Stanford Live 2020–21 Season Brochure

Join us!

2020–21 Season

RECONCILIATION & FORGIVENESS

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 56.

M E M B E R P R E SA L E S B EG I N J U N E 9, 2020.

T I C K E T S G O O N SA L E TO T H E G E N E R A L P U B L I C O N J U LY 1 6, 202 0.

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2020–21 SEASON

Welcome to Stanford Live’s 2020–21 Season We take a moment to recognize that Stanford sits on the territory of Huichin, the ancestral and unceded land of the Muwekma Ohlone Tribe, who are the successors of the historic and sovereign Verona Band of Alameda County. This land was and continues to be of great importance to the Ohlone people. We recognize that every member of the community has benefited—and continues to benefit—from the use and occupation of this land. Consistent with our values of community and diversity, we have a responsibility to acknowledge and make visible the University’s relationship to Native people.

1

S TA N FO R D L I V E

As you open this brochure, one of the first things you will encounter is a statement of land recognition. is brief but power l text is an acknowledgement of the ancestors who have historically been and will continue to be custodians of the land.

It also lays bare the complexities of

of artists is returning to these stories

colonization and the role it has played

and practices, albeit through a modern

in defining modern societies. For

lens that channels those voices that

those of marginalized and vulnerable

have been lost over centuries.

Stanford Live’s 2020–21 season is generously supported

by Helen and Peter Bing.

Underwriting for student ticket discounts for the 2020–21 season is generously provided by the Bullard Family.

Stanford Live's 2020–21 season jazz programs are generously supported by the Koret Foundation.

identities, reconciliation is necessary as a movement toward healing. Cou-

This season, Stanford Live has worked

pled with the willingness to practice

in partnership with knowledge experts

forgiveness, public memory must be

across the Stanford community to

willing to alter its occidental mindset

curate a program that brings these

and focus on building strong, inclu-

contemporary and historical themes to

sive communities.

the forefront. An unprecedented year of upheaval and disruption offers us a

Empowering artists who uphold and

distinct opportunity for reflection and

center these values is imperative to

change. The sharing of stories, experie-

creating a more inclusive world, one

nces, and rituals provides us with a

that is respectful of both past and

platform for meaningful discussions

present. The work they create provides

around a way forward. We invite you

a window into rich cultural histories,

to join us on this journey filled with joy,

many of which have faded due to glob-

challenge, inspiration, and, most

alization and the proliferation of

importantly—hope.

mainstream culture. A new generation

JA Z Z P ROJ EC T

The Stanford Live Commissions and Programming Fund is generously supported by the Hornik Family, Victoria and James Maroulis, the Maurice and Helen Werdegar Fund for Stanford Live, and other generous donors.

Stanford Live's K-12 programs are generously supported by the Koret Foundation and the California Arts Council.

Chris Lorway

Karim Baer

Executive Director

Associate Director of Campus Engagement and Public Programs

Laura Evans Director of Music Programs,

Will Paisley ' 20

Engagement, and Education

Curatorial Fellow

2

2020–21 SEASON PERFORMANCES

2020–21 SEASON

All performances and programs subject to change.

CHAMBER Mother to Mother: Reconciliation and Remembrance Silkroad Ensemble: Home Within Sundays with the St. Lawrence Takács Quartet with Jeremy Denk, piano Israeli Chamber Project Omer Quartet

23 35 45 48 50 51

CIRCUS The 7 Fingers: Passengers

38

40

CONTEMPORARY iskwē: acākosīk Philharmonia Baroque Orchestra: The No One's Rose world premiere ft. music by Matthew Aucoin Ólafur Arnalds Kronos Quartet: A Thousand Thoughts Pink Martini Holiday Spectacular The Ritual of Breath Is the Rite to Resist Brooklyn Rider: Healing Modes Lesser Known: Nico Muhly and Friends Investigate the Glass Archive Gong Linna and Bang on a Can All-Stars: Cloud River Mountain

6 16

39 39 44

38 47

FOLK Small Island Big Song Taimane Huun-Huur-Tu Derek Gripper & Yacouba Sissoko Kannapolis featuring Jenny Scheinman

8 14 15 23 25

JAZZ Christian Scott aTunde Adjuah: Ancestral Recall Abdullah Ibrahim Samora Pinderhughes: The Healing Project

5 5 13 21 49

RECITAL

Frank Waln and Raye Zaragoza William Prince Martha Redbone

FAMILY Somos Amigos, Songs on Common Ground: Sonia De Los Santos and The Okee Dokee Brothers Jaz Sawyer ft. Tiffany Austin: The Jazz Connection to Africa

ORCHESTRAL

54

DISCUSSION/PERFORMANCE National Geographic Live: Untamed with Filipe DeAndrade National Geographic Live: Wild Hope with Ami Vitale Rob Kapilow's What Makes it Great?

24

Mariinsky Orchestra New Century Chamber Orchestra Australian Chamber Orchestra Philharmonia Baroque Orchestra & Chorale Orpheus Chamber Orchestra with Branford Marsalis

R. Carlos Nakai Abel Selaocoe 'Tis the Season with Cameron Carpenter Garrick Ohlsson and Kirill Gerstein: Dual Pianos Gil Shaham, violin and Akira Eguchi, piano

7 36 36 37 37

47 47 55

MUSIC/DANCE

24 25 29 30 35 48

DANCE Red Sky Performance: Trace Cloud Gate Dance Theatre: 13 Tongues and Dust Yang Liping: Rite of Spring Kyle Abraham's A.I.M Russell Maliphant Dance Company: Silent Lines

46

Soliloquy: Telemann Solo Fantasias

COMEDY Colin Quinn: The Wrong Side of History

Fandango at the Wall: Arturo O'Farrill and the Afro-Latin Jazz Orchestra w/ the Villalobos Brothers SFJAZZ Collective with Lizz Wright: Joni Mitchell Tribute Jaz Sawyer ft. Tiffany Austin: We Insist! Freedom Now Suite Bessie, Billie, Nina: Pioneering Women in Jazz

8 22 29 49 51

SINGER-SONGWRITER 7 7 8

THEATER The War of the Worlds: Rhum and Clay Theatre Company, written with Isley Lynn An Evening with an Immigrant: Inua Ellams Huff: Cliff Cardinal Anthony Hudson/Carla Rossi: Carla Rossi Does Drag Anthony Hudson/Carla Rossi: Queer Horror Gravest Hits Falling for Make Believe: Ryan J. Haddad Sea Sick: Alanna Mitchell

43 52 52 53 53 53 55

VOCAL Ladysmith Black Mambazo Joshua Hopkins: Love and Loss Joyce DiDonato: Songplay Los Angeles Master Chorale: Lagrime di San Pietro A Chanticleer Christmas Vienna Boys Choir Patti LuPone: Far Away Places

22 26 26 27 28 28 54

KEY 15 23 40

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

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S TA N FO R D L I V E

Last year, we welcomed the anticipated return of Frost Amphitheater as a leading venue for live music in the Bay Area. Our partnerships with the Stanford Concert Network, the San Francisco Symphony, and Goldenvoice brought a broad variety of programming beginning in May 2019.

The lineup included classical music (San Francisco Symphony), pop and R&B (Lionel Richie, Jorja Smith, and Kali Uchis), electronic dance music (Odesza), hip-hop (BROCKHAMPTON), and legendary singer-songwriters (Bob Dylan and Willie Nelson). In a nod to the Grateful Dead's 4

legacy at the venue, Joe Russo's Almost Dead brought joy and nostalgia to those who fondly remember the band's 14 shows at Frost. While the 2020 summer and fall seasons are still being rescheduled due to precautions around COVID-19, we look forward to bringing more unforgettable live performances to the Frost stage as soon as we can.

Stay tuned, and visit frostamphitheater.com for more details.

2020–21 SEASON

ORC H E S T R A L

Mariinsky Orchestra Following a dazzling 2017 Bing per-

WHEN:

formance by the Stradivarius Ensemble,

S U N DAY,

we welcome the full Mariinsky Orchestra

JA N UA RY 3 1,

for the first time. Led by the charismatic

2 02 1

Valery Gergiev, and with a history spanning more than 200 years, the Mariinsky

S H OW T I M E :

is widely regarded as one of the world’s

7: 0 0 P M

finest orchestras. Expect warmth, brilliance, and an unparalleled command

VENUE:

of Felix Mendelssohn's Symphony No. 4

B I N G C O N C E RT

and Gustav Mahler's Symphony No. 5.

HALL

ORC H E S T R A L

New Century Chamber Orchestra With a new work by Tan Dun WHEN: T U E S DAY,

Led by violinist Daniel Hope, the

A P R I L 20,

conductorless ensemble continues its

2021

distinguished legacy. In addition to performing classical pieces, the orch-

S H OW T I M E :

estra has a robust platform for

7:30 P M

commissioning new works from living composers. Their Bing Concert Hall

VENUE:

appearance features works by Kurt

B I N G C O N C E RT

Weill, George Gershwin, and a new

HALL

commission from composer Tan Dun. 5

S TA N FO R D L I V E

I was first introduced to iskwē while curating an outdoor music series for Massey Hall in Toronto. Since then, she has become one of Canada's most thrilling voices, creating multidisciplinary spectacles that both entertain and shine light on important issues.

