Luca Pisaroni, - and Jonathan Ware, piano

THURSDAY, OCTOBER 17, 2019 • 8PM Jackson Hall, UC Davis

Individual support provided by Wanda Lee Graves and Steve Duscha

MONDAVI CENTER 2019–20 | 1 We should take a moment to acknowledge the land on which we are gathered. For thousands of years, this land has been the home of Patwin people. Today, there are three federally recognized Patwin tribes: Cachil DeHe Band of Wintun Indians of the Colusa Indian Community, Kletsel Dehe Wintun Nation, and Yocha Dehe Wintun Nation.

The Patwin people have remained committed to the stewardship of this land over many centuries. It has been cherished and protected, as elders have instructed the young through generations. We are honored and grateful to be here today on their traditional lands.

https://diversity.ucdavis.edu

MONDAVI CENTER 2019–20 | 2 PROGRAM

Luca Pisaroni, bass-baritone Jonathan Ware, piano

“La Partenza” (1770–1827) “In questa tomba oscura” “Hoffnung (Dimmi ben mio)” “Beato quei che fido”

“L’amante impaziente I”

“Canzon, s’al dolce loco” Johann Friedrich Reichardt (1752–1814) “Erano i capei d’oro” Texts by Francesco Petrarca (1304–74) “O poggi, o valli, o fiumi, o selve” “Piu’ volte gia’ del bel sembiante” “Pace non trovo” “Or che ‘l ciel e la terra”

“Memnon” (1797–1828) “Fischerweise” D 881 “Schatzgräbers Begehr” D719 “Lied des gefangenen Jägers” D 843 “Der Schiffer”

INTERMISSION

“Schäfers Klagelied” D. 121 Schubert “Geheimes” D761 Texts by Johann Wolfgang von Goethe (1749–1832) “Am Flusse” 766 “Wanderers Nachtlied II” “Erlkönig”

“Auf dem See” D. 543 “Grenzen der Menschheit” “Ganymed” Op.19 No.3 “Wandrers Nachtlied” “An Schwager Kronos” “Rastlose Liebe” “Willkommen und Abschied”

Luca Pisaroni appears by arrangement with IMG Artists 7 West 54th Street, New York, NY 10019 Tel: 212/994-3500 www.imgartists.com

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal. MONDAVI CENTER 2019–20 | 3 The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular phones, watch alarms and pager signals. Videotaping, photographing and audio recording are strictly forbidden. Violators are subject to removal.

PROGRAM NOTES

LUDWIG VAN BEETHOVEN “Hoffnung (Dimmi ben mio)”

Born December 17, 1770, Bonn This bright and affectionate song comes from a collection Died March 26, 1827, Vienna by Beethoven called Four Arrietas and one Duet which was

published in 1811. Three of the songs are based on texts by “La Partenza” Pietro Metastasio, though the author of the text for this Beethoven’s “La Partenza” is a 1795 setting of a text which first song is still unknown. This song is rather charming, was originally written and set as a canzonetta by Pietro with the singer calling out to his lover to reciprocate his Metastasio—a pseudonym for Pietro Antonio Domenico love. Beethoven is a bit more intentional with his setting Trapassi—in 1749. Beethoven, along with Franz Schubert, for this song, as he includes some ornamental figures on often studied composition with Antonio Salieri, and the line “Cara, con un sorriso,” (“My dear, with just one Metastasio was a frequent poet that Beethoven and smile”) indicating the satisfaction given through Schubert set to music. Beethoven followed Metastasio’s reciprocated fondness. We find Beethoven’s compositional lead, also fashioning his setting in the style of a canzonetta, creativity once more when the song blissfully intensifies which was a secular vocal composition that began while the singers mentions the “paradise” that he enters appearing in the second half of the 16th century in Italy as when he receives her love. an amalgamation of the madrigal and the villanella—two popular, secular vocal genres found in Italy in the 16th “Beato quei che fido amor” century. The canzonetta’s popularity grew quickly, as they Strangely, this song goes by several different titles, with were fun to perform and often focused on lighter subjects. some in German and some in Italian: “Lebensglück,” “Das The genre was further popularized by renowned baroque Glück der Freundschaft,” and “Vita felice,” as well as the composers such as Luca Marenzio and Claudio Monteverdi. title for this program, “Beato quei che fido amor.” The These early canzonettas were composed for three to five discussion of whether the song was originally written in singers, but as the genre spread throughout Europe during Italian or German are inconclusive, since the author is the 18th century, it transformed into a light song for solo unknown, but it has been set in both German and Italian, voice and piano accompaniment, which is where we find and even French. This optimistic song focuses on the Beethoven’s setting. positive experiences that one shares with friends and

loved-ones, saying that “shared pleasure doubles itself” and “In questa tomba oscura” “shared sorrow melts away.” While this initial theme takes The origin story of Beethoven’s setting of “In questa tomba on several perspectives, either platonically or romantically, oscura” is rather interesting, as it was written in response the end of text is exclusively romantic as the poem speaks to a musical challenge. The Italian poet Giuseppe Carpani to the benefits of a romantic relationship and how it invited composers living in and around Vienna to compete improves all aspects of one’s life. The joy expressed in the for the best setting of his poem. In total, sixty-three poem is mirrored in the musical setting. Overall, the song composers responded to Carpani’s invitation, including is light and cheerfully brisk, and ends with an exuberant Beethoven, Antonio Salieri, Luigi Cherubini and Carl piano accompaniment, as the singer realizes the wonder he Czerny, whose setting allegedly filled 11 folio pages. All of has received through love. the submissions were collected in a large volume, with Beethoven’s appearing last, and all have since been lost “L’amante impaziente I” with the exception of Beethoven’s. This song is divided into This song comes from Beethoven’s collection, Four Ariettas three sections, with the third section repeating the first. and one Duet, previously mentioned with the song The first section opens with a slow and simple piano “Hoffnung.” This song is derived from Pietro Metastasio’s accompanying a solemn voice. The middle section is for the dramma per musica, Adriano in Siria. The defined by the quickening piano accompaniment and libretto was first performed in Vienna in 1732 and the aria soaring vocal melody, as the text details the singer’s “Che fa il mio bene?” from Act II scene 6 is the source for indignation toward the woman he once loved. The song Beethoven’s “L’amante impaziente.” Beethoven saw an cools off into the third section, marked by a return to the opportunity to compose two different emotional settings calmer style of the first section. Although the song sounds for the same text, and he indicates the difference between rather sweet at its ending, it is juxtaposed with the singer these two songs with the subtitle “arietta buffa” (“comic repeating “ingrata,” indicating the sorrow and despair of arietta”) for the first, and “arietta assai seriosa” (“very the singer who now lays in his grave. serious arietta”) for the second. This first version opens

with a flurry of notes from the piano, trading off with the

solo voice, followed by a lilting accompaniment that evokes

the lighthearted and comic style that Beethoven hoped to

draw out of the text. The buffa version of this song hints at

MONDAVI CENTER 2019–20 | 4 the untroubled attitude of the singer, as they are waiting for meaning of the text. This leaves the voice to express the their lover to return to them. Although they do not know natural beauty of Petrarch’s poetry. The voice is why their lover has yet to return, they merrily long for the reminiscent of Italian of the period, with soaring, lover, carrying on casually. These feelings are heightened elongated, but controlled melodies that build on the by the piano, which continues the vivacious and jaunty romanticism and tension found in the poetry, while the accompaniment that is found at the beginning of the song. piano rhythmically drives the song forward, providing harmonic underpinnings that comment on the mood and emotion of a given verse. JOHANN FRIEDRICH REICHARDT Born November 25, 1752, Königsberg June 27, 1814, Giebichenstein FRANZ SCHUBERT Born January 31, 1797, Vienna “Canzon, s’al dolce loco” Died November 19, 1828, Vienna “Erano i capei d’oro” “O poggi, o valli, o fiumi, o selve” “Memnon”

“Piu’ volte gia’ del bel sembiante” Franz Schubert was particularly close with the Austrian “Pace non trovo” poet Johann Baptist Mayrhofer, who wrote the text to this “Or che ‘l ciel e la terra” song. Schubert set Mayrhofer’s poems 47 times and used

his for two —Die Freunde von Salamanka Johann Friedrich Reichardt was a classical era composer and Adrast—but his lieder by Mayrhofer are profoundly who is primarily known for his prolific song beautiful. Mayrhofer’s text is based on the Greek composition—over 1,500 songs set to over 125 poets. mythological story of Memnon, the Ethiopian king and son Reichardt was born into a musical family 1752 in East of Tithonus and Eos. Memnon was a strong warrior and Prussia. His father was a lutenist and city musician and was sent to Troy to help defend against the Greeks. While Reichardt began studying lute, violin and keyboard from a in battle at Troy, Memnon was killed by Achilles, who very early age. Later in life, Reichardt held several sought revenge against Memnon for slaying Antilochus. important musical positions such as the Kapellmeister for According to the mythology, Zeus was profoundly moved the Royal Prussian Court in Potsdam and Theater Director by Memnon’s death and granted him immortality. in Kassel, and was able to frequently compose music, even Mayrhofer’s text captures the tragedy of Memnon’s fight in while evading French troops in Paris for his outspoken Troy, as he frames this current moment as a lament by political opposition to Napoleon. Memnon, and Schubert’s gorgeous setting draws upon the

monumentality of Memnon and the dramatic elements of It is not clear when these songs were composed, as very few his story. The hastened accompaniment in the third verse of Reichardt’s songs exist in modern editions and a is particularly noticeable and it marks the shifting mood majority of attention given to the study of Reichardt’s from optimism in death to sorrow, fear and anguish. The music focuses on his partnership with Goethe. Francesco final verse reclaims the serenity found at the beginning of Petrarch, the poet that Reichardt chose for this set of songs, the song, and closes tenderly, as we hear Memnon calling was a fourteenth-century Italian poet who is credited in to the goddess of dawn for his liberation. part with the start of the Renaissance, and is particularly known for his contributions to humanism. His sonnets are “Fischerweise” some of his most beloved medieval poetry and were seen as the model of lyric poetry for medieval and renaissance Unlike a lot of lieder where the subject is romantic or a poets, many of whom attempted to imitate his style. desirable lover, Schubert’s “Fischerweise,” with a text by Reichardt’s choice of Petrarch is not surprising, given that Franz Schlechta, rather focuses on the sole male character Petrarch has been set by many composers throughout and his romanticized fishing experience. Schlechta’s history, including Cipriano de Rore, Palestrina, Monteverdi colorful text, depicting the motion of the water and the fish and even Schoenberg. that swim through it, as well as the feelings of freedom and delight intimated by the fisherman, is enhanced by Very little is known about Reichardt’s settings of Petrarch, Schubert’s energetic and driving piano accompaniment. though there are some musical features to his settings that The structure of the vocal melody also contributes to the make these songs attractive. Reichardt’s piano musical expression, alternating between stronger, louder accompaniment for many of these songs are simple, yet verses and lighter, softer verses, further mirroring the somewhat characteristic of accompaniments of the period. sentiments and illustrations of the text. While we expect a The piano is a harmonic “guide” for the song, setting the day of fishing to be calm and soft, Schubert’s setting overall tone and mood of a song, but does not engage in too instead highlights the fisherman’s delectation on his day in many illustrative techniques—more common with lieder of nature. the Romantic era—that may connect it closer to the

