Sep - Oct 2012 Program Book | Carolina Performing Arts | 2012-13 Season

/// PROGRAM BOOK 1 of 4 OCT 14 | compagnie marie chouinard

Dear Friends And so it begins.

There are few works of modern art and music that are as daunting or influential as Igor Stravinsky’s The Rite of Spring. As we approach the centennial of the ballet’s May 1913 Paris premiere at the Théâtre des Champs-Élysées, Carolina Performing Arts (CPA) is reimagining The Rite and its contemporary significance through a year-long celebration, The Rite of Spring at 100. Part of the celebration, which launches this fall, will be a series of once-in-a-lifetime performances at Memorial Hall with some of the leading performing artists of our time, including Yo-Yo Ma and the Silk Road Ensemble, the string quartet Brooklyn Rider, the acclaimed puppeteer Basil Twist, and the Martha Graham Dance Company, to name a few. CPA has commissioned 12 new works to explore, reinterpret, and reimagine The Rite. University and local audiences will see them first — each commissioned work will have its world or U.S. premiere right here in Chapel Hill during the 12/13 season.

The exploration of The Rite, though, is not confined to Memorial Hall. From the beginning, our vision was to embed the planned performances within the academic and research interests of Carolina faculty. If Memorial Hall is one hub of major activity for the upcoming year, then Hyde Hall, the campus’s longtime incubator for faculty research and development, is clearly the other.

With major funding by The Andrew W. Mellon Foundation, CPA joined with Institute for the Arts and Humanities (IAH) to organize a series of academic programs that will expand the celebration to every corner of campus. A highlight will be a series of two academic conferences that will bring together leading thinkers – intellectual historians, music and dance scholars, critics and artists – to reflect on the cultural, political, societal tumult that The Rite presaged and in many ways announced. The conferences – the first this October in Chapel Hill and the second in April at the Tchaikovsky Conservatory in Moscow – will assess the long reach of The Rite, the impact and legacy of modernism, and the contemporary social and political dynamics that too often equate, or at least anticipate, violence with creation and innovation.

Richard Taruskin, the New York Times music critic, professor emeritus at The University of California at Berkeley, and the premier historian of Russian music, will be the keynote speaker for the October conference. He and Lynn Garafola, professor of dance at Barnard College, will both be in residence during the fall conference. Jessica Berman, a modernism scholar and English professor from the University of Maryland, will serve as a distinguished visiting professor at UNC-Chapel Hill during the spring semester.

Three UNC faculty members have been named IAH Faculty Fellows as part of The Rite of Spring at 100: Allen Anderson (Music), Erin Carlston (English), and Hong-An Truong (Art). Each will be provided a one-semester leave to focus on themes related to The Rite in the context of their own research and teaching. A post-doctoral fellow, Jennifer Ware, will be working closely with CPA and IAH on a number of academically-related efforts during the year, including gathering information on the 18 undergraduate and graduate courses this year that will have The Rite as a significant theme or focus.

In these ways and more, Carolina faculty members are a critical constituency for The Rite of Spring at 100. Faculty members will be able to engage directly with this extraordinary season of performances and to foster new linkages between the performing arts and their research and teaching responsibilities.

The Rite of Spring at 100, we know, is just the beginning. A new Mellon grant awarded several weeks ago will enable CPA to continue to extend our connections with the academy. It is a happy marriage of shared interests and a common belief in the value of the arts as part of the university’s core mission.

Outside of the Rite 100 project, our regular season will offer additional groundbreaking work. We kick off the season with a theatrical presentation in an unlikely venue, as National Theatre of Scotland performs The Strange Undoing of Prudencia Hart at Top of the Hill’s Back Bar. The intimate setting allows the audience to become enveloped in the performance. In October, we will present our only non-Rite 100 commissioned work for this season, a “CelloOpera” by gifted cellist Maya Beiser. Titled Elsewhere, the poignant triptych incites interdisciplinary collaboration reminiscent of The Rite, and it will leave us all mesmerized.

We are grateful to be finally here in the midst of The Rite of Spring at 100 and at the advent of a new era of the performing arts at Carolina. Thank you for joining us in this journey, and thank you for your continued support.

Emil J. Kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music

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///2012/13 season ACKNOWLEDGMENTS Carolina Performing Arts gratefully acknowledges the generous contributions of time, energy and resources from many individuals and organizations including the Office of the Provost, Office of the Chancellor, University Advancement, Department of Public Safety, the Faculty Governance, the Institute for the Arts & Humanities, the College of Arts and Sciences, Student Body Government and UNC News Services.

Administrative staff Emil J. Kang – Executive Director Rachel Ash – Development and Stewardship Manager Rebecca Brenner – Marketing and Communications Coordinator Barbara Call – Finance and Human Resources Manager Amy Clemmons – Development and Stewardship Coordinator Reed Colver – Director of Campus and Community Engagement Jennifer Cox – Administrative Assistant Mary Dahlsten – Box Office Manager Tiffany Gay – Artistic Assistant Raymond Farrow – Director of Development and Strategic Initiatives Joseph Florence – Marketing and Communications Manager Butch Garris – Production Manager Erin Hanehan – Artistic Coordinator Matt Johnson – Production Manager Mike Johnson – Associate Director Marnie Karmelita – Director of Artist Relations Susan Marston – Accountant Sarah Mixter – Artistic Assistant Dan McLamb – Tessitura Systems Administrator Mark Nelson – Director of Marketing and Communications Mark Steffen – Events Manager Christine Tully – Audience Services Manager Aaron Yontz – Production Manager

Memorial Hall student staff

Table of contents

///////////////////////////////////////////// 12 The Strange Undoing of Prudencia Hart – National Theatre of Scotland 18 The Silk Road Ensemble with Yo-Yo Ma 26 Elsewhere – A CelloOpera with Maya Beiser, cello directed by Robert Woodruff 34 Compagnie Marie Chouinard 40 Punch Brothers featuring Chris Thile 44 Studio for New Music Ensemble from the Moscow Tchaikovsky Conservatory 50 Mariinsky Orchestra with Valery Gergiev, conductor

Carolina Performing Arts is grateful for the more than 100 students who work in our Box Office, House and Tech staff. It is their hard work and dedication that make every performance at Memorial Hall a success.

58 Joshua Bell, violin

Advertisers Make This Book Possible

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This program book would not be possible without the advertisers who support it. Their patronage means this information is available to you without cost to Carolina Performing Arts. We extend our gratitude and encourage you to thank them, as well.

The Carolina Performing Arts programs are published and designed by Opus 1, inc., in cooperation with Carolina Performing Arts. If you are interested in reaching our audience with your message in the Carolina Performing Arts program book, please call or email Amy Scott or Devon Semler at (919) 834-9441 or amys@opus1inc.com or devons@opus1inc.com.

On the cover: Dominique Porte in Le sacre du printemps,

by Compagnie Marie Chouinard.

///////////////////////////////////////////////////////////////// Letter from the Executive Director – Emil J. Kang

4 About The Rite of Spring 11

Not Quite Sure What You Like?

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Important Information

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Donor Spotlight

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Carolina Performing Arts Society

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Restaurant Guide

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Student View

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The Last Word

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Advertisers Index

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Vaslav Nijinsky

Serge Diaghilev & Igor Stravinsky

May 29, 2013 The centennial anniversary of the premiere performance of The Rite of Spring.

Ballets Russes dancers in The Rite of Spring costumes

TheRiteofSpringat100.org

Nicholas Roerich illustration

Serge Diaghilev, Vaslav Nijinsky & Igor Stravinsky

what is

THE RITE of SPRING? Le Sacre du printemps On a hot Paris evening in 1913, a riot broke out at the ballet. At the Théâtre des Champs-Élysées, members of Serge Diaghilev’s legendary dance troupe, the Ballets Russes, stamped their feet and jumped to a wild orchestral score. Shaken by Igor Stravinsky’s unorthodox music and scandalized by Vaslav Nijinsky’s audacious choreography, audience members shouted out their protests, while others rose up in defense. Punches were thrown; the police were called. On its opening night, The Rite of Spring secured its place in history.

The outraged spectators must have known they were witnessing something important: Stravinsky’s score inspired countless composers and quickly assumed its place as a canonic work in the orchestral repertoire. The Rite of Spring has been choreographed more than any other music of the past century.

From its ethereal bassoon solo opening to the sacrificial finale – in which a young girl dances herself to death – The Rite of Spring has captured the imagination of artists and audiences for the last century.

The Rite of Spring was both an end and a beginning: a farewell to the ballet tradition and the Romantic orchestral works of the 19th century, and the birth of the avant-garde movement in the 20th. It brought together the work of three great artists: composer Stravinsky, choreographer Nijinsky and visual artist and costume designer Nicholas Roerich. In re-interpreting archaic iconography and Russian folk traditions, the creators found an artistic language wholly modern, in step with a decade marked by the sinking of the Titanic and the horrors of World War I. Looking back after a century, The Rite of Spring appears more relevant than ever.

“The Rite of Spring is one of the most important works in the history of music.”

– Leonard Bernstein

“It took Stravinsky, in one bold and sudden gesture, to grab music painfully and brutally, and to blast it into a wholly new region from which it could never return.”

– Peter Gutmann, Classical Notes

“…it might be the work of a madman.”

– Giacomo Puccini

By William Robin, a UNC-Chapel Hill doctoral candidate in music.

His research focuses on American minimalism and post-minimalism and the German postwar avant-garde.

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100 years later “as important to the 20th century as Beethoven’s Ninth is to the 19th” –The Times (London)

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Anne Bogart & Bill T. Jones

The Rite of Spring was significant not just as a riot-inspiring act of modernism, but also for its embrace of the interdisciplinary.

Igor Stravinsky, Vaslav Nijinsky and Nicholas Roerich brought cutting-edge visuals and music together on a single stage.

In the spirit of this cross-medium collaboration, Carolina Performing Arts and UNC-Chapel Hill will present a year-long centennial commemoration of The Rite of Spring, embracing all aspects of the multifaceted work. From September 2012 through May 2013, UNC’s campus will be home to performances, academic conferences and courses exploring the impact of The Rite and what the work means today.

Basil Twist

Brooklyn Rider

Carolina Performing Arts has commissioned 11 new works from important artists across the globe – choreographer Bill T. Jones and director Anne Bogart, puppeteer Basil Twist, composer Dmitri Yanov-Yanovsky, jazz pianist Vijay Iyer, among others – who reimagine The Rite, bringing a contemporary flavor to the 1913 masterpiece. The Rite of Spring at 100 will present international dance companies’ reinterpretations of the original ballet and a reconstruction of Nijinsky’s groundbreaking choreography by the Joffrey Ballet.

The UNC campus is actively participating in the discussion of the impact of The Rite of Spring and its historical lineage through artistic residencies, masterclasses, interdisciplinary course offerings and two major academic conferences taking place in Chapel Hill and Moscow. The Rite of Spring at 100 celebrates the dawn of modernism through an exploration of artistic creation and scholarly dialogues that will foretell what awaits us in the future.

By William Robin, a UNC-Chapel Hill doctoral candidate in music.

His research focuses on American minimalism and post-minimalism and the German postwar avant-garde.

Yo-Yo Ma

Valery Gergiev

www.TheRiteofSpringat100.org Vijay Iyer

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thank you

Carolina Performing Arts’ year-long celebration The Rite of Spring at 100 would not be possible without the support of our donors. Major funding has been provided by The Andrew W. Mellon Foundation, The William R. Kenan, Jr. Charitable Trust, and the National Endowment for the Arts.

Thank you to the following individuals, foundations and corporate partners for championing this historic year for the arts at Carolina.

The RITE OF SPRING AT 100 GIFTS Commitments received as of August 1, 2012.

Benefactor ($250,000 and above) The William R. Kenan, Jr. Charitable Trust The Andrew W. Mellon Foundation

Stravinsky Circle ($100,000 - $249,999) Thomas F. Kearns, Jr. Frank and Elizabeth Queally

Diaghilev Circle ($50,000-$99,999) Jane Ellison The John W. and Anna H. Hanes Foundation Wyndham Robertson Kay and Van Weatherspoon

Nijinsky Circle ($25,000-$49,999) Munroe and Becky Cobey William D. and Dr. Sally C. Johnson Lisa and Theodore Kerner, Jr., M.D. Patricia and Thruston Morton National Endowment for the Arts Michael and Amy Tiemann

Ballets Russes Society ($10,000-$24,999) Mary Louise and John Burress Peter D. and Julie Fisher Cummings 8

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Jaroslav and Barbara Hulka Mrs. Frank H. Kenan Thomas S. Kenan III Anne and Mike Liptzin Rick and Carol McNeel Josie Ward Patton Phil and Kim Phillips Shirley C. Siegel Wells Fargo

1913 Society ($5,000-$9,999) Lee and Libby Buck Paul Fulton Cheray Hodges Drs. Michael and Christine Lee Harriet and D.G. Martin James and Susan Moeser Sharon and Doug Rothwell Mary and Ernie Schoenfeld Douglas and Jacqueline Zinn

Contributors (Under $5,000) Blanche and Zack Bacon Rhoda L. and Roger M. Berkowitz Suejette and David Brown Bruce Carney and Ruth Ann Humphry Hodding Carter and Patricia Derian Sophia S. Cody Mr. and Mrs. Woody Coley Fine Feathers

Borden and Ann Hanes Wade and Sandy Hargrove Dr. Marcia Anne Koomen Irwin and Susan Levy Grey Lineweaver Mary and Paul Livingston James and Connie Maynard Peacock Alley Louise and Harold Pollard Susan Wall Nan Weiss Beth and Julian Williamson

SPECIAL THANKS TO OUR CORPORATE PARTNERS CORE Catering Chapel Hill Magazine (local media sponsor) Fine Feathers Home on the Range KPO Photo McDuffie Design Parlez-Vous Crepe Peacock Alley Gifts Rivers Agency University Florist

Pierre-Laurent Aimard

Coming soon to UNC’s Memorial Hall Gilberto Gil

Sir John Eliot Gardiner, conductor

november ///////////////////////////////////// NOV 11 Pierre-Laurent Aimard, piano NOV 12 Gilberto Gil – For All NOV 14 Orchestre Révolutionnaire et Romantique and the Monteverdi Choir with Sir John Eliot Gardiner, conductor NOV 16 Brooklyn Rider with special guests Shara Worden and Gabriel Kahane (WP) NOV 27 Chucho Valdés

december /////////////////////////////////////

DEC 1/2 The Nutcracker – Carolina Ballet DEC 7 Jazz for the Holidays – NC Jazz Repertory Orchestra with special guest John Pizzarelli

WP – World Premiere |

Rite of Spring at 100 Performance

Chucho Valdés

Brooklyn Rider

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Reassessing The Rite:

A CENTENNIAL CONFERENCE OCT 25 – Oct 28, 2012 University of North Carolina at Chapel Hill

Rite 100 & the Academy As part of The Rite of Spring at 100, we host two academic conferences – one in Chapel Hill and one in Moscow – that use The Rite’s centennial as an occasion to rethink the foundations and relevance of Modernist aesthetics in contemporary times. The Chapel Hill conference is for individuals interested in learning about 20th-century music, the visual arts, dance and literature. Sessions will include discussions and lectures for both scholarly and general audiences. The conference is free and open to the public.

Thurs, Oct 25, 2012 5PM | OPENING RECEPTION Ackland Art Museum 6:30PM | WELCOME | Emil J. Kang, UNC Executive Director for the Arts, and Severine Neff, Eugene Falk Distinguished Professor of Music at UNC | Memorial Hall 6:45PM | KEYNOTE: “Resisting The Rite” Richard Taruskin (University of California at Berkeley) | Memorial Hall 8PM | CONCERT | Studio for New Music Ensemble (Moscow Tchaikovsky Conservatory) with Igor Dronov, conductor and Vladimir Tarnopolski, artistic director | Memorial Hall

Fri, OCT 26 Hyde Hall, Institute for the Arts and Humanities 10:15AM | WELCOME | Terry Rhodes, Senior Associate Dean for the College of Arts and Sciences, and Mark Katz, Chair of the Department of Music (UNC-Chapel Hill) 10:30AM | The Rite in Russian History and Culture Matthew Franke (UNC-Chapel Hill), chair “Stravinsky’s Russia: The Politics of Cultural Ferment” Donald J. Raleigh (UNC-Chapel Hill) “Violence (Symbolic) and Violation (Stylistic) in the Visual Arts: The Case of the Russian AvantGarde” | Peter Nisbet (Ackland Art Museum, UNC-Chapel Hill) “The Rite Behind the Curtain” | Kevin Bartig (Michigan State University) “Styling Le Sacre: The Rite’s Role in French Fashion” | Mary Davis (Fashion Institute of Technology) 2PM | KEYNOTE ADDRESS Chris Wells (UNC-Chapel Hill), chair “A Century of Rites: The Making of an AvantGarde Tradition” | Lynn Garafola (Barnard College, Columbia University)

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3:30PM | Dancing The Rite After Its Premiere Gina Bombola (UNC-Chapel Hill), chair “Re-Sourcing The Rite: Le Sacre du printemps and Yvonne Rainer’s RoS Indexical” | Gabriele Brandstetter (Freie Universität, Berlin, Institute of Theater Research) “Death by Dancing in Nijinsky’s Rite” | Millicent Hodson (London, UK) “Sacre as a Dance: Recent Re-Visions or How to Make It New” | Stephanie Jordan (University of Roehampton, UK) Lynn Garafola (Barnard College, Columbia University), respondent

Sat, OCT 27 Hyde Hall, Institute for the Arts and Humanities 9AM | The Rite: Analysis and Compositional Practice | Daniel Guberman (UNC-Chapel Hill), chair “How Not to Perform Le Sacre du printemps?: Schoenberg’s Theories, Leibowitz’s Recording” Severine Neff (UNC-Chapel Hill) “Rethinking Blocks and Superimposition: Form in the ‘Ritual of the Two Rival Tribes’” | Gretchen Horlacher (Indiana University at Bloomington)

2PM | PANEL DISCUSSION: Stravinsky and The Rite in 20th Century Russia | Oren Vinogradov (UNC-Chapel Hill) and Kevin Bartig (Michigan State University), co-chairs With members of the Moscow Tchaikovsky Conservatory: Svetlana Savenko Grigory Lyshov Svetlana Sigida Elena Vereshchagina Tatiana Vereshchagina 4PM | KEYNOTE PANEL | Will Robin and David VanderHamm (UNC-Chapel Hill), co-chairs | Person Hall Michael Beckerman (New York University) Richard Taruskin (University of California at Berkeley) Vladimir Tarnopolski (Moscow Tchaikovsky Conservatory) Pieter van den Toorn (University of California at Santa Barbara)

Sun, OCT 28 Hyde Hall, Institute for the Arts and Humanities 10AM | Locating The Rite: Cultural Perspectives Naomi Graber (UNC-Chapel Hill), chair

“The Rite of Spring: Dionysos Monometrikos” Stephen Walsh (Cardiff University)

“Le Sacre du printemps: Un Ballet…Français?”

Annegret Fauser (UNC-Chapel Hill)

11AM | The Rite: Analysis and Compositional Practice | Chris Bowen, (UNC-Chapel Hill), chair

“The Rite on the Road: Travel, Displacement and the Ballets Russes” | Brigid Cohen (New York University)

“Revisiting The Rite in Stravinsky’s Later Serial Music” | Lynne Rogers (William Patterson University) “Rimsky-Korsakov to Stravinsky: Gifts Other than Octatonicism” | Ildar Khannanov (The Peabody Institute of The Johns Hopkins University) “Stravinsky at the Crossroads after The Rite: Jeu de rossignol mécanique [Performance of the Mechanical Nightingale] (1 August 1913)” Maureen Carr (The Pennsylvania State University)

“Why 1913?” | Tamara Levitz (University of California at Los Angeles) 2PM | PLENARY DISCUSSION: The Rite Today Severine Neff, chair

Lynn Garafola (Barnard College, Columbia University) Millicent Hodson (London, UK) Vladimir Tarnopolski (Moscow Tchaikovsky Conservatory) Richard Taruskin (University of California at Berkeley)

not quite sure what you like?

Sometimes you don’t know until you see it…

Joshua Bell, violin

At Carolina Performing Arts, we try to provide you with a wide variety of performances so you can experience world-renowned favorites along with cutting-edge new artists.

We want to provide you the opportunity to view the world through a different lens. Expand your horizons by presenting artists who help us all think about our world beyond our everyday lives.

Isn’t that what it’s all about?

With this in mind, the following thematic collections offer you another way of looking at the performances in this brochure and may be helpful as you build your personal 12/13 season.

Giants

These performances feature living legends. Artists recognized as being at the absolute peak of their field.

Punch Brothers featuring Chris Thile

SEPT 30/OCT 1 The Silk Road Ensemble with Yo-Yo Ma

OCT 29/30 Mariinsky Orchestra of St. Petersburg

NOV 14 Orchestre Révolutionnaire et Romantique and the Monteverdi Choir

JAN 25/26 Bill T. Jones/Arnie Zane Dance Company and Siti Company

FEB 10 Jazz at Lincoln Center Orchestra with Wynton Marsalis

FEB 26/27 Alvin Ailey American Dance Theater

MAR 17 The Cleveland Orchestra

MAR 23/24 Joffrey Ballet

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Maya Beiser

Need some peace in your life? Looking to be transported to another place? These performances will do just that.

NOV 2 Joshua Bell, violin

NOV 11 Pierre-Laurent Aimard, piano

DEC 1/2 The Nutcracker – Carolina Ballet

DEC 7 Jazz for the Holidays – NC Jazz Repertory Orchestra with special guest John Pizzarelli

JAN 19 Radu Lupu, piano

FEB 20 Magdalena Kožená, mezzo-soprano and Yefim Bronfman, piano

MAR 20 Kurt Elling

APR 20/21 Spring Dance – UNC School of the Arts

Cutting-edge, avant-garde performances that are guaranteed to stir your soul.

OCT 11 Elsewhere, a CelloOpera with Maya Beiser, cello

OCT 14 Compagnie Marie Chouinard

OCT 25 Studio for New Music Ensemble from the Moscow Tchaikovsky Conservatory

NOV 16 Brooklyn Rider

APR 3/5 Nederlands Dans Theater I

APR 12/13 Basil Twist, puppeteer, with Orchestra of St. Luke’s

APR 26/27 Martha Graham Dance Company – Myth & Transformation

❉ Escape

Breakthrough

High Energy

These performances are energetic and loud; come prepared to get up, stand up and dance!

OCT 16 Punch Brothers

NOV 12 Gilberto Gil

FEB 8 Carolina Chocolate Drops and Vusi Mahlasela

FEB 9 Abigail Washburn and Kai Welch with special guest Wu Fei

Global Views

Travel the globe without leaving the Triangle. The world comes to you at UNC’s Memorial Hall.

SEPT 16-20 The Strange Undoing of Prudencia Hart – National Theatre of Scotland

NOV 27 Chucho Valdés

FEB 22 Dafnis Prieto Sextet

FEB 25 KODO

MAR 26 Vijay Iyer and International Contemporary Ensemble

Basil Twist

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"...high-spirited, deftly satirical, and eerie...�

– The Boston Globe

global views

SUN, SEPT 16 at 2PM & 7PM MON-THU, SEPT 17-20 at 7PM Staged at Top of the Hill Back Bar

National Theatre of Scotland presents

The Strange Undoing of Prudencia Hart Created by David Greig and Wils Wilson

staged at

Sponsored by Benromach

back bar

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SEPT 16/17-20

SUN, 2pm & 7pm/mon-thu, 7pm Program Notes LIVE with the Director Wils Wilson After the show, Sept. 17 | Great Room, Top of the Hill CAST (in alphabetical order) Andy Clark Annie Grace Melody Grove Alasdair Macrae David McKay

CREATIVE TEAM David Greig, Writer Wils Wilson, Director Georgia McGuinness, Designer Alasdair Macrae, Composer & Musical Director Janice Parker, Movement Director Anne Henderson, Casting Director

PRODUCTION TEAM Gary Morgan, Stage Manager Emma Callander, Staff Director/Assistant Stage Manager Liz Smith, Press & Marketing Consultant Michael Mushalla, International Representative

We tirelessly seek the stories that need to be told and retold, the voices that need to be heard and the sparks that need to be ignited. We do this with an ever-evolving community of play-makers, maverick thinkers and theatre crusaders. We try to be technically adventurous and fearlessly collaborative. We are what our artists, performers and participants make us. And with no stage of our own, we have the freedom to go where our audiences and stories take us. There is no limit to what we believe theatre can be, no limit to the stories we are able to tell, no limit to the possibilities of our imaginations.

All of Scotland is our stage, and from here we perform to the world. We are a theatre of the imagination: a Theatre Without Walls.

For the latest information on all our activities, visit our online home at www.nationaltheatrescotland.com.

Follow us on Twitter @NTSonline and join in the conversation #PrudenciaHart Find us on Facebook: NationalTheatreScotland

/////////////////////////////////////////////////////////////////////////////////////////// The Strange Undoing of Prudencia Hart Pull up a chair and whet your whistle for an evening of anarchic theatre, live music and strange goings-on. . .

One wintry morning Prudencia Hart, an uptight academic, sets off to attend a conference in Kelso in the Scottish Borders.

As the snow begins to fall, little does she know who or what awaits her there. Inspired by the Border Ballads – and delivered in a riotous romp of rhyming couplets, devilish encounters and wild karaoke – Prudencia’s dream-like journey of self-discovery unfolds among and around the audience.

With a rollicking text by David Greig, barnstorming live music, and a “terrific, inventive sense of fun” (The Scotsman), The Strange Undoing of Prudencia Hart is the lock-in to end all lock-ins.

The National Theatre of Scotland cannot be held responsible in the event of any audience members losing their heads, their hearts or their very selves during the course of the performance.

The Strange Undoing of Prudencia Hart won a Herald Angel Award at the 2011 Edinburgh Festival Fringe and the Award for Best Music and Sound at the Critics’ Awards for Theatre in Scotland 2010-2011.

Recommended age guide 14+

About The National Theatre Of Scotland It is our ambition to make incredible theatre experiences for you that will stay in your heart and mind long after you have gone home.

The National Theatre of Scotland is core funded by the Scottish Government.

The National Theatre of Scotland, a company limited by guarantee and registered in Scotland (SC234270), is a registered Scottish charity SCO33377.

