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/// PROGRAM BOOK 4 of 4 basil twist's Rite of Spring | April 12-13

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DEAR Friends This has been quite a season for all of us, in both its scope and scale; in its depth of examination and interpretation, and in the level of artistry we have been fortunate to experience. I hope you will join me in taking the time to savor the shared experience of inspiration, introspection, and collaboration. But before it ends, we will reach a fever pitch in the sheer number of new works and sheer brilliance to close our Rite of Spring at 100 (Rite 100) celebration and our 2012-13 season. In late March, renowned jazz pianist and composer Vijay Iyer will return to Chapel Hill for his third appearance, this time with renowned new music group, International Contemporary Ensemble – led by MacArthur Fellow Claire Chase – and filmmaker Prashant Bhargava in a new Rite 100 work, RADHE RADHE: Rites of Holi. This new work celebrates Holi, the Hindu spring festival of colors, and the “rite of spring” as seen from another part of the world. In early April, we will host Nederlands Dans Theater 1 as they perform the U.S. premiere of Chamber, also commissioned for Rite 100. A provocative and mesmerizing display of movement and human emotion, the choreography by Medhi Walerski embodies the energy of this refreshingly modern dance company. The company will present two entirely different programs, set with a day in between so that our production crew can reset the stage for these two giant evenings of dance. I think you all can appreciate that bringing these works “from concept to curtain” – as we like to say – takes years. The project that has had one of the longest gestations is that of puppeteer Basil Twist. After nearly 10 weeks of residencies and workshop time in Chapel Hill within the past two years, Basil will showcase three works, with the Orchestra of St. Luke’s, set to the music of Igor Stravinsky. He has described his Rite of Spring as a “ballet without dancers” as he animates the inanimate. During UNC’s spring break, University students and volunteers worked with Basil and his cast and crew as he continued development on these brilliant new works. Looking ahead to 2013-14, I am thrilled to say that we have a great deal in store, with many new projects to drive the arts at Carolina to bolder and brighter heights. We will reveal our next season on the actual anniversary date of The Rite of Spring’s May 29, 1913 premiere on, so please stay tuned. As always, thank you for your continued support. It has been an honor and a privilege to share this monumental season with you. Sincerely,

Emil J. Kang Executive Director for the Arts Director, Carolina Performing Arts Professor of the Practice, Department of Music



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Table of contents

/////////////////////////////////////////////// 12 The Cleveland Orchestra 18 Kurt Elling 20 Joffrey Ballet 28 Vijay Iyer, Prashant Bhargava and International Contemporary Ensemble 34 Nederlands Dans Theater 1 40 Basil Twist, with Orchestra of St. Luke's 44 Spring Dance – UNC School of the Arts 50 Martha Graham Dance Company – Myth & Transformation

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Letter from the Executive Director – Emil J. Kang

6 About The Rite of Spring

Basil Twist – The Rite of Spring, photo by Daniel Brodie


Rite 100 Donors


Not Quite Sure What You Like?


Ackland Reframed


Important Information


Donor Spotlight


Carolina Performing Arts Society


Donor List


Student View


Restaurant Guide


The Last Word


Advertisers Index

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Vaslav Nijinsky

Serge Diaghilev & Igor Stravinsky

May 29, 2013 The centennial anniversary of the premiere performance of The Rite of Spring Ballets Russes dancers in The Rite of Spring costumes

Nicholas Roerich illustration

Serge Diaghilev, Vaslav Nijinsky & Igor Stravinsky

what is

THE RITE of SPRING? Le Sacre du printemps On a hot Paris evening in 1913, a riot broke out at the ballet. At the Théâtre des Champs-Élysées, members of Serge Diaghilev’s legendary dance troupe, the Ballets Russes, stamped their feet and jumped to a wild orchestral score. Shaken by Igor Stravinsky’s unorthodox music and scandalized by Vaslav Nijinsky’s audacious choreography, audience members shouted out their protests, while others rose up in defense. Punches were thrown; the police were called. On its opening night, The Rite of Spring secured its place in history. The outraged spectators must have known they were witnessing something important: Stravinsky’s score inspired countless composers and quickly assumed its place as a canonic work in the orchestral repertoire. The Rite of Spring has been choreographed more than any other music of the past century. From its ethereal bassoon solo opening to the sacrificial finale – in which a young girl dances herself to death – The Rite of Spring has captured the imagination of artists and audiences for the last century. The Rite of Spring was both an end and a beginning: a farewell to the ballet tradition and the Romantic orchestral works of the 19th century, and the birth of the avant-garde movement in the 20th. It brought together the work of three great artists: composer Stravinsky, choreographer Nijinsky and visual artist and costume designer Nicholas Roerich. In re-interpreting archaic iconography and Russian folk traditions, the creators found an artistic language wholly modern, in step with a decade marked by the sinking of the Titanic and the horrors of World War I. Looking back after a century, The Rite of Spring appears more relevant than ever.

“The Rite of Spring is one of the most important works in the history of music.” – Leonard Bernstein

“It took Stravinsky, in one bold and sudden gesture, to grab music painfully and brutally, and to blast it into a wholly new region from which it could never return.” – Peter Gutmann, Classical Notes

“…it might be the work of a madman.” – Giacomo Puccini By William Robin, UNC-Chapel Hill doctoral candidate in music. His research focuses on American minimalism and post-minimalism and the German postwar avant-garde.

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JOIN THE CELEBRATION! Carolina Performing Arts’ year-long celebration The Rite of Spring at 100 would not be possible without the support of our donors. Major funding has been provided by The Andrew W. Mellon Foundation and The William R. Kenan, Jr. Charitable Trust. These leadership gifts require matching contributions from patrons like you in order to fund this once-in-a-lifetime season of performances and programming. We invite you to join us on this extraordinary journey. For more about how you can support The Rite of Spring at 100 and the benefits of giving, please contact Raymond Farrow at 919/843-3307 or



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Anne Bogart & Bill T. Jones

100 years later The Rite of Spring was significant not just as a riot-inspiring act of modernism, but also for its embrace of the interdisciplinary. Igor Stravinsky, Vaslav Nijinsky and Nicholas Roerich brought cutting-edge visuals and music together on a single stage. In the spirit of this cross-medium collaboration, Carolina Performing Arts and UNC-Chapel Hill will present a year-long centennial commemoration of The Rite of Spring, embracing all aspects of the multifaceted work. From September 2012 through May 2013, UNC’s campus will be home to performances, academic conferences and courses exploring the impact of The Rite and what the work means today. Carolina Performing Arts has commissioned 11 new works from important artists across the globe – choreographer Bill T. Jones and director Anne Bogart, puppeteer Basil Twist, composer Dmitri Yanov-Yanovsky, jazz pianist Vijay Iyer, among others – who reimagine The Rite, bringing a contemporary flavor to the 1913 masterpiece. The Rite of Spring at 100 will present international dance companies’ reinterpretations of the original ballet and a reconstruction of Nijinsky’s groundbreaking choreography by the Joffrey Ballet. The UNC campus is actively participating in the discussion of the impact of The Rite of Spring and its historical lineage through artistic residencies, masterclasses, interdisciplinary course offerings and two major academic conferences taking place in Chapel Hill and Moscow. The Rite of Spring at 100 celebrates the dawn of modernism through an exploration of artistic creation and scholarly dialogues that will foretell what awaits us in the future.

Basil Twist

Brooklyn Rider

Yo-Yo Ma

Valery Gergiev

By William Robin, UNC-Chapel Hill doctoral candidate in music. His research focuses on American minimalism and post-minimalism and the German postwar avant-garde. Vijay Iyer

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thank you

Thank you to the following individuals, foundations and corporate partners for championing this historic year for the arts at Carolina.

The RITE OF SPRING AT 100 GIFTS Commitments received as of January 1, 2013.

Benefactor ($250,000 and above) The William R. Kenan, Jr. Charitable Trust The Andrew W. Mellon Foundation Stravinsky Circle ($100,000-$249,999) Thomas F. Kearns, Jr. Frank and Elizabeth Queally Diaghilev Circle ($50,000-$99,999) Jane Ellison The John W. and Anna H. Hanes Foundation Thomas S. Kenan III Joseph and Beatrice Riccardo Paul Rizzo Wyndham Robertson Kay and Van Weatherspoon Nijinsky Circle ($25,000-$49,999) Munroe and Becky Cobey William D. and Dr. Sally C. Johnson Lisa and Theodore Kerner, Jr., M.D. Patricia and Thruston Morton National Endowment for the Arts Michael and Amy Tiemann Ballets Russes Society ($10,000-$24,999) Mary Louise and John Burress Peter D. and Julie Fisher Cummings Jaroslav and Barbara Hulka The Douglass Hunt Lecture of the Carolina Seminars, supported by the Massey-Weatherspoon Fund Mrs. Frank H. Kenan Anne and Mike Liptzin Carol and Rick McNeel Josie Ward Patton Shirley C. Siegel Wells Fargo 1913 Society ($5,000-$9,999) Lee and Libby Buck 10


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Robert and Mary Ann Eubanks Fine Feathers Paul Fulton Cheray Hodges Jon and Mary Leadbetter Drs. Michael and Christine Lee Harriet and D.G. Martin James and Susan Moeser Florence and James Peacock Peacock Alley Gifts Phil and Kim Phillips Sharon and Doug Rothwell Mary and Ernie Schoenfeld Douglas and Jacqueline Zinn Théâtre des Champs Elysées Society ($1,000-$4,999) Richard A. and Lynda B. Baddour Blanche and Zack Bacon Suejette and David Brown Cliff and Linda Butler Hodding Carter and Patricia Derian Sophia S. Cody Mr. and Mrs. Woody Coley Julia and Frank Daniels, Jr. Borden and Ann Hanes Wade and Sandy Hargrove Highland Vineyard Foundation The Seymour and Carol Levin Foundation Mary and Paul Livingston James and Connie Maynard NC School of the Arts Foundation Contributors (Under $1,000) Tina and Jerry Bell in honor of Cheray Z. Hodges Rhoda L. and Roger M. Berkowitz Frank and Suzanne Brooks Bruce Carney and Ruth Ann Humphry John and Anne Cates Benjamin and Betty Cone, Jr. Matt and Jill Czajkowski Cornelius David Dr. and Mrs. James W. Dean, Jr. Jo Anne and Shelley Earp Gail Fearing Linda Frankel and Lewis Margolis

Ping Fu Mr. and Mrs. James Heavner Lowell M. and Ruth W. Hoffman Lisa Jones Michael and Susan King Dr. Marcia Anne Koomen Bibb Latané Irwin and Susan Levy Grey Lineweaver Alice Dodds May and John May, Jr. Sallie McMillion Vincent and Melinda Paul Linda Perry in honor of Cheray Z. Hodges Louise and Harold Pollard Thomas and Linda Rizk Deborah and Ed Roach Julienne Scanlon Jill Shires Mr. and Mrs. Alan C. Stephenson Ron Strauss and Susan Slatkoff Patti and Holden Thorp Jillian Vogel Susan Wall Nan Weiss Clay and Betty Whitehead Beth and Julian Williamson Leonard and Margot Wohadlo SPECIAL THANKS TO OUR CORPORATE PARTNERS CORE Catering Chapel Hill Magazine (local media sponsor) Fine Feathers Home on the Range KPO Photo McDuffie Design Parlez-Vous Crepe Peacock Alley Gifts Rivers Agency University Florist

not quite sure what you like?

Sometimes you don’t know until you see it…

At Carolina Performing Arts, we try to provide you with a wide variety of performances so you can experience world-renowned favorites along with cutting-edge new artists.

Vijay Iyer

We want to provide you the opportunity to view the world through a different lens and expand your horizons by presenting artists who help us all think about our world beyond our everyday lives. Isn’t that what it’s all about? With this in mind, the following thematic collections offer you another way of looking at the performances in this brochure and may be helpful as you build your personal 12/13 season.


Global Views

These performances feature living legends – artists recognized as being at the absolute peak of their field. Nederlands Dans Theater I

MAR 17 The Cleveland Orchestra MAR 23/24 Joffrey Ballet

Travel the globe without leaving the Triangle. The world comes to you at UNC’s Memorial Hall. MAR 26 Vijay Iyer, Prashant Bhargava and International Contemporary Ensemble


Need some peace in your life? Looking to be transported to another place? These performances will do just that.

MAR 20 Kurt Elling APR 20/21 Spring Dance – UNC School of the Arts


Stir your soul with these cutting-edge, avant-garde performances

APR 3/5 Nederlands Dans Theater 1 APR 12/13 Basil Twist, with Orchestra of St. Luke’s APR 26/27 Martha Graham Dance Company – Myth & Transformation

carolina performing arts

Basil Twist

“$10 as a student Being able to see people like Yo-Yo Ma perform for

is just incredible. No other medium can make me feel the way I do when I listen to music or see a performance. – Sheena Ozaki, Class of 2014

be an angel. Support students’ access to the arts. Make a gift to the Student Ticket Angel Fund today. | 919.843.1869 2012/13 / / / carolina performing arts 11

SUN, MAR 17 at 7PM

The Cleveland Orchestra

Franz Welser-Möst, music director with Giancarlo Guerrero, conductor and Elizabeth Deshong, mezzo-soprano ////////////////////////// “Taut, compelling performance” – Miami Herald

Classical music performances are made possible by The William R. Kenan, Jr. Charitable Trust. We thank the Trustees for their visionary generosity. 12


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MAR 17 sUN, 7pm

PROGRAM Suite from Billy the Kid................................................................................................Aaron Copland 1. The Open Prairie ...............................................................................................(1900-1990) 2. Street in a Frontier Town 3. Card Game at Night 4. Running Gun Battle 5. Celebration on Billy’s Capture 6. Billy’s Death – The Open Prairie Again Neruda Songs.............................................................................................................Peter Lieberson 1. If your eyes were not the color of the moon...........................................................(b. 1946) 2. Love, love, the clouds went up the tower of the sky like triumphant washerwomen 3. Don’t go far off, not even for a day 4. And now you’re mine 5. My love, if I die and you don’t Elizabeth DeShong, mezzo-soprano INTERMISSION Pétrouchka.................................................................................................................Igor Stravinsky (complete ballet music, 1947 score edition).................................................................(1882-1971) 1. The Shrovetide Fair 2. In Pétrouchka’s Room 3. In the Moor’s Room 4. The Shrovetide Fair, toward evening

///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// PROGRAM NOTES Suite from Billy the Kid (1938) Aaron Copland Back in the 1890s, Antonín Dvorˇák was urging American composers to develop an original American musical style based on native melodies. That was much easier said than done, however. It was not at all clear how Dvorˇák’s own tried-and-true Bohemian recipe could be applied in a country whose native traditions were much more diverse and, at the time, much less valued by native composers. One thing that Dvorˇák, in his fascination with “exotica,” did not realize was that the national renewal would not be exclusively from American Indian and African musical traditions, but also those of the European settlers in the New World. Even forty years after Dvorˇák returned home to Europe, the shape of American music was still uncertain – and the idea of a ballet about cowboys was something very shocking in American classical music and classical ballet circles.

It was Lincoln Kirstein, the innovative director of Ballet Caravan, who provided the subject to Copland. As the composer later wrote in his autobiography, “When I suggested that, as a composer born in Brooklyn, I knew nothing about the Wild West, Lincoln informed me that Eugene Loring’s scenario for Billy the Kid was based on the real life story of William Bonney, a notorious cowboy who had been born in New York! Lincoln was persuasive, and it did not take long to convince me that if I could work with Mexican tunes in writing El Salón México, I might try home-grown ones for a ballet.” Kirstein provided Copland with two collections of cowboy songs, and the composer set to work. In the finished ballet, we hear such vintage tunes as “Old Paint,” “The Old Chisholm Trail,” “Git Along Little Dogies,” and “The Dying Cowboy.” Copland learned additional information on Billy the Kid’s character and history from the music director of Kirstein’s Ballet Caravan at the time,

the composer Elliott Carter. Nevertheless, Copland later stressed that he had been less concerned with the historical William Bonney than with the legend he had become in American folklore. The ballet opened in Chicago in October 1938 to wide acclaim. Finally, there was an American work that showed how folksong could be used to create an authentic national style in music. Billy the Kid became one of Copland’s most frequently performed works, especially in the form of the suite, which the composer drew from the original score. As Copland noted, the six movements of the suite “match the action of the ballet.” Copland summarized that action in the preface of the score as follows: “The action begins and closes on the open prairie. The central portion of the ballet concerns itself with significant moments in the life of Billy

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the Kid. The first scene is a street in a frontier town. Familiar figures amble by. Cowboys saunter into town, some on horseback, others with their lassoes. Some Mexican women do a Jarabe [a Mexican dance], which is interrupted by a fight between two drunks. Attracted by the gathering crowd, Billy is seen for the first time as a boy of twelve with his mother. The brawl turns ugly, guns are drawn, and in some unaccountable way, Billy’s mother is killed. Without an instant’s hesitation, in cold fury, Billy draws a knife from a cowhand’s sheath and stabs his mother’s slayers. His short but famous career had begun. In swift succession we see episodes in Billy’s later life. At night, under the stars, in a quiet card game with his outlaw friends. Hunted by a posse led by his former friend Pat Garrett. Billy is pursued. A running gun battle ensues. Billy is captured. A drunken celebration takes place. Billy in prison is, of course, followed by one of Billy’s legendary escapes. Tired and worn in the desert, Billy rests with his girl. (Pas de deux). Starting from a deep sleep, he senses movement in the shadows. The posse has finally caught up with him. It is the end.” – Peter Laki © 2013

Neruda Songs (2005) Peter Lieberson Composer Peter Lieberson wrote the following program note about his Neruda Songs, explaining his feelings about the poetry and love themes in it. His wife, soprano Lorraine Hunt Lieberson, sang the world premiere performances with the Los Angeles Philharmonic under Esa-Pekka Salonen’s direction in May 2005. Her death the following year from breast cancer has given additional depth of meaning to these love songs in memoriam: I discovered the love poems of the Chilean writer Pablo Neruda by chance in the Albuquerque airport. The book had a pink cover and drew me in. As I glanced through the poems I immediately thought that I must set some of these for my wife, Lorraine. Years later the opportunity came when the Los Angeles Philharmonic and the Boston Symphony Orchestra co-commissioned this piece from me, to be written specifically for Lorraine. Each of the five poems that I set to music seemed to me to reflect a different face in



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love's mirror. The first poem, "If your eyes were not the color of the moon," is pure appreciation of the beloved. The second, "Love, love, the clouds went up the tower of the sky like triumphant washerwomen," is joyful and also mysterious in its evocation of nature's elements: fire, water, wind, and luminous space. The third poem, "Don't go far off, not even for a day," reflects the anguish of love, the fear and pain of separation. The fourth poem, "And now you're mine. Rest with your dream in my dream," is complex in its emotional tone. First there is the exultance of passion. Then, gentle, soothing words lead the beloved into the world of rest, sleep and dream. Finally, the fifth poem, "My love, if I die and you don't," is very sad and peaceful at the same time. There is the recognition that no matter how blessed one is with love, there will be a time when we must part from those whom we cherish so much. Still, Neruda reminds one that love has not ended. In truth there is no real death to love nor even a birth: "It is like a long river, only changing lands, and changing lips." I am so grateful for Neruda's beautiful poetry, for although these poems were written to another, to Matilde Urrutia, Neruda’s lover and wife, when I set them I was speaking directly to my own beloved Lorraine. – Peter Lieberson

Pétrouchka (1947) Igor Stravinsky When the ballet impresario Sergei Diaghilev visited Stravinsky in Lausanne, Switzerland in the fall of 1910, he was expecting to hear the first sketches for The Rite of Spring. Instead, the composer played him part of a new orchestral piece inspired, as Stravinsky later said, by “a distinct picture of a puppet, suddenly endowed with life.” A solo piano would play the puppet, “exasperating the orchestra with diabolical cascades of arpeggios.” Diaghilev took the short step from the composer’s fantasy to an idea for a ballet, and persuaded Stravinsky to finish the piece in that form. Produced the following year by the Russian Ballet with choreography by Fokine, Pétrouchka has been a ballet perennial ever since. In 1921, Stravinsky made a solo piano transcription for Arthur Rubinstein that remains a popular recital showpiece. In 1947, Stravinsky

returned to the score again, reducing and clarifying its orchestration, apparently to make it more practical for concert performance and less dependent for its impact on dancing and scenery (and also to help extend its copyright); this is the version that is heard here. In the ballet, the burlesque love-triangle story of three puppets is framed by scenes of revelry at St. Petersburg’s Shrovetide Fair, or Mardi Gras. As the curtain rises, a crowd of people of all ages and social classes is milling around the square. After some bustling figures in the music, Stravinsky quotes directly an Easter Song from the province of Smolensk, which he found in a collection of 100 Russian Folk Songs arranged by his teacher Rimsky-Korsakov. A street musician sets up a hurdy-gurdy, then another comes along with a music box. Their duel for the crowd’s attention creates a kind of atmosphere of chaos and bitonalism reminiscent of the music of Charles Ives; this will be echoed in the bitonal music of the puppet Pétrouchka. A sudden roar of drums calls a halt to this rivalry, as the Showman steps through the curtain stage center and draws it aside to reveal the three puppets – Pétrouchka, the Ballerina, and the Moor – on their stands. With his flute, he seems to bring them to life, to the crowd’s amusement – and then their amazement, as the puppets leap down from the stage and dance among the people to the “Russian Dance,” a combination of original Stravinsky tunes with a folk song from the county of Totemsk. The driving rhythms, repeated phrases, and barbaric energy of this section delighted the 1911 audience – and similar ideas, pushed a few steps further in The Rite of Spring two years later, would cause the most famous protest demonstration in music history. The tattoo of drums from the fair now becomes the way Stravinsky will announce each new scene of the ballet, beginning with Scene 2 in Pétrouchka’s cell, where two clarinets play the phrase, in the clashing keys of C major/F-sharp major, that symbolizes not only Pétrouchka’s clownish character, but his dual nature, half-puppet, half-human. The puppet’s rage at his helplessness and dependence on the Showman is relieved for a time by a visit from the Ballerina, with whom he is in love. His frantic response to her

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delicate dance frightens her off, and in his frustration he knocks a hole in the cardboard wall separating his box from that of the Moor. Scene 3 takes place in the cell where the richly dressed Moor lounges, playing with a coconut. (His musical portrait, painted with bass clarinet, English horn, drum, harp, and cymbals, recalls the jangling “Janissary” music with which Mozart and his Viennese contemporaries depicted the menacing Turks.) The Moor’s brutal yet sensual character proves irresistible to the Ballerina, who enters to a march tune for solo trumpet, then dances a delicate puppet-waltz with him (both of whose themes are borrowed from the early Viennese waltz master Joseph Lanner); the stumbling English horn makes it clear that the Moor has two left feet. The jealous Pétrouchka rushes in on this scene, only to be chased off by the Moor. In Scene 4, the frame pulls back to take in the entire fair again, and we hear shimmering string chords that suggest a wheezy accordi-

on. The merry scene includes groups of wetnurses and coachmen dancing separately and together, a peasant with a performing bear, a drunken merchant scattering bank notes among the crowd, and masqueraders representing the Devil and his companions Greed (a pig) and Lust (a goat). Actual Russian folk tunes abound, including two in the wet-nurses’ dance (one lively and one lyrical), and, following the bear’s ponderous dance, a strongly marked staccato theme in unison strings for the coachmen. The Devil drives all this revelry to a fever pitch, at which point Pétrouchka and the Moor burst out of the puppet theater. Pétrouchka has saved the Ballerina from rape by the Moor; he and the Moor fight briefly, and Pétrouchka is killed. Barely noticing this incident, the crowd wanders off, leaving the Showman to collect his broken puppet, while the ghost of Pétrouchka jeers at him (in acid muted trumpets) from atop the little theater. – David Wright © 2013

The Cleveland Orchestra Under the leadership of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Festival, in ongoing residencies from Miami to Vienna, and on tour around the world, the Orchestra sets the highest standards of artistic excellence, creative programming and community engagement. The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. Welser-Möst has recently been added to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s former music directors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe.