—Chris Lorway, Executive Director

C ON T E M P OR A RY

iskwē acākosīk A Juno Award–nominated independent

and vocalizations combine with pro-

WHEN:

artist, iskwē, which translates to “blue

jected video and live movement to

SAT U R DAY,

sky woman,” spotlights the importance

create a unique, immersive, and inten-

S E P T E M B E R 26,

and plight of Indigenous peoples and

sely visceral concert experience.

2020

territories in Canada. Her command of music styles includes jazz, R&B, industrial pop rock, post-rock, and trip-hop,

Supported by the Office of the Vice President for the Arts—Arts Incubator pilot program.

S H OW T I M E : 7:30 P M

centuries of historic injustice, systemic racism, and environmental degrada-

VENUE:

tion fuel her powerful lyrics.

BING C O N C E RT H A L L

The Bing Studio will be transformed into a visual installation to be experienced prior to the concert. Then, in the concert hall, indigenous instrumentation 6

DA NC E

Red Sky Performance Trace The leading Canadian contemporary

WHEN:

Indigenous dance company performs a

SAT U R DAY,

work inspired by Anishinaabe sky and

O C TO B E R 3,

star stories. The piece traces ancestral

2 02 0

origins across the Milky Way to the very beginnings of the universe, con-

S H OW T I M E :

sidering both our origins and our

7: 30 P M

future evolution.

VENUE: Generously supported by Bonnie and Marty Tenenbaum.

BING CONCERT HALL

SI NGE R-S ONGW R I T E R

SI NGE R-S ONGW R I T E R

Frank Waln and Raye Zaragoza

William Prince

Lakota hip-hop artist Frank Waln and

WHEN:

A singer-songwriter of magnitude, William

WHEN:

singer-songwriter Raye Zaragoza join

T H U R S DAY,

Prince has earned critical accolades for

F R I DAY,

forces in a concert that celebrates

O C TO B E R 8,

his synthesis of country and gospel music

O C TO B E R 23,

the identity and survival of Indigen-

2 02 0

with acoustic guitar and messages about

2020

ous peoples.

the human condition.

S H OW T I M E :

S H OW T I M E :

7: 0 0 P M

7:00 P M

VENUE:

VENUE:

B I N G ST U D I O

B I N G ST U D I O

7

FOL K

Small Island Big Song Small Island Big Song is a collective

WHEN:

of Indigenous musicians drawn from

W E D N E S DAY,

16 island nations across the Pacific

F E B RUA RY 1 7,

and Indian Oceans. The group blends

2 02 1

musical traditions to create a hybrid concert experience and address shared

S H OW T I M E :

cultural and environmental challenges.

7: 30 P M

Generously supported by Mary and Clinton Gilliland.

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

Meeting producers BaoBao Chen and Tim Cole, I was impressed by their expansive vision for tracing Oceanic song lines and especially struck by their humili and respect for Indigenous traditions and economic realities—they use the Fair Trade Music model, with fi y percent of profits going to the artists.

—Laura Evans, Director of Music Programs, Engagement, and Education

R EC I TA L

SI NGE R-S ONGW R I T E R

R. Carlos Nakai

Martha Redbone

Of Navajo-Ute heritage, R. Carlos Nakai

WHEN:

Stories about Redbone’s life as a

WHEN:

is the premier performer of the tradi-

F R I DAY,

Native American and Black woman

F R I DAY,

tional cedarwood Native American flute.

F E B RUA RY 26,

and a mother are braided into

F E B RUA RY 12,

Originally trained in classical trumpet

2 02 1

blues, R&B, soul, and gospel music

2021

and music theory, Nakai collaborates with many orchestras and musicians.

performed by Redbone and her S H OW T I M E : 7: 30 P M

top-tier jazz and blues band.

S H OW T I M E : 7:00 P M & 9:00 P M

VENUE:

8

B I N G C O N C E RT

VENUE:

HALL

B I N G ST U D I O

Holiday in Honolulu Garrett Hongo

Billie in a yellow bikini and without the gardenia in her hair, But instead a dark hibiscus, plump as her curls.

Next to her, Armstrong in Bermudas and a flat English driver’s cap, The famous grin spreading wide as the beach behind them.

And Trummy Young, that marooned trombonist from Gibson’s Bar, Dressed in a hotel robe and swim trunks, flanks her other side.

She looks shy, perhaps off the drugs or only lightly dosed, Not quite sad, as the sun makes a light gleam off their skins.

I’d never thought of them here, American jazz greats, cavorting on the beach, The big pink hotel looming just off Armstrong’s right shoulder, Celebrities among the tourists, bringing their brand of music To mix in among the ‘ukulele, steel guitars, and falsetto tenors of the hotels.

But Pahinui must have, his singing a short breath behind the beat sometimes, Playing that slappy catch-up, tailgating to the rhythm Like Satchmo, who showed Holiday how to do the same, All hip to the bluesy, hesitation style—a kind of tease.

And didn’t Gabby sound like Charlie Christian sometimes, Strumming that guitar to a hula measure, A half-beat off the One and swinging the pace So the music had that feel of a five o’clock jump?

I don’t know for sure, but musicologists tell me Hawai' i was forever a crossroads, seaborne chants From Polynesia circulating up via Tahitian canoe And bouncing back from Rapa Nui, Where only the moai survive now.

And then the missionary hymns crept in, The falsetto yodel of Argentine vaqueros.

After that, Mississippi and Louisiana delta blues, Swamp songs from the steamships through the Panama Canal, Their deckhands exchanging licks with the local guitar-pickers, Bottlenecks sliding like spit on Hotel Street.

Pretty soon, a paniolo puts the dull edge of his knife On the open-tuned strings of a Dobro, and we get the lap-steel And hapa-haole songs of mixed Hawaiian and English, Chang-a-lang from the Portuguese, kachi-kachi And son montuno from Puerto Rican cane and pineapple workers.

What’s “original" anyway? Indigenous and essentially anything?

I’ll take Holiday in Honolulu, plucking a red hibiscus From a green hotel bush as she saunters from the lobby Across the breezy lanai with the tiki torches aflame and smoking, The scent of ginger flowers from ‘awapuhi hotel soap on her skin, Cocking her head to one side and pulling back the lush hair, Placing the stem and pea-green corolla back behind an unjeweled ear, Giving Armstrong and Trummy Young that bluesy wink of hers As she adjusts the small bell of the bloom so it opens Like a pliant, red trumpet in the sweetened airs of Waikīkī.

"Holiday in Honolulu" from CORAL ROAD: POEMS by Garrett Hongo, copyright © 2011 by Garrett Hongo. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved.

ORC H E S T R A L

Australian Chamber Orchestra

Eric Avery

One of the world’s most dynamic

WHEN:

chamber ensembles, the ACO thrills in

S U N DAY,

every performance. The players bring

A P R I L 11,

their energetic virtuosity to repertoire old

2 02 1

and new, and play with a visible sense of shared communication with each other

S H OW T I M E :

and the audience. For their Stanford

2 : 30 P M

Live residency, they’ll perform works by Eric Avery, Peter Sculthorpe, Sufjan Stevens,

VENUE:

Bryce Dessner, Andrew Norman, and a

B I N G C O N C E RT

new commission by Samuel Adams.

HALL

The new work by Samuel Adams is co-commissioned by the Australian Chamber Orchestra and Stanford Live. The commission and this performance are generously supported by Roberta and Charles Katz.

ORC H E S T R A L

ACO Underground WHEN:

Known for blurring the boundaries

M O N DAY,

between classical and contemporary

A P R I L 12,

pop music, the Australian Chamber

2021

Orchestra’s ACO Underground brings their shape-shifting performance

S H OW T I M E :

to the Bing Studio. Past programs

7:00 P M

have included electrifying film-noir reimaginings of Johann Sebastian

VENUE:

Bach, Bryce Dessner, Nick Drake, and

B I N G ST U D I O

Nine Inch Nails in an experience meant to remove music barriers.

13

S TA N FO R D L I V E

FOL K

Taimane WHEN:

Known from the age of 13 for her pro-

T H U R S DAY,

digious skills, Hawaiian ukulele player

M A RC H 1 1 ,

Taimane’s cross-genre works range in

2 02 1

expression from fierce to mysterious to meditative. Shades of classical, rock,

S H OW T I M E :

and flamenco music color her rich com-

7 : 30 P M

positions and provide a broad platform for Taimane’s uncanny control and

VENUE:

creativity. An intensely magnetic performer,

B I N G C O N C E RT

her latest album, Elemental (2018), pre-

HALL

sents the artist’s otherworldly vision of the classical elements: water, fire, air, earth, and ether.

14

2020–21 SEASON

FOL K

Huun-Huur-Tu WHEN:

Huun-Huur-Tu’s profound throat singing

T H U R S DAY,

technique arises from its origins in

N OV E M B E R 12,

Tuva, a Russian republic on the border

2020

of Mongolia. Performing on a variety of native Tuvan and Western instruments,

S H OW T I M E :

the charismatic ensemble offers a

7:00 P M

micro-history lesson during each perfor-

& 9:00 P M

mance, shedding light on the littleknown cultures and traditions of the

VENUE:

Tuvan people.

