Saturday, April 23, 2022 ⳼ Isabel Bayrakdarian, soprano ⳼ Mark Fewer, violin ⳼ Jamie Parker, piano ⳼ Masterseries at the Lobero Theatre ⳼ CAMA

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CAMA'S 2021/2022 SEASON 

MASTERSERIES 

AT THE LOBERO THEATRE 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

ISABEL BAYRAKDARIAN, soprano 

Photo by Zach Mendez 

MARK FEWER, violin 

JAMIE PARKER, piano 

Saturday, April 23, 2022, 7:30PM 

Lobero Theatre, Santa Barbara 

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the West. 

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APRIL 12, 2022 

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MASTERSERIES 

AT THE LOBERO THEATRE 


MARCH 2, 2022 

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AND LE CONCERT 

DES NATIONS 

Sponsor 


Concert Partners 

Stephen Cloud 

Christine & Robert Emmons 

Lois S. Kroc 

MARCH 18, 2022 

BENJAMIN 

GROSVENOR, piano 

Sponsors 




Concert Partner 


APRIL 23, 2022 

ISABEL 

BAYRAKDARIAN, soprano 

MARK FEWER, violin 

JAMIE PARKER, piano 

Sponsors 

Bob Boghosian & Beth Gates-Warren 

The Elaine F. Stepanek Foundation 

MAY 24, 2022 

JAMES EHNES, violin 

ORION WEISS, piano

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MASTERSERIES AT THE LOBERO THEATRE 


ISABEL BAYRAKDARIAN, soprano 

MARK FEWER, violin ⫽ JAMIE PARKER, piano 

I. 

Johannes BRAHMS (1833–1897)* 

Zigeunerlieder, Op.103 

1. „He, Zigeuner, greife in die Saiten” 

2. „Hochgetürmte Rimaflut” 

3. „Wißt ihr, wann mein Kindchen” 

4. „Lieber Gott, du weißt” 

5. „Brauner Bursche führt zum Tanze” 

6. „Röslein dreie in der Reihe” 

7. „Kommt dir manchmal in den Sinn” 

8. „Rote Abendwolken ziehn” 

II. 

BRAHMS*** 

Waltz in A-flat Major, Op.39, No.15 

Hungarian Dance No.5 in F-sharp Minor, WoO 1 

III. 

Antonín DVOŘÁK (1841–1904)** 

Cigánské Melodie, Op.55 

1. „Má píseň zas mi láskou zní“ 

2. „Aj! Kterak trojhranec můj“ 

3. „A les je tichý kolem kol“ 

4. „Když mne stará matka“ 

5. „Struna naladěna“ 

6. „Široké rukávy“ 

7. „Dejte klec jestřábu“ 

CAMA thanks our generous sponsors who have made this evening’s performance possible: 

Masterseries Season Sponsor: Esperia Foundation 

Saturday, April 23, 2022, 7:30PM 

The Lobero Theatre, Santa Barbara 

Glorious and Free 

Romani-inspired Songs and Operetta Arias 

Program subject to change. 

INTERMISSION 

IV. 

Sebastián IRADIER (1809–1865)* 

Juanita 

La Perla de Triana 

El Arreglito 

Joaquín VALVERDE Durán (1846–1910)* 

Clavelitos 

V. 

Pablo de SARASATE (1844–1908)**** 

Zigeunerweisen (Aires Gitanos), Op.20 

VI. 

Maurice YVAIN (1891–1965)* 

« La Zingarella » from Chanson Gitane 

Franz LEHÁR (1870–1948)* 

„Hör ich Zymbalklänge” from Zigeunerliebe 

Emmerich KÁLMÁN (1882–1953)* 

„Heia, heia, in den Bergen” from 

The Csárdás Princess 

* arranged by Peter Tiefenbach for voice, violin, piano 

** arranged by John Greer for voice, violin, piano 

*** solo piano 

**** violin/piano duo 

Sponsors: Bob Boghosian & Beth Gates-Warren • The Elaine F. Stepanek Foundation 

We request that you switch off cellular phones, watch alarms and pager signals during the performance. The photographing 

or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. 

CAMA AT THE LOBERO THEATRE • ISABEL BAYRAKDARIAN ⫽ MARK FEWER ⫽ JAMIE PARKER 

5

ISABEL 

BAYRAKDARIAN 

soprano 

Photo by Zach Mendez 

It’s not every prima donna who can boast 

a degree in biomedical engineering, but 

then, Isabel Bayrakdarian isn’t your average 

prima donna. As a highly sought-after 

soprano at opera houses and concert 

halls across the world, the Lebanese-born 

Canadian-Armenian-American soprano has 

become as celebrated for her beauty, 

presence, and style as for her strikingly 

multidimensional voice. 

Isabel has toured the globe to appear 

with the premier orchestras and top opera 

companies, performing under the batons 

of renowned conductors like Seiji Ozawa, 

James Conlon, David Zinman, Michael Tilson 

Thomas, and Alan Gilbert to name a few. 

She was also the featured vocalist on the 

Grammy ® Award-winning soundtrack from 

the blockbuster film The Lord of the Rings: 

The Two Towers, and on the soundtrack 

of Atom Egoyan's Ararat. She sang on the 

BBC-produced short film Holocaust: A Music 

Memorial Film from Auschwitz, as well 

as her own Gemini-nominated film Long 

Journey Home, documenting her first visit 

to her ancestral homeland, Armenia. 

Her recording, Armenian Songs for Children, 

was released in 2021 by AVIE Records 

and received critical acclaim. In 2020 she 

also collaborated with the Grammy-nominated 

Canadian rock band Glass Tiger singing 

a track on their first-ever Christmas album 

Songs for a Winter’s Night. 

She holds an Honorary Doctorate from 

Canada's Wilfrid Laurier University, and an 

Honorary Fellowship from the Royal Conservatory 

of Music. When she’s not singing, 

she’s teaching others how to sing at the University 

of California Santa Barbara (UCSB), 

where she is Professor of Voice, Director of 

Opera Theatre, and Head of Voice Area in 

the Music Department. 


7

Photo by Bo Huang 

MARK FEWER 

violin 

Violinist Mark Fewer leads a multi-disciplined 

life in music. Violin soloist, chamber 

musician, orchestral leader, artistic director, 

conductor, arranger, teacher, jazz violinist, 

recording artist and occasional radio host, 

he has performed worldwide to great critical 

acclaim. He has held the positions of 

Concertmaster of the Vancouver Symphony, 

William Dawson Scholar at McGill 

University, Artist-in-Residence at Stanford 

University, and has been a member of the 

Duke Piano Trio, the St. Lawrence and Supernova 

String Quartets, and the Smithsonian 

Chamber Players in Washington DC, 

who perform and record on a collection of 

famed Stradivari instruments. Currently Associate 

Professor of Violin at the Faculty of 

Music, University of Toronto, he also co-directs 

the school’s Contemporary Improvisation 

Ensemble. His solo appearances with 

orchestras in Australia, the U.S, Canada 

and Italy have been described as “intrepid” 

(Globe and Mail), “freaky good” (The Gazette), 

and “genre-bending” (National Post). 