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The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s top rank of symphony orchestras. Throughout the decades that followed, the Orchestra grew from a fine regional organization to one of the most admired symphonic ensembles in the world. Seven music directors (Nikolai Sokoloff, 1918-33; Artur Rodzin´ski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz WelserMöst, since 2002) have guided and shaped the ensemble’s growth and sound. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality with the first Blossom Festival in 1968,

presented at an award-winning, purpose-built outdoor facility located just south of the Cleveland metropolitan area near Akron, Ohio. Today, touring, residencies, radio broadcasts and recordings provide access to the Orchestra’s music making to a broad and loyal constituency around the world.

Giancarlo Guerrero, conductor The 2012/13 season marks Giancarlo Guerrero’s fourth year as music director of the Nashville Symphony and his second year as principal guest conductor of Cleveland Orchestra Miami. He made his Cleveland Orchestra debut in May 2006. Mr. Guerrero’s recent seasons in Nashville have included an opening gala with Yo-Yo Ma

as well as world premieres of a new work by Richard Danielpour, a Béla Fleck banjo concerto and a Terry Riley concerto for electric violin. This season, in addition to his work conducting concerts and in community engagement activities with Cleveland Orchestra Miami, he makes his debuts with the BBC Symphony Orchestra and Deutsches Symphonie Berlin and has return engagements with the orchestras of Boston, Philadelphia, Toronto and São Paulo. Internationally, he led a five-city European tour with the Monte Carlo Philharmonic last season, and this year leads performances in Australia with the Adelaide Symphony and Auckland Philharmonic. A fervent advocate of new music and contemporary composers, Mr. Guerrero has collaborated with and conducted works by some of America’s most respected compos-

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ON THE CLEVELAND ORCHESTRA Growing up and attending school in the Boston area, I was fortunate to be part of the musical environment of one of the premier cultural centers of the United States. The Boston Symphony Orchestra has long been considered one of the top ensembles of its kind, and, while in college, I attended their Friday afternoon performances every week, purchasing 50-cent rush ticket seats in the second balcony of Symphony Hall. Yet, in spite of the quality and prestige of the BSO, there was always a yearly event that I anticipated more than any other concert – The Cleveland Orchestra on its annual tour to the East Coast, under its legendary music director George Szell, usually performing in Symphony Hall on the second Wednesday in February. The Clevelanders set the standard for polished and brilliant ensemble playing, and Szell was one of the great conductors of the 20th century, especially as an interpreter of the core Austro-Germanic repertoire. I still remember vividly the perfectly paced hair-raising climax near the end of Richard Strauss’ Death and Transfiguration on one of those concerts. And it was always a revelation to hear them in person, for the engineering on their recordings by the Epic and Columbia labels did not do justice to the depth of their expressive sound or their powerful dynamic range. In many ways, George Szell and his work in Cleveland served as an inspiration and role model for me when I was aspiring to become a conductor. His musical philosophy, tradition and integrity were shared by



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his close friend and long-time colleague Max Rudolf, then Music Director of the Cincinnati Symphony Orchestra, who was later my conducting teacher at the Curtis Institute of Music, and who passed on that tradition in a profound and lasting manner. For many decades, the highest tier of American orchestras was known as the “big five” – Boston, New York, Philadelphia, Chicago and Cleveland. For me, however, Cleveland was in a class by itself at the top, followed by the other four. During his 24-year tenure with the orchestra, George Szell single-handedly transformed the ensemble from a solid regional group into a world-class one comparable to the best orchestras in Berlin, Vienna, Amsterdam and London. Though today’s Cleveland Orchestra personnel is virtually completely changed from Szell’s time, his legacy lives on in the chamber-musical unanimity of purpose in the orchestra’s playing, which combines discipline, flexibility, rhythmic precision, refined musicality, and beautiful sound. One cannot ask for anything more from a superb ensemble steeped in a great tradition. /// Tonu Kalam is a professor of music at UNC-Chapel Hill and serves as Music Director and Conductor of the UNC Symphony Orchestra. He is also Music Director and Conductor of the Longview Symphony Orchestra in Texas, and performs regularly as a pianist and chamber musician.

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ers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis and Roberto Sierra. His first album with the Nashville Symphony, on Naxos, featured works by Daugherty and won three 2011 Grammy Awards. A strong proponent of young musicians and music education, Mr. Guerrero returns annually to Caracas, Venezuela to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s muchlauded El Sistema music education program. Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bachelor’s degree in percussion from Baylor University and his master’s degree in conducting from Northwestern University. He was music director of Oregon’s Eugene Symphony (2003-09) and served as associate conductor of the Minnesota Orchestra (1999-2004). He received the American Symphony Orchestra League’s Helen M. Thompson Award recognizing outstanding achievement among young conductors. Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

singing Beethoven’s Missa Solemnis with the Chamber Orchestra of Europe (a presentation recorded for release on DVD) and in performances of Beethoven’s Ninth Symphony. Elizabeth DeShong was awarded first prize by the American Opera Society of Chicago and has also received the Union League Competition’s Rose Ann Grundman Award (2006), Musicians Club of Women’s Edith Newfield Scholarship (2006), Sullivan Foundation Award (2006) and the 2007 Musicians Club of Women’s Lynne Harvey Scholarship. In 2001, she was the Grand Prize Winner of the Tennessee-based Orpheus National Music Competition. She also holds awards from the Dayton Opera Guild, the National Association of Teachers of Singing and Opera Columbus. Ms. DeShong is an alumna of the Oberlin Conservatory of Music and the Curtis Institute of Music. ///

Elizabeth DeShong, mezzo-soprano Mezzo-soprano Elizabeth DeShong has earned high praise across North America and Europe. In the summer of 2012, she appeared at England’s famed Glyndebourne Festival in the title role of Rossini’s La Cenerentola. In the 2012/13 season, her performances include a return engagement with Lyric Opera Chicago and her company debut with Michigan Opera Theatre as Rosina in Rossini’s The Barber of Seville. She opened the previous season as Maffio Orsini in Donizetti’s Lucrezia Borgia for San Francisco Opera and returned to the Metropolitan Opera, where she was heard as Hermia in the new Baroque-pastiche opera production titled The Enchanted Island. Additional recent performances include Suzuki in Puccini’s Madama Butterfly with Veroza Company in Japan. Ms. DeShong is a graduate of the Lyric Opera of Chicago’s Ryan Opera Center. She has gone on to sing with many famous opera companies including the Met, Lyric Opera Chicago, English National Opera in London and Washington National. She has also appeared as an orchestra soloist on both sides of the Atlantic, including

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WED, MAR 20 at 7:30PM

Kurt Elling 1619 Broadway The Brill Building Project


“...since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling” – The Washington Post



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MAR 20

WED, 7:30pm

Program to be announced from the stage

Kurt Elling, vocals Laurence Hobgood, piano/ musical director John McLean, guitar Clark Sommers, bass Kendrick Scott, drums

KURT ELLING Kurt Elling, vocalist Grammy winner Kurt Elling is among the world’s foremost jazz vocalists, winning every DownBeat Critics Poll for the last 13 years and named Male Singer of the Year by the Jazz Journalists Association eight times. All of his ten albums have been nominated for a Grammy. Elling’s rich baritone spans four octaves and features both astonishing technical mastery and emotional depth. His repertoire includes

original compositions and modern interpretations of standards, all springboards for inspired improvisation, scatting, spoken word and poetry. Elling was the Artist-in-Residence for the Singapore and Monterey Jazz Festivals and has written multi-disciplinary works for The Steppenwolf Theatre and the City of Chicago. The Obama Administration’s first state dinner featured Elling in a command performance. Elling is a renowned artist of vocalese – the writing and performing of words over recorded improvised jazz solos. The natural heir to jazz pioneers Eddie Jefferson, King Pleasure and Jon Hendricks, Elling has set his own lyrics to the improvised solos of Wayne Shorter, Keith Jarrett and Pat Metheny. He often incorporates images and references from writers such as Rilke, Rumi, Neruda and Proust into his work. The late poet and Bollingen Prize winner Robert Creeley wrote, “Kurt Elling takes us into a world

of sacred particulars. His words are informed by a powerful poetic spirit.” Said Robert Pinsky, former Poet Laureate of the United States, “In Kurt Elling’s art, the voice of jazz gives a new spiritual presence to the ancient, sweet and powerful bond between poetry and music.” Kurt Elling has toured vigorously throughout his career, thrilling audiences around the world. In that time he has led his own ensemble and has collaborated with many of the world’s finest orchestras. 1619 Broadway – The Brill Building Project, his latest recording, celebrates the locale that London’s The Telegraph called “the most important generator of popular songs in the Western world.” Elling’s interpretations and signature arrangements of songs like “On Broadway,” “A House Is Not A Home” and “So Far Away” make this record a must-have for those in search of current great singing. ///

/////////////////////////////////////////////////////////////////////////////////////////////////// /// Lenora Zenzalai Helm

ON KURT ELLING What is it about Kurt Elling that can make you fall in love with his voice and his music? He elicits something beyond infatuation with the sound of his voice or the subtle beauty in his interpretation of a timeless lyric. Many listeners have said he has the gift of bringing a song alive again for them, such that once he sings it, you have rediscovered a song you may have forgotten. Kurt Elling has a gift that few artists possess and long to capture - the ability to cause you to examine your own humanity. I love the way he may offer the listener a mashup of Rumi and Duke Ellington, or a tender reading of an Earth, Wind and Fire favorite and then deliver a blistering vocalese on a John Coltrane solo. Two things will happen with each experience of Kurt Elling; he will surprise you, and he will make you think about the way you live your life.

a territory. From critics’ polls to loyal fans, Elling is the male vocalist for our present generation of jazz listeners. And, as I learned that day - many aspiring jazz vocalists are quite territorial about him – he is “their biggest influence, period!” Elling does not pander to his audience – you won’t hear any unnecessary “patter” and dialogue smattered with the undertones of ego and selfabsorption. He is thoughtful and intentional, not only in his repertoire, but also in the choices he makes in the instrumentalists in his band. His longtime bandmate and collaborator on piano, Laurence Hobgood, has contributed to the success of Elling’s recordings with powerful (and Grammy-nominated) arrangements, and his remaining rhythm section players are amongst the best on the scene today. Allow Elling’s luscious four-octave baritone voice to envelope you, and nestle into an evening of music, enlightenment and fun.

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One young student I worked with at a vocal jazz workshop identified Elling as a role model, citing him as his “biggest influence.” When I asked if he knew whom Kurt Elling credited as his biggest influence, the student replied he did not. His response made me smile, not because it was an example of that student’s naiveté but because it demonstrated what Kurt Elling is for many. Ranging from critical accolades by JazzTimes Magazine as “the thinking man’s vocalist,” and The New York Times declaring, “Elling is the standout male vocalist of our time,” Kurt Elling has marked

/// Lenora Zenzalai Helm is a former U.S. Jazz Ambassador and teaches vocal jazz on the music faculty at N.C. Central University. She will perform with the Art of Cool Project on April 5 at Flanders Gallery in Raleigh.

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SAT, MAR 23 at 8PM SUN, MAR 24 at 7:30PM

Joffrey Ballet /////////////////////////

“One of the most recognizable arts organizations in America and one of the top dance companies in the world” – The Huffington Post



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MAR 23/24

SAT, 8PM/SUN, 7:30PM PROGRAM: SATURDAY, MARCH 23 Son of Chamber Symphony Choreography by Stanton Welch Music by John Adams By arrangement with Hendon Music, Inc., a Boosey .......................................... & Hawkes company, publisher and copyright owner. Lighting recreated by Val Walz World Premiere: August 22, 2012, ................................................................. Jacob’s Pillow, Becket, Mass. INTERMISSION

After The Rain After The Rain© by Christopher Wheeldon Music by Arvo Pärt Staged by Jason Fowler Costumes designed by Holly Hynes Lighting design by Mark Stanley, recreated by Val Walz World Premiere: January 22, 2005, New York City Ballet, New York State Theater, New York, N.Y. Joffrey Premiere: October 13, 2010, Auditorium Theatre of Roosevelt University, Chicago, Ill. Music credits: Arvo Pärt’s Ludus from Tabula Rasa and Spiegel Im Spiegel Used by arrangement with European American Distributors LLC, US and Canadian agent for Universal Edition Vienna, publisher and copyright owner


Le Sacre du printemps (The Rite of Spring)

Choreography after Vaslav Nijinsky, reconstructed and staged by Millicent Hodson Music by Igor Stravinsky Scenario by Igor Stravinsky and Nicholas Roerich Costumes and décors after Nicholas Roerich, reconstructed and supervised by Kenneth Archer Artistic supervision of reconstruction by Robert Joffrey Lighting design by Val Walz after Thomas Skelton Scenery and Costumes executed by Robert Perdziola and Sally Ann Parsons

World Premiere: Diaghilev’s Ballets Russes, May 29, 1913, .................................. Théâtre des Champs-Élysées, Paris, France. U.S. & Joffrey Premiere: The Joffrey Ballet, September 30, 1987, Dorothy Chandler Pavilion, Los Angeles, Calif.

2012/13 / / / carolina performing arts 21


PROGRAM: SUNDAY, MARCH 24 Age of Innocence

Choreography by Edwaard Liang Music by Philip Glass and Thomas Newman Costume Design by Maria Pinto Lighting Design by Val Walz after Mark Stanley

World Premiere: Joffrey Ballet, October 15, 2008, Chicago, Ill., The Auditorium Theatre of Roosevelt University

Age of Innocence was created with funds from .............................................................. the Prince Prize for Commissioning Original Work, which was awarded to Edwaard Liang and the Joffrey Ballet in 2008.

Music Credits: Movement 2 & 4 from Symphony No. 3, The Secret Agent by Philip Glass In Contract © 1995 Dunvagen Music Publishers Inc. Used by Permission. By arrangement with G. Schirmer, Inc. publisher and copyright owner.

The Poet Acts composed by Philip Glass from the motion picture The Hours. Michael Riesman, piano; Lyric Quartet; Nick Ingam, conductor.

Little Children (end title) by Thomas Montgomery Newman © New Line Music (BMI) All Rights Administered by Warner-Tamerlane Publishing Corp. All Rights Reserved. Used By Permission.


In the Middle, Somewhat Elevated

Choreography by William Forsythe Music by Thom Willems in collaboration with Leslie Stuck Staging by Glen Tuggle Scenic, Costume and Original Lighting Design by William Forsythe Scenery and Costumes courtesy of Ballet West; Adam Sklute, artistic director

World Premiere: May 30, 1987, Ballet de l’Opéra national de Paris Joffrey Premiere: February 15, 2012, Auditorium Theatre of Roosevelt University, Chicago, Ill. INTERMISSION

Le Sacre du printemps (The Rite of Spring)


(See March 23 program)


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Ashley C. Wheater, Artistic Director Christopher Clinton Conway, Executive Director Robert Joffrey, Founder Gerald Arpino, Founder THE Joffrey Ballet Artists of the Company Matthew Adamczyk Derrick Agnoletti Yoshihisa Arai Guillaume Basso Miguel Angel Blanco Ogulcan Borova Katherine Bruno Fabrice Calmels Raul Casasola April Daly Erica Lynette Edwards Yumelia Garcia Cara Marie Gary John Mark Giragosian Dylan Gutierrez Elizabeth Hansen Jaime Hickey Rory Hohenstein Anastacia Holden Dara Holmes Victoria Jaiani Fabio Lo Giudice Graham Maverick Caitlin Meighan Jeraldine Mendoza Katherine Minor Jacqueline Moscicke Amber Neumann Alexis Polito Valerie Robin Christine Rocas Aaron Rogers Ricardo Santos Lucas Segovia Abigail Simon Michael Smith Temur Suluashvili Jack Thorpe-Baker Shane Urton Alberto Velazquez Mauro Villanueva Mahallia Ward Jenny Winton Joanna Wozniak Kara Zimmerman

//////////////////////////////////////////////////////////////////////////// JOFFREY BALLET Scott Speck, music director Nicolas Blanc, ballet master Gerard Charles, ballet master Graca Sales, ballet master/principal coach Katherine Selig, principal ........................ stage manager Amanda Heuermann, stage manager Val Walz, lighting director

PROGRAM NOTES Son of Chamber Symphony When it came to selecting music for his new work for The Joffrey Ballet, Stanton Welch began by looking for a variety of music to offer to Ashley Wheater. During that process there was one piece that really caught his imagination, Son of Chamber Symphony by John Adams. Mr. Welch thought that John Adams’ deconstruction of the music was like looking at the inner workings of a clock. He found the music inspired him to move in both expected and unexpected ways. While listening to the music Mr. Welch already began to see the structure of his future ballet.

As a choreographer, he likes to strip away the layers and to show the dancers, at the edge of their ability, riding the top of their physical wave. Just as the composer took a classical musical structure and deconstructed it, so does the choreographer take standard ballet traditions and opens them out to discover new interpretations and greater awareness. Throughout the ballet there are references (more of an inspiration than direct quotes) to many classical works, turned inside out and evolved. Mr. Welch wants the audience to feel familiar with what they are seeing, but it is not important for them to know exactly why. Mr. Welch says that, “so much of ballet is about hiding the difficulties and seeking to attain seamless movement. Here I want to show the seams.” The costuming underscores this too. Recognizable forms are literally turned inside out, and show the inner construction marks and understructure of the garments. The women wear recognizable, but stylized tutus, the geometric shape of which forms an integral part of the movement and choreographic structure.

The ballet opens with one woman in this quintessential ballet costume, a tutu, surrounded by four men. This could be the set up for the Rose Adagio from Sleeping Beauty, but see how quickly this allusion is shattered and the choreography takes off in new directions. The second movement is a pas de deux, another essential element of most classical ballets, but there are many things going on here. It is more than just a dance for two, there is struggle and complexity. In the final movement there are allusions to a corps de ballet of swans, but the dynamics and thrust of the work show us so much more. Mr. Welch has given the group of women steps that would normally be given to principal dancers – he feels an obligation to keep moving the classical art forwards and to challenge the dancers in a way that allows them to grow. But it is not only about athleticism, at the same time Mr. Welch also looks for sensuality in his choreography. Mr. Welch says that there is no correct response that an audience member should have to his work, but he hopes that they will be left with a feeling. Son of Chamber Symphony is a dance

2012/13 / / / carolina performing arts 23


work that can be enjoyed on many levels. The dance can be enjoyed as a visual enhancement of the score (being married so well to the music), or for the pure physical achievements of the dancers, or, for those with a greater familiarity with the classical repertoire, it can be fun to spot the short quotes or allusions to familiar works within the piece.