Photography by Drew Farrell

Andy Clark (Cast) Andy trained at Dundee College and the Royal Scottish Academy of Music and Drama. His work for the National Theatre of Scotland includes Something Wicked This Way Comes, Roam, Julie, Gobbo and HOME Dundee. Other theatre credits include Fleeto, Wee Andy (Tumult in the Clouds), Tartuffe (Òran Mór), The Government Inspector (Communicado), The Cherry Orchard, The Princess and the Goblin (Royal Lyceum, Edinburgh), Baby Doll, A Handful of Dust, Cleo, Camping, Emmanuelle and Dick, The Ruffian on the Stair, La Musica, The Lady Aoi (Citzens, Glasgow), Kidnapped (Mull Theatre), Proof (Rapture) and Vernon God Little (Young Vic). As a member of Dundee

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Rep Ensemble, Andy appeared in over 20 productions from 2000 to 2003 including The Laird O’Grippy, The Seagull, Disco Pigs, The Winter’s Tale, Mince, Pants, The Land O’Cakes, Puss in Boots, Cabaret and Hansel and Gretel. Film and TV work includes River City, Sea of Souls, High Times, Missing and The Da Vinci Code.

Annie Grace (Cast) Annie is a musician, singer and actor. She graduated from Glasgow School of Art. Her previous work for the National Theatre of Scotland includes Peter Pan. Other theatre credits include A Little Bit of Northern Light (Scottish Opera), Para Handy (Open Book), Thank God for John Muir, Cyrano De Bergerac, Tir na Nog, Poker Alice, (Òran Mór), The Heretic’s Tale, Jacobite Country (Dogstar), Tam O’Shanter (Perth Theatre/Communicado), Pinocchio (Arches), Mum’s the Word (Robert C Kelly), The Celtic Story (Wildcat), Homers (Traverse), The Accidental Death of an Accordionist, The Wedding (Right Lines) and Miniatures (Theatre Collective @ Highland).

Annie was a founder member of the band Iron Horse with whom she toured worldwide

for several years. She has performed in many musical collaborations including The Unusual Suspects and, currently, Grace, Hewat & Polwart.

David Greig (Writer) David is a playwright, screenwriter and director. His work for the National Theatre of Scotland includes One Day in Spring, Dunsinane, Peter Pan, The Bacchae and Gobbo. Other recent theatre work includes Yellow Moon, The Monster in the Hall, The American Pilot, Midsummer, Miniskirts of Kabul, Damascus, Pyrenees, San Diego, Outlying Islands and The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union.

Work with Suspect Culture includes 8000m, Lament and Mainstream. Translations and adaptations include Tintin in Tibet and King Ubu. Radio plays include The American Pilot, An Ember in the Straw and Being Norwegian.

Screenplays and television work include M8 and Nightlife. The Traverse Theatre’s 2002 production of Outlying Islands won a Scotsman Fringe First, Herald Angel and Best New Play at the Critics’ Awards for Theatre in Scotland. San Diego (Edinburgh International

Festival/ Tron, Glasgow) won a Herald Angel and the award for Best New Play at the Tron Theatre Awards 2003. David has also won the John Whiting award and a Creative Scotland award.

Melody Grove (Cast) Melody trained at the Royal Scottish Academy of Music and Drama and graduated with the James Bridie Gold Medal for Acting 2009. Her theatre credits include The Importance of Being Earnest (Lyric, Belfast), Of Mice and Men, The Importance of Being Earnest (Royal Lyceum, Edinburgh – nominated for the 2010 Ian Charleson Award), 2401 Objects (Analogue/ Pleasance), Snow White and the Seven De’Wharffs (Macrobert), Room, One Night Stand, One Thousand Paper Cranes (Tron) and The Girls of Slender Means (Stellar Quines/Assembly Rooms). Films include A Stately Suicide, Venus and the Sun and Sisters. Her work for radio includes The Grapes of Wrath, The Great Gatsby, The Call of the Wild, The Voysey Inheritance, A Case for Paul Temple, The Vanishing, Of Mice and Men, La Princesse De Cleves and many short stories for BBC Radio 4. Audio books

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include The Importance of Being Emma and The Child Inside.

Alasdair Macrae (Cast, Composer & Musical Director) Aly is an actor, sound designer, musician, musical director and composer. He trained in Theatre Arts at Langside College, Glasgow.

Aly’s work as an actor for the National Theatre of Scotland includes Calum’s Road, Tall Tales for Small People, Peter Pan, Peeping at Bosch, Gobbo and HOME Caithness. Other acting credits include The Undersea World of Bubble McBea (Scottish Opera), Fergus Lamont (Communicado), Lost Ones, Invisible Man (Vanishing Point), Homers (Traverse) and Our Bad Magnet (Tron). Recent work as musical director, sound designer and composer includes Anna Karenina, Sleeping Beauty (Dundee Rep), The Bookie (Cumbernauld), The Government Inspector (Communicado), Little Red Riding Hood (Arches), The Beggar’s Opera (Vanishing Point/ Royal Lyceum, Edinburgh/ Belgrade, Coventry/ Tramway), Subway (Vanishing Point), Interiors (Traverse/ Vanishing Point/ Festival Teatro Napoli) and Tam O’Shanter (Communicado/ Perth Rep).

Aly has won a number of awards including, most recently, Best Music and Sound for The Strange Undoing of Prudencia Hart at the Critics’ Awards for Theatre in Scotland (CATS). He has also won a Herald Angel, two Fringe Firsts, and two further CATS awards for Subway (2007) and The Government Inspector (2010).

Georgia McGuinness (Designer) Georgia trained on the Motley Theatre Design Course. Her work for the National Theatre of Scotland includes The Miracle Man, Empty and 365. Other theatre design credits include Midsummer, Perfect Days, Abandonment (Traverse), Arabian Nights (Royal Shakespeare Company), Curse of the Starving Class (Royal Lyceum, Edinburgh), Yarn (Grid Iron/ Dundee Rep), Helter Skelter (Tramway/ Music at the Brewhouse), Crave (Paines Plough/ Royal Court), Green Whale (Licketyspit), Arabian Nights (Young Vic and International tour), The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union, Sleeping Around, Crazy Gary’s Mobile Disco (Paines Plough), Caravan (National Theatre of Norway), Afore

/////////////////////////////////////////////////////////////// /// Christopher Mead Armitage

on THE STRANGE UNDOING OF PRUDENCIA HART Perfectly timed for the start of a new academic year, The Strange Undoing of Prudencia Hart has arrived at the Top of the Hill’s Back Bar, an appropriate setting for this rollicking Scottish play. The principal character is an academic and a collector of folk songs who comes to a Scottish village in search of material for her thesis with the yawn-invoking title, “Paradigms of Emotional Contact in the Performance of Traditional Folk Song in Scotland 1572 - 1798.” Professional folklorists are also present for a symposium, deconstructively titled “The Border Ballad: Neither Border Nor Ballad.”

But the play is not solely devoted to sending-up academic pretentiousness: it is couched in ballad meters and ingenious rhymes with musical accompaniments, some occurring in a pub late at night (hence the use of Top of the Hill – the audience may expect some involvement in the production). Moreover, Prudencia goes on a nocturnal journey reminiscent of the quest in traditional ballads such as Robert Burns’ “Tam o’ Shanter,” where strange encounters have transformative effects. Writer David Greig infuses ballad forms with language and attitudes of our era.

Born in Edinburgh in 1969 and graduating from Bristol University in 1990, Greig has a substantial list of plays to his credit. Most of them

first appeared in the fringe theater at the Edinburgh Festival and went on to be staged at London theaters – such as the Donmar Warehouse and the Lyric Hammersmith – and have been published by the distinguished publishing house of Faber. They range from unorthodox treatments of Dionysus, Caligula, Casanova, Dunsinane and Strindberg’s “Creditors,” to ones related to contemporary issues such as climate change (“Futurology”) and “Miniskirts of Kabul.”

In “The American Pilot” (staged by the Royal Shakespeare Company), the badly injured pilot parachutes into a village engaged in a guerrilla war to preserve its way of life against the central government that is being supported by the United States. Greig has worked with playwrights in Palestine, Egypt, Lebanon, Tunisia, Morocco and most extensively, Syria, on plays published in English and Arabic. In 2007 his play “Damascus” presciently involves issues that would erupt into the current violence racking that country.

In serious drama or comedy, David Greig is a voice for our times.

Christopher Mead Armitage is a Bowman and Gordon Gray Professor in the Department of English and Comparative Literature at UNC-Chapel Hill. ///

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////////////////////////////////////////////// THE STRANGE UNDOING OF PRUDENCIA HART

Night Come (Theatr Clwyd), The Importance of Being Earnest (Nottingham Playhouse), The Weavers (Gate), Twelfth Night (Central School of Speech and Drama), The Sunset Ship (Young Vic/ National Gallery), Othello (Watermill), King and Marshall (Bloomsbury) and Four Saints in Three Acts (Trinity Opera).

David McKay (Cast) David trained at Glasgow Arts Centre. His previous work for the National Theatre of Scotland includes Aalst. Other theatre credits include The Apprentice (Òran Mór) Four Men and a Poker Game (Metis), The Tempest, Salvation (Tron), Wishing Tree, Damaged Goods (Wiseguise), One, Two, Hey! (Traverse), The Conquest of the South Pole (Raindog), Of Mice and Men (Brunton, Musselburgh), Shining Souls, Hansel and Gretel, The Lion the Witch and the Wardrobe, (Citizens, Glasgow), As You Like It, The Games a Bogie (Scottish tour), Ten Days in May, Pals (Cumbernauld), Smugglers, Tellyitis, An’ Me Wi’ a Bad Leg Tae, When Hair Was Long and Time Was Short (Borderline),

The Celtic Story, Harmony Row (Wildcat), The Big Move (Skint Knees), Wuthering Heights (Birds of Paradise) and Hair of the Dog (Dependency Culture). TV work includes Shoe Box Zoo, Looking After Jo-Jo, The Tales of Parahandy, Down Among the Big Boys, Justice Game, Down Where the Buffalo Go, Workhorses, Rab C Nesbitt, Stookie and Taggart. Film work includes Village on the Roof, The Gift, Neds, Ae Fond Kiss, Once Upon a Time in the Midlands, My Name is Joe, Les Miserables, Braveheart, Initiation, Close, Nightlife, Joyride, The Girl in the Picture and As Far As You’ve Come.

Janice Parker (Movement Director) Janice is a choreographer, teacher and performer originally trained in Laban Movement. Her work with the National Theatre of Scotland includes Ménage à Trois and Truant. Other theatre credits include Kes (Catherine Wheels), Age of Arousal (Stellar Quines/ Lyceum, Edinburgh), The Girls of Slender Means (Stellar Quines/ Assembly), The Killing Times, The Love Adventures of

Geordie Cochrane, Willie Wastle (Rowan Tree), Exotic Hyper Space and Instant Travel to Pop Up Cities (Lung Ha’s). She also develops dance and cross-artform opportunities and performance for a wide range of individuals, companies and organisations across the UK and internationally. Her awards include a Herald Angel, an Unlimited Cultural Olympiad Commission for her recent production Private Dancer and a Creative Scotland Award.

Wils Wilson (Director) Work for the National Theatre of Scotland includes Gobbo (Best Production for Children & Young People, Critics’ Awards for Theatre in Scotland) and HOME Shetland (Best Music, Critics’ Awards for Theatre in Scotland).

Wils was co-founder and co-Artistic Director of wilson+wilson (1997-2007), creating site-specific art, installation and theatre.

Work included HOUSE, Mapping the Edge, News from the Seventh Floor and Mulgrave.

Other recent directing credits include Manchester Lines (Manchester Library), Queen Bee (New Writing North/ North East Theatre Consortium), Secret Heart, Eliza’s House (Manchester Royal Exchange), as well as work for Live Theatre, Newcastle-upon-Tyne, Bolton Octagon, the Gate Theatre, London, Midsommer Actors and BBC Radio Drama.

Benromach Speyside Single Malt Scotch Whisky Benromach Speyside Single Malt Scotch Whisky is proud to work with the National Theatre of Scotland and support this performance of The Strange Undoing of Prudencia Hart. www.benromach.com facebook.com/Benromach twitter.com/Benromach ///

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reframed emily kass |

Emily Kass is the Director of the Ackland Art Museum at UNC-Chapel Hill.

Max Weber | American, 1881-1961 Composition with Three Figures, 1910 Watercolor and gouache on brown (kraft) paper | 47 x 23 in. (119.4 x 58.4 cm) Ackland Art Museum, The University of North Carolina at Chapel Hill | Ackland Fund | 60.4.1 See this work on view in the Ackland Art Museum as well as others related to The Rite of Spring at 100 throughout the year.

Shocking.

Primitive.

Dissonant. Ugly. These are the words that critics and the public used when describing Stravinsky’s The Rite of Spring after it premiered in Paris in May 1913. Similar language had also been used to label works by Cezanne, Matisse, Picasso, and their contemporaries when they were exhibited during the early years of the twentieth century. Yet today, 100 years later, these artists are celebrated and revered.

In the first decades of the twentieth century, Paris was the artistic center of the western world, attracting an international assortment of artists, authors, composers, musicians, students, collectors, and expatriates, who discovered unparalleled openness to experimentation and access to artists and art dealers. For Americans who traveled to France, this freedom was a breath of fresh air from the more conservative art world of New York.

Gertrude Stein invited young American artists and students to rub shoulders with the Paris cognoscenti at her famous weekly Saturday evening salons. Among them, Max Weber, whose work, Composition with Three Figures, is featured here. Years later, Weber described these gatherings as “a sort of intellectual clearing house of ideas and matters of art, for the young and aspiring artists from all over the world. Lengthy and involved discussions

on the most recent trends and developments in art took place….Here one felt free to throw artistic atom bombs and many cerebral explosions did take place.”1 Weber was a frequent visitor to Stein’s home.

Born in Bialystok (then part of the Russian Empire) in 1881, within a year of both Picasso and Stravinsky, his family had immigrated to the United States in 1891. Weber studied art in Brooklyn at the Pratt Institute, saving enough money through teaching to move to Paris in 1905 to study first at the conservative Academie Julian and then independently with Henri Matisse.

Weber’s Compositions with Three Figures in the Ackland’s collection is an outstanding example of a fully realized early cubist work. It demonstrates not only the influence of African art but also the direct influence of Picasso and Georges Braque. In the painting, three massive figures are barely contained within the edges of the picture. Flattened, abstracted limbs and mask-like features suggest African wood carving as do the linear cross-hatchings that resemble the ridges created by a wood carver’s chisel.

Composition with Three Figures was painted in 1910, a year after Weber returned to New York with a small collection of art including an African sculpture. At the time, relatively few artists had seen cubist works and even

fewer would consider them viable sources of inspiration. One of the very first to introduce cubism to the United States, Weber became a passionate advocate for the avant-garde and its influences. In addition to exhibiting his own work and promoting the work of others, he wrote poetry and essays, some of which were published by Alfred Stieglitz in Camera Work, as well as a book of poetry called Cubist Poems.

In 1910, Stravinsky began to travel to Paris, working on the first of the three ballets commissioned by Diaghilev. Not unlike his contemporaries in the visual arts, Stravinsky looked beyond western musical traditions for genres with greater expressive potential, a journey that culminated in The Rite of Spring, in which music, story, and dance were fully integrated.

Nijinsky’s choreography, rejecting the classical balletic traditions of virtuosity and grace in favor of intentionally angular and convulsive movements, and Nicholas Roerich’s costumes provide apt visual accompaniment to Stravinsky’s radically new sound.

In honor of The Rite of Spring at 100, I am delighted to introduce this new collaboration in which we will explore work by visual artists presented at the Ackland and their connections with subjects and themes presented by Carolina Performing Arts. ///

1

Quoted in Whitney Museum of American Art, Picasso and American Art (New York: Whitney Museum of American Art and New Haven: Yale University Press, 2006), p.18.

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“A musical caravan and a symbol of the connections between East and West” – Chicago Tribune

SUN/MON, SEPT 30/OCT 1 at 7:30PM

The Silk Road Ensemble with Yo-Yo Ma Commissioned by Carolina Performing Arts GIANTs Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

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//////////////////////////////////////////////////////// Program Notes LIVE: Follow the Silk Road with UNC’s Dr. Canguzel Zulfikar 6:30pm, Sept. 30 | Gerrard Hall

PROGRAM Suite from Book of Angels (2004)1 ...................................................... John Zorn Arr. by Shanahan, Blumenkranz, Gandelsman, Pato...............................(b. 1953)

Atashgah (2010)2....................................................................... Colin Jacobsen

..............................................................................................(b. 1978)

...........................................................................................................

Playlist for an Extreme Occasion (2010)3 ...............................................Vijay Iyer

..............................................................................................(b. 1971)

INTERMISSION

Sacred Signs: Concerto for 13 Musicians4............................... Dmitri Yanov-Yanovsky with video projection by Hillary Leben......................................................(b. 1963)

I. In the Morning..................................................................................

II. Rejoice

III. Trails

IV. Into the Ground

V. Light

VI. Through Smile VII. Time VIII. Sacred Signs

IX. In the Dance

X. At the Last Gates 1

Arrangements commissioned by the Silk Road Project.

Commissioned by the Laguna Beach Music Festival for Kayhan Kalhor and Brooklyn Rider; premiered in February 2011.

2

3

sept 30/oct 1

SUN/mon, 7:30pm

The Silk Road Ensemble Yo-Yo Ma, Artistic Director Mike Block, cello Shanir Blumenkranz, contrabass Nicholas Cords, viola Sandeep Das, tabla Haruka Fujii, percussion Jonathan Gandelsman, violin Joseph Gramley, percussion Colin Jacobsen, violin Kayhan Kalhor, kamancheh Yo-Yo Ma, cello Cristina Pato, gaita, piano Shane Shanahan, percussion Kojiro Umezaki, shakuhachi Wu Man, pipa Wu Tong, sheng, bawu Alastair Willis, conductor

Tour Management: Mary Pat Buerkle, Senior Vice President Manager, Artists & Attractions Opus 3 Artists

Silk Road Project Tour Staff: Laura Freid, CEO and Executive Director Isabelle Hunter, Program Director Liz Keller-Tripp, SRE-SRP Liaison

World premiere. Commissioned by the Silk Road Project.

World premiere. Commissioned by Carolina Performing Arts at The University of North Carolina at Chapel Hill.

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Hyosung Corporation Lead Sponsor of the Silk Road Project Rolex Exclusive Partner of the Silk Road Project

Sound Postings: Ruth DeSarno, Director of Artistic Operations

Production Staff: Aaron Copp, Production Manager Jody Elff, Sound Engineer Tim Grassel, Company Manager John Torres, Stage Manager

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//////////////////////////////////////////////////////////////////////////////////////////////////// PROGRAM notes

PROGRAM notes For nearly two thousand years (ending in the fourteenth century), the historical Silk Road, a series of land and sea trade routes, crisscrossed Eurasia, enabling the exchange of goods and innovations from Japan to the Mediterranean Sea.

melodies arranged by and for members of the Ensemble) as well as newly commissioned works, many of which combine nonWestern and Western instruments, creating a unique genre that transcends customary musical classification.

Over the centuries, many important scientific and technological innovations migrated to the West along the Silk Road, including the magnetic compass, the printing press, silk, gunpowder, mathematics, and ceramic and lacquer crafts. In this way, the Silk Road created an intercontinental think-tank of human ingenuity. Interactions among cultural groups spread knowledge, religious beliefs, artistic techniques, and musical traditions, so much so that long after its decline, the Silk Road remains a powerful metaphor for cultural exchange.

To open tonight’s program, the Ensemble brings you a Suite from Book of Angels made up of arrangements of short pieces by the prolific and often avant-garde American composer John Zorn, whose distinctive music reflects lifelong influences ranging from jazz to cinema, and from classical to klezmer and rock. Zorn’s Book of Angels is the second in a series of collections that form his Masada project, an experiment in Jewish musical styles inspired by the composer’s own heritage. In exploring this collection, Ensemble members from the United States, Israel and Galicia drew on their own respective musical interests to arrange the songs from diverse and sometimes unexpected cultural perspectives.

This historic trade network provides a namesake-worthy metaphor for the Silk Road Project’s vision of connecting artists and audiences around the world. Yo-Yo Ma has called these routes, which resulted in the first global exchange of scientific and cultural traditions, the “Internet of antiquity.”

Both historic and symbolic elements are central to the work of the Silk Road Project, which takes inspiration from this age-old tradition of learning from other cultures and disciplines. The repertoire of the Silk Road Ensemble includes traditional music (both as an oral tradition – passed down from generation to generation – and in

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When Nicholas Cords and Colin Jacobsen visited Kayhan Kalhor in Iran in the summer of 2004 on a cultural exchange grant made possible by the Silk Road Project, one of the things they saw was an ancient fire temple, or atashgah, outside the city of Esfahan. Originally built as a holy site for the Zoroastrian religion in the Sassanid period of Iran’s history (3rd-6th centuries AD), it still felt to these travelers like a place of great power – a place that makes one aware of the layers of history. For Jacobsen, the experi-

ence of listening to Kalhor play music can be “like watching a fire in a fireplace; it is mesmerizing, hypnotic, and yet constantly changing. His music comes from a deep inner creative fire.” Jacobsen caught a spark of that creative fire, and on returning from Iran that summer, was inspired to do something with what he had heard and experienced. He has been writing and arranging music ever since, and Atashgah, composed for kamancheh and Western strings, is one result of that inspiration.

Playlist for an Extreme Occasion, written for the Silk Road Ensemble by the acclaimed New York-based jazz pianist and composer Vijay Iyer, makes its world premiere on this tour. The title, according to Iyer, is meant to evoke the ways we listen to music today: “The piece’s structure is indeed a playlist, a kind of modular form that most of us have in our lives already (usually in our pockets).

The literary theorist Edward Said, himself an amateur classical pianist, described recitals, operas, and other classical performances as ‘extreme occasions’ because of their ritual quality, their now-requisite displays of superhuman prowess, and their careful prescriptions of the behavior of performers and audience alike.” Iyer adds, “I have great admiration for the Silk Road Ensemble for their ability to transcend the traditional confines of these settings, to connect authentically as people, and to communicate a real joy for creating music together. I dedicate this piece to them, and I thank them for the opportunity to collaborate with them.”

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/// PETER A. COCLANIS

on THE SILK ROAD project Although not a card-carrying member of the digerati, I began this little essay by following a “venerable” academic tradition: Googling “Silk Road.” In the 0.34 seconds the search took, 32.2 million results were found. I must confess that I didn’t have time to look at every site that came up, but in addition to those on the Eurasian trade route, I found references to restaurants, art galleries, travel agents, spice emporia, and purveyors of textiles that bore the “Silk Road” name.

I also found yoga centers, makers of both board games and decorated dog collars, and aromatherapists. There were numerous references as well to the nefarious Silk Road “anonymous marketplace,” much in the news these days, where buyers can clandestinely buy drugs and the like. According to NPR, that furtive marketplace is rapidly becoming “the Amazon.com for all things illegal.”

What is it about the name “Silk Road” that accounts for its popularity?

I doubt if there are any aromatherapy shops named after the Panama Canal or board games celebrating I-40. To be sure, in part it’s because we in “the West” have often exoticized “the East.” That said, it’s easy to understand why. If you’re at home thinking of jumping into your Chevy “Subdivision” (Dave Barry’s term) and inching down the highway to the nearest superstore, Silk Road trading centers such as Xi’an, Ürümqi, Samarkand, Peshawar, Almaty, and Hecatompylos possess a certain je ne sais quoi. Few shopping malls create quite the same frisson.

The real historical Silk Road, a network of disparate trade routes spanning most of the Eurasian landmass, got its start in Han China (206 BCE-220 CE).

The “road” – or, more accurately, roads or routes – expanded over the next 1500 years or so, and even withstood to some degree the era of transoceanic trade between the eastern and western reaches of Eurasia ushered in by Vasco da Gama in 1498. The key to the road’s success – and continuing allure – related to the fact that it served as the great link or connector between and among various “others” and “far-away” places, facilitating cross-cultural exchange in the broadest sense. By this, I mean not just exchanges of goods, exotic or otherwise, but exchange of flora and fauna, germs and diseases (the bubonic plague was one of its “products”), technologies, and religions and philosophies.

Although exchange along the Silk Road was not always peaceful, the parties involved consistently shared and learned from one another, and creative syncretism of one type or another was one of the foremost results.

More to the point, twenty-odd years ago the distinguished economists Luis A. Rivera-Batiz and Paul M. Romer used the Silk Road as their example par excellence of the way in which the trade-induced concatenation of cross-cultural knowledge bases lies at the very heart of innovation. The Silk Road Project, the mission of which is “to promote innovation and learning through the arts,” was inspired by such considerations. The Project’s multiplicity of approaches, array of instruments, and diverse repertoire at once reflect and brilliantly embody the creative syncretism of East and West that we associate with the “road” that inspired the Project’s name.

Peter A. Coclanis is the Albert R. Newsome Distinguished Professor of History and Director of the Global Research Institute at UNC-Chapel Hill. ///

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//////////////////////////////////////////////////////////////// the silk road ensemble PROGRAM notes

continued...

Another world premiere, and the centerpiece of tonight’s concert, Sacred Signs is a concerto in ten movements by Uzbek composer Dmitri Yanov-Yanovsky. The work was created for the Silk Road Ensemble as a commission by Carolina Performing Arts at The University of North Carolina at Chapel Hill as part of their yearlong celebration of the 100th anniversary of the groundbreaking premiere of Stravinsky’s The Rite of Spring.

Yanov-Yanovsky saw this commission as a chance to pay homage to Stravinsky, one of his favorite composers. Many of the compositional and structural principles, types of motion, and textures of The Rite of Spring contributed to the shape of Sacred Signs.

In addition, Yanov-Yanovsky was particularly influenced by the ballet’s original set and costume designs by Nicholas Roerich, who noted that the traditional Russian costumes used in that 1913 premiere derived from different traditions and cultures, reflecting many elements of non-Russian sources. In the Sacred Signs score, Yanov-Yanovsky similarly attempts to reveal parallels between Russian instrumental traditions and seemingly diverse instruments such as sheng, pipa, and kamancheh. Having written for the Silk Road Ensemble on previous occasions, Yanov-Yanovsky had the individual artists very much in mind while writing the piece; in fact, each movement is dedicated to specific members of the Ensemble.

Isabelle Hunter, 2012

Yo-Yo Ma The many-faceted career of cellist Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences and to his personal desire for artistic growth and renewal. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. His discography includes over 75 albums, including more than 15 Grammy Award winners.

Mr. Ma serves as the artistic director of the Silk Road Project, an organization he founded to promote the study of cultural, artistic and intellectual traditions along the ancient Silk Road trade routes. Since the Project’s inception, more than 70 works have been commissioned specifically for the Silk

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Road Ensemble, which tours annually. Mr. Ma also serves as the Judson and Joyce Green Creative Consultant to the Chicago Symphony Orchestra’s Institute for Learning, Access and Training. His work focuses on the transformative power music can have in individuals’ lives, and on increasing the number and variety of opportunities audiences have to experience music in their communities.

Mr. Ma was born in Paris to Chinese parents who later moved the family to New York.

He began to study cello at the age of four, attended the Juilliard School and in 1976 graduated from Harvard University. He has received numerous awards, among them the 2001 National Medal of Arts, the 2006 Sonning Prize, the 2008 World Economic Forum’s Crystal Award, and the 2010 Presidential Medal of Freedom. In 2011, Mr. Ma was recognized as a Kennedy Center Honoree.

