London Symphony Orchestra Sir Simon Rattle, conductor
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London Symphony Orchestra Sir Simon Rattle, conductor
BOARD OF TRUSTEES
2021–2022
OFFICERS
Jeffrey MacKie-Mason, co-chair
Lance Nagel, co-chair
Joe Laymon, vice chair
Sara Wilson, vice chair
Shariq Yosufzai, treasurer and secretary
Susan Graham Harrison, trustee-at-large
Cary Koh, trustee-at-large
Helen Meyer, trustee-at-large
TRUSTEES
Nancy Aldritt Jeremy N. Geffen † Linda Schieber
Janice Brathwaite Bernice Greene Françoise Stone
Carol T. Christ † Lynne Heinrich Leigh Teece
Naniette Coleman Mackenzie Hsiao‡ Augustus K. Tobes
Rupali Das Kit Leland Deborah Van Nest
Grace Davert ‡ Sylvia R. Lindsey* Caroline Winnett
Beth DeAtley Jen Lyons
* Founding Trustee
Leland Dobbs Leslie Maheras † Ex Officio Trustee
Hilary Fox Panos Papadopoulos ‡ Student Representatives
FOUNDING TRUSTEES
Carole B. Berg Lynn Glaser Anthony A. Newcomb
Merrill T. Boyce G. Reeve Gould David Redo
Earl F. Cheit, Founding Chair Margaret Stuart Graupner Jim Reynolds
Robert W. Cole Jean Gray Hargrove Madelyn Schwyn
Hon. Marie Collins Kathleen G. Henschel Alta Tingle
John Cummins Carol Nusinow Kurland Carol Jackson Upshaw
Ed Cutter Kimun Lee Julia Voorhies
John C. Danielsen Donald A. McQuade Margaret Wilkerson
Donald M. Friedman Ralph N. Mendelson Wendy W. Willrich
Frederick Gans Marilyn Morrish Olly Wilson Jr.
Shelby Gans Alvin Zeigler
EARL F. CHEIT SUSTAINING TRUSTEES
Eric Allman Hon. Marie Collins Eddie Orton
Annette Campbell-White Lynn Glaser Jim Reynolds
Margot Clements Kathleen G. Henschel Will Schieber
Diana Cohen Liz Lutz Carol Jackson Upshaw
2
FROM THE EXECUTIVE AND ARTISTIC DIRECTOR
elcome to another busy weekend at Cal Performances!
W On Thursday evening, the combined vocal forces of the
Manhattan Transfer and Take 6 (Mar 17)—10 voices with
20 Grammys between them—will fill Zellerbach Hall with their trade-
mark crystalline harmonies, stirring gospel rhythms, and soaring
melodies. The bands’ current tour is a hit with audiences and critics
alike, with a recent concert in Maryland praised as “an explosion, in
gale wind proportions, of musical enjoyment, creative genius, vocal
excellence and a boatload of fun” (DC Metro).
Next, acclaimed choreographer Michelle Dorrance and her com-
pany Dorrance Dance (Mar 18–19) arrive in town with a program
Jeremy Geffen
that demonstrates how powerfully movement and music can be en-
twined in the bodies of expert dancers. Dorrance’s brilliant
SOUNDspace, adapted on this occasion for the unique qualities of Zellerbach Playhouse, soars as a
powerful tribute to the history and legacy of tap dancing and features both Dorrance’s own chore-
ography and solo improvisation by company members. This remarkable program reminds us that
“If the idea of tap dance makes you think of stale musicals from the early 20th century, Michelle
Dorrance is eager to shatter your assumptions” (Broadway World Washington).
Finally, in a true season highlight, the mighty London Symphony Orchestra (Mar 20), under
the direction of luminary conductor Sir Simon Rattle, provides an afternoon of unsurpassed sym-
phonic music on Sunday afternoon at Zellerbach Hall. The wide-ranging program is almost an
embarrassment of riches, packed with masterworks by Berlioz, Sibelius, Bartók, and Ravel, along
with a more recent audience favorite, The Spark Catchers, by the brilliant British composer Hannah
Kendall. Trust me—in terms of memorable symphonic music, it doesn’t get better than this.
March marks the time of year that traditionally finds Cal Performances operating on all cylin-
ders. From now through the beginning of May, the remainder of our 2021–22 season is packed
with adventurous programming. You won’t want to miss…
• pianist extraordinaire Mitsuko Uchida playing and directing Mozart with the Mahler
Chamber Orchestra (Mar 27)
• the Alvin Ailey American Dance Theater (Mar 29 – Apr 3), returning to Zellerbach Hall for
the first time since the initial pandemic shutdown in 2020; this year’s Ailey programs—fea-
turing more than a dozen works from the company’s legendary repertory—have only re-
cently been announced, so make sure to check our website for details
• the renowned English Baroque Soloists with conductor Sir John Eliot Gardiner in a trans-
fixing program of works by Mozart and Haydn (Apr 10)
• Angélique Kidjo, our 2021–22 artist-in-residence, in her new music-theater piece Yemandja
(a much-anticipated Cal Performances co-commission and Illuminations event, Apr 23).
Fasten your seatbelts; we have all of this—plus much more—in store for you!
We’re very proud of our updated winter brochure and know that a few minutes spent review-
ing our schedule—in print or online—will reveal a wealth of options for your calendar; now is the
perfect time to guarantee that you have the best seats for all the events you plan to attend.
I know you join us in looking forward to what lies ahead, and to coming together once again
to encounter the life-changing experiences that only the live performing arts deliver. We can’t wait
to share it all with you during the coming months.
Jeremy Geffen
Executive and Artistic Director, Cal Performances
P.S. – Stay tuned for exciting news about our brilliant 2022–23 season, to be announced in April!a
3
music dance theater
21/22
U N I V E R
Perform
S I T Y O F C A L I F O R N I A , B E R
es
K E L E Y
Mahler Ch
hamber Orche estra
Mitsuko Uchida,
U , ppiano andd director
Mark Steinberg, concertmast
m er and lead
der
MOZART Piano Conccerto in A major, K. 488
PURCELL Four Fantas
sias (arranged for string orchestra)
MOZART Piano Conccerto in C minor, K. 491
Following her exquisitte Cal
Performances
o at Hom me all-
S h b rt recital
Schube it l llastt spring,
s i
the magisterial pianis st
Mitsuko Uchida return ns for
a concert with the dyn namic
Mahler Chamber Orch hestra
that draws a line from m
Henry Purcell’s uniquely
English form of Baroq que
music to Mozart’s Vie ennese
masterworks.