After the Rain Christopher Wheeldon’s After the Rain is a ballet of bold movements and heartfelt emotion. In Part I, danced to the first movement of Pärt’s Tabula Rasa, the three couples’ opening movements find the men lying on the floor with the women standing over them, en pointe, with their left legs thrust in the air. From that powerful image, the couples perform a series of intricate lifts and turns that often mirror one another. They are dressed in steel gray, reflecting the striking backdrop, in which a revolving palette of grays resembles glass covered with raindrops. The colors and mood shift dramatically in Part II, a pas de deux danced to Spiegel im Spiegel. The ballerina is dressed in pink and her partner is bare chested. In a series of unfolding partnering moves, the dancers explore the shifting emotions of their relationship. At times they are close and tender with one another, while at other times they inhabit the same space but are separated and searching for one another. The ballet is short in length – lasting about 22 minutes – but rich in invention and feeling. Repertory notes courtesy of and adapted from New York City Ballet Online Repertory Index.

Age of Innocence This ballet, inspired by the novels of Jane Austen, tells the story of females of the late 18th century and early 19th century. It’s a story of societal repression and of the strength of the human spirit. Age of Innocence was created with funds from the Prince Prize for Commissioning Original Work, which was awarded to Edwaard Liang and the Joffrey Ballet in 2008.

In the Middle, Somewhat Elevated William Forsythe’s athletic choreography is a union of classical ballet and modern dance – a bold regeneration of the academic dance vocabulary. Commissioned by Rudolf Nureyev in 1987 for the Paris Opera Ballet, Forsythe’s In the Middle, Somewhat Elevated was recognized immediately as a contemporary masterpiece and has since entered the repertories of



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major companies around the world. The faux disdain of the dancers contrasts with the strict and severe technical demands of the choreography, while the electronic score by Dutchman Thom Willems cuts the air like thunder. “Originally created for the Paris Opera Ballet, In the Middle, Somewhat Elevated is a theme and variations in the strictest sense. Exploiting the vestiges of academic virtuosity that still signify ‘the classical,’ it extends and accelerates these traditional figures of ballet. By shifting the alignment and emphasis of essentially vertical transitions, the affected enchainments receive an unexpected force and drive that make them appear foreign to their own origins.” – William Forsythe

Le Sacre du printemps (The Rite of Spring) Vaslav Nijinsky, as a member of Diaghilev’s Ballets Russes, was one of the greatest dancers of the 20th century as well as an innovative choreographer. Le Sacre du printemps gave him the opportunity to revolutionize dance, stimulated by his close collaborators, composer Igor Stravinsky and scenarist/designer Nicholas Roerich. All three felt the desire to break free from prevailing classical ballet and evoke the primitive soul of their native Russia, returning to colorful peasant costumes and the vast stony regions of the Slavic north. Stravinsky captured in his music the first moment of the Russian Spring, which, as he said, was like the whole world suddenly cracking. Roerich and Stravinsky conceived a pagan rite involving elders of a tribe watching the annual fertility ritual where a young girl dances herself to death. Such a work was realized – a ballet completely apart from the norm of their day. The movements that Nijinsky devised were so unfamiliar to the classically trained dancers that many of them rebelled against the steps he required. But he stood firm. Stravinsky’s polyrhythms were monumentally difficult. Diaghilev asked a pupil of Jaques-Dalcroze (founder of the music study system Eurhythmics) to assist Nijinsky with the score for the corps de ballet. Her name was Marie Rambert – she later directed the Ballet Rambert in London. Nijinsky created the role of the Chosen One in Le Sacre for his sister, Bronislava, who became pregnant and could not perform. She was replaced by Maria Plitz, who danced the role to acclaim. By the final rehearsals, most of the dancers believed in the ballet, though

everyone, including Diaghilev, was anxious about the audience reaction to the new work. At the premiere in Paris in 1913, pandemonium broke out in the theater with audience members howling, whistling and catcalling in response to the violent fertility rite, drowning out the music and fighting in the aisles. There was chaos at the Théâtre des Champs-Elysées and the ensuing riot has become legend. Le Sacre du printemps nevertheless made a profound impression, considered by many to be the tumultuous birth of modernism in ballet. Stravinsky’s score is in the repertoire of most of the world’s great orchestras and more than 200 choreographers have since done creations to the score, though only The Joffrey Sacre turned legend back into artifact. It was meticulously researched and reconstructed by Millicent Hodson and Kenneth Archer and is recognized internationally as the closest possible version of Nijinsky’s original. This reconstruction is a testimony to the ardent desire of Robert Joffrey and Gerald Arpino to revive rare classics, which the company still presents with great care, allowing audiences to experience the defining treasures of ballet.

Joffrey Ballet The Joffrey Ballet has been hailed as “America’s Company of Firsts.” The company’s long list of “firsts” includes being the first dance company to perform at the White House at Jacqueline Kennedy’s invitation, the first to appear on television, the first American company to visit Russia, the first classical dance company to go multimedia, the first to commission a rock ’n’ roll ballet, the first and only dance company to appear on the cover of Time magazine, and the first company to have had a major motion picture based on it: Robert Altman’s The Company. For more than a half-century, the Joffrey Ballet’s commitment to taking world-class, artistically vibrant work to a broad and varied audience has created a solid foundation that continues to support the company’s unprecedented capacity for achieving important “firsts.” Today, the Joffrey, which has been hugely successful in its former residences in New York and Los Angeles, lives permanently in its brilliant new facility, Joffrey Tower, in the heart of America: Chicago, Illinois. The company’s commitment to accessibility is met through the most extensive touring schedule of any dance company in history, an innovative and highly effective education program including the much-lauded Joffrey Academy of Dance – Official School of The Joffrey Ballet – and collaborations

//////////////////////////////////////////////////////////////////////////// JOFFREY BALLET with a myriad of visual and performing arts organizations. Classically trained to the highest standards, the Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company and audiences and its repertoire, which includes major story ballets, reconstructions of masterpieces and contemporary works. Founded by visionary teacher Robert Joffrey in 1956 and guided by celebrated choreographer Gerald Arpino from 1988-2007, the Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley C. Wheater and Executive Director Christopher Clinton Conway. The Joffrey Ballet has become one of the most revered and recognizable arts organizations in America and one of the top dance companies in the world.

Ashley C. Wheater, artistic director Born in Scotland and raised in England, Mr. Wheater was trained at the Royal Ballet School. Mr. Wheater began his professional career with The Royal Ballet, and danced at the London Festival Ballet, The Australian Ballet, the Joffrey Ballet and San Francisco Ballet. In 1997, he became Ballet Master at the San Francisco Ballet, and in 2002, Assistant to the Artistic Director.

founded with the support of the states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main, and private sponsors. His most recent works are developed and performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of most major ballet companies in the world, including The Kirov Ballet, The New York City Ballet, The San Francisco Ballet, The National Ballet of Canada, England’s Royal Ballet and The Paris Opera Ballet. Awards received by Forsythe and his ensembles include the New York Dance and Performance “Bessie” Award (1988, 1998, 2004, 2007) and London’s Laurence Olivier Award (1992, 1999, 2009). Forsythe has been conveyed the title of Commandeur des Arts et Lettres (1999) by the government of France and has received the German Distinguished Service Cross (1997), the Wexner Prize (2002) and the Golden Lion (2010). In collaboration with media specialists and educators, Forsythe has developed new approaches to dance documentation, research and education. His 1994 computer

application Improvisation Technologies: A Tool for the Analytical Dance Eye, developed with the Zentrum für Kunst und Medientechnologie, is used as a teaching tool worldwide. 2009 marked the launch of Synchronous Objects for One Flat Thing, reproduced, a digital online score developed with The Ohio State University that reveals the organizational principles of the choreography and demonstrates their possible application within other disciplines.

Edwaard Liang, choreographer Edwaard Liang was born in Taipei and raised in California, beginning his ballet training at the age of five at Marin Ballet. In 1989, he entered the School of American Ballet. He joined New York City Ballet in 1993, and that same year was a medal winner at the Prix de Lausanne International Ballet Competition and won the Mae L. Wien Award. He was promoted to soloist in 1998. Mr. Liang danced with New York City Ballet until 2001, when he joined the Broadway cast of Fosse, performing a leading principle role. In 2002, he became a member of Nederlands Dans Theater I, where he danced, choreographed and staged ballets. He returned

In 2007, Mr. Wheater was appointed Artistic Director of The Joffrey Ballet. New work is the lifeblood of a company, and he has introduced numerous premieres to the repertoire. In 2008, the Boeing Corporation recognized his commitment to community outreach and diversity in the world of dance, presenting him the “Game Changer” award. In 2010, Mr. Wheater, representing the Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the State of Illinois.

William Forsythe, choreographer Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, William Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed resident choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York and San Francisco. In 1984, he began a 20-year tenure as director of the Ballet Frankfurt. After the 2004 closure of the Ballet Frankfurt, Forsythe established The Forsythe Company,

2012/13 / / / carolina performing arts 25

/////////////////////////////////////////////////////////////////////////// JOFFREY BALLET to New York City Ballet from 2004-07. Mr. Liang has also performed as a guest artist with companies including the Norwegian National Ballet and Complexions.

He was nominated for the Golden Mask Award for Choreography in Russia.

Mr. Liang’s Nederlands Dans Theater I Flight of Angels has since been staged for many companies. He choreographed a piece for the 2004 New York Choreographic Institute and a piece for the Cedar Lake Dance Company. His Distant Cries, danced by New York City Ballet, was premiered to rave reviews. Mr. Liang has since choreographed ballets for many companies and projects including New York City Ballet, Pacific Northwest Ballet, The Joffrey Ballet, San Francisco Ballet, Shanghai Ballet, Washington Ballet, Hubbard Street 2, National Ballet of Novosibirisk, Guggienhiem's Works and Process, and Morphoses/The Wheeldon Company. He was named one of the 2006 Top 25 to Watch by Dance Magazine for choreography, won the 2006 National Choreographic Competition, and was part of the 2007 National Choreographers Initiative. His television appearances include the nationally televised PBS Great Performances broadcast Dance in America: From Broadway: “Fosse,” which has subsequently been made into a DVD.

A former dancer with The Royal Ballet and soloist with New York City Ballet (where he served as Resident Choreographer from 2001 to 2008), Wheeldon founded Morphoses in 2007 with the goal of introducing a new spirit of innovation to classical ballet by fostering collaboration among choreographers, dancers, visual artists, designers, composers and others who can bring new life and perspective to ballet.

Christopher Wheeldon, choreographer

Born in Yeovil, Somerset, England, Wheeldon began his ballet training at eight years old and began studying at The Royal Ballet School at eleven. Wheeldon joined The Royal Ballet in 1991 and won the Gold Medal at the Prix de Lausanne competition that year. In 1993, Wheeldon was invited to become a member of New York City Ballet, where he was promoted to soloist in 1998. Wheeldon choreographed his first work for NYCB, Slavonic Dances, for the 1997 Diamond Project and, in collaboration with artist Ian Falconer, created Scènes de Ballet for the School of American Ballet's 1999 Workshop Performances and NYCB's 50th anniversary season.

After creating Mercurial Manoeuvers for NYCB's Spring 2000 Diamond Project, Wheeldon retired from dancing to concentrate on choreography. In NYCB’s 2000-2001 season, he served as the company’s first Artist in Residence, creating two ballets: Polyphonia, set to piano music by Györgi Ligeti, and Variations Sérieuses, set to a score by Felix Mendelssohn. In July 2001, Wheeldon was named NYCB's first Resident Choreographer. During his appointment, Wheeldon choreographed works that included Morphoses and Carousel (A Dance) (2002); Carnival of the Animals and Liturgy (2003); After the Rain and An American in Paris (2005); Klavier (2006), The Nightingale and the Rose (2007) and Rococo Variations ( 2008). Wheeldon was the recipient of the Dance Magazine Award and the London Critics' Circle Award for Best New Ballet for Polyphonia in 2005; a performance of the work by NYCB dancers received the Olivier Award. In 2006, DGV (Danse à Grande Vitesse) was nominated for an Olivier Award. Additional honors include the Martin E. Segal Award from Lincoln Center and the American Choreography Award. ///


/// Tyler Walters & Julie Janus Walters


Our connection with Vaslav Nijinsky’s earth-shaking original Le Sacre du printemps (The Rite of Spring) dates back to the summer of 1987 when the Joffrey Ballet embarked on the task of realizing Millicent Hodson’s meticulously researched re-construction of this seminal modernist ballet. Within the first hours of the start of rehearsals with Millicent we began to recognize the power and the radical nature of the work. The percussive, introverted, inverted, angular, weighted choreography still presents unique challenges for even the most highly trained dancers today. And as we practiced the complex rhythms, patterns and dynamics of the movement, we came to understand some of the nature of the dance’s mystique and why it had caused such a riot 100 years ago. One can only imagine the chaotic scene as described in historical accounts of Nijinsky screaming counts to the dancers from the wings of the stage as the mounting audience disturbance drowned out the music. After only a handful of performances, the dance was lost to history for more than 75 years. It was only the steadfast determination of Hodson, Kenneth Archer and Robert Joffrey that brought this “lost” work back to the dance stage so that we all may appreciate its revolutionary genius today. We fondly recall this re-construction as the fulfillment of one of Joffrey’s most cherished dreams.



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Inspired in part by the vision of the legendary impresario Sergei Diaghilev (one of the most important driving forces behind the original 1913 Le Sacre), Joffrey established a unique repertoire encompassing masterpieces of historical significance and commissioned work by important contemporary dance-makers. For more than five decades, the Joffrey Ballet has continued to capture a uniquely American dance zeitgeist with new and daring choreography. The programs being presented on March 23 and 24 are a proud testament to Joffrey’s legacy. In addition to Le Sacre du printemps, the company is performing ballets by some of the foremost choreographers working in the classical idiom today. It should be most intriguing to see these contemporary ballets in juxtaposition with Nijinsky’s most controversial work. Having danced Le Sacre on stages all around the world ourselves, we are delighted that it is being offered here at UNC’s Memorial Hall as part of The Rite of Spring at 100 celebration. The work’s elemental ritual intensity is still riveting in live performance a century after the premiere. We expect that after you see it, you’ll agree that this is an event not to be missed! /// Both former principal dancers with the Joffrey Ballet, Tyler Walters and Julie Janus Walters are currently associate and assistant professors of the practice, respectively, at Duke University.


reframed Timothy riggs |

Photo by Arnold Newman / Getty Images

Curator of Collections at the Ackland Art Museum

A native of Russia and a resident of France for decades, Igor Stravinsky had been living in Los Angeles for six years when he sat for the above portrait by Arnold Newman. The radical change of cultural milieu seems to have given him little trouble. In 1940 Walt Disney had adapted The Rite of Spring as a section of the animated movie Fantasia, and although Stravinsky viewed the result with mixed feelings, the film was one more confirmation of his status as an icon of 20th century music. In December 1945, he cemented his connection to the United States by becoming an American citizen, and in the same month he completed what could be seen as a musical declaration of citizenship. Long interested in American jazz, he composed the Ebony Concerto, his most ambitious jazz-influenced piece, for the clarinetist Woody Herman and his band. The first performance took place in New York in March 1946; presumably Stravinsky attended, and his visit may have been the occasion for Newman’s photograph, which was taken in New York. In contrast to the world-famous composer, the 28-year-old Newman was just beginning to establish himself as a portrait photographer. His exhibition of portraits of notable painters and sculptors, dating from the early 1940s, opened at the Philadelphia Museum of Art in 1945. Encouraged by the success of

that exhibition, Artists Look like This, he had moved to New York and was beginning to get commissions from major magazines like Life. Stravinsky was one of his first assignments for Harper’s Bazaar. Although he occasionally used an extreme close-up, Newman usually framed a portrait in surroundings that would resonate with the subject – according to one account, “a borrowed room with a borrowed piano” furnished the setting here. It was a natural choice: Stravinsky habitually composed at the piano and it played a major role in his work. But how to relate the composer to the instrument was not immediately obvious: in various exposures (Newman made 26) Stravinsky appears at the keyboard, behind the piano, in front of it, standing against a wall while a small fragment of the piano lid breaks into the picture at the left. Newman finally selected a version in which Stravinsky leans on the piano. Then he cropped away almost half the image (and more than half of the composer’s body), to leave a long horizontal rectangle dominated by the silhouetted piano lid. Once the cropping was complete, it was impossible to see that the gray and white rectangles of the background represent the corner of a room. They are flat forms, combining with the equally flat silhouette of the piano to make an abstract composition of rectangles, triangles, and one swooping curve. Stravinsky’s head and shoulders make a living triangle embedded in this austere geometric framework.

Newman’s portraits frequently place the subject’s face below the center point of the image, and often a horizontal format subordinates the “portrait” of the person to the “landscape” of the surroundings. Stravinsky is an extreme example of both approaches. The composer’s entire image fits into a tiny rectangle at the bottom left, about six per cent of the photograph as a whole. It is understandable that the art director of Harper’s Bazaar rejected the photograph for publication. This is not what the portrait of a famous man was supposed to look like. Yet it is not surprising that this has become one of the most memorable images of Stravinsky – ranking with the drawings by Picasso and Jean Cocteau from 1920s Paris – for Newman has created a portrait not only of Stravinsky, but of his music, particularly the “Neo-classical” compositions of his middle years that combine disturbingly unfamiliar harmonies and rhythms with elements that refer clearly to centuries of tradition. Despite the radical asymmetry of the portrait, Newman has set up a dynamic balance between the flat black forms that dominate most of the picture – an abstract pattern that is still instantly recognizable as the contours of a piano – and the face at the lower left corner, the only part of the picture that is vigorously sculptural. What seems at first to be a deliberate flouting of all the rules of portraiture turns out to be the image of a partnership between man and musical instrument. ///

Arnold Newman, American, 1918-2006 Igor Stravinsky, 1946 Gelatin silver print, 7 3/16 x 13 11/16 in. (18.3 x 34.7 cm) Purchased with the aid of funds from the National Endowment for the Arts and from the Ackland Associates, 77.19.1 Arnold Newman’s portrait of Igor Stravinsky is on view at the Ackland Art Museum.


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tue, mar 26 AT 7:30PM

Vijay Iyer, Prashant Bhargava and International Contemporary Ensemble ///////////////////////////////////// RADHE RADHE: Rites of Holi, a colorful masterstroke capturing a celebration and a city in a feverish state of spinning and yearning. Commissioned by Carolina Performing Arts

Vijay Iyer

International Contemporary Ensemble



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MAR 26

tUE, 7:30pm

PROGRAM Lenwood & Other Saints Who Roam the Earth.................... Steve Lehman for two flutes (2011)........................................................................... (b. 1978) I. Ed Blackwell II. Betty Carter III. Gary Thomas IV. Henry Threadgill

Ode to Butch Morris...............................................................Tyshawn Sorey for flute, bass clarinet, violin, and piano (2012).................................... (b. 1980)

Manifold................................................................................... Steve Lehman for flute, saxophone, clarinet and live electronics (2009, rev. 2011) INTERMISSION

Radhe Radhe: Rites of Holi (2013) ........................................... Vijay Iyer ........................................................................................................ (b. 1971)

Music performed by International Contemporary Ensemble (ICE) Adam Sliwinski, conductor Claire Chase, flute Eric Lamb, flute Joshua Rubin, clarinet Rebekah Heller, bassoon Gareth Flowers, trumpet Jennifer Curtis, violin Kyle Armbrust, viola Kivie Cahn-Lipman, cello Cory Smythe, piano Ross Karre, percussion Levy Lorenzo, sound engineer with Vijay Iyer, composer, piano & electronics: (Radhe Radhe: Rites of Holi) Steve Lehman, composer, saxophone: (Lenwood & Other Saints Who Roam the Earth and Manifold) Tyshawn Sorey, composer, percussion: (Ode to Butch Morris) For RADHE RADHE: Rites of Holi Music by Vijay Iyer Film by Prashant Bhargava Film Credits A Film by Prashant Bhargava Prashant Bhargava, director, editor and cinematographer Craig Marsden, cinematography and live visual design Nawazuddin Siddiqui and Beatrice Ordeix, performers Anjali Panjabi, creative producer (India) Sujata Sharma, art director and assistant director (India) Matt Fagerholm, Ajitpal Singh and Vijay Bhargava, creative consultants Commissioned by Carolina Performing Arts Produced by Music + Art Management, Steve Cohen and Lauren Snelling

Lenwood & Other Saints Who Roam the Earth and Ode to Butch Morris were commissioned by ICE through the ICElab program. ICElab is the International Contemporary Ensemble’s new model for commissioning, developing and performing new music, designed to nurture the essential composer-performer collaboration through which groundbreaking musical ideas emerge. ICElab 2012 is made possible through lead support from The Andrew W. Mellon Foundation, alongside generous funding from the Greenwall Foundation, the Creative Capital Multi-Arts Production (MAP) Fund, the National Endowment for the Arts, the French American Cultural Exchange, the New Essential Works Program of the Jerome Robbins Foundation, the New York State Council on the Arts, the Alice M. Ditson Fund of Columbia University, the Francis Goelet Charitable Trust, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Tyshawn Sorey’s participation in ICElab is supported by the Greenwall Foundation.


