China National Symphony Orchestra Playbill

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March 2, 2013

CHINA NATIONAL SYMPHONY ORCHESTRA

Sponsored by

Durbin & Zheng FamilyIn Memory of Mr. Guangyi R. Zheng

Supported by Ames International Orchestra Festival

Association and Ames Commission on the Arts

Standing OVATION 2012-2013 SEASON 1

Welcome friends of Iowa State University and C.Y. Stephens Auditorium!

Thank you for coming to share this performance with us. You are now part of a grand tradition that has involved artists who have come to Ames from all over the globe and the generations who have benefited from the arts.

Stephens Auditorium is the result of visionary dreamers who, more than 45 years ago, worked passionately to build a performance hall unparalleled in the state of Iowa. It stands beautifully today as a shining testament to their vision and their efforts.

This elegant 2,729-seat auditorium is poised to host an exciting and eclectic array of 22 touring acts, nearly half of which originate from outside the U.S. We have filled the calendar with dance (Ballet Folklorico de Mexico), music (national orchestras from Cuba and China and Vienna Boys Choir), and avant garde performances like TRACES, a show created by the Montreal-based troupe of 7 Fingers who transform everything you thought you knew about the Big Top.

The national tour of Shrek: The Musical made its central Iowa premiere in February and the Blue Man Group will return in March for the first time since 2006, bringing its unique and intimate theatre performance style to the stage.

Tribute bands continue to be popular events, and this year is no exception: Experience the Beatles with RAIN, and re-live the concerts of ABBA with ARRIVAL from Sweden. All are not only supreme musicians, but electrifying performers in their own right.

For a full listing of the 2012-13 Performing Arts Series, please refer to our ad located in the color section of this program.

We thank you for your support and patronage of the Performing Arts Series at Stephens Auditorium. Enjoy the show!

Steven Leath President Iowa State University

Mark North General Manager Stephens Auditorium

Standing OVATION 2012-2013 SEASON2


Direct from Beijing, The People’s Republic of China

CHINA NATIONAL SYMPHONY ORCHESTRA

Xincao Li, Music Director and ConductorEn Shao, Music Director and Conductor

PROgRAM

Requiem for the Earth (First Movement) Xia Guan Yellow River Piano Concerto Chengzong Yin Muye Wu, Pianist Wanghua Chu Lihong Sheng Zhuang Liu

Intermission

Ein Heldenleben Richard Strauss

The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. Programs and artists subject to change without notice.


Requiem for the EarthXia Guan (b. 1957)

PROgRAM NOTES

Requiem for the Earth was composed as a tribute to the victims of the earthquake, in Wenchuan County, Sichuan Province in May 2008. Facing the colossal human loss and suffering caused by the devastat-ing Wenchuan earthquake, the mourn-ful Chinese nation yearned for a vessel: a ceremonial vessel to bear her immense grief, to hold an offering to the dead, and to uplift the spirit of the survivors to re-build their lives and homes. The Requiem for the Earth became that magnificent, beautiful and solemn ceremonial vessel. Sent by the government, Xia Guan, and two lyricists, went to visit the disaster area shortly after the great quake. There they witnessed the magnitude of the de-struction and the suffering. The vast ruin, the massive number of dead, the wrench-ing pain of the bereaved families and the heroism of the rescue campaign evoked the musicians’ reflections on the ultimate meaning of life, love, kindness, fortitude and morality.

The Requiem was a joint effort of the China National Symphony Orchestra (CNSO) and the China National Opera House. First of its genre, the large scale symphony / vocal work is an innovative endeavor that organically integrates the western requiem style and Chinese musical / lyrical elements. The renowned composer Xia Guan, jointly with the lyricists Lin Liu and Xiaoming Song, completed the work within a year. On May 12, 2009, the first anniversary of the earthquake, the Requiem was premiered by CNSO at the China National Center for the Performing Arts in Beijing, under the baton of its principal resident conductor, Xincao Li.

The Requiem is a seventy-minute suite consisting of four movements of orchestral and choral music. Western organ and ancient bone flutes from the Chinese Jiang tribe are included in the instrumentation. Jiang tribal and southwestern Chinese folk music elements are vigorously palpable throughout the composition.

First Movement - gazing at the Stars: Meditation for Orchestra(For the US concert tour, it is played by the orchestra without the choral part)

Set to a slow rhythm, the music begins with the captivating tone of grief and contemplation. It echoes the heart-rending moments when composer Xia Guan and his colleagues arrived at Wenchuan, Sichuan, 12 days after the calamitous quake. The remote and deep sky is enshrouding the earth and witnessing the human suffering. Sadness and despair are reflected progressively in pure, broad and solemn musical passages. Under the boundless brilliant starry sky and in the infinite universe, the quake survivors’ feelings of the transitory nature of life, human fragility, insignificance, and fear toward the Great Nature intensified.

After an introduction played by the string section and the harp, the piece evolves into a melodic and emotional polyphonic theme, conveying the star-gazing-victims seeking an answer to life’s questions. The theme, played by the English horns with the succeeding French horns, crescendos and leads to a sorrowful violin solo. The orchestra recapitulates the thematic polyphony, when the timpani joins in with prominent force. As the music reaches its culmination, the chorus sings “gazing


at the stars”. The rising tone of the first violins, chimes and vibraphone vividly depicts the scene of the quake victims lamenting, questioning and imagining under the remote and expansive Milky Way (known in the Chinese mythology as the Silver River).

The recurrence of the orchestral theme and the choral passage mingle and progress contrapuntally into warm melodies which are further enriched by the French horns. With the chorus singing “Dignified, we stand in the

infinite universe. Silent, the Heaven watches over every human heart,” the winds and the strings play in an upper register to express the survivors‘ fervent prayers and plea. The mood unfolds and transpires to the solemn choral passages “Revere the heaven. Honor the stars,” calling for a harmonious union of mankind, the Heaven and the Earth until eternity. Succeeding the orchestral music climaxes to its finale, the movement concludes in enduring tubular bells, melodious chimes, flute and celesta of peace and serenity.

The Yellow River Piano Concerto Chengzong Yin, Wanghua Chu, Lihong Sheng, Zhuang Liu

Based on “The Yellow River” Cantata by Xinghai Xian

The Yellow River Piano Concerto was based on the renowned “Yellow River Cantata” by Xinghai Xian. The cantata is often analogized to the Revolution Etude by Chopin a century and a half ago. Both exude a strong national and revolutionary spirit in defiance of foreign invasion and domination. Xian, previously educated in France, returned to China during the Japanese occupation - the most difficult time in the recent history of the coun-try. He adopted European techniques and popular Chinese folk music in this composition. The immense choral work was completed in merely six days, in a cave house in northwestern China. The music bespoke the suffering of the Chi-nese people during the WWII, espoused the movement of resistance against the brutality and genocides by the invader, and inspired the Chinese people to rise to defend their motherland. The cantata, written in 1939, has since then become a symbol of the heroism and solidarity of all Chinese people around the world.

30 years after, several young musicians created a piano concerto based on the main themes of the cantata. The premiere took place on May 1, 1970, with Cheng-zong Yin, one of the composers, being the soloist. The concerto soon became a household piece in a very special way and contributed to the preservation of pianos across China during the tribulation of the Cultural Revolution.

The Yellow River Concerto won interna-tional recognition when Yin performed this work with the Philadelphia Orches-tra under the baton of Eugene Ormandy during their visit to China in the 1970s.

The concerto is in one movement divided into four parts:

The Yellow River Boatman’s SongRepresenting the boatmen’s solidarity and strong will to fight against terrifying waves, symbolizing the fortitude of the Chinese people during their most


difficult struggles. The cadenza highlights the Yellow River’s insurmountable vigor.

Ode to the Yellow RiverBroad melodies from the cellos express a sentimental ode to the Yellow River - the mother river of China, the symbol of the origin of the Chinese nation: the people, the culture, and the history.

Wrath of the Yellow RiverUsing folk songs from Shanxi area in northwestern China, the beautiful and lively tunes contrast with the deep

and heavy sonority of piano and brass, depicting people’s rage and anguish for the loss of their beloved homeland.

Defend the Yellow RiverCalls of the brass section lead to the theme of “Defend the Yellow River,” played by piano and orchestra. With competing lines, the finale embodies the iron determination of Chinese people to rid the invader. It thrusts the whole concerto to the climax of victorious celebration.