MONDAVI CENTER 2019–20 | 5 “Schatzgräbers Begehr” danger of the poem, but rather the tenacity of the sailor

and his dominance over the forces that seek his failure. In Schubert developed a close relationship with poet Franz the third verse of the poem, the singer states that they von Schober in hopes of creating a large-scale romantic desired this struggle, saying that they much prefer a good opera production together—a departure from the lighter challenge over an easier task. Though Schubert’s setting genre of that Schubert had previously composed does not vary much through all four verses, the pace and for. Though they achieved their goal, completing the opera vigor of the piano accompaniment and the heroism of the Alfonso und Estrella in the late part of 1822, no opera house vocal melody suffice in their expression of the ideas in Vienna, Berlin or Graz wanted to stage their final injected in Mayrhofer’s original poem. product. It is unknown exactly when the song and text for

“Schatzgräbers Begehr” were written, though it is “Schäfers Klagelied” conceivable that they were written contemporaneously with Alfonso und Estrella, and perhaps the attitudes of the Only one song can claim to be Schubert’s first publicly compositional process of the opera made their way into performed song. Schubert’s setting of Goethe’s “Shepherd’s this song. The song is clearly divided into two sections, Lament,” first published in 1804, was warmly received at marked by the noticeable shift in volume and expression. its premiere, and that can partially be attributed to The first two verses are exceptionally fierce, supported by a Schubert’s attention to popular lieder aesthetics of the minor key, and depict the intensity of the singer and their period. The pastoral subject of this poem combined with desire to prove to the world their efforts searching for the the dotted rhythms found throughout are telltale so-called “treasure” are not wasteful. In the second half, characteristics of a siciliano, which was a baroque musical the song slackens as the singer realizes that while they may style that was popular with audiences, even into the be digging fervently, searching for their treasure, they may nineteenth century. The first three verses differ in their also be digging their own grave. However, the vocal melody style, with the second section defined by its repetitive, rises to the upper register and the accompaniment shifts ascending piano triplets and the third and fourth sections into a major key, illustrating that their inner perseverance marking the overall climax of the song. If one listens toward a personal goal is remarkable in the face of doubters closely you will recognize the vocal melody and piano and nay-sayers. accompaniment of the fifth section are the same as the second, and the final section harkens all the way back to “Lied des gefangenen Jägers” the first, making the form of this song palindromic. Beyond

the form, Schubert’s setting alternates between major and Adam Storck’s poem, “Lied des gefangenen Jägers,” is a minor keys effectively to mirror the melancholic expression German adaptation of “Lay of the imprisoned Huntsman” of the lamenting shepherd. While he is surrounded by from Lady of the Lake (1810) by the eminent English poet natural beauty, remarking in every verse a new, wonderful and playwright, Sir Walter Scott. Each of the three verses facet, he is depressed over lost love and only the sheep keep are divided into two parts: the first four lines are the him company at the song’s end. lament, with the dejected hunter reviewing the sad state of affairs that they currently face—a weary horse, a dog that “Geheimes” dislikes their food, and so on—while the second four lines express the optimism and joy found in the hunter when Albeit fleeting, this gentle, little song is nothing short of they think about the pleasures of hunting and the delightful. The vocal melody takes center stage in gratification of bringing home a trophy. However, the last Schubert’s setting of Mayrhofer’s poem, as the piano line in each verse returns once again to the despair and accompaniment is repetitions of the same rhythmic idea. misery of separation from hunting. Schubert’s setting, However, it’s difficult to tell how Schubert interpreted this published in 1819, perfectly echoes the sentiments poem, as the third verse certainly describes some expressed by the singer, as the sprightly rhythm of the flirtatious actions by the female subject, which in context piano accompaniment harkens to the feeling of adventure, with the first verse, reflecting on everyone’s attention while the minor and major keys relate to the hunter’s toward “his” woman, it might appear that the action is emotional state as he oscillates between pessimism and taking place in a brothel. The second verse would appear to hope. confirm this suspicion, as it mentions the seductive eyes, which appear to be personal to one man, yet every man in “Der Schiffer” the room receives the same alluring eyes and feels

similarly. On top of that, the title, “Secret,” makes this Mayrhofer’s “Der Schiffer,” written in 1817, is an reading almost impossible to dismiss. Given this inspirational poem that depicts a sailor fighting against interpretation, Schubert’s setting is rather puzzling, as it raging waters and violent storms. Mayrhofer’s descriptive sounds almost harmless and innocent. Underneath the text illustrates the power of the storm and its effect on the surface, however, Schubert’s clever setting, with the use of boat, as it creaks and rolls through the wind and waves. major and minor keys to evoke false love, the seductive- This brief, rousing setting by Schubert focuses not on the

MONDAVI CENTER 2019–20 | 6 sounding melodic ornaments, and the tension created by boy once more, only this time he threatens to forcefully the near-constant repetition of the rhythmic motif, this take him. The boy screams out as he feels the touch of the little song turns out to be rather complex and immensely Erlking, and the father responds instantly by riding faster. suggestive. However, the father is too late. When they arrive back at the farm, he finds the son dead in his arms. The emotional “Am Flusse” quality of the piano accompaniment tracks the

development of the story: the opening is hurried and Schubert set this particular 1799 text by Goethe twice, one menacing and shifts to serene and beautiful when the in 1815, and this version just seven years later in 1822. The Erlking is luring the son. Schubert is also careful in 1815 setting of “Am Flusse” is far more mournful, which mirroring the physical movement of this story in the piano can be mostly attributed to its minor key, but this later accompaniment. As the song approaches the end, the version is in a major key, evoking a lighter and more repeated notes slowly come to a halt, paralleling the horse’s relaxed feeling. At only 33 measures, “Am Flusse” is very slowing as they reach the farm. Additionally, Schubert is short, though it is shocking to note how a simple change rather clever with this song, as he pairs each of the four from minor setting to major setting drastically changes characters of the story—narrator, father, son, and our interpretation of the same text. It is a mature Erlking—with a certain vocal range. The narrator, heard interpretation, whereas the then 18-year-old Schubert right at the beginning of the song, generally falls in the opted for a sorrowful lament. Schubert chose in this middle range, while the father lies in the low range. The version to focus on the relief expressed by the singer as son and the Erlking both occupy a higher range. Though they watch the pain and scorn float away from them and many composers attempted to set this poem, few were as down the river. The idiomatic phrase “water under the successful as Schubert, who published his first edition of bridge” relates well to Schubert’s emotional expression in this song in 1815 when he was just a teenager. his gorgeous second edition of “Am Flusse.”

“Auf dem See” “Wanderers Nachtlied II”

Goethe wrote this poem in Summer 1775 when he was If you thought “Am Flusse” was short, Schubert’s setting of visiting his good friends in Switzerland. Musicologist the famous Goethe poem from 1780 comes in at a mere 14 Lorraine Byrne suggests in her book Schubert’s Goethe measures—with all the music fitting onto a single page. Settings that the lake that is the backdrop of this song is The story behind the original poem is perhaps the more Lake Zurich and the female subject and love interest of the interesting. Goethe was hiking in the mountains near third verse is said to be Lili Schönemann, whom Goethe Weimar and etched this poem onto the wall of the hotel he was infatuated with in his hometown of Frankfurt. was staying in at the top of the Kickelhahn mountain. The Schubert’s setting for “Auf dem See” proves rather poem alone is sublime. Goethe beautifully describes the challenging for the singer in the first verse, as the vocal calming at the top of the mountain, as the birds hush and melodies are long and drawn-out, requiring a significant the winds die down, foreshadowing the rest that is coming breath. The accompaniment is busy, but controlled, moving for the reader (the popular holiday song “Silent Night” gracefully up and down the piano, adding to the serenity of immediately comes to mind here). Schubert does no harm the beautiful scene by the lake. The second verse marks a with his setting and only enhances the calm scene that change in texture, as the piano accompaniment shifts Goethe has painted at the top of the mountain. Schubert slightly to accommodate the change in emotion by the keeps the piano accompaniment simple and the voice soft, singer. The singer questions the moment they are which turns this gorgeous little poem into a lullaby of experiencing: is this a dream? They quickly dismiss the sorts, peacefully sending the listener into a good night’s rosy “vision” and believe instead that love and life are rest. happening right in front of them. Schubert shifts into a

minor key briefly, and the piano slides around several key “Erlkönig” areas, echoing the questions of the singer. The end of the Franz Schubert’s tumultuous setting of Goethe’s “Erlkönig” song is striking, as we hear the singer bid farewell to the is a beloved piece of the vocal repertoire. This stars. It’s a particularly sublime moment, and we hear the narrative song recounts the tragic story of a father and son grace and serenity in the singer through a soaring, but riding on a horse through the woods late at night and their gentle vocal melody, as the piano gradually diminishes. encounter with the alluring, maleficent Erlking. As the father and son are riding, the son exclaims to the father “Grenzen der Menschheit” that he sees the Erlking off in the distance. The Erlking It’s unusual that Schubert composed a standalone song lures the child with promises of games, extravagant much longer than three or four minutes, making this song clothing and beautiful locales. Although the boy grows particularly interesting, at least at first glance. Composed more distressed, the father ignores his son’s pleas, in 1821 and published over a decade later, Schubert’s dismissing them as merely fog, rustling leaves or willow “Grenzen der Menschheit” builds upon the supplication branches blowing in the breeze. The Erlking entices the

