Stanford Live Magazine Sep/Oct 2017

P E R FO R M I N G A RT S M AGA Z I N E

INSIDE

SEP / OCT 2017

Behind the scenes with Akram Khan, plus the art of soft power, Rob Kapilow on Dvoล รกk and national identities, and more

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CONTENTS

Stanford Live Staff & Sponsors Welcome

p—10

Upcoming Events Scene & Heard

p—12

p—16

Behind the Scenes

Until the Lions:: From Award-Winning Choreographer and Dancer Akram Khan

Membership

p—32

p—34

Stanford Live & p—36 Bing Concert Hall Donors Calendar

By Sarah Crompton

p—9

p—38

Plan Your Visit

P A G E­­— 2 2

A Brimful of Asha

Infographic

A Note from the Creator

Six Degrees of Akram Khan

Ravi Jain p—15

p—28

Featurette

Artist Voices

Wendy Luers on the

Dvořák Paints a Tree

Art of Soft Power

By Rob Kapilow

p—18

p—30

Photo Essay Counting Sheep Explores Revolution p—20

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Sep/Oct 2017 Volume 10, No. 1

S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7

STAFF

FOUNDATION & GOVERNMENT PARTNERS

Paul Heppner Publisher

Chris Lorway Executive Director

Susan Peterson Design & Production Director

Bryan Alderman Assistant Director of Development

Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Carol Yip Sales Coordinator

Rory Brown Operations Manager Robert Cable Communications Manager Ryan Davis Associate Director of Engagement and Public Programs

IN-KIND PARTNERS

Robert DeArmond Web Developer Laura Evans Director of Music Programs, Education, and Engagement Drew Farley Technical Manager Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR and Administrative Associate Sierra Gonzalez Director of Marketing, Communications, and Patron Services

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Cover: Akram Khan photo by Lisa Stonehouse. Page 10: Chris Lorway illustration by Hybrid Design. Page 15: Ravi and Asha Jain in A Brimful of Asha. Pages 16 & 17: Photos 1, 2, 3, and 8 by Joel Simon; 4, 6, and 7 by Harrison Truong. Page 18: Photo courtesy of the Vaclav Havel Library Foundation. Page 21: Counting Sheep production photos courtesy of the artists. Pages 22 & 25: Photos by Jean Louis Fernandez. Page 27: Photo by Toni Bird. Page 29: Akram Khan photo by Lisa Stonehouse.

Page 32: Photos by Joel Simon. Page 34: Photo by Harrison Truong. Page 35: Danish String Quartet photo by Ryan Fong Jae; Sonic Diversity photo by Linda Cicero/Stanford News Service.

9

WELCOME

C H R I S L O R WAY EXECUTIVE DIRECTOR

“The role of the artist is exactly the same as the role of the lover. If I love you, I have to make you conscious of the things you don’t see.”

— JA M E S B A L DW I N

We begin this season against the

Rob Kapilow tells us what makes the music

Stanford Live presents

backdrop of an unstable world.

inspired by and about America great.

a wide range of the finest

We knew that our exploration of

performances from around the

nationhood and identity in 2017–18

Stories of immigration and globalization sit

world, fostering a vibrant learning

was timely, given the issues that

adjacent to these North American histories.

community and providing dis-

were emerging around the globe.

First-generation actor Ravi Jain and his

tinctive experiences through the

The choice to launch the season with

Indian mother explore the tensions between

performing arts. With its home at

one of North America’s most powerful

tradition and assimilation in a light-hearted

Bing Concert Hall, Stanford Live

Indigenous voices, Buffy Sainte-

and endearing conversation over samosas.

is simultaneously a public square,

Marie, was intentional. You can’t have

World-renowned singer Mariza takes us into

a sanctuary, and a lab, drawing

a conversation about nationhood

the sultry and sensual lairs that make up

on the breadth and depth of

without acknowledging the vast history

Lisbon’s fado scene. And this issue’s cover

Stanford University to connect

of our land and its inhabitants.

subject, Akram Khan, brings a South Asian

performance to the significant

From there, Taylor Mac will take us on

epic to life in a new and exciting way.

issues, ideas, and discoveries of

an exploration of the evolution of these

our time.

United States, asking important questions

Now, more than ever, a diversity of artistic

around who gets to write our collective

voices and the stories they share is critical

histories. American Brass takes us

to our coexistence on this fragile planet.

on a completely different musical

We hope that the performances you attend

journey that gives us insight into the

shine a light on the way that art can

origin of the American sound. And

humanize, enlighten, and heal.

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SEP / OCT 2017

Upcoming Events

POP

T H E AT E R

CLASSICAL

Buffy

A 24-Decade

Philharmonia

Sainte-Marie

History of Popular

Baroque

Music (Abridged)

Orchestra and

Taylor Mac

Chorale

KEY:

The Judas Passion Nicholas McGegan: Conductor

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 WHEN: F R I DAY, S E P T E M B E R 22, 7:30 P M

WHEN: W E D N E S DAY, S E P T E M B E R 2 7, 7 : 30 P M

VENUE: B I N G C O N C E RT HALL

VENUE: B I N G C O N C E RT HALL

WHEN: W E D N E S DAY, O C TO B E R 4, 7 : 30 P M

VENUE: B I N G C O N C E RT HALL

PRESHOW TALK: 6:30 P M

Since her folksinging debut

Join us for an abridged

Philharmonia Baroque

in 1964, Buffy Sainte-Marie,

version of this epic,

Orchestra and Chorale

a Cree singer-songwriter

award-winning 24-hour

reveals a groundbreaking new

born in Canada, has been

performance art concert,

work by Scottish composer

an avatar of the international

which decodes the social

Sally Beamish with libretto

protest movement and a

history of the United States

by David Harsen: The Passion

performer of the first order.

through popular songs

According to Judas.

Fifty years on, her voice has

ranging from “Yankee

lost none of its presence and

Doodle Dandy� to disco.

power.

Generously supported by Roberta and Steven Denning, Scott and Molly Forstall, the Hornik Family, and the Koret Foundation

12

JAZZ

DISCUSSION

POP

CLASSICAL

Mads Tolling &

In Conversation

Perla Batalla:

Rob Kapilow’s

The Mads Men

with Samantha

A Tribute to

What Makes

Playing the 60s

Bee

Leonard Cohen

It Great?

WHEN: SAT U R DAY, O C TO B E R 7, 8:00 PM & 10:00 PM

RESCHEDULED

Please note: This event,

VENUE: B I N G C O N C E RT H A L L ST U D I O

WHEN: W E D N E S DAY, O C TO B E R 1 1 , 7 : 30 P M

VENUE: B I N G C O N C E RT HALL

originally planned for October 6, is being rescheduled.

The St. Lawrence String

For the latest updates, sign up for our notification list at live.stanford.edu/notifications and check back at live.stanford.edu. Current ticket holders will be contacted.