Sun, Mar 27, 3pm
ZELLERBACH HALL
calperforrmances.org | 51
10.642.9988
Sunday, March 20, 2022, 3pm
Zellerbach Hall
London Symphony Orchestra
Sir Simon Rattle, conductor
PROGRAM
Hector BERLIOZ (1803–1869) Overture: Le Corsaire
Hannah KENDALL (b. 1984) The Spark Catchers
Sparks and Strikes
Molten Madness
Beneath the Stars/In the Silver Sheen
The Matchgirls’ March
Jean SIBELIUS (1865–1957) Symphony No. 7 in C major
Adagio – Vivacissimo – Adagio – Allegro molto
moderato – Vivace – Presto – Adagio
INTERMISSION
Béla BARTÓK (1881–1945) The Miraculous Mandarin – Suite
Introduction (street noises); the commands
of the hoodlums directed to the girl
The girl’s first inviting gestures, in response to
which the old gentleman appears; in the end,
he is thrown out by the hoodlums
The girl’s second inviting gestures, upon which
appears the young lad, who is also thrown out
The girl’s third inviting gestures; the Mandarin appears
The girl’s seductive dance before the Mandarin
The Mandarin catches up with the girl after
an ever wilder chase
Maurice RAVEL (1875–1937) La Valse
The London Symphony Orchestra’s 2022 North American Tour is made possible
through an intercontinental partnership with the Music Academy of the West.
This performance is made possible, in part, by Patron Sponsors Beth DeAtley and Diane B. Wilsey.
5
PROGRAM NOTES
Hector Berlioz (1803–1869) and the main allegro assai section ensues,
Overture: Le Corsaire launched by a reprise of the whirling string
The year 1844 was an exhausting and demoral- scales and woodwind syncopations. The brass
izing one for Hector Berlioz. After a long period hints at the boisterous, swashbuckling principal
of deterioration, his “dream” marriage to the theme, but the violins finally unfurl it. Almost
Irish actress Harriet Smithson finally collapsed. unrecognizable in the faster tempo, the adagio
Furthermore, Berlioz had just organized and melody also returns for contrast. Despite the
conducted one of his mammoth concerts—mo- lack of an orthodox development section,
bilizing more than 1,000 performers!—to cele- Berlioz keeps revisiting his swashbuckling
brate the close of the international Festival of theme in exciting new ways: the best is the brass
Industrial Products in Paris on August 1. At this instruments’ totally uninhibited proclamation
extravaganza before an audience of 8,000, he just before the close.
nearly collapsed on the podium; his doctor im-
mediately ordered a rest cure in the warm sun- Hannah Kendall (b. 1984)
shine of Nice. The Spark Catchers
There, the composer regained both his health Creativity flourished in the family of Hannah
and his creative energies. He swam, hiked, read, Kendall, a composer who draws much of her in-
and recalled the heady days of his previous stay spiration from collaboration with artists work-
in Nice in 1831 when the city had once before ing in many disciplines. Her parents were
cured him. Then he was a young Prix de Rome immigrants to the UK from Guyana, and her
winner who had impulsively quit Rome upon grandfather was a jazz musician. Holding de-
learning his fiancée in Paris, Camille Moke, had grees from the University of Exeter and the Royal
married another man. Ever the mad Romantic, College of Music, she is currently based in New
Berlioz acquired a set of pistols and leapt into a York City, where she is a doctoral fellow in com-
carriage to rush home and avenge Camille’s position at Columbia University. Her music has
treachery by killing the guilty pair. But common been embraced by conductors and symphony
sense prevailed, and when he reached Nice, he orchestras throughout the UK and America.
dropped his bloody plan and stayed on to re- Kendall considers herself to be a storyteller in
cover his equilibrium. music, drawing on different cultures and, as her
During his August 1844 sojourn, Berlioz cre- official biography says, “confronting our collec-
ated the last of his colorful concert overtures, the tive history with narratively driven pieces cen-
fiery Le Corsaire (The Pirate) in C major. A likely tered on bold mission statements.” Her The
influence was the narrative poem “The Corsair” Spark Catchers (2017) vividly salutes the lives of
by Lord Byron, one of Berlioz’ favorite writers. women working in match factories in 19th-cen-
In his three most famous and mature over- tury England.
tures—Benvenuto Cellini, Roman Carnival, and Here is Hannah Kendall’s introduction to this
Le Corsaire—the radical Berlioz developed a piece:
very personal, iconoclastic formal approach that
[British poet] Lemn Sissay’s incredibly evocative
shattered the sonata-form template for Roman-
poem, “The Spark Catchers,” is the inspiration
tic overtures. It opens with arresting gestures: a behind this work. I was drawn to its wonderful
virtuosic whirlwind of string scales that collides dynamism, vibrancy, and drive. Specific words
with the syncopations of the equally agitated and phrases from the text have established the
woodwinds. Such rhythmic cross play con- structure of the work and informed the con-
tributes mightily to this overture’s overall ex- trasting musical characteristics created within
citement. Then Berlioz presents a slow adagio the piece’s main components.
section, featuring a pensively beautiful melody The opening “Sparks and Strikes” section im-
in distant A-flat major. mediately creates vigor and liveliness…. This
All too soon this lovely music is broken off, momentum continues into “The Molten Mad-
the orchestra cranks itself around to C major, ness,” maintaining the initial kinetic energy,
6
PROGRAM NOTES
whilst also producing a darker and brooding at- symphonic structure of four movements follow-
mosphere …. A broad and soaring melodic line ing conventional forms such as sonata, scherzo,
in the French horns and first violins overlays the and rondo. Instead, he believed the symphony
material, moving into a majestic episode led by
was like a river and that each river created its own
the full string section [and] culminating in a
sudden pause. A lighter variation of the rhyth-
shape. “The movement of the river water is the
mic material…follows, creating a feeling of sus- flow of the musical ideas, and the river-bed that
pense…. they form is the symphonic structure.”
Thus the Seventh Symphony emerged as one
The lighter, clearer, and crystalline “Beneath the great movement moving in waves of accelerat-
Stars/In the Silver Sheen” section follows. Quiet
ing and decelerating tempos. It grows organi-
and still, it is distinguished by its gleaming deli-
cacy through long interweaving lines, high pitch
cally through the evolution of the most
range, and thin textures. An illuminating strike, elemental musical ideas. In fact, there is only one
underpinned by the glockenspiel and harp, sig- true theme here, proclaimed three times by solo
nifies the climax of this section. trombone and other brass and serving as mighty
pillars supporting and shaping the symphony’s
Subsequently, the opening zest comes back
structure. And Sibelius uses the brass section
again through dance-like material that culmi-
nates in “The Matchgirls March” with its force-
only for this theme; otherwise he concentrates
ful and punchy chords. The Spark Catchers ends on strings and woodwinds, setting their very
with a coda-like section…, finally concluding on different colors in opposition rather than blend-
a sparkling flourish. ing them. Like many of Sibelius’ greatest works,
there is an underlying feeling of the human
Jean Sibelius (1865–1957) being standing in wonder before a powerful, and
Symphony No. 7 in C major unknowable natural world.