MONDAVI CENTER 2019–20 | 7 and humility found in Goethe’s poem, with all of the of several letters that Goethe sent to his friend Charlotte seriousness and intention that such a text might demand von Stein in 1776 from a mountain in the area surrounding from a musical setting. Schubert’s undemanding piano Ettersberg, which is found in Goethe’s signature on the accompaniment is more of a collection of harmonic guides letter. The poem is similar to the second “Wandrers rather than any collection of melodic material. However, it Nachtlied” in that its subject focuses on ridding oneself of is notable that his straightforward accompaniment grief and sorrow bestowed upon them by the world and undergirds the sacred and humble singer with harmonies resting and refreshing. Schubert’s simplistic setting for this that both create tension and bring relief and grace. Perhaps poem begins softly and gradually builds in activity and the simplicity of the piano accompaniment allowed the emotional intensity until it climaxes on “Ach” in the moving vocal melody to shine through. The prominence middle of the poem, as the singer despairs over their given to the voice suggests to the listener that the true weariness. The final two lines steadily settle, with Schubert subject of invocation suggested through the text is most echoing the gentle accompaniment from the beginning of important, rather than the illustrative and metaphorical the song, leading the singer into their time of rest. elements that might be abstracted from it, as is customary for many of Schubert’s songs. Though if one listens closely, “An Schwager Kronos” the carefully crafted vocal melody evokes several musical Schubert’s rhythmically-driving setting for Goethe’s 1774 ideas: the sacred, chantlike sound of repeated notes, or the poem perfectly mimics the circumstances that surround rising and falling melodies linked with the undulation of the metaphor created through Goethe’s text. Goethe the rolling waves. The emphasis on the voice in this song apparently wrote this poem as he was riding in a coach shows Schubert’s flexibility with the genre, by granting the from Darmstadt to his hometown of Frankfurt. It is majority of the illustrative labor to the vocal melody rather possible to read this poem as quasi-autobiographical, with than the piano. the ups and downs of the poetics alluding to his own life,

though it is perhaps more interesting to focus on how “Ganymed” Schubert negotiates this “ride through life.” Schubert is not Ganymede is a divine hero from Greek mythology who is afraid of drawing inspiration from mechanical, moving recognized as the most beautiful of all mortals. In this aspects of poetry and often uses them to drive the song particular story, Ganymede is seduced by Zeus, who, in forward through a repetitive, motor-like accompaniment. some versions of the mythology, fell in love with The steady accompaniment found here echoes some of his Ganymede’s stunning appearance. The myth stirs questions other well-known works that utilize the same technique, of homosexuality and the ancient Greek custom of such as “Gretchen at the spinning wheel” and “Erlkönig.” paiderastia, which was a social, romantic relationship Looking at the voice, one will find great variety in the between an adult man and a younger man. Goethe’s poem dynamics as well as the expression. In the early verses of focuses on this romantic exchange between Zeus and the song, the voice is strong and punctuated, though in the Ganymede, depicting the response by Ganymede to Zeus’s middle verses, the voice softens dramatically, marking the seduction. Schubert’s setting is light and bright, especially shift in focus away from the wilder parts of his life to his in the first verse with soaring vocal melodies and a serene numerous romantic encounters. Not too long after, accompaniment. At the end of the first verse, Schubert however, the ferocity of the voice returns as the piano dramatically slows the music, drawing upon the sentiments continues to push onward and the singer sings about the of Ganymede as he remarks about Zeus’s warmth and their end of life and the frailty of man as they grow older. It is embrace. The piano accompaniment is quite illustrative in well documented that Schubert was deeply invested in the second verse. Schubert makes note of the nightingale Goethe’s poetry, and this particular example shows not mentioned and the accompaniment almost echoes a bird only his interest in Goethe’s more autobiographical works, call. At the end of the verse, with Ganymede stating, “I am but also echoes the same metaphors expressed by the coming, I am coming,” the song accelerates quickly, original text through his illustrative setting. remarking about the excitement expressed by Ganymede in that moment. As the song gently closes, one notices how “Rastlose Liebe” the piano and voice work in tandem in this song to evoke “Rastlose Liebe” was composed by Schubert in 1815 and the sense of shared affection between Ganymede and Zeus. dedicated to one of his composition teachers, Antonio The comfort of the final lines is brought out by the piano Salieri (For those of you who may not recognize this name, that fades into the background and the soft voice that this is the man who recalls the story of Mozart in the well- disappears into the clouds along with Ganymede. known Amadeus film.) Like many of the songs on this

program, this poem, written by Goethe during a “Wandrers Nachtlied” snowstorm in 1776, was set twice by Schubert, with the Schubert’s first “Wandrers Nachtlied” was composed in second edition composed in 1821, though it was not 1815 and is based on the first of the two poems that Goethe published until 1970 as part of the . wrote for “Wandrers Nachtlied.” This first poem was part This powerful and storming setting was quite popular after

MONDAVI CENTER 2019–20 | 8 its 1824 premiere and has become a mainstay of Schubert’s ABOUT THE ARTISTS vocal repertoire. It is clear that Schubert paid attention to the fact that Goethe wrote this poem during a snow storm, Luca Pisaroni, bass-baritone and makes every attempt in both the voice and piano to Italian bass-baritone Luca Pisaroni has established replicate the ferocity of the weather event. The flurrying himself as one of the most charismatic and versatile piano accompaniment and potent vocal melody help create singers performing today. Since his debut at age 26 with the tempest of this song. In regards to the lyrical content of the Vienna Philharmonic at the , led by this piece, perhaps the sheer difficulty in performing this , Pisaroni has continued to bring his song relates to the overall positive message about the compelling artistry to the world’s leading opera houses, struggle of love suggested by the lyrics: the final result is concert halls and festivals. worth the challenging journey.

Luca Pisaroni began the 2019-20 season with a return “Willkommen und Abschied” to the Wiener Staatsoper to star as the Four Villains in How appropriate to end a concert with a song saying Offenbach’s Les Contes d’Hoffmann. He then sang the “hello” and “goodbye”? Schubert set this 1771 poem by title role of Mozart’s in a concert staging Goethe in 1822, with two versions: one in the key of C with the Sinfonieorchester Basel at the George Enescu Major, published in 1826, and a version in D Major in 1895. Festival. Pisaroni returns to the Beyond the difference in key, there are only minor changes for two productions this season: Le Nozze di Figaro in the wording of the text. The bouncy rhythm that makes (Figaro) and Così fan tutte (Guglielmo), marking the first up the majority of the piano accompaniment in this song revival of Phelim McDermott’s popular staging inspired most likely relates to the horse referenced in the very first by Coney Island. After a successful tour with Il Pomo line. It is said that this poem echoes a horse ride that d’Oro last season, Pisaroni reunites with the ensemble Goethe would take himself, since he was courting a woman for his role debut as Zoroastro in Handel’s Orlando on who lived in the next town over—a short ride by horse— tour in Europe. He will close out the season starring in while he was studying at the University in Strasburg. This multiple productions of Don Giovanni, beginning at the poem describes a man who rides through the cold, dark Palais Garnier as the title role with the Opéra National de night to visit a woman, with whom we can assume he is Paris, singing Leporello at the Bayerische Staatsoper, and infatuated. He arrives and her eyes, embrace and kisses concluding with the title role at Opernhaus Zürich. overcome the man with great love and happiness, but he must depart as the morning sun crests over the horizon. Pisaroni’s 2019-20 concert appearances include Mozart’s The first and second verses are the most intense, as the Requiem with the Orchester Wiener Akademie, Beethoven’s man is riding through the night and encounters some Symphony No. 9 with NHK Symphony Orchestra and a monsters hiding in the woods, watching him ride by. concert with I Virtuosi del Teatro alla Scala at Zaryadye Schubert’s piano accompaniment in the second verse shifts Hall in Moscow. In recital, Luca will appear at the Teatro into a minor key, mirroring the menacing look of the della Pergola in Florence, at the Mondavi Center for the hundred eyes peering through the bushes and the fear felt Performing Arts and at UBC Opera in Vancouver for their by the singer. The driving rhythm of the horse ceases right “Singer Behind the Song” series. Pisaroni reunites with as the singer approaches the woman in the third and final baritone for their acclaimed “No verses, showing that he has taken a moment off of his Allowed” concert series in Provo, Utah and then at Teatro locomotion to share affection with this woman, though he Colón in . resumes almost immediately after he notices the sun rising, marking his departure on horse. Mr. Pisaroni has recorded for all major labels. His discography includes Don Giovanni and Rinaldo from —by Jonathan Minnick the Glyndebourne Festival; Le nozze di Figaro with the Opéra National de Paris; Così fan tutte, Don Giovanni and Le nozze di Figaro from the Salzburg Festival; Verdi’s Simon Boccanegra with the Wiener Symphoniker and recordings of Don Giovanni and Le nozze di Figaro with the Mahler Chamber Orchestra and Yannick Nézet-Séguin. Recent releases include Berlioz’ Roméo et Juliette with the San Francisco Symphony; Beethoven’s Mass in C Major with Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks and Rossini’s Petite Messe Solennelle with the Orchestre Philharmonique du Luxembourg and Gustavo Gimeno.

MONDAVI CENTER 2019–20 | 9 In 2019, Luca Pisaroni was honored as one of five recipients In North America he has given recitals at the Alice Tully of the Opera News Award at a ceremony hosted in New Hall, Carnegie’s Weill Hall as part of Marilyn Horne’s York City. The Song Continues programme, Lincoln Center with cellist Michael Katz, the Ravinia Festival and The Phillips Luca lives in Vienna with his wife, Catherine. Their golden Collection Washington DC, as well as a tour with mezzo- retriever Lenny 2.0 and miniature dachshund Tristan are Tara Erraught. the singer’s constant traveling companions. Passionate about the song repertory, during the 2012-13 Jonathan Ware, piano season Jonathan was artistic co-director of Schubert and Company, a year-long festival devoted to the performance Sought after as a song accompanist and chamber of the complete Schubert Lieder in New York. He has been musician, during the 2019-20 season Jonathan will give a member of the accompanying staff of the Steans Institute concerts across Europe at venues including the Théâtre at Chicago’s Ravinia Festival and the coaching staff of des Champs-Elysée, Berlin Staatsoper, Bordeaux Opera, the Internationale Meistersinger Akademie in Neumarkt the Concertgebouw Amsterdam and Wigmore Hall, Germany. He has also worked as a répétiteur with Juilliard collaborating with Elsa Dreisig and Robin Tritschler. In Opera, New York City Opera and Frankfurt Opera. 2020 he makes his debut at La Scala with Bejun Mehta and returns to the Heidelberger Frühling Festival with Bejun As a soloist Jonathan has given concerts in Dallas, New Mehta and Ludwig Mittelhammer. York, Washington DC, Miami and Hammamatsu in Japan. He won the Grand Prize at the 2005 Kingsville In the United States, Jonathan will also give recitals at International Competition and was a medalist in the 2002 Carnegie Hall with Golda Schultz, the Kennedy Center Missouri Southern and New York International Piano in Washington D.C. with Brenda Rae and the UC Davis Competitions. His performances have been broadcast Mondavi Center with Luca Pisaroni. on WQXR (New York), WFMT (Chicago), WRR (Dallas), Bavarian Radio and on US public television. Over the last year Jonathan has recorded with Elsa Dreisig for Warner, Luca Pisaroni for Primo Classics, and Ludwig Mittelhammer for Berlin Classics and Bayerisches Rundfunk. He gave recitals at the Pierre Boulez Saal, Snape Maltings, the Elbphilharmonie, L’Auditori, as well as the gateway Strauss Festival and collaborated with the Vogler Quartet and trombonist Peter Moore at major venues in Europe and with oboist Olivier Stankiewicz in the US, appearing at the Morgan Library in New York to critical acclaim. The Composer Texas born, Jonathan now resides in Berlin where he teaches at the Hochschule ‘Hanns Eisler’ and Barenboim- and the Poet Said Academy in Berlin. He studied at the Juilliard School in New York, and the Hochschule für Musik ‘Hanns Eisler.’ He regularly returns to the Verbier Festival Academy as he songs performed as duets by Luca Pisaroni, staff and to the Samling Institute to give masterclasses. T bass-baritone and Jonathan Ware, piano, also Awards include 1st Prize with Ludwig Mittelhammer required dual efforts to compose. This program in the International Hugo Wolf Competition and the features several works by composer Franz Schubert set to the texts of Johann Wolfgang Von Goethe. Pianist’s Prize at the Das Lied and Wigmore Hall/Kohn Foundation Song Competitions. In 2014 he was selected for Learn more about Schubert, Goethe, and their representation by Young Classical Artists Trust. relationship from the resources referenced in our Jonathan has performed widely throughout Europe blog post, “A Closer Look at Schubert and Goethe.” appearing at major festivals and venues including the Munich Philharmonie, Kölner Philharmonie, Berlin Konzerthaus, the Rheingau Festival and Salzburg Festival Read more on our blog: Dialogues at the Mozarteum. He has collaborated with mondaviarts.org/blog Mojca Erdmann, Michael Collins, Golda Schultz, Dame Ann Murray, Dame Felicity Lott, Ailish Tynan, Fatma Said Painting of Schubert (left) by Wilhelm August Reider, c. 1825; Goethe (right) and Benjamin Appl, among many others. by Joseph Karl Stiegler, 1828.