Mr. Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony.

For additional information: www.yo-yoma.com, www.silkroadproject.org and www.opus3artists.com.

About the Silk Road Ensemble Hailed as “one of the 21st century’s great ensembles” by the Vancouver Sun, the Silk Road Ensemble draws together distinguished performers and composers from more than 20 countries in Asia, Europe and the Americas. Since the Ensemble formed under the artistic direction of Yo-Yo Ma in 2000, the group’s innovative artists have eagerly explored contemporary musical crossroads. The Seattle Times praised the result as “a cornucopia of music ideas… featuring instrumental and vocal artists of almost unimaginable virtuosity.”

The Boston Globe has called the group “a kind of roving musical laboratory without walls.” The description is apt: the Ensemble’s approach is experimental and democratic, founded on collaboration and risk taking, on continual learning and sharing among a kaleidoscope of cultures and art forms.

Members explore one another’s traditions, celebrating the multiplicity of approaches to music from around the world. They also develop new repertoire that responds to the multicultural reality of our global society. As the Los Angeles Times has said, “The Silk Road Ensemble vision of international cooperation is not what we read in our daily news reports. Theirs is the better world available if we, like these extraordinary musicians, agree to make it one.” The Silk Road Ensemble has performed to critical acclaim throughout Asia, Europe and North America and has recorded five albums. The Ensemble’s most recent recording, Off the Map, was nominated for a Grammy Award for Best Classical Crossover Album in 2011.

About the Silk Road Project The Silk Road Project is an internationally minded performing arts nonprofit with cultural and educational missions to promote innovation and learning through the arts.

Cellist Yo-Yo Ma founded the Project in 1998 with a vision of connecting the world’s neighborhoods by bringing together artists and audiences around the globe. The Project takes inspiration from the historical Silk Road trading routes, using the Silk Road as a modern metaphor for sharing and learning across cultures, art forms and disciplines.

Under the artistic direction of Mr. Ma and the leadership of CEO and Executive Director Laura Freid, the Silk Road Project acts as an imagination platform, encouraging dialogue among artists and musicians, educators and entrepreneurs. The Project presents performances by the acclaimed Silk Road Ensemble, holds cross-cultural exchanges and residencies, leads workshops for students, and partners with prominent cultural institutions to create educational programs and materials. Silk Road Connect, the Project’s multidisciplinary arts-integrated approach to education, works with students and teachers to inspire passion-driven learning.

Developing new music is a central undertaking of the Silk Road Project, which has been involved in commissioning and performing more than 70 new musical and multimedia works from composers and arrangers around the world.

For more information on the Silk Road Project and the Silk Road Ensemble: http://silkroadproject.org.

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A Message from the Artistic Director: A Musical Model

A Message from the CEO and Executive Director: A Silk Road for Our Time

Over several decades, my travels have given me the opportunity to learn from a wealth of different voices – from the immense compassion and grace of Bach’s Cello Suites, to the ancient Celtic fiddle traditions alive in Appalachia, to the soulful strains of the bandoneón of Argentina’s tango cafés.

I have met and been guided by musicians who share my wonder at the creative potential that exists where cultures intersect.

We are very excited to be returning to Chapel Hill to share in the celebration of the 100th anniversary of Stravinsky’s The Rite of Spring.

The Silk Road Ensemble is a musical model that requires curiosity, collaboration and wholehearted enthusiasm from all the participants. The music we play does not belong to just one culture or even to only the Silk Road region. Ensemble members are united in their demonstration of virtuosity and generosity, and that combination has led us to perform in an astonishing range of locations, from the premier forum for global conversation, the United Nations General Assembly Hall, to the hushed, sacred space of Todai-ji Temple in Nara, Japan.

Bringing together much of the world on one stage requires music that Chinese pipa, Persian kamancheh, Indian tabla and Western strings can play together. For this we rely on the readiness of composers to write and arrange for our distinctive group. Perhaps because they support experimentation and innovation, our commissioning workshops have a remarkable record of producing successful works for our repertoire. Our creativity begins with play – exploring sounds, testing ideas – and I am delighted that this has allowed several of our performers to compose and arrange music for us as well.

Above all, I am tremendously grateful for the opportunity to undertake this work and for the abiding friendships we have developed along the way.

Dmitri Yanov-Yanovsky is one such friend, and it is a pleasure and an honor for the Silk Road Ensemble to premiere his latest work here at one of our favorite places, The University of North Carolina at Chapel Hill.

- Yo-Yo Ma

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It is difficult to comprehend the scope of the Silk Road, the ancient trade network that connected Asia to the Mediterranean.

For centuries, this primary route for the exchange of goods, arts and scientific discoveries also enabled the spread of religions, the growth of languages, and the migrations of people and their ideas.

Historically, the Silk Road offers unparalleled insight into how ancient societies intersected. As metaphor, it speaks to our ongoing fascination with cultural exchange.

It is in this broad sense that the Silk Road has captivated the imaginations not only of scholars and artists but people the world over. This living Silk Road reveals the truth that nothing, and no one, exists in isolation.

The Silk Road Project takes inspiration from this crossroads as a model for constant exchange. While we often focus on the Silk Road region, our approach to music, and to education as well, embraces knowledge from many sources, enriching our understanding of our complex and interconnected world.

This year, we are especially grateful for the support of two partners who share our vision of global connection: Hyosung Corporation, our Lead Corporate Sponsor, and Rolex, our Exclusive Partner.

At its heart, the Silk Road Project is a catalytic organization. Since the Project was incorporated in 1998, audiences on three continents have embraced the multinational Silk Road Ensemble. The Silk Road metaphor continues to encourage artists, educators and institutions to collaborate in new ways.

We hope that you are similarly inspired.

- Laura Freid ///

SUPPORT US Support Artistic Excellence.

Carolina Performing Arts thrives because of you.

Night after night, Memorial Hall is alive with the best music, dance and theater.

Night after night, our donors make it all possible.

Join The Carolina Performing Arts Society and help keep Chapel Hill a world-class arts destination.

Do you enjoy the quality of performances at Memorial Hall? Please help us maintain our artistic excellence by becoming a member of The Carolina Performing Arts Society today. By joining, you allow us to bring the world’s best performers to Chapel Hill each season. While vitally important, ticket prices account for only 45 percent of the artistic and production costs of our full season.

The rest is up to you.

When you join The Carolina Performing Arts Society, you will be rewarded by the quality of the work on our stage and member benefits that will bring you closer to our visiting artists and performers and enhance every visit you make to Memorial Hall.

Your contribution helps us keep student tickets for any Carolina Performing Arts event at $10. Each season, thousands of UNC students experience the artistry of great performers such as Yo-Yo Ma, the Joffrey Ballet and the Mariinsky Orchestra because of the generous support of donors like you.

You make it all possible.

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“the cello goddess” – The New Yorker

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thu, OCT 11 at 7:30pm

Elsewhere, a CelloOpera with Maya Beiser, cello directed by Robert Woodruff Commissioned by Carolina Performing Arts

❖ breakthrough a Beth Morrison Projects World Premiere

////////////////////////////////////////////////////////////////////////// Program Notes LIVE with Producer Beth Morrison 6:30pm, Oct. 11 | Gerrard Hall

PROGRAM Far Off Country.............................................................................Eve Beglarian .......................................................................................................(b. 1958) Industry ...................................................................................Michael Gordon .......................................................................................................(b. 1956) Salt............................................................................................ Missy Mazzoli .......................................................................................................(b. 1980) created by Maya Beiser and Robert Woodruff

/////////////////////////////////////////////////////////////////////////////////////////// FAR OFF COUNTRY

Section 4

words by Henri Michaux edited by Maya Beiser & Eve Beglarian music composed by Eve Belgarian

I am adding another word for you, a question rather. Does water flow in your country too?

(I don’t remember if you’ve told me) and it gives you chills too, if it is the real thing. Do I love it? I don’t know. One feels so alone when it’s cold. But quite otherwise when it’s warm. Well then? How can I decide? How do you others decide, tell me, when you speak of it without disguise, with an open heart?

Section 1 Here, we have only one sun a month, and for just a little while. We rub our eyes days ahead. But in vain. Inexorable time! Sunlight arrives only at its own hour. Then we have a world of things to do, as long as there is light, in fact we hardly have time to look at one another a bit. The trouble for us is that we must work during the night, and we really must work: dwarves are born continually.

Section 2 When you walk in the countryside, you may encounter substantial masses in your path. These are mountains, and sooner or later you’ll have to bend your knee to them.

Resisting will do no good. You could go no further, even if you were to hurt yourself.

I do not say this in order to wound. I could say other things if I really wanted to wound.

Section 3 The dawn is gray here. It wasn’t always like this. We do not know whom to accuse.

In the night the cattle send out a great lowing, long and flute-like at the end.

We feel compassion, but what can we do?

The scent of eucalyptus surrounds us: a kindness, serenity, but it can’t protect us from everything. Or do you think that it really can protect us from everything?

Section 5 I am writing to you from the end of the world. You must realize this. Often the trees tremble. We collect the leaves. They have a ridiculous number of veins. What for?

There’s nothing between the leaves and the tree any more, and we go off, troubled. Could life not continue on earth without wind? Or must everything tremble, always, always?

There are also subterranean disturbances, and in the house as well, like rages which might confront you, like stern beings who would like to extract confessions. We see nothing, except what is of so little import to see. Nothing. And yet we tremble. Why?

Section 6 All of us women here live with tightened throats. Do you know, although I am very young, in other times I was younger still, and my companions were also. What does that mean? There is surely something horrible in it. And in other times when, as I have already told you, we were younger still, we were afraid.

Someone might have taken advantage of our confusion. Someone might have said to us, “Look, we’re going to bury you. The moment

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has arrived.” We were thinking, “It’s true, we could just as well be buried this evening, if it is definitely stated that this is the moment.” And we didn’t dare run too much: out of breath, at the end of a race, to arrive in front of a ditch all prepared, and no time to say a word, not a breath. Tell me, just what is the secret about this?

Section 7 There are lions in the village all the time, who walk about without any constraints.

On the condition that we pay no attention to them, they pay no attention to us. But if they see a young woman running in front of them, they have no desire to apologize for her anxiety. No! They devour her at once. Isn’t it obvious that this is why they constantly promenade around the village, where they have nothing to do? They could just as well yawn somewhere else, right?

Section 8 For a long time, a really long time, we have been contending with the sea. In the rare times she is blue, soft, we’d believe her to be happy. But it wouldn’t last. Her smell tells us so, a smell of rot (if not her bitterness...) Here I should explain this business of waves. It is insanely complicated, and the sea... I beg you, trust me. Would I want to mislead you? She, the sea, is not only a word. She is not only a fear. She exists, I swear it to you; we see her all the time.

Who? We, we see her. She comes from far away to baffle and frighten us. When you come, you’ll see for yourself, you will be astonished. “Hold up,” you’ll say, because she is bewildering. We’ll look at her together.

I am sure I will no longer be afraid. Tell me, will this time never come?

Section 9 I cannot leave you with a doubt. I would like to speak with you again about the sea. But the obstacle remains. Brooks, streams, go forward; but not she. Listen, don’t be offended, I swear it to you, I wouldn’t dream of misleading you. She is like that. No matter how agitated she gets, she will halt before a little sand. She’s a great falterer.

She would certainly like to go forward, but there it is. Later on, maybe, one day, she will go forward.

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/// Peter d. cummings

on maya beiser She could have stopped with the Almost Human project, which premiered at Carnegie’s Zankel Hall in 2006. The centerpiece of the Almost Human album was “I Am Writing to You From a Far-Off Country,” a 12-movement narrative created shortly after World War II by Belgian surrealist writer and artist Henri Michaux. Maya was enthralled by the poem and enlisted Armenian composer Eve Beglarian to create the music.

Michaux’s poem tackled dauntingly large themes. “It’s about a woman who is bearing witness to the world as it’s coming to an end, and she’s telling the story of this society that she’s in,” Maya says. “There are all these connotations to a very oppressive society, to genocide, to women being raped and to the natural world taking over.”

The Zankel performance was no standard cello recital. Maya intoned Michaux’s verses as she performed on the cello, creating a duet with the instrument she considers to be most like the human voice. Alexandra Montano sung Armenian melodies. Visual artist Shirin Neshat provided a video installation. The house was sold out and the reviews were great, but in the artist’s own words: “It was just not satisfying enough because the text is so elusive and full of meaning and can be interpreted in so many way different ways.

And I just felt like it needed a theatrical context.”

That was six years ago. Driven by her sense that “I am Writing You From a Far-Off Country,” was incomplete as an artistic statement, she began exploring with Director Robert Woodruff how to “complete” the original work. More providential than planned, the solution appeared apparition-like during a visit to her Israeli homeland. Driving down to the Dead Sea, she spotted along the roadside a monument-like rock, which the Bedouin guide casually said was Lot’s wife.

Finally, the circle was closing.

Maya conceived of Lot’s wife as a partner across time for the woman in the Michaux poem. Long intrigued by the story of Lot’s wife – this nameless woman who seemed to have been brutally punished – Maya could now explore her own feelings about the predicament of Lot’s wife and connect this biblical figure to the more modern figure in Michaux’s poem. For the new companion piece, Erin Cressida Wilson would provide the text and Missy Mazzoli would craft the new music. Thus was the Cello Opera “Elsewhere” born. The old and the new would be joined together, with the video installations expanded and a dance component added to the mix.

Maya is an original. Born on a kibbutz to an Argentinian father and a French mother (who introduced her to the works of Henri Michaux), she grew up speaking Hebrew, Spanish, some French, and English of course... If this mix of languages provided the narrative foreground for her early life, the background several times a day would be the soulful sound of the muezzin calling the faithful to prayer.

As a young woman, Maya eventually left the kibbutz and made her way to the United States to study at Yale under Aldo Parisot. This fine professional training would certainly have prepared her for a more conventional career than the one she has chosen.

But just as she could not stop with the Almost Human project, so she could never have contented herself with simply offering up her versions of Haydn and Dvorak concertos.

By the time she arrived at Yale, she was already imbued with a sense of wonder about her world and outrage with its injustices. This wonder and outrage continue to fuel her creative musical ventures. “Elsewhere” is the latest, but will certainly not be the last.

Peter D. Cummings is chairman of Ram Realty Services, hosts the Linked Music program on Sirius XM Radio and is a member of Carolina Performing Arts’ National Advisory Board. ///

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////////////////////////////////////// PROGRAM notes Section 10 We are more than ever surrounded by ants.

They push the dust uneasily at top speed.

They take no interest in us. Not one raises its head. This is the most tightly closed society that could exist, although outdoors they constantly spread out in all directions.

It doesn’t matter, to realize their projects, their preoccupations... they are among themselves... everywhere. And until this moment, not one has raised its head towards us.

It would rather be crushed.

Section 11 You cannot imagine all that there is in the sky, you would have to see it to believe it. So now, the... but I’m not going to tell you the name right away. In spite of their air of weighing a great deal and of occupying almost all of the sky, they have no weight, huge as they are, they don’t weigh as much as a newborn baby.

We call them: clouds. It is true that water comes out of them, but not by compressing them, or by Pulverizing them. It would be useless, they have so little. But by reason of their occupying lengths and lengths, widths and widths, depths also and depths, and of puffing themselves up, they succeed at last in letting a few droplets of water fall, yes, of water. And we are good and wet. We run off furious at having been caught; because nobody knows the moment when they are going to let go their drops; sometimes they remain for days without letting them go. And you would stay home in vain waiting for them.

Section 12 The education regarding chills is not handled well in this country. We are ignorant of the true rules. And when the event appears, we are left unequipped. It is Time, of course. (Is it the same where you are?) It’s necessary to arrive a little before it does; you see what I’m saying, just a tiny little bit ahead. You know the story of the flea in the drawer? Yes, of course. And how true it is, don’t you think?

I don’t know what more to say. When are we going to see each other at last?

Special thanks goes to Dr. Rami Kaminski without whom this piece would not have been created, to Sue Bernstein whose dedication and tenacity has been instrumental in bringing this project to fruition, and to choreographer Karole Armitage who began this journey with us.

////////////////////////////////////////////////////////////////////////////// maya beiser

Industry music composed by Michael Gordon

Salt music composed by Missy Mazzoli commissioned by Linda & Stuart Nelson

Part 1 – intro/overture I sang Of looking Back At a city A city that held The iron frames Of our mattress That I pounded every night As he lifted my robe and Twisted my hair from behind While my girls slept I’d bite my sleeve So they would not hear me cry out Not in pleasure but in hatred

Part 2 Midday sun, Vultures dancing On the salty marsh, Two months pregnant, He photographed me Cause we were bored And hot And open-legged Lolling on the edges of the desert Slugging beer This was a long time ago Before phonographs and Morse Code Before Bibles and iPhones Before the end of the world When we waited for the angels to appear

Part 3 Our front door was pried open As my morning cereal And grief caught in my throat, I grabbed the silver baby spoon As it fell to the floor And stuffed it in my sandal As my daughters and I Were thrown out of our home…

They said I looked back out of curiosity, They said I looked back in anger, But I looked back recalling The first painting our girl ever drew Forgotten and still-taped above the kitchen sink And with that look,

My scapula turned to dust Tugged my heart into bone Struck me harder than coal I smiled motionless As my hair caught fire And God clayed me Shuddering my lungs Halting my blood, I became the frozen sea My breasts for all to see For Eternity White Immortal A statue in time My flesh, A salted jail

Part 4: A Dialogue Across Time. Lot’s Wife and a Journalist from 2012 Journalist: What did you do in prison?

Lot’s Wife: Sang to my daughters Of the bids and the bees Mourned for my girls Who would never know love Journalist: What did you do in prison?

Lot’s Wife: Tried not to scream And to not scream you do this: You put together the woman in the next cell Journalist: What did you do in prison?

Lot’s Wife: Recalled the fingers The women’s fingers – They held all ten fingers in my face Then closed their fists and Opened them again To show ten more men who had died Tearing through graves Identifying their loved ones By scraps of fabric They had sewn Journalist: What did you do in prison?

Lot’s Wife: Tried to turn the violence into songs And even myself, I would become a song But all I thought of was you.

Journalist: Who am I? Lot’s Wife: You are the woman in the next cell. You are the woman I made up to keep me alive. You are the cry inside my throat that says remember Lot’s Wife…

Journalist: I heard you I heard you singing...

Journalist & Lot’s Wife: If you can hear her/me Scratch your name Scratch your story Into the stone Into the salt Lot’s Wife: Into my body Journalist & Lot’s Wife: If you hear her/me…

Scratch your name Scratch your story Lot’s Wife: Scratch your song I’ll arrange them Like tea leaves Like puzzles and operas I’ll touch your bones I’ll put you back together The woman in the next cell

Part 5 A lot Of things Conspired That day In the dust Red, hot Between my toes My morning Cereal And grief in my throat When we were thrown out of our home….

/////////////////////////////////////// Maya Beiser, cello, spoken text, electronics Helga Davis, vocalist Alexandra Montano, pre-recorded vocals for Part I: Far Off Country Sara Beery, Olivia Bowman-Jackson, Abbey Roesner & Emily Wagner, dancers Robert Woodruff, director Erin Cressida Wilson & Henri Michaux, texts Eve Beglarian, Michael Gordon & Missy Mazzoli, composers Brook Notary, choreographer Peter Nigrini, films

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Riccardo Hernandez, scenic design Kasia Walicka Maimone, costume design Maruti Evans, lighting design Garth MacAleavey, sound engineer Jason Kaiser, stage manager Tom Dugdale, assistant director Daniel Vatsky, assistant video designer Brittany Loar, assistant costume designer Michael Givey, production manager Alexandra Allen, assistant to Maya Beiser produced by Beth Morrison Projects Beth Morrison, creative producer Brian Rady, associate producer James Matthew Daniel, production associate & media specialist commissioned by Carolina Performing Arts SALT commissioned by Linda and Stuart Nelson Elsewhere was created with generous support from: Peter D. and Julie Fisher Cummings Family Foundation, Pamela Drexel, Eric Eisner, Valerie Feigen and Steven Eisman, Elide Grabowski, Jane Gullong, Marissa Hollander, The Lamart Corporation, Charles Morrison, Linda & Stuart Nelson, Raymond Steckel, Amy Umland, Adam Wolfensohn, and Edward Zimmerman Bernstein Artists, Tour Representation for 2012-2013 Opus 3 Artists, Tour Representation for 2013-2014

Notes on the program I used to think of Henri Michaux text, the foundation for Elsewhere, as a long love letter: The images, as fantasies in a quaint recount of a winsome heroine. Of course some images were rather brutal and even the gentle ones had an ominous edge. But when you look at something through the specter of love, the gentle fantasy often trumps the harshness of reality.

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It was not until I decided to expand to a full CelloOpera, collaborating with the brilliant director Robert Woodruff, that the rosy hue afforded by The Surreal evaporated, leaving the Real bare and visible. Connecting this with the story of the nameless biblical heroine – Lot’s wife – set Michaux’s masterpiece in a different direction, exposing another layer of meaning. And so almost stealthily, an artistic statement started bleeding on the drawing board.

Philip Glass, Osvaldo Golijov, Steve Reich, David Lang, Louis Andriessen, and Mark O’Connor, among many others. A featured performer on the world’s most prestigious stages, Maya appeared as soloist at the Sydney Opera House, New York’s Lincoln Center, London’s Barbican and the World Expo in Nagoya, Japan and was a featured speaker and performer at the 2011 TED conference; her TEDTalk has since garnered over half a million views online.

Elsewhere is a piece about the voice of women bearing witness. Juxtaposed, both nameless witnesses tell of the particular suffering endured by women throughout the millennia and across the world. The suffering of girls and women, often voiceless, often helpless, abused, raped, and sometime stoned to death. That particular suffering that happens “elsewhere,” be it in suburban abusive homes, or in the sand of Somalia where a girl, refusing to marry an older man, is buried up to her neck, her cries drowned by leering men casting stones at her innocent head until she dies.

Maya has conceived, performed and produced her critically acclaimed multimedia concerts, including World To Come, which premiered as part of the inaugural season of Carnegie Hall’s Zankel Hall; Almost Human, a collaboration with visual artist Shirin Neshat; and Provenance, which premiered at Carnegie Hall in 2008 and forms the basis of her latest recording. Her sold-out concerts at Carnegie Hall have been chosen by The New York Times critics as among the “Best Of The Year.”

I dedicate Elsewhere to these women. I hope this piece conveys the testament to their powerful legacy.

– Maya Beiser, New York City 2012

CREATORS Maya Beiser (creator/cellist) Maya Beiser has captivated audiences worldwide with her virtuosity, eclectic repertoire, and relentless quest to redefine her instrument’s boundaries. The Boston Globe declares, “With virtuoso chops, rockstar charisma, and an appetite for pushing her instrument to the edge of avant-garde adventurousness, Maya Beiser is the postmodern diva of the cello.”

“Maya Beiser has etched a bold career path that marries classical to rock, starched collars to casual dress, and tradition to unorthodoxy,” reports AllMusic.com. Over the past decade, Maya has created new repertoire for the cello, commissioning and performing many works written for her by today’s leading composers. She has collaborated with composers Tan Dun, Brian Eno,

Highlights of Maya Beiser’s recent US tours include performances at the Kennedy Center in Washington DC, Royce Hall in Los Angeles, Kimmel Center in Philadelphia, Mondavi Performing Arts Center, Ravinia Festival in Chicago, Celebrity Series in Boston and International Festival of Arts and Ideas in New Haven. Other recent performances include major venues and festivals in Barcelona, Paris, Tokyo, Shanghai, and Athens.

She has appeared with many of the world’s top orchestras performing new works for the cello including the St. Paul Camber Orchestra, Montreal Symphony, Brooklyn Philharmonic, Sydney Symphony, China Philharmonic, and many others.

Maya’s latest recording, Provenance, has been a top-selling classical and world music CD since its release in 2010. Her performance of Steve Reich’s Cello Counterpoint, a piece written for her, is featured on the Nonesuch disc You Are, which was chosen

by The New York Times as one of the top albums of the year. She is also the soloist on the Sony Classical CD release of Tan Dun’s Water Passion, and has performed his Academy Award-winning score Crouching Tiger Concerto with orchestras around the globe. She has released four solo CDs on Koch (now E1) including Oblivion, Kinship, World To Come and Almost Human.

/////////////////////////////////////////////// maya beiser

Maya has been a featured soloist on several film soundtracks. Collaborating with renowned film composer James Newton Howard, she is the featured soloist on M. Night Shyamalan’s The Happening, Denzel Washington’s The Great Debaters, Edward Zwick’s Blood Diamond, and Rupert Sanders’ Snow White and the Huntsman (released in June 2012).

Raised on a kibbutz in Israel by her French mother and Argentinean father, Maya Beiser is a graduate of Yale University. Her major teachers were Aldo Parisot, Uzi Weizel, Alexander Schneider, and Isaac Stern. Maya was the founding cellist of the new music ensemble, the Bang on a Can All-Stars. For more information visit www.mayabeiser.com. Maya can be found on Twitter, tweeting as @cellogoddess, a moniker bestowed upon her by The New Yorker.

Robert Woodruff (creator/director) Robert Woodruff has directed over 60 productions across the United States at theatres including Lincoln Center Theater, The Public Theater, the Brooklyn Academy of Music, American Conservatory Theater, the Guthrie Theater, and the Mark Taper Forum. Most recently, he directed Battle of Black and Dogs at Yale and Madame White Snake for Opera Boston, which premiered in Beijing in October 2010.

Recent work includes Notes From Underground (Yale, La Jolla, and Baryshnikov Arts Center, New York City), Ifigenia in Aulis with Toneelgroep Amsterdam, and Philip Glass’ Appomattox for the San Francisco Opera. Internationally, Woodruff’s work has been seen at the Habimah National Theatre in Israel, the Sydney Festival, the Los Angeles Olympic Arts Festival, the Edinburgh International Festival, the Hong Kong Festival of the Arts, the Jerusalem Festival and Spoleto Festival USA. Among his early works are many premiere productions with Sam Shepard, including the Pulitzer Prize-winning Buried Child.

Woodruff has taught at the University of California campuses at San Diego and Santa Barbara, New York University’s Tisch School of the Arts, and Columbia University. He is currently on the faculty of the Yale School of Drama. In 1976, Woodruff founded The Bay Area Playwrights Festival, a forum for new American drama which still flourishes in the San Francisco area. From 2002 to 2007, Woodruff was the artistic director of American

Repertory Theater. He was named a 2007 USA Biller Fellow by United States Artists, an arts advocacy foundation dedicated to the support and promotion of America’s top living artists.