As Jean Sibelius grew older and his symphonic The Seventh Symphony begins with very
craft more sophisticated, composing became basic musical ingredients: a rumble of the tim-
more difficult for him. While he struggled to pani and a slow scale in the strings (scale pat-
complete his seventh and last symphony in the terns underlie most of the melodic material)
winter of 1924, he wrote: “I am on the wrong ascending to a fateful, mysterious harmony. A
rails. Alcohol to calm my nerves and state of fluttering-birds motive appears in the wood-
mind. How dreadful old age is for a composer! winds. Rising and falling scales crisscross, and
Things don’t go as quickly as they used to, and the woodwind birds cry out with forlorn power.
self-criticism grows to impossible proportions.” Now a magnificent, warm-toned passage for di-
He composed through the night, and his wife, vided strings expands the scales of the opening
Aino, would find him in the morning slumped into rich counterpoint. This culminates in the
over the score at the dining-room table with a first appearance of the epic trombone theme in
bottle of liquor beside him. the home key of C major.
Sibelius suffered from black depressions The tempo gradually accelerates, and the mu-
throughout his life, and heavy alcoholic con- sical texture becomes lighter as woodwinds and
sumption only compounded the problem. Just strings alternate in an airy dance. Eventually,
two years after he completed the Seventh strong, whirling winds begin to blow in the
Symphony, these demons, along with nagging strings, and the tempo decelerates back to ada-
self-criticism of everything he wrote, would pre- gio for the second appearance of the brass
maturely silence him, even though he lived on theme, now in the darker C minor.
for another 31 years. After this heroic music fades, strings and
Despite the struggle, the Seventh Symphony woodwinds begin a dancing acceleration to
turned out to be one of his most extraordinary music of summer-day joy and lyricism built
works, taking his unique approach to con- from the swirling-birds woodwind motive. The
structing a symphony to its ultimate level. tempo gradually builds to a throbbing presto and
Sibelius had long since rejected the traditional then imperceptibly slides back to adagio for the
7
PROGRAM NOTES
final and grandest appearance of the epic brass The suite contains the ballet’s music only to
theme, now back in C major. In the radiantly ex- the midpoint of the story, ending before the
pectant closing measures of this utterly unique hoodlums attempt to murder the Mandarin. It
symphony, the home chord of C major is only opens with a scene of urban cacophony: winds
reached at the very last moment. impersonating honking car horns over whirling,
clashing ostinato patterns. This is the corrupt,
Béla Bartók (1881–1945) dehumanized world of the hoodlums, where the
The Miraculous Mandarin – Suite individual counts for nothing. Three times the
Few people today would know one of Bartók’s hoodlums send the girl to the window to lure
greatest scores, the pantomime-ballet The potential victims; her seductive movements are
Miraculous Mandarin, if the composer had not described by a sinuous clarinet. These dances are
abridged it in 1927 as a concert suite. So lurid interrupted twice by customers. First, an old
was the ballet’s scenario (by the Hungarian man hobbles up (violins clattering with the
dramatist Menyhért Lengyel) that it caused a wood of their bows); his ardor is voiced by the
scandal at its premiere in Cologne on November English horn. The second customer is a shy
27, 1926 and was immediately withdrawn. But youth (solo oboe); he attracts the girl and they
in the concert hall this vivid score—with its dance together, first hesitantly, then passionately.
graphic dramatic power, rhythmic drive, and Finally, the Mandarin appears, his mystery and
virtuoso orchestral effects—has achieved the otherworldliness expressed by eerie glissandos
celebrity it deserves. in strings and woodwinds and an exotic penta-
The music’s intensity reflected this sensitive tonic tune in trombones. Though frightened, the
genius’ response to a world turned upside-down. girl begins a seductive dance for him. The
As the Austro-Hungarian empire collapsed at Mandarin responds with frenzied passion, and
the close of World War I, Hungary was thrown the suite ends in a wild chase as he attempts to
into political chaos. And while drafting this embrace her.
music, Bartók nearly died during the influenza
pandemic. Mandarin was drafted in piano score Maurice Ravel (1875–1937)
between 1918 and 1919. Not optimistic it could La Valse
be staged, Bartók then laid it aside, returning With La Valse, Maurice Ravel temporarily aban-
only in 1924 to complete the orchestral score. doned the subtle refinements of his customary
Here is a summary of the plot in Bartók’s own Impressionism and opted instead for the tougher,
words (as culturally insensitive as they may more violent style known as Expressionism,
strike us today): which swept through the European arts after the
cataclysm of World War I.
Three [hoodlums] force a beautiful girl to The composer originally conceived La Valse
lure men into their den so they can rob in 1906 as the tone poem Wien (Vienna): “a sort
them. The first is a poor youth; the second is of apotheosis of the Viennese waltz,” he called it,
no better off; the third, however, is a wealthy
in tribute to Johann Strauss, Jr. However, by the
Chinese. He is a good catch, and the girl
entertains him by dancing. The Mandarin’s
time he came to write it in 1919–20, World War
desire is aroused, he is inflamed with pas- I had smashed that enchanted world, along with
sion, but the girl shrinks from him in hor- the Austrian Hapsburg Empire, forever. Though
ror. The [hoodlums] attack him, rob him, pushing 40 and frail of physique, Ravel had
smother him in a quilt, stab him with a struggled to play his patriotic role for France.
sword—but their violence is of no avail. Repeatedly turned down by the army and air
They cannot cope with the Mandarin, who force, he became a truck driver behind the front
continues to look at the girl with love and
lines. When he was demobilized, his health was
longing in his eyes. Finally, feminine in-
stinct helps, and the girl satisfies the
broken. The death of his beloved mother early
Mandarin’s desire; only then does he col- in 1917 sent him into a long depression. La Valse
lapse and die. was written by a man who had experienced hor-
8
PROGRAM NOTES
rors both on the battlefield and in his personal The music opens ominously with the dark
life. There was no longer any possibility of cre- rumble of low strings and bassoons, and a night-
ating a Romantic apotheosis, only, in Ravel’s marish thud in three quarter-time delivered by
words, “the impression of fantastic and fatal bass and timpani. A few waltz strains gradually
whirling.” penetrate the mists, then shine forth brilliantly.
