Ladysmith Black Mambazo
Saturday, March 1, 2025, 8pm
Zellerbach Hall
We would like to thank our founder and spiritual leader, Joseph Shabalala (1940–2020). He remains with us always.
This evening’s program will be announced from the stage. The performance will include one intermission and last approximately one hour and 45 minutes.
From the Executive and Artistic Director
Usually, it’s my practice to mention each and every one of our planned performances in these program book letters. This time, however, I’m afraid that’s just not possible, so extensive and wide-ranging is our March programming this season. Suffice it to say that in the coming weeks alone, Cal Performances will host a full two dozen presentations featuring the widest selection of performing artists to be seen anywhere in the Bay Area. Representing the very finest in the worlds of music, dance, theater, our March events truly offer something for everyone. (Our website includes all the details. And just to be honest, things don’t get any quieter in April!)
That said, three offerings this month do deserve special attention, as they so clearly speak to the strength of reputation that Berkeley audiences command among the world’s most acclaimed performers. Early in the month (Mar 5–7, Zellerbach Hall [ZH]), I’m thrilled to recognize the Maria Manetti Shrem and Elizabeth Segerstrom California Orchestra Residency, which will present three concerts with the peerless Vienna Philharmonic and preeminent conductor Yannick Nézet-Séguin, and joined by pianist Yefim Bronfman on March 7 (the night of our 2025 Gala with Mrs. Manetti Shrem and Mrs. Segerstrom as honorary co-chairs). I can promise you this—if you have never had the pleasure and privilege of attending a performance by this world-renowned orchestra, and with this accomplished conductor, you truly have an unforgettable experience in store. These concerts simply must not be missed.
And the same may be said of the March 14–16 (ZH) visit by the multi-talented South African stage and visual artist William Kentridge, who this season brings the Bay Area premiere of his mind-expanding new chamber opera, The Great Yes, The Great No, to campus. Bay Area audiences still fondly recall the 2023 US premiere of Kentridge’s brilliant Sibyl, in addition to the many other performances and events that were part of his campus residency that season. For more, please see Thomas May’s insightful article beginning on page 7.
It’s worth mentioning, also, that William Kentridge’s The Great Yes, The Great No is part of our 2024–25 Illuminations theme of “Fractured History,” which continues to offer nuanced accounts and powerful new voices to enrich our understanding of the past and explore how our notions of history affect our present and future. I recommend you give particular attention to the remaining season programs on this series, as well as check out the excellent videos that live on the Illuminations page on our website.
Our programming this month concludes on March 23 when we welcome the return of the legendary pianist Mitsuko Uchida and the acclaimed Mahler Chamber Orchestra for the latest in their ongoing Cal Performances presentations featuring Mozart’s profound and timeless piano concertos. Speaking personally, decades of hearing revelatory performances from this esteemed artist has been a source of great joy in my life; I know you’ll join me in celebrating her return to UC Berkeley.
Lastly, I’d be remiss if I didn’t mention another Illuminations event, the upcoming Cal Performances debut of the world-renowned Brazilian dance troupe Grupo Corpo (Apr 25–26, ZH). And please note that we’ve also recently added an event to our calendar with Pulitzer Prize-winning composer, vocalist, and banjo virtuoso Rhiannon Giddens & The Old Time Revue (June 21, ZH).
As always, I look forward to engaging with so many fresh artistic perspectives alongside you as we continue with the second half of our season. Together, we will witness how these experiences can move each one of us in the profound and unpredictable ways made possible only by the live performing arts.
Jeremy Geffen
Executive and Artistic Director, Cal Performances
Usually, it’s my practice to mention each and every one of our planned performances in these program book letters. This time, however, I’m afraid that’s just not possible, so extensive and wide-ranging is our March programming this season. Suffice it to say that in the coming weeks alone, Cal Performances will host a full two dozen presentations featuring the widest selection of performing artists to be seen anywhere in the Bay Area. Representing the very finest in the worlds of music, dance, theater, our March events truly offer something for everyone. (Our website includes all the details. And just to be honest, things don’t get any quieter in April!)
That said, three offerings this month do deserve special attention, as they so clearly speak to the strength of reputation that Berkeley audiences command among the world’s most acclaimed performers. Early in the month (Mar 5–7, Zellerbach Hall [ZH]), I’m thrilled to recognize the Maria Manetti Shrem and Elizabeth Segerstrom California Orchestra Residency, which will present three concerts with the peerless Vienna Philharmonic and preeminent conductor Yannick Nézet-Séguin, and joined by pianist Yefim Bronfman on March 7 (the night of our 2025 Gala with Mrs. Manetti Shrem and Mrs. Segerstrom as honorary co-chairs). I can promise you this—if you have never had the pleasure and privilege of attending a performance by this world-renowned orchestra, and with this accomplished conductor, you truly have an unforgettable experience in store. These concerts simply must not be missed.
And the same may be said of the March 14–16 (ZH) visit by the multi-talented South African stage and visual artist William Kentridge, who this season brings the Bay Area premiere of his mind-expanding new chamber opera, The Great Yes, The Great No, to campus. Bay Area audiences still fondly recall the 2023 US premiere of Kentridge’s brilliant Sibyl, in addition to the many other performances and events that were part of his campus residency that season. For more, please see Thomas May’s insightful article beginning on page 7.
It’s worth mentioning, also, that William Kentridge’s The Great Yes, The Great No is part of our 2024–25 Illuminations theme of “Fractured History,” which continues to offer nuanced accounts and powerful new voices to enrich our understanding of the past and explore how our notions of history affect our present and future. I recommend you give particular attention to the remaining season programs on this series, as well as check out the excellent videos that live on the Illuminations page on our website.
Our programming this month concludes on March 23 when we welcome the return of the legendary pianist Mitsuko Uchida and the acclaimed Mahler Chamber Orchestra for the latest in their ongoing Cal Performances presentations featuring Mozart’s profound and timeless piano concertos. Speaking personally, decades of hearing revelatory performances from this esteemed artist has been a source of great joy in my life; I know you’ll join me in celebrating her return to UC Berkeley.
Lastly, I’d be remiss if I didn’t mention another Illuminations event, the upcoming Cal Performances debut of the world-renowned Brazilian dance troupe Grupo Corpo (Apr 25–26, ZH). And please note that we’ve also recently added an event to our calendar with Pulitzer Prize-winning composer, vocalist, and banjo virtuoso Rhiannon Giddens & The Old Time Revue (June 21, ZH).
As always, I look forward to engaging with so many fresh artistic perspectives alongside you as we continue with the second half of our season. Together, we will witness how these experiences can move each one of us in the profound and unpredictable ways made possible only by the live performing arts.
Jeremy Geffen
Executive and Artistic Director, Cal Performances