Composers & Writers Eve Beglarian (composer) Eve Beglarian’s chamber, choral, and orchestral music has been commissioned and performed by the Los Angeles Master Chorale, the American Composers Orchestra, the Bang on a Can All-Stars, the Chamber Music Society of Lincoln Center, the California EAR Unit, the Orchestra of St. Luke’s, Relâche, the Paul Dresher Ensemble, Sequitur, and individual performers such as Lauren Flanigan, Sarah Cahill, and Marya Martin. Highlights of her work in music theater include music for Mabou Mines’ Obie Award-winning Dollhouse, Animal Magnetism, Ecco Porco and Choephorai, all directed

by Lee Breuer; Forgiveness, a collaboration with Chen Shi- Zheng and Noh master Akira Matsui; and the China National Beijing Opera Theater’s production of The Bacchae, also directed by Shi- Zheng. Beglarian has collaborated with several choreographers, including Ann Carlson, Robert LaFosse, Victoria Marks, Susan Marshall, and David Neumann, and with visual and video artists Cory Arcangel, Anne Bray, Vittoria Chierici, Barbara Hammer, Kevork Mourad, Shirin Neshat, and Judson Wright. www.evbd.com

Michael Gordon (composer) Composer Michael Gordon’s works include What to Wear with director Richard Foreman at REDCAT Theater in Los Angeles; Aquanetta for Opera Aachen; Lost Objects with David Lang, Julia Wolfe, and director Francois Girard at the 2004 Next Wave Festival at the Brooklyn Academy of Music; and Van Gogh, recorded by Alarm Will Sound. Most recently, Gordon collaborated with the Ridge Theater on the multi-performer song cycle Lightning at Our Feet, co-commissioned by the Cynthia Woods Mitchell Center for the Arts at the University of Houston and the Brooklyn Academy of Music for the 2008 Next Wave Festival.

Gordon’s music has been featured in the dance works of Emio Greco PC, the Stuttgart Ballet, Pina Bausch’s Tanztheater Wuppertal, Heinz Spoerli and the Zürich Ballet, Ashley Page for The Royal Ballet and The Scottish

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Ballet, and Club Guy & Roni. Gordon has been commissioned by New York City’s Lincoln Center, Carnegie Hall, the BBC Proms, the Brooklyn Academy of Music, Settembre Musica, the Holland Music Festival, the Dresden Festival, and the Sydney 2000 Olympic Arts Festival. Gordon’s music has been performed at the Kennedy Center, Theatre De La Ville, Barbican Centre, Oper Bonn, Kölner Philharmonie, and the Southbank Centre. He has been honored by the Guggenheim Foundation, the National Endowment for the Arts, the Foundation for Contemporary Performance Arts, and the American Academy of Arts and Letters. www.michaelgordonmusic.com

Missy Mazzoli (composer) Missy Mazzoli was recently deemed “one of the more consistently inventive, surprising composers now working in New York” (The New York Times), “Brooklyn’s post-millennial Mozart” (Time Out New York) and “one of the new wave of scarily smart young composers” (sequenza21.com). Missy Mazzoli’s music has been performed all over the world by the Kronos Quartet, eighth blackbird, the American Composers Orchestra, New York City Opera, the Minnesota Orchestra, the Albany Symphony, the South Carolina Philharmonic, Dublin’s Crash Ensemble, New York City’s NOW Ensemble and many others. In the 2011/12 season she was Composer/Educator in residence with the Albany Symphony, and from 2012-2015 will be Composer-in-Residence with the Opera Company of Philadelphia, in a position funded by the Mellon Foundation.

In February 2012, Song from the Uproar, Missy’s first multimedia chamber opera, had a sold-out premiere run at venerable New York venue The Kitchen produced by Beth Morrison Projects. The Wall Street Journal called this work “both powerful and new,” and The New York Times claimed that “in the electric surge of Ms. Mazzoli’s score you felt the joy, risk and limitless potential of free spirits unbound.”

Excerpts of this new work, based on the life and writings of Swiss explorer Isabelle Eberhardt, were previously performed by New York City Opera as part of their VOX series, and by students at the Bard College Conservatory under the direction of Dawn Upshaw.

As part of Missy’s 2011/2012 residency with the Albany Symphony, the orchestra

premiered Holy Roller in May 2012, and the Detroit Symphony will premiere a new orchestral work in spring 2013. Upcoming seasons includes performances by the Britten Sinfonia and Kronos Quartet at London’s Barbican Centre, performances by eighth blackbird, pianist Emanuel Ax and Kronos Quartet, and a residency at Mass MoCA Museum with vocal ensemble Roomful of Teeth. Recent projects include new works for eighth blackbird, Kronos Quartet, the League of Composers Orchestra, violinist Jennifer Koh (a new solo work commissioned by the LA Philharmonic), the Santa Fe Chamber Players, violist Nadia Sirota, Ensemble ACJW (commissioned by Carnegie Hall), Present Music (Milwaukee), and scores to accompany films by Alice Guy Blaché, commissioned by the Whitney Museum of Art. Mazzoli is the recipient of four ASCAP Young Composer Awards, a Fulbright Grant to the Netherlands, the Detroit Symphony’s Elaine Lebenbom Award, and grants from the Jerome Foundation, American Music Center, and the Barlow Endowment. She is also active as an educator and a mentor to young composers; in 2006 she taught composition in the Music Department of Yale University, and from 2007-2010 was Executive Director of the MATA Festival in New York City, an organization dedicated to promoting the work of young composers. Her music is published

by G. Schirmer. www.missymazzoli.com

at such theatres as The Mark Taper Forum, The Brooklyn Academy of Music, The Public Theatre, Playwrights Horizons, Classic Stage Company, The Magic Theatre, The Traverse Theatre in Edinburgh, and The New Grove in London. She and Lillian Slugocki wrote The Erotica Project, which premiered at Joe’s Pub and is published by Cleis Press.

Elsewhere was created with the generous support of Carolina Performing Arts, Peter Cummings Valerie Feigen, Eiide Grabowski, Chip Morrison, Linda and Stuart Nelson, Ray Steckel, Adam Wolfenson. Special thanks to Dr. Rami Kaminski, without whom this piece would not have been created, to Sue Bernstein, whose dedication and tenacity have been instrumental in bringing this project to fruition, and to choreographer Karole Armitage, who began this journey with us.

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Erin Cressida Wilson (writer) Erin Cressida Wilson is an award-winning and internationally produced playwright, screenwriter and author. She won the 2003 Independent Spirit Award for her acclaimed screenplay Secretary, starring James Spader and Maggie Gyllenhaal; this marked her first film with director Steven Shainberg.

Her second was Fur: An Imaginary Portrait of Diane Arbus starring Nicole Kidman and Robert Downey, Jr.. Her most recent film, Chloe, stars Julianne Moore, Liam Neeson and Amanda Seyfried. The film is directed

by Atom Egoyan and produced by Ivan Reitman. Ms. Wilson is currently creating, writing and executive producing a pilot with Oprah Winfrey and Kate Forte for HBO. In addition, she has adapted Lisa See’s novel Peony in Love for Tony and Ridley Scott. Ms. Wilson’s stage plays have been produced Off Broadway, regionally and internationally

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SUN, OCT 14 AT 7:30PM

Compagnie Marie Chouinard ❖ breakthrough

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“Contemporary dance at its best…funny, outrageous, rude, theatrical and gorgeous” – The Vancouver Sun Photo: Marie Chouinard Dancers: Dominique Porte - Mathilde Monnard

////////////////////////////////////////////////////////////////////////// Program Notes LIVE with Rehearsal Director Tony Chong 6:30pm, Oct. 14 | Historic Playmakers Theatre

PROGRAM Prelude to the Afternoon of a Faun Solo Creation: Taiwan International Festival (Taiwan), October 21, 1994 Choreography and Artistic Direction: Marie Chouinard Dancer at creation: Dominique Porte Dancer: Dorotea Saykaly Music: Prélude à l’après-midi d’un faune, Claude Debussy, 1894 Lighting and set design: Alain Lortie Costume and props: Marie Chouinard, Luc Courchesne and Louis Montpetit Make-up: Jacques-Lee Pelletier A Compagnie Marie Chouinard production, co-produced with the National Arts Centre (Ottawa) and the Laidlaw Foundation (Toronto)

PAUSE

The Rite of Spring Ballet in one act Creation National Arts Centre, Ottawa (Canada), June 18, 1993 Choreography and Artistic Direction: Marie Chouinard Dancers at creation: Marie-Josée Paradis, Mathilde Monnard, Daniel Éthier, Dominique Porte, Pamela Newell, José Navas, Jeremy Weichsel Dancers: Valeria Gallucio, Leon Kupferschmid, Lucy M. May, Sacha Ouellette-Deguire, Mariusz Ostrowski, Carol Prieur, Gérard Reyes, Dorotea Saykaly, James Viveiros, Megan Walbaum Music: Signatures sonores, Rober Racine, 1992; The Rite of Spring, Igor Stravinsky, 1913. By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner Lighting and set design: Marie Chouinard Costumes: Vandal Props: Zaven Paré Make-up: Jacques-Lee Pelletier Hairstyles: Daniel Éthier

Touring Crew Rehearsal Director: Tony Chong Tour Manager: Marie-Pier Chevrette Technical Director and Lighting Manager: Jean-François Bernier Stage Manager: Noémie Avidar Sound Engineer: Maxime Lambert

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Dancers Valeria Galluccio Valeria Galluccio was born in Napoli (Italy).

She studied ballet with Annalisa Cernese and worked as principal dancer in Biennale of Venice for three years in Glass Room, The Waste Land and Oxygen, directed and choreographed by Ismael Ivo. She worked again with Ismael Ivo for a project in Napoli Teatro Festival, Stravinsky’s Le Sacre du printemps. Valeria joined Compagnie Marie Chouinard in 2011.

Leon Kupferschmid Leon Kupferschmid was born in Israel.

He studied at the Jerusalem Music and Dance Academy. From 2004 to 2005, he danced for the Scapino Ballet Rotterdam in the Netherlands. Leon continued his training at the Juilliard School in New York. He joined Compagnie Marie Chouinard in 2009.

Lucy M. May Lucy M. May began her dance training at Dance Fredericton in New Brunswick.

Her professional studies were completed at LADMMI in Montreal and the Rotterdam Dance Academy in the Netherlands. She has danced for DanseKparK, la Compagnie Capriole, Meyer-Chaffaud Dance Company, Lucie Grégoire Danse and Mélissa Raymond, among others. She also taught at LADMMI from 2008 to 2009. She joined Compagnie Marie Chouinard in 2009.

Sacha Ouellette-Deguire Sacha Ouellette-Deguire trained as a mime artist before joining Compagnie Marie Chouinard in 2012. Previous stage work includes L’Equipe des Oranges, Compagnie Omnibus and Compagnie Korimage. Sacha continues to develop his work as a multi-faceted artist at the Académie du Ballet Métropolitain with the dancer Alexis Simonot.

Mariusz Ostrowski

A Compagnie Marie Chouinard production, co-produced with the National Arts Centre (Ottawa), the Festival international de nouvelle danse (Montreal) and the Kunstentrum Vooruit (Ghent, Belgium) Compagnie Marie Chouinard wishes to thank the Conseil des arts et des lettres du Québec, the Canada Council for the Arts and the Conseil des Arts de Montréal.

Audio, visual and video recording devices are strictly forbidden during the performance.

Mariusz Ostrowski started his dance training at the Warsaw National Ballet School in Poland. He worked with the National Ballet of Poland, the Ballet Arizona, the Atlanta Ballet, Rubberbandance and Les Grands Ballets Canadiens de Montréal, where he was first soloist. He joined Compagnie Marie Chouinard in 2009.

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Carol Prieur

Megan Walbaum

Carol Prieur started her career with Winnipeg Contemporary Dancers. She has worked with the Fondation Jean-Pierre Perreault.

Grants permitted her to pursue her studies in New York, Europe and India where she was initiated into Kalarypayattu, an Indian martial art form. Since she became a member of Compagnie Marie Chouinard in 1995, three solos have been created for her: Humanitas, Étude Poignante, and Movements. She received a Best Performance Award in Marie Chouinard’s film, Cantique no. 1, at the Moving Pictures Festival of Dance on Film and Video Awards in Toronto. In 2010, Carol was named Dancer of the Year by the prestigious German magazine TANZ.

Megan Walbaum is a native of Calgary and began dancing at the Alberta Ballet School of Dance before continuing her classical training at the Royal Winnipeg Ballet School.

She then followed a professional training program in contemporary dance at LADMMI in Montreal. She danced for Sylvain Émard and Lucie Gregoire before joining Compagnie Marie Chouinard in 2010.

Gerard Reyes Gerard Reyes received his BFA in Dance from Ryerson University in Toronto in 2003. He danced for Danny Grossman, D.A. Hoskins, Lesandra Dodson, Heidi Strauss, Sacha Ivanochko, Luther Brown, Bill T. Jones, Germaul Barnes and Noemie Lafrance. Gerard spent a year in Los Angeles studying acting and expanding his Hip Hop repertoire with Tovaris Wilson, Kevin Maher and Redd. Gerard danced for one season with Compagnie Marie Chouinard in 2006-07 and rejoined the company in 2009.

Dorotea Saykaly Dorotea Saykaly trained at the Conservatoire de Danse de Montréal with Daniel Seillier and Lucinda Hughuey. She completed her dance studies in Vancouver at Arts Umbrella, training with Arty Gordon, Grant Strate and Wen Wei Wang. She has worked in Montreal with Les Ballets Métropolitains, Ballet Ouest and Les Sortilèges. She joined Compagnie Marie Chouinard in 2006.

James Viveiros James Viveiros studied dance, music and theatre at Alberta’s Grant MacEwan College, where he received the Evelyn Davis scholarship for outstanding performance in dance. He has worked with the Brian Webb Dance Company, Edmonton Opera and The Citadel Theatre, among others. He moved to Montreal and started to perform for Suzanne Miller and Allan Paivio Productions before joining Compagnie Marie Chouinard in 2000.

He is one of the interpreters of the solo Des Feux dans la nuit since 2003.

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Contributors Rober Racine – Music (The Rite of Spring) Rober Racine studied literature, art history and film at the Université de Montréal. His works have been presented in numerous galleries and museums in Canada, the United States, Europe, Australia and Japan. He exhibited his works at the Sydney Biennial in Australia (1990), the Venice Biennial (1990), and at Documenta in Kassel, Germany (1992). In 2001, the National Gallery of Canada mounted a retrospective of his works. He has published the following novels: Le Mal de Vienne (1992), Là-bas, tout près (1997) and L’Ombre de la terre (2002); a short narrative: Le Dictionnaire (1998), and a dramatic text: Le Cœur de Mattingly.

In 1999, he was awarded two prestigious Canadian awards: the Prix Ozias Leduc and the Prix Louis Comtois for the body of his work. Rober Racine has collaborated with Marie Chouinard since 1978.

Alain Lortie – Lighting (Prelude to the Afternoon of a Faun) Alain Lortie’s personal style is well known.

His colors and above all his great sensitivity to the work of other artists have earned him fruitful collaborations with many big names in song, music, dance and theater.

Self-taught, he is constantly developing on a technical and artistic level and has won a number of awards for his talented work. Alain Lortie is also a consultant and designer for many architectural projects and numerous cultural events and festivals.

Luc Courchesne – Costumes (Prelude to the Afternoon of a Faun) Luc Courchesne holds a bachelor’s degree in communication and a master’s in visual science. He has been interested in interactive

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video since 1984 and, in collaboration with a group from MIT, made Elastic Movies, one of the first works in the genre. His installations and works have been shown in a dozen countries, notably at the Museum of Modern Art (MOMA) in New York. He has been a professor at the School of Industrial Design at the Université de Montréal since 1986.

Louis Montpetit – Costumes (Prelude to the Afternoon of a Faun) Louis Montpetit studied science and electroacoustic music and has simultaneously pursued numerous creative paths, leading him from costume design to structural topography. He is equally interested in illustration and composition. His images have illustrated the covers of numerous books and magazines. He has composed music for several works of choreography as well as soundtracks for films and videos. He also works with computer-generated illustration and designs multidisciplinary CD-ROMs.

Liz Vandal – Costumes (The Rite of Spring) Liz Vandal began her career in 1990 as a fashion designer, quickly establishing a solid reputation. She is a costume designer, makeup artist and hairstylist, and her work in film, theater and dance provides opportunities to fully explore her creativity. She has worked with the likes of La La La Human Steps and Les Grands Ballets Canadiens de Montréal. Liz Vandal has designed the costumes for ten works in Compagnie Marie Chouinard’s repertoire.

Jacques-Lee Pelletier – Make-up (Prelude to the Afternoon of a Faun and The Rite of Spring) In an article in 1985 on his living sculptures, Germany’s Mode Trend magazine termed Jacques-Lee Pelletier an avant-garde makeup artist, a fashion designer, a philosopher and a poet of beauty. In addition to teaching at the National Theatre School of Canada, Jacques-Lee Pelletier works with top directors and specialists in theater, dance, photography, video, advertising, hairdressing and television. He has been one of Marie Chouinard’s collaborators since 1987.

Tony Chong – Rehearsal Director Tony Chong studied dance at Simon Fraser University in Vancouver, in New York at NYU’s

The Tisch School for the Arts and in San José, California with The Limon West and The Limon Company. He moved to Montreal and started to perform for Compagnie Marie Chouinard for four years (1994-1998).

He also dances for Carbon 14, la fondation Jean-Pierre Perreault, Système D, Louise Bedard Danse and La Compagnie Flak. From 2005 until 2009, Tony was the co-artistic director and then the artistic director of Le Groupe Dance Lab in Ottawa. In 2011, he rejoined Compagnie Marie Chouinard as rehearsal director and artistic director on tour. Tony is also a choreographer and photographer.

Marie Chouinard and Compagnie Marie Chouinard In 1978, Marie Chouinard presented her first dance work, Cristallisation, establishing her reputation as a highly original artist driven by the need for authentic communication. This first piece was followed by thirty unforgettable solos, including Marie Chien Noir (1982), S.T.A.B (Space, Time and Beyond) (1986), and Afternoon of a Faun (1987), landmarks in contemporary dance of the past 30 years.

In 1990, the soloist-choreographer founded her own company. Since then, Compagnie Marie Chouinard has performed over 1,000 times on all the great stages of the world and participated in the most prestigious international festivals. Chouinard’s works are performed by dancers of exceptional talent, including Carol Prieur – named Dancer of the Year 2010 by Tanz magazine, a leading reference in the world of contemporary dance – and Lucie Mongrain, the fabulous solo performer of Etude No. 1 (2001).

Compagnie Marie Chouinard has co-produced its creations with top names in the arts world, including the Venice Biennale, the ImPulsTanzVienna International Dance Festival, the Théâtre de la Ville in Paris, the Gulbenkian Foundation in Lisbon, the Fondazione Musica Per Roma in Rome, the Festival TransAmériques at Place des Arts in Montreal, and the National Arts Centre in Ottawa. One of its best-known works, The Rite of Spring, created in 1993, is still performed today. In 2008, 24 Preludes by Chopin, created in 1999, was introduced into the repertoire of the National Ballet of Canada (Toronto) and, since 2010, Prelude to The Afternoon of a Faun (1994) has been performed by the São Paulo Companhia de Dança.

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/////////////////////////////////////////////////////////////// /// Tony Perucci

on compagnie marie chouinard One of the most profound potentialities of art is its ability to be transgressive – to unsettle our expectations, to challenge our deeplyheld beliefs, to bewilder our sensibilities, to undermine our sense of aesthetic competence, and to upset our understanding of what constitutes art – or even more disconcerting, our understanding of what constitutes the “real world.” It is this transgressive quality that, in heralding uncertainty and violating our sense of the taken-for-granted, art has the potential to not only remake us as individuals but also to refigure us as societies. The infamous riot that accompanied the 1913 premier of The Rite of Spring embodies the ways that art can upset, unnerve, disorient and anger through its very form.

This dynamic of transgression exceeds the presence of identifiable message or ideology that might upset an audience.

Writing about the dramatist Bertolt Brecht, the German theorist Walter Benjamin suggested that beyond the articulation of meaning, the engine that enabled Brecht’s theatre as a political force was its use of “interruption” as a means of making the audience feel astonishment towards the inequalities of capitalist society rather than empathy towards the characters of his plays. Transgressive art produces such ruptures as a relentless means of seeing and hearing the world anew by making the familiar seem strange.

Stravinsky produced such an interruption though the reorganizing of sound in time – through the continual making and remaking of dissonance (a sonic embodiment of rupture). In challenging the dominance of the pretty melody and the elegant chord progression, Stravinsky not only challenged the old guard, but also produced both a

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new kind of music as well as a new way of hearing it. The Rite of Spring exemplifies the ways in which the rupture of transgressive art does more than tear down conventions and expectations, it reorganizes them and refigures them into something new.

Marie Chouinard has long been known for the transgressive character of her work – from her early solo provocations to the highly-charged compositions choreographed for her company. While Chouinard’s work is often intended to “shock,” it is transgressive not simply for its erotics and overt engagement with sexuality. Rather, Chouinard’s work produces rupture through the enactment of what Allana Thain has called an intensification of movement. The production of intensities exceeds the limits of the bodies of the dancers – energizing the time and space not only inhabited by the dancers but that which surrounds them. The electrification of time and space through intensity always threatens to spill (sometimes quite literally) off the stage and into the audience. In her remaking of The Rite of Spring, Chouinard has stripped away the narrative to focus instead on the production of intensities: “There is no story … Only synchronicity. It is as if I were dealing with the very moment after the instant life first appeared.

The performance is the unfolding of that moment. I have the feeling that before that moment there was an extraordinary burst of light, a flash of lightning.” Chouinard puts us in a very indelicate position – to live in the ruptural intensities of a constant becoming. It is a dangerous and unsettled place that Chouinard challenges us to be in. How will we respond. Will we riot?

Tony Perucci is an Assistant Professor of Performance Studies in the Department of Communication Studies at UNC-CH. ///

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Since 2007, the company has occupied its own workspace, Espace Marie Chouinard, in Montreal. There, in 2009, after a twenty-year absence from the stage, Marie Chouinard returned with her solo morning glories :)-(: .

In 2008, Chantier des extases, a collection of her poetry, was published by les éditions du passage. The book was followed in 2010

by COMPAGNIE_MARIE_CHOUINARD_COMPANY, a superb volume illustrated with numerous color photos highlighting two rich decades of creation, culminating in the company’s most recent work, THE GOLDEN MEAN (LIVE).

Always visually compelling, the work of Marie Chouinard reflects her deepest concerns as an artist; dance is to be approached as a sacred art and virtuoso performance; each new work must invent and explore a whole new universe. Her raw material is not only muscle, bone and flesh, but also the aura, instinct and throb of life in the human body, an inexhaustible intelligence.

In addition to choreography, Chouinard sometimes designs the scenography and lighting for her pieces and photographs them. Her multimedia and visual creations include Cantique No. 3, an interactive installation with Louis Dufort, and Icônes, a video installation with Luc Courchesne, as well as the film bODY_rEMIX / gOLDBERG_vARIATIONS, based on the dance work of the same name.

Appointed Officer of the Order of Canada in 2007, Marie Chouinard has received numerous awards recognizing her contribution to the world of dance and the arts. In 2010, she received a Prix du Québec, the Prix Denise-Pelletier, the highest honor bestowed annually by the Government of Quebec in recognition of a distinguished career in the arts and culture. The same year, the Compagnie was chosen for the Imperial Tobacco Foundation Arts Achievement Award, established to recognize “sustained artistic excellence and innovative achievements of a Canadian arts organization.” The choreographer was also appointed a Chevalier de l’Ordre des Arts et Lettres from the French Ministry of Culture. Marie Chouinard’s name entered the Petit Larousse illustré in 2010 and appears in the 2011 edition of the Dixel.

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Compagnie Marie Chouinard Executive and Artistic Director Marie Chouinard Administration and Financial Director Bernard Dubreuil Director of International Development Paul Tanguay Production Director Nancy Cormier Assistant Production Director Josiane Fontaine-Zuchowski Tour Director Marie-Pier Chevrette Controller Hubert Venuti Communications Officer Christel Durand Administrative Clerk Yann Evima Vouma Rehearsal Director Natasha Frid Additional Rehearsal Directors: Isabelle Poirier, Ami Shulman and Tony Chong Dancers: Valeria Gallucio, Leon Kupferschmid, Lucy M. May, Lucie Mongrain (maternity leave), Mariusz Ostrowski, Sacha Ouellette-Deguire, Carol Prieur, Gérard Reyes, Dorotea Saykaly, James Viveiros, Megan Walbaum Representation: Julie George (Europe), Cathy Pruzan, Cathy Pruzan Artist Representative (United States), Pilar de Yzaguirre, YSARCA S.L. (Spain), Paul Tanguay (Europe, Asia, America – except United States)

Board of Directors President Marcel Côté Treasurer Stéphane Leclerc Members: Francine Allaire, Patrick Beauduin, Marie Chouinard, Pascal de Guise, Josette Murdock, Pierre Paquet, François Taschereau, Anik Trudel ///

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TUE, OCT 16 at 7:30PM

Punch Brothers

featuring Chris Thile ❉ HIGH ENERGY

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“...the Punch Brothers are the tightest, most impressive live band I have ever seen.”

– The Boston Globe

///////////////////////////////////////////////////////////////////////// Program Notes LIVE with Mipso |6:30pm, Oct. 16 | Gerrard Hall

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punch brothers Program to be announced from the stage.

Chris Thile

Chris Thile, mandolin Chris Eldridge, guitar Paul Kowert, bass Noam Pikelny, banjo Gabe Witcher, violin

Chris Thile of Punch Brothers has changed the mandolin forever, elevating it from its origins as a relatively simple folk and bluegrass instrument to the sophistication and brilliance of the finest jazz improvisation and classical performance. For more than 15 years, Thile played in the wildly popular band Nickel Creek, with which he released three albums, sold two million records, and was awarded a Grammy in 2002. Recently, Nonesuch Records released the Grammy– nominated Sleep with One Eye Open, an impassioned collaboration/conversation between Thile and guitarist Michael Daves, in which the upstart duo acknowledges the history and tradition of bluegrass while exuberantly defying convention. Thile also collaborated recently with Yo-Yo Ma for The Goat Rodeo Sessions.

Punch Brothers Punch Brothers are the New York City-based quintet of mandolinist Chris Thile, guitarist Chris Eldridge, bassist Paul Kowert, banjoist Noam Pikelny and violinist Gabe Witcher.

Their new album, Who’s Feeling Young Now?, produced and engineered by Jacquire King, contains some of the most exhilaratingly direct, sonically daring performances the group has ever recorded. Already, Vanity Fair has hailed the album as, “their most expressive work yet as an ensemble – sophisticated, pop-y, kinetic and profound, all at once.” The New Yorker calls it “a mystical alchemy of old-time music and contemporary sensibilities.” As the five members, ranging in age from their mid-20’s to mid-30’s, have matured together on the road and in the studio, their approach to writing and performing has, conversely, become looser, simpler, and, in a sense, more unaffectedly youthful. In fact, the title song on the new disc, featuring rumbling bass, skittering violin and wailing multi-tracked vocals, sounds like hard-charging string-band punk rock.

