2009–2010 Season Sponsors

The City of Cerritos gratefully thanks our 2009–2010 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts.

YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER

If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at (562) 916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510.

Benefactor Audrey and Rick Rodriguez Yvonne Cattell Renee Fallaha $50,001-$100,000 Marilynn and Art Segal Rodolfo Chacon Heather M. Ferber José Iturbi Foundation Kirsten and Craig M. Springer, Joann and George Chambers Steven Fischer Ph.D. Rodolfo Chavez The Fish Company Masaye Stafford Patron Liming Chen Elizabeth and Terry Fiskin Charles Wong $20,001-$50,000 Wanda Chen Louise Fleming and Tak Fujisaki Bryan A. Stirrat & Associates Margie and Ned Cherry Jesus Fojo The Capital Group Companies Friend Drs. Frances and Philip Chinn Anne Forman Charitable Foundation $1-$1,000 Patricia Christie Dr. Susan Fox and Frank Frimodig Richard Christy National Endowment for the Arts Maureen Ahler Sharon Frank Crista Qi and Vincent Chung Eleanor and David St. Clair Cheryl Alcorn Teresa Freeborn Joseph Aldama Rozanne and James Churchill Roberta and Wayne Fujitani Neal Clyde Partner Sharlene and Ronald Allice Elaine Fulton Susan and Clifford Asai Mark Cochrane Samuel Gabriel $5,001-$20,000 Michael Cohn JoAnn and Art Gallucci Dr. Judy Akin Palmer and Larry Baggs Marilyn Baker Claire Coleman Therese Galvan Dr. Jacques Palmer Terry Bales Mr. and Mrs. Joseph Consani II Arthur Gapasin Bev & George Ray Charitable Fund Sallie Barnett Patricia Cookus Gayle and Michael Garrity Chamber Music Society of Detroit Alan Barry Nancy Corralejo Jan Gaschen Los Cerritos Center Cynthia Bates Virginia Correa Michael Gautreau Foundation for Barbara Behrens Ron Cowan Franz Gerich the Arts Aldenise Belcer Patricia Cozzini Alan Goldin Preserved TreeScapes Yvette Belcher Pamela and John Crawley The Goldsmith Family International, Dennis E. Peggy Bell Eugenia Creason Margarita Gomez Gabrick Morris Bernstein Tab Crooks Raejean Goodrich United Parcel Service Norman Blanco Angel De Sevilla William Goodwin Wave Broadband James Blevins Charmaine and Nick De Simone Shirelle Gordon-Thompson Yamaha Michael Bley Robert Dean Beryl and Graham Gosling Kathleen Blomo Mr. and Mrs. Chuck Deckard Timothy Gower Supporter Karen Bloom Betty DeGarmo A. Graham and M. Marion $1,001-$5,000 Marilyn Bogenschutz Susanne and John DeHardt Norma and Gary Greene Nancy and Nick Baker Linda and Sergio Bonetti Erin Delliquadri Kenneth Greenleaf In Loving Memory of Carol Patricia Bongeorno Rosemarie and Joseph Di Giulio Roger Hale M. Behan Ilana and Allen Brackett Rosemarie diLorenzo Jo and Paul Hanson Marilynn and James Costantino Paula Briggs Sandra and Bruce Dickinson Mark Harding Viriginia Czarnecki Darrell Brooke Amy and George Dominguez Lois and Thomas Harris Lee DeBord Mary Brough Linda Dowell Valerie and Mike Harris Susie Edber and Allen Grogan Dr. and Mrs. Tony R. Brown Robert Dressendorfer Julie and Costa Hase Dr. Stuart L. Farber Cheryl and Kerry Bryan Gloria Dumais Howard Herdman The Gettys Family G. Buhler Stanley Dzieminski Saul Hernandez Janet Gray Ina Burton Mr. and Mrs. Curtis Eakin Charles Hess Rosemary Escalera Gutierrez Linda and Larry Burton Dee Eaton Molly Hickman Marianne and Bob Hughlett, Ed. D. Sue and Tom Buttera Gary Edward Charles E. Hirsch Robert M. Iritani Robert Campbell Jill Edwards Ping Ho Dr. and Mrs. Han-Pin Kan Michael Canup Carla Ellis Jon Howerton Dr. and Mrs. Philip I. Kress Richard E. Carlburg Robert Ellis Christina and Michael Hughes Yolanda and Richard Martinez David Carver Eric Eltinge Melvin Hughes Celia and Clarence Masuo Michelle Casey Teri Esposito Jay Hurtado Maureen and Mike Mekjian Phillip Castillo Kim Evans Mark Itzkowitz Robert and Mary Buell Family Trust Eileen Castle Richard Falb Grace and Tom Izuhara

2 Sharon Jacoby Luzviminda Miguel Janet and Richard Sax Helen Williams David Jaynes Hassan Milani Roberta and Gary Schaeffer Lee Williamson Cathy and James Juliani Gary Miller Mary Scherbarth Merrillyn Wilson Luanne Kamiya Kathleen Miller Mildred Scholnick Pornwit Wipanurat Betty and George Katanjian Dr. Majorie Mitchell Jerome Schultz Robert Worley Roland Kerby Ellie and Jim Monroe Mary Serles Candy and Jim Yee Dr. Aaron Kern Patricia Moore William Shakespeare Eunee and Frank Yee Fay and Lawrence Kerneen Becky Morales Olivette Shannon Jeanette Yee Joanne Kerr Toni and Tom Morgan Kristi Shaw Basha Yonis Joseph Kienle David Moromisato Drs. Mary and Steven Sherman Ruthann Yuhas Carol Kindler Kris Moskowitz Ron Shestokes Barbara Yunker James King Cortland Myers Sharon Shulby Xavier Zavatsky Jacky and Jack Kleyh Chidori Nakamura Kathleen Sidaris John W. Zlatic Shirley and Kenneth Klipper Stan Nakamura Steven Siefert Karen Knecht Alan Negosian Neil Siegel Lee M. Kochems and Vincent J. Patti A.J. Neiman Maureen and A.J. Siegrist Jerry Kohl Ronald Nichols Dorothy Simmons Dawn Marie Kotsonis Jill and Michael Nishida Eric Simpson Shirley Kotsonis Toby Nishida Loren Slafer Ann Kough Linda Nomura Sylvia Sligar Bette and Ken Kurihara Margene and Chuck Norton Carol and Rob Smallwood Linda and Harry Kusuda Cathryn O’Brien-Smith Nancy Sur Smith Patrice and Kevin Kyle Ann and Clarence Ohara Kevin Speaks Cathy LaBare Karen Ohta Kerry Spears Carl Laconico P. P. Mfg. Co. Inc., Ronald Burr Dan Stange Nelson Lane George Palomino Kris and Robert Steedman David Latter Bonnie Jo Panagos Gale Stein Earnestine Lavergne Mary Ellen Pascucci Donna Stevens Edward Le Blanc Angela and Devy Paul Mr. and Mrs. Dexter Strawther June and Harold Leach John Peterson Richard Strayer Paolo Ledesma Francisco Philibert William R. Stringer In Loving Memory of Ethel Lee Frances Pianelli A.J. Taen Peter J. Leets Judith Pickup Lawrence Takahashi Helen Leonard Merrill Plou Nora and Winford Teasley Jack Lewis Jackie and Joe Polen Ken Thompson Marcia Lewis and John McGuirk Forrest Poorman Karen Tilson Vanessa Lewis Gwen and Gerry Pruitt Joann Tommy Judith and Dr. Henry Louria Susan Ragone Sharon Touchstone Nancy and Stephen Lutz Bijan Ramineh Lilliane K. Triggs Laura and Sergio Madrigal Dr. Marjorie and Frank Ramirez Jean Tuohino Johnny Magsby Karen Randall Maria Tupaz Mary Majors Robin Raymond Alex Urbach Stephen Mao Kathy Reid Mr. and Mrs. L. Van Pelt Eleanor Marlow Rosalie Relleve Tim VanEck Mary and Donald Martini Betty and Nash Rivera Maria Von Sadovszky Janice Kay Matthews Sharon V. Robinson Diane and Fred Vunak Pansy and Robert Mattox Laura and Gary Rose Charles Wadman Cecilia and Ronald Maus Lynne Rose Laura Walker Janet McCarty Patricia Rose Robert Walters Aliene Mcgrew Jean Rothaermel Angela and Sinclair Wang Farley McKinney Vivian and Tom Rothwell Karen and Robert Webb Dr. and Mrs. Donald McMillan Shirley Rundell Carol Webster and Chris David Medellin Tom Sakiyama Enterline Ursula and Lawrence Melvin Steve Salas and Steven P. Timmons Darlene Weidner Barbara and Edwin Mendenhall Dennis Salts Marijke and Tim Weightman Diana Merryman Monica Sanchez Anita and David Weinstein Todd Meyer Sheri Sands Sandra Welsh