His discography includes complete collections 

of works by J.S. Bach, Antonio Vivaldi, 

Giovanni Pandolfi, Johannes Brahms, 

George Antheil and others. As a teacher he 

has given classes worldwide, with his students 

occupying positions in orchestras 

and chamber ensembles throughout North 

America and Europe as well as directing 

their own music festivals in the communities 

they serve. 

After sixteen years as founding artistic 

director of the SweetWater Music Festival 

in Owen Sound, Ontario, Mr. Fewer is now 

director of Stratford Summer Music. He is a 

Juno and Prix Opus winner and is the subject 

of an episode of the Biography Channel’s 

People Uncut. 

8 CAMA'S 103 RD CONCERT SEASON

JAMIE 

PARKER 

piano 

Photo by Bo Huang 

Jamie Parker’s achievements are both 

lengthy and impressive. His musical roots 

can be traced to the Vancouver Academy of 

Music and University of British Columbia, 

where he studied with Lee Kum Sing. He 

then went on to complete his master’s and 

doctorate with Adele Marcus at The Juilliard 

School. Jamie continues the teaching 

tradition as the Rupert E. Edwards Chair in 

Piano Performance at University of Toronto 

Faculty of Music. 

Beginning in 1984 with a first prize 

at the Eckhardt-Gramatté National Music 

Competition, Jamie served notice that he 

was a rising star. The CBC concurred, selecting 

him winner of the 25th National 

Competition for Young Performers. The 

Virginia P. Moore Prize (known today as 

the Virginia Parker Prize) soon followed, 

further solidifying Jamie’s place as one of 

Canada’s best young classical musicians. 

On-air programs repeatedly seek out 

his performances. Jamie has made frequent 

appearances on CBC, Bravo, Global 

Television Network, Much, and media platforms 

around the world. 

Jamie’s style has earned The Globe and 

Mail’s praise as “one of the most searching 

musical intellects and 10 of the nimblest 

fingers in the business.” He has enthralled 

audiences in North America and Europe, 

counting diplomats and dignitaries among 

his rapt listeners. 

A consummate professional, Jamie is 

critically acclaimed as both a soloist and 

as a chamber musician. He tours as the 

pianist for Canada’s foremost chamber ensemble, 

Gryphon Trio, and performs with 

major Canadian and international symphony 

orchestras. With three JUNO recording 

awards and many other nominations from 

his vast discography, Jamie Parker continues 

to graciously strive to do it all. 


9

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INTRODUCTION 

TO THE PROGRAM 

By Howard Posner 

The Romani people have been around a 

long time, and their music has exerted a 

pull on mainstream art music since the early 

18th century, if not earlier. Haydn wrote 

“alla Zingarese” movements, and Georg 

Phillipp Telemann, the most cosmopolitan 

composer of the Baroque era, once wrote 

of Romani musicians: 

One can hardly believe what wonderful 

imaginative ideas these pipers and 

fiddlers have as they improvise. In only 

a week, a composer could be inspired 

for an entire lifetime. I have written 

several major concertos in this style. 

But the real vogue for Romani infusion 

came with the mid-19th century, when musical 

nationalism was emerging as a reaction 

to the long German-Austrian domination 

of art music, and specifically ethnic music 

became fashionable. Romani stylings 

were popular among the musical cognoscenti 

in the same way ethnic food spices 

up (literally) American cuisine now, and 

every bit as haphazardly. Composers, and 

audiences, conflated “gypsy” with “Hungarian,” 

and confused folk melodies with other 

composers’ works. On this program alone, 

there are three instances of mostly inadvertent 

plagiarism. Brahms’ fifth Hungarian 

dance, the most famous of the twenty-one 

he wrote, is based not on a Hungarian folk 

tune as he thought, but on a csárdas by 

Hungarian composer Béla Kéler. Pablo de 

Sarasate may or may not have known that 

the “folk” melody he used in the third section 

of Zigeunerweisen was also the work of 

a contemporary Hungarian composer. And 

when Bizet learned that he had based the 

famous Habanera in Carmen on El Arreglito 

by Sebastián Iradier, who had been dead 

for a decade by then, he made a note in the 

score crediting Iradier. 

To the 19th-century composers and poets 

who had not entirely escaped the 18thcentury 

musical world of formality and patronage, 

Romani meant not only exotic and 

ethnic, but free and unbound, beholden to 

no one and without cares. That view may 

have been largely romantic nonsense, but it 

was compelling. 


11

An historic treasure 

with contemporary comforts 

in the heart of Santa Barbara 

50 Guest Rooms & Suites

Glorious and Free 

TEXTS AND 

TRANSLATIONS 

I. 

1. 

Zigeunerlieder 

He, Zigeuner, greife in die Saiten ein! 

Spiel das Lied vom ungetreuen Mägdelein! 

Laß die Saiten weinen, klagen, traurig bange, 

Bis die heiße Träne netzet diese Wange! 

Gypsy Songs 

Hey, gypsy, pluck your strings! 

Play the song of the unfaithful maiden! 

Let the strings weep and lament, mournful 

and despairing, 

Until hot tears flow down these cheeks! 

2. 

Hochgetürmte Rimaflut 

Wie bist du so trüb; 

An dem Ufer klag ich 

Laut nach dir, mein Lieb! 

Wellen fliehen, Wellen strömen, 

Rauschen an dem Strand heran zu mir. 

An dem Rimaufer laß mich 

Ewig weinen nach ihr! 

High-towering River Rima, 

How murky you are; 

On the water’s edge I lament 

Loudly for you, my beloved! 

The waves flee, the waves stream by, 

Roaring toward me on the shore; 

At the edge of the Rima let me 

Weep for her forever! 

3. 

Wisst ihr, wann mein Kindchen 

Am allerschönsten ist? 

Wenn ihr süßes Mündchen 

Scherzt und lacht und küßt 

Schätzelein, / Du bist mein, 

Inniglich / Küß ich dich, 

Dich erschuf der liebe Himmel 

Einzig nur für mich! 

Wißt ihr, wann mein Liebster 

Am besten mir gefällt? 

Wenn in seinen Armen 

Er mich umschlungen hält. 

Schätzelein, / Du bist mein, 

Inniglich / Küß ich dich, 

Dich erschuf der liebe Himmel 

Einzig nur für mich! 

Do you know when my beloved 

is the fairest? 

When her sweet little mouth 

jests and laughs and kisses. 

My treasure, / you are mine; 

dearly I kiss you, 

Dear heaven created you 

for me alone! 

Do you know when my beloved 

pleases me the best? 

When he enfolds me 

in his arms' embrace. 

My treasure, you are mine; 

dearly I kiss you, 

Dear heaven created you 

for me alone! 


