MARCH–APRIL 2020
Pivotal works of Margaret Atwood, Treemonisha reimagined, a retrospective of Gong Linna’s career, and more 1
P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
o
archaeology · art history · art studio · business · classics · communication · creative writing design · film studies · history · languages · law · literature · mathematics · music · personal development · philosophy · photography · psychology · science · technology · wellness & health
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CONTENTS
Stanford Live Staff & Sponsors
p—5
Welcome
p—6
Upcoming Events
p—8–14
Campus Partners
p—17
Scene & Heard
p—18–19
Behind the Scenes
p—33
Black Women’s Leadership in the Opera: A Century in the Making
Membership
p—34–35
Stanford Live & Bing Concert Hall Donors
p—36–37
Calendar
p—38
By Whitney French
Plan Your Visit
p—39
The female-led creative team behind Volcano Production’s Treemonisha discuss reimagining Scott Joplin’s near-lost opera
p—20
Infographic
Infographic
Pivotal Works by Margaret Atwood
Expanding Notions of Traditional and
A tour through some of Atwood’s
Contemporary Music
published works from early in her
A retrospective of singer Gong Linna
career through today
p—28 p—24
Featurette
Featurette
Making Music: An Alternative Model
The Synagogue, the Home, the Stage
An interview with Michael Barenboim on
PBO’s Jews and Music Scholar
the origins and new direction of the West-
Francesco Spagnolo describes the
Eastern Divan Orchestra and its newly
historical context of the upcoming PBO
formed ensemble
Sessions program Jewish Songlines
p—26
p—30 3
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March-April 2020 | Volume 12, No. 4
STAFF
SEASON SPONSOR
Chris Lorway Executive Director Bryan Alderman Assistant Director of Development Karim Baer Associate Director for Campus Engagement and Public Programs Dawn Bercow Development Events Manager
FOUNDATION & GOVERNMENT PARTNERS
Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Kelsey Carman Marketing Manager Brett Cavanaugh Stage Technician Vanessa Chung Artist Liaison and Executive Assistant
CORPORATE PARTNERS
Robert DeArmond Web Developer Laura Evans Director of Music Programs, Engagement, and Education Ben Frandzel Institutional Gifts and Community Engagement Officer
PAUL HEPPNER President MIKE HATHAWAY Senior Vice President KAJSA PUCKETT Vice President, Sales & Marketing GENAY GENEREUX Accounting & Office Manager
Production SUSAN PETERSON Vice President, Production JENNIFER SUGDEN Assistant Production Manager ANA ALVIRA, STEVIE VAN BRONKHORST Production Artists and Graphic Designers Sales MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives BRIEANNA HANSEN, SHERRI JARVEY, ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager CIARA CAYA Marketing Coordinator Encore Media Group 425 North 85th Street • Seattle, WA 98103 800.308.2898 • 206.443.0445 info@encoremediagroup.com encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve performing arts events in the San Francisco Bay Area and Greater Seattle Area. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited.
Elisa Gomez-Hird HR and Administrative Associate
IN-KIND PARTNERS
Katie Haemmerle Communications Manager Danielle Kisner Stage Technician Maurice Nounou Associate Director of Ticketing and System Operations Nick Oldham Audio Engineer and A/V Manager Egan O’Rourke Production Manager Kimberly Pross Director of Operations and Production
MEDIA PARTNERS
Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development Toni Rivera Operations Coordinator Mike Ryan Director of Operations, Frost Amphitheater Bill Starr House Manager Krystina Tran Director of Marketing, Communications, and Patron Services Michelle Travers Artist Liaison Max Williams Development Programs Manager
Stanford Live’s 2019–20 season is generously supported by Helen and Peter Bing. Underwriting for student ticket discounts for the 2019–20 season is generously provided by the Bullard family. Stanford Live’s 2019–20 season jazz programs are generously supported by the Koret Foundation. The Stanford Live Commissions and Programming Fund is generously supported by the Hornik family, Victoria and James Maroulis, and the Maurice and Helen Werdegar Fund for Stanford Live.
PHOTO CREDITS On the cover: Margaret Atwood, 1966, photo courtesy of artist; Page 3: Photo 1 courtesy of Volcano Productions, 2 by Jean Malek, 3 courtesy of artist, 4 by Marcus Höhn, 5 courtesy of PBO Sessions; Page 17: Photo 1 by Wesaam Al-Badry, 2 courtesy of Cantor Arts Center, 3 by Farzad Owrang; Page 18–19: Photo 1, 2, 3, 4 & 6 by Allie Foraker, 5 & 8 by Michael Spencer, 7 by Joel Simon; Page 20–23: Photos courtesy of Volcano Productions; Pages 24-25: Photo 1 by Agustina Girardo courtesy of Creative Commons, 2 by George Whiteside; Pages 26-27: Photo 1 by Marcus Höhn, 2 courtesy of artist; Pages 28–29: Photo 1 & 4 courtesy of artist, 2 & 3 courtesy of Creative Commons; Page 30-32: Photos 1 courtesy of PBO Sessions, 2 & 3 courtesy of Creative Commons; Page 33: Photos courtesy of Will Paisley; Pages 34–35: Photo 1 by Joel Simon, 2 by Michael Spencer, 3 by Kate Munsch.
5
WELCOME
“Reality simply consists of different points of view.” Margaret Atwood
In Margaret Atwood’s iconic novel The
In his article The Synagogue, the Home,
Handmaid’s Tale and its recent sequel
the Stage, Francesco Spagnolo traces
The Testaments, Atwood creates a dys-
the influence that Jewish culture and
topian world that many readers (and
space had—and continues to have—
Hulu series fans) view as science fiction.
on popular music from different eras.
Yet there are others who suggest we’re
Finally, Michael Barenboim follows in
slowly inching toward her bleak vision
his father’s footsteps by leading an
of the future.
ensemble that uses music-making as a way to stimulate dialogue between Israelis and Palestinians.
This idea of perspective plays out in a number of articles in this issue of Stanford Live Magazine. In doing
Thank you for spending time with us.
research on a new libretto for Scott
And stay tuned for an exciting an-
Joplin’s Treemonisha (which will have
nouncement in late-April about what we
its world premiere at Stanford Live in
have planned for next season!
April), playwright and librettist LeahSimone Bowen dug into the history of
Chris Lorway
Black Reconstruction and the tension
Executive Director
between the two leaders of that movement, W.E.B. Du Bois and Booker T. Washington, men who had similar goals but very different approaches to achieving them. This history is once again being examined by a creative team led by women of color.
6
UPCOMING
EVENTS DIS CUS SION
C L AS SICA L
DA NC E
Common in Conversation
Michael Barenboim and West-Eastern Divan Ensemble
Dorrance Dance SOUNDspace
WHEN:
VENUE:
WHEN:
VENUE:
WHEN:
VENUE:
T U E S DAY,
MEMORIAL
W E D N E S DAY,
BING
T U E S DAY,
BING
M A RC H 3,
AU D I TO R I U M
M A RC H 4,
C O N C E RT
M A RC H 10,
C O N C E RT
7: 30 P M
7:30 P M
HALL
7:30 P M
HALL
Academy Award, Golden
Michael Barenboim, son of
With SOUNDspace, the troupe
Globe, Emmy, and Grammy
pianist Daniel Barenboim,
from critically acclaimed
winner Common—an
leads the West-Eastern Divan
dance artist Michelle
accomplished artist, actor,
Ensemble. Through music, the
Dorrance will bring 11
and activist—continues to
ensemble combats political
impressive tappers, a pianist,
break down barriers with
divides by bringing together
and a stage full of innovative
a multitude of critically
Arab and Israeli musicians
excitement to Bing Concert
acclaimed, diverse roles.
onto one stage.
Hall.
Listen to Common speak about his deep engagement with social justice and advocacy work related to mass incarceration, mental health, and voting. Joining Common will be Adam Banks, Professor of Education and Faculty Director of the Institute for the Diversity in the Arts.
KEY A M P L I F I C AT I O N AU D I E N C E I N T E R AC T I O N
8
For the full calendar, visit live.stanford.edu.
C L AS SICA L / DIS CUS SION
C L AS SICA L
FOL K
JA Z Z
PBO Sessions
Philharmonia Baroque Orchestra
Dreamers’ Circus
Cécile McLorin Salvant with Darcy James Argue
Jewish Songlines—Performers, Patronage, and Prejudice
Romantic Reflections: Cherubini, Mendelssohn, and Schubert
WHEN:
VENUE:
WHEN:
VENUE:
T U E S DAY,
B I N G ST U D I O
W E D N E S DAY,
BING
M A RC H 1 0,
M A RC H 11,
C O N C E RT
8 : 00 P M
7: 30 P M
HALL
WHEN:
VENUE:
T H U R S DAY,
B I N G ST U D I O
Ogresse
M A RC H 12, 7:00 P M & 9:00 P M
Dreamers’ Circus has been a force in the Nordic music
WHEN:
VENUE:
F R I DAY,
BING
M A RC H 13,
C O N C E RT
7:30 P M
HALL
world for a decade now. In its intimate Bing Studio performance, the trio brings its inventive and imaginative
Francesco Spagnolo—
The sensational Vivaldi
Philharmonia Baroque
virtuoso Alana Youssefian joins takes on traditional
Orchestra’s Jews and Music
PBO for a reflective embrace
Scholar—joins forces with
of historically informed
Nicholas McGegan on a
Romanticism, including
journey to the world of Felix
Mendelssohn’s impassioned
Mendelssohn and 19th-
concerto, the overture to
century Germany, a period in
Cherubini’s first Parisian
history rife with sociopolitical
opera, and the expansive
tensions, rich musical
optimism of Schubert’s last
splendor, and religious
completed symphony.