As a soloist, he has released four albums, and has performed and recorded extensively as a duo with double bass virtuoso Edgar Meyer and with fellow eminent mandolinist Mike Marshall. He has also collaborated with a pantheon of musical innovators from multiple genres, including Béla Fleck, Dolly Parton, the Dixie Chicks, Brad Mehldau, Hilary Hahn, and Gabe Kahane. Punch Brothers released their new album, Who’s Feeling Young Now?, on February 14, 2012 on Nonesuch Records. Completed over three weeks at Blackbird Studios in Nashville, the record was produced by Grammy Award winner Jacquire King (Kings of Leon, Tom Waits, Modest Mouse). Thile’s previous Carnegie Hall performances include a performance with Punch Brothers in 2009 and the New York premiere of his four-movement suite The Blind Leaving the Blind in 2007. ///

The group, as virtuosic as it is freewheeling, evolved out of a 2007 collaboration on Thile’s string-band suite, The Blind Leading the Blind, which premiered at Carnegie Hall in a series curated by composer John Adams.

Its debut disc for Nonesuch Records, Punch, was released in 2008, followed by the Jon Brion-produced Antifogmatic (2010). The five members each have impressive résumés within the progressive string-band scene and are regularly sought-after as guest stars and session players. Punch Brothers are currently featured on the soundtrack to The Hunger Games and the Chieftains’ 50th Anniversary disc, Voice Of Ages. As guitarist Eldridge notes, “Every little side project we’ve done has helped us come back to Punch Brothers with new ideas and new energy and a new sense of confidence, a righteous need to create stuff.”

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/////////////////////////////////////////////////////////////// /// jacob sharp

on punch brothers To say that I owe Chris Thile a lot would be an understatement. He is the primary reason I first picked up a mandolin as a teenager, and the inspiration I draw from his music continues to justify my attempts at playing the instrument today. Chris is undoubtedly the most virtuosic mandolinist ever – and one of the more talented musicians of his generation. That’s a big statement, but in my opinion, it’s not even the most impressive thing about him. Chris Thile made the mandolin cool again, and in doing so he put bluegrass music back on the map.

Although mandolin players have long been the drivers of change in bluegrass music, rarely if ever do they possess the breadth of talent that Thile offers. His natural abilities on the mandolin have been obvious since his debut solo album Leading Off was released at the age of 13. But as he aged, his knack for writing brutally honest lyrics and setting them to melodic phrases more often found in pop “hooks” proved to be perhaps his finest attribute. Combined with his good fortune of consistently surrounding himself with equally talented musicians like Yo-Yo Ma, Edgar Meyer, and Stuart Duncan in The Goat Rodeo Sessions, Thile seemingly has ever tool needed to change the bluegrass genre. He has done so, but ironically it’s been by seemingly leaving the genre behind.

This is particularly obvious in the music of the Punch Brothers. Though the music, and the lives of the musicians themselves, is clearly rooted in bluegrass – it straddles genres, leaving aesthetics behind in favor of creating music that is more indicative of the world we now live in.

A world so readily available at our fingertips that we can pick pieces of our diverse interests apart from their origins and form them back together into something that is not only entirely new, but also more honestly able to portray where we are as musicians, or individuals, at any given moment.

In their amazingly short and successful career as a band thus far, the Punch Brothers have broken down the traditional record industry labels and barriers in favor of creating music that’s wholly their own – and it’s totally amazing. In doing so, they have led more listeners to acoustic music and motivated many young musicians to explore the traditional music and instruments of our country with the knowledge that you need no longer be bound by their corresponding traditional rules.

Their 2012 release, “Who’s Feeling Young Now?” is perfectly crafted, and so undeniably cool that it is hard to resist. Thile’s holy tenor voice lofts lyrics both honest and catchy over top of instrumentation so eclectic and innovative that it consumes me to the extent I no longer am able to listen to the album while driving. Their album is only able to be outdone by their live performance, where bright lights ignite the energy, experimentation, and charm only possible when five of the world’s top musicians in the world are perfectly happy with the moment they are in. Lucky for us, we get to share in the moment in at Memorial Hall tonight.

Jacob Sharp is a member of the band Mipso and a senior at UNC-Chapel Hill. He is writing his senior honors thesis on the geography of music as seen in the spread of bluegrass to Japan.

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THU, OCT 25 at 8PM

Studio for New Music Ensemble

from the Moscow Tchaikovsky Conservatory Igor Dronov, conductor Vladimir Tarnopolski, artistic director ❖ breakthrough

///////////////////////////////////// “musically rewarding work…it was as if the daring avant-garde spirit of the Twenties in Russia had been reawakened...”

– The Guardian

////////////////////////////////////////////////////////////////////////// Reassessing The Rite academic conference | Oct. 25-28 | UNC-Chapel Hill campus

PROGRAM Fragments for nonet (1929).................................................................. Zhivotov

............................................................................................(1904–1964) Newspaper Advertisement (1926) ......................................................... Mosolov

Svetlana Savenko, soprano......................................................(1900-1973)

arr. for soprano and ensemble

by Edison Denisov (1981) Russian Tales for large ensemble (1968) ............................................Sidelnikov

.............................................................................................(1930-1992) Serenade (1968) ...............................................................................Schnittke

Senza tempo..........................................................................(1934-1998) Lento Allegretto Novgorod Dance (1980) ..........................................................Sergei Slonimsky

..................................................................................................(b. 1932)

/////////////////////////////////////////////////////////////////////////////////////////// PROGRAM notes Fragments This work is unique in Soviet music, combining as it does the aesthetic of Constructivism with the form of a miniature. Parts of other constructions, suggesting elements of altogether different kinds of music, are brought together and assembled in the overall framework of the work. Fragments vividly embodies several favorite ideas of the Constructivists, such as interchangeable details and constructions that undergo continual transformation. In this respect, Zhivotov’s piece is one of the most representative of Russian Constructivist compositions.

– Translation © Anthony Phillips, 2002

Alexey Zhivotov (1904-1964) Soviet composer/Russian composer.

In 1930, he completed studies at the Leningrad Conservatory with Shcherbachyov. He was a committee member of the Leningrad Composers’ Union (1941–44 and from 1948) and received the title Honored Artist of the RSFSR in 1957. His reputation rests chiefly on his song cycles and also on the highly modernist Fragments.

Newspaper Advertisement 1. Tell everybody to buy and apply only P.E. Armenyeyev’s best quality leeches.

2. Bitch, English setter, white, with coffee-cultured markings! ...You are warned not to buy or sell this animal. Reward offered for return! ...

3. Citizen Zaika, Stefan Naumovich, from a farming family in Babich Don district, announces change of his surname (family name) from Zaika to Nosenko. Persons desirous of objecting to the change of name should apply to Krasnodar.

Although musical settings of strictly nonliterary texts had for some time been a tradition in Russia, having been accepted as long ago as the 19th century as part of the struggle for truth in art and a breakthrough in the road “towards new shores” (Mussorgsky’s The Wedding), the use of such texts in the 20th century still carried with it a whiff of aesthetic shock tactics. At the same time, the idea of music serving as a “chronicle of the age” was in the air. The performance of Hanns Eisler’s Newspaper Cuttings in Berlin provoked a scandal, and Valery

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Bogdanov-Berezovsky’s vocal squib In the Land of the Canard, to a text by the then very popular satirist A. Zorich, had been heard in Leningrad.

Naturally, however, in these pieces, as in the present work by Mosolov, the “holy atmosphere” of chamber music making was maintained, with all the professional exclusivity and rarefied privacy associated with the genre. Most people at the time therefore looked no further than the blatant intention to shock, and consequently failed to detect in the music a mirror of the world of the 1920s.

The emotional world of Newspaper Advertisements is strikingly different from the composer’s lyric settings. It is strictly antilyrical, anti-psychological and at the same time typically pointed. The songs in the cycle follow one another without a pause, the characters tumbling headlong one after the other.

This lends the mosaic patchwork of the form a sense of organic unity, linking the work as a whole to the language of satire typical of Soviet art at that time.

– Inna Barsova, Early Works of A. Mosolov and A.V. Mosolov: Articles and Reminiscences; Translation © Anthony Phillips, 2002

Alexander Mosolov (1900-1973) Russian composer. He received some music lessons from his mother, a singer, and studied at a Moscow high school until 1917. From 1918-1920 he fought in the civil war. Returning to Moscow, he attended the conservatory (1921–25) as a pupil of Glière, Myaskovsky (composition) and Grigory Prokof’yev and Igumnov (piano). In 1925, he joined the Association for Contemporary Music (ASM). For most of his life, Mosolov lived in Moscow. During his early career he occasionally worked as a concert pianist and played his own pieces, but his main activity was composition. At this stage he composed intensively (from 1924-28 he produced about 30 works), his music being marked by drama, a nocturnal urban quality (for example, in the piano sonatas and the symphonic poem Sumerki), parody (in the Chetïre gazetníkh ob’’yavleniya) and Mussorgskyan intensity (in the Tri detskikh stsenki). Mosolov also contributed to the modern Constructivist movement, somewhat influenced by Honeg-

– New Grove

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ger – a strain notably expressed in Zavod (The Foundry), which attracted attention through its use of a metal sheet to create the sound of clashing iron and steel. Many of the early works (among them a symphony and two sonatas, Op. 21a and 22) were lost when a case of manuscripts was stolen.

In the period from 1927–31, Mosolov’s work was severely criticized by the Russian Association of Proletarian Musicians for its modernist leanings. This caused a long interruption of his creative output and resulted in a change of style: His music became melodically and harmonically simpler and he abandoned urban subject matter. In the early 1930s he made many expeditions to the Turkmen and Kyrgyz Republics investigating folk music, giving rise to the three orchestral songs of Op. 33 and the Piano Concerto No. 2 on Kirghiz themes. He was arrested in 1938, accused of counter-revolutionary activities, and released a year later. In the 1950s he collected peasant songs in the Kuban and Stavropol’ regions, and in the 1960s in northern Russia. During this period, he wrote extensively in large-scale genres, employing elements of folk melody, harmony and polyphony. In his last years his compositional activity was linked with the Northern Folk Choir.

– New Grove

Russian Tales “Guilt” in the appearance of this work lies partly in the All-Union Radio Ensemble led by Alexander Korneiev. Here are the members of the string group – violin, viola, cello and bass; the main woodwinds – flute, oboe, clarinet, bassoon; the brass section is reduced to French horn; piano and percussion set are added. In Russian Tales, such an ensemble is exploited not in the sense of the relationships between separate instruments, but as a complex group, so the music becomes symphonic (or let’s say semi-symphonic). Sidelnikov himself appears as a musician who feels deeply the nature of the instruments, who astonishes us with his fresh, keen, often joyful explorations, from the imitation of nature sounds to jazz-like impacts.

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There are nine tales: 1. There, over the hills, Russian land...

2. Singing mosquitoes and swamp fears...

3. High in the sky the cranes are flying...

4. Mosses and fogs...

5. Wood-goblin and river-maiden are dancing reels 6. Wondrous flowers are gloaming in the hay, wind blows, scarlet flames are flaring up 7. Shepherds play their wander songs, but in a new way...

8. Magic towns are reflected in lakes – throw a stone, and the town is there no more…

9. Maids-o-grace are pickin’ berries, walkin’ far and yonder...

There is a distinctly poetic mood and plot in these titles, along with pleasant surprises resulting from Sidelnikov’s talent as a storyteller.

– Roman Ledenyov, translated

by Fedor Sofronov

Nikolay Sidelnikov (1930-92) Russian composer. He studied under Shaporin and Messner at the Moscow Conservatory and subsequently became professor of the composition department there. Although a composer of a vividly Russian orientation, he was also influenced by Stravinsky. With his tendency towards program music, he used motifs drawn from Russian folklore and fairy tales. In his last compositions, the traditions of Russian religious music – the Liturgiya svyatogo Ioanna Zlatousta (The Liturgy of St. John Chrysostom) in particular – are strong.

His original rhythmic technique combines ostinati motifs of the folksong type and jazz elements. His work mostly falls into choral and symphonic genres.

Serenade Serenade is one of the first polystylistic works of Schnittke, where the “bumping” of quotations (from Tchaikovsky’s violin and piano concertos, Rimsky-Korsakov’s and Beethoven’s) neighbors serial techniques, aleatorics and pop-music insertions.

Schnittke says of Serenade: “It was material that helped my First Symphony – for example, the tempo counterpoint in the second move-

ment clearly precedes the Symphony...All the instruments are playing fragments of my music for movies...There are also the elements of jazz, of some Jewish wedding band…”

Alfred Schnittke (1934-98) Alfred Schnittke was born in the Soviet Union and began his musical education in 1946 in Vienna. In 1948, his family moved to Moscow, where Schnittke studied piano and choral conducting. From 1953-58 he studied counterpoint and composition with Yevgeny Golubev and instrumentation with Nikolai Rakov at the Moscow Conservatory, completing his postgraduate studies in composition there in 1961 and joining the Union of Composers the same year. He was particularly encouraged by Phillip Herschkowitz, a Webern disciple. From 1962-72, Schnittke was an instructor in instrumentation at the Moscow Conservatory, thereafter supporting himself chiefly as a composer of film scores.

Noted for his hallmark “polystylistic” idiom, Schnittke composed in a wide range of genres and styles. His Concerto Grosso No. 1 (1977) was popularized by Gidon Kremer, a tireless proponent of his music. Many of Schnittke’s works have been inspired by Kremer and other performers including Yuri Bashmet, Natalia Gutman, Gennady Rozhdestvensky and Mstislav Rostropovich.

From the 1980s, Schnittke gained increasing international acclaim. He received numerous awards and honors and his music has been celebrated with retrospectives and major festivals worldwide. More than 50 CDs devoted exclusively to his music have been released. In 1985, Schnittke suffered the first of a series of serious strokes.

Despite his physical frailty, however, he suffered no loss of creative imagination, individuality or productivity. From 1990, he resided in Hamburg, maintaining dual German-Russian citizenship. He died on August 3, 1998 in Hamburg.

Novgorod Dance This work was commissioned by Polish composer Zygmunt Krauze and his ensemble, with all the pieces based on dance tunes.

Each commissioned composer wrote something representative of the dance elements of his national culture. I decided to compose

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ON STUDIO FOR new music ensemble The Studio for New Music, the contemporary ensemble at Moscow Tchaikovsky Conservatory, is the leading exponent of 20th- and 21st-century music in Russia. The group was founded in 1993 by composer Vladimir Tarnopolski, Chair of Contemporary Composition, and conductor Igor Dronov, a Professor of Opera and Orchestral Conducting at the Conservatory and a primary conductor at the Bolshoi Theatre. The group has premiered 180 new works and has unearthed and performed much music composed “underground” during Soviet times.

Last December, I traveled to the Moscow Tchaikovsky Conservatory with the purpose of inviting Russian scholars to speak at our international academic conference at UNC this October, “Reassessing The Rite.” Our keynote speaker is Richard Taruskin, the Class of 1955 Professor of Music at UC-Berkeley and the world’s premier scholar of Igor Stravinsky’s early Russian period. Sixteen scholars from Europe and America including the distinguished scholar of dance, Lynn Garafola, will further profess their ideas on The Rite – on its place in the Silver Age of Russian culture, its relation to fin-de siècle Russian visual art, its interpretations in film, its compositional genesis, its recordings, its later role in Soviet culture, its place in transnational studies, the costuming of the ballet, the dancers’ physical expressions and their meaning, and the reconstruction of its original choreography by one of our speakers, Millicent Hodson. UNC Press will publish a book of the proceedings.

My Russian colleagues and I also arranged a sister conference next spring in the elegant Rachmaninoff Hall at the Moscow Tchaikovsky Conservatory – only a stone’s throw away from the renowned Bolshoi Theatre, the site of the 1914 Russian premiere of The Rite of Spring. During my visit to plan the conference, the Russians spoke to me about Stravinsky, the composer who had left his native Russia so early in life that most of his countrymen never knew him. All the professors above 50 remembered with pride their brief meeting with the composer on his visit to the Conservatory in 1962. One older scholar also reminisced about the 1959 showing of Fantasia in Soviet times. How I look forward to having all of these Russian scholars coming to the conference, visiting classes, and talking to our students at UNC! Incidentally, the Russians also mentioned wanting to hear some American jazz and learn to drawl a bit – somehow I think all of this can be arranged, y’all.

Tonight in their performance at Memorial Hall, the Studio for New Music Ensemble will set the stage for us to reassess The Rite of Spring at 100. Their program includes provocative works, some of which take their inspiration from The Rite. And as you listen, realize that many of these pieces are very seldom performed in the US. Thus Moscow Studio gives us a rare opportunity to experience the art of twentieth-century Russian music – an art for years kept hidden even from the Russians themselves.

SEVERINE NEFF is the Eugene Falk Distinguished Professor of Music at UNC. She served as a J. William Fulbright Senior Scholar at Moscow Tchaikovsky Conservatory (1998-99). ///

the piece using the stylized Novgorod dance songs and tunes. None of them is a real folk melody, but they are very close to the originals, which I recorded during my expeditions in the Novgorod region. All the musicians, including the conductor, have to dance.

– Sergey Slonimsky

Sergei Slonimsky (b. 1932) Sergei Slonimsky was born in 1932 into the family of famous author Mikhail Slonimsky. He graduated from the Leningrad Conservatory under Professor O. Yevlakhov (composition) and Professor V. Nilsen (piano) and continued his studies in musicology. He is currently a professor of composition at the St. Petersburg Conservatory. In 1983, he was awarded the Glinka Prize. Slonimsky initiated a concert series featuring the music of Russian composers of the 1920s and ’30s, and has led a practical course in the international Sound Ways seminar every year since its founding in 1990.

His compositions include the operas Virinea, The Master and Margarita, Mary Stuart and Hamlet, the ballet Icarus, ten symphonies, other symphonic, chamber, vocal and choral works and music for children. In Samara, Russia each year, Slonimsky’s music is celebrated in a festival named in his honor. Recent works include a violoncello concerto, a cantata in memory of Alfred Schnittke, a production of the opera Visions of Ioann Grozny at the Samara Opera Theatre under the direction of Mstislav Rostropovich, and the German premiere of the chamber opera The Master and Margerita.

– Translated by Fedor Sofronov

Studio for New Music Ensemble The Studio for New Music Ensemble (SNME) was founded in 1993 by composer Vladimir Tarnopolsky and conductor Igor Dronov to demonstrate what went into the making of an orchestra for the performance of contemporary music. Its foundation was directly linked to a Moscow Conservatory course entitled, “The Orchestra of Contemporary Music.” Its main goal quickly assumed a far broader dimension, enabling Russian music to evolve within the broader world of contemporary music and culture. SNME acquaints Russian concertgoers with the music of the classical avant-garde, contemporary trends, and Russian’s own forgotten avant-garde of the

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1910s and ’20s. To further its goal, SNME holds master classes for young composers and performers and commissions new works by young composers.

In 1993, SNME gave its first concert during a festival of Russian music in France, with Mstislav Rostropovich as conductor. Over the past 18 years, it has given some 600 concerts, performing throughout Russia, and in Austria, Azerbaijan, Belgium, the Czech Republic, Finland, France, Germany, Great Britain, the Netherlands, Portugal, Sweden, the US and more. Venues include the Philharmonie, the Konzerthaus and Paris’ Cité de la Musique. SNME has also given master classes at Oxford and Harvard Universities, and collaborated with Ensemble Modern and the Schoenberg Ensemble.

SNME is the core ensemble of the annual international festival of contemporary music, The Moscow Forum, in existence since 1994 and organized by the Center of Contemporary Music of the Moscow Conservatory. SNME also handles the International Jurgenson Competition for young composers as well as performance competitions. For its major contribution to the development of contemporary music in Russia, SNME received the prestigious Ernst von Siemens Musikpreis (2001 and 2004) and the Kulturstiftung des Bundes (2004-2006). In 2010, SNME won a grant from the European Commission for its conception and implementation of the largescale project, “Europe through the eyes of Russians. Russia through the eyes of Europe.”

In 2004-07 he was musical director for several productions: Chamber N.6, an evening of one-act ballets with music by Arvo Pärt; Magrittomania by Yuri Krasavin; Lea with music by Leonard Bernstein (2004); J. Neumeier’s ballet A Midsummer Night’s Dream with music by Felix Mendelssohn-Bartholdy, Gyorgy Ligeti and traditional mechanical music (2005); G. Balanchine’s ballet Serenade with music by Tchaikovsky; CH Wheeldon’s ballet Miserecordes to the music of Symphony #3 by Arvo Pärt (world premiere, 2006); F. Flindt’s ballet The Lesson to the music of Georges Delerue (2007).

Dronov also performs orchestral programs with the orchestra of the Bolshoi Theatre and has frequently performed as guest conductor with numerous well-known music ensembles and orchestras, including the Russian National Orchestra, Ensemble Modern (Germany) and others. He is chief conductor of the Studio for New Music Ensemble, with which he has performed over 700 compositions by 20th-century composers, including dozens of world premieres. He has served as chief conductor of the Moscow Forum contemporary music festival since its founding, and has served as chief conductor and artistic director of the youth chamber ensemble Premiera since 1994.

He has taught at Moscow Conservatory since 1992 in the Department of Opera and Orchestral Conducting, serving as professor since 2002. He has recorded a series of CDs of contemporary music of Russia and other countries and frequently tours Europe, the US and Asia.

Igor Dronov, conductor Born in Moscow, Igor Dronov graduated in 1992 from the Moscow Tchaikovsky Conservatory where he studied with Professor Boris Tevlin (choral conducting) and Professor Dmitri Kitayenko (opera and orchestral conducting). He took part in master classes of Sir Georg Solti and Pierre Boulez. Since 1991, he has conducted at the Bolshoi Theatre, where his repertoire includes Tchaikovsky’s Eugene Onegin, Gounod’s Faust, Verdi’s Il Trovatore and La Traviata, Rachmaninov’s Aleko and The Covetous Knight, Puccini’s Madama Butterfly and Leonid Desyatnikov’s The Children of Rosenthal.

Svetlana Savenko, Soprano Svetlana Savenko, born in Moscow, graduated from the Moscow State Tchaikovsky Conservatoire where she studied with Juri Kholopov as a musicologist. As a singer, she was a student of Dora Beljavskaja. Now she is professor of Russian music at the Moscow State Conservatoire and author of more than 100 publications (including several books) in Russian, English and German.

ing avant-garde and contemporary music.

Her repertoire embraces the compositions of Schoenberg, Berg, Webern (complete set of songs with Yuri Polubelov, Naxos 2007), Bartók, Cage, Eisler, Hindemith, Krˇenek, Zemlinski and many works by Russian composers (Stravinsky, Prokofiev, Roslavets, Mosolov, Mjaskovsky, Shillinger and others). Several works, among them Vladimir Tarnopolsky’s Chevengur, were written especially for her.

She has performed as a soloist with the Studio for New Music Ensemble in such concert halls as the Moscow Conservatoire, Berliner Philarmonie, Grosses Konzerthaus in Berlin, and others. She has participated in many festivals in Russia and abroad and has toured in Ukraine, Belarus, Slovakia, Germany, Netherlands, Switzerland, Great Britain, Italy and the US.

Studio for New Music Ensemble Igor Dronov, Conductor Vladimir Tarnopolski, Artistic director Maria Alikhanova, flute Anastasia Tabankova, oboe Nikita Agafonov, clarinet Stanislav Katenin, bassoon Sergey Kryukovtsev, horn Nikolay Kamenev, trumpet Mikhail Olenev, trombone Andrey Nikitin, percussion Andrey Vinnitskiy, percussion Mona Khaba, piano Stanislav Malyshev, violin Ekaterina Fomitskaya, violin Ekaterina Markova, viola Olga Galochkina, cello Grigory Krotenko, bass ///

The major fields of her specialization as a musicologist and interpreter are Russian music and music of the 20th century, includ-

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////////////////////////////////////// “Conductor Valery Gergiev makes ... the undeniably great passages stupefying” – USA Today

mon/tue, OCT 29/30 at 7:30PM

Mariinsky Orchestra Valery Gergiev, conductor Denis Matsuev, piano Veronika Dzhioeva, soprano Timur Martynov, trumpet Vitaly Zaytsev, trumpet GIANTs

Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

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oct 29/30

Program Notes LIVE with UNC’s Severine Neff | 6:30pm, Oct. 30 | Gerrard Hall

MON/Tues at 7:30pm

October 29 Program

OCT 29 program notes

Chute d’Étoiles, Part I (2012) ...............................................Matthias Pintscher

Timur Martynov, trumpet ........................................................... (b. 1971)

Vitaly Zaytsev, trumpet

Piano Concerto No. 1 in C Minor, Op. 35 ......................................Shostakovich Allegro moderato............................................................ (1906-1975) Lento Moderato

Allegro con brio

Denis Matsuev, piano Timur Martynov, trumpet

INTERMISSION Ein Heldenleben, Op. 40 .................................................................R. Strauss The Hero....................................................................... (1864-1949)

The Hero’s Adversaries

The Hero’s Companion

The Hero at Battle

The Hero’s Works of Peace

The Hero’s Retirement from

this World and Consummation

October 30 Program Cleopatra and the Snake (2012)......................................................Rodion Shchedrin

Dramatic scene for soprano and symphony orchestra................... (b. 1932)

Veronika Dzhioeva, soprano Symphony No. 6 in B Minor, Op. 54 .............................................Shostakovich Largo............................................................................ (1906-1975) Allegro Presto

INTERMISSION The Rite of Spring............................................................................ Stravinsky .................................................................................... (1882-1971) Part II: The Sacrifice

Part I: The Adoration of the Earth Introduction

The Augurs of Spring

(Dances of the Young Girls)

Game of the Abduction;

Spring Rounds

Games of the Rival Tribes

Procession of the Sage;

Kiss of the Earth

Dance of the Earth

Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual of the Ancestors Sacrificial Dance (The Chosen One)

/////////////////////////////////////////////////////////////////////////////////////////////////// VTB Bank is the General Partner of the Mariinsky Theatre.

Sberbank, Yoko Nagae Ceschina, Gazprom and JTI are Primary Partners.

Mariinsky Foundation of America is the North American Sponsor.

Columbia Artists Management LLC Tour Direction: R. Douglas Sheldon 1790 Broadway, New York, NY 10019 www.cami.com Valery Gergiev and the Mariinsky Orchestra record for the Mariinsky Label and also appear on Universal (Decca, Philips).

by Aaron Grad

Chute d’Étoiles, Part I (2012) Matthias Pintscher Born January 29, 1971 in Marl, Germany Currently resides in New York City The German composer and conductor Matthias Pintscher has established himself as a formidable musical presence on both sides of the Atlantic. One of his earliest champions was Hans Werner Henze, who invited the then 19-year-old Pintscher to his festival in Montepulciano, Italy. Like Henze, Pintscher became best known for his lucid and dramatic symphonic writing, leading to frequent performances of his works by top conductors and orchestras around the world.

