Yale in New York presents The Soldier's Tale

T H E S O L D I E R ’ S TA L E A New Production

In a new translation

by Liz Diamond, Stage Director Yale School of Music • Robert Blocker, Dean Yale School of Drama • James Bundy, Dean April 1, 2014 • Morse Recital Hall in Sprague Memorial Hall April 6, 2014 • Zankel Hall at Carnegie Hall

yale in new york David Shfrin, Artistic Director

Yale School of Music · Robert Blocker, Dean Yale School of Drama · James Bundy, Dean Yale in New York · David Shifrin, Artistic Director

The Soldier’s Tale a new staged production Music by Igor Stravinsky Text by C. F. Ramuz Translation by Liz Diamond, Stage Director

the reader the soldier the devil the princess Ani Kavafian* Samuel Suggs ’14mm David Shifrin* Michael Zuber ’14mm Mikio Sasaki ’15mm Stephen Ivany ’14mm Georgi Videnov ’15mm Emily Coates* ’06ba, ’11ma Michael Yeargan * Ilona Somogyi* ’94mfa Solomon Weisbard ’13mfa Dana Tanner-Kennedy ’14mfa Hannah Sullivan ’14mfa

Michael Cerveris ’83ba Tom Peckina ’15mfa James Cusati-Moyer ’15mfa Mariko Parker ’14mfa violin double bass clarinet bassoon trumpet trombone percussion choreographer scenic designer costume designer lighting designer production dramaturg production stage manager

*Yale faculty By arrangement with G. Schirmer, Inc., publisher and copyright owner.

Notes on the Program

Introduction by the Directors

The Genesis of The Soldier’s Tale

In the decades since its 1918 premiere, The Soldier’s Tale has had all kinds of productions: adapted for stars to read solo, concertized without spoken text, staged as a ballet with dozens of dancers, adapted and translated for Inuit speakers, adapted as a piece about a ldier in Iraq, and produced by PBS as a marvelous cartoon illustrated and directed by R.O. Blechman. Nearly 100 years after its premiere, and inspired by Stravinsky’s original “fairground theatre” conception, we’re pleased to revive this deceptively charming, bitter moral fable in its fully staged form, using simple design elements, seven musicians, and four actors, all faculty, student, and alumni members of Yale’s distinguished artistic community. We’ve envisioned this production as a music/dance chamber theater piece, in which the playfully rhyming poetry of the libretto, and movement and dance (from ballet to jazz to hip-hop) will collide and combine, much as the lyrical and ironic modes of the music do. At the heart of The Soldier’s Tale is a great, aching longing for a sense of place, which we seem to have abandoned in our modern “pursuit of happiness.” At the same time, the unsentimental exuberance of the music, its cosmopolitan celebration of sounds— modern and folk, jazzy and classical— seems to urge us to brace up, to make choices with our eyes open. With heartfelt thanks to our collaborators for lending their time and talent to the cause, we welcome you to this Yale in New York production of The Soldier’s Tale. Enjoy!

The first decades of the 20 th century in Russia, known as the Silver Age, was a time of extraordinary intellectual and artistic ferment. This Janus-faced moment produced fantastical hybrid works that combined mysticism with the machine age, reimagined folk art through radical aesthetic innovations, and infused forgotten art forms with the spirit of modernity. One of the most famous re-imaginings of Russian folk culture was Stravinsky’s groundbreaking, incendiary Rite of Spring. Stravinsky returned to the wellspring of Russian folk material many times, discovering there the stories that would inspire his ballets The Firebird and Petrushka and his music theater gem The Soldier’s Tale.

—Liz Diamond and David Shifrin

With the outbreak of the First World War and the Russian Revolution, Stravinsky found himself in dire financial straits. Living in forced exile in Switzerland and unable to access his bank accounts back in Russia, Stravinsky devised The Soldier’s Tale as an inexpensive, mobile production he could tour as a money-making venture. Some of his happiest childhood memories were of the puppet shows, clowns, and musicians who performed at Russian country fairs, and he wanted to create a similar type of popular entertainment.

He and his collaborator, the Swiss librettist C.F. Ramuz, based The Soldier’s Tale on an old folk tale, “The Runaway Soldier and the Devil,” which Stravinsky had found in the collection of folklorist Alexander Afanasyev. Considered the Russian equivalent of the Brothers Grimm, Afanasyev painstakingly recorded more than 600 Russian folk and fairy tales, including a group of stories that feature a young soldier called Ivan who, in a variety of clever ways, manages to outwit the devil. Stravinsky’s version complicates the story, however, offering a sharp moral to the fable.