Like his beloved Daphnis et Chloé, La Valse Whirling faster, the waltzes begin to collide with
was originally intended as a ballet for the Rus- each other in wild harmonic and rhythmic con-
sian impresario Serge Diaghilev and given the fusion. Finally, even the three quarter-time beat
subtitle “choreographic poem.” Ravel provided breaks down in an orgy of self-destruction—the
a brief synopsis for his ghostly dance, in which most violent ending in all of Ravel’s music.
nostalgia and horror are superbly blended: —Janet E. Bedell © 2022
“Through whirling clouds, waltzing couples
may be faintly distinguished. The clouds gradu- Janet E. Bedell is a program annotator and
ally scatter: one sees…an immense hall peopled feature writer who writes for Carnegie Hall, the
with a whirling crowd…. The light of the chan- Metropolitan Opera, Los Angeles Opera, Cara-
deliers bursts forth at the [first] fortissimo…An moor Festival of the Arts, and other musical or-
imperial court, about 1855.” ganizations.
ABOUT THE ARTISTS
The London Symphony Orchestra is built on Through a world-leading learning and com-
the belief that extraordinary music should be munity program, LSO Discovery, the LSO con-
available to everyone, everywhere—from or- nects people from all walks of life to the power
chestral fans in the concert hall to first-time lis- of great music. Based at LSO St Luke’s, the or-
teners across the UK, Europe and the world. chestra’s community and music education cen-
The ensemble was established in 1904 as one ter and a leading performance venue on Old
of the first orchestras shaped by its musicians. Street, LSO Discovery’s reach extends across
Since then, generations of remarkable talents East London, the UK, and the world through
have built the LSO’s reputation for uncompro- both in-person and digital activity.
mising quality and inspirational repertoires. LSO musicians are at the heart of this unique
Today, the LSO is ranked among the world’s program, leading workshops, mentoring bright
top orchestras, with a family of artists that in- young talent, performing at free concerts for the
cludes Music Director Sir Simon Rattle, Prin- local community, and using music to support
cipal Guest Conductors Gianandrea Noseda adults with learning disabilities. LSO musicians
and François-Xavier Roth, and Conductor also visit children’s hospitals and lead training
Laureate Michael Tilson Thomas. In March programs for music teachers.
2021 the orchestra announced that Sir Antonio The ambition behind all of this work is sim-
Pappano will take up the role of Chief Con- ple: to share the transformative power of classi-
ductor of the LSO from September 2024. cal music with people who would not normally
The LSO is Resident Orchestra at the Barbi- experience it. The impact is unrivalled, and each
can in the City of London. The orchestra reaches year, LSO Discovery reaches thousands of peo-
international audiences through touring and ple of all ages.
artistic residencies—including with the Aix-en- In 1999, the LSO formed its own recording
Provence Festival and Music Academy of the label, LSO Live, revolutionizing how live or-
West in Santa Barbara—and through digital chestral music is recorded, with over 150 record-
partnerships and an extensive program of live- ings released so far. Overall, the LSO has made
streamed and on-demand online broadcasts. more recordings than any other orchestra.
9
ABOUT THE ARTISTS
As a leading orchestra for film, the LSO has Dances, all recorded with the Berliner Phil-
entertained millions with classic scores for Star harmoniker. His most recent recordings include
Wars and Indiana Jones films, The Shape of Berlioz’ Le damnation de Faust, Helen Grime’s
Water, and many other motion pictures. The Woven Space, Debussy’s Pelléas et Mélisande,
LSO also uses streaming services to reach a Turnage’s Remembering, and Beethoven’s Christ
worldwide audience totalling millions of music- on the Mountain of Olives, which were all re-
lovers who listen online every month. leased by the London Symphony Orchestra’s
Through inspiring music, educational pro- own record label, LSO Live.
grams and technological innovations, the LSO’s Sir Simon regularly tours within Europe and
reach extends far beyond the concert hall. Asia and has strong longstanding relationships
Thanks to the generous support of the with the world’s leading orchestras. He regularly
Corporation of the City of London, Arts Coun- conducts the Symphonieorchester des Bayer-
cil England, corporate supporters, and individ- ischen Rundfunks, Staatskapelle Berlin, Deutsche
ual donors, the LSO is able to continue sharing Symphonieorchester Berlin, Berlin Philhar-
extraordinary music with as many people as monic Orchestra, and the Czech Philharmonic.
possible, across London and around the world. Recent operatic highlights include Manon Les-
caut with the Deutsche Oper Berlin, Der Rosen-
Sir Simon Rattle was born in Liverpool and kavalier with the Metropolitan Opera, Janáček’s
studied at the Royal Academy of Music. Jenůfa with the Deutsche Staatsoper Berlin, and
From 1980 to 1998, Sir Simon was Principal Tristan und Isolde with the London Symphony
Conductor and Artistic Adviser of the City of Orchestra at Festival d’Aix en Provence.
Birmingham Symphony Orchestra; he was ap- Music education is of supreme importance to
pointed Music Director in 1990. In 2002, he Sir Simon, and his partnership with the Berliner
took up the position of Artistic Director and Philiharmoniker broke new ground with the ed-
Chief Conductor of the Berliner Philharmoni- ucation program Zukunft@Bphil, earning him
ker, where he remained until the end of the the Comenius Prize, the Schiller Special Prize
2017–18 season. Sir Simon took up the position from the city of Mannheim, the Golden
of Music Director of the London Symphony Camera, and the Urania Medal. He and the
Orchestra in September 2017. He will remain in Berliner Philharmoniker were also appointed
this position until the 2023–24 season, when he International UNICEF Ambassadors in 2004—
will become the orchestra’s Conductor Emeritus. the first time this honor has been conferred on
From the 2023–24 season, Sir Simon will take an artistic ensemble. In 2019, Sir Simon an-
up the position of Chief Conductor with the nounced the creation of the LSO East London
Symphonieorchester des Bayerischen Rund- Academy, developed by the London Symphony
funks in Munich. He is a Principal Artist of the Orchestra in partnership with 10 East London
Orchestra of the Age of Enlightenment and boroughs. This free program aims to identify
Founding Patron of Birmingham Contem- and develop the potential of young East Lon-
porary Music Group. doners between the ages of 11 and 18 who show
Sir Simon has made over 70 recordings for exceptional musical talent, irrespective of their
EMI record label (now Warner Classics) and has background or financial circumstances. Sir
received numerous prestigious international Simon has also been awarded several prestigious
awards for his recordings on various labels. personal honors that include a knighthood in
Releases on EMI include Stravinsky’s Symphony 1994, and becoming a member of the Order of
of Psalms (which received a Grammy Award for Merit from Her Majesty the Queen in 2014; he
Best Choral Performance), Berlioz’s Symphonie was recently bestowed the Order of Merit in
fantastique, Ravel’s L’enfant et les sortilèges, Berlin in 2018. In 2019, Sir Simon received the
Tchaikovsky’s Nutcracker Suite, Mahler’s Sym- Freedom of the City of London award.