WHEN: F R I DAY, O C TO B E R 6, 8: 0 0 P M & 10:00 PM

Perla Batalla reveals the

Quartet joins Rob Kapilow

timelessness of Cohen’s art

to explore and appreciate

to convey her sincere respect

Antonín Dvořák’s American

and deep love for the music,

Quartet, perhaps his

for the poetry, and most of

most popular work.

all for her dear friend.

Generously supported by Bonnie and Marty Tenenbaum

VENUE: B I N G C O N C E RT H A L L ST U D I O

Grammy Award winner Mads Tolling is celebrating the music of the 1960s “Mad Men” era.

CLASSICAL

T H E AT E R

POP

American

A Brimful

Andrew Bird

Brass Quintet

of Asha

Generously supported by

Why Not Theatre

Stephanie and Fred Harman and the Koret Foundation JAZZ PROJECT

WHEN: S U N DAY, O C TO B E R 15, 2:30 P M

VENUE: B I N G C O N C E RT HALL

WHEN: W E D N E S DAY, O C TO B E R 1 8, 8:00 PM T H URSDAY, O C TO B ER 1 9, 8:00 PM

Created in 1970, the venerable quintet hailed by

F RIDAY, O C TO B ER 2 0, 8:0 0 P M

Newsweek as “the high priests of brass” pays its first visit

SATURDAY, OCTOBER 21, 8:0 0 P M

WHEN: F R I DAY, O C TO B E R 2 0, 7 : 30 P M

VENUE: B I N G C O N C E RT HALL

SUN DAY, O C TO B ER 2 2 , 2 : 30 P M

VENUE: B I N G C O N C E RT H A L L ST U D I O

Dubbed a “one-man orchestra of the imagination,” Indie-folk star Andrew Bird is

to the Bing with a program

a multi-instrumentalist who

devoted to the early days of

pays equal attention to his

the American republic.

Culture clash, Canadian-style, comes to life in this twoperson play written by and starring mother and son Asha and Ravi Jain.

13

violin and guitar onstage and an arcane lyricist who whistles full solos with blithe, perfect clarity.

JAZZ

WORLD

SFJAZZ

Daniel Pearl

Collective

World Music Days

The Music of Miles Davis

Concert

WHEN: SAT U R DAY, O C TO B E R 2 1 , 7 : 30 P M

VENUE: B I N G C O N C E RT HALL

WHEN: T H U R S DAY, O C TO B E R 26, 7 : 30 P M

VENUE: MEMORIAL C H U RC H FREE

PRESHOW TALK: 6: 30 P M

Founded in 2004 in San

Stanford musicians,

Francisco, this award-winning

including members of the

octet celebrates legendary

St. Lawrence String Quartet,

jazz artists by performing their

curate this annual concert

masterworks and by creating

honoring the memory of

new music expanding on those

alumnus Daniel Pearl.

influences.

Generously supported by the Koret Foundation JAZZ PROJECT

WORLD

DANCE

CLASSICAL

Mariza

Until

The Stradivarius

An Intimate Evening with Special Guests

the Lions

Ensemble of

Akram Khan Company

the Mariinsky

WHEN: W E D N E S DAY, O C TO B E R 25, 8:00 PM & 10:00 PM

VENUE: B I N G C O N C E RT H A L L ST U D I O

Orchestra WHEN: F R I DAY, O C TO B E R 2 7, 7 : 30 P M

Mariza is the embodiment of modern fado, Lisbon’s emotion-filled folk music. Her soulful voice expresses

VENUE: MEMORIAL AU D I TO R I U M

WHEN: S U N DAY, O C TO B E R 2 9, 2 : 30 P M

VENUE: B I N G C O N C E RT HALL

SAT U R DAY, O C TO B E R 2 8, 7 : 30 P M

the essence of this melancholy art form, a song style dating back to the early 19th century.

Acclaimed choreographer

The Mariinsky Orchestra’s

Akram Khan brings the full

Stradivarius Ensemble is

range of his artistry to bear

an elite group of string

in his newest work, Until the

musicians led by conductor

Lions, based on the ancient

extraordinaire Valery Gergiev.

epic The Mahabharata.

14

A Brimful of Asha A Note from the Creator Ravi Jain

In 2007, my parents tried to arrange

to speak in crowds, but she does

and joys, while the rest of the

my marriage on a trip to India. It

love to entertain people at her

audience has a chance to really

didn’t go so well. We decided to

house in the suburbs of Toronto.

see and understand a perspective

make a play about it, and since

that they don’t often have access

2012, we’ve been touring the world

My favorite thing about the show

inviting people into our home.

is that an audience gets to hear

My mother, who is not an actor,

her side of the story, from the

cowrote and performs the show with

point of view of her life, from

me. It’s as much her story as it is

immigrating to Canada to getting

mine. Not only is she NOT an actor,

married only hours after meeting

my mother is someone who doesn’t

my father. Immigrants see their

go to the theater; she doesn’t like

story through our eyes, struggles,

15

to. It’s a story we can all relate to.

A Brimful of Asha Wed, Oct 18-Sun, Oct 22 Bing Concert Hall Studio

SEP / OCT 2017

Scene & Heard

2

1 4

6 7

7

16

3

1

2

C A NA DA DAY

C A NA DA DAY

On July 1, Stanford Live

Nova Scotia native Burton

marked Canada’s 150th

MacIntyre gave lessons in

birthday with a daylong

traditional Cape Breton

celebration featuring music

square dancing on the Bing’s

and dancing in and around

main stage.

Bing Concert Hall.

5

3

4

C A NA DA DAY

M U SIC O F WO O DSTOC K

With his trademark suit and

Classic Albums Live brought

glasses, snappy Canadian

a note-for-note, cut-for-

singer-songwriter David

cut re-creation of Music of

Myles performed a solo set in

Woodstock to the Bing for a

the Bing Studio.

special outdoor concert on July 14.

5

6

M U SIC O F WO O DSTO C K

B E T SAY DA MACHA DO

In honor of the 50th

On July 15, Venezuelan diva

anniversary of the Summer of

Betsayda Machado was

Love, audiences got a taste of

joined by her hometown’s

what was happening on the

resident percussion ensemble,

other coast.

La Parranda El Clavo.

7

8

B E T SAY DA MAC HA D O

F E D E RSPIE L

Prior to Betsayda Machado’s

It was all about Austria

show, audience members

on July 8 when the seven-

were treated to a free

piece brass band led a

dance session accompanied

performance in the Bing’s

by the master drummers

Gunn Atrium—complete with

of the ensemble La

schnitzel, pretzels, and beer!

8

Parranda El Clavo.

F E AT U R E T T E

Former Czech President Vaclav Havel with Wendy and William Luers.

The Art of Soft Power

By Wendy Luers

For years, countries have employed “soft power” as a strategic tool to position themselves in a positive light. From traveling orchestras to pop stars, from art exhibitions to language classes, these initiatives offer a nation the chance to shine a light on what is great about its culture and people. Here are just two examples from artists coming to Bing this fall.