Scandinavian roots.
Renowned jazz vocalist Cécile McLorin Salvant’s Ogresse, an original concert concept arranged and conducted by
C OM E DY
Colin Quinn: The Wrong Side of History Comedy at the Bing
conflict. Part of PBO’s Jews
WHEN:
VENUE:
and Music Initiative, this
F R I DAY,
B I N G ST U D I O
riveting program offers
M A RC H 13,
musical reflections paired
7:00 P M &
with dynamic discussion in
9:00 P M
the intimate Bing Studio.
Stand-up comedian Colin Quinn—whose newest oneman show, Red State Blue State, premiered to rave reviews at the Minetta Lane Theatre in New York and was adapted into CNN’s first comedy special in May 2019—will perform a set for the next Comedy at the Bing show. 9
jazz luminary Darcy James Argue, uses Salvant’s eclectic choices, from hip-hop to Cuban to Baroque idioms, coupled with her exquisite vocal gifts for a one-of-akind audience experience. Generously supported by the Koret Jazz Project
UPCOMING
EVENTS JA Z Z / WOR L D
JA Z Z
VO CA L
Sounds of Cuba: Bobi Céspedes
Fly Higher
Choir of St John’s College, Cambridge
Charlie Parker @ 100
WHEN:
VENUE:
WHEN:
VENUE:
WHEN:
VENUE:
SAT U R DAY,
B I N G ST U D I O
SAT U R DAY,
BING
W E D N E S DAY,
MEMORIAL
M A RC H 2 1,
M A RC H 28,
C O N C E RT
A P R I L 1,
C H U RC H
7: 0 0 P M &
7:30 P M
HALL
7:30 P M
9: 0 0 P M
Gladys “Bobi” Céspedes has
Acclaimed co–musical
The Choir of St John’s College,
been at the forefront of
directors Rudresh
Cambridge, is one of the
representing and promoting
Mahanthappa (alto
finest collegiate choirs in
Cuban music in the Bay Area
saxophone) and Terri Lyne
the world. For its Memorial
and the United States for over
Carrington (drums) celebrate
Church appearance, the choir
40 years. In her new album,
Charlie Parker’s centennial
will perform its own repertoire
Mujer y cantante, Céspedes
year by showcasing “Bird’s”
that spans over 500 years of
boldly celebrates the strength
uncompromising musical joy,
music and is central to the
acquired through her rich
humor, and beauty as they
Chapel of St John’s College,
familial and cultural legacy.
mine his deep repertoire
Cambridge.
and offer new, modern compositions.
JA Z Z / WOR L D
Music at Stanford and the
Sounds of Cuba: Alfredo Rodríguez and Pedrito Martinez WHEN:
VENUE:
S U N DAY,
B I N G ST U D I O
Generously supported by Stephanie and Fred Harman and the Koret Jazz Project
M A RC H 2 2 , 4: 30 P M & 7: 0 0 P M
In their first duo outing for their album Duologue, Cuban jazz musicians Alfredo Rodríguez and Pedrito Martinez explore a range
KEY
of moods and influences, A M P L I F I C AT I O N AU D I E N C E I N T E R AC T I O N
Presented in partnership with
from Cuban classics to collaborative original compositions to a number of unexpected favorites. 10
Stanford Office for Religious Life
For the full calendar, visit live.stanford.edu.
VO CA L
Choir of St John’s College, Cambridge WHEN:
VENUE:
T H U R S DAY,
BING
A P R I L 2,
C O N C E RT
7 : 30 P M
HALL
Following its performance in Memorial Church, the Choir of St John’s College will perform a set in Bing Concert Hall. The Stanford Chamber Chorale and members of the Stanford Symphony Orchestra will then join the choir to perform Gabriel Fauré’s Requiem. Presented in partnership with Music at Stanford and the Stanford Office for Religious Life
UPCOMING
EVENTS C ON T E M P OR A RY M USIC
C L AS SICA L
FOL K
Bang on a Can All-Stars
Invoke Multistring Quartet
Songs of Protest: Bruce Cockburn
WHEN:
VENUE:
WHEN:
VENUE:
FRIDAY, APRIL 3,
B I N G ST U D I O
S U N DAY,
BING
A P R I L 5,
C O N C E RT
2:30 P M
HALL
7: 0 0 P M
F R I DAY,
BING
A P R I L 10,
C O N C E RT
7:30 P M
HALL
imagining a kind of utopia for
Invoke multi-instrumental
music, and this concert at the
quartet as “not classical,
Bing seeks to demonstrate
but not not classical.” In the
Nano Stern, whom Joan Baez
an open, welcoming, and
group’s performance at the
describes as one of the best
inclusive space for music and
Bing, Invoke will draw from its
Chilean songwriters of his
ideas from a wide variety of
recent album that embraces
generation, returns to Stanford
styles. It features work from
bluegrass, Appalachian fiddle
Live with folk musician Bruce
the organization’s co-founders
music, jazz, and minimalism.
Cockburn. Each will perform a
Julia Wolfe, David Lang, and
solo set of protest songs that
Michael Gordon alongside
capture human experience and
compositions by jazz giant
cultural histories.
Ornette Coleman, young
DIS CUS SION
pioneer Anna Clyne, and Sonic Youth’s Thurston Moore.
Margaret Atwood in Conversation
C ON T E M P OR A RY M USIC
WHEN:
VENUE:
SAT U R DAY,
BING
A P R I L 4, 7: 30 P M
C O N C E RT
WHEN:
VENUE:
W E D N E S DAY,
BING
A P R I L 8,
C O N C E RT
7:30 P M
HALL
Acclaimed writer Margaret
HALL
C L AS SICA L
St. Lawrence String Quartet: Good Friday Liturgical Performance Haydn’s Seven Last Words WHEN:
VENUE:
F R I DAY,
MEMORIAL
A P R I L 10,
C H U RC H
5:00 P M
Atwood, whose most recent book, The Testaments, is a
Evoking the last hours of
Superstar Chinese fusion
joint winner of the 2019
Christ’s life, the work’s seven
singer Gong Linna sets new
Booker Prize, will make a visit
individual sections carry
lyrics to centuries-old Chinese
to Bing Concert Hall for a
tempo markings of largo,
melodies backed by the
discussion.
adagio, lento, and grave. In this performance, and as
musicians of Bang on a Can. AU D I E N C E I N T E R AC T I O N
VENUE:
A radio producer described
With Bang on a Can All-Stars
A M P L I F I C AT I O N
WHEN:
Bang on a Can started by
Gong Linna: Cloud River Mountain
KEY
Featuring Nano Stern
Gong’s husband, German
Presented in partnership with
it was written, Seven Last
composer Robert Zollitsch
the Stanford Storytelling Project
Words will be punctuated
(“Lao Luo”), composes many of
and the Stanford Speakers
with readings from the Good
the brilliantly staged pieces.
Bureau
Friday service.
12
For the full calendar, visit live.stanford.edu.
C ON T E M P OR A RY M USIC
Rebirth of a Nation Paul D. Miller (aka DJ Spooky) featuring Catalyst Quartet WHEN:
VENUE:
W E D N E S DAY,
BING
A P R I L 1 5,
C O N C E RT
7 : 30 P M
HALL
D. W. Griffith’s infamous and controversial 1915 silent film The Birth of a Nation inspired this multimedia piece that shows how exploitation and political corruption still taint the world, but in radically
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different forms. In his Bing performance, DJ Spooky will be joined by the Catalyst Quartet, an ensemble born out of the Sphinx Ensemble in Detroit, which is committed to playing the works of composers of color.
Webster House makes it easy for you to stay connected to the vibrancy of Palo Alto while enjoying convenient services and security for the future. Explore your options and learn more about Webster House. For information, or to schedule a visit, call 650.838.4004.
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UPCOMING EVENTS
For the full calendar, visit live.stanford.edu.
