PenStateCND2008

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Penn State’s Center for the Performing Arts

CENTER FOR THE PERFORMING ARTS

Today’s performance is sponsored, in part, through the generous support of

presents

Compañía Nacional de Danza ARTISTIC DIRECTOR: NACHO DUATO

UPCOMING EVENTS Brentano String Quartet with Michael Kannen, cellist 7:30 p.m. Thursday, March 27 (SA)

EVITA 7:30 p.m. Wednesday, April 9 7:30 p.m. Thursday, April 10

Itzhak Perlman, violinist Rohan De Silva, pianist 7:30 p.m. Tuesday, April 1

Preservation Hall Jazz Band 8 p.m. Saturday, April 12

7:30 p.m. Tuesday, March 4, 2008, Eisenhower Auditorium

Romeo and Juliet St. Petersburg Ballet Theatre 8 p.m. Friday, April 4 Junie B. Jones TheatreworksUSA 2 p.m. Sunday, April 6

Performances are in Eisenhower Auditorium unless indicated as being in Schwab Auditorium (SA). Artists, programs, dates, and times are subject to change.

There will be two intermissions during this performance.

Sponsor: KTH Architects, Inc. Media Sponsor: WPSU-FM

The 2007–2008 season of the Center for the Performing Arts is supported, in part, by grants from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency.

Program

Program Gilded Goldbergs Choreography: Nacho Duato Music: Robin Holloway (for two pianos, based on Johann Sebastian Bach’s BWV 988; recorded performance by Jennifer Micallef and Glen Inanga) Sets and Costumes: Nacho Duato Light Design: Brad Fields World premiere by Compañía Nacional de Danza at Teatro de la Zarzuela in Madrid on November 15, 2006.

Duato uses Robin Holloway’s furiously paced music to create an imaginative discourse, based on an astonishing sense of musicality and the elegant performance of the Compañía Nacional de Danza’s dancers.

—Intermission— Gnawa Choreography: Nacho Duato Music: Hassan Hakmoun/Adam Rudolph (Gift of the Gnawa, “Ma’Bud Allah”); Juan Alberto Arteche and Javier Paxariño (Finis Africae, “Carauari”); Rabih Abou-Khalil, Velez, Kusur y Sarkissian (Nafas, “Window”).

Costumes: Luis Devota and Modesto Lomba Lighting Design: Nicolás Fischtel (A.A.I.) Premiere performance by Hubbard Street Dance Chicago at the Joan W. and Irving B. Harris Theater for Music and Dance in March 2005. Premiered by the Compañía Nacional de Danza at the Euskalduna, Festival Dantzaldia, Bilbao, on November 4, 2007.

In 1992, in his home city of Valencia, Duato premiered Mediterrània, searching deeper into his roots and those of his forebears, and his sense of complicity with the Mediterranean Sea. In Gnawa, the renowned choreographer continued along the path he set out on with Mediterrània, seeking to transmit through the medium of movement the sensuality of the landscape, the true nature of its people. With a suggestive musical score replete with Spanish and North African sounds, Gnawa captivates its audience through its all-encompassing power and sensual elegance, combining the spirituality and organic rhythm of the Mediterranean.

The songs, dances, and rituals of Moroccan mystical brotherhoods that originated in sub-Saharan Africa inspired Gnawa. It also refers to a musical style of sub-Saharan reminiscences practiced by these brotherhoods or by musicians inspired by them and is considered one of the main Moroccan folklore genres.

—Intermission— Por Vos Muero Choreography: Nacho Duato Music: Old Spanish music from fifteenth and sixteenth centuries— Cancons de la Catalunya mil-lenària, “El Mestre,” performed by La Capella Reial de Catalunya, directed by Jordi Savall; Canciones y Danzas de España; and España: Antología de la Música Española Sets: Nacho Duato Costumes: Nacho Duato and Ismael Aznar Light Design: Nicolás Fischtel (A.A.I.) Text: Garcilaso de la Vega Voice: Miguel Bosé Por Vos Muero had its world premiere by Compañía Nacional de Danza at Teatro de Madrid on April 11, 1996.