Ein Heldenleben Op. 40Richard Strauss

Born June 11, 1864, in MunichDied September 8, 1949, in Garmisch-Partenkirchen

There was a time when the music of Richard Strauss was the source of great controversy. At the end of the nineteenth century, when the successors of Liszt and Wagner were probing the possibilities of new musical means and were discovering new potentials of expressiveness in music, Strauss was in the vanguard of the creative search - the tone poems Don Juan, Till Eulenspiegel, Also sprach Zarathustra, and Ein Heldenleben, just to mention the most popular ones, were composed before 1900; the highly dissonant operas Salome and Elektra appeared during the first decade of the twentieth century. Although Strauss later chose to follow a more moderate course, leaving the more telling innovations to Schoenberg, Stravinsky, et al., he nevertheless created works in a variety of media that have established him as one of the most significant composers of his time. Paradoxically, many works that were the subjects of the most heated controversy

have since come to be recognized as the masterpieces most representative of his genius. Such can be said to be the case with Ein Heldenleben, the last of his large scale tone poems, not counting the Symphonia domestica and Eine Alpensinfonie.

Written between 1897 and 1898, Ein Heldenleben (A Hero’s Life) was both acclaimed and attacked at its first performance; the premiere took place on March 3, 1899 in a Museumconcert in Frankfurt, conducted by the composer. The work was such a veritable horror to the members of the old guard that word went out to concert managers that it should be scheduled last in the program to afford the audience the chance to leave the hall before it began; on the other hand, it was celebrated by the vanguard as an audacious testimony to modern music. Ultimately, the work soon became a “classic” and is now a staple of the repertoire of the big orchestras, as it


gives them the opportunity to unfold the greatest possible tonal splendor. In this work, Strauss broke with his own tradition of writing tone poems about literary figures, instead choosing him-self as the protagonist for this opus. Ein Heldenleben has often been described as a megalomaniac work, as it is indeed an autobiography written in terms of super-human grandiosity. Many, however, fail to understand that, here, Strauss is just exhibiting his capacity for self-parody; the “hero” of this work was certainly not a Nietzchean superman (even if in the musical portrayal he appears to be), but just an everyday composer, who views the music critics as his adversaries, and who is variously soothed and cajoled by his wife. With some humor, the com-poser once told the French writer on music Romain Rolland: “I do not see why I should not compose a symphony about myself; I find myself quite as interest-ing as Napoleon or Alexander.” Strauss also wrote: “Beethoven’s Eroica is now so rarely performed that to fulfill a pressing need I am composing a tone poem en-titled Ein Heldenleben, admittedly with-out a funeral march, but yet in E-flat.” It should be noted that although Beethoven originally dedicated his Eroica to Napo-leon Bonaparte (later withdrawing the dedication upon learning that Napoleon had proclaimed himself Emperor), many music commentators have remarked that if anyone is portrayed in that work, it is surely the composer himself. In a less egotistical manner, Strauss himself gave the following view of this work: “Ein Heldenleben is not a realistic portrait of a particular historical or poetic figure, but rather a more general and free ideal of great and manly

heroism, not the heroism to which one can apply an everyday maxim of valor, with its material and exterior reward, but that heroism which relates the inward battles of life, and which aspires, through struggle and renouncement, towards the elevation of the soul.” Following the structure of a sonata first movement, Ein Heldenleben consists of six sections, played continuously, except for a dramatic pause after the first sec-tion. In order to provide better under-standing of the various sections, Strauss gave each of them separate headings. The first section is called Der Held (The Hero). At the very beginning, from the depths of the orchestra ascends the hero’s main theme, over a spread of twenty measures, played initially by horns, violas and cellos, and eventually taken up by the violins. During its course, it gives way to several magnificent episodes, hiding within itself a plentitude of small motifs, all of which are used and developed later. After a series of impressive climaxes, a fortississimo dominant seventh chord brings the proceedings to a suspenseful pause.

A second series of thematic ideas, is introduced in Des Helden Widersacher (The Hero’s Adversaries). This must have been the section that troubled the old guard of the time the most. Here, the nagging critics are portrayed by motifs of various kinds, and assigned to the various tonal registers: jagged flute chromatics, rattled triplets in the oboes and the dull grumbling of the tubas. The hero’s theme is heard, sounding tired and resentful. A short, “victory” motif, played by the full orchestra, serves as a bridge to the next section.


The third set of themes - of what until now has been the exposition - is introduced in the next section, Des Helden Gefährtin (The Hero’s Companion), a great lyric intermezzo. The composer’s wife is here represented by the solo violin, with themes of serene beauty, as well as a series of taxing cadenzas. Her portrayal is not always necessarily flattering; Strauss described her in a letter to Rolland as “very feminine, a little perverse, a little coquettish, at every minute different from how she had been the moment before.” Preceded by downward harp glissandos, an extended episode ensues in which the wife’s and the hero’s themes intermingle in a love duet; this bliss is, nonetheless, intruded upon intermittently by woodwind interjections, reminding us of the adversaries just outside the door. The development begins with a lengthy transitional passage as a fanfare of trumpets off-stage is heard, calling to battle. Suddenly, with a martial percussion cadence, we are plunged into Des Helden Walstatt (The Hero’s Battlefield). The themes of the hero and of his adversaries are heard in confrontation. The woman’s theme also has a supportive word to say, inciting the hero’s strength in battle. A triumphant transitional passage - containing the love themes from the composer’s own Don Juan as well as the “victory” motif heard earlier - brings this section to an end.

With an imposing statement of the hero’s theme, the recapitulation as such commences. Des Helden Friedenswerke (The Hero’s Works of Peace) becomes a test for true Strauss fans. Here it is possible to find further quotations from Don Juan, as well as themes from Tod und Verklarung (Death and Transfiguration), Till Eulenspiegel, Also sprach Zarathustra, Macbeth, the composer’s song Traum durch die Dämmerung (Dream through Dusk), and the opera Guntram. Des Helden Weltflucht und Vollendung (The Hero’s Withdrawal from the World and Consummation) is the last section of the work. After the exultation of the proceedings fades away, a short passage of unrest and sorrow gives way to a pastoral English horn solo. This prepares the way for a lovely string passage in which the horns are prominent, taking over the English horn motif; yet the sounds of the adversaries are heard once again. The solo violin again recalls the woman’s thematic material, and the hero’s solo horn intertwines with it as the strings fade to nothingness. One last chordal fanfare of brass and woodwinds rises and dies down as the work is brought to its quiet conclusion.

©1996 Columbia Artists Management Inc.


The China National Symphony Orchestra (CNSO), is one of the most outstanding symphony orchestras in China. It was founded in 1956 as the Central Philharmonic Orchestra of China. The orchestra was restructured and renamed in 1996. It is led by its Artistic Director Xia Guan (Composer), Laureate Conductor Muhai Tang, Principal Resident Conductor Xincao Li, and Principal Guest Conductor En Shao.

The CNSO is an outstanding team of instrumentalists, many of whom have won prizes in national and international competitions. The combination of masterly artistry, dedication and professionalism of the orchestra musicians has enabled the CNSO to maintain consistently high quality performances and a unique orchestral tradition. The orchestra’s growth and development in the past 50 years is attributable to its successive leaders and musicians such as the renowned musician Li Lin, conductors Li Delun, Han Zhongjie, Yan Liangkun, Qiu Li, Zuohuang Chen, and Muhai Tang.

For nearly half a century, the CNSO has introduced to Chinese audiences an extensive repertoire of classical, romantic, modern and contemporary orchestral works by both Western and Asian composers. It continues to foster a tradition to motivate new works by Chinese and international composers, and to premiere them in concert halls inside and outside the People’s Republic of China. The CNSO’s concerts are frequently broadcast on radio and television throughout China and around the world. Many of the CNSO’s performance recordings have been released worldwide through cooperation with the China Record

CHINA NATIONAL SYMPHONY ORCHESTRACompany, the French Record Company, Philips Record Company and the Channel Classics Records of Netherlands. The orchestra regularly tours China, Taiwan Province, Hong Kong and Macao. CNSO’s contributions to promoting Chinese symphonic works and to introducing great Western symphonies to Chinese audiences are remarkable.