Giving level designations are based on the cumulative giving of the named contributor. Lists are updated twice a year, in July and January. To request a change to your listing, please call (562) 467-8806 or send an e-mail to [email protected].

3 presents MUSICA ANGELICA MARTIN HASELBÖCK, CONDUCTOR TILMAN LICHDI, TENOR/EVANGELIST MARY WILSON, SOPRANO CATHERINE WEBSTER, SOPRANO KRISTEN TOEDTMAN, MEZZO-SOPRANO IAN HOWELL, COUNTER TENOR PABLO CORÁ, TENOR MICHAEL DEAN, BASS-BARITONE SCOTT GRAFF, BASS-BARITONE

The Easter masterpiece is performed as originally intended with solo singers. Musica Angelica re-creates this intimate setting with eight solo singers.

Friday, March 26, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.

4 PROGRAM

St. John Passion Johann Sebastian Bach (1685-1750) BIOGRAPHies MUSICA ANGELICA has earned a reputation tors Christoph Poppen, Wolfgang Gönnenwein, and Jörg for programming a mixture of known masterworks along Straube, and is devoted to the Evangelist’s parts of Bach’s with rarely heard compositions, providing a platform for passions and oratorios. Lichdi recently performed Joseph many of the best Baroque musicians from all across the Haydn’s Creation with Christof Perick in Charlotte, North and Europe. Since its 1993 inception, the Carolina, and Bach’s St. Matthew Passion with ensemble has garnered headlines and critical acclaim, in Brazil. Lichdi has performed with the Opera companies with the Los Angeles Times deeming it “a Baroque gem … of Würzburg, Heidelberg, Flensburg, Kaiserslauterm, Man- a triumph.” The Pasadena Star News exalted the “powerful nheim, and the Munich Biennale, and is a member of the emotions and the clarity and invigorating complexity” of Nuremberg State Theatre. His 2009 performance highlights the ensemble’s performances. Musica Angelica’s world- include Claudio Monteverdi’s 1610 Vespers at the Chatelet class reputation has attracted the likes of guest conductors Paris, and a tour of and Spain with and Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, the Amsterdam Baroque Orchestra in Bach’s St. Matthew Paul Goodwin, and Jory Vinikour, leading to numerous Passion. successful collaborations with the Los Angeles Opera, MARY WILSON (Soprano) is recognized as one of Long Beach Opera, the J. Paul Getty Museum, the Norton today’s most exciting young sopranos, cultivating a wide- Simon Museum, and the Los Angeles Master Chorale. ranging career in Chamber music, oratorio, and Operatic Appointed music director in the 2005-2006 Season, repertoire. Her recent performances include George Frid- MARTIN HASELBÖCK has distinguished himself as eric Handel’s Messiah with the Cleveland Orchestra and a respected composer, an acclaimed solo organist, and Carmina Burana with the Detroit Symphony in Leonard an orchestral and Opera conductor. The recipient of the Slatkin’s inaugural performance as music director. Wilson prestigious “Deutscher Schallplatten Critics’ Prize” and sang Felix Mendelssohn’s Lobgesang and selections from Hungary’s “Franz Liszt Prize,” Haselböck was praised by Ludwig van Beethoven’s Leonore with the Kansas City the Los Angeles Times for his leadership, which is “nu- Symphony and Nicholas McGegan. She also sang Giovan- anced and inspiring.” ni Battista Pergolesi’s Stabat Mater and virtuoso Handel Haselböck frequently guest conducts major orches- duets with American Bach Soloists in its 20th Anniversary tras, including the Symphony, Deutsches Sym- Season. Wilson has performed with the Santa Fe, Port- phonie Orchester Berlin, Hamburg Symphony, the To- land, and St. Louis Symphony orchestras and the St. Paul ronto Symphony, the National Philharmonic Orchestras Chamber Orchestra. She sang at the Florida Bach Festival of Hungary, the Pittsburgh Symphony, the San Francisco and performed Bach’s B-minor Mass with the Los Angeles Symphony, and the Los Angeles Philharmonic. Master Chorale and Musica Angelica led by Grant Gershon. Musica Angelica’s well-received albums include Vivaldi: CATHERINE WEBSTER (Soprano) performs Concertos for Lute, Oboe, Violin and Strings; George Frid- internationally with early music and Chamber ensembles; eric Handel: Acis & Galatea; and Georg Philipp Telemann: has soloed with Tafelmusik, Tragicomedia, Netherlands Concerti. Bach Society, Apollo’s Fire, Magnificat, Studio de Musique TILMAN LICHDI (Tenor/Evangelist) started singing Ancienne de Montreal, and Early Music Vancouver; and lessons at age 18 in Stuttgart, Germany; studied the trumpet has appeared in the Berkeley, Montreal, and Early in Mannheim; and completed his voice studies in festivals. She collaborates frequently with Baroque Würzburg, Germany. He has sung in oratorios with conduc- Opera directors Stephen Stubbs and Paul O’Dette in