B I N G ST U D I O

is group introduced me to the other worldly, overtone-rich sounds of throat singing.

Like Indigenous people in other regions, the Tuvans connect deeply to the landscape, evoking whistling mountains, rushing streams, animal cries, and drumming horses hooves in their music. You have to hear them to believe these vocalizations are humanly possible!

JA Z Z

Christian Scott aTunde Adjuah

—Laura Evans, Director of Music Programs, Engagement, and Education

Ancestral Recall Christian Scott aTunde Adjuah is an

WHEN:

Edison Award–winning and Grammy-

SAT U R DAY,

nominated jazz trumpeter and composer

O C TO B E R 24,

from New Orleans. Described by the

2 02 0

New York Times as a musician “breaking new ground,” Adjuah is a skillful player

S H OW T I M E :

who blends the sounds of modern hip-hop

7: 0 0 P M

with ancient, diasporic rhythms. His

& 9: 0 0 P M

bold new album, Ancestral Recall, combines music styles and folklore from

VENUE:

the African and Caribbean diaspora with

B I N G ST U D I O

the Indigenous cultures of New Orleans.

Generously supported by the Koret Jazz Project.

15

S TA N FO R D L I V E

C ON T E M P OR A RY

WHEN:

ORC H E S T R A L

P E R FOR M A NC E NO. 1

W E D N E S DAY,

The No One's Rose

2 02 0

Philharmonia Baroque Orchestra & Chorale

A world premiere by the American Modern Opera Company Featuring music by Matthew Aucoin

O C TO B E R 7,

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

In partnership with the American Modern

BING CONCERT

Opera Company (AMOC) and Stanford

HALL

Live, PBO brings the world premiere of

One of the Bay Area’s greatest musical treasures,

a powerful production featuring new

the Philharmonia Baroque Orchestra & Chorale

music by 2018 MacArthur Fellow Matthew

plays classical and baroque jewels on period

Aucoin. The No One’s Rose has at its

instruments. This season’s Bing performances

center the poetry of Pulitzer Prize–winning

include the world premiere of 2018 MacArthur

poet Jorie Graham and 20th century

Fellow Matthew Aucoin’s The No One's Rose, Georg

poet and Holocaust survivor Paul Celan,

Muffat’s Missa in labore requies, Mozart and Haydn

both of whom ask a difficult question in

from violinist Rachel Podger, and an evening of

their work: What can be recovered after

Tchaikovsky with PBO Music Director Richard Egarr.

a whole world disappears? AMOC and PBO's musicians and dancers join forces with some of today’s most important opera stars, directed by AMOC’s co-artistic director Zack Winokur and choreographer Bobbi Jene Smith. Anthony Roth Costanzo and Davóne Tines return to PBO, while Julia Bullock and Paul Appleby make their debuts.

Commissioned by Philharmonia Baroque Orchestra and Stanford Live, and generously supported by the Stanford Live Commissions and Programming Fund.

16

The Post Human Jorie Graham

Standing next to your body you have just gone.

How much of you has gone has it all gone all at once.

It has been just a minute now—I don't want the time to go in this direction—it does.

Now it has been two. Elsewhere. Elsewhere someone gets on a train— we're almost there, a man says to a child, prepare for landing, the fields are rushing towards us, we are setting out with the picnic, the woods seem far but we have all day ...

Standing next to you, holding the hand which stiffens, am I outside of it more than before, are you not inside?

The aluminum shines on your bedrail where the sun hits. It touches it.

The sun and the bedrail—do they touch each other more than you and I now.

Now. ls that a place now. Do you have a now.

The day stands outside all around as if it were a creature. It is natural. Am I to think you now

natural? Earlier, is it an hour ago, you sat up briefly looked out. Said nothing but I looked at your eyes and saw them see. You saw the huckleberry, the plume of rose, the silver morning grow as if skinning night, that animal, till day came out raw and bleeding.

Daybreak mended it for now. I saw you see the jay drop into the clearing light, light arrive, direction assert itself for you—what for—but yes that is East, with its slow grace. The jet went by way overhead.

Shade one more time under the tree you love. Shadow then shade.

Its body like a speech the tree was finally allowed to make, coming free of night.

A statement. Which would evolve as it grew to know—[you passed in here][you left] ["you"—what did your you do?]—the bush, the bird, hills, the hundreds of branches like snakes, top and bottom making their event—the unbleaching from dawn to the rich interweaving knowledges of

the collapse of knowledge which is day.

Saw you sit up and look out. Just like that. Information is our bread and butter is what you loved to say. We each have a thing we loved to say, I think. How many minutes have passed now. Have we caught up yet with where we just were? There are so many copies of this minute.

Not endless but there sure are a lot from when I started, going through my motions, part of history—or, no, cup in hand, end at hand, trying to hide from the final ampersand. Where are you waiting, where out there, the wrong part of me now wants to

ask. And turns around and says, cue consequence, cue occasion. There on the bed just now—(look, all of a sudden now I cannot write "your" bed)—I watch your afterlife begin to burn. Helpful. Making a space we had not used before, could not. Undimmed, unconsumed. In it this day light burns.

“The Post Human” from Fast by Jorie Graham, © 2017.

Used by permission of Jorie Graham.

2020–21 SEASON

P E R FOR M A NC E NO. 2

WHEN: SAT U R DAY,

Masses for Troubled Times

F E B RUA RY 13, 2021

MUFFAT Missa in

S H OW T I M E :

labore requies

7:30 P M

HAYDN Missa in Angustiis, “Nelson Mass”

VENUE: BING CONCERT HALL

P E R FOR M A NC E NO. 3

WHEN: W E D N E S DAY,

Classic Podger with violinist Rachel Podger

2021

HAYDN Symphony No. 39

7:30 P M

M A RC H 10,

S H OW T I M E :

in G minor, Hob. I:39 “Tempesta di Mare”

VENUE:

MOZART Concerto for Violin

BING CONCERT

No. 2 in D major, K. 211

HALL

HAYDN Concerto for Violin No. 1 in C major MOZART Symphony No. 25 in G minor, K. 183 P E R FOR M A NC E NO. 4

WHEN: F R I DAY,

A Wolf in Bear's Clothing

A P R I L 16, 2021

MOZART Symphony No. 29

S H OW T I M E :

in A major, K. 201

7:30 P M

TCHAIKOVSKY Variations on a Rococo Theme, Op. 33

VENUE:

TCHAIKOVSKY Symphony

BING CONCERT HALL

No. 4 in F minor, Op. 36

21

S TA N FO R D L I V E

VO CA L

Ladysmith Black Mambazo The five-time Grammy-winning choral

WHEN:

group from South Africa honors the

T H U R S DAY,

legacy of late founder Joseph Shabalala

F E B RUA RY 4,

as they continue to perform worldwide.

2 02 1

From brilliantly harmonized a cappella songs sung in Zulu to traditional English

S H OW T I M E :

gospel songs such as "This Little Light"

7: 30 P M

and "Amazing Grace," Ladysmith Black Mambazo’s spirited work soothes

VENUE:

the soul and brings a smile.

B I N G C O N C E RT HALL

R EC I TA L

Abel Selaocoe WHEN:

The captivating and prodigiously tal-

SAT U R DAY,

ented South African cellist transcends

O C TO B E R 24,

most definitions of classical music

2020

while adhering firmly to its tenets. Collaborating with orchestras, beatboxers,

S H OW T I M E :

South African artists, and contemporary

7:30 P M

and traditional chamber ensembles as well as performing as a solo artist

VENUE:

and the leader of his trio, Chesaba,

B I N G C O N C E RT

Selaocoe’s vast repertoire links Western

HALL

and non-Western musical traditions.

From the nuances of Bach, Debussy, and Shostakovich to the vibrancy of Chesaba’s Ka Bohaleng to his versatility as a vocalist, Selaocoe is a young musician whose curiosity is equaled only by his unfolding talent.

22

2020–21 SEASON

C H A M BE R

Mother to Mother Reconciliation and Remembrance WHEN:

Featuring a soprano solo, string quartet,

SAT U R DAY,

and texts read by Stanford students,

F E B RUA RY 2 7,

this performance is a reflection on the

2 02 1

story of Amy Biehl (1967–93), a Stanford

By reflecting on Amy Biehl’s story and her parents' circuitous journey toward understanding, we start to see reconciliation as a process that evolves and shi s, and doesn’t necessarily arrive. Biehl’s life touched so many at Stanford. We look forward to bringing those voices together for a deeper discussion of her life and the forces of historical and personal reconciliation.

undergraduate alumna and Fulbright S H OW T I M E :

Scholar who died in the lead-up to South

7 : 00 P M

Africa’s first democratic election. A newly commissioned piece by distinguished

VENUE:

South African composer Bongani

B I N G ST U D I O

Ndodana-Breen anchors a program that explores heartfelt responses to tragedy and urgently seeks ways forward.

—Laura Evans, Director of Music Programs,

Supported by the Office of the Vice President for the Arts.

