2022–2023
ANNUAL REPORT
MISSION
Stanford Live presents a wide range of the finest performances from around the world fostering a vibrant learning community and providing distinctive experiences through the performing arts. With its home at Bing Concert Hall and Frost Amphitheater, Stanford Live is simultaneously a public square, a sanctuary, and a lab, drawing on the breadth and depth of Stanford University to connect performance to the significant issues, ideas, and discoveries of our time.
TABLE OF CONTENTS 2022–23 Season Themes
3
Residencies & Commissions
5
Classical
7
Jazz
8
Folk & Singer-Songwriter
9
Contemporary
10
Global Voices
11
Dance & Theater
12
Comedy & Cabaret
13
Season in Numbers
14
Stanford Live Arts Festival
15
Goldenvoice
17
Campus & Artistic Engagement
19
K-12 Programming
21
Revenue & Expenses
23
Stanford Live Members
24
Stanford Live Staff
28
Julian Hornik. Photo: Matthew Huang.
Welcome to Stanford Live’s 2022–23 Annual Report. We invite you to join us as we reflect on a remarkable year of programming on our stages, on campus, and in our community. I’d like to give special thanks to Chris Lorway for his leadership of Stanford Live from 2016 to 2023. Through his strategic and artistic leadership, Chris has left an indelible mark on the organization. He was instrumental in significantly expanding the programming at our celebrated venues of Bing Concert Hall and Frost Amphitheater, working with a diverse group of artists to commission new work and placing Stanford Live at the forefront of the performing arts. In keeping with our commitment to connect performance to the significant issues, ideas and discoveries of our time, we organize our programming around themes and questions that are relevant to the moment. In 2022–23, our programmatic focus on place and healing built on recent themes of reconciliation and forgiveness and our relationship to land and community, especially Indigenous communities. With each season, we strive to work with artists and audiences to deepen these important lines of inquiry through unique performance experiences. In the 2022–23 season, Joyce DiDonato partnered with a local chorus iSing to restore hope for the next generation in a song composed by youth about trees. Stanford alum Christopher Tin contemplated humanity’s role in species extinction in The Lost Birds, leading with hope and beauty over despair. Okaidja Afroso and Vân-Ánh Vanessa Võ confronted environmental degradation in their home countries of Ghana and Vietnam and mined traditional cultural knowledge to create new artistic rituals to find a way through the environmental challenges they, and we all, face. Through powerful live performance experiences, we reflected on the growing mental health crisis on college campuses and in our communities. We shed light on the unequal effects of climate change and over-policing on communities. We contended with racism, and societal and political division,, all of it exacerbated by the pandemic and its rocky recovery. We also brought joy, humor and inspiration to our stages with return visits from renowned artists like Yo-Yo Ma and Kathryn Stott, Lang Lang, and Patti LuPone. In this year’s annual report, you’ll see how artists and artistic practice can bring us together, demonstrating our interdependence and suggesting new possibilities In closing, I want to thank our members and supporters for all that you do to help us thrive. We look forward to another great season with all of you. With warm regards,
Deborah Cullinan Acting Director Stanford Live
Bing Concert Hall. Photo: Joel Simon.
2022–23: Place & Healing Where have we been, and where do we go from here? Across our 2022–23 season, artists asked these questions and others: Where do we go to sustain one another? Whom have we lost, and how does that loss shape our response to climate change and social injustices? Can personal and collective loss, when honored and engaged, lead to healing? From the rite and right to breathe to art that honors lost species and creates new places where old ones stood or vanished, this season’s performances inspired and challenged us to imagine anew the interconnected communities we belong to, and those to which we owe renewed attention and care. 3
The Ritual of Breath Is the Rite to Resist. Photo: Harrison Truong.
4
Residencies & Commissions
Auditorium invited both performers and audiences to contemplate the separation and interdependence of our lives revealed by the COVID-19 pandemic.
