Connect Spring 2016 Book 4

Page 1

An american in Paris

Q&A with janet eiLber

The american south meets the world

official magazine of carolina performing arts spring 2016  ▪  volume IV  ▪

A Jookin’ Jam Session with Lil Buck



Where Southern soul and Carolina spirit meet on every plate. 211 Pittsboro Street, Chapel Hill, NC 27516 • 866.392.4672 at The Carolina Inn • free parking •

Director’s note

Emil Kang Executive Director for the Arts Executive and Artistic Director, Carolina Performing Arts Professor of the Practice, Department of Music

a message from

Emil Kang D

ear Friends,

I’d like to reflect on why all of us at Carolina Performing Arts believe so fervently that the arts make Carolina a stronger university. This April, we will spend a week with our good friend Abigail Washburn, a remarkable musician, who combines a deep knowledge of Appalachia with a fluency in Chinese folk music gained from years traveling back and forth across the Pacific. Abigail has shared both her music and wisdom with our students and our audiences. She has performed in Memorial Hall, on the front steps of Wilson Library, presented at TEDxUNC, and given a talk to our Phillips Ambassadors. Abigail’s residency is an example of how the arts have the singular ability to remind us of what makes us human. Engagement in the arts is essential to cultivating a rich, varied, and adventurous discourse in Chapel Hill. By nurturing our campus to engage and experiment with unfamiliar cultures, perspectives, and forms of expression, we shape a community that values nuance, respects diversity, and fosters compassion. If this is true, then all students should engage the arts as a form of inquiry and understanding.

to North Carolina and from there off to China…” It captures both the global spirit of our university and our belief that one journey can launch you into unexpected new directions. The arts create opportunities for students and faculty to nurture a spirit of adventure and help us to embrace the unexpected. This is why from the moment I arrived in Chapel Hill in 2004, I sought to inject the arts into the culture of our campus. We have brought hundreds of classes to hundreds of performances, taken artists into hospitals and libraries, and transformed Memorial Hall into scenes from around the world and not of this world. Thanks to all of you who have supported us in big ways and small. Thank you for sharing your passion for the arts. Sincerely,

I am reminded of a line from Abigail’s song “Banjo Pickin’ Girl,” which she played alongside her husband Béla Fleck during a pop-up performance in front of Wilson Library: “…Goin’


Contents Emil J. Kang, Executive and Artistic Director ADMINISTRATION Mike Johnson, Associate Director Barbara Call, Business Manager Mary Dahlsten Cooper, Associate Business Manager Annette Strom, Operations Coordinator Nic Caceres, IT Coordinator Helen Hickey, Executive and Programming Assistant ARTS@THECORE Jane F. Thrailkill, Mellon Distinguished Scholar Aaron Shackelford, Mellon Postdoctoral Fellow Kate Ferriola-Bruckenstein, Engagement Coordinator DEVELOPMENT Susin Seow, Director of Development Rachel Ash, Director of Annual Giving Jennifer Cox, Donor Relations Coordinator MARKETING AND COMMUNICATIONS Mark Z. Nelson, Director of Marketing and Communications Darah Whyte, Marketing and Communications Manager Renu Gharpure, Marketing and Communications Coordinator Ryan Griffin, Ticket Services Manager PROGRAMMING AND ARTISTIC SERVICES Amy Russell, Director of Programming Megan Whitaker, Artistic Services Manager Chris Pendergrass, Artistic Coordinator VENUE OPERATIONS Butch Garris, Director of Production Aaron Yontz, Production Manager Brad Munda, Production Manager Angela Brickley, Assistant Production Manager David Hahn, Assistant Production Manager Mark Steffen, Events Manager Sarah Mixter, Audience Services Manager MEMORIAL HALL STUDENT STAFF Carolina Performing Arts is grateful for the more than 100 students who work on our Ticket Services, Administrative, House and Tech staffs. It is their hard work and dedication that make every performance at Memorial Hall a success.



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COMPAGNIA FINZI PASCA Cirque du Soleil meets Salvador Dalí in this acrobatic interpretation of the Spanish artist’s vision. The result is a decadent dance of dreams, images and people that is both inspiring and surreal.

Live at Memorial Hall

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PUBLISHED BY CAROLINA PERFORMING ARTS SPRING 2016 â–Ş VOLUME IV CAROLINAPERFORMINGARTS.ORG EDITOR Mark Z. Nelson MANAGING EDITOR Darah Whyte CONTRIBUTORS Rachel Ash Renu Gharpure James Moeser William Robin Aaron Shackelford Nishanth Shah Jessica Stringer Heather Tatreau Chris Vitiello DESIGN Chapel Hill Magazine

ADVERTISERS MAKE THIS BOOK POSSIBLE This program book would not be possible without the advertisers that support it. Their patronage makes this information available to you without cost to Carolina Performing Arts. We extend our gratitude and encourage you to thank them, as well. For advertising information, contact Rory Kelly Gillis at 919.933.1551 or




The Ghost of Montpellier Meets the Samurai

Trajal Harrell About the PRO GRAM

In The Ghost of Montpellier Meets the Samurai, the intriguing choreographer Trajal Harrell invents an improbable meeting between Dominique Bagouet—a noted figure of ’80s French New Dance—and Tatsumi Hijikata, founding father of the Japanese modern dance form known as butoh. These two legends of contemporary dance provide a pretext for an irreverent tribute, with Harrell weaving the imagination through a constantly changing field of Wikipedia Art meets Encyclopedia of Dance Style. The emerging aesthetic is Harrell’s own: an electrifying performance buoyed by the grace and energy of this family of dancers.

Tuesday Marc h

22 This performance is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts.

T r a jA l H a r r e l l Among the dance world’s most prominent and innovative artists, Yale University graduate Trajal Harrell fuses risk and intellectual curiosity with an expansive social lens in his nuanced, sophisticated works. Inspired primarily by history, he states, “I re-imagine events in history as a way to get audiences to develop a greater value for dance and art in our culture. I introduce audiences to these strategies by posing a question that presents a historical impossibility, and then I try to get the audience and performers to wrap their heads around the question together. It’s the togetherness that I’m after. I believe that one of the things artists can do is help people believe in the impossible and the power of the imagination. We still need these tools to solve some of our greatest problems on the planet, including the ability to live together amongst different cultures and beliefs.” Trajal Harrell is renowned for a series of works in seven sizes entitled Twenty Looks or Paris is Burning at The Judson Church, which re-imagines a meeting between early postmodern dance and the voguing dance tradition. Antigone Sr., the largest in the series, won the 2012 Bessie Award for Best Production. His recent research examines butoh dance from the theoretical praxis of voguing. This latest body of work includes Used Abused and Hung Out to Dry, commissioned and premiered at MoMA, where he has begun a two-year residency; The Return of the Modern Dance for Cullberg Ballet; The Ghost of Montpellier Meets the Samurai; and The Return of La Argentina, co-commissioned by MoMA and Le Centre National de la Danse. Trajal Harrell has received fellowships from The Saison Foundation, The Guggenheim Foundation, Art Matters Foundation and Foundation for Contemporary Arts. In 2014, he was one of the inaugural recipients of the Doris Duke Impact Award.



Tuesday Marc h

An Evening with Garrison Keillor


Garrison Keillor One of the most prolific American storytellers of all time, Garrison Keillor is best known for his popular live radio variety show, A Prairie Home Companion, which attracts over four million listeners on more than 600 public radio stations each week. The beloved raconteur and commentator is widely lauded as one of the country’s great humorists, captivating audiences with his unique blend of comedy, charisma and wisdom. He is also the host of the daily radio and online program The Writer’s Almanac and the editor of several anthologies of poetry, most recently, Good Poems: American Places. A best-selling author, he has published more than two dozen books, including Lake Wobegon Days, The Book of Guys, Pilgrims, Guy Noir and the Straight Skinny and Homegrown Democrat. In 2006, Keillor played himself alongside a cast that included Meryl Streep, Lily Tomlin and Kevin Kline in the critically acclaimed film adaptation of A Prairie Home Companion directed by Robert Altman. With Grammy, ACE and George Foster Peabody awards, he has also been honored with the National Humanities Medal and election to the American Academy of Arts and Letters.

r i c h a r d D w o r s k y, P i a n o / m u s i c d i r e c t o r Richard Dworsky is one of those rare musicians who is so well-rounded he can’t easily be categorized. A classically trained pianist and composer, he rocks, swings, plays great blues and gospel, tears it up on the Hammond B3 organ and rivals world-class pickers with his unique “bluegrass piano” style. He composes classical, theater and film music, writes jazz ballads, and improvises on the spot in virtually any style. For the last 23 years, he has served as pianist/music director for Garrison Keillor’s A Prairie Home Companion, providing original theatrical underscoring, leading the house band and performing as a featured soloist. He has appeared on many of Keillor’s CDs—including five nominated for Grammys—and served as music director, arranger and composer for Robert Altman’s film adaptation of A Prairie Home Companion. Dworsky’s original compositions can be heard on his CDs So Near and Dear to Me and The Path to You. His solo piano piece A Morning With The Roses has become a worldwide New Age classic, selling close to a million copies on such Billboard-charting records as Windham Hill Records: Piano Sampler, Windows: Windham Hill 25 Years of Piano and Windham Hill Chill.



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Leif Ove Andsnes, piano Christian Tetzlaff, violin Tabea Zimmermann, viola Clemens Hagen, cello

Thursday apr i l


The Brahms Piano Quartets PROGRAM

BRAHMS Piano Quartet No. 1 in G minor, Op. 25

INTERMISSION Piano Quartet No. 2 in A Major, Op. 26 PAUSE

PERFORMANCE BENEFACTOR Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity.

Piano Quartet No. 3 in C minor, Op. 60 Leif Ove Andsnes, piano With his commanding technique and searching interpretations, the celebrated Norwegian pianist Leif Ove Andsnes appears in the world’s leading concert halls with its foremost orchestras and is an avid chamber musician and recording artist. Last fall saw the release of Concerto – A Beethoven Journey, a documentary by award-winning British director/filmmaker Phil Grabsky that chronicles Andsnes’ epic fourseason focus on the master composer’s music for piano and orchestra. His discography comprises more than 30 recordings, many of them bestsellers, spanning repertoire from the time of Bach to the present day. He has been nominated for eight Grammys and awarded many international prizes, including six Gramophone Awards.

C h r i s t i a n T e t z l a f f, v i o l i n Known for his musical integrity, technical assurance and intelligent interpretations, Christian Tetzlaff is internationally recognized as one of today’s most important violinists, performing and recording a broad spectrum of repertoire ranging from Bach’s unaccompanied sonatas and partitas to 20th-century concertos by Bartók, Berg and Shostakovich and world premieres of contemporary works. A dedicated chamber musician, he collaborates with distinguished artists and is the founder of the Tetzlaff Quartet. In demand as a soloist with most of the world’s leading orchestras and conductors, his close artistic partnerships are renewed season after season.