5 Boston and Vancouver. In Contemporary music, Webster Lincoln Center for the Performing Arts, Weill Recital Hall, performed Terry Riley’s Sun Rings with the Kronos Quar- Brooklyn Academy of Music, Dorothy Chandler Pavilion, tet and John Adam’s Grand Pianola Music with Theatre and Walt Disney Concert Hall. Corá sings regularly with of Voices and the Los Angeles Philharmonic. Webster the Concord Ensemble, the Los Angeles Philharmonic, Los has recorded for Harmonia Mundi, Naxos, Musica Omnia, Angeles Master Chorale, Los Angeles Chamber Singers, and Analekta, and Atma. She holds a master of music degree Cappella. He collaborates with period ensembles such as from Indiana University and has been a guest faculty member the Folger Consort, Piffaro, Camerata Pacifica Baroque, and for The San Francisco Early Music Society and the Madison the Catacoustic Ensemble. Corá has recorded for Harmonia Early Music Festival. Mundi, Dorian Recordings, Nonesuch, and on the Grammy KRISTEN TOEDTMAN (Mezzo-Soprano) is a award-winning recording Padilla: Sun of Justice for Gothic performer of many styles who sings with the Los Angeles Records. Master Chorale and Concord Ensemble. She most recently MICHAEL DEAN (Bass-Baritone) appears with appeared as an alto soloist with Musica Angelica at the leading Opera houses and orchestras throughout the Walt Disney Concert Hall in the Master Chorale’s concert United States and Europe, including New York City of St. Matthew Passion. Toedtman holds a vocal perfor- Opera, the Landestheater in Austria, and in Strasbourg mance master’s degree from the Peabody Conservatory and Berlin. He made his New York Philharmonic debut and a bachelor’s degree from Indiana University where in the world premiere of Aaron Kernis’ Garden of Light she studied with Martina Arroyo and sang with the Pro and returned the following season for Street Scene. Dean Arte Singers. Toedtman recorded with Pro Arte Singers has performed Handel’s Messiah at Carnegie Hall with the and Theatre of Voices under Paul Hillier on the Harmo- Pittsburgh, Houston, Monterey, and Nashville symphonies nia Mundi label. Toedtman toured the East Coast with and with Boston Baroque. He recently performed Haydn’s Baltimore Consort member Mark Cudek as Duo Encina. Creation at the Kennedy Center, Bach’s Magnificat with Toedtman left Baltimore when asked to compose the score the Toronto Symphony, Carmen with the Buffalo Philhar- for a play in Los Angeles. When she is not singing Clas- monic, and Bach’s Cantatas at the Walt Disney Concert sical music, she plays regularly at the Hotel Café with her Hall with Helmut Rilling and the Los Angeles Chamber seven-piece band and just released her debut record The Fall. Orchestra. Dean is on the voice faculty of University of IAN HOWELL (Counter Tenor) won First Prize at the California, Los Angeles, and has received critical praise 2006 American Bach Soloists International Solo Competi- for his recordings of Baroque Opera. tion and Third Prize at the Oratorio Society of New York’s SCOTT GRAFF (Bass-Baritone) performs through- Vocal Competition. His debut solo CD, 1685 and the Art of out the United States as a soloist and in California with Ian Howell with The American Bach Soloists, was released the Los Angeles Philharmonic, Musica Angelica, Cata- in 2009 and features repertory by Domenico Scarlatti, Bach, coustic Consort, Los Angeles Master Chorale, Carmel and Handel. Howell recorded a DVD and eight CDs with Bach Festival, and the Los Angeles Baroque Orchestra. Chanticleer, receiving a Grammy Award and a second His frequent appearances with Long Beach Opera include nomination. The current season includes his solo debuts with Handel’s Semele, Seven Small Operas (a staged version of a the Ravinia Festival, Handel of Baltimore, New York Monteverdi madrigal), Il Turco in Italia and Il Tabarro by Metamorphosis Orchestra, Chatham Baroque, Columbus Giacomo Puccini, Volo di Notte by Luigi Dallapiccola, and Guitar Society, and the Staunton Music Festival. Howell From the House of the Dead by Leoš Janáček. He originated holds a master of music degree in voice from the Yale Insti- the roles of Lewis and Father Tree in the Opera Hell by tute of Sacred Music and Yale School of Music. composer Michael Webster and librettist Eileen Myles. PABLO CORÁ (Tenor) is an accomplished soloist Graff is in his ninth season with the Los Angeles Master and Chamber musician with advanced music degrees from Chorale and sings regularly with the Los Angeles Cham- Ithaca College and Indiana University. He has performed at ber Singers, Millennium Consort, and as a member of The the Argentine Colón Theatre, Amsterdam Concertgebouw, Concord Ensemble.

6 Program Notes PROVIDED BY MUSICA ANGELICA During the Middle Ages, the practice arose of having Bach’s symbolism is evident throughout the score. a single voice chant the Easter story while other solo voices The initial appearance of Jesus with his 12 disciples sees the chanted the words of the protagonists in the drama. At a number 13 being worked into the score in many ways. After later stage the crowd scenes were allocated to a choir and, Judas kills himself, twelves start to appear and, after the cru- later still, reflective arias were interpolated. Johann Sebastian cifixion, elevens. At the mention of the law the fugue subject Bach stands at the end of this tradition, and it is only the enters 10 times (referring to the Commandments), and the superb quality of the music that distinguishes his St. John whole work is in 40 movements corresponding to the 40 days Passion from many others in a similar mold. of Lent. All modern performing editions renumber the move- Throughout the 20th century, we have inherited a ments 1 to 68 and destroy the internal symmetry. performance tradition that stretches back only as far as Felix The Evangelist is an impassive narrator, but appears to Mendelssohn in the mid-19th century. In tonight’s perfor- become emotionally involved despite himself for two short mance we have attempted to return to the spirit of Bach’s periods of the work – Peter’s denial and the scourging of Je- original conception by using performing forces and acoustics sus. At various points the performers comment on the drama similar to those for which the work was written. The use of with an aria or a chorale. It seems highly unlikely that Bach’s Baroque instruments and a string band of a similar size to congregation joined in the chorales. They were not con- Bach’s means that many parts can be heard that are usually tained in their book of words, and are written well outside lost in the wash of string tone. the vocal range that Bach considered suitable for congrega- Bach’s St. John Passion is set in two acts, originally tional singing. separated by the pastor’s hour-long sermon (now replaced by The whole work is enclosed by the mighty pillars of the the modern intermission). The first act tells of Jesus’ arrest in opening and closing chorus (Bach omitted the final chorale the garden and Peter’s denial of his discipleship. The second in one performance), both of which are packed with symbol- act details Jesus’ interrogation, flagellation and condemna- ism. However, detailed notes on the individual movements tion, his crucifixion, death, and burial. Bach performed the are probably unnecessary, since the work is basically the St. John Passion four times during his 25 years in Leipzig, telling of a story. It is for this reason that we have decided to Germany, slightly altering his composition each time. In perform it in English. other years, he presented passions based on the Gospels of St. Bach was hired by the Leipzig town council to incite Matthew, St. Mark, and St. Luke. The St. John Passion and the listeners to devotion. He believed that the aim and final St. Matthew Passion are the only ones that survive. reason of all music should be the honor of God and the The St. John Passion focuses on Jesus’ divinity and refreshing of the mind. n homecoming rather than the pain and conflict of his mor- tal life. He has foreknowledge and welcomes his fate. The crucifixion (not the resurrection) is therefore the climax of the Gospel. It is through death that Jesus returns, victorious, to God his father. Bach doesn’t set Jesus’ resurrection in the St. John Passion. From the very beginning of the Passion, Bach illustrates this Johannine belief that glorification is inextricably linked with abasement, pitting the wind instruments’ sustained, tortured dissonances (representing crucifixion) against the rapid-movement rising figure in the strings (symbolizing the glorification of God). Bach develops these musical and conceptual themes throughout the Passion, transferring both motives to the choir in the kreutzige movements.