Pintscher was awarded the biannual Roche Commission to compose a new work for the 2012 Lucerne Festival and Carnegie Hall.

The resulting composition, Chute d’Étoiles (Falling Stars), features two trumpet soloists with orchestra. Pintscher wrote Chute d’Étoiles as an homage to the German artist Anselm Kiefer, who in 2007 created a massive installation – also titled Chute d’Étoiles – at the Grand Palais in Paris.

Drawing links between the visual artist who inspired him and his own music, Pintscher wrote, “I find the ‘sound’ of lead in Kiefer’s works incredibly fascinating. This strength that is captured in this material! It is flexible, malleable, but unbelievably heavy. I find this state, with its combination of malleability and weight, exciting: I endeavour to make this audible in the music.” The musical material of Chute d’Étoiles belies this dichotomy; there are molten glissandos and drooping, slurred phrases, but also a tendency toward brittle, percussive attacks, as in the searing opening measures (marked at the maximal dynamic of ffff).

Chute d’Étoiles is not a concerto for the two trumpets, in the traditional sense. As Pintscher explained, “There is no virtuoso wrestling of the two, but they mutually inspire each other, they represent the same stance, play the same repertoire of sounds and techniques. One part opens out in two ways.” In a serpentine cadenza near the beginning, the dual soloists intertwine in figures played “as fast and fleeting as possible.” In Pintscher’s analogy, “The material is smelted, as it were, into lead: the entry of the solo trumpets is

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//////////////////////////////////////////////////////////////////////////////////////////////////// PROGRAM notes like the opening of two valves of a gigantic instrument made of lead, which provides air in a very finely-chiselled and concise form.”

Like the artwork that inspired it, Chute d’Étoiles is bold and monumental, standing in knife-edged equilibrium between creation and destruction. Given their artistic affinities, a statement by Kiefer serves well to encapsulate Pintscher’s musical vision: We are born and do not know why. And if we do not hold on to it, if the cosmos does not help us, we are lost. We come from there! We were born with the first explosion. We consist of elements of the cosmos. And so we carry in us the infinitely great as well as the infinitely small. It is the microcosm and the macrocosm. I place myself in it and then I attempt to express what I feel with my means.

Piano Concerto No. 1 in C Minor, Op. 35 (1933) Dmitri Shostakovich Born September 25, 1906 in St. Petersburg Died August 9, 1975 in Moscow As of 1933, when Shostakovich composed the Piano Concerto No. 1, his first fateful run-in with Stalin was still three years off.

His recent work on theater, ballet, film and opera projects had helped him crystallize his wicked sense of humor, and his music still exuded a youthful sassiness that he prudently tempered in the years to come.

Shostakovich composed the First Concerto to perform himself, surrounding the piano with a lean accompaniment of strings and trumpet. The trumpet part is unusual in that it stands out from the orchestra, yet it is not a full partner in the concerto. Instead, the trumpet functions as a wry commentator, sometimes skewing the music toward dance hall exuberance, other times imparting a militaristic discipline. Shostakovich gave the first performance in Leningrad on October 15, 1933, joined by the trumpeter he had in mind when he wrote the part, Aleksandr Shmidt of the Leningrad Philharmonic.

The concerto opens with a short, biting introduction, leading directly into the first thematic statement. The piano provides a few measures of its own bass accompaniment and then begins a melody fashioned

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after the start of Beethoven’s Appassionata Sonata. (The telltale fragment borrowed from Beethoven is a descending minor triad in a dotted rhythm.) A galloping theme in a major key provides the incongruous secondary material, charting an uneasy intersection between the hilarious and the grotesque.

The mixed emotions of the first movement settle on the pensive side, the piano joined only by long, quiet tones from the trumpet.

The second movement is a melancholy waltz, the lyrical melody first sung by muted strings. In the wake of the conflicted opening movement, this music is entirely sincere and introspective, marked by ruminative passages for unaccompanied piano. Even the trumpet, emerging out of a hushed series of string chords, sets aside its joking to take a turn at the docile waltz theme.

A short Moderato movement provides a rhapsodic bridge to the finale. The violins introduce the playful main theme built on repeated notes and leaps, and the music bounds through a range of moods and tempos. There is a bawdy, saloon-like quality to some of the piano figures, perhaps not far off from the kind of music Shostakovich played when he accompanied silent films in his student days. The piano saves one more parody for the cadenza, a harmonically restless reimagining of Beethoven’s Rondo a capriccio in G Major (better known by its nickname, “The Rage over a Lost Penny”). The concerto signs off with a bright and raucous fanfare.

Ein Heldenleben, Op. 40 (1898) Richard Strauss Born June 11, 1864 in Munich Died September 8, 1949 in Garmisch-Partenkirchen, Germany The earliest music of Richard Strauss reflected the influence of his father, Franz Strauss, the greatest horn player of the era and a staunch traditionalist devoted to Haydn, Mozart and Beethoven. In time, Strauss gravitated to “the music of the future,” to quote a catchphrase of his idol, Richard Wagner. The young Strauss went on to make his first big splash as a composer of tone poems, a genre originated by another of his progressive heroes, Franz Liszt. As the new century neared, Strauss issued a series of tone poems that remain benchmarks of the orchestral repertoire: Till Eulenspiegel’s

Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897) and Ein Heldenleben (1898).

For Ein Heldenleben (A Hero’s Life), Strauss turned to an unlikely inspiration: himself. It was an audacious move from the 34-year-old composer, even in light of his considerable fame at the time. Still, in assessing Ein Heldenleben, it is misleading to make too much of this picture of Strauss as “the hero.” In each of his tone poems, the underlying program provided Strauss a motivation and framework for content that ultimately spoke in purely musical terms. We know from letters that part of what was on the composer’s mind as he developed Ein Heldenleben was Beethoven’s Symphony No. 3 (“Eroica”), a work originally dedicated to Napoleon Bonaparte. Like that grand symphony, Ein Heldenleben strikes up the key of E-flat, and centers important themes in the horns, “always a symbol of heroism,” according to Strauss.

The triumphant first section, “The Hero,” declaims a symphonic argument that is a logical successor to Beethoven’s landmark symphony. With a grand pause – the only pronounced point of silence in an otherwise continuous score – the focus shifts to “The Hero’s Adversaries,” represented by the clucking flute, snarling oboe, and a self-important tuba figure in dreaded parallel fifths.

The third section, “The Hero’s Companion,” introduces another character, a solo violin, which stands in for Strauss’ wife Pauline, a soprano. In a letter to French writer Romain Rollard, Strauss defined the solo violin’s musical persona as “très femme, a little perverse, a bit of a coquette, never the same twice, different each minute from what she was a minute earlier. At the beginning, the hero follows her lead, picking up the pitch she has just sung, but she escapes farther and farther. Finally he says, ‘All right, go.

I’m staying here,’ and he withdraws into his thoughts, his own key. But then she goes after him.”

An offstage trumpet fanfare interrupts this romantic idyll, heralding “The Hero at Battle.”

Within the long tradition of symphonic battle music, Strauss’ melee is notably energetic and chaotic. The next section begins with a menacing return of the adversarial tuba figure, but it settles into a sublime tour through “The Hero’s Works of Peace,” including

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quotations from Don Juan, Till Eulenspiegel’s Merry Pranks, and Also sprach Zarathustra.

The final section, “The Hero’s Retirement from this World and Consummation,” is still not fully resolved; the adversaries remain in force, with another dose of the parallel-fifths theme at the beginning. Those voices silenced, or at least ignored, the music slips into a more meditative posture. A final swell uses the climbing figure familiar from the start of Also sprach Zarathustra (and even more familiar from 2001: A Space Odyssey) to retire Ein Heldenleben on a fittingly heroic note.

Copyright © 2012 Aaron Grad

program notes

by Aaron Grad

Cleopatra and the Snake Dramatic scene for soprano and symphony orchestra (2011) Rodion Shchedrin Born December 16, 1932 in Moscow Currently resides in Moscow and Munich Rodion Shchedrin was one of the major musical figures of the Soviet Union in its final decades, and he has continued to lead Russian music past the Cold War. His father, a composer, nurtured Shchedrin’s early interest in music. After World War II, he studied at the Moscow Choir School and Moscow Conservatory. Shchedrin cemented his reputation with a series of theater works, including the ballets The Little Hump-backed Horse (1955) and Carmen Suite (1967), as well as concert music, notably the piano concertos that he also performed as soloist. He succeeded Shostakovich as the Chairman of the Union of Composers, and won numerous official prizes, including the USSR State Prize in 1972.

man general, and Cleopatra, Queen of Egypt.

By the fifth and final act, Antony is dead, his army defeated by the forces of Octavian (the future Augustus Caesar), and Cleopatra is held captive in Alexandria by the Romans.

The proud queen resolves to kill herself with the bite of a poisonous asp, smuggled in by a servant, rather than be humiliated as a prisoner in Rome.

Shchedrin views this climactic scene as “an extremely fruitful subject for composers.

The ‘boiling point’ of the dramatic collision is extremely high here. … The conflict between life and death, power of love and the ‘drug of power’ are the motives for this fatal decision by the legendary beauty – the Egyptian queen.”

The scene opens hesitantly, with plaintive woodwind lines and sighing figures. When a fortissimo fanfare bursts in, it is an intrusion of military might and a signal of Cleopatra’s fate. She sings, “An Egyptian puppet, shalt be shown in Rome?! / Oh no, no, no, / I am the Queen!” Meanwhile, the lower strings“ must quietly talk to one another imitating the noise of the crowd,” as if the Roman citizens are already snickering. Her anger crests with the line, “Some squeaking Cleopatra boy my greatness / I’ the posture of a whore.”

Cleopatra is cut off by a return of the fanfare, this time as if from afar. She then turns her attention to the snake, accompanied by music that shakes and hovers, capped with a swooping blur of trumpets and a sinister rattle of maracas. That brassy, rattling snake figure surges again in anticipation of the fatal bite on Cleopatra’s chest; from that climax, her voice trails away, and she dies in

a whisper, the name of her beloved Antony on her lips.

Cleopatra and the Snake Dramatic scene for soprano and symphony orchestra Translation of Russian text by Boris Pasternak Based on William Shakespeare’s Antony and Cleopatra The day is done, and we are for the dark.

My resolution’s placed, and I have nothing Of woman in me: now I am marble-constant.

What should I stay...?

An Egyptian puppet, shalt be shown in Rome?!

Oh no, no, no, I am the Queen!

Quick – Me thinks I hear Antony call...

Slaves, with greasy aprons, rules and hammers shall Uplift us to the view; in their thick breaths, And forced to drink their vapor.

Lictors will catch us, like strumpets.

And scaled rhymers, ballad us out o’tune, And present our Alexandrian revels.

Some squeaking Cleopatra boy my greatness I’ the posture of a whore.

Snake, snake, snake, Thou mortal wretch, snake, Snake, snake, with thy sharp teeth this knot intrinsicate of life at once untie: Oh, snake, Be angry, and dispatch, As sweet as balm, as soft as air, As gentle, … Husband, I come – Antony.

The Salzburg Pfingstfestspiele commissioned Shchedrin’s Cleopatra and the Snake, a “dramatic scene for soprano and symphony orchestra” in the mold of Mozart’s virtuosic concert arias. Valery Gergiev led soprano Mojca Erdmann and the Mariinsky Orchestra in the premiere performance on May 28, 2012.

Shchedrin drew his scene from Shakespeare’s tragedy Antony and Cleopatra, as adapted into Russian by the 20th-century novelist Boris Pasternak (best known as the author of Doctor Zhivago). The play concerns the doomed love between Marc Antony, a Ro-

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on mariinsky orchestra The Rite of Spring will resound through Memorial Hall more than a dozen times this coming season, but I’m most excited for the first.

Two days after UNC hosts a bevvy of international scholars in our The Rite of Spring at 100 academic conference, the Mariinsky Orchestra and Valery Gergiev will deliver what should be an astonishing performance of Stravinsky’s masterpiece.

The 2001 recording of The Rite by Gergiev and the Mariinsky players is my default version of the piece, the one I go to when I want to rock out to Stravinsky’s pounding rhythms and supernatural harmonies. If you want to hear the most epically smeared trombone glissando of your life, check out the Mariinsky’s rendition of the Spring Rounds section of The Rite. Careful: it might blow out your speakers.

Besides just cataclysmic fortissimos, Gergiev’s interpretation offers something that appeals to me as a graduate student and budding musicologist. For decades after The Rite’s premiere in 1913, musicians and scholars viewed Stravinsky’s output in light of his cosmopolitan identity, his constant shuffling between various nations and musical traditions. Stravinsky was a composer of the world, more Parisian than St. Petersburgian – an idea the composer himself propagandized, disavowing notions of Russian roots in his music.

In recent decades, Richard Taruskin and other scholars have rediscovered the Russia in The Rite, uncovering a wealth of cultural and musical connections between Stravinsky’s piece and Russian folklore. Gergiev’s The Rite is the musical equivalent of this scholarly work. His slashing, weighted interpretation restores something quintessentially Russian to the Rite – not for nothing did the New York Philharmonic ask him to lead a festival titled “The Russian Stravinsky.”

Gergiev teases out the folk melodies of the music, treating them less as abstract lines and more as part of a deeper cultural lineage. The orchestra’s pungent winds and brass give an edge to the music not found in the pristine performances of the Chicago Symphony or New York Philharmonic. The Mariinsky Orchestra regularly performs operas and ballet -- Stravinsky’s own father sang as a bass in the theater company in the late 19th century – and they bring that dramatic arc to all their concerts. You won’t hear a Rite like this anywhere else.

William Robin is a doctoral candidate in music at UNC-Chapel Hill. ///

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PROGRAM notes

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Symphony No. 6 in B Minor, Op. 54 [1939] Dmitri Shostakovich Born September 25, 1906 in St. Petersburg Died August 9, 1975 in Moscow Shostakovich’s life was upended in 1936, when the newspaper Pravda – the mouthpiece for the Communist party – published a scathing review titled “Muddle instead of Music,” taking issue with Shostakovich’s wildly popular opera, Lady Macbeth of the Mtsensk District. With Stalin and his goons on high alert, Shostakovich proceeded cautiously, shelving several major works before composing his Fifth Symphony in a burst of activity in 1937. No established conductor would take on the score, so the task of preparing the symphony’s debut fell to Yevgeny Mravinsky, a young conductor who had recently joined the Leningrad Philharmonic.

The premiere of the Fifth Symphony on November 21, 1937 was a watershed moment in Shostakovich’s career, with a 30-minute ovation confirming his return to the pinnacle of Russian music. As such, expectations were high exactly two years later, when the same conductor and orchestra premiered Shostakovich’s next symphony, composed between April and October of 1939. Shostakovich had talked of making the Symphony No. 6 a grand tribute to Lenin, complete with chorus and soloists, but instead the new symphony emerged as a purely instrumental work, and one with a relatively subdued tone. Noting the contrast to the emotionally wrenching Fifth Symphony, Shostakovich commented, “In my latest symphony, music of a contemplative and lyrical order predominates. I wanted to convey in it the moods of spring, joy, youth.”

Given the climate of suspicion and doublespeak with which Shostakovich was surrounded, it is difficult to know whether we can take him at his word. Is it truly an expression of “spring, joy [and] youth” to begin a symphony with a 20-minute rumination in a glacial Largo tempo? In this opening movement, the raw materials are spare and monolithic, like the bare limbs of winter trees entwined beneath a grey sky – a far cry, to this listener, from the green shoots and unbridled growth of spring and youth.

The contrapuntal layering has an air of Bach, while extended flute solos over droning pads contribute an exotic flavor.

The real joyfulness in this symphony comes in the closing movements, fulfilling a typical pairing of scherzo and finale. The second movement, led by the chipper tone of an E-flat clarinet, is a buoyant jaunt in a dancing triple meter. Shostakovich had been a master of tongue-in-cheek irony since his student days, and he displayed his keen wit in this movement’s playful mood changes and mock furor.

The presto finale has a galloping pulse and an operatic flavor that calls to mind Mozart and Rossini. A central section has shifting metric divisions worthy of Stravinsky, but the manic ending, capped with thunderous timpani, is pure Shostakovich.

Le Sacre du printemps (The Rite of Spring) [1911-13] Igor Stravinsky Born June 5,1882 near St. Petersburg Died April 6, 1971 in New York Stravinsky’s rise to fame began in 1909, when the impresario Serge Diaghilev selected him as one of a group of composers to arrange music by Chopin for the ballet Les Sylphides, performed in the debut season of the Ballets Russes. The following year, Diaghilev conceived of a massive new production based on a Russian folktale; his first-choice composer did not work out, so Diaghilev took a chance on the 27-year-old Stravinsky to compose music for The Firebird.

The 1910 premiere of The Firebird made Stravinsky a household name, and soon he was plotting his next projects for the Ballets Russes. He thought of a ballet based on prehistoric pagan sacrifice, but shelved that idea temporarily to write the puppet-themed ballet Petrushka, which garnered even more glowing praise for the composer after its debut in Paris in 1911. Stravinsky then returned to his pagan concept, working out the scenario with the artist Nikolai Roerich, who would provide the set designs. The composition of Le sacre du printemps stretched into 1912, and the orchestration was completed early in 1913, in time for the premiere in Paris on May 29.

The riot that ensued that night at the Theatre des Champs-Elysées is now legendary.

Grumbling from the audience began as soon as they heard the opening bassoon melody in the uncharted top range of the instrument, and the music was all but drowned out when the spectators saw Vaslav Nijinsky’s wild, ritualistic choreography. Somehow, conductor Pierre Monteux steered the orchestra through the entire score, while Nijinsky stood on a chair backstage shouting numbers at the dancers to help them negotiate the jarring, shifting rhythms. Diaghilev, meanwhile, flicked the house lights on and off in an effort to restore calm. Stravinsky stormed out, shocked and insulted by the reaction.

The disturbing choreography of Le sacre may have overshadowed the music at that first performance, but the watershed score made significant new demands on its listeners and performers. Modal and folk-like melodies wrap around exotic harmonies, with competing triads stacked and superimposed upon each other. These hybrid chords are novel in their own right, but the real breakthrough comes in their rhythmic treatment, with pounding accents unleashed at unpredictable intervals. Leonard Bernstein may have described the unprecedented effect best: “Every accent comes at you like a body blow, always hitting when you least expect it. Left hook, right jab.”

Stravinsky divided the score into two large sections. Part I, The Adoration of the Earth, depicts a springtime celebration filled with games, dances and blessings; Part II, The Sacrifice, builds to the selection of a virgin who dances herself to death. But even more than the ballet’s loose narrative structure, it is the epic musical discourse that carries Le sacre forward. In fact, just a year after the disastrous ballet debut, the work’s first concert performance (also in Paris) was a smash success. Concert performances highlight the central importance of the orchestration, a craft Stravinsky learned from one of the most brilliant orchestrators ever, Rimsky-Korsakov. The huge ensemble – at minimum 20 woodwinds, 18 brass, 6 percussionists, and 60 strings – enunciates the new language of The Rite of Spring with sparkling clarity and crushing force.

Copyright © 2012 Aaron Grad

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Mariinsky Orchestra The Orchestra of the Mariinsky Theatre enjoys a long and distinguished history as one of the oldest musical institutions in Russia.

Founded in the 18th century during the reign of Peter the Great and housed in St. Petersburg’s famed Mariinsky Theatre since 1860, the Orchestra entered its “golden age” in the second half of the 19th century under the musical direction of Eduard Napravnik, whose leadership for more than a half century (1863-1916) secured its reputation as one of the finest in Europe.

Numerous internationally famed musicians have conducted the Orchestra, among them Hans von Bülow, Felix Mottl, Felix Weingartner, Alexander von Zemlinsky, Otto Nikisch, Willem Mengelberg, Otto Klemperer, Bruno Walter, Erich Kleiber, Hector Berlioz, Richard Wagner, Gustav Mahler and Arnold Schoenberg.

Renamed the “Kirov” during the Soviet era, the Orchestra continued to maintain its high artistic standards under the leadership of Yevgeny Mravinsky and Yuri Temirkanov. The leadership of Valery Gergiev has enabled the Theatre to forge important relationships for the Ballet and Opera to appear in the world’s greatest opera houses and theatres, among them the Metropolitan Opera, the Kennedy Center, the Royal Opera House in Covent Garden, the San Francisco Opera, the Théâtre du Châtelet in Paris, the Salzburg Festival and La Scala in Milan. The success of the Orchestra’s frequent tours has created the reputation of what one journalist referred to as “the world’s first global orchestra.” Since its US debut in 1992, the orchestra has made 16 tours of North America, including a 2006 celebration of the complete Shostakovich symphonies, a Cycle of Stage Works of Prokofiev in 2008, major works of Hector Berlioz in February/ March 2010, a Centennial Mahler Cycle in Carnegie Hall in October 2010, and in October 2011, the Mariinsky Orchestra opened Carnegie Hall’s 120th season with a cycle of Tchaikovsky Symphonies which was also performed throughout the US and in Canada.

Maestro Gergiev established the Mariinsky Label in 2009 and has since released over 15 CDs including Shostakovich’s Piano Concertos Nos. 1 & 2, Symphonies Nos. 1 & 15, Nos. 2 & 11, Nos. 3 & 10 and The Nose, Rachmaninoff’s Piano Concerto No. 3 and Rhapsody on a Theme of Paganini, Tchai-

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kovsky’s 1812 Overture, Shchedrin’s The Enchanted Wanderer and Piano Concerto No. 5, Stravinsky’s Oedipus Rex and Les Noces, Wagner’s Parsifal, Donizetti’s Lucia di Lammermoor, and a DVD/Blu-ray of Tchaikovsky’s Symphonies Nos. 4, 5 & 6 and Balanchine’s ballet, Jewels. The 2012 recording release features Massenet’s Don Quichotte.

Valery Gergiev, conductor Since 1988, Valery Gergiev has taken Mariinsky Ballet, Opera and Orchestra ensembles to over 45 countries, garnishing universal acclaim. The Mariinsky Concert Hall opened in 2006 and the new Mariinsky Theatre is scheduled to open in 2013, alongside the classic Mariinsky Theatre.

A prominent figure in all the world’s major concert halls, Valery Gergiev is also Artistic and General Director of the Mariinsky Theatre, founder and Artistic Director of the Stars of the White Nights Festival and New Horizons Festival in St Petersburg, the Moscow Easter Festival, the Gergiev Rotterdam Festival, the Mikkeli International Festival, the Red Sea Festival in Eilat, Israel, and is Principal Conductor of the World Orchestra for Peace.

Principal Conductor of the London Symphony Orchestra since 2007, Valery Gergiev performs with the LSO at the Barbican, the Proms and the Edinburgh Festival as well as on extensive tours of Europe, North America and Asia.

His record releases with the Mariinsky Orchestra and London Symphony Orchestra continually win awards in Europe, Asia and America. Recent releases include a Mahler Symphonic Cycle, Prokofiev’s Romeo and Juliet, Massenet’s Don Quixote, Shchedrin’s Enchanted Wanderer and Wagner’s Parsifal, to name a few.

Gergiev has led numerous composer cycles in New York, London and other international cities, including the works of Berlioz, Brahms, Dutilleux, Mahler, Prokofiev, Shostakovich, Stravinsky, Tchaikovsky, and Wagner’s Ring, and he has introduced audiences around the world to several rarely performed Russian operas.

Valery Gergiev’s many awards include the Dmitri Shostakovich Award, Netherland’s

Knight of the Order of the Dutch Lion, Japan’s Order of the Rising Sun and the French Order of the Legion of Honor.

Denis Matsuev, piano Denis Matsuev has become a fast-rising star on the international concert stage since his triumphant victory at the 11th International Tchaikovsky Competition in Moscow in 1998, and is quickly establishing himself as one of the most sought-after pianists of his generation.

Laureate of the prestigious Shostakovich Prize in Music and State Prize of Russian Federation in Literature and Arts, Mr. Matsuev has appeared in hundreds of recitals at the most prestigious concert halls throughout the globe. He collaborates with the world’s best-known orchestras, including the New York Philharmonic, the Chicago Symphony, the Berlin Philharmonic Orchestra, London Symphony, London Philharmonic, Orchestre de Paris and the NHK Symphony. He appears regularly with legendary Russian orchestras such as the St. Petersburg Philharmonic, the Mariinsky Orchestra and the Russian National Orchestra, and with today’s most prominent conductors, including Lorin Maazel, Valery Gergiev, Zubin Mehta, Yuri Temirkanov, Kurt Masur, Paavo Jarvi, Leonard Slatkin, James Conlon, and others. Mr. Matsuev is a frequent guest of world-famous musical festivals such as the Ravinia Festival, Hollywood Bowl, the BBC Proms, and the Verbier and Montreux Festivals.

Upcoming highlights include appearances with the Israel Philharmonic under Zubin Mehta and Kurt Masur, the Royal Philharmonic with Charles Dutoit, the London Symphony and Mariinsky Orchestra with Valery Gergiev, the Los Angeles Philharmonic with Krzysztof Urbanski, the Philadelphia Orchestra under Gianandrea Noseda, the Pittsburgh Symphony under Manfred Honeck, and the Concertgebouw under Mariss Jansons.

In early 2012, Denis Matsuev, Valery Gergiev and the Mariinsky Label featured their new project: Shostakovich Concertos Nos. 1 and 2 and Shchedrin’s Fifth Concerto, receiving a Five Star rating from BBC Music Magazine. ///

Become part of the creative process Your Opinions are Your Ticket Your reaction and feedback at these events will help guide and shape the artists’ final productions.

Oct 5/6 at 8PM | Gerrard Hall

Feb 15/16 at 8PM | Swain Hall – Studio Six Theater

( -bu ˘z’)

F To M To Octopus

Co-sponsored by the UNC Art Department

A UNC student selection, featuring work by digital media designer Jared Mezzocchi

By Stephen Vitiello, Hanes Visiting Artist Sound artist Stephen Vitiello’s work-in-progress incorporates recent field and source recordings including bells from a historic cathedral outside of Cork, Ireland, summer bugs and autumn light

By Sam Peterson

Mar 20/ 21 aT 7:30PM | Historic Playmakers Theatre

If My Feet Have Lost the Ground Torry Bend

Oct 12/13 at 8PM | Historic Playmakers Theatre

The Mexican as Told By Us Mexicans

By Ricardo A. Bracho and Virginia Grise

In cooperation with the Teatro Latino/a Series

In collaboration with Raquel Salvatella De Prada, Jeanette Yew and Sarah Krainin

An object theater performance with video, investigating the human in flight

A queer theatrical retelling of Jack London’s short story The Mexican

Apr 22/23 at 7:30PM | Gerrard Hall

Nov 9/10 at 8PM | Gerrard Hall

A new adaptation by Haymaker & musical collaborator Jenavieve Varga

The Life and Times of Chang and Eng

By Philip Kan Gotanda

In cooperation with the First Year Seminars program and the Department of English, with additional support from the Teatro Latina/o Series

Master playwright Philip Kan Gotanda reworks one of his newest and epic plays, about the original Siamese twins, Chang and Eng Bunker, whose early lives were spent as a touring “freak” exhibition.