Throughout the years, the CNSO has collaborated with many world renowned artists: among them there were conductors Eugene Ormandy, Herbert von Karajan, Seiji Ozawa, Charles Dutoit, Kurt Masur, Slatkin, Rozhestvendsky, Schwarz and Peress, Krzystof Enderecki, as well as instrumentalists David Oistrakh, Yehudi Menuhin, Isaac Stern, Mutter, Martha Argerich, Yo-Yo Ma, Mischa Maisky, Shaham, Wang Jian, Lang Lang, Li Yundi, Lin Choliang and Lindemann; and vocalists, Giacomini and Jones. After a performance with the CNSO, conductor Charles Dutoit was moved to observe, “I was delighted to find a Chinese orchestra with such high standards, the CNSO has a great deal of potential. In a few years, it will certainly develop into a group that will grab the attention of the world. “

The CNSO has toured throughout the US, the United Kingdom, Germany, Austria, Spain, Portugal, the Netherlands, Australia, Mexico, Japan, DPR of Korea, Rep. of Korea, Malaysia, and Thailand, and regularly received critical acclaim by the international press. In London, a music critic for The Times praised the CNSO as “a mature group with a vital sound.” American music critics noted that “the CNSO is an honorable member of the world music stage.” In Europe, critics headlined the orchestra as “a great orchestra appears among the Kings of Orchestral Music.”


On its May 2006 tour to the United States, CNSO visited eight cities and performed in Avery Fisher Concert Hall at Lincoln Center of New York, Chicago Symphony Hall, Strathmore Concert Hall of Maryland, and Boston Symphony Hall among others. The prominent American conductor and musicologist, Maestro Maurice Peress asserted, “The intonation and range of dynamics were excellent. The orchestra is world class.” In his Classic Music Review for The New York Times, renowned music critic Bernard Holland wrote, “This orchestra

will only get better, and the chance to hear Mr. Li’s violin playing made the evening all worthwhile.” Mr. Tim Page, famous music critic and staff writer of The Washington Post wrote in his review, “The China National Symphony Orchestra is a solid, energetic and meticulously drilled ensemble. . . . Everybody in the hall seemed happy Saturday, however, at a concert studded with ovations.”

CNSO has emerged in the orchestral world, with vigor and excellence.

En ShaoPrincipal guest Conductor

Born in Tianjin in China, En Shao started to play the piano and violin at the ages of four and five respectively and by the age of 18 was working as a composer, pianist and percussionist with a local orchestra. After graduating from the Beijing Central Conservatory he became second Principal Conductor of the Chinese Broadcasting Symphony Orchestra, a post he held for five years, and Principal Guest Conductor of the Central Philharmonic Orchestra of China and the National Youth Orchestra of China.

Maestro Shao is currently the Chief Conductor of the RTV Slovenia Symphony Orchestra, the Principal Guest Conductor of the China National Symphony Orchestra and the Music Director and Principal Conductor of the Taipei Chinese Orchestra. He was awarded the Lord Rhodes Fellowship at the Royal Northern College of Music when he came to England in 1988, and in the same year he received the first Edward Van Beinum Foundation Scholarship. As winner of the Sixth Hungarian Television International Conductor’s Competition in 1989, he conducted several performances with the Hungarian Radio Orchestra and the State Symphony Orchestra. In 1990 he became Associate Conductor of the BBC Philharmonic Orchestra, a post created especially for him. Between 1992 - 1995 he was Principal Conductor and Artistic Advisor of the Ulster Orchestra, with whom he made his Proms debut, and has also held the positions of Principal Guest Conductor of the Euskadi Orchestra in Spain and


Music Director and Principal Conductor of the Macau Orchestra. In the UK, Maestro Shao has conducted the London Symphony, Royal Philharmonic, Hallé, Bournemouth, BBC Scottish Symphony Orchestras and the BBC National Orchestra of Wales. Elsewhere, recent and future engagements include conducting the RTV Slovenian Orchestra at the Robeco Series in the Concertgebouw, Amsterdam, the Orchestre de Picardie, Orchester Musikkollegium Winterthur, China National Symphony Orchestra, China Philharmonic Orchestra, Hong Kong Philharmonic, Tchaikovsky Symphony Orchestra and Slovenian Philharmonic orchestras. En Shao is very committed to developing young talent and regularly guest conducts the Royal Northern College of Music

Symphony Orchestra and is Patron of the Edinburgh Youth Orchestra. He is also a regular visitor to the United States and Canada, working with the orchestras of Colorado, Phoenix and Vancouver and has undertaken engagements in South Africa, Australia and New Zealand. As well as his commitments in Slovenia, China and Taiwan, highlights of recent and future seasons include the Zagreb and Belgrade Philharmonic and the Gavle and Hungarian Symphony orchestras, the Orquesta Filarmonica de Malaga, KwaZulu Natal Philharmonic in Durban, South Africa, and a return to the Edinburgh Youth Orchestra for their 50th Anniversary Gala Concert. En Shao has a wide range of interests including Chinese cuisine, contemporary interior design and architecture and jazz. He also takes a particular interest in environmental issues.

Muye Wu Pianist

Muye Wu was born in 1985, into a family of musicians and first performed onstage at age five. He studied at the Central Conservatory of Music and in 1997 toured five countries under the auspices of the conservatory and the State Cultural Relics Bureau.

Wu continued his studies at the Conservatoire National Superieur de Musique de Paris (CNSMDP), starting in 2001. He was the first Chinese pianist to obtain its highest diploma, a doctorate in Perfectionnement Piano (piano perfection). He gives frequent recitals throughout France and is one of the most up-and-coming young pianists in China.

His awards include first prize at the Hong Kong Piano Competition, third prize at the Busoni International Competition, fourth prize and the audience prize at the Marguerite Long–Jacques Thibaud International Competition in Paris, and a series of awards at the Piano Campus Competition during the Journées Européennes du Piano at Pontoise,


including the first prize, the audience prize, the Classica prize, and the prize awarded by the symphony orchestra of the Conservatoire National de Region of Cergy–Pontoise.

Wu’s virtuosity was well recognized internationally long before his award from CNSMDP. For his extraordinary skills and expressive musicianship, he was hailed as the “Golden Fingers” of European piano. The French newspaper Le Monde raved, “What an astonishing

performance. It seems to bring me to Heaven from chaos.... He is filled with inspiration, brimming with natural and noble temperament!” Sina Entertainment reported “People haven’t heard such a pure French Romantic performance for a long time!” He possesses a handsome appearance, unique music expression and personal charm, which merge together with the piano and win the heart of an audience. People name him the “Perfect Romantic Piano Prince.”

Xia guan Executive Director

Xia Guan, a famous composer, is the ex-ecutive head of the CNSO. He was born in Henan Province. He graduated from the Department of Composition of the China Central Conservatory of Music and played the violin and erhu. Before being the director of the CNSO, he was the director of the Opera Company at the China Opera and Dance Drama Theatre. He was also the vice director of the China Oriental Song and Dance Ensemble.

He has composed a number of songs which leave a deep impression on the audience. His operatic symphony Mulan Psalm was first performed in Beijing in 2004 and at Lincoln Center in New York in 2005. In 2006 it became the first Chinese opera to be conducted by a foreign con-ductor, Michael Helmrath, to be played by a foreign orchestra–the Brandenburg Symphony Orchestra–and to be sung by foreign artists in the Chinese language. According to The New York Times, “the China National Symphony Orchestra was a solid, energetic and meticulously drilled ensemble, and the excellent performance by the orchestra won over the audience. They were given prolonged applause.” Guan’s main compositions include: Fantasies Symphoniques: Farewell MyConcubine (2005), the Chinese opera Sorrowful Morning, and Mulan Psalm.