MONDAVI CENTER 2019–20 | 10 TEXTS AND TRANSLATIONS

Ludwig van Beethoven

“La Partenza”

Ecco quel fiero istante: Now comes the painful moment Nice, mia Nice, addio. Nice, my Nice, goodbye, Come vivrò ben mio, How will I live, my love Così lontan da te? So far from you? Io vivrò sempre in pene, I will always live in pain Io non avrò più bene: I will no longer be well E tu, chi sa se mai And you, who knows if ever Ti sovverrai di me You will remember me.

“In questa tomba oscura”

In questa tomba oscura In this dark tomb Lasciami riposar; Let me rest Quando vivevo, ingrata, When I was living, ungrateful, Dovevi a me pensar. You should have given me a thought.

Lascia che l’ombre ignude Let the shadows ignore Godansi pace almen Relish their peace E non, e non bagnar mie ceneri And no, do not bathe my ashes D’inutile velen. With innocuous poison

“Hoffnung (Dimmi ben mio)”

Dimmi, ben mio, che m’ami, Say, my dear, that you love me, Dimmi che mia tu sei. Say that you are mine E non invidio ai Dei And I will not envy the gods La lor’ divinità! Their power divine! Con un tuo sguardo solo, With one single look from you, Cara, con un sorriso My dear, with just one smile Tu m’apri il paradiso You open heaven to me Di mia felicità! Of my happiness!

MONDAVI CENTER 2019–20 | 11 “Beato quei che fido”

Beato quei che fido amor Blessed is he Mai seppe meritar! who has a faithful love! Ei solcherà senza timor Without fear for his life Di questa vita il mar. he will weather the sea

Dovunque lo conduca il ciel, Wherever heaven leads him Gli ride dolce fior; sweet flowers smile; La gioja non là cuopre un vel, Joy is not veiled, Si scema ogni dolor. and every sorrow fades.

Ei sente l’alma divam par He feels his soul aglow Di generoso ardir; of generous boldness; Il vero ei puote sol amar, He loves only the truth Del bello sol gioir. and only beauty brings him joy

Felice chi ad un fido sen Happy is he who can rest Può cheto riposar, On a faithful breast E negl’ occhietti del suo ben And happily see his image reflected Contento si specchiar! In the eyes of his beloved!

Che in mezzo agli disa striancor That in the midst of disaster Quel sol gli riderà, he will still see the sun shining, Ed a più bella calma oror And to a more beautiful, calm damn Tutto gli tornerà. everything will return

“L’amante impaziente I”

Che fa, che fa il mio bene? What is, what is my darling doing? Perchè, perché non viene? Perhaps, perhaps she will not come? Vedermi vuole languir She likes to see me languish Così, così, così! Like this, like this, like this! Oh come è lento nel corso il sole! How slowly the sun runs its course, Ogni momento mi sembra un dì, Every second is like a day. Che fa, che fa il mio bene? What is, what is my darling doing? Perchè, perché non viene? Perhaps, perhaps she will not come? Vedermi vuole languir She likes to see me languish Così, così, così! Like this, like this, like this!

MONDAVI CENTER 2019–20 | 12 Johann Friedrich Reichardt Texts by Francesco Petrarca

“Canzon, s’al dolce loco” Canzon, s’al dolce loco Song, if you see my lady la donna nostra vedi, in that sweet place, credo ben che tu credi I know well you think ch’ella ti porgerà la bella mano, she’ll stretch out her lovely hand to you ond’io son sí lontano. that I am far away from. Non la tocchar; ma reverente ai piedi Do not touch it: but do adulate at her feet le di’ ch’io sarò là tosto ch’io possa, and say I shall be there as swiftly as I can, o spirto ignudo od uom di carne et d’ossa as nude spirit, or man of flesh and bone.

“Erano i capei d’oro” Erano i capei d’oro a l’aura sparsi She let her sunlit hair fly in the breeze che ‘n mille dolci nodi gli avolgea, that tangled in a thousand sweet knots, e ‘l vago lume oltra misura ardea and twinkling light would burn beyond measure di quei begli occhi, ch’or ne son sì scarsi; in those beautiful eyes, now so rare: e ‘l viso di pietosi color farsi and it seemed to me her countenance bore the color (non so se vero o falso) mi parea; of pity, I know not whether false or true: i’ che l’ésca amorosa al petto avea, I who had the lure of love in my breast, qual meraviglia se di subito arsi? what wonder if I suddenly caught fire? Non era l’andar suo cosa mortale A fiery lightness in her being, ma d’angelica forma, et le parole a voice that wasn’t mortal; it was song, sonavan altro che pur voce umana: rang higher than a human voice. uno spirto celeste, un vivo sole A celestial spirit, a living sun fu quel ch’ i’ vidi, et se non fosse or tale, was what I saw: and if she is not such now, piaga per allentar d’arco non sana. the wound’s not healed, although the bow is slack.

“O poggi, o valli, o fiumi, o selve”

O poggi, o valli, o fiumi, o selve, o campi, O hills, O Valleys, O rivers, O woods, O fields, o testimon’ de la mia grave vita, O testimony of my hard life, quante volte m’udiste chiamar morte! how many times have you heard me call for death! Ahi dolorosa sorte Ah painful fate lo star mi strugge, e ‘l fuggir non m’aita. staying here destroys me, and fleeing is no help. Ma se maggior paura But if a greater fear non m’affrenasse, via corta et spedita did not restrain me, a short swift way trarrebbe a fin questa apra pena et dura; would bring an end to this this harsh bitter pain: et la colpa è di tal che non à cura. and the fault would be hers, who does not care

MONDAVI CENTER 2019–20 | 13 “Piu’ volte gia’ del bel sembiante”

Più volte già dal bel sembiante umano Many times already, from the beautiful human ò preso ardir co le mie fide scorte appearance d’assalir con parole oneste accorte I’ve dared to assail my enemy, quiet and humble la mia nemica in atto umile et piano. in her actions, with prudent and honest words, with my honest well-considered speech.

Fanno poi gli occhi suoi mio penser vano Then they make my eyes rendered vain per ch’ogni mia fortuna, ogni mia sorte, For every fortune of mine, all my destiny, mio ben, mio male, et mia vita et mia morte my good, my bad, my life, and my death quei che solo il pò far l’à posto in mano. placed in her hands, by him who alone can do so.

Ond’ io non pote’ mai formar parola So I could not even form true words ch’ altro che da me stesso fosse intesa, that anyone but me could understand: cosi m’à fatto Amor tremante et fioco. So Love had made me blaze and tremble.

Et veggi’ or ben che caritate accesa And I see clearly now that glowing charity lega la lingua altrui, gli spirti invola: ties a man’s tongue, and daunts his spirit: chi pò dir com’ egli arde è ‘n picciol foco. who utters while he burns is in slight fire.

“Pace non trovo”

Pace non trovo, et non ò da far guerra; I find no peace, and I do not make war: e temo, et spero; et ardo, et son un ghiaccio; I fear and hope: I burn and I am ice: et volo sopra ‘l cielo, et giaccio in terra; and fly above the heavens, and fall to earth, et nulla stringo, et tutto ‘l mondo abbraccio. and clutch at nothing, and embrace the world.

Tal m’à in pregion, che non m’apre né serra, Who neither frees nor jails, imprisons me, né per suo mi riten né scioglie il laccio; And holds me not, yet herself slips the noose: et non m’ancide Amore, et non mi sferra, and Love does not destroy me, and does not loose me, né mi vuol vivo, né mi trae d’impaccio. wishes me not to live, but does not remove my bar.

Veggio senza occhi, et non ò lingua et grido; I see without eyes, and without tongue I cry, et bramo di perir, et cheggio aita; and want to perish, yet I beg for help: et ò in odio me stesso, et amo altrui. I love another and hold myself in hate.

Pascomi di dolor, piangendo rido; I feed on sorrow, laughing weep: egualmente mi spiace morte et vita: Equally death and life displease me: in questo stato son, donna, per voi. and I am in this state, lady, because of you.

MONDAVI CENTER 2019–20 | 14 “Or che ‘l ciel e la terra”

Or che ‘l ciel e la terra e ‘l vento tace, Now that the heaven and the earth and the wind E le fere e gli augelli il sonno affrena, are silent Notte il carro stellato in giro mena and the wild creatures and the birds sleep, E nel suo letto il mar senz’onda giace; Night leads its starry wagon in its round, and in bed lies the sea without a wave lies.

Vegghio, penso, ardo, piango; e chi mi sface I look, think, burn, weep: and she who destroys me Sempre m’è inanzi per mia dolce pena: is always before my eyes to my sweet sorrow, Guerra è il mio stato, d’ira et di duol piena; war is my state, filled with grief and anger, E sol di lei pensando ho qualche pace. and I find peace only in thinking of her

Così sol d’una chiara fonte viva So from only one pure living fountain Move ‘l dolce e l’amaro ond’io mi pasco; flow the sweet and bitter which I drink: Una man sola mi risana e punge. one hand alone heals me and pierces me:

E perchè ‘l mio martìr non giunga a riva, and so that my martyrdom may not reach haven, Mille volte il dì moro e mille nasco; I am born and die a thousand times a day, Tanto da la salute mia son lunge! I am so far from my salvation.

Franz Schubert

Memnon Den Tag hindurch nur einmal mag ich sprechen, During the day I only speak once: Gewohnt zu schweigen immer und zu trauern: Always used to constant silence and grieving; Wenn durch die nachtgebor’nen Nebelmauern when Aurora’s tender purple rays Aurorens Purpurstrahlen liebend brechen. break through the night-bestowed walls of fog. Für Menschenohren sind es Harmonien. To human ears these are harmonies. Weil ich die Klage selbst melodisch künde Since I proclaim a melodic complaint, Und durch der Dichtung Glut des Rauhe ründe, and transfigure its roughness in the glow of poetry, Vermuten sie in mir ein selig Blühen. they imagine that blessing of flowers within me. In mir, nach dem des Todes Arme langen, Within me, to whom the arms of death stretch out, In dessen tiefstem Herzen Schlangen wühlen; as serpents rummage deep in my heart; Genährt von meinen schmerzlichen I am nourished by my painful thoughts, Gefühlen Fast wütend durch ein ungestillt and almost frenzied by an unquenched desire. Verlangen: Mit dir, des Morgens Göttin, mich zu einen, Oh to be united with you, goddess of morning, Und weit von diesem nichtigen Getriebe, and, far from this vain bustle, Aus Sphären edler Freiheit, aus Sphären reiner to shine down as a silent, pale star Liebe, Ein stiller, bleicher Stern herab zu scheinen. from spheres of noble freedom, from spheres of pure love.

