Gary Francis 

Thomas and Kathleen Magrino* 

Deborah Mah* 

Mary C. Major 

Vartan Malian 

Julin Maloof and Stacey Harmer 

Joan Mangold 

Bunkie Mangum 

Raymond and Janet Manzi 

Joseph and Mary Alice Marino 

Donald and Mary Martin 

J. A. Martin 

Mr. and Mrs. William R. Mason 

Bob and Vel Matthews 

Leslie Maulhardt 

Katherine F. Mawdsley* 

Karen McCluskey* 

John McCoy 

Nora McGuinness* 

Donna and Dick McIlvaine 

Tim and Linda McKenna 

Blanche McNaughton* 

Richard and Virginia McRostie 

Martin A. Medina and Laurie Perry 

Cliva Mee and Werner Paul Harder III 

DeAna Melilli 

Barry Melton and Barbara Langer 

Sharon Menke 

The Merchant Family 

Roland and Marilyn Meyer 

Leslie Michaels and Susan Katt 

Jean and Eric Miller 

Phyllis Miller 

Sue and Rex Miller 

Douglas Minnis 

Steve and Kathy Miura* 

Kei and Barbara Miyano 

Vicki and Paul Moering 

Joanne Moldenhauer 

Louise S. Montgomery 

Amy Moore 

Hallie Morrow 

Marcie Mortensson 

Christopher Motley 

Robert and Janet Mukai 

Bill and Diane Muller 

Terry and Judy Murphy 

Steve Abramowitz and Alberta Nassi 

Judy and Merle Neel 

Cathy Neuhauser and Jack Holmes 

Robert Nevraumont and 

Donna Curley Nevraumont* 

Keri Mistler and Dana Newell 

K. C. Ng 

Denise Nip and Russell Blair 

Forrest Odle 

Yae Kay Ogasawara 

James Oltjen 

Marvin O’Rear 

Jessie Ann Owens 

Bob and Beth Owens 

Mike and Carlene Ozonoff* 

Michael Pach and Mary Wind 

Charles and Joan Partain 

Thomas Pavlakovich and 

Kathryn Demakopoulos 

Dr. and Mrs. John W. Pearson 

Bob and Marlene Perkins 

Pat Piper 

Mary Lou Pizzio-Flaa 

David and Jeanette Pleasure 

Bob and Vicki Plutchok 

Ralph and Jane Pomeroy* 

Bea and Jerry Pressler 

Ann Preston 

Rudolf and Brigitta Pueschel 

Evelyn and Otto Raabe 

Edward and Jane Rabin 

Jan and Anne-Louise Radimsky 

Kathryn Radtkey-Gaither 

Lawrence and Norma Rappaport 

Evelyn and Dewey Raski 

Olga Raveling 

Dorothy and Fred Reardon 

Sandi Redenbach* 

Paul Rees 

Sandra Reese 

Martha Rehrman* 

Eugene and Elizabeth Renkin 

David and Judy Reuben* 

Al and Peggy Rice 

Joyce Rietz 

Ralph and Judy Riggs* 

David and Kathy Robertson 

Richard and Evelyne Rominger 

Andrea Rosen 

Catherine and David Rowen 

Paul and Ida Ruffin 

Michael and Imelda Russell 

Hugh Safford 

Dr. Terry Sandbek* and Sharon Billings* 

Kathleen and David Sanders* 

Glenn Sanjume 

Fred and Polly Schack 

John and Joyce Schaeuble 

Patsy Schiff 

Tyler Schilling 

Leon Schimmel and Annette Cody 

Fred and Colene Schlaepfer 

Julie Schmidt* 

Janis J. Schroeder and Carrie L. Markel 

Rick Schubert 

Brian A. Sehnert and Janet L. McDonald 

Andreea Seritan 

Dan Shadoan and Ann Lincoln 

Ed Shields and Valerie Brown 

Sandi and Clay Sigg 

Joy Skalbeck 

Barbara Slemmons 

Marion Small 

Judith Smith 

Juliann Smith 

Robert Snider 

Jean Snyder 

Blanca Solis 

Roger and Freda Sornsen 

Marguerite Spencer 

Johanna Stek 

Raymond Stewart 

Karen Street* 

Deb and Jeff Stromberg 

Mary Superak 

Thomas Swift 

Joyce Takahashi 

Francie Teitelbaum 

Jeanne Shealor and George Thelen 

Julie Theriault, PA-C 

Virginia Thigpen 

Janet Thome 

Robert and Kathryn Thorpe 

Brian Toole 

Lola Torney and Jason King 

Michael and Heidi Trauner 