FOL K / P OP
C L AS SICA L
T H E AT E R
C L AS SICA L
Oysterhead
Maria Schneider Orchestra
Scott Joplin’s Treemonisha
Sarah Chang with Telegraph String Quartet
Featuring Trey Anastasio, Les Claypool, and Stewart Copeland
Produced by Volcano with Moveable Beast Collective and Co-commissioned by Stanford Live
WHEN:
VENUE:
M O N DAY,
BING
VENUE:
A P R I L 27,
C O N C E RT
T H U R S DAY
PA LO
7:30 P M
HALL
& F R I DAY,
A LTO H I G H
A P R I L 23 &
SCHOOL
24, 7:30 P M
P E R FO R M I N G
SAT U R DAY,
A RT S C E N T E R
WHEN:
VENUE:
WHEN:
VENUE:
SAT U R DAY,
F RO ST
SAT U R DAY,
BING
AMPHITHEATER
A P R I L 1 8,
C O N C E RT
WHEN:
HALL
A P R I L 1 8, 6: 30 P M
7: 30 P M
Violinist Sarah Chang joins
After nearly a two-
Known as a breakaway
decade hiatus, supergroup
jazz orchestra leader and
A P R I L 25,
the esteemed Telegraph
Oysterhead is back on tour
composer, Minnesota-born
8 :00 P M
String Quartet—residents
and making a stop at Frost
Maria Schneider and her
S U N DAY,
at the San Francisco
Amphitheater. The band
18-member orchestra perform
A P R I L 26,
Conservatory of Music—
features Phish guitarist Trey
worldwide, tackling lush and
2:30 P M
to perform Vivaldi’s Four
Anastasio, drummer Stewart
complex works that bring new
Seasons and Astor
Copeland of the Police, and
energy to the jazz orchestra
Piazzolla’s Four Seasons of
Primus bassist Les Claypool
landscape.
Buenos Aires at the Bing. Stanford Live hosts the
and brings an eclectic mix of alt-funk fusion. This performance is co-
Generously supported by the
world premiere of this
Co-presented with Chamber
Wollenberg Foundation and the
groundbreaking opera from
Music San Francisco
Koret Jazz Project
visionary composer Scott
presented by Stanford Live
Joplin. Treemonisha is reborn
and Goldenvoice. Tickets are
for the 21st century with
sold through AXS, so Stanford
a new libretto by Leah-
Live ticketing policies will
Simone Bowen and musical
not apply. Learn more at
arrangement starring
frostamphitheater.com.
renowned soprano Neema Bickersteth that reimagine the timeless story of female leadership and community. This performance is cocommissioned by Stanford Live with support from a Hewlett Foundation 50 Arts Commission, the Stanford Live Commissions and Programming Fund, and Washington Performing Arts. See full credits at live.stanford.edu. 14
Stanford pediatricians, now in your neighborhood at Peninsula Pediatric Medical Group genpeds.stanfordchildrens.org
CAMPUS Paper Chase: Ten Years of Collecting
galleries, the Cantor is enacting a new
past of American ceramics and ideas for
Prints, Drawings, and Photographs at
vision to act as a gathering place for
the future of the art form. Kathy Butterly,
the Cantor
diverse ideas and to present art in more
Kahlil Robert Irving, Simone Leigh, and
Apr 3–Aug 3, 2020
contemporary ways. It now hopes that
Brie Ruais are pushing the boundaries of
Cantor Arts Center
vision will extend beyond its front steps
their medium and exploring questions of
through the museum’s recently acquired
value, identity, materiality, and the body.
sculpture OY/YO by artist Deborah Kass,
While distinctly different, they share a
now on view.
reverence for ceramics and its rich, and
Experience over 100 acquisitions to the Cantor’s collection that investigate issues of identity, social justice, and humanity’s changing relationship with nature. OY/YO Sculpture by Deborah Kass Ongoing Cantor Arts Center This major acquisition announces Cantor’s new direction. Across its
Wesaam Al-Badry (United States, b. Iraq,
sometimes complicated, history. Together, Formed and Fired: Contemporary
they provide extraordinary insights into
American Ceramics
the medium’s expressive qualities and
Mar 13–Sep 28, 2020
capacity for individual expression.
Anderson Collection This exhibition presents the work of four groundbreaking contemporary artists whose practices provide insight into the
OY/YO is now on display at the Cantor.
Simone Leigh (United States, b.
1984), Hermes #V, 2018, archival pigment
1967), Stretch Series #1, 2019, glazed
print. Gift of Pamela and David Hornik,
stoneware, 25 x 13 x 13 inches (63.5 x 33
2019
x 33 cm) (Inv# SLH 19.096). Photography: Farzad Owrang. Courtesy of Luhring Augustine, New York, and David Kordansky Gallery, Los Angeles
PARTNERS 17
SCENE &
HEARD
1
2
3
4
5
18
6
1 — K RO N O S Q UA RT E T
6 — SELMA
Clarence Jones, Martin Luther
The Memorial Auditorium
King Jr.’s speechwriter and
showing of the 2014 Oscar-
Stanford Scholar in Residence,
winning film Selma included
took the stage following the
a score from a live orchestra
Kronos Quartet’s performance
conducted by Sarah Hicks.
of the song “Peace Be Till.”
The full orchestra included jazz pianist Jason Moran and
2 — M A N UA L C I N E M A
guitarist Marvin Sewell.
The multimedia theater work
7
No Blue Memories—The Life
7 — L AU R I E A N D E R S O N
of Gwendolyn Brooks from
In addition to her
Manual Cinema involved a
performance at the Bing,
cast of puppeteers, actors,
musician and artist Laurie
musicians, and over 600
Anderson’s return visit to
puppets and cutouts.
Stanford Live included a discussion with contemporary
3 — JA S O N DA N I E L E Y
artist Jim Campbell at the
In a sold-out performance,
Anderson Collection.
Broadway star Jason Danieley shared songs and stories
8 — N F M W RO C Ł AW
honoring his late wife Marin
PHILHARMONIC
Mazzie.
Giancarlo Guerrero conducted the NFM Wrocław
4 — S T. L AW R E N C E
Philharmonic with violinist
S T R I N G Q UA RT E T
Bomsori Kim in its first U.S.
Stanford’s acclaimed St.
tour since 2012.
Lawrence String Quartet started the year with a special program by Beethoven and Adams. 5 — JASON MORAN AND THE HARLEM HELLFIGHTERS
8
Jazz pianist Jason Moran’s first performance this season honored the life and music legacy of jazz composer James Reese Europe.
19
M A I N F E AT U R E
Canadian soprano Neema Bickersteth plays the role of Treemonisha. Photo by John Lauener
Black Women’s Leadership in the Opera: A Century in the Making By Whitney French Reimagining Scott Joplin’s 1911 opera
As playwright and librettist Leah-
women artists. This international team,
Treemonisha is a massive undertaking.
Simone Bowen explains, “This man
commissioned by critically acclaimed
The brilliant “King of Ragtime”
wrote an opera with a central female
Canadian theater company Volcano,
composer spent his entire life savings
figure. What’s that about? That’s so
gathers artists from across North
publishing his groundbreaking
innovative right there. It was the women
America to pay homage to Joplin.
masterpiece and never lived to
in his life that really shaped him.”
see it reach the stage. This April,
The titular character and protagonist
audiences will witness a rendering
And indeed, it’s Black women who
Treemonisha is a leader in her
of Treemonisha—perhaps the only
continue to shape his work over a
community. As per the original
surviving opera written about life
century later—the majority of the
rendition—Joplin’s cast was all African
postslavery by a black person who
creative team is made up of Black
American—the present-day production
lived it—like no other.
mirrors that same vision. 20
“It made sense to look for people who were Treemonisha in their own world,” says Neema Bickersteth, lead soprano and creative producer. “Through [Treemonisha’s] curiosity and her openness…I feel a similarity in myself to be curious about projects that I am in and all the projects that [have] led me to Treemonisha.” For Bowen, collaboration was critical to the reworking of the piece. “I worked very closely with Deanna Downes…an amazing academic and dramaturge. She knows a lot about Reconstruction in African American history. She was really my everything.” Through extensive research, revisioning, and returning to Joplin’s repertoire, Bowen began the journey to build a narrative to modernize the original. She methodically centers Treemonisha in character and in voice, whereas Joplin’s version presented male voices singing about her. “There has been pushback from people. ‘Why would you dare touch Joplin?’ But the interesting thing is that artists like Shakespeare…live on because [they have been] adapted and remixed and rewritten,” Bowen says. “Why doesn’t
Stanford Live is presenting the world premiere of Scott Joplin’s Treemonisha from April 23–26. Photo courtesy of Volcano Productions
Joplin deserve that kind of reverence?” Director Weyni Mengesha and talented co-arrangers Jessie Montgomery and Jannina Norpoth seized the opportunity to remount Treemonisha. They were eager to recover this nearlost piece of music from the Black cannon. Scott Joplin,
“As I began working on the story, I
known for
leaned on Weyni, and…one thing that
his ragtime
doesn’t get talked a lot about is the
compositions,
trauma that everyone [experienced],”
never saw his
Bowen says. “We talk a lot about
opera fully staged.
intergenerational trauma now, but [for]
Photo courtesy of
the people in the piece, slavery had
Volcano Productions
just been abolished for twenty years.” 21
A N EW
HOME FOR MUS I C
Ute and William K. Bowes Jr. Center for Performing Arts
Across the street from the War Memorial Opera House and Davies Symphony Hall
• SFCM Student and Community Housing • Conservatory Teaching and Learning Centers • Unique and Welcoming Performance Spaces
Join the San Francisco Conservatory of Music’s expansion to 200 Van Ness Avenue in fall 2020. To make a gift or schedule a site tour, contact us at 415-503-6282 or bowes@sfcm.edu.
sfcm.edu/bowes
As a means of exploring the myriad
Presented by Stanford Live, Scott
ways that African Americans coped
Joplin’s Treemonisha makes its world
during Reconstruction, the musical
premiere April 23–26, 2020, at the
team experimented with both
Palo Alto High School Performing Arts
European classical sounds and African
Center. Produced by Volcano theater
musicality and rhythms. The two
with Moveable Beast collective and
communities within the opera—the
co-commissioned by Stanford Live,
farming community and the maroon
Treemonisha promises to be the first
society of fugitive slaves—come
of its kind, one that opens a door
together and so do their musical
to a continued tradition of great
expressions.