7 presents HAWAIIAN GENERATIONS

Featuring DAVID AND DENNIS KAMAKAHi GEORGE AND KEOKI KAHUMOKU

Saturday, March 27, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.

BIOGRAPHies Father and son DAVID AND DENNIS KAMAKAHI, KAHUMOKU show off the guitar wizardry that earned hailed for their work on the hit movie Lilo & Stitch and the them two consecutive Grammys for the albums Masters of Grammy-nominated album Hawaiian Slack Key Kings, team Hawaiian Slack Key Guitar and Legends of Hawaiian Slack Key up again to deliver their prize-winning island tunes. Guitar – Live From Maui. One of Hawaii’s most prolific composers, slack key Long called Hawaii’s “Renaissance Man,” George guitarist Dennis Kamakahi is the mastermind behind fa- Kahumoku, Jr. began performing professionally at age 13 with mous Hawaiian standards such as Wahine Ilikea, Pua Hone, legendary singer-songwriter Kui Lee. George Kahumoku, Jr.’s Koke’e, and E Hihiwai. Praised by the Los Angeles Times for album Hi’ipoi I Ka ‘Aina Aloha (Cherish the Beloved Land) his “sweetly lyrical voice,” the Hawaiian Music Hall of Fame garnered a Na Hoku Hanohano Award and his 2009 compi- inductee is also the recipient of Na Hoku Hanohano’s “Slack lation The Spirit of Hawaiian Slack Key Guitar was nominated Key” Award. The Na Hoku Hanohano honor is Hawaii’s for a Grammy. Maui Time said his “recordings are inspired equivalent of the Grammy. works from soulful hands that transcend time and style.” Ukulele guru David Kamakahi taught himself how to The Los Angeles Times saluted fifth-generation slack-key play the instrument at age 15 by listening to recordings by guitarist Keoki Kahumoku for his ability to deliver “original ukulele masters including Eddie Kamae, Peter Moon, Lyle songs with the compelling qualities of a born storyteller.” Ritz, Byron Yasui, and Ledward Kaapana. Honored with Also noted for his ukulele skills, the musician “raises the the Pono Beamer Award for excellence in Hawaiian music, bar and glows anew,” heralded the Honolulu Advertiser. A David Kamakahi also garnered a Na Hoku Hanohano Award collaborator on two Grammy-nominated albums – Treasures for “Best Contemporary Album of the Year” for his debut solo of Hawaiian Slack Key Guitar and The Spirit of Hawaiian Slack project Pa’ani. The Los Angeles Times called his music “mel- Key Guitar – Keoki Kahumoku also worked on Hula! Big low and appealing.” Island Style, which was nominated in 2005 for a Na Hoku Recipients of the prestigious Na Hoku Hanohano Hanohano Award for “Compilation Album of the Year.” n Awards, father-and-son duo GEORGE AND KEOKI

8 OPUS 3 ARTISTS presents Lynn harrell, cello and Jon Kimura Parker,

Wednesday, March 31, 2010, 7:30 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.

Please hold your applause until after all movements of a work have been performed and do not applaud between movements. Thank you for your cooperation.

As a courtesy to the performers and fellow patrons, please mute all cell phones, pagers, and watch alarms prior to the start of the performance.

9 PROGRAM

Sonata in e minor, Op. 38 Allegro non troppo (1833-1897) Allegretto quasi Menuetto Allegro

Sonata No. 4 in C Major, Op. 102, No. 1 Ludwig van Beethoven Andante – Allegro vivace (1770-1827) Adagio – Tempo d’Andante – Allegro vivace

Sonata in g minor, Op. 19 Sergei Rachmaninoff Lento – Allegro moderato (1873-1943) Allegro scherzando Andante Allegro mosso

Jon Kimura Parker is a Steinway Artist.