Duato continues to be inspired by Spanish music of the fifteenth and sixteenth centuries, along with verses of Spanish poet Garcilaso de la Vega. Music and poetry connect the obvious contemporary dance of Por Vos Muero to its historic reference.

Fifteenth- and sixteenth-century dances formed part of the cultural expression of the people, including all social hierarchies, and therefore produced an honest reflection of culture at that time. Por Vos Muero pays tribute to the important role dance played in every sort of social event during those ancient times.

Music: Venegas de Henestrosa Villancico II: Al revuelto de una garza Romance I: Pues no me queréis hablar Romance II: Mira Nero de Tarpeya Pedro Guerrero Moresca: La perra mora

Program

Por Vos Muero

Diego Ortiz Pasamezzo moderno Pedro Ruimonte Villancico: Madre la mi madre Antonio Martín y Coll Danza: El Villano Juan Vasquez Romance de Don Beltrán: Los braços traygo cansados Cristóbal de Morales Requiem: Pie Jesu Mateu Flecha: Dindirindin (de la Ensalada La Bomba) Tradicional catalana/Jordi Savall: El Mestre

a tornar el agua en vino como el danzar en reir

Por Vos Muero by Garcilaso de la Vega Estoy contino en lágrimas bañado rompiendo siempre el aire con suspiros y más me duele el no usar deciros que he llegado por vos a tal estado Canción, yo he dicho más que me mandaron y menos que pensé no me pregunten más, que lo diré Nadie puede ser dichoso, señora, ni desdichado, sino que os haya mirado porque la gloria de veros en ese punto se quita que se piensa mereceros así que, sin conoceros, nadie puede ser dichoso, señora, ni desdichado, sino que os haya mirado La gente se espanta toda que hablar a todos distes que un milagro que hicistes hubo de ser en la boda Pienso que habeis de venir si vais por ese camino

I ‘m continuously bathed in tears always breaking the air with sighs and I’m even more hurt by not telling thee I’ve arrived at this point because of thee Song, I have spoken more than what was asked of me, and less than I thought I would don’t ask me more, ‘cause I shall disclose.

No one can be happy, Madam, nor unhappy, unless he has looked at thee ‘cause the glory of seeing thee vanishes in the moment one thinks of deserving thee therefore, without knowing thee, no one can be happy, Madam, nor unhappy, unless he has looked at thee People get scared as thou hast made them all gossip ‘cause a miracle made thee in wedlock

Las lágrimas que en esta sepultura se vierten hoy en día y se vertieron, recibe aunque sin fruto ya te sean hasta que aquella eterna noche oscura me cierre aquestos ojos que te vieron dejándome con otros que te vean Escrito está en mi alma vuestro gesto y cuanto yo escribir de vos deseo vos sola lo escribistes yo lo leo tan solo que aún de vos me guardo en esto En esto estoy y estaré siempre puesto que aunque no cabe en mi cuanto en vos veo de tanto bien lo que no entiendo creo tomando ya la fe por presupuesto Yo no nací sino para quereros mi alma os ha cortado a su medida por hábito del alma misma os quiero Cuanto tengo confieso yo deberos por vos nací por vos tengo vida por vos he de morir y por vos muero

I think thou hast to come if thou persists on that way to turn water into wine as well as dance into laughter Tears that on this grave pour and were poured, receive, although they shall be fruitless until that eternal, dark night close my eyes which saw thee leaving me with other ones to see thee Written on my soul is thy gesture and all I desire to write about thee thee thyself wrote it, I only read it that even on that matter I follow thee In that I am and shall be ever ready cause even though I cannot cope with as much as I see in thee from so much good, I believe in what I cannot understand already taking the faith as a premise I was not born but to love thee my soul is patterned to thy measures and because of my soul’s habit I do love thee I confess to owe thee all I have for thee I was born, for thee I am alive for thee I have to die, and for thee I die.