Black opera.
“There is something really special
Many on the creative team are
about…envisioning how someone like
hoping for a resurgence of and
Joplin worked in this active fusion,”
newfound reverence for Joplin’s
says Montgomery. “I think that for a
work.
Black opera, it is really important and special to celebrate all of the different
“So many people don’t even
traditions that have come out of Black
know that Treemonisha exists as
theater and Black music.”
an opera,” Montgomery states. “[My hope is] that they would be
The entire creative team gained
inspired by Treemonisha. This idea of
a deeper understanding of Joplin,
self-realization, self-actualization,
particularly his personal life, through
and courage keeps us inspired and
the making of Treemonisha. “He had
lifted. I feel passionately that this story
a very difficult life,” Montgomery
can capture those common human
reveals, “but his music is energy. It was
aspirations.”
Montgomery, Weyni Mengesha, and Ross Manson take a look at the original printed score for Treemonisha, hand delivered to the Library of Congress by Scott Joplin in
designed to bring joy.”
1911. Photo courtesy of Volcano
The irony of ragtime and the realities
Whitney French is a storyteller and a
of Joplin’s hardship aren’t lost on the
multidisciplinary artist. She is the editor
arranger. Dualities—ones that do not
of Black Writers Matter (2019), a
center on whiteness—are a constant
critically acclaimed anthology published
theme throughout Treemonisha.
by the University of Regina Press. Currently she lives in Toronto, Canada,
“I am a classically singer trained in a
where she works as an acquisitions editor
classical condition,” Bickersteth adds,
for Dundurn Press.
“and I am a Black person. I often think about the conversation between these sides of myself. I feel that Joplin was having this conversation with himself [also].”
Creative team Jessie
Scott Joplin’s Treemonisha Thu, Apr 23 & Fri, Apr 24
For Bowen, it is the specific details of
7:30 PM
Joplin’s life that inform her process. “I
Sat, Apr 25
have a very intimate relationship with
8:00 PM
a dead man,” she laughs. “He’s just so
Sun, Apr 26
fascinating to me. Yes, it’s an adapted
2:30 PM
work that we’ve tried to modernize
Palo Alto High School Performing
for a new audience, but Joplin is the
Arts Center
backbone of the piece.” 23
Productions
Pivotal Works by Margaret Atwood “Make Margaret Atwood fiction again” read protesters’ signs at the Women’s Marches that followed Donald Trump’s inauguration in 2017. While this slogan was specifically inspired by Atwood’s most famous novel The Handmaid’s Tale, much of the author’s prolific oeuvre—which includes novels, poetry, short stories, children’s books, comics, and essays—has been heralded for its eerily accurate descriptions and predictions of social realities, from misogyny to class warfare. Politics “enters a writer’s work,” Atwood said in 1981, “not because the writer is or is not consciously political, but because a writer is an observer, a witness, and such observations are the air he breathes.” On April 8, Margaret Atwood will take the stage in a special discussion event presented by Stanford Live, the Stanford Storytelling Project, and the Stanford Speakers Bureau. In preparation, take a tour through several of Atwood’s major achievements.
The Journals of Susanna Moodie
Survival
The Handmaid’s Tale
The Blind Assassin
1970
1972
1985
2000
Atwood first came to promi-
Survival put Atwood on the
The novel that made Atwood
Atwood’s first Booker Prize–
nence as a poet in the 1960s.
map as a cultural critic and put
a household name imagines
winning novel earned praise
Her sixth verse collection,
Canadian writing on the map
an authoritarian America
for its innovative combi-
The Journals of Susanna
as a literary tradition inde-
whose ruling class weaponizes
nations of genres. Assassin
Moodie, reimagines the diaries
pendent from those of other
religion to brutally control
deftly blends Gothic tropes
of an English settler who
Anglophone nations. Atwood
women. It’s a dystopia in
with historical fiction,
immigrated to Quebec in
argues that the central theme
which each new generation
detective plots with sci-fi
the 1830s.
of her homeland’s poetry and
of readers has found chilling
story lines, faux newspaper
Journals tackles a perennial
prose is that of survival: the
resonances—from a 1980s
clippings with a novel within
North American theme:
struggle to persevere, whether
audience living in fear of
a novel. As Atwood expert
humans’ struggle to connect
in the face of a hostile natural
the spread of totalitarianism
Sherrill Grace points out,
with the natural world. Ini-
landscape or in the face of
(Atwood wrote the book
such mixtures of the fictional
tially appalled by the stark
political, linguistic, and cultural
while living in Cold War Berlin)
and the factual have become
Canadian wilderness, Moodie
erasure by England and the
to the women who have
a major literary trend in the
eventually achieves a pro-
United States.
donned scarlet handmaid’s
years since, with authors such
found kinship with the land,
robes at reproductive rights
as Elena Ferrante and Rachel
and encourages her modern
protests around the world
Cusk writing in the same vein.
reader to strive for the same.
in recent years.
24
The MaddAddam novels
The Heart Goes Last
The Testaments
2003, 2009, 2013
2015
2019
The speculative fiction trilogy
Demonstrating Atwood’s
This long-awaited sequel to
made up of Oryx and Crake,
abiding commitment to exper-
The Handmaid’s Tale, which
The Year of the Flood, and
imenting with literary form, The
won Atwood her second
MaddAddam displays Atwood’s
Heart Goes Last was originally
Booker Prize, takes place 15
deep interest in the sciences.
released as a four-part Web
years after the original. Inter-
Published during the decade in
serial. The near-future satire
linking the testimonies of three
which climate change became
centers on an impoverished
women living in a still-theocratic
a staple of public discourse,
couple who sign up for
Gilead, Testaments develops
Atwood’s tale of a worldwide
Consilience, a sinister “social
themes to which Atwood has
apocalypse brought about
experiment” wherein they can
returned throughout her career
by man-made epidemics and
live for free in a cheery suburb
as an author and activist: wit-
environmental collapse struck
for half the year—and in a
ness, complicity, and literature’s
many as all too plausible. The
prison for the other half. The
role in both. The writer is both
series asks readers to consider
protagonists’ terrifying discov-
“the one to whom personal
the potentially horrific out-
eries about Consilience offer a
experience happens,” Atwood
comes of corporate control of
biting critique of present-day
has said, “and the one who
the sciences—and how humans
conformity, capitalist greed,
makes experience personal
might rebuild after catastrophe.
and the prison system.
for others.”
25
Margaret Atwood in Conversation Wed, Apr 8 7:30 PM Bing Concert Hall
F E AT U R E T T E
Violinist Michael Barenboim is the founder of the West-Eastern Divan Ensemble. Photo by Marcus Höhn
Making Music: An Alternative Model By Thomas May
To mark the West-Eastern Divan
that envisioned new hopes for global
Orchestra’s 20th-anniversary season,
harmony and for the central place
violinist Michael Barenboim is touring
of art in furthering cross-cultural
the United States with the newly formed
understanding.
West-Eastern Divan Ensemble, a chamber group of string players who will bring the
How dramatically things have
organization’s cross-cultural vision to
changed in the mere two decades
Stanford in March.
since the Divan’s founding. Amid increases in the political and social
In 1999, while many were preoccupied
tensions that were among the
with the elusive Y2K bug, the
original catalysts for this project, the
conductor and pianist Daniel
reality of climate change looms as
Barenboim and the literary scholar
an ever-more-ominous backdrop—
Edward Said co-founded the West-
developments that only underscore
The Divan Ensemble will perform
Eastern Divan Orchestra as an
the urgency of finding ways to
Jawb, a new piece commissioned
alternative model for trying to come
transcend barriers of hostility and to
just for the ensemble by the
to terms with the Israeli-Palestinian
celebrate our shared humanity.
young, much sought-after French
conflict. The Divan blossomed from
composer Benjamin Attahir. Photo
a millennial outlook—an outlook
courtesy of CAMI Music 26
“The Divan blossomed from a millennial outlook— an outlook that envisioned new hopes for global harmony and for the central place of art in furthering cross-cultural understanding.” “The members of the Divan get a
And what are those ideals? They first
“[The academy is] more than a music
chance to see the human element
took shape in conversations between
conservatory,” explains Barenboim.
when they meet and talk and perform
Daniel Barenboim and Said, who is also
“The same ideas about cultural
with people who in their normal
remembered as a prominent figure in
dialogue that are at the basis of the
environment would be considered
the field of colonial studies. (Said died
Divan guide the music instruction as
enemies,” says Michael Barenboim,
in 2003.) Together, and drawing on
well as the other classes here, whether
Daniel’s son and violinist and director
their respective Israeli and Palestinian
in philosophy, history, or literature.”
of the organization’s latest project, the
backgrounds, Daniel Barenboim and
West-Eastern Divan Ensemble. “Outside
Said established an orchestra whose
For the Divan Ensemble, Barenboim
rehearsals, people talk, discuss, and
identity defied the hostile boundaries
has brought together orchestra players
discover things. Everyone changes in
scarring the Middle East. The members
with backgrounds from Lebanon,
different ways, but being part of the
are Palestinians and Israelis, along with
Palestine, Israel, Egypt, and Jordan.
