Stanford Live 2019–20 Season Brochure

Join us!

2019-20 Season

W E L C OM E TO S TA N FOR D L I V E ’ S 20 19-20 SE AS ON S TA N FO R D L I V E MEMBERSHIP Become a member to enjoy year-round presale access, free ticket exchanges, and more.

Stanford Live memberships provide vital support for performances, artist residencies, and K–12 education programs, and help create and inspire the next generation of artists and art enthusiasts.

Learn more on page 60.

M E M B E R P R E SA L E AC C E S S B EG I N S O N A P R I L 1 1 , 2 01 9.

SINGLE TICKETS GO ON SA L E TO T H E G E N E R A L P U B L I C O N M AY 2 3.

HOW TO OR DE R ONLINE: L I V E . STA N FO R D.E D U PHONE AND IN PERSON: B I N G C O N C E RT H A L L TICKET OFFICE 3 2 7 L A S U E N ST R E E T STA N FO R D, C A 94305 6 50.724.B I N G Š 246 4Ÿ T U E S DAY Ž F R I DAY, 1 2: 0 0 P M Ž 5 : 00 P M

WELCOME TO

2019—20 SEASON

STANFORD

1

LIVE 20 19—20 SE AS ON

S TA N FO R D L I V E

T H A N K S TO T H E FOL L OW I NG PA RT N E RS A N D SU P P ORT E RS :

Stanford Live’s 2019–20 season is generously supported by Helen and Peter Bing, the Koret Foundation, and the Hewlett Foundation.

“The best art is political and you ought to be able to make it unquestionably political and irrevocably beauti l at the same time.”

—Toni Morrison

“Politics is politics; art is art. If you play a political role, you have to stop being an artist.”

Underwriting for student ticket discounts for the

—Youssou N’Dour

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.

JA Z Z P ROJ EC T

“The function of the artist in a disturbed society is to give awareness of the universe, to ask the right questions, and to elevate the mind.”

—Marina Abramović

The Stanford Live Commissions and Programming Fund is generously supported by the Hornik Family and the Maurice and Helen Werdegar Fund for Stanford Live.

“If my art has nothing to do with people’s pain and sorrow, what is ‘art’ for?”

—Ai Weiwei

2

CURATORIAL

has always been a complex coupling that divides critics and proponents.

The former suggest that political art is often bad art and that this mix should be avoided. The latter argues that a key role of the artist is to reflect a society back upon itself and that political context and content is a crucial part of this storytelling process. Regardless of which side you end up on, it is hard to deny that political ideas are historically infused into many of the artistic works that have made up—and continue to populate—the canon.

As the United States enters another election cycle and countries around the world both grapple with internal division and jockey for international dominance, artists once again find themselves at the center of this discourse. In some instances, they make work that celebrates national cultural ideals, which often becomes repurposed by governments as vehicles for soft power. In others, artists take overt political stances in either support of or in defiance of a current regime.

STATEMENT

The intermingling of art and politics

3

C U R ATO R I A L S TAT E M E N T

“A key role of the artist is to re ect a society ack upon itself and that political context and content is a crucial part of this storytelling process.”

2019—20 SEASON

These ideas and their artistic mani-

This season also marks another mile-

festations served as the ingredients in

stone for Stanford Live. In the summer

assembling Stanford Live’s 2019–20

of 2019, we will officially re-open the

season. Once again, we have curated

Frost Amphitheater, one of the most

a multidisciplinary series that explores

beloved venues on campus. New

the intersection of art and politics.

partnerships with Goldenvoice and the

The domestic work we have chosen

San Francisco Symphony will ensure

addresses issues around civil rights,

we host top artists at Stanford. Our

culture wars, McCarthyism, and female

hope is that this space will once again

political leadership. On the international

facilitate historical gatherings of the

side, we included work from countries

Stanford and South Bay community

with distinct geo-political relationships

and be the source of lasting memories

with the US, including Russia, Cuba,

for a new generation. We can’t wait

Iran, and North Korea. In particular, we

to show it off!

have highlighted a range of contemporary work from China that we hope will

Finally, this year’s stellar artist line-up

provide insight into the complexities of

includes Lang Lang, Joshua Bell,

this global superpower.

Laurie Anderson, and Rhiannon Giddens alongside returning favorites

Throughout this brochure you will

Rob Kapilow, Philharmonia Baroque

see a collection of political images and

Orchestra, and the St Lawrence String

stories, including a series of iconic

Quartet. And even more performances,

posters from the Hoover Instituton’s

including our popular Bing Studio series,

world-renowned collection of political

will be announced in the coming months.

art. Over the course of the season, we plan to leverage the amazing faculty

We look forward to going on this exciting

and student resources on campus

artistic journey with you.

to both contextualize the work and bring it to life.

Chris Lorway Executive Director Laura Evans Director of Music Programs, Education and Engagement

4

2019-20 SEASON PERFORMANCES

2019—20 SEASON

CHAMBER Sundays with the St. Lawrence

16 17

James Reese Europe & the Absence of Ruin Jason Moran & the Harlem Hellfighters

44

Harlem Quartet Invoke Multi-String Quartet

17

Fly Higher: Charlie Parker @100

45

Daniel Pearl World Music Days Concert

23

Harlem 100

47

Michael Barenboim & West-Eastern Divan Ensemble

35

Maria Schneider Orchestra

51

Sarah Chang with the Telegraph String Quartet

37

CHORAL The King's Singers: Soul Music

53

A Chanticleer Christmas

55

CONTEMPORARY MUSIC

ORCHESTRAL Philharmonia Baroque Orchestra & Chorale

19

From the Middle Kingdom to the Wild West: The Orchestra Now

32

NFM Wroclaw Philharmonic with Bomsori Kim, violin

36

New Century Chamber Orchestra

53

Triptych (Eyes of One on Another)

20

Max Richter with the American Contemporary Music Ensemble

23

Bang on a Can All-Stars: A Musical Utopia and Gong Linna

31

We Shall Overcome: A Celebration of Dr. Martin Luther King Jr. featuring Damien Sneed

38

Kronos Quartet: The 60s, The Years That Changed America

43

Rebirth of a Nation: DJ Spooky with the Catalyst Quartet

44

National Geographic Live: A Rare Look - North Korea to Cuba and When Women Ruled the World

10

Laurie Anderson: The Art of Falling

50

Rob Kapilow's What Makes it Great?

22

52

Scott Joplin's Treemonisha

CIRCUS Backbone: Gravity & Other Myths

RECITAL Brad Mehldau & Ian Bostridge

18

Hell's Fury: The Hollywood Songbook

24

Lang Lang

34

Vladimir Feltsman

34

Joshua Bell, violin, Alessio Bax, piano

37

TALK/PERFORMANCE

MUSIC THEATER

DANCE

8

THEATER

Malpaso Dance Company

15

Minorities: Company Red Virgo

46

Rite of Spring: Yang Liping

26

46

Dorrance Dance: SOUNDspace

51

No Blue Memories - The Life of Gwendolyn Brooks: Manual Cinema NASSIM: Nassim Soleimanpour

48

The Shadow Whose Prey the Hunter Becomes: Back to Back Theatre

49

FILM WITH LIVE SCORE Selma: Jason Moran and Marvin Sewell

38

La Passion de Jeanne d'Arc: Orlando Consort

54

FOLK Rhiannon Giddens with Francesco Turrisi Dreamers' Circus

9 18

KEY

JAZZ Cécile Mclorin Salvant with Darcy James Argue: Ogresse Chucho Valdés: Jazz Batá

9 15

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 5

FROST AMPHITHEATER

SUMMER 2019

Stanford’s Frost Amphitheater reopens this spring after an extensive renovation that includes the addition of a state-of-theart stage and other front-and back-ofhouse amenities that improve conditions for audience members and performers.

To bring this venue back to life, Stanford Live is thrilled to be partnering with both Goldenvoice and the SF Symphony to bring amazing live performance to the iconic Frost Amphitheater in summer 2019.

LIVE.STANFORD.EDU/FROST

More performances will be announced throughout spring and summer.

Tickets for Frost performances may be sold through partner organizations. Fees and policies may differ from Stanford Live. For more information visit: live.stanford.edu/frost

SF SYMPHONY AT FROST PRESENTED BY STANFORD LIVE

STANFORD LIVE AND GOLDENVOICE PRESENT

Music of Tchaikovsky

Joe Russo’s Almost Dead

Michael Tilson Thomas & Gil Shaham

Not only does this quintet play tight and vicious versions of some of the most complex songs in the Grateful Dead’s

Michael Tilson Thomas leads the SF Symphony in an

repertoire, but they play them with a rawness and energy

all-Tchaikovsky concert featuring the composer’s

absent from the stage since the ‘Live’ Dead era.