Who’s Who

Compañía Nacional de Danza Compañía Nacional de Danza was founded in 1979 under the name Ballet Nacional de España Clásico, and its first director was Víctor Ullate.

In 1983, the direction of the company was given to María de Avila, who put Ray Barra, a former North American dancer and choreographer living in Spain, in charge of a number of choreographies, and later offered him the post of assistant director, which he held until 1990. In December 1987, Maya Plisetskaya was appointed the ballet’s artistic director.

The June 1990 appointment of renowned dancer and choreographer Nacho Duato as artistic director of Compañía Nacional de Danza, as the company came to be known, has meant an innovative change in the company’s history. It is Duato’s firm intention to transform the company into a ballet with a personality of its own in which, without neglecting the classical precepts, a more contemporary style is adopted. To achieve this, he includes new choreographic work in the company’s repertoire, along with other works of proven quality with international recognition. Duato also contributes to the company as a choreographer and has been praised by critics all over the world and awarded prizes.

Artistic director: Nacho Duato Principal dancers: Tamako Akiyama, Luisa María Arias, África Guzmán, Ana María López, Yolanda Martín, José Carlos Blanco, Bruno Cezario, Gentian Doda, Jean Phillipe Dury, Isaac Montllor, Dimo Kirilov Corps de ballet: Lucía Barbadillo, Stephanie Dalphond, Kayoko Everhart, Ana Tereza Gonzaga, Marina Jiménez, Inês Pereira, Soojee Watman, Clyde Archer, Randy Castillo, Fabrice Edelmann, Stein Fluijt, Amaury Lebrun, Francisco Lorenzo, Mathieu Rouvière, Joel Toledo, Héctor Torres Artistic coordinator: Hervé Palito

Who’s Who Répétiteurs: Yoko Taira, Thomas Klein Pianist: Carlos Faxas Stage manager: José Álvaro Cotillo Physical therapist: Luis Gadea Masseur: Mateo Martín Manager: Carmen Bofarull Press and promotion: Maite Villanueva Assistant to press and promotion: África Cruz Production: Sonia Sánchez Assistants to production: Francisco Javier Serrano, Cristina González, Luis Martín Oya (production on tour) Administration: Aida Pérez Assistant to administration: Cristina Sánchez Staff: José Antonio Beguiristáin Maintenance: Ana Galán Technical director: Marcelo Suárez Assistant to technical director: Ricardo Virgós Stage hands: Francisco Padilla, César Recuenco, Irene Hernandez Electricians: Lucas González, Juan Carlos Gallardo Sound: Jesús Santos, Pedro Álvaro Wardrobe: Ana Guerrero (chief wardrobe), Valeriana Bon, Sagrario Martín, Carmen Ortega Properties: José Luis Mora Storehouse: Reyes Sánchez Concierges: Miguel Angel Cruz, Teresa Morató, Federico Cordero United States production manager: Jessica Cabrera North American Representative: Sunny Artist Management Ilter Ibrahimof, director ilter@sunnyartistmanagement.com

Who’s Who

Who’s Who

Nacho Duato

Lourdes Frías Costume Designer

Born in Valencia, Spain, Duato started professional ballet training with the Rambert School in London at 18, expanding studies at Maurice Béjart’s Mudra School in Brussels and completing his dance education at The Alvin Ailey American Dance Center in New York City.

In 1980, Duato signed his first professional contract with the Cullberg Ballet in Stockholm, and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly incorporated into the company and repertoire.

For his achievements as a dancer, he received the VSCD Gouden Dansprijs (Golden Dance Award) for 1987. Duato’s natural talent had him look beyond the limitations of a dancer and turn toward choreography.

His first attempt in 1983 turned into a major success: Jardí Tancat to Spanish/Catalan music by compatriot Ma del Mar Bonet won him the first prize at the International Choreographic Workshop (Internationaler Choreographischer Wettbewerb) at Cologne.