FIRST VIOLINSYunzhi Liu Concert MasterKunyu Zhao Associate Concert MasterZhiyong Liu PrincipalYawei ChengDamao WangYun SunYing YangWanyi WangKe LiRuibiao ZhuYang LiuWeihan FanNing ZhangYi Tian

SECOND VIOLINSKailin Zheng PrincipalZhimin DongHong YanBaihua ZhaoChuan DengJian QinWeiguang FangXiaoqian YangChangmo NieQin JianLiang YaoXi LiBo LouPeng Wang

VIOLASWei Fu Associate PrincipalWeibin FanJing LiSihua ZhangDan ZhuJinsong MaDan ZhaoYanchun Ma

CELLOSHequn Shen PrincipalYuilan Xu AssociateYingying Zhang AssociateLin WangXueqian ZhouZe LiYuanjie ZhouYan GuoBo ZhangBin ZhaoYan LiuCheng Li

BASSESXuejie Zhang PrincipalJianlin WuXiaoguang ShiRan DuanShuang WangDeliang WangJie LiuBizhou RenHang Zhai

FLUTESGuoliang Han Guest PrincipalZhijie Ni AssociateBo RenJia Wang

OBOESShenghu Li PrincipalShaoming Tian AssociateWeidong Wei Guest AssociateHuricha Bao

CLARINETSBo Yin PrincipalJing WangDan Wu

BASSOONSXiaoke Wang PrincipalYang LiuKezhen LiShuo Wang

HORNSKunqiang Zhu PrincipalHong Zhou AssociateYijun Liu AssociateXin ZhangQiang ShaoXing GangRuixiao LiJindi WangXinzhu Chen

TRUMPETSGuang Chen PrincipalXun WangXiaohui YinRan DangXizheng ChengQuang Tran Khanh

TROMBONESKun Qiao PrincipleHuo GuoXiao YangQiulai RenDongxiao Xu

TUBAHaiyu Wang

TIMPANIQiping Liu Principal

PERCUSSIONJingjing LiKexin ZhuJia PuOu LvQingya MengNan Zhang

PIANODan Feng

HARPSYi SuZhuyan Liu

COLUMBIA ARTISTS MANAgEMENT LLC.1790 Broadway, 16th FloorNew York, NY 10019

Andrew S. Grossman Senior Vice President & Senior Producer

W. Seton Ijams Vice President

CHINA NATIONAL SYMPHONY ORCHESTRAXINCAO LI, PRINCIPAL RESIDENT CONDUCTOR

EN SHAO, PRINCIPAL gUEST CONDUCTORXI CHEN, VIOLIN SOLOIST

CHUANYUN LI, VIOLIN SOLOISTPENg-PENg gON, PIANO SOLOIST

MUYE WU, PIANO SOLOISTXIA gUAN, EXECUTIVE DIRECTOR

ORCHESTRA PERSONNEL



IOWA STATE CENTER STAFF Mark North General Manager Missy Borton Administrative AssistantKay Lande Administrative Receptionist

Business & FinanceLinda Wilcox Business Manager Helen Nelson Accounts Payable Administrator Susan Lund Payroll & Personnel Administrator

Event & Conference ServicesPat Dennis Director of Event & Conference Services Angie Weeks Event & Conference Services Sales Coordinator Melissa Johnson Event & Conference Services Coordinator Dave Burrack Event & Conference Services ManagerJosh Oakland Event & Conference Set-up Supervisor

Guest & Client ServicesTim Hinderks Guest & Client Services Manager Sandra Robinson Guest & Client Services Manager Steve Flack Environmental Services Manager Greg Gerstein Scheman Environmental Services Technician

Marketing & DevelopmentAngela Ossian Director of Marketing David Derong Digital Marketing Coordinator Lisa Maubach Advertising & Promotions Coordinator Patti Cotter Development & Sponsorship Manager Katelyn McDermott Marketing Intern

Technical OperationsSteve Harder Theaters – Technical DirectorJake Ewalt Audio/Stage Manager – Technical DirectorMike Broich Exterior/Production Manager – Technical Director

Programming & EducationCraig Wiebke Event CoordinatorSara Compton Outreach CoordinatorCarol Lamb Outreach Assistant

Ticket OfficeCarrie Erwin Ticket Office ManagerValerie Connell Assistant Ticket Office Manager


Technically SpeakingA Behind-the-Scenes interview with Stephens Auditorium Technical Director, Steve Harder

Q: How long have you been the Technical Director (TD) at Stephens Auditorium?

Steve Harder: I joined the staff in 1975 and became Stephens’ TD in the early ‘80s. I was lucky to follow in the footsteps of a very experienced TD who had opened the building and worked out some of the startup kinks.

Q. How would you describe your role as TD?

Steve: My crew and I do our “Iowa best” to meet the needs of each performance – if the traveling talent and crew have a good day, then the audience will see a great performance.

Q. What are your responsibilities?

Steve: I hire, schedule and train the part-time stagehand crew, read tech riders and estimate expenses for management, work during many of the events, and do my best to solve whatever technical problems come up.

Q. What do you find are the expectations of the acts that come in?

Steve: The tech rider attached to the talent contract gives us a lot of details; we try to provide everything the act expects. But my crew usually exceeds those expectations by striving to make the stay in Ames as smooth and trouble free as possible.

Q. What are perks of the job?

Steve: Flexible schedule, every day is different, excellent staff and part-time crew. It’s still exciting after 30 years in the same job.

Q. What are the challenges of the position?

Steve: Maintaining an aging facility during tight budget times.

Q. What are you looking forward to this season?

Steve: The largest tech challenge will be Blue Man Group (March 25-26, 2013). They usually travel in 6 semi’s – which really fills up Stephens.


About a third of the show is loaded in and most of that flies over the stage. The next third is the stage riser setup. And then the last third is mostly backstage – with large areas laid out for video production. Luckily we don’t get much blue paint on the walls, so clean up is easy.

Q. What keeps you coming back, year after year?

Steve: What really keeps me coming back is the opportunity to work with our part time crew – young college students, getting on with their lives, working hard and having fun at Stephens. Most of them are not pursuing a career in theater, but every work day they help ensure the success of that night’s performance. I cannot overemphasize the contribution that our student crews make to the success of Stephens Auditorium.

Q. Have here been any memorable problem-solving situations? Steve: There was the time we had to cut the leg off a Steinway Grand piano using a power hack saw, but it’s a long story ...

VISIT M-SHOP.COM FOR THE FULL LINE-UP AND TICKET INFORMATION

Kopecky Family Band Sixpence None the Richer The Dangerous Summer Hayes Carll

Jefferson Starship The Dear Hunter John PrimerAnd many more!

Art Classes! 3/4 – Paper Making 3/5 – Fused Glass 3/6 – Oil Painting 3/9 – Polymer Clay Eggs 3/25 – Int. Knitting – Stuffed Monsters

Pre-register at 515.294.0970Class descriptions, times and prices at www.workspace.mu.iastate.edu


GUEST INFORMATIONOur audience members are a valuable part of every performance at Stephens Auditorium. After all, without you, we wouldn’t be here. To ensure you have an enjoyable experience at Stephens Auditorium, please take a moment to read the following information. Enjoy the performance!

Admittance: All doors open 45 minutes prior to curtain time and the house opens 30 minutes before curtain time.

Arriving late: As a courtesy to the performers and other audience members, we cannot immediately seat guests who arrive after the performance starts. Latecomers will be admitted as soon as there is an appropriate break in the performance.

Cameras and recording devices: Taking photographs and the use of recording devices is prohibited and a violation of state and federal copyright laws. Photos will be deleted from memory cards and cell phones; tape and film will be confiscated.

Cancellations: Typically, weather related cancellations are not decided until hours before curtain time and will be announced by the media whenever possible. For specific performance information, guests can call the Stephens Auditorium Ticket Office at 515-294-2479, the Administration Office at 515-294-3347, or check our web site at www.center.iastate.edu for updates.

Cell phones and pagers: All cell phones, pagers and alarm watches should be turned off. Guests expecting messages should leave

their cell phones or pagers at the Guest Services Desk, along with their seat locations. Guests may also leave their seat location and the Guest Services number, 515-294-2313, with the calling party.

Children: Every audience member (infants included) must occupy a seat and have a ticket. Please use discretion when deciding which events are appropriate for children. To learn about performances recommended for young children, please contact the Ticket Office at 515-294-2479. Guests are also asked to be considerate of their young ones and other guests by excusing themselves if their child becomes disruptive during the performance.

Coat check: A free coat check is available on the ground floor, just west of the Celebrity Café. The Iowa State Center is not responsible for loss of personal property.

Elevators: Elevators are located in the lobbies of all floors on the north side of Stephens Auditorium.

First aid assistance: First Aid Assistance is provided by Mary Greeley Medical Center. If you need assistance, please visit the Guest Services Desk or ask your usher for details.


Food and beverages: Food and beverages may be purchased at concession stands located in the lobby areas of the main floor and ground floor before the performance and during intermission.

Gift certificates: Give the gift of entertainment! Gift certificates may be purchased at the Ticket Office in one-dollar increments.

Groups: For most shows, groups of 15 or more receive a $5 discount off adult prices. Call 515-294-2479 for more information.