The power of culture is often

effect on my worldview. For five years,

underestimated as a diplomatic

working for Amnesty International,

tool, but cultural exchange can not

I engaged cultural figures such as

only serve as a universal icebreaker,

singer Joan Baez, playwright Arthur

it can tear down walls and build

Miller, and novelist Kurt Vonnegut to

bridges between the most hardened

work closely with politicians, music

of enemies. It may not turn foes

publishers, and activists to help free

into instant friends, but it does

political prisoners (such as Czech

allow nations to find points of

dissident Václav Havel) and denounce

commonality that transcend politics.

repressive governments. It was a time when artists, musicians, playwrights,

As a young Stanford University

writers, and intellectuals actively

The Stradivarius Ensemble

graduate working as a journalist

shaped the discourse of world politics.

Sun, Oct 29

with San Francisco Magazine and Time in

Sachal Ensemble

the 1960s and 1970s in the Bay Area,

This spirit of cultural engagement

I quickly realized that the prevailing

would remain a powerful force

counterculture was having a profound

throughout my life after I married

Wed, Nov 15

18

S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7

William Luers, the U.S. ambassador

for their culture underscored for

With the Velvet Revolution in

to Venezuela, and helped start the

Venezuelans the richness inherent in

1989, these dissidents became

Foundation for Art and Preservation

their country and our appreciation of it.

president, foreign minister,

in Embassies (FAPE) in 1986 to assist

ambassador, and political leaders

the State Department’s various

Our next posting to the Czechoslovak

programs designed to permanently

Socialist Republic was very different.

place and preserve art in U.S.

When we moved to Prague in

Time and again, cultural diplomacy

embassies around the world.

1983, at the height of the Cold

offers a way to interact with people all

War, no Western television, print

over the world, underscoring that the

When I first joined Bill in Caracas

publications, or radio were allowed

United States is a multidimensional

in 1979, America’s relationship

inside the state-controlled country.

power, known as much for its artistic,

with Venezuela was of the utmost

of a free Czechoslovakia.

intellectual, and political freedom

diplomatic importance because

To address this repressive climate, we

as for its economic, military, and

of oil. Conversely, many influential

again turned to cultural diplomacy.

political might. For career diplomats

Venezuelans went to the United

We invited many of the American

and political appointees, it is not only

States regularly for education, culture,

writers and artists who had come

a privilege but also our obligation

medical attention, and shopping.

to Caracas, plus others such as

to present a holistic image of the

As a result, relations between the

poet Galway Kinnell, to visit. Using

United States—one that showcases

two nations tended to be narrow

the residence to bring prominent

our fundamental respect for pluralistic

and one-sided. Bill, a seasoned

American creative thinkers together

beliefs, diversity, and world culture.

career Foreign Service officer, and

with their counterparts, often

I, having served on various theater

dissidents, was extraordinarily

and museum boards, worked as a

gratifying and compelling.

We strongly believed in the power of the arts to affect diplomatic relations.

Playwrights Arthur Miller and

More than 1,000 people came to hear

Edward Albee, photographer Inge

American jazz musician Fred Starr

Morath, novelists John Updike and

give a concert at the only venue we

John Cheever, and artists such as

could use—our lawn! In 1985, we

Richard Diebenkorn, Frank Stella,

took writer Kurt Vonnegut to a union

and Larry Rivers all came as our

hall, where a group of creative Czech

guests. The diplomatic events we

students transformed Cat’s Cradle into

hosted showcased American culture

a brilliant play using a rolling cart

and belied the image of the United

made of plumbing pipes. Kurt was

States as merely a commercial and

astounded—it influenced every play

military heavyweight. However,

that he would write after that.

cultural diplomacy wasn’t simply about gatherings and press.

Proud to Support the Arts at Stanford Personal attention thoughtful litigation

We saw so much of dissidents like

final resolution

Václav and Olga Havel, writer Ivan

Our goal is to preserve our client’s dignity and humanity.

We worked actively to show how we, as

Klíma, translator Jaroslav Kořán, rock

Americans, had a deep-rooted respect

star Michal Kocáb, and journalists

for Venezuelan culture and traditions.

Michael Žantovský and Jiří Dienstbier

And we often traveled deep into the

that the communist Czechoslovak

Venezuelan Amazon jungle to visit the

government filed a formal complaint

Yanomami, Makiritare, and other tribes.

with the State Department. The Czech

As we were leaving in 1982, an exhibit

ambassador insisted, “You have to

of our extensive collection of folk and

choose between them and us.” Bill

tribal art was televised. Our respect

replied, “Don’t ask me to choose.”

19

FA M I LY L AW G R O U P, P. C .

575 Market Street, Suite 4000 San Francisco, CA 94105 415.834.1120 www.sflg.com

F A M I LY

cultural figures to visit Venezuela.

L A W

team to bring prominent American

In January 2014, Mark Marczyk touched down in Kiev and was quickly thrust into a nation on the eve of revolution—a volatile whirlwind of tragedy mixed with hope and solidarity and torn apart by brutal violence.

A barricade line separates interior troops and protesters.

Counting Sheep Photo Essay Later this season, Stanford Live

as they perform moments of revolution

presents a striking, visceral exploration

among video projections of real-life news

into the politics of revolution with

coverage and found footage.

the guerrilla folk opera Counting Sheep, created by Mark and Marichka Marczyk, who witnessed Ukraine’s Maidan Revolution for themselves.

The 12-member cast envelops audience members in this historic time period,

The revolution involved a series of violent events

Counting Sheep Wed, Feb 7-Sat, Feb 10 8:00 PM Bing Concert Hall Studio

20

involving protesters, riot police, and unknown shooters in the Ukrainian capital.

Counting Sheep stars the Lemon Bucket Orkestra, a 15-piece “Balkanklezmer-Gypsy-party-punksuper band.”

“It was less of a desire to make a show and more of a desire to help.”

—Mark Marczyk

“One of the reasons it was easy to convince the Lemon Bucket Orkestra to do this was they saw that they had to help me get it out of my system.”

—Mark Marczyk

2A1

1

Until the Lions From Award-Winning Choreographer and Dancer Akram Khan

By Sarah Crompton The choreographer performed

Akram Khan is one of Britain’s most

here much quicker than in my body,”

in Peter Brook’s legendary stage

successful and prolific choreographers;

he explains. “I’m terrified that in a

production of The Mahabharata

his work exudes a sculpted beauty and

simple movement my body will give

as a child. As he prepared a

calm certainty. His dancing, combining

in and I won’t be able to do it. I can

new dance version of the Indian

the training of his youth in the Indian

do it, and can do it really fast, but it’s

classical stories, he explained why

classical dance form of kathak with

psychological.” This sense of frailty

he has put women center stage.

contemporary mores, has an almost

accelerated when he tore his Achilles

transcendent complexity. And yet, he

tendon in 2012. He was rehearsing

Editor’s Note: This article was

says: “I am becoming more and more

Sacred Monsters, the piece he created

originally published in The

afraid.” He smiles and points to his

for and performed with Sylvie Guillem,

Guardian in January 8, 2016.

smoothly shaved head. “I am ageing

when he felt it snap; the resulting

22

60 Bay Area locations.

See a Stanford Children’s Health pediatrician at Peninsula Pediatric Medical Group

Access to Excellence.