Rich and Fay Traynham 

James E. Turner 

Barbara and Jim Tutt 

Robert Twiss 

Ramon and Karen Urbano 

Chris and Betsy Van Kessel 

Bart and Barbara Vaughn* 

Richard and Maria Vielbig 

Charles and Terry Vines 

Rosemarie Vonusa* 

Richard Vorpe and Evelyn Matteucci 

Carolyn Waggoner* 

M. Therese Wagnon 

Carol Walden 

Caroline and Royce Waters 

Marya Welch* 

Dan and Ellie Wendin* 

Douglas West 

Martha S. West 

Robert and Leslie Westergaard* 

Linda K. Whitney 

Jane Williams 

Marsha Wilson 

Linda K. Winter* 

Janet Winterer 

Michael and Jennifer Woo 

Ardath Wood 

Timothy and Vicki Yearnshaw 

Elaine Chow Yee* 

Norman and Manda Yeung 

Teresa Yeung 

Phillip and Iva Yoshimura 

Heather Young 

Phyllis Young 

Verena Leu Young* 

Melanie and Medardo Zavala 

Mark and Wendy Zlotlow 

And 47 donors who prefer to remain 

anonymous 

CORPORATE 

MATChING GIfTS 

Bank of America Matching Gifts 

Program 

Chevron/Texaco Matching Gift Fund 

DST Systems 

We appreciate the many Donors who 

participate in their employers’ matching 

gift program. Please contact your Human 

Resources department to find out about 

your company’s matching gift program. 

Note: We are pleased to recognize the 

Donors of Mondavi Center for their 

generous support of our program. 

We apologize if we inadvertently listed 

your name incorrectly; please contact 

the Development Office at 530.754.5438 

to inform us of corrections.

The Friends of Mondavi Center is 

an active donor-based volunteer 

organization that supports 

activities of the Mondavi Center’s 

presenting program. Deeply 

committed to arts education, 

Friends volunteer their time 

and financial support for learning 

opportunities related to Mondavi 

Center performances. When you 

join the Friends of Mondavi Center, 

you are able to choose from a variety 

of activities and work with other 

Friends who share your interests. 

Friends of Mondavi Center are active volunteers! 

We invite you to join Friends of Mondavi Center in activities that benefit Mondavi 

Center Arts Education. Volunteer to work in the Mondavi Center Gift Shop, give tours 

of the Mondavi Center and support school matinees through docent visits, docent 

guide writing and ushering. 

You can also visit the Mondavi Center Gift Shop on October 29, 2011, for 

the Annual Brunch and Browse event to get an early start on your holiday 

shopping. This event is open to the public, and all profits from gift shop sales support 

Mondavi Center Arts Education. 

Other Friends events during the 2011-2012 season include the Holiday Luncheon, 

Sunday Brunch and Garden Party, as well as three spotlight events. Many of these 

events raise funds for the School Matinee Ticket Program. 

Upcoming new member social events include 

the Fall New Member Coffee, Tapas and Studio Jazz, 

a behind-the-scenes tour and luncheon, and a wine 

and cheese tasting. Volunteer opportunities for 

new members include staffing the membership table 

at Brunch and Browse and hosting a Cookies and 

Concert reception after a Sunday family performance. 

For information on becoming a Friend of Mondavi 

Center, email Jennifer Mast at jmmast@ucdavis.edu 

or call 530.754.5431. 


Mondavi Center Staff 

DON ROTH, Ph.D. 