MONDAVI CENTER 2019–20 | 15 Fischerweise D 881 Den Fischer fechten Sorgen The fisherman is not worried Und Gram und Leid nicht an; by cares, grief or sorrow. Er löst am frühen Morgen In the early morning he releases Mit leichtem Sinn den Kahn. his boat with a light heart. Da lagert rings noch Friede There is still peace around it Auf Wald und Flur und Bach, over forest, land, and brook, Er ruft mit seinem Liede He calls with his song Die gold’ne Sonne wach. the golden sun awake. Er singt zu seinem Werke He sings at his work Aus voller frischer Brust, from a full, enlivened heart. Die Arbeit gibt ihm Stärke, His work gives him strength, Die Stärke Lebenslust. The strength of life. Bald wird ein bunt’ Gewimmel Soon a colorful crowd In allen Tiefen laut will resound in the depths, Und plätschert durch den Himmel, and splash Der sich im Wasser baut. through the watery heavens. Doch wer ein Netz will stellen, But whoever wishes to set a net Braucht Augen klar und gut, needs good, clear eyes, Muss heiter gleich den Wellen must be as cheerful as the waves, Und frei sein wie die Flut. and as free as the tide. Dort angelt auf der Brücke There, on the bridge, the shepherdess Die Hirtin, Schlauer Wicht, is fishing. Sly wench, Gib auf nur deiner Tücke, leave off your tricks! Den Fisch betrügst du nicht! You won’t deceive the fish!

Schatzgräbers Begehr D719

In tiefster Erde ruht ein alt Gesetz, Deep in the soil rests an old law. Dem treibt mich’s rastlos immer nachzuspüren; I feel a restless, relentlessly seeking it out, Und grabend kann ich Andres nicht vollführen. and as I dig, I can accomplish nothing else. Wohl spannt auch mir die Welt ihr goldnes Netz, Let the world stretch its golden net to lure me, too; Wohl tönt auch mir der Klugheit seicht Geschwätz: Let wisdom’s shallow gossip sound in my ears: „Du wirst die Müh’ und Zeit umsonst verlieren;“ ‘You are wasting your time and efforts in vain!’ Das soll mich nicht in meiner Arbeit irren, That shall not turn me aside from my work; Ich grabe glühend fort, so nun, wie stets. I go on digging away, now as ever. Und soll mich nie des Findens Wonne laben, And even if the joy of discovery never rewards me, Sollt’ ich mein Grab mit dieser Hoffnung graben: if I am digging my own grave with this hope, Ich steige gern hinab, gestillt ist dann mein Sehnen. yet I will climb down, for then my longing is satisfied Drum lasset Ruhe mir in meinem Streben! So leave me in peace with my pursuit. Ein Grab mag man wohl jedem gerne geben, Surely a grave is gladly given to every man; Wollt ihr es denn nicht mir, ihr Lieben, gönnen? will you then not grant me, dear ones?

MONDAVI CENTER 2019–20 | 16 Lied des gefangenen Jägers D 843

Mein Ross so müd’ in dem Stalle sich steht, My horse is so tired of his stall; Mein Falk ist der Kapp’ und der Stange so leid, my hawk is displeased with his perch and hood; Mein müssiges Windspiel sein Futter verschmäht, my idle greyhound spurns his food, Und mich kränkt des Turmes Einsamkeit. and I am offended by this tower’s loneliness. Ach wär’ ich nur, wo ich zuvor bin gewesen, I wish I were as I was before; Die Hirschjagd wäre so recht mein Wesen, Deer hunting is truly in my nature, Den Bluthund los, gespannt den Bogen: with bloodhound free and bow drawn: Ja, solchem Leben bin ich gewogen. yes, I was weighted to such a life. Ich hasse der Turmuhr schläfrigen Klang, I hate the sleepy chime of the tower clock, Ich mag nicht seh’n, wie die Zeit verstreicht, I do not like to see time pass Wenn Zoll um Zoll die Mauer entlang When, inch by inch along the wall, Der Sonnenstrahl so langsam schleicht. the sunbeams slowly sneaks. Sonst pflegte die Lerche den Morgen zu bringen Once the lark would bring the morning, Die dunkle Dohle zur Ruh’ mich zu singen, and the dark rook sing me to rest. In dieses Schlosses Königshallen, In the kingly halls of this castle Da kann kein Ort mir je gefallen. I can find nowhere that pleases me. Früh, wenn der Lerche Lied erschallt, Early in the morning, when the lark’s song resounds, Sonn’ ich mich nicht in Ellens Blick, I do not see myself in Ellen’s eyes; Nicht folg’ ich dem flüchtigen Hirsch durch den Wald, I do not follow the fleeing deer through the forest Und kehre, wenn Abend taut, zurück. and return home with the evening dew. Nicht schallt mir ihr frohes Willkommen entgegen, Does not sound to me a joyful welcome Nicht kann ich das Wild ihr zu Füssen mehr legen, I cannot lay my game at her feet; Nicht mehr wird der Abend uns selig entschweben, The evening will no longer float away blissfully Dahin ist Lieben und Leben. That is love and life.

Der Schiffer

Im Winde, im Sturme befahr’ ich den Fluss, In the wind, in the storm I row on the river, Die Klieder durchweichet der Regen im Guss; my clothes soaked by the pouring rain; Ich peitsche die Wellen mit mächtigem Schlag, I whip the waves with powerful punches, Erhoffend mir heiteren Tag. hoping for a happy day. Die Wellen, sie jagen das ächzende Schiff, The waves drive the creaking ship, Es drohet der Strudel, es drohet der Riff, whirlpool and reef threaten: Gesteine entkollern den felsigen Höh’n, rocks roll down from the craggy heights, Und Tannen erseufzen wie Geistergestöh’n. and fir trees sigh like moaning ghosts. So musste es kommen, ich hab’ es gewollt, It had to come to this, I wished it so; Ich hasse ein Leben behaglich entrollt; I hate a life that unfolds comfortably. Und schlängen die Wellen den ächzenden Kahn, And if the waves devoured the creaking boat, Ich priese doch immer die eigene Bahn. I would still praise my chosen course. Drum tose des Wassers ohnmächtige Zorn, So let the waters roar with fainting anger, Dem Herzen entquillet ein seliger Born, a fountain of bliss gushes from my heart, Die Nerven erfrischend, o himmlische Lust, refreshing my nerves. O heavenly desire, Dem Sturme zu trotzen mit männlicher Brust! to defy the storm with a manly heart!

MONDAVI CENTER 2019–20 | 17 Franz Schubert Texts by Johann Wolfgang von Goethe

Schäfers Klagelied D. 121

Da droben auf jenem Berge, Up there on the mountain Da steh’ ich tausendmal, I have stood there a thousand times, An meinem Stabe hingebogen, leaning on my staff Und schaue hinab in das Tal. and looking down into the valley. Dann folg’ ich der weidenden Herde, I have followed the grazing herd, Mein Hündchen bewahret mir sie. watched over by my puppy, Ich bin herunter gekommen I have come down here Und weiss doch selber nicht wie. and do not know how. Da steht von schönen Blumen The whole meadow is so full Da steht die ganze Wiese so voll. of lovely flowers; Ich breche sie, ohne zu wissen, I pluck them, without knowing Wem ich sie geben soll. to whom I shall give them. Und Regen, Sturm und Gewitter From rain, storm and thunderstorms Verpass’ ich unter dem Baum, I pass under a tree. Die Türe dort bleibet verschlossen; The door there remains locked; Doch alles ist leider ein Traum. But unfortunately it is all a dream. Es stehet ein Regenbogen There is a rainbow Wohl über jenem Haus! Well above that house! Sie aber ist fortgezogen, But she has gone away, Und weit in das Land hinaus. to distant regions. Hinaus in das Land und weiter, Out in the country and beyond, Vielleicht gar über die See. maybe even over the sea. Vorüber, ihr Schafe, nur vorüber! Move on, you sheep, move on! Dem Schäfer ist gar so weh. Your shepherd is so hurt.

MONDAVI CENTER 2019–20 | 18 Geheimes D761

Über meines Liebchens Äugeln Everyone is puzzled Stehn verwundert alle Leute; at the eyes my beloved makes; Ich, der Wissende, dagegen, but I, who understands, Weiss recht gut, was das bedeute. know well what they mean. Denn es heisst: ich liebe diesen For they are saying: he is the one I love, Und nicht etwa den und jenen. not this one, nor that one. Lasset nur, ihr guten Leute, So, good people, Euer Wundern, euer Sehnen! Leave your wondering and your yearning! Ja, mit ungeheuren Mächten Indeed, she may well look about her Blicket sie wohl in die Runde; with a tremendously powerful eye, Doch sie sucht nur zu verkünden but she only seeks to announce Ihm die nächste süsse Stunde. of the next sweet hour.

Am Flusse 766 Verfliesset, vielgeliebte Lieder, Flow on, beloved songs, Zum Meere der Vergessenheit! to the sea of oblivion. Kein Knabe sing’ entzückt euch wieder, No delighted boy, no maiden in the springtime Kein Mädchen in der Blütenzeit. of life will you ever sing again. Ihr sanget nur von meiner Lieben; You told only of my love, Nun spricht sie meiner Treue Hohn. now she speaks mockery of my loyalty. Ihr wart ins Wasser eingeschrieben; You were inscribed in the water; So fliesst denn auch mit ihm davon. That’s how it goes with him.

Wanderers Nachtlied II

Über allen Gipfeln Over every summit Ist Ruh’, Is peace, In allen Wipfeln In every treetop Spürest du You barely feel Kaum einen Hauch; A breath of air; Die Vögelein schweigen im Walde. The little birds are silent in the wood. Warte nur, balde Just wait, soon you Ruhest du auch. too will rest.

