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Spring Program 2014

Fresh Produce from Local Farms & Seafood from SB Fish Market

American Riviera Cuisine | Extensive Wine List | European Courtyard 813 Anacapa Street 805.966.9463

Wine Country Cuisine | SB-Exclusive Wine List | Intimate Patio Dining 9 West Victoria Street 805.730.1160

Spring 2014 Outreach and Residencies In March 2014, Jazz at Lincoln Center Orchestra with Wynton Marsalis led an intensive residency in which band members coached young musicians at Santa Barbara Junior High, Santa Barbara High, San Marcos High, Dos Pueblos High and UCSB. The residency culminated in a school time performance titled “What is a Big Band?” for more than 2,000 children from 24 local elementary schools (concert co-presented by Children’s Creative Project).

Coming up:


•• Qawwali master Asif Ali Khan will visit and give lecturedemonstrations to students in UCSB world music classes

•• Les Ballets Trockadero de Monte Carlo will workshop with UCSB dance students

•• Best-selling author Malcolm Gladwell will conduct a seminar 2


photos 1 & 2: David Bazemore; photo 3: Incredible Children’s Art Network

with students from Westmont College

•• Songwriter Aimee Mann will lead a lecture-demonstration in UCSB’s Music in Popular Culture class

•• Billy Collins will meet with students from UCSB writing and literature classes

•• Dancers from Abraham.In.Motion will work with Santa Barbara High School and UCSB dance students

•• Violinist Jennifer Koh will meet and discuss music with 5th graders from Foothill Elementary

•• Musician Abigail Washburn will be in conversation with UC professors of Chinese and East Asian studies

1. Royal New Zealand Ballet Master Martin Vedel leads UCSB ballet students in a master class 2. New Orleans’ Troy “Trombone Shorty” Andrews and local students in an open rehearsal and jam session at Campbell Hall 3. Composer Gabriel Kahane meets with students from Incredible Children’s Art Network

Arts & Lectures gratefully acknowledges the generous support of SAGE and the William H. Kearns Foundation, who help take artists and speakers off the stage and into K-12 schools and other public settings throughout our region to serve children and families with unique opportunities for arts engagement and enrichment.

For information on how you can support arts education and outreach activities in our community, please contact Elisabeth Leader at (805) 893-3465.


Dear Arts & Lectures’ Friends and Supporters, Spring is a time of renewal, and at Arts & Lectures it’s not only a time to look back at the memories we’ve made this season so far (Yo-Yo Ma’s incredible recital and master class, the unforgettable and inspiring Ms. Gloria Steinem, an evening of laughter from Dave Barry), but to take a deep breath, and most importantly, to leap forward into another world-class line up of artists, inspiring speakers and laugh-out-loud good times. This spring we’re thrilled to be presenting a lecture by the New York Times bestselling author of Outliers and The Tipping Point, Malcolm Gladwell (April 11), as well as the global humanitarian Dr. Paul Farmer (April 6 with Direct Relief), and an evening of words and music with former U.S. Poet Laureate Billy Collins and singer-songwriter Aimee Mann (April 17). Two not-to-be-missed highlights this spring include one of the most celebrated and unique works of Philip Glass’ recent career, the Philip Glass Ensemble performing live to Jean Cocteau’s 1947 film Beauty and the Beast (La Belle et la Bête, April 30); and an intimate evening with the beloved opera singer Jessye Norman who will discuss topics from her early life growing up amid Jim Crow racism and the early Civil Rights Movement to her meteoric rise at the Berlin Opera and beyond, as told in her new memoir Stand up Straight and Sing (May 16). Just one year ago we announced The Campaign for Arts & Lectures, our commitment to raise $20 million both for current use and endowment funds that will ensure that the Arts & Lectures program thrives, now and forever. Now, I can proudly announce that we have reached almost $13 million in this important venture to sustain programmatic excellence, support ongoing arts education outreach and commission new work, right here in Santa Barbara. I would also like to take this opportunity to send a special note of gratitude to the UCSB students whose support enables this program to thrive. It is Arts & Lectures’ mission to serve the campus and community with events and opportunities that educate, entertain and inspire, and the continued student and community support is a testament to that enduring vision. With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director



Just one year ago we announced the public phase of the Campaign for Arts & Lectures, in which we promised to raise $20 million to fill the gap between rising costs and diminishing institutional support, ensuring that the excellence you’ve come to expect from the words “presented by UCSB Arts & Lectures” will continue well into the future.

Campaign Goal: $20 million 3


$10 million for current operating support to sustain and expand Arts & Lectures’ programming $10 million for the Arts & Lectures Endowments, to create a permanent base of support and ensure programmatic excellence now and forever

1. Principal Sponsors Michael Towbes and Anne Towbes with travel writer Rick Steves, center 2. Cedar Lake Contemporary Ballet coaching a movement workshop at Girls Inc. 3. Producers Circle members Kay McMillan and Susan McMillan with humorist Dave Barry, center 4. Royal New Zealand Ballet Mistress Turid Revfeim leads UCSB ballet students in a master class 5. Event Sponsors Marcia and John Mike Cohen with choreographer and MacArthur “Genius” Bill T. Jones, left 5


(805) 893-3535 /

It’s more than what’s on stage.

Council for Arts & Lectures Sara Miller McCune, Co-chair Dan Burnham, Co-chair Barrie Bergman Timothy O. Fisher Richard Janssen Tom Kenny Kath Lavidge Susan McCaw Lois Mitchell Natalie Orfalea Lady Leslie Ridley-Tree Fredric E. Steck

New Orleans’ Troy “Trombone Shorty” Andrews and local students in an open rehearsal and jam session at UCSB Campbell Hall.

Sometimes the memorable moments are off stage – in music studios, on gymnasium floors, backstage with performers and guest speakers, or in the audience with friends, family, colleagues, community. Is it time for you to consider a special contribution in support of the Campaign? A pledge to increase your annual gift, or a one-time gift to the Campaign? Or maybe you’ve wondered what it would be like to become an Event Sponsor, to get involved in the behind-the-scenes process of how great moments happen on stage, and off.

Call today, and make a difference now and forever.

Call (805) 893-2174 or email for a wide range of commitment levels, participation opportunities and membership benefits.

Tom Sturgess Anne Towbes Milton Warshaw Lynda Weinman

Honorary Campaign Committee Laurie Anderson Ken Burns Sarah Chang Philip Glass Bill T. Jones Peter Martins David McCullough Bill Moyers Mary Oliver Amy Tan Fareed Zakaria

(805) 893-3535 /


“It’s likely that our city enjoys a broader range of offerings and a higher level of quality in the performing arts than any other city of comparable size, not just in America, but in the world. We experience this cultural bounty due in no small part to the work of UCSB’s Arts & Lectures Program.” Santa Barbara Independent


Star performers, creative artists, global thinkers and leading public intellectuals…


With the support of our Producers Circle!

How do you do it?

Producers Circle members

support UCSB Arts & Lectures’ mission to educate, inspire and entertain. By presenting performances of the very best the world has to offer, and hosting the greatest minds of our time in lectures and discussions, Arts & Lectures plays an important role in making our city a global city, while nurturing the next generation of creators and thinkers.

His Holiness the 14th Dalai Lama Madeleine Albright

A&L 2009 A&L 2006

“Arts & Lectures is a stunning example of the great good that generous citizens working together can accomplish in their community.” – David McCullough (A&L 2011), Pulitzer Prize-winner

Elvis Costello

“UCSB’s Arts & Lectures program continues to set the pace for presenting organizations on the Central Coast — or should that be the West Coast?” Santa Barbara Independent

Alvin Ailey American Dance Theater

Tony Bennett Gloria Steinem

A&L 2012

A&L 2013 A&L 2013 A&L 2014

Join us today! h We are


Make a difference now, enjoy exclusive benefits all year long, and take your place among those “generous citizens” accomplishing that “great good,” at UCSB Arts & Lectures.

(805) 893-2174

UC Santa Barbara Arts & Lectures wishes to recognize those who are leading the way to educate, entertain and inspire by participating in

UC Santa Barbara Arts & Lectures is honored to recognize donors whose lifetime giving to A&L is $100,000 or more. We are very grateful for their longtime, visionary support of A&L and for believing, as we do, that the arts and ideas are essential to our quality of life.

Recognition based upon cumulative pledges/giving from July 1, 2011 – March 15, 2014

Recognition is based on cumulative, lifetime giving.

$1,000,000 and above

Anonymous (4) Judy & Bruce Anticouni Gary & Mary Becker Arlene & Barrie Bergman Meg & Dan Burnham Marcia & John Mike Cohen Cohen Family Fund of the Community Foundation for Southeast Michigan Audrey & Timothy Fisher Genevieve & Lewis Geyser Patricia Gregory for the Baker Foundation Carla & Stephen* Hahn The James Irvine Foundation Luci & Richard Janssen Tom Kenny & Susan McMillan Lillian & Jon* Lovelace Marilyn & Dick Mazess Susan & Craig McCaw Sara Miller McCune Kay R. McMillan Orfalea Foundation Lady Leslie Ridley-Tree SAGE Publications Harold & Hester Schoen Fredric E. Steck Anne & Michael Towbes James Warren Marsha* & Bill Wayne Lynda Weinman & Bruce Heavin William H. Kearns Foundation Irene & Ralph Wilson Yardi Systems, Inc.

Sara Miller McCune ‡ Anne & Michael Towbes ‡

$500,000 - $999,999 Anonymous ‡ Audrey & Timothy Fisher ‡ Susan & Craig McCaw ‡ Orfalea Foundation SAGE Publications ‡

$250,000 - $499,999 Anonymous ‡ Meg & Dan Burnham ‡ Marcia & John Mike Cohen Luci & Richard Janssen ‡ Lady Leslie Ridley-Tree Fredric E. Steck ‡ Lynda Weinman & Bruce Heavin ‡ William H. Kearns Foundation ‡

$100,000 - $249,999 Arlene & Barrie Bergman Cohen Family Fund of the Community Foundation for Southeast Michigan Tom Kenny & Susan McMillan ‡ Kay R. McMillan ‡

‡ Indicates those that have made gifts to UC Santa Barbara Arts & Lectures endowed funds, in addition to their annual program support.


* Deceased

(805) 893-2174 /

Arts & Lectures Ambassadors

Leadership Circle

Arts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by providing advice to the A&L Miller McCune Executive Director, cultivating new supporters and assisting with fundraising activities. Judy Anticouni Arlene Bergman Meg Burnham Annette Caleel Barbara Delaune-Warren Genevieve & Lewis Geyser Eva Haller Luci Janssen Nancy Walker Koppelman Alicia Lancashire Donna Christine McGuire Maxine Prisyon Bobbie Rosenblatt Heather Sturgess Anne Smith Towbes

Diamond - $100,000+ Anonymous Arlene & Barrie Bergman Meg & Dan Burnham Marcia & John Mike Cohen Margo Cohen-Feinberg & Bob Feinberg Audrey & Timothy Fisher Luci & Richard Janssen Tom Kenny & Susan McMillan Susan & Craig McCaw Sara Miller McCune Kay R. McMillan Orfalea Foundation Lady Leslie Ridley-Tree SAGE Publications Fredric E. Steck Anne & Michael Towbes Lynda Weinman & Bruce Heavin William H. Kearns Foundation

Platinum - $50,000+

Arts & Lectures Legacy Circle Arts & Lectures is pleased to acknowledge the generous donors who have made provisions for future support of our program through their estate. Judy & Bruce Anticouni Estate of Helen Borges Timothy & Audrey Fisher Estate of Hester Schoen Connie J. Smith Irene & Ralph Wilson

Anonymous John P. & Jody M. Arnhold Mary & Gary Becker Annette & Dr. Richard Caleel Eva & Yoel Haller Ellen & Peter O. Johnson Santa Barbara Foundation Heather & Tom Sturgess The Towbes Fund for the Performing Arts

Gold - $25,000+

Arts & Lectures Honor Roll of Donors Arts & Lectures is pleased to acknowledge the generous donors whose support enables us to offer quality programming, provide arts education and outreach activities to UC Santa Barbara students and the community, and maintain affordable ticket prices. Recognition is based upon a donor’s cumulative giving/pledges within a 12-month period. Every effort has been made to assure accuracy. Please notify our office of any errors or omissions at (805) 893-3465. List current as of March 15, 2014.

Anonymous Marcy Carsey Carla Hahn Sue & Brian Kelly Diana and Simon Raab Foundation Liza Rassner Dr. Bob Weinman Yardi Systems, Inc.

Silver - $10,000+ Leslie & Ashish Bhutani Sheila & Michael Bonsignore Barbara Delaune-Warren William & Christine Fletcher Genevieve & Lewis Geyser Patricia Gregory for the Baker Foundation Judith Hopkinson Hutton Parker Foundation Melissa R. & Ralph T. Iannelli Morris and Irma Jurkowitz

Gretchen & Robert Lieff Lillian Lovelace Marilyn & Richard Mazess Diane Meyer Simon Montecito Bank & Trust The Samuel B. & Margaret C. Mosher Foundation Rusty’s Pizza The Simms/Mann Family Foundation John & Amy Underwood Marsha* & Bill Wayne Westmont College Andre Yew

Producers Circle Executive Producer $5,000+ Glenn & Valerie Alger Pat & Evan Aptaker Sarah Argyropoulos Albert & Elaine Borchard Foundation Nancy Brown Roger & Sarah Chrisman Deanna & Jim Dehlsen ERG Resources - Scott Wood Connie Frank & Evan Thompson Allison & Brian Frederick Judy & Jeff Henley Joan & Robert R. Hollman Elaine & Herbert Kendall Patricia & John MacFarlane Mission Wealth Management, LLC Eric & Nina Phillips Lisa Reich & Robert Johnson Vicki Riskin & David W. Rintels Stephanie & Jim Sokolove Barbara Stupay The Towbes Foundation

Producer - $2,500+ Anonymous Actief-cm, Inc. Roxana & Fred Anson Judy & Bruce Anticouni Laurie Ashton & Lynn Sarko Hiroko Benko Léni Fé Bland Linda Stafford Burrows Beth Chamberlin Endowment for Cultural Understanding NancyBell Coe & William Burke Whitney & Tyler Duncan Cinda & Donnelley Erdman Martha & John Gabbert Nancy & Michael Gifford Cheryl & Michael Goldberg

Paul Guido & Stephen Blain Betsy & Jule Hannaford Mary J. Harvey Faith & Mel Henkin Hollye & Jeff Jacobs Julie & Jamie Kellner Linda & Bill Kitchen Jill & Barry Kitnick Mark Linehan Lisa Loiacono Sandra L. Lynne Marilyn Magid Barbara Mathews, MD & Michael Zirolli Brett Matthews & Ginger Salazar Lois & Mark Mitchell The Neubauer Family Nanette & Henry Nevins Joan Pascal & Ted Rhodes Stacy & William Pulice Susan J. Rose & Allan S. Ghitterman Bobbie & Ed Rosenblatt Bruce S. Russell Dr. William E. Sanson Mark Scher Patricia & James Selbert Stephanie & Fred Shuman Joan Speirs Suzanne & John Steed Russell Steiner Debra & Stephen Stewart The Stone Family Foundation Dianne & Daniel Vapnek Irene & Ralph Wilson Laura & Geoff Wyatt Lori & George Zimmer

Associate Producer - $1,500+ Anonymous (3) Sherri Ball Kathleen Barry, Ph.D. Arnie & Jill Bellowe Virginia Berns & Anthony Aira Leslie & Philip Bernstein Tina Berry Celesta M. Billeci & John Hajda Vicky Blum & David Lebell Rochelle & Mark Bookspan Susan E. Bower Susan D. Bowey Karen & Peter Brill Wendy Bruss Lalla & Rinaldo Brutoco M. Peyton & Suzanne Bucy Andrew D. Butcher Dinah & Ricardo Calderon Carol & Andrew Campbell