PROGRAM NOTES Lenwood & Other Saints Who Roam The Earth (2011) I began working on this piece by revisiting Mozart's opera The Magic Flute, looking for musical ideas and materials that overlap with my own current preoccupations as a composer. For inspiration, I revisited my personal "flute pantheon," which includes flautists like Gary Thomas, Henry Threadgill, James Spaulding, James Newton and Severino Gazzelloni and composers Claude Debussy, Tristan Murail and Brian Ferneyhough. I also found myself surprised and, at times, very touched by the ways in which musical "offerings" from musicians like Ed Blackwell and Henry Threadgill helped me to bring my own music to life. For that reason, I composed Lenwood in five separate movements and dedicated each section of the piece to a musician whom I consider to be a kind of musical saint. Musicians like Ed Blackwell and Henry Threadgill contribute so much to our lives. – Steve Lehman

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Ode to Butch Morris (2012)

Manifold (2009, rev. 2011)

In 2001, when I began pursuing a career in music as a composer-performer, the work of the late Butch Morris is that which I have since continued to hold in high regard. When I first heard of Morris’ Conduction – a vocabulary of ideographic signs and gestures activated to modify or construct a real-time musical arrangement or composition – I was immediately intrigued by the concept, as it was something that was unfamiliar to me in contexts designed for the creative orchestra. This was a musical situation that was highly challenging for me and countless others who participated in manifold projects directed by Morris, in that although the relationship between conductor and performer seems to be of a hierarchical nature, Morris himself was always interested in the process of “making something together.” For him, this was the most important aspect of the music itself, as opposed to having an opportunity to “take a solo”, although there were soloistic roles involved.

Manifold is a piece designed to create a unique and mutable musical space in which performers are encouraged to assert creative and improvisational agency in a way that remains largely informed by the underlying structure of the composition.

Which brings us to Quartet for Butch Morris, inspired by Morris’ own compositions Crucifix Key and Oracle. I was fortunate to be a part of Morris’ New York Skyscraper project, a series of concerts that took place during the summer of 2002 at the now-defunct Bowery Poetry Club in downtown New York City’s East Village. Having the experience of performing under Morris’ baton made me begin to realize that the notated works and spontaneous composition may exist as one sound world – where no genre really exists, though the music itself encompasses many of them. While performing the compositions, it was very clear that we were all performing music written in a particular key. However in each performance, when Morris would use less notated materials in his signals, the tonalities of the compositions would slowly shift and disappear over a long period of time, and would reappear after over an hour of making music together based on those two pieces. There were also some cases where both compositions were performed by several members of the ensemble at the same time, while others were creating information from a previous signal indicated by Morris – which gave the music a feeling of a sort of tonal explosion waiting to happen. Quartet largely focuses on the tonal/modal language of the music of Ethiopia, and I believe that the music is of a similar quality. Several pentatonic modes, or Kiñits, are interpolated throughout the first and last sections of the composition. – Tyshawn Sorey



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– Steve Lehman

RADHE RADHE: Rites of Holi (2013) Our desire for you, our dearest Radha, spins us round, sends the blood through our veins and forever draws us to your soft embrace. Holi is known around the world as a joyful, chaotic and colorful celebration of springtime in India. To respond to Stravinsky’s own famously chaotic work about springtime, we were intrigued by the possible connection with Holi. This festival provides an occasion to reconsider the aspects of ritual and transformation represented in Le Sacre du Printemps. We were particularly interested in the lived and felt reality of individuals on the brink of change: the transformative role of myth in earthly life. Our attention turned to the Braj region of Uttar Pradesh, India, the mythical home of Krishna, the Hindu deity whose youthful flirtations with his beloved Radha (or fondly Radhe) and her friends form one of the origins for the holiday. According to one story, the young, dark-skinned god, annoyed that Radha was so fair, sneaks up on her and her friends, surprising the girls with showers of colored powder, perhaps evening the score. This impulsive, sexualized (and possibly racialized) act now forms the central ritual of Holi. On that holiday, marking spring’s arrival, everyone becomes Krishna and Radha; all participants throw color and get color thrown at them. A pulsing desire to unite with the goddess sends people into a feverish state of spinning and yearning. Revelers enter a state of uninhibited, ecstatic freedom, one that lies hidden for the rest of the year. In March 2012, Prashant and his film crew traveled to the Braj region, where Holi celebrations last not one day and night, but eight. The cameras captured members of a community in the throes of transformation, turning the seasons of their own lives. Temples fill with devotees, dancing without inhibition, pushing and shoving to receive blessings. Gangs of teenagers loiter on corners with buckets of colorful liquid

and powder waiting to douse those who pass by. Purging fires, expressions of devoutness, and feats of austerity offer a nighttime counterpoint to the daytime celebrations. During these Holi festivities, a single phrase is used to say hello or goodbye, to scream in jubilation, to apologize, to praise God, to get someone’s attention, to hail someone, to pay respect: RADHE RADHE. The goddess’s presence is thus evoked in nearly every earthly interaction. As the world has come to hear about a prevailing atmosphere of routine sexualized aggression against women in Indian cities, the episode that ends our work offers a cathartic response. Men, high on intoxicating spirits, make a pilgrimage to Radha’s village dressed in vibrant garb from the region of Krishna’s playground and equipped with ceremonial shields; as the men boisterously taunt with sexually provocative chants, women await armed with large wooden staffs, which they then use to beat the men with great ferocity. RADHE RADHE: Rites of Holi is a journey of devotion for the goddess Radha. Loosely following the episodic template of Le Sacre du Printemps, our Radhe, Radhe is also a ballet of sorts: a performative encounter between live music and film, between lived experience and myth, the self and the transformed self, winter and spring. We thank Carolina Performing Arts for the opportunity to create this work, and International Contemporary Ensemble for their brilliance and dedication. Oh Radha, you are voluptuous, pure and always forgiving, the source of life itself, our beloved, delightful as a blossoming lotus. – Vijay Iyer & Prashant Bhargava

Prashant Bhargava, film director Prashant Bhargava is an award-winning filmmaker and commercial director/designer, described by producer Anthony Bregman as "visionary and soulful," "masterful" by Roger Ebert and a "humanist and real talent" by Michael Phillips of the Chicago Tribune. With his signature “hypnotically beautiful visuals,” “naturalistic storytelling” and a “colorfully vivid” poetic style, Prashant Bhargava stands at the leading edge of independent film and design with his "original storytelling and honest craft." Bhargava's feature-length directorial debut Patang (The Kite), currently in theaters, is receiving rave reviews, garnering a rare 4 stars from Roger Ebert. The New York Times selected Patang as a Critics’ Pick, celebrating its "lovely,

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unforced quality." Hailed as a"masterpiece" by composer Michael Nyman, "reminiscent of Wong Kai Wai" (Los Angeles Times), Patang premiered at the Berlin Film Festival and the Tribeca Film Festival, receiving several awards and showcased in over 30 film festivals. Bhargava's short film Sangam, described by Greg Tate of The Village Voice as "an elegant and poetic evocation of immigrant angst, memory and haunted spirituality," premiered at the Sundance Film Festival, featured on the Sundance Channel, PBS and Arte/ZDF. Bhargava's filmmaking builds from his pioneering work as a commercial director and motion designer. Known for his intricately layered and lush visuals, Bhargava spearheaded over 100 campaigns for HBO including The Wire, Def Poetry Jam, Rome and Oz, and numerous films. Bhargava has designed effects sequences for Alex Rivera's feature Sleep Dealer and directed music videos and promos for bands Cornershop, Talib Kweli and Missy Elliot. Notable clients include Accenture, NBC, Woolrich, PBS, Blue Cross Blue Shield and Volvo. Bhargava studied computer science at Cornell University and theatrical directing at The Actors Studio’s MFA program.

celerando (2012) and Historicity (2009) both topped the Best of the Year lists in The New York Times, the Los Angeles Times, National Public Radio, and DownBeat. Accelerando was also voted #1 album of the year by JazzTimes critics, and Historicity won a 2010 Grammy nomination, an Echo (“German Grammy”) award, and additional album-of-theyear nods in the Chicago Tribune, the Detroit Metro Times, and The Village Voice Critics Poll. In 2012, Iyer received an unprecedented “quintuple crown” in the DownBeat International Critics Poll (winning Jazz Artist of the Year, Pianist of the Year, Jazz Album of the Year, Jazz Group of the Year and Rising Star Composer categories); the Jazz Journalists Association’s Pianist of the Year award; the Doris Duke Performing ArtistAward; the Greenfield Prize; and cover features in DownBeat and JazzTimes. Other honors include the Alpert Award in the Arts, a New York Foundation for the Arts fellowship, the India Abroad Publisher’s Award, a spot on GQ India’s list of “50 most influential global Indians,” and numerous composer commissions. His acclaimed collaborations

have traversed the arts, the humanities and the sciences. A committed mentor to emerging artists, Iyer is on faculty at Manhattan School of Music and New York University and directs the Banff Centre's International Workshop in Jazz and Creative Music.

Steve Lehman, composer Described as “one of the transforming figures of early 21st century jazz,” by The Guardian (U.K.) and as a “creator of intricately detailed contemporary classical works” by The New York Times, Steve Lehman (b. New York City, 1978) is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms. Lehman’s pieces for large orchestra and chamber ensembles have been performed by the International Contemporary Ensemble (ICE), So Percussion, Kammerensemble Neue Musik Berlin, the JACK Quartet, and the Talea Ensemble. His recent recording, Travail, Transformation & Flow (Pi 2009), was chosen as the No. 1 Jazz Album of the Year by The New York Times.

International Contemporary Ensemble The International Contemporary Ensemble (ICE), described by The New York Times as “one of the most accomplished and adventurous groups in new music,” is dedicated to reshaping the way music is created and experienced. With a modular makeup of 33 leading instrumentalists performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter and educator, advancing the music of our time by developing innovative new works and new strategies for audience engagement. ICE redefines concert music as it brings together new work and new listeners in the 21st century. Read more at

Vijay Iyer, composer/pianist Grammy-nominated composer-pianist Vijay Iyer has been described by Pitchfork as "one of the most interesting and vital young pianists in jazz today," by The New Yorker as one of "today's most important pianists…extravagantly gifted…brilliantly eclectic," and by Los Angeles Weekly as “a boundless and deeply important young star.” His working group, the Vijay Iyer Trio, has been called “the great new jazz piano trio” (The New York Times) and “the best band in jazz” (PopMatters). The trio’s albums Ac-

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/// afroz taj

Many of us are familiar with the common images of the Holi festival: playful clouds of colored powders, smiling faces smeared with rainbow hues, jets of dye from giant syringe-like squirt-guns targeting whiteclad revelers. But let’s look a little deeper, past the Bollywood bravado. Holi is at heart a celebration of anarchy, when caste, class and gender are turned upside down and the carefully cultivated social order is radically deconstructed. Holi begins with a sacrificial victim: Holika, sister of the demon king, paid for her brother’s hubris by immolating herself in an unsuccessful attempt to destroy her nephew Prahlad. A few days before Holi every crossroad in northern India accumulates a mountain of logs and leaves; traffic wends its way around these until Holi Eve when these burst into blazing bonfires. A thousand times over Holika burns again to drive out Evil and renew the power of Good. The love-play of Radha and Krishna is another theme central to the history of Holi. In a thousand folk songs Radha pleads with Krishna not to drench her in his colors, not to compromise her modesty. Their erotic ecstasy informs the playful abandon of Holi down the ages, and rehearses the love of the human soul for the elusive divine. Radha is first among many lovers of Krishna, but Krishna can reduplicate himself at will: the ceiling of the Krishna Janambhoomi Temple in Mathura is decorated with paintings of a hundred Krishnas playing Holi with all of the Gopis of Vrindavan. Radha can be angry too: in the town of Barsana in Uttar Pradesh women play Holi by taking up arms against men.

India is indeed a land of infinite colors: overwhelming diversity packed into a nation with a population density more than ten times that of the United States. But some of the complexities are more perilous than picturesque. Gender, class and religious differences have led to bloodshed in the recent past and Holi may also be invoked as a metaphor for battle. But the spilling of symbolic blood has a cathartic function. On Holi it’s no holds barred, no boundaries respected. Age, class, caste – all are erased in the multicolored melee. It’s profoundly significant that color, normally a gauge of status and caste in Indian society, becomes the very weapon by which all distinctions are blurred. For one day India becomes a vast canvas on which a mad painter works his will. So as we celebrate Holi here at UNC, let’s invoke the spirit of Stravinsky, and hope that past sacrifices usher in a new era of many colors blending without boundaries, and yes, a little bit of ecstasy. /// Afroz Taj is a professor of South Asian Studies in the Department of Asian Studies at UNC.


/// joseph jordan

Intoxicating substances contribute to the Holi bacchanal. If you’re not careful, you’ll be offered marijuana-spiked milk, sweets with a suspicious green tinge, fried dumplings with something that isn’t spinach. In the modern streets of India, Holi isn’t quite safe. As Mr. Todd discovered in the 2006 film Outsourced, unsuspecting tourists who venture into the streets are likely to be specially targeted with dye-filled water-balloons.

on VIJAY IYER Prodigy. Genius. Virtuoso. All could easily describe multi-talented jazz musician Vijay Iyer, whose rare inventiveness, talent and artistry has inspired the genre to grow and expand. While it is easy to define Vijay as a jazz musician – he functions comfortably within the uniquely creative and improvisational tradition – he is also so much more. A gifted, consummate and complete humanist, he expresses this gift through music. Though the freedom that jazz offers, Vijay’s boundless humanism and genuine intellectual curiosity makes him unique among other artists. Add to this his inventive multi-media and genre defying installation work, and you begin to understand why superlatives are essential when speaking of Vijay. As fate would have it, I became acquainted with Vijay and his work quite by accident. In 2001, while organizing an arts and culture project in Cape Verde, I invited a well-known literary artist and poet to perform as a headliner. He insisted on bringing a jazz ensemble to serve as backup to his spoken word performances and selected Vijay as the keyboardist. The story takes a dozen ridiculous turns, but one of the most interesting and least talked about twists was that the attendees really wanted to hear Vijay and the band more than they wanted to hear the poetry.



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At the end of that brief tour, Vijay gave me a copy of his 2001 set Panoptic Modes. When I arrived home and played the disc, I was blown away. It was all there! Straight-ahead jazz that was, at times, austere and spare in its presentation but full of meaning beyond the individual and collective notes. Vijay has an impressive catalogue for such a young artist, but I guess this is the point; it doesn’t take much to be prolific, but it is insuperably difficult to be prolific and to maintain a universally recognized standard of excellence acknowledged by the jazz world. Once you hear him perform tonight with International Contemporary Ensemble, hear his new work commissioned by Carolina Performing Arts and see Prashant Bhargava’s video that accompanies it, you, too, will likely feel compelled to go deeper into his work. And as a witness to this creative genius, I encourage you to do it. His music will very likely change your life. /// Joseph Jordan is an adjunct associate professor of African and AfroAmerican Studies at UNC-Chapel Hill, where he serves as Director of the Sonja Haynes Stone Center for Black Culture and History.

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An alto saxophonist, Lehman has performed and recorded nationally and internationally with his own ensembles and with those led by Anthony Braxton, Vijay Iyer, Jason Moran, and Meshell Ndegeocello, among others. He has published writings and presented lectures on a wide range of topics, including jazz pedagogy, rhythm cognition, and European notions of American experimentalism. He received his doctorate with distinction in Music Composition from Columbia University (2012), where his principal teachers included Tristan Murail and George Lewis. Lehman has taught undergraduate courses at Wesleyan University, the Conservatoire National Supérieur de Musique de Paris, New School University, and Columbia University, and has presented lectures at Amherst College, UC Berkeley, The Berklee School of Music, The Banff Centre, The Royal Academy of Music in London, and IRCAM in Paris, where he was a 2011 research fellow.

Tyshawn Sorey, composer TTyshawn Sorey is an active composer, performer, educator, and scholar who works across an extensive range of musical idioms. As percussionist, trombonist, and pianist, he has performed and/or recorded nationally and internationally with his own ensembles and with artists such as Muhal Richard Abrams, Steve Coleman, Butch Morris, Peter Evans, Misha Mengelberg, John Zorn, Vijay Iyer, Wadada Leo Smith, Dave Douglas, Anthony Braxton, Steve Lehman, Tim Berne, and Myra Melford, among many others. Sorey’s work has been favorably reviewed in TRAPS, National Public Radio, JazzTimes, The Village Voice, The Wire, The New York Times, Modern Drummer, The Wall Street Journal, and DownBeat Magazine.

from Van Lier Fellowship, Roulette, and most recently the International Contemporary Ensemble, whose large-scale work, Vignette, recently premiered at Roulette in November 2012.

Adam Sliwinski, conductor Adam Sliwinski has built a dynamic career of creative collaboration as percussionist, conductor, and teacher. He specializes in bringing composers, performers, and other artists together to create exciting new work. A member of the ensemble So Percussion (proclaimed as "brilliant" and "consistently impressive" by The New York Times) since 2002, Sliwinski has performed at Carnegie Hall, Brooklyn Academy of Music, the Lincoln Center Festival, Stanford Lively Arts, and dozens of other venues in the U.S. In that time, So Percussion has toured Russia, Spain, Australia, Italy, Germany, and Scotland. He has had the opportunity to work closely with Steve Reich, Steve Mackey, Paul Lansky, David Lang, Matmos, Dan Deacon, and many others. Sliwinski has been praised by The New York Times for his “shapely, thoughtfully nuanced account” of David Lang’s marimba solo “String of Pearls.” He has appeared as soloist in many diverse venues, including the International Computer Music Conference, the Isabella Stewart Gardner Museum in Boston, and at the Joyce Theater in New York for a two-week run of Eliot Feld's Mandance Project. He has performed many times with the International Contemporary Ensemble (ICE), founded by classmates from Oberlin College.

York University. He has also served as a rehearsal conductor with ICE, preparing them for concerts with Maestri Steven Schick and Susanna Mälkki (Ensemble Intercontemporain). He is one of only a few percussionists ever to complete the Yale School of Music's Doctor of Musical Arts program, where his thesis engaged the percussion music of Iannis Xenakis. He earned his Master’s at Yale University with marimba soloist Robert Van Sice, and his bachelor’s degree at The Oberlin Conservatory of Music with Michael Rosen. Sliwinski is co-director of the So Percussion Summer Institute, an annual intensive course on the campus of Princeton University for college-aged percussionists. He is also codirector of the percussion program at the Bard College Conservatory of Music, and has taught percussion both in masterclass and privately at more than 80 conservatories and universities in the U.S. and internationally. During the 2011-12 academic year, Sliwinski was a visiting lecturer at Princeton University, where So Percussion was ensemble-in-residence.

International Contemporary Ensemble Staff Claire Chase, artistic director/CEO Joshua Rubin, program director Kit Baker, grants manager Jonathan Harris, business manager Matthew Simon, company manager Jacob Greenberg, education director ///

In recent years, his collaborations have grown to include conducting. He has conducted over a dozen world premieres with ICE, including residencies at Harvard, Columbia, and New

Sorey has also conducted and participated in various lectures, panel discussions, and masterclasses on improvisation, composition, and critical theory at venues such as the Chamber Music America conference in New York City, International Realtime Music Symposium in Norway, Hochschule für Musik Köln, School of Improvisational Music, Musikhochschule Nürnberg, Birmingham Conservatory of Music in England, The Stone in New York City, Conservatorium van Amsterdam, Cité de la Musique in Paris, and Vallekilde Højskole in Denmark. As a composer, Sorey has composed up to 170 works to date and received commissions

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Wed, Apr 3 at 7:30pm Fri, Apr 5 at 8pm

Nederlands Dans Theater 1 Commissioned by Carolina Performing Arts

“… celebrated as two of the world’s sleekest, most distinctive dance ensembles …” – The New York Times (on NDT1 and NDT2) 34


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Photo Credit: Rahi Rezvani



APR 3/5

WED, 7:30pm/FRI, 8PM PROGRAM: WEDNESday, april 3 Chamber

Choreography by Medhi Walerski

Chamber by choreographer Medhi Walerski is a production commissioned ............... by: Nederlands Dans Theater, Den Haag; Carolina Performing Arts at ...................... The University of North Carolina at Chapel Hill; Den Norske Opera & Ballett, ............ Oslo; and MUSIC CENTER / Performing Arts Center of Los Angeles County.

Assistants to the choreographer: Pierre Pontvianne and Marthe Krummenacher Music by Joby Talbot (World Premiere) Lighting design by Jordan Tuinman Décor and costumes by Medhi Walerski World Premiere: October 4, 2012, Lucent Danstheater, Den Haag


Mémoires d‘Oubliettes

Choreography by Jirˇí Kylián Assistant to the choreographer: Lorraine Blouin Music by Dirk Haubrich Lighting design by Kees Tjebbes Set design by Yoko Seyama, concept by Jirˇí Kylián Costume design by Joke Visser Video design by Jason Akira Somma Computerized projection by Tatsuo Unemi, Daniel Bisig Voices: Sabine Kupferberg, Jirˇí Kylián World Premiere: October 28, 2009, Lucent Danstheater, Den Haag


Speak for Yourself

Choreography by Sol León and Paul Lightfoot

Music by Johann Sebastian Bach (from Die Kunst der Fuge: Contrapunctus 14 and 1); Steve Reich (Come out) Lighting design by Tom Bevoort Décor and costume design by Sol León and Paul Lightfoot World Premiere: November 25, 1999, Lucent Danstheater, Den Haag

All Saura's P. L. & S. L.

Heaven and earth would come together And gentle rain fall. Men would need no more instruction and All things would take their course. – Tao Te Ching

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Sehnsucht Choreography by Sol León and Paul Lightfoot


Dedicated to both our fathers. Joaquin León & David Lightfoot.