MONDAVI CENTER 2019–20 | 19 Erlkönig

Wer reitet so spät durch Nacht und Wind? Who rides so late through night and wind? Es ist der Vater mit seinem Kind: It is the father with his child. Er hat den Knaben wohl in dem Arm, He has the boy fast in his arms; Er fasst ihn sicher, er hält ihn warm. He holds him surely, he keeps him warm. „Mein Sohn, was birgst du so bang dein Gesicht?“ ‘My son, what makes you hide your face in fear?’ „Siehst, Vater, du den Erlkönig nicht? ‘Do you not see the Erlking, father? Den Erlenkönig mit Kron’ und Schweif?“ The Erlking with crown and tail?’ „Mein Sohn, es ist ein Nebelstreif.“ ‘My son, it is a wisp of fog.’ „Du liebes Kind, komm, geh mit mir! ‘You lovely child, come, go with me! Gar schöne Spiele spiel’ ich mit dir; I’ll play beautiful games with you. Manch’ bunte Blumen sind an dem Strand, Many pretty flowers are on the shore; Meine Mutter hat manch gülden Gewand.“ My mother has many golden robes.’ „Mein Vater, mein Vater, und hörest du nicht, ‘My father, my father, do you not hear Was Erlenkönig mir leise verspricht?“ what the Erlking sweetly promises me?’ „Sei ruhig, bleibe ruhig, mein Kind: ‘Be calm, be calm, my child: In dürren Blättern säuselt der Wind.“ The wind rustles in dry leaves.’ „Willst, feiner Knabe, du mit mir gehn? ‘Do you want to come with me, fine boy? Meine Töchter sollen dich warten schön; My daughters should wait upon you; Meine Töchter führen den nächtlichen Rein My daughters lead the nightly dance, Und wiegen und tanzen und singen dich ein.“ And would rock you, and dance and sing to you.’ „Mein Vater, mein Vater, und siehst du nicht dort ‘My father, my father, do you not see Erlkönigs Töchter am düstern Ort?“ Erlking’s daughters over there in darkness?’ „Mein Sohn, mein Sohn, ich seh es genau: ‘My son, my son, I see it clearly: Es scheinen die alten Weiden so grau.“ It is the gray willows’ gleaming so.’ „Ich liebe dich, mich reizt deine schöne Gestalt; ‘I love you, your fair form enchants me, Und bist du nicht willig, so brauch ich Gewalt.“ and if you are not willing, I will use force.’ „Mein Vater, mein Vater, jetzt fasst er mich an! ‘My father, my father, now he’s seizing me! Erlkönig hat mir ein Leids getan!“ The Erlking has hurt me!’ Dem Vater grausets, er reitet geschwind, The father shudders, he rides swiftly, Er hält in Armen das ächzende Kind, He holds in his arms the moaning child; Erreicht den Hof mit Mühe und Not: He reaches home with effort and distress; In seinen Armen das Kind war tot. In his arms, the child was dead.

MONDAVI CENTER 2019–20 | 20 Auf dem See D. 543

Und frische Nahrung, neues Blut And fresh food, new blood Saug’ ich aus freier Welt; I suck from the free world; Wie ist Natur so hold und gut, How sweet and good is nature, Die mich am Busen hält! That holds me to its breast! Die Welle wiegen unsern The waves rock our boat Kahn Im Rudertakt hinauf, To the oar strokes, Und Berge, wolkig himmelan, And mountains, soaring upwards, Begegnen unserm Lauf. Meet us on our route. Aug’, mein Aug’, was sinkst du nieder? Eye, my eye, why do you look down? Goldne Träume, kommt ihr wieder? Golden dreams, will you return? Weg, du Traum! so gold du bist; Away, you dream! However golden you are; Hier auch Lieb’ und Leben ist. Here is love and life as well. Auf der Welle blinken On the waves flash Tausend schwebende Sterne, Thousands of floating stars, Weiche Nebel trinken Soft mists drink Rings die türmende Ferne; The towering distant lands around it; Morgenwind umflügelt Morning breeze flutters Die beschattete Bucht, Around the shaded bay, Und im See bespiegelt And in the lake reflects Sich die reifende Frucht. The ripened fruit.

MONDAVI CENTER 2019–20 | 21 Grenzen der Menschheit Wenn der uralte, When the originary, Heilige Vater Holy father Mit gelassener Hand With calm hand Aus rollenden Wolken From rolling clouds Segnende Blitze Sprinkles blessed lightning Über die Erde sä’t, Over the earth, Küss’ ich den letzten I kiss the last, Saum seines Kleides, Seam of his clothing, Kindliche Schauer Childlike awe Tief in der Brust. Deep in my breast. Denn mit Göttern Thus no man, Soll sich nicht messen Should measure himself, Irgend ein Mensch. Against the gods. Hebt er sich aufwärts Should he reach up Und berührt And with his head, Mit dem Scheitel die Sterne, Touch the stars, Nirgends haften dann His uncertain feet then Die unsichern Sohlen, Lose their hold, Und mit ihm spielen And clouds and winds Wolken und Winde. Play with him. Steht er mit festen, Should he stand with firm, Markigen Knochen Sturdy bones, Auf der wohlgegründeten On solid Dauernden Erde; Lasting earth, Reicht er nicht auf, He cannot even reach up Nur mit der Eiche To liken himself Oder der Rebe To the oak Sich zu vergleichen. Or the vine. Was unterscheidet What distinguishes Götter von Menschen? Gods from men? Dass viele Wellen Before the many waves, Vor jenen wandeln, Roll onwards, Ein ewiger Strom: An eternal current: Uns hebt die Welle, The wave tosses us, Verschlingt die Welle, The wave devours us, Und wir versinken. And we sink. Ein kleiner Ring A little ring Begränzt unser Leben, Bounds our life, Und viele Geschlechter And many life forms, Reihen sich dauernd Succeed each other frequently, An ihres Daseins As an infinite chain Unendliche Kette. Of existence.

MONDAVI CENTER 2019–20 | 22 Ganymed, Op.19 No.3 Wie im Morgenglanze How your glow wraps around me, Du rings mich anglühst, in morning radiance, Frühling, Geliebter! Spring, my beloved! Mit tausendfacher Liebeswonne With love’s thousandfold bliss Sich an mein Herz drängt Holy sensation Deiner ewigen Wärme of your eternal warmth Heilig Gefühl, fills my heart, Unendliche Schöne! infinite beauty! Dass ich dich fassen möcht’ That I might hold you In diesen Arm! in my arms! Ach, an deinem Busen Ah, on your breast Lieg’ ich, schmachte, Lie I languishing, Und deine Blumen, dein Gras and your flowers, your grass Drängen sich an mein Herz. press close to my heart. Du kühlst den brennenden You cool the burning Durst meines Busens, thirst of my breast, Lieblicher Morgenwind! Lovely morning breeze! Ruft drein die Nachtigall The nightingale calls me Liebend mach mir aus dem Nebeltal. tenderly from the foggy valley. Ich komm’, ich komme! I come, I come! Wohin? Ach wohin? Whereto? Ah, whereto Hinauf! Hinauf strebt’s. Upwards! Aspire upwards! Es schweben die Wolken The clouds drift Abwärts, die Wolken down, surrendering Neigen sich der sehnenden Liebe. to yearning love, Mir! Mir! to me, to me! In euerm Schosse In your bosom, Aufwärts! upwards, Umfangend umfangen! embracing and embraced! Aufwärts an deinen Busen, Upwards to your breast, Alliebender Vater! all-loving Father!

Wandrers Nachtlied

Der du von dem Himmel bist, You who are from heaven, Alles Leid und Schmerzen stillest, Still every passion and pain, Den, der doppelt elend ist, He, who is miserable twice over, Doppelt mit Erquickung füllest; Twice over you fill with comfort, Ach, ich bin des Treibens müde! Ah, I am weary of force! Was soll all der Schmerz und Lust? What is all this pain and joy? Süßer Friede, Sweet peace Komm, ach komm in meine Brust! Come, ah, come into my breast!

MONDAVI CENTER 2019–20 | 23 An Schwager Kronos

Spute dich, Kronos! Hurry, Chronos! Fort den rasselnden Trott! Into a rattling rut! Bergab gleitet der Weg: The way goes downhill; Ekles Schwindeln zögert Hateful giddiness overcomes me, Mir vor die Stirne dein Zaudern. Due to your delaying Frisch, holpert es gleich, Quick, hop over sticks, Über Stock und Steine den Trott and stones equally, trot Rasch ins Leben hinein! quickly into life! Nun schon wieder Now already again Den eratmenden Schritt breathless, at a walking pace, Mühsam berghinauf, struggling uphill; Auf denn, nicht träge denn Up then, don’t be lazy, Strebend und hoffend hinan! Forward, striving and hoping! Weit, hoch, herrlich Wide, high and magnificent Rings den Blick ins Leben hinein; is the view into life around; Vom Gebirg zum Gebirge from mountain side to mountain side Schwebet der ewige Geist, floats the eternal spirit, Ewigen Lebens ahndevoll. Promising eternal life. Seitwärt des Überdachs Schatten A shady roof Zieht dich an draws you away Und ein Frischung verheissender Blick and the gaze of warm refreshment Auf der Schwelle des Mädchens da from a girl on the step. Labe dich! – Mir auch, Mädchen, Refresh yourself! For me too, girl, Diesen schäumenden Trank, that frothy drink, Diesen frischen Gesundheitsblick! that fresh look of health. Ab denn, rascher hinab! Down then, down faster! Sieh, die Sonne sinkt! Look, the sun sinks! Eh sie sinkt, eh mich Greisen Before it sinks, before the mist Ergreift im Moore Nebelduft, seizes me, an old man on the moor, Entzahnte Kiefer schnattre toothless mouth chattering, Und das schlotternde Gebein, limbs trembling, Trunknen vom letzten Strahl Pull me, drunk with its last ray, Reiss mich, ein Feuermeer a sea of fire Mir im schäumenden Aug’ foaming in my eye, Mich geblendeten Taumelnden blinded, staggering In der Hölle nächtliches Tor. in hell’s night gate. Töne, Schwager, in’s Horn, Sound your horn, Coachman, Rassle den schallenden Trab, Clatter on noisily at a trot. Dass der Orkus vernehme: wir kommen, Let Orcus hear we’re coming. Dass gleich an der Tür So that the innkeeper is at the door Der Wirt uns freundlich empfange. Immediately to welcome us warmly.

MONDAVI CENTER 2019–20 | 24 Rastlose Liebe

Dem Schnee, dem Regen, Into the snow, the rain, Dem Wind entgegen, toward the wind, Im Dampf der Klüfte, through steamy ravines, Durch Nebeldüfte, through foggy scents, Immer zu! Immer zu! onwards, ever onwards! Ohne Rast und Ruh! Without rest and peace! Lieber durch Leiden I would sooner fight my way Wollt’ ich mich schlagen, through suffering Als so viel Freuden than endure so much Des Lebens ertragen. of life’s pleasures. Alle das Neigen This affection Von Herzen zu Herzen, of one heart for another, Ach, wie so eigen ah, how so curiously Schaffet es Schmerzen! it creates pain! Wie soll ich flieh’n? How shall I flee? Wälderwärts zieh’n? Into the woods? Alles vergebens! All in vain! Krone des Lebens, Crown of life, Glück ohne Ruh, happiness without rest— Liebe, bist du! this, O Love, is you!