Guest services: The Guest Services Desk is located in the main floor lobby on the north side of Stephens Auditorium.

ISU Student Ticket Discounts: ISU students can purchase tickets to most Performing Arts Series events for $25 or three shows for $65.* There is a limit of one ticket per performance, per student ID. Funded by the Government of the Student Body (GSB).

*Restrictions apply for some performances. Three for $65 offer valid with the purchase of a student savings card.

Lost and found items: Lost items may be reported, turned in or claimed at the Guest Services Desk located on the main floor during an event. After an event,

please contact us at 515-294-3347, Mon–Fri, 10 a.m.–5 p.m. Lost and found items are kept for 30 days.

Parking: Free parking is available in the lots south and east of Stephens Auditorium. Lots A-1 and B-3 are reserved for Performing Arts Fund Donors who contribute $250 or more. Lots are reserved up to 15 minutes prior to show time and are subject to availability. Parking for mobility-impaired guests is available in the fire lane located west of Stephens Auditorium.

Public Amenities: Restrooms are located on the ground floor and first balcony lobby area. Additional facilities can be found in the first and second balcony towers. Women’s facilities are house left (as you face the stage) and men’s are house right. Restrooms equipped for the mobility-impaired are located on the ground floor.

Smoke-Free Environment: Smoking is not allowed in Stephens Auditorium. The Iowa State Center buildings and grounds are smoke-free.

Ticket exchange: Ticket exchange is an exclusive benefit available only to Performing Arts Series Subscribers and only available for Performing Arts Series events.


SERVICES FOR GUESTS Every effort is made to ensure every guest has an enjoyable experience at Stephens Auditorium. Should you have additional questions or require special accommodations, please make arrangements with the Ticket Office when purchasing tickets.

ATM: For your convenience, an ATM is located in the Ticket Office lobby. The ATM is accessible during regular business hours and for the duration of all performances.

Background Materials: To learn more about the artists before you come to Stephens, we post biographies of the performers, composers and authors. You can also preview the event with audio and video samples at www.center.iastate.edu

Listening devices: Infrared listening devices to clarify and amplify sound are available free of charge at the Guest Services Desk in the main floor lobby. The supply is limited and dispensed on a first-come, first-served basis.

Special Seating: Wheelchair seating and special seating for the hearing and visually impaired is available for all performances.

Sign Language Interpretation: When possible, we will arrange to provide sign language interpretation and tape-recorded programs. Requests for these services must be made one month in advance.

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BRING A GROUP AND SHARE SPECIAL MOMENTSThe finer things in life are just a little finer when shared with colleagues and friends. Why not plan your next group outing around a spectacular Stephens Auditorium performance? Imagine the thrill of the theater, the sublime sounds of a symphony orchestra, or the riotous laughter of a comedy — all moments your group can share!

With bountiful menu options, flexible spaces, and a wide selection of concerts and performances at the Iowa State Center, the opportunities for your group events are endless!

For more information about group benefits or to start planning your event, contact the Stephens Auditorium Ticket Office at 515-294-2479, toll-free at 1-877-843-2368 or visit www.center.iastate.edu.

Groups Receive Valuable Benefits: • Personal, one-on-one service

• Ticket discounts

• Promotional materials for publicizing your group event

• Staff hosts to coordinate the details and ensure your event goes smoothly

• Ample free parking

• And more!


PERFORMING ARTS FOR YOUNG MINDSParents and educators know that helping a student develop creativity and imagination is one of the most important things they can do, but it’s no easy assignment. Helping to complete the education formula, our Youth Matinee Series energizes, engages and enhances the overall learning process for students through the magic and wonder of live performing arts experiences produced by professional touring artists. Performances are geared toward enriching students’ lives and illustrating the dynamic relationship between literature, social studies, history, science, math, world cultures and the performing arts.

Martha-Ellen Tye Performing Arts InstituteThe Martha-Ellen Tye Performing Arts Institute was established through a generous endowment by long-time Marshalltown resident, the late Martha-Ellen Tye. It brings a unique blend of arts experiences to students of all ages through matinee performances, teaching activities in schools, demonstrations and workshops. Now in its 14th year, the program has served more than 150,000 students in grades PreK-12 from across the state of Iowa.

Mrs. Tye believed strongly in the power and importance of arts education and vigorously supported programs that develop the “whole person — body, mind and spirit.” The Youth Matinee Series is underwritten by this endowment, which allows us to keep prices affordable. Resource guides for each performance can be downloaded for free by teachers, students, and parents to further explore the art forms and identify curricular connections, increasing the educational value of the learning experience.

If you would like to learn more about these performances, contact Sara Compton, Outreach Coordinator, at 515-294-7389, e-mail [email protected], or visit www.center.iastate.edu.


Visit www.center.iastate.edu or contact Sara Compton at 515-294-7389 or [email protected] for more information.

Clifford the Big Red Dog – LIVE!Monday, October 22, 2012

The Great MountainFriday, November 2, 2012

If You Give a Mouse a Cookie & Other Story Books

Tuesday, November 13, 2012

Charlotte’s WebFriday, February 1, 2013

Iowa State University Symphony*Tuesday, February 12, 2013

The Civil WarThursday, March 7, 2013

SeussicalMonday, April 15, 2013

Romeo & Juliet*Thursday, April 25, 2013

Ramona QuimbyMonday, April 29, 2013

Performances at 10 am & 12:30 pm

*Performance at 10 am only

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GREAT REASONS TO SUBSCRIBE!

Subscriber RewardsGreat Discounts: Save up to 15% on all adult tickets when purchasing three or more shows. Plus you may purchase additional adult tickets at any time during the season and still save up to 15%.

Quick & Easy Exchanges: Plans change? Exchange your tickets in person, by mail or by phone up to 24 hours prior to the performance, absolutely free!

Ticket Insurance: If your tickets are lost, stolen or destroyed, replacement tickets will be provided for the same seats, free of charge.

Priority Seating: Receive priority seating in advance of single-ticket buyers and you’ll be the first to hear about next year’s Performing Arts Series at an exclusive Preview Party.

Special Offers: Throughout the season, subscribers will be notified of special offers, exclusive promotions, the latest updates and more.

Easy Pay Now Available: Pay in three convenient installments.

For a complete list of subscriber rewards, visit www.center.iastate.edu.

Stay connected with us online We want to hear from you! We’re keeping the conversation going beyond Stephens Auditorium. Now on Facebook, Twitter and YouTube:

Become a fan of Stephens Auditorium

Follow us @StephensAud

Visit youtube.com/StephensAud

Sign up for our Center Beat e-mail!

You’ll receive advance notice of pre-sales & special events. It only takes a few moments to fill in your details at www.center.iastate.edu.


BECOME A PERFORMING ARTS FUND DONOR


THE ART OF PROGRAMMING THE PERFORMING ARTS SERIESDo you wonder how the eclectic mix of performances on the Performing Arts Series comes together? And how do we choose the dates? Contrary to the notion that the Performing Arts Series is selected randomly, much like picking shows from a hat, programming involves a lot of planning to bring the best possible collection of performances to our stage.

From beginning to end, we do extensive research in choosing the performances. Our goal is to offer high-quality performances from varied genres and disciplines as diverse as our audience.

Preparation for the next season begins one to two years before we announce the series each May. Discussions for the 2013-2014 series began before the 2012-2013 series was announced.

The extensive planning process includes all of these considerations:

1. Priority List of Artists After scheduling the series each year, there may be performances which were considered but didn’t fit into the schedule and we keep those events on a priority list for the future. Some artists were so well received, that we want them back when the timing is right for a return performance.

2. Geographic/Routing Criteria A big question in the planning process is what performances will be touring in the Midwest and when. Artists’ agents advise which shows are available and the potential artist fees. Many events are available to play at Stephens Auditorium in mid-fall and spring, as they start their tours on either coast and route into the Midwest in October, February and March. Fewer events are available in September, December, January, and April.

3. Collecting Information Next, we collect background material on the performances from various sources, including:

Agents: Most agents know the sales history of the artists and want to sell only the events that make sense for a particular venue. We discuss whether an event will fit our community and its needs.


ISU’s Performing Arts Council: This panel of Iowa State University faculty, staff, students and community members offers valuable insights and feedback on performances.

Iowa State Center staff: Staff members may attend regional and national meetings on the arts, providing an opportunity to preview artists and shows.