Assistants to the choreographers: Lorraine Blouin, Stefan Zeromski Music by Ludwig van Beethoven: Piano Concerto No. 3 in C minor, Op. 37, II: Largo Symphony No. 5 in C minor, Op. 67, III: Allegro and IV: Allegro-Presto Piano Concerto No. 4 in G major, Op. 67, II: Andante con Moto Recording by the Berlin Philharmonic, conducted by Herbert von Karajan (Symphony No. 5) and by Claudio Abbado (Piano Concerto No. 3 & 4) with pianist Maurizio Pollini Lighting design by Tom Bevoort Décor and costume design by Sol León and Paul Lightfoot World Premiere: May 7, 2009, Lucent Danstheater, Den Haag World Premiere extended version: November 25, 2010, Lucent Danstheater, Den Haag Sehnsucht is made possible by Damen Shipyards Group. To Kommer & Josien Damen, our heartfelt thanks for your support and willingness to aid us in our attempt to express the inexpressible. – Paul & Sol INTERMISSION


Choreography by Sol León en Paul Lightfoot Inspired by and dedicated to Martine Breard Walerski, for her energy of life and her maternal commitment.

Assistants to the choreographer: Stefan Zeromski, Lorraine Blouin Music by The Magnetic Fields; Max Richter Lighting design by Tom Bevoort Décor by Sol León and Paul Lightfoot Costume design by Joke Visser and Hermien Hollander Photography on stage by Rahi Rezvani World Premiere: November 25, 2010, Lucent Danstheater, Den Haag

Le Sacre du printemps is one of the most vibrant musical pieces of all times. Its rhythm and visual richness overflow with tension and excitement in a journey of subtle mysteries and sudden contrasts. Chamber is an echo of what Le Sacre du printemps provokes in my imagination. With this dance piece, I returned to a choreographic language that is sensitive to silence, to repetition and to the unique presence of the performers. I envisaged a ritualistic dance, which tries to balance order, chaos as well as the collective and individual nature of humanity. I seek to give form to the impatient pace of the world, through a primal, almost pagan celebration. – Medhi Walerski

Mémoires d‘Oubliettes The facts of life are never just the facts of life. They are all open to interpretations, modification, adjustments or fantasies. But somehow they never happened…We seem to exist in the world of “lost and found” and in a strange way I feel that it is just as good to be found as being lost and being remembered or forgotten. We can never be sure…But what about the ones who were never lost or found, never remembered or forgotten? The question of memory and forgetting is the question of being and not being. All our lives are ruled by what we remember and what we forget. But it is more complicated than that. There are not only things we want to remember and things we want to forget, but we want to influence the facts which we want to forget or remember. What do we remember? What do we forget? How do we want to be remembered? What do we want to be forgotten? What is memory? How much time does it take to forget? I remember that, when I was young, I wished to be remembered for something that I had created and that would be worth the struggle. The man who burnt down the Temple of Artemis was sentenced to obscurity, that his name must be forgotten forever after. That is why he is remembered forever. His name was Herostratus. “Herostratic fame” comes from Herostratus and is defined as “fame at any cost.” – Jirˇí Kylián



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nederlands dans theater 1

Speak for Yourself Speak for Yourself began its creative life as a simple study. We’re never tired of expressing the inspiration which nature and the opposition of the elements creates through chaos and harmony. An over-warming of the heart introduces us into the mystery of life, death and transformation. The great Kunst Der Fuge by J.S. Bach provided another key attribute to the process. His ability to combine the seemingly complicated with the naturally pure reminded us of the beauty of life and how suddenly it can pass, like a shower of rain, or a match once it is struck. The perfection of technical elements by the hand of Bach and the repetition (nearly anguish) of Reich crossing each other as an incoherent conversation; the masculine force, the symbol of a man’s burning thoughts combining with water as a different force represented by woman, creates aesthetic effect and the emotion of the beginning of a new day. We try to give a soft caress to that beauty, seeking to understand the profundity that the relation of chaos and harmony could become the path of continuation.

Kylián and Hans van Manen as well as from house choreographers Sol León and Paul Lightfoot, associate choreographers Crystal Pite, Johan Inger and Alexander Ekman, and many other guest choreographers including Nacho Duato, Mats Ek, William Forsythe, Wayne McGregor, Marco Goecke, Ohad Naharin and upcoming choreographic talents. NDT’s dancers (50 dancers, 20 nationalities) are renowned for their great virtuosity, astonishing technique and unparalleled expression. NDT contributes to various art forms by involving visual art, music composition, light and set designs while developing new talent. In the company’s theater in The Hague it all comes together daily in a surrounding that is regarded as an important breeding ground, constantly moving ahead to let the future of dance take shape. The company inspires and engages audiences all over the world. NDT has its home base in The Hague (The Netherlands) and consists of two companies, with two generations of dancers. ///

– Paul Lightfoot and Sol León

Nederlands Dans Theater 1 Nederlands Dans Theater 1 (NDT), under the artistic leadership of Paul Lightfoot, is one of the leading companies worldwide in contemporary dance. The company originated in 1959 when 22 people broke free from the Nederlands Ballet. These rebels were impassioned by dance and the desire to give it a style all their own. Under the direction of Carel Birnie and Benjamin Harkarvy, they steadily built a different repertoire of modern dance. Through the years, NDT has done pioneering work in contemporary dance. Ballets originally made for NDT are still danced all over the world. Numerous dancers and choreographers that started with the company have set up their own dance companies around the globe, spreading NDT’s influence further and further. For more than half a century, a rich repertoire of more than 600 ballets has been developed, with works from master choreographers Jiří

2012/13 / / / carolina performing arts 37


on Nederlands Dans Theater 1 I first saw Nederlands Dans Theater 1 perform more than twenty years ago, and I immediately fell in love with the company for its exquisite dancers and powerful works. Repertory companies like NDT, companies that perform works by a variety of choreographers as opposed to the works of a singular founder, hold an increasingly important role in the dance world. They often provide audiences with the opportunity to see a breadth of work by established choreographers at different stages of their careers. They also offer a supportive environment for young choreographers to experiment and hone their skills while working with fantastic dancers. For many younger choreographers, the economic pressures of having their own companies are just too much, and repertory companies provide opportunities for these talented voices to be heard. When repertory companies commission new works by a younger generation of choreographers, they make a commitment to help propel dance forward as an art form. NDT’s mentorship of Medhi Walerski, who has danced with and created several works on the company, is a perfect example of this commitment.

That this program includes a work created by two relative newcomers in their field (Walerski and composer Joby Talbot) but inspired by an extremely recognizable classic, makes it all the more interesting. The challenge of a newly commissioned work is that the results may be unpredictable. It can be tempting to only perform tried and true works whose merits and place in the canon are well known, but it is vital that new work be created to continue the great artistic discussion that is the performing arts. The original Rite of Spring, choreographed by Vaslav Nijinsky with music by Igor Stravinsky, is an extremely distinctive work created by two young artists considered ahead of their time. The original Rite caused riots on its premiere, but it added to the dialogue about where art should go in the twentieth century. Walerski’s and Talbot’s new work may not cause riots, but we never know when we may be about to see the next significant work of art. /// Jodee Nimerichter is Director of the American Dance Festival.




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2012/13 / / / carolina performing arts 39


FRI/SAT, APR 12/13 at 8PM

Photo Credit: Josef Astor

Basil Twist, with Orchestra of St. Luke's Commissioned by Carolina Performing Arts


“ theatre artist in New York is showing more poetic force or technical skill than the puppeteer Basil Twist” – The New Yorker This commission is supported in part by the National Endowment for the Arts.



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APR 12/13 FRI/SAT, 8PM


Brad Lubman, conductor Brad Lubman, conductor/composer, is founding co-Artistic Director and Music Director of Ensemble Signal, hailed by The New York Times as “one of the most vital groups of its kind.” He has gained widespread recognition during the past two decades for his versatility, commanding technique, and insightful interpretations, and he has worked with a great variety of illustrious musical figures including Pierre Boulez, Oliver Knussen, Steve Reich, and John Zorn.

Fireworks, Op. 4 Pulcinella Suite Sinfonia (Ouverture) Serenata Scherzino – Allegretto – Andantino Tarantella Toccata Gavotta con due variazioni Vivo Minuetto – Finale

The Rite of Spring orchestrated by Jonathan McPhee

Directed and designed by Basil Twist Music by Igor Stravinsky Music performed by Orchestra of St. Luke’s, with Brad Lubman, conductor Performed by: Eric Avery Kate Brehm Chris DeVille Matthew Leabo Brendan McMahon David Ojala Marc Petrosino Jessica Scott, puppet captain Lake Simons Julia Smith Amanda Villalobos Christopher Williams, dancer

Ayumu Poe Saegusa, lighting designer Greg Meeh, Special effects designer Daniel Brodie, projection designer Lynne Buckson, costume designer David Ojala, technical director Kate Brehm, associate technical director Kimberley Prescott, production stage manager Carmen A. Torres, assistant stage manager Trey Gilmore, assistant projection designer Eric Avery, assistant director Barbara Busackino, producer

This work was made possible in part by generous funding from The Doris Duke Performing Artist Awards program and The Jim Henson Foundation. Mr. Twist and his Tandem Otter Productions extend a great thanks to Mr. Bobby Redd for his generous support of our final development and rehearsal phase in Bushwick, New York. And to the following partners who contributed to the early and critical development of The Rite of Spring: Jane Henson and The University of Maryland/ Clarice Smith Performing Arts Center, The Modlin Center for The Arts and The University of Richmond.

Lubman’s guest conducting engagements include major orchestras such as the Finnish Radio Symphony, Swedish Radio Symphony, Netherlands Chamber Orchestra, Orchestre Philharmonique de Radio France, Bavarian Radio Orchestra in Munich, SWR Stuttgart Radio Symphony, Dresden Philharmonic, Frankfurt Radio Symphony, American Composers Orchestra, New World Symphony and the St Paul Chamber Orchestra, with whom he performs a broad repertoire ranging from classical to contemporary orchestral works. In addition, he has worked with some of the most important European and American ensembles for contemporary music, including Klangforum Wien, ASKO Ensemble Amsterdam, and musikFabrik, as well as the Los Angeles Philharmonic New Music Group, Boston Symphony Chamber Players, and Steve Reich and Musicians. Continuous collaborations with the Deutsches Symphonie-Orchester Berlin, Radio Kamer Filharmonie, London Sinfonietta and Ensemble Modern include concerts as well as CD recordings. A new CD with first recordings of orchestral works by Morton Feldman was released with the Deutsches Symphonie-Orchester Berlin in October 2011 at Mode records receiving great acclaim by the international press. Lubman is Associate Professor of Conducting and Ensembles at the Eastman School of Music in Rochester, N.Y., where he has directed the Musica Nova ensemble since joining the faculty in 1997. He is also on the faculty of the Bangon-a-Can Summer Institute. His own music has been performed in the United States and Europe and can be heard on his first portrait CD, insomniac, on Tzadik. He has also recorded for Albany, BMG/RCA, Bridge, Cantaloupe, CRI, Kairos, Koch, Mode, New World, Nonesuch and Orange Mountain.

2012/13 / / / carolina performing arts 41


In 1917, Diaghilev’s Ballets Russes presented Stravinsky’s Fireworks as conceived by the Italian futurist Giacomo Balla: as a “ballet without dancers” where the scenic elements consisted purely of geometric shapes with modern lighting effects on them to incarnate the music visually and in three dimensions onstage. The legend of this piece and other genre-busting experiments in music in movement – such as Alexander Calder’s staging of Satie’s Socrate or Loie Fuller’s billowing silks – inspired me when, in 1998, I created my version of Symphonie Fantastique, where shapes and tinsel and bubbles and light danced underwater in a 1,000-gallon tank.

Since that piece and the adventures and musical collaborations and opportunities I’ve had, I have always wanted to take my abstract puppetry to a much bigger scale, and it never seemed to really happen… that is until Emil Kang invited me to participate in this centennial for The Rite of Spring. Emil jumped up enthusiastically when I said, "I don't want to do some little puppet show… I want to push the work I’ve been doing to a totally new level… oh, and to do it with a full orchestra! That’s the way to honor The Rite of Spring!”

But it comes from the mind of a puppeteer whose main goal is to bring something to life on stage. I am grateful to Emil, the wonderful Orchestra of St. Luke’s and my entire team for joining me in this adventure. Despite the abstraction, I intend for each member of the audience to find something meaningful in our own “ballet without dancers.” Enjoy the show.

This all-Stravinsky program (and all pieces presented by the Ballets Russes) is an attempt to do just that: to honor a landmark event in performance. Some of it may not seem like puppetry as most people expect it to be.

Sketch for Fireworks by Giacomo Balla


/////////////////////////////////////////////////////////////////////////////////////////////////// /// butch garris

on BASIL TWIST When you hear the word puppet you probably think of a marionette, a sock covered hand, Sesame Street, or maybe even your favorite Muppet. I did, too, until I met Basil Twist about a year ago. Basil came to Memorial Hall for a week in March 2012 to begin working on his Rite of Spring piece. It was a very different experience from what I normally have as a Carolina Performing Arts production manager. Up until then, I had only dealt with artists presenting a finished piece. I had never seen a piece develop from its infancy, so I really had no idea what to expect. I just knew I was excited to be involved, and I was excited that it was with Basil. He collaborated with Pilobolus on one of my all-time favorite pieces, Darkness and Light, and I was interested in how a puppeteer might handle The Rite of Spring. Within the first few minutes of work on the piece, I realized a few things about Basil and his process. The most obvious was that our definitions of puppetry were not the same – I liked his better! To Basil, puppetry is when something inanimate becomes animate. My traditional sense of a “puppet” was blown away when I saw him manipulating a roll of toilet paper over a fan. I was struck by Basil’s incredible use and understanding of different materials. In addition to the toilet paper on the first day, he experimented with plastics, cardboard, paper, first aid blankets and even smoke and wind as mediums for his work. He made sure we had plenty of wire coat hangers. They were his go-to item. I was amazed at the way he was able to make these items move, and even more impressed at his ability to teach us to do it too. We spent the better part of one day experimenting with



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a large piece of white silk. As Basil was working the fabric, I remember thinking that if it could choose how to move on its own, it would probably look exactly like what I was watching. I also realized early on that any idea was on the table. Basil would give us a basic idea of what he wanted to accomplish in a session, and he would try any idea to get there. I can’t count how many times I heard the words, “What if we try… .” It isn’t enough to say Basil thinks outside of the box. For Basil, there is no box. What sometimes appeared as total chaos was actually Basil researching for the piece. This was even more pronounced when Basil returned in mid-July, this time for a month-long stay with an entire team of puppeteers. With the full team in the theater, the process felt fully under way. Everything was ramped up. Something we had tested with a 5-foot piece of plastic in March was now a 30-foot piece in July. We worked for days on a small rig to test a special effect during the first visit. Now we were installing 15 of them. Rough ideas that he had been developing before were now turning into a full-scale production. By the end of the second residency, I was excited about where it was headed and couldn’t wait to see the end result. Now, after more than a year including eight weeks spent in Memorial Hall, we are finally here. Tonight, Basil Twist and his amazing team of puppeteers along with the Orchestra of St. Luke's will bring The Rite of Spring to life. I hope you enjoy the finished product as much as I have enjoyed the process. /// Butch Garris ('97) is a Production Manager for Carolina Performing Arts.

///////////////////////////////////////////// BASIL TWIST, WITH ORCHESTRA OF ST. LUKE'S

Basil Twist, director/designer/puppeteer Basil Twist (designer-director) is thrilled to be making his debut with Carolina Performing Arts. Originally from San Francisco, Basil is a third generation puppeteer who lives and works in New York City, and is the sole American graduate of the Ecole Superieure Nationale des Arts de la Marionnette in France. Original creations include The Araneidae Show, Symphonie Fantastique, Petrushka, Master Peter’s Puppet Show, Dogugaeshi, and La Bella Dormente nel Bosco. Collaborations include Behind The Lid with Lee Nagrin and Red Beads with Lee Breuer/Mabou Mines. His recent collaborations include Yoshimi Battles the Pink Robots with Des Macanuff directing and A Street Car Named Desire for the Comédie-Française in Paris with Lee Breuer. His Broadway credits include The Pee Wee Herman Show and The Addams Family. Film credits include Harry Potter's The Prisoner of Azkeban as the underwater puppetry consultant. Since 1998, Twist has continually expanded the realm of puppetry by creating and touring new works that integrate live music. His company Tandem Otter Productions has partnered with such premiere institutions as The Spoleto Festival, Lincoln Center Festival, Lincoln Center’s Voice and Visions Series, The Los Angeles Philharmonic, The Japan Society and Gotham Chamber Opera. Twist premiered his Hansel and Gretel with The Houston Grand Opera and Atlanta Opera Company. He has received an OBIE Award, five UNIMA Awards for Excellence in Puppetry, two Bessie Awards, a Drama Desk Award, a New York Innovative Theatre Award, and a Henry Hewes Design Award. Mr. Twist is a Guggenheim Fellow, a United States Artist Ford Fellow and an inaugural Doris Duke Performing Artist. Twist is the director of the Dream Music Puppetry Program at HERE in NYC.

an annual orchestra series at Carnegie Hall, an annual chamber music series at The Morgan Library & Museum and Brooklyn Museum, and summer concerts as Orchestra-in-Residence at Caramoor International Music Festival. OSL’s principal conductor is Pablo Heras-Casado. OSL collaborates regularly with the world’s great artists, including Renée Fleming, Yo-Yo Ma, Susan Graham, Anna Netrebko, Anne-Sophie Mutter, Mark Morris Dance Group, Peter Gabriel, Sting, Elton John and many more. In 2011, OSL opened The DiMenna Center for Classical Music – its first permanent home and New York City’s first rehearsal and recording facility dedicated to classical music. Committed to community-building, OSL produces free concerts in each of the five boroughs as part of its Subway Series, free concerts devoted to the artistic

process as part of its OSL@DMC series at The DiMenna Center, and has engaged more than one million children in its Arts Education programs. OSL’s stellar 70+ discography includes seven releases on its own label, St. Luke’s Collection, and four Grammy Award-winning recordings. OSL has commissioned more than 50 new works and performed more than 150 world, U.S. and New York City premieres. For more information, visit Orchestra of St. Luke’s is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. ///

Orchestra of St. Luke’s Now in its 38th season, Orchestra of St. Luke’s (OSL) is one of America’s foremost and most versatile ensembles. Dedicated to engaging audiences throughout New York City and beyond, OSL performs approximately 70 orchestral, chamber and educational concerts each year, including

2012/13 / / / carolina performing arts 43

SAT, APR 20 at 8PM & Sun, APR 21 AT 2PM

Spring Dance University of North Carolina School of the Arts /////////////////////////

“The color and energy on stage dazzle and delight the eye. The voices and orchestra tantalize the ear.” – Winston-Salem Journal



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APR 20/21 SAT, 8pm/Sun, 2pm

PROGRAM The Rite of Spring Choreography by Shen Wei Staged by Kathleen Jewett Set and Costume Design by Shen Wei Lighting Design by Roz Fulton Recording of four-hand piano version by Fazil Say Music by Igor Stravinsky (four-hand piano version recorded by Fazil Say) INTERMISSION

Prélude à l'après-midi d'un faune Music by Claude Debussy Video Design by Roz Fulton Accompanied by the UNCSA Orchestra (John Mauceri, Conductor) PAUSE

Jeux (poème dansé) Original Choreography by Vaslav Nijinsky Choreography after Vaslav Nijinsky, reconstructed and staged by Millicent Hodson Rehearsal Assistant: Frank Smith Music by Claude Debussy Original Set and Costume Design by Léon Bakst Designs after Léon Bakst, reconstructed and supervised by Kenneth Archer Scenic Design realized for UNCSA by James Edward Burns+ Lighting Design by Roz Fulton Accompanied by the UNCSA Orchestra (John Mauceri, Conductor) Original production premiered May 15, 1913 at Théâtre des Champs-Élysées performed by Ballets Russes PAUSE

Polovtsian Dances (from Prince Igor) (World Premiere) Choreography by Susan Jaffe Head Rehearsal Assistant: Fanchon Cordell Rehearsal Assistant: Sean Sullivan Music by Alexander Borodin Set Design by Joseph P. Tilford Costume Design by Bill Brewer Lighting Design by Roz Fulton Accompanied by the UNCSA Orchestra (John Mauceri, Conductor)

John Mauceri, Chancellor School of Dance | Susan Jaffe, Dean School of Design & Production Joseph P. Tilford, Dean School of Music | Wade Weast, Dean Katharine Laidlaw, executive producer Jamie Call Blankinship, production stage manager *+ Bill Volz, technical director *+ Shayna Penn, stage manager James Carey, assistant stage manager J.P. Mullican/Seth Gist, pre-production assistant technical directors Emma Molloy/Joe Pistorino, lead fabricators William Strickland, production carpenter David Palmer, assistant lighting designer Joel Schulman, production electrician Alex Joans, master electrician Rudy Garcia III, sound designer Madeleine LeCuyer, wig master Carolyn Fay/Kathryn E. Grillo, drapers Hannah Ashford/Sarah Horvath, stitchers Hannah Ashford, wardrobe supervisor Ken Wilmot, orchestra manager Michael Dwinell, musical assistant to the conductor Heather Coley, company manager + Jeux Julie McCoy, scenic charge Sean Cox, assistant scenic charge Polovtsian Dances Bailey Powell, assistant costume designer Deborah Wentworth, assistant scene designer Sean Cox, scenic charge * School of Design & Production Faculty + Alumnus of UNCSA

All scenery was student-built in the UNCSA School of Design & Production’s Scene and Paint shops

This production has been supported by generous gifts from Thomas S. Kenan III, The John W. and Anna H. Hanes Foundation, and an Anonymous donor.