13

JOHANNES BRAHMS 

Max Kalbeck. IV Zweiter Halbband 1891–1897. Deutsche Brahms- 

Gesellschaft m.b.H., Berlin, 1914 

4. Lieber Gott, du weißt, wie oft bereut ich hab, 

Daß ich meinem Liebsten einst 

ein Küßchen gab. 

Herz gebot, daß ich ihn küssen muß, 

Denk so lang ich leb an diesen ersten Kuß. 

Lieber Gott, du weißt, wie oft in stiller Nacht 

Ich in Lust und Leid an meinen Schatz 

gedacht. 

Lieb ist süß, wenn bitter auch die Reu, 

Armes Herze bleibt ihm ewig, ewig treu. 

Dear God, You know how often I’ve been sorry 

That I once gave my beloved a little kiss. 

My heart told me that I had to kiss him; 

As long as I live, I’ll think about that first kiss. 

Dear God, You know how often in the silent night 

I’ve thought of my beloved in joy and sorrow. 

Love is sweet, even if regret is bitter; 

My poor heart will forever be true to him. 


5. Brauner Bursche führt zum Tanze 

Sein blauäugig schönes Kind, 

Schlägt die Sporen keck zusammen, 

Csardas-Melodie beginnt, 

Küßt und herzt sein süßes Täubchen, 

Dreht sie, führt sie, jauchzt und springt; 

Wirft drei blanke Silbergulden 

Auf das Cimbal, daß es klingt. 

A tanned young man leads to the dance 

His fair, blue-eyed maiden; 

His spurs strike boldly together, 

The csárdás melody begins. 

He kisses and hugs his sweet little dove, 

He whirls her around, leads her, cheers, 

and jumps; 

And he tosses three shining silver pieces 

Upon the cymbal so that it jingles. 

6. Röslein dreie in der Reihe blühn so rot, 

Daß der Bursch zum Mädel gehe, ist 

kein Verbot! 

Lieber Gott, wenn das verboten wär, 

Ständ die schöne weite Welt schon längst 

nicht mehr, 

Ledig bleiben Sünde wär! 

Schönstes Städtchen in Alföld ist 

Ketschkemet 

Dort gibt es gar viele Mädchen schmuck 

und nett! 

Freunde, sucht euch dort ein Bräutchen aus, 

Freit um ihre Hand und gründet euer Haus, 

Freudenbecher leeret aus! 

Three little roses in a row, blossoming so red, 

That it is not forbidden for the boy to woo 

a maiden! 

Dear God, if it had been forbidden, 

The beautiful wide world would long have 

been no more; 

To remain single would be a sin! 

The loveliest village in Alföld is Kecskemét. 

There are many maidens who live there, 

pretty and nice! 

Friends, choose a little bride there, 

Ask for her hand and build your house, 

And drain the cup of happiness! 

7. Kommt dir manchmal in den Sinn, 

Mein süßes Lieb, 

Was du einst mit heil’gem Eide 

Mir gelobt? 

Täusch mich nicht, verlaß mich nicht, 

Du weißt nicht wie lieb ich dich hab, 

Lieb du mich, wie ich dich, 

Dann strömt Gottes Huld auf dich herab! 

Do you sometimes remember, 

my sweet love, 

What you once swore to me 

with a sacred vow? 

Do not deceive me, do not leave me— 

You do not know how much I love you! 

If you loved me as I love you, 

God’s favor would stream down upon you! 

8. Rote Abendwolken ziehn 

Am Firmament, 

Sehnsuchtsvoll nach dir, mein Lieb, 

Das Herze brennt; 

Himmel strahlt in glühnder Pracht 

Und ich träum bei Tag und Nacht 

Nur allein von dem süßen Liebchen mein. 

Red evening clouds drift 

across the heavens; 

Full of longing for you, my love, 

My heart burns; 

The sky blazes in glowing splendor, 

And I dream day and night 

Of my sweet beloved alone. 


15

ANTONÍN DVOŘÁK (1882) 

III. Cigánské melodie 

1. Má píseň zas mi láskou zní, 

když starý den umírá; 

a chudý mech kdy na šat svůj 

si tajně perle sbíra. 

Má píseň v kraj tak toužně zní, 

když světem noha bloudí; 

jen rodné pusty dálinou 

zpěv volně z ňader proudí. 

Má píseň hlučně láskou zní, 

když bouře běží plání; 

když těším se, že bídy prost 

dlí bratr v umírání. 

Gypsy Songs 

My song resounds with love 

when the old day is dying; 

it is sowing its shadows 

and reaping a collection of pearls. 

My song resonates with longing 

while my feet roam distant lands. 

My homeland is in the distant wilderness— 

my song stirs with nationalism. 

My song reverberates with love 

while unplanned storms hasten. 

I rejoice in the freedom that I no longer have 

a part in the dying of a brother. 

2. Aj! Kterak trojhranec můj přerozkošně zvoní, 

jak cigána píseň, když se k smrti kloní! 

Když se k smrti kloní, trojhran mu vyzvání. 

Konec písni, tanci, lásce, bědování. 

Konec písni, tanci, lásce, bědování. 

Ah! Why is my three-cornered bell ringing 

so passionately? 

As a gypsy song—when death is imminent— 

the death of a gypsy brings an end 

to song, dance, love and all concerns, 

to song, dance, love and all concerns. 


3. A les je tichý kolem kol, 

jen srdce mír ten ruší, 

a černý kouř, jenž spěchá v dol, 

mé slze v lících, mé slze suší. 

Však nemusí jich usušit, 

necht' v jiné tváře bije. 

Kdo v smutku může zazpívat, 

ten nezhynul, ten žije, ten žije! 

The forest is quiet all around; 

only the heart disturbs the peace. 

As black smoke gushing, 

tears flow down my cheeks and so they dry. 

They need not dry— 

let other cheeks feel them! 

The one who can sing in sorrow will not die, 

but lives and lives on. 

4. Když mne stará matka zpívat, zpívat učívala, 

podivno, že často, často slzívala. 

A ted' také pláčem snědé líce mučim, 

když cigánské děti hrát a zpívat učim! 

When my old mother taught me to sing, 

Strange that she often had tears in her eyes. 

And now I also weep, 

When I teach gypsy children to play and sing. 

5. Struna naladěna, 

hochu, toč se v kole, 

dnes, snad dnes převysoko, 

zejtra, zejtra, zejtra zase dole! 

Pozejtří u Nilu 

za posvátným stolem; 

struna již, struna naladěna, 

hochu, toč, hochu, toč se kolem! 

The string is taut— 

young man turn, spin, twirl! 

Today reach the heights, 

tomorrow down again! 

And after tomorrow, 

at the Holy Table of the Nile. 

The taut string is stretched— 

turn young man—turn and twirl! 

6. Široké rukávy a široké gatě 

volnější cigánu nežli dolman v zlatě. 

Dolman a to zlato bujná prsa svírá; 

pod ním volná píseň násilně umírá. 