Engagement, and Education

FOL K

JA Z Z

Derek Gripper & Yacouba Sissoko

Abdullah Ibrahim The godfather of South African jazz

WHEN:

and a 2019 NEA Jazz Master, pianist

SAT U R DAY,

This spellbinding performance by South

WHEN:

Abdullah Ibrahim brings irresistibly

A P R I L 10,

African guitarist Derek Gripper and kora

T H U R S DAY,

swinging grooves and a deeply spiritual

2021

player Yacouba Sissoko will transport

O C TO B E R 2 2,

quality to his playing.

audiences to the musical worlds of Mali,

2 02 0

Senegal, and South Africa.

Generously supported by the Koret Jazz Project.

S H OW T I M E : 7:30 P M

S H OW T I M E : 7: 0 0 P M

VENUE:

& 9: 0 0 P M

B I N G C O N C E RT HALL

VENUE: B I N G ST U D I O

23

S TA N FO R D L I V E

C ON T E M P OR A RY

Ólafur Arnalds Icelandic multi-instrumentalist, produ-

WHEN:

cer, and composer Ólafur Arnalds is

M O N DAY,

one of the most sought-after composers

N OV E M B E R 9,

in the world. From his BAFTA-winning

2020

score for the TV series Broadchurch to his collaborations with Of Monsters

S H OW T I M E :

and Men vocalist and guitarist Nanna

7:30 P M

Bryndís Hilmarsdóttir, his hushed and haunting compositions make for an unfor-

VENUE:

gettably poignant song experience.

B I N G C O N C E RT

Fans of Max Richter and Sigur Rós will

HALL

not want to miss the chance to hear Arnalds’ innovative and beautiful work live in the intimacy of Bing Concert Hall.

M USIC / DA NC E

Soliloquy: Telemann Solo Fantasias WHEN:

Genevieve Lacey, recorder

SAT U R DAY, A P R I L 3,

In this 60-minute, meditative, interactive

2 02 1

music-dance ritual, recorder virtuoso Genevieve Lacey weaves a profoundly

S H OW T I M E :

moving sound-and-motion tapestry.

7 : 30 P M

Seven minutes into her performance of Telemann’s Twelve Fantasias for Solo,

VENUE:

dancers will rise to join Lacey on stage.

B I N G C O N C E RT

Individual voices—soliloquy—dissolve

HALL

as the intermingled bodies and Lacey become a chorus celebrating sublime, illuminated community.

24

Over the last few seasons, we selected a number of programs that invite members of our audience to become active participants. A er just a short rehearsal, the Bing stage will come alive with music and movement.

—Chris Lorway, Executive Director

2020–21 SEASON

C ON T E M P OR A RY

Kronos Quartet A Thousand Thoughts FOL K

WHEN:

Oscar-nominated filmmakers Sam

Kannapolis: A Moving Portrait

W E D N E S DAY,

Green and Joe Bini teamed up with

M A RC H 3,

Grammy-winning Kronos Quartet

2021

for a multimedia performance piece that blends live music and narration

S H OW T I M E :

with archival footage and filmed inter-

7:30 P M

views with prominent artists such as Philip Glass, Tanya Tagaq, Steve Reich,

Jenny Scheinman

VENUE:

Wu Man, and Terry Riley. Together on

B I N G C O N C E RT

stage, Green and Kronos interact with

HALL

the stirring cinematic imagery to craft

Jenny Scheinman, a violinist, fiddler,

WHEN:

singer-songwriter, and the project’s

T H U R S DAY,

an important record and exploration of

conceptual director, writes and performs

M AY 2 0,

late 20th and early 21st century music.

original and archival Americana Roots

2 02 1

Transcending the typical live music and film event, this collaboration becomes

music that stirs deep yearnings to return to a simpler time. Working with film-

S H OW T I M E :

a meditation on music itself—the act of

maker and director Finn Taylor (The Darwin

7: 30 P M

listening to it closely, the experience of feeling it deeply, and the power that

Awards, Cherish, Dream with the Fishes), her project Kannapolis features archival

VENUE:

film from the Great Depression by

B I N G C O N C E RT

H. Lee Waters to weave a compelling

HALL

narrative of a time long past. Themes

it has to change the world.

Produced in association with ArKtype, C41 Media, The Department of Motion Pictures.

of family, community, and hands-on industry underscored by labor songs and fiddle tunes resonate with fresh meaning in modern times.

Kannapolis is a poetic reflection on an earlier time in America. In old film shots, everyday people seek joy amid division, and we experience something akin to empathy for the past, reconciling differences in favor of our human commonalities.

—Laura Evans, Director of Music Programs, Engagement, and Education Commissioned and developed by Duke Performances, this is the first in a series of works entitled “From The Archives.” Waters’ archive is provided by the Archive of Documentary Arts at Duke University’s David M. Rubenstein Rare Book & Manuscript Library.

25

S TA N FO R D L I V E

VO CA L

Joyce DiDonato Songplay Soprano Joyce DiDonato is not only

WHEN:

one of the finest singers in the world of

S U N DAY,

opera, but one of its most theatrical

F E B RUA RY 2 8,

and imaginative. In this cabaret-style

2 02 1

recital, DiDonato and pianist Craig Terry are joined by an all-star jazz group.

S H OW T I M E :

They perform the standard lesson rep-

4: 0 0 P M

ertoire for beginning singers (24 Italian Songs and Arias), reimagining each song

VENUE:

in the manner of a jazz standard.

B I N G C O N C E RT

DiDonato takes a playful look at the

HALL

arduous process of classical vocal training while illuminating the timeless beauty of a great song in any style.

VO CA L

Love and Loss Joshua Hopkins, baritone WHEN:

Canadian baritone Joshua Hopkins is

T H U R S DAY,

one of opera’s brightest rising stars,

A P R I L 1,

having made his San Francisco Opera

2021

debut in the 2018–19 season. In this deeply personal program, he performs

S H OW T I M E :

a new song cycle composed by Jake

7:30 P M

Heggie with poetry by Margaret Atwood.

Hopkins’ performance builds a pow-

26

VENUE:

erful elegy honoring the love and memory

B I N G C O N C E RT

of his sister and the many other women

HALL

killed by random and domestic violence.

2020–21 SEASON

Peter Sellars

I saw this work at the Walt Disney Concert Hall and loved the way that Peter took advantage of the vineyard environment in his staging.

Given the similarities between our venues, I know it will look and sound stunning at the Bing.

VO CA L

Los Angeles Master Chorale

—Chris Lorway, Executive Director

Lagrime di San Pietro

WHEN:

Founded in 1964 by conductor Roger Wagner and

SAT U R DAY,

now led by Grant Gershon, the Los Angeles Master

F E B RUA RY 6,

Chorale is a resident company of Walt Disney

2 02 1

Concert Hall. Recognized for its distinctive sound and distinguished repertoire, the choir presents a dram-

S H OW T I M E :

atic staging by Peter Sellars of the late-Renaissance

7 : 30 P M

masterpiece by Orlando di Lasso. With each madrigal set to the poetry of Luigi Tansillo (1510–1568),

VENUE:

the 75-minute a cappella rendition lays bare the

B I N G C O N C E RT

seven stages of grief suffered by St. Peter after disa-

HALL

vowing Jesus Christ. Viewed through a contemporary lens and the extraordinary mind of Sellars, the work achieves an emotional pitch that has earned recognition and acclaim worldwide.

Lagrime di San Pietro is made possible with generous underwriting from the Lovelace Family Trust and is dedicated to the memory of Jon Lovelace in honor of the special friendship he shared with director Peter Sellars. Additional support is provided by Mid Atlantic Arts Foundation through USArtists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation.

27

S TA N FO R D L I V E

VO CA L

A Chanticleer Christmas WHEN:

It wouldn’t be the holidays with-

T H U R S DAY,

out Chanticleer at Memorial Church.

D EC E M B E R 10,

San Francisco’s treasured men’s

2020

vocal ensemble creates a new Christmas program each year, activating

S H OW T I M E :

the church’s gorgeous acoustics

7:30 P M

to create a feeling of community and serene beauty.

VENUE: MEMORIAL C H U RC H

VO CA L

Vienna Boys Choir In a traditional holiday concert backed

WHEN:

by a 500-year history, the beloved boys

M O N DAY,

choir raises harmony to new levels,

N OV E M B E R 30,

expressing peace, faith, and hope. Estab-

2 02 0

lished at Vienna’s Imperial Chapel in 1498 by Holy Roman Emperor Maximilian I,

S H OW T I M E :

members of the choir today often

7: 30 P M

have a long lineage preceding them in the choir.

Generously supported by The Wollenberg Foundation and David Wollenberg.

28

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

2020–21 SEASON

C ON T E M P OR A RY

Pink Martini Holiday Spectacular Pound for pound, no other band does

WHEN:

what Pink Martini does. Fronted by

S U N DAY,

the dynamic vocalist China Forbes,

D EC E M B E R 13,

Pink Martini has performed with more

2020

than 50 of the world’s great orchestras and recorded nine albums. With the

S H OW T I M E :

combined power of a dozen musicians,

4:00 P M

they offer a rollicking mix of classical, jazz, and old-fashioned pop. Come

VENUE:

break in the holidays with a swingin'

B I N G C O N C E RT

good time at the Bing.