Symphony No. 4 and Violin Concerto, performed by American violinist Gil Shaham.

WEDNESDAY,

SATURDAY, 7:30 PM

JULY 10, 2019

Gemma New Conducts Beethoven 9

AUGUST 17, 2019

6:30 PM

The National The National is one of the most acclaimed American rock bands of this era. Featuring the unforgettable vocals of front-man Matt Berninger, the band has received a Golden Globe for their score of The Revenant (2015) and multiple

New Zealand-born conductor Gemma New leads

Grammy nominations.

the SF Symphony in a concert featuring Beethoven’s Symphony No. 9.

SATURDAY, JULY 13, 2019 7:30PM

SUNDAY, JULY 14, 2019 4:00 PM

SUNDAY, SEPTEMBER 1, 2019

6:30 PM

S TA N FO R D L I V E

B ING F L ING 20 20 S¡tur d¡ y’s perform¡nce of Treemonisha will be St¡n ford Live’s Bing Fling, our ¡nnu¡l event to th¡nk our generous Bing members.

For more information, see page 57.

When the producing te¡m ¡ppr o¡ched me with the ide¡ of developing ¡ new ¡d¡p t¡t ion of Joplin’s oper¡, focusing on strong fem¡le le¡dership ¡nd its imp¡ct on community, I knew th¡t i t would be ¡n import¡nt ¡nchor for our se¡s on.

—CHRIS LORWAY

WHEN: T H U R S DAY & F R I DAY, A P R I L 23 & 24,

M USIC T H E AT E R

2 02 0

Scott Joplin’s Treemonisha

7 : 30 P M SAT U R DAY, A P R I L 25, 8:00 PM

Produced by Volcano Theatre with Moveable Beast Collective and co-commissioned by Stanford Live

S U N DAY,

In 1911, famed ragtime composer Scott Joplin

A P R I L 26,

wrote Treemonisha, the first opera about life

2 02 0

post-slavery by a black person. Fusing classical,

2 : 30 P M

folk, and gospel, it bore ragtime’s syncopations.

2 02 0

Thematically, it was ahead of its time. But nobody VENUE:

would risk producing a black composer’s work,

PA LO A LTO

and five years later Joplin was buried in a

HIGH SCHOOL

pauper’s grave and the work was thrown away.

AU D I TO R I U M

Now, reconstructed with new libretto and orchestrations by Leah-Simone Bowen, Treemonisha lives again.

8

Scott Joplin's Treemonisha was co-commissioned by Stanford Live with support from a Hewlett Foundation 50 Arts Commission and the Stanford Live Commissions and Programming Fund; National Arts Centre, Canada with support from the National Creation Fund; Washington Performing Arts; the Banff Centre for Arts and Creativity; and Southbank Centre, London UK. The production has received funding from the Canada Council for the Arts, Ontario Arts Council, and the Toronto Arts Council.

The Stanford Live presentation is generously supported by Mary and Clinton Gilliland, the Koret Foundation, and the Stanford Presidential Residencies on the Future of the Arts.

2019—20 SEASON

JA Z Z

Cécile McLorin Salvant with Darcy James Argue Ogresse Renowned jazz vocalist Cécile McLorin

WHEN:

Salvant’s “Ogresse,” an original concert

F R I DAY,

concept arranged and conducted by

M A RC H 13,

jazz luminary Darcy James Argue,

2 02 0

uses Salvant’s eclectic choices, from hip-hop to Cuban to baroque idioms,

S H OW T I M E :

coupled with her exquisite vocal

7: 30 P M

gifts, for a one-of-a-kind audience experience. Touching on social themes

VENUE:

such as the status of women and

B I N G C O N C E RT

race relations today, the work is part

HALL

of Renée Fleming’s VOICES series,

FOL K

co-commissioned by the Metropolitan

Rhiannon Giddens with Francesco Turrisi

Museum, New Jersey Performing Arts Center, and Kennedy Center.

Generously supported by the Koret Jazz Project.

WHEN:

A chance encounter brought them

F R I DAY,

together: the brilliant fiddler and blue-

F E B RUA RY 7,

grass virtuoso Rhiannon Giddens, and

2020

Italian jazz piano and percussion master Francesco Turrisi. After meeting

S H OW T I M E :

in Italy, they found they shared folk

7:30 P M

traditions reaching back to American minstrelsy and the Sicilian tarantella

VENUE:

—and even farther, to Africa and the

B I N G C O N C E RT

Middle East. Now, Giddens and Turrisi

HALL

explore their cultural crossovers in this vivacious concert at the Bing.

Co-presented with the Center for Comparative Studies in Race and Ethnicity.

9

S TA N FO R D L I V E

© David Guttenfelder

TA L K

National Geographic Live National Geographic Live is a series of informative, entertaining and awe-inspiring events, bringing the world closer by pairing National Geographic’s superb media resources with live presentations by explorers, photographers, reporters, and scientists. © Fernando G. Baptista

P E R FOR M A NC E NO. 1

P E R FOR M A NC E NO. 2

A Rare Look: North Korea to Cuba

When Women Ruled the World

David Guttenfelder

Kara Cooney

For more than 20 years, National

WHEN:

When it comes to women in power,

WHEN:

Geographic photojournalist David

W E D N E S DAY,

we’ve come a long way...right? Dr.

W E D N E S DAY,

Guttenfelder has traveled the world,

O C TO B E R 30,

Kara Cooney, professor of Egyptology,

F E B RUA RY 26,

covering international events in more

2 019

explores the reigns of powerful

2020

than 100 countries. Repeatedly, he has

ancient queens to illuminate a time

broken through political barriers to

S H OW T I M E :

when women ruled the world. Often

S H OW T I M E :

reveal isolated nations to the world,

7: 30 P M

neglected in the history books, these

7:30 P M

helping to open the first Associated

strong female leaders were considered

Press news bureau in North Korea in

VENUE:

exceptions to the rule, but their power

VENUE:

2011, and last year boarding the first

BING CONCERT

and influence is undeniable.

BING CONCERT

cruise liner to a newly opened Cuba.

HALL

10

HALL

CUBA

A

11

CUBA

B

12

2019—20 SEASON

C

13

2019—20 SEASON

CUBA

A Por Una Universidad.

1970—1980.

Poster CU 118 B Fidel Castro. 1981.

Poster CU 111 C Nosotros, la Revolucion.

1970—1980.

Poster CU 8 D With Cuba. 1968.

Poster CU 11 Courtesy of the Poster Collection, Hoover Institution Library & Archives.

D

14

2019—20 SEASON

JA Z Z

Chucho Valdés Jazz Batá WHEN:

One of the most important exponents

F R I DAY,

of Afro-Cuban jazz, Chucho Valdés is

O C TO B E R 18,

spending his 70s touring the world. His

2019

father, famed pianist and bandleader Bebo Valdés, left Cuba in 1960. Father

S H OW T I M E :

and son had little contact until shortly

7:30 P M

before Bebo’s death at age 94 in Stockholm. Valdés’ album, Jazz Batá 2,

DA NC E

Malpaso Dance Company Artistic Director, Osnel Delgado

VENUE:

features piano and batá, an hourglass-

B I N G C O N C E RT

shaped Yoruban drum, and a song

HALL

called “100 years of Bebo”—a salute to Chucho’s father’s centenary this year.

Generously supported by the Koret Jazz Project.

WHEN:

Cuba’s hottest contemporary dance

F R I DAY &

company shares a little slice of Havana

SAT U R DAY,

in a sparkling program of movement

M AY 1 & 2,

and music. Based in Havana and

2 02 0

founded by Osnel Delgado, Dailedys Carrazana, and Fernando Saéz, 10

S H OW T I M E :

talented young dancers from Cuba’s

7 : 30 P M

premiere dance schools and companies create work that embodies the

VENUE:

country’s rich dance tradition and

MEMORIAL

illuminates the untapped passion that

AU D I TO R I U M

defines Cuban life. Malpaso Dance Company is an Associate Company of Joyce Theater Productions.

Wh¡t better w¡ y to ¡nchor our explor¡t ion of culture in Cub¡ th¡n with this young, dyn¡mic ¡nd muscul¡r comp¡n y. I w¡s blown ¡ w¡ y by their perform¡nce ¡t the Lumin¡t o Festiv¡l in Toronto l¡st ye¡r .

—LAURA EVANS 15

S TA N FO R D L I V E

"A rare gift for combining interpretive spontaneity and fierce musical commitment."