2012/13 / / / carolina performing arts 45

//////////////////////////////////////////////////////////////////////////// SPRING DANCE John Mauceri, conductor The rich and varied career of John Mauceri has brought him not only to more than 25 of the world’s greatest opera companies and more than 50 of the world’s greatest symphony orchestras, but also to the musical stages of Broadway and Hollywood as well as the greatest universities in the United States, including Yale, Harvard, NYU and The University of North Carolina, where he has served for seven years as chancellor of its unique university of conservatories: UNC School of the Arts (UNCSA) in Winston-Salem. Mr. Mauceri has served as music director of four opera companies: Teatro Regio in Turin, Italy; the Scottish Opera in Glasgow; the Pittsburgh Opera; and Washington National Opera at the Kennedy Center, where he also served as music director of its orchestras for fifteen years. He was the first music director of the American Symphony Orchestra in Carnegie Hall after its founding director, Leopold Stokowski, with whom he studied. Mauceri is

well known throughout the world as the founding director of the Hollywood Bowl Orchestra, which was created for him by the Los Angeles Philharmonic Association in 1991. At the Hollywood Bowl, he conducted 350 concerts over 16 seasons to a combined audience of more than 4 million people. Mauceri is an alumnus of Yale University, where he served on the faculty for 15 years and worked closely with Leonard Bernstein for 18 years, conducting many premieres of the composer’s works at Bernstein’s behest. One of the world’s most accomplished recording artists, he is the recipient of Grammy, Tony, Drama Desk, Olivier, Edison and two Emmy awards, among other prestigious recognitions. He steps down as chancellor at UNCSA on July 1 and will pursue his life as a musician, writer and educator.

Susan Jaffe, choreographer (Polovtsian Dances) Declared by The New York Times as “America’s quintessential American ballerina,” Susan Jaffe was a principal dancer with American Ballet Theatre (ABT) from 1980-2002. After her retirement from the stage, Ms. Jaffe became advisor to the chairman of the board of ABT from 2002-07. Simultaneously, she began choreographing and co-founded and directed a dance school in Princeton, NJ from 2003-10. When the ballet master position at American Ballet Theatre became available, she returned to coach the company from 2010-12. Ms. Jaffe is currently the Dean of Dance at the University of North Carolina School of the Arts, where she happily directs the school, teaches and choreographs. Original choreographic works include Blue Pas de Deux for American Ballet Theatre; We Insist and A Tango for ABT’s Studio Company; Novem Pas de Deux, Velez Pas de Deux and Royenne for Configurations Contemporary Ballet Company; UnCaged and Soundbars for Texas Christian University; Pulse for Princeton University; Ballet Studies, Pop Sonata, Tarantella, Carnival of the Animals, Glass Cuts, Cancan and The Nutcracker for Princeton Dance and Theater Studio; and Sonato for the Youth America Grand Prix Gala in New York City. Ms. Jaffe holds an Honorary Doctorate of the Arts from Texas Christian University.



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Shen Wei, choreographer (The Rite of Spring) Internationally recognized for the breadth and scope of his artistic vision, Shen Wei is a prolific choreographer and stage director; set, costume, lighting and make-up designer; painter; and filmmaker. The Washington Times has called Shen Wei “one of the great artists of our time” and The New York Times proclaimed, “If there is something to write home about in the dance world, it is the startlingly imaginative work of the Chinese-born choreographer Shen Wei.” Admiration for his talent has earned Shen Wei numerous commissions and awards, including a MacArthur Genius Grant, the U.S. Artists Fellow award, the John Simon Guggenheim Fellowship, a Nijinsky Award, a Meadow’s Prize, Australia’s Helpmann Award for Best Ballet or Dance Work, and three recognitions from The New York Times for creation of one of the year’s best dance performances. Born in Hunan, China, Shen Wei studied Chinese opera from the age of nine. In 1991, he became a founding dancer and choreographer of the Guangdong Modern Dance Company. After receiving a scholarship from Nikolais/ Louis Dance Lab in 1995, he moved to New York City. In 2000, he formed Shen Wei Dance Arts with performances of Near the Terrace at the American Dance Festival. Shen Wei has received numerous commissions from the American Dance Festival and others from Het Muziektheater, New York City Opera, Lincoln Center Festival, the New Vision Arts Festival in Hong Kong, the John F. Kennedy Center for the Performing Arts, Les Grands Ballets Canadiens de Montréal, Les Ballets de Monte-Carlo, The Metropolitan Museum of Art and Teatro Dell’ Opera di Roma. Shen Wei has also received commissions from the Edinburgh International Festival, Park Avenue Armory, and the North Carolina Museum of Art.

Joseph P. Tilford, scenic designer (Polovtsian Dances) Over the span of his career, Joe Tilford has become widely known as a theatrical designer of remarkable vision and talent. His work of more than three decades includes hundreds of lighting and set designs that have earned him acknowledgement as a unique and

2012/13 / / / carolina performing arts 47

///////////////////////////////////////////////////////////////////////////// SPRING DANCE

visionary artist of the American professional theater. Joe Tilford’s body of work includes designs for major professional theaters throughout America, including San Diego’s Old Globe, Chicago’s Goodman Theatre, The Chicago Shakespeare Theatre, The Repertory Theatre of St. Louis, and many others. At the Cincinnati Playhouse in the Park, he has designed more than 30 productions over the last 25 years. His set designs have been exhibited at the Prague Quadrennial in the Czech Republic, and in the solo retrospective exhibit The Designs of Joe Tilford at the 50th Anniversary Conference of the United States Institute for Theatre Technology. A prominent figure in American higher education, he serves as dean of the School of Design and Production at the University of North Carolina School of the Arts.

Bill Brewer, costume designer (Polovtsian Dances)

Roz Fulton, lighting and video designer

Bill designs for theater, ballet, opera, film and television across the country and abroad. In the United States: recently at Triad Stage: Kingdom of Earth, The Illusion, Ain’t Misbehavin’, New Music Trilogy; other US venues include Berkley Repertory, Minnesota Rep, Pioneer Theatre Company, Pittsburgh Ballet Theatre, American Stage and San Jose Civic Light Opera, where he designed for Sweeney Todd starring Jean Stapleton and Peter Pan starring Cathy Rigby. Abroad: ballet and a dance film in Paris; ballet in Milan; designs featured in World Stage Design and Prague Quadrennial exhibits. As a director and producer, Bill’s award-winning production of Side by Side by Sondheim ran in San Francisco for two years. He also has worked as an assistant designer for Lucas Film. Bill teaches costume design at UNCSA and is a member of United Scenic Artists 829.

Regional: Lighting design – Amadeus, Every Good Boy Deserves Favor, A Soldier's Tale, New Burlington (Chautauqua Theater Company). PlayMakers Rep: The Parchman Hour (Video). North Carolina Opera: Les Enfants Terribles (Video). International: video design – Growing up Linda and He Do the Police... (Edinburgh Fringe Festival). Television: credits include assistant video design, Handel’s Messiah Rocks (PBS). Awards/Other: lighting design, Beatification of Area Boy (Duke University, Triangle Award for best lighting). ///

/////////////////////////////////////////////////////////////////////////////////////////////////// /// Susan jaffe

on Polovtsian Dances In 1909 Sergei Diaghilev dazzled the discriminating Parisian audiences at the Théâtre du Châtelet with the opening of his new ballet company, the Ballets Russes. With the extraordinary performances of his dancers, the brilliant designs of the scenery and costumes, and the music by Russian composers, Diaghilev turned ballet into an intoxicating avant-garde art form. But to see Diaghilev as only influential to the ballet world ignores the scope of his impact on the cultural revival at the turn of the 20th century. In Russian history Diaghilev was seen as one of the central figures that shifted the paradigm effecting visual arts, philosophy, literary criticism, art history, and typography. This influence was achieved through his membership with the group of students (many of them soon-to-be famous) who called themselves the "World of Art." Dissatisfied with the socially and conventionally relevant art that predominated the end of the 19th century in Russia, the small group of young men, who made up the initial group of the World of Art, criticized the status quo as provincial, preferring illusion and the spiritual to realism and the physical. They put on exhibitions, collected art, published critical journals, and set out to teach their society to understand that “realism is not art.” Diaghilev brought these same sensibilities with him when he crossed the border into Europe a few years later, and used the Ballets Russes performances as a laboratory for the experimental art of the 1910s. Employing the theoretical



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ideas of the radical artists of the day, he hired Russian artists such as Léon Bakst, Alexandre Benois, Igor Stravinsky, Nicholas Roerich, and Vaslav Nijinsky to experiment with the ideas in Cubism, Neo-Primitivism, Abstractionism, Futurism, Simultaneism, and Constructivism, to create productions such as Jeux, The Rite of Spring, and Prélude à l'après-midi d'un faune. With these artists, Diaghilev brought to ballet a sophistication the world had never seen. With this in mind the Polovtsian Dances, a divertissement from the opera Prince Igor, newly choreographed by Michel Fokine, with scenery and costumes by Nicholas Roerich, enjoyed huge success on the opening night of the Ballets Russes, electrifying the Parisians with its exhilarating mass of energetic choreography. In the vein of the Abstractionists of the early 20th century, Joe Tilford (Dean of Design and Production of UNC School of the Arts) and I have collaborated on a new production of Polovtsian Dances, breaking free of the 1909 version with the contemporary sensibilities of today. We look forward to seeing it onstage, and we hope you will too. /// Susan Jaffe is the Dean of School of Dance at the University of North Carolina School of the Arts, and choreographer of Polovtsian Dances.

2012/13 / / / carolina performing arts 49

FRI/SAT, APR 26/27 at 8PM

Commissioned by Carolina Performing Arts


“…immune to the ravage of time” – The New York Times 50


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Photo Credit: Christophe Jeannot in Martha Graham's Appalachian Spring/ Photo by John Deane. Copyright John Deane

Martha Graham Dance Company – Myth & Transformation


APR 26/27 FRI/sat, 8pm

The Martha Graham Dance Company with Guest Artist Wendy Whelan

APRIL 26 PROGRAM Errand Choreography for Errand into the Maze by Martha Graham Music by Gian Carlo Menotti† Lighting by Beverly Emmons Directed by Luca Veggetti with Miki Orihara Errand into the Maze premiered February 28, 1947, Ziegfeld Theatre, New York City There is an errand into the maze of the heart’s darkness in order to face and do battle with the Creature of Fear. There is the accomplishment of the errand, the instant of triumph, and the emergence from the dark. Errand is an arrangement of Errand into the Maze that does not use the original sets and costumes. It has been designed to give audiences a new perspective on the Graham classic choreography. PeiJu Chien-Pott, Ben Schultz † Used by arrangement with G. Schirmer, Inc., publisher and copyright owner.

Diversion of Angels Choreography and Costumes by Martha Graham Music by Norman Dello Joio† Original lighting by Jean Rosenthal Adapted by Beverly Emmons Premiere: August 13, 1948, Palmer Auditorium, New London, CT Martha Graham once described Diversion of Angels as three aspects of love: the couple in white represents mature love in perfect balance; red, erotic love; and yellow, adolescent love. The dance follows no story. Its action takes place in the imaginary garden love creates for itself. The ballet was originally called Wilderness Stair. “It is the place of the Rock and the Ladder, the raven, the blessing, the tempter, the rose. It is the wish of the single-hearted, the undivided; play after the spirit’s labor; games, flights, fancies, configurations of the lover’s intention; the believed Possibility, at once strenuous and tender; humors of innocence, garlands, evangels, Joy on the Wilderness Stair, diversion of angels.” – Ben Belitt The Couple in White: Natasha Diamond-Walker, Abdiel Jacobsen The Couple in Red: Blakeley White-McGuire, Maurizio Nardi The Couple in Yellow: Xiaochuan Xie, Lloyd Knight Mariya Dashkina Maddux, Iris Florentiny Lucy Postell, Ying Xin, Lloyd Mayor Used by arrangement with Carl Fischer, Inc., publisher and copyright owner. †

Moon from Canticle for Innocent Comedians Choreography by Martha Graham Original Music by Cameron McCosh Music recreated by Pat Daugherty Premiere: 1952 Wendy Whelan Lloyd Knight

Rust (World Premiere) Choreography and Costumes by Nacho Duato Assistant to Mr. Duato, Kevin Irving Music by Arvo Paart†, additional music by Pedro Alcalde Lighting by Brad Fields Tadej Brdnik, Abdiel Jacobsen, Lloyd Knight Maurizio Nardi, Ben Schultz Commissioned for the Martha Graham Dance Company by Carolina Performing Arts. Nacho Duato commission made possible by Sunny Artist Management Inc. Montreal, Canada – Ilter Ibrahimof, Director De Profundis


The Rite of Spring Choreography by Martha Graham Music by Igor Stravinsky† Costumes by Pilar Limosner after Martha Graham and Halston Lighting by Solomon Weisbard Scenery by Edward T. Morris Projection Designer: Paul Lieber Projection Design Associates: Erik Pearson and Olivia Sebesky Premiere: February 28, 1984, New York State Theater, New York City The Chosen One: Xiaochuan Xie The Shaman: Ben Schultz PeiJu Chien-Pott, Mariya Dashkina Maddux,Natasha Diamond-Walker Iris Florentiny, Lucy Postell, Blakeley White-McGuire, Ying Xin Tadej Brdnik, Abdiel Jacobsen, Lloyd Knight Gildas Lemonnier, Lloyd Mayor, Maurizio Nardi Ben Schultz, Oliver Tobin Commissioned by Halston Special thanks: Wendall Harrington, Yale School of Drama, Jim Testa and Showsage † Used by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

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APRIL 27 PROGRAM Appalachian Spring Ballet for Martha Choreography and Costumes by Martha Graham Music by Aaron Copland† Set by Isamu Noguchi Original lighting by Jean Rosenthal Adapted by Beverly Emmons Premiere: October 30, 1944, Coolidge Auditorium, Library of Congress, Washington, DC Springtime in the wilderness is celebrated by a man and woman building a house with joy and love and prayer; by a revivalist and his followers in their shouts of exaltation; by a pioneering woman with her dreams of the Promised Land. The Bride: Mariya Dashkina Maddux The Husbandman: Lloyd Mayor The Preacher: Maurizio Nardi The Pioneering Woman: Natasha Diamond-Walker The Followers: PeiJu Chien-Pott, Iris Florentiny, Xiaochuan Xie, Ying Xin Commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress, Washington, DC. The original title chosen by Aaron Copland was Ballet for Martha, which was changed by Martha Graham to Appalachian Spring. Used by arrangement with the Aaron Copland Fund for Music, copyright owners; and Boosey and Hawkes, Inc., sole publisher and licensee.

Janet Eilber, artistic director LaRue Allen, executive director The Company Tadej Brdnik Katherine Crockett Maurizio Nardi Miki Orihara Blakeley White-McGuire Lloyd Knight Mariya Dashkina Maddux Ben Schultz Xiaochuan Xie PeiJu Chien-Pott Natasha Diamond-Walker Iris Florentiny Abdiel Jacobsen Oliver Tobin Lloyd Mayor Gildas Lemonnier Lorenzo Pagano Lucy Postell Ying Xin Denise Vale, senior artistic associate


Moon from Canticle for Innocent Comedians Choreography by Martha Graham Original music by Cameron McCosh Music recreated by Pat Daugherty Premiere: 1952

Major support for the Martha Graham Dance Company is provided by National Endowment for the Arts New York City Department of Cultural Affairs New York State Council on the Arts

Wendy Whelan, Lloyd Knight

Rust (see April 26 program) INTERMISSION

The Rite of Spring (see April 26 program) The Chosen One: Blakeley White-McGuire The Shaman: Ben Schultz

The artists employed in this production are members of the American Guild of Musical Artists AFL-CIO. Copyright to all dances except Rust held by the Martha Graham Center of Contemporary Dance. All rights reserved.

PROGRAM NOTES Appalachian Spring (1944) In 1942, Martha Graham received a commission from the Elizabeth Sprague Coolidge Foundation for a new ballet to be premiered at the Library of Congress. Aaron Copland was to compose the score. Graham called the new dance Appalachian Spring, after a poem by Hart Crane, but for Copland it always



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remained Ballet for Martha. Choreographed as the war in Europe was drawing to end, it captured the imagination of Americans who were beginning to believe in a more prosperous future, a future in which men and women would be united again. With its simple tale of a new life in a new land, the dance embodied hope. Critics called Appalachian Spring “shining and joyous,” “a testimony to the simple fineness of the human spirit.” The ballet tells the story of a young couple and their wedding day; there is a Husbandman, his Bride, a Pioneer Woman and a Preacher and his Followers. In a letter to Aaron Copland, Graham wrote that she wanted the dance to be “a legend of American living, like a bone structure, the inner frame that holds together a people.” As Copland later recalled, “After Martha gave me this bare outline, I knew certain crucial things – that it had to do with the pioneer American spirit, with youth and spring, with optimism and hope. I thought about that in combination with the special quality of Martha’s own personality, her talents as a dancer, what she gave off and the basic simplicity of her art. Nobody else seems anything like Martha, and she’s unquestionably very American.” Themes from American folk culture can be found throughout the dance. Copland uses a Shaker tune, “Simple Gifts,” in the second half of his luminous score, while Graham’s choreography includes square dance patterns, skips and paddle turns and curtsies, even a grand right and left. The set by Isamu Noguchi features a Shaker rocking chair. Appalachian Spring is perhaps Martha Graham’s most optimistic ballet, yet it does contain a dark side. The fire and brimstone Preacher and his condemnation of earthly pleasures recalls the repressive weight of our Puritan heritage, while the solemn presence of the Pioneer Woman hints at the problems of raising families in remote and isolated communities. In this newly cleared land life was not simple, and Graham’s vision pays homage to that as well.

and the dance was reconceived as a plotless ballet. Diversion of Angels is set to a romantic score by Norman Dello Joio and takes its themes from the infinite aspects of love. The Couple in Red embodies romantic love and “the ecstasy of the contraction”; the Couple in White, mature love; and the Couple in Yellow, a flirtatious and adolescent love. Martha Graham recalled that when she first saw the work of the modern artist Wassily Kandinsky, she was astonished by his use of color, a bold slash of red across a blue background. She determined to make a dance that would express this. Diversion of Angels is that dance, and the Girl in Red, dashing across the stage, is the streak of red paint bisecting the Kandinsky canvas. – Ellen Graff

Errand into the Maze (1947) Errand Into the Maze premiered in 1947 at the Ziegfield Theater in New York City. With a score by Gian Carlo Menotti, and set

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design by Isamu Noguchi, the dance was choreographed as a duet for Martha Graham and Mark Ryder. It is loosely derived from the myth of Theseus, who journeys into the labyrinth to confront the Minotaur, a creature who is half man and half beast. In Errand Into the Maze, Martha Graham retells the tale from the perspective of Ariadne, who descends into the labyrinth to conquer the Minotaur. Substituting a heroine for the hero of Greek mythology in her dance, Martha Graham created a female protagonist who would confront the beast of fear, not just once, but three times, before finally overpowering him. Noguchi designed a set that consisted of a v-shaped frame, like the crotch of a tree or the pelvic bones of a woman. A long rope curves its way through the performance space and ends at this symbolic doorway. Influenced by the theories of the great psychologist Carl Jung, Martha Graham was exploring the mythological journey into the self in this dance. – Ellen Graff

– Ellen Graff

Diversion of Angels (1948) Diversion of Angels, originally titled Wilderness Stair, premiered at the Palmer Auditorium of Connecticut College on August 13, 1948. The title, as well as a set piece designed by Isamu Noguchi suggestive of desert terrain, was discarded after the first performance,

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Moon from Canticle for Innocent Comedians (1952) Canticle for Innocent Comedians, created in 1952, is considered to be atypical of most Graham works because it reveals some of her most lyrical choreography. The poem-like suite is Graham's great hymn to nature, and it celebrates the elements – sun, moon, earth, wind, water, fire – in separate little dance odes. Sections of the choreography were captured in 1957 for the award-winning film about Graham, A Dancers World. The current reconstruction of the duet, Moon, uses the choreography from that film and a score created from the improvised music on the film’s soundtrack. The duet may evoke the moon’s duality and its ever-changing balance between darkness and light.

The Rite of Spring (1984) Graham’s connection to The Rite of Spring began in 1930 when she was propelled into international fame starring in the first American production of the work choreographed by Léonide Massine and conducted by Leopold Stokowski. In 1984, she decided to return to the score and create her own choreography for The Rite. The primal physical expression that is the hallmark of the Graham style has a deep connection with the primitive essences evoked in Stravinsky’s revolutionary score. The community in Graham’s Rite is defined through the complex, yet clear geometric patterns for the group that harken back to her ground-breaking works from the 1930s such as Primitive Mysteries and Dark Meadow. The organized structure for the group is a calm, somewhat disturbing counterpoint to the violence of the story and vigorous physicality of the movement. Her choreography for the work, created over fifty years after she starred as the Chosen One for Massine, bookends her long creative career. Elements of her many theatrical innovations are distilled into this masterwork, one of her last.

Rust (2013) With his production Rust, Nacho Duato seeks to stir up awareness in a public seemingly indifferent to the true horror of torture, which he equates with the plagues of terrorism and violence facing society today.