Guest comments: Guests often have excellent intuition about artists and shows that would be successful on the series. We welcome your comments.

Other sources: We monitor the artists scheduled by other presenters to see what works in markets similar to ours. Magazines like Billboard and Variety cover hot new jazz artists, classical music favorites, popular performers and off-Broadway shows.

4. Talking to Artists’ RepresentativesNegotiations begin via phone, e-mail and at performing arts conferences.

We determine how many performances our market can support and begin to shape a preliminary series.

We must also consider:

• balancing the types of shows and arranging dates with the university and community calendars

• checking potential conflicts with other area arts presenters

• budgets are generated for each potential event to ensure there is a balance between financial responsibility and artistic merit, since ticket sales cover only 65% of presenting costs

Now the actual booking begins and the schedule is adjusted several times until we have the right mix of performances. Talent fees, ticket prices, performance dates and hundreds of other details are ironed out. When all parties agree, we finalize the event and sign the contracts. However, nothing is set in stone. Scheduling conflicts, changes in tour funding, and other circumstances can change even ‘finalized’ performances.

At last, the Performing Arts Series is announced to the public! (Of course, we’re already planning great shows for next season.)


INTERACT WITH THE IOWA STATE CENTERStay connected to the latest news from the Iowa State Center — anytime, anywhere! Visit www.center.iastate.edu to find event schedules, audio samples, video clips, performance reviews, and more! While you’re there, check out other ways to interact:

Facebook & Twitter Join discussions about upcoming events, tell us what you thought of a performance, learn more about visiting artists, and enter to win great prizes!

Center Beat E-Mail Club Join today to receive e-mail updates and special offers for all events at the Iowa State Center, including the Performing Arts Series, Youth Matinee Series, concerts, family events, free events, and more. Plus, access exclusive contests and pre-sale offers!

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MAKE THE MOST OF YOUR EXPERIENCE WITH THESE SPECIAL OPPORTUNITIES BEFORE, DURING AND AFTER THE SHOW.When you think of Stephens Auditorium, we hope you think of it not just as a venue for seeing the performing arts, but also as a place where you are engaged as an active participant in the arts. The following events will enhance your visit and make each experience more fulfilling.

Master Classes: In master classes, artists will meet with groups of students, usually from Iowa State University and other area schools, and share their knowledge and insight as professional performers. In some cases, the artists will even provide a class for the entire community.

Free Previews in the Celebrity Café: Engaging presentations offered by topic experts, ISU faculty members or members of the professional touring group provide unique insights before each performance. Previews are free for ticket holders and occur 30 minutes before curtain time. You’ll find the Celebrity Café on the ground floor lobby in Stephens, on the north side of the auditorium.

Overture Dinner: Audiences attending our orchestra concerts next year can arrive early, get a prime parking space and enjoy a delicious buffet dinner at the Scheman Building before strolling over to Stephens. With an informative presentation about the evening’s concert and cash bar available, it’s a great way to dine before a show. Tickets to the preconcert meal, which includes dessert and beverages, are $30 for adults and $15 for ages 12 & under and must be purchased in advance.

Pre-show Family Events: Join us in the Celebrity Café for family fun and activities with other guests before Shrek: The Musical and Blue Man Group.

To learn more about these activities and other pre- and post-show

events, call 515-294-3347, toll-free 1-877-843-2368

or visit www.center.iastate.edu.

The mission of Dancenter Dancer Company Foundationis to provide volunteer and financial support in the

education, development and advancement of dancerswhile enriching our community through the art of dance.

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Free newsletter emailed monthly. Sign up

[email protected] in subject line: Newsletter


THEATER ETIQUETTEIn today’s world, everyone seems to have less time and more stress, making the chance to sit back, relax and enjoy an event that much more meaningful. A visit to the theater can provide a wonderful escape, so here are some tips that will ensure you — and the guests around you — will have an even more enjoyable trip to Stephens Auditorium.

“Fashionably Late” is never in stylePlease arrive early enough to find your seat before the curtain rises. After the performance has begun, latecomers will be asked to wait until a suitable moment before being seated. The same reminder applies at intermission.

Sit back, relax, and... “Hello?”Just as the performance transports you from your earthly boundaries, your neighbor suddenly starts beeping like a fire alarm or has an obviously less-than-crucial phone call about some friend’s new haircut. Please be considerate of your neighbors, just as you would expect the same consideration from them, and turn off all cell phones, pagers and watches with alarms. With the outstanding acoustics in the auditorium, these sounds will distract and annoy everyone. If needed, you can arrange to be notified in the event of an emergency call. See “Cell Phones and Pagers” on page 18 for details.

Talk of the TownWe’re delighted if the performance becomes the “talk of the town,” but please wait until intermission or the final curtain to carry on conversations. You might also consider reserving any negative feedback until you are in private. People have differing opinions about creative events, and after all, you could be sitting next to the conductor’s mother or a company member’s spouse.


An Evening with the FamilyChildren are always welcome at Iowa State Center events. However, some performances require an adult attention span and a quiet auditorium. Please be considerate of both your young ones and the rest of the audience by excusing yourself with your child if he or she becomes disruptive during the performance. Not sure if your little one will enjoy the show? Give us a call at 515-294-3347 or toll-free 1-877-843-2368 to find out which events are especially suited for children or to arrange a special seating location so everyone can enjoy the performance. Remember, all guests (regardless of age) must have a ticket.

Hearing a Pin DropIf you should need a cough drop or candy to help soothe a scratchy throat, please try to open the wrapper quickly and at an appropriate time (a scene change, applause, etc.). A good tip: unwrap a few lozenges before entering the auditorium.

A Star is BornPerforming arts enrich our community’s cultural life and bring a variety of entertainers to our backyard. These talented artists may be performing in your favorite musical or playing a well-known concerto, but you may be sitting near people who aren’t familiar with the piece. Please resist humming, singing along, or finishing a line for the actors.

Good NeighborsShould you find yourself near someone who chooses to violate the rules of common courtesy, please remember that a quiet reminder or a polite “shh” can be very effective. If needed, ask an usher to help resolve the issue.

Great EscapeA quick departure is noticed by everyone in the audience and especially by the performers on stage. Making a mad dash for the exit expresses inconsideration to everyone in the auditorium. Please stay until the house lights go up. Should you need to make an exit before the final curtain call, please be discreet and considerate to others in your row.

Keeping Up AppearancesHelp us preserve the ambience of Stephens Auditorium by depositing all trash in the appropriate receptacles located in the lobby areas.

The Singing Place Sunday, April 21, 2013 - 7:00 p.m.

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Thank you for Supporting the Performing Arts Fund

andAmes International Orchestra

Festival AssociationContributors as of January 1, 2013

Impresario $5,000 and aboveThe Lauridsen Family Endowment

Executive Producer $2,500 and aboveJim BeckwithGeorge C. & Susan J. ChristensenCecilia & Harry HornerKawaler Family Charitable

FoundationBeverly & Warren MaddenGary F. & Harriet M. ShortIra, Jordan & Julia White

Director $1,000 and aboveBob & Elizabeth AngeliciIrene BeaversElizabeth Cole BeckKelli BennettJay & Karen Heldt-ChapmanJohn & Judy ClemWayne P. & Ferne Bonomi DavisM. Burton Drexler1st National Bank - AmesWilla & Dave HolgerSherilyn & Mitchell HoyerArthur KleinJane W. LohnesRoger & Ruth McCulloughJames & Jody MuellerMark & Andy NorthJohn & Cynthia PaschenSue & Al Ravenscroft

Mary Jean & Maurice D. ReimersJim & Mary WestBrent & Maggie Wynja

Principal Artist $500 and aboveAnonymous (2)Brian & Tanya AndersonRick BartoshJane & John BatyDiane & Ken BirtJen & Ed BuckinghamStewart L. BurgerBonny & Ray CallahanR.L. & Lenita CarstensPatricia Cotter & Peter OrazemChris & Arnie CowanElizabeth DahmDieter & Renate DellmannMeg E. Dobson – State Farm InsuranceRandy & Cathy FitzgeraldTom FlackJan & Cornelia FloraCharles & Joanne FrederiksenHomer & Sandra GartzEthel GeorgeSusan & David GrantJustin & Heather GreenleeThomas & Allison GreenwaldWil & Marjorie GrovesEsther & Herbert HarmisonJennifer & Chad HartSandy & Rick HoenigJudie & David HoffmanPatricia Hulsey