—THE NEW YORK TIMES

P E R FOR M A NC E NO. 1

With James Austin Smith, oboe

WHEN: S U N DAY, S E P T E M B E R 29, 2019 S H OW T I M E : 2:30 P M VENUE: BING CONCERT HALL

P E R FOR M A NC E NO. 2

Beethoven and John Adams

WHEN: S U N DAY, JA N UA RY 19, 2020 S H OW T I M E : 2:30 P M

C H A M BE R

Sundays with the St. Lawrence A cultural cornerstone of Stanford, the world-

VENUE: BING CONCERT HALL

P E R FOR M A NC E NO. 3

With Gilles Vonsattel, piano

WHEN: S U N DAY, M AY 17, 2020

acclaimed St. Lawrence String Quartet continues its fabled partnership with the University, directing

S H OW T I M E :

the music department’s Chamber Music Program,

2:30 P M

concertizing at Stanford Live, hosting a popular summer seminar, and running the Emerging String

VENUE:

Quartet Program.

BING CONCERT HALL

16

2019—20 SEASON

C H A M BE R

Harlem Quartet Harlem Quartet has moved rapidly

WHEN:

forward since its 2006 Carnegie Hall

S U N DAY,

debut, touring worldwide. Departing

F E B RUA RY 9,

from the classical string quartet, it

2 02 0

embraces jazz, Latin, and contemporary works, particularly by minority com-

S H OW T I M E :

posers. The quartet has collaborated

2 : 30 P M

with a wide range of musicians including Chick Corea, Misha Dichter, and Carter

VENUE:

Brey. Its members are violinist Ilmar

B I N G C O N C E RT

Gavilan of Havana, American violinist

HALL

Melissa White, violist Jaime Amador of Puerto Rico, and American cellist Felix Umansky. At the Bing, the quartet will perform works by Dizzy Gillespie, Billy Strayhorn, Wynton Marsalis, and more.

C H A M BE R

Invoke MultiString Quartet WHEN:

One could say that Invoke Multi-String

S U N DAY,

Quartet is “not classical, but not not

A P R I L 5,

classical.” Invoke’s 2015 album Souls in

2020

the Mud embraces bluegrass, Appalachian fiddle music, jazz, and minimalism,

S H OW T I M E :

a weave created by Invoke’s musicians

2:30 P M

and other composers. The group was chosen for Stanford’s Emerging String

VENUE:

Quartet Program and other residencies

B I N G C O N C E RT

at University of Texas, Strathmore

HALL

College, and Interlochen. Its musicians are Nick Montopoli, violin/banjo; Zachariah Matteson, violin; Karl Mitze, viola/mandolin; and Geoff Manyin, cello.

17

S TA N FO R D L I V E

R EC I TA L

Brad Mehldau & Ian Bostridge The Folly of Desire Calling jazz pianist, arranger and composer Brad Mehldau eclectic is an understatement.

Trained at the New School and influenced I didn’t hesit¡t e when offered the

WHEN:

by McCoy Tyner’s piano jazz, Mehldau has

ch¡nce to commission this work b¡s ed

W E D N E S DAY,

done it all: he has his own trio, created art

on Br¡d’s interest in Germ¡n lieder

O C TO B E R 16,

songs for Renée Fleming, riffed on show tunes,

¡nd ¡ ch¡nce encounter with the

2 019

and even delved into German lieder. Join us at the Bing to experience Mehldau's new song

wonderful English tenor I¡n Bostridge.

We will be he¡ring ¡ different side of

S H OW T I M E :

cycle The Folly of Desire, created with tenor Ian

Mehld¡u's ¡rt istry in this perform¡nce ,

7:30 P M

Bostridge. The evening’s program will also include Schumann’s Dichterliebe.

but I would suggest th¡t there is ¡ connection to the be¡ut iful j¡zz

VENUE:

explor¡t ions he is known for.

B I N G C O N C E RT

The Folly of Desire was co-commissioned by

HALL

Stanford Live with generous support from the

—LAURA EVANS

Stanford Live Commissions and Programming Fund; Elbphilharmonie, Hamburg; Wigmore Hall; and Carnegie Hall.

FOL K

Dreamers' Circus WHEN: T H U R S DAY, M A RC H 1 2,

Since 2009 the three Danes of Dreamers’ Circus

2 02 0

have had a busy life of concerts, tours, and album releases. In 2013 they dropped their first

S H OW T I M E :

album, A Little Symphony, with guest artists

7:00 PM

including the Danish String Quartet and a big

9:00 PM

brass band. With Nikolaj Busk on piano and accordion, the Dreamers swept up the awards

VENUE:

for Talent, Album, and Artist Of The Year at the

B I N G C O N C E RT

Danish Folk Music Awards. Catch the ensemble

H A L L ST U D I O

in the unique intimacy of the Bing Studio during their visit to Stanford.

18

2019—20 SEASON

P E R FOR M A NC E NO. 1

Mozart’s Musings

WHEN: W E D N E S DAY, N OV E M B E R 13, 2019

with guest conductor Jeanette Sorrell

S H OW T I M E : 7:30 P M VENUE: BING CONCERT HALL

P E R FOR M A NC E NO. 2

WHEN: W E D N E S DAY,

The Well-Caffeinated Clavier

2020

with Music Director Designate Richard Egarr

7:30 P M

F E B RUA RY 12,

S H OW T I M E :

VENUE: BING CONCERT HALL

P E R FOR M A NC E NO. 3

C L AS SICA L

Philharmonia Baroque Orchestra and Chorale

PBO Sessions: Jewish Songlines— Performers, Patronage and Prejudice

WHEN: T U E S DAY, M A RC H 10, 2020 S H OW T I M E : 8 :00 P M VENUE: BING CONCERT HALL STUDIO

One of the Bay Area’s greatest treasures, the Philharmonia Baroque Orchestra plays classical and baroque jewels on period instruments. Their Bing performances include an evening of Mozart, Bach’s Coffee Cantata, and an exploration of music in 19th-century Germany, and a romantic evening of Cherubini and Schubert that will be

P E R FOR M A NC E NO. 4

Romantic Reflections: Cherubini and Schubert

WHEN: W E D N E S DAY, M A RC H 11, 2020 S H OW T I M E : 7:30 P M

sure to pull at your heartstrings. PBO’s 2019–20 season will be the first with Music Director

VENUE:

Designate Richard Egarr.

BING CONCERT HALL 19

S TA N FO R D L I V E

C ON T E M P OR A RY M USIC

Triptych (Eyes of One on Another) Composed by Bryce Dessner WHEN:

Marking 30 years since the death of groundbreaking

T H U R S DAY &

photographer Robert Mapplethorpe, composer/

F R I DAY,

conductor Bryce Dessner (The National) brings us

O C TO B E R 3 & 4,

Triptych (Eyes of One on Another), a powerful work that

2 01 9

explores the origins and impact of Mapplethorpe’s controversial photography. Created with librettist

S H OW T I M E :

Korde Arrington Tuttle and director Kaneza Schaal

7 : 30 P M

in collaboration with the vocal group Roomful of Teeth and an eight-player ensemble, Triptych

VENUE:

includes music, projections of Mapplethorpe’s

MEMORIAL

images, and poetry.

AU D I TO R I U M

Triptych is an ArKtype/Thomas O. Kriegsmann Production.

M¡pplethorpe ’s photogr¡phs forever ch¡nged the rel¡t ionship between ¡rt ¡nd government. I’m excited to see how Bryce ¡nd K ¡ nez¡ t¡ckle the stories of this complex ¡rt istic icon.

—CHRIS LORWAY

Maria Baranova 20

Co-produced by Los Angeles Philh¡rmonic, Gust¡ vo Dud¡mel Music ¡nd Artistic Director. Produced in residency with ¡nd commissioned

by University Music¡l Society. Cocommissioned by St¡n ford Live; BAM; Lumin¡ to Festiv¡l; S t¡ vros Ni¡r chos Found¡ tion Cultur¡l Center; Cincinn¡t i Oper¡ ; C¡l Perform¡nces; Adel¡ ide Festiv¡l; John F. Kennedy Center for the Performing Arts for perform¡ nce ¡s p¡rt of DirectCurrent 2019; ArtsEmerson: World on St¡ge ; Tex¡ s Performing Arts; Holl¡nd Festiv¡l; Wexner Center for the Arts; Celebrity Series of Boston; ¡nd M¡ssMOCA. Triptych w¡s cre¡t ed with generous support from the St¡n ford Live Commissions ¡nd Progr¡mming Fund.

2019—20 SEASON

Embrace, 1982 © Robert Mapplethorpe Foundation.

Used by permission.