A kdo raduješ se, tvá kdy píseň v květě, 

přej si, aby zašlo zlato v celém světě! 

Wide sleeves and broad trousers 

give more freedom than a robe of gold. 

The robe of gold constricts the chest 

and the song within the body dies. 

He who is happy—his song blooms with the desire 

that the whole world would lose its taste for gold. 

7. Dejte klec jestřábu ze zlata ryzého; 

nezmění on za ni hnízda trněného. 

Komoni bujnému, jenž se pustou žene, 

zřídka kdy připnete uzdy a třemene. 

A tak i cigánu příroda cos dala: 

k volnosti ho věčným poutem, k volnosti 

ho upoutala. 

Given a cage to live in, made of pure gold, 

the gypsy would exchange it 

for the freedom of a nest of thorns. 

Just as a wild horse rushes to the wasteland, 

seldom bridled and reined in, 

so too the Romani nature has been given 

eternal freedom! 


17

IV. Juanita, o la Perla de Aragón 

Caminito de la Andalucía 

me dijo un Gitano que si le queria, 

Yo le dije prontito que no 

para los Gitanos no me peino yo. 

Yo me peino para los Toreros 

que matan los toros con mucho primor 

Yo me peino para los Toreros 

y Banderilleros de tu puerta del sol. (huy!) 

Para hermosara – Granada. 

Para elegancia – Paris. 

Para canciones – Triana. 

Para toreros – Madrid. 

A la Jota, yo soy Española. 

No soy Andaluza tampoco Manola. 

No soy Gaditana. No soy de Morón. 

Que soy de la raya del Bajo Aragón. 

En la raya de Aragón me encontré yo 

un Torero 

Y jamás no he visto un mozo con 

tanto Salero. 

A la Jota, yo soy Española. 

No soy Andaluza tampoco Manola. 

Yo soy la Juanita, yo soy el lucero, 

Yo soy la Gachona de mi Real Torero 

A la Jota, ah! 

Arza Olé! 

Del bajo Aragón pues ya. 

Juanita, or the Pearl of Aragon 

Traveling up from Andalusia 

a gypsy asked me if I liked him, 

and I told him promptly—No, 

I never flirt with gypsies. 

I flirt instead with toreadors 

who kill the bulls so handsomely, 

I flirt instead with toreadors 

and the banderilleros from the Puerta del Sol. 

(Oy!) 

For beauty—Granada. 

For elegance—Paris. 

For songs—Triana. 

For toreadors—Madrid. 

When dancing the jota, I’m Spanish, 

not Andalusian or from Madrid 

and not from Cadiz nor from Morón, 

but from the borders of Lower Aragon. 

On the Aragon borders I met a toreador, 

and a more handsome man I never saw! 

When dancing the jota, I’m Spanish, 

not Andalusian or from Madrid. 

I’m Juanita, the morning star, 

I’m the sweetheart of my splendid toreador. 

To the jota, ah! 

Olé, olé! 

From Lower Aragon, for sure. 


SEBASTIÁN IRADIER 

La Perla de Triana (Serenata andaluza) 

Viva la tez morena. 

Viva el salero. 

Viva la jembra crua 

por quien me muero 

Ella tiene par ojos dos soles. 

Y que clariá! 

Yo he cegao de que los he visto. 

Como hacen pená. 

Que es la perla de Triana, 

Mi gitana, y chorrea caliá Ay! 

Viva la tez morena, etc. 

Quien padiera a celá las pasione 

Astro se me an 

De tomá su pae por snegro 

Como el alquitrán. 

Que es la perla de Triana, etc. 

Uy que pierna! 

pruencia que está cedao 

El meterse en la renta de la escusao. 

The Pearl of Triana (Andalusian serenade) 

Long live the dark complexion. 

Long live the charm 

Long live the beautiful woman 

I’m dying for 

She has two suns for eyes. 

And how bright they are! 

I’ve been blinded after I’ve seen them. 

How much they make me grieve! 

She’s the pearl of Triana, 

My gypsy, and she oozes quality Sigh! 

Long live the dark complexion, etc. 

Who could silence the passions, 

So atrocious that would lead me 

to take her father, black as pitch, 

for my father-in-law. 

She’s the pearl of Triana, etc. 

Wow, what a leg! 

Caution—it’s forbidden 

To tread on dangerous grounds. 


19

El arreglito (Canción habanera) 

Chinita mía ven por aquí 

que tú ya sabes que muero por ti. 

No voy allí porque no tengo confianza en ti. 

¿Qué, sí? Que no. No tengo confianza en ti. 

Si tú me quieres dilo quedito y en seguidito 

seré tu arreglito y enamorados sin abusar 

una dancita vamos a bailar. 

Vidita mía, mi dulce amor, 

te estoy queriendo con tanto ardor que 

el alma mía con ilusión 

por ti se abrasa, paloma mía, por ti palpita 

mi corazón. 

Si tú me dieras, niña preciosa, cara de rosa, 

tu corazón 

mil y mil veces te adoraría. Te pediría, sí, sí, 

en santa unión. 

Si tú me juras serás constante y que a mí 

sola adorarás. 

Cuenta conmigo, tierno Pepito, yo te lo juro 

que tu arreglito por ningún caso te faltará. 

En ese caso, prenda, querida, bien 

de mi vida, dame tu amor. 

Yo te lo juro, seré constante y te querré, sí, 

con gran furor. 

¡Ay! que feliz momento, ¡ay! No lo olvidaré, 

ay, quiéreme, paloma, que yo te juro amor y fe. 

The little proposal (Song in Habanera style) 

‘My darling, come to me, 

you know I’m dying for you.’ 

‘No I won’t, I don’t trust you a bit.’ 

‘Surely you do?’ ‘Not at all. I don’t trust you a bit.’ 

‘If you love me, say it softly and in a flash I’ll 

be your “little proposal”, and unconstrained 

and all loved up 

a little dance we’ll execute. 

My life, my sweetest love, 

I long for you with so much fire that 

my deluded soul 

blazes for you, my little dove, my heart beats 

for you. 

My pretty girl with rosy cheeks, if you did 

pledge your heart to me 

a thousand thousand times would I adore you 

and yes, request your hand in holy union.’ 

‘If you do promise to be true to me alone in 

your affections, 

then you may count on me, my dear Pepito, 

and I swear your “little proposal” shall not 

fall through.’ 

‘In that case, take, my darling,all my life and 

you give me your love. 

To you alone I swear I shall be true and 

wholeheartedly will love you. 

‘Ah! a moment of such bliss, ah! one I’ll not forget, 

ah! do love me, my dove, as I to you my love 

and troth do pledge.’ 


JOAQUÍN VALVERDE DURÁN 

Clavelitos (Zambra gitana) 

Clavelitos, a quien le doy claveles 

Clavelitos, para los churumbeles 

Clavelitos que los doy con los ojos cerraos 

Y los traigo en el pecho a precio modesto 

rojos y pintaos. 