Our artist residency and commission programs are central to our mission, allowing
Co-commissioned by Dartmouth and
us to support emerging artists and deepen
Stanford Live, the multimedia opera The
our engagement with the many communities
Ritual of Breath Is the Rite to Resist premiered
we serve. Commissioning allows us to
on campus in October, inviting us to reflect
participate early in the creative process
on the killing of Eric Garner by police in 2014
by supporting artists, and we are proud to
and the rituals that enable grief and survival.
present new work as they imagine it.
Composed by Stanford faculty member Jonathan Berger with libretto by poet Vievee
5
The season opened by welcoming celebrated
Francis and enhanced by painter Enrico
Australian circus company Circa, who
Riley’s set design, the opera allowed us to
worked with Stanford’s Art of Circus course
engage campus and Bay Area communities
and our surrounding communities to mount
in a moving conversation about witness,
the North American premiere of Leviathan.
police violence, and the pursuit of social
The sold-out performances at Memorial
justice.
After a forced cancellation in 2021, we were finally able to present Dimitris Papaioannou’s internationally cocommissioned Transverse Orientation, a visually arresting choreographic spectacle that made its final world tour stop at Memorial Auditorium in December. It was followed by Eden, a dramatically staged recital by mezzosoprano Joyce DiDonato and Italian chamber orchestra Il Pomo d’Oro. Written to inspire deeper concern for the natural world and actions to support it, the Eden project invited Palo Alto youth choir iSing Silicon Valley to sing with Joyce the program’s youthcomposed anthem, “Seeds of Hope.” We commissioned work by Ghanaian musician and composer Okaidja Afroso. His Jaku Mumor—Ancestral Spirit featured performers from Ghana in a riveting multi-media performance documenting the Ga-Dangme fishing culture and songs from Ghana’s Atlantic Gulf of Guinea. In April, Meklit Hadero’s Movement Live featured several local artists who shared their migration stories in a beautifully produced work that integrated song, stories, and sound design, and the Australian Chamber Orchestra performed the new Echo Transcriptions by Stanford alum and composer Samuel Adams. Left: Circa, Leviathan. Photo: Michael Spencer. Top right: Dimitris Papaioannou, Transverse Orientation. Photo: Julian Mommert. Bottom right: Joyce DiDonato, Eden and the iSing Silicon Valley youth choir. Photo: Harrison Truong.
6
Classical From the beloved cellist Yo-Yo Ma to emerging violin virtuoso Randall Goosby, this season offered a range of memorable performances at Bing Concert Hall by renowned classical musicians and rising stars. At the piano, Hélène Grimaud’s autumn program traveled from Chopin and Schumann’s romanticism to the boundary-pushing works of Satie and Debussy, and we were enchanted by Lang Lang’s ebullient interpretation of Bach’s Goldberg Variations. Violinist Randall Goosby performed Beethoven’s Sonata No. 9, “Kreutzer” to raves, and under the baton of Lahav Shani, the Israel Philharmonic delivered a stirring rendition of Prokofiev’s Symphonies Nos. 1 and 5, as well as excerpts from his Romeo and Juliet. We were honored to host stops on two farewell tours: long-time conductor Riccardo Muti of the Chicago Symphony Orchestra, and the ninetime Grammy Award winning Emerson String Quartet. In April, the season concluded with the beloved duo of Yo-Yo Ma and pianist Kathryn Stott, whose 2021 album Songs of Comfort and Hope was released as a balm for the pandemic’s first year.
7
Randall Goosby performing at Bing Concert Hall. Photo: Michael Spencer.
Jazz From haunting performances like three-time Grammy Award winner Cécile McLorin Salvant’s Ghost Song in winter, to the joyful duo Tuck and Patti performing in the intimate surround of the Studio in spring, this season’s jazz offerings brought classic standards and dynamic innovations to our stages. Jazz legend Wynton Marsalis and the Jazz at Lincoln Center Orchestra ushered in our season with a swinging performance at Frost Amphitheater. We were mesmerized by Grammy Award winner Luciana Souza’s soulful Brazilian songbook collaboration with Vince Mendoza and a big band in Storytellers during the spring. And composer, jazz violinist and MacArthur fellow Regina Carter challenged us with Gone in a Phrase of Air, an electric performance at Bing Concert Hall exploring themes of demolition, gentrification, and urban renewal, as well as how the arts might nurture sustainable communities.