21

S TA N FO R D L I V E

E¡ch se¡s on, Rob K¡pilo w re¡dil y eng¡ges in our se¡s on themes, reve¡ling directions we would never h¡ ve thought of. His insight into how minim¡lism bec¡me ¡ "culture w¡r" between composers in the 1970s sets up ¡ wonderful pl¡tf orm to ex¡mine works

by John Ad¡ms, Steve Reich ¡nd post-minim¡list M¡ x Richter. In ¡no ther t¡k e on culture w¡rs, K¡pilo w t¡k es us on ¡ journey through mid-century mor¡lism ¡nd censorship vi¡ the witty ¡nd sometimes risqué songs of Cole Porter.

—LAURA EVANS

P E R FOR M A NC E NO. 1

Beethoven’s Appassionata Sonata

WHEN: T H U R S DAY, O C TO B E R 1 0, 2 019 S H OW T I M E : 7: 30 P M VENUE: BING CONCERT HALL

P E R FOR M A NC E NO. 2

Music of Cole Porter

WHEN: W E D N E S DAY, M AY 6, 2 02 0 S H OW T I M E : 7: 30 P M

TA L K A N D P E R FOR M A NC E

Rob Kapilow’s What Makes it Great?

VENUE: BING CONCERT HALL

Everyone’s favorite down-to-earth explainer P E R FOR M A NC E NO. 3

John Adams' Shaker Loops

WHEN:

of all types of music returns to Stanford Live for

T H U R S DAY,

three performances. In the first part of each

M AY 7,

performance, Kapilow illustrates key points of

2 02 0

the music and its creators. Then, the full piece is performed. To top off the experience, Kapilow

S H OW T I M E :

and the musicians take part in a lively and

7: 0 0 P M

in-depth Q&A with the audience. This season, dive into Beethoven’s riveting Appassionata

22

VENUE:

piano sonata, issues around censorship and the

BING CONCERT HALL

songs of Cole Porter, and John Adams' "Shaker

STUDIO

Loops"—a study in minimalism.

2019—20 SEASON

C ON T E M P OR A RY M USIC

Max Richter with the American Contemporary Music Ensemble Max Richter’s contemporary composi-

WHEN:

tions have been described as “exquisite,

S U N DAY,

ravishing, and bewitching” exemplars

O C TO B E R 1 3,

of neoclassicism. His music has brought

2 019

down concert halls around the world and has been embraced by the film

S H OW T I M E :

community—his remake of Vivaldi’s

4: 0 0 P M

“Spring” is the ear-catching intro to the Netflix hit show Chef’s Table. In Richter’s

VENUE:

visit to the Bing with the American

B I N G C O N C E RT

Contemporary Music Ensemble, they’ll

HALL

present “The Blue Notebooks,” a work that draws deeply from the 2003 Iraq

C H A M BE R

invasion, and “Infra,” inspired by

Daniel Pearl World Music Days Concert

T.S. Eliot’s “The Wasteland.”

Steve Reich “Daniel Variations” & “Different Trains” FREE EVENT

This annual concert honors the life and memory of Stanford alumnus Daniel

WHEN:

Pearl, the violin-playing Wall Street

W E D N E S DAY,

Journal reporter who was murdered in

O C TO B E R 23,

2002. The program will feature Steve

2019

Reich’s “Daniel Variations,” which quotes the Book of Daniel as well as

S H OW T I M E :

Pearl himself, as well as the Grammy-

7:30 P M

winning “Different Trains,” a work that

VENUE:

Jewish community during World War II.

reflects on the plight of the European B I N G C O N C E RT HALL

Co-presented with Stanford Memorial Church, the Office for Religious Life, and Music at Stanford.

23

S TA N FO R D L I V E

R EC I TA L

Hell’s Fury The Hollywood Songbook I’ve been working on this

WHEN:

Composer Hanns Eisler (1898-1962) was born in

project since 2010 when I

F R I DAY &

Austria. As a Jewish Marxist, he was exiled by the

w¡s ¡t Lumin¡t o. A dre¡m

SAT U R DAY,

Nazis in 1938 and found himself in America where

te¡m of coll¡bor ¡t ors bring

D EC E M B E R 6 & 7,

he became a storied Hollywood film composer. He

Eisler’s person¡l reflections

2 019

also wrote lieder with lyrics based on the works of

on isol¡t ion, identity ¡nd pl¡ce to life.

his friend Bertolt Brecht, Goethe and Shakespeare.

S H OW T I M E :

Eisler’s Hollywood Songbook, to be performed at

7:30 P M

Stanford Live by baritone Russell Braun and

—CHRIS LORWAY

pianist Serouj Kradjian, was hailed as a masterly VENUE:

song cycle of exile. In a twisted turn of events,

B I N G C O N C E RT

Eisler was blacklisted in the McCarthyism era

HALL

and deported from the US in 1948. He died in East Germany.

24

2019—20 SEASON

25

S TA N FO R D L I V E

It w¡s not until I ¡tt ended the premiere in Sh¡ngh¡i th¡t I re¡liz ed wh¡t ¡ huge st¡r Y¡ng Liping is in her n¡t ive Chin¡. This new work offers ¡ r¡r e opportunity to see one of the world’s best ¡rt ists ¡t the t op of her g¡me .

—CHRIS LORWAY

DA NC E

Rite of Spring

A Peacock Contemporary Dance Company Production; Co-Produced

Yang Liping

with Stanford Live with generous support from the Stanford Live

WHEN:

Chinese dance legend and renowned chore-

Commissions and Programming Fund;

F R I DAY &

ographer Yang Liping—a 2018 judge on So You

China Shanghai International Arts

SAT U R DAY,

Think You Can Dance: China—brings her stunning

Festival; Sadler’s Wells, London; DYRS

F E B RUA RY 21 & 22,

reimagining of Stravinsky’s “Rite of Spring” to

Group; Melbourne International Arts

2 02 0

Stanford. A product of her native Chinese culture

Festival; Brisbane Festival; Beijing Poly

intermingled with the Tibetan concept of nature

Theatre Management Co., Ltd.; and

S H OW T I M E :

and life, Liping’s “Rite of Spring” spins an abs-

Edinburgh International Festival.

7 : 30 P M

tract legend of the path of salvation embodied by the sacrificial peacock. Through spectacular

The Stanford Live presentation

VENUE:

set design and exquisite costumes, the production

is generously supported by the

MEMORIAL

creates a distinctive universe where time, space,

Koret Foundation.

AU D I TO R I U M

and life coexist in endless reincarnation.

26

CHINA

A

27

CHINA

B

28

2019—20 SEASON

C

29

CHINA

2019—20 SEASON

A Congratulations to the victory of the Asian and Pacific Regional Peace Conference. Portrait of three pigeons. 1952.

Poster CC 127 B The Red Army climbing snow-covered mountains on the Long March. 1951.

Poster CC 188 C Women in new China.

Women in front of the Tian An Men Gate. 1952.

Poster CC 172 D Work hard to become heroes. A peasant couple and two children.

1949–1960.

Poster CC 129 Courtesy of the Poster Collection, Hoover Institution Library & Archives.

D

30

2019—20 SEASON

C ON T E M P OR A RY M USIC

Bang on a Can All-Stars Bang on a Can is an exciting collective of musicians and composers dedicated to making music new.

During this mini-residency at Stanford Live, the ensemble brings us two very different programs that illustrate the depth of their practice.

A Chinese pop st¡r meets ¡n Americ¡n music¡l tre¡sur e. The first time I he¡r d the recording of the unique coll¡bor ¡t ion, I h¡d ¡ huge smile on my f¡ce ¡nd went b¡ck to it over ¡nd over ¡g¡in.

—CHRIS LORWAY

P E R FOR M A NC E NO. 1

P E R FOR M A NC E NO. 2

A Musical Utopia

Gong Linna: Cloud River Mountain

Bang on a Can started by imagining a

WHEN:

kind of utopia for music—and then they

F R I DAY,

Superstar Chinese fusion singer Gong

WHEN:

started to build it. Building a utopia is

A P R I L 3,

Linna sets new lyrics to centuries-old

SAT U R DAY,

a political act that pushes people to

2 02 0

Chinese melodies backed by the musi-

A P R I L 4,

cians of Bang on a Can. Gong’s husband,

2020

change, but it can also keep them apart.

Now more than ever, Bang on a Can is

S H OW T I M E :

German composer Robert Zollitsch (Lao

committed to growing a worldwide com-

7: 0 0 P M

Luo), composes many of the brilliantly

S H OW T I M E :

staged pieces. In 2010, Linna’s perfor-

7:30 P M

munity dedicated to innovation through music. This concert at the Bing seeks to

VENUE:

mance of the song "Tan Te" on Chinese

demonstrate an open, welcoming, and

BING CONCERT

national television to billions of viewers

VENUE:

inclusive space for music and ideas from

HALL STUDIO

made her an overnight sensation,

BING CONCERT

a wide variety of styles. It features work

vaulting her to celebrity status. In recent

HALL

from co-founders Julia Wolfe, David

years she has starred on television in

Lang, and Michael Gordon alongside

China but she remains virtually unknown

compositions by jazz giant Ornette Cole-

to the Western world. We are thrilled to

man, young pioneer Anna Clyne, and

have her as part of Stanford Live’s

Sonic Youth's Thurston Moore.