Jean & Bob HumphreyCharles Hurburgh & Connie HardyJim & Mary KincartKenneth & Michelle KoehlerGreg & Sue LamontAllen & Joy LangJohn LangelandPhyllis J. & Larry L. LepkeDoug & Wanda McCayLouise M. McCormickTom & Judy McDonaldDiane MuncriefPatricia A. MurphyJim & Frankee OlesonJohn & Helen OlsonTed & Laura OswaldKathy A. ParsonsMary Jane Pearson & Ramon A. RunkelPeter & Rae ReillyDick & Sharon RichmanSuzan & John ShierholzRick & Kathy StachonChelon Stanzel & Ken PapClayton & Ruth SwensonJeff & Ann Ver HeulGary & Evonn WallingDuane & Megan WolfCarol WrightRobert & Elizabeth Wych

Rising Star $250 and aboveAnonymous (2)Marc & Christianne AndersonClaire Andreasen & Steve Pecenka


Doris BacotSheila Rae BakerLisa Banitt & William BarryTom & Betty BartonMary & Bob BaumannKay & Roger BeckettJeffrey Benson & Margaret ElbertKay & Roger BergerLeRoy & Kathy BergmannMark & Deborah BlaedelDonald & Jamie BlomgrenDeanne Brill & Dean JanssenRick & Janet BrimeyerNancy E. BrownLee & Lori BurrasRichard & Maribeth CarlsonCheryl CaseGale ChattertonDo-Biz Foods, LLCMary & Alan ChristyDan & Anita ClaybergFrank & Kathy ComitoCharles & Teresa ConnellJohn D. CorbettJim & Carolyn CornetteRoger A. DealDrake Holding Co.Larry & Barbara EbbersDorothy EkbergMary EmbreyBrian & Lisa EslingerFrank & Vikki FeilmeyerCynthia & Lehman FletcherJan FryerWayne & Evelyn FullerSarah GarstJeanne G. GehmKaren & Joey GeorgeDave & Carole GiesekeChuck & Kathy GlatzBryan & Joy GravelineMilford & Barbara GrotnesMelba & Karl GschneidnerBarbara & Karl GwiasdaJudy HankinsLarry & Linda HansenJoseph & Mary HerrigesWilliam R. HillyardJon & Bonnie HunzikerEtha S. Hutchcroft

Darren & Sue JarboeSusan JohnsonTom & Debra JohnsonMarilyn & Wendell JohnsonSteve & Nan JungstDelma L. KernanLeRoy & Susan KesterElizabeth KeysJanann KingJohn & Joy KixCathy Kling & Terry AlexanderPaul & Adele KnopJeff & Dawn KosterMarina KraevaDan & Sharon KriegerJohn & Diane KubikKeith & Brenda KutzJohn Landgraf & Phyllis JonesJeffery & Margaret LormorEudene & Susan LundElizabeth K. LyonsDuane & Diane MadoerinGreg & Carol MadsenWilliam & Beverly MarionCharles & Barbara MarkusMaribeth MartinJane & John MathisonMarie Mayer & Larry BrandtThomas McGeeArlo & Lori MeyerRosemary & Lester MooreCharles & Mary Ann MulfordDonna Newbrough & Lee BurchinalBecky & Don NibeMark NordDon & Evelyn NystromRuth Anne OhdeLarry & Cheryl OlofsonBonnie & David OrthSue & Gary OsweilerPat & Randy ParkerCarol & Arlen PatrickJohn PesekJohn E. PiercePat & Linda PlummerJolene & Frank RandallEllen M. RasmussenDaphne & Jaime ReyesDick & Karen RossKlaus Ruedenberg

Carolyn Cutrona & Daniel RussellDean & Judy SampsonKent & Lou Ann SandburgDirk & Lucinda ScholtenNorm & Sue ScottEric & Kris SeemanJerry & Joann SellCarole & Leverne SeversikeBarbara A. SheddSteiner & Mary Anne SilenceJohn & Sandra SlaughterDavid & Sherri SmithRaymond & Jane StanleySue & Thad StantonDr. & Mrs. W. Robert StephensonCalvin & Susan SwanDorothy TimmonsTed Tostlebe & Marilyn HansonArdy & Dean UlrichsonConnie J. & Roger C. UnderwoodEleanor VandeventerGeorgia & Carl VondraDaniel & Sherrie VosFred & Darlene WalkerJim & Madeleine WalkerMark & Diane Weber & MichaelJoan E. WelchB. Joan WhiteScott & Jan WilliamsWayne WilliamsMaureen WiltDella Jane WrightChad & Amy Zmolek

Company Member $100 and aboveAnonymous (1)Barb & Jack AdamsLeigh & Ed AdcockFranklin & Kay AhrensChris & Garry AlexanderLa Donna AllenMartha AndersonRita ApelSandi & Dave AustinRod & Janice AveyTed & Carol BaileyPat & Louis BanittTerry & Debbie Barger


Susan BarkerJames BarrJoAnn Barten-BigelowRichard J. BaumhoverAmy & Steven BeckerJudy & Don BeitzDr. Ruthann BensonBob & Mary BergmannMarianne BerhowNancy L. BeschChuck & Carmel BisknerJudith BlairGail & Janeen BoliverCharlene BollDiane BorcherdingEldon & Marilyn BoswellAngela BradleyEdward Braun & Jean KrusiRod & Joyce BrinkBob & Rosemary BulmanKathryn BurkholderStanley & Rayanne BurrackDaniel & Sandra BussHeidi CarterMargy ChamberlinJohn & Donna CleasbyJoel & Rebecca CoatsGladys & Peter ColwellHarold & Rachel CrawfordNancy & Pete CyrHerbert A. DavidMary M. de BacaStephen & Gail DentlerDeborah DiceDee DreeszenCarl DulingFrank DunnDan & Trisha EastonCarol ElbertGeorge EnglessonDorothy EwingKay FaabergMarvin Beck & Jane Farrell-BeckMaria FedorovaElizabeth FerreiraJim & Kathy FerrisRebecca FritzscheHerb & Katherine FrommJohn E. Galejs

Mary GarstAnn & Howard GartonKenneth & Jill GrantLowell & Jennie GreimannJohn & Sally GreveJean GriffenWilliam Gutowski & Margaret DempseyDarrin T. HamiltonMary J. HarmsDuane HarrisEugene & Ruth HarrisPhyllis HarrisMarjorie HartmanJerry & Pat HatfieldSusan Hegland & Thomas AndreSteve & Nancy HeidemanCraig & Martha HeinemanMartha HellandIsabel HendricksonPete & Janet HermansonRichard & Janet HersomRandy & Liz HertzJoan HerwigMary Ann & John HicksDorothy Ferguson & Joseph HinemanGary & Debra HintzeCarolynne HoefingBill & Judy HoefleRobert & Janice HollandWilliam & Barbara HoltTim & Susan HooperFrank HornCarole & Jack HorowitzDick & Sandy HortonTed & Karen HuiattMarcia ImsandeMina Hertz JacobsLincoln & Janet JacksonDr. Bill & Lorrie JagielloMarian & Roger JansenAl Jergens & Kris MilesAl & Marilyn JoensenKen & Sue JohnsonMarilyn R. JohnsonCarolyn JohnsonKent & Sara JohnsonBruce & Marie Johnson

Rich & Judy JonesNeal & Teresa KaloupekJoseph & Karen KernsCheryll & Tom KierskiBette KingBarbara KiserKaren & Wayne KlaiberJim & Joyce KliebensteinMarianne KlinskyJerry & Margaret KnoxRichard & Nelle KottmanBev & Ken KruempelRichard KrugerHarvey & Sally LapanRandy & Beth LarabeeRuth G. LarsonWilliam & Susan LawyerMichael & Debra LeeRev. Selva LehmanEfstathia LingrenJeff & Lorie LoehrMarion & Robert LorrLowell & Elma LynchCarole MagiltonDick & Jackie ManattSteve & Audrey MarleyKae L. MartRobert MartinKatherine MasonEdith A. McClureJohn & Renee McPheeHelen F. McRobertsLaura McVayClete & Joyce MercierDaryl & Kitty MetzgerTodd & Barbara MeyerPatricia & Kemp MillerJohn B. Miller & Kathryn Madera MillerJohn Miranowski & Susana GoggiLarry & Sara MitchellMarc & Rebecca MohnLee & Ginny MolgaardJohn & Laurel MorsThomas & Lynn NehlsJim & Sara NelsonMichael & Ginger O’KeefeSiggi Olafsson & Jenny AuneDanny & Trisha Oldes