M A I N F E AT U R E

S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7

four cm. gap could have ended his

now he is working on the detail of

of The Mahabharata as it toured the

career. But he fought back to full

the choreography, twisting and

world. The experience left its mark.

dancing strength, leaving doubts only

turning as he experiments with

in his own mind. “When I am stressed

different shapes and steps. The

“If you feed a child McDonald’s

or excited, I still walk with a limp,” he

work reveals a compelling sweep

every day, that child will start to

says. He stands up to demonstrate,

and ferocity as it tells the story of

look different. You feed them only

laughing at his own fallibility.

Amba, a princess abducted by the

vegetables, the child will feel and

prince Bhishma on her wedding

think differently. If you feed them a

We are talking in a rehearsal room

day. She seeks revenge on her

diet of The Mahabharata, it stays with

in Kensington, West London, where

captor, eventually killing herself and

you. Spending all that time with Peter

he is putting the finishing touches

returning from death in the shape

Brook, and looking and listening and

on a recent creation, Until the Lions,

of a woman who becomes a male

learning, also influenced me a lot. He

based on a story from the epic Hindu

warrior in order to exact punishment.

showed me how to get rid of the fat, go

poem The Mahabharata. With designs

to the essence of things. Simplicity is a

by Tim Yip, lighting by Michael

Although choreographically Until the

Hulls—both regular collaborators—

Lions is a complex synthesis of the

sophistication and he is a genius at it.”

and a score by Vincenzo Lamagna,

traditional and the contemporary,

Yet Khan’s exploration of the story

it is an ambitious, striking work.

drawing on all Khan has absorbed in

of Amba owes just as much to other

his career, it also represents a return

influences, particularly that of the

At an early run-through at the

to his roots. From the age of 13 to

poet Karthika Naïr, whose book of

Leicester Curve in August, Khan

15, he spent two years performing

poetry based on the female characters

created the structure of the piece;

in Peter Brook’s nine-hour version

in the epic saga, also called Until the Lions, provided Khan’s principal inspiration. “She planted a seed in my head. In Brook’s version, the male characters are more dominant than the female characters. I realized that when I was doing that version, I was motherless because I was on tour for two years. I am very close to my mother but I was without her, so I became very close to the actresses, who were playing heavy roles—but they were not the heroes, they were not celebrated. It’s generally like that in myths, because the hunter is always going to tell the story. In battles, the victors write history, not the losers.”

The title of Naïr’s poems is taken from an African proverb that suggests a story is not complete “until the lions have their say.” The lions, in this case, are the women. Khan was also fascinated by the gender roles, the way a character is transformed from female to male. “As a contemporary dancer I am a bit more masculine and animalistic,” he says, “but when

M A I N F E AT U R E

S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7

I do kathak I am shifting between

the words of the story are used as

incorporated Indian dance. That was

femininity and masculinity because

part of the soundscape, and the

my focus,” he explains. “Now, for me,

somehow the form itself gives you

telling is impressionistic rather

mathematics is a means to an end.

permission to be androgynous, to

than literal—Khan has reached a

There has to be a connection to a

move between yin and yang.”

point in his career at which it is the

human narrative, otherwise it’s just

storytelling that interests him. “I

numbers. I’ve moved from being a

Although Until the Lions is by no

started abstract—I wanted to create

scientist to being a theater-maker.”

means a conventional narrative—

a vocabulary, a way of moving that Born in Wimbledon, in southwest London, he trained in kathak from the age of seven and became obsessed with being a better dancer than his equally talented sister. But he also loved dancing to Michael Jackson and trained as a contemporary dancer, forging a rich blend of styles and creating groundbreaking works such as Zero Degrees in collaborations and alone. Many commissions came his way, from creating and starring in Torobaka with the flamenco star Israel Galván to making pieces such as Vertical Road and Kaash for his own company and molding intricate narratives such as the autobiographical Desh, which explored his father’s origins in Bangladesh.

He has also taken on other highprofile projects such as devising a solo for Guillem’s farewell tour at Christmas and fashioning a haunting contribution to the Opening Ceremony of the 2012 London Olympics. Another recent challenge was a full-scale version of Giselle for English National Ballet, which premiered last year.

As he talks, you sense a longing for a time when choreographers had less on their plate. “Before, the artist just worried about the art. I miss that. Life has become fuller for everyone. Every five minutes you are fitting in things, otherwise you feel you are wasting your time.

“There was a period in Japanese art when they started to empty the canvas just as in Europe everyone was filling

S TA N FO R D L I V E M AG A Z I N E S E P / O C T 2 0 1 7

3 1.

Akram Khan’s Until The Lions 2.

Ching-Ying Chien as the princess Amba in Until The Lions 3.

Akram Khan on the Stanford campus

the canvas. We are filling the canvas,

performer. I may do little cameo

1930s. When you take something so

and that sense of space to reflect is

roles because I think I would be sick

sacred, you have to hold it carefully

missing. We are not choreographers

if I didn’t have a reason to go to a

so as not to drop it but at the same

any more, we’re politicians. That

studio each morning, emotionally

time you have to put your voice in.”

never used to be the case.”

and psychologically. But I would

While he acknowledges his fees are

rather people say, ‘Why are you

He has felt that Until the Lions and Giselle

stopping?’ than ‘Why aren’t you?’”

are companion pieces—variations on

high in dance terms, that doesn’t mean

similar themes. “I can’t separate them to

he can afford to take time off. “Doing

He laughs. But the wistfulness in his

a certain degree. They are interlocked.

well as an artist in dance is not the

tone vanishes when he returns to

It’s all about the woman,” he says, before

same as doing well in pop or football

talking about Giselle—in an entirely

heading off to create another duet of

or film,” he says. “Those are different

new version, with the original

revenge, love, death, and betrayal.

money brackets because then you can

Adolphe Adam music adapted by

take a year off because you have made

the contemporary composer Ben

a huge amount on one film. We don’t

Frost. “It is a big project,” he says.

operate on those terms. There is a

“I’m using most of the dancers in

culture here that thinks money is bad,

the company and I’m really excited

that it stops you from being an artist—

about that. I think the hugeness of

but actually money buys me time.”

it is that it’s really British. Britain owns Giselle, it’s been so special

After 2018, he will stop dancing as a

here, ever since Alicia Markova

solo artist. “I will retire as a full-time

started performing the role in the

27

Conversation with Akram Khan Mon, Oct 16 6:00 PM Encina Hall Until the Lions Fri, Oct 27 & Sat, Oct 28 7:30 PM Memorial Auditorium

P E T E R B RO O K

Six Degrees of Akram Khan

Classically trained in the north Indian dance form of kathak, Khan had his first big break at age 13, touring the world with legendary theater director Peter Brook’s epic nine-hour adaptation of the Mahabharata.