Executive Director 

Jeremy Ganter 

Associate Executive Director 

PROGRAMMING 

Jeremy Ganter 

Director of Programming 

Erin Palmer 

Programming Manager 

Ruth Rosenberg 

Artist Engagement 

Coordinator 

Lara Downes 

Curator: Young Artists Program 

ARTS EDUCATION 

Joyce Donaldson 

Associate to the Executive 

Director for Arts Educaton 

and Strategic Projects 

Jennifer Mast 

Arts Education Coordinator 


AUDIENCE SERVICES 

Emily Taggart 

Audience Services Manager/ 

Artist Liaison Coordinator 

Yuri Rodriguez 

Events Manager 

Natalia Deardorff 

Assistant Events Manager 

Nancy Temple 

Assistant Public Events 

Manager 

BUSINESS SERVICES 

Debbie Armstrong 

Senior Director of Support 

Services 

Carolyn Warfield 

Human Resources Analyst 

Mandy Jarvis 

Financial Analyst 

Russ Postlethwaite 

Billing System Administrator 

DEVELOPMENT 

Debbie Armstrong 

Senior Director of 

Development 

Ali Kolozsi 

Director of Major Gifts 

Elisha Findley 

Corporate & Annual Fund Officer 

Amanda Turpin 

Donor Relations Manager 

Angela McMillon 

Development and Support 

Services Assistant 

FACILITIES 

Herb Garman 

Director of Operations 

Greg Bailey 

Lead Building Maintenance 

Worker 

INFORMATION TECHNOLOGY 

Darren Marks 

Programmer/Designer 

Mark J. Johnston 

Lead Application Developer 

Tim Kendall 

Programmer 

MARKETING 

Rob Tocalino 

Director of Marketing 

Will Crockett 

Marketing Manager 

Erin Kelley 

Senior Graphic Artist 

Morissa Rubin 

Senior Graphic Artist 

Amanda Caraway 

Public Relations Coordinator 

TICKET OFFICE 

Sarah Herrera 

Ticket Office Manager 

Steve David 

Ticket Office Supervisor 

Susie Evon 

Ticket Agent 

Russell St. Clair 

Ticket Agent 

PRODUCTION 

Christopher Oca 

Stage Manager 

Christi-Anne Sokolewicz 

Stage Manager 

Jenna Bell 

Production Coordinator 

Zak Stelly-Riggs 

Master Carpenter 

Daniel Goldin 

Master Electrician 

Michael Hayes 

Head Sound Technician 

Adrian Galindo 

Scene Technician 

Kathy Glaubach 


Daniel Thompson 


Mondavi Center Advisory Board 

The Mondavi Center Advisory Board is a university support group whose primary purpose is to provide assistance to the Robert and Margrit Mondavi 

Center for the Performing Arts, UC Davis, and its resident users, the academic departments of Music and Theatre and Dance and the presenting 

program of the Mondavi Center, through fundraising, public outreach and other support for the mission of UC Davis and the Mondavi Center. 

11-12 SEASON BOARD OFFICERS 

John Crowe, Chair 

Joe Tupin, Patron Relations Chair 

Randy Reynoso, Corporate Relations Co-Chair 

Garry Maisel, Corporate Relations Co-Chair 

MEMBERS 

Jeff Adamski 

Wayne Bartholomew 

Camille Chan 

John Crowe 

Lois Crowe 

Cecilia Delury 

Patti Donlon 

David Fiddyment 

Dolly Fiddyment 

Mary Lou Flint 

Samia Foster 

Scott Foster 

Anne Gray 

Benjamin Hart 

Lynette Hart 

Dee Hartzog 

Joe Hartzog 

Barbara K. Jackson 

Vince Jacobs 

Garry P. Maisel 

Stephen Meyer 

Ex OFFICIO 

Linda P.B. Katehi, Chancellor, UC Davis 

Ralph J. Hexter, Provost and Executive Vice Chancellor, UC Davis 

Jessie Ann Owens, Dean, Division of Humanities, Arts & Cultural Studies, College of Letters & Sciences, UC Davis 

Jo Anne Boorkman, Friends of Mondavi Center Board 

Don Roth, Executive Director, Mondavi Center 

Erin Schlemmer, Arts & Lectures Chair 

Arts & Lectures Administrative Advisory Committee 

The Arts & Lectures Administrative Advisory Committee is made up of interested students, 

faculty and staff who attend performances, review programming opportunities and meet 

monthly with the director of the Mondavi Center. They provide advice and feedback for 

the Mondavi Center staff throughout the performance season. 

11-12 COMMITTEE MEMBERS 

Erin Schlemmer, Chair 

Prabhakara Choudary 

Adrian Crabtree 

Susan Franck 

Kelley Gove 

Holly Keefer 

Sandra Lopez 

Danielle McManus 

Bella Merlin 

Lee Miller 

Bettina Ng’weno 

Rei Okamoto 

Hearne Pardee 

Isabel Raab 

Kayla Rouse 

Hulleah Tsinhnahjinnie 

HEAD USHERS 

Huguette Albrecht 

George Edwards 

Linda Gregory 

Donna Horgan 

FriEndS of Mondavi Center 

11-12 ExECUTIVE BOARD 

Mike Tracy 

Susie Valentin 

Janellyn Whittier 

Terry Whittier 

Randy Reynoso 

Nancy Roe 

William Roe 

Lawrence Shepard 

Nancy Shepard 

Joan Stone 

Tony Stone 

Joe Tupin 

Larry Vanderhoef 

Rosalie Vanderhoef 

Jo Anne Boorkman, President 

Laura Baria, Vice President 

Francie Lawyer, Secretary 

Jim Coulter, Audience Enrichment 

Jacqueline Gray, Membership 

Sandra Chong, School Matinee Support 

Martha Rehrman, Friends Events 

Leslie Westergaard, Mondavi Center Tours 

Phyllis Zerger, School Outreach 

Eunice Adair Christensen, Gift Shop Manager, Ex Officio 

Joyce Donaldson, Director of Arts Education, Ex Officio

Policies and information 

TICkET ExChANGE 

• Tickets must be exchanged at least one business day prior 

to the performance. 