Divan Orchestra has changed everyone
musicians from other Arab countries,
“I wanted to highlight the core of the
who joins it.”
Iran, Turkey, and Spain.
Divan, which originated with a focus on the Israeli-Palestinian conflict,”
To mark this 20th-anniversary season
The Divan Orchestra officially launched
he says. Four of the musicians are
of the Divan Orchestra—in which he
on August 16, 1999, with a concert in
currently students or former students
himself has played since 2000, when
the symbolically chosen city of Weimar,
of the academy, where Barenboim also
he was only 14—Michael Barenboim
Germany. That year, Weimar had been
teaches.
founded the Divan Ensemble “to offer
named a European Capital of Culture,
the public an opportunity to see the
and it is also closely associated with
The Divan Ensemble doesn’t pretend
members of the orchestra in a more
Johann Wolfgang von Goethe, who
to offer easy answers, Barenboim says.
intimate environment.”
had spent one of his most flourishing
“We don’t have a political message.
creative periods there. Daniel
We are musicians first of all. The only
The ensemble consists of eight string
Barenboim and Said took the name of
thing we offer is an alternative model
players from the Divan Orchestra.
their project from West-Eastern Divan,
of thinking that is not based on the
In February and March of 2020,
a collection of Goethe’s poetry—with
conflict patterns we see in the news
Barenboim will lead the group on
contributions from his lover Marianne
all the time. The basis is a dialogue
its inaugural tour, which starts its
von Willemer—published in 1819.
of understanding—involving and
14-concert journey in Chicago.
“Divan” refers to an anthology, and the
accepting the narrative of the other.”
The final stops of the tour take the
underlying theme of this one is a lyrical
musicians to California, with a program
dialogue between East and West.
Thomas May is a freelance writer, critic, educator, and translator whose work
of chamber music classics as well as a brand-new commission at Stanford’s
The Divan Orchestra initially had
has been published internationally.
Bing Concert Hall on Wednesday,
headquarters in Seville, Spain, but has
He contributes to the programs of
March 4.
since made its home at the Barenboim-
the Lucerne Festival as well as to the New
Said Academy in the heart of Berlin.
York Times and Musical America.
Barenboim notes that another
Along with supporting the orchestra,
motivation for founding the Divan
the academy offers bachelor’s degrees
Ensemble is “to represent the ideals
and artist diplomas in music. In recent
Michael Barenboim and West-
of the whole Divan project to a wider
years, some of the academy students
Eastern Divan Ensemble
audience.” The greater flexibility
have gone on to join the Divan
Wed, Mar 4
inherent in the ensemble allows the
Orchestra.
7:30 PM
musicians to play in places where the
Bing Concert Hall
orchestra cannot travel as feasibly. 27
Expanding Notions of Traditional and Contemporary Music A Retrospective of Singer Gong Linna By Kyle Reed ‘20
This spring, Bing Concert Hall welcomes a unique collaboration between superstar Chinese fusion singer Gong Linna and the American ensemble Bang on a Can All-Stars. Learn about Gong Linna’s music career and her quick rise to stardom in China.
Tradition Meets Modernity
Overnight Sensation Her breakout moment occurred in 2010,
Partners in Love and Work
Gong Linna masterfully blends centuries-old
when her televised performance of “Tan
She is married to German composer
Chinese musical traditions with new lyrics
Te” at the Beijing New Year concert went
Robert Zollitsch. Zollitsch, also known
and incredible vocals. Her performances
viral, gaining billions of views. The entirely
as Lao Luo, is an expert in various forms
build off the past but don’t aim to re-create
new interpretation of Chinese folk music
of traditional Asian music and composes
it, instead offering a unique, modern, and
presented in the song left audiences
music for Gong Linna, including her
sometimes controversial work.
shocked.
breakout song “Tan Te” as well as the album Cloud River Mountain, which they composed together. 28
A Young Prodigy
Sound Over Sense
Gong Linna was born in 1975 in Guiyang,
Her most famous song “Tan Te” has no
Guizhou. At the age of five, she first
real words. Instead, her voice imitates the
performed onstage and at 16 attended
voices of Chinese opera and the sounds
the Chinese Conservatory of Music.
of traditional Chinese instruments.
She knew she wanted to be a professional singer since her early childhood.
New Collaborations
The Big Idea
Gong Linna presents Cloud River Mountain
Gong Linna and Zollitsch envision
with the Bang on a Can All-Stars, a
a new musical genre that they term
six-member, genre-defying ensemble. The show combines Chinese and Western “sound worlds,” including folk, pop, and
“Chinese new art music.” Their music is an expression of this idea, which aims to incorporate Chinese traditions with
contemporary music, to tell an ancient
contemporary influences to produce an
story by the famous poet Qu Yuan.
exceptional new sound.
Gong Linna: Cloud River Mountain With Bang on a Can All-Stars Sat, Apr 4 7:30 PM Bing Concert Hall Bang on a Can All-Stars A Musical Utopia Fri, Apr 3 7:00 PM Bing Studio
29
F E AT U R E T T E
The Synagogue, the Home, the Stage By Francesco Spagnolo
PBO Sessions’ Jewish Songlines helps
exchange. For many centuries,
Europe until the 19th century.
to trace a network of musical ideas
Jews and non-Jews have been
Compared with their state in
and places. In modern times, we can
meeting inside synagogues, and
previous periods, the welfare of the
see a continuing musical dialogue
synagogue sounds have often
Jewish community improved with
linking the synagogue, the Jewish
reflected the musical cultures of
the establishment of Italian ghettos
home, and the concert stage. This
their surroundings. This is best seen
in the 16th century. Ghettos, and
dialogue was long in the making, and
in the Jewish ghettos of the Italian
the synagogues inside them, quickly
it continues to this day.
Renaissance, beginning with the
became veritable vitrines in which
Ghetto of Venice, which, established
Jews could be observed and Jewish
The synagogue—often perceived
in 1516, came to define both the
culture (most notably its venerable
as a private space solely devoted
term “ghetto” and its connotations
liturgy) experienced by non-Jewish
to Jewish worship—has always
as well as the conditions of urban
visitors. The attraction was to the
been a porous space of cultural
inclusion of Jewish minorities across
perceived antiquity of Jewish rituals,
30
“The synagogue—often perceived as a private space solely devoted to Jewish worship—has always been a porous space of cultural exchange. ”
1
their exotic allure, and the constant,
create the new sound), performers,
transcultural musical encounters
cacophonous, and ever-changing
and audiences. First tested in smaller
first pioneered in the synagogue
music-making that took place in
Italian Jewish centers in the 16th
had also found new life in the
their midst.
century, these musical performances
homes of the nascent emancipated
became popular between the 17th
Jewish bourgeoisie residing in
On the basis of this interest,
and especially 18th centuries in
Europe’s capitals. Crossing into the
Jewish communal leaders became
Venice, Ferrara, Siena, and Casale
liminal space between Judaism and
invested in creating new liturgical
Monferrato, as well as outside Italy,
Christianity, religious and secular
performances that, by building on
most notably within the walls of the
music, the home and the stage,
the intersection of Biblical antiquity
Spanish-Portuguese synagogue of
musicians like Giacobbe Cervetto,
and the new wave of Kabbalah-
Amsterdam (completed in 1675). The
Felix Mendelssohn, Ignaz Moscheles,
inspired culture, presented Jews
English annotations in the original
Isaac Nathan, and Joseph Joachim
and non-Jews alike with music
libretto of a Hebrew oratorio based
brought virtuosity, composition, and
that interwove Hebrew texts
on the biblical story of Esther seem
intercultural dialogue to the center of
and European aesthetics. These
to suggest that by the end of the
the public’s interest in Berlin, London,
productions often involved Jewish
18th century, the format had also
and Paris, first in private concerts
and Christian composers (the latter
reached the United Kingdom.
and only later on the concert
hired by Jewish communities to
By then, the production of
stage. The powerful combination of
31
F E AT U R E T T E
(perceived) Biblical musical materials and live stage presence was a key factor in the growing interest in musical compositions inspired by Jewish themes that characterized the evolution of Jewish musical culture in the 19th century. Lord Byron’s Hebrew Melodies, which were first commissioned and set to music by Nathan around 1815, were translated into German in 1920, and later into Hebrew with the title Zemirot Yisrael (J. L. Gordon, 1884), and eventually into Yiddish (1926). They inspired a host of musical settings, including works by Fanny Mendelssohn Hensel (1830s), Felix Mendelssohn (Sun of the Sleepless, 1834), Robert Schumann (Drei Gesänge, 1849, publ. 1851), Joseph Joachim (Hebräische Melodien, 1854–1855), Modest Mussorgsky (Tsar Saul, 1863), and others.