Ta b e a Z i m m e r m a n n , v i o l a Arguably the finest violist in the world today, award-winning Tabea Zimmermann’s charisma and deep musical understanding are coupled with a tireless enthusiasm to communicate her love of music to an audience. As a soloist she works with major orchestras worldwide. Inspiring numerous composers to write for the viola, she has introduced many new works into the standard concert and chamber music repertoire.

Cl e m e n s Hag e n , ce l lo Appearing with orchestras including the Berlin Philharmonic, the Vienna Symphony Orchestra and the Cleveland Orchestra, Austrian cellist Clemens Hagen has worked with such conductors as Claudio Abbado, Nikolaus Harnoncourt and Franz Welser-Möst and plays chamber music with Martha Argerich, Gidon Kremer, András Schiff and Mitsuko Uchida, among others.



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Gabriel Kahane and Timo Andres About the PRO GRAM This concert gives two friends the chance to throw caution to the wind in a free associative program that brings together four centuries of music, from J.S. Bach to new pieces written by Gabriel and Timo for one another. At the center of the program is a call and response between the two composer-performers, juxtaposing solo piano music with songs for piano and voice, ranging from Schubert, Schumann and Thomas Adès to Jerome Kern and Andrew Norman. This quasi-live-mix tape is augmented by Britten folk song settings and Ives songs, bookended by György Kurtág’s elegant transcriptions of Bach chorale preludes.

Saturday Apr i l


PERFORMANCE BENEFACTOR Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity.

CONNECTIONS Gabriel Kahane Hailed by Rolling Stone as “one of the year’s very best albums” in 2014, Gabriel Kahane’s major label debut, The Ambassador, is a meditation on the underbelly of Los Angeles. Along with commissions from BAM, Carnegie Hall, the Los Angeles Philharmonic, Kronos Quartet and Orpheus Chamber Orchestra, among others, recent studio credits include a track on Beck’s Song Reader; appearances on Blake Mills’ Heigh Ho alongside Fiona Apple and Jon Brion; projects with Sufjan Stevens; and performances and recordings with Chris Thile of Punch Brothers, for whom Kahane opened on a 2015 US tour. An avid theater artist, his musical February House received world premiere productions at the Long Wharf Theater in New Haven and New York’s Public Theater in 2012, with an original cast album on StorySound Records. Upcoming theater projects include a collaboration with Pulitzer Prize-winning playwright Annie Baker.

Last season, Gabriel Kahane created the stage production of The Ambassador at UNCChapel Hill. Carolina Performing Arts presented the world premiere, directed by Tony Award winner John Tiffany.

Timo Andres A Nonesuch Records artist, Timo Andres’s newest album of orchestral works, Home Stretch, was hailed by The Guardian for its “playful intelligence and individuality.” Of his 2010 debut album, Shy and Mighty, Alex Ross wrote in The New Yorker that “it achieves an unhurried grandeur that has rarely been felt in American music since John Adams came on the scene.” Recent works include a new piano concerto for Jonathan Biss and the Saint Paul Chamber Orchestra and a string quartet for the Takács Quartet, commissioned by Carnegie Hall and the Shriver Hall Concert Series. He tours with Gabriel Kahane—for whom he has written a new work commissioned by Carnegie Hall—and with Philip Glass, joining the composer in performances of Glass’s complete piano Études. He performs with the new music ensemble ACME and is one sixth of the Sleeping Giant composers’ collective (




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Bavarian Radio Symphony Orchestra with

Mariss Jansons, chief conductor and Leonidas Kavakos, violin PROGRAM

KORNGOLD Violin Concerto in D Major, Op. 35


MAHLER Symphony No. 5 in C sharp minor

Wednesday Apr i l


PERFORMANCE BENEFACTOR Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity.

b ava r i a n r a d i o s y m p h o n y o r c h e s t r a Founded in 1949, the Grammy-winning Bavarian Radio Symphony Orchestra (BRSO) owes its extraordinarily wide-ranging repertoire to the program preferences of its chief conductors as well as to the great flexibility and stylistic security of each musician. Fostering new music has an especially long tradition at BRSO—appearances in conjunction with the “musica viva” series founded in 1945 remain one of the Orchestra’s main assignments. At these concerts, Munich audiences have witnessed legendary performances of contemporary works at which the composers themselves stood on the podium, including Stravinsky, Milhaud, Hindemith, Boulez, Stockhausen and Berio. BRSO has also pursued new approaches to early music and collaborates regularly with such experts in historical performance practice as Thomas Hengelbrock, Nikolaus Harnoncourt and Ton Koopman. Chief Conductors Eugen Jochum, Rafael Kubelik, Sir Colin Davis, Lorin Maazel and Mariss Jansons have fashioned one of the world’s leading orchestras, while many guest conductors have left indelible imprints, including Otto Klemperer, Sir Georg Solti, Carlo Maria Giulini and Wolfgang Sawallisch. Today Bernard Haitink, Riccardo Muti, Esa-Pekka Salonen, Sir Simon Rattle, Franz Welser-Möst, Daniel Harding, Andris Nelsons, Yannick Nézet-Séguin and Herbert Blomstedt are among the significant partners who mount the podium. BRSO was also the only German orchestra with which Leonard Bernstein collaborated regularly for many years.

m a r i s s ja n s o n s , c o n d u c t o r Among the most exceptional podium personalities of our time, Mariss Jansons studied under Herbert von Karajan and went on to join the Leningrad Philharmonic—today’s St. Petersburg Philharmonic—as assistant conductor, remaining closely connected as a conductor until 1999. As chief conductor he formed the Oslo Philharmonic into a top international orchestra and was principal guest conductor of the London Philharmonic Orchestra and music director of the Pittsburgh Symphony Orchestra. He has served as chief conductor of the BRSO since 2003, is the Conductor of Honor of the Royal Concertgebouw Orchestra, and regularly appears as guest conductor with leading orchestras including the Berlin and Vienna Philharmonic. His numerous CD and DVD recordings include the 2006 Grammy-winning recording of Shostakovich’s 13th Symphony with BRSO.

L e o n i d a s K ava k o s , v i o l i n A violinist of rare quality known for his virtuosity, superb musicianship and the integrity of his playing, Leonidas Kavakos appears with the world’s greatest orchestras and is an exclusive recording artist with Decca Classics. By age 21, he had won three major competitions: the Sibelius (1985), Paganini and Naumburg competitions (1988), leading to his recording the original Sibelius Violin Concerto (1903/4)—the first recording of this work in history. It won the 1991 Gramophone Concerto of the Year Award. In 2014, he was named Gramophone Artist of the Year. He plays the “Abergavenny” Stradivarius violin of 1724.



Lil Buck @ Chapel Hill A Jookin’ Jam Session coll abor ators-in -r eside nce

Directed by

Damian Woetzel

Friday & Saturday Apr i l


with special guests

Sandeep Das, tabla; Johnny Gandelsman, violin; Christina Pato, gaita; Wu Tong, sheng

About the PRO GRAM

PERFORMANCE BENEFACTORs The April 15 performance is sponsored by Paula Davis Noell and Palmer Page. The April 16 performance is sponsored by Wyndham Robertson.

Memphis jookin’ phenomenon Lil Buck came to international attention when ballet star/director Damian Woetzel paired him with cello superstar Yo-Yo Ma. This collaboration established Lil Buck’s astonishing gift as a dancing medium, engaging with music across geographic and stylistic boundaries. For his Chapel Hill debut under the direction of Woetzel, he performs with tabla player Sandeep Das, violinist Johnny Gandelsman, Galician bagpiper Cristina Pato and sheng player Wu Tong. Joining this extraordinary array of international performers is his fellow jooker and frequent collaborator, Ron “Prime Tyme” Myles. Together, these artists are Carolina Performing Arts’ Collaborators-in-Residence. Lil Buck Lil Buck began jookin’—a street dance that originated in Memphis—at age 13. Following hip-hop training from Terran Gary and ballet training on scholarship at the New Ballet Ensemble, he performed and choreographed in Memphis until relocating to Los Angeles. In 2011, Damian Woetzel paired him with Yo-Yo Ma in a rendition of The Swan. A Spike Jonze video of the performance went viral, garnering over 3 million views to date and leading to collaborations with artists including Janelle Monae, JR, New York City Ballet and Madonna. In 2011, Lil Buck was Artist-in-Residence at the Vail International Dance Festival and served as an artistic ambassador alongside Yo-Yo Ma at the USChina Forum on the Arts and Culture in Beijing. One of 2012 Dance Magazine’s 25 to Watch, he starred in the award-winning 2013 show Lil Buck @ (le) Poisson Rouge directed by Woetzel and featuring Yo-Yo Ma and an array of international musicians. Lil Buck has performed on The Ellen DeGeneres Show; with Madonna during her Super Bowl XLVI halftime show and on her MDNA and Rebel Heart tours; and in the Cirque du Soleil show Michael Jackson: One. Named The Wall Street Journal’s 2014 Performing Arts Innovator, Lil Buck is an Aspen Institute Harman-Eisner Artist-in-Residence.

Dam ian Woe t z e l , Di r ec tor Damian Woetzel has taken on multiple arts leadership roles since retiring from a 20-year career as principal dancer at New York City Ballet. He is the artistic director of the Vail International Dance Festival and director of the Aspen Institute Arts Program. Recent projects as an independent director and producer include tributes to ballerinas Natalia Makarova and Patricia McBride for the 35th and 37th Kennedy Center Honors and the award-winning show Lil Buck @ (le) Poisson Rouge. He holds a Master in Public Administration degree from Harvard’s Kennedy School of Government and has taught as a visiting professor at Harvard Law School. In 2009, President Obama appointed Woetzel to the President’s Committee on Arts and Humanities. In 2015, he received the Harvard Arts Medal.

Additional Artist Bio graphies Please see page 21 for the biographies of Sandeep Das, Johnny Gandelsman, Cristina Pato and Wu Tong.



Abigail Washburn and Friends

coll abor ators-in -r eside nce

Sunday apr i l


About the PRO GRAM In this unusual world music program, five riveting performers from around the globe, led by Abigail Washburn, come together in the spirit of cross-cultural collaboration and understanding. With backgrounds in folk, old-time music, protest rock, jazz, classical and contemporary music, and performing on clawhammer banjo, violin, Indian tabla, Chinese winds and Galician bagpipes, they explore each other’s worlds, bringing with them their own traditions, instruments and influences.

A b i g a i l Wa s h b u r n , v o c a l s / c l aw h a m m e r b a n j o Winner of the 2016 Best Folk Album Grammy for her eponymous debut with her husband, Béla Fleck, singer/songwriter/clawhammer banjo player Abigail Washburn (duo with Béla Fleck, Sparrow Quartet, Uncle Earl, The Wu-Force) creates inventive cross-cultural takes on folk and old-time music with haunting, bare-bones songs, evocative vocals and earthy sophistication. Fluent in Mandarin, she is armed with profound connections to communities across the Pacific. In sharing international musical traditions, her hope is that cultural understanding and the communal experience of beauty and sound will lead the way to a richer existence.