Clavelitos, de la tierra dorada 

Clavelitos, que vienen de Granada 

Clavelitos, que los traigo yo aquí para ti 

Y que tienen la esencia, presencia y potencia 

Que usted verá en mí. 

Clavelitos, que los traigo bonitos 

A mi novio los traigo reventones chiclé 

Porque tienen muchísimo quinqué 

¡Pa’ robar corazones y olé! 

Y enseñarles la esencia, presencia y potencia 

Que ya sabe usted. 

Si tú me quieres mi niño, cariño 

Yo te daré un clavelito bonito 

Y verás que bien marchamos 

Y estamos juntos en un rinconcito. 

Si tú me quieres serrano del alma, 

Yo te quiero más a ti mi cañí 

Y todos los clavelitos bonitos 

Todos serán para ti, 

Para ti, para ti, para ti. 

Carnations (Zambra [flamenco dance form]) 

Carnations, who will I give my carnations to? 

Carnations for the handsome men. 

Carnations that I’ll give with eyes tight shut, 

wearing them on my breast, for a modest price, 

red and variegated ones. 

Carnations from the golden land, 

Carnations grown in Granada, 

Carnations that I’m wearing here for you 

and that hold the essence, presence and potency 

that you shall find in me. 

Carnations, such pretty ones I wear. 

They cause my sweetheart’s heart to smolder 

as they carry so much fire within, 

enough to make the heart combust, olé!, 

and to show the essence, presence and potency 

that you already know. 

If you love me, dearest boy, 

I’ll present you with a nice carnation 

and you’ll see how well we go together, 

when even squeezed into a tiny nook. 

If you love me, highlander of my heart, 

I’ll love you more, my gypsy lover, 

and all my fine carnations 

will all be yours, 

for you, for you, for you. 


21

MAURICE YVAIN at his home in 1951 

VI. La Zingarella 

La voici, la fille au teint bruni, La voici, 

Celle en qui bat le sang des sombres 

Romanis, La voici ! 

Mon pays, c’est le ciel infini, mon logis, 

Une roulotte où le vent chante un chant d’oubli, 

Sans répit, jour et nuit… 

Zingarella 

Here she is, the girl with the tanned 

complexion, here she is, 

the girl whose veins throb with Romani 

blood, here she is! 

My country is the infinite sky, my home 

a caravan through which the wind intones 

forgotten songs 

without respite, day and night… 


Fille des champs, fille des bois, 

Qui des errants de la tribu chante la foi ! 

C’est la Zingarella ! 

Ce nom là me va mieux qu’un nom de 

baptême ! C’est la Zingarella ! 

C’est la fleur libre et sauvage de Bohème ! 

Comme une vestale, 

Je m’en vais au chant des cigales, 

Vers la belle escale 

Des Saintes Maries où dort notre Sara, 

Là-bas, tout là-bas ! 


Je provoque les galants avec audace ! 


Mes yeux sont de feu mais mon cœur est 

de glace ! Faites place ! 

Sur le chemin, c’est la Zingarella qui passe ! 

On me dit : vraie fille de bandits, On me dit : 

Sorcière au mauvais sort jetant au vent maudit 

Mon défi… 

Pour certains, ma bouche est un venin, 

Pour certains, 

Je ne suis rien qu’une voleuse de chemins, 

dont on craint les larcins. 

Ce cœur pervers, ce sauvageon, 

Cette ennemie que vous craignez comme 

un demon… 

C’est la Zingarella ! Ce nom là me va mieux 

etc. ... 

Girl of the fields, girl of the forests, 

faithfully singing of her roving tribe! 

It’s Zingarella! 

A name that suits me better than any given 

name! It’s Zingarella! 

The wild free flower of the gypsy folk! Like a 

vestal virgin 

I follow the song of the cicadas 

to the fair port town 

of Saintes Maries where holy Sara sleeps, 

down south, way down south! 

It’s Zingarella! 

I boldly taunt my suitors! It’s Zingarella! 

My eyes are fire but my heart is ice! Make way 

in the street for Zingarella to pass! 

They call me the bandit daughter, they call me 

a witch with the evil eye, hurling at the 

cursed wind 

My defiance... 

For some, my lips are venomous, for others, 

I am nothing but a highway thief, dreaded for 

her larceny. 

A perverse heart, a wild child, 

an enemy you fear like a devil… 

It’s Zingarella ! A name that suits me better 

etc. ... 


23

FRANZ LEHÁR 

Hör’ ich Cymbalklänge 

Wird um’s Herz mir enge, 

Süßes Land der Muttersprache, 

Heimatland! 

Seufz’ nach deinen Wäldern, 

Nach den goldnen Feldern, 

Sehne mich nach dir, 

Mein süßes Ungàrland! 

Ziehst du weit hinaus, 

Gehst die Welt du aus, 

Überall ist’s schön und doch 

Am schönsten ist’s zuhaus! 

Hör’ ich Cymbalklänge usw. 

Macht nichts! Hol’s der Teufel! 

Macht nichts! Ohne Zweifel 

Kann der Mensch nicht immer traurig sein! 

Liebt mein Schatz mich nimmer, 

Find’t man And’re immer, 

Schad’ um jede Träne die ich wein’! 

Will nicht ohne Küsse leben, nein, nein! 

Keine Stunde ohne Liebsten sein! 

Jaj, Jaj, hol’s der Teufel! 

Jaj, Jaj, ohne Zweifel, 

Immer kann der Mensch nicht traurig sein! 

When I hear the sound of the cymbalom 

my heart races, 

sweet land of my mother tongue, 

my homeland! 

I sigh for your forests, 

your golden fields, 

and yearn for you, 

my sweet land of Hungary! 

If you travel far and wide, 

across the whole wide world, 

much beauty will you see 

but home is loveliest of all! 

When I hear the sound of the cymbalom etc. 

No matter! To the devil with it! 

No matter! For most certainly 

you can’t always be sad! 

If my lover stops loving me, 

I can always find another, 

every tear I shed is pointless! 

Without kisses I cannot live, no, no! 

An hour without love—unthinkable! 

Ah, to the devil with it! 

Ah, for most certainly 

you can’t always be sad! 


EMMERICH KÁLMÁN 

Heia, heia! In den Bergen ist mein 

Heimatland! 

Oheia, oheia! Hoch dort oben meine 

Wiege stand! 

Dort, wo scheu blüht das Edelweiß, 

Dort, wo ringsum glitzern Schnee und Eis 

Heia, oheia! – schlagen Herzen wild und heiß. 

Wenn ein Siebenbürger Mädel 

Sich in dich verliebt, 

Nicht zum Spielen, nicht zum Scherzen 

Sie ihr Herz Dir gibt. 

Willst du dir die Zeit vertreiben, 

Such ein anderes Schätzelein, 

Bist du mein – mußt, mein du bleiben, 

Mußt mir deine Seel’ verschreiben, 

Muss ich Himmel dir und Hölle sein! 