Notes on the Program

The Soldier’s Tale is a picture of a man entangled in a devil’s bargain. The Soldier is caught between worlds just as Stravinsky was caught between cultures, political systems, and countries. It seems, at first, to be a story we know about the dangers of filthy lucre, but the piece slowly reveals itself to be as critical of the revolution’s nostalgic longings for a homeland as it is of unbridled capitalist gain. Finally, the story takes an unsettling turn to contemplate a more existential question.

In 1918, The Soldier’s Tale premiered in Lausanne, but Stravinsky was unable to tour the production due to the outbreak of the flu pandemic. Since then, it has been remounted in a variety of productions, including concert and ballet versions as well as fully realized stagings.

What we discover in the end is that modernity itself is, perhaps, a devil’s bargain. If the project of modernity was, as Ezra Pound wrote, to “make it new,” Stravinsky asks, what must be destroyed to make way for such renewal? And at what price?

—Dana Tanner-Kennedy ’14mfa Production Dramaturg

“I have always had a horror of listening to music with my eyes shut, with nothing for them to do. The sight of the gestures and movements of the various parts of the body producing the music is fundamentally necessary if it is to be grasped in all its fullness.”

—Igor Stravinsky

The Music: Revolution and Evolution L’histoire du Soldat (The Soldier’s Tale) is as revolutionary in its musical parameters as in its bohemian conception. It is scored for the unconventional septet of violin, double bass, clarinet, bassoon, cornet (a close relative of the trumpet), trombone, and percussion. The composer treats each player as a soloist, fully exploiting each instrument’s distinctive character and extramusical associations.

The violin is the central protagonist, representing the soldier and his fiddle; the percussionist— with little precedent in music history—takes on a central role as the musical embodiment of the devil. With the remaining instruments, Stravinsky provides a jazz band of sorts, complete with a brass section, clarinet (a central instrument in early jazz), and rhythm section. The bassoon, with its wide range, is the composer’s stand-in for the saxophone.

Around the time of the war, American jazz music made its way to Europe with American troops.

Stravinsky studied some jazz scores with great fascination, though he never heard jazz performed. The composer noted, “Jazz meant a wholly new sound in my music, and Histoire marks my final break with the Russian orchestral school in which I had been fostered.”

The Soldier’s Tale was written by a composer swallowed up in a great exodus, wherein the movement of people across borders and oceans mixed language, culture, and art with rapidity and vigor. Music was more portable than ever, its mobility embodied in the styles entwined into L’histoire: Viennese waltz, gypsy violin music, Argentinian tango, military brass bands, the Spanish pasodoble, and even a chorale that appropriates the style of Lutheran hymn settings.

Notes on the Program

These cosmopolitan influences all come together in the central Petit concert, wherein Stravinsky layers musical motives from earlier in the narrative, even mixing their metrical groupings. The result is reminiscent of walking through a village and hearing strains of different music coming from each house. The spare orchestration makes this layering even easier to discern. Here is perhaps Stravinsky’s most boldly modern statement in L’histoire du soldat: the simplicity of the instrumentation— with its bright colors and distinctive timbres—paradoxically enhances the complexity of the music. Yet this complexity never muddles the sinister fun of the score.

The harmonic language of L’histoire appropriates traditional tonality in a new way. Stravinsky’s earlier works strike listeners as dissonant, more preoccupied with clashing sonorities than with the resolution of harmonies— although our ears do mislead us. In L’histoire, Stravinsky incorporates traditional triadic harmonies and diatonic voice-leading (picture the white keys on a piano), yet in loose, playful, occasionally grotesque ways.

We are shocked by hearing the familiar, and are shocked a second time by the manipulation, fragmentation, and distortion of the familiar.

Surprising asymmetry and polytonality (the simultaneous use of multiple keys) throw off our expectations.

In another way, the tongue-in-cheek appropriation of “traditional” diatonic composition— in a manner that defies that very tradition— engenders a sense of surrealism, in that it appropriates the familiar in an unexpected and irrational way. Just as Dalí shows us everyday images through a distorted lens of dream-like hallucination, Stravinsky incorporates elements of the music that we hear every day, but blurs them. This music is both intellectually stimulating and emotionally arousing; it can be appreciated by all audiences, regardless of background.

This above all makes L’histoire a revolutionary work of art.

L’histoire du Soldat marks a pivotal moment in the development of Stravinsky’s style in that it shares much with both what came before and what came after. Though it is difficult to say precisely when the composer became a “neoclassicist”—and Stravinsky himself disliked the term—there is a shift in his compositional style from L’histoire onward, from a Dionysian sensuality to an Apollonian orderliness and clarity.