2019–20 season.

31

S TA N FO R D L I V E

ORC H E S T R A L

From the Middle Kingdom to the Wild West The Orchestra Now, conducted by Jindong Cai 2019 marks the 150th anniversary of the Transcon-

Project at Stanford University to shed light on the

WHEN:

tinental Railroad across the U.S. From 1862-1869

laborers that made the railroad possible.

S U N DAY,

of workers, built the rail line through the Sierra

The piece entails a mixed chorus, full orchestra,

2019

Nevada and across the Nevada and Utah deserts,

and Chinese traditional instruments. The produc-

enduring terrible extremes of winter and summer

tion originated with the Center for East Asian

S H OW T I M E :

and other brutal working conditions. In com-

Studies at Stanford University and Jindong Cai in

2:30 P M

memoration, the Center for East Asian Studies

2012. Music is by Pulitzer prize-winning composer

at Stanford University and the US-China Music

Zhou Long, with lyrics by Su Wei. Artists include

VENUE:

Institute of the Bard College Conservatory of

Bard College’s The Orchestra Now, the Silicon

B I N G C O N C E RT

Music collaborated on a Symphonic Oratorio with

Valley chorale, and soloists.

HALL

the Chinese Railroad Workers in North America

Co-presented with the Center for East Asian Studies.

some 20,000 Chinese laborers, the vast majority

O C TO B E R 6,

Co-presented with the Center for East Asian Studies.

32

2019—20 SEASON

T E N M I L E S I N O N E DAY

On April 28, 1864, 10 miles and 56 feet (16 kilo-

effort to bend the rails manually. The teamwork

meters and 17 meters) of track was laid in one

that went into laying 10 miles plus of track in

day. The accomplishment was in response to

less than 12 hours was tremendous. It was like a

a $10,000 wager Charles Crocker made with

choreographer orchestrating a complex dance

Thomas Durant of the Union Pacific that his

sequence. Everyone moved with a rhythm. An

workers were capable of doing what seemed impo-

officer of the U.S. Army witnessed the work. “It was

ssible. A squad of eight Irish rail-handlers and

just like an army marching over the ground and

a small army of 5000 workers, mostly Chinese,

leaving the track behind them,” he observed. "[I]t

accomplished the feat, working between 5 a.m.

was a good day’s march for an army.” The names

and 7 p.m., with a mid-day break after laying 6

of the eight Irish workers were recorded by the

miles of track. In the end 25,800 ties, 3,520 rails

railroad, and they were hailed in a parade in

(averaging 560 lbs. each), 55,080 spikes, 14,050

Sacramento. None of the Chinese workers’

bolts, and other materials, totaling in weight

names were recorded; they remain nameless.

4,462,000 pounds, were laid down. The track had to ascend the slope of Promontory Mountain,

—Chinese Railroad Workers in North America Project

and there were curves that required tremendous

at Stanford University.

Paintings by HOU Ning, courtesy of the Center for East Asian Studies at Stanford University.

33

S TA N FO R D L I V E

R EC I TA L

Lang Lang WHEN:

A prodigy who made his Beijing concert debut

S U N DAY,

playing Chopin at 13—and who became a

M AY 3,

sensation at 17 when he stepped in on short

2 02 0

notice to play Tchaikovsky with the Chicago Symphony—Lang Lang has dazzled audiences

S H OW T I M E :

worldwide with his emotional fire and virtuosity.

2 : 30 P M

Experience the flamboyant performer and passionate educator The New Yorker called “the

VENUE:

world’s ambassador of the keyboard” in a solo

B I N G C O N C E RT

performance in the intimacy of Bing Concert Hall.

HALL

R EC I TA L

Vladimir Feltsman The Russian Experiment: From Mystical to Avant-Garde WHEN:

Russian pianist Vladimir Feltsman, born in 1952,

W E D N E S DAY,

made his professional debut with the Moscow

F E B RUA RY 5,

Philharmonic Orchestra at 11. Beginning in 1979,

2 020

as he fought for eight years for an exit visa from the Soviet Union, he was banned from public

S H OW T I M E :

performance. He immigrated to the U.S. in 1987.

7:30 P M

In The Russian Experiment, Feltsman plays works by dissident composers of his homeland from

VENUE:

Alexander Scriabin to the forgotten composers

B I N G C O N C E RT

that he influenced.

HALL

34

2019—20 SEASON

C H A M BE R

Michael Barenboim & West-Eastern Divan Ensemble Israeli conductor/pianist Daniel Barenboim,

WHEN:

together with his friend, Palestinian author/

W E D N E S DAY,

scholar Edward Said, founded the West-Eastern

M A RC H 4,

Divan Orchestra in 1999 to bring Arab and

2020

Israeli musicians together as a literal example of harmony in light of the political conflicts

S H OW T I M E :

that continue to divide the Middle East. In the

7:30 P M

orchestra’s 20th year, Daniel’s son—violinist Michael Barenboim—formed the West-Eastern

VENUE:

Divan Ensemble, a group drawn from the larger

B I N G C O N C E RT

orchestra to provide a chamber group that

HALL

would extend the orchestra’s reach and message around the world.

35

S TA N FO R D L I V E

ORC H E S T R A

NFM Wroclaw Philharmonic with Bomsori Kim, violin WHEN:

Acclaimed violin virtuoso Bomsori Kim

F R I DAY,

joins Poland’s NFM (National Forum of Music)

JA N UA RY 31,

Wroclaw Philharmonic under the baton of

2 020

Giancarlo Guerrero. The Wroclaw Philharmonic has a long history with storied composers,

S H OW T I M E :

having hosted Brahms, Mahler, and Wagner in

7:30 P M

years past. In addition to the classical repertoire, the orchestra performs Polish music, jazz, and

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

36

music of the avant-garde.

2019—20 SEASON

R EC I TA L

Joshua Bell, violin & Alessio Bax, piano WHEN:

Acclaimed violinist Joshua Bell returns to Bing

F R I DAY,

Concert Hall with Italian pianist Alessio Bax.

N OV E M B E R 1,

With over 30 years as a soloist under his belt,

2 019

Bell is the current director of the renowned Academy of St. Martins in the Fields chamber

S H OW T I M E :

ensemble. Bax is an award-winning pianist

7:30 P M

who has appeared as a soloist with the Royal Philharmonic Orchestra, London Philharmonic

VENUE:

Orchestra, and more.

B I N G C O N C E RT HALL

Generously supported by Bonnie and Marty Tenenbaum.

C H A M BE R

Sarah Chang with the Telegraph String Quartet WHEN:

Born in Philadelphia in 1980 to classical musicians

M O N DAY,

from South Korea, Sarah Chang was that rarity: a

A P R I L 2 7,

true child prodigy who auditioned for Juilliard at

2 02 0

age 5 by playing the Bruch violin concerto. She got in. She plays the 1714 Guarneri del Gesu violin that

S H OW T I M E :

once belonged to her teacher and mentor Isaac

7 : 30 P M

Stern. At Stanford Live she joins the esteemed Telegraph String Quartet— residents at the San

VENUE:

Francisco Conservatory of Music—to perform

B I N G C O N C E RT

Vivaldi’s Four Seasons and Astor Piazzolla’s Four

HALL

Seasons of Buenos Aires.

Co-presented with Chamber Music San Francisco.

37

S TA N FO R D L I V E

C ON T E M P OR A RY M USIC

We Shall Overcome A Celebration of Dr. Martin Luther King Jr. featuring Damien Sneed WHEN:

Musical director, pianist, and multi-

F R I DAY,

talented producer Damien Sneed’s

F E B RUA RY 2 1 ,

concert celebration of the life, times,

2 02 0

and work of Dr. Martin Luther King Jr. includes a chorale and star soloists.

S H OW T I M E :

The performance features an array

7 : 30 P M

of gospel, spirituals, and inspirational popular standards immortalized by

VENUE:

the likes of Marvin Gaye, Aretha

B I N G C O N C E RT

Franklin, Duke Ellington, Tina Turner,

HALL

and many others.