S a n d e e p da s , Ta b l a One of the world’s leading tabla virtuosos, Grammy-nominated Sandeep Das has built a diverse international career collaborating with a variety of genre-crossing artists. He is the founder of HUM (Harmony and Universality through Music), an ensemble promoting global understanding through performance and education, and has composed for and performed with the Silk Road Ensemble since the group’s founding in 2000.

johnny gandelsman, violin The son of a musical family from Moscow by way of Israel, violinist/composer Johnny Gandelsman combines classical training with a restless desire to reach beyond the concert hall in exploring contemporary music. As a concert soloist and founding member of Brooklyn Rider, he has premiered dozens of new works and released albums by The Knights, the Silk Road Ensemble and Brooklyn Rider on his label, In a Circle Records.

c r i s t i n a pa t o , g a i t a The virtuosic bagpiper, pianist and composer Cristina Pato has devoted her career to Galician popular and classical music and jazz, with a passion for education and cultural exchange. A pop star in her native Spain and the first female gaita player to release a solo album, her collaborators include Yo-Yo Ma, Arturo O’Farrill, Chicago Symphony Orchestra and the Silk Road Ensemble.

Wu tong, sheng One of China’s most versatile musicians, wind prodigy Wu Tong has appeared as a soloist with major orchestras across the globe and is the founding vocalist of the protest rock band Linhui, the first rock band to appear on China Central Television. A founding member of the Silk Road Ensemble, he premiered Zhao Lin’s Duo, a double concerto written for him and cellist Yo-Yo Ma, in 2013.



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Wednesday Apr i l


Les Arts Florissants with William Christie, harpsichord and director

Serious Airs and Drinking Songs PERFORMANCE About the PRO GRAM


What is an air de cour? The term was first coined in 1571, adopted in preference to that of “voix de ville,” which eventually became corrupted to “vaudeville.” It refers to a simple air that can be sung by anyone, laborers and ladies’ maids alike. In the 17th century, this popular genre gravitated from the street to the salon where it became fashionable amongst the rich and aristocratic, who adopted it with extraordinary fervor. It was serious, joyful and even salacious, haunted by lovelorn shepherds and solitary longings. Here, Les Arts Florissants explore all the possibilities of the air de cour, a genre that can also be performed by groups of voices, male and female alike. The serious airs tell of the pains of love while the drinking songs invite joyful companions to sing of pleasure and licentiousness.

Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity.

William Christie, harpsichord and director Harpsichordist, conductor, musicologist and teacher William Christie is the inspiration behind one of the most exciting musical adventures of the last 30 years, pioneering work that has led to a renewed appreciation of 17th- and 18th-century French repertoire. As director of Les Arts Florissants, he brings new interpretations of largely neglected or forgotten repertoire to fruition. Greatly in demand as a guest conductor at festivals including Glyndebourne and opera houses such as the Metropolitan Opera in New York, he has created a discography of more than 100 recordings. Wishing to further develop his work as a teacher, in 2002 he created Le Jardin des Voix, an academy for young singers in Caen. Since 2007 he has been artist-in-residence at The Juilliard School in New York, where he gives master classes twice a year accompanied by the musicians of Les Arts Florissants. In 2008 he was elected to the Académie des Beaux-Arts.

Les arts Florissants The vocal and instrumental ensemble Les Arts Florissants is one of the world’s most illustrious early music groups, with an impressive discography of nearly 100 recordings. Dedicated to the performance of Baroque music on original instruments, the ensemble was founded in 1979 by William Christie and takes its name from a short opera by Charpentier. The ensemble has been largely responsible for the resurgence of interest in 17th-century French repertoire and European music of the 17th and 18th centuries more generally. Since 1987, it has been in the field of opera that Les Arts Florissants has found particular success.



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Friday & Saturday Apr i l


Martha Graham Dance Company PROGRAM Dark Meadow Suite (1946/2016) by Martha Graham Inner Resources (2016) by Marie Chouinard (CPA Commission)

PERFORMANCE BENEFACTOR This performance is sponsored by Patricia and Thruston Morton.

INTERMISSION Woodland (2016) by Pontus Lidberg Cave of the Heart (1946) by Martha Graham

About the PRO GRAM

CONNECTIONS Carolina Performing Arts commissioned Marie Chouinard to choreograph Inner Resources for Martha Graham Dance Company.

In celebration of its 90th season and Martha Graham’s legacy of innovation, the Martha Graham Dance Company offers a program of great Graham classics in conversation with brand new work from some of the most sought-after choreographers working today. This program includes a Carolina Performing Arts-commissioned creation by the always-surprising Canadian choreographer Marie Chouinard, along with a new work created for the Company by the award-winning Swedish filmmaker and choreographer Pontus Lidberg. This commission, also premiering in April 2016, features the melodic music of Irving Fine, a contemporary of Leonard Bernstein. Chapel Hill audiences will be among the first to see the Dark Meadow Suite—a new arrangement of highlights from Graham’s atmospheric and ritualistic Dark Meadow. Choreographed in 1947 and inspired by her fascination with the native culture of the American Southwest, the work is set to a moving score by Carlos Chavez. An undeniable masterpiece rounds out the program. Martha Graham’s Cave of the Heart from 1946, based on the story of Medea, was a signature role for Graham herself. The score composed for the work by Samuel Barber has become a favorite in the orchestral repertory because of this dance.

m a r t h a g r a h a m d a n c e c o m pa n y The Martha Graham Dance Company has been a leader in the development of contemporary dance since its founding in 1926. Today, the Company is embracing a new programming vision that showcases masterpieces by Graham alongside newly commissioned works by contemporary artists. During its 90year history, the Company has received acclaim from audiences and critics in more than 50 countries. “These men and women easily embody the choreographer’s sense of dancers as angelic athletes,” says Robert Greskovic of The Wall Street Journal, while Marina Kennedy of Broadway World notes, “This is contemporary dance at its very best” and Siobhan Burke of The New York Times asks, “Can this please never go away?”




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Compagnia Finzi Pasca Switzerland

La Verità

Written and directed by

Daniele Finzi Pasca About the PRO GRAM “The language of acrobatics, of physical theater, easily conquers a territory that is neither night or day, where light does not touch reality but designs it, invents it or reinvents it. The language of acrobats titillates our unconscious, enabling us to see inner landscapes that appear truer than reality. Are Dalí’s landscapes set at night or during the day? The answer is neither. Dalí’s images belong to another dimension—the dimension of dreams.” - Daniele Finzi Pasca

Wednesday & Thursday Apr i l


PERFORMANCE BENEFACTOR This performance is sponsored by The Charles Goren and Hazen Family Foundation, Tom and Lisa Hazen, Trustees.

Written and directed by contemporary circus maverick Daniele Finzi Pasca (Cirque du Soleil / Corteo and Luzia; Cirque Eloize / Rain; Compagnia Finzi Pasca and Chekhov International Theatre Festival / Donka), La Verità is a theatrical homage to the life and work of surrealist artist Salvador Dalí. Featured onstage is a gigantic replica of the stunning hand-painted backdrop created by Dalí for the ballet Tristan and Isolde at New York’s Metropolitan Opera in 1944. Ideas and images collide in this ravishing vaudevillian channeling of Dalí’s vision, as acrobats play instruments, sing, juggle, contort, clown and can-can amidst unfurling flowers, distorting shadows, ladders suspended in empty space, impossible balances, dismantled corpses, blindfolds, feathers and sequins. © Salvador Dalí, Fundación Gala-Salvador Dalí

c o m pa g n i a f i n z i pa s c a Created in 2011, Compagnia Finzi Pasca is driven by the desire to develop artistic projects that continue to broaden the “Theatre of the Caress” spectrum—a theatrical technique based on the invisible gesture and a state of lightness. Over the years, these concepts have yielded a unique aesthetic in every dimension: a singular creation and directing style, a particular method of conceiving productions, a training philosophy for the actor, acrobat, musician, dancer and technician, and a way of inhabiting space to convey nostalgia and stir the heart. The poetic gesture of the clown is intended as a monologue for a single spectator or an Olympic ceremony, for theater, dance, opera and cinema.



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South The American


World The

William Robin


lues fits really well on top of Mongolian music,” said banjo player and singer-songwriter Abigail Washburn recently, contemplating possibilities for an upcoming collaboration. Alternately, she mused, “I could sing an old Appalachian hymn on top of a really contemplative Uyghur rejek.” These might appear, (on the surface), irreconcilable musical idioms. But they represent the home turf for Washburn, who, for the past decade, has discovered new pathways for drawing together her twin artistic fascinations, the traditions of China and the American South. In a separate conversation the next week, dancer Lil Buck considered similarly intriguing collaborative options. For Buck, home base is jookin, an elastic form of street dance that emerged in the Memphis underground rap scene of the 1990s. “Ballet, jazz, modern: any style of music, basically, you can do jookin,” he said. “It’s more than a dance style, it’s a feeling, it’s a bounce, it’s a rhythm. If you can keep that rhythm, if you can use that rhythm with other sounds, that’s jookin.” Appalachian tunes and Uyghur, Tennessee hip-hop and modern dance:


it can’t be easy to seek out musical collaborators for these emblematically diverse artistic interests. But an upcoming residency (at Memorial Hall) with members of the Silk Road Ensemble—performing with Lil Buck on April 15 and 16, and with Washburn on April 17—represents a natural space for these styles to co-exist. Though the Silk Road Ensemble is perhaps best known for star cellist Yo-Yo Ma, this project features the celebrated voices of tabla player Sandeep Das, violinist Johnny Gandelsman, Galician bagpiper Cristina Pato and sheng player Wu Tong. Washburn and Buck have each found remarkable success despite—or perhaps owed to—their unusual trajectories. The day before Washburn and I spoke, she had received a Grammy nomination for her 2014 duo album with fellow banjo player (and husband) Béla Fleck. It represented the culmination of a decade of work in the worlds of Appalachian and Chinese music. In college, she studied Chinese and spent several years traveling the country after graduation, unsure of her next steps. Her path was made clear, though, by the music of North Carolina. “I was at that phase in life, in college, where I thought China was it: it was the most amazing, rich, deep culture, tens of thousands of years of recorded history, and I just couldn’t quite find anything as powerful in American culture,” she told me. “I was subconsciously looking for something that had that ancient power to it. When I heard Doc Watson singing


CONNECTIONS See it live at memorial Hall

Lil Buck @ Chapel Hill A Jookin’ Jam Session

Abigail Washburn and Friends

APRIL 15/16


and playing ‘Shady Grove,’ I recognized it.” Washburn learned the banjo, hearing in its sound resonances with the traditions of Africa, Scotland, and Ireland. “That’s why I started playing the banjo, was because of China,” she added. She toured China and Tibet with her cross-genre Sparrow Quartet—they gave a concert in Beijing during the 2008 Olympics—and has more recently launched The Wu Force, an experimental trio that seamlessly melds Chinese and Appalachian folk, which performed at Memorial in 2013. Growing up in Memphis, Buck learned jookin from his friends and family, went on to study ballet in his teens and moved to Los Angeles to pursue a career in dance. Five years ago, retired dancer and former New York City Ballet director Damian

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Woetzel discovered Buck when his wife played him a YouTube clip of his stunning choreography to Saint-Saën’s The Swan. Woetzel was immediately captivated and brought Buck together with Yo-Yo Ma for an outreach opportunity in a Los Angeles high school, followed by their rendition of The Swan for a small audience. “I strongly believe in the power of collaboration and creating something magnificent and new and innovative through collaboration with different artists and different musicians,” Buck told me. Among the spectators of that Swan performance was filmmaker Spike Jonze, who captured it on his iPhone; the video immediately went viral, and Buck quickly found himself an international advocate of jookin, from dancing in Madonna’s Super Bowl halftime show to appearing in fashion commercials alongside Mikhail Baryshnikov. Buck’s performance at Memorial Hall will build on a 2013 series at the New York club Le Poisson Rouge, which also featured Silk Road musicians. “Already working with these artists, you can see how versatile the style is,” Buck said of jookin. “It brings out the true emotion of the music: that’s where you see the style difference, in different genres of music.” At this point in his creative development, jookin acts as a kind of choreographic baseline; Buck is constantly incorporating new musical and dance styles from the different collaborators with whom he comes into contact.