Exclusive Management: OPUS 3 ARTISTS 470 Park Avenue South New York, NY 10016

10

BIOGRAPHies Since his Juilliard days and his Carnegie Hall debut at age invaluable insight into a composer’s creative process; for example, 17 with the New York Philharmonic Orchestra, cellist LYNN Ludwig van Beethoven often had great difficulty crafting themes. HARRELL has wowed audiences worldwide, earning acclaim Not Johannes Brahms. What he left were finished prod- and a long string of honors. The New York Times called him “an ucts, often late revisions of youthful endeavors, and ashes in the instrumentalist so confident in his own warmth and resonance.” fireplace of compositions that had not met his own perfectionist A recipient of the first Avery Fisher Award and the Piatig- standards. No one knows how many Chamber works Brahms orsky Artist Award, Harrell has performed globally with accom- wrote and discarded before he agreed to publish his first in 1854, plished orchestras, including the Los Angeles Philharmonic and the Piano Trio in B Major. According to his own claim, perhaps a London’s Royal Philharmonic Orchestra. He has collaborated little exaggerated, he made 20 attempts at quartet writing before with noted figures in the music industry, including Michael Tilson he was finally satisfied. Thomas, Zubin Mehta, André Previn, and Itzhak Perlman. Sonata in e minor was Brahms’s first duo sonata that he In 1981, Harrell received the first of his two Grammy deemed worthy of publication. He composed three movements in Awards for “Best Chamber Music Performance” with the Tchai- 1862, but a hectic schedule of engagements as a pianist forced him kovsky: Piano Trio in a minor album. In 1987, his Beethoven: The to put the incomplete work aside and he was not able to finish it Complete Piano Trios won a Grammy Award. until 1865. At that time, he discarded an Adagio and added the Canadian-born pianist JON KIMURA PARKER shines fugal finale. Brahms dedicated the Sonata to Austrian cellist and with “infectious enthusiasm and dazzling dexterity,” hailed the De- singing teacher Josef Gensbacher (1829-1911), a professor at the troit Free Press. The New York Times concurred, citing the pianist’s Vienna Conservatory. Gensbacher was instrumental in facilitating “steely-fingered precision and dynamic virtuosity” and calling him Brahms’ appointment as conductor of the Wiener Singakademie, an “insightful, energetic soloist.” Vienna’s foremost lay choir at the time. Brahms was coy about Parker’s illustrious career has taken him from New York’s showing the discarded Adagio even to his dear friend Clara Schu- Carnegie Hall and the Sydney Opera House to Baffin Island and mann. As late as 1930, the manuscript for an Adagio for cello and Zimbabwe. Called “a pianist with the deftest of touches” by The piano was still extant, but has since disappeared. Washington Post, he has played for royalty, world leaders, and U.S. Among the unusual features of this work is its persistent use Supreme Court justices. Parker gained critical acclaim performing of e minor for all the movements. In later works, Brahms usually with leading U.S. orchestras, including the New York Philhar- offset the minor mode with one movement in a major key. The monic, the Cleveland Orchestra, and the Philadelphia Orchestra. key of the missing Adagio is unknown. His international reach is equally strong, affirmed by appearances Throughout the first movement, the cello plays mostly in with the prestigious Warsaw Philharmonic and the NHK Tokyo its lower register, emphasizing the brooding, somber mood of the Orchestra. An officer of the Order of Canada, the country’s high- principal theme. Although composed in classic sonata Allegro est civilian honor, Parker also is the Gold Medal winner of the form, the second theme does not present a significant contrast in 1984 Leeds International Piano Competition. mood. The piano, however, makes use of its full range, clearly the equal partner of the cello. In the second movement, marked Allegretto, quasi Minuetto, PROGRAM NOTES the word “quasi” (almost) should not be taken lightly. The move- by Joseph and elizabeth kahn ment lies somewhere between a Minuet and a Waltz, the heavily accented first beat of every measure removing it from its Classical Sonata No. 1 in e minor, Op. 38 antecedent. Johannes Brahms (1833-1897) The final fugue pays homage to Johann Sebastian Bach’s Over the last 300 years, many composers have left a paper Art of the Fugue. The fugue subject is strongly reminiscent of Con- trail, making it possible to trace the evolution of their com- trapunctus XIII (inverted), with its downward leap of an octave positions and style. These trails often include fragments, early and relentless triplets. versions, and/or sketches of compositions. Scholars have gained

11 Sonata No. 4 in C Major, Op. 102, No. 1 from the opening, a practice he expanded on later in the final Ludwig van Beethoven (1770-1827) movement of Symphony No. 9 to include the main themes from One of the more fascinating documents found among all the preceding movements. Ludwig van Beethoven’s papers after his death was a love letter addressed to the Unsterbliche Geliebte (Immortal Beloved), written Sonata in g minor, Op. 19 in 1812 to an unnamed recipient. Candidates for the identity Sergei Rachmaninoff (1873-1943) of the beloved are numerous. One of them was Countess Maria In 1895, Sergei Rachmaninoff felt confident enough to Erdödy (1779-1837) who was an excellent pianist and long-time compose a symphony. In 1897, he premiered his symphony in close friend and patron of the composer. Beethoven lived in her St. Petersburg, but it was a dismal failure. Rachmaninoff’s earlier house in 1808, and by 1812 the Countess was separated from her defeats produced creative defiance that led to severe depression. husband due to irreconcilable differences. For three years, he was unable to do any significant composing. Beethoven dedicated Piano Trios No. 1 and 2, Op. 70 and Rachmaninoff finally sought therapy and hypnosis in 1900. The Sonatas No. 4 and 5, Op. 102 to the Countess. Unlike the techni- result was one of the first well-known successes of modern psy- cally simpler Op. 69 sonata written for the amateur cellist Count chotherapy and the composer was able to return to creative work. Ignaz von Gleichenstein, the two Op. 102 sonatas were intended After treatment, Rachmaninoff produced Piano Concerto No. 2, for one of the best cellists in Vienna, Joseph Linke, a former mem- Op. 18 and Cello Sonata, Op. 19, however, relapses into depres- ber of a string quartet employed by Count Razumovsky, to whom sion dogged the composer for the rest of his life. Significantly, all Beethoven dedicated the three Op. 59 quartets. The quartet was of his large instrumental compositions are in minor keys. disbanded when Razumovsky’s palace burned down. During his early career as a pianist, Rachmaninoff collabo- At the time when the Op. 102 sonatas were completed, rated frequently with the noted Russian cellist Anatoly Brandu- Beethoven had 12 more years to live, during which time he com- kov. This collaboration taught him the technical intricacies and posed only 35 more major works. Although his severe hearing loss capabilities of the cello, and it is for Brandukov that Rachmanioff has been cited as a possible cause for his reduction in productivity, wrote his Two Pieces, Op. 2 in 1892 and the Cello Sonata in 1901. another factor plays a more important role. As a creative artist, Rachmaninoff’s brilliance as a pianist is reflected in this Beethoven was seeking to develop his musical language beyond work. It is densely scored and requires enormous virtuosity from the harmonic and formal constraints of the Classical style. His both performers. The piano part is as spectacular and every bit final works explored new musical territory, particularly in struc- as difficult as the cello, the two instruments operating as partners ture and harmony. After 1820, most of the works belong to the and competitors. The musical language is in the grand Romantic so-called “late period,” including Symphony No. 9 (1822-1824), manner of the late 19th century, especially reminiscent of Franz the five last piano sonatas (Op. 101, 106, 109, 110, 111), and Liszt and Peter Ilyich Tchaikovsky. late string quartets, his final masterpieces. Since Beethoven’s first This piece opens Lento, with the cello in a subdued and un- biographers, scholars have cited this cello sonata as a foretaste of certain mood, until the piano propels it forward with a rush into his late style. the Allegro moderato, nearly drowning the singing cello; but the Beethoven described the Sonata in C Major as Freje [sic] cello’s lyrical tone is never completely overwhelmed. In the sec- Sonate (free sonata), a verbal admission of its digression from Clas- ond movement, Scherzando, the piano initially relegates the cello sical form and its deliberate quirkiness. The work is in two move- to a continuo role, but the latter comes back with an extended ments, each opening with a long, slow introduction. The relation- joyful melody until the descending piano melody takes over again. ship between the cello and piano is frequently contrapuntal – but It is in the third movement, Andante, that the cello really without a fugue – placing the piano in equal partnership with dominates. The romantic melody – passionate and tender – is the cello. The two introductions are in the style of a fantasy, first introduced by the piano before the cello sings its way in. The containing cadenza-like passages for both instruments. Both finale, Allegro mosso, starts in a frenetic rush, but slows down for a Allegros are in sonata form, but with odd and unexpected key second theme on the cello, which is as romantic as the Andante. relationships and modulations so sudden and unexpected This gentle theme interrupts the fast tempo twice more, before that even a modern audience will still find them surprising. Be- both instruments accelerate to the end. n tween the two movements, Beethoven brings back the theme

12 presents BEAUSOLEIL AVEC MICHAEL DOUCET and HOT 8 BRASS BAND

Friday, April 2, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.