Willkommen und Abschied

Es schlug mein Herz, geschwind zu Pferde! My heart beats, quickly, on horseback! Es war getan fast eh’ gedacht. No sooner thought than done; Der Abend wiegte schon die Erde, The evening was already cradling the earth, Und an den Bergen hing die Nacht; And on the mountains hung the night; Schon stand im Nebelkleid die Eiche, The oak was already standing in the mist, Ein aufgetürmter Riese, da, Towering like a giant, there, Wo Finsterniss aus dem Gesträuche Where darkness peered from bushes Mit hundert schwarzen Augen sah. With a hundred black eyes saw. Der Mond von einem Wolkenhügel The moon from a cloud hill Sah kläglich aus dem Duft hervor, Looked piteously out of the scent Die Winde schwangen leise Flügel, The winds softly beat their wings, Umsausten schauerlich mein Ohr; Whirred eerily about my ears; Die Nacht schuf tausend Ungeheuer, Night created a thousand monsters, Doch frisch und fröhlich war mein Mut: Yet I was fresh and bright: In meinen Adern welches Feuer! What fire in my veins! In meinem Herzen welche Glut! What passion in my heart! Dich sah ich, und die milde Freude I saw you, felt the gentle joy Floss von dem süssen Blick auf mich; Of your sweet eyes flood over me; Ganz war mein Herz an deiner Seite My heart was wholly at your side Und jeder Atemzug für dich. And every breath for you. Ein rosenfarbnes Frühlingswetter A rose-colored spring weather Umgab das liebliche Gesicht, Surrounded her lovely face, Und Zärtlichkeit für mich – Ihr Götter! And tenderness for me – O gods! Ich hofft’ es, ich verdient’ es nicht! This I had hoped but never deserved! Doch ach, schon mit der Morgensonne But alas, already with the morning sun, Verengt der Abschied mir das Herz: The farewell now constricts my heart: In deinen Küssen welche Wonne! In your kisses what pleasure! In deinem Auge welcher Schmerz! In your eyes what pain! Ich ging, du standst und sahst zur Erden, I went, you stood there gazing to the earth, Und sahst mir nach mit nassem Blick: And looked moist-eyed after me: Und doch, welch Glück, geliebt zu werden! And yet, what luck to be loved! Und lieben, Götter, welch ein Glück! And dear, gods, what luck! MONDAVI CENTER 2019–20 | 25 Thank you to our The Art of Giving 2019–20 sponsors The Mondavi Center is deeply grateful for the generous contributions of our dedicated patrons, whose gifts are a testament to the value of the performing arts in our lives. CORPORATE SPONSORS Annual donations to the Mondavi Center directly support our operating budget and are an essential source of revenue. Please join us in thanking our loyal donors, whose philanthropic support ensures our ability to bring great artists and speakers to our region and to provide nationally recognized arts education programs for students and teachers.

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

This list reflects donors as COLORATURA CIRCLE of October 1, 2019. $50,000 AND ABOVE James H. Bigelow† Patti Donlon† Richard and Joy Dorf Dean and Karen† Karnopp* M.A. Morris*

IMPRESARIO CIRCLE $25,000–$49,999 John† and Lois Crowe* Merrilee and Simon Engel Ann and Gordon Getty Foundation Wanda Lee Graves and Steve Duscha Bill and Nancy† Roe* The Lawrence Shepard† Family Fund

VIRTUOSO CIRCLE $16,500–$24,999 Thomas and Phyllis† Farver* Nancy McRae Fisher Anne Gray*† Mary B. Horton* Clifford A. Popejoy† and Antonia K. J. Vorster Darell J. Schregardus, Ph.D. Rosalie Vanderhoef*

MAESTRO CIRCLE $11,000–$16,499 Dr. Jim P. Back Gordon Klein° and Nancy Lawrence† GRANTORS AND ARTS EDUCATION Wayne and Jacque Bartholomew* Debbie Mah* and Brent Felker SPONSORS Ralph and Clairelee Leiser Bulkley* Grace† and John Rosenquist Chan Family Fund† Raymond Seamans and Ruth Elkins Andrew and Judith Gabor Les and Mary Stephens De Wall Benjamin and Lynette Hart* Tony and Joan Stone Clarence and Barbara Kado

BENEFACTOR CIRCLE $7,500–$10,999 Carla F. Andrews Allen and Sandy Enders Diane Marie Makley*† Karen Broido* Charles and Catherine Farman Gerry and Carol Parker Susie† and Jim Burton Janlynn Fleener† William Roth ADDITIONAL SUPPORT Sandy and Chris Chong* Friends of Mondavi Center Celestine and Scott Syphax Asanté Catering Tony° and Ellie Cobarrubia* Karen Heald and K.C. McElheney Joe Tupin* El Macero Country Club Michael and Kevin Conn Hansen Kwok† Claudette Von Rusten J. Lohr Vineyards and Wines Terry and Susan Eager† Garry Maisel† Yin and Elizabeth Yeh Robert Mondavi Winery The Porch Restaurant * Friends of Mondavi Center †Mondavi Center Advisory Board Member °In Memoriam MONDAVI CENTER 2019–20 | 26 PRODUCER CIRCLE Allison P. Coudert James and Nancy Joye David and Martha Marsh Jim and Kathy Coulter* Peter G. Kenner Katherine F. Mawdsley* $3,750–$7,499 Terry Davison Paul Kramer Susan and David Miller Lydia Baskin* Joyce Donaldson* Paula Kubo Elaine and Ken Moody Robert and Susan Munn Daniel R. Benson Matt Donaldson and Steve Kyriakis Ruth M. Lawrence William and Nancy Myers Cordelia S. Birrell Noel Dybdal Michael and Sheila Lewis* Karl Gerdes and Pamela Rohrich Robert Medearis Margaret Neu* Jo Anne Boorkman* Suzette Olson David and Erla Goller Roland and Marilyn Meyer Karen Broido* Frank Pajerski Dr. Eva G. Hess John and Carol Oster California Statewide Certified Celia Rabinowitz Sue and Jack Palmer Development Center Sharna and Mike Hoffman Jill and Warren Pickett Ronald and Lesley Hsu John and Judith Reitan Mike and Betty Chapman C. Rocke James D. and Lori K. Richardson Martin and JoAnn Joye* Ms. Tracy Rodgers and Dr. Richard Budenz Michele Clark and Paul Simmons Tom and Joan Sallee Barbara Katz Ron and Morgan Rogers Bruce and Marilyn Dewey* Elizabeth St. Goar Nancy and John Keltner Sharon and Elliott Rose Wayne and Shari Eckert Sherman and Hannah Stein Robert and Cathryn Kerr Shery and John Roth Karen and Ed Street* In Memory of Elliott and Sol Joseph Kiskis and Diana Vodrey Bob and Tamra Ruxin Eric and Pat Stromberg* In Memory of Flint, Ella and Marley Charlene R. Kunitz Roger and Freda Sornsen Mont Hubbard and Lyn Taylor Jolán Friedhoff and Don Roth Thomas Lange and Spencer Lockson Tony and Beth Tanke Cap and Helen Thomson In Memory of Henry (Hank) Gietzen Francie and Artie Lawyer* Robert and Helen Twiss Virginia Thresh The John Gist Family Hyunok Lee and Daniel Sumner Ardath Wood Ed and Bonnie Green* Roseanna Torretto* Iris Yang and G. Richard Brown Bob and Barbara Leidigh Henry°and Lynda Trowbridge* Charles and Ann Halsted Lin and Peter Lindert Wesley Yates Rita and Jack Weiss Melanie and Medardo Zavala John and Regi Hamel David and Ruth Lindgren Steven and Andrea Weiss Judy Hardardt* Richard and Kyoko Luna Family Fund Dan and Ellie Wendin And 8 donors who prefer to remain Dee Hartzog Natalie and Malcolm MacKenzie* Kandi Williams and Frank Jahnke anonymous Donine Hedrick and David Studer Dennis H. Mangers and Michael Sestak Paul Wyman In Memory of Christopher Horsley* Susan Mann Gayle K. Yamada and David H. Hosley In Memory of Nicolai N Kalugin Betty Masuoka and Robert Ono Karl and Lynn Zender MAINSTAGE CIRCLE Teresa Kaneko* Janet Mayhew Karen Zito and Manuel Calderon $125–$349 Barry and Gail Klein In Memory of William F. McCoy de la Barca Sanchez Jane and Bill Koenig Sally McKee M. Aften Brian and Dorothy Landsberg Mary McKinnon and Greg Krekelberg And 3 donors who prefer to remain Elizabeth Allen* Edward and Sally Larkin Katharine and Dan Morgan anonymous Penny Anderson Nancy Andrew-Kyle* Drs. Richard Latchaw and Sheri Albers Craig Morkert Elinor Anklin Linda Lawrence Augustus B Morr Rebecca Newland Alex and Janice Ardans Allan and Claudia Leavitt ORCHESTRA CIRCLE John Pascoe and Susan Stover Antonio and Alicia Balatbat* Patricia Lewis $350–$699 Charles and Diane Bamforth J. Persin and D. Verbeck Robert and Betty Liu Michele Barefoot and Luis Perez-Grau Nancy Petrisko and Don Beckham Dorrit Ahbel Yvonne L. Marsh Carole Barnes Linda and Larry Raber Susan Ahlquist Judith E. Moores in Memory of Jonathan and Mary Bayless Kay Resler* Andrew and Ruth Baron Lynn Baysinger Eldridge M. Moores Marshall and Maureen Rice Paul and Linda Baumann Lorna Belden Barbara Moriel Dwight E. and Donna L. Sanders Mrs. Marie C. Beauchamp Merry Benard Misako and John Pearson Christian Sandrock Delee and Jerry Beavers Kristen and Alan Bennett Joanna Regulska and Michael Curry Ed and Karen Schelegle Carol Benedetti Bevowitz Family Jane D. Bennett Warren G. Roberts and Bonnie and Jeff Smith Dr. Robert and Sheila Beyer Robert Bense Elizabeth Ann Bianco Jeanne Hanna Vogel* Janet Shibamoto-Smith and David Smith Ernst Biberstein Roy and Joan Bibbens* Roger and Ann Romani Edward Speegle Robert Biggs and Diane Carlson Biggs John and Katy Bill Liisa A. Russell Maril and Patrick Stratton Brooke and Clay Brandow Sharon Billings and Terry Sandbek Neil and Carrie Schore Geoffrey and Gretel Wandesford-Smith Meredith Burns Dolores Blake Carol J. Sconyers* Dale L. and Jane C. Wierman Anne and Gary Carlson* Dr. Caroline Bledsoe Kathryn Smith Susan and Thomas Willoughby Bruce and Mary Alice Carswell* Fredrick and Mary Bliss Tom and Meg Stallard* Verena Leu Young* Simon and Cindy Cherry Judith Blum Tom and Judy Stevenson* Dr. Jacqueline Clavo-Hall Brooke Bourland* And 3 donors who prefer to remain Mr. and Mrs. David Covin Jerry and Verne Bowers—Advent Consulting Brian K. Tarkington and Services Katrina Boratynski anonymous Gwendolyn Doebbert and Richard Epstein Daniel and Moira Dykstra Jill and Mary Bowers Rosemary and George Tchobanoglous Carol Boyd* Nancy and Don Erman Ed Telfeyan and Jeri Paik-Telfeyan Helen Ford Melody Boyer and Mark Gidding Dan and Mildred Braunstein* Ken Verosub and Irina Delusina ENCORE CIRCLE Edwin and Sevgi Friedrich* Linda Brown Georgia Paulo $700–$1,749 Joyce and Marvin Golman Alan and Beth Brownstein John D. Walker Paul N. and E.F. (Pat) Goldstene Drs. Ralph and Teresa Aldredge Mike and Marian Burnham Dick and Shipley Walters Tom Graham and Lisa Foster Michael and Shirley Auman* Dr. Margaret Burns and Dr. W Roy Bellhorn Patrice White Darrow and Gwen Haagensen William and Karolee Bush Laura and Murry Baria Sharon and Don Hallberg* Judy Wydick In Memory of Marie Benisek Edward Callahan Marylee Hardie Nancy Callahan Al Patrick and Pat Bissell Dione and Roy Henrickson Richard and Marcia Campbell And 4 donors who prefer to remain Muriel Brandt Michael and Margaret Hoffman Nancy and Dennis Campos* anonymous Craig and Joyce Copelan Jan and Herb Hoover James and Patty Carey