F I L M W I T H L I V E S C OR E

Selma Jason Moran and Marvin Sewell WHEN:

The 2014 Oscar-winning movie—starring

SAT U R DAY,

Oprah Winfrey, David Oyelowo, and

JA N UA RY 25,

Tessa Thompson—tells the story of the

2020

1965 march from Selma to Montgomery, Alabama. Protesting segregationist

S H OW T I M E :

repression and led by Rev. Dr. Martin

7:30 P M

Luther King Jr. and now-U.S. Representative John Lewis (D-GA.), it helped lead to

VENUE:

passage of the Voting Rights Act later that

MEMORIAL

year. Jazz pianist Jason Moran joins the

AU D I TO R I U M

Wordless Music Orchestra to provide the film with a live score.

Generously supported by Jeanne and Lawrence Aufmuth.

38

A kind of unique energy emanated from the massive crowd, and it was just that energy that made the words in Martin Luther King, Jr.’s speech resonate. He had, in fact, used the phrase “I have a dream” in a previous speech with hardly anyone registering anything exceptional about it.

KING JR.

Words— Clarence B. Jones

LUTHER

MARTIN

39

MARTIN LUTHER KING JR.

It played out differently that August day. The reason is simple: The power is not in the words themselves. Nor is it in the speaker. The power was woven into the feedback loop that jumped between the words, the speaker, and his audience. It was those quarter of a million souls who made the "dream" the "Dream."

It was a perfect storm. I know, because I saw it happen. I was standing no more than fifty feet behind Martin when I saw Mahalia Jackson, his favorite gospel singer, look to him with a beaming face and shout a piece of advice. As the suggestion took root I watched Martin push aside the text of the speech I’d helped prepare—a text, it bears noting, that did not contain the phrase "I have a dream."

At that moment I looked to the person standing next to me. "These people out there today don’t know it yet," I said, "but they’re about ready to go to church."

—Clarence B. Jones and Stuart Connelly August 2010, Palo Alto, California (excerpted from Behind The Dream: The Making of the Speech that Transformed a Nation)

40

41

MARTIN LUTHER KING JR.

2019—20 SEASON

Mahalia Jackson, the gospel singer who changed Dr. Martin Luther King Jr.’s speech forever.

42

2019—20 SEASON

C ON T E M P OR A RY M USIC

Kronos Quartet The 60s, The Years That Changed America At the Lincoln Memorial on August 28, 1963,

WHEN:

H¡ ving such ¡ long cre¡t ive p¡rtnership

Mahalia Jackson’s shout to her close friend Rev.

W E D N E S DAY,

with our B¡ y Are¡ colle ¡gues ¡t Kr onos

Dr. Martin Luther King Jr. changed his speech:

JA N UA RY 15,

me¡ns th¡t we c¡n deeply eng¡ge with

2020

them ¡r ound progr¡mming e¡ch se¡s on.

“Tell them about the Dream! Tell them about the Dream!” It’s said that her plea inspired Dr.

This ye¡r we chose ¡ work th¡t h¡s ¡

King to stray off-script in his immortal speech.

S H OW T I M E :

strong St¡n ford voice ¡nd connection in

That passage, captured in notes made by King

7:30 P M

Cl¡r ence Jones. And we’re celebr¡t ing

speechwriter and Stanford Scholar in Residence

MLK on his ¡ctu¡l birthd¡ y!

Dr. Clarence B. Jones, is central to composer

VENUE:

Zachary James Watson’s Peace Be Till. See

B I N G C O N C E RT

it performed by the groundbreaking Kronos

HALL

—LAURA EVANS

Quartet in a concert that includes music from a decade that changed the nation.

43

S TA N FO R D L I V E

C ON T E M P OR A RY M USIC

Rebirth of a Nation Paul D. Miller aka DJ Spooky featuring Catalyst Quartet JA Z Z

WHEN:

D.W. Griffith’s infamous and

James Reese Europe and The Absence of Ruin

W E D N E S DAY,

controversial 1915 silent film The Birth

A P R I L 15,

of a Nation inspired this multimedia

2020

piece, DJ Spooky’s first, showing how

Jason Moran & The Harlem Hellfighters

exploitation and political corruption S H OW T I M E :

still taint the world, but in radically

7:30 P M

different forms. Since its own birth in 2004, Rebirth of a Nation, originally

VENUE:

written for Kronos Quartet, has been

B I N G C O N C E RT

performed around the world. In this

HALL

outing, DJ Spooky will be joined by the Catalyst Quartet, an ensemble born out

WHEN:

Composer and pianist Jason Moran,

of the Sphinx Ensemble in Detroit, who

W E D N E S DAY,

artistic director of the Kennedy Center

are committed to playing the works of

JA N UA RY 22,

Jazz program and a MacArthur

composers of color.

2 02 0

fellow, presents a meditation on the life, combat service, and legacy of

S H OW T I M E :

American musician and jazz composer

7 : 30 P M

James Reese Europe, who created the band of World War I’s African-

VENUE:

American 369th regiment, the Harlem

B I N G C O N C E RT

Hellfighters, and helped popularize

HALL

jazz throughout France.

Generously supported by the Koret Jazz Project.

I h¡ ve been ¡ f ¡n o f J¡s on’s work since 2000, the ye¡r I st¡rt ed working ¡t SFJAZZ, where he w¡s p¡rt of the in¡ugur ¡l cl¡ss of Resident Artistic Directors for the new SFJAZZ Center. I ¡m thrilled we ¡r e presenting his project on J¡mes Reese Europe, ¡n import¡nt ¡rt ist who h¡s been ¡ll but left out of the history of j¡zz.

—LAURA EVANS 44

2019—20 SEASON

JA Z Z

Fly Higher Charlie Parker @ 100 WHEN:

Acclaimed co-musical directors Rudresh

SAT U R DAY,

Mahanthappa (alto saxophone) and Terri Lyne

M A RC H 28,

Carrington (drums) celebrate one of the most

2 020

innovative and influential artists in modern musical history and examine his impact in pop,

S H OW T I M E :

hip-hop, rap, rock, and jazz. Joined by a

7:30 P M

superb lineup including Charenée Wade (vocals), Adam O’Farrill (trumpet), Kris Davis (piano),

VENUE:

Larry Grenadier (bass), and Kassa Overall (dj),

B I N G C O N C E RT

Mahanthappa and Carrington will honor Charlie

HALL

Parker’s centennial year by showcasing “Bird’s” uncompromising musical joy, humor, and beauty by mining his deep repertoire and showcasing new, modern compositions.

Generously supported by Stephanie and Fred Harman and the Koret Jazz Project.

45

S TA N FO R D L I V E

T H E AT E R WHEN:

Minorities

F R I DAY & SAT U R DAY,

Company Red Virgo

N OV E M B E R 1 & 2,

Minorities (少數民族)—a work by “boy wonder”

2 01 9

choreographer Yang Zhen (楊朕)—includes

8:00 PM

a cast of actors, dancers, and a singer who hail from Tibet, Xinjiang, Inner Mongolia, and

S U N DAY,

Europe. It is the final installment of Zhen’s

N OV E M B E R 3,

trilogy of works that examine society roles and

2 01 9

class divisions in China. A coproduction of the

2 : 30 P M

Taipei Arts Festival and Dance Munich, Minorities explores how minority identities in China fit (or

VENUE:

don’t fit) in the narrative of a harmonious

This intim¡t e look ¡t the complexities ¡nd

B I N G C O N C E RT

One China.

ch¡llenges of being ¡ cultur¡l minority in Chin¡ pulls no punches.

H A L L ST U D I O

—CHRIS LORWAY

T H E AT E R

WHEN:

No Blue Memories: The Life of Gwendolyn Brooks

F R I DAY & SAT U R DAY,

Manual Cinema

JA N UA RY 17 & 18, 2 020

The multimedia shadow puppetry masters of Manual Cinema are back. This season, they

While p¡rt icip¡t ing in ¡ sh¡do w puppetry

S H OW T I M E :

bring their performance of No Blue Memories,

7:30 P M

a work about the celebrated Chicago poet Gwendolyn Brooks (1917-2000), who won the

workshop with the group when they were here l¡st in 2015, it struck me th¡t this comp¡n y’s

VENUE:

Pulitzer Prize in 1950 for Annie Allen. Brooks, who

precise cr¡ ft ¡nd commitment contributes to

B I N G C O N C E RT

supported herself as a typist for years, was the

re¡lising e¡ch moment on the screen.

HALL

first African American to win the Pulitzer. By 16, she’d published 75 poems, and in her lifetime, more

—LAURA EVANS 46

than 20 poetry books.