DA N N Y BOY L E

Akram Khan choreographed part of the Danny Boyle– directed London 2012 Olympic Games Opening Ceremony. The section—set to the voice of Emeli Sandé singing “Abide with Me”— featured 50 dancers, a nine-year-old boy, and Khan himself.

ANISH KAPOOR AND N I T I N SAW H N E Y

Kaash was Akram Khan’s first full-length work and premiered in 2002. Nitin Sawhney composed the music for the performance and Anish Kapoor designed the sets.

KYLIE MINOGUE

Khan choreographed a portion of Minogue’s 2006 comeback tour, Showgirl, set in an Indian temple, and he appeared as a huge projection behind her as she performed.

28

TIM YIP

Khan created a 21st-century version of the iconic ballet Giselle for English National Ballet in 2016, designed by the Academy Award–winning Tim Yip (Crouching Tiger, Hidden Dragon).

SY LV I E G U I L L E M

Khan and French ballerina Guillem performed together in Khan’s Sacred Monsters in 2006.

HANIF KUREISHI

In 2003, Khan and Kureishi cowrote and produced The God of Small Tales, featuring middle-aged and older women discussing motherhood and daughterhood through dance, movement, songs, and stories.

STEVE REICH

Khan and Reich collaborated on a dance setting of Reich’s 2005 composition Variations for Vibes, Pianos, and Strings.

JULIETTE BINOCHE

In 2008, Khan cocreated and performed In-I, a “meditation on love, lust, obsession, and romance,” with the Oscarwinning actress.

29

ARTIST VOICES

Dvořák Paints a Tree

By Rob Kapilow

One of the overriding

created in response to

publisher, Fritz Simrock.

have his publisher print his

themes of Stanford Live’s

previous art. A painter

Its title not only reflects

name as “Antonín” rather

programming this season

paints a tree not in response

Dvořák’s compositional

than the German form,

is the idea of voice. Where

to seeing a tree but in

and political ambitions,

“Anton,” as well as to have

does an artist’s voice

response to seeing another

it also shows Simrock’s

the titles of his pieces

come from? What are the

painting of a tree. Now

astute understanding of

printed in Czech as well

influences that shape an

the truly provocative part.

the contemporary classical

as German in his scores.

individual’s voice, and in

Weak artists, Bloom says,

music scene in Europe. For

what ways are individual

imitate their predecessors,

Dvořák, writing the Slavonic

Dvořák’s nationalistic

voices connected to

while strong artists

Dances was a political

fervor was, of course,

national identities? In

creatively misread them.

statement, a reaction

part of a much wider

against Austria’s dominance

European phenomenon.

terms of my three What Makes It Great? programs

Take the case of the work

of Europe’s political and

The enormous success of

this season, in what ways

that launched Dvořák’s

cultural landscape. Dvořák’s

Brahms’ Hungarian Dances,

did America shape or

career in 1878, the Slavonic

dances are purposefully not

published by Simrock in

influence Dvořák’s American

Dances for Piano. Though

Austrian dances—waltzes,

1860, had already shown

Quartet, Leonard Bernstein’s

there is clearly a creative

minuets, or Ländler—but

the public’s enthusiasm for

Broadway musicals, and

misreading of Brahms at

rather Slavonic dances

fundamentally Viennese

Duke Ellington’s jazz?

the heart of the work—

modeled on the dances of

music flavored with piquant

Brahms’ Hungarian Dances

Poland, Ukraine, Serbia,

nationalistic touches,

The literary critic Harold

were Dvořák’s model—the

and elsewhere. Writing

and Simrock’s decision to

Bloom has a fascinating if

influences on Dvořák’s

the Slavonic Dances was

commission the Slavonic

somewhat hermitic theory

newly emerging voice go

part of Dvořák’s lifelong

Dances was clearly a

about artistic influence,

far beyond that of simply a

struggle to establish the

response to Brahms’ earlier

which I will now hopelessly

precursor piece. The work

legitimacy of the Czech

success. One of the key

oversimplify. All art, he

was both published and

language and culture. He

differences between the two

says, is fundamentally

commissioned by Brahms’

spent years battling to

works was their relationship

30

Business, meet box office. to their source material.

Put simply, Brahms’ dances

Encore connects your business to arts patrons wherever they are.

were settings of actual folk melodies while Dvořák’s were not. Dvořák captured the spirit of these melodies

Learn more at encoremediagroup.com.

but filtered them through his own extremely sophisticated, European compositional language without quotation or arrangement.

Dvořák became famous when he began to bring all of himself to his music, when he stopped excluding the Bohemian folk elements from his work as being “not classical” and began

Pinewood is an independent, coeducational, non-profit,

including them. When he

K–12 college-prep school. Students benefit from small

came to America in 1892,

class size, challenging academic curricula,

however, a whole new set of influences both personal and musical inspired significant creatively misread America— how his three-year visit changed his voice—is the story of his American String Quartet and the story of our opening What Makes It Great? program of the season. We may all be influenced by our predecessors, personally and artistically, but it is how we creatively misread them that ultimately determines our voices.

Rob Kapilow’s What Makes it Great?

With the St. Lawrence String Quartet Wed, Oct 11 7:30 PM Bing Concert Hall

K12 enrichment activities. through

changes in his music. How he

Passionate Expertise

and a wide choice of

High Academic Expectations

a respected and vital member of our educational community. We invite you to explore

Unlimited Exploration Grounded Moral Examples Confident Self-Expression

We offer an environment where each student is

the opportunity for your student to become a part of the Pinewood tradition of academic excellence. For more information, please visit our website.

www.pinewood.edu

SEP / OCT 2017

Behind the Scenes

One of the big changes you’ll notice at Bing Concert Hall this season is our new “end-stage” configuration, which optimizes both sound and sight lines for amplified shows. In this setup, every 1

patron gets a front or sidefacing view of the performers.

3

We asked our photographer

2

Joel Simon to takes some shots of the space during our recent Youssou N’Dour concert to give you a sense of what the room feels like.

A little hint from the team at Bing—the side seats offer wonderful unobstructed views of the stage and bring you that much closer to your favorite artist.

— C H R I S LO RWAY E X EC U T I V E D I R EC TO R

1

2

3

STAGE SEATING

SIDE VIEWS

YOUSSOU N’DOUR

Here’s an overview of the

Here are two views from the

The Senegalese superstar

end-stage configuration with

side-stage seating and the

test-drove our end-stage

the stage seating.

side terraces, both of which

setup at the Bing with an

offer unobstructed views of

African music blowout event

the stage close to the action.

on August 9.