Robert and Nancy Crummey Robert and Marcia Jacobs Ping Chan*

Gayle Dax-Conroy Don and Diane Johnston Bonnie and LeRoy Chatfield DIRECTOR CIRCLE In Memory of Jan Conroy Weldon and Colleen Jordan Amy Chen and Raj Amirtharajah $1,750–$3,749 Dotty Dixon* Susan Kauzlarich and Peter Klavins Carol Christensen* Anne Duffey Helen L. Krell, M.D. Craig Clark and Mary Ann Reihman The Aboytes Family John and Cathie Duniway Bill and Laura Lacy Gail Clark Ezra and Beulah Amsterdam Melanie and Robert Ferrando Allan and Norma Lammers Linda Clevenger and Seth Brunner Russell and Elizabeth Austin Doris Flint Ellen J Lange James and Linda Cline Robert and Susan Benedetti Jennifer D. Franz Larkin Lapides Sheri and Ron Cole Don and Kathy Bers Florence Grosskettler Sevim Larsen Steve and Janet Collins Richard and Katie Conrad Mae and David Gundlach Carol Ledbetter Edwin Bradley Terry Cook Richard Breedon, Pat Chirapravati, Robin Hansen and Gordon Ulrey Randall Lee and Jane Yeun Barbara Levine Nicholas and Khin Cornes and Rosa Marquez Rick and Zheyla Henriksen Ernest and Mary Ann Lewis Fred and Ann Costello Marguerite Callahan Leonard and Marilyn Herrmann Catherine Coupal* Ralph Hexter and Manfred Kollmeier Bunkie Mangum Cantor & Company, A Law Corporation Joan and Roger Mann Victor Cozzalio and Lisa Heilman-Cozzalio B.J. Hoyt Crandallicious Clan Margaret Chang and Andrew Holz Dr. Maria I. Manea-Manoliu

† MONDAVI CENTER *2019–20 Friends of Mondavi | 27 Center Mondavi Center Advisory Board Member °In Memoriam Tatiana and Virgil Cullen Alexander and Kelly Harcourt Karen Merick and Clark Smith Leon Schimmel and Annette Cody Fitz-Roy and Susan Curry Kay Harse Joe and Linda Merva Dan Shadoan and Ann Lincoln Laurence Dashiell Anne and Dave Hawke Cynthia Meyers Jeanie Sherwood Doug and Joy Daugherty Mary A. Helmich Beryl Michaels and John Bach Jennifer Sierras Nita A. Davidson Rand and Mary Herbert Leslie Michaels and Susan Katt Jo Anne S. Silber Relly Davidson Calvin Hirsch, MD Maureen Miller and Mary Johnson Teresa Simi Judy and Mike Davis Pamela Holm Sue and Rex Miller Robert Snider and Jak Jarasjakkrawhal Judy and David Day David Kenneth Huskey Vicki and Paul Moering Jean Snyder Ann Denvir Lorraine J Hwang James Moorfield Nancy Snyder Carol Dependahl-Ripperda L. K. Iwasa Hallie Morrow William and Jeannie Spangler* Linda and Joel Dobris Diane Moore and Stephen Jacobs Marcie Mortensson Curtis and Judy Spencer Marjorie Dolcini* Vince Jacobs and Cecilia Delury Rita Mt. Joy* Tim and Julie Stephens Jerry and Chris Drane Karen Jetter Robert and Janet Mukai Judith and Richard Stern Karen Eagan Mun Johl Bill and Diane Muller Deb and Jeff Stromberg James Eastman and Fred Deneke Gary and Karen Johns* Robert Nevraumont and Donna Curley George and June Suzuki Laura Eisen and Paul Glenn Michelle Johnston Nevraumont Bob Sykes Carol Erickson and David Phillips Andrew and Merry Joslin Kim T. Nguyen Yayoi Takamura and Jeff Erhardt Eleanor E. Farrand* David Kalb and Nancy Gelbard R. Noda Stewart and Ann Teal Michael and Ophelia Farrell Shari and Tim Karpin Jay and Catherine Norvell Julie Theriault, PA-C Les and Micki Faulkin Steve and Jean Karr Jeri and Clifford Ohmart Virginia Thigpen Janet Feil Patricia Kelleher* Jim and Sharon Oltjen Henry and Sally Tollette Cheryl and David Felsch Sharmon and Peter Kenyon Andrew and Sharon* Opfell Victoria and Robert Tousignant Robin and Jeffrey Fine Leonard Keyes Mary Jo Ormiston* Justine Turner* Maureen Fitzgerald and Frank DeBernardi Nicki King John and Nancy Owen Ute Turner* Dave and Donna Fletcher Ruth Ann Kinsella* Mike and Carlene Ozonoff Sandra Uhrhammer* Dr. and Mrs. Fletcher Camille Kirk Thomas Pavlakovich and Kathryn Ramon and Karen Urbano Glenn Fortini Don and Bev Klingborg Demakopoulos Ann-Catrin Van Daphna Fram John and Mary Klisiewicz* Pete Peterson Marian and Paul Ver Wey Marion Franck and Bob Lew Kerik and Carol Kouklis The Plante Family Richard Vorpe and Evelyn Matteucci Marlene J. Freid* Sandra Kristensen Jane Plocher Craig Vreeken and Lee Miller Larry Friedman and Susan Orton Roy and Cynthia Kroener Bonnie A. Plummer Kim and James Waits David Fudala C.R. and Elizabeth Kuehner Harriet Prato In memory of Carl Eugene Walden In Memory of David Gatmon Kupcho-Hawksworth Trust Otto and Lynn Raabe Andrew and Vivian Walker Barbara Gladfelter Leslie Kurtz Lawrence and Norma Rappaport Don and Rhonda Weltz* Ellie Glassburner Kit and Bonnie Lam* Olga Raveling Doug West Marnelle Gleason* and Louis J. Fox Nancy and David Siegel Catherine Ann Reed Martha S. West Mark Goldman and Jessica Tucker-Mohl Peggy Leander* Fred and Martha Rehrman* Robert and Leslie Westergaard* Pat and Bob Gonzalez* Evelyn A Lewis Maxine and Bill Reichert Nancy and Richard White* Drs. Michael Goodman and Bonny Neyhart Barbara Linderholm* David and Judy Reuben Sharon and Steve Wilson Joyce and Ron Gordon Motoko Lobue Russ and Barbara Ristine Janet G. Winterer Karen Governor Joyce Loeffler and Ken McNeil Jeannette and David Robertson Suey Wong* Halley Grain Mary Lowry and Norm Theiss Denise Rocha Jessica Woods Jeffrey and Sandra Granett Karen Lucas* Jeep and Heather Roemer Jean Wu Jim Gray and Robin Affrime Melissa Lyans and Andreas Albrecht Ron and Mary Rogers Timothy and Vicki Yearnshaw Paul and Carol Grench Ariane Lyons Maurine Rollins Jeffrey and Elaine Yee* Don and Eileen Gueffroy David and Alita Mackill Carol and John Rominger Dorothy Yerxa and Michael Reinhart Abbas Gultekin and Vicky Tibbs Dr. Vartan Malian and Nora Gehrmann Richard and Evelyne Rominger Chelle Yetman Cary and Susan Gutowsky Drs. Julin Maloof and Stacey Harmer Warren Roos Phillip and Iva Yoshimura Wesley and Ida Hackett* Theresa Mann Janet F. Roser, Ph.D. Phyllis and Darrel Zerger* Myrtis Hadden Pam Marrone and Mick Rogers Cathy* and David Rowen Marlis and Jack Ziegler Bob and Jen Hagedorn J. A. Martin Cynthia Jo Ruff* Linda and Lou Ziskind Jane and Jim Hagedorn Leslie Maulhardt* Paul and Ida Ruffin Dr. Mark and Wendy Zlotlow Kitty Hammer Keith and Jeanie McAfee Joy and Richard Sakai* William and Sherry Hamre Karen McCluskey* and Harry Roth* Jacquelyn Sanders And 23 donors who prefer to remain M. and P. Handley Jim and Jane McDevitt Elia and Glenn Sanjume anonymous Jim and Laurie Hanschu Tim and Linda McKenna Fred and Pauline Schack Susan B. Hansen Thomas R. McMorrow Patsy Schiff

Artistic Ventures Fund Legacy Circle We applaud our Artistic Ventures Fund members, whose Thank you to our supporters who have remembered the Mondavi Center in their estate major gift commitments support artist engagement fees, plans. These gifts make a difference for the future of performing arts and innovative artist commissions, artist residencies and pro- we are most grateful. grams made available free to the public. Wayne and Jacque Benjamin and Lynette Hart Ruth R. Mehlhaff° James H. Bigelow Nancy McRae Fisher Bartholomew L. J. Herrig° Joy Mench and Clive Watson Ralph and Clairelee Leiser Wanda Lee Graves and Karen Broido Mary B. Horton Trust Bulkley Steve Duscha Ralph and Clairelee Leiser Margaret Hoyt Verne Mendel John and Lois Crowe Anne Gray Bulkley Barbara K . Jackson° Kay Resler Patti Donlon Barbara K. Jackson° John and Lois Crowe Roy and Edith Kanoff° Hal° and Carol Sconyers Richard and Joy Dorf Rosalie Vanderhoef Dotty Dixon Robert and Barbara Leidigh Joe and Betty° Tupin Nancy DuBois° Yvonne LeMaitre° Lynn Upchurch Jolán Friedhoff and Jerry and Marguerite Lewis And one donor who prefers Don Roth Robert and Betty Liu to remain anonymous Endowment Giving Anne Gray Don McNary° Thank you to the following donors whose support will leave a lasting impact on Mondavi Center programs. If you have already named the Mondavi Center in your own estate plans, we thank you. James H. Bigelow Mary B. Horton We would love to hear of your giving plans so that we may express our appreciation. Karen Broido Barbara K. Jackson° If you are interested in learning about planned giving opportunities, please contact Nan- Chan Family Fund Dean and Karen Karnopp cy Petrisko, director of development, 530.754.5420 or [email protected]. Sandra Togashi Chong and Debbie Mah and Brent Felker Chris Chong Diane Marie Makley John and Lois Crowe Rosalie Vanderhoef Note: We apologize if we listed your name incorrectly. Please contact the Mondavi Center Development Office at 530.754.5438 to inform us of corrections. Richard and Joy Dorf Verena Leu Young * Friends of Mondavi Center †Mondavi Center Advisory Board Member °In Memoriam

MONDAVI CENTER 2019–20 | 28