2019—20 SEASON

JA Z Z

Harlem 100 Celebrating the 100th Anniversary of the Harlem Renaissance Hosted by Michael Mwenso, whose band Michael

WHEN:

Mwenso and the Shakes draws its inspirations

W E D N E S DAY,

from around the globe, this multimedia variety

N OV E M B E R 20,

show created in collaboration with Harlem’s

2019

National Jazz Museum captures the Harlem Renaissance’s spirit, sights, and sounds. It

S H OW T I M E :

highlights the words and music of Billie Holiday,

7:30 P M

Langston Hughes, Fats Waller, Duke Ellington, Bessie Smith, and Ethel Waters, and pays

VENUE:

tribute to the Apollo Theater, the Cotton Club,

B I N G C O N C E RT

and other venues of that brilliant era.

HALL

Generously supported by the Koret Jazz Project.

47

S TA N FO R D L I V E

I c¡n ’t recommend NASSIM highly enough.

This rem¡rk ¡ble the¡t er piece t¡k es you in with its gentleness ¡nd humor ¡nd delivers ¡ cumul¡t ive imp¡ct of surprising depth ¡bout the n¡tur e of l¡ngu¡ge , identity ¡nd the hum¡n drive for cre¡t ivity ¡nd f reedom.

—LAURA EVANS

WHEN: T H U R S DAY, N OV E M B E R 7, 2019

T H E AT E R

8 :00 P M

NASSIM

F R I DAY,

Nassim Soleimanpour

2019

N OV E M B E R 8, 8 :00 P M

From Iranian playwright Nassim Soleimanpour comes an audacious new theatrical experience.

SAT U R DAY,

Each night a different performer joins the

N OV E M B E R 9,

playwright on stage, while the script waits

2019

unseen in a sealed box. But will they understand

2:30 P M & 8 :00 P M

each other? Touchingly autobiographical yet powerfully universal, NASSIM is a striking

S U N DAY,

theatrical demonstration of how language can

N OV E M B E R 10,

both divide and unite us.

2019 2:30 P M

NASSIM follows Soleimanpour’s globally acclaimed White Rabbit Red Rabbit, which has been translated

VENUE:

into over 25 different languages and performed

B I N G C O N C E RT

over 1,000 times by names including Stephen Fry,

H A L L ST U D I O

Ken Loach, and Whoopi Goldberg.

Co-presented with the Hamid and Christina Moghadam Program in Iranian Studies.

48

2019—20 SEASON

T H E AT E R

WHEN:

I first s¡ w B¡ck to B¡ck

The Shadow Whose Prey the Hunter Becomes

W E D N E S DAY,

in the ¡trium of ¡ libr¡ry

F E B RUA RY 5,

in V¡ncouv er where their

2020

piece small metal objects

8 :00 P M

w¡s the run¡ w¡ y hit of the

Back to Back Theatre

Push Festiv¡l . Truly one of T H U R S DAY,

the most innov¡t ive ¡nd

F E B RUA RY 6,

thrilling the¡tr e comp¡nies

2020

out there.

8 :00 P M

—CHRIS LORWAY

From Australia, a new theatrical event changes the conversation about the nature of intelli-

F R I DAY,

gence in contemporary society. With the rapid

F E B RUA RY 7,

development of AI and continuing advances in

2020

automation, where does human intelligence fit

8 :00 P M

in? Shadow’s cast consists of five activists with intellectual disabilities, hidden histories, and

SAT U R DAY,

ambivalent futures. As in all communities, nobody

F E B RUA RY 8,

is self-sufficient and everyone is responsible.

2020

This performance was partly developed at the

2:30 & 8 :00 P M

2019 Sundance Theatre Lab. VENUE: B I N G C O N C E RT H A L L ST U D I O

49

S TA N FO R D L I V E

C ON T E M P OR A RY M USIC

WHEN:

Laurie Anderson: The Art of Falling

W E D N E S DAY, JA N UA RY 2 9, 2 02 0

Laurie Anderson is one of America’s most reknowned—and daring—creative pioneers.

S H OW T I M E :

Known for her multimedia presentations

7: 30 P M

and recognized worldwide for her groundbreaking use of technology in the arts, she has

VENUE:

cast herself in roles as varied as visual artist,

B I N G C O N C E RT

composer, poet, photographer, filmmaker,

HALL

electronics whiz, vocalist, and instrumentalist.

At the Bing, Anderson will present her work, The Art of Falling.

50

2019—20 SEASON

DA NC E

Dorrance Dance SOUNDspace Michelle Dorrance began dancing

WHEN:

at age four and hasn’t stopped. She

T U E S DAY,

tapped with STOMP and Savion

M A RC H 10,

Glover, then became a solo artist, win-

2 02 0

ning accolades from top critics around the world before forming her own

S H OW T I M E :

company in 2011. Dorrance’s shows

7: 30 P M

are known to pack a house—and her SOUNDspace troupe will bring 11

VENUE:

impressive tappers, a pianist, and a

B I N G C O N C E RT

stage full of innovative excitement to

HALL

Bing Concert Hall.

JA Z Z

Maria Schneider Orchestra WHEN:

Known as a breakaway jazz orchestra

SAT U R DAY,

leader and composer, Minnesota-born

A P R I L 18,

Maria Schneider formed her first band

2020

in 1988. She's a 2019 NEA Jazz Master and multi-Grammy Award winner for

S H OW T I M E :

her work in classical, jazz, and even

7:30 P M

pop with the late David Bowie. Today

VENUE:

Orchestra performs worldwide, tackling

B I N G C O N C E RT

lush and complex works that bring new

HALL

energy to the jazz orchestra landscape.

the 18-member Maria Schneider

Generously supported by The Wollenberg Foundation and the Koret Jazz Project.

51

S TA N FO R D L I V E

C I RCUS

Backbone Gravity & Other Myths Austr¡li¡ h¡s ¡l w¡ ys been ¡n import¡nt

WHEN:

Backbone, the title of this Australian circus’s

center for circus. After the success of

F R I DAY &

latest outing, is one of the things it takes to

l¡st ye¡r's eng¡gement with CIRCA,

SAT U R DAY,

be a performer. Maybe it’s mental, maybe it’s

we're thrilled to host ¡no ther virtuosic

O C TO B E R 11 & 12,

physical, or maybe it’s both. The backbone in

comp¡n y from down under.

2 019

this group of 10 is shared as much as singular, making all things possible, and even some

—CHRIS LORWAY

S H OW T I M E :

things that don’t seem so. Expect a human

7:30 P M

extravaganza of grace, humor, and feats that will leave you speechless.

VENUE: MEMORIAL AU D I TO R I U M

52

2019—20 SEASON

C HOR A L

The King’s Singers Soul Music WHEN:

Soul music, as we think we know it, was born in

S U N DAY,

1950s America. It was music with passion and

N OV E M B E R 1 0,

with a purpose beyond just entertainment or

2 01 9

worship—it represented the unwavering spirit of the Civil Rights Movement, it gave a people

S H OW T I M E :

a voice. The same has been true of music

2 : 30 P M

throughout history and around the world. At the Bing, the renowned King’s Singers will highlight

VENUE:

music from the Protestant Reformation in the

B I N G C O N C E RT

1500s, to the rise and fall of Apartheid in South

HALL

Africa in the 20th century, from the Singing Revolution in the Baltic States in the 1980s, to the lost songs of the Scottish Highlands.

ORC H E S T R A L

New Century Chamber Orchestra Music of Spheres with Daniel Hope New Century Chamber Orchestra violinist and conductor Daniel Hope, who as a child loved astronomy as much as music, compiled this WHEN:

program to explore the music of composers

W E D N E S DAY,

who asked themselves: what would the music of

M AY 13,

spheres sound like? Joseph Haydn brought us The

2 020

Creation, Josef Strauss composed Spharenklange, and Philip Glass created Echorus. The anthology,

S H OW T I M E :

played live at the Bing, pays homage to Hope’s

7:30 P M

mentor, violinist Yehudi Menuhin, who introduced the teenage Hope to astronomer Carl Sagan.

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

Generously supported by Trine Sorensen and

HALL

Michael Jacobson.

53

S TA N FO R D L I V E

F I L M / C HOR A L

La Passion de Jeanne d’Arc Orlando Consort WHEN:

Carl Dreyer’s 1928 silent movie masterpiece has

SAT U R DAY,

had many musical accompaniments, from its

F E B RUA RY 1,

original score by Victor Alix and Leo Pouget to

2 020

Nick Cave and Johann Sebastian Bach. Now comes the superb Orlando Consort, the early-

S H OW T I M E :

music British quartet, singing Guillaume Dufay’s

7:30 P M

chanson with lyrics by Christine de Pizan, whose poem about Joan of Arc (1412-1431) dates to 1429.

VENUE:

Like the voices counseling the French saint, it is

B I N G C O N C E RT

a cappella—without musical accompaniment.