The Elektra Project

A new adaptation of Elektra: a mother trying to keep her house spotless, a daughter committed to dragging up dirt, and a door-to-door salesman offering the product that can solve all their troubles

For more information, visit carolinaperformingarts.org/process-series

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– Los Angeles Times

FRI, NOV 2 at 8PM

Joshua Bell, violin

with Sam Haywood, piano ESCAPE

Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

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Program Notes LIVE with Chancellor Emeritus James Moeser | 7pm, Nov. 2 | Gerrard Hall

PROGRAM Rondo for Violin and Piano in B minor, Op. 70 .........................................Schubert ................................................................................................ (1797-1828) Sonata for Violin and Piano in E-flat, Op. 18 .........................................R. Strauss Allegro, ma non troppo................................................................ (1864-1949) Improvisation: Andante cantabile Finale: Andante – Allegro

INTERMISSION Romantic Pieces Op. 75, B. 150...............................................................Dvorˇák Cavatina (Moderato).................................................................... (1841-1904) Capriccio (Poco allegro) Romance (Allegro) Elegy (Larghetto) Sonata for Violin and Piano No. 2 in D Major, Op. 94 bis..........................Prokofiev Moderato................................................................................... (1891-1953) Presto–Poco meno moss – Tempo 1 Andante Allegro con brio–Poco meno mosso– Tempo 1–Poco meno mosso–Allegro con brio Joshua Bell records exclusively for Sony Classical – a MASTERWORKS Label | www.joshuabell.com Mr. Bell appears by arrangement with IMG Artists, LLC Carnegie Hall Tower, 152 West 57th Street, 5th Floor, New York, NY 10019 | www.imgartists.com For more information on Mr. Haywood:www.samhaywood.com Mr. Bell will personally autograph programs and recordings in the lobby following the performance.

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Joshua Bell, violin Often referred to as the “poet of the violin,” Joshua Bell is one of the world’s most celebrated violinists, enchanting audiences with his breathtaking virtuosity, tone of sheer beauty, and charismatic stage presence. His restless curiosity, passion, universal appeal and multi-faceted musical interests have earned him the rare title of “classical music superstar.”

Bell’s most recent challenge is his appointment as the new Music Director of the Academy of St. Martin in the Fields, the first person to hold this post since Sir Neville Marriner formed the orchestra in 1958. Their first recording under Bell’s leadership will be the 4th and 7th symphonies of Beethoven

with plans to perform and record all the Beethoven symphonies.

Equally at home as a soloist, chamber musician, recording artist and orchestra leader, Bell will kick off the San Francisco Symphony’s fall season followed by performances with the Philadelphia Orchestra and the Boston, Seattle, Omaha, Cincinnati and Detroit Symphonies. Fall highlights also include a tour of South Africa, a European tour with the Academy of St. Martin in the Fields and a European recital tour with Sam Haywood. In 2013, Bell will appear in a US tour with the Cleveland Orchestra and a European tour with the New York Philharmonic as well as performances with the Tucson, Pittsburgh, San Diego and Nashville Symphony Orchestras.

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Joshua Bell currently records exclusively for Sony Classical and has recorded more than 40 CDs. Always seeking opportunities to increase the violin repertoire, he has premiered new works by composers Nicholas Maw, John Corigliano, Aaron Jay Kernis, Edgar Meyer, Behzad Ranjbaran and Jay Greenberg. He also performs and has recorded his own cadenzas to many of the major violin concertos.

Today Bell serves on the artist committee of the Kennedy Center Honors and is on the Board of Directors of the New York Philharmonic. He has performed before President Obama at Ford’s Theatre and at the White House and recently returned to the Capital to perform for Vice President Biden and Vice President of the People’s Republic of China, Xi Jinping.

Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th-century French bow by Francois Tourte.

Sam Haywood, piano British pianist Sam Haywood has performed to critical acclaim all over the world. His musical activities are wide ranging. Alongside his busy solo and chamber music career, he is also a prolific composer, transcriber and editor. He is passionate about bringing music to the widest possible audience and has worked on several educational projects, including writing a children’s opera and giving piano seminars in the Far East. Last year he gave a recital in Japan to raise money for musical instruments destroyed in the tsunami and also performed for the US and Chinese Vice-Presidents in Washington.

Chopin has been a central theme throughout Haywood’s musical life. To celebrate the composer’s bicentennial year he made the first recording on Chopin’s own Pleyel piano of 1846. He used the same instrument to perform with Steven Isserlis at Lancaster House in the presence of HRH Duke of Kent.

Chopin performed at the same venue, date and instrument in front of Queen Victoria and Prince Albert in 1848. As a student, Haywood gave private performances of Chopin for Princess Diana and more recently played Chopin for a TED talk.

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///////////////////// PROGRAM notes Following his early success in the BBC Young Musician of the Year competition, the Royal Philharmonic Society awarded him their prestigious Isserlis award. He went on to study with Paul Badura-Skoda in Vienna, where he began his enduring passion for opera. At the Royal Academy of Music in London he was mentored by renowned teacher Maria Curcio, pupil of Artur Schnabel.

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on joshua bell Joshua Bell’s last performance in Memorial Hall occurred on a very sad day at Carolina, the day we learned of the murder of Eve Carson, our beloved student body president. My own day had begun with an early morning phone call informing me of this tragic event. The rest of the day was spent consoling students and working with staff to plan a memorial service on Polk Place, an event that brought almost the entire campus together in a very solemn and moving remembrance. Eve was loved by everyone who knew her. She touched countless lives. Her death shocked both the campus and the town.

We arrived at Memorial Hall that evening, exhausted and with heavy hearts. Joshua Bell played a beautiful program. The audience responded enthusiastically, yet we felt no relief from our sadness. After his program, he returned to the stage and said something like this: “I know you are all suffering tonight, that you have lost someone very dear to you. There is nothing that I can say that will take away your sorrow, but I hope I can provide some solace through music.”

He then played Gabriel Fauré’s Après un rêve (After a Dream), one of the sweetest, dearest two and a half minutes of music in the western canon. Originally set by Fauré as a chanson to be sung, this music perfectly expresses, without words, the text of the first verse: In a slumber enchanted by your image I dreamt of happiness, passionate mirage, Your eyes were softer, your voice pure and resonant, You shone like a sky lit up by the dawn.

It was a benediction, proving once again that music can express the ineffable, the deepest expressions of the human heart for which there are no words. We left in peace. It was the beginning of our healing.

James Moeser served as Chancellor of UNC-Chapel Hill from 2000-08 and is currently a professor in the Department of Music. ///

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Haywood is a regular partner to violinist Joshua Bell, with whom he also recently performed Schubert’s Trout Quintet with Edgar Meyer. Their next tours will take them to China, Europe and the US. He often appears with cellist Steven Isserlis, with whom he will perform Schumann’s Piano Quintet at the Wigmore Hall for an anniversary celebration concert for the International Musicians’ Seminar Prussia Cove.

His recent use of an iPad and Bluetooth foot pedal for page-turning in venues such as Carnegie Hall, Chicago Symphony Hall and Disney Hall has generated substantial media interest.

Program Notes

by Katharina Uhde For this recital, Joshua Bell has chosen particularly lyrical works from the 19th and early 20th centuries, a time period for which “his passion seems unwavering,” as The New York Times recently noted. All four works on the program, but especially those

by Schubert and Dvorˇák, give Bell the opportunity to showcase his widely acclaimed sweet tone and his characterful playing. But those in hope to witness his breathtaking virtuosity will also be pleased – Strauss’ Sonata in E-flat is one of the most challenging in the sonata repertory, very demanding both technically and musically, with dense writing and at times orchestral texture, so much so that it has evoked the comparison to a double concerto.

Having just released a CD with three sonatas by Saint-Saëns, Franck and Ravel with pianist Jeremy Denk, Bell seems to have opened a chapter in his career focusing on romantic sonata repertory, of which much is left to be recorded.

Although the program of this recital allows less room for improvisation than, for example, works from the baroque period

joshua bell, violin

(as in his recording of Vivaldi’s The Four Seasons) or violin concertos (Bell is famous for playing his own cadenzas), this program still leaves plenty of room for him to show his stylistic subtleties; in other words, it will be fascinating to hear how he differentiates between the classical and Romantic, Eastern European (Prokofiev, Dvorˇák) and Western European (Schubert, Strauss) sound palette.

Bell – who studied with Josef Gingold at Indiana University and did not take the Juilliard path, as did so many other famous violin soloists – has a special relationship to and heritage from this school. Gingold studied with Eugène Ysaÿe, who was part of the Franco-Belgian school, known for a particularly developed and subtle vibrato. Bell, although a third generation Franco-Belgian violinist, still owes much to the expressivity of the Franco-Belgian school. He seems to be aware of this heritage, taking the best from it.

In his opinion, the Franco-Belgian approach is less concerned with stylistic authenticity than many of today’s performers (especially of baroque music) are, but, in exchange is wonderfully honest because “unabashedly expressive, not self-conscious about style.”

Indeed, Bell holds unusually tolerant views about playing styles and traditions that differ from his style, whether concerning baroque performance practice or the old violin school of the early 20th century: “If you can unblock yourself and try to get inside an interpretation of someone that may be eccentric, or listen to an old Mischa Elman, without saying, ‘Oh God, those gross slides.

Listen to the tasteless stuff.’ If you can try to get beyond that, and really see the poetry that’s underneath it – it’s a different sound.

There’s room for a lot of ways of playing.

That’s what makes it so rich and interesting in the musical world.”

This admirably open view speaks for Bell’s stylistic understanding; in fact, his playing reflects various influences. Having experimented with many different styles and genres, from Gershwin to bluegrass, Bell captures audiences with his eccentric characteristics, and his always captivatingly different, highly expressive sound world.

Katharina Uhde studies musicology and performance practice at Duke University and violin with Richard Luby at UNC-Chapel Hill. ///

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/ / / 2 0 1 2 / 13 Important/ / / / / / / INFOrmation Please Make Sure We Have Your EMail Address on File! Carolina Performing Arts (CPA) regularly sends updated performance related information via email a few days before the event.

Please be sure that the Box Office has your correct email address on file. You can update by calling the Box Office at 919-843-3333 or sending an email to cpa_emails@unc.edu.

Ticket Exchanges Subscribers may exchange tickets free-of-charge up to 72 hours before the performance. Non-subscribers may exchange single tickets for a $10 fee.

We ask that you notify the Box Office of your intent to make an exchange at least 72 hours prior to the performance. You can call or email during normal business hours at 919-843-3333 or CPAtixquestions@ unc.edu.

The value of the ticket(s) may be applied to the purchase of another performance or will be held as a CPA credit until the end of the 12/13 season. Credit must be redeemed by April 27, 2013.

For information about exchanging tickets, please call the Box Office at at 919-843-3333 or email CPAtixquestions@unc.edu.

Ticket Donations/Unused Tickets Unused tickets may be donated to CPA as a taxdeductible contribution until the published start time of the performance. Unused tickets that are returned after the performance are not eligible for a CPA credit or taxdeductible contribution.

Refunds Due to the nature of performing arts, programs and artists are subject to change. If an artist cancels an appearance, CPA will make every effort to substitute that performance with a comparable artist. Refunds will be offered only if a substitute cannot be found, or in the event of a date change. Handling fees are not refundable.

CPA will not cancel performances or refund tickets because of inclement weather unless the University of North Carolina at Chapel Hill’s campus closes.

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Ticket Mailing vs. Ticket Pick Up Your subscription tickets will be mailed during the week of June 4–8, 2012, before tickets to individual performances go on sale to the general public. Any ticket orders received fewer than 10 days prior to the performance will be held at Will Call, which opens 90 minutes prior to the published performance start time.

Lost or Misplaced Tickets Call the Memorial Hall Box Office at 919-843-3333 to have duplicate tickets waiting for you at Will Call.

Duplicate tickets cannot be mailed.

Faculty & Staff tickets Several discount options are available to UNC-Chapel Hill faculty (active and retired) and staff. Save up to 25% off the general public ticket prices when purchasing one of our Series Subscriptions or a “Create Your Own” package. Faculty and staff may order through the website or direct from the Memorial Hall Box Office.

Please note: A valid UNC OneCard must be presented at the time of purchase to receive these discounts.

UNC Student Tickets are just $10 UNC-Chapel Hill student tickets to Carolina Performing Arts performances are just $10. A portion of each student’s fees supports this ticket price, so it is offered exclusively to Carolina students. A valid UNC OneCard must be presented to receive the student ticket price. Don’t miss this once-in-lifetime opportunity.

Group Tickets Groups of 10 people or more receive discounts ranging from 10% to 25% off the general public ticket price.

All group tickets must be purchased together and in advance by calling the box office at 919-843-3333 or by sending your request to CPAGroupSales@unc.edu.

Group ticketing requests are subject to availability.

////// Accessibility Wheelchair-accessible seating is available. Please advise a Box Office sales associate of your needs when you purchase your tickets. Memorial Hall is equipped with infrared listening systems provided free of charge. We have a limited supply of headsets that should be reserved in advance through the Box Office.

Late Seating Once a performance has begun, late seating opportunities are limited and may occur only during specific times.

Be sure to plan your arrival time to allow for traffic/parking.

Ticketed seating locations are not guaranteed once the performance begins. Refunds will not be given to latecomers.

Electronic Devices Use of mobile phones, pagers, alarms and electronics of any kind is prohibited during performances. Even when silenced, these devices emit distracting light. If you are concerned about missing an emergency call, you may leave your name, device and seat location with an usher and he or she will alert you if a call comes through. Photography, videography and recording devices are prohibited during performances.

Violation will result in ejection without reentry.

Reminders Children old enough to enjoy performances are welcome.

A ticket must be purchased for any children attending a performance and the child must be seated where a parent or guardian can supervise them. Babes in arms are not permitted. So that all patrons may enjoy the performance, please hold discussions and texting until after the performance ends; refrain from rustling wrapping paper during a performance; and be modest with your use of fragrances when attending performances.

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spotlight kimberly kyser For Kimberly Kyser, Memorial Hall has been a second home since she was barely old enough to see over the seats. As a young student, she walked to Memorial Hall from Chapel Hill Elementary School to play the “tonette” with the North Carolina Symphony.

Under the careful eye of her music teacher Mrs. Adelaide McCall, Kyser and the other students performed along with the orchestra, trying to hit all the notes just right. Reflecting on the memory, Kyser laughs, “I think that’s the most panicked I’ve ever felt in my life.”

Though the tonette was not her calling – and who can blame her; it is a plastic flute akin to the recorder – Kyser knew early on that the arts would play an important role in her life. “I think it’s in my DNA,” she says. An accomplished painter, apparel designer, and entrepreneur, Kyser earned a B.A in art history at Carolina before moving to New York to attend Parsons School of Design and then to Atlanta, where she earned a B.F.A. in painting at the Atlanta College of Art. The oldest daughter in a family of famous artists and entertainers – her mother Georgia Carroll Kyser was a talented model, singer, and actress, and her father Kay Kyser was a popular big-band leader and radio-film-TV personality in the 1930s and 40s – she grew up in a home filled with arts and music.

While raising three children, Kyser’s mother enrolled in courses at Carolina, taking one class each semester. “Everything she studied rubbed off onto us,” Kyser recalls with a smile. “So when my sister was in second

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grade and her teacher asked what her favorite song was, she said Shubert’s Death and the Maiden because Mother was playing it all the time to learn it for Music 41.” The Kysers took their children to live performances whenever they could, even riding the train from Raleigh to New York to see the New York City Ballet, the Philharmonic, and Broadway shows like Camelot with Richard Burton.

many students at CPA performances, which they can attend for only $10, and appreciates the infectious energy they add to the hall. “That’s one of the reasons why what CPA does is so important,” Kyser explains.

“It exposes students to the arts with a wide variety of eye-opening experiences that challenge them to think in new ways. It’s thrilling to watch! And it can be life-altering.”

Thinking back on her early exposure to the arts, Kyser feels extremely fortunate. “The arts were an integral part of our daily lives, as I wish they could be for everyone.” This passion for making the arts accessible is one of the reasons Kyser supports Carolina

After years of travel to theaters in America and abroad, Kyser continues to be inspired by the world-class artists CPA brings to Chapel Hill. “Performances of this quality enrich the University community beyond description…

It’s a big reason why the Triangle is such a

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“Performances of this quality enrich the University community beyond description…It’s a big reason why the Triangle is such a desirable place to live, and still the southern part of heaven!” ////////////////////////////////////////////////////////////////////////////////// Performing Arts (CPA). “The arts are essential,” she says. “They nourish the spirit, and tap into our shared humanity.”

A generous donor and Advisory Board member, actively involved with CPA in 2005. She especially

former National Kyser has been since its creation enjoys seeing so

desirable place to live, and still the southern part of heaven!”

We are grateful to Kimberly Kyser for including Carolina Performing Arts in her life and are delighted that she calls Chapel Hill and Memorial Hall “home.” ///

Carolina performing arts society

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National Advisory Board Comprised of UNC-Chapel Hill alumni and friends, the National Advisory Board champions and supports the shared vision of Carolina as the nation’s leading university arts presenter. It is with profound gratitude that we thank these outstanding volunteers.

Thomas F. Kearns, Jr., Darien, CT, Chair Jane Ellison, Greensboro, Vice Chair Richard A. Baddour, Chapel Hill W. Hodding Carter III, Chapel Hill G. Munroe Cobey, Chapel Hill Peter D. Cummings, Palm Beach Gardens, FL James Heavner, Chapel Hill Cheray Z. Hodges, Chapel Hill Joan C. Huntley, Chapel Hill Sally C. Johnson, Raleigh Emil Kang, Chapel Hill, ex-officio Betty P. Kenan, Chapel Hill Michael Lee, Chapel Hill Anne C. Liptzin, Chapel Hill Scott Maitland, Chapel Hill James Moeser, Chapel Hill Patricia Morton, Charlotte Josie Ward Patton, Chapel Hill Earl N. Phillips, Jr., Chapel Hill Wyndham Robertson, Chapel Hill Sharon Rothwell, Ann Arbor, MI Michael Shindler, Orlando, FL Chancellor Holden Thorp, Chapel Hill, ex-officio Michael Tiemann, Chapel Hill

Night after night, Memorial Hall is alive with the best music, dance and theater. Night after night, our donors make it all possible.

You can help maintain the artistic excellence you enjoy by becoming a member of the Carolina Performing Arts Society. Benefits include advance ticket purchase and free reserved parking for members beginning at the Silver level.

Undergraduate and Graduate Student Member: $35

Platinum Tier: $5,000-$9,999

All benefits and privileges afforded to Sponsoring Members

• Opportunity to name a seat in Memorial Hall • Access to the Pamela Heavner Gallery for your own private reception

• Contribution fully deductible

Sponsoring Member: $125-$999 • Priority purchasing period for subscriptions and individual tickets • Invitation to an annual Carolina Performing Arts Society event • Member recognition in our program book • Subscription to “Behind the Curtain” newsletter Contribution fully deductible

Silver Tier: $1,000-$2,499 All benefits listed for Sponsoring Members, plus: • First access to subscriptions and individual tickets • Complimentary parking pass for the Morehead Planetarium lot • Invitation to the exclusive season preview reception Non-deductible amount of contribution: $144

Gold Tier: $2,500-$4,999 All benefits listed for Silver Tier, plus: • Complimentary reserved parking for Bynum-Steele lots • Complimentary intermission receptions in the Pamela Heavner Gallery Non-deductible amount of contribution: $784

All benefits listed for Gold Tier, plus:

Non-deductible amount of contribution: $784

The David Lowry Swain Society: $10,000-$14,999 All benefits listed for Platinum Tier, plus: • Complimentary valet parking with exclusive drop-off and pick-up area • Concierge ticket service with access to reserved seats for popular performances Non-deductible amount of contribution: $960

Performance Benefactor: $15,000 and above Sponsor a performance and enjoy a memorable night for you and your family and friends. All benefits listed for The David Lowry Swain Society, plus: • Eight complimentary tickets to your selected performance with valet parking and reception privileges for your guests • Opportunity to host a private preperformance dinner for your guests in the Pamela Heavner Gallery • Acknowledgment from the stage and in the performance program the night of the event • Opportunity to meet the artist following the performance (depending on artist availability) • Non-deductible amount of contribution: $1,664

Gifts to Carolina Performing Arts entitle you to all benefits afforded donors to any University annual giving program.

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CAROLINA PERFORMING ARTS ENDOWMENT Do you want to make a lasting impact? The Carolina Performing Arts Endowment provides critical funding each season, helping us bridge the difference between our ticket revenue and the expense of bringing world-class performers to Chapel Hill. Ticket sales alone provide only 45 percent of the total cost of presenting artists on our stages.

Our endowment makes what we do possible. Help ensure high-quality programming, discounted student tickets and commissions for new works through a donation or a planned gift today. Future audiences will thank you.

/////////////////////////////////////////////////////////////////////////// Leadership Gifts and Pledges ($500,000 and above) Munroe and Becky Cobey* Ellison Family Foundation Mr. and Mrs. James Heavner* Cheray Zauderer Hodges* Luther Hodges* Thomas F. Kearns, Jr. The William R. Kenan, Jr. Charitable Trust Anonymous William and Sara McCoy

Major Gifts and Pledges ($25,000 and above) Shirley J. Berger† Crandall and Erskine Bowles Dr. Charles B. Cairns and The Family Elizabeth Willis Crockett Blanche Hamlet John W. Hughes III Dr. Joan C. Huntley William D. and Dr. Sally C. Johnson Amanda Kyser Georgia Carroll Kyser† Kimberly Kyser Drs. Michael and Christine Lee Anne and Mike Liptzin Bobby and Kathryn Long Mr. and Mrs. Robert F. Murchison Florence and James Peacock Anonymous Paul and Sidna† Rizzo Deborah and Ed Roach Wyndham Robertson Lee and Myrah Scott

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Garry and Sharon Snook Top of the Hill Restaurant and Brewery Professors Emeriti Charles M. and Shirley F. Weiss* *Deferred gift †Deceased

Endowed Funds ($100,000 and above) The Hamlet Family Performing Arts Student Enrichment Fund supporting student engagement with artists.

The William D. and Dr. Sally C. Johnson Music Enrichment Fund supporting collaborations with the Department of Music.

The John Lewis McKee Student Ticket Endowment Fund encouraging the joy of discovery and the thrill of live performance for Carolina students.

The James Moeser Fund for Excellence in the Arts supporting artists’ fees for the world’s most recognized and outstanding performers.

The Mark and Stacey Yusko Performing Arts Fund supporting Carolina student arts experiences.

//12/13 CAROLINA PERFORMING ARTS SOCIETY ANNUAL GIFTS Contributions received July 1, 2011 to August 1, 2012.