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“It is the project that makes me feel like every piece of what I do is extremely meaningful and applicable,” Washburn exclaimed with excitement regarding her upcoming concert. She was equally enthused to return to North Carolina, not only for her musical roots there, but also for the potential to conduct research for future projects at UNC’s Southern Folklife Collection. Chapel Hill represents the ideal nexus of her interests and having an audience already steeped in the banjo was a valuable advantage. “Because there’s such a deep, profound understanding in most parts of North Carolina about this mountain music and this traditional thread, that when I do things with the music that take it in new directions or challenge the listener’s ear, I feel that the listeners in North Carolina are actually more prepared to go in those new directions. And invite it!” she said. Both Lil Buck and Washburn not only have mastered historically rich traditions, but also seriously investigated the ways in which they can bend towards other genres. At Memorial Hall with Silk Road, these cross-cultural connections will be powerfully displayed.  William Robin is a PhD candidate in musicology at UNC Chapel Hill.


Q&A with

Janet Eilber ARTISTIC DIRECTOR OF MARTHA GRAHAM DANCE COMPANY Jessica Stringer In April, the Martha Graham Dance Company will celebrate 90 years. How will you commemorate the legacy of such a renowned artist and company? The essence of what we’re doing is celebrating Martha’s appetite for the new, as she used to say. Our 90-year legacy has always been about the future and pushing boundaries. We’ve commissioned three new dances that will be in conversation with some of the greatest Martha Graham classics as part of this season. (Carolina Performing Arts (CPA) has been instrumental in commissioning one of these works.) What we’re celebrating is her forward-looking, visionary purpose that she’s really all about.

Can you talk about the importance of striking a balance of preserving Graham’s legacy and commissioning new works? In our programming we do need to strike a balance because people


come to see the Martha Graham Dance Company and many of them have not had the opportunity to see these masterworks. We’re far enough away from her life and her career that by now we can see these works in context and understand that they are masterpieces of mid-century modernism. There’s this new perception of them and what accentuates that is having them on stage alongside brand-new work from today’s chorographers.

Why is greater access to her work so important to you? From the moment I became artistic director, [I knew] the organization needed a new strategy. We had never really said, ‘Who are we going to be without Martha Graham?’ We had this creative genius that everyone flocked to, but without her there, we really had to figure out how could we flock to them, our audience. The field of modern dance is about 100 years old now, and it was born out of revolt, out of the idea of rejecting what

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the previous generation did. The whole field really only values the new and hadn’t taken time to consider how to present its classics and keep them relevant and potent. We, because we have this incredible legacy, began experimenting with things like what’s modern dance’s equivalent of a museum’s audio tour. We do a spoken introduction to all of our performances, we’ve done online video competitions, we’re one of the top dance Instagram accounts and we’ve partnered with CPA and UNC on some wonderful auxiliary events that took place before the company came to town. We’re finding creative events and programming that connect to new and different audiences and use the Graham legacy as a launch pad.

chorographers. We consider 15-16 our 90th season and there’s a lot going on.

What else has the company been up to?

What do you like about visiting Chapel Hill?

We just performed in Russia for the first time, we completed a national tour and we just launched a partnership with Google as part of their cultural institute. There’s now a Martha Graham app. You can see some of our archives and these exhibits that we’ve created that will continue to expand. We’ll be adding some newly discovered photos of her [in April] as part of the celebration. We have laid the groundwork for this new approach to the legacy using our core collection in many extraordinary ways to reach as many audience members as possible.

My family is down there. My sister Diane Eilber and her husband Gene Medler are [some of the] co-founders of The Ballet School in Chapel Hill. My father is the founding director of the North Carolina School of Science and Mathematics. They’re down there, so [visiting is] one of the things I do personally. For the dancers, Franklin Street is a very happening place with all the good that comes with a university town that has so much going on … I do like Mama Dip’s. 

What can the audience expect from the performance in April? If they saw the Marie Chouinard show [in January], they’ll have that context for the newer piece she’s creating for us. I can’t tell you anything about that work because she hasn’t made it. I can tell you she’s been here for an initial session to create material and get to know the dancers. She has chosen a cast of all women dancers.

Jessica Stringer is an editor at Chapel Hill Magazine.

Do you have a favorite role or work by Graham (or would that be like picking your favorite child)? It is like picking children, you’re exactly right. We have brought “Appalachian Spring” down there and this time we’re bringing a masterwork that is equal in my mind. “Cave of the Heart” has a commissioned score by Samuel Barber and it also, like “Appalachian Spring,” has stunning sets by Isamu Noguchi. The Medea role was a signature role by Martha herself. It’s just so perfectly put together. The quartet of dancers represent the essence of this age-old story of love, betrayal and revenge. Supported by the score, the set and the choreography, it’s among her best, and we’ll close the program [in Chapel Hill] with that.

Offering ballet, modern, contemporary jazz, rhythm tap, hip hop and fencing. Ages 3 and up. Boys’ ballet scholarships available.

What’s next for the company as it looks ahead to the next 10 years? I think we’ve laid the groundwork and I’m really excited about all of our audience-access initiatives that we will continue to grow, in particular the commissioning of new works and also the mining of the Graham legacy for material. We have this incredible core collection of the Graham classics but we want to surround them with what Martha would have been doing which was new creations and in many different areas, not just new work by new 1603 east franklin street 919.942.1339


An American in

Paris brings the French Baroque Stateside again

William Robin


n the age of composer Marc-Antoine Charpentier’s Les Arts Florissants (1685), kings and queens grandly subsidized opera. The lavish Baroque productions, modeled on classical tragedy, celebrated in turn the glory of the monarchy in song and dance. It is said that Louis XIV strolled the halls of his palace humming tunes from Jean-Baptiste Lully’s Atys, which became known as “the opera of the king.” Though no comparable royal patronage exists today, not too long


ago the French Baroque did, in fact, inspire a monumental act of philanthropy, one spurred by the artistic brilliance of a group named for Charpentier’s opera. In 1987, the ensemble Les Arts Florissants performed a legendary revival of Atys at the OpéraComique in Paris. When it brought the production to the Brooklyn Academy of Music two years later, Atys was declared the hottest ticket of the season. “It was as if a curtain had been pulled aside to reveal an alternative operatic universe,” the New York Times later wrote. “The work was so different in sound, spirit and look from the

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19th-century Italian operas that dominate the mainstream opera world that it seemed almost a different art form.” Among the many audience members enthralled by the Paris production was philanthropist Ronald P. Stanton. A single evening of opera galvanized a lifelong obsession with Lully’s music, one that culminated in his $3.1 million donation to fund a remounting of Atys in 2011, where it was once again widely heralded in Europe and the United States. Such is the captivating power of Les Arts Florissants, a French ensemble led by the American conductor and harpsichordist William Christie that, since 1979, has retained its status as perhaps the most acclaimed early music group in the world. On April 20, the ensemble will arrive in Chapel Hill to perform “Serious Airs and Drinking Songs” at Memorial Hall, a program featuring music by Charpentier as well as Étienne Moulinié, Sébastien Le Camus and Michel Lambert. Though the program does not feature opera, Les Arts Florissants will still display its renowned flair for the theatrical: the concert will stitch together music by disparate composers into a loose, love-story narrative featuring flirtations, a wedding and a bacchanal. The evening will center on the air de cour, a genre that overlapped with the emergence of opera in France around the turn of the

seventeenth century. Originally a populist form—simple tunes that could be sung by any layperson—the air de cour migrated into the world of the aristocracy and became the provenance of specialist singers and composers who performed for the court. Michel Lambert was one of those experts: more than three hundred of his airs survive today, and he likely composed many more. Though Lambert never wrote an opera—the composer’s daughter, in fact, married Jean-Baptiste Lully—his vocal works are emblematically theatrical. For this program, Christie and his ensemble have gathered a diverse group of songs by Lambert and his cohort that weave a tale of love, sorrow and pleasure. “It would be hard to come up with anyone other than Pierre Boulez who has had a greater effect on French art music in the last 36 years than the American harpsichordist and conductor William Christie,” wrote music critic Mark Swed in the Los Angeles Times last year. A native of Buffalo, New York, Christie attended Harvard and Yale and taught at Dartmouth, but decamped to Europe in 1971 in protest of the Vietnam War. In Paris, he dove into manuscripts at the Bibliothèque Nationale, re-discovering music that had lain mostly dormant for two centuries. Editing and reconstructing the scores of works including Atys, and fastidiously reading old treatises on how Lully and his contemporaries conducted and performed their operas, Christie envisioned an ensemble that would revive the


french baro que

music of the French Baroque. When Les Arts Florissants started, its repertoire was as unfamiliar to the French public as the avantgarde music that Boulez was conducting across town with his Ensemble intercontemporain. Christie’s approach to the French Baroque was immersive and unprecedented. He demanded that his singers and instrumentalists master the written text of an opera before learning its music: just as the genre drew from the classical tragedies of Racine and Corneille, so too would Les Arts Florissant’s opera performances flow from the language and diction of the spoken word. The ensemble quickly rose to prominence nationally and internationally, amidst a broader resurgence of early music with groups such as the Academy of Ancient Music, Amsterdam Baroque Orchestra and English Concert. Even such skeptics of revivalism as musicologist Richard Taruskin were persuaded; he once wrote that, “The integrity and the cogency with which Christie and his troupe have accomplished the reconstruction is something of a miracle, perhaps the finest achievement that the early-music movement can claim.” “If I’d come in and wanted, perhaps, to play Ravel or Debussy, it might have been harder,” Christie told the New York Times in 2014 about his successes in Paris. “I came in doing Couperin and

CONNECTIONS See it live at memorial Hall APRIL 20 Les Arts Florissants with William Christie

Rameau and composers the French had never heard of.” He has since become one of the most distinguished musicians in France, having been appointed Grand Croix de la Légion d’honneur and elected a member of the Académie des Beaux-Arts. For the past three decades, Christie has also maintained an elaborate garden in his home of Thiré, the first to be listed as a historical monument in France while its creator was alive since Monet’s Giverny; he established a music festival there in 2012. When his ensemble arrives again in the United States for its tour this spring, it will be a welcome homecoming.  William Robin is a PhD candidate in musicology at UNC Chapel Hill.