32

“City National helps keep my financial life in tune.”

So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship.

City National is The way up® for me.

Michael Tilson Thomas Conductor, Educator and Composer

©2017 City National Bank

Hear Michael’s complete story at cnb.com/Tuned2SF

CNB MEMBER FDIC

The way up.

®

Call (866) 618-5242 to learn more or visit cnb.com

Membership

SEP / OCT 2017

1

Student Voices Opportunities Abound for Artist Interactions Did you know that the

students will oversee all

all aspects of presenting

Stanford student sitting next

aspects of the performances,

the performing arts, from

to you just may have had

from booking to production.

marketing to campus and

a hand in crafting tonight’s

community engagement.

performance? As part of

Also this season, Stanford

This season, our three

its mission, Stanford Live

student ensembles will

fabulous interns are also

provides opportunities for

perform with world-renowned

contributing photography

every Stanford student to

artists on our stages. On

and writing for this magazine

engage with the arts, and

February 9, the Stanford

as well as for our website

students’ creativity in turn

Symphony Orchestra will join

and social media channels.

makes a vital contribution to

iconic vocalist and Rock and

our programs.

Roll Hall of Famer Darlene

And finally, we make the arts

Love, and on January 28, the

accessible to all Stanford

As part of our new cabaret

Stanford Chamber Chorale

students by offering tickets

series in the Bing Studio,

will join pianist Jeremy Denk

to performances starting

we’re partnering with the

and violinist Stefan Jackiw to

at a discounted price of

Stanford Concert Network to

perform music by Charles Ives.

$15, with student seating

present a six-part student-

Stanford Live’s student

reserved for even our most

curated series in which SCN

interns receive training in

in-demand performances.

34

2

3

4

Stanford Live’s student engagement opportunities are made possible through the generous gifts of individual donors and the support of all our Stanford Live members.

To make a gift to support Stanford Live, please contact Danielle Menona at 650.725.8782 or dmenona@live.stanford.edu.

1 M A S EG O

2 DA N I S H S T R I N G Q UA RT E T

3 I S L A M I C VO I C E S

4 SONIC DIVERSITY

Masego’s freewheeling “Trap

Last fall, members of the

Also last fall, the Tunisian

Freshman Anna Wang

House Jazz” concert brought

Danish String Quartet joined

singer-songwriter Emel

plays the violin at the

a capacity crowd of students

Stanford students for some

Mathlouthi met students over

Anderson Collection as

to Bing Studio in February.

onstage sight-reading.

lunch to discuss the path that

part of a collaboration with

led her to become the “voice

members of the International

of the Arab Spring.”

Contemporary Ensemble.

35

Stanford Live Donors Stanford Live thanks the following donors for generously supporting the 2017–18 season.

PRODUCING SPONSORS Helen & Peter Bing Roberta & Steven Denning Scott & Molly Forstall Marcia & John Goldman The Hornik Family

PERFORMANCE SPONSORS Mary & Clinton Gilliland Stephanie & Fred Harman Michael Jacobson & Trine Sorensen Bonnie & Marty Tenenbaum

BING CIRCLE ($25,000+) Anonymous Jeanne & Larry Aufmuth Helen & Peter Bing Sharon & Edward Bullard Roberta & Steven Denning Ann & John Doerr Jill & Norm Fogelsong Leonard Gumport & Wendy Munger Cynthia Fry Gunn & John A. Gunn Drs. Lynn Gretkowski & Mary Jacobson Stephanie & Fred Harman Leslie & George Hume

Michael Jacobson & Trine Sorensen Deedee & Burton McMurtry Phyllis Moldaw Barbara Oshman Mindy & Jesse Rogers Bonnie & Marty Tenenbaum

Anthony Paduano & Ruth Porat Donna & Channing Robertson Barbara & Greg Rosston Tom Sadler & Eila Skinner Meryl & Rob Selig Charlotte & George Shultz Barbara & Arnold Silverman Peter Staple & Harise Stein Diane & Hal Steuber Andrea & Lubert Stryer Lena & Ken Tailo Carol & Doug Tanner Lorna & Mark Vander Ploeg David Wollenberg

BING DIRECTOR’S CIRCLE ($15,000–$24,999) Carol & Myles Berg Shawn & Brook Byers Marcia & John Goldman Morton Grosser Catherine & Franklin Johnson Joan F. Lane Leatrice Lee Sandra Magnussen Carrick & Andrew McLaughlin Linda & Tony Meier William Reller Condoleezza Rice Marian & Abraham Sofaer Madeline & Isaac Stein Karin & Paul Wick

BENEFACTOR ($5,000–$7,499) Fred Alvarez & Beth McLellan Alvarez Regina & Gerhard Casper

SUSTAINER ($2,500–$4,999) Keith Amidon & Rani Menon Jonathan, Frances, & Alison Axelrad Deborah & Jonathan Berek Celeste & Wendell Birkhofer James Canales & James McCann William Coggshall & Janet Littlefield Stanley Falkow & Lucy Tompkins Judy & Jerrol Harris Karen Hohner & Randall Keith Mary Ittelson Charlotte & Larry Langdon Judy Mohr & Keith Reeves Og & Ogina Ann Tsukamoto-Weissman & Irving Weissman Susan & David Young

BING ARTIST’S CIRCLE ($7,500–$14,999) Anonymous (3) Felicity Barringer & Philip Taubman Luiz Barroso & Catherine Warner Alison & Joe Barta Nancy & James Bildner Recia & Mark Blumenkranz Iris & Paul Brest Janice Brody & Bruce Rule Eva & Chris Canellos Diane & Stephen Ciesinski Carla Baird & David Crane Ann & David Crockett Julia & James Davidson Margaret Dorfman Susan Ford Dorsey & Michael Dorsey Phyllis & William Draper III Debbie Duncan & Bill Stone Barbara Edwards Melissa & Trevor Fetter Mary & William Fitch Lynn & James Gibbons Fred Grauer Ann Griffiths Gail & Walter Harris Eleanor & Bruce Heister Anne & Jack Holloway Rick Holmstrom & Kate Ridgway Larry Horton & George Wilson Elizabeth & Zachary Hulsey Sallie De Golia-Jorgenson & John Jorgenson Betty & Bob Joss Roberta & Charles Katz Lisa Keamy & Lloyd Minor Kathy & John Kissick Ingrid Lai & William Shu Sujitpan Lamsam & Scott Sagan Bren & Lawrence Leisure Robert Lence Debra & Mark Leslie Cynthia & Richard Livermore Jane & Michael Marmor Victoria & James Maroulis Jim McLaughlin & Cathy McMurtry Nancy & Lawrence Mohr David Morandi Tashia & John Morgridge Dean Morton Susan & Bill Oberndorf John O’Farrell & Gloria Principe Lynn & Susan Orr