Cecile McLorin Salvant performing at Bing Concert Hall. Photo: Michael Spencer.
8
Folk & SingerSongwriter The season’s singer-songwriter lineup featured legends and rising stars at both Bing Concert Hall and the Studio. In autumn, Americana icon Lyle Lovett and beloved songwriter John Hiatt, whose songs have been performed by the likes of Emmylou Harris, B.B. King, and Willie Nelson, offered an intimate
Lyle Lovett and John Hiatt. Photo: Joel Simon.
performance at Bing Concert Hall. After participating in the Stanford
sibling harmonies have captivated audiences and earned
Live Arts Festival in Summer 2022,
them notice in folk circles, performed in the intimate setting
LA-based folk-pop trio Luci returned
of the Studio. Celebrated Canadian singer-songwriter and
to Stanford to perform at the Studio
activist Bruce Cockburn brought down the house at Bing with
in March 2023. The T Sisters, whose
his set, Kicking at the Darkness.
Luci. Photo: Matthew Huang.
9
Third Coast Percussion. Photo: Matthew Huang.
Contemporary The season’s contemporary offerings highlighted
created by McGrain was installed in the environs
the importance of investing in new music and art
of the Anderson Collection and Bing and in
that pushes the boundaries set by what’s been
between to connect the arts district in a walking
done before. These performers proved that new
path of about three-fourths of a mile. The five
work and sounds can engage with questions of
sculptures arrived in February 2023 and will be on
the moment in revelatory, beautiful ways.
view until September 2024.
We were captivated by the transcendent a
Third Coast Percussion renewed our sense of
cappella vocals of VOCES8 performing the
play and resilience, performing world premiere
world premiere of The Lost Birds. Composed by
Millennium Canticles by composer Missy Mazzoli.
Stanford alumni Christopher Tin, the piece is
The Australian Chamber Orchestra, featuring
cast as an elegy to birds driven to extinction by
didgeridoo virtuoso William Barton, premiered
humankind. The night before the performance,
Samuel Adams’ Echo Transcriptions at Bing. And
we screened the documentary film that Tin
Dream House Quartet brought their dueling
scored and which inspired his new piece that
pianos and guitars with daring new commissions
tells the story of sculptor Todd McGrain and his
by Thom Yorke, Brian Eno, Phillip Glass, and
practice of creating memorials to extinct birds.
others.
An accompanying exhibition of five of the birds
10
Aditya Prakash Ensemble. Photo: Matthew Huang.
Global Voices The breadth of global artists who grace our stages has been a strength of Stanford Live for many years. Performances in the 2022–23 season underscored the interconnectedness of our global community and the strength we draw from celebrating diverse cultures, musical traditions, and voices. From the plaintive raags maestra Kala Ramnath brought to life, to D’DAT’s Diné-influenced jazz, funk and hiphop fusion and Philharmonia Baroque Orchestra’s Diaspora: Jewish music of longing and celebration, Bing Concert Hall and the Studio elevated music from a variety of traditions and musical styles. Vân-Ánh Vanessa Võ’s vibrant
Vân-Ánh Vanessa Võ, Mekong LIFE. Photo: Matthew Huang.
multimedia performance Mekong: LIFE and DakhaBrakha’s Ukrainian folkbased world music engaged pressing current and historical events. We were also proud to welcome performances by Lupita Infante, Silvana Estrada, Aditya Prakash Ensemble, Brasil Guitar Duo, and vocal-percussion ensemble San Salvador. D’DAT. Photo: Harrison Truong. Meklit, Movement Live. Photo: Matthew Huang.