Walls of Color The Murals of Hans Hofmann 22 January - 10 april 2016 This exhibition was organized by the Bruce Museum, Greenwich, CT, with the support of the Renate, Hans and Maria Hofmann Trust. Walls of Color is presented at the Ackland with support from the Renate, Hans and Maria Hofmann Trust, John and Marree Townsend, the Fenwick Foundation, and gifts made in honor of the Ackland Docent Program.

Hans Hofmann (1880-1966), Mosaic Mural, 711 Third Avenue, New York (detail), 1956. Photograph by Paul Mutino. Works by Hans Hofmann used with permission of the Renate, Hans and Maria Hofmann Trust.


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The surrealist world of



Chris Vitiello


oogle “Salvador Dalí” and “t-shirt” and you get nearly a half-million hits. You can choose from over 8,000 melting wall clocks on Art supply stores sell Dalí’s action figures among the cheap dreck by the cash register.

Let’s jump to a conclusion for the sake of argument—Surrealism is dead. At a time when its radical concepts have been reduced to toolbar buttons in image editing freeware and CGI has replaced our dreams, whatever revolutionary spirit Surrealism was supposed to provoke has long ago retired to the couch to binge-watch the first season of Twin Peaks. Dalí would beg to differ. Were he here, he would step out of a taxi (inside which it was really raining) and hand you the leash to his real ocelot. Being weird might have been the method, but it wasn’t the point. Surrealism isn’t dead; it’s just had to keep changing to stay ahead of its absorption into branding and merchandising. You see its protean legacy in the work of Wangechi Mutu, Kara Walker and many other artists working today, as well as in Compagnia Finzi Pasca’s eye-dazzling performance La Verità, coming to Memorial Hall April 27 and 28.

“The public is infinitely superior to the rubbish that is fed to it daily,” he wrote in a fiery 1939 manifesto. “The masses have always known where to find true poetry.” This was a bitter complaint against the organizers of the 1939 World’s Fair in New York, who commissioned Dalí to design a pavilion and then balked at aspects of his design. His large-scale installation work, “Dream of Venus,” was entered through a pair of women’s legs and featured topless mermaids swimming in pools and women dressed as pianos and lobsters interacting with guests. The most objectionable content? A woman with the head of a fish. The pavilion sponsor, a rubber manufacturer that made, among other things, mermaid tails for the



Besides, the absorption of Surrealist imagery and strategies into popular culture and advertising isn’t necessarily a corruption. Dalí designed shop windows for Fifth Avenue department stores, appeared on the game show “What’s My Line?” and made a film with Walt Disney. He knew there were many ways into the public unconscious.

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masses, thought a fish-headed woman wouldn’t make sense and would frighten off the paying public. Instead, “Dream of Venus” was a controversial sensation. Dalí might not have been easy to work with—the exploding giraffes he wanted didn’t pan out—but he pulled it off. In the year that the interwar period ended with Hitler’s invasion of Poland, “making sense” wasn’t working out too well for the Western world. Surrealists had been working hard to construct an alternative approach to a conflicted real world, tempering the angry, absurd assault of Dada with the illogical-yet-human potential of dreams. “Dream of Venus” might have been a fun thing to do in Flushing Meadows on a Saturday night, but once you brought its images and scenes home with you, they found their way into your anxieties and aspirations. And your life might be deeply changed, all without a bomb having to be dropped. Melting cirque presentation into a cabaret structure, Finzi Pasca’s La Verità issues a kind of report on the current state of Surrealism, remixing Dalí’s imagery and sensibility with a contemporary eye for saleable spectacle. The show uses a massive Dalí painting entitled “Tristan and Isolde” as its point of departure. The 28x48-foot backdrop debuted behind the 1944 Metropolitan Opera production of Dalí’s ballet Tristan Fou (Mad Tristan). Finzi Pasca brings a replica to Memorial Hall since the original, which


languished anonymously in the Met’s prop storage for decades, has become too fragile to travel. Dalí’s painting offers a dramatic scene as emotionally clear as it is visually bizarre. Made during a period in which the artist developed his “paranoiac-critical method,” it depicts the tragic lovers in an attempted embrace, frustrated by the fact that one of them has a dandelion for a head while the other’s face is completely shrouded. Cracks rip through their bodies, one of which crawls with black ants. Poised between freestanding crutches on a flat, unfeatured plain, the figures express both a painful desire and a profound intimacy. “La Verità can be considered as a journey into the fantastic world of Salvador Dalí, a way to revisit, to revive some moments of his life and some details of his imagination,” says Antonio Vergamini, executive producer and artistic consultant for the Finzi Pasca production. “But it is also much more. For instance, a meditation on the truth and the untruth of the scene. A meditation on how to approach the real, or the emotions that come with authenticity. Should we move away from reality and rather embrace fiction?” If interwar Surrealism was about offering the world of dreams as an alternative path to that which led to rapid industrialization

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CONNECTIONS Season Finale APRIL 27/28

La Verità Compagnia Finzi Pasca

and war, then Vergamini’s contemporary flavor of Surrealism is an effort, as he states it, “to tell surprising and touching stories, to arouse memories and distant emotions, to create empathy, to cure.” 

Like all revolutionary strategies, Surrealism was inherently theatrical. Artists of the movement frequently designed sets or costumes for performances. Dalí went further in several performances including Tristan Fou, also writing the libretto, which was based upon Richard Wagner’s opera Tristan und Isolde. Leonide Massine of the Ballet Russe de Monte Carlo was Dalí’s choreographic collaborator. Even if you weren’t developing a paranoiac-critical method for making art, you were looking over your shoulder as the 1930s came to an end. Dalí and many other artists and intellectuals sought safe exile as best they could, squeezed between the Spanish Civil War and the Second World War. His Tristan Fou project spanned these restless years, as Dalí and his wife Gala fled Spain for Coco Chanel’s house on the French Riviera before heading to New York in 1940. It’s easy to see why the Tristan and Isolde story, in which their preternatural love becomes more real for them than reality, appealed to Dalí. But his Tristan Fou was more than a retelling of Wagner’s version of the legend. Dalí amplified its resonance with Wagner’s biography and especially his friendship with King Ludwig II of Bavaria—aka Mad King Ludwig. Also called the Swan King, Ludwig was controversial for eschewing matters of state to build lavish, fairy-tale palaces and castles throughout the mountainous state and to patronize an extravagant range of artistic projects, including Wagner’s operas. The king was devoted to the composer and was quite possibly in love with him. Generally credited with resuscitating Wagner’s career, Ludwig paid off Wagner’s debts and underwrote his magnificent opera house at Bayreuth. Neuschwanstein, the most fantastic of Ludwig’s mountain castles, was decorated with scenes from Wagner’s operas.

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Ludwig fell for Wagner’s work as a teenager, enchanted by Tannhäuser, the story of a legendary knight who visits Venus’ erotic, dreamlike court in an inaccessible cave—certainly the inspiration for Dalí’s World’s Fair pavilion. Venusberg, the mythical German mountain in which Venus’ cavern was said to be hidden, was also the first title for Tristan Fou. Soon after they met, Ludwig sponsored Wagner’s premiere of Tristan und Isolde in Munich in 1865, the composer’s first premiere in well over a decade. But Wagner got the conductor’s wife pregnant, and the scandal forced him to leave Munich. Ludwig tried to abdicate his throne in order to follow Wagner, but the composer talked him out of it. Mad King Ludwig’s life didn’t end well. Although he only drew upon personal funds in his support for the arts, his financial ministers cited his extravagance to justify declaring him insane (the official diagnosis was “paranoia”), thus deposing him. Three days after this, Ludwig was found dead in a lake on his castle’s grounds. The official report was suicide by drowning, but the skilled swimmer was found sitting upright in waist-deep water, and the coroner found no water in Ludwig’s lungs. Stories persist that it was a murder and cover-up. He was just 40 years old. Dalí must have identified with the “paranoid” Ludwig, a man destroyed for turning his back on practical concerns to build ornate castles and underwrite profane operas. The Surrealists dealt constantly with a comparable disapproval from mainstream culture, largely because they called it out for being bland at least and responsible for the global ills of the age at most. This disapproval ranged from mincing censorship, such as the World’s Fair backpedaling, to outright violence, such as poet Federico García Lorca’s 1936 assassination by Spanish Nationalists. Dalí’s work toward Tristan Fou and its backdrop used in La Verità exemplifies just how high the stakes were for Surrealist ideas and aesthetics as jackboots marched across Europe. You have to wonder what Dalí would think of Finzi Pasca’s montage of acrobats, dancers, singers, and actors in La Verità. He’d appreciate the familiar imagery as an homage, but the company’s meditation on the nature of truth would likely hold more appeal, evoking the “true poetry” of the masses in his 1939 rant. Dalí’s dead, but Surrealism most definitely isn’t. Still, Dalí went out on his own aesthetic terms. His heart stopped beating one January morning in 1989, while he was listening to his favorite recording of Wagner’s Tristan und Isolde.  Chris Vitiello is a freelance writer based in Durham.


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All benefits listed below, plus Friend benefits

Gold ($2,500-$4,999) All benefits listed below, plus Silver, Bronze, Patron, and Friend benefits ▪  Parking in Bynum-Steele lots on Cameron Avenue, close to Memorial Hall ▪  Intermission receptions in Pamela Heavner Gallery Non deductible amount of contribution: $490 PHOTO BY JILLIAN CLARK

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Patricia Morton, Chair, Charlotte Wyndham Robertson, Co-Vice Chair, Chapel Hill Michael Shindler, Co-Vice Chair, Chicago Fred Beaujeu-Dufour, Clinton Maribel Carrion, Chapel Hill Lisa Church, New York City G. Munroe Cobey, Chapel Hill Catherine Coley, London Chancellor Carol Folt, ex-officio, Chapel Hill Joan Gillings, Chapel Hill Emil Kang, ex-officio, Chapel Hill

Betty P. Kenan, Chapel Hill Mary Friday Leadbetter, Singapore Michael Lee, Chapel Hill Anne C. Liptzin, Chapel Hill James Moeser, Chair Emeritus, Chapel Hill Paula Davis Noell, Chapel Hill Josie Ward Patton, Chapel Hill Earl N. Phillips, Jr., Chapel Hill Sharon Rothwell, Ann Arbor Michael Tiemann, Chapel Hill




o 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 worldclass performers to Chapel Hill. Ticket sales alone provide only 40 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 & Pledges ($500,000+) Munroe and Becky Cobey* Cheray Duchin* Ellison Family Foundation Mr. and Mrs. James Heavner* Luther Hodges* Thomas F. Kearns, Jr. The William R. Kenan, Jr. Charitable Trust William and Sara McCoy Sharon and Doug Rothwell* Anonymous Major Gifts & Pledges ($25,000+) Shirley J. Berger† Crandall and Erskine Bowles Dr. Charles B. Cairns and The Family Maribel Carrion* 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 Paul and Sidna† Rizzo Deborah and Ed Roach Wyndham Robertson Lee and Myrah Scott


Garry and Sharon Snook Top of the Hill Restaurant and Brewery Professors Emeriti Charles M. and Shirley† F. Weiss* Dr. Jesse L. White, Jr. Anonymous *Deferred gift † Deceased Endowed Funds ($25,000+) 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 and Jean 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 Dr. Jesse L. White, Jr. Fund for Student and Academic Engagement supporting activities that connect classical music and jazz artists and performances to students. The Mark and Stacey Yusko Performing Arts Fund supporting Carolina students’ arts experiences.