PARTNER ($1,000–$2,499) Anonymous (2) Marian & Jim Adams Lysbeth Anderson & John Working Keith Baker Linda & Laurence Baker Lindy Barocchi Lisa Barrett Gary & Carolyn Bjorklund Susan Zaroff Breyer Terri Bullock Jane & Peter Carpenter John Carter & Edie Goldberg Alexis & David Colker Joanne & Michael Condie Janet & Richard Cory Sommer William Coughran Jr. Toni Cupal & Mike Volpi Thomas Dienstbier & Joyce Firstenberger Stan Drobac & Michelle Swenson Diane Elder & Bruce Noble Anna Espinosa Margaret Ann & Don Fidler Betsy & David Fryberger Jane & Bruce Gee Susan Goodhue Ed Haertel & Drew Oman Eric Hanushek & Margaret Raymond Leslie Hsu & Richard Lenon Lucie Jay Grace Kim Kay & Ed Kinney Iris & Hal Korol Jill & Bruce Bienenstock Sally & Charles Lannin Albe & Ray Larsen

36

Ayleen & Emory Lee Philip Lee & Carlene Wong Shirley Liebhaber Marge & Roger Lobbes Joan Mansour Yoshiko Matsumoto & John Ryan Dick Miller & James Stutts Evelyn Miller & Fred Snively Betsy Morgenthaler Paula Moya & Ramon Saldivar Joyce & Joseph Nishimura Edward & Nadine Pflueger Robert & Shirley Raymer Laura Richardson Nancy & Norman Rossen Lela & Gerry Sarnat Doris Sayon J. Schwabacher Family Diane Shemanski Charles Sieloff Onnolee & Orlin Trapp Mary & John Wachtel Kenneth Weinberg Mariko Yang Wai Yau Sharon & Robert Yoerg

ADVOCATE ($500–$999) Anonymous (7) Bill Albright & Jeryl Hilleman Dorothy & Ted Anderson Lois & Edward Anderson Janice & William Anderson Markus Aschwanden & Carol Kersten Therese Baker-Degler Corrine & Alan Barkin Marie & Douglas Barry Brigid Barton & Orrin Robinson Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Mary Bechmann Bernard Beecham & Cheryl Lathrop Ann & John Bender Mildred & Paul Berg Susan Berman & Leon Lipson Charlotte & David Biegelsen Matthew Bien & Grace Lee Stephanie Biorn Richard Bland & Marlene Rabinovitch Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Charles Bliss & Caroline Bowker Linda & Steve Boxer Prudence Breitrose Maude & Philip Brezinski Joan B. Brown Thomas Bush & Grace Sanchez Lise Buyer Thomas Byrnes Tasha Castaneda Andrew Chan Donald Cheu Gloria & Michael Chiang Shelli Ching Ann Clark Holly & Andrew Cohen Mark Cohen & Jackie Pelavin Sheila Cohen & Richard Mazze Lisa K. Colburn Kalyani Comal & Arun Ramakrishnan Martha & Spencer Gates Paula Cooper Jacqueline & Robert Cowden Suzanne & Bruce Crocker Melanie & Peter Cross Jo & John De Luca

Richard De Luce Cornelia Dekker Donato Desopo & Marian Sagan Christina Reid Dickerson Harvey L. Dixon Carol Dressler Kathleen Dumas Ellen & Tom Ehrlich Eleanor Eisner Patricia Engasser Dennis Facchino & Angela Sowa Sally & Craig Falkenhagen Lynne & Michael Federle Joan & Allan Fisch Shela & Stephen Fisk Barry Fleisher Diana & Freeman Ford Margaret Forsyth & Glenn Rennels Rona Foster & Ken Powell Sarah & Stanley Freedman Carol & Joel Friedman Aileen Furukawa Catharine & Daniel Garber Dianne & Wesley Gardiner Karen & Edward Gilhuly Charles Goldenberg & Pamela Polos Margaret Gong Edward Goodstein Elizabeth & Jeff Grammer Brian Gray Sally Gressens & Lee Yearley Ester Gubbrud & Charles Ross Elizabeth M. Gulevich Jeanette & Harold Guthart Jamie Hale Sara & Michael Hammond Celia & Terry Harms Joyce & James Harris Stephen Harris Joerg Heilig Anne & William Hershey Freda Hofland & Lester Thompson Robin & Linc Holland Tamaki & Takeo Hoshi Alyson & James Illich Sally & Rob Jackson Dorothy & Rex Jamison Leigh & Roy Johnson Robert Jones Martha & Michael Kahn Pamela S. Karlan Inge Keuppens & Marc Vanlerberghe Edie & Bob Kirkwood Barbara Klein & Stanley Schrier Phillip Klimke Renate Klipstas Christina Kong Maureen & Kerry Kravitz Nora & Charles Kruger Jean Lane Janna & Kurt Lang Lisa Lapin Cathy & Stephen Lazarus Cynthia & Bob Leathers Hau Lee Lucy & Jason Lee Joan & Philip Leighton Doreen & David Leith Sanford Lewis Adele & Mark Lieberman Marcia Linn & Jack Morris Laurel & Joe Lipsick Sherry Listgarten Kristen K. Lo Penny & John Loeb Teri Longacre Kathryn Naylor Low Liqun Luo Ruth Lycette

Emily Ma Kathy Mach & David Scherer Charlene & Dick Maltzman Allison & Nino Marakovic Sandra & Joseph Martignetti Marylin McCarthy Chris McKillop Penny & Jim Meier James & Victoria Merchant John Metcalfe Maureen Missett Jose Montoya David Moor Martha Morrell & Jaime Tenedorio James Murphy Mariam Nayiny Kirstin & Frederic Nichols Christine & Ronald Orlowski Shari & Donald Ornstein Kevin Osinski & Marc Sinykin Carmela & Eli Pasternak Nancy & Stephen Player Barbara & Warren Poole Mary & Matthew Powell Kitty & Lee Price Kathryn Pryor Kathleen Quinn Katherine & Gary Reback Richard & Karen Schneider Recht Rossannah Reeves Kyoko Robinson Diane & Joe Rolfe Amy Rosenberg & John Slafsky Maureen & Paul Roskoph Annette & William Ross Ann Rossi Elise & Jay Rossiter Diana & Philip Russell Bettina McAdoo & Gordon Russell Thompson W. Ryan Loren & Shelley Saxe Elizabeth & Mark Schar Chris Iannuccilli & Michele Schiele Paula & George Schlesinger Cora Schmid Sue Schmitt Nancy & Richard Schumacher Vandana & Arvind Sharma Craig Sherman & Susan Shin Judith & William Shilstone Katie & John Shoven Judy & Lee Shulman Diane & Branimir Sikic Ilze Silis Mary Ann Sing Hannah & Richard Slocum Cristina Valdes Smith Karen & Frank Sortino Susan Speicher Nancy Stanwood Barbara & Charles Stevens M. Carol Stevens & William Kay Judith Stewart Edward Storm Eleanor Sue Linda & Jeffrey Suto Rosalinda & Michael Taymor Carol & Christopher Thomsen Alicia Torregrosa & Stuart Weiss Connie Turkington Ann & John Varady Wendy & Roger Von Oech Penelope & Robert Waites Joan & Roger Warnke Ben Wegbreit Karen & Rand White Mansie & Gary Williams Polly Wong Robert Wood