In 1988, he was named resident choreographer for Nederlands Dans Theater next to Hans van Manen and Kylián.

With the growing demand from international companies requesting a work of his for their repertoire, Duato had to take a decisive step toward choosing his future career. His ballets form part of the repertoire of companies such as Cullberg Ballet, Nederlands Dans Theater, Les Grands Ballets Canadiens, Deutsche Oper Ballet, Australian Ballet, Stuttgart Ballet, Ballet Gulbenkian, Finnish Opera Ballet, San Francisco Ballet, Royal Ballet, and American Ballet Theatre. The choreographic piece White Darkness is part of the repertoire of the Ballet of the Opera of Paris.

Frías was born in 1957 in Madrid, where she died last year. She studied interior design, but later her career developed toward fashion design.

In 1986, she moved to London, where she studied at the prestigious Central Saint Martins College of Art and Design. In London, she worked for Japanese designer Koji Tatsuno and Anne Lise Kjäer. Afterward, she worked for herself in Notting Hill Gate. She returned to Spain in 1995.

In 1997, Nacho Duato asked her to design the wardrobe of his ballet Romeo and Juliet. White Darkness is the second collaboration between both artists.

Jaffar Chalabi Set Designer Chalabi was born in Baghdad, Iraq. He started studying sculpture in Vienna. He completed his education at the Polytechnic University of Vienna and earned his doctorate with a thesis on architecture and movement. In 1993, he founded Chalabi Architects with Talik Chalabi.

Since 1996, he has taught at the Polytechnic University of Vienna. He is a guest professor at the École Nationale Supérieure d’Architecture de Versailles in France.

He has earned prizes in prestigious international competitions and received honorable mention from the Austrian award for experimental architecture in 2002. Chalabi Architects has won prizes in international architectural competitions.

Chalabi has collaborated with Duato since 1999, designing sets from Multiplicity: Forms of Silence and Emptiness (1999), Ofrenda de Sombras (2000), Txalaparta (2001), White Darkness (2001), Castrati (2002), and Herrumbre (2004).

In 1995, he received the grade of Chevalier dans l’Ordre des Arts et des Lettres, given annually by the French embassy in Spain.

Brad Fields Lighting Designer

In 1998, the Spanish government gave him the Golden Medal for Merit in the Fine Arts. Since then, he’s won numerous awards.

Born in North Carolina, Fields has worked in lighting for twenty years in more than twenty countries. He has designed the lighting for Nacho Duato’s Gilded Goldbergs, Alas, Castrati, Sueños de Éter, Arcangelo, Ofrenda de Sombras, Multiplicidad, Formas de Silencio y Vacío, Without Words, and Remanso.

Duato has been artistic director of Compañía Nacional de Danza since June 1990.

Who’s Who

Who’s Who

He is the lighting director for American Ballet Theatre, where he has designed the lighting for numerous ballets, including Coppelia, La Fille Mal Gardée, and Within You Without You: A Tribute to George Harrison. Other credits include Natalia Makarova’s La Bayadére for the Australian Ballet and Bella Lewitzky’s Meta 4 for the Lewitzky Dance Company.

From 1991 to 1996, Fischtel was the resident lighting designer and technical director of Compañía Nacional de Danza, directed by Nacho Duato, where he was responsible for the lighting for fourteen dance productions premiered by the company.

He has designed for Ballet Argentina, Boston Ballet, San Francisco Ballet, Royal Ballet, Lyon Opera Ballet, Houston Ballet, Netherlands Dance Theatre, Les Grands Ballets Canadiens, Los Angeles Chamber Ballet, North Carolina Black Repertory Company, and North Carolina Dance Theater.