SWAIN SOCIETY Contributions received November 1, 2014—January 15, 2016 Season Benefactors ($100,000+) The William R. Kenan, Jr. Charitable Trust The Andrew W. Mellon Foundation Performance Benefactors ($15,000+) Munroe and Becky Cobey The Charles Goren and Hazen Family Foundation, Tom and Lisa Hazen, Trustees Jane Roughton Kearns Ted and Lisa Kerner Patricia and Thruston Morton Paula Davis Noell and Palmer Page Wyndham Robertson Anonymous

Benefactors ($10,000 - $14,999) Lisa Church Buck and Kay Goldstein Mr. and Mrs. James Heavner The Highland Vineyard Foundation William D. and Dr. Sally C. Johnson Thomas F. Kearns, Jr. The Kenan Family Foundation Mrs. Frank H. Kenan Thomas S. Kenan III Jeanette and Stanley Kimmel Amanda Kyser Kimberly Kyser Anne and Mike Liptzin William and Sara McCoy Rick and Carol McNeel The Oakwood Foundation James and Florence Peacock Louis and Elizabeth Tortora Van and Kay Weatherspoon

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FRIENDS OF CAROLINA PERFORMING ARTS Contributions received November 1, 2014–January 15, 2016 Platinum Tier ($5,000 - $9,999) Castillo-Alvarez Fund of Triangle Community Foundation Chris and Ann Cox Dr. Fred Dalldorf and Jane Bultman Dalldorf Edward De Simone and Kim Parke The Eason Foundation Anne Faircloth and Fred Dufour Eleanor and James Ferguson Barbara Hulka Paul and Jan Krause Mary and Jon Leadbetter John A. McLendon Phil and Kim Phillips Deborah and Ed Roach Coleman and Carol Ross Sharon and Doug Rothwell Michael and Andrea Shindler Adrian R. Tiemann The Japan Foundation Dr. Jesse L. White, Jr. Anonymous (2) Gold Tier ($2,500 - $4,999) James and Delight Allen Ewa and Josef Blass Betsy and Fred Bowman Cliff and Linda Butler Catherine Coley Hans and Barbara DaSilva-Tillmann Shirley Drechsel and Wayne Vaughn Frank H. Dworsky Sandy Turbeville and Glen H. Elder, Jr. Eric and Patricia Fast Mimi and James Fountain Peter Gilligan and Lynn Smiley Dr. and Mrs. Joseph Gulla Lowell M. and Ruth W. Hoffman John and Martha Hsu Dr. Joan C. Huntley Lisa and Emil Kang Dr. Marcia Anne Koomen

Drs. Michael and Christine Lee Dayna and Peter Lucas D.G. and Harriet Martin James and Susan Moeser Mr. and Ms. William I. Morton Paul D. and Linda A. Naylor New England Foundation for the Arts Karl I. and A-B Nordling Francine and Benson Pilloff Stanley Robboy and Marion Meyer-Robboy The Robinson Family David and Adele Spitz-Roth Mary and Ernie Schoenfeld Barbara Siegel Alan C. Stephenson and Shannon Kennedy Michael and Amy Tiemann Diane Vannais and Charles Waldren Rhesa Versola Sally Vilas and Harry Gooder Charles M. Weiss

Silver Tier ($1,000 - $2,499) Blanche and Zack Bacon in honor of Wyndham Robertson Jo and Peter Baer Michael Barefoot and Tim Manale The Barry Charitable Foundation Neal and Jeanette Bench Dolores Bilangi Kerry Bloom and Elaine Yeh Blum Family Fund of Triangle Community Foundation Jack and Jennifer Boger Robert Brown James and Elizabeth Bryan Timothy Bukowski and Naomi Kagetsu Ed and Eleanor Burke Leigh Fleming Callahan Carlson Family Foundation William and Barbara Dahl Jan and Jim Dean M’Liss and Anson Dorrance Jo Anne and Shelley Earp Pat and Jack Evans Raymond and Molly Farrow Gail Fearing Jaroslav and Linda Folda Diane Frazier Douglas and Judy Frey Paul Fulton Peggy and Cam Glenn Dr. Rebecca Goz Robert and Dana Greenwood Leesie and Bill † Guthridge David and Lina Heartinger

Richard Hendel Susan Henning and Vikram Rao Charles House David Howell Deborah Hylton and Leland Webb Joseph and Shipley Jenkins John and Joy Kasson Dorothy Lanier Alice and Sid Levinson Judith Lilley Alice and John May Robert and Mary Ellen McMillan Kathy Merritt and Erik Paulson Barry Nakell and Edith Gugger Dr. Abigail T. Panter Josie Ward Patton Anne and Billy Pizer David and Carmen Plucinsky Dr. Steve and Rochelle Prystowsky Jolanta and Olgierd Pucilowski Elizabeth Raft Mr. and Mrs. Joseph Ritok Rebecca and Rick Rosenberg Michael and Susan Rota Lies Sapp Susin Seow and Chris Weathington Patricia Shaw John and Talia Sherer Robert and Helen Siler Paul and Leslie Strohm Steve and Denise Vanderwoude Alan H. Weinhouse ‘77 R. Mark and Donna Stroup Wightman Tin-Lup and Sandy Wong Mark and Stacey Yusko Anonymous (2)

Bronze Tier ($500 - $999) Pete and Hannah Andrews Bell Leadership Institute Sue Bielawski Mary and Neilson Brown Michael and June Clendenin Steven Dubois and Kathy Barker Barbara Entwisle and Ken Bollen Robert and Mary Ann Eubanks Jena Gallagher Ruth and Art Gerber David and Lallie M. Godschalk Clark and Karen Havighurst Charles Hochman and Phyllis Pomerantz James and Elizabeth Hooten Marija Ivanovic Hannelore and Konrad Jarausch Moyra and Brian Kileff


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Lynn Knauff Stephen J. and Karen S. Lyons Lilian Pruett John and Ann Pyne John Pyne, Jr. Barbara Rimer and Bernard Glassman Dr. Michael and Sandra Roberts Margaret Rook Mark and Donna Simon Dr. and Mrs. Paul Singer Michael and Robin Smith Dr. Scott V. Smith Earl Snipes John and Carol Stamm Mr. and Mrs. John L. Townsend III John and Peggy Williams John and Ashley Wilson Monette Wood John and Joan Wrede Anna Wu and George Truskey Betty York and Bruce Michelsen

Patrons ($125 - $499) Brigitte Abrams and Francis Lethem Rachel Ash Richard A. and Lynda B. Baddour


Antonio Balson Linda J. Barnard Allen and Judith Barton John W. Becton and Nancy B. Tannenbaum Catherine Bergel Karl Berry Jim and Martha Bick Natalie and Gary Boorman Thomas and Betty Bouldin Donald Boulton Edwin Bower Rebecca Bramlett Janet Mason and Joan Brannon Joan and Tony Brannon H. Breeze Craig and Catherine Briner Lois Bronstein and Howard Glicksman Ken and Margie Broun Betsy Bullen Thomas W. and Gail W. Bunn Matthew and Molly Calabria Dr. James E. Godwin and Dr. E.A. Campbell Lydia Wegman and Bob Cantwell Philip and Linda Carl Ruth Truitt and Douglas Chaney Sandra Clemons Haywood D. Cochrane, Jr. William and Sara Colaianni Jay and Barbara Cooper Gehan and Dileeni Corea Woodrow Cossey Rick and Patty Courtright Hurt and Diane Covington Richard and Connie Cox Jeffrey and Sandra Davis Jack and Tina Deason Pamela Diliberto Captain Dale Doss Connie Eble Gerald and Adelia Evans Simona Farcas and Daniel Lebold Rabbi Frank and Pat Fischer Linda Frankel and Lewis Margolis Marcia and Jim Friedman Brian Fullington Greg and Emily Gangi Mia and Nomar Garciaparra Robert Gfeller III Mike and Bonnie Gilliom Arnold Gordon Michael Gorman & Laurie Leichman Charles and Karen Goss Virginia Gray Mary and Al Guckes Rajih and Darlene Haddawi Nortin and Carol Hadler

Dorothy Hall Barbara and Paul Hardin Andrew Hatchell and Junjie Jia Martha Liptzin Hauptman in honor of Anne and Mike Liptzin Jon and Deanne Hays Paula and Charlie Head Timothy Hefner Gerardo and Jo Heiss David and Leslie Henson Charles and Lynne Hicks Susan Hollobaugh and Richard Balamucki William and Mary Alice Holmes Dr. Beth Holmgren and Mark Sidell Elizabeth M. Holsten ‘50 Andrew and Charlotte Holton Kathleen Hopkins Mitchell and Deborah Horwitz David and Sally Hubby Elizabeth Crawford Isley Drs. A. Everette James and Nancy J. Farmer David and Marti Jenkins in honor of Quinn Jenkins Chapin Johnson Tonu Kalam Hugon and Joanna Karwowski Joan and Howard Kastel Kimball and Harriet King Susan Robinson King Gary and Carolyn Koch Leroy Lail Carol Land and Barry Slobin Ted and Debbie LaMay Bibb Latané Joycelyn Leigh Irwin and Susan Levy Betty and John Leydon Joan Lipsitz and Paul Stiller Jim and MaryLou LoFrese Robert Long and Anne Mandeville-Long Walker and Rose Long Richard and Linda Lupton Richard Mann and Karlene Knebel Timothy and Pradhana Mastro Bill and Sue Mattern Ms. Robin McWatters Richard Melanson Adele F. Michal Marcy E. Minton Vivian Morris Lee and Ava Nackman Christopher and Helga Needes John and Dorothy Neter Shu Wen Ng and Marc A. Jeuland Elisabeth and Walter Niedermann Gail R. O’Day and Thomas E. Frank