• Tickets may not be exchanged after your performance date. 

• There is a $5.00 exchange fee per ticket for non-subscribers 

and Pick 3 purchasers. 

• If you exchange for a higher priced ticket, the difference will be 

charged. The difference between a higher and a lower priced 

ticket on exchange is non-refundable. 

• Subscribers and donors may exchange tickets at face value toward 

a balance on their account. All balances must be applied toward 

the same presenter and expire June 30 of the current season. 

Balances may not be transferred between accounts. 

• All exchanges subject to availability. 

• All ticket sales are final for events presented by non-UC Davis 

promoters. 

• No refunds. 

PARkING 

You may purchase parking passes for individual Mondavi Center 

events for $7 per event at the parking lot or with your ticket order. 

Rates are subject to change. Parking passes that have been lost 

or stolen will not be replaced. 

GROUP DISCOUNTS 

Entertain friends, family, classmates or business associates and save! 

Groups of 20 or more qualify for a 10% discount off regular prices. 

Payment must be made in a single check or credit card transaction. 

Please call 530.754.2787 or 866.754.2787. 

STUDENT TICkETS (50% off the full single ticket 

price*) 

Student tickets are to be used by registered students matriculating 

toward a degree, age 18 and older, with a valid student ID card. Each 

student ticket holder must present a valid student ID card at the door 

when entering the venue where the event occurs, or the ticket must 

be upgraded to regular price. 

ChIlDREN (50% off the full single ticket price*) 

Child tickets are for all patrons age 17 and younger. No additional 

discounts may be applied. As a courtesy to other audience members, 

please use discretion in bringing a young child to an evening performance. 

All children, regardless of age, are required to have tickets, 

and any child attending an evening performance should be able 

to sit quietly through the performance. 

PRIVACy POlICy 

The Mondavi Center collects information from patrons solely for the 

purpose of gaining necessary information to conduct business and 

serve our patrons efficiently. We sometimes share names and addresses 

with other not-for-profit arts organizations. If you do not wish to be 

included in our e-mail communications or postal mailings, or if you do 

not want us to share your name, please notify us via e-mail, U.S. mail, 

or telephone. Full Privacy Policy at MondaviArts.org. 

*Only one discount per ticket. 

ACCOMMODATIONS fOR PATRONS wITh 

DISABIlITIES 

The Mondavi Center is proud to be a fully accessible state-of-the-art 

public facility that meets or exceeds all state and federal ADA 

requirements. 

Patrons with special seating needs should notify the Mondavi Center 

Ticket Office at the time of ticket purchase to receive reasonable 

accommodation. The Mondavi Center may not be able to accommodate 

special needs brought to our attention at the performance. 

Seating spaces for wheelchair users and their companions are located 

at all levels and prices for all performances. 

Requests for sign language interpreting, real-time captioning, Braille 

programs and other reasonable accommodations should be made with 

at least two weeks’ notice. The Mondavi Center may not be able 

to accommodate last minute requests. Requests for these accommodations 

may be made when purchasing tickets at 530.754.2787 or TDD 

530.754.5402. 

SPECIAl SEATING 

Mondavi Center offers special seating arrangements for our patrons 

with disabilities. Please call the Ticket Office at 530.754.2787 

[TDD 530.754.5402]. 

ASSISTIVE lISTENING DEVICES 

Assistive Listening Devices are available for Jackson Hall and the 

Vanderhoef Studio Theatre. Receivers that can be used with or without 

hearing aids may be checked out at no charge from the Patron Services 

Desk near the lobby elevators. The Mondavi Center requires an ID to be 

held at the Patron Services Desk until the device is returned. 

ElEVATORS 

The Mondavi Center has two passenger elevators serving all levels. 

They are located at the north end of the Yocha Dehe Grand Lobby, 

near the restrooms and Patron Services Desk. 

RESTROOMS 

All public restrooms are equipped with accessible sinks, stalls, babychanging 

stations and amenities. There are six public restrooms in the 

building: two on the Orchestra level, two on the Orchestra Terrace level 

and two on the Grand Tier level. 

SERVICE ANIMAlS 

Mondavi Center welcomes working service animals that are necessary 

to assist patrons with disabilities. Service animals must remain on a 

leash or harness at all times. Please contact the Mondavi Center 

Ticket Office if you intend to bring a service animal to an event so 

that appropriate seating can be reserved for you. 