(805) 893-2174 /


Lynne Cantlay & Robert Klein Susan & Claude Case Robin & Daniel Cerf Karla & Richard Chernick Dean & Darcy Christal Drs. Susanne & J.W. Colin Trudy & Howard Cooperman William B. Cornfield Ann Daniel Phyllis De Picciotto & Stan Roden Laurie Deans & Joseph Medjuck Patty DeDominic & Gene Sinser Josie & Jeff DeVine Dr. David W. Doner Jr. Ginni & Chad Dreier Jane Eagleton Doris & Tom Everhart Maria & Joe Fazio Marion & Richard Flacks Carole & Ron Fox Teri & Eric Gabrielsen Beth & Dodd Geiger Cindy & Robert Gelber Anne & David Gersh Marianne & Paul Gertman Elaine & Jerry Gibson Arlyn & Marlowe Goldsby Natalie & Richard Harpham Yonie Harris Michael Hayes & Kim Phillips Linda Hedgepeth & Michael Millhollan Ruth & Alan Heeger Cecia & Milt Hess Donna & Daniel Hone Andrea & Richard Hutton Shari & George Isaac Lisa & Scott Johnson Sharyn Johnson Gerd & Peter Jordano Martha & Peter Karoff Susan Keller & Myron Shapero M.D. Margaret & Barry Kemp Mr. & Mrs. Richard B. Kennelly Robert W. Kohn Nancy Walker Koppelman & Larry Koppelman Carol Kosterka ZoĂŤ Landers Carl & Diana Lasner The Lehrer Family Foundation Carol Spungen & Aaron Lieberman Siri & Robert Marshall Ruth & John Matuszeski R. Emmett & Jadwiga McDonough Sheila & Frank McGinity Amanda & James* McIntyre Martin McKenzie


Daniel Meisel & Amy Wendel Ronnie Haran Mellen & Chase Mellen III Suzanne & Duncan Mellichamp Anne & Hale Milgrim Ginger & Marlin Miller Betsey von Summer Moller & John Moller Val & Bob Montgomery Maryanne Mott Myra & Spencer Nadler Dale & Mike Nissenson Janet Oetinger Lynn & Mel Pearl Constance Penley Ann & Michael Pless Jach Pursel & Enrique Dominguez Ellen & Robert Raede Dr. Raymond B. & Barbara Robins Justine Roddick & Tina Schlieske Jean Rogers Kyra & Tony Rogers Sybil Rosen Gayle & Charles Rosenberg Julie & George Rusznak Jo & Ken Saxon Marilyn Rickard Schafer & Donald Schafer Lila & Joseph Scher Mary Lane Scherer & Jim Brous Ed & Maureen Seder Ned Seder & Lilyan Cuttler Ayesha & Mohammed Shaikh Judith & Lawrence Silverman Bhupi Singh & Gurinder Kaur Connie J. Smith Anita & Eric Sonquist John A. Sonquist Mary Jo Swalley Robert & Leah Temkin Patricia Toppel Barbara & Sam Toumayan Sandra & Sam Tyler Elizabeth & Taylor Tyng Alan & Kathryn Van Vliet Sherry & Jim Villanueva MaryBeth & Jim Vogelzang Sue & Bill Wagner Kathy & Bill Weber Jean Weidemann & the Weidemann Foundation Harold Williams & Nancy Englander Winick Architecture & Design Noelle & Dick Wolf Nicole & Kirt Woodhouse Crystal & Clifford Wyatt Carolyn & Philip Wyatt JoAnne & Michael Young

Circle of Friends Director - $1,000+ Lyn & David H. Anderson Leinie Schilling Bard Susan & Mark Bertelsen Bonnie & Frank Burgess Joan & Bill Crawford Dorothy & Stanley* Flaster Debbie & Dan Gerber Joyce M. Greene Jane & Norman Habermann Alex & Bob Nourse Mark & Lynda Schwarz Denise & James Taylor George & Amy Tharakan Bruce & Susan Worster

Partner - $500+ Anonymous Steve & Peggy Barnes John & Sue Burk Virginia Castagnola-Hunter Marilyn & George Clayton Dr. Jane De Hart & Bejamin Cohen Curt & Sallie Coughlin Michael Doherty & Margaret Ricks Jonathan & Natalie Firstenberg Ghita D. Ginberg Stina Hans & Joel Kreiner Jerry Isenberg & Caroline MacDougall Mary & Thomas Jacob Paula Kislak Robert & Nancy Knight Pat Lambert & Rick Dahlquist Alicia Lancashire Elinor & James Langer Jere & Fima Lifshitz Mary Lock Linda & Martin Moskovits Joan & Bill Murdoch Drs. Joseph & Annellie Purdy Judith Etchelecu Prutzman & P. Edward Prutzman Susannah Rake Robin & Chuck Rickershauser Sandy Robertson Christiane Schlumberger Ashley & Tim Snider Steve Starkey & Olivia Erschen Barbara Voorhies

Patron - $250+ David & Kathryn Allen Pamela Benham & Paul Hansma Douglas & Rachel Burbank

Barbara Calder David & Claudia Chapman Margo Chapman Penny Darcy Nancy & Roger Davidson Edward S. DeLoreto Dr. Jeana L. Dressel Michael K. Dunn Priscilla & Jason Gaines Patricia Green & Victor Cole Parry Gripp & Aylene Rhiger Gripp Susan Gwynne Jerome & Joan Haber Tamar P. Handelman Douglas H. Harris Laura Haston & Frank Davis Julie & John Kennedy Dr. Robert & Leila Noel Kathlyn & Bill Paxton Craig Penner Deborah & Ken Pontifex Julie & Chris Proctor Loretta Redd, Ph.D. Mary Lou & Clay Running Erlaine H. Seeger Jack & Anitra Sheen Chuck & Missy Sheldon Susan Sheller & Bob Roe Robert A. Sorich Elizabeth & K. Martin Stevenson Gail & David Teton-Landis Anne & Tony Thacher Joseph Thomas Justine & Roger Thompson Carol Wharmby Ronald & Helayne White Muriel Zimmerman

Friend - $100+ Anonymous (8) James Acos Christine Allen Sabrina Aranda (3 months lapsed) Christopher & Ariana Arcenas-Utley Bernadette Bagley William A. Baker Laurel Barrack Elizabeth & Richard Barton Lisa Bass Ralph & Janice Baxter Ila & Robert Bayha John & Nan Bedford Steve Bellamy & Laurel Leone Wayne R. Benner Edward & Holly Bennett James Benzian

(805) 893-2174 /

Norrine Besser Linda & Peter Beuret Mary & John Blair Barbara A. Bolton Debra Brandon Eileen & Doug Bristol Drs. Paula & Thomas Bruice Ginny Brush & Mari Bartoli Jane Carlisle Diana & Steve Charles Howard & JoAnn Chase Annie & George Cheng Burt & Wilma Chortkoff Arthur Collier Ann Cady Cooper Ashe Coutts Thomas Dain Construction Doreen Daley B.J. Danetra Steve Daniels Andrew & Adrianne Davis Gwen & Rodger Dawson Laura & Alex De Paoli Lila Deeds Thomas & Joan Dent Elizabeth Downing & Peter Hasler Ann & David Dwelley Margaret & Jerrold Eberhardt Jim & Jennifer Eby Eva Ein & Michael Palmer Rebecca Eldridge Gail Elnicky Chuck & Terri Fivash Doug & Tisha Ford Glenn Fout & Lorraine Lim John & Carole Garand Mrs. Marilyn Gevirtz Theresa Gorey Debra & Michael Gravo Lorna Hardy James B. Hartle Betty & Stan Hatch Kristine Herr Jorge Herrera Valerie J. Hoffman Geoffrey Hornby Gail & Stephen Humphreys Hannah-Beth Jackson & George Eskin Sarah Jacobs Barbara Janelle Mary Janotta Judy & Craig Jennings Kristen Johansen Ruth & Blake Johnson Mary Ann Jordan & Alan Staehle Cheryl & G.L. Justice

Anna & Petar Kokotovic Kim Kosai Daniel & Diane Krieger-Carlisle Christopher & Eleanor Land Don & Carol Lauer Pamela LaVigne & Matthew Tirrell Janice Toyo & David Levasheff Wayne A. & Catherine Lewis Pamela & Russell Lombardo Dr. Leslie Lundt Linda & Richard Lynn Craig & Sherry Madsen Gail & Robert Magnuson Carla J. Marcinkus Susan Matsumoto Christine & James McNamara John Meehan Lori K. Meschler Katharine Metropolis & Jeff Richman Raymond H. Milkman J Roger & Almeda Morrison Susan & Max Neufeldt Carol & Steve Newman Mireille & Peter Noone John Norris Tom & Victoria Ostwald Robert & Anne Patterson Carol Pattillo Dennis J. Perry Dorris Phinney & Owen Patmor Christopher Pilafian Donald Polk Minie & HF Pompe van Meerdervoort Elliot & Phyllis Prager Bonnie & Jess Rand Dr. Madison Richardson Gwen Rigby Leslie & Gary Robinson Adele R. Rosen Dan Rothschild & Susan Klein-Rothschild Justus & Helen Schlichting Dale & Judy Seborg Rhonda & Larry Sheakley Barbara Silver Harvey H. & Ellen Silverberg Jacqueline & Stephen Simons George & Jan Sirkin Lisa Stratton & Peter Schuyler Raymond L. & Louise Stone Terry & Art Sturz Diana Swartz Jo N. Sweeney Ted & Becky Swift Marshall M. Thomas Pamela & Matthew Tirrell

Patsy Tisch Lila Trachtenberg & George Handler Frederick & Marion Twichell Richard Vincent & Vickie Ascolese Mary Walsh Lynn Wan Robert Warner & Isabel Downs Alexis & Michael Weaver John & Susanne Weaver Dr. Alex Weinstein & Dr. Betty Helton Mort & Judy Weisman Richard Weist Kathleen Witte Diana Woehle Timothy R. Wood Margaret W. Wright Theresa Yandell Don & Anna Ylvisaker Seyburn Zorthian & Marc McGinnes * deceased

Granting Organizations California Arts Council Cohen Family Fund of the Community Foundation for Southeast Michigan The James Irvine Foundation New England Foundation for the Arts’ National Dance Project National Endowment for the Arts Orfalea Foundation Santa Barbara County Arts Commission Santa Barbara Foundation The Towbes Foundation UCSB Office of Academic Preparation Western States Arts Federation William H. Kearns Foundation

Arts & Lectures Endowments The Fund for Programmatic Excellence The Commissioning of New Work Fund The Education and Outreach Fund Beth Chamberlin Endowment for Cultural Understanding The Harold & Hester Schoen Endowment Sonquist Family Endowment

Thank You! Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

Arts & Lectures Staff Celesta M. Billeci, Miller McCune Executive Director Roman Baratiak, Associate Director Meghan Bush, Director of Marketing & Communications Michele Bynum, Senior Artist Emily Cesca, Financial Analyst Diane Deal, Special Projects Manager Kevin Grant, Business Analyst Susan Hodges, Public Events Assistant Karna Hughes, Senior Writer / Publicist Brittany Kemp, Administrative Assistant Mari Levasheff, Media / Marketing Associate Elisabeth Leader, Director of Development Laureen Lewis, Director of Operations Jim Muneio, Ticket Office Manager Cori Ochoa, Development Assistant Cathy Oliverson, Manager for Performing Arts & Educational Outreach Sandy Robertson, Senior Director of Development & Special Initiatives Heather Silva, Programming Manager

Campbell Hall Staff Sarah Jane Bennett, Public Events Manager John O. Davis, Campbell Hall Manager Cameron Squire, Public Events Manager

(805) 893-2174 /


An Evening with

Garrison Keillor

with Richard Dworsky, piano WED, APR 2 / 8 PM / GRANADA THEATRE

photo: Andrew Harrer

Corporate Sponsor:

Garrison Keillor Garrison Keillor was born in 1942 in Anoka, Minnesota, and began his radio career as a freshman at the University of Minnesota, from which he graduated in 1966. He went to work for Minnesota Public Radio in 1969, and on July 6, 1974, he hosted the first broadcast of A Prairie Home Companion in St. Paul. Four million listeners on more than 600 public radio stations now hear the show each week. In 2006, Keillor portrayed himself in the movie adaptation of his show, A Prairie Home Companion. The film features Meryl Streep and Lily Tomlin as the singing Johnson sisters, Lindsay Lohan as Streep’s daughter, Woody Harrelson and John C. Reilly as singing cowboys Lefty and Dusty, and Tommy Lee Jones as the Axeman. Keillor is also the author of many books, including Lake Wobegon Days (1985); The Book of Guys (1993); The Old Man Who Loved Cheese (1996); Wobegon Boy (1997); Me: By Jimmy “Big Boy” Valente As Told to Garrison Keillor (1999); Love Me (2003); Homegrown Democrat (2004); Pontoon (2007); Liberty: A Lake Wobegon Novel (2008); and Life Among the Lutherans (2009). In 2013, Keillor released his first book of poetry called O, What a Luxury: Verses Lyrical, Vulgar, Pathetic & Profound. Keillor has received a Grammy Award for his recording of Lake Wobegon Days. He has also received two Cable ACE Awards and a George Foster Peabody Award. He is a member of the American Academy of Arts and Letters, and recently was presented with a National Humanities Medal by


the National Endowment for the Humanities. In 1994, he was inducted into the Radio Hall of Fame at Chicago’s Museum of Broadcast Communications.

Richard Dworsky Each week on A Prairie Home Companion, Richard Dworsky leads The Guy’s All-Star Shoe Band and appears as keyboardist, composer and arranger. A PHC regular since 1986, he’s accompanied Garrison Keillor on U.S. and European concert tours and provided original music for many Keillor recordings. Credits include: 32 years as a studio musician, two years accompanying singer Al Jarreau, composer for The Marvelous Land of Oz (televised on Showtime) and the animation, A Joan Walsh Anglund Christmas. Original music CDs include The Path to You and So Near and Dear to Me, and his piece, A Morning With The Roses, appears on many Windham Hill Records compilations. Pre-signed books are available for purchase in the lobby

Special thanks to

Asif Ali Khan THU, APR 3 / 8 PM / Campbell Hall

photo: Cynthia Sciberras

Asif Ali Khan, lead vocals Raza Hussain, harmonium & solo vocals Sarfraz Hussain, harmonium & solo vocals Ali Khawar, tabla & chorus Imtiaz Hussain Shibli, chorus Waheed Mumtaz Hussain, chorus Shah Nawaz Hussain, chorus Manzoor Hussain Shibli, chorus Umar Draz Hussain, chorus

About the Program Qawwali is an art that is transmitted orally. The texts of tonight’s songs are drawn from ancient Persian Sufi poetry, as well as more recent Punjabi literature. They are sung in Urdu, Punjabi and Farsi. Since songs for a qawwali performance are chosen according to the mood of the artists and their assessment of the audience, there is no set program. Traditionally a performance will begin with a hamd (in praise of God) and continue with a na’t-i-sharif (in praise of Mohammed). Then there will be verses dedicated to various Sufi saints. After that, the artist’s choice of verses is governed by his assessment of the audience, taking particular note of the preferences of any spiritual leader or important person in attendance.