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Martha Graham Martha Graham has had a deep and lasting impact on American art and culture. She single-handedly defined contemporary dance as a uniquely American art form, which the nation has in turn shared with the world. Crossing artistic boundaries, she collaborated with and commissioned work from the leading visual artists, musicians and designers of her day, including sculptor Isamu Noguchi and composers Aaron Copland, Samuel Barber and Gian Carlo Menotti. Graham’s groundbreaking style grew from her experimentation with the elemental movements of contraction and release. By focusing on the basic activities of the human form, she enlivened the body with raw, electric emotion. The sharp, angular, and direct movements of her technique were a dramatic departure from the predominant style of the time. Graham influenced generations of choreographers that included Merce Cunningham, Paul Taylor and Twyla Tharp, altering the scope of dance. Classical ballet dancers Margot Fonteyn, Rudolf Nureyev and Mikhail Baryshnikov sought her out to broaden their artistry. Artists of all genres were eager to study and work with Graham – she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minelli, Gregory Peck, Tony Randall, Eli Wallach, Anne Jackson and Joanne Woodward to utilize their bodies as expressive instruments. During her long and illustrious career, Graham created 181 dance compositions. During the Bicentennial she was granted the United States’ highest civilian honor, The Medal of Freedom. In 1998, TIME Magazine named her the “Dancer of the Century.” The first dancer to perform at the White House and to act as a cultural ambassador abroad, she captured the spirit of a nation. “No artist is ahead of his time,” she said. “He is his time. It is just that the others are behind the time.”

About The Company The Martha Graham Dance Company has been a leader in the development of contemporary dance since its founding in 1926. Informed by the expansive vision of

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its pioneering founder, the Company has expanded contemporary dance’s vocabulary with masterpieces such as Appalachian Spring, Lamentation and Chronicle, rooted in social, political, psychological and sexual contexts. Always a fertile ground for experimentation, the Martha Graham Dance Company has been an unparalleled resource in nurturing many of the leading choreographers and dancers of the 20th and 21st centuries. Graham’s groundbreaking technique and unmistakable style have earned the Company acclaim from audiences in more than 50 countries throughout North and South America, Europe, Africa, Asia and the Middle East. Today, the Company continues to foster Graham’s spirit of ingenuity. It embraces a new vision that showcases classics by Graham, her contemporaries and their successors alongside newly commissioned works. The

Company is actively working to create new platforms for contemporary dance and multiple points of access for audiences. The ballets in this performance are presented with support from Board of Trustee members Francis Mason, Judith Schlosser, Delores Weaver, and Inger Witter. Certain works performed this season are available in part through the efforts of Marvin Preston.

Martha Graham Center of Contemporary Dance Staff LaRue Allen, executive director Janet Eilber, artistic director Aaron Sherber, music director Beverly Emmons, lighting designer Faye Rosenbaum, general manager Denise Vale, senior artistic associate

Meghan Hewit McCormick, director of development Suzanne Flanagan, communications and development associate Judith M. Daitsman, lighting supervisor Karen Young, costume supervisor Maria Garcia, wardrobe supervisor Tami Alesson, director of education Virginie Mécène, director of school Suzy Upton, resources manager Angela Wiele, international student advisor A. Apostol, assistant to the executive director Tadej Brdnik, manager of special projects Olga Alagiozidou, school administrator Rachel Boyadjis, administrative and archival assistant

Regisseurs Tadej Brdnik, Linda Hodes, Peggy Lyman, Miki Orihara, Marni Thomas, Denise Vale

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Board of Trustees

North American Representation

Laura J. Gordon, co-chair Judith G. Schlosser, co-chair Inger K. Witter, president LaRue Allen, executive director Peter Allstrom Amy Blumenthal Audra D. Cohen Neila Fortino Beau Gage Inga M. Golay Jon Gralnick John Hotta John Keller Adam Klein Lorraine Oler Paul Szilard Janis Tripodakis Ronald Windisch

Rena Shagan Associates, Inc. (

International Representation Paul Szilard Productions, Inc. Attract Productions (

Alumni Search If you or someone you know has ever performed with the Martha Graham Dance Company or attended classes at the Martha Graham School, please send us names, addresses, telephone numbers and approximate dates of membership. We will add you to our alumni mailing list and keep you apprised of alumni events and

benefits. Call + or e-mail The Martha Graham Center of Contemporary Dance is a not-for-profit corporation, supported by contributions from individuals, corporations, foundations, and government agencies. Contributions in support of the Martha Graham Center will be gratefully received at the Martha Graham Center of Contemporary Dance, Inc., 55 Bethune Street New York, NY 10014, or visit www. For more information, visit ///

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on MArtha graham dance company Legacy. Foundation. Fluid Connection. These are three terms that come to mind when I think of the body of works and established technique created by Martha Graham. The importance of Graham’s legacy to dance performance in America is one that cannot be overemphasized. In similar fashion to the need for an actor to study Shakespeare, Grotowski, or Stanislavsky – the foundation Graham created is one that any young dance student should access in order to build an articulate instrument. In reflecting upon the legacy of Martha Graham, I am inspired to also think of the West African Adinkra symbol of the Sankofa. Various sources describe this Akan image as a bird looking back over its shoulder (in a spiral) with an egg in its beak – perhaps suggesting the future. It is a symbol said to represent the adage, “In order to know where you are going, you have to know where you’ve been.” Graham’s technique is one of the few dance techniques to be developed in this country. It utilizes the dynamics of breath, spiral, contraction, and release within the torso, along with grounded and shifting weight to express theatrical ideas. Graham’s technique was built over decades in support of a repertory that grew to more than 180 dances. Graham’s works are as lyrical as they are percussive; as narrative and direct as they are abstract. Think of the graceful beauty of Diversion of Angels or Acts of Light, and then consider the ritualistic foreboding of The Rite of Spring or the tableau coming to life that is Appalachian Spring. It is awe-inspiring that one artist could speak in so many voices.



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The many memories I have of my time as a dancer with the Martha Graham Dance Company are like tangible dreams that connect me to Graham’s important legacy and voice. These memories are the fluid connection I seek to translate through my own choreography. One memory is of learning and dancing a segment of The Rite of Spring at my audition before Ms. Graham that resulted in my being accepted into the company in 1990. Another memory is of performing the work on tour with the company and being absolutely enraptured by the terror and anticipation of sacrifice that The Rite of Spring describes. The feeling went beyond simply “being in character.” The third is right after the same performance and having the honor or bowing onstage with Martha Graham, as she wore her fabulous Halston gown! My experience with the Graham repertory and technique also informs my work as an associate professor at UNC-Greensboro. I carry with me the depth of body knowledge gained through training at the Juilliard School with well-known Graham teachers Ethel Winter and Kazuko Hirabayshi. In the same way my teachers taught me, I encourage students to understand the foundations and forms they study. To access those who came before in order to move forward. /// Duane Cyrus is an associate professor at UNC-Greensboro, where he teaches dance technique among other courses. As a dancer, he has performed with the Martha Graham Dance Company and Alvin Ailey American Dance Theater.

Become Part of the Creative Process Your Opinions are Your Ticket If My Feet Have Lost the Ground

If My Feet Have Lost the Ground Mar 20/ 21 aT 7:30PM | Historic Playmakers Theatre Torry Bend In collaboration with Raquel Salvatella De Prada, Jeanette Yew and Sarah Krainin Flight is unnatural to the human body. We miraculously defy evolution and step onto planes that travel across the world without incident. This puppet show will tackle this charged environment and the stories that are born or processed in it: a visual investigation of the human relationship to earth and sky.

The Elektra Project Apr 22/23 at 7:30PM | Gerrard Hall Is this a tupperware party? Is that girl singing opera in the kitchen? There’s blood everywhere‌ Haymaker and violinist/composer Jenavieve Varga of Chapel Hill band Lost in the Trees team up to build a new adaptation of Elektra. An American family. Bad dreams. Retribution. And matricide. The Elektra Project

For more information, visit

/ / / 2 0 1 2 / 13 Important/ / / / / / / INFOrmation Please Make Sure We Have Your EMail Address on File! Carolina Performing Arts (CPA) regularly sends updated performance related information via email a few days before the event. Please be sure that the Box Office has your correct email address on file. You can update by calling the Box Office at 919-843-3333 or sending an email to

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spotlight Ted and Lisa Kerner

Photo credit: KPO Photo

When was the last time you traveled more than 150 miles roundtrip to see a performance? If you were to ask long-time WinstonSalem residents Lisa and Ted Kerner, their answer would probably surprise you. Fueled by equal parts desire to expand their ability to interpret the arts and a deep love for UNCChapel Hill, the couple regularly makes the 90-minute journey from their home in Winston to come to Memorial Hall. Traveling to and from Chapel Hill was already second nature to the Kerners when they began attending performances at Carolina Performing Arts in 2008. “It has become quite routine; we just don’t think anything about hopping in the car and coming here,” explains Lisa. Both UNC graduates, the Kerners are a Carolina family – their oldest son is a 2008 graduate and their youngest will graduate in May. Lisa grew up in Winston-Salem and Ted, a Morehead Scholar, is from Kernersville, just a few miles east. They attended the same high school in Winston, but it was at Carolina where the romance began. “He graduated on a Sunday, and we got married the next Saturday,” Lisa says, now thirty-two years on. While Memorial Hall is an autopilot setting for the Kerners today, neither of them set foot in the building during school. “Our first time in Memorial was my medical school commencement,” recalls Ted. “I have a picture of me on stage receiving my diploma.” It was not a lack of interest in the arts that kept them from attending performances as students –

Lisa studied piano and dance growing up while Ted played trumpet and was immersed in the brass band tradition of the Moravian Church. Rather, their full schedules as chemistry and pharmacy majors left little time for much of anything besides classes and labs. The Kerners have more than made up for any missed performances since then, though

Scotland. “We love the opportunity to choose things we know nothing about or aren’t very familiar with,” says Lisa. Both Ted and Lisa are excited about the creation of new and sometimes less traditional works and have been to many of this year’s premieres as part of The Rite of Spring at 100. “We feel very fortunate to be part of


"We feel very fortunate to be part of something this innovative, this big. It’s a seminal event in the arts…" ////////////////////////////////////////////////////////////////////////////////// their schedules are no less busy. Lisa is an active volunteer at Winston-Salem’s Hospice and Palliative Care Center and serves on the External Advisory Board for UNC’s Program in the Humanities and Human Values. Ted has been on the UNC Health Sciences Board of Visitors and was recently appointed to the board of The Medical Foundation of North Carolina. Now in their fifth season as Carolina Performing Arts subscribers, Ted and Lisa have enjoyed a tremendous variety of artists from the Bolshoi Ballet and Béla Fleck to Maya Beiser and the National Theatre of

something this innovative, this big. It’s a seminal event in the arts,” says Ted, “which made the decision to support Carolina Performing Arts even easier.” “It reinforces everything we love about UNC.” And Lisa finds that there is nothing quite like attending a premiere, “It can be similar to a scientific experiment, right or wrong, it is always very exciting.” So what could top this season’s lineup of world premieres? “Ted wants you to bring Pink Floyd here and let him play the bass,” Lisa says with a big smile. There’s no doubt that would be worth the drive from Winston-Salem! ///



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Friends of Carolina performing arts ////////////////////////////////////////////////////////////////////////////////////////////////

National Advisory Board Comprised of UNC-Chapel Hill alumni and friends, the National Advisory Board champions and supports the vision of Carolina as the nation’s leading university arts presenter. It is with profound gratitude that we thank these outstanding volunteers. Thomas F. Kearns, Jr., Darien, CT, Chair Jane Ellison, Greensboro, Vice Chair Richard A. Baddour, Chapel Hill W. Hodding Carter III, Chapel Hill G. Munroe Cobey, Chapel Hill Peter D. Cummings, Palm Beach Gardens, FL James Heavner, Chapel Hill Cheray Z. Hodges, Chapel Hill Joan C. Huntley, Chapel Hill Sally C. Johnson, Raleigh Emil Kang, Chapel Hill, ex-officio Betty P. Kenan, Chapel Hill Mary Friday Leadbetter, Singapore Michael Lee, Chapel Hill Anne C. Liptzin, Chapel Hill Scott Maitland, Chapel Hill James Moeser, Chapel Hill Patricia Morton, Charlotte Josie Ward Patton, Chapel Hill Earl N. Phillips, Jr., Chapel Hill Wyndham Robertson, Chapel Hill Sharon Rothwell, Ann Arbor, MI Michael Shindler, Orlando, FL Chancellor Holden Thorp, Chapel Hill, ex-officio Michael Tiemann, Chapel Hill

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CAROLINA PERFORMING ARTS ENDOWMENT Do you want to make a lasting impact? The Carolina Performing Arts Endowment provides critical funding each season, helping us bridge the difference between our ticket revenue and the expense of bringing world-class performers to Chapel Hill. Ticket sales alone provide only 45 percent of the total cost of presenting artists on our stages. Our endowment makes what we do possible. Help ensure high-quality programming, discounted student tickets and commissions for new works through a donation or a planned gift today. Future audiences will thank you.

/////////////////////////////////////////////////////////////////////////// Leadership Gifts and Pledges ($500,000 and above) Munroe and Becky Cobey* Ellison Family Foundation Mr. and Mrs. James Heavner* Luther and Cheray Hodges* Thomas F. Kearns, Jr. The William R. Kenan, Jr. Charitable Trust Anonymous William and Sara McCoy

Major Gifts and Pledges ($25,000 and above) Shirley J. Berger† Crandall and Erskine Bowles Dr. Charles B. Cairns and The Family Elizabeth Willis Crockett Blanche Hamlet John W. Hughes III Dr. Joan C. Huntley William D. and Dr. Sally C. Johnson Amanda Kyser Georgia Carroll Kyser† Kimberly Kyser Drs. Michael and Christine Lee Anne and Mike Liptzin Bobby and Kathryn Long Mr. and Mrs. Robert F. Murchison Florence and James Peacock Anonymous Paul and Sidna† Rizzo Deborah and Ed Roach Wyndham Robertson Lee and Myrah Scott Garry and Sharon Snook



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Top of the Hill Restaurant and Brewery Professors Emeriti Charles M. and Shirley† F. Weiss* *Deferred gift † Deceased

Endowed Funds ($100,000 and above) The Hamlet Family Performing Arts Student Enrichment Fund supporting student engagement with artists. The William D. and Dr. Sally C. Johnson Music Enrichment Fund supporting collaborations with the Department of Music. The John Lewis McKee Student Ticket Endowment Fund encouraging the joy of discovery and the thrill of live performance for Carolina students. The James Moeser Fund for Excellence in the Arts supporting artists’ fees for the world’s most recognized and outstanding performers. The Mark and Stacey Yusko Performing Arts Fund supporting Carolina student arts experiences.

//12/13 CAROLINA PERFORMING ARTS ANNUAL GIFTS Contributions received as of January 1, 2013. Performance Benefactors ($15,000 and above) William R. Kenan, Jr. Charitable Trust Amanda Kyser Kimberly Kyser William and Sara McCoy Charles Weinraub and Emily Kass

David Lowry Swain Society ($10,000 - $14,999) The Abram Family Munroe and Becky Cobey Jane Ellison Mr. and Mrs. James Heavner Dr. Joan C. Huntley William D. and Dr. Sally C. Johnson Thomas F. Kearns, Jr. The Kenan Family Foundation Mrs. Frank H. Kenan Thomas S. Kenan III Anne and Mike Liptzin John A. McLendon Francine and Benson Pilloff Paul Rizzo Shirley C. Siegel Mark W. and Stacey M. Yusko

Platinum Tier ($5,000 - $9,999) Castillo-Alvarez Fund of Triangle Community Foundation Eleanor and James Ferguson Patricia and Thruston Morton Josie Ward Patton Mary and Ernie Schoenfeld Douglas and Jacqueline Zinn

Gold Tier ($2,500 - $4,999) Richard A. and Lynda B. Baddour Betsy and Fred Bowman Cliff and Linda Butler Hodding Carter and Patricia Derian Michael and June Clendenin Frederic and Jane Dalldorf Shirley Drechsel and Wayne Vaughn Mimi and James Fountain Dr. Harry Gooder and Ms. Sally Vilas Mr. and Mrs. William H. Grumbles, Jr. Dr. and Mrs. Joseph Gulla Lowell M. and Ruth W. Hoffman Dr. Marcia Anne Koomen Diana and Bob Lafferty Dayna and Peter Lucas Carol and Rick McNeel James and Susan Moeser William I. Morton Paul D. and Linda A. Naylor Phil and Kim Phillips Paula Rogenes and John F. Stewart Coleman and Carol Ross Anonymous

season donors Michael and Andrea Shindler Robert H. and Jane McKee Slater Beverly Taylor Michael and Amy Tiemann Charles M. Weiss Brad and Carole Wilson

Silver Tier ($1,000 - $2,499) James and Delight Allen Michael Barefoot and Tim Manale Neal and Jeanette Bench Dolores Bilangi Kerry Bloom and Elaine Yeh M. Robert Blum Robert W. Broad and Molly Corbett Broad James and Betsy Bryan Timothy Bukowski and Naomi Kagetsu Mr. and Mrs. Edmund S. Burke Dr. and Mrs. Charles B. Cairns Leigh Fleming Callahan Art Chansky and Jan Bolick Sally and Alan Cone in honor of Annie and Mike Liptzin Anonymous William and Barbara Dahl Mr. and Mrs. Douglas Dunnan Frank H. Dworsky Jo Anne and Shelley Earp Dr. Glen Elder, Jr. and Ms. Sandy Turbeville Susan Ehringhaus and Stuart Bondurant Pat and Jack Evans Raymond and Molly Farrow Jaroslav and Linda Folda Diane Frazier David G. Frey Dr. Rebecca Goz Robert and Dana Greenwood Leesie and Bill Guthridge Ann and Jim Guthrie Richard Hendel Charles House John and Martha Hsu Deborah Hylton and Leland Webb Lisa and Emil Kang Mack and Hope Koonce Clara Lee Alice and Sid Levinson Judith Lilley in memory of Al Lilley Harriet and Frank Livingston Donald E. Luse Betty Manning Alice Dodds May Anne and Bill McLendon Dr. and Mrs. Travis A. Meredith Charles and Valerie Merritt Adele F. Michal Anonymous Barry Nakell and Edith Gugger Karl I. Nordling Newland and Jo Oldham Dr. Etta D. Pisano and Jan Kylstra Jolanta and Olgierd Pucilowski Dr. and Mrs. Harold Quinn David and Susan Rosenberg Family Fund of the Triangle Community Foundation Michael and Susan Rota Robert and Helen Siler Lynn Smiley and Peter Gilligan John and Anne Stephens

Photo credit: Lauren McCay

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season donors

Mr. and Mrs. Alan C. Stephenson Kay and Richard Tarr Patti and Holden Thorp Diane Vannais and Charles Waldren Kay and Van Weatherspoon Alan Harry Weinhouse Jesse L. White, Jr. R. Mark and Donna Stroup Wightman John and Ashley Wilson

Bronze Tier ($500 - $999) Pete and Hannah Andrews Lewis Black Tarus Balog in honor of Mr. Michael Tiemann Jack and Jennifer Boger Brody Brothers' Foundation Heng Chu and Ming-Ju Huang Reid and Margaret Conrad Robert and Laura Gutman Clark and Karen Havighurst Gerardo and Jo Heiss Hill Family Fund 2 of the Triangle Community Foundation Charles Hochman and Phyllis Pomerantz Carol Hogue and Gordon DeFriese William and Mary Brenda Joyner Lynn Knauff Joan Lipsitz and Paul Stiller Stephen J. and Karen S. Lyons Dennis Organ Susan Henning and Vikram Rao Stanley Robboy and Marion Meyer-Robboy Andrea Rohrbacher Robert Seymour Mark and Donna Simon Drs. Kenneth and Mary Sugioka Tin-Lup Wong John and Joan Wrede Anna Wu and George Truskey Peter Crichton Xiques

Patron ($125 - $499) Brigitte Abrams and Francis Lethem Anonymous Sindo Amago Nancy Appleby and James Brenner Nina Arshavsky Catherine C. Ascott Rachel Ash Ingram and Christie Austin Peter Baer Andrew Baird Larry and Vicky Band Linda J. Barnard Gracia C. Barry Judith and Allen Barton John W. Becton and Nancy B. Tannenbaum Aysenil Belger Donna Bennick and Joel Hasen Catherine Bergel Alan and Marilyn Bergman Sue Bielawski Gloria Blythe Natalie and Gary Boorman Thomas and Betty Bouldin Craig and Catherine Briner Lolita G. Brockington Ken and Margie Broun



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Betsy Bullen Thomas W. and Gail W. Bunn Bob Cantwell and Lydia Wegman Carolina Home Mortgage Philip and Linda Carl Catharine Carter Charles B. Carver Dianne and Gary Clinton James A. Cobb, Jr. Jay and Barbara Cooper Gehan Corea Joanne and Michael Cotter Richard and Connie Cox Edward Crow Timothy and Anne-Marie Cuellar Dr. and Mrs. James W. Dean, Jr. Jack and Tina Deason John and Jill DeSalva Robert and Nancy Deutsch Mr. and Mrs. Michael J. Donoghue Steven Dubois and Kathleen Barker Robert and Marla Dunham Angela and Sam Eberts Jerry and Adelia Evans William Farley, Jr. in honor of Mary Friday Leadbetter Everette James and Nancy Farmer Stephen Farmer and Susan Steinberg Gail Fearing Frank A. and Patricia Z. Fischer Milton and Emerita Foust Linda Frankel and Lewis Margolis Douglas and Judy Frey James and Marcia Friedman Jeffrey Funderburk Greg and Emily Gangi Kip and Susan Gerard Ann and David Gerber Mike and Bonnie Gilliom Lallie M. and David R. Godschalk Charles and Karen Goss Mary and Al Guckes David and Debbie Hamrick Barbara and Paul Hardin Jay Hargrove and Camille Catlett Robert S. and Leonne Harris Martha Liptzin Hauptman in honor of Anne and Mike Liptzin Charles and Paula Head David and Lina Heartinger Timothy Hefner in honor of Shelby Bond Joan and David Holbrook in honor of Professor Marvin Saltzman Susan Hollobaugh and Richard Balamucki William and Mary Alice Holmes Dr. Beth Holmgren and Mark Sidell Elizabeth M. Holsten W. Jefferson Holt and Kate Bottomley Andrew and Charlotte Holton James and Elizabeth Hooten Mitchell and Deborah Horwitz David and Sally Hubby Marija Ivanovic Drs. Konrad and Hannelore Jarausch Donald and Debra Jenny Chip Johnston Class of 1953 David Jones Hugon and Joanna Karwowski John and Joy Kasson Joan and Howard Kastel Moyra and Brian Kileff