phony No. 2, Stravinsky’s The Rite of Spring, and In the 2021–22 season, Sir Simon will con-
Rachmaninoff ’s The Bells and Symphonic duct the London Symphony Orchestra, Staats-
10ABOUT THE ARTISTS
kapelle Berlin, the Berlin Philharmonic Orches- Europe and the US with the London Symphony
tra, and the Chamber Orchestra of Europe. He Orchestra, and later in the season will join
will return to the Deutsche Staatsoper Berlin to mezzo-soprano Magdalena Kožená for a cham-
revive Rameau’s Hippolyte et Aricie, and in the ber music project, where they will tour some of
spring will conduct a new production of Europe’s major cities.
Janáček’s The Makropulos Case. He will tour
LONDON SYMPHONY ORCHESTRA
Music Director: Sir Simon Rattle OM CBE
Principal Guest Conductors: Gianandrea Noseda, François-Xavier Roth
Conductor Laureate: Michael Tilson Thomas
Choral Director: Simon Halsey CBE
FRST VIOLINS CELLOS BASS CLARINET PERCUSSION
Roman Simovic, Leader Rebecca Gilliver Katy Ayling Neil Percy
Carmine Lauri Alastair Blayden David Jackson
Jerome Benhaim Jennifer Brown BASSOONS Sam Walton
Clare Duckworth Noel Bradshaw Rachel Gough Paul Stoneman
Ginette Decuyper Daniel Gardner Daniel Jemison Tom Edwards
Laura Dixon Laure Le Dantec Joost Bosdijk Jeremy Cornes
Maxine Kwok Amanda Truelove Oliver Yates
William Melvin Francois Thirault CONTRA BASSOON
Elizabeth Pigram Gareth Twigg HARPS
Laurent Quenelle DOUBLE BASSES Bryn Lewis
Harriet Rayfield David Stark HORNS Daniel De-Fry
Sylvain Vasseur Patrick Laurence Timothy Jones
David Alberman Matthew Gibson Diego Incertis Sánchez PIANO
Dániel Mészöly Thomas Goodman Angela Barnes Catherine Edwards
Joe Melvin Olivia Gandee
SECOND VIOLINS José Moreira Jonathan Maloney CELESTE
Julian Gil Rodriguez Jani Pensola Philip Moore
Thomas Norris TRUMPETS
Miya Vaisanen FLUTES James Fountain LSO ADMINISTRATION
Matthew Gardner Gareth Davies Niall Keatley Kathryn McDowell CBE,
Alix Lagasse Katherine Baker Matthew Williams Managing Director
Csilla Pogany Patricia Moynihan Katie Smith Frankie Sheridan, Tours
Belinda McFarlane Manager
Iwona Muszynska PICCOLO TROMBONES Tim Davy, Tours & Projects
Patrycja Mynarska Sharon Williams Peter Moore Manager
Alexandra Lomeiko Jono Ramsay Emily Rutherford, Orchestra
Lyrit Milgram OBOES Matthew Lewis Personnel Manager
Louise Shackelton Juliana Koch John Cummins Librarian
Olivier Stankiewicz BASS TROMBONE Alan Goode, Operations
VIOLAS Rosie Jenkins Paul Milner Manager
Edward Vanderspar Sophia Tuffin, Stage Manager
Malcolm Johnston COR ANGLAIS TUBA
Stephen Doman Maxwell Spiers Ben Thomson The London Symphony
Sofia Silva Sousa Orchestra’s 2022 North
Carol Ella CLARINETS TIMPANI American Tour is made possi-
Robert Turner Chris Richards Nigel Thomas ble through an intercontinen-
Luca Casciato Sérgio Pires tal partnership with the
Michelle Bruil Chi-Yu Mo Music Academy of the West.
Errika Horsley
May Dolan
11music dance theater
21/22
U N I V E R
Perform
S I T Y O F C A L I F O R N I A , B E R K E L E Y
Alvin Ailey American Dan
nce Theater
Robert Battle, artist
i tic
i direct
e or
Matthew Rushing,
Rushing associate
a artistic director
PROGRAM A Tues, Mar 29,, 7:30pm & Fri, Apr 1, 8pm
Robert Battle Tenth Anniversar
r y
ROBERT BATTLE Mass (200 04; music: John Mackey)
In/Side (2008; music: “Wild is the Wind,”
recordedd by Nina Simone)
Ella (2008
8; music: Ella Fitzgerald)
For
o Four
o (22021; Bay Area Premiere;
music: Wynt
W on Marsalis)
Unfold (20007; music: Gustave Charpentier,
recordedd by Leontyne Price)
Takademe
a e (1999; music: “Speaking in Tongues
o II,”
performed by Sheila Chandra
Love Storiies finale ((2004; music: Stevie Wonder))
AILEY Revelationns (1960; music: traditional spirituals)
PROGRAM B Wed, Mar 30, 7:30pm & Sat, Apr 2, 8pm
RENNIE HARRIS Lazarus (2
2018; music: Darrin Ross)
AILEY Revelation
ns (1960; music: traditional spirituals)
PROGRAM C Thu, Mar 31, 7:30pm
7
JAMAR ROBERTS Holding Sppace (2021; West Coast Premiere,
staged version; Cal Performances Co-Commission;;
music: Tim
T Hecker)
ROBERT BATTLE For
o Four
o (2 2021; Bay Area Premiere;
music: Wynt
W on Marsalis)
AILEY Reflection
ns in D (1963; music: Duke Ellington)
ASZURE BARTON BUSK (200 09; music: various artists)
PROGRAM D Sat, Apr 2, 2pm
All-Alvin Ailey
AILEY Blues Suitte (1958; music: traditional;
performed by Brother John Sellers)
Pas de Duuke (1976; music: Duke Ellington)
Cry (1971; music: Alice Coltrane, Laura Nyro,
and The Voices of East Harlem)
Revelation
ns (1960; music: traditional spirituals)
PROGRAM E Sun, Apr 3, 3p
pm
ASZURE BARTON BUSK (200 09; music: various artists)
JAMAR ROBERTS Holding Sppace (2021; West Coast Premiere,
staged version; Cal Performances Co-Commission;;
music: Tim
T Hecker)
AILEY Revelation
ns (1960; music: traditional spirituals)
March 29–April 3
ZELLERBACH HALL
calperforrmances.org | 51
10.642.9988CAL PERFORMANCES STAFF
Executive Office Operations
Jeremy Geffen, Executive and Artistic Director Jeremy Little, Production Manager
Ofeibia Laud-Darku, Executive Assistant Alan Herro, Production Admin Manager
to the Director Kevin Riggall, Head Carpenter