Stravinsky’s neoclassical period is often said to begin with his ballet Pulcinella from 1920, which incorporates themes taken from early 18th-century anuscripts. Music historians are often eager to divide Stravinsky’s compositional output into “periods.” However, the composer’s evolution was more of a continuum than a series of deliberate philosophical shifts. The historian Theodor Adorno noted, “Parallel to Picasso, Stravinsky had launched neoclassicism in the early 1920s.

But unlike Picasso he practiced the style for more than three decades.” In L’histoire, we find traces of surrealism, primitivism, and neoclassicism.

The work provides a snapshot of a composer trying to hold onto his roots while exploring new, futuristic possibilities. For this reason, it embodies both revolution and evolution.

—Patrick Campbell Jankowski ’15mma

Artist Profiles

Michael Cerveris received the Tony Award for his portrayal of John Wilkes Booth in Assassins, and received Tony Award nominations for his roles in Evita, LoveMusik, Sweeney Todd, and The Who’s Tommy. Other Broadway appearances include In the Next Room (Or The Vibrator Play), Hedda Gabler, Cymbeline, and Titanic. Known for his versatility as an actor, Mr. Cerveris has also performed in Off-Broadway productions of King Lear, Macbeth, Nikolai and the Others, and Sondheim’s Road Show, among others, and brought his performance as Hedwig to the West End in Hedwig and the Angry Inch. Most recently, he performed in the Public Theater’s highly acclaimed production of Fun Home.

Mr. Cerveris has also appeared in many film and television productions, including roles on The Good Wife, Treme, and Fringe. As a singer, he has performed with the New York City Opera and the New York Philharmonic, and at venues including Carnegie Hall, the Kennedy Center, and Lincoln Center. As a solo recording artist, Mr. Cerveris has released two albums, Dog Eared and Piety. His country band, Loose Cattle, recently released their live debut record, North of Houston.

Mr. Cerveris appears by arrangement with Innovative Artists.

Tom Pecinka is a second-year mfa candidate at Yale School of Drama, where he has been seen in Platonov, Peter Pan, Measure for Measure, and House Beast. His New York credits include The Germ Project (New Georges); Losing Tom Pecinka (HERE Arts); Exquisite Corpse (Clubbed Thumb); There Will Be Snacks and The Watermelon Wars (Incubator Arts Project); Dar and Matey’s Christmas SpectaculARGH! (Vampire Cowboys); Richard 3 (New York International Fringe Festival); and The Martian Chronicles (Fordham Alumni Company). His regional credits include The Cat and the Canary (Berkshire Theatre Festival), As You Like It (Shakespeare

on the Sound), and upcoming this summer, Design for Living (Berkshire Theatre Festival). Mr. Pecinka is a graduate of Fordham University.

James Cusati-Moyer is a second-year mfa candidate at Yale School of Drama, where he has appeared in Platonov directed by Joan Macintosh, Tiny Boyfriend, and Measure for Measure. Other credits include Pierrot Lunaire and We Know Edie La Minx Had Gun at Yale Cabaret, Williamstown Theatre Festival Non-Equity Fellowship Company: The Pits directed by Sarah Krohn, Loving v. Virginia directed by Patricia McGregor. He holds a ba in theater performance from Marymount Manhattan College and is the recipient of the Pennsylvania Award for Creative Achievement in the Arts and the Constance Welch Memorial Scholarship. Upcoming: Thunderbodies, Carlotta Festival of New Plays.

Mariko Parker is a third-year mfa candidate at Yale School of Drama, where she has appeared in Peter Pan, The Visit, Romeo and Juliet, Twelfth Night or What You Will, Fox Play, and What a Very Pretty Pageant! Regional credits include In a Year with 13 Moons (Yale Repertory Theatre); Arms and the Man, Macbeth, A Christmas Carol (Guthrie Theater); Our Town, The Clay Cart, Henry VIII, The Comedy of Errors, A Midsummer Night’s Dream, Don Quixote, The Music Man (Oregon Shakespeare Festival); The Diary of Anne Frank, Pericles (Utah Shakespeare Festival); This. and Chamber Music (Yale Cabaret). Ms. Parker can be seen on the Fox series DragonflyTV, on which she has appeared for four seasons. She is a graduate of Boston University and is a recipient of the Jerome L. Greene Scholarship.

Ani Kavafian enjoys a prolific career as a soloist, recitalist, and chamber musician. She has performed with virtually all of America’s leading orchestras, including the New York

Artist Profiles

Philharmonic, the Philadelphia, Cleveland, Detroit, and San Francisco symphony orchestras, and Los Angeles Chamber Orchestra. A renowned chamber musician, she has performed with the Chamber Music Society of Lincoln Center since 1979. Her numerous solo recital engagements include performances at Carnegie and Alice Tully Halls as well as other major venues across the country.