About Qawwali Music “It is the courage of each, it is the power of flight, Some fly and remain in the garden, some go beyond the stars.” – Amir Khusrau, 13th century Americans were first introduced to the ecstatic singing of South Asia, known as qawwali, in 1975 when the Asia Society organized the first tour of the U.S. by the famed Sabri Brothers of Pakistan. A subsequent tour in 1978, culminating in a sold-out concert at Carnegie Hall, was greeted with wild enthusiasm by devotees and initiates alike. While the Sabri Brothers and other qawwali ensembles continued to visit the U.S. from time to time, it was

not until Nusrat Fateh Ali Khan was invited to perform at the Brooklyn Academy of Music in 1989 and his subsequent residency at the University of Washington in Seattle in 1992 that qawwali began to be heard again in the U.S. outside the South Asian community. In 1993, a 13-city tour of North America organized by the World Music Institute cemented Nusrat’s reputation in the U.S. and helped build a far wider interest in qawwali. Qawwali means literally “utterance” in Urdu. The word stems from the Arabic qua’ol meaning an axiom or dictum relating to religious subjects, the recitation of which helps to purify both thought and deed. Associated in particular with the Sufi Chisti order, qawwali originated in the medieval mystical practice of sama’ (Arabic: “listening,” “audition”). Sama’, like zikr, the ceremony of remembrance in which the names of God are repetitively invoked, is an essential vehicle for revelation and union with the divine. Both sama’ and zikr may also be seen as instrumental in advancing the great classical music traditions of the Muslim world – the Turko-Arabic maqam and the Persian dastgah – which, in turn, influenced the North Indian raga tradition. Thus, while music as a secular pursuit has largely been condemned by orthodox Islam, for most Sufis it has traditionally been a fundamental prerequisite. By the end of the 11th century, sama’ was a spiritual concert that included sung poetry by a soloist or chorus with instrumental interludes. The concert took place under the direction of a sheikh or pir (religious leader). The faithful


participated by listening in a state of inner contemplation, which might lead to a state of trance. The main argument among Sufis has centered around the use of music to achieve a state of ecstasy; while some see music as a means to get closer to the Divine, others see musical trance as an end in itself, implying that the state of ecstasy is a manifestation of God. The art of qawwali, as with most of the great Asian musical and literary traditions, is transmitted orally. The mystical verse associated with qawwali is best appreciated by listening. The vehicle of music is used to bring one closer to the experience of the inner truth. The qawwal will dwell on certain words, often repeating them, taking the audience into the discovery of hitherto obscure meanings. Thus, mundane objects are imbued with deeper meaning – a spinning wheel becomes the wheel of life. Repeating a sentence or phrase until all meaning is exhausted and it becomes meaningless is a means to bring the audience closer to ma’rifat, “inner truth.” Thus, as with the Buddhist repetition of a mantra, semantic reality is negated and a new truth emerges that transcends linguistic barriers. Regular participants in qawwali sessions often use the concept of flight or travel to describe their experience. This is a phenomenon well known to shamans and practitioners of religious ceremonies involving trance-like states. This sensation of flight brought about through rhythmic music and chant is known as hal. The manifestation of this ecstatic state can range from a simple swaying of the head or body to violent convulsions. At such times, as, when a member of a congregation at a gospel revival meeting is “possessed by the Holy Spirit,” friends will shield him from harm until he is eased back into a state of “normalcy.” The great masters of qawwali are able to move entire audiences to a hal even if they do not understand a single word of the language. Qawwali texts are taken mostly from the great medieval Persian mystical poets such as Amir Khusrau, Jalal’uddin Rumi and Hafez, as well as Indian saints such as Nizamuddin Auliya (14th century) and popular Punjabi poets such as Bulleh Shah (18th century). While most qawwals are in Urdu or Punjabi, there are others in Persian and regional South Asian languages. Rarely is a complete poem recited; rather the singer will join segments or verses from different poems or add lines from another text to emphasize a point. Each qawwali song has, at its core, a principal poem, often a ghazal. The poem is usually preceded by two introductory parts: an instrumental prelude (naghma) played on the harmo-


nium, and an introductory verse sung solo in a recitative style (ruba’i or doha). This introduction serves to indicate the topic of the main poem and to gauge the audience’s response. If it is favorable, the qawwal continues with the main poem in the same mode; if not, then he will chant another verse introducing a different poem. The poetry is often allegorical and charged with symbolism. Much of it has a seemingly erotic or romantic nature but is not intended to be taken literally. Yet the profane world is never denied – for what is human is Divine and what is Divine is human. The frequently used term “Beloved” refers to Divine love (for God or his Prophet, Mohammed). Terms such as “face” and “tresses” signify the spiritual qualities of the master; building a “house” signifies the pursuit of material well-being. Much use is made of the terms “wine” and “tavern”: Wine refers to the love of God, which intoxicates the initiate, and tavern refers to the spiritual master or sheikh, whose heart is the repository of God’s love. “The analogy of qawwali to African-American gospel is valid in more ways than one, for out of both idioms a secular form has evolved. Just as soul music grew out of the music of the African-American church, in recent years qawwali-style music, albeit with different lyrics, can be heard in Bollywood movies, as “disco,” or as background music for television shows.” – Robert H. Browning

Asif Ali Khan Asif Ali Khan was born in 1973, the youngest son of Manzoor Hussain, a well-known singer from a famous Pakistani musical family. He traces his musical ancestry back more than 350 years. His great-grandfather Mian Maula Baksh, who was one of the most famous classical singers of the Indian subcontinent, founded his qawwali group more than 80 years ago. After partition in 1947, Asif ’s grandfather Santoo Khan moved the family to Pakistan, settling in Lahore. Here the group, known at this time as Santoo Khan Qawwal, became extremely popular both for its wide repertoire of classical, spiritual and popular songs, as well as its superb command of Urdu, Persian and Punjabi. The group was one of the first to record qawwali music and was regularly heard on All Pakistan Radio. Santoo Khan died in the late 1980s whereupon his son Manzoor Hussain took over the leadership. By this time all seven of Manzoor’s sons, including Asif, were performing with the group. From his early days as a teenager,

Asif was praised for his outstanding vocal qualities. In the early ’90s, his father introduced him to the legendary Nusrat Fateh Ali Khan. Asif ’s impeccable diction, brilliant inventiveness and sincerity endeared him to the master. He became Nusrat’s premier student in 1995 and within a short while took over the vocal leadership for the group from his father. In 1999, he was named “Best Young Pakistani Qawwali” by Lok Versa (National Institute of Folk Heritage of Islamabad). Over the past decade, he has embarked on numerous concert tours in Europe, Asia, Australia and the Middle East while continuing to offer his singing at religious shrines throughout Pakistan. His ensemble appeared at the 2012 Olympics in London, and in 2013 performed at WOMAD festivals in London and Moscow. Since the death of Nusrat Fateh Ali Khan in 1997 there have been many contenders to inherit his place as “Emperor of Qawwali.” There is no doubt now that Asif Ali Khan has emerged as the one of the genre’s reigning princes. While remaining true to the Punjabi tradition that was Nusrat’s hallmark, he has developed a style and presence all of his own.

Asif Ali Khan’s tour has been organized by Robert Browning Associates. Robert Browning was the co-founder of the Alternative Museum and the World Music Institute in New York. Under his direction, these two organizations presented more than 1,800 concerts and organized U.S. tours by some of the most influential artists from Asia, the Middle East and Europe, including Nusrat Fateh Ali Khan, Masters of Persian Music, and The Gypsy Caravan. Asif Ali Khan’s Management: ZAMAN PRODUCTION Road Manager for the Asif Ali Khan U.S. Tour: André Wowconowitcz Asif Ali Khan’s tour is made possible by a grant from the Asian Cultural Council to City Lore, a fiscal sponsor for Robert Browning Associates Special thanks to

SAT, MAY 3 SOHO RESTAURANT & MUSIC CLUB 1221 State St # 205, Santa Barbara Day Pass: $40 (includes all three bands) For SOhO dinner reservations, call (805) 962-7776 SOhO is a standing-room/club venue. No assigned seating. With its first Americana Music Jam, A&L pays tribute to the roots of American music, featuring emerging artists and heavy hitters alike. Join us for a sonic ride that stomps, sways and swings into the past and present.

Run Boy Run 5 PM / $15 / $5 UCSB students A bluegrass quintet rooted in the old-timey Appalachian South that ventures into brave new musical frontiers.

The Haden Triplets 7 PM / $15 / $5 UCSB students Honeyed vocal harmonies and songs spun from Ozark tradition­, harkening back to the sweet melodizing of the Carter Family. As seen at SXSW!

Jackie Greene 9 PM / $22 / $5 UCSB students Bridging the alt-rock and jam-band worlds, singer-songwriter Jackie Greene mixes a dash of country-western and R&B into his rock and roll.

(805) 893-3535


Paul Farmer, M.D. In the Company of the Poor Sun, Apr 6 / 7 PM / Campbell Hall

Principal Sponsors: Dorothy Largay & Wayne Rosing Co-presented by Community Partner: Medical anthropologist and physician Paul Farmer has dedicated his life to improving health care for the world’s poorest people. He is a founding director of Partners In Health (PIH), an international non-profit organization that since 1987 has provided direct health-care services and undertaken research and advocacy activities on behalf of those who are sick and living in poverty. Dr. Farmer began his lifelong commitment to Haiti in 1983 while still a student, working with dispossessed farmers in Haiti’s Central Plateau. Starting with a one-building clinic in the village of Cange, Partners In Health’s project in Haiti has grown to a multi-service health complex that includes a primary school, an infirmary, a surgery wing, a training program for health outreach workers, a 104-bed hospital, a women’s clinic and a pediatric care facility. Over the past 20 years, PIH has expanded operations to 12 sites throughout Haiti and 12 additional countries around the globe. The work has become a model for health care for poor communities worldwide: Dr. Farmer and his colleagues in the U.S. and abroad have pioneered novel communitybased treatment strategies that demonstrate the delivery of high-quality health care in resource-poor settings. Dr. Farmer holds an M.D. and Ph.D. from Harvard University, where he is the Kolokotrones University Professor and the chair of the Department of Global Health and Social Medicine at Harvard Medical School; he is also chief of the Division of Global Health Equity at Brigham and Women’s Hospital, Boston. Dr. Farmer is also the United Nations Special Adviser to the Secretary-General on Community Based Medicine and Lessons from Haiti.


Dr. Farmer has written extensively on health, human rights and the consequences of social inequality. His most recent books are Reimagining Global Health: An Introduction and In the Company of the Poor: Conversations with Dr. Paul Farmer and Fr. Gustavo Gutierrez. Other titles include To Repair the World: Paul Farmer Speaks to the Next Generation; Haiti After the Earthquake; Partner to the Poor: A Paul Farmer Reader; Pathologies of Power: Health, Human Rights, and the New War on the Poor; The Uses of Haiti; Infections and Inequalities: The Modern Plagues; and AIDS and Accusation: Haiti and the Geography of Blame. Tracy Kidder’s book Mountains Beyond Mountains: The Quest of Dr. Paul Farmer, A Man Who Would Cure the World, chronicles the development of Dr. Farmer’s work in Haiti and beyond. Dr. Farmer is the recipient of numerous honors, including the Margaret Mead Award from the American Anthropological Association, the Outstanding International Physician (Nathan Davis) Award from the American Medical Association, a John D. and Catherine T. MacArthur Foundation Fellowship, and, with his PIH colleagues, the Hilton Humanitarian Prize. He is a member of the Institute of Medicine of the National Academy of Sciences and of the American Academy of Arts and Sciences. Books are available for purchase in the lobby and a signing follows the event

Les Ballets Trockadero de Monte Carlo TUE, APR 8 / 8 PM / GRANADA THEATRE

Eugene McDougle, General Director Tory Dobrin, Artistic Director Isabel Martinez Rivera, Associate Director

photo: Zoran Jelenic

Dancers Varvara Bratchikova Nadia Doumiafeyva Lariska Dumbchenko Helen Highwaters Nina Immobilashvili Natalie Kleptopovska

Principal Sponsors: The Towbes Fund for the Performing Arts, a field of interest fund of the Santa Barbara Foundation

Sonia Leftova Ida Nevasayneva Maria Paranova Eugenia Repelskii Moussia Shebarkarova Alla Snizova

Olga Supphozova Maya Thickenthighya Gerd Tord Yakatarina Verbosovich Giuseppina Zambellini

Ivan Legupski Sergey Legupski Vladimir Legupski Vyacheslav Legupski Mikhail Mypansarov Boris Nowitsky

Velour Pilleaux Yuri Smirnov Innokenti Smoktumuchsky Kravlji Snepek Pavel Tord

and Jacques d’Aneils Roland Deaulin Pepe Dufka Nicholas Khachafallenjar Stanislas Kokitch Andrei Leftov


Le Lac des Cygnes (Swan Lake, Act II) Music by Pyotyr Ilyich Tchaikovsky Choreography after Lev Ivanovich Ivanov Costumes by Mike Gonzales Décor by Jason Courson Lighting by Kip Marsh Swept up into the magical realm of swans (and birds), this elegiac phantasmagoria of variations and ensembles in line and music is the signature work of Les Ballets Trockadero. The story of Odette, the beautiful princess turned into a swan by the evil sorcerer, and how she is nearly saved by the love of Prince Siegfried, was not so unusual a theme when Tchaikovsky first wrote his ballet in 1877: The metamorphosis of mortals into birds and vice versa occurs frequently in Russian folklore. The original Swan Lake at the Bolshoi Theatre in Moscow was unsuccessful. A year after Tchaikovsky’s death in 1893, the St. Petersburg Mariinsky Ballet produced the version we know today. Perhaps the world’s best-known ballet, its appeal seems to stem from the mysterious and pathetic qualities of the heroine juxtaposed with the canonized glamour of 19th century Russian ballet.

Benno: Innokenti Smoktumuchsky (friend and confidant to) Prince Siegfried: Vyacheslav Legupski (who falls in love with) Odette: Lariska Dumbchenko (Queen of the) Swans: Varvara Bratchikova, Nadia Doumiafeyva, Helen Highwaters, Nina Immobilashvili, Natalie Kleptopovska, Sonia Leftova, Maria Paranova, Maya Thickenthighya (all of whom got this way because of) Von Rothbart: Yuri Smirnov (an evil wizard who goes about turning girls into swans) - Intermission -

Pas de Deux or modern work to be announced Go For Barocco Music by J.S. Bach Choreography by Peter Anastos Costumes by Mike Gonzales Lighting by Kip Marsh Stylistic heir to Balanchine’s Middle-Blue-Verging-on-Black-and-White Period, this ballet has become a primer in identifying stark coolness and choreosymphonic delineation in the new (neo) neo-new classic dance. It has been called a wristwatch for Balanchine clock-time.

First Movement (Moderato) Maya Thickenthighya and Giusepina Zambellini with Nadia Doumiafeyva, Natalie Kleptopovska, Helen Highwaters, Eugenia Repelskii Second Movement (Adagio) Maya Thickenthighya and Giusepina Zambellini Third Movement (Allegro) All 20

- Intermission -

Paquita Music by Ludwig Minkus Choreography after Marius Petipa Staged by Elena Kunikova Costumes by Mike Gonzales Lighting by Kip Marsh Paquita is a superb example of the French style as it was exported to St. Petersburg in the late 19th century. Paquita was originally a ballet-pantomine in two acts, choreographed by Joseph Mazillier, to music by Ernest Deldevez. The story had a Spanish theme, with Carlotta Grisi (creator of Giselle) as a young woman kidnapped by gypsies, who saves a young and handsome officer from certain death. Premiering at the Paris Opera in 1846, the ballet was produced a year later in Russia by Marius Petipa. Petipa commissioned Ludwig Minkus, the composer of his two most recent successes (Don Quixote and La Bayadère) to write additional music in order to add a brilliant “divertissement” to Mazillier’s Paquita. Petipa choreographed for this a pas de trois and a grand pas de deux in his characteristic style. These soon became the bravura highlights of the evening – to the point that they are the only fragments of Paquita that have been preserved. The dancers display a range of choreographic fireworks, which exploit the virtuoso possibilities of academic classical dance, enriched by the unexpected combinations of steps.