BIOGRAPhies Formed in 1975 to preserve the Cajun musical heritage, HOT 8 BRASS BAND, whose “defiant swing” has the Grammy-winning BEAUSOLEIL AVEC MICHAEL been hailed by The New Yorker and declared “very dance- DOUCET has established a reputation for its innovation. able” by All About Jazz, has epitomized New Orleans street The group’s artful blend of Louisiana’s rich Cajun traditions music with its energetic fusion. The group’s exciting blend and catchy elements of New Orleans Jazz, Tex-Mex, Zydeco, of modern styles and Brass standards transcends genres and Country, and the Blues has tantalized audiences at venues audiences, drawing accolades and acclaim. such as the Grand Ole Opry and events such as the Newport “To hear the Hot 8 Brass Band mixing old-fashioned Folk Festival. oompah with Latin and Hip-Hop beats was to hear the con- Offbeat magazine summed it up: “BeauSoleil is doing tinuity of a culture that faces its troubles with rhythm and what Cajun musicians have always done: They’re listening to flamboyance,” hailed The New York Times. the radio in their heads and turning it into new Cajun music. Founded in 1995, Hot 8 Brass Band is renowned for its But … the radio in their heads plays Rock ’n’ Roll, Carib- boundless energy and a revved-up sound that incorporates bean music, Jazz, Swamp Pop, and more …” rejuvenated streaks of Funk, Hip-Hop, Jazz, and Reggae Nominated 11 times for Grammy Awards, the Cajun grooves. The group gained national exposure after Hurri- music trailblazers have won twice. BeauSoleil’s Live at the cane Katrina for its work to bring music to evacuee shelters, 2008 New Orleans Jazz & Heritage Festival was chosen “Best temporary trailer parks, and U.S. communities that have Zydeco or Cajun Music Album” while L’amour ou la Folie provided temporary housing to displaced New Orleanians. (Love or Folly) garnered the “Best Traditional Folk Album” Hot 8 Brass Band’s role in the rebuilding effort was featured trophy in 1997. BeauSoleil’s acclaimed catalogue includes prominently in The New York Times and on CNN, ABC’s the Grammy-nominated CDs Cajunization, Gitane Cajun, and Nightline, and Spike Lee’s celebrated documentary When the the latest album Alligator Purse. Levees Broke: A in Four Acts. n

13 presents RICK DERRINGER and EDGAR WINTER GROUP

Saturday, April 3, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.

BIOGRAPHies RICK DERRINGER conquered the music charts with instrument, revolutionizing Rock ’n’ Roll by introducing the smash hits Hang on Sloopy and Rock and Roll, Hoochie endless possibilities with experimentation and sound. Koo. He has collaborated with some of the industry’s biggest Edgar Winter Group’s songs have been featured on the talents, including Alice Cooper, Cyndi Lauper, Barbra -office hits Tropic Thunder, Encino Man, What’s Love Got Streisand, and the group Kiss. to Do With It, and the Oscar-winning comedy My Cousin Derringer discovered and produced Weird Al Yank- Vinny. The song Dying to Live, featured on the soundtrack ovic’s parodies of the Michael Jackson hits Eat It and Who’s of Tupac Resurrection about the life of rapper Tupac Shakur, Fat. Derringer wrote, produced, and performed the World climbed to the Top Five on Billboard’s R&B/Hip Hop singles Wrestling Federation’s albums, including Hulk Hogan’s chart. theme song I Am a Real American. National television and radio campaigns have relied on EDGAR WINTER GROUP shot to fame with the Winter’s vast repertoire to promote their products and causes. Top 15 single Free Ride and the No. One hit Frankenstein Winter has appeared in the film Netherworld and on the from the 1973 Platinum album They Only Come Out at Night, television shows The Cape, Mysterious Ways, Late Show With which reigned the Billboard charts for 80 consecutive weeks. David Letterman, and Jimmy Kimmel Live. n Frankenstein pioneered the use of the synthesizer as a lead

14 presents a Performance Partner Program CIRQUE D’OR Performed by Golden Dragon Acrobats Creator, Producer, and Director DANNY CHANG

Choreographer and Costume Designer ANGELA CHANG Production Director Technical Assistant RANDY S. WILLIAMSON JAMIE A. KEATING

Administrative Director Company Assistant JESSIE S. CHANG DICK LIU Female Performers PING GAO, QI QI HOU, BEI BEI JIA, HANG LU, CUI XIAO MA, RUI HUA MA, JIA HUI SHEN, HUI JUAN WANG, LI WEI YANG, HUI ZHANG, and QING QING ZHU

Male Performers JIAN LONG CAI, YAN CHENG CAI, YONG ZHENG CAI, XIAN YANG GUO, XIAO MENG GUO, MING CHONG LIU, ZHI FENG NIU, YI RAN PEI, SHUAI QIAO, KAI SUO, ZAI CHAO WANG, KAI QI XING, LEI ZHANG, and TIAN JUN ZHANG

Producer ASIAN ARTISTS PRODUCTIONS, INC. Representation ART FEGAN ENTERTAINMENT, INC.

Friday, April 16, 2010, 8:00 PM Saturday, April 17, 2010, 2:00 PM and 8:00 PM Sunday, April 18, 2010, 3:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.

15 PROGRAM

ACT I Thousand Hand Dance, Contortion

ACT II Swaying Board Balancing, Table Hoop

ACT III Umbrella , Table/Jar Juggling, Ball Juggling, and Hat Juggling

ACT IV Power Act

ACT V Spinning Wheel

INTERMISSION

16

ACT I Teeter Board Balancing

ACT II Pas de deux (Ballet duo)

ACT III Diablo Yo-Yo

ACT IV Tower of Chairs

ACT V Flags, Bicycle Family

ACT VI Finale

Program subject to change.

Composers MEDWYN GOODALL, KITARO, NARADA, POWER OF MOVEMENT, CIRCLES OF LIFE, and HIMEKAMI

BIOGRAPHy The GOLDEN DRAGON ACROBATS group has ics has evolved into one of the most popular entertainment toured the United States since 1978, making its well-re- forms in Asia. In its early unorganized form, acrobatics were ceived Broadway debut in 2005. The ensemble has delighted performed with everyday items used as props – chairs, plates, fans and critics internationally with sold-out shows, earning and jars. These rudimentary acts of acrobatics became more New York Drama Desk Award nominations for “Best Chore- complex and challenging in nature with each year, eventu- ography” and “Unique Theatrical Experience.” ally incorporating musical accompaniment. The troupe’s performances, filled with gravity-defying During the Tang Dynasty’s rule, acrobatics had blos- stunts and amazing bodily contortions, prompted The New somed into a popular form of entertainment, demanding York Times to hail: “The spectacle wasn’t created by magic, acute precision and amazing skills. Stunning visual displays but through the strength and articulation of the body. And of dance, Opera, martial arts, and sports eventually were that’s what made it magical.” added to enhance the entertainment value. Today, audiences A tradition that dates back more than 2,000 years, worldwide embrace Chinese acrobatics and its tribute to the when it first captivated China’s powerful emperors, acrobat- country’s rich history and culture. n

17 presents DANISH DANCE THEATER

Artistic Director and Choreographer TIM RUSHTON

Dancers NASSIM MEKI, ALESSANDRO SOUSA PEREIRA, CSONGOR SZABÓ, KANG MA, LUCA MARAZIA, NELSON RODRIQUEZ-SMITH, MINNA BERGLUND, and ANA SENDAS

Technical Director Tour Technician JACOB BJERREGAARD OLIVER CAMPBELL-CALDER

Tour Manager and Rehearsal Director Business Manager JASON NELSON ANNE-KARI RAVN

Friday, April 23, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.