11
Dance & Theater Welcoming companies from three continents, the 2022–23 dance and theater season was marked by visually stunning reimaginings of old and ancient stories. The season opened with 13 Tongues, a dreamlike fusion of ancient rites with modern Taipei culture performed by celebrated Taiwanese dance company Cloud Gate. The company, named after the oldest known dance in China, combines martial arts, Qi Gong, modern dance, and classical ballet. Prince Hamlet, a gender-bent retelling of Hamlet for both Deaf and hearing audiences wove Shakespeare’s text with poetic American Sign Language (ASL) and challenged ideas about who can tell which stories. The cast
Cloud Gate, 13 Tongues. Photo: Courtesy of the artist.
participated in a meaningful bilingual pre-show conversation, and Deaf actor Dawn Jani Birley met with a Stanford undergraduate ASL class. In December, the co-commissioned performance Transverse Orientation from Greek director and choreographer Dimitris Papaioannou received enormous ovations at Memorial Auditorium in its final two touring performances. The company’s dancers interacted with a complex set that included a roving bull animated by two dancers, enigmatic objects coming and going, and a pool of water covering the stage that was revealed only at the work’s conclusion. These mysteriously compelling images left the audience to decide their meaning.
Bottom right: Why Not Theatre, Prince Hamlet. Photo: Bronwen Sharp.
12
Ian Lara. Photo: Michael Spencer.
Comedy & Cabaret Discovery, experimentation, play. In the convivial cabaret configuration of the Studio, visiting comics and performers collaborated with audiences in an intimate café setting. The effects this season were diverse and rewarding. Atsuko Okatsuka delivered her last live performance of her show, The Intruder, before it moved to HBO, and Canadian puppeteer Ronnie Burkett directed Little Willy, his raucous sendup of Shakespeare. Suli McMullough, who wrote for The Tonight Show with Jay Leno and the Academy Awards, performed standup and conducted a writers’ workshop with Stanford students. The Studio also welcomed queer cabaret artist Migguel Anggelo’s LatinXoxo, fashion designer and crooner Isaac Mizrahi, comic Ian Lara, and New York piano bar favorite Brandon James Gwinn.
Migguel Anggelo, LatinXoxo. Photo: Michael Spencer.
13
Atsuko Okatsuka. Photo: Roodolphe Gouin.
Season in numbers S TA N F O R D L I V E AT T E N D E E S
2,800+ Stanford students 19,800 Households
449
136 Total Ticketed Events 11 Total Free Events 38,148 Tickets Sold Tickets Sold to Stanford
16% Students
Tickets Sold to Stanford
Households with Tickets to 5+ Performances
14% Staff/Faculty
PERFORMANCE S BY G EN RE
21 Jazz 15 Comedy & Cabaret 1 Broadway 4 Speakers 4 EDM/DJ 7 Rock
29 Classical 15 Global 7 Folk & Singer-Songwriter 11 Contemporary 16 Dance & Theater S TA N F O R D L I V E A R T S F E S T I VA L
13 Total Events
CO -PRESENTED CONCERTS WITH
Tickets Sold to Stanford
10% Students
132,300 Tickets Sold
Sold to Stanford 7% Tickets Staff/Faculty
24,136 Tickets Sold
$10,338,510 Revenue (gross sold)
$1,394,379 Revenue (gross sold)
22
Community Participants:
11 From Off-Campus 11 Stanford Students (8 youth, 3 adults)
17
Artist Conversations with Students
20 Total Events
84
Teachers Attended Workshops
2,219
Students Attended Student Matinees
113.5
Total K-12 Education Program Hours
14
Stanford Live Arts Festival The Stanford Live Arts Festival returned to Frost Amphitheater in July for a season of outdoor music, dance, and community. Now in its third consecutive year, this five-week celebration of music and dance under the stars represents a strong collaboration with our Bay Area partners San Francisco Symphony, SFJAZZ, and San Francisco Ballet. The 2023 Festival showcased the Imua Hawaii Music Festival, Uruguayan singer-songwriter Jorge Drexler, and legendary Brazilian bandleader Sérgio Mendes.
15
San Francisco Symphony performing at Frost Amphitheater. Photo: Joel Simon.
Frost Amphitheater. Photo: Matthew Huang
Sergio Mendes. Photo: Joel Simon
San Francisco Ballet’s Sasha Mukhamedov and Joseph Walsh in Possokhov’s Violin Concerto. Photo: Courtesy Goldenvoice.