Matt Norman, Head Electrician
Administration Charles Clear, Assistant Electrician
Andy Kraus, Deputy Executive Director Tom Craft, Audio Department Head
Amy Utstein, Director of Finance and Jo Parks, Video Engineer
Administration Eric Colby, Venue Operations Manager
Marilyn Stanley, Finance Specialist Ginarose Perino, Rental Business Manager
Gawain Lavers, Applications Programmer Guillermo Cornejo, Patron Experience Manager
Ingrid Williams, IT Support Analyst Aidan Crochetiere, Audience Services Coordinator
Sean Nittner, Systems Administrator Cloe Wood, Audience Services Coordinator
Artistic Planning Stage Crew
Katy Tucker, Director of Artistic Planning David Ambrose, Senior Scene Technician
Robin Pomerance, Artistic Administrator Jacob Heule, Senior Scene Technician
Tiffani Snow, Manager of Artistic Operations Jorg Peter Sichelschmidt, Senior Scene Technician
Allee Pitaccio, Event Manager Mathison Ott, Senior Scene Technician
Michael Combs, Event Manager Mike Bragg, Senior Scene Technician
Ricky Artis, Senior Scene Technician
Development Robert Haycock, Senior Scene Technician
Theresa Nelson, Interim Chief Development Officer Mark Mensch, Senior Scene Technician
Elizabeth Meyer, Director of Institutional Giving
Jennifer Sime, Director, Individual Giving Student Musical Activities
and Special Events Mark Sumner, Director, UC Choral Ensembles
Jocelyn Aptowitz, Major Gifts Associate Bill Ganz, Associate Director, UC Choral Ensembles
Jamie McClave, Individual Giving and Matthew Sadowski, Director of Bands/Interim
Special Events Officer Department Manager, SMA
Ted Moore, Director, UC Jazz Ensembles
Education and Community Programs Brittney Nguyen, SMA Coordinator
Mina Girgis, Director of Education,
Campus and Community Programs Ticket Office
Rica Anderson, Manager, Education Liz Baqir, Ticket Services Manager
& Community Programs Gordon Young, Assistant Ticket Office Manager
Sherice Jones, Assistant Ticket Office Manager
Human Resources Tammy Lin, Patron Services Associate
Michael DeBellis, Human Resources Director
Shan Whitney, Human Resources Generalist
Marketing and Communications
Jenny Reik, Director of Marketing and
Communications
Ron Foster-Smith, Associate Director of Marketing
Krista Thomas, Associate Director of
Communications
Mark Van Oss, Communications Editor
Louisa Spier, Media Relations Manager
Cheryl Games, Web and Digital Marketing Manager
Elise Chen, Email Marketing Specialist
Tiffany Valvo, Social Media and Digital Content
Specialist
Lynn Zummo, New Technology Coordinator
13Cal Performances
ANNUAL SUPPORT
Cal Performances gratefully acknowledges the following generous partners whose
support enables us to produce artistic and educational programs featuring the world’s
finest performing artists.
INSTITUTIONAL CONTRIBUTORS
$150,000 and above $10,000–$24,999
William and Flora Hewlett Foundation California Arts Council
Koret Foundation Clorox Company Foundation
Jonathan Logan Family Foundation The Fremont Group Foundation
Meyer Sound The Horace W. Goldsmith Foundation
Kia Ora Foundation
$75,000–$149,999 Pacific Harmony Foundation
The Bernard Osher Foundation Quest Foundation
The Sato Foundation
$50,000–$74,999 Sir Jack Lyons Charitable Trust
Anonymous Louise Laraway Teal Foundation
Bank of America Ting & Associates at Merrill Lynch
Chancellor’s Advisory Committee U.S. Bank Foundation
on Student Services and Fees
Ann and Gordon Getty Foundation $5,000–$9,999
National Endowment for the Arts City of Berkeley
The Henri and Tomoye Takahashi Manicaretti Italian Food Importers
Charitable Foundation
Zellerbach Family Foundation Gifts In Kind
Marin Academy
$25,000–$49,999 Peets Coffee and Tea
Walter & Elise Haas Fund
Rockridge Market Hall
Wells Fargo
INDIVIDUAL CONTRIBUTORS
Cal Performances extends its sincere $50,000–$99,999
appreciation to the individuals who made gifts Anonymous
between July 1, 2020 and June 30, 2021. Diana Cohen and Bill Falik
Michael A. Harrison
$100,000 and above and Susan Graham Harrison
Anonymous (4) Helen and John Meyer
The Estate of Ross E. Armstrong Maris and Ivan Meyerson
Nadine Tang Peter Washburn and Rod Brown
Gail and Daniel Rubinfeld
14ANNUAL SUPPORT
$25,000–$49,999 Stephen Bomse and Edie Silber
Anonymous (4) Nicholas and Janice Brathwaite
Beth DeAtley Jacqueline Desoer
Jerome and Thao Dodson Bob Dixon
Sakurako and William Fisher Lynn Feintech and Anthony Bernhardt
Bernice Greene Sally Glaser and David Bower
Daniel Johnson and Herman Winkel Corey Goodman and Marcia Barinaga
Greg and Liz Lutz Al Hoffman and David Shepherd
Jeffrey MacKie-Mason and Janet Netz Julie and Rob Hooper
Lance and Dalia Nagel Thomas King
William and Linda Schieber Cary Koh
Leigh Teece James and Katherine Lau
Sylvia R. Lindsey
$10,000–$24,999 Kerri and Mark Lubin
Another Planet Entertainment: Gregg Dorette P.S. Luke
and Laura Perloff Karen and John McGuinn
Art Berliner and Marian Lever Nancy Orear and Teresa Basgall
June Cheit P. David Pearson and Barbara Schonborn
Margot and John Clements Trond Petersen
Hon. Marie Collins and Mr. Leonard Collins Rossannah Reeves