Marilyn & Irvin Yalom Mary H. Young Roy Zemlicka Jiecheng Zhang Selma Zinker

SUPPORTER ($250–$499) Anonymous Mary Bellack Ann & George Crane Judith Dean & Ben Encisco Susan Emerick Nancy & Thomas Fiene Leah & Lawrence Friedman Paul Goldstein & Dena Mossar Jane & William Johnson Vera Luth Wendy McPherson Elyce Melmon Elisabeth Merkel Joan Norton Audrey Shafer Carla Shatz Nerija Sinkeviciute-Titus Gayle & Scott Spencer Elizabeth Trueman & C. Raymond Perrault Susan & Lew Wexler Jeri & Kevin Wheaton

STANFORD LIVE LEGACY GIFT

2017–18 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide strategic advice on programmatic goals and visions, financial sustainability, communications and marketing, community outreach and education, and the overall arts branding at Stanford University.

Leslie P. Hume, Cochair George H. Hume, Cochair Jeanne Aufmuth Peter Bing Fred Harman Rick Holmstrom Bren Leisure Betsy Matteson Linda Meier Trine Sorensen Srinija Srinivasan David Wollenberg Ex officio: Maude Brezinski Stephen Sano Matthew Tiews

Bing Concert Hall Donors

Audrey Avis Aasen-Hull §

BUILDING DONORS

INSTITUTIONAL PARTNERS

Peter and Helen Bing Cynthia Fry Gunn and John A. Gunn 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 Burt 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

$100,000+ Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 The Nathan Cummings Foundation Drs. Ben and A. Jess Shenson Funds Ann and Gordon Getty Foundation National Endowment for the Arts $1,000–$9,999 Aaron Copland Fund for Music California Arts Council Kinder Morgan Foundation Western States Arts Federation Contributions listed are in support of the 2017–18 season and were received between 4/1/2017 and 8/1/2017. For corrections, or to make a contribution, please contact Danielle Menona at 650.725.8782 or dmenona@stanford.edu.

To learn more about giving to Stanford Live, visit live.stanford/edu/give. § Deceased

37

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

NOV / DEC 2017

Calendar

Wed–Sun

NOVEMBER

DEC. 1–2

NOVEMBER 15–19

The Daisy Theatre

Wed

Ronnie Burkett, Theatre

NOVEMBER 1

of Marionettes

Chuck Klosterman and Simon Reynolds

DECEMBER

Fri–Sat

Fri–Sat

NOVEMBER 3–4

DECEMBER 1–2

Longing Lasts Longer

Betty Buckley

Penny Arcade

Sun

Sun

DECEMBER 3

NOVEMBER 5

Rolston String Quartet

Sundays with the St. Lawrence St. Lawrence String Quartet

Wed DECEMBER 13

Fri

A Chanticleer Christmas

DECEMBER 8

Sat

The Red Violin

NOVEMBER 11

Thu

Live score featuring

In My Mind: Thelonious Monk

DECEMBER 14

Lara St. John

Jason Moran and the Big Bandwagon

Happy, Joyous Hanukkah The Klezmatics

Sat DECEMBER 9

Sat

The Hot Sardines’

NOVEMBER 11

Holiday Stomp

Patricia Barber Trio

Sun

Wed

DECEMBER 10

NOVEMBER 15

Selected Shorts

Song of Lahore Sachal Ensemble

DEC. 9

NOV. 15–19

SINGLE TICKETS NOW ON SALE!

Presented by Stanford Live

LIVE.STANFORD.EDU OR 650.724.BING (2464)

Stanford University, 365 Lasuen Street,

Visit the Stanford Live website for updates.

Second Floor Littlefield Center, MC 2250

All programs and prices are subject to change.

Stanford, CA 94305

38

Plan Your Visit

Things to Know The Interlude Café in Bing

Change your plans?

Large-print programs

Concert Hall’s lobby serves

Exchange your tickets or make

are available with 72

guests before performances

a tax-deductible donation at

hours’ notice given to

and during intermission. For

live.stanford.edu/changes.

the administrative office.

complete hours, menus, and

Please send all requests to

preordering options, visit

Wheelchair seating, with up

live.stanford.edu/dining.

to three companion seats per

stanfordlive@stanford.edu.

wheelchair space, is available

Volunteer usher positions

Latecomers arriving after

for all performances. Please

are available throughout the

curtain time will be seated

indicate your needs when

year. For more information,

at a suitable interval in the

purchasing tickets so that an

please send an email to

program or at intermission.

appropriate location can be

bstarr@stanford.edu.

We recommend that you

reserved for you.

arrive at least 30 minutes Sign language interpreting

prior to performances.

is available with five business Assisted-listening devices

days’ notice given to the

are available. Please visit

administrative office—call

Patron Services prior to the

650.723.2551 or email us at

show for more information.

stanfordlive@stanford.edu.

Performance Venue Information Bing Concert Hall & Bing UN

Concert Hall Ticket Office AR

2

Frost Amphitheater

3

Memorial Church

4

Memorial Auditorium

5

Stanford Ticket Office

6

Anderson Collection at

BO RE

TU

I

R VE

MR D

SI

TY

AV

E TO

10

1N

Hall and Frost Amphitheater EL

CA

MIN

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CAMPUS DRIVE WEST

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Parking for Memorial Church

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at the end of Palm Drive, on and on Lasuen Street.

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Hoove Tower r

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Directions For driving directions or

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public transportation

BLVD

E RD

TO

ALPIN

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can be found along the Oval Roth Way, on Museum Way,

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the Oval.

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3

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Lot and on Lasuen Street, Museum Way, Roth Way, and

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Alum Centeni r

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can be found in the Galvez S

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2

4

SAN

Alumni Center

101

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Alumni Café, Arrillaga

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RD

EA

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RD

MEM

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Walking Path

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Public Parking

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1

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2

AR

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Stanford University

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Parking for Bing Concert

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28

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Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays after 4:00 pm and on weekends at all times. Disabled parking, loading, and servicevehicle restrictions are enforced at all times.

39

information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit http://visit.stanford.edu/plan/ parking.html.

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Oakland Palo Alto Pinole Pleasanton Portola Valley Redwood City San Jose San Leandro San Pablo San Ramon Santa Clara Stanford Walnut Creek

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And in your neighborhood.

With our expanded locations, access to exceptional health care is closer than ever—whether you live in the Peninsula, South Bay, or East Bay. Supported by one of the best hospitals in the nation, our connected team of primary care doctors and specialists are near where you work, live, and play.

For more information, call 844.394.6907 or visit stanfordhealthcare.org/primarycare