16
LCD Soundsystem. Photo: Phil Halperin
Julien Baker with boygenius. Photo: Phil Halperin.
17
Stick Figure. Photo: Marlene Sanchez.
James Taylor. Photo: Courtesy of Goldenvoice.
Goldenvoice Since Frost Amphitheater’s reopening in 2019, our partnership with Goldenvoice has quickly placed Frost on the map as one of the Bay Area’s leading outdoor concert venues. The 2022-23 season was headlined by Willie Nelson, an evening with James Taylor, Cavetown, and REZZ. re:SET, a summer mini-festival featuring LCD Soundsystem, Steve Lacy, and boygenius represented a first for this collaboration. Frost Amphitheater also remained an important gathering place for Stanford’s vibrant community life over the past year, co-hosting Blackfest 2023 with the Black Family Gathering Committee, High Holidays with Hillel@ Stanford, Frost Fest with the Stanford Concert Network, and Baccalaureate, Stanford’s commencement celebration.
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Campus & Artistic Engagement
Vocal ensemble VOCES8 and Stanford alum and composer Christopher Tin hosted a master class for Stanford vocal students, and Tin met with students affiliated with the Asian American
As our 2022-23 programming engaged with
Center and participated in a talk back after a
urgent societal and artistic questions, we looked
screening of The Lost Bird Project documentary
for new ways to bring more Stanford and Bay
that he scored the music for.
Area communities into conversation with the work being imagined and performed on our
In partnership with the Stanford Storytelling
stages.
Project and Stanford Speakers Bureau, we presented Fight the Future, a conversation
In collaboration with Stanford’s Environmental
between acclaimed author Margaret Atwood
Justice Working Group, Portland-based
and Slate senior editor Dahlia Lithwick, hosted
Ghanaian composer Okaidja Afroso met with
by Paula Moya. And in an act of meticulous
over 80 members of the campus community
re-creation, France’s Ensemble Organum joined
at Stanford’s O’Donohue Family Stanford
Stanford’s Art and Art History department and
Educational Farm for music and conversation
Center for Computer Research in Music and
about his home region and the sustainability
Acoustics group to imagine the spiritual sights
challenges it faces.
and sounds from the eleventh-century liturgical chant, the Office of Ste. Foy at Conques. Poetry
The events surrounding the opera The Ritual of
Live! in February, in an evening curated by
Breath Is the Rite to Resist offered many paths
Stegner alum Hieu Minh Nguyen, celebrated
to engagement: Denning House hosted a conversation about witness between Gwen Carr (mother of Eric Garner), Rev. Wanda Johnson (mother of Oscar Grant III) and Rev. Dr. Sakena Young-Scaggs, Stanford’s Senior Associate Dean for Religious and Spiritual Life and Pastor of Memorial Church. The Stanford community was invited to a procession of breath from Black House to Bing Concert Hall led by dance faculty member amara tabor smith. A ritual-making session led by performance artist brontë velez invited participants to create and practice rituals of attention, listening, grief, levity, and belonging. In support of this ongoing practice, we worked with Kimberly McNair, lecturer in Stanford’s African and African American Studies, to connect with social justice organizations around the Bay Area and to learn how we can better support their work. 19
Gwen Carr: Family, Testimony, and Witness as Resistance. Photo: Michael Spencer.
Okaidja Afroso speaking at the O’Donohue Family Stanford Educational Farm. Photo: Nikolas Liepins.
spoken word with award-winning poets Danez Smith, Fatimah Asghar, and the heartfelt, incisive contributions from the Stanford Spoken Word Collective. Acknowledging our mission to serve Stanford’s vibrant student community, Stanford Live continued to offer discounted student tickets for
My curatorial fellowship was formative in exposing me to new perspectives and ideas about the role of the arts in society. I was … struck by the power of art to raise awareness about important issues such as climate change and environmental justice.
all Stanford Live presented performances, as well as paid internships in marketing and operations and fellowships focusing on the curatorial process and arts journalism.