Performance Benefactors ($15,000 and above) Amanda Kyser Kimberly Kyser William and Sara McCoy Wyndham Robertson Charles Weinraub and Emily Kass

David Lowry Swain Society ($10,000 - $14,999) The Abram Family Munroe and Becky Cobey Jane Ellison Mr. and Mrs. James Heavner Dr. Joan C. Huntley Thomas F. Kearns, Jr. The Kenan Family Foundation Mrs. Frank H. Kenan Thomas S. Kenan III Anne and Mike Liptzin Francine and Benson Pilloff Shirley C. Siegel Mark W. and Stacey M. Yusko

Platinum Tier ($5,000 - $9,999) Eleanor and James Ferguson Patricia and Thruston Morton Josie Ward Patton Mary and Ernie Schoenfeld Douglas and Jacqueline Zinn

Gold Tier ($2,500 - $4,999) Betsy and Fred Bowman Cliff and Linda Butler Hodding Carter and Patricia Derian Castillo-Alvarez Fund of Triangle Community Foundation Michael and June Clendenin Frederic and Jane Dalldorf Shirley Drechsel and Wayne Vaughn Frank H. Dworsky Mimi and James Fountain Mr. and Mrs. William H. Grumbles, Jr. Dr. and Mrs. Joseph Gulla Lowell M. and Ruth W. Hoffman Dr. Marcia Anne Koomen Diana and Bob Lafferty Dayna and Peter Lucas Carol and Rick McNeel James and Susan Moeser William Morton Paul D. and Linda A. Naylor Phil and Kim Phillips Paula Rogenes and John F. Stewart Coleman and Carol Ross Sharon and Doug Rothwell Anonymous Robert H. and Jane McKee Slater

season donors Beverly Taylor Michael and Amy Tiemann Charles M. Weiss Brad and Carole Wilson

Silver Tier ($1,000 - $2,499) James and Delight Allen Michael Barefoot and Tim Manale Neal and Jeanette Bench Dolores Bilangi Kerry Bloom and Elaine Yeh M. Robert Blum Robert W. Broad and Molly Corbett Broad James and Betsy Bryan Timothy Bukowski and Naomi Kagetsu Mr. and Mrs. Edmund S. Burke Leigh Fleming Callahan Michael and Diana Caplow Art Chansky and Jan Bolick Reid and Margaret Conrad Anonymous William and Barbara Dahl Mr. and Mrs. Douglas Dunnan Jo Anne & Shelley Earp Dr. Glen Elder, Jr. and Ms. Sandy Turbeville Pat and Jack Evans Raymond and Molly Farrow Jaroslav and Linda Folda Diane Frazier David G. Frey Dr. Rebecca Goz Robert and Dana Greenwood Anonymous Leesie and Bill Guthridge Ann and Jim Guthrie Roberta Hardy and Robert Dale Richard Hendel Charles House John and Martha Hsu Deborah Hylton and Leland Webb Lisa and Emil Kang Mack and Hope Koonce Clara Lee Alice and Sid Levinson Memrie Mosier Lewis Judith Lilley in memory of Al Lilley Harriet and Frank Livingston Donald E. Luse Stephen J. and Karen S. Lyons Stanley R. Mandel Betty Manning Alice Dodds May Anne and Bill McLendon Dr. and Mrs. Travis A. Meredith Charles and Valerie Merritt Adele F. Michal Anonymous Barry Nakell and Edith Gugger Karl I. Nordling Newland and Jo Oldham Dr. Etta D. Pisano and Jan Kylstra Jolanta and Olgierd Pucilowski Dr. and Mrs. Harold Quinn Elizabeth Raft

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season donors

David and Susan Rosenberg Family Fund of the Triangle Community Foundation Michael and Susan Rota Lies Sapp Robert and Helen Siler Lynn Smiley and Peter Gilligan Robert H. Staton, Jr. John and Anne Stephens Mr. and Mrs. Alan C. Stephenson Drs. Kenneth and Mary Sugioka Kay and Richard Tarr Patti and Holden Thorp Diane Vannais and Charles Waldren Kay and Van Weatherspoon Alan Harry Weinhouse William Whisenant and Kelly Ross Jesse L. White, Jr. R. Mark and Donna Stroup Wightman John and Ashley Wilson

Sponsoring Members ($125 - $999) Brigitte Abrams and Francis Lethem Anonymous Sindo Amago Pete and Hannah Andrews Robert Antonio Nina Arshavsky Catherine C. Ascott Ingram and Christie Austin Peter Baer Andrew Baird Larry and Vicky Band Linda J. Barnard Judith and Allen Barton John W. Becton and Nancy B. Tannenbaum Aysenil Belger Donna Bennick and Joel Hasen Alan and Marilyn Bergman Sue Bielawski Lewis Black Gloria Nassif Blythe Jack and Jennifer Boger Natalie and Gary Boorman Thomas and Betty Bouldin Donald Boulton Craig and Catherine Briner Lolita G. Brockington Frederick and Nancy Brooks Ken and Margie Broun Betsy Bullen Thomas W. and Gail W. Bunn Bob Cantwell and Lydia Wegman Carolina Home Mortgage Philip and Linda Carl Catharine Carter Charles B. Carver Heng Chu and Ming-Ju Huang Jay and Barbara Cooper Gehan Corea Joanne and Michael Cotter Richard and Connie Cox Timothy and Anne-Marie Cuellar Dr. and Mrs. James W. Dean, Jr. John and Tina Deason John and Jill DeSalva Robert and Nancy Deutsch Mr. and Mrs. Michael J. Donoghue Mike and Linda Dore

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Steven Dubois and Kathleen Barker Sam and Angela Eberts Jerry and Adelia Evans Everette James and Nancy Farmer Stephen Farmer and Susan Steinberg Gail Fearing Patricia and Frank Fischer Milton and Emerita Foust Linda Frankel and Lewis Margolis Douglas and Judy Frey James and Marcia Friedman Jeffrey Funderburk Maeda Galinsky Greg and Emily Gangi Kip and Susan Gerard Ann and David Gerber Mike and Bonnie Gilliom Lallie M. and David R. Godschalk in honor of Richard P. Buck Dr. James E. Godwin and Dr. E.A. Campbell Charles and Karen Goss Steve Gravely David and Debbie Hamrick Barbara and Paul Hardin Robert S. and Leonne Harris Martha Liptzin Hauptman in honor of Anne and Mike Liptzin Kenneth R. Hauswald Clark and Karen Havighurst David and Lina Heartinger Gerardo and Jo Heiss Hill Family Fund 2 of Triangle Community Foundation Charles Hochman and Phyllis Pomerantz Carol Hogue and Gordon DeFriese Joan and David Holbrook in honor of Professor Marvin Saltzman Susan Hollobaugh and Richard Balamucki William and Mary Alice Holmes Beth Holmgren and Mark Sidell Elizabeth M. Holsten W. Jefferson Holt and Kate Bottomley Andrew and Charlotte Holton James and Elizabeth Hooten Mitchell and Deborah Horwitz David and Sally Hubby George William Huntley III Marija Ivanovic Drs. Konrad and Hannelore Jarausch Dr. Norris Brock Johnson in honor of Ms. Beatrice Brock Chip Johnston Joanna Karwowska in honor of your dedication and service to NetApp Hugon Karwowski John and Joy Kasson Moyra and Brian Kileff J. Kimball and Harriet King Lynn Knauff Gary and Carolyn Koch Michael and Maureen Kowolenko Anonymous G. Leroy Lail Ted and Debbie LaMay Barbara and Leslie Lang Ken and Frankie Lee Steven and Madeline Levine

David Lindquist and Paul Hrusovsky Joan Lipsitz and Paul Stiller Robert Long and Anne Mandeville-Long Richard Luby and Susan Klebanow Mary R. Lynn Donna Cook and Matthew Maciejewski Samuel Magill Richard Mann Mr. and Mrs. Uzal H. Martz, Jr. Timothy Mason Bill and Sue Mattern James O. May, Jr. Keith and Robin McClelland Tim and Roisin McKeithan Daniel D. McLamb Benny and Ann Morse Charles Mosher and Pamela St. John Christopher and Helga Needes John and Dorothy Neter Paul and Barbara Nettesheim Elisabeth and Walter Niedermann Marilyn and David Oermann Patrick and Mary Norris Oglesby Dennis Organ Vickie Owens Michele Pas Joel and Victoria Pineles Robert and Marilyn Pinschmidt David and Peggy Poulos Dr. and Mrs. Thomas E. Powell III Lilian and James Pruett Susan Henning and Vikram Rao Bryna and Greg Rapp Barbara Rimer Gerry Riveros and Gay Bradley Dr. Michael and Sandra Roberts Louise A. Robinson Stephen and Esther Robinson Andrea Rohrbacher Margaret Rook Richard and Rebecca Rosenberg John Sarratt and Cynthia Wittmer Julienne Scanlon Robert Schreiner Carol and David Sclove Jennifer and Bill Selvidge Robert Seymour Michael and Andrea Shindler Robert Shipley Mr. and Mrs. Keith Silva Mark and Donna Simon Charles and Judith Smith Dana L. Smith Ed and Carol Smithwick Harriet Solomon John and Carol Stamm Jane and Adam Stein Betsy Strandberg Fund of the Triangle Community Foundation Ron Strauss and Susan Slatkoff Leslie and Paul Strohm James and Sandra Swenberg Angela Lisa Talton Sumner and Charlotte Tanson Sally and Nick Taylor Colin G. Thomas, Jr. Audie and Janice Thompson Rollie Tillman Aubrey and Jeanette Tolley Carol Tomason M.E. Van Bourgondien

Susan Wall R.H. and Barbara Wendell Marlene and Roger Werner Wellspring Fund of Triangle Community Foundation Harold and Kathryn Wiebusch Catherine B. Williams John W. Williams, Jr. aand Margaret Gulley Louise B. Williams and Richard Silva Ron and Beverly Wilson Derek and Louise Winstanly Eliza M. Wolff Tin-Lup Wong John and Joan Wrede Anna Wu and George Truskey Virginia L. Wu Peter Crichton Xiques Duncan and Susan Yaggy Alex and Tamara Yamaykin David and Dee Yoder Betty York Ann B. Young

Undergraduate and Graduate Student Members ($35) Lauren Alexanders Geoffrey Geist Adrian Greene Laura Hamrick Katie Harris Marc Howlett Quinn Jenkins Hannah Martin Charles McLaurin John D. Millett Katey Mote Evan Shapiro Emily Simon Claire Thomson Hope Thomson Brendan and Tamara Watson Yuying Xie

CONTRIBUTORS

(Under $125) Devon Abdo Dede Addy Patsy Allen Alexander Ambroz Sam Amos Alison Baer Arter Katherine Baer O. Gordon Banks Arnold Barefoot, Jr. Shannon Beamon Mr. Ignatius Amedaus Beard, Jr. Robert Beaton Kurt Becker Bella Bellitto Catherine Bergel Drs. Stephen and Shulamit Bernard Mel Bernay Katherine F. Blackman Jared Blass Kelly Stowe Boggs Michelle and Seth Bordner Betty M. Borton Hope Breeze

Drs. Ben and Inger Brodey William Joseph Brooke Teresa Broome David Brown Virginia Brown Matthew Buchanan Nathaniel F. Bushek Matthew and Molly Calabria Robert Cameron Lawrence and Helen Cardman James and Brenning Cheatham R. Michael Childs Dianne and Gary Clinton James A. Cobb, Jr. Jerry Cohen Thomas Cole George and Tula Collias Ms. Liz Connelly Linda Convissor Jennifer Cox Joy E. Cranshaw Daniel Crawford Leigh Hammer Crochet Charles Crockett Richard Crume James Cryer Arthur S. and Mignon R. DeBerry Ellen De Graffenreid Corinna Dewitt Jennifer Lynn Drag Noel and Shelby Dunivant Ian Dunn H. Jack and Betsy Edwards William and Kathleen Egan Anne Ehlers Jeanette Strasser Falk Kathryn Ferguson Karen Fisher Elisabeth Fox Bruce Fried Ms. Vonda Lee Frantz Rita French Patricia Gaegler Butch Garris Ashly Gaskin Lindsey Genut Cosmos George Joshua Gill Marge Glaser Thomas Goad Mr. Shalom Goldman Anna Devin Graham Kelsey Greenawalt Jack Gross Jerry and Kathryn Gurganious Remonia Guthrie Tyrone Hall Mary Hamrick Jay Hargrove and Camille Catlett Kathleen Hearsey Timothy Hefner in honor of Shelby Bond Lita Herskowitz Erin Hester Keith Hester and Cynthia Thacker Anne Heuer Brian Edward Hill Brooke Ashley Hill Susan Hogue Carole Holland Julia Howland-Myers

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season donors

Catherine C. Inabnit in honor of Emily Rodgers ’15 Ms. Elizabeth Crawford Isley Jeanine Manes Jackson Kenneth and Sandra Jens Melchee Johnson Mike Johnson Erin Kalbarczyk Barbara Kamholz Lynne K. Kane Eszter Sarolta Karvazy Joan and Howard Kastel Laura A. Keenan Michael Everett Kelly Donna B. Kelly in memory of Georgia Carroll Kyser Thomas King Deborah C. Klein Ekaterina Korobkina Inna Kovaleva Thomas Kraska Jeffrey and Jennifer Lawson David and Nancy Lederer Brittany Lehman Joycelyn Powell Leigh Sharon Leonard Nate Lerner Ray and Mary Ann Linville Thomas Logan Elizabeth Lokey Amy E. Lucas Richard and Linda Lupton in memory of Mildred C. Lupton, M.A. 1969 Krysia Lynes Craig Lyon Gabriela Watkins Magallanes Erin Kathleen Maher Patrick T. and Elaine L. Malone M. Jay Manalo Rite Mannella Janet Mason Brian McCune John and Janine McGee William and Donna McHenry Elizabeth McKenna and Benjamin Cozart Mr. and Mrs. William Metcalf III Samuel and Martha Metzler Julie Mikus Valerie Minor Vanessa Boateng Mitchell Vann Ellen Mitchell Christian Moe Bob Esther and Emily Moseley Todd Moore Robert Xavier Morrell Reid Muller and Shelley Gilroy Laura Newman Patrick Nichols Christopher Nickell Thomas Wright O’Brien Hannah and Ryan Ong Suzanne Orehek Gregory and Carla Overbeck Patricia Peteler Jeremy Peterman Karin and David Pfennig Michael Gregory Philyaw Zachary Jordan Pope Dr. Barry M. Popkin

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Lee Pryor Emily Ransone Rupa Cook Redding-Lallinger Mary Regan Adeirdre Riley Robert J. Rizzo Peter Robson Frieda Rosenberg Eric McKinley Sain Bonnie Salu Margie Sander Randall K. Sather Margie Satinsky Marisa Sears Mary Sechriest David and Linda Seiler Tatjana Shapkina Jill Shires Crystal Shreve David and Jacqueline Sices Alexander Silbiger Frances Simms Anne H. Skelly Arielle Solomon Meghan Staffiera Lauren Rene Pope Stalls Frank Stallone Mark Steffen Mr. and Mrs. Michael Stephenson Shaler Stidham Laurence Augustine Stith, Jr. Wendy Tanson Alan Templeton Joel Thigpen John B. Thomas Sue Tolleson-Rinehart E. Traer Jennifer Anne Trevino Margaret Viser Sejal Prabodh Vora Jim and Carol Vorhaus Adam Waldron Daryl Farrington Walker Tilden Ward Blaine Sherrill Ward James K. Ward, Jr. Julie Warshaw Brianne Lea Waugh Charles and Marie Weil William Welch Cynthia and Robert Wheaton Rebecca Wheeler Ormonde Deane Wilkinson Glenn and Helen Wilson Terrence Wong Marijean Young Maofeng Yu Anthony and Laurel Zitney Sherrie Zweig and Richard Vinegar

Carolina Performing Arts Staff Contributions Jennifer Cox Raymond Farrow Butch Garris Mike Johnson Emil Kang Daniel D. McLamb Mark Z. Nelson Mark Steffen

STUDENT TICKET ANGEL FUND

Contributions received as of August 1, 2012.

Angel ($25,000 and above) Robert and Mary Ann Eubanks Joseph and Beatrice Riccardo Mark W. and Stacey M. Yusko

Patron ($5,000 - $9,999) Scott Garcia and Debbie McDermott* Thomas F. Kearns, Jr. Thomas S. Kenan III

Booster ($2,000 - $4,999) Elizabeth Bennett Terrell Boyle Patti and Eric Fast Paula Flood Dorothy Shuford Lanier Kay and Van Weatherspoon

Donor (Under $2,000) Hannah Kennedy Albertson E. Jackson Allison, Jr., MD K. Dean Amburn Katelyn Ander Steven B. and Elizabeth A. Ayers Linda Barnard Allen and Judith Barton Pat Beyle Susan Bickford Dolores Bilangi Lewis Niles Black Robin Lenee Broadnax Roy Burgess Brock Maria Browne Meredith Bryson in honor of Sandra Hardy Bryson Stephanie Bullins Leslie Anne Bunce Aimee Peden Burke Donald Capparella Hodding Carter and Patricia Derian Drs. John F. and Barbara Holland Chapman General and Mrs. Arthur W. Clark James A. Cobb, Jr. Harvey and Kathryn Cosper Richard Craddock Brooke Crouter Dr. James W. Crow John, Lou Anne and Calleigh Crumpler Robert and Kathleen Daniel Elizabeth Chewning Deacon Robin Dial M’Liss and Anson Dorrance Woody and Jean Durham E. Harold Easter, Jr. Judith Eastman Elizabeth H. T. Efird Jane Ellison Sharon M. Emfinger

Nancy J. Farmer and Everette James Mrs. Frederick A. Fearing Eleanor and James Ferguson Susan Ferguson Sandra Strawn Fisher in honor of William Beecher Strawn Mimi and James Fountain George Fowler John W. Fox Linda Frankel William Friday Harry Garland Rose Marie Pittman Gillikin Joan Heckler Gillings Jonathan and Deborah Goldberg Carolyn Bertie Goldfinch Don Gray Wade and Sandra Hargrove David and Lina Heartinger Timothy Hefner Joyce Williams Hensley Sara Hill George R. Hodges and Katherine W. Hodges Elizabeth Myatt Holsten William James Howe John and Martha Hsu Dr. Joan C. Huntley Donald and Debra Jenny Mrs. Frank H. Kenan Sharon May Kessler Anonymous Kimball and Harriet King Jamie Kirsch Debby Klein Gary Koch Dr. Marcia Anne Koomen George and Brenda Koonce Gregg and Leslie Kreizman Robert and Geraldine Laport John and Katherine Latimer Teresa Wei-sy Lee Joycelyn Leigh Dawn Andrea Lewis W. Cooper and Lorie Lewis Judith Lilley Anne and Mike Liptzin Walker Long Dayna Lucas Richard B. Lupton Knox Massey Family Catherine Mast Carol and Kenton McCartney Lauren McCay William and Sara McCoy G.W. McDiarmid and Robin Rogers Adele F. Michal Solon and Joy Minton Melanie Ann Modlin Michele Natale Mark and Leslie Nelson Ellen O’Brien Stephen Andrew Oljeski Josie Ward Patton Florence and James Peacock John Atlas Pendergrass Kenneth Lawing Penegar Phil and Kim Phillips S. Davis and Katherine Phillips

Cathy and William Primack Teresa Prullage John Allen Quintus Charles Ratliff, Jr. Anonymous in honor of Annadele Herman Margaret Ferguson Raynor Deborah and Ed Roach Wyndham Robertson Margaret Rook Mr. and Mrs. Vernon Rosen in honor of Wyndham Robertson and in memory of Josie Robertson Rebecca and Rick Rosenberg Andrew and Barbra Rothschild Carrie Sandler Bev Saylor Mary and Ernie Schoenfeld Ms. Marjorie Moses Schwab Evan Shapiro Foy J. Shaw Thomas Edward Sibley Mark Sidell Mrs. Sidney Siegel Nancy Howard Sitterson† Jane McKee Slater Sarah Greer Smith Wiley Smith Harriet and Stu Solomon Gina Song Alan Clements Stephenson Laurence Stith, Jr. Warren and Sara Sturm Dr. Lara Surles John and Joe Carol Thorp Patti and Holden Thorp Mr. and Mrs. John L. Townsend III Caroline Ward Treadwell David Venable Jay and Leslie Walden Sheila Reneau Ward Shirley Warren in memory of Harold E. Warren Charles M. Weiss Alan Welfare Barbara Smith White Dr. Judy White Ronald White Tom and Lyn White Eliza M. Wolff Ruth Ann Woodley Ron and Ann E. Wooten Roger Chai Yu Douglas and Jacqueline Zinn *Deferred gift † Deceased

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adv ert isement

restaurant guide Make a night of it! Visit one of these downtown restaurants for a pre-performance meal or a late night drink after the show. //////////////////////////////////////////////////////////////////////////////////////////////

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BANDIDO’S Mexican Cafe

Panera Bread

159 1/2 E. Franklin St., Chapel Hill | 919.967.5048 4711 Hope Valley Rd., Durham | 919.403.6285 122 S. Churton St., Hillsborough | 919.732.8662

Enjoy delicious soups, fresh tossed salads and hearty hot and cold sandwiches in a comfortable environment.

Our breads, bagels, cookies and pastries, are baked fresh daily. Free wireless internet access is available.

Come and taste why we have been voted “BEST” by local reader’s polls 6 times and why our salsa has won FIRST place in 6 local salsa competitions. www.bandidoscafe.com

Mon-Sat: 6am-9am Sun: 7:30am-9pm www.panerabread.com

Carolina Brewery

R&R Grill

460 W. Franklin St., Chapel Hill | 919.942.1800 120 Lowes Drive, Pittsboro | 919-545-2330

137 E. Franklin St., Chapel Hill, NC | 919.240.4411

Award-winning handcrafted beers paired with fresh and creative fare. Casual and fun atmosphere.

Everyone needs some R&R! Join us for 1/2 priced appetizers from 4-6pm Mon-Friday 1/2 priced wine bottles on Thursday

Tue-Thu: 11am-12am Fri & Sat: 11am-1am Sun & Mon: 11am-11pm www.carolinabrewery.com

Mon-Sun: 11am-10pm Sun-Tue: 10pm-12am Wed-Sat: 10pm-2am www.rnrgrill.com

JACK SPRAT CAFE

Saffron of Chapel Hill

161 E. Franklin St., Chapel Hill, NC | 919.933.3575

3140 Environ Way, Chapel Hill, NC | 919.240.7490

JSC specializes in Paninis, Salads and Wraps.

Be sure to also check out our full coffee bar.

Comedy Open Mic Thursdays at 9pm.

Saffron offers authentic Indian cuisine and a royal dining experience. After traveling the world for 35 years, our chef Durga Prasad has made Chapel Hill his home. Our world-renowned chef provides you with a unique dining experience.

Mon-Fri: 7:30am-9pm Sat: 9am-10pm Sun: 9am-4pm Brunch: Sat & Sun: 9am-4pm www.jackspratcafe.com

Lunch: Mon-Fri: 11am-2pm, Sat-Sun: 12pm-3pm Dinner: Mon-Sun: 5pm-10pm (reservations recommended) www.raagafinedining.com

Mediterranean Deli & Catering

Vespa Ristorante

410 W. Franklin St., Chapel Hill NC | 919.967.2666

306-D W. Franklin St., Chapel Hill, NC | 919.969.6600

Voted best caterer in the Triangle by both Independent Weekly and Chapel Hill Magazine readers 2011 and 2012. Pita bread baked on site using local, certified organic flour for a fully Kosher pita.

Fine Italian & Mediterranean cuisine with outdoor patio seating. We also offer early dinning specials from 4pm to 6pm daily.

Mon-Sat: 11am-10pm Sun: 11am-9pm www.mediterraneandeli.com

Lunch: 12pm-3pm Dinner: 4pm-10pm Late Night: 10:30pm - 2:30am www.vespanc.com

Be a part of our restaurant guide! Call Amy Scott or Devon Semler at 919.834.9441 or email amys@opus1inc.com or devons@opus1inc.com

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/

VIEW Nathaniel P. Claridad

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The $10 student ticket make the decision to spend a night at the theatre a no-brainer.

When making the decision to move from, arguably, the theatrical capital of the world, New York City, to Chapel Hill, where I would join the Professional Actor Training Program at the University of North Carolina, and become a company member of PlayMakers Repertory Company, my first question to the head of the M.F.A program was: What is it like to live in Chapel Hill? My primary concern, of course, was leaving the varied artistic energies of New York City for Chapel Hill, a town that I knew virtually nothing about.

Upon moving to a small college town that is the polar opposite of my former city – a place I called home for seven years – I was delighted to find myself surrounded by a vibrant artistic community. As a former New Yorker, I was also delighted to discover that Carolina Performing Arts and their ability to attract innovators of the performing arts from all over the world were easily accessible. Not only are they centrally located on campus at Memorial Hall, but also the $10 student ticket prices make the decision to spend a night at the theatre a no-brainer.

This season I have the opportunity to see Yo-Yo Ma, The National Theatre of Scotland, Chris Thile, Joshua Bell, Alvin Ailey American Dance Theater, Martha Graham Dance Company, Basil Twist, and many more for a lower price than if I were to see just one of these great artists in New York City.

In addition to being able to witness these performances for such an affordable price,

Carolina Performing Arts granted me the unique opportunity to work with puppeteer and theatrical innovator Basil Twist in the creation of a new project based on The Rite of Spring commissioned by Carolina Performing Arts. It is their commitment to the academic setting of the university that afforded them the ability to provide this opportunity to the artistic and academic community surrounding them. Not only did I get the chance to work with a genius in his field, but I also had the opportunity to meet other local artists. Ironically enough, I doubt that I would have had this experience in New York City. It was moving to Chapel Hill to pursue my M.F.A. that led me to discover the amazing work happening at Carolina Performing Arts, and the possibility of working with the artists responsible for the work.

I am extremely excited about the 2012-13 season at Carolina Performing Arts, and to say that I was a small part of bringing the Basil Twist project to life. In the rest of my time here, I look forward to being both a spectator at Memorial Hall as well as an active participator in all Carolina Performing Arts has to offer in the future.

Nathaniel P. Claridad is pursuing an MFA in Acting as part of the Professional Actor Training Program at UNC-Chapel Hill. ///

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last word SEVERINE NEFF

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In the spring of 2008, I went to visit Emil Kang, Director of Carolina Performing Arts, to seek his advice on securing a new manager for my husband, composer Joel Feigin. During the visit Emil asked me to suggest future projects for Carolina Performing Arts – in his words, “What do you dream for Carolina?” As a dyed-in-the-wool scholar of that master of dissonance, Arnold Schoenberg, I responded, “2012 will be the 100th birthday year of the premiere of Schoenberg’s chamber work Pierrot Lunaire! How about a celebration?” Emil had a worried look on his face. I could see that the Schoenberg project was not going to happen. Clearly disappointed and without thinking, I blurted out, “Well, why don’t you just do the 100th birthday of The Rite of Spring?” It’s now four years later, and Emil has made his dream become a reality. Chapel Hill has the main celebration of Igor Stravinsky’s masterwork in the world!

Emil is in good company with his enthusiastic opinion about The Rite:

“The Times says that Le Sacre is for the 20th century what Beethoven’s Ninth Symphony was for the 19th!”

– SERGEY PAVLOVICH DIAGHILEV, AFTER THE 1929 PERFORMANCE OF LE SACRE IN LONDON, THE LAST TIME HE WOULD HEAR THE WORK “It haunts me like a beautiful nightmare, and I try in vain to retrieve the terrifying impression it made.”

– CLAUDE DEBUSSY, AFTER HEARING STRAVINSKY PLAY THROUGH A PIANO REDUCTION OF THE RITE MONTHS BEFORE ITS PREMIERE

“This is marvelous! It would be perfect for prehistoric animals!”

– WALT DISNEY ON CREATING THE RITE OF SPRING SEQUENCE IN THE FILM FANTASIA

“It’s got the best dissonances anyone ever thought up.”

– LEONARD BERNSTEIN LECTURING AT HARVARD

“Yes, I copied The Rite of Spring for the theme of Jaws.”

– JOHN WILLIAMS IN AN INTERVIEW

The Rite has set the world on its head since its premiere. The esteemed members of the audience – Nadia Boulanger, Coco Chanel, Jean Cocteau, Claude Debussy, Pablo Picasso, Marcel Proust, Maurice Ravel – were expecting a brilliant performance.

They witnessed whistling, booing, hissing, fist fights, screams for doctors and dentists, old women striking each other with canes, and arguments between the orchestral musicians and listeners instead. All of these prominent people were there for very good reasons. Stravinsky was the latest superstar composer (when there still were superstar composers). The choreography of the legendary Russian dancer Vaslav Nijinsky, the sets by the Russian ethnographer and painter Nicholas Roerich, and the dancers of the Ballets Russes presented under the aegis of impresario Serge Diaghilev, were all the rage in Paris. The riot became so famous that speculation on its cause has gone on ever since.

Our Rite of Spring celebration has already given students and faculty something is to

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think about. Last spring dancers from the Bill T. Jones/Arnie Zane Dance Company and the members of SITI Company, a contemporary theater group, came to campus in preparation for a new production about The Rite to be premiered at UNC. Reed Colver, the Director of Campus and Community Engagement at Carolina Performing Arts, generously invited students and faculty to watch their rehearsals. First a male and female dancer, and then a female actress danced however much they wanted of the cataclysmic final scene of the ballet in which a young girl dances herself to death as a sacrifice for the gods of spring. Anne Bogart, the Director of SITI Company, interviewed the performers about their own feelings after their performance – why they stopped at the point they did, what they thought as they danced, what they hoped to communicate.

All of them ultimately spoke of the limits of the body, of physical exhaustion, and of the strangeness of needing to end before the expected end – the very feeling of the young girl chosen to die before her time. Our faculty

and students had the opportunity to continue discussions with them. Thanks to Professor John McGowan, Director of the Institute for the Arts and Humanities, 15 UNC professors are sponsoring courses this fall and next spring on The Rite of Spring – the ideas will continue, as they always have.

Incidentally, in the late spring of 2013, after our birthday celebration of The Rite of Spring has captivated, provoked, and amazed us, I plan to make another visit to see Emil.

It’s remarkable, but the UNC musical grapevine is saying that there could be a future performance of Schoenberg’s Pierrot Lunaire in Chapel Hill… /// SEVERINE NEFF is the Eugene Falk Distinguished Professor of Music at UNC. She is currently the General Editor with Sabine Feisst of an eight-volume set of Schoenberg’s writings for Oxford University Press. She was a J. William Fulbright Senior Scholar at Moscow State Conservatory (1998-99).

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