HALL

R EC I TA L

‘Tis the Season with Cameron Carpenter And the International Touring Organ WHEN:

This one-of-a-kind virtuoso returns to

F R I DAY,

Bing Concert Hall with his International

D EC E M B E R 4,

Touring Organ. This time he is joined

2 02 0

by a local choir for a program of holiday music drawn from many corners of

S H OW T I M E :

the choral and organ repertoire, both

7 : 30 P M

familiar and surprising. Carpenter’s

VENUE:

with holiday warmth and singers from

B I N G C O N C E RT

our community in this special program.

jaw-dropping talents come together

HALL

Generously supported by Jeanne and Larry Aufmuth.

29

S TA N FO R D L I V E

C ON T E M P OR A RY

The Ritual of Breath Is the Rite to Resist WHEN:

Stanford Live and the Hopkins Center for the

SAT U R DAY,

Arts at Dartmouth College have commissioned

A P R I L 24,

this new collaboration by Stanford faculty

2 02 1

composer Jonathan Berger, librettist Vievee Francis, and visual artist Enrico Riley. A reflec-

S H OW T I M E :

tion on the murder of Eric Garner and the

7 : 30 P M

legacy of police brutality, the work is scored for soprano, tenor saxophone, and chamber

VENUE:

ensemble. Performers include soprano Neema

B I N G C O N C E RT

Bickersteth and Chicago jazz saxophonist

HALL

Greg Ward.

Generously supported by the Stanford Live Commissions and Programming Fund.

30

The Idea of Ancestry Etheridge Knight

1 Taped to the wall of my cell are 47 pictures: 47 black faces: my father, mother, grandmothers (1 dead), grandfathers (both dead), brothers, sisters, uncles, aunts, cousins (1st & 2nd), nieces, and nephews. They stare across the space at me sprawling on my bunk. I know their dark eyes, they know mine. I know their style, they know mine. I am all of them, they are all of me; they are farmers, I am a thief, I am me, they are thee.

I have at one time or another been in love with my mother, 1 grandmother, 2 sisters, 2 aunts (1 went to the asylum), and 5 cousins. I am now in love with a 7-yr-old niece (she sends me letters written in large block print, and her picture is the only one that smiles at me).

I have the same name as 1 grandfather, 3 cousins, 3 nephews, and 1 uncle. The uncle disappeared when he was 15, just took off and caught a freight (they say). He’s discussed each year when the family has a reunion, he causes uneasiness in the clan, he is an empty space. My father’s mother, who is 93 and who keeps the Family Bible with everybody’s birth dates (and death dates) in it, always mentions him. There is no place in her Bible for “whereabouts unknown.”

2 Each fall the graves of my grandfathers call me, the brown hills and red gullies of mississippi send out their electric messages, galvanizing my genes. Last yr / like a salmon quitting the cold ocean-leaping and bucking up his birthstream / I hitchhiked my way from LA with 16 caps in my packet and a monkey on my back. And I almost kicked it with the kinfolks.

I walked barefooted in my grandmother’s backyard / I smelled the old land and the woods / I sipped cornwhiskey from fruit jars with the men / I flirted with the women / I had a ball till the caps ran out and my habit came down. That night I looked at my grandmother and split / my guts were screaming for junk / but I was almost contented / I had almost caught up with me.

(The next day in Memphis I cracked a croaker’s crib for a fix.)

This yr there is a gray stone wall damming my stream, and when the falling leaves stir my genes, I pace my cell or flop on my bunk and stare at 47 black faces across the space. I am all of them, they are all of me, I am me, they are thee, and I have no children to float in the space between.

"The Idea of Ancestry" from The Essential Etheridge Knight, by Etheridge Knight, copyright 1986. All rights are controlled by the University of Pittsburgh Press, Pittsburgh, PA 15260. Used by permission of the University of Pittsburgh Press.

2020–21 SEASON

C ON T E M P OR A RY

Brooklyn Rider Healing Modes Inspired by the healing force of music,

WHEN:

the acclaimed string quartet’s new-

W E D N E S DAY,

est project moves with life-affirming

M A RC H 3 1,

vibrancy. Five composers—Reena Esmail,

2 02 1

Gabriela Lena Frank, Matana Roberts, and Pulitzer Prize winners Caroline Shaw

S H OW T I M E :

and Du Yun—were commissioned to

7: 30 P M

create new works based on themes of health, acceptance, and recovery.

VENUE:

As the concert’s centerpiece, the quartet

B I N G C O N C E RT

will also perform the slow movement

HALL

of Beethoven's Opus 132, "A Song of Holy Thanksgiving.”

C H A M BE R

Silkroad Ensemble Home Within WHEN:

Syrian composer and clarinetist Kinan

W E D N E S DAY,

Azmeh, a longtime member of the

A P R I L 14,

ensemble, and Syrian Armenian visual

2021

artist Kevork Mourad have created an impressionistic multimedia reflection

Syrian clarinetist Kinan Azmeh's return visit with the Silkroad Ensemble and visual artist Kevork Mourad is a gift that allows us to gain empathy for Syrian suffering through music and art.

S H OW T I M E :

on the Syrian uprising of 2011 and its

7:30 P M

aftermath. Joined by half a dozen Silkroad artists, their work reflects a sense

VENUE:

of sustained urgency and continued

B I N G C O N C E RT

hope for their homeland and commu-

HALL

nities around the world. The experience includes engagement programs that invite audiences to share in the process

—Laura Evans, Director of Music Programs,

of exploring tragedy and hope through

Engagement, and Education

multiple lenses.

35

S TA N FO R D L I V E

DA NC E

Rite of Spring Yang Liping

Chinese dance legend and renowned

WHEN:

choreographer Yang Liping—a 2018

F R I DAY,

judge on So You Think You Can Dance:

D EC E M B E R 11,

China—brings her stunning reimagining

2020

of Stravinsky’s Rite of Spring to Stanford.

DA NC E

A product of her native Chinese culture

Cloud Gate Dance Theatre

intermingled with the Tibetan concept of

D EC E M B E R 12,

nature and life, Liping’s Rite of Spring

2020

13 Tongues and Dust

design and exquisite costumes, the

spins an abstract legend of the path of salvation embodied by the sacrifi-

S H OW T I M E :

cial peacock. Through spectacular set

7:30 P M

production creates a distinctive

VENUE: MEMORIAL AU D I TO R I U M

One of Asia’s foremost contemporary

WHEN:

universe where time, space, and life

dance companies, Cloud Gate was

T H U R S DAY,

coexist in endless reincarnation.

founded in 1973 by choreographer Lin

D EC E M B E R 3,

Hwai-min. The company, named after

2 02 0

the oldest known dance in China, combines martial arts, Qi Gong, modern

S H OW T I M E :

dance, and classical ballet. Lin Hwai-

7: 30 P M

min retired in 2019, handing the reins to choreographer Cheng Tsung-lung for

VENUE:

his inaugural season as artistic dir-

MEMORIAL

ector in 2020.

AU D I TO R I U M

In 13 Tongues, Cheng Tsung-lung transforms his childhood memories of the streets of Bangka into a fantastical, dreamlike world, fusing ancient superstitions, religious rites, and modern Taipei culture. Dust springs from the sadness in Shostakovich’s String Quartet No. 8, Op. 110 in C minor, a requiem to human fragility and transience, conveying the energy of the street and resounding echoes of human history.

This tour is made possible in part by grants from the Ministry of Culture, Republic of China (Taiwan).

36

SAT U R DAY,

Generously supported by the Koret Foundation and the Stanford Live Commissions and Programming Fund.

2020–21 SEASON

DA NC E

Russell Maliphant Dance Company Silent Lines WHEN:

For director and choreographer Russell

SAT U R DAY,

Maliphant, it’s all about flow. In Silent

O C TO B E R 10,

Lines, he pushes the limits of movement

2020

and anatomy, with dancers moving as if lit from within under atmospheric

S H OW T I M E :

lighting and video projections. Draw-

7:30 P M

ing on methodologies from a variety of movement disciplines and setting

VENUE:

these within a world of animated light,

MEMORIAL

Silent Lines explores the endless web of

AU D I TO R I U M

connections we encompass and embody.

Silent Lines felt like a meditation on our relationship to self and other, expansion and contraction in conversation. Maliphant's use of light, music, and movement evokes a deeply reflective atmosphere.

DA NC E

Kyle Abraham's A.I.M

—Karim Baer, Associate Director of Campus Engagement and Public Programs

Led by the extraordinary choreographer

WHEN:

and MacArthur genius Kyle Abraham, A.I.M F R I DAY, (Abraham in Motion) brings together an

M AY 2 1 ,

eclectic music and movement vocabulary,

2 02 1

Co-produced by Sadler’s Wells and supported by Arts Council England, DanceEast, Cockayne, The London Community Foundation, Ipswich Borough Council, and Lancaster Arts.

from classical to modern and hip-hop, for empathic explorations of human stories

S H OW T I M E :

and relationships. At Stanford, they'll

7: 30 P M

premiere a new work inspired by Mozart's Requiem in collaboration with producer

VENUE:

and composer Jlin, commissioned by

MEMORIAL

Stanford Live.