–Haley Stafford, Stanford Live Curatorial Fellow 2021-23 20
K-12 programming We were thrilled to return to live performances for K-12 audiences at Bing Concert Hall in 202223, and we continued to support local students and educators with workshops and school visit programs introduced over the last three years. Our live matinees, which enjoyed an average of 88% attendance, gave an opportunity for Bay Area students and educators to engage with some of the performance highlights of the season while also interacting with the artists in workshops and Q&As. Third Coast Percussion performed their Think Outside the Drum program to over 700 students and teachers, introducing core elements of music such as melody and rhythm with the audience clapping, singing, and moving along. In February, we welcomed New York-based jazz education organization JazzReach, whose program Jean-Michel and the Be-Bop Kings combined live jazz, projections, and narration to highlight the ways in which the great painter Jean-Michel Basquiat drew inspiration
Mindful Arts in the Classroom workshop with Andrew Nance. Photo: Joel Simon.
We closed the season with Vanessa Vân-Ánh Võ’s Mekong: LIFE. The Vietnamese-American composer and multi-instrumentalist brought together Bay Area-based artists from Cambodia, Laos and Thailand in a music and video production celebrating the cultures of the Mekong Delta region and exploring the effects of climate change and environmental exploitation. Many of our partner teachers shared with us that they continue to navigate challenges created by the interconnected traumas and losses of the pandemic for their students and families. It was an important reminder to us that the questions of Place and Healing extend beyond the concert hall, and that healing requires community resources and care. In response to educators’ needs, we offered a workshop track led by nationally recognized arts educator Michelle Holdt, Creative Compassionate Classrooms, as well as online drop-in sessions that allowed educators to discuss the trainings and challenges in their classrooms.
from jazz giants such as Dizzy Gillespie and celebrated them in his paintings. Members of JazzReach also coached jazz ensembles at Cesar Chavez Ravenswood Middle School and Gunn High School in Palo Alto. The next matinee featured the Queen’s Cartoonists, a stellar group of musicians who combine jazz, classical, and film music to accompany cartoons drawn from over a century of animation. We were excited to see this performance support our partnership with East Palo Alto’s Ravenswood City School District, with the district’s Belle Haven Elementary bringing their entire student body to the performance.
The quality of this performance was so amazing, and I absolutely loved the relevance of the topic. Having such a high-quality artistic performance that not only spoke to a topic of huge importance but also exposed students to a variety of new instruments and musical genres was brilliant. The chance for my students to see their identities validated in such a profoundly beautiful way was so appreciated. –Teacher on Mekong: LIFE
21
22
Revenue: $23.7 million Rental & Partner Income Stanford University Facility Maintenance Support
5%
1% Stanford University General Funds & Other
Ticket Sales & Fees
9%
11% Individual Giving
11%
Corporate Support
2% Foundation & Goverment Support Endowment
1%
1% Frost Amphitheater Ticket Sales & Other
59%
Expenses: $23.5 million University Infrastructure
2%
Administration
Salaries & Fringe
1%
16%
Programming
11%
Campus & Community Engagement
Frost Amphitheater
1%
58%
Production
2% Marketing
3% Fundraising
1% Facilities & Operations
5% 23
Stanford Live Members BING CIRCLE
Rick & Amy Magnuson
Tashia & John Morgridge
($50,000+)
Victoria & James Maroulis
Dean Morton
Anonymous
Carrick & Andrew McLaughlin
Lynn & Susan Orr