Joop Caboort Lighting Designer Caboort was born in 1944 in The Hague, Netherlands, in the bosom of a theatre family (his father was head electrician and his mother head of the costume department). He joined the Nederlands Dans Theater in 1965, working as technical director and lighting designer of the company from 1970 to 1995. He’s worked with Hans van Manen, Jirí Kylián, Jennifer Muller, Louis Falco, Glen Tetley, Nils Christe, and Nacho Duato. He has also collaborated with set designers such as Jean-Paul Vroom, Keso Dekker, William Katz, Walter Nobbe, Nadine Bayliss, John F. Macfarlane, and Michael Simon. He has executed lighting designs for prestigious dance companies. He gives classes on lighting design in ballet at the Dutch School for Theatre Technicians. He was directly responsible for the entire technical endowment in the Lucent Dans Theater in The Hague, a theatre designed exclusively to present dance. In 1995, he opened his own lighting design and theatre consultancy and, since then, has worked as a freelance artist.

Nicolás Fischtel Lighting Designer Fischtel studied lighting and sound at the prestigious Royal Academy of Dramatic Art in London under such teachers as Neil Fraser and Francis Reid. Awarded a Fullbright Scholarship, he continued his studies at the School of Dramatic Art at Yale University in Connecticut under the watchful eyes of Jennifer Tipton and William Warfel.

Since 1984, he has worked as the lighting designer at the Teatro SANPOL in Madrid (Aladdin, Castles in the Air, The Wizard of Oz, Piratas a Babor, The Frog Prince, The Musicians of Bremen, and Los Fantástikos, among others).

He has also designed the lighting for other choreographic performances

by Duato for the following companies: Nederlands Dans Theater (Holland), Berlín Opera Ballet, Les Grands Ballets Canadiens, Australian Ballet, Gulbenkian Ballet (Portugal), Stuttgart Ballet, Ballets de Montecarlo, Pacific Northwest Ballet (Seattle), Hubbard Street Dance Chicago, Ballet Opera Finland, and Asami Maki Ballet (Tokyo).

Fischtel has recently worked for the San Francisco Ballet, Compañía Nacional de Danza 2, Joan Lluis Bozzo, Daniel Bohr, Juan Pedro de Aguilar, Victor Conde, Ramón Oller, Junior Ballet del Dance Conservatoire in Paris, Jesús Cracio, Ricard Reguan, Thaiku Theatre, Washington Ballet, Tulsa Ballet, Compañía Flamenco Vivo, Compañía Andaluza de Danza, and Ballet Nacional de España. He has also continued to work with Duato for Compañía Nacional productions such as Remansos, Romeo and Juliet, Txalaparta, and L’ Amoroso.

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Members

Members

The Center for the Performing Arts recognizes the following members for their gifts to the 2007–2008 annual membership campaign. For information on the membership program or how you may contribute to the Center for the Performing Arts, please contact Dave Shaffer at 814-863-1167 or DaveShaffer@psu.edu.

($250–$499)

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Director’s Circle ($1,250–$2,999) Grace McCloskey Bardine Hu and Mary Barnes Linda and Bob Becker Harry L. Bell Nirmal and Chandra Bose Lynn Donald Breon Sandy Zaremba and Dick Brown* John L. Brown and Lynn Sidehamer Joan and John Chernega Norma Condee* Andrea A. Cotner and Edward R. Galus Janet Fowler Dargitz

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Encore Circle

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Pete and Sue Rubba Sally L. Schaadt David and Ann Shallcross-Wolfgang Dan and Melinda Stearns Richard and Marti Supina Maria A. Sweet Edward and Patricia Thompson Dennis and Joan Thomson Marty and Lisa Wiedemer Nancy and Ted Ziff

Endowment Contributors ($150 and more)

We recognize the following donors who have recently contributed to endowments at the Center for the Performing Arts. For more information about how to contribute to existing endowments, contact Dave Shaffer at 814-863-1167 or DaveShaffer@psu.edu.

Norma and Ralph Condee Chamber Music Endowment Norma Condee Robert and Dorothy Cecil Mr. and Mrs. Keith Doms

Glenn and Nancy Gamble Endowment Glenn and Nancy Gamble Michael D. Zisman and Linda J. Gamble

U.Ed. ARC 08–170