The Olson & Kushkowski FamilyRuth & LeRoy OrnbergVicky Thorland-Oster & George OsterDon PaulsenDon & Jan PayerAlec & Charlton PendryBarbara PetersonJean A. PetersonRichard & Carol PletcherArthur & Bernadene PohmJim & Marlys PotterRonald PrahlMabel PrescottPeggy PropstJane PunkeJean RanneyRandy & Denise RetleffKathy RhodeThomas & Doris RiceWilliam RichMary E. RichardsRobert & Harriet RinggenbergJodi & Ryan RisdalCharles Ritts & Kathleen Epstein-RittsWilliam S. RobinsonJo & Bob RodTeresa Rohret-EricksonJames & Kari RothMalcolm RougvieTom & Lorna SafleyCharles & Priscilla SageSteve Sapp & Lisa EnloeCandy & Steve Schainker

Kaye SchanbeckJane SchillLester & Mary Jo SchmerrJohn SchuhRichard & Jasmine SeagraveGeorge SeifertPhyllis SeimDennis & Joan SenneDr. & Mrs. Sam SentiDebra Shenk-BoudartMark & Amy SlagellRobert & Carol Richardson SmithRichard & Frances SmithClifford SmithJim & Diane SmithMr. & Mrs. David StephensonBernard Stephenson, Jr. & Victoria StephensonAlissa StoehrCarmily StoneCurtis Struck & Megan FairallRobert & Deanne SummerfeltDoris Roettger-SvobodaMargaret & John TaitRon & Meg ThompsonMr. & Mrs. Harvey ThompsonMarcia ThompsonDouglas & Christine TimmonsKent & JoAnn TippingSteven & Mary Ann TjadenJim & Gloria ToombsDavid & Karen TootJohn & Marjorie UitermarktKermit & Cathy Van BrocklinBev Van Fossen

Stephen Van HoutenGreg & Lana VogaGene & Karen WalkerDoug & Kim WalkerMarvin & Janice WalterBobbie WarmanMary T. WatkinsFritz Wehrenberg & Jennie LeGatesMarion & Harry WeissTom Wessels & Glenice VarleyBill & Toni WhitmanGary WieleRichard & Patricia WoodSteven & Lorraine WoolerySuzanne ZaffaranoBill & Jean Zmolek

Matching Gift Honor RollAlliant Energy FoundationAXA FoundationBank of the WestBemis Company FoundationEmerson ElectricGeneral ElectricGMG FoundationMeredith Corporation FoundationMidAmerican Energy FoundationMorgan Stanley Smith BarneyPioneer Hi-Bred International, Inc.Principal Financial Group

Foundation, Inc.State Farm Companies FoundationWellmark Blue Cross & Blue Shield

PLAYBILL ADVERTISERSThe Iowa State Center thanks our sponsors and advertisers whose generous contributions make this performance playbill possible. For more information about sponsorship and playbill advertising,

please call Patti Cotter at 515-294-1238. Sponsors are listed on page 37.


Planned GiftsThese generous individuals have included the

Performing Arts Series in their wills.Wayne P. Davis

Frankee and Jim Oleson The late James Watson

To learn how you can support the arts while honoring a loved one, or to create a legacy gift, contact Patti Cotter, Development and Sponsorship Manager, at 515-294-1238 or [email protected].

Gifts in HonorA gift in honor or memory is a generous way to celebrate

a person’s life and accomplishments. To support the arts while honoring a loved one, contact Patti Cotter, Development and Sponsorship

Manager, at 515-294-1238 or [email protected].

In Memory of Deb Lande AdamsIn Memory of Dee Hegstrom

Arthur Klein, President Karl Gwiasda, Vice President Herb Harmison, Treasurer Joan White, Secretary

Larry Hansen Jacob Harrison Sandy Hoenig Willa Holger Dave Hoffman Marilyn Johnson

Bev Kruempel Duffie Lorr Yeil Park, ISU Student Mary Richards David Stephenson Maureen Wilt

Iowa State University Performing Arts CouncilA university committee comprised of Iowa State University faculty, staff,

and students, as well as Ames community members, the Performing Arts Council advises the Iowa State Center on programming for the

Performing Arts Series at Stephens Auditorium.

Michael Golemo, President, Faculty–MusicTanya Anderson, Ames CommunityJanice Baker, Faculty–DanceSara Compton, Iowa State CenterPatti Cotter, Iowa State CenterJane Cox, Faculty–TheaterHomer Gartz, Ames CommunityDebra Gibson, Faculty–

Journalism & Mass Communication

Karl Gwiasda, Ames International Orchestra Festival Association

Sam Johnson, Student–MusicNancy Marion, Ames CommunityNick Miller, Student–MusicPatricia Miller, Faculty–Lectures ProgramMark North, Advisor, Iowa State CenterLee Plummer, Student–MusicVictoria Stafford, Student–Performing ArtsCinian Zheng-Durbin, Ames Community

Ames International Orchestra Festival Association Board of Directors


Alliant Energy Foundation Proudly Supporting Imago Theatre’s ZooZoo

Ames International Orchestra Festival Association (AIOFA) and Ames Commission on the Arts

Proudly Supporting Iowa State Symphony (Youth Matinee Series Concert), National Symphony Orchestra of Cuba and China National Symphony Orchestra

Ballet FolkloricoThis engagement is supported by the Arts Midwest Touring Fund, a program of Arts Midwest, and is generously supported by the National Endowment for the Arts with additional contributions from the Iowa Arts Council.

SPONSORSThe Iowa State Center recognizes and thanks its sponsors

for their support of the 2012-2013 Performing Arts Series at Stephens Auditorium:

Proud Sponsor ofPride and Prejudice

& Shrek

Proud Sponsor of Ballet Folklorico

& Dreamgirls

Proud Sponsors of Blue Man Group

Get two tickets to any Performing Arts Series event when you book a specially-priced hotel package at participating Ames hotels.

Visit www.visitames.com for details.Sponsored by the Ames Convention & Visitors Bureau

China National Symphony OrchestraSponsored by

Durbin & Zheng FamilyIn Memory of Mr. Guangyi R. Zheng

GRANTS The Iowa State Center recognizes and thanks

the following organizations for their support of the 2012-2013 Performing Arts Series at Stephens Auditorium:

Central Iowa Toyota Dealers


25th Anniversary Celebration7:30 PM, AMES CITY AUDITORIUM

SATURDAYOCTOBER 13

2012

Finale - Voices of America7:30 PM, AMES CITY AUDITORIUM

SATURDAYMAY 4

2013

Young Artists3 PM, AMES CITY AUDITORIUM

SUNDAYMARCH 3

2013

Sounds of the Season7:30 PM, AMES CITY AUDITORIUM

SATURDAYDECEMBER 1

2012

2 0 1 2 - 1 3S E A S O NC O N C E R TS E R I E S

Learning Never Ends!OLLI at ISU is a learning program for all persons aged 50 and above.

No tests or grades—just learning for the joy of learning! Three course sessions are offered each year. Course topics range from music to history to computers. Become an OLLI at ISU member today!

515-294-3192 | www.isualum.org/OLLIatISU


What every meeting and event planner wants:More service. More convenience. More flexibility.More value without compromise.


National Symphony Orchestra of Cuba October 18, 2012

Visit center.iastate.edu/plannedgift for examples.

Contact Patti Cotter at 515-294-1238, email [email protected], or visit isugift.org.

WE BELIEVE GREAT CLASSICALMUSIC SHOULD BE ACCESSIBLE TO ALL.

China National Symphony Orchestra March 2, 2013

Since 1969, the Ames International Orchestra FestivalAssociation (AIOFA) has presented world-class musicianshere. It’s a grand tradition we want to continue.

A simple bequest to the Performing Arts Fund/AIOFA willassure affordable tickets for more people. Even a portionof your IRA or life insurance can have a great impact onclassical music at Stephens Auditorium. That will bemusic to everyone’s ears.

Supported by Ames International Orchestra Festival Association (AIOFA) and Ames Commission on the Arts

China National Symphony Orchestra Playbill

Documents