The company is supported by the Danish Ministry of Culture and the regional institution CphT – Copenhagen Theatre. The U.S. tour is sponsored by the Danish Arts Council Committee for the Performing Arts

www.danishdance.com

Exclusively represented in North America by Laura Colby, Director Elsie Management (718) 797-4577 www.elsieman.org

18 PROGRAM

Shadowland

Dancers: Ana Sendas, Minna Berglund, Luca Marazia, Csongor Szabó, Kang Ma, and Nelson Rodriquez-Smith Choreographer: Tim Rushton Lighting design: Mikael Sylvest Video design: Signe Krogh Music, lyrics, and sound: Ken Nodine, , Allan Ginsberg, Lydia Lunch, Maggie Estep & The Splitters, Mark Sandman, , and Morphine

Lyrics and music from the Beat generation inspired Tim Rushton to capture a third dimension of the experience of dance – where every art form is equal. As words, music, and dance fuse into a free flow of impressions, the choreographer creates an intense and magical universe where ironic, yet sincere, fragments of daily life’s banalities and paradoxes are exposed. Shadowland is based on the Beat generation’s poetry with Allen Ginsberg’s Holy! Holy! … at the center. Like a choreographic Speakers’ Corner, each of the five scenes stands for its own mood and earnest, playful, or intense point of view. From Sydney to Montreal, Shadowland has received much acclaim. With its clear choreographic structure, interacting with the luscious words from original recordings of ’60s Beat poets, Rushton and video designer Signe Krogh have created a unique space in which the dancers move through abstract, pure dance, and gesture.

Enigma

Dancers: Nassim Meki, Ana Sendas, Minna Berglund, Luca Marazia, Alessandro Sousa Pereira, Csongor Szabó, Kang Ma, and Nelson Rodriquez-Smith Choreographer: Tim Rushton Lighting design: Thomas Bek and Jacob Bjerregaard Music: Johann Sebastian Bach and Mathias Friis Hansen

Enigma is the Greek word for “riddle.” It is also the name of the electro mechanical encryption machine used by the Nazis during World War II to code and decode messages. Since we were young, we have been taught to read the signs of well-defined and recognizable structures from our surroundings. Knowing the codes and acting accordingly gives us a feeling of acceptance and confidence, but if we cannot interpret and decode the signals, we experience a state of chaos. On the other hand, we may be so possessed by “understanding” and “mapping” that we totally lose our sense of intuition. To comprehend what is directing us is the essence of the choreography. Enigma is inspired by the cello suites of Johann Sebastian Bach. Rushton is very fond of Bach because the music has many levels and so much beauty – a beauty that goes very deep while containing several immanent contradictions.

INTERMISSION

19 CaDance

Dancers: Luca Marazia, Alessandro Sousa Pereira, Csongor Szabó, Kang Ma, and Nelson Rodriquez-Smith Choreographer: Tim Rushton Lighting design: Mikael Sylvest Music: Andy Pape

CaDance is a subtle game for four to five male dancers. As clockwork, the music measures time in this minimalist composition by Andy Pape. The dancers’ bodies are like drum sticks – with minor, precise, and bone-dry movements. They await each other and then, in a split second, attack with unexpected punctuality. CaDance starts with music as the driving force and develops into a virtuoso competition among the men.

Kridt (Chalk)

Dancers: Luca Marazia, Alessandro Sousa Pereira, Csongor Szabó, Kang Ma, Nelson Rodriquez-Smith, Nassim Meki, Ana Sendras, and Minna Berglund Choreographer: Tim Rushton Lighting design: Anders Poll Costume design: Charlotte Østergaard Music: Peteris Vasks

While hearing the sound of someone scratching writings on a wall, a man lies on the floor preparing to meet his fate. Eyes meet, then the body’s memory takes over the story. Rushton’s inspiration for creating Kridt was a text from the Bible as the thematic pivotal point: “To everything there is a season and a time to every purpose under heaven” (Ecclesiastes 3:17); and the epistle of the Christmas message, “peace on earth.” The composer expresses not only his confident hope for the solution to incompatibilities, but also his doubts. The work ends in a darkening, aggressive mood, but finally a soft, persistent hymn breaks through a response of confidence and a symbol of maintaining the world in . Kridt received the most acclaimed Danish theater award, the Reumert prize for “Best Dance Production of the Year” in 2005.

20 BIOGRAPHies Established in 1981, DANISH DANCE THEATER CSONGOR SZABÓ (Dancer), a native of Hungary, bridges the gap between the Contemporary and Classical studied dance at Ballet Secondary School of Arts in Györ realms. Known for its technical prowess, the troupe has and at the Academy of Film and Dramatican Arts in earned acclaim throughout Europe, Australia, the Middle Budapest. He joined the company in 2007. East, and North America for its ability to push borders KANG MA (Dancer) was born in China in 1981. He and test conventional perceptions of dance. Danish Dance received his formal training at the Beijing Dance Academy Theater has become one of the most prominent Modern and has been a company member since 2008. dance companies in the world. The Boston Globe applauded LUCA MARAZIA (Dancer) is from Italy, where he the ensemble as “elegant and eclectic” while The Boston trained at the Rome Opera Dance School. He also studied Herald said Danish Dance Theater is so “entirely original” at L’école-Atelier Rudra-Béjart in Lausanne, Switzerland. that it “cannot be compared to anything from the American Marazia joined the company in 2005. modern tradition.” NELSON RODRIQUEZ-SMITH (Dancer), from Under the guidance of artistic director-choreographer Columbia, received his training from Stockholm’s Ballet Tim Rushton since 2001, Danish Dance Theater has become Akademi, the Danish National School of Contemporary one of the most prominent Modern dance companies in the Dance, and Rotterdam Dance Academy. He has been a world. The company has gained an international presence company member since 2007. for its aesthetic and almost airy choreographies that reflect MINNA BERGLUND (Dancer), a native of Sweden, on the nuances of human relationships. Rushton paved studied dance at the Skolen for Moderne Dance and joined the way for the troupe to perform at prestigious venues Danish Dance Theater in 2009. and events such as the Sydney Opera House, Copenhagen ANA SENDAS (Dancer) is from Portugal, where Royal Theatre, Toronto’s Harbourfront Centre, and the she received her formal training at Academia de Dança famed Jacob’s Pillow Dance Festival. “Rushton knows how Contemporânea de Setúbal. She has been a company to make things happen,” praised The New York Times. He member since 2009. n “has a movement language that is controlled, unhurried and precise,” observed The Australian. On Stage TIM RUSHTON (Artistic Director and Advertising Opportunity Choreographer) received his formal training at the Royal