Olala! So bin ich gebaut! 

Olala! Auf zum Tanz! 

Küss mich, ach, küss mich, 

Denn wer am besten küssen kann – 

Nur der wird mein Mann! 

La la la la la la la la! 

Bravo! Bravo! Bravo! 

Heia, heia! In the mountains is my homeland! 

Oheia, oheia! Way up there is where my 

cradle stood! 

There, where shyly blooms the edelweiss 

ringed by sparkling snow and ice— 

Heia, oheia!—and wild hearts beat with passion. 

If a Transylvanian maid 

falls in love with you, 

it’s not in play or jest 

that she gives her heart to you. 

If you merely want to pass the time, 

seek another sweetheart, 

if you are mine, mine you must remain 

and consign your soul to me, 

for I must be your heaven and your hell! 

Olala! That’s how I am! 

Olala! It’s time to dance! 

Kiss me, ah, kiss me, 

for only the best kisser 

gets to be my lover! 

La la la la la la la la! 

Bravo! Bravo! Bravo! 


25


MASTERSERIES at the Lobero Theatre 

Season Sponsor: Esperia Foundation 

James 

Ehnes 

© Benjamin Ealovega 

© Jacob Blickenstaff 

Orion 

Weiss 

MAY 

24 

TUE, 7:30PM 

2022 

JAMES EHNES, violin 

ORION WEISS, piano 

“A violinist in a class of his own” —The Times 

Canadian James Ehnes has established himself as one of the most treasured violinists 

of international stages. Acclaimed as “a supreme virtuoso and artist of the first rank” 

(The Daily Telegraph), James Ehnes plays the “Marsick” Stradivarius (1715). His Santa 

Barbara debut in July 2019 at the Granada Theatre with the London Symphony 

Orchestra (presented by the Music Academy of the West) elicited the following 

glowing concert review: “Ehnes was magnificent throughout, an impressive figure on 

stage whose playing blazed like a laser beam, though brimming with compassion and 

heart” (seenandheard-international.com). Ehnes is joined by gifted collaborative pianist 

Orion Weiss who previously appeared in Masterseries with violinist Augustin Hadelich. 

Mozart: Violin Sonata No.17 in C Major, K.296 

Schubert: Fantasy in C Major, D.934 

Korngold: Much Ado About Nothing, Suite Op.11 

Saint-Saëns: Violin Sonata No.1 in D Minor, Op.75 

Tickets at the Lobero Theatre Box Office 

(805) 963-0761 ⫽ lobero.org

CENTENNIAL CIRCLE 

CRESCENDO 

$250,000–$500,000 

Bitsy & Denny Bacon and The Becton Family Foundation 

Robert & Christine Emmons 

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CADENZA 

$100,000–$249,000 




The Samuel B. & Margaret C. Mosher Foundation 

SAGE Publishing 


RONDO 

$50,000–$99,999 

Anonymous 

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Lois S. Kroc 


Mari & Hank Mitchel 


Northern Trust 

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The Walter J. & Holly O. Thomson Foundation 

Patricial Yzurdiaga 

Cumulative Centennial Celebration Gifts of $50,000 and above include Centennial Circle membership. 

October 2018–May 2020

LIFETIME GIVING 

DIAMOND CIRCLE 

$500,000 and above 



Suzanne & Russell Bock 

Linda Brown* 

The Andrew H. Burnett 


Esperia Foundation 

The Stephen & Carla Hahn 




Mary Lloyd & Kendall Mills 





Elaine & Edward Stepanek 

The Towbes Fund for the 

Performing Arts 

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$250,000–$499,999 

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Wood-Claeyssens Foundation 

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RUBY CIRCLE 

$100,000–$249,999 

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Family Foundation 

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Fund 

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Griffiths Charitable Fund 

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& Richard Hellmann 

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& Culture 

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Russell Wolf 

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*promised 

Gifts received by December 13, 2021

MOZART SOCIETY 

CAMA’s mission is to enrich Santa Barbara’s cultural life by bringing live performances by worldrenowned 

classical artists and orchestras of the highest artistic excellence to our community 

and by providing creative, focused music education programs for individuals of all ages. 

CAMA thanks and honors the following members of the CAMA community who have 

contributed to CAMA’s Endowment. A commitment to CAMA’s Endowment ensures the 

success of CAMA’s next 100 years. Gifts at every level are deeply appreciated. 

James H. Hurley and Judith L. Hopkinson 

Co-Chairs Endowment 

CONDUCTOR'S CIRCLE 



Linda Brown* 


Elaine Stepanek 

Esperia Foundation 

CRECENDO CIRCLE 

$250,000–$499,999 



The Andrew H. 

Burnett Foundation 





CADENZA PATRONS 

$100,000–$249,999 


The Stephen & Carla 

Hahn Foundation 


Nancy & William G. Myers 

Jan Severson 


The Towbes Fund for 

the Performing Arts 


RONDO PATRONS 

$50,000–$99,999 

Ruth Appleby 



Dr. Dolores M. Hsu 


The Samuel B. & Margaret C. 


Santa Barbara Bank & Trust 


CONCERTO PATRONS 

$25,000–$49,999 

Jane Catlett 

Bridget B. Colleary 

Suzanne Faulkner 

Léni Fé Bland 



Hutton Parker Foundation 


Mr. & Mrs. Frank R. Miller, Jr./ 



Efrem Ostrow Living Trust 







SONATA PATRONS 

$10,000–$24,999 

Anonymous 


Denise & Stephen Adams/ 

Adams Family Foundation 

Marta Babson 

Else Schilling Bard 



Bob Boghosian & 

Beth Gates-Warren 




Margo Chapman 





& Ronald Fendon 



Sherry & Robert Gilson 


Mary & Campbell Holmes 

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Winona Fund 


Lynn P. Kirst 

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Keith Moore 

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Pat Hitchcock O'Connell 

John Perry 

Marjorie & Hugh Petersen 


Susannah Rake 



Sally & Jan E.G. Smit 

Constance Smith 



Betty J. Stephens 


Marilyn Vandever 


David & Lisa Wolf 

*promised 

Gifts received by December 13, 2021

LEGACY SOCIETY 







Linda Brown 



Jane Catlett 





& Ronald Fendon 








Dr. Dolores M. Hsu 




Lynn P. Kirst 


John Lundegard 

Keith Moore 






Andre & Michele Saltoun 




Marilyn Vandever 



Gifts received by December 13, 2021 

We gratefully acknowledge all CAMA Mozart Society and Legacy 

Society members for their gifts to CAMA’s endowment, ensuring 

CAMA’s mission to bring the world’s greatest classical artists to 

Santa Barbara for years to come. 

Thank you

INTERNATIONAL CIRCLE 

We most gratefully acknowledge and thank International Circle Members 

for their annual contribution of $1,000 or more. 