POlICIES

september 2011 

21 Return To Forever IV 

with Zappa Plays Zappa 

30 Ricky Skaggs and Kentucky Thunder 

october 2011 

1 Wayne Shorter Quartet 

2 Alexander String Quartet 

6 Yamato 

8 Jonathan Franzen 

13 San Francisco Symphony 

19 Scottish Ballet 

20 k.d. lang and the Siss Boom Bang 

21 Rising Stars of Opera 

24 Focus on Film: Thirty Two Short 

Films About Glenn Gould 

29 Hilary Hahn, violin 

29–30 So Percussion: “We Are All Going 

in Different Directions”: 


november 2011 

4 Cinematic Titanic 

5–6 Jennifer Johnson Cano, mezzo-soprano 

7–8 If God Is Willing and da Creek Don’t Rise 

9–11 Hot 8 Brass Band 

12 Trey McIntyre Project 

and Preservation Hall Jazz Band 

12–13 Lara Downes: 

13 Ways of Looking at the Goldberg 

14 Focus on Film: Salaam Bombay! 

14–15 Growing Up In India: 

A Film and Photo Exhibition 

december 2011 

7–10 Tia Fuller Quartet 

8 Mariachi Sol de México 

de Jóse Hernàndez 

11 Lara Downes Family Concert: 

Green Eggs and Ham 

15 Blind Boys of Alabama Christmas Show 

18 American Bach Soloists: Messiah 

january 2012 


9 Focus on Film: Platoon 

14–15 Alexi Kenney, violin and 

Hilda Huang, piano 

19 Soledad Barrio and Noche Flamenca 

25–28 Alfredo Rodriguez Trio 

27 Royal Philharmonic Orchestra 


30 Focus on Opera: Tosca 

february 2012 

3 Oliver Stone 

4 Rachel Barton Pine, violin, with the 

Chamber Soloists Orchestra 

of New York 

9 Les Ballets Trockadero de Monte Carlo 

11–12 CIRCA 

14 Loudon Wainwright III & Leo Kottke 

17 Eric Owens, bass-baritone 

18 Chucho Valdés and the Afro-Cuban 

Messengers 

22 The Chieftains 

25 Overtone Quartet 

CAll fOR TICkETS! 

530.754.2787 

media Clips & more Info: 

MondaviArts.org 

Rachel Barton Pine 

56 | mondaviarts.org MondaviArts.org 530.754.2787 866.754.2787 (toll-free) 

mondavi 

center 

2o11–12 

march 2012 

2 Angelique Kidjo 

9 Garrick Ohlsson, piano 

10–11 Curtis On Tour 

17–18 Ballet Preljocaj: Blanche Neige 


22 Zakir Hussain and 

Masters of Percussion 

24–25 Circus Oz 

29 SFJAZZ Collective 

april 2012 

1 Young Artists Competition 

Winners Concert 

9 Focus on Opera: The Elixir of Love 

11 Sherman Alexie 

13 Bettye LaVette 

14–15 Zippo Songs: Poems from the Front 

17 Anoushka Shankar 

18–21 The Bad Plus 

19–22 The Improvised Shakespeare 

Company 

28 Maya Beiser: Provenance 

may 2012 


Chamber Ensemble 

9 Patti Smith 

12 New York Philharmonic 

13 ODC/Dance: 

The Velveteen Rabbit 

14 Focus on Opera: 

Lucia di Lammermoor 

16–19 Supergenerous: 

Cyro Baptista and Kevin Breit

07_02705 

7.25x9.25 

4c 

The art of performance 

draws our eyes to the stage 

Our community’s commitment to arts and culture says a lot about where we live and it brings us 

together from the moment the lights go down and the curtains come up. 

wellsfargo.com 

© 2011 Wells Fargo Bank, N.A. All rights reserved. 

Member FDIC. (594507_02705) 

594507_02705 7.25x9.25 4c.indd 1 8/4/11 3:10 PM

can 

The health plan that 

take care of your employees. 

And your bottom line. 

As a founding partner of the Mondavi Center, Western Health Advantage 

has been a strong supporter of local arts. Which might explain why we’ve 

lifted local health care to an art form. What’s our method? We deliver 

friendly, responsive service, keep costs low, and provide access to 2,300 

area physicians and specialists. Maybe that’s why over 4,000 local businesses 

offer our plans and 90,000 individuals and families choose our coverage. 

That kind of recognition is worthy of a standing ovation. 

Visit westernhealth.com to learn more about our health plans.

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