J. Kimball and Harriet King Gary and Carolyn Koch Michael and Maureen Kowolenko Anonymous G. Leroy Lail Ted and Debbie LaMay Barbara and Leslie Lang Ken and Frankie Lee George Lensing, Jr. Madeline and Steven Levine Jason Lieb and Mary Sym David Lindquist and Paul Hrusovsky Richard and Linda Lupton in memory of Mildred C. Lupton, M.A. 1969 Mary R. Lynn Donna Cook and Matthew Maciejewski Samuel Magill Richard Mann Mr. and Mrs. Uzal H. Martz, Jr. Janet Mason Bill and Sue Mattern James O. May, Jr. Tim and Roisin McKeithan Daniel D. McLamb Benny and Ann Morse Charles Mosher and Pamela St. John Reid Muller MD and Shelley Gilroy MD Christopher and Helga Needes John and Dorothy Neter Elisabeth and Walter Niedermann Marilyn and David Oermann Mary Norris and Pat Oglesby Vickie Owens Michele Pas Bettina Patterson Ann Pflugrath Joel and Victoria Pineles Robert and Marilyn Pinschmidt David and Peggy Poulos Dr. and Mrs. Thomas E. Powell III Lilian and James Pruett Bryna and Greg Rapp Barbara Rimer Gerry Riveros and Gay Bradley Dr. Michael and Sandra Roberts Louise A. Robinson Stephen and Esther Robinson Margaret Rook Richard and Rebecca Rosenberg John Sarratt and Cynthia Wittmer Julienne Scanlon Robert Schreiner Carol and David Sclove Jennifer and Bill Selvidge Robert Shipley Jill Shires William A. Shore Keith and Michelle Silva Charles and Judith Smith Dana L. Smith Ed and Carol Smithwick Harriet Solomon John and Carol Stamm Jane and Adam Stein Betsy Strandberg Fund of the Triangle Community Foundation Ron Strauss and Susan Slatkoff James and Sandra Swenberg Angela Lisa Talton Ellyn and Jimmy Tanner Sumner and Charlotte Tanson

Sally and Nick Taylor Colin G. Thomas, Jr. Audie and Janice Thompson Rollie Tillman Aubrey and Jeanette Tolley Carol Tomason M.E. Van Bourgondien Susan Wall R.H. and Barbara Wendell Marlene and Roger Werner Wellspring Fund of Triangle Community Foundation Harold and Kathryn Wiebusch Catherine B. Williams John W. Williams, Jr. and Margaret Gulley Louise B. Williams and Richard Silva Ron and Beverly Wilson Derek and Louise Winstanly Eliza M. Wolff Virginia L. Wu Duncan and Susan Yaggy Alex and Tamara Yamaykin David and Dee Yoder Betty York

Undergraduate and Graduate Student Members ($35) Lauren Alexander Class of 2011 Laura Hamrick Christina Horsford Marc Howlett Quinn Jenkins Hannah Martin Charles McLaurin Evan Shapiro Emily Simon Claire J. Thomson Hope I. Thomson Brendan and Tamara Watson Yuying Xie

Carolina Performing Arts Staff Contributions Rachel Ash Jennifer Cox Raymond Farrow Butch Garris Mike Johnson Emil Kang Daniel D. McLamb Mark Z. Nelson Mark Steffen

For a complete listing of all annual fund donors, please visit

STUDENT TICKET ANGEL FUND Contributions received as of January 1, 2013. “Brightest Star of All” ($25,000 and above) Joseph and Beatrice Riccardo Robert and Mary Ann Eubanks

“Radiance Shine”

($10,000 - $24,999) Mark W. and Stacey M. Yusko

“Priceless Gem” ($5,000 - $9,999) Scott Garcia and Debbie McDermott* Thomas F. Kearns, Jr. Thomas S. Kenan III

“All Praises Thine” ($2,000 - $4,999) Elizabeth Bennett Terrell Boyle Patti and Eric Fast Paula Flood Dorothy Shuford Lanier Kay and Van Weatherspoon

“Tar Heel Voices” (Under $2,000) Hannah Kennedy Albertson E. Jackson Allison, Jr., MD K. Dean Amburn Katelyn Ander Steven B. and Elizabeth A. Ayers Linda Barnard Allen and Judith Barton Shannon Beamon Pat Beyle Susan Bickford Dolores Bilangi Lewis Black Robin Lenee Broadnax Roy Burgess Brock Maria Browne Meredith Bryson in honor of Sandra Hardy Bryson Stephanie Bullins Leslie Anne Bunce Aimee Peden Burke Donald Capparella Hodding Carter and Patricia Derian Drs. John F. and Barbara Holland Chapman General and Mrs. Arthur W. Clark James A. Cobb, Jr. Harvey and Kathryn Cosper Richard Craddock Winston Crisp Brooke Crouter Dr. James W. Crow John, Lou Anne and Calleigh Crumpler Robert and Kathleen Daniel Elizabeth Chewning Deacon Robin Dial M'Liss and Anson Dorrance Woody and Jean Durham E. Harold Easter, Jr. Judith Eastman Elizabeth H. T. Efird Jane Ellison Sharon M. Emfinger Nancy J. Farmer and Everette James Mrs. Frederick A. Fearing Susan Ferguson Eleanor and James Ferguson Sandra Strawn Fisher in honor of William Beecher Strawn Mimi and James Fountain George Fowler

Photo credit: Emil Kang

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season donors

John W. Fox Linda Frankel William Friday† Harry Garland Rose Marie Pittman Gillikin Joan Heckler Gillings Jonathan and Deborah Goldberg Carolyn Bertie Goldfinch Don Gray Wade and Sandra Hargrove David and Lina Heartinger Timothy Hefner Joyce Williams Hensley Sara Hill George R. Hodges and Katherine W. Hodges Elizabeth Myatt Holsten William James Howe John and Martha Hsu Dr. Joan C. Huntley Donald and Debra Jenny Mrs. Frank H. Kenan Sharon May Kessler Anonymous Kimball and Harriet King Jamie Kirsch Debby Klein Gary Koch Dr. Marcia Anne Koomen George and Brenda Koonce Gregg and Leslie Kreizman Robert and Geraldine Laport John and Katherine Latimer Teresa Wei-sy Lee Joycelyn Leigh W. Cooper and Lorie Lewis Dawn Andrea Lewis Judith Lilley Anne and Mike Liptzin Walker and Rose Long Dayna Lucas Richard B. Lupton Gabriela Watkins Magallanes M. Jay Manalo Knox Massey Family Catherine Mast Carol and Kenton McCartney Lauren McCay William and Sara McCoy G.W. McDiarmid and Robin Rogers Adele F. Michal Julie Mikus Solon and Joy Minton Melanie Modlin Michele Natale Mark and Leslie Nelson Ellen O'Brien Stephen Andrew Oljeski Jamie and Sean O'Rourke Josie Ward Patton Florence and James Peacock John and Jeanne Pendergrass Kenneth Lawing Penegar Phil and Kim Phillips S. Davis and Katherine Phillips Cathy and William Primack Teresa Prullage John Allen Quintus Charles Ratliff, Jr. Anonymous in honor of Annadele Herman



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Margaret Ferguson Raynor Deborah and Ed Roach Wyndham Robertson Margaret Rook Mr. and Mrs. Vernon Rosen in honor of Wyndham Robertson and in memory of Josie Robertson Rebecca and Rick Rosenberg Andrew and Barbra Rothschild Carrie Sandler Bev Saylor Mary and Ernie Schoenfeld Ms. Marjorie Moses Schwab Evan Shapiro Foy J. Shaw Thomas E. Sibley Mark Sidell Mrs. Sidney Siegel Nancy Howard Sitterson† Robert H. and Jane McKee Slater Photo credit: Emil Kang Sarah Greer Smith Wiley Smith Harriet and Stu Solomon Gina Song Danielle Spurlock Nathan Johnson Stephenson Alan Clements Stephenson Laurence Stith, Jr. Warren and Sara Sturm Dr. Lara Surles John and Joe Carol Thorp Patti and Holden Thorp Mr. and Mrs. John L. Townsend III Caroline Ward Treadwell David Venable Jay and Leslie Walden Sheila R. Ward Shirley Warren in memory of Harold E. Warren Charles M. Weiss Alan Welfare Dr. Judy White Ronald White Barbara Smith White Photo credit: Joe Florence Tom and Lyn White Eliza M. Wolff Ruth Ann Woodley Ron and Ann E. Wooten Roger Chai Yu Douglas and Jacqueline Zinn *Deferred gift †Deceased

SPECIAL EVENT SPONSORS The Abram Family Ron and Ann Bernstein Eva Blass John and Christine Fugo Blue Cross and Blue Shield of North Carolina Mrs. Frank H. Kenan Carol and Rick McNeel Josie Ward Patton Wyndham Robertson Patricia Shaw Michael and Amy Tiemann Mark Trustin All photos by KPO Photo unless otherwise noted.

Photo credit: Barbara Alper



"...what matters is that you are here, that you experienced something unique and amazing, and that you believe in this program just like I do..."

Carolina students have their hands in everything. We double major, participate in undergraduate research, hold off-campus jobs, sing, dance and advocate for what we believe in. Every semester there is something new to be excited about, something different to pass out flyers for. Our four years here are inconsistent in the best way possible, and we are better, more well-rounded people because of it. My four years, however, will be marked by one consistency: Carolina Performing Arts. I worked for Carolina Performing Arts before I was even a student at Carolina, getting a job in Memorial Hall’s Box Office right before my first semester. Freshman year, I enrolled in Emil Kang’s first-year seminar, where I was given the chance to meet incredible artists and performers from all over the world. I was fortunate enough to serve as a teaching assistant for that same class this past fall, and watched 22 new students fall in love with this organization just like I have. Every year I’ve delved deeper into Carolina Performing Arts, working with the marketing and engagement departments, learning what it takes to make an arts presenting business

successful. I’ve seen the ups and downs: the button-pushing performances that challenge audiences, as well as the standing ovations and the carefree dancing in the aisles. Carolina Performing Arts is the cause I’ve chosen to believe in. Their passion to connect students to the arts spans so much further than their affordable $10 ticket price. They work with professors to make connections between academic classes and artistic performance, as well as employ more than 150 students to work in Memorial Hall. Here in this auditorium, students and members of the community sit side by side, because in the middle of Mahler’s fifth symphony, or as an Alvin Ailey dancer spins at center stage, it doesn’t matter what price you paid for your ticket – what matters is that you are here, that you experienced something unique and amazing, and that you believe in this program just like I do. ///

Jenny Kreizman ('14) is a Global Studies major from Durham, with a minor in Arts Entrepreneurship.

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restaurant guide Make a night of it! Visit one of these downtown restaurants for a pre-performance meal or a late-night drink after the show.



BANDIDO’S Mexican Cafe 159 1/2 E. Franklin St., Chapel Hill | 919.967.5048 4711 Hope Valley Rd., Durham | 919.403.6285 122 S. Churton St., Hillsborough | 919.732.8662

Come and taste why we have been voted “BEST” by local reader’s polls 6 times and why our salsa has won FIRST place in 6 local salsa competitions.

BIN 54 1201-M Raleigh Rd.,Chapel Hill | 919.969.1155

Using only the highest quality ingredients, Bin 54 elevates classic steakhouse dishes to a new level of refinement. Staged in a warm contemporary setting, diners are offered glimpses of the woodfired grill, a canopied patio, and the temperature controlled wine room stocked with an extensive inventory of both eclectic and traditional selections.

carolina crossroads restaurant and bar 211 Pittsboro St., Chapel Hill | 919.918.2735

The award-winning AAA Four Diamond and Forbes Four-Star Carolina Crossroads Restaurant and Bar joins the graceful traditions of the south with progressive new American cuisine. Executive Chef James Clark updates his menus seasonally to emphasize regional trends and to incorporate the freshest local ingredients. Breakfast: 6:30am-11am Sunday Brunch: 11:30am-2pm Lunch: Mon-Sun 11:30am-2pm Dinner: Sun-Thu 5:30pm-9pm, Fri & Sat 5:30pm-10pm Bar Open: Mon-Sun 11am-11pm

Il Palio Ristorante at The Siena Hotel 1505 East Franklin St., Chapel Hill | 919.918.2545

Carolina Brewery 460 W. Franklin St., Chapel Hill | 919.942.1800 120 Lowes Drive, Pittsboro | 919.545.2330

Award-winning handcrafted beers paired with fresh and creative fare. Casual and fun atmosphere. Tue-Thu: 11am-12am Fri & Sat: 11am-1am Sun & Mon: 11am-11pm

Consistently awarded Four Diamonds by AAA and acclaimed by Conde Nast, Il Palio offers the finest Italian cuisine by Executive Chef Adam Rose and his staff. Seasonal menus showcase the freshness, excellence and diversity of NC's local farmers and artisan producers. Experience the elegant dining room, intimate bar, or casual outdoor seating. Call for reservations.

Mediterranean Deli & Catering 410 W. Franklin St., Chapel Hill | 919.967.2666

Be a part of our restaurant guide! Call Amy Scott or Devon Semler at 919.834.9441 or email or



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Voted best caterer in the Triangle by both Independent Weekly and Chapel Hill Magazine readers 2011 and 2012. Pita bread baked on site using local, certified organic flour for a fully Kosher pita. Mon-Sat: 11am-10pm | Sun: 11am-9pm

adv ert isement



Panera Bread

Shula's 347

Enjoy delicious soups, fresh tossed salads and hearty hot and cold sandwiches in a comfortable environment. Our breads, bagels, cookies and pastries, are baked fresh daily. Free wireless internet access is available.

One Europa Dr., Chapel Hill | 919.968.4900 Inside of the Sheraton Chapel Hill Hotel

R&R Grill

Shula's 347 features only Angus beef, the most tender of all cattle breeds, for the incredible selection of steaks and burgers. Founded by legend Don Shula, the most winning football coach in history, Shula's 347 is an impressive display of memorabilia showcased on football leather covered walls and beautiful dark woods. Patrons can enjoy the finest of beef, delicate seafood, fan favorite appetizers, and desserts.

137 E. Franklin St., Chapel Hill | 919.240.4411

Everyone needs some R&R! Join us for 1/2 priced appetizers from 4-6pm Mon-Friday 1/2 priced wine bottles on Thursday


Mon-Sat: 6am-9am | Sun: 7:30am-9pm

Mon-Wed: 11am-12am or Empty Thu-Sat: 11am-2am | Sun: 10am-12am or Empty

raaga 3140 Environ Way, Chapel Hill | 919.240.7490

Raaga offers authentic Indian cuisine and a royal dining experience. After traveling the world for 35 years, our chef Durga Prasad has made Chapel Hill his home. Our world-renowned chef provides you with a unique dining experience. Lunch: Mon-Fri: 11am-2pm, Sat-Sun: 12pm-3pm Dinner: Mon-Sun: 5pm-10pm (reservations recommended)

456 W Franklin St.,Chapel Hill | 919.933.1177 Mezze-Pidde-Bar-Lounge

Classic Turkish and Ottoman cuisine in an authentic setting, where the flavors and atmosphere whisk you away to Turkey. The extensive menu is a culinary journey of centuries-old recipes. Global wines, bar and lounge. Lunch: Fri-Sun: 11:30am-3:30pm Dinner: Tue-Thu 4:30pm-10pm

Vespa Ristorante 306-D W. Franklin St., Chapel Hill | 919.969.6600

Fine Italian & Mediterranean cuisine with outdoor patio seating. We also offer early dinning specials from 4pm to 6pm daily. Lunch: 12pm-3pm | Dinner: 4pm-10pm Late Night: 10:30pm-2:30am

2012/13 / / / carolina performing arts 69

last word JOY Kasson


From my usual front-row seat in Memorial Hall, I experience intense engagement with the artists on stage. But when I turn around and look back through the auditorium, I feel special pleasure at noticing the community that each performance has brought together. Neighbors from homes and retirement centers throughout the Triangle, visitors who have made a special trip to Chapel Hill to enjoy a performance, and students and faculty from Carolina all join together for evenings of dance, jazz, classical music, world music, American roots, and special events, an array of performances unrivaled across the country. Having taught at UNC since 1971, I am especially moved to see the ways in which the renovated Memorial Hall, an architectural jewel at the center of our campus, is already serving as an intellectual and cultural center for University life. But I am also aware that we have an opportunity to do so much more to connect students and faculty with the world of the arts. So I was delighted when Carolina Performing Arts applied for, and received, a five-year grant from the Andrew W. Mellon Foundation to help us think about how to make the arts central to the academic mission of the University across the schools, colleges, and disciplines that distinguish Carolina. The Mellon initiative, Arts@TheCore, explores ways to integrate the arts into the classroom experience of Carolina 70


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students in a wide range of disciplines. The new Curatorial Fellowship offers faculty members an opportunity to propose a set of performances that will be central to their teaching and research. Faculty seminars encourage professors to think of innovative ways to bring the arts into their classrooms in subjects ranging from the humanities and social sciences to science, education, social work, public health, journalism – crossing the curriculum in the broadest sense. An innovation fund will support new ideas for teaching and learning with the arts. Professors who already integrate the arts into their classrooms will share their instructional strategies with others who would do so if they knew how to go about it. Because we can draw on the remarkable opportunity afforded by the price structure for student tickets, an evening at Memorial Hall is more affordable than an assigned book on a syllabus. Global studies courses can send students to hear musicians from Africa, Asia, the Middle East, or South America; an arts experience can become part of a course unit in literature, history, psychology, physics, public health, or journalism. Two initiatives this year provide vibrant models for the future: the year-long exploration of The Rite of Spring at 100, with its courses, conferences, and performances that have made Carolina the center of national and international attention, and the February conference on Music and the Global American South that enriched concerts with papers and discussions by

faculty, students, and visitors. Throughout the next four years, faculty members will explore similar possibilities in conversation with the wise and experienced staff at Carolina Performing Arts. I am honored to have been selected as the first Andrew W. Mellon Distinguished Scholar for Carolina Performing Arts, and for the next two years, I will be listening and talking to faculty, students, and artists about new ideas for integrating the arts into all areas of the curriculum. When I turn around and survey the view from the front row, I hope to see even more students and their professors making the connection between the classroom and the performance stage. And I’m hoping that the buzz in the lobby at intermission will inspire new projects for Arts@TheCore in years to come. Come say hello and share your best ideas. ///

Joy Kasson is professor of American Studies and English at UNC-Chapel Hill. Her teaching and scholarship focus on American history, literature, visual, and performing arts. Whenever possible, she brings students to Memorial Hall and performers to her classroom. As the inaugural Andrew W. Mellon Distinguished Scholar for Carolina Performing Arts, she helps spearhead the Arts@TheCore initiative to integrate arts into the academy.


New hope is 165 acres of rolling forest in a unique setting. Located off HWY 86 close to Downtown Chapel Hill, Durham and Hillsborough. 14 buildings available to rent for any size event.

Year Round Availability Retreats Family Reunions Holiday/Birthday Parties Business Conferences Church Events Weddings

We also offer summer camps for K-9th graders. A Place Apart For All Ages 919-942-4716

advertiser’s index

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Ackland Art Museum | Ambiante Collection, The | ADF | Ballet School of Chapel Hill, The | Bandido’s Mexican Cafe | Bernards Formal Wear | Bin 54 | Bookshop of Chapel Hill, The | Carolina Brewery | Carolina Crossroads Restaurant and Bar Carolina Meadows | Cassedy and Fahrbach | Cedars of Chapel Hill, The | Deep Dish | IFC Dina Porter | OIFC Doncaster | Eno Gallery | Fearrington House, The | Fine Feathers | Forest at Duke, The | Galloway Ridge | Goldworks | OIFC Hamilton Hill Jewelry | Home on the Range | Il Palio Ristorante at The Siena Hotel |, 68

Advertisers Make This Book Possible

JewelRecycle | IFC Joe Van Gogh | OIFC KPO Photo | McDuffie Design | Mediterranean Deli & Catering | Nasher Museum of Art at Duke University | New Hope Camp and Conference Center| Nerium AD | Opus 1, inc. | Panera Bread | Peacock Alley | Playmakers Repertory Company | R&R Grill | Raaga | Ronald McDonald House of Durham | Shula's 347 | Sugarland | Talulla's | The Print Shop | IFC Triangle Youth Ballet | Tyndall Galleries | OIFC UNC Health Care | University Florist | University Mall | IFC, OIFC Vespa Ristorante | Village at Brookwood, The | Wells Fargo |

This program book would not be possible without the advertisers who support it. Their patronage makes this information available to you without cost to Carolina Performing Arts. We extend our gratitude and encourage you to thank them, as well. The Carolina Performing Arts programs are published and designed by Opus 1, inc., in cooperation with Carolina Performing Arts. If you are interested in reaching our audience with your message in the Carolina Performing Arts program book, please call or email Amy Scott or Devon Semler at (919) 834-9441 or or

2012/13 / / / carolina performing arts 71

Carolina Performing Arts | 12-13 Program Book 4