Anonymous (4) 

Sylvia Abualy 

Catherine L. Albanese 

Todd & Allyson Aldrich Family 

Charitable Fund 

Jane & Kenneth Anderson 


Argonaut Charitable Foundation 

Marta Babson 

Bitsy & Denny Bacon and The 

Becton Family Foundation 

Becky & William Banning 

Ms. Isabel Bayrakdarian 

Helene Beaver 

Bitsy & Denny Bacon and The 

Becton Family Foundation 



Jerry & Geraldine Bidwell 



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Warren 

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Joan & Steven Crossland 

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Christi Walden 

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Janet Davis 

Sheryl & Michael DeGenring 


Diane L. Dodds 

Margaret & Ronald Dolkart 

Nancy Donaldson 

Elizabeth & Kenneth Doran 

Glenn and Karen Doshay 

Ann & David Dwelley 

Wendy & Rudy Eisler 

Julia Emerson 


Frederika & Dennis Emory 

Nancy Englander 

Lois Erburu 

Thomas & Doris Everhart 


Bob & Margo Feinberg 


Rosalind Amorteguy-Fendon & 

Ronald Fendon 



Catherine H. Gainey 

Tish Gainey & Charles Roehm 


Dorothy & John Gardner 


George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

The Stephen & Carla Hahn 


David Hamilton 


Renee & Richard Hawley 

Maison K 

Kevin Hess 

Barbara Hirsch 

Ronda & Bill Hobbs 

Gerhart Hoffmeister 


Hollis Norris Fund 


Natalia & Michael Howe 


Jackie Inskeep 

Ann Jackson Family Foundation 

Karin Jacobson & Hans Koellner 

Gina & Joseph Jannotta 

Diane Johnson 

Ellen & Peter Johnson 

Glenn Jordan & Michael Stubbs 

Gerd & Peter Jordano 

Elizabeth Karlsberg & Jeff Young 


James P. Kearns 


Connie & Richard Kennelly 

Jill Dore Kent 

Kum Su Kim & John Perry 

Sally Kinney 

Lynn P. Kirst 

Thomas & Travis Kranz 


INTERNATIONAL CIRCLE 


Chris Lancashire & Catherine Gee 

Stefanie L. Lancaster Charitable 


Francis and Stefanie Lancaster 

MaryAnn Lange 

Elinor & James Langer 

Kathryn Lawhun & Mark Shinbrot 

Shirley & Seymour Lehrer 

Dodie Little 

Christie & Morgan Lloyd 

Nancy & James Lynn 

Gloria & Keith Martin 

Maureen Masson 

Phyllis Brady & Andy Masters 

Ruth & John Matuszeski 

Donald & Karine McCall 

Dona & George McCauley 


Jeffrey McFarland 

Frank McGinity & Debbie Geremia 

Patriicia & William McKinnon 


Sally & George Messerlian 



Robert Miller & Susie Triolo Miller 





Peter L. Morris 

The Samuel B. & Margaret C. 


Maryanne Mott 

Russell Mueller 

Mrs. Raymond King Myerson 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Fran & John Nielsen 


Ellen Lehrer Orlando & 

Thomas Orlando 

Gail Osherenko & Oran Young 

Patti Ottoboni 

Anne & Daniel Ovadia 


Carol & Kenneth Pasternack 

Samuel F. Pellicori 

Performing Arts Scholarship 


Patricia & Carl Perry 


Ann M. Picker 


Minie & Hjalmar Pompe van 

Meerdervoort 

Carol & Edward Portnoy 


Donald Rink 

The Roberts Brothers Foundation 

Dorothy Roberts 

Regina & Rick Roney 

Merlin Rossow 



Ada B. Sandburg 

William E. Sanson 


City of Santa Barbara 

Lynn & Mark Schiffmacher 

Nancy Schlosser 

The Shanbrom Family Foundation 

Maureen & Les Shapiro 


Halina W. Silverman 

Dody Waugh & Eric Small 

Paul & Delia Smith 


Barbara & Wayne Smith 




Marion Stewart 

Irene & Robert Stone/Stone 


Elaine & Robert Sweet 

Pamala Temple 

Suzanne Holland & 

Raymond Thomas 



Milan E. Timm 


TheTowbes Fund for the 

Performing Arts, a field of 

interest fund of the 

Bicky Townsend 


Steven Trueblood 

Dr. Shirley Tucker 

Carol Vernon & Robert Turbin 

Department of Music, University 

of California, Santa Barbara 

Hubert Vos 

Esther & Tom Wachtell 


Sheila Wald 

Nick & Patty Weber 

Dr. Robert Weinman 

Judy L Weisman 


Victoria & Norman Williamson 

Winona Fund 

Wood-Claeyssens Foundation 



Grace & Edward Yoon 

Patricia Yzurdiaga 

Katina Zaninovich 

Zegar Family Fund 

Cheryl & Peter Ziegler 

Ann & Dick Zylstra 



33

MUSICIANS SOCIETY 

CAMA thanks our Musicians Society for their annual support. 