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Pat and Mary Norris Oglesby Greg and Carla Overbeck Vickie Owens Michele Pas Bettina Patterson Marilyn and Bob Pinschmidt Edwin and Harriet Poston David and Peggy Poulos Arthur Powers Linda Prager and Michael Parker Morita Rapoza Ivan Remnitz Barbara Rhoades Ron and Sara Riggle Carol and Matthew Ripley-Moffitt Diane and Bob Rizzo Maribeth Robb Leonard and Dianne Rosenbluth Alexander L. Ross, Jr. Amy Kolling Russell Brian and Linda Sanders Frederic and Amanda Sax Julienne Scanlon Anthony Selton and Cyndy Simonson Jennifer and Bill Selvidge Robert E. Seymour Robert Shipley

Jill Shires Jack and Katherine Simmons Gary Slade Charles and Judith Smith Dana L. Smith Geraldine Smith Laurence and Jean Stith Betsy Strandberg Fund of the Triangle Community Foundation Ron Strauss and Susan Slatkoff James and Sandra Swenberg Cass Swon Jimmy and Ellyn Tanner Karen and Dick Taylor John and Patricia Tector M.E. Van Bourgondien Martha Jane Van Der Drift Susan Wall Michael Weil and Peggy Link-Weil Dennis and Kathryn Welch R.H. and Barbara Wendell Marlene and Roger D. Werner Lynn Wesson Clarence E. Whitefield Timothy Williams Frank and Ann Wilson Dr. Derek and Louise Winstanly

Ford and Allison Worthy Duncan and Susan Yaggy Amanda Ziesemer Anonymous (4)

Undergraduate and Graduate Student Members ($35) Quinn Jenkins * Deferred gift † Deceased

CAROLINA PERFORMING ARTS STAFF CONTRIBUTIONS Rachel Ash Butch Garris Mike Johnson Emil Kang Mark Z. Nelson Amy Russell Susin Seow Mark Steffen

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CORPORATE PARTNERS KPO Photo McDuffie Design Rivers Agency SOUTH, Fine Gifts and Interiors University Florist


STUDENT TICKET ANGEL FUND Contributions received November 1, 2014–January 15, 2016 “Brightest Star of All” ($25,000+) Maribel Carrion* David G. Frey


“Radiance Shine” ($10,000-$24,999) Munroe and Becky Cobey Florence and James Peacock Anonymous “Priceless Gem” ($5,000 - $9,999) Scott Garcia and Debbie McDermott* Anonymous



“Tar Heel Voices” (Under $2,000) Alexandra Almeter Katelyn Ander Steven B. and Elizabeth A. Ayers Ethan Basch and Joy Goodwin Corinne Baker Patricia Beyle Lewis Black Kerry Bloom and Elaine Yeh Meredith Bryson Aimee Peden Burke Catharine Carter Hodding Carter and Patricia Derian Patrick Cassidy Drs. John F. and Barbara Holland Chapman R. Michael Childs Adrienne and Mo Cox Elizabeth and Benjamin Cozart John, Lou Anne and Calleigh Crumpler Dr. and Mrs. Robert M. Daniel Carolina Home Mortgage

Eleanor and James Ferguson Susan Ferguson Miles and Michele Fletcher Linda Frankel and Lewis Margolis Greg and Emily Gangi Scott Garcia and Debbie McDermott Wade and Sandra Hargrove Timothy Hefner George R. Hodges and Katherine W. Hodges Katherine Jameson Dr. Donald and Debra Jenny Jim and Betty Kasson Martha Knieriem and Sandra Dennis Gary and Carolyn Koch Gregg and Leslie Kreizman Bob and Geri Laport Teresa Lee An Li Gabriela Magallanes Dr. and Mrs. William W. McLendon Julie Mikus Mr. and Mrs. William I. Morton Erica Mueller Brian and Jessica Murray in honor of Tom Kearns and Jane Roughton Kearns Mark and Leslie Nelson Scott Nelson Nastassja Ortiz Thomas E. Powell III Louise A. Robinson Joseph A. Rodriguez III Deborah Siler Wiley Smith Harriet and Stu Solomon Danielle Spurlock Nathan Johnson Stephenson Ron Strauss and Susan Slatkoff Stephen and Judy Thomson Rachael Worthington Tuton M.E. Van Bourgondien Diane Vannais and Charles Waldren Sejal Vora Charles Walldorf III Reyna S. Walters Sheila R. Ward Brendan and Tamara Watson Caroline Williamson Ron and Beverly Wilson Eliza M. Wolff David and Dee Yoder * Deferred gift † Deceased For a complete listing of all donors, please visit impact.

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Maribel Carrion Rachel Ash


aribel Carrion vividly remembers her first time in Memorial Hall. Surrounded by her fellow Tar Heels at freshman orientation, she was just beginning her journey at Carolina. “Our speaker told us to look around at our classmates,” recalls Maribel. “He said ‘Two-thirds of you are pre-law or pre-med. That’s not going to happen.’” Maribel was among those who forged a different path. A math major, she received her BA in 1977 and returned to UNC several years later for her MBA. Building on the math and business training she received at Carolina, Maribel began a career in software and technology applications. She spent seven years traveling extensively with Nortel Networks, which led her around the world while supporting clients in places like Singapore, Mexico and throughout Central and South America. “I was only supposed to be gone on an expatriate assignment for two years,” explains Maribel. “But I ended up being gone for seven.” When an opportunity arose in 2008 to work at Carolina, Maribel was excited about the prospect of returning to campus. Today, she’s the director of business applications for UNC Information Technology Services (ITS). “It’s about as good as it gets,” says Maribel. “Working at my alma mater doing a job I enjoy. I love working with students.” From her office in ITS Manning, Maribel supports the software that drives students’ academic lifecycle. She is involved in all the processes used by students from the time they apply and register for classes through when they graduate and come back to ask for a transcript. “Students are very creative in how they use and access technology,” explains Maribel. “The students coming in now have assumptions and expectations about technology that are very different from the students ten years ago.” In addition to supporting students in her daily work, Maribel also gives back as a generous donor to the University. She recently made a commitment to Carolina Performing Arts’ Student Ticket Angel Fund in her estate plan that will ensure students have access to inspiring artists from around the world for years to come. “The tagline that CPA brings the world to


Maribel Carrion with her father Angel Luis Carrion.

Chapel Hill is so true,” says Maribel. As someone who has been fortunate enough to travel extensively, she understands the benefits of being exposed to other cultures. “I want to make sure all students have these types of opportunities, because they’re life-changing.” Maribel’s global experiences began at a young age. Born in San Juan, Puerto Rico, she moved around quite a bit as a child because her father was in the military. With each new city, one constant in the household was music. Remembering her childhood, Maribel remarks, “My father always, always had music on. All kinds of music -- Spanish and Latin American music, flamenco, classical, popular music.” Music has been an important part of her life. Her appreciation for the arts only grew when she was exposed to live performances in middle school. “The arts are transformative,” says Maribel. “With the best artists, you believe it. You feel it.” Though Maribel hasn’t hung up her travel hat yet, she loves that she can experience diverse artistic traditions and perspectives without having to leave Chapel Hill. She became a CPA season subscriber after the Bolshoi Ballet’s 2009 performances. “I’m one of those people who waits for the season schedule.” She loves seeing students at performances and wanted to find a way to support CPA’s $10 student tickets. As she thought about her legacy at Carolina, Maribel learned she could make a difference with a planned gift to the Angel Fund. “You can contribute in ways you don’t even realize, if you just ask.”

Rachel Ash is Director of Annual Giving for Carolina Performing Arts.

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Dining Guide Dining Guide

dining guide


East Franklin Street/Downtown BUNS 107 N. Columbia St.; 919-2404746; ROOTS BAKERY, BISTRO & BAR 161 E. Franklin St.; 919-240-7160; SPANKY’S 101 E. Franklin St.; 919-967-2678; TOP OF THE HILL 100 E. Franklin St.; 919-929-8676;

West Franklin Street AL’S BURGER SHACK 516 W. Franklin St.; 919-904-7659; 411 WEST 411 W. Franklin St.; 919-967-2782; BREADMEN’S 324 W. Rosemary St.; 919-967-7110;

CAROLINA CROSSROADS AT THE CAROLINA INN 211 Pittsboro St.; 919-918-2777;

ELAINE’S ON FRANKLIN 454 W. Franklin St.; 919-960-2770; KALAMAKI 431 W. Franklin St.; 919-240-7354; KIPOS 431 W. Franklin St.; 919-425-0760;

MAMA DIP’S KITCHEN 408 W. Rosemary St.; 919-942-5837;

MEDITERRANEAN DELI 410 W. Franklin St.; 919-967-2666; SPICY 9 SUSHI BAR & ASIAN RESTAURANT 140 W. Franklin St.; 919-903-9335; YOGURT PUMP 106 W. Franklin St.; 919-942-7867;

Martin Luther King Jr. Boulevard (Airport Road) KITCHEN 764 MLK Jr. Blvd.; 919-537-8167; THE ROOT CELLAR (FORMERLY FOSTER’S MARKET) 750 MLK Jr. Blvd.; 919-967-3663;

N.C. 54 East/Raleigh Road BIN 54 Glen Lennox Shopping Center; 919-969-1155;


Beyond the Walls

Our Impact Across Campus







The snowstorm on January 22nd left Memorial Hall covered in white.



Our distinguished Arts@TheCore Faculty Advisory Committee with representatives from the Departments of English, Music, Physics, Education, History, African, African American and Diaspora Studies, Center for Global Initiatives and Honors Carolina.



MAY 18, 2016 Tickets go on sale first to donors at the Silver Level and above (gifts of $1,000+)


Jason Moran delights children from the Durham Nativity School with his larger-than-life papiermâché mask of Fats Waller’s head, created for him by the Haitian artist Didier Civil.


The dancers of Compagnie Marie Chouinard after a rousing performance on January 16th.


Kenneth Fischer, President of University Musical Society (UMS) in Ann Arbor, MI, speaks with members of the CPA staff during a recent visit to campus.


Dance students from UNC and Duke University stretch before a Masterclass with Alvin Ailey American Dance Theater dancers.