HALL 54

2019—20 SEASON

C HOR A L

A Chanticleer Christmas San Francisco’s own men’s choir, famous world-

WHEN:

wide, brings its annual holiday celebration blend

W E D N E S DAY,

to Memorial Church. Since its 1978 founding in

D EC E M B E R 11,

San Francisco by Louis Botto, Chanticleer has

2 019

toured the world, winning bravos from the capitals of Europe to the greenways of Central Park,

S H OW T I M E :

where the group has sung alongside the New

7:30 P M

York Philharmonic. It wouldn’t be December at Stanford without it.

VENUE: MEMORIAL C H U RC H

55

S TA N FO R D L I V E

Why Membership Matters

By becoming a Stanford Live member, you help us to

Enjoy Exclusive Member Benefits

bring engaging and innovative artists to our stage and

Stanford Live supporters enjoy a range of insider

our community.

benefits including:

In return, you receive 12 full months of exclusive benefits such as ticket presales, invitations to exclusive member events and receptions, and more.

• Early notice and access to tickets ahead of the general public, including those at Frost Amphitheater • Invitations to exclusive member events and

Ticket sales only account for a fraction of what it takes to present our programs. That is why we are so grateful for the membership support we receive, which helps

receptions • A subscription to and recognition in Stanford Live magazine

us to sustain and grow vital programs both inside and outside the walls of Stanford’s performance spaces. These

Visit live.stanford.edu/support to learn more about

funds also support student engagement projects, artist

the various levels of membership, which start at $100.

residency programs, K–12 student matinee performances, teacher workshops, and in-school teaching programs.

Enhance Your Experience—Become a Bing Member Become a leader in supporting Stanford Live’s mission and activities when you join as a Bing member!

Your annual Bing member contribution of $7,500 or more will provide a vital investment in Stanford Live’s programming and offerings. In return, you can enjoy exclusive benefits including our dedicated Bing member ticket concierge service, reserved parking for all Stanford Live ticketed performances, and complimentary tickets to Bing Fling, our Bing member annual recognition event.

To learn more about membership levels and benefits or to make your contribution, visit live.stanford.edu/support or contact supportstanfordlive@stanford.edu or 650.725.8782.

Gifts to Stanford Live are tax-deductible as a charitable contribution to Stanford University but the tax deduction for Bing member gifts will be reduced for each complimentary ticket provided to Bing Fling. Please refer to the goods and services values noted at live.stanford.edu/bingmember and consult your tax advisor with any questions.

56

BING Scott Joplin’s Treemonisha Produced by Volcano Theatre with Moveable Beast Collective and cocommissioned by Stanford Live

WHEN:

Join us for the world premiere of

S H OW T I M E :

this new music theater piece from

8: 0 0 P M

SAT U R DAY, A P R I L 25

one of the country’s most beloved composers. This rarely performed work

VENUE:

has been revised with a new libretto

PA LO A LTO

and musical arrangement to bring this

HIGH SCHOOL

timeless story of female leadership

AU D I TO R I U M

and community into the 21st century.

Stanford Live is thrilled to present this commission that brings together a stellar company of artists from across North America. Don’t miss this highlight of the 2019-20 season!

Bing Fling is generously supported by

Join or renew your Bing membership to receive complimentary tickets to this event including a special dinner and reception prior to the performance. Tickets for the performance will be reserved for Bing members and formal invitations will be sent in early 2020.

Marcia and John Goldman. live.stanford.edu/give

FLING 57

Plan Your Visit

P L A N YO U R V I S I T

AC C E S S I B I L I T Y

2019—20 SEASON

F E AT U R E D V E N U E S

Please indicate your needs when purchasing

Bing Concert Hall

tickets so that an appropriate location can be

Seating is by pricing zone and varies

reserved for you. For questions, contact the

by configuration and performance:

Bing Concert Hall Ticket Office at 650.724.2464 or bingboxoffice@stanford.edu

Standard (seats in the round) End stage (additional seats on stage;

C A N ’ T M A K E A P E R FO R M A N C E?

all seats front-facing)

Exchange your tickets or make a tax-deductible

Bing Concert Hall Studio

donation at live.stanford.edu/changes. We

Seating is general admission; configuration

offer fee-free exchanges for members at the

varies by performance:

$100 level and above.

Theater (seated) DINING

Cabaret (seated at cabaret tables) Club (standing)

For events in Bing Concert Hall, pre-concert and intermission snacks and drinks are avail-

Memorial Auditorium

able at Interlude Café, located in the Bing’s

Seating is by pricing zone and varies by

expansive lobby. Pre-performance dining is

configuration and performance.

also available at Alumni Café, located in the Arrillaga Alumni Center just a five-minute walk

Memorial Church

from Bing Concert Hall. Light snacks and drink

Seating at Memorial Church is general

offerings may also be available for select Bing

admission. Access to a reserved-seating

Studio performances. Please check the specific

section is available for members at the

event webpages for more information.

$500 level or above.

PA R K I N G & D I R EC T I O N S

Frost Amphitheater Configuration varies by performance: seating

For up-to-date information on parking and

may be general admission or partially reserved.

directions to our events and ticket office, visit live.stanford.edu/directions.

For complete venue information, visit live.stanford.edu/venues 58

2019—20 SEASON

Venues B I N G C O N C E RT H A L L

B I N G C O N C E RT H A L L S T U D I O

M E M O R I A L C H U RC H

F RO S T A M P H I T H E AT E R

M E M O R I A L AU D I TO R I U M

PA LO A LTO H I G H S C H O O L AU D I TO R I U M

For complete venue information, visit live.stanford.edu/venues 59

S TA N FO R D L I V E

Ticket Information

T H E M E M B E R S H I P A DVA N TA G E Alongside early access to tickets ahead of the public, enjoy these

For complete pricing, availability, and added shows throughout the season, visit live.stanford.edu.

member perks:

Early ticketing access to our most popular events this season including those at Frost Amphitheater

F RO S T A M P H I T H E AT E R P O L I C I E S M AY D I F F E R

Advance notice and purchasing options for special events and added programs

Frost Amphitheater performances are

Free ticket exchanges (except for Frost Amphitheater events)

ticketed by external partners and policies may differ from Stanford Live policies. Refunds and exchanges may not be available, and ticket

A subscription to Stanford Live magazine, with artist interviews, extended content, and more

fees will vary. Please visit the event information webpages for the performance you are inter-

Learn more on page 56, or visit live.stanford.edu/support

ested in to learn how to buy tickets.

HANDLING CHARGES AND REFUNDS All phone and online transactions will incur a $10-per-order han-

2 01 9 -2 0 S A L E DAT E S

dling fee ($4 for Stanford students). There are no per-ticket order

Bing members

Thursday, April 11

$1,000+ members

Tuesday, April 30

$500+ members

Tuesday, May 7

$250+ members

Tuesday, May 14 Thursday, May 23

Public on sale for single tickets

fees. All fees are waived for Bing members and for in-person orders.

All programs and prices are subject to change. Tickets are nonrefundable, except in the case of a canceled event. Frost Amphitheater events may be subject to external fees and ticket policies.

DISCOUNTS Discounts are available for the following categories (valid university ID or Courtesy Card may be required): Stanford employees (faculty, staff, visiting professors, and Stanford

HOW TO ORDER

hospital employees): 20% off full-priced tickets, limit 2 per ID. Stanford students (matriculated undergraduate and graduate

Online

live.stanford.edu

students): Tickets start at $15 for most events Limit 2 per ID. Stanford Alumni Association members: 10% off full-priced tickets,

Phone & In Person

Bing Concert Hall Ticket Office 327 Lasuen Street Stanford, CA 94305 650.724.BING (2464)

limit 2 per ID. Non-Stanford students: 20% off full-priced tickets, limit 1 per ID. Youth (under age 18): 50% off full-priced tickets. Note: Regardless of age, everyone must have a ticket, and youth under 18 must be

Tuesday – Friday: 12:00 PM – 5:00 PM

accompanied by an adult.

Groups (10 or more): 10% off full-priced tickets.

60 minutes prior to performance on performance days

Note: Discounts cannot be combined and may not be available for Frost Amphitheater performances.

60

For a complete list of box office policies, visit live.stanford.edu/policies

Stanford University Bing Concert Hall Ticket Office 327 Lasuen Street, MC 2550 Stanford, CA 94305

Join us!

2019-20 S E A S O N SCHEDULE AND MORE INSIDE

TICKETS GO ON SA L E M AY 23 B EC O M E A M E M B E R FO R E A R LY AC C E S S

M O R E S H OW S TO BE ANNOUNCED

INSTITUTIONAL SUPPORTERS:

MEDIA SPONSORS:

IN-KIND SPONSORS:

L I V E . S TA N FO R D. E D U