Ballerina and Cavalier: Olga Supphozova, with Mikhail Mypansarov Variations Variation 1: Alla Snizova Variation 2: Giuseppina Zambellini Variation 3: Nadia Doumiafeyva Variation 4: Nina Immobilashvili Variation 5: Sonia Leftova Variation 6: Olga Supphozova Program subject to change

About the Company Founded in 1974 by a group of ballet enthusiasts for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and en travesti, Les Ballets Trockadero de Monte Carlo first performed in the late-late shows in off-off Broadway lofts. The Trocks, as they are affectionately known, quickly garnered a major critical essay by Arlene Croce in The New Yorker, and combined with reviews in The New York Times and The Village Voice, established the Company as an artistic and popular success. By mid1975, the Trocks’ inspired blend of their loving knowledge of dance, their comic approach and the astounding fact that

men can, indeed, dance en pointe without falling flat on their faces, was being noted beyond New York. Articles and notices in publications such as Variety, Oui and The London Daily Telegraph, as well as a Richard Avedon photo essay in Vogue, made the Company nationally and internationally known. The 1975-76 season was a year of growth and full professionalization. The Company found management, qualified for the National Endowment for the Arts Touring Program and hired a full-time teacher and ballet mistress to oversee daily classes and rehearsals. Also in this season, they made their


first extended tours of the U.S. and Canada. Packing, unpacking and repacking tutus and drops, stocking giant-sized toe shoes by the case, running for planes and chartered buses all became routine parts of life. Since those beginnings, the Trocks have established themselves as a major dance phenomenon throughout the world. They have participated in dance festivals in Bodrum (Turkey), Bogota, Holland, Finland, San Luis Potosi, Madrid, Montreal, New York City, Paris, Lyon, Rome, Spoleto, Turin and Vienna. There have been television appearances as varied as a Shirley MacLaine special, The Dick Cavett Show, What’s My Line?, Real People, On-Stage America, with Kermit and Miss Piggy on their show Muppet Babies, and a BBC Omnibus special on the world of ballet hosted by Jennifer Saunders. There have been solo specials on national networks in Japan and Germany, as well as a French television special with Julia Migenes. A documentary was filmed and aired internationally by the acclaimed British arts program, The South Bank Show. The Company was featured in the PBS program, The Egg, about arts in America, winning an Emmy Award for the director, and appeared in a segment of Nightline in 2008. Several performances were taped by a consortium of Dutch, French and Japanese TV networks at the Maison de la Danse in Lyon, France, for worldwide broadcast and DVD distribution. Awards that the Trocks have won over the years include the prestigious Critic’s Circle National Dance Award for best classical repertoire (2007) (U.K.), the Theatrical Managers Award (2006) (U.K.) and the 2007 Positano Award (Italy) for excellence in dance. In 2008, the Trocks appeared at the 80th anniversary Royal Variety Performance, to aid the Entertainment Artistes’ Benevolent Fund, in London, attended by members of the British royal family. The Trocks’ numerous tours have been both popular and critical successes – their frenzied annual schedule has included 10 tours to Australia and New Zealand, 28 to Japan (where their annual summer tours have created a nationwide cult following and a fan club), nine to other parts of Asia, 12 to South America, three to South Africa and 74 tours of Europe, including 21 tours of the U.K. In the U.S., the Company has become a regular part of the college and university circuit in addition to regular dance presentations in cities in 49 states. The Company has appeared in over 34 countries and over 500 cities worldwide since its founding in 1974. Increasingly, the Company is presenting longer seasons, which have included extended engagements in New York City (at The Joyce Theater), Amsterdam, Athens, Auckland, Bangkok, Barcelona, Beijing, Berlin, Brisbane, Buenos


Aires, Caracas, Cologne, Dusseldorf, Edinburgh, Glasgow, Hamburg, Hong Kong, Johannesburg, Lisbon, London, Lyon, Madrid, Melbourne, Moscow (at the famed Bolshoi Theater), Paris (at the Châtelet Theater and Folies Bergère), Perth, Rome, Singapore, Sydney, Tokyo, Vienna and Wellington. The Company continues to appear in benefits for international AIDS organizations such as DRA (Dancers Responding to AIDS) and Classical Action in New York City, the Life Ball in Vienna, Dancers for Life in Toronto, London’s Stonewall Gala and Germany’s AIDS Tanz Gala. In addition, the Trocks have given, or participated in, special benefit performances for Connecticut Ballet Theater, Ballet Hawaii, Indianapolis Ballet Theater, Rochester City Ballet, Dancers in Transition (NYC), Sadler’s Wells Theater in London, the Gay and Lesbian Community Center, Young Audiences/Arts for Learning Organization, and the Ali Forney Center, which benefits homeless gay youths in New York City. In 2009, the Trocks gave a benefit performance for Thailand’s Queen Sirikit’s Scholarship Fund in Bangkok, which helps finance schooling for children of impoverished Thai families. The benefit helped raise over 400,000 dollars. The original concept of Les Ballets Trockadero de Monte Carlo has not changed. It is a Company of professional male dancers performing the full range of the ballet and modern dance repertoire, including classical and original works in faithful renditions of the manners and conceits of those dance styles. The comedy is achieved by incorporating and exaggerating the foibles, accidents and underlying incongruities of serious dance. The fact that men dance all the parts – heavy bodies delicately balancing on toes as swans, sylphs, water sprites, romantic princesses, angst-ridden Victorian ladies – enhances rather than mocks the spirit of dance as an art form, delighting and amusing the most knowledgeable, as well as novices, in the audiences. As for the future, the Trocks have plans for new works in the repertoire: new cities, states and countries to perform in; and the continuation of the Trocks’ original purpose: to bring the pleasure of dance to the widest possible audience. They will, as they have done for nearly 40 years, “Keep on Trockin’.”

Les Ballets Trockadero de Monte Carlo Dancers

Les Ballets Trockadero de Monte Carlo, Inc. is a nonprofit dance company chartered by the State of New York. Eugene McDougle, president; Lucille Lewis Johnson, vice-president; Vaughan de Kirby, vice-president; Tory Dobrin, secretary/treasurer.

Gerd Tord and Pavel Tord: Bernd Burgmaier (on leave) Olga Supphozova and Yuri Smirnov: Robert Carter Moussia Shebarkarova and Vyacheslav Legupski: Paolo Cervellera Natalie Kleptopovska and Nicholas Khachafallenjar: Loic Consalvo Sonia Leftova and Andrei Leftov: Boysie Dikobe Ida Nevasayneva and Velour Pilleaux: Paul Ghiselin Helen Highwaters and Vladimir Legupski: Duane Gosa Alla Snizova and Innokenti Smoktumuchsky: Carlos Hopuy Yakatarina Verbosovich and Roland Deaulin: Chase Johnsey Giuseppina Zambellini and Ivan Legupski: Davide Marongiu Nadia Doumiafeyva and Kravlji Snepek: Philip Martin-Nielson Maya Thickenthighya and Mikhail Mypansarov: Carlos Miller Lariska Dumbchenko and Pepe Dufka: Raffaele Morra Eugenia Repelskii and Jacques d’Aniels: Lawrence Neuhauser Nina Immobilashvili and Stanislas Kokitch: Alberto Pretto Maria Paranova and Boris Nowitsky: Carlos Renedo

All contributions are tax-deductible as provided by law.


Special thanks to

Box 1325, Gracie Station, New York City, NY 10028

The Trocks give special thanks to: The Harkness Foundations for Dance and Theordore S. Bartwink, The Joyce Theater Foundation, Heather Knight, Stephanie Webb, Elena Kunikova, Charla Genn, Ludmila Raianova and Jenny Palmer, Liz Harler, Lina Yang and Niels Gamm of IMG Artists Music for Les Sylphides, Swan Lake, Go for Barocco, Pas de Quatre, Raymonda’s Wedding and Paquita is conducted by Pierre Michel Durand with the Czech Philharmonic Chamber Orchestra, Pavel Prantl, leader Worldwide Representation by: IMG Artists Carnegie Hall Tower 152 West 57th St., 5th Floor New York, NY 10019 Phone: 212-994-3500 Fax: 212-994-3550

General Director: Eugene McDougle Artistic Director: Tory Dobrin Associate Director/Production Manager: Isabel Martinez Rivera Ballet Master: Paul Ghiselin Associate Ballet Master: Raffaele Morra Lighting Supervisor: Emily McGillicuddy Wardrobe Supervisor: Ryan Hanson Associate Production Manager: Barbara Domue Special Projects: Emily Rybinski-Benish Costume Designer: Kenneth Busbin Costume Designer (emeritus): Mike Gonzales Company Archivist (emeritus): Anne Dore Davids Stylistic Guru: Marius Petipa Program Notes: P. Anastos, et al. Accounting: ASBA, Inc. Orthopedic Consultant: Dr. David S. Weiss Photographers: Zoran Jelenic, Sascha Vaughan


The Assad Family A Brazilian Songbook WED, APR 9 / 8 PM / CAMPBELL HALL

Odair Assad, guitar Sérgio Assad, guitar Badi Assad, guitar, bass guitar, percussion and voice Clarice Assad, piano, bass guitar and voice Carolina Assad, voice photo: Fred Carvalho

Aníbal Augusto Sardinha (“Garoto”): Medley Egberto Gismonti: Palhaço Baden Powell: Tempo Feliz Sérgio & Odair

- Intermission -

Badi Assad: Noite de São João Billy Blanco: Banca do Distinto Badi Assad: Improviso Vocal Badi

Haroldo Barbosa/Geraldo Jacques: Adeus América Clarice & Carolina

Pixinguinha: Carinhoso Badi, Clarice & Carolina Edu Lobo: Casa Forte All

J. Moreno: Capitão Guinga: Senhorinha Sérgio, Odair & Carolina

Carlos Lyra: Influência do Jazz Milton Nascimento: Ponta de Areia Clarice Gabriel Levy: Baião de 5 Various: Medley of sambas All

Sérgio and Odair Assad Brazilian-born brothers Sérgio and Odair Assad have set the benchmark for all other guitarists by creating a new standard of guitar innovation, ingenuity and expression. Their virtuosity has inspired a wide range of composers to write for them, including Astor Piazzolla, Terry Riley, Radamés Gnattali and Marlos Nobre. Sérgio Assad has recently added to their repertoire by composing music both for the duo and for various musical partners, with symphony orchestras and in recitals. They have worked


with renowned artists such as Yo-Yo Ma, Nadja SalernoSonnenberg, Paquito D’Rivera, Gidon Kremer and Dawn Upshaw. In 2001, Nonesuch Records released Sérgio and Odair Assad Play Piazzolla, which won a Latin Grammy. Their follow-up recording, Jardim Abandonado was nominated for Best Classical Album, and Sérgio Assad went on to win the Latin Grammy for his composition, “Tahiiyya Li Oussilina.”

In 2011, Odair Assad undertook his first solo guitar concert tour in North America. Sérgio Assad composed the concerto Phases, which the duo premiered with the Seattle Symphony. Sérgio Assad’s “Interchange,” (written for the Los Angeles Guitar Quartet) and “Maracaipe” (for the Beijing Guitar Duo) were nominated for Latin Grammys in the Best Classical Composition Category. In 2003, the Assad Brothers released the Grammywinning Obrigado Brazil with Yo-Yo Ma, Rosa Passos, Egberto Gismonti and Cyro Baptista. In 2009, they were featured on Yo-Yo Ma’s chart-topping release, Songs of Joy & Peace, with guest artists as diverse as James Taylor and Dave Brubeck. In the spring of 2013, Sérgio and Odair toured with the inimitable Paquito D’Rivera and released, Dances from the New World, which was also nominated for a Latin Grammy.

Clarice Assad Described by the Los Angeles Times as a “dazzling vocal soloist” and by Gramophone (U.K.) as “one of Brazil’s most brilliant young composers,” Clarice Assad is a sought-after composer, arranger, pianist and vocalist of great musical depth and creativity. The eldest daughter of Sérgio Assad, her music embraces a wide variety of styles. Clarice has received acclaim for her performances of both original compositions and her arrangements of popular Brazilian and jazz standards, performing at venues such as the Caramoor Jazz Festival, Jazz at Lincoln Center, Zankel Hall, Concertgebouw and the SFJAZZ Center, among others. She is the recipient of the Aaron Copland Award, several ASCAP awards, the Van Lier Fellowship, the Franklin Honor Society Award, as well as a nomination from the Latin Grammy Foundation for best contemporary composition. She has been commissioned by Carnegie Hall, Fundação OSESP, Concordia Chamber Players, the Albany Symphony, PRO MUSICA Chamber Orchestra, and the BRAVO! Vail Music Festival, to name a few. In 2014, Clarice serves as Albany Orchestra’s ComposerEducator partner, curating an educational project with a local school, and will join the orchestra for a performance of her Concerto for Scat-Singer, Piano and Orchestra in May 2014. She is currently a resident artist at the American Lyric Theater, writing a one-act opera, which will be premiered in New York City in July.

Badi Assad Badi Assad is a gifted guitar player, singer, vocal juggler and songwriter from São Paulo, revered as one of the most prolific and virtuosic artists of her generation. The Los Angeles Times remarked that “Badi Assad redefines solo (guitar) performance. Revelatory, a brilliant display of innovation, imagination, and skill… almost hypnotically compelling.” She has released more than 11 albums worldwide. Her 2006 recording Wonderland (Deutsche Grammophon) was selected as one of the Top 100 Albums of the Year by the BBC and was included in the top 30 on Guitar Player magazine listed Badi as “one of the guitar players that would revolutionize the world” along with other noted performers such Ben Harper and Ani DiFranco. Badi Assad has collaborated with Bobby McFerrin, Sarah McLaughlin, Larry Coryell and John Abercrombie, among others. She has represented Brazil in the acclaimed Farm Aid and Lilith Fair festivals. Her song “Waves” was featured in the film It Runs in the Family with Michael and Kirk Douglas. In 2012, Badi released her first album through her own label titled Between Love and Luck. This project led to the Composer of the Year award from APCA (Associação Paulista dos Críticos de Arte)/BR and landed her in the “Brazilian Guitar Masters of History” profile in Rolling Stone.

Carolina Assad Carolina Assad was born in Rio de Janeiro in 1979 and is the oldest daughter of Odair Assad. Although she showed great musical skill throughout her childhood, she decided to study physiotherapy at the Centro Universitário Moacyr Sreder Bastos in Rio de Janeiro, graduating in 2002. During her university years, Carolina joined the school’s symphonic choir, where her beautiful and natural voice resonated. As a member of the choir she appeared in prominent concert halls in Rio de Janeiro and São Paulo. After Carolina’s return to music, she joined the vocal group BeBossa with whom she worked for several years. In 2011, she left the group and began a solo career. In 2013, Carolina recorded her first CD, the album Querelas do Brasil, released in March 2014 by Belgium label GHA Records. Exclusive Management: Opus 3 Artists 470 Park Ave. South New York, NY 10019 Sérgio and Odair Assad play Thomas Humphrey guitars.


An Evening with

Malcolm Gladwell Fri, Apr 11 / 8 PM / Arlington Theatre

Supported in part by:

photo: Bill Wadman

Community Partner:

Malcolm Gladwell is the author of five New York Times bestsellers – The Tipping Point, Blink, Outliers, What the Dog Saw, and now, his latest, David and Goliath: Underdogs, Misfits and the Art of Battling Giants. He has been named one of the 100 most influential people by Time magazine and one of Foreign Policy magazine’s Top Global Thinkers. Gladwell has explored how ideas spread in The Tipping Point, decision making in Blink, and the roots of success in Outliers. With his latest book, David and Goliath, he examines our understanding of the advantages of disadvantages, arguing that we have underestimated the value of adversity and over-estimated the value of privilege. Gladwell has been a staff writer for The New Yorker since 1996. He has won a National Magazine Award and been honored by the American Psychological Society and the American Sociological Society. He was previously a reporter for The Washington Post.