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Ackland Reframed from our friends at the

Ackland Art Museum


he culminating highlight of Carolina Performing Arts’ 20152016 season will surely be La Verità, Daniele Finzi Pasca’s homage to Salvador Dalí (1904-1989), featuring a full scale replica of a painted stage backdrop by the famous surrealist artist himself. Dalí made the original, loosely based on Wagner’s Tristan and Isolde, for a 1944 ballet production at the Metropolitan Opera in New York. While the Ackland is not currently showing any of the eleven prints by Dalí in its permanent collection (though you can do a collection search at to find images and information on these holdings), it is presenting a focused installation of prints and drawings on theater-related themes by artists as diverse as Honorée Daumier, Edouard Vuillard, Edvard Munch, and Pavel Tchelitchew, among others. On view from 6 April until 8 May for Professor McKay Coble’s UNC-Chapel Hill course on period styles and theatrical design, the selection of program, costume, and scene designs

also includes this magnificent stage design by the early nineteenth-century German artist and architect, Karl Friedrich Schinkel. While little can compare in macabre strangeness to Dalí’s image of a transfigured Isolde finding the dying Tristan (figures with dandelion heads and wheelbarrow wings!), Schinkel’s imposing set was actually designed for a nowobscure opera that also dealt with love and death, albeit involving a fictional story about Alexander the Great’s daughter, wife, and two generals. Olimpie, by the Italian composer Gaspare Spontini (1774 -1851) was first performed in Paris in December 1819 and then, with Schinkel’s set, in Berlin in 1821. This view shows the scene for part of Scene 1, the imaginary interior of the Temple of Diana at Ephesus, with richly decorated surfaces and stately colonnades leading back to the cult image of Diana herself at the center – in fact looking not un-Dalí-esque, adorned with multiple spherical objects (breast-like,


Season Finale APRIL 27/28 La Verità Compagnia Finzi Pasca but probably, it seems, fertility symbols alluding to bull testicles). Schinkel’s design, as rendered in this meticulous etching and aquatint by Johann Friedrich Jügel, was included as plate 10 in a volume of Schinkel’s stage designs published in the early 1820s. The Ackland’s example bears three blue stamps from the Ducal Court Theater in Brunswick (Germany), presumably the producing institution that once owned the book as a working document and resource – much as the image now functions as inspiration and information for Carolina students. It and the other works on view in the Ackland’s installation remind us of the extraordinarily rich history of engagement in the theater by painters of many different eras.  Peter Nisbet is Interim Director and Chief Curator at the Ackland Art Museum.

Johann Friedrich Jügel, German, 1772–1833 after a design by Karl Friedrich Schinkel, German, 1781-1841 Set Design for the Opera Olympia, Act I etching and aquatint, with hand-coloring 39.7 x 28.2 cm (plate) Ackland Art Museum, The University of North Carolina at Chapel Hill William A. Whitaker Foundation Art Fund, 2001.11.14


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Heather Tatreau Aaron Shackelford


s Carolina strives to make the arts a core part of the entire campus, perhaps no faculty member has more experience with cross-campus art projects than Heather Tatreau. An instructor of modern dance in the Exercise and Sport Science Department, Tatreau also choreographs productions in the departments of Dramatic Arts and Communication, teaches a site-specific movement class in the Ackland Art Museum and connects student work with Carolina Performing Arts performances. Her work bringing dance and performance across campus is all the more impressive given Carolina’s lack of an academic program in dance. “We have a lot of smart students who have done really well academically, and they also have a passion for movement and dance,” Tatreau explains. “They do not want to give that up just because they wanted to get a good Carolina education.” With students from a wide array of majors, Tatreau’s dance courses give the students passion and creativity to support their other academic pursuits, even if they cannot pursue a degree in dance. “They feel that when their creative muscle is energized, that energizes everything else they do. I see it every day; their day is better because they have been able to move around and be more present in their bodies and the creative process.” Collaborating with UNC’s other art programs gives Tatreau’s courses an even wider performance experience. Creating a dance drama last fall for the Kenan Theater Company, Tatreau taught a course that allowed her to develop the work with the students. Tatreau recalls that it was a powerful experience, “the course was about letting the students take control of their education and their performance.” Last spring, some of her students collaborated with a course in the Department of Art as they devised responses to Martha Graham Dance Company’s presentation of “Lamentation Variations.” Brought together by CPA’s Arts@TheCore program, the students had an opportunity to talk with Janet Eilber, the artistic director of the Martha Graham Dance Company. “She has been so outgoing,” Tatreau says. “It’s been a real treat to have her just sit down with my students and talk with them, talk about her work when Martha Graham herself was teaching her ‘Lamentation.’”

Tatreau points to the unique impact that working with a CPA artist can have on a student. “She actually watched my students do their choreography. They were terrified, but she was so nice and complimentary. I know that any little thing she said to them they hung on and will always remember that.” A Carolina graduate herself, Tatreau had a similar experience while taking a master class with Bill T. Jones. “I remember thinking that’s the most amazing thing in the world. It’s huge, you always remember that. Dance is a tough world, and you have to have those little moments to hold onto.” As she prepares her students for another semester full of dance – both their own and at Memorial Hall – Tatreau intends to focus even more on giving her students the opportunity to bring performances across the campus. “There’s a lot of excitement and buzz around the site-specific course,” she says. Combined with a CPA semester of Alvin Ailey, Trajal Harrell, Lil Buck and Martha Graham, it will be a busy spring for dance and performance.  Aaron Shackelford is the Mellon Postdoctoral Fellow at Carolina Performing Arts.


STudent Spotlight

Nishanth Shah Mathematical Decision Sciences Major Explores The New And The Classic

Nishanth looks for ways to continue his passion for the violin in everything he does.


applied for a job at Carolina Performing Arts (CPA) for a very simple reason: I wanted to watch all of the amazing shows.

In December of 2015 I was working a shift of a group known as the Steep Canyon Rangers, who I was not familiar with. As ushers at CPA, we are so fortunate that we can sit in on performances, and by a stroke of luck I was allowed to catch much of the second half of the show. Immediately when I entered the packed auditorium, a barrage of movement and sound engulfed me. The fiddler on stage was dancing around, actually running up to different members in his band and getting in their space, challenging them to match his energy. The call and response action and exciting musical sound that the band was creating was unlike anything I had seen or heard before. I left Memorial Hall that night inspired. I play the violin. I love it so much because I can express myself on it, and I am still trying to figure out what I’m going to do with it in life. I am classically trained, but I am trying not to fall in the trap that happens to quite a lot of classical musicians. We close ourselves off and sometimes only care about our own type of music, and this is a tragedy. There is so much incredible music


happening everywhere around us, all the time. To close your ears and mind to it is depriving yourself of some of the greatest things life has to offer. I keep trying to expose myself to different music and try to take in new music that I don’t understand, because it not only makes me a better musician, but because most of it is just amazing. What’s wonderful about CPA is that you can see a classical performance one night and the next night you can see a post-war dance routine that’s never been performed anywhere else before. There is always something new and unique coming to CPA that expands everyone’s horizons. At the root of CPA is to explore and show new, creative artistic expression. I sometimes hear comments from patrons walking out of certain performances, dismissing works that they consider “too loud” or “weird,” and it is this quality of CPA, to not care too much about what people are thinking all the time, that makes me absolutely love it. Come watch the performances here with your eyes and ears open. You will be amazed.  Nishanth Shah ’18 is a double-major in Mathematical Decision Sciences and Music in the College of Arts and Sciences.

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Champions of Baroque vocal and instrumental works, Les Arts Florissants breathe new, vibrant life into unearthed treasures from centuries past. This program, Serious Airs and Drinking Songs, features works from 17th-century France.



MARTHA GRAHAM DANCE COMPANY Martha Graham’s influence on modern dance can only be compared to Picasso’s on art. Her vision lives on today in what The New York Times claims is “one of the great companies of the world.”




“I’ve been exposed to different styles of music I would never have experienced if it weren’t for the free tickets through the Covenant. CPA has enhanced my education and made me a more well-rounded person” Kate NaKhle

Class of 2018

Support life-changing artS experienceS with your gift today to the Student ticket angel fund. All gifts will go twice As fAr this yeAr thAnks to A generous chAllenge grAnt.



THE Last Word by

James Moeser


s we begin the final quarter of another incredible Carolina Performing Arts Season, it is a good time to reflect on the transformation that has taken place on this campus over the last decade since the re-opening of Memorial Hall and the inauguration of Carolina Performing Arts. After the bond issue passed in 2000 and it was clear that the long-awaited renovation of Memorial Hall would actually take place, it was clear to me that we did not have a distinguished presenting program comparable to programs I knew at other major research universities. To create a sense of urgency, I brought in a consultant whom I knew well to evaluate the market and the potential for a major presenting program at Carolina. His report said exactly what I hoped it would say, and I was able to convince my colleagues in South Building that we needed to create this program. We launched a national search, we found Emil Kang in Detroit, and the rest is history. When I speak of transformation, I do not use that word lightly. In the space of just a few years, UNC has become recognized as one of the most successful university presenting programs in the U. S. We just hosted the Major University Presenters (MUPs) group (membership is by invitation only) a few weeks ago. Our national peers recognize the excellence and the success of our program. In my opinion, we are not just in the group, but at the top of the group, with only three or four real peers nationally. The transformation goes on. With the support of the Andrew W. Mellon Foundation, we have launched Arts@theCore, which is designed to integrate what we do in Memorial Hall into the academic life of the University. This past year, over 200 courses were taught that related to one or more performances in Memorial Hall. Next year, thanks to support from the Kenan Trust, the University, and many individual donors, the 450-seat auditorium in Hill Hall will re-open after major renovation — transformation, if you will — that will offer a first-class performance space for the Department of Music. Carolina Performing Arts will be able to present chamber music, lieder


recitals, jazz, and other performances that need a more intimate space than Memorial Hall. The transformation goes further in 2017 with the opening of The Core at Carolina Square, an innovation lab, studio, and theatre, which will connect what we do on campus with the community and beyond. As a place for innovation and the creation of new work, this fits perfectly with Chancellor Folt’s vision of maker spaces for students in various facilities. At the other side of campus, the Morehead Planetarium and Science Center is planning for the renovation and transformation of their science education and presentation spaces—all part of the continuum of innovation at UNC. This is the real transformation – the linking of arts and science, the right and the left side of the brain. I am proud of the role that Carolina Performing Arts plays in making UNC a truly great global research university.  James Moeser is Chancellor Emeritus, Professor of Music, Senior Consultant for Special Initiatives at the UNC Institute for Arts and Humanities, and Chair Emeritus for Carolina Performing Arts’ International Advisory Board.

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Live Live Live at Memorial Memorial at Memorial Hall Hall H Live atat Memorial Hall CPATIX.ORG CPATIX.ORG CPATIX.O CPATIX.ORG

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We’re Champions of Future Champions

As a leading children’s hospital in the Southeast, we help ensure today’s bright futures grow into tomorrow’s champions.

{HEMATOLOGY-ONCOLOGY} At UNC Children’s, we believe the care of kids diagnosed with cancer and benign blood diseases is a dynamic process, based on improving outcomes through research—with the family always at the center of care. Our hematology-oncology experts offer leading-edge technology and therapies, including bone marrow transplantation and unique cellular therapies programs, with an emphasis on whole-family support through treatment, recovery, and survivorship.

Compassionate multidisciplinary team that includes physicians, nurse practitioners, nurses, psychologists, social workers, hospital school teachers, child life specialists, and more

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Specialized programs and resources for adolescents and young adults Part of the UNC Lineberger Comprehensive Cancer Center, one of only 41 National Cancer Institutedesignated comprehensive cancer centers in the U.S., and the Children’s Oncology Group, a national research collaborative dedicated to finding new therapies for children with cancer

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