Dr. Rupali Das-Melnyk Margaret and Richard Roisman
and Dr. Ostap Melnyk Roger and Judity Rolke
Jan Deming and Jeff Goodby Rachel and Matthew Scholl
Barbara Dengler Terrence Chan and Edward Sell
Gordon Douglass and Pauline Heuring Warren Sharp and Louise Laufersweiler
Hilary A. Fox Larry and Pearl Toy
Marianne and Joseph Geagea Laura D. Tyson and Erik S. Tarloff
Lynne Heinrich Caroline Winnett
Kathleen G. Henschel and John W. Dewes
David and Susan Hodges $3,500–$4,999
Charles and Helene Linker Claire and Kendall Allphin
Joel Linzner and Teresa Picchi Brian Bock and Susan Rosin
Richard and Jennifer Lyons David Clayton and Gayle DeKellis
Susan Marinoff and Thomas Schrag Michael Dreyer and Harry Ugol
Patrick McCabe Jerry Falk
Daniel and Beverlee McFadden Janet Flammang and Lee Friedman
Donald J. and Toni Ratner Miller Daniel and Hilary Goldstine
Kathryn and Peter Muhs Arnold Grossberg
Ditsa and Alex Pines Paul and Susan Grossberg
Rosemarie Rae Nancy Levin and Daniel Caraco
Judy Redo Frank and Ildiko Lewis
Susan and Paul Teicholz Donald and Susanne McQuade
Deborah and Bob Van Nest Rachel Morello-Frosch and David Eifler
S. Shariq Yosufzai and Brian James Paul Nordine
David Rosenthal and Vicky Reich
$5,000–$9,999
Anonymous (2) $2,250–$3,499
Eric Allman and Kirk McKusick Anonymous (4)
Lina Au and David Stranz Edwin and Patricia Berkowitz
15ANNUAL SUPPORT
Diana Bersohn Chris Echavia
Lee Bevis Rebecca and Robert Epstein
Broitman Basri Family Flint and Mary Evans
Mike Destabelle and Jen Steele Dean Francis
Linh Do and Erno Pungor Thomas and Sharon Francis
Bob Epstein and Amy Roth Tom Frey
Marianne and Herb Friedman Sandra and Robert Goldberg
Jeremy Geffen Mark Goor
Claire Greene and Walter Garms Carla Hesse and Thomas Laqueur
Marcie Gutierrez and Bret Dickey Charlton Holland
Ian Hinchliffe and Marjorie Shapiro Richard and Frances Holsinger
Rose Adams Kelly Erik Hora
John Lee James Horio and Linda Cahill
Man-Ling Lee Leslie Hsu and Richard Lenon Jr.
Kit and Hayne Leland Barbara and John Holzrichter
Paul and Barbara Licht Leslie and George Hume
Marjorie MacQueen Jacek Jarkowski and Bozena Gilewska
Nakamoto-Singer Family Judy Kahn
Mona Radice Adib and Karin Kanafani
Patrick Schlesinger and Esther Hill Daniel F. Kane Jr. and Silvia A. Sorell
Sondra Schlesinger Karen Koster
Valerie Sopher Michael Korman and Diane Verducci
Trine Sorensen and Michael Jacobson Sharon and Ronald Krauss
Dr. and Mrs. W. Conrad Sweeting Carol Nusinow Kurland and Duff Kurland
Alison Teeman and Michael Yovino-Young Paul Kwak
Henry Timnick Sally Landis and Michael White
Ruth and Alan Tobey Renee and Michael Lankford
Didier LeGall
$1,500–$2,249 Karen and Charles Fiske
Anonymous (9) Susan and Donald Lewis
Sallie and Edward Arens Marcia C. Linn
Dean Artis and Vivien Williamson Judy and Steve Lipson
Nancy Axelrod Felicia and Genaro Lopez
Richard Berkins Stanley and Judith Lubman
Wolfgang Bluhm Carl and Carol Maes
Ed Blumenstock and Belle Huang Helen Marie Marcus
John and Colleen Busch Therissa McKelvey and Heli Roiha
Richard Buxbaum Charles and Ann Meier
and Catherine Hartshorn David Moore and Judy Lin
Carol T. Christ Amal Moulik
June and Michael Cohen Jane and Bill Neilson
Robert W. Cole and Susan Muscarella Ricarda Nelson
Ruth and David Collier Theresa Nelson and Barney Smits
Robert Paul Corbett James Nitsos
Didier de Fontaine John and Amy Palmer
Ann E. Dewart Irina Paperno
David and Helen Dornbusch Andris and Dagnija Peterson
Carol Drucker Penny Righthand
16ANNUAL SUPPORT
Diana V. Rogers John Richardson and Leonard Gabriele
Bill and Leslie Rupley Barbara Rosenfeld
Bruce and Teddy Schwab Katrina Russell
Pat and Merrill Shanks Hideko Sakamoto and Vijay Tella
Robert Harshorn Shimshak Orville Schell
and Marion Brenner Paul Sekhri
Neal Shorstein and Christopher Doane Anonymous
Chalmers Smith Lin Tan
Eberhard Spiller and Riki Keller-Spiller Dwight Tate
Dr. Lynn Spitler Professor Jeremy Thorner
Bonnie Stiles and Dr. Carol Mimura
Katherine Tillotson Kimberly Webb and Richard Rossi
Carol Jackson Upshaw Sheryl and Robert Wong
Robert and Emily Warden
Peter Weiner and Sylvia Quast $750–999
Doug and Dana Welsh Anonymous (3)
Dr. Eva Xu and Dr. Roy Wang James H. Abrams and Thomas Chiang
Taun Wright Kris Antonsen
Mitchell and Kristen Yawitz and Susanne Stolcke-Antonsen
Debra and Charles Barnes
$1,000–$1,499 Ellen Barth
Anonymous (9) Barbara Bell
Paul and Linda Baumann Judith L. Bloom
Alison K. Billman Ann and John Carroll
Mr. and Mrs. Peter W. Davis Julio Cesar and Curtis Dennison
Teresa Caldeira and James Holston Alison Colgan
Kathy Fang Bernard Feather and Gina Delucchi
Maxine Hickman Clara Gerdes
Nadine and James Hubbell Pamela L. Gordon and John S. Marvin
Jeff and Linda Jesmok Katherine and Nelson Graburn
Fred Karren Maria and David LaForge
Eric Keisman Ginny and Heinz Lackner
Robert Kinosian Mimi Lou
Cathy and Jim Koshland Richard McKee
Linda Lazzeretti Dennis and Mary Montali
Carl Lester Zeese Papanikolas and Ruth Fallenbaum
Haoxin Li Jackie Schmidt-Posner and Barry Posner
Suzanne Lilienthal and David Roe Tobey, Julie and Lucy Roland