Pre-signed books are available for purchase in the lobby

Special thanks to


Words & Music An Evening with

Billy Collins & Aimee Mann THU, APR 17 / 8 PM / CAMPBELL HALL

Principal Sponsors: Lillian Lovelace Diana and Simon Raab Foundation photo: Sheryl Nields

photo: Steven Kovich

Community Partner:

Billy Collins Billy Collins is an American phenomenon. No poet since Robert Frost has managed to combine high critical acclaim with such broad popular appeal. His work has appeared in a variety of periodicals including The New Yorker, The Paris Review and The American Scholar. He is a Guggenheim Fellow and a New York Public Library “Literary Lion.” His last three collections of poems have broken sales records for poetry. His readings are usually standing-room only, and his audience – enhanced tremendously by his appearances on National Public Radio – includes people of all backgrounds and age groups. The poems themselves best explain this phenomenon. The typical Collins poem opens on a clear and hospitable note but soon takes an unexpected turn; poems that begin in irony may end in a moment of lyric surprise. No wonder Collins sees his poetry as “a form of travel writing” and considers humor “a door into the serious.” It is a door that many thousands of readers have opened with amazement and delight. Billy Collins has published 10 collections of poetry, including Questions About Angels, The Art of Drowning, Picnic, Lightning, Sailing Alone Around the Room: New & Selected Poems, Nine Horses, The Trouble With Poetry and Other Poems, Ballistics, and Horoscopes for the Dead. A collection of his haiku, titled She Was Just Seventeen, was published by Modern Haiku Press in 2006. He has also published two chapbooks, Video Poems and Pokerface. In addition, he has edited two anthologies of contemporary poetry: Poetry 180: A Turning Back to Poetry and 180 More: Extraordinary Poems for Every Day, was the guest editor of

The Best American Poetry 2006, and edited Bright Wings: An Illustrated Anthology of Poems about Birds, with paintings by David Allen Sibley (2009). His most recent book is Aimless Love: New and Selected Poems 2003 – 2013. Among the honors Billy Collins has received are fellowships from the New York Foundation for the Arts and the National Endowment for the Arts. He has also been awarded the Oscar Blumenthal Prize, the Bess Hokin Prize, the Frederick Bock Prize, and the Levinson Prize – all awarded by Poetry magazine. In 2004, Collins was selected as the inaugural recipient of the Poetry Foundation’s Mark Twain Prize for Humor in Poetry. In 2013, Collins was selected as the fourth winner of the Donald Hall-Jane Kenyon Prize in American Poetry. In 2001, Collins was appointed United States Poet Laureate, a post he served till 2003. In 2004, he was named New York State Poet Laureate. Collins is a Distinguished Professor of English at Lehman College of the City University of New York, as well as a Senior Distinguished Fellow of the Winter Park Institute at Rollins College. Visit Billy Collins on Facebook:


Aimee Mann Aimee Mann isn’t mired in the traditional business of strictly writing love songs, but more prone to dive into the vast majority of human interactions that almost never get a song written about them. “To me, the dynamics of a situation can be applied to anything,” says the singer-songwriter. “In a love relationship, it just gets amplified, and then people get crazier about the results. But it’s usually all the same kind of stuff, regardless of who you’re dealing with.” Her latest album, Charmer (2012), is an entertaining chronicle of human faults, foibles, dysfunction and self-delusion. It delivers its own charm with a production style that sometimes harks back unabashedly to an era when electric guitars and synths walked the earth together in harmony: the ’70s. The full sound is in stark contrast to her previous album, 2008’s Smilers, and it might be her fullest-sounding album since the I’m With Stupid era. “I think if you’re emulating or inspired by that sort of era of radio pop, it’s just by nature more ‘produced,’ ” she says. “I wanted to go back to: Remember when synthesizers were super-fun and brand new?” “Super-fun” is not a term that everyone would expect to escape the lips of Mann, who knows she has an image for songs some would consider sad and downbeat. But there is a subtler kind of levity in her music that leads to the kinship she feels with certain comedians and explains why she frequently does shows with the likes of Patton Oswalt and Paul F. Tompkins. “It’s a bit of a gallows humor, maybe,” she says. Articulation of life’s trying scenarios is the best medicine, whether or not laughter is part of the tonic, and that’s been the case ever since Mann resisted an overbearing beau’s admonitions to “keep it down now” in “Voices Carry,” the 1985 smash that put ’Til Tuesday on the map. After three acclaimed albums fronting that band, Mann went solo with Whatever and Bachelor No. 2, releasing the latter on her own SuperEgo Records. Paul Thomas Anderson’s 1999 film Magnolia featured a good number of Mann’s tunes as a song score, such as the Academy Award-nominated “Save Me.” In 2011, Mann appeared on the TV show Portlandia and joined a celebration of poetry hosted by the Obamas. The White House confab made her “think totally differently about the purpose of art,” she says. “I started to realize… it’s


kind of the thing that makes the difference from being just a group, like a herd, to being a civilization.” The characters Mann writes about tend not to think such noble thoughts, but if art is largely making something functional out of dysfunction, then Mann just might be our laureate. Pre-signed books by Billy Collins are available for purchase in the lobby

Special thanks to

Kyle Abraham/Abraham.In.Motion Pavement

Kyle Abraham, Artistic Director Tue, Apr 22 & Wed, Apr 23 / 8 PM / Campbell Hall

photo: Carrie Schneider

Performers Kyle Abraham Matthew Baker Rena Butler Chalvar Monteiro Jeremy “Jae” Neal Maleek Washington Eric Williams

Supported in part by the Cohen Family Fund of the Community Foundation for Southeast Michigan Choreography: Kyle Abraham in collaboration with Abraham.In.Motion Dramaturge: Charlotte Brathwaite Editing Advisor: Alexandra Wells Costume Designer: Kyle Abraham Scenic/Lighting Designer: Dan Scully Public Programs Developer: Maritza Mosquera Sound Editing: Sam Crawford Video images courtesy of Chris Ivey

Music: J.C. Bach, Jacques Brel, Benjamin Britten, Antonio Caldara, Sam Cooke, Colin Davis, Emmanuelle Haïm, Heather Harper, Donny Hathaway, Edward Howard, Concerto Köln, Philippe Jaroussky, Le Cercle de l’Harmonie, Alan Lomax, Ensemble Matheus, Fred McDowell, Hudson Mohawke, Alva Noto, Jérémie Rhorer, Ryuichi Sakamoto, Carl Sigman, Jean-Christophe Spinosi and Antonio Vivaldi.

About the Program “Men call the shadow prejudice, and learnedly explain it as a natural defense of culture against barbarism, learning against ignorance, purity against crime, the ‘higher’ against the ‘lower’ races.”

male at the end of the 20th century.
Twenty years later and more than 10 years into the 21st century, I am focused on investigating the state of Black America and a history therein.

– W. E. B. Du Bois

Reimagined as a dance work and now set in Pittsburgh’s historically black neighborhoods, East Liberty, Homewood and the Hill District, Pavement aims to create a strong emotional chronology of a culture conflicted with a history plagued by discrimination, genocide and a constant quest for a lottery ticket weighted in freedom.

In 1991, I was 14 and entering the ninth grade at Schenley High School in the historic Hill District of Pittsburgh. That same year, John Singleton’s film, Boyz n the Hood was released. For me, the film depicted an idealized “Gangsta Boheme” laying aim to the state of the Black American


Looking primarily at Homewood and the Hill District, their histories run parallel. Both experienced a cultural shift in the 1950s when jazz legends like Ella Fitzgerald and Duke Ellington performed at local theaters, and where Billy Strayhorn spent most of his teenage years. A half a century later, those same theaters became dilapidated. The streets that once flourished on family-run businesses and a thriving jazz scene, now show the sad effects of gang violence and crack cocaine. To our collaborators and supporters and the amazing staff of A/I/M, Danspace Project, Harlem Stage, Hobart and William Smith Colleges, The Joyce Theater Foundation, MANCC and NDP, thank you for believing in this project and for all that you’ve done to get this show up and running! – Kyle Abraham

About the Company The mission of Kyle Abraham/Abraham.In.Motion is to create an evocative interdisciplinary body of work. Born into hip-hop culture in the late ’70s and grounded in Abraham’s artistic upbringing in classical cello, piano and the visual arts, the goal of the movement is to delve into identity in relation to a personal history. The work entwines a sensual and provocative vocabulary with a strong emphasis on sound, human behavior and all things visual, in an effort to create an avenue for personal investigation on stage. A/I/M is a representation of dancers from various disciplines and diverse personal backgrounds. Combined together, these individuals create movement that is manipulated and molded into something fresh and unique. Abraham.In.Motion is a proud supporter of Dancers Responding to AIDS.

Kyle Abraham Kyle Abraham, 2013 MacArthur Fellow, began his dance training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh. He continued his dance studies in New York, receiving a B.F.A. from SUNY Purchase and an M.F.A. from NYU’s Tisch School of the Arts. In 2012, Abraham was named the Jacob’s Pillow Dance Award recipient, USA Ford Fellow and the newly appointed New York Live Arts Resident Commissioned Artist for 2012-2014. That same year, Alvin Ailey American Dance Theater premiered Abraham’s work, Another Night at New York’s City Center to rave reviews. Rebecca Bengal of Vogue


writes, “What Abraham brings to Ailey is an avant-garde aesthetic, a original and politically minded downtown sensibility that doesn’t distinguish between genres but freely draws on a vocabulary that is as much Merce and Martha as it is Eadweard Muybridge and Michael Jackson.” Abraham received a prestigious Bessie Award for Outstanding Performance in Dance for his work in The Radio Show and a Princess Grace Award for Choreography in 2010. The previous year he was selected as one of Dance Magazine’s 25 to Watch and in 2008 received a Jerome Travel and Study Grant. His choreography has been presented throughout the U.S. and abroad, most recently at On the Boards, South MiamiDade Cultural Arts Center, REDCAT, Philly Live Arts, Portland’s Time-Based Art Festival, Jacob’s Pillow Dance Festival, Danspace Project, Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Fall for Dance Festival at New York’s City Center, Dublin’s Project Arts Centre, Okinawa Prefectural Museum & Art Museum in Japan, Andy Warhol Museum, Kelly Strayhorn Theater and Byham Theater in his hometown of Pittsburgh. In addition to performing and developing new works for his company, Abraham.In.Motion, Abraham recently premiered The Serpent and The Smoke, a new pas de deux for himself and acclaimed Bessie Award-winning dancer and New York City Ballet Principal Dancer Wendy Whelan as part of Restless Creature at Jacob’s Pillow Dance Festival. In 2011, Out Magazine described Abraham as the “best and brightest creative talent to emerge in New York City in the age of Obama.”

Company Biographies Matthew Baker (Dancer) is from Ann Arbor, Mich., where he began his movement exploration as a gymnast and soccer player, before launching into the dance world. Prior to relocating to New York City, Baker received his B.F.A. in dance from Western Michigan University. In addition to his work with Kyle Abraham/Abraham.In.Motion, he has been dancing with KEIGWIN + COMPANY in New York City since 2009. In 2010, Baker enjoyed assisting Larry Keigwin in choreographing Vogue’s Fashion Night Out: The Show, New York’s largest fashion show in history. He thanks Kyle and the rest of the A/I/M family for this opportunity to grow and share! Rena Butler (Dancer) is a native of Chicago and studied at the Chicago Academy for the Arts. Butler has performed

with Chicago-based salsa dance company, Pasos Con Sabor, and modern dance company, Luna Negra Dance Theater. She’s also had the great privilege of studying dance abroad at Taipei National University of the Arts in Taipei, Taiwan. She was the recipient of the Bert Terborgh Award and graduated cum laude in 2011 from SUNY Purchase Conservatory of Dance. Butler is currently a member of both Bill T. Jones/Arnie Zane Dance Company and Kyle Abraham/Abraham.In.Motion. She would like to thank her loved ones and educators for her successes. Chalvar Monteiro (Dancer), a native of New Jersey, began his formal dance training at Sharron Miller’s Academy for the Performing Arts. He went on to study at The Ailey School under the direction of Denise Jefferson and earned a degree in dance from SUNY Purchase Conservatory of Dance. He was a member of Sidra Bell Dance New York, The Kevin Wynn Collection and Elisa Monte Dance. Monteiro joined Kyle Abraham/Abraham.In.Motion in 2010. He has performed works by Judith Jamison, Thaddeus Davis, Paul Taylor, Merce Cunningham, George Balanchine, Doug Varone and Helen Pickett. Jeremy “Jae” Neal (Dancer) was born and raised in Michigan and received his training from Western Michigan University. There, he performed in professional works such as Strict Love by Doug Varone, Temporal Trance by Frank Chavez and Harrison McEldowney’s Dance Sport. Since relocating to New York, Neal has had the privilege of working with SYREN Modern Dance, ChristinaNoel Reaves, Catapult Entertainment, Katherine Helen Fisher Dance, Nathan Trice and now Kyle Abraham/Abraham.In.Motion. Neal would like to thank his family and friends for their consistent encouragement and support. Maleek Washington (Dancer) was born in the Bronx, and at 7 years old was introduced to dance at Broadway Dance Center and the Harlem School of the Arts. After attending LaGuardia High School for Performing Arts, he continued his education at The Boston Conservatory after joining CityDance Ensemble, touring to more than eight countries with them. Recently Washington attended Springboard Danse Montréal where he was able to join Jose Novas’ Company Flak for a season of European tours. This is Washington’s third season with Kyle Abraham/Abraham. In.Motion. He would like to dedicate this season to the memory of his late grandmother, Duella Smith. Eric Williams (Dancer) began his training as a youth in Pennsylvania under Kim Maniscalco and at the Academy of International Ballet. He continued his professional studies at the HARID Conservatory and the University of South

Florida. Now a movement expresser, performer, improviser and educator, he is proud to call Brooklyn his home. This is his second season with Kyle Abraham/Abraham.In.Motion, and he is humbled to be working for such an inspiring creator and dancing with such amazing people. He looks forward to continuing the enriching exploration of A/I/M’s wonderful ethos and dynamic. Charlotte Brathwaite (Dramaturge), a native of Toronto, is a freelance director whose works have been presented in New York and internationally. Her directing credits include: Woman Bomb, Baryshnikov Arts Center; The Coming..., the Living Theater; American Schemes by Radha Blank, NYC SummerStage; Shakespeare’s A Midsummer Night’s Dream, A Streetcar Named Desire by Tennessee Williams; Kleopatra, Kolkata, India; and Smile Orange, Trinidad, West Indies. She holds an M.F.A. from Yale School of Drama and is recipient of the Julian Milton Kaufman Prize and a Princess Grace Award. Alexandra Wells (Editing Advisor) toured the world as principal dancer of the Ballet National de Nancy and formed lasting partnerships with Rudolf Nureyev and Patrick Dupont. Following her performing career, she returned to the U.S. first as rehearsal director with Ballet Hispanico and then as faculty member of l’École Supérieure de Danse du Québec. In 2002, she co-founded Springboard Danse Montréal with Susan Alexander. The mission of this project is to connect emerging artists to job opportunities while providing professional companies with dancers. In 2009, Wells designed the Movement Invention Project in New York City, under the umbrella of NJDTE. Its focus is on collaborative and improvisational skills. Since 1998, Wells has been a full-time faculty member at The Juilliard School in New York City. . Dan Scully (Scenic/Lighting Designer) is a New Yorkbased lighting and projection designer and has been designing for Kyle Abraham and Kyle Abraham/Abraham. In.Motion for over 10 years, including the full-length evening works Pavement and Live! The Realest MC, and the Bessie Award-winning The Radio Show. Recent work includes Rocky (Broadway), Jedermann (Salzburger Festspiele), The Orchestra Rocks (Carnegie Hall), and Another Night (Alvin Ailey). Regional appearances have included Trinity Repertory Company, GEVA, Asolo Repertory Theatre, Cleveland Playhouse, Hudson Valley Shakespeare Festival and Two River Theater Company. He earned an M.F.A. at NYU’s Tisch School of the Arts.