Jeanne & Larry* Aufmuth
Linda & Tony Meier
Anthony Paduano & Ruth Porat
Helen & Peter Bing
David Morandi
William Reller
Sakurako & William Fisher
John O’Farrell & Gloria Principe
Condoleezza Rice
Marcia & John Goldman
Meryl & Rob Selig
Donna & Channing Robertson
Stephanie & Fred Harman
Priscilla & Ward Woods
Amanda & Michael Ross
Helen & Maurice Werdegar
Susan & David Young
Barbara & Greg Rosston Thomas C. Sadler & Dr. Eila C. Skinner
David Wollenberg BING ARTIST’S CIRCLE ($7,500-$14,999)
Scott D. Sagan & Sujitpan Lamsam
Anonymous (2)
Dr. Harise Stein & Mr. Peter Staple
Anonymous (2)
Fred Alvarez & Beth McLellan Alvarez
Madeline & Isaac Stein
Shawn & Brook Byers
Keith Amidon & Rani Menon
Tracy Storer & Marcia Kimes
Roberta & Steven Denning
John Antoun
Lena & Ken Tailo
Sue & John Diekman
Felicity Barringer & Philip Taubman
Carol & Doug Tanner
Ann & John Doerr
Alison & Joe Barta
Dr. John S. & Mary Lee Wachtel
Mary & Clint Gilliland
Iris & Paul Brest
Tom Wandless & Karlene Cimprich
Drs. Lynn Gretkowski & Mary Jacobson
Janice Brody & Bruce Rule
Linda Wenstrand & Bruce Winterhof
Morton Grosser & Sharona Wolf
April Steuber Carlson & Jon Carlson
Simona & Claudio Zampa
Leonard Gumport & Wendy Munger
Regina & Gerhard Casper
Rick Holmstrom & Kate Ridgway
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Beverly Dale, PhD
SUSTAINER ($2,500-$7,499)
Leslie & George Hume
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Anonymous
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James Feit
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Deedee McMurtry
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Dena & Marc Levy in memory of Donald & Rachel Levy
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Charles & Helene Linker
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Cynthia & Richard Livermore
Betsy Morgenthaler
Michael & Jane Marmor/ The Marmor Foundation
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BING CIRCLE ($25,000-$49,999)
BING DIRECTOR’S CIRCLE ($15,000-$24,999) Anonymous Chris & Michael Boskin Joyce Chung & René Lacerte Mary & Bill Fitch Jill Freidenrich Jim & Lynn Gibbons Elizabeth & Zachary Hulsey
Wendy & Timothy McAdam Ryan & Katherine McIntyre Cathy McMurtry Lloyd Minor & Lisa Keamy
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Paula & Bill Powar Linda & Ted Schlein Srinija Srinivasan Kenneth Weinberg 24
PARTNER ($1,000-$2,499)
Lawrence Hu
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Lucy S. Tompkins, MD, PhD
Anonymous (8)
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ADVOCATE ($500-$999)
Tab Bowers & Michie Kasahara
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Anonymous (10)
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The Liminal Fund
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Sara Herman
Susie Richardson
Mid Atlantic Arts Foundation
Linc & Robin Holland
Sarah & Carl Rosendahl
Powers Performing Arts Fund
Charles & Christina Holloway
Alison Rosenthal & Katharine Carroll
Western States Arts Federation
Anita Honkanen & Frederick Ackroyd
Alan & Nancy Schatzberg
Erwin Hosono
Jim & Emily Scheinman
IN-KIND PARTNERS
Rex & Dede Jamison
Kent & Tracey Seymour
Sheraton Hotel
John & Jacque Jarve
Carla Shatz
Nobu Hotel Palo Alto
Paul Jenkel
Saroja Srinivasan
Stanford Park Hotel
Edmon & Mary Jennings
Mike & Deb Staiger
Westin Hotel
Melinda & Jim Johnson
Luis & Charles Stevens-Evans
Leigh & Roy Johnson
Madeleine Stovel
Stanford Live’s 2022–23 season was
Lil & Todd Johnson
Trisha Suppes
generously supported by Helen and
William F. Kay & M. Carol Stevens
Phillip Tagami
Peter Bing
Professor David & KC Kelley
Kathleen Tandy
Mary Jo & Chris Kelly
Jorge & Molly Tapias
Stanford Live’s jazz programs were
Mary Lou Kilcline
Timothy & Sally Tomlinson
generously supported by the Koret
Ed & Kay Kinney
Katherine Tsai
Foundation.