2
The progressive transfer of the performative context of these musical encounters out of the synagogue culminated in the
3
1—Francesco
representation of biblical stories
Spagnolo explores
on the international opera stage, in
the world of
works such as Gioachino Rossini’s
Mendelsoohn
Mosè in Egitto (Naples, Italy, 1818),
and 19th-century
Fromental Halévy’s La Juive
Germany through
(Paris, 1835), and Giuseppe Verdi’s
music and
Nabucodonosor (aka, Nabucco, Milan,
discussion in the
1842). Next would come Broadway
PBO Sessions
and Hollywood.
program Jewish Songlines. Francesco Spagnolo is Philharmonia 2—The Scola
Baroque Orchestra’s Jews and Music
Levantina
Scholar.
synagogue was built in Venice, Italy, between 1538 and 1561. 3—This painting
PBO Sessions Jewish Songlines—Performers,
portrays composer
Patronage, Prejudice
Ignaz Moscheles
Tue, Mar 10
in 1860.
8:00 PM Bing Studio 32
BEHIND
Indigenizing the Curation Process
cultural sensitivity rather than extraction
By Will Paisley ’20, Stanford Live Curatorial Fellow
when engaging indigenous artistry.
Yá’át’ééh. I belong to the Dine’ (Navajo)
The American performance industry is
and Amskapi Piikani (Blackfeet) nations
not inherently inclusive and respectful of
and am Two-Spirit. After serving as
diverse artistry, as it rests on a legacy of
co-president of the Stanford American
Euro-American colonial supremacy. By
Indian Organization my junior year, I was
indigenizing performance spaces and
introduced to Stanford Live director Chris
promoting dialogue with indigenous
Lorway to assist in the curatorial process
partners, I’m helping Stanford Live create
as part of Stanford Live’s 2020–21 season
equitable and culturally respectful practices.
centered around themes of reconciliation and forgiveness.
I hope the Stanford community enjoys the performances from indigenous identities
My work at Stanford has always been
curated for 2020–21 and recognizes the
grounded in my indigenous identity and
intentionality and opportunities for learning
community. Stanford Live has made
in each. As someone who holds my Native
concerted efforts to indigenize the curation
identity first and foremost, it’s my pleasure
process and develop new modalities for
to be involved in the curatorial process
engaging with indigenous artists. I’m
to present artists who uphold indigenous
proud to work in a space that honors
values to promote our resilience and
my identities and proactively promotes
survivance.
SCENES
THE
Stanford Live Curatorial Fellow Will
The Stanford American Indian
Paisley, a senior double majoring in
Paisley was the student speaker at
Organization hosts the Stanford
sociology and Native American studies,
Stanford’s 2019 Opening Convocation
Powwow each May.
surveys the scene in La Serena, Chile. He studied in Chile in 2017 as part of his
Ceremony in September 2019.
Spanish minor.
33
MEMBERSHIP
The San Francisco Symphony performed at Frost Amphitheater in July 2019. Photo by Joel Simon
Inside Stanford Live Membership Everything we do at Stanford Live is
conversation. And they underwrite
One of our members’ favorite benefits is
made possible by the generosity of our
our K–12 student matinees, teacher
presale ticket access to all Stanford Live
members. Because ticket sales account
workshops, and artists-in-schools
venues, including Frost Amphitheater,
for less than half of what it takes to
programs that increase access to arts
starting at the Supporter ($250+) level.
present our programs, memberships
education for students in Silicon Valley.
With our 2020–21 season announcement
are vital to supporting our work, from
on April 22, 2020, we will reveal many
commissioning innovative premieres to
There are many ways to give, from
exciting programs and our members will
bringing the world’s most acclaimed
the Patron level, starting with a $100
have the earliest access to tickets to
performing artists to the Stanford
gift, to our Bing memberships, at
experience the extraordinary artists and
campus.
$7,500 and above. We say thank you
compelling themes of the coming season.
to our members in many ways, from Our members’ donations also make
complimentary ticket exchanges to
it possible to host dozens of free
For more information about Stanford Live
member receptions and opportunities to
engagement events we present every
memberships and other giving opportunities,
meet with guest artists.
visit live.stanford.edu/support.
year that bring audiences closer to artists and inspire a community 34
Engagement with the Community Member support makes it possible for Stanford Live to offer unique music-making opportunities to our community. Our workshop on November 9, 2019, with the King’s Singers brought together six high school, university, and youth and adult community choruses for a joyful day of learning and collective singing. On February 29, 2020, the Bing Studio sizzled with an Afro-Cuban jazz jam session for community musicians that was led by Grammynominated Jane Bunnett and Maqueque and was open to all. In November, the King’s Singers led workshops on Stanford’s campus for local high school, university, and community choral groups. Photo by Michael Spencer
Bing Fling One of the most special nights of the
concierge ticket service, reserved
year for Stanford Live is Bing Fling, our
parking, and access to our donor lounge
annual dinner and performance to thank
at Frost Amphitheater events.
our Bing members for their support. For this year’s edition on April 25, 2020,
For more information about Bing
we’ll celebrate with a performance of
memberships, contact Bryan Alderman
our world-premiere commission of Scott
at bryan.alderman@stanford.edu or
Joplin’s Treemonisha. Bing Fling tickets
650.498.9365.
are just one of Bing members’ benefits, which also include premium seating,
The 2019 Bing Fling celebrated Frost Amphitheater performances throughout the decades. Photo by Kate
35
Munsch
Stanford Live Members Stanford Live thanks the following members for their support: BING CIRCLE ($25,000+) Anonymous (2) Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Mary & Clinton Gilliland Marcia & John Goldman Drs. Lynn Gretkowski & Mary Jacobson Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Stephanie & Fred Harman Rick Holmstrom & Kate Ridgway The Hornik Family Leslie & George Hume Fong Liu Victoria & James Maroulis Deedee McMurtry Barbara Oshman Mindy & Jesse Rogers Marian & Abraham Sofaer Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum Maurice & Helen Werdegar David Wollenberg Priscilla & Ward Woods
BING DIRECTOR’S CIRCLE ($15,000–$24,999) Shawn & Brook Byers Joyce Chung & Rene Lacerte Jill Freidenrich Lynn & Jim Gibbons Morton Grosser Catherine & Franklin Johnson Joan F. Lane Leatrice Lee Debra & Mark Leslie Carrick & Andrew McLaughlin Linda & Tony Meier Nancy & Lawrence Mohr David Morandi William Reller Condoleezza Rice Susan & David Young
BING ARTIST’S CIRCLE ($7,500–$14,999) Anonymous (5) Fred Alvarez & Beth McLellan Alvarez Felicity Barringer & Philip Taubman Alison & Joe Barta Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Regina & Gerhard Casper Diane & Stephen Ciesinski Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey William Draper III Barbara Edwards Mary & William Fitch Maggie & Fred Grauer Ann M. Griffiths Eleanor & Bruce Heister Anne & Jack Holloway Larry Horton & George Wilson Elizabeth & Zachary Hulsey Mary Ittelson Lucie Jay Lisa & Marc Jones Sallie De Golia-Jorgenson & John Jorgenson Betty & Bob Joss Roberta & Charles Katz Lisa Keamy & Lloyd Minor Kathy & John Kissick Iris & Hal Korol Caroline Labe Ingrid Lai & William Shu Carolyn & William Langelier Bren & Lawrence Leisure Cynthia & Richard Livermore Rick & Amy Magnuson Michael & Jane Marmor/The Marmor Foundation Cathy McMurtry Tashia & John Morgridge
Dean Morton Susan & Bill Oberndorf John O’Farrell & Gloria Principe Lynn & Susan Orr Anthony Paduano & Ruth Porat Donna & Channing Robertson Amanda & Michael Ross Barbara & Greg Rosston Mark & Theresa Rowland Tom Sadler & Eila Skinner Meryl & Rob Selig The Honorable & Mrs. George P. Shultz Barbara & Arnold Silverman Dr. Harise Stein & Mr. Peter Staple Madeline & Isaac Stein Tracy Storer & Marcia Kimes Andrea & Lubert Stryer Lena & Ken Tailo Carol & Doug Tanner Lorna & Mark Vander Ploeg Karin & Paul Wick