AU D I TO R I U M

Co-commissioned by Lincoln Center's Mostly Mozart Festival and Stanford Live and generously supported by the Stanford Live Commissions and Programming Fund.

37

S TA N FO R D L I V E

C I RCUS

The 7 Fingers

WHEN: T H U R S DAY,

Passengers

JA N UA RY 28, 2021

This Montreal-based circus company combines breathtaking physical and

F R I DAY,

aerial feats, contemporary dance,

JA N UA RY 29,

playful music, and theater to strip down

2021

circus to its most thrilling essence.

Passengers builds a multidisciplinary

S H OW T I M E :

narrative around travel and place,

7:30 P M

the community of strangers that forms while traveling, and a fascination

VENUE:

with trains that is both nostalgic and

MEMORIAL

symbolic. Fascinated by the human

AU D I TO R I U M

condition, The 7 Fingers celebrates our world, our time, and our humanity.

FA M I LY

Somos Amigos: Songs on Common Ground WHEN:

Sonia De Los Santos and The Okee Dokee Brothers

S U N DAY, N OV E M B E R 8,

Friendship is at the heart of this joyful

2 02 0

collaboration between Mexican songstress Sonia De Los Santos and the Americana

S H OW T I M E :

folk duo The Okee Dokee Brothers. This

2 : 30 P M

bilingual program includes old and new songs that span the musical traditions of

VENUE:

North America. With an adventurous

BING CONCERT

spirit and a common vision of peace and

HALL

understanding, Somos Amigos encourages young and old to dance, sing, and laugh together, hand-in-hand.

38

2020–21 SEASON

DIS CUS SION / P E R FOR M A NC E

National Geographic Live After a successful inaugural series last season at Stanford Live, National Geographic Live returns to the Bing with informative, entertaining, and aweinspiring events that bring the world closer by combining National Geographic’s media resources with live presentations by explorers, photographers, reporters, and scientists.

P E R FOR M A NC E NO. 1

P E R FOR M A NC E NO. 2

Untamed

Wild Hope

With Filipe DeAndrade

With Ami Vitale

Wildlife filmmaker and conservationist

WHEN:

From documenting war zones to don-

WHEN:

Filipe DeAndrade, star of Nat Geo WILD’s

T H U R S DAY,

ning a panda suit to remain anonymous

W E D N E S DAY,

Untamed, gives his unfiltered look at

N OV E M B E R 5,

among giant pandas, award-winning

M AY 19,

what it’s like to come face-to-face with

2 02 0

photographer and filmmaker Ami Vitale

2021

wild animals, survive extreme environ-

shares her images and adventures

ments, and make unexpected discoveries.

S H OW T I M E :

He’ll also share a preview of his new

7: 30 P M

from a career spent “living the story.”

7:30 P M

focuses on wildlife along the Mexico-

VENUE:

VENUE:

U.S. border.

BING CONCERT

BING CONCERT

HALL

HALL

S H OW T I M E :

documentary, The River and The Wall, which

39

S TA N FO R D L I V E

C OM E DY

The Wrong Side of History Colin Quinn WHEN:

From MTV's Remote Control to SNL,

F R I DAY,

Comedy Central's Tough Crowd

O C TO B E R 9,

with Colin Quinn, and a run on Broad-

2 02 0

way, Quinn is not one to take a hint and bow out gracefully. The Wrong Side

SAT U R DAY,

of History is the follow-up to Quinn’s

O C TO B E R 1 0,

2019 one-man show, Red State Blue State,

2 02 0

which was adapted into CNN’s first comedy special. Continuing with an

S H OW T I M E :

examination of a divided America, his

7 : 00 P M

newest show interrogates the nation

& 9:00 PM

and where it’s heading from an introspective point of view, using laugh-

VENUE:

ter to get the audience to consider

JA Z Z

B I N G ST U D I O

where their own beliefs originated.

Samora Pinderhughes The Healing Project How do we survive in America? Bay

WHEN:

Area–bred pianist, composer, and activist

W E D N E S DAY,

Samora Pinderhughes brings together

M AY 26,

world-class musicians, artists, and poets

2021

in The Healing Project, a new, multidisciplinary work that explores the daily

T H U R S DAY,

realities of violence, incarceration,

M AY 27,

and detention in the United States. With

2021

musical compositions, audio interviews, and raw testimonials, The Healing Project

S H OW T I M E :

is a search for what it means to live and

7:00 P M

love while dealing with hurt, an exploration of vulnerability and process, and a

VENUE:

celebration of healing and resistance.

B I N G ST U D I O

Generously supported by the Koret Jazz Project.

Co-commissioned by Art for Justice, Soros Justice, Unbound Philanthropy, Creative Capital, and Carnegie Hall.

40

On This Hard Bench Charif Shanahan

you look at me, i look away to the swan in the canal— everything here has meaning: my luggage, your cigarettes, our undone shoelaces, the water, the park. i speak with meticulous finality, each word its own sentence, and you listen as to a sermon, hoping that the moral can be forgiveness is divine. i am ashamed to have been so typical, i am ashamed even to sit up straight, to show any firmness or strength. i tell you i have a reservation

at a hotel down the road, i can leave tomorrow— neither of us speaks. evening turns a pale green neither of us sees, two men deaf to the city bells, the slow water, the electric pull of trams urging us to go. though smaller than me, you grab my big suitcase, my shoulder and tell me to follow you home.

“On This Hard Bench” from Into Each Room We Enter Without Knowing by Charif Shanahan, © 2017. Used by permission of the author.

2020–21 SEASON

T H E AT E R

The War of the Worlds

Clay’s The War of the Worlds wrestles

S H OW T I M E :

with the media and the boundaries

7:30 P M

Last August, we took our Advisory Council members to the Edinburgh festivals and this was a favorite. In an era where facts are constantly being questioned, this production is an interesting look at one of the original "fake news" stories that captured the a ention of the world.

VENUE:

—Chris Lorway,

WHEN:

Rhum and Clay Theatre Company, written with Isley Lynn

F R I DAY, M AY 7, 2021

This work looks back through history and speaks to our times. Inspired

SAT U R DAY,

by H.G. Wells’ sci-fi novel and Orson

M AY 8,

Welles’ radio adaptation and the

2021

wild reaction it inspired, Rhum and

of truth in a thrilling broadcast of the end of the world.

Originally commissioned by New Diorama Theatre, London. Co-produced by Brighton Festival, HOME Manchester, New Theatre Royal, Portsmouth and Nuffield Southampton Theatres. Supported using public funding by Arts Council England.

B I N G C O N C E RT

Executive Director

HALL

43

S TA N FO R D L I V E

P E R FOR M A NC E NO. 1

WHEN: S U N DAY,

Dreaming of a Jewish Christmas

D EC E M B E R 6, 2 02 0 S H OW T I M E : 2 : 30 P M VENUE: BING CONCERT HALL

DIS CUS SION / P E R FOR M A NC E P E R FOR M A NC E NO. 2

WHEN:

2 02 1

What Makes It Great?

S H OW T I M E :

Rob Kapilow

T H U R S DAY,

Verklärte Nacht with the St. Lawrence String Quartet

M A RC H 11,

7: 0 0 P M VENUE:

Everyone’s favorite down-to-earth

BING STUDIO

explainer of all types of music returns to Stanford Live for three perform-

P E R FOR M A NC E NO. 3

Mozart Requiem with Stanford Chamber Chorale and guest orchestra

WHEN:

ances. In the first part of each perfor-

SAT U R DAY,

mance, Kapilow illustrates key points

M A RC H 13,

of the music and its creators. Then, the

2 02 1

full piece is performed. To top off the experience, Kapilow and the musicians

S H OW T I M E :

take part in a lively and in-depth audi-

7: 30 P M

ence Q&A. This season features a look at beloved Christmas songs written by

VENUE:

Jewish composers, Arnold Schoenberg’s

BING CONCERT HALL

Verklärte Nacht, and a Mozart requiem with the Stanford Chamber Chorale.

44

2020–21 SEASON

C H A M BE R

Sundays with the St. Lawrence Hailed by the New Yorker “not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection,” the acclaimed St. Lawrence String Quartet continues its fabled partnership with Stanford. The quartet remains a cultural cornerstone of the University, directing the music department’s Chamber Music Program, concertizing at Stanford Live, hosting a popular summer seminar, and running the Emerging String Quartet Program.