Jill Klein
James Tuleya & Karen Hurst
The Klements
Annonymous
The Stanford Live Commissions and
Jordan & Stewart Koch
James & Julia Vandermade
Programming Fund is generously
Jeffrey Koseff & Thalia Anagnos
Robert V. Wagoner
supported by the Hornik Family, Victoria
Kerry & Maureen Kravitz
Mark Weiss
and James Maroulis, the Maurice and
Amy L. Ladd, MD
The Wendling Family
Helen Werdegar Fund for Stanford Live,
Yuhzen Liao
Patti & Ed White
and other generous donors.
Marcia C. Linn
Melanie & Ron Wilensky
Vera Luth
Perry Woo
Stanford Live’s K-12 programs are
Kathy Mach & David Scherer
Monica Yeung & Adrian Arima
generously supported by Victoria and
Josh Makower
Dr. Robert & Sharon Yoerg
James Maroulis, Gretchen and Mark
Charlene & Dick Maltzman
Schar, California Arts Council, Koret
Marylin McCarthy
INSTITUTIONAL PARTNERS
Marcy McKee
$100,000+
Penny & Jim Meier
BILL
Contributions listed are from Stanford
Elyce Melmon
Koret Foundation
Live members who made gifts from
Dick R. Miller & James M. Stutts
Stanford Medicine
9/1/2022 through 8/31/2023. For
Andrew Murphy & Michelle Duffy
Taube Philanthropies
corrections, or to make a contribution,
Karen & Tom Nagy Deborah & Peter Nelson Theo & Lisa Nissim Christine & Ronald Orlowski Shari & Donald Ornstein Laurie Owen Kathryn Papadopoulos Sandra & Scott Pearson Andris & Corrina Petriceks Nancy & Stephen Player Joan Rabin Kaushie Adiseshan & Anand Rajaraman Missy & Steve Reller
Foundation, and an anonymous donor.
please contact us at 650.725.8782 or $50,000-$99,999 Office Of Community Engagement The William & Flora Hewlett Foundation $10,000-$49,999 California Arts Council
supportstanfordlive@stanford.edu. To learn more about giving to Stanford Live, visit live.stanford.edu/give. * Deceased
Capital Group Drs. Ben & A. Jess Shenson Fund $1,000-$9,999 The Aaron Copland Fund for Music 26
Chanticleer’s holiday concert in Memorial Church. Photo: Joel Simon.
2022–23 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide advice on the strategic direction of the organization. Fred Harman, Chair Jeanne Aufmuth Peter Bing Brook Byers Rick Holmstrom David Hornik Lisa Jones René Lacerte Cathy McMurtry Roger McNamee Linda Meier Trine Sorensen Srinija Srinivasan Doug Tanner Jorge Tapias David Wollenberg Ex Officio: Maude Brezinski Deborah Cullinan Stephen Sano Anne Shulock
Yo-Yo Ma and Kathryn Stott. Photo: Harrison Truong.
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Stanford Live Staff 2022-23
Deborah Cullinan Acting Director
Zack Leuchars Production Manager
Chris Lorway McMurtry Family Director of Stanford Live
Albert Montanez-Sanchez Producer for Artistic Programs
Diana Burnell Assistant Ticket Office Manager Kelsey Carman Marketing Manager Robert DeArmond Associate Director of Web and Digital Services Laura Evans Director of Programming and Engagement Ben Frandzel Institutional Gifts and Community Engagement Officer Bryce Freeman Director of Operations Aisah Gemora Associate Director of Operations Elisa Gomez-Hird HR & Operations Associate Christina Gonzalez Ho Artist Liaison Carly Gliva Development Program Manager Kristine Graham Ticketing Services Lead Danielle Kisner Production Coordinator Patty Kong Finance Manager
Maurice Nounou Director of Ticketing and System Operations Nick Oldham A/V Manager Kimberly Pross Director of Operations and Production Jeremy Ramsaur Lighting Manager Toni Rivera Operations Coordinator Heather Romanowski Stage Technician Claire Salcido Artist Liaison Hugo Seda Artistic Administrator Laurel Skehen Associate Director of Development Derek Stern Front of House Manager Michelle Symons Facilities Specialist Amanda Wah Director of Marketing and Communications Sarah Warner Director of Development
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L I V E . S TA N F O R D . E D U