BENEFACTORS 

$500–$999 

Catherine L. Albanese 

Barbara Burger and Paul Munch 

Sandy and Jerry Gothe 

Dr. Hsiu-Zu Ho & 

Dr. William A. Below 

Edward O. Huntington 

James and Stephanie Ingraham 

Sue Larsen 

Phyllis Brady & Andy Masters 

Julia & Arthur Pizzinat 

Monica Romero 

Michael and Nancy Sheldon 

Taka Yamashita 

CONTRIBUTORS 

$250–$499 

Helen Arnold 

Jyl & Allan Atmore 

Howard A. Babus 

Lance and Judy Boyd 

Maggy Cara 

Edith M. Clark 

Michael & Ruth Ann Collins 

Meg & Jim Easton 

Claudette & Gene Geller 

Nancy & Frederic Golden 

Robert L. Grant 

Marie-Paule & Laszlo Hajdu 


Lorna S. Hedges 

David and Linda James 

Debbie & Frank Kendrick 

Christine & James V. McNamara 

Doug and Diane Morgan 

Carolyn & Dennis Naiman 

Maureen O'Rourke 

George Porter 

Gaines Post 

Muriel & Ian K. Ross 

Denis and Jennifer Sanan 

Naomi Schmidt 

Joan Tapper & Steven Siegel 

Beverly & Michael Steinfeld 

Heidi Stilwell 

Jerre Sumter 

Katherine Thomassin 

ASSOCIATES 

$100–$249 

Anonymous 

Peter and Mary Alden 

Barbara Bonadeo 

Margaret & David Carlberg 

Joanne & John Chere 

Marna Coday 

Pattie & Charles Firestone 

Eunice & J.Thomas Fly 

Edward Gastaldo 

Bernice & Harris Gelberg 

Ghita Ginberg 

Bradford and Ursula Ginder 

Robert Hanrahan 

Victoria Hendler 

Emmy & Fred Keller 

Anna & Petar Kokotovic 

Lady Patricia & Sir Richard 

Latham 

Catherine Leffler 

Mr. Paul Levine 

Lesli and Michael Marasco 

Ria S. Marsh 

Barbara & Ernest Marx 

Andrew Mester 

Betty Meyer 

Catherine & Kenneth Murphy 

Carol Hawkins & Larry Pearson 

Jean Perloff 

Jane Roney 

Sonia Rosenbaum 

Dr. Paul Ryack 

Alan R Schweitzer 

Laura Tomooka 

Mary H. Walsh 

Jon and Nina Warner 

Lorraine & Stephen Weatherford 

Judy & Mort Weisman 

Theresa & Julian Weissglass 

David Yager 

FRIENDS 

$10–$99 

Anne Ashmore 

Susan Badger 

Melvin and Pearl Brooks 

Polly Clement 

Amelia Dallenbach 

Margaret & Nicholas Dewey 

Sumner and Dana Fein 

Nona & Lorne Fienberg 

George and Leanne Friedenthal 

Susan & Larry Gerstein 

Elliot Gross 

Betty Harwick 

Ms. Martha Hassenplug 

Carol Hester 

Christine Hoehner 

Susan S. Johnston 

Ms. Jaclyn Maduff 

Christine Markussen 

Phillip and Pam McLendon 

Sandra and Nelson Merwizer 

Lori Kraft Meschler 

Elisabetta Riva 

Doris & Bob Schaffer 

Dr. and Mrs. Stuart L Silverman 

Julie & Richard Steckel 

Hayley Thompson 

Patricia & Edward Wallace 

Fritz and Hertha Will 



MUSIC EDUCATION 


The Walter J. & Holly O. Thomson Foundation 

$10,000–$24,999 

Ms. Irene Stone/ Stone Family Foundation 


Mr. & Mrs. Frank R. Miller, Jr. / 

The Henry E. & Lola Monroe Foundation 

$1,000–$9,999 

CAMA Women's Board 


Stefanie L. Lancaster Charitable Foundation 


James P. and Shirley F. McFarland Fund 

of the Minneapolis Foundation 

Performing Arts Scholarship Foundation 


$100–$999 

Becky & William Banning 

William S. Hanrahan 

Lynn P. Kirst 

CAMA Education Endowment 

Fund Income 

$50,000 AND ABOVE 

Mary Lloyd Mills 

$1,000–$4,999 


$1,000–$4,999 

Linda Stafford Burrows – 

This opportunity to experience great musicians excelling is 

given in honor and loving memory of Frederika Voogd 

Burrows to continue her lifelong passion for enlightening 

young people through music and math. 

Kathryn H. Phillips, in memory of Don R. Phillips 

Walter J. Thomson/The Thomson Trust 

$50–$999 

Lynn P. Kirst 

Keith J. Moore 

Performing Arts Scholarship Foundation 

Marjorie S. Petersen 


Volunteer docents are trained by CAMA's Education 

Committee Chair Joan Crossland to deliver this 

program to area schools monthly. Music enthusiasts 

are invited to learn more about the program and 

volunteer opportunities. 

Call the CAMA office at (805) 966-4324 for 

more information about the docent program. 

MEMORIAL GIFTS 

IN MEMORY OF 

IN HONOR OF 

Michelle "CoCo" Ogburn 

Margaret & Ronald Dolkart 

Prof. Frederick F. Lange 

MaryAnn Lange 

Deborah Bertling 

Diane Dodds 

Nancy L. Wood 

David Wood 

Mark Trueblood 

Nancy & James Lynn 

Joan Crossland, Nancy Lynn 

and David Malvinni 

Carolyn & Dennis Naiman 

Joan Crossland 

George Porter 

Elizabeth Alvarez 



35

BUSINESS SUPPORTERS 

We thank the many businesses that support 

CAMA's programs and events! 

Laurel Abbott, Berkshire 

Hathaway Luxury Properties 

Alma Rosa Winey 

Babcock Winery 

James P. Ballantine 

Bertling Law Group 

Bibi Ji 

Black Sheep Restaurant 

Blue Star Parking 

bouchon 

Brander Vineyard 

Wes Bredall 

Ca' Dario Ristorante 

Camerata Pacifica 

Cebada Wine 

The Cheese Shop 

Chaucer's Books 

Chocolats du CaliBressan 

Custom Printing 

eji experiences 

Eye Glass Factory 

Felici Events 

Finch & Fork 

Flag Factory of 

Santa Barbara 

Frequency Wine 

Gainey Vineyard 

The Good Lion 

Grassini Family Vineyards 

Grimm’s Bluff 

Hogue & Company 

Holdren's Catering 

Inside Wine Santa Barbara 

Kristin Jackson 

Graphic Design 

Jano Printing & Mailworks 

Jardesca 

Le Sorelle 

Lumen Wines 

M4 Interactive 

Maravilla/Senior 

Resource Group 

Mercury Press International 


Montgomery Vineyard 


Olio e Limone/Olio Crudo 

Bar/Olio Pizzeria 

Opal Restaurant & Bar 

Opera Santa Barbara 

Pacific Coast 

Business Times 

Pali Wine Co. 

Performing Arts 

Scholarship Foundation 

Pete Clements Catering 

Presqu’ile Winery 



Santa Barbara 

Travel Bureau 

The Tent Merchant 

The Upham Hotel 

Via Maestra 42 

Westmont Orchestra

The CAMA Women’s Board 

wishes to thank supporters of 

at The Cabrillo Pavilion 

Sponsors 

Concerto ($10,000 and above) 


Sonata ($5,000 - $9,999) 

In honor of Doris B. Kuhns 

Allegro ($1,000 - $2,499) 

Peter & Rebecca Adams 

Bitsy & Denny Bacon 

Frank McGinity 

Marie, Michele & Musette Profant 

Wendy Yager 

Andante ($500 - $999) 

Marta Babson 

Deborah Bertling 


Nancybell Coe 


Mr. & Mrs. Ray Freeman 

Judith Hopkinson 

Jill Kent 


Adagio (up to $499) 

Leslie Pruitt 

Lois Kroc 

Betty Meyer 

Harriet Mosson 

Nancy Wood 

Photo by Mark Allan 


(805) 966-4324 • info@camasb.org • www.camasb.org

Sometimes, a Round of 

Applause Just Isn’t Enough. 

Northern Trust is proud to support Community Arts Music 

Association of Santa Barbara. For 130 years, we’ve been 

meeting our clients’ financial needs while nurturing a culture 

of caring and a commitment to invest in the communities we 

serve. We’re proud to play a supporting role. 

TO LEARN MORE VISIT 

northerntrust.com 

WEALTH PLANNING | BANKING | TRUST & ESTATE SERVICES | INVESTING | FAMILY OFFICE

Saturday, April 23, 2022 ⳼ Isabel Bayrakdarian, soprano ⳼ Mark Fewer, violin ⳼ Jamie Parker, piano ⳼ Masterseries at the Lobero Theatre ⳼ CAMA

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