P E R FOR M A NC E NO. 1

P E R FOR M A NC E NO. 2

P E R FOR M A NC E NO. 3

SLSQ with guest artist Todd Palmer

Haydn, Alessandrini, and Dvořák

SLSQ with pianist Inon Barnaton

HAYDN String Quartet in B-flat Major, Op. 76, No. 4, “Sunrise" KORNGOLD String Quartet No. 3 in D Major, Op. 34 BRAHMS Clarinet Quintet, Op. 115

HAYDN String Quartet in D Major, Op. 76, No. 5 ALESSANDRINI New Work, commissioned for the SLSQ DVOŘÁK String Quartet in G Major, Op. 106

HAYDN String Quartet in D minor, Op. 76, No. 2, “Quinten" THUILLE Piano Quintet in E-flat Major, Op. 20

WHEN:

VENUE:

WHEN:

VENUE:

WHEN:

VENUE:

S U N DAY

BING

S U N DAY

BING

S U N DAY

BING

S E P 2 7 2020

C O N C E RT

JA N 24 2 02 1

C O N C E RT

M AY 2 2021

C O N C E RT

2 : 30 P M

HALL

2 : 30 P M

HALL

2:30 P M

HALL 45

S TA N FO R D L I V E

JA Z Z

Fandango at the Wall Arturo OʼFarrill and the Afro-Latin Jazz Orchestra with special guests Villalobos Brothers WHEN:

In a project inspired by a fandango

F R I DAY,

festival held annually at the mesh fence

O C TO B E R 2 3,

bordering Tijuana, Mexico, O’Farrill

2 02 0

brings 30 musicians from the Afro-Latin Jazz Orchestra to the Bing. Proud of

S H OW T I M E :

being an American, O’Farrill said in a

7 : 30 P M

2019 NPR interview that the concert is equal to “elegant activism.” By cele-

Arturo O’Farrill proved himself a profound thinker on social justice issues at Bing in 2018. His Fandango at the Wall project with its urgent participation in our national immigration dialogue provides a platform for us to reckon with the question of who gets to seek the American dream and at what cost.

VENUE:

brating the reconciliatory bridge built

B I N G C O N C E RT

through music, “jamming across the

—Laura Evans, Director of Music Programs,

HALL

mesh” at a fandango becomes possible

Education, and Engagement

for audiences worldwide.

Generously supported by the Koret Jazz Project.

46

2020–21 SEASON

JA Z Z

V E N U E : B I N G ST U D I O

Jaz Sawyer featuring Tiffany Austin

Freedom Now Suite

We Insist! Freedom Now Suite

P E R FOR M A NC E NO. 2

Bay Area–bred educator and percussionist Jaz Sawyer and vocalist Tiffany Austin

The Jazz Connection to Africa

2020

explore Max Roach and Abbey Lincoln’s

Family Matinee

2:30 P M

P E R FOR M A NC E NO. 3

WHEN:

P E R FOR M A NC E NO. 1

WHEN: F R I DAY, N OV E M B E R 13, 2020 7:00 P M WHEN: SAT U R DAY, N OV E M B E R 14,

Freedom Now Suite. The 1960 work with lyrics by Oscar Brown Jr. was inspired by the civil rights movement. In their final

SAT U R DAY,

work The Message Forward, exploring

The Message Forward

2020

the power of community and education.

World Premiere

7:00 P M

performance, Sawyer premieres his new

N OV E M B E R 14,

Generously supported by the Koret Jazz Project.

JA Z Z

SFJAZZ Collective with Lizz Wright Joni Mitchell Tribute

WHEN: W E D N E S DAY,

An octet made up of some of the top

N OV E M B E R 4,

instrumentalists in jazz, the SFJAZZ

2 02 0

Collective debuts a new lineup this year.

Mixing interpretations of a major mus-

S H OW T I M E :

ical figure with their own compositions

7: 30 P M

each season, this year they pay tribute to the genius of Joni Mitchell

VENUE:

alongside new music by the group’s

B I N G C O N C E RT

members, with a return guest visit from

HALL

soulful vocalist Lizz Wright.

Generously supported by the Koret Jazz Project.

47

S TA N FO R D L I V E

C ON T E M P OR A RY

Lesser Known Nico Muhly and Friends Investigate the Glass Archive

Over his long career, Philip Glass has

WHEN:

written countless pieces of music for

SAT U R DAY,

his ensemble: a band of his friends and

A P R I L 17,

close collaborators. In arrangements

2 02 1

commissioned by Carnegie Hall, Nico Muhly reimagines some of Glass’ lesser-

S H OW T I M E :

known music, performing the pieces

7: 30 P M

with his own community of musicians.

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

C H A M BE R

WHEN:

Takács Quartet with Jeremy Denk

S U N DAY, O C TO B E R 11, 2020

Two artists known for the probing intelligence of their playing team up for

S H OW T I M E :

Schumann’s great Piano Quintet. The

2:30 P M

Takács will also play quartet repertoire spanning two centuries, with the sec-

48

VENUE:

ond of Mozart’s “Haydn” Quartets and

B I N G C O N C E RT

a modern masterpiece by French

HALL

composer Henri Dutilleux.

2020–21 SEASON

ORC H E S T R A L

Orpheus Chamber Orchestra with Branford Marsalis The conductorless ensemble, noted

WHEN:

for its unique approach to collective

W E D N E S DAY,

leadership onstage and off, returns

JA N UA RY 1 3,

to the Bing for the first time since 2014.

2 02 1

This time they’re joined by saxophone virtuoso and NEA Jazz Master Branford

S H OW T I M E :

Marsalis, one of the world’s most cel-

7: 30 P M

ebrated jazz artists, in a classical turn. The program features Gioachino

VENUE:

Rossini, Joaquín Rodrigo, Claude

B I N G C O N C E RT

Debussy, and more.

HALL

Generously supported by Trine Sorensen and Michael Jacobson.

R EC I TA L

Garrick Ohlsson and Kirill Gerstein WHEN:

Dual Pianos

S U N DAY, N OV E M B E R 1,

In this rare duo recital by two of today’s

2020

finest pianists, Bay Area favorite Garrick Ohlsson and Russian American master

S H OW T I M E :

Kirill Gerstein team up to perform a pro-

2:30 P M

gram of Rachmaninoff, Ravel, and Busoni, including one of Busoni’s imagi-

VENUE:

native two-keyboard arrangements

B I N G C O N C E RT

of music by Mozart.

HALL 49

S TA N FO R D L I V E

C H A M BE R

Israeli Chamber Project WHEN:

Current artists-in-residence at Cornell

F R I DAY,

University, the Israeli Chamber Project has

F E B RUA RY 1 2 ,

emerged as one of the most electrifying

2 02 1

ensembles to appear in the past decade, winning worldwide acclaim for its depth

S H OW T I M E :

and virtuosity. The program incorporates

7 : 30 P M

two 20th-century masterworks: Stravinsky’s neoclassical ballet Pulcinella in its cha-

VENUE:

mber arrangement and Schoenberg’s

B I N G C O N C E RT

haunting vocal work Pierrot lunaire in a

HALL

semi-staged version.

We are thrilled to work with the highly collaborative Israeli Chamber Project. The program seeks to reconcile two towering figures of modernism—Stravins and Schoenberg—and engage us in dialogue about their far-reaching legacies today.

—Laura Evans, Director of Music Programs, Education, and Engagement

50

R EC I TA L

2020–21 SEASON

Gil Shaham and Akira Eguchi Lauded by the New York Times as “one of today’s preeminent violinists,”

WHEN: S U N DAY,

Grammy Award–winning Gil Shaham

M A RC H 14,

is a spirited master of violin. He shares

2021

the stage at the Bing with his longtime duo partner, pianist Akira Eguchi,

S H OW T I M E :

performing a program that includes

2:30 P M

Dvorak’s 4 Romantic Pieces, Sonatina, and Sonata, and Schumann’s Four Romances.

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

Last summer at Frost, violinist Gil Shaham astounded our audiences with his virtuosic playing of Tchaikovs with the San Francisco Symphony. We're thrilled to have him back at the Bing for his recital debut.

HALL

—Chris Lorway, Executive Director

C H A M BE R

Omer Quartet WHEN:

Stanford Live continues to support

S U N DAY,

the St. Lawrence String Quartet’s

F E B RUA RY 2 1 ,

advocacy of young quartets with our

2 02 1

annual presentation of the winner of the SLSQ’s Ladd Prize. This year,

S H OW T I M E :

we are excited to welcome the Omer

2 : 30 P M

Quartet, which in a short time has already amassed major chamber

VENUE:

music competition prizes and multiple

B I N G C O N C E RT

festival and academic residencies.

HALL

At the Bing, they'll perform works by Beethoven and Caroline Shaw.

51

S TA N FO R D L I V E

T H E AT E R

Huff Cliff Cardinal One of Canada’s most important

WHEN:

emerging theatrical voices, Cree

T H U R S DAY,

actor and playwright Cliff Cardinal’s

JA N UA RY 21 ,

acclaimed solo play delivers an

2021

unabashed view of the realities facing Indigenous youth growing up on

F R I DAY,

First Nations Reserves across Turtle

JA N UA RY 22,

Island (North-Central America).

2021

Huff is a wrenching yet darkly comic tale of Wind and his brothers,

S H OW T I M E :

caught in a torrent of solvent abuse,

8 :00 P M

struggling to cope with the death of their mother. Huff is a story of Indi-

VENUE:

genous resilience and, ultimately,

B I N G ST U D I O

T H E AT E R

hope for the next generation.

An Evening with an Immigrant

Huff was developed in part through The Collaborations, an initiative of Canada’s National Arts Centre English Theatre. The development of Huff was also supported by VideoCabaret.