Mr. and Mrs. Laurence R. Lyons Karl Ruddy
Donna Heinle and John MacInnis Ron and Esther Schroeder
Paul Mariano and Suzanne Chapot Helen Schulak
Zina Mirsky Scott and Ruth Spear
Julie Morgan and Davis Osborn Stephen Sugarman and Karen Carlson
Ronald D. Morrison Myra Sutanto Shen
Anthony V. Nero Jr. Carol Takaki
Panos Papadopoulos and Maria Mavroudi Robert and Karen Wetherell
Janet Perlman and Carl Blumstein
17ANNUAL SUPPORT $500–749 Cheryl and Norman Lavers Anonymous (14) Andrew Lazarus and Naomi Janowitz Richard M. and Marcia A. Abrams TL Trust Garrick and Terry Amgott-Kwan John Loux Vivian and David Auslander Nancy and Greg McKinney William and Mabry Benson Martin Melia Janice Bohman and Eric Keller Ralph and Melinda Mendelson Bonomo Family Marianne Mitosinka and George Wick David Boschwitz Susan Nabeta-Brodsky and Nancy Zellerbach Boschwitz National Coalition of Black Women, Inc. Thomas Bosserman San Francisco Chapter Carol Marie Bowen Laura Nelson and Christopher R. Bowen Lori O’Brien Jennifer Braun James Joseph Patton Mary E. Brennan and Brian Ullensvang Neal and Suzanne Pierce Mary Brennan Leslie and Joellen Piskitel Shelagh Brodersen Charles Pollack and Joanna Cooper Margaret Brown and Anthony Sustak David Pyle Suknan Chang Janet and Michael Rodriguez Victor Chieco Leslie Rosenfeld and Stephen Morris Amy Choi Mary C. Russi Margaret Conkey Elizabeth Sadewhite Kathleen Correia and Stephen Evans Angela Schillace Ted and Patricia Dienstfrey Terry Senne Michael Durphy Niran and Norma Shah Lee Edlund Boris Shekhter Carol Eisenberg and Raymond Linkerman Robert Spear Dan Eisenstein Rebecca Stanwyck Anne and Peter Esmonde Susan and Maury Stern John and Miranda Ewell Candy Stoner and Daniel Companeetz Arthur Ferman and Kay Noel Frank Stratton Doris Fine and Philip Selznick and Christina Sauper Stratton Philip Gary Rune Stromsness Brian Good Sahoko Tamagawa and William Gordon Jim Govert and Rachel Nosowsky Risa Teitelbaum Linda Graham Duy Thai Sheldon and Judy Greene Eudora Ting Kathie Hardy Roseanna Torretto Emily Hopkins Vince Tseng Hing On Hsu Georgia R Turner Sharon Inkelas and Vern Paxson JP and Helen Vajk Ira Jacknis Max Vale Ann Jones Leon Van Steen Bruce Kerns and Candis Cousins Liz Varnhagen and Steve Greenberg Carol Kersten Mark and Elizabeth Voge Thomas Koster Verena von Dehn Germaine LaBerge Laurence and Ruth Walker Beatrice Lam Richard Wallace 18
ANNUAL SUPPORT
Barbara and Robert Weigand Memorial Gifts
Kirsten Weisser Anonymous in memory of Leon Bell
Elizabeth Werter Linh Do and Erno Pungor
Dick and Beany Wezelman in memory of Julie Do
James Wheeler and J. L. Shon Rossannah Reeves
Donna M. Williams in memory of Alan Leslie Reeves
Linda Williams and Paul Fitzgerald Orville Schell in memory of Baifang Schell
Viviana Wolinsky Max Vale in memory of Griffin Madden
Elaine Wong Helen Marcus
E. William and Mary Alice Yund in memory of David Williamson
Martha and Sheldon Zedeck
Amy and Tom Zellerbach
Ming Zhao
John Zimmermann and Diana Graham
Donlyn Lyndon and Alice Wingwall
Michael Condie
Honorary Gifts
Erik Hora in honor of
Judge Peggy Fulton Hora
Germaine LaBerge in honor of
David McCauley
Susan Pollack in honor of
Susan Graham Harrison
COVID-19 Information
Proof of vaccination status, including booster, is required for entrance and masking is mandatory
throughout the event. COVID-19 information is updated as necessary; please see Cal Performances’
website for the most up-to-date policies and information.
19music dance the
eater
21/22
U N I V E R
Per
S
e form
I T Y O F C A L I F O R N I A , B E R K E L E Y
Angéliq
que Kidjo’s
Ye
emanddja
ja
Bay Area Premie
ere
A Cal Performan
nces Co
C -commission
Starring Angélique Kidjo
o
Conceived by Angéliquee Kidjo, J
Jean Hebrail,
and Naïma Hebrail Kidjo
j
Book and Lyric
y s by Naïmma Hebrail
a Kidjo
Music by Angélique Kidjo
j and Jeean Hebrail
Developed with and Direc
e ted by Cheryl Ly
ynn Bruce
Kerry James Marshall, prp oductioon designer
Darryl Archibald, music ddirector
Kathy Perkins, lighting designer
d
Rasean Davonte Johnso on, projecctions designer
Mary Jane Marcasiano, costume e designer
Beatrice Capote, choreog grapher
a
Kumi Ishizawa, sound de esigner
Iyvon E., dramaturg
Ann James, sensitivity coach
c
Andrea Zee, casting
In her first foray in
nto muusical
theater, Cal Perforrmance es’
2021–22 artist-in--reside ence—
and three-time 20 022 Grammy
a
nominee—Angéliq que Kiddjo
explores themes of o love,
betrayal,
al honor, an nd revenge
against a backdrop of slavery
in 19th-century West Africa.
Named after a Yorruban de d ity,
Yemandja
e is a pan
noramic c
work of magic rea alism, a
stunning parable about
a g
gods
and humans.
Sat, Apr 23, 8pm
m Yemandja
e
Stage
a at San
is co-commissioned by ArtsEmerson, The Broad
nta Monica College, Cal Performances, Ruth
ZELLERBACH HALL and Stephenn Hendel, The John F. Kennedy Center for the
Performing Arts, Mass MoCA, and the Yale Schwarzman
Ce
enter. Produced by THE OFFICE performing arts + film.
calperforrmances.org | 51
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