Amy Ladd & Doug Fitzgerald Albe & Ray Larsen Ayleen & Emory Lee Y. K. Lee Fred Levin & Nancy Livingston Marcia C. Linn Kristen & Felix Lo Edward Lohmann Sandra & Joseph Martignetti Jr. Dick R. Miller & James M. Stutts Dr. Martha J. Morrell & Dr. Jaime G. Tenedorio Celia Oakley & Craig Barratt Og & Ogina Daniel & Ginger Oros Carmela & Eli Pasternak Edward & Nadine Pflueger Kitty & Lee Price Tony, Myrla & Sarah Putulin Shirley & Bob Raymer Kathy & Gary Reback Rossannah Reeves Sara Eisner Richter & Michael Richter Diane & Joe Rolfe Amy Rosenberg & John Slafsky Debbie & Stuart Rosenberg Ali Rosenthal & Kat Carroll Nancy & Norman Rossen Diana & Philip Russell Scott D. Sagan & Sujitpan Lamsam Lela & Gerry Sarnat Doris Sayon Elizabeth & Mark Schar Fund of The Greater Cincinnati Foundation Ted & Linda Schlein Robyn & Mark Setzen Katie and Dhiren Shah Lee Ann & Martin Shell Elizabeth & Russell Siegelman Charles Sieloff Nerija Sinkeviciute-Titus & Jason Titus John Stern & Susan Anderes Barbara & Charles Stevens Kathryn Stivers Eleanor Sue & Wendy Mines Jeff & Linda Suto Michelle Swenson & Stan Drobac Onnolee & Orlin Trapp Mary & John Wachtel Karen & Rand White Mansie & Gary Williams Dr. Carlene Wong & Dr. Philip Lee Elizabeth F. Wright Eva Xu & Roy Wang Sharon & Robert Yoerg
SUSTAINER ($2,500–$7,499) Keith Amidon & Rani Menon Jonathan, Frances & Alison Axelrad Celeste & Wendell Birkhofer Joan & Tom Brown James Canales & James McCann William Coggshall & Janet Littlefield Diane Elder & Bruce Noble Sissy & Theodore Geballe The Stephen & Margaret Gill Family Foundation Greg Goodman & Susan Schnitzer Judy & Jerrol Harris Charlotte & Larry Langdon Joan Mansour Betsy & Matt Matteson Judy M. Mohr & Keith W. Reeves Betsy Morgenthaler Paula & Bill Powar Deborah & Michael Shepherd Srinija Srinivasan Kenneth Weinberg Dr. Irving Weissman & Ann TsukamotoWeissman
PARTNER ($1,000–$2,499) Anonymous (9) Marian & Jim Adams Margaret Anderson Patrick Barnes & Kathy Keller Lisa Barrett Deborah & Jonathan Berek Karen S. Bergman Matthew Bien & Grace Lee Carolyn & Gary Bjorklund Lissy & Byron Bland Tab Bowers & Michie Kasahara Linda & Steve Boxer Terri Bullock Thomas Byrnes Tasha Castañeda Rowland Cheng & Shelli Ching Donald Cheu Jamie & Linda Clever Holly & Andrew Cohen Joanne & Michael Condie Jack & Angela Connelly Bill & Bridget Coughran Ann & David Crockett Bruce Daniel Debra Demartini Tom Dienstbier & Joyce Firstenberger Patricia Engasser & Mark Reisman Sally & Craig Falkenhagen Stanley Falkow & Lucy Tompkins Margaret Ann & Don Fidler Rona Foster & Ken Powell Betsy & David Fryberger A. A. Furukawa Daniel Garber & Catharine Fergus Garber Jane & Bruce Gee Mike & Myra Gerson Gilfix Eric Giovanola Susan Goodhue Matthew Goodman Ed Haertel & Drew Oman Eric Hanushek & Margaret Raymond Paul Harrison & Irene Lin Tine & Joerg Heilig Anne & William Hershey Caroline Hicks Leslie Hsu & Richard Lenon Rex & Dede Jamison Pamela S. Karlan Randall Keith & Karen Hohner Carla Murray Kenworthy Ed & Kay Kinney The Klements
ADVOCATE ($500–$999) Anonymous (15) Lois & Edward Anderson Richard & Delores Anderson Marie & Douglas Barry Richard A. Baumgartner & Elizabeth M. Salzer Charlotte & David Biegelsen Richard Bland & Marlene Rabinovitch Barbara Blatner-Fikes & Richard Fikes Norm Blears Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Patty Boone & Dave Pfefer Caroline Bowker & Charles Bliss Prudence Breitrose Laura Breyfogle & David Warner George Brown Drs. Julie Buckley & Eric Fung Thomas Bush & Grace Sanchez Enrique & Monica Caballero The Cha Family Gregory Chan Chanin & Dotson Family Gloria & Michael Chiang Jane Chung, MD Ann Hammond Clark Chris & Gina Clarke Kalyani Comal & Arun Ramakrishnan Jonah & Jesse Cool Suzanne & Bruce Crocker Melanie & Peter Cross Richard De Luce Michael Dickey Paul & Rosleyn Dumesnil Ellen & Tom Ehrlich Eleanor Eisner Maria & George Erdi James Feit Jeffrey Fenton Joan & Allan Fisch Shelley Fisher Fishkin Sarah & Stan Freedman Carol C. & Joel P. Friedman Markus Fromherz & Heike Schmitz Karen & Edward Gilhuly
36
Charles Goldenberg & Pamela Polos Sara & Jeremy Goldhaber-Fiebert Margaret & Ben Gong Mike & Loren Gordon Jonathan & Natsuko Greenberg Ester Gubbrud & Charles Ross The Harrick Family Fran & Steve Harris Robin Hatfield Linc & Robin Holland Serena Hu & John Lenox Chris Iannuccilli & Michele Schiele Karen Imatani David Israel Sally & Rob Jackson Melinda & Jim Johnson Leigh & Roy Johnson Lil & Todd Johnson William Keats & Deborah Barney Carol Kersten & Markus Aschwanden Mary Lou Kilcline Michael & Wendy Kirst Renate Klipstas Christina Kong Linda & Fredric Kraemer Mr. Joseph & Dr. Caroline Krauskopf Kerry & Maureen Kravitz Gary & Yuko Kushner Edward & Miriam Landesman Kurt F. Lang & Dr. Janna Smith Lang Cathy & Stephen Lazarus Cynthia & Bob Leathers Joan & Philip Leighton Sanford Lewis Jose Teodoro Limcaoco Laurel & Joe Lipsick Dr. Leon Lipson & Susan Berman Drs. John & Penny Loeb Rachel & Zohar Lotan Liqun Luo Vera Luth Ruth Lycette Susan Lydick Alisa & Neil MacAvoy Kathy Mach & David Scherer Charlene & Dick Maltzman Christopher & Jane Manning Marylin McCarthy Christina & Bill McClure Dr. C. Kwang Sung & Meghan McGeary Millbrey McLaughlin & Larry Klein Penny & Jim Meier Elyce Melmon Linda Membreno Evelyn Miller Andres J. Montoya Arabella & George Napier Katherine Nelson Fred & Kirstin Nichols Christine & Ronald Orlowski Shari & Donald Ornstein Sandra & Scott Pearson Nancy & Stephen Player Barbara & Warren Poole The Randall Family Anna Ranieri & Stephen Boyd Richard & Karen S. Recht Ann Rossi Elise & Jay Rossiter Nicole & Amir Dan Rubin Lisa Rutherford David Sacarelos & Yvette Lanza Carla Scheifly Paula & George Schlesinger Celestine & Scott Schnugg The Schwabacher Family Kent & Tracey Seymour Judith & William Shilstone Judy & Lee Shulman Diane & Branimir Sikic Hannah & Richard Slocum Matthew Sommer Karen & Frank Sortino Saroja Srinivasan Trisha Suppes Jorge & Molly Tapias Rosi & Michael Taymor Rachel Thomas Katherine Tsai Penelope & Robert Waites Patti & Ed White Melanie & Ron Wilensky John & Jane Williams Polly Wong & Wai Fan Yau Mitchell & Kristen Yawitz
SUPPORTER ($250–$499) Anonymous (27) Mark & Stephanie Agnew Matthew & Marcia Allen Eugene An
Dana & Juliana Andersen Daniel Appelman & Deborah Soglin Linda Ara Adrian Arima & Monica Yeung Arima Dan & Leslie Armistead Anne & Robert Baldwin Simon Bare Brigid Barton & Orrin Robinson Grace Baysinger Betsy & George Bechtel Amy Beim Marilyn Belluomini Rachel Bensen Pamela Bernstein Yuet Berry Justin Birnbaum Ruth Brill Beverly Brockway Bill Brownell Cliff & Ronit Bryant Bernard Burke Frances Burr Karen & Ben Cain Michael A. Calabrese Peter & Jane Carpenter Mike Cassidy Cecily Chang Dr. James Chang & Dr. Harriet Roeder Alexander Chapman Beth Charlesworth Gautam Chaudhary Marianne Chen Ada Cheung Nona Chiariello & Chris Field Robert & Susan Christiansen Albert & Betty Cohen Susie Cohen & Barry Weingast Bud & Roxanne Coleman Moby Coquillard & Judy Heller Iva Correia Alana Corso Elaine Costello & Bud Dougherty George Crow Alan Crystal James Cunningham Anthony Custodio & Meredith Ackley William Damon & Anne Colby Tim & Patricia Daniels Anne O. Dauer Ingrid Deiwiks Howard Demroff Stephanie Dolin Virginia & Gregory Donaldson Debra Doucette Janet Driscoll Katharine & William Duhamel Alison Elliott & Steve Blank Renee Euchner Charles Evans & Luis Stevens-Evans Patricia & Fred Evans Laura & Mihail Fechete Nancy & Tom Fiene Kristen E. Finch Renee Fitzsimons Barry Fleisher Leigh Flesher & Mark Bailey Shelley Floyd & Albert Loshajian Reg & Cynthia Ford Gregory Franklin Leah & Lawrence Friedman Adam Frymoyer Tim Gallaher Sarah & Patrick Gibbs Bernd & Sabine Girod Carl & Elizabeth Gish Matt Glickman & Susie Hwang Molly Barnes Goodman & Randolph Goodman Tatiana Granoff & Robert Olson Harry & Diane Greenberg Walter Greenleaf Renee & Mark Greenstein Marla Griesedieck Linda & John Griffin Waldo Griffin Andrew Gutow & Madeleine Blaurock Insook Han Ginger Harmon Courtney Harrison Ann & Barry Haskell Howard & Nancy Hassen Yael Hasson Jeffrey & Caron Heimbuck R. Carl Hertel Lance Hill The Hittle Family Ron Ho & Christina Lai Susan Holmes William Hurlbut Keith Jantzen Dave Jefferson Arthur Johnson Jane & Bill Johnson Zeev Kaliblotzky