Inua Ellams Born to a Muslim father and a Christian

WHEN:

mother in what is now considered by

SAT U R DAY,

many to be Boko Haram territory, award-

JA N UA RY 2 3,

winning poet and playwright Inua

2 02 1

Ellams left Nigeria for England in 1996

8: 0 0 P M

at age 12, moved to Ireland for three years, and then returned to London to

S U N DAY,

work as a writer and graphic designer.

JA N UA RY 24,

Littered with poems, stories, and anec-

2 02 1

dotes, Inua tells his ridiculous, fantastic,

2 : 30 P M

poignant immigrant story of escaping fundamentalist Islam, experiencing

VENUE:

prejudice and friendship in Dublin, perfor-

B I N G ST U D I O

ming solo at the National Theatre, and drinking wine with the Queen of England, all the while without a country to belong to or place to call home.

52

2020–21 SEASON

T H E AT E R

Falling for Make Believe Ryan J. Haddad T H E AT E R

Anthony Hudson / Carla Rossi

Ryan J. Haddad—the 2020 recipient of

WHEN:

the Cornelia Street American Playwriting

F R I DAY,

Award—has harbored a true love for theater F E B RUA RY 19, since his childhood. When he was five, he

2021

created the Haddad Theater for his family to put on plays. As an actor today, Haddad

SAT U R DAY,

Anthony Hudson as alter ego Carla Rossi, "Portland's

can be seen in popular TV shows such as

F E B RUA RY 20,

premier drag clown," comes to Bing for a two-night

The Politician, Madame Secretary, and

2021

residency. A member of the Confederated Tribes

Unbreakable Kimmy Schmidt.

of Grand Ronde, Hudson finds inspiration in the

S H OW T I M E :

drama and tension living in the in-between of race

In Falling for Make Believe, Haddad draws on

and sexual orientation in white pop culture.

stories from his childhood in a witty, whimsical memoir full of showtunes.

P E R FOR M A NC E NO. 1

Queer Horror Gravest Hits

8 :00 P M VENUE: B I N G ST U D I O

WHEN: F R I DAY N OV E M B E R 6, 2 02 0

Hosted by Carla Rossi and culled from four years of Queer

S H OW T I M E :

Horror’s short film nights,

8: 0 0 P M

Queer Horror: Gravest Hits presents the silliest and most ghoul- V E N U E : ish international horror shorts

B I N G C O N C E RT

by, starring, and about queers.

HALL

P E R FOR M A NC E NO. 2

Carla Rossi Does Drag

WHEN: SAT U R DAY, N OV E M B E R 7, 2 02 0

Through fresh comedy, song, and authentic stories Rossi’s

S H OW T I M E :

hourlong show is a new multi-

7: 0 0 P M

media experience with outrageous commentary on culture,

VENUE:

gender, and race.

B I N G ST U D I O 53

S TA N FO R D L I V E

VO CA L

Patti LuPone Far Away Places Actress and singer Patti LuPone has

WHEN:

graced the worlds of theater, film, and

F R I DAY,

television for decades. The two-time

JA N UA RY 15,

Tony winner was the original Evita on

2021

Broadway and the original Fantine in London’s Les Misérables. LuPone’s solo

S H OW T I M E :

shows draw from her mega-selling

7:30 P M

albums and theatrical appearances to

C ON T E M P OR A RY

Gong Linna & Bang on a Can All-Stars Cloud River Mountain Superstar Chinese fusion singer Gong

WHEN:

Linna sets new lyrics to centuries-

T H U R S DAY,

old Chinese melodies backed by the

JA N UA RY 2 1,

musicians of Bang on a Can. Gong’s

2 02 1

husband, German composer Robert Zollitsch (Lao Luo), composes many of

S H OW T I M E :

the brilliantly staged pieces. In 2010,

7: 30 P M

Linna’s performance of the song "Tan Te" on Chinese national television to

VENUE:

billions of viewers made her an overnight

B I N G C O N C E RT

sensation, vaulting her to celebrity

HALL

status. In recent years she has starred on television in China, but she remains largely undiscovered in the West.

54

highlight her brilliant vocal power,

VENUE:

vivacious storytelling, and commanding

B I N G C O N C E RT

stage presence.

HALL

2020–21 SEASON

JA Z Z

Bessie, Billie, Nina: Pioneering Women in Jazz WHEN:

A power trio of vocalists backed by

SAT U R DAY,

an all-female band pays tribute to a

M A RC H 20,

flagship of civil rights progress that

2021

was launched by the formative work of three 20th-century African American

S H OW T I M E :

women jazz artists. The anthemic songs

7:00 P M

of Bessie Smith, Billie Holiday, and Nina

& 9:00 P M

Simone defied social norms and today continue to inspire a generational move-

VENUE:

ment for greater equality and self-

B I N G ST U D I O

empowerment for women, people of color, and the LGBTQ+ community.

Generously supported by the Koret Jazz Project.

T H E AT E R

Sea Sick

WHEN:

The Theatre Centre, written and performed

by Alanna Mitchell

2 02 1

This unique performance unites personal

2 02 1

W E D N E S DAY, A P R I L 14,

T H U R S DAY, A P R I L 1 5,

memoir, theatrical presentation, and a scientific deep dive. Mitchell, a science

F R I DAY,

journalist whose research on human

A P R I L 1 6,

impacts on the ocean’s chemistry led to

2 02 1

many unexpected adventures, has created a lecture-cum-performance that diagnoses the state of the seas.

SAT U R DAY, A P R I L 1 7, 2 02 1

Another pick from the Edinburgh Fringe last summer. A wonderful example of power l storytelling that gets to the heart of an issue that impacts us all.

S H OW T I M E : 8: 0 0 P M VENUE:

—Chris Lorway, Executive Director

B I N G ST U D I O 55

Why Membership Matters By becoming a Stanford Live member, you help us

Enjoy Exclusive Member Benefits

continue to bring engaging and innovative artists to our

In return for your membership support, you receive

stage and our community.

12 full months of insider benefits, including:

At this time of great uncertainty, your membership support allows us to continue to share inspirational and innovative

• Presale access to tickets ahead of the general public, including shows at Frost Amphitheater

work with our audiences here in the Bay Area and around

• Invitations to exclusive member events and receptions

the world, whether through live performances, online

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Live magazine

our programs. That is why we are so grateful for your membership support, which ensures our long-term stability

Membership gifts also support our student engagement

and allows us to support the artists we present by honoring

projects, artist residency programs, K–12 matinee performances,

fees for canceled shows, rescheduling performances when

teacher workshops, and in-school teaching programs.

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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 provides 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, complimentary tickets to Bing Fling, our annual Bing member recognition event, and exclusive online content and events.

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

2020–21 SEASON

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

BING STUDIO

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

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

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

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

57

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

All programs subject to change.

For pricing, availability, and added shows, visit live.stanford.edu

member perks:

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

O U R P RO M I S E TO YO U Advance notice and purchasing options for special events and In light of COVID-19's impacts around the world, we know that there are many factors that may affect our season. We may need to move venues to make some performances work more safely—and some may be rescheduled or canceled entirely. Through it all, we promise to keep you informed and will be practicing flexible exchange policies for all affected shows. We thank you for choosing Stanford Live and staying with us during this challenging time.

Read more at live.stanford.edu/ourpromise

S A L E DAT E S

Bing members

added programs Free ticket exchanges (except for Frost Amphitheater events) Preferred access to online content including performances, artist talks, and more Learn more on page 56, or visit live.stanford.edu/support HANDLING CHARGES AND REFUNDS All phone and online transactions incur a $10-per-order handling

June 9, 2020

fee ($4 for Stanford students). There are no per-ticket order fees. All fees are waived for Bing members and in-person orders.

$1,000+ members

June 25, 2020 All programs and prices are subject to change. Tickets are nonre-

$500+ members

July 2, 2020

$250+ members

July 9, 2020

fundable, except in the case of a canceled event. Frost Amphitheater events may be subject to external fees and ticket policies.

DISCOUNTS

Public on sale

July 16, 2020 Discounts are available for the following categories (valid

Shows occurring in September through December 2020 will go on sale on the above dates. See website for full details.

Stanford employees (faculty, staff, visiting professors, and Stanford Hospital employees): 20% off full-priced tickets or $5 off studio

HOW TO ORDER

Online

university ID or Courtesy Card may be required):

cabaret, limit 2 per ID.

live.stanford.edu

Stanford students (matriculated undergraduate and graduate students): Tickets start at $15 for most events, limit 2 per ID. Stanford Alumni Association members: 10% off full-price tickets at

Phone & In Person

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

most performances, limit 2 per ID. Must log in through SAA website.

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.

We open 60 minutes prior to performance on performance days.

58

Note: Discounts cannot be combined, exceptions may apply.

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

M A P OF F I RS T NAT IONS, 201 8 © CA R L A F E R NA N DE Z + P E DRO R E Y E S

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

N O N P RO F I T O RGA N I Z AT I O N U. S. P O STAG E PA I D PA LO A LTO, C A P E R M I T N O. 28

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2020–21 S E A S O N SCHEDULE AND MORE INSIDE

TICKETS GO ON SA L E J U LY 16, 2020 B EC O M E A M E M B E R FO R E A R LY AC C E S S

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