Maritza Mosquera (Public Programs Developer), artist community-transformation partner, has developed, organized and presented new practices in arts education and artist-led community collaborations with several organizations, including Chicago Arts Partners in Education, Finding History in Ourselves, Dialogues for Democracy and the Andy Warhol Museum. She has taught in various schools and universities across the country, including University of Pennsylvania, Temple University and Perspectives and Noble academies. Mosquera is developing community engagement programs for Kyle Abraham/ Abraham.In.Motion’s Pavement, presenting dialogue programs for Word of God at the Warhol Museum and teaching with the TALL program in Pittsburgh. Mosquera has received grants from the Mid-Atlantic Arts Foundation, National Endowment for the Arts, Ford Foundation and Multi-Cultural Arts Initiative for her work. She received an M.F.A. from University of Pennsylvania and B.F.A. from Maryland Institute College of Art. She studied at Skowhegan School of Painting in Maine.

The Joyce Theater Foundation, New York City, with major support from The Rockefeller Foundation’s NYC Cultural Innovation Fund and the Rockefeller Brothers Fund.

Sam Crawford (Sound Editor) completed both his B.A. in English and A.S. in Audio Technology at Indiana University in 2003. A move to New York City led him to Looking Glass Studios where he worked on film projects with Philip Glass and Björk. His recent sound designs and compositions have included works for the Bill T. Jones/ Arnie Zane Dance Company (Venice Biennale, 2010), Yin Mei Dance (Beijing, 2010) and David Dorfman Dance. He currently lives in Brooklyn where he works as a freelance composer, designer and engineer. He also plays lap-steel and banjo in various groups, including Corpus Christi (Rome).

For booking information, contact Sophie Myrtil-McCourty, at the above address and number, ext. 313 or at

Credits The creation and presentation of Pavement is supported by the National Endowment for the Arts in cooperation with the New England Foundation for the Arts though the National Dance Project. Major support for NDP is provided by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the Community Connections Fund of the MetLife Foundation. Support from the NEA provides funding for choreographers in the early stages of their careers. Developed in part during a Choreographic Fellowship at the Maggie Allesee National Center for Choreography at Florida State University, Pavement was also created during a residency provided by The Joyce Theater Foundation, New York City, with major support from The Andrew W. Mellon Foundation, as well as during a residency provided by


The creation of Pavement was made possible, in part, by the Danspace Project Commissioning Initiative with support from the Jerome Foundation. Pavement was developed, in part, during a creative residency at the Bates Dance Festival. Pavement is made possible, in part, by Lower Manhattan Cultural Council’s Swing Space program. Harlem Stage is the Lead Commissioner of Pavement, through its WaterWorks program. Pavement had its world premiere at the Harlem Stage Gatehouse on Nov. 2, 2012. WaterWorks is supported by Time Warner and the National Endowment for the Arts. Kyle Abraham/Abraham.In.Motion is a member of Pentacle (Dance Works, Inc.) a non-profit service organization for the performing arts, Mara Greenberg and Ivan Sygoda, Directors. 246 West 38th St., 4th Floor, New York, NY 10018. Tel.: 212-278-8111; Fax: 212-278-8555;

For international booking information, contact Bernard Schmidt Productions, Inc. at 16 Penn Plaza, Ste. 545, New York, NY 10001. Tel./Fax: 212-564-4443; email:; website: Special thanks to

Jennifer Koh, violin Bach and Beyond Part III WED, APR 23 / 7 PM (note special time) / HAHN HALL

Principal Sponsors: Dr. Richard & Annette Caleel photo: Juergen Frank

Up Close & Musical series in Hahn Hall at the Music Academy of the West sponsored by Dr. Bob Weinman

J.S. Bach: Sonata No. 2 in A Minor, BWV 1003 Grave Fuga Andante Allegro Luciano Berio: Sequenza VIII for solo violin John Zorn: Passagen

- Intermission -

J.S. Bach: Sonata No. 3 in C Major, BWV 1005 Adagio Fuga Largo Allegro assai

About the Program J.S. Bach (1685-1750): Sonata No. 2 in A Minor, BWV 1003 Bach’s six works for unaccompanied violin – three sonatas and three partitas – form one of the pinnacles of violin literature. Bach, then in his mid-thirties, was kapellmeister to Prince Leopold of Anhalt-Cöthen when he composed them around 1720. These six works are supremely difficult for the violinist: They were not published until 1817, a century after they were composed. In this music, Bach had to deal with the fact that, unlike a keyboard instrument, a violin cannot really play more than two notes at once. Within that limitation, a composer must find a way to provide a harmonic foundation for an essentially linear instrument over the span of an extended work.

Bach solved this problem by suggesting the harmonic accompaniment with rolled chords, broken chords, multiple stopping and a complex polyphonic interweaving of voices. The effect of sounding a chord and then leaping away to resume the melodic line in another register can seem stark, almost fierce, and many listeners have found this music, amazing as it is, very difficult listening. In the 19th century, Mendelssohn and Schumann wrote piano accompaniments for these works – they saw what Bach was getting at musically, but felt the violin woefully inadequate and so wanted to “help” the music by completing the harmonies (embarrassed by the existence of these arrangements and what they imply, the editor of the modern edition of Schumann’s works has refused to include them or to publish them in any form).


The three partitas are essentially suites of dance movements, but the three sonatas are in a more prescribed form. These are not sonatas in the classical sense of that term, with contrasts of themes and tonalities within movements, but they do conform to a specific sequence: The first movement is slow and solemn, somewhat in the manner of a prelude; the second is a fast fugue; the third, usually more lyric, is the one movement in a contrasted key; and the last is a fast movement in binary form, somewhat like the dance movements of the partitas. The first movement of the Sonata No. 2 in A Minor has much the same improvisational atmosphere of the opening movement of the first Sonata. Bach’s marking is Grave, which in music means “slow and solemn,” though the Italian and French translations of that term include “deep” and “serious,” and Bach was certainly aware of those meanings. The ornate melodic line has a dignified, almost ceremonial character, and that line is often broken with multiple stops and trills before the movement makes its way to a quiet close on octave E’s. The fugue is built on a concise subject – only two measures long and of narrow thematic compass – that proceeds at a very brisk pace and is interrupted several times by interludes of running sixteenths. At the climax, Bach combines the fugue subject with its inversion and drives the movement to a florid close. The Andante, which moves to the relative major (C), offers a gorgeous melodic line that the violinist must accompany with pulsing eighth notes on a lower string – that steady pulse is the heartbeat that runs throughout this movement. This is wonderful writing for the violin, demanding effortless bow control: A listener should hear two quite different sounds produced simultaneously by the same bow stroke. After this dignified, expressive music, the finale – marked Allegro – really rips. Like the third movement, it is in binary form, but without the multiple stopping that gave the Andante its distinct character. The fundamental pulse here is the rush of racing sixteenth notes, though this is constantly enlivened with bursts of 30-second notes. At the opening of this movement, Bach makes one of the few dynamic indications in all his music for unaccompanied violin, carefully contrasting repeated phrases that he wants played first forte and then piano. The movement drives to a blistering close in which the racing line leaps across all four strings even as Bach stacks up the rhythmic complexities, and the solitary A at the very end is a most emphatic conclusion.


Luciano Berio (1925-2003): Sequenza VIII for solo violin Between 1958 and 2002 (the year before his death), Luciano Berio composed a series of 14 pieces he called Sequenzas, usually for a single instrument and in every case extraordinarily difficult for the performer. This element of intentional virtuosity is striking, and in an interview Berio spoke about the meaning of virtuosity to him: In the Sequenzas as a whole there are various unifying elements, some planned, others not. The most obvious and external one is virtuosity. I hold a great respect for virtuosity even if this word may provoke derisive smiles and even conjure up the picture of an elegant and rather diaphanous man with agile fingers and an empty head. Virtuosity often arises out of a conflict, a tension between the musical idea and the instrument, between concept and musical substance… anyone worth calling a virtuoso these days has to be a musician capable of moving within a broad historical perspective and of resolving the tension between the creativity of yesterday and today. My own Sequenzas are always written with this sort of interpreter in mind, whose virtuosity is, above all, a virtuosity of knowledge (I’ve got no interest in, or patience for those who ‘specialize’ in contemporary music.) Another unifying element in the Sequenzas is my own awareness that musical instruments can’t really be changed, destroyed or invented… I think it’s very important to understand – which is why I’m insistent about it – that a musical instrument is in itself a piece of musical language. The composer can only contribute to the transformation of musical instruments by using them, and trying to understand post factum the complex of the transformation. All of these elements – the virtuosity of the performer, the physical instrument itself, the tradition of that instrument, and its new possibilities – become part of the musical language of Berio’s Sequenzas. Sequenza VIII, commissioned by Serena de Bellis and composed in 1976, is widely acknowledged as one of the finest of the series. Spanning about 12 minutes, Sequenza VIII falls into several discrete sections. The strident chording of the beginning, which can feel almost improvisational, incorporates the fundamental theme-shape of the piece. Gradually the music builds from this, taking on the character of perpetual motion and centering around an obsessively narrow and repetitive range of notes, which is frequently broken by violent chording. A ruminative, lyric

episode follows (including a passage played entirely by lefthand pizzicatos, while the right hand puts on the mute). After all this blistering energy, Sequenza VIII moves to an extended passage of ponticello wandering (played close to the bridge) and finally fades from hearing. The outlines of Berio’s music may be described in such a manner, but it may be more rewarding for audiences simply listen to this as the dazzlingly difficult music that it is, music that addresses both the virtuosic and lyric sides of the violin and demands the utmost skill from its performer.

John Zorn (1953-): Passagen Now 60 years old, John Zorn has been an almost Promethean force in music over the last 30 years. A saxophone player and composer, he is also a record and music producer who has helped create hundreds of recordings of new music, and he has been a champion of new music in its many forms. The range of his passions is intimidating: He has been the saxophonist in the band Naked City; he has made much of his career as a performer in Japan; and recently he has explored his Jewish heritage with the klezmer-influenced group Masada. Zorn’s music – which can partake of rock, punk, jazz, film music and many other genres – has been described as aggressive and assaultive, yet it has also earned the respect of the musical establishment. Zorn has been named a MacArthur Fellow and was also recipient of Columbia University’s prestigious William Schuman Award, given for lifetime achievement in music. In his Passagen, composed in 2011, Zorn wanted to write an extended work for unaccompanied violin that would offer what he called “a brief history of solo violin music.” That history – which includes works by Telemann, Bach, Paganini, Reger, Ysaÿe, Prokofiev, Bartók, and others – is as rich as it is intimidating. Music for solo violin poses all kinds of challenges for a composer. The violin is essentially a linear instrument, and while it is easy enough to write lyric music for that instrument, creating a harmonic context for that music is much more difficult, for the composer (and performer) must make use of chording and other forms of multiple stopping to create a harmonic foundation. Zorn set a further task for himself in this piece: He wished to pay homage to Bach, and so he built much of this piece on the musical equivalents of the letters of his last name. In German musical notation, B-A-C-H becomes the sequence Bb-A-C-B. Alert listeners to Passagen will make out that sequence, which over the last centuries has haunted composers as different as Beethoven, Schoenberg, Vaughan Williams, Schnittke and many others.

But rather than listening just for that motif, audiences should take Passagen as the dazzling work that it is. This is a phenomenally difficult work for a violinist, who must master all the solo violin techniques from the last several centuries (as well as a few new ones). Zorn also makes fleeting quotations of great works from the solo violin repertory, and listeners will recognize fragments from the Bach solo sonatas, from Bartók’s Sonata for Solo Violin, and others. Overflowing with energy, Passagen does not just give us a tour of the literature for the unaccompanied violin – it becomes part of that literature. Zorn composed Passagen as a gift to American composer Elliott Carter on his 103rd birthday, which took place on Dec. 11 of that year. Carter, whose Risconoscenza of 1984 is written for solo violin, also received the dedication. The premiere of Passagen had taken place two days earlier, on Dec. 9, 2011, when Jennifer Koh performed it at Miller Theatre at Columbia University.

J.S. Bach: Sonata No. 3 in C Major, BWV 1005 Bach was famed in his own day as a virtuoso organist, and – like virtually all composers of his era – he also played the violin. He likely played in the orchestra at Cöthen, but it is known that he preferred to play viola in chamber music, and in fact we know nothing about Bach’s skill as a violinist. His biographer Philipp Spitta has noted that in all of the writings about Bach by family and contemporaries there is not one mention of his ability as a violinist. What is indisputable, however, is that his understanding of the instrument was profound. The violin is essentially a linear, lyrical instrument; Bach’s music for it, however, is contrapuntal, requiring continual multiple stopping and the most sophisticated technique imaginable. Unlike the opening movements of the other two unaccompanied sonatas, which were conceived to suggest an improvisatory character, the Sonata in C Major begins with a long Adagio built entirely on the steady rhythm of the dotted eighth. The figure is very simple at its first appearance; gradually it grows more complicated, and the melodic line is elaborately embellished. The second movement is the expected fugue, in this instance one of the most difficult fugues Bach wrote for the violin. Its subject is based on the old chorale tune Komm, Heiliger Geist, Herre Gott. The simple opening evolves into music of unbelievable complexity, but the fugue subject remains clear throughout, despite Bach’s complicated evolutions, which include its appearance in inversion. The Largo is a lyric slow movement; once again, the main idea is stated simply and then developed contrapuntally. This movement is in F major,


the only one in the sonata not in C major. The binary-form Allegro assai is linear music, built on a steady flow of sixteenth notes. This is the sort of dance-like movement one expects to find in the partitas, and here it makes a brilliant conclusion to the sonata. Program notes by Eric Bromberger

Jennifer Koh Violinist Jennifer Koh is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. With an impassioned musical curiosity, she is forging an artistic path of her own devising, choosing works that both inspire and challenge. She is dedicated to performing the violin repertoire of all eras from traditional to contemporary, believing that the past and present form a continuum. Since the 199495 season when she won the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition, and the Avery Fisher Career Grant, Koh has been heard with leading orchestras and conductors worldwide. Also a prolific recitalist, she appears frequently at major music centers and festivals. The exploration of Bach’s music and its influence in today’s musical landscape has played an important role in Koh’s artistic journey. She is also passionate in her efforts to expand the violin repertoire and has established relationships with many of today’s composers, regularly commissioning and premiering new works. In 2009, she debuted Bach and Beyond, a three-recital series that explores the history of the solo violin repertoire from Bach’s Sonatas and Partitas to works by modern-day composers and new commissions, including a film by Tal Rosner and a work by composer Phil Kline. Last season, with her former teacher from the Curtis Institute of Music, violinist Jaime Laredo, she launched Two x Four, a project that pairs Bach’s Double Violin Concerto with newly commissioned double concerti by Anna Clyne and David Ludwig (a recording of the Two x Four program will be released in April 2014); and she frequently performs the complete Bach Sonatas and Partitas in a single concert. Highlights of Koh’s 2013-14 season include Bach and Beyond recitals worldwide and Two x Four concerts with the Los Angeles Chamber Orchestra and Alabama Symphony. She made her Munich Philharmonic debut and performed with the Los Angeles Philharmonic, Milwaukee Symphony Orchestra, National Symphony Orchestra, and the NHK Symphony Orchestra in Tokyo. She performed the role of Einstein in Philip Glass’s


Einstein on the Beach in Los Angeles and Berlin. Her New York concerts included the U.S. premiere of Kaija Saariaho’s Frises for violin and electronics, and Bach’s Partita No. 2 at Miller Theatre in February, and the New York premiere of Jennifer Higdon’s The Singing Rooms, a concerto for violin and chorus, with the New York Choral Society at Carnegie Hall in April. Koh regularly records for the Cedille label. Her recently released album featuring works from her first Bach and Beyond recital was chosen as one of the best recordings of 2012 by The New York Times. Her recent album Signs, Games + Messages with pianist Shai Wosner was released in October 2013. A committed educator, Koh has won high praise for her performances in classrooms around the country under her innovative Music Messenger outreach program. Founded more than a decade ago, the program continues to form an important part of her musical activities. Born in Chicago of Korean parents, Koh made her debut with the Chicago Symphony Orchestra at age 11. In a shift of disciplines, she earned her bachelor’s degree in English literature from Oberlin College before studying at Curtis. Special thanks to

Dynamic Events. Fascinating People. Captivating Stories.