Ballet School in London. The British-born choreographer The Cerritos Center for the Performing Arts came to Copenhagen, Denmark, to dance with the (CCPA) is now accepting advertising space reservations for the On Stage program. Royal Danish Ballet, but he stayed on to direct and Each issue of the program is distributed to choreograph. Rushton has the Classical Ballet lines, but approximately 15,000 patrons. Placing an advertisement in On Stage for the entire season as a choreographer, he allows his need for the Modern to provides an opportunity to reach more than dominate. His choice of music is complex and his aesthetic 135,000 theater patrons. framework is clean and simple – from flowing water in The CCPA attracts patrons from throughout Orange, Los Angeles, and Riverside counties. Animal Park (2006) to an enormous blackboard in Kridt Patrons have the discretionary income to enjoy dining and shopping excursions before and after (Chalk, 2005). attending performances. NASSIM MEKI (Dancer), a native of Sweden, studied For more information about advertising in at the Royal Swedish Ballet from 1996 to 2006 and is the On Stage, please call Account Executive Anna Jones at (562) 916-8510, extension 2520. newest company member with Danish Dance Theater. ALESSANDRO SOUSA PEREIRA (Dancer) was born in Brazil in 1983. He trained at Galpao 1 Dance School in Indaiatuba, Saö Paulo, and has been a company member since 2007.

21 presents STRING ORCHESTRA OF NEW YORK CITY

MONICA BAUCHWITZ, VIOLIN ASMIRA WOODWARD-PAGE, VIOLIN EMILIE GENDRON, VIOLIN OMAR GUEY, VIOLIN YUKI NUMATA, VIOLIN ELIZABETH BACHER, VIOLIN WILLIAM HAKIM, VIOLA STEPHANIE GRIFFIN, VIOLA JANE O’HARA, CELLO KAREN OUZOUNIAN, CELLO RACHEL CALIN, BASS

Saturday, April 24, 2010, 8:00 PM

There will be one 20-minute intermission. The taking of photographs or use of recording devices is strictly prohibited.

Please hold your applause until after all movements of a work have been performed and do not applaud between movements. Thank you for your cooperation.

As a courtesy to the performers and fellow patrons, please mute all cell phones, pagers, and watch alarms prior to the start of the performance.

22 PROGRAM

Don Quixote Suite Georg Philip Telemann Overture (1681-1767) Minuets I and II La Vielle Sicilienne avec Cadence Rondeau Bourees I and II Gigue

Sonata for Strings William Walton Allegro (1902-1983) Presto Lento Allegro molto

INTERMISSION

Chamber Symphony Dmitri Shostakovich Largo (1906-1975) Allegro molto Allegretto Largo Largo

Artists appear by arrangement with MCM Arts and Entertainment www.mcmarts.com

BIOGRAPHy Featuring the Big Apple’s most exceptional players, the SONYC, which consists of award-winning Chamber STRING ORCHESTRA OF NEW YORK CITY (SONYC) musicians and soloists, possesses “a full, radiant sound ... has been called a “feisty string orchestra” by The New York expressive and smart,” hailed the New York Sun. The en- Times, which cited the ensemble’s “appealing deftness” and semble’s unique conductor-free set-up gives each individual knack for forging exciting connections with audiences. an opportunity to contribute to the artistic process. The result The recipient of the “Meet the Composers Residency is a group that exhibits the flexibility and intimacy of a string Grant” and the “Aaron Copland Fund for Music Recording quartet with the power and scope of a full orchestra. n Grant,” SONYC performs regularly at New York’s Carnegie Hall and Merkin Concert Hall.

23 THE TICKET OFFICE is open 10 AM to 6 PM Monday Out of courtesy to the performers and fellow patrons, through Friday and 12 Noon to 4 PM on Saturday. Hours are CELLULAR PHONES, PAGERS, AND ALARM extended until one-half hour past curtain on performance days. WATCHES should be disconnected before the start of the performance. TICKETS can be charged to Visa, MasterCard, Discover or American Express by phoning (800) 300-4345 or (562) 916-8500, DOCTORS AND PARENTS should leave their seating or online at www.cerritoscenter.com. Mail orders are processed locations with exchanges or sitters and have them call as they are received. Tickets cannot be reserved without (562) 916-8508 in case of an emergency. payment. THE COAT ROOM is located behind the Grand Staircase. LOST TICKET AND TICKET EXCHANGE policies vary; however, there are no refunds. Call (800) 300-4345 for CAMERAS AND RECORDING EQUIPMENT ARE NOT information. PERMITTED in the Auditorium and must be checked at the Coat Room. GROUPS of 20 or more may purchase tickets at a 10% discount. Call (800) 300-4345. LOST ARTICLES can be claimed by calling (562) 916-8510.

CHILDREN’S PRICES apply to children twelve (12) years of ELEVATORS are located near the Grand Staircase and access age and under. Regardless of age, everyone must have a ticket, sit each level of the Lobby. in a seat, and be able to sit quietly throughout the performance. We do not recommend children under the age of six (6) attend PAY PHONES are located on the Orchestra level behind the unless an event is specifically described as suited to that age. Grand Staircase and near the restrooms on the Gold Circle level.

FREE PUBLIC TOURS are conducted by appointment only. PHONIC EAR LIGHTWEIGHT WIRELESS HEADSETS Special tours can be arranged by calling (562) 916-8530. for the hearing impaired are available in the Coat Room at no cost. To obtain a headset, a driver’s license or major credit card PARKING is always free in the spacious lots adjacent to the is required and is returned upon receipt of the equipment at the Cerritos Center for the Performing Arts. close of the performance.

FULL-SERVICE BARS are located in the Grand Lobby on the WHEELCHAIR locations are available in various areas of the Orchestra level and at the Gold Circle level. Refreshments are Auditorium. Please contact the Ticket Office at (800) 300-4345. not allowed in the Auditorium. LATECOMERS will be seated at the discretion of the house SMOKING IS NOT PERMITTED in any City facility. staff at an appropriate pause in the program.

EMERGENCY MEDICAL technicians are on duty at all CLOSED-CIRCUIT TELEVISION VIEWING is available in performances. If you need first aid, contact an usher for the Lobby of each seating level and at the Lobby bar. assistance. THE CERRITOS CENTER FOR THE PERFORMING RESTROOMS are located behind the Grand Staircase on the ARTS’ Auditorium and Sierra Room are available for special Orchestra level and at the Grand Staircase Landing on the Gold events on a rental basis. For more information, please call Special Circle level. Event Services at (562) 916-8510, ext. 2827.

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