Patricia Chambers Kalish Bob Kanefsky Pearl Karrer Melanie & Perry Karsen Stina & Herant Katchadourian Ron Katz & Libby Roth Jeffrey & Marcia Keimer Shirley Kelley Maureen Kelly Lynn & Richard Kelson Tahsin N. Khan Stephanie Kimbro Kenton & Keiko King Ralph King & Leslie Chin James Kitch Dan Klotz Cynthia Krieger & Stuart Friedman Leslie Kriese The Kirincich Family Norman & Nina Kulgein Ralph & Rose Lachman Lila LaHood Cathy & Dick Lampman Ed Landels & Martha McDaniel Jacob Langsner Donna Lera Laurie Leventhal-Belfer & Howard Belfer Lee Levitt Raymond & Kathleen Levitt Living Trust Reuben Levy Hongquan Li Susan Li Yanbin Li Sandra Lillie Randall & Lori Livingston Sarah Longstreth & Tom Culbertson Hal & Carol Louchheim Ellen & James Lussier Adrian & Margot Maarleveld Marion & Erick Mack Helen & David MacKenzie Fred Malouf Grainger Marburg & Katie Woodworth Carol Matre & Richard Swanson Leslie Mayerson Laure & Sam Mazzara James McElwee Nancy & Patrick McGaraghan Maura McGinnity & Erik Rausch Hillary McKinney Leslie McNeil Wallace Mersereau John Micek Alan F. Miller Monica Moore & Deborah Burgstrum Rudolf Moos Coralie & Gerhard Mueller Kathleen Murren Kevin & Brenda Narcomey Susan Nash The Neumann Family Joan Norton Richard & Susan Olshen Erik & Jill Olson Dick & Sandi Pantages Kartikey Patel Gary & Sandy Peltz Ann Perry Caroline Petersen Helen Pickering Klaus & Ellen Porzig Bert & Anne Raphael James Reilly Martin Reinfried Laurie Reynolds Angela Riccelli Barry & Janet Robbins Annette & William Ross Ruth Rothman Joel & Rachel Samoff Denise Savoie & Darrell Duffie Mary Schlosser Kevin Scott Joy & Richard Scott Grady Seale Michael Sego Carla Shatz Winnie & Gil Siegel Ashka Simpson Mindy Spar Helen & David Spiegel Kathy Stark & Christopher Aoki Elliot & Karen Stein Raymond & Apryl Stern Sandra & James Stoecker Rebecca & Ben Stolpa Jenny Stone Jay Jackman & Myra Strober Yannie Tan Nicholas Telischak Lothar & Ilse de Temple Harold & Jan Thomas Chris & Carol Thomsen
Mary Toman Elizabeth Trueman & Raymond Perrault Anne Tuttle Jeanine Valadez & Reynette Au Victoria Valenzuela The Vargas Family Teri & Mark Vershel Madeleine & Anders Viden Lisa Voge-Levin Roger & Wendy Von Oech Rita & Newton Wachhorst Lora Wadsworth Joan & Roger Warnke Hans & Frauke Weiler Joseph & Erika Wells The Wendling Family Dr. & Mrs. R. Jay Whaley Jeri & Kevin Wheaton Ann & Matt White Anne Wilbur Justina Williams Paul Williams & Helge Ternsten Catherine Wilson & Steven Callander Jennifer & Phil Winters Mike Wright Warren Wu Marilyn & Irvin Yalom Mariko Yoshihara Yang & Phillip Yang Nicholas Yu Selma Zinker Yao Zou
2019–20 Advisory Council
PERFORMANCE SPONSORS
Bing Concert Hall Donors
Helen & Peter Bing Mary & Clinton Gilliland Marcia & John Goldman Stephanie & Fred Harman Leslie & George Hume Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum The Wollenberg Foundation
INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation Stanford Medicine The William and Flora Hewlett Foundation $10,000–$49,999 Anonymous California Arts Council Capital Group Ann and Gordon Getty Foundation National Endowment for the Arts Drs. Ben and A. Jess Shenson Funds Wells Fargo $1,000–$9,999 Aaron Copland Fund for Music The Amphion Foundation, Inc. New Music USA Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 1/15/20. For corrections, or to make a contribution, please contact us at 650.725.8782 or supportstanfordlive@stanford.edu. To learn more about giving to Stanford Live, visit live.stanford.edu/give.
37
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 Rick Holmstrom David Hornik George H. Hume Leslie P. Hume Lisa Jones Cathy McMurtry Roger McNamee Linda Meier Trine Sorensen Srinija Srinivasan Doug Tanner Jorge Tapias David Wollenberg
Ex officio: Maude Brezinski Stephen Sano Anne Shulock
BUILDING DONORS Peter and Helen Bing Cynthia Fry Gunn and John A. Gunn The John Arrillaga Family Anne T. and Robert M. Bass Roberta and Steve Denning Elizabeth and Bruce Dunlevie Jill and John § Freidenrich Frances and Theodore Geballe Andrea and John Hennessy Leslie and George Hume Susan and Craig McCaw Deedee and Burton § McMurtry Linda and Tony Meier Wendy Munger and Leonard Gumport Jennifer Jong Sandling and M. James Sandling Regina and John Scully Madeline and Isaac Stein Akiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND DONORS With appreciation for the following donors, who provide major support for programming and musical instruments for Bing Concert Hall. Anonymous Apogee Enterprises, Inc. The Adolph Baller Performance Fund for Bing Concert Hall Friends of Music at Stanford Fred and Stephanie Harman Fong Liu Elayne and Thomas Techentin, in memory of Beatrice Griffin Bonnie and Marty Tenenbaum The Fay S. and Ada S. Tom Family Turner Corporation The Frank Wells Family Maurice and Helen Werdegar
Coming Up This Spring Thu
M AY
Fri & Sat MAY 1 & 2
Malpaso Dance Company
Thu
MAY 7
MAY 28
Rob Kapilow’s
From Ragtime to
What Makes It Great?
Harlem Stride
John Adams’ Shaker Loops
Featuring Aaron Diehl
Sat
Fri
MAY 9
MAY 29
Powwow Concert
Black Cowboys: An Evening with Dom Flemons
Wed MAY 13
New Century Chamber
Malpaso Dance
Orchestra with Daniel Hope Music of Spheres
Sun
CALENDAR
MAY 3
Lang Lang Don Flemons
Sun MAY 31
Necati Çelik with Denise Gill
Daniel Hope
Thu, Fri & Sat
Lang Lang
JUNE
MAY 14–16
Is This a Room: Reality Winner
Wed
Verbatim Transcription
MAY 6
Tina Satter/Half Straddle
Van-Anh Vo and the V’AV Ensemble
Fri JUN 5
Comedy at the Bing: The New Negroes Sat JUN 6
An Evening of Flamenco Music with Grisha Goryachev
Is This a Room Van-Anh Vo
and Serouj Kradjian
Sun
Sun
MAY 17
Wed
JUN 7
Sundays with the
MAY 6
Cantabile Youth Singers
St. Lawrence with
Rob Kapilow’s
Gilles Vonsattel, piano
What Makes It Great? Music of Cole Porter
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UN
the Galvez Lot and on Lasuen Street,
ARB
Museum Way, Roth Way, and the Oval.
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Memorial Church
Concert Hall Ticket Office
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Memorial Auditorium
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Bing Concert Hall & Bing
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visit.stanford.edu/plan/parking.
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information and maps, visit
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For comprehensive campus parking
Frost Amphitheater
F
Alum Centerni
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website: live.stanford.edu.
2
2
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tation information, please consult our
THE OVAL
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For driving directions or public transpor-
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Directions
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and on Lasuen Street.
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Drive, on Roth Way, on Museum Way,
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Cantor Arts Center
EN ST
found along the Oval at the end of Palm
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Ande Colle rson ction
LASU
Parking for Memorial Church can be
/8
P
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Public Parking
--- Walking Path F
VD
28
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Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays
Alumni Café, Arrillaga
after 4:00 pm and on weekends at all times.
Alumni Center
Disabled parking, loading, and service-vehicle restrictions are enforced at all times.
39
PREDICT PREVENT CURE
precisely
Precision Health is a fundamental shift to more proactive and personalized health care that empowers people to lead healthy lives. Stanford Medicine is driving this transformation by leveraging the art and science of medicine to predict and prevent disease before it strikes and cure it decisively if it does. med.stanford.edu