Robert Ballard New Adventures in Deep Sea Exploration SUN, APR 27 / 3 PM / CAMPBELL HALL

An All Gaucho Reunion event co-presented by the UCSB Alumni Association National Geographic Live Series Sponsors: Sheila & Michael Bonsignore photo: John Livzey

Community Partner:

Among the most accomplished and well known of the world’s deep-sea explorers, Dr. Robert Ballard is best known for his historic discovery of the R.M.S. Titanic, lost in its watery grave more than 12,000 feet beneath the cold water of the North Atlantic. During his long career, he has conducted more than 100 deep-sea expeditions using the latest in exploration technology. A pioneer in the early use of deep diving submarines, he was on the first manned expedition of the largest mountain range on Earth, the Mid-Ocean Ridge. Later he led an expedition off the Galápagos Islands that discovered new life forms on Earth, a discovery that has revolutionized our understanding of the origin of life on our planet and increased the likelihood of discovering life elsewhere in the solar system. Following his discovery of the Titanic, he went to find other lost legends in the sea, including the German Battleship Bismarck, the aircraft carrier Yorktown lost during the Battle of Midway, and President Kennedy’s PT-109. In addition to being a very popular lecturer, Dr. Ballard has pioneered distance learning in the classrooms of America and around the world with his JASON Project, an awardwinning educational program that reaches more than 1.7 million students and 38,000 teachers annually. His books on his discovery of the Titanic and Bismarck were both #1 best sellers on The New York Times and The Times (U.K.) lists, and

his recent Return to Titanic special on National Geographic Channel was the highest rated show in their history. He was given the Explorers Club’s and the National Geographic Society’s most prestigious award, the Hubbard Medal, as well as the Lindbergh Award. In 2003, the President of the United States presented him with the National Endowment for the Humanities Medal. He is not only an Explorer-in-Residence for the National Geographic Society, President of the Institute for Exploration and Ocean Exploration Trust, Scientist Emeritus from the Woods Hole Oceanographic Institution, but also the Director of the Center for Ocean Exploration at the University of Rhode Island, where he is in search of ancient lost history in the depths of the deep sea. Ballard graduated from UCSB in 1965 and he is the keynote speaker for the 8th Annual All Gaucho Reunion. Books are available for purchase in the lobby and a signing follows the event

Special thanks to


Philip Glass Ensemble Beauty and the Beast (La Belle et la Bête) Music by Philip Glass | Film by Jean Cocteau Performed by the Philip Glass Ensemble Conducted by Michael Riesman

WED, APR 30 / 8 PM / Granada THEATRE

Running time: 90 min., no intermission Lisa Bielawa, keyboards Dan Bora, live sound mix David Crowell, woodwinds Stephen Erb, onstage audio engineer Jon Gibson, woodwinds Nelson Padgett, guest keyboards Mick Rossi, keyboards Andrew Sterman, woodwinds

Hai-Ting Chinn, mezzo-soprano La Bête, Officiel du Port, Avenant, Ardent

Gregory Purnhagen, baritone Félicie, Adélaïde

Marie Mascari, soprano La Belle

Peter Stewart, baritone La Père, Ludovic Produced by Pomegranate Arts, Inc.

About the Program The opera/film presentation of La Belle et la Bête began as the second part of my trilogy of theater works based on the films of Jean Cocteau. In the first of the series, I used the scenario from the film Orphée as the basis for the libretto of a chamber opera. I didn’t use the imagery of the film, allowing the staging in operatic form to attempt a new visualization of the libretto. But in this case the opera, composed with the dialogue, is performed live in conjunction with the projected film (with the original soundtrack eliminated entirely). This made the job of composing the music much more complex since the words and the voices had to be synchronized as closely as possible to the images on the screen. The third part of the trilogy was a dance/theater work based on the scenario of the film Les Enfants Terribles. In this way the trilogy represents translation of film into the live theatrical forms of opera (Orphée), opera and film (La Belle et la Bête), and dance/theater (Les Enfants Terribles).


To realize La Belle et la Bête as a live opera/film event has been a dauntingly complex project and without prior experience working with live music and film, I would not have attempted it at all. However, since the mid-’80s I have presented a variety of projects involving live music and film, working with music director Michael Riesman and sound designer Kurt Munkacsi. Specifically, I am thinking of the films Koyaanisqatsi and Powaqqatsi as well as the melodrama 1000 Airplanes on the Roof (while not actually a film, it is based on film imagery and technology). This preoccupation with film has grown out of my appreciation of film as one of the two new art forms (jazz being the second) born in the 20th century. In its first 100 years, the world of film has created a new kind of literature, one that the world of live music, experimental theater, dance and even opera can draw on, just as in the past, historic novels, plays and poems became the basis of new music/theater works.

For me, Cocteau has always been an artist whose work was central to the “modern” art movement of the 20th century. More than any other artist of his time, he again and again addressed questions of art, immortality and the creative process, making them subjects of his work. In his day, it seems that this was not well understood, and, at times, he was not fully appreciated. He was even dismissed by some critics of his work as a talented dilettante who never finally settled on one medium to express himself. And, in fact, he worked successfully as a novelist, playwright, artist and filmmaker. However, to me the focus of this work – the creative process itself – has always been clear. And it was equally clear that he was using these various art forms to illuminate his chosen subject from as many angles as possible. As far as film is concerned, Orphée, La Belle et la Bête, and an earlier Cocteau film, Blood of a Poet, are all extremely thoughtful and subtle reflections of the life of an artist. Of these three, La Belle et la Bête is the most openly allegorical in style. Presented as a simple fairy tale, it soon became clear that the film has taken on a broader and deeper subject – the very nature of the creative process. Once we begin to see the film in this way, it becomes hard to see the journey of the Father to the Château itself in the opening moments of the film as anything other than the journey of the artist into his “unconscious.” The Château itself is then seen as the very site of the creative process where, through an extraordinary alchemy of the spirit, the ordinary world of imagination takes flight (as seen quite literally in the last moment of the film). Perhaps for this reason, La Belle et la Bête has always been for me the most compelling of Cocteau’s films. This work, more than any other, expresses the profundity of his thoughts and the eloquence of his artistic vision. – Philip Glass, 1994

Philip Glass (Composer) Born in Baltimore, Md., Philip Glass is a graduate of the University of Chicago and The Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects, creating a large collection of new music for the Philip Glass Ensemble and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts, and the landmark opera, Einstein on the Beach, for which he collaborated with Robert Wilson. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award

nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). Symphony No. 7 and Symphony No. 8 – Glass’ latest symphonies – along with Waiting for the Barbarians, an opera based on the book by J. M. Coetzee, premiered in 2005. In the past few years several new works were unveiled, including Book of Longing (Luminato Festival) and an opera about the end of the Civil War entitled Appomattox (San Francisco Opera). Glass’ opera Kepler premiered with the Landestheater Linz, Austria, in 2009 and his latest opera, The Perfect American, about the death of Walt Disney, premiered at the Teatro Real, Madrid in January 2013 and was performed by the English National Opera in June 2013. His Symphony No. 9 was completed in 2011 and was premiered by the Bruckner Orchestra in Linz, Austria, in 2012 and his Symphony No. 10 received its European premiere in France in 2012. Glass’ most recent opera Spuren de Verirrten (The Lost), premiered at the Landestheater Linz, Austria, in April 2013.

Jean Cocteau (Director, La Belle et la Bête) The French poet, writer, artist and filmmaker Jean Cocteau was born to a wealthy family in 1889 in a small town near Paris. Cocteau’s father committed suicide when he was 10 years old. In 1908, Cocteau associated himself with Édouard de Max, a reigning tragedian of Paris stage at this time. de Max encouraged Cocteau to write, producing the premiere of the young writer’s poetry. In 1909, Cocteau met the Russian impresario Sergey Diaghilev who ran the Ballets Russes. He inspired Cocteau to write the libretto for an exotic ballet called Le Dieu Bleu. During this time, Cocteau also met composer Igor Stravinsky. In the spring of 1914, Cocteau visited Stravinsky in Switzerland. It was during this visit that Cocteau finished his first book, Le Potomak. In 1917, he met Pablo Picasso. Cocteau and Picasso went to Rome where they met up with Diaghilev. Cocteau helped prepare the ballet Parade. Cocteau founded a publishing house called Éditions de La Sirène. The company published Cocteau’s writings and many musical scores of Stravinsky, Satie and a group of composers known as Les Six. In 1918, Cocteau formed an intimate friendship with a 15-year-old novelist, Raymond Radiguet who strongly influenced Cocteau’s art and life. The young writer would die from typhoid fever in 1923 – a severe blow to Cocteau, which drove him to use opium. During Cocteau’s recovery from his opium addiction, the artist created some of his most important works including the play Orphée, the novel Les Enfants Terribles and many long poems. In 1930, Cocteau’s first film, Blood of a Poet, was released. In the early 1930s, Cocteau wrote what some believe is his greatest play, La Machine Infernal. The play was a treatment of the Oedipus theme. Cocteau also wrote La Voix Humaine (The Human Voice, 1930), Les Chevaliers de la Table Rounde


(The Knights of the Round Table, 1937), Les Parents Terribles (Intimate Relations, 1938), and La Machine à Ecrire (The Typewriter, 1941). In 1945, Cocteau directed his adaptation of La Belle et la Bête (Beauty and the Beast), starring his close friend Jean Marais as the Beast. In 1959, Cocteau made his last film as a director, The Testament of Orpheus. The elaborate home movie stars Cocteau and also features cameos from many celebrities including Pablo Picasso, Yul Brynner and Jean-Pierre Léaud. The artist died of a heart attack at age 74 at his château in Milly-la-Forêt, France, on Oct. 11, 1963, after hearing the news of the death of another friend, the singer Édith Piaf.

Michael Riesman (Conductor) Michael Riesman is a composer, conductor, keyboardist and record producer, and has been a member of the Philip Glass Ensemble since 1974. He has conducted recordings of a great number of Glass works, including Einstein on the Beach (both recordings), Glassworks, The Photographer, Songs From Liquid Days, Dance Pieces, Music in 12 Parts (both recordings) and Passages, plus almost every Glass film soundtrack, including Koyaanisqatsi (both recordings), Mishima, Powaqqatsi, The Thin Blue Line, Anima Mundi, A Brief History of Time, Candyman, Kundun, The Truman Show, Naqoyqatsi, The Fog of War, Secret Window, Taking Lives and Undertow. He was the pianist for the Academy Award-nominated soundtrack for The Hours. He has received two Grammy nominations as conductor, for The Photographer and for Kundun. He has conducted and performed on albums by Paul Simon (Hearts and Bones), Scott Johnson (Patty Hearst), Mike Oldfield (Platinum), Ray Manzarek (Carmina Burana), David Bowie (BlackTie/White Noise) and Gavin Bryars (Jesus’ Blood Never Failed Me Yet). Riesman released an album, Formal Abandon, on the Rizzoli label, which originated from a commission by choreographer Lucinda Childs. His film scores include Enormous Changes at the Last Minute, Pleasantville (1976) and Christian Blackwood’s Signed: Lino Brocka. Riesman studied at Mannes College of Music and Harvard University, where he received a Ph.D., and has taught at Harvard and SUNYPurchase. He was Composer in Residence at the Marlboro Music Festival and at the Tanglewood Festival.

Le Père: Raoul Marco The Merchant: Marcel André Artistic Adviser: Christian Bérard Technical Adviser: René Clément Settings by: René Moulaert and Carré Costumes: Escoffier and Castillo Made by: Paquin Original Music by: Georges Auric Camera: Henri Alaken Makeup: Arakelian Supervising Editor: Claude Iberia Filmed at: St. Maurice Studios G.M. Films Laboratories Distribution: Pandora, Paris

For the Production Live Sound Mix: Dan Bora Sound Supervisor: Dan Dryden On-stage Audio Engineer: Stephen Erb Production Manager: Doug Witney Road Manager: Jim Woodard Philip Glass and the Philip Glass Ensemble’s live events are produced and booked by: Pomegranate Arts, Founder and President: Linda Brumbach Managing Director, Creative: Alisa Regas Managing Director, Operations: Kaleb Kilkenny Director of Booking: Julia Glawe Associate General Manager: Linsey Bostwick Office Manager: Susannah Gruder Philip Glass is managed and published by: Dunvagen Music Publishers Inc. / Director: Jim Keller Associate Director: Zoe Knight Assistant: Drew Smith For more information on Philip Glass, please visit La Belle et la Bête, An Opera by Philip Glass (1995) soundtrack album is available exclusively on Nonesuch Records. Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission

For the film La Belle et la Bête Story, Dialogue, and Direction by: Jean Cocteau From a fairy tale by: Mme. Leprince de Beaumont La Bête, Avenant, Ardent: Jean Marais La Belle: Josette Day Adélaïde: Mila Parléy Félicie: Nane Germon Ludovic: Michel Auclair


Special thanks to

An Evening with

Ann Patchett Tue, May 6 / 8 PM / Campbell Hall

photo: Heidi Ross

Supported in part by the Harold & Hester Schoen Arts & Lectures Endowment

Ann Patchett is a celebrated author, a devoted reader and a champion of literary culture. She has written seven books and is a frequent contributor to many publications, including The New York Times, Atlantic Monthly and The Wall Street Journal. She has served on the board of the Nashville Public Library Foundation, and in 2011, when the last of Nashville’s bookstores had been shuttered; Patchett declared, “I have no interest in living in a city without a bookstore.” And so, in November of that year she opened Parnassus Books, a new refuge for the written word in the old “Athens of the South.”

of a Happy Marriage, a collection of essays that examines the theme of commitment. There’s a pink brick home in Nashville, Tenn., with a wide porch surrounded by old trees. It’s Ann Patchett’s favorite place and it’s where she lives with her husband Karl and lots of books. Books are available for purchase in the lobby and a signing follows the event

In 2012, Time magazine named Patchett one of the 100 Most Influential People in the World for her efforts on behalf of the literary community. Writing of her friend on the occasion of that event, novelist Elizabeth Gilbert described Patchett as “a woman of wisdom, determination, generosity and courage.” Patchett published her first story in The Paris Review while still a student at Sarah Lawrence College. Bel Canto, her fourth novel, was published in 2001 and was awarded the Orange Prize and the PEN/Faulkner Award. The world-renowned Lyric Opera Company of Chicago has commissioned a production based on that novel that will premiere in 2015. Her most recent novel State of Wonder was published in 2011. The Washington Post called that book “the smartest, most exciting novel of the summer” and Library Journal described it as “superbly rendered.” Patchett is also the author of three works of nonfiction including Truth & Beauty, which won the Heartland Prize for Nonfiction in 2004, and, most recently, This Is the Story


Béla Fleck & Abigail Washburn WED, MAY 7 / 8 pm / CAMPBELL HALL

Béla Fleck

Abigail Washburn

Just in case you aren’t familiar with Béla Fleck, there are some who say he’s the premiere banjo player in the world. Any world-class musician born with the names Béla (for Bartók), Anton (for Dvořák) and Leos (for Janáček) would seem destined to play classical music. Already a powerfully creative force in bluegrass, jazz, pop, rock and world beat, Béla at last made the classical connection with Perpetual Motion, (2001 Sony Classical) that went on to win a pair of Grammys, including Best Classical Crossover Album. Collaborating with Fleck on Perpetual Motion was his longtime friend, bassist Edgar Meyer. Béla and Edgar co-wrote and performed a double concerto for banjo, bass and the Nashville Symphony, which debuted in 2003. They also co-wrote a triple concerto for banjo, bass and tabla, with world-renowned tabla virtuoso Zakir Hussain titled The Melody of Rhythm.

If American old-time music is about taking earlier, simpler ways of life and music-making as one’s model, Abigail Washburn has proven herself to be a bracing revelation to that tradition. She – a singing, songwriting, Illinois-born, Nashville-based clawhammer banjo player – is every bit as interested in the present and the future as she is in the past, and every bit as attuned to the global as she is to the local.

In 2011, Béla wrote his first stand-alone banjo concerto, on commission with the Nashville Symphony. This work, titled The Impostor, along with his new quintet for banjo and string quartet was released in August 2013. These days he bounces between various intriguing touring situations, such as performing his concerto with symphonies, in a duo with Chick Corea, a trio with Zakir Hussain and Edgar Meyer, and duos with Abigail Washburn. Béla Fleck and the Flecktones still perform together, 25 years after the band’s inception. The recipient of multiple awards going back to 1998, Béla Fleck’s total count is 15 Grammys won and 30 nominations. He has been nominated in more different musical categories than anyone in Grammy history.


Her music ranges from her bilingual solo release, Song of the Traveling Daughter (2005), to the mind-bending “chamber roots” sound of the Sparrow Quartet, to the rhythms, sounds and stories of Afterquake, her fundraiser CD for the Sichuan earthquake victims. Her love for Chinese culture began at a young age, spurring her on to full fluency in the Chinese language and profound connections to the culture and people on the other side of the Pacific. Her latest release, City of Refuge (2011), written with collaborator Kai Welch, takes her bold and expansive talent to new heights in its raw, ethereal and at times lushly orchestrated musical vision. She completed a month-long tour of China’s Silk Road in 2011. Abigail, along with 24 other innovative and creative thinkers worldwide, was named a TED Fellow and gave a talk at the 2012 TED Convention in Long Beach about building U.S.-China relations through music. Special thanks to

Ira Flatow Science is The New Sexy Mon, May 12 / 8 pm / Campbell Hall

Principal Sponsors: Marcia & John Mike Cohen Presented in collaboration with:

photo : 2010 The San Diego Union-Tribune

Community Partner:

Award-winning science correspondent and TV journalist Ira Flatow is the host of Science Friday, heard weekly on Public Radio International and online. He anchors the show each Friday, bringing radio and internet listeners worldwide a lively, informative discussion on science, technology, health, space and the environment. Flatow is also founder and president of TalkingScience, a non-profit company dedicated to creating radio, TV and Internet projects that make science “user-friendly.” Flatow’s interest in things scientific began in boyhood – he almost burned down his mother’s bathroom trying to recreate a biology class experiment. “I was the proverbial kid who spent hours in the basement experimenting with electronic gizmos, and then entering them in high school science fairs,” Flatow says. Mixing his passion for science with a tendency toward being “a bit of a ham,” Flatow describes his work as the challenge “to make science and technology a topic of discussion around the dinner table.” He has shared that enthusiasm with public radio listeners for more than 35 years. As a reporter and then news director at WBFO-FM/Buffalo, NY, Flatow began reporting at the station while studying for his engineering degree at State University New York in Buffalo. As NPR’s science correspondent from 1971 to 1986, Flatow found himself reporting from the Kennedy Space Center, Three Mile Island, Antarctica and the South Pole.

His numerous TV credits include six years as host and writer for the Emmy Award-winning Newton’s Apple on PBS, science reporter for CBS This Morning and CNBC. He has talked science on many TV talk shows, including Merv Griffin, Today, Charlie Rose and Oprah. He has co-starred twice on the CBS hit series The Big Bang Theory. His podcasts are among the most listened to on the Internet, frequently in the top 10 of all downloads on iTunes. His SciFri Twitter audience numbers more than 440,000. In print, Flatow has authored articles for various magazines ranging from Woman’s Day to ESPN Magazine to American Lawyer. His commentary has appeared in the Los Angeles Times and Current newspapers. Flatow’s recent honors include: the Isaac Asimov Award (2012), the Nierenberg Prize (2010), Connecticut Academy of Science and Engineering membership (2008), National Science Teachers Association Faraday Science Communicator Award (2007) and the Carl Sagan Award (1999). Books are available for purchase in the lobby and a signing follows the event

His most recent book is titled Present at the Future: From Evolution to Nanotechnology, Candid and Controversial Conversations on Science and Nature (HarperCollins).


Stand Up Straight and Sing!

Jessye Norman

in Conversation with Jim Svejda of KUSC Radio photo: Carol Friedman

Fri, May 16 / 7:30 pm / Hahn Hall Music Academy of the West

Jessye Norman is “one of those once-in-a-generation singers who is not simply following in the footsteps of others, but is staking out her own niche in the history of singing” (The New York Times). This rich history continues to be made as she brings her sumptuous sound, her joy of singing and spontaneous passion to recital performances, operatic portrayals and appearances with symphony orchestras and chamber music collaborators to audiences around the world. The sheer size, power and luster of her voice share equal acclaim with that of her thoughtful music-making, innovative programming of the classics, and fervent advocacy of contemporary music. Miss Norman’s collaborations with artists on the cutting edge in their fields, such as Robert Wilson, Andre Heller, Bill T. Jones, Steve McQueen and Laura Karpman, serve to add new dimensions and exciting new challenges to her work. Miss Norman uniquely approaches her performance life. She seeks to broaden the imagination and creative abilities and thinking of all around her, including her audience. She’d like her audience to understand and accept music outside of the traditional classical music canon. She mounted the first performances of Sacred Ellington, a fully staged production of the sacred music of Edward Kennedy “Duke” Ellington in 2000 at the Barbican in London, followed by performances in the storied amphitheater at Epidaurus in Greece, the Théâtre du Châtelet in Paris, the Concertgebouw in Amsterdam and the Beiteddine Festival in Lebanon. With music drawn from three of Duke’s sacred music concerts composed in the late 1960s, the production featured a jazz band and combo, string quartet, piano, gospel choir and dancer, along with Miss Norman.


Performances of Schubert’s Winterreise staged by Robert Wilson (Paris 2001) and the unique double bill of Erwartung of Schoenberg and La voix humaine of Poulenc staged by André Heller (Paris 2002 and Japan 2004) allowed Miss Norman to expand and deepen her singular artistic vision. The latter two one-person operas were never before performed by one singer on a single evening. The media have attempted to characterize Jessye Norman’s unique voice in many glowing reviews, praising the integrity and depth of her performances. States The New York Times: “This is an amazing voice, a catalogue of all that is virtuous in singing.” Writes The Jerusalem Post: “The immensity of her voice struck like a thunderbolt… It was like an eruption of primal power.” The Jessye Norman School of the Arts in her hometown of Augusta, Ga. – now in its 10th academic year – serves as a platform and unique study facility for talented middle school students in music performance, writing, drama, dance and graphic art. The students attend this after-school program free of tuition. A fellowship and master class series in her name established at the University of Michigan School of Music, Drama and Dance further attest to Miss Norman’s encouragement and support of emerging talent. Miss Norman is the recipient of many awards and honors. In 1997, she was granted the United States’ highest award in the performing arts, the Kennedy Center Honor, making history as the youngest recipient in its 20-year existence. Her many other prestigious distinctions include honorary doctorates at some 40 colleges, universities and conservato-

ries around the world, the most recent being the Doctor of Music honoris causa from the Manhattan School of Music and Northwestern University in 2011. In 1984, the French government bestowed upon Miss Norman the title Commandeur de l’ordre des Arts et des Lettres, and the National Museum of Natural History in Paris named an orchid for her. In 1989, she was awarded the Legion of Honor by French President François Mitterand, and in 1990, she was named Honorary Ambassador to the United Nations by U.N. Secretary Xavier Perez de Cuellar. Miss Norman was awarded the Radcliff Medal in 1997. In 2000, Miss Norman was honored with the Eleanor Roosevelt Val-Kill Medal in recognition of her humanitarian and civic contributions. In Augusta, Ga., her hometown, the amphitheater and plaza overlooking the tranquil Savannah River have been named for her. Miss Norman’s distinguished catalog of recordings has won numerous awards, including France’s Grand Prix National du Disque for the music of Wagner, Schumann, Mahler and Schubert; London’s prestigious Gramophone Award for her outstanding interpretation of Strauss’ “Four Last Songs”; Amsterdam’s Edison Prize; and recording honors in Belgium, Spain and Germany. In the U.S., her Grammywinning recordings include Songs of Maurice Ravel, Wagner’s Lohengrin and Die Walküre. Bluebeard’s Castle with Pierre Boulez and the Chicago Symphony Orchestra received the Grammy Award for best opera in 1999. The TV program Jessye Norman at Notre Dame, broadcast on the A&E TV network in the U.S., won an “Ace” Award from the National Academy of Cable Programming.

siasts. She participated in the opening performance of the Celebration of Women in the Arts in Barcelona at the Palau de la Música Catalana and gave a recital for the closing performance of the Festival of Classical Music in The Hague. Miss Norman was the Harmon-Eisner Artist in Residence at Walter Isaacson’s Aspen Ideas Festival in 2007. That same year, she was elected as a fellow of the American Academy of Arts and Sciences. She was also made a “living landmark” of New York City by the Landmarks Conservancy and received the Nelson A. Rockefeller Award for the Arts by the State University of New York at Purchase College. In 2008, Miss Norman presented recitals in Germany and France with the theme of the Five Seasons – Summer, Winter, Spring, Fall and the eternal season of Love! She later performed recitals with the same theme at Carnegie Hall and UCLA. Miss Norman opened the World Festival of Sacred Music in Fez, Morocco, and the Ohrid Summer Festival in Macedonia, offering recitals in Spain, Austria and Poland. Her jazz program, The Duke and the Diva, opened the performing arts series for the 2008-2009 season at the University of Maryland and also appeared at the Echternach Festival in Luxembourg. In November, she was awarded the Medal of Arts and Letters, first class, the highest civilian honor for Austria, by President Heinz Fisher at the Hapsburg Palace in Vienna. President Fisher noted her longstanding artistic relationship with Austria, citing her many performances all over the country as well as her 25 years of performances at the Salzburg Festival.

In 2006, Jessye Norman became only the fourth opera/ classical music singer in the 48-year history of the Grammy Awards, to receive the Lifetime Achievement Award for classical music, joining the illustrious company of Enrico Caruso, Marian Anderson and Leontyne Price. That same year, she was awarded the Edison Prize in Amsterdam for her outstanding contribution to recorded classical music, which includes some 75 CDs of her eclectic repertoire. That same year, Miss Norman’s tour in Asia included her first performances in mainland China, where she presented orchestral concerts in Shanghai and Beijing. During the tour, Miss Norman received an honorary professorship at the Central Music Conservatory of Beijing.

In 2009, Jessye Norman curated and directed Honor!, a three-week-long festival celebrating the African American contribution to the legacy of Carnegie Hall and the cultural mosaic of the world. This unique series of 52 performances, exhibitions and discussions was sponsored by Carnegie Hall. That same year, Miss Norman was awarded the Centennial Medal of the American Academy in Rome for her artistic and humanitarian accomplishments. She also received the New York Urban League’s Frederick Douglass Medal for her continuing, exemplary attention to her artistic goals and civic responsibilities, and New York City Mayor Michael Bloomberg awarded her the Handel Medallion, the city’s highest honor in the performing arts. She also released her first solo CD in 10 years: Roots: My Life, My Song wherein she pays tribute to some of the many individuals whose lives and work influence and inform her life.

In 2007, Miss Norman’s European performances included a recital in Paris at the Salle Pleyel titled Les voix françaises – her homage to the great tradition of music in France and her special place in the hearts of French music enthu-

In 2010, Miss Norman was presented the highest award in the arts, the National Medal of Arts, by President Barack Obama in a ceremony at the White House. She opened the season for the San Francisco Symphony with music of


Aaron Copland and Duke Ellington. This was followed by a return to South America with performances in Bogotá, Colombia, and Rio and São Paolo, Brazil, with her first appearance in Bahia. Performances in 2011 included recitals in Mexico City at the Palacio des Belles Artes and in Vienna at the Konzerthaus. She was guest artist for the inaugural concert of MUSE/IQUE, a Southern California orchestra, conducted by Rachael Worby at the California Institute of Technology. Miss Norman performed the music of George Gershwin at one of her alma maters, the University of Michigan, in commemoration of the bequest of the composer’s documents and papers by his estate. Her travels in 2012 included performances with the San Francisco Symphony in San Francisco and at Carnegie Hall, with Michael Tilson Thomas and her singing colleagues, Joan La Barbara and Meredith Monk, in a staged version of the music of John Cage. Following recitals abroad, including London, Paris and Moscow, Ms. Norman performed for the first time in the country of Oman on the stage of the Royal Opera House, which had its grand opening in 2011. Performances in 2013 included a recital tour in the U.S. with her American Masters program of music by Bernstein, Gershwin, Porter, Rodgers and Hammerstein, and Ellington, with special tributes to Ella Fitzgerald, Josephine Baker, Lena Horne and Nina Simone. She also returned to Europe, making a visit to the very first European city she performed in: Munich. Miss Norman is admired and respected for her artistic presentations as well as her humanitarian contributions. She attributes her citizenship and sensitivity to the larger world outside of her profession to the sterling example set by her parents, who showed her the importance of community service. Along with her continuous exploration and seeking to broaden her artistic, social and political horizons is a firm determination to honor the ancestors. In addition to her busy performance schedule, Miss Norman serves on the board of directors for the New York Public Library, and she is a member of the board of governors for the New York Botanical Garden. She also serves on the boards of Carnegie Hall, Dance Theatre of Harlem, Howard University, the Lupus Foundation of America and Paine College. She is national spokesperson for the Lupus Foundation and The Partnership for the


Homeless. A relentless Girl Scout cookie seller, she is a lifetime member of the Girl Scouts of America. Although she has received so many accolades – including, as of January 2012, the title of “officer” in the Legion of Honor awarded by the president of France, Nicholas Sarkozy – it is yet the sheer joy of singing that fuels Jessye Norman’s energy and fortitude in making music around the world. In July 2013, she was awarded the highest recognition offered by the NAACP (National Association for the Advancement of Colored People), the Spingarn Medal. It was presented to her at the 104th Annual Convention of the NAACP in Orlando, Fla., by Congressman John Lewis, and her brother, Dr. Silas Norman, who worked with Rep. Lewis with the Student Nonviolent Coordinating Committee in the 1960s in Selma, Ala. Just two weeks later, Miss Norman was soloist at the Congressional commemoration of the 50th anniversary of the March on Washington, held in the National Statuary Hall of the U.S. Capitol Building. Miss Norman performed “He’s Got the Whole World in His Hands,” which was the spiritual that Marian Anderson performed at the March on Washington in 1963. Books are available for purchase in the lobby and a signing follows the event


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Thank You! Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and educational outreach by A&L artists and writers who visit classes.

A hearing loop transfers clear sound directly to hearing aids or headset receivers, eliminating distracting background noise.

Experience a Hearing Loop at all performances at Campbell Hall, the New Vic, the Lobero Theatre and many other locations in town. Find a complete list at To find out if your hearing aid is compatible, ask your hearing professional. Let’s Loop Santa Barbara is a project of the Independent Living Resource Center with funding from the California Communications Access Foundation.

Thank You to Our Generous Sponsors

Hearing Loss Association of America

Santa Barbara Chapter



concert directors Mira Kingsley and Christina McCarthy

APR 11 - 13

an ACTING UP FRONT production

THE ARABIAN NIGHTS by Mary Zimmerman directed by Jeff Mills

MAY 9 - 17


by Bill Cain directed by Irwin Appel

MAY 23 - 31


photo credit David Bazemore

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UCSB Arts & Lectures - Spring Program 2014  
UCSB Arts & Lectures - Spring Program 2014