Ms. Kavafian serves as concertmaster of the New Haven Symphony Orchestra, with whom she has performed the Mozart violin concertos. She has participated in the Heifetz International Music Institute, Bravo! Vail Valley Music Festival, Norfok (Connecticut) Chamber Music Festival, Chamber Music Northwest Festival (Portland, Oregon), Great Lakes Festival, the Bridgehampton Chamber Music Festival, and Music from Angel Fire.

Ms. Kavafian appears frequently with her sister, violinist and violist Ida Kavafian. With violist Barbara Westphal and cellist Gustav Rivinius, she is a member of the Triton Horn Trio, with members William Purvis (French horn) and pianist Mihae Lee. She also has teamed with David Shifrin and pianist AndréMichel Schub to form the KavafianSchub-Shifrin Trio. She is co-artistic director of the New Jersey chamber music series Mostly Music. Ms. Kavafian has premiered and recorded a number of works written for her, including pieces by Henri Lazarof, Tod Machover, Michelle Ekizian, and Aaron Jay Kernis.

She has received the Avery Fisher Career Grant and the Young Concert Artists International Auditions Award, has appeared at the White House on three occasions, and has been featured on many network and PBS television specials. Her recordings can be

heard on the Nonesuch, RCA, Columbia, Arabesque, and Delos labels.

Ms. Kavafian is professor of violin at the Yale School of Music. She plays the 1736 Muir McKenzie Stradivarius violin.

An omnivorous chamber musician, Samuel Suggs has performed with members of the Peabody Trio, Pacifica and Juilliard quartets; the New York Chamber Soloists; International Contemporary Ensemble; eighth blackbird; the Andy Akiho Quartet; and his own trio, Department of Jazz. This summer he joins Chamber Music Northwest as a 2014 protégé artist.

Mr. Suggs is the only bassist to win a prize at the Beijing International Music Festival and has performed concertos at the Kennedy Center and Northwestern University, including his reconstruction of Haydn’s lost Violone concerto, which is self-published through Mikroseismos Music. While serving as principal bassist of the Civic Orchestra of Chicago, Mr. Suggs graduated with honors in music theory and cognition at Northwestern.

He is currently finishing his Master of Music degree at the Yale School of Music.

Winner of the 2000 Avery Fisher Prize, David Shifrin has appeared with the Philadelphia and Minnesota orchestras and the Dallas, Seattle, Houston, Milwaukee, Detroit, and Denver symphonies. He has appeared in recital at Alice Tully Hall, Weill Recital Hall, the 92nd Street Y, and at the Library of Congress in Washington, D.C. In addition, he has appeared in recital and as soloist with orchestras throughout Europe and Asia.

A three-time Grammy nominee, he has been the artistic director of Chamber Music Northwest since 1980. He has been an artist

Artist Profiles

member of the Chamber Music Society of Lincoln Center since 1989, and served as its artistic director from 1992 to 2004. A faculty member at Yale since 1987, he is professor in the practice of clarinet and chamber music, and serves as artistic director of the Oneppo Chamber Music Series and the Yale in New York concert series.

Helsinki Festival and at Festival de Inverno in Campos do Jordao, Brazil. He was an ear training teaching assistant for two years at Juilliard, and was a fellow in Juilliard’s Music Advancement Program. Mr. Sasaki currently studies with Allan Dean; previous teachers include Mark Gould, Raymond Mase, and Ray Sasaki.

Starting at age 14, Michael Zuber has appeared as a soloist with the Eastern Festival Orchestra, the Greater Buffalo Youth Orchestra under the baton of Gerard Schwarz, and with the Colburn Orchestra at the Colburn Conservatory in Los Angeles. In 2008 he was awarded the Buffalo Philharmonic’s Young Musician of the Year award. In 2010 he attended the American Institute of Orchestra Studies in Graz, Austria and the Banff master class series. That same year, he earned the opportunity to perform Barber’s Summer Music at Rideau Hall, the residence of the Governor General of Canada. Mr. Zuber studied with distinguished bassoonists Glenn Einschlag, Christopher Millard, Michael Sweeney, and Richard Beene.

Described by Douglas Bourden as playing “exquisitely with beautiful yet subtle phrasing,” Stephen Ivany is a dynamic young performer and music educator. Mr. Ivany currently performs with the Yale Philharmonia on tenor and alto trombone, held a position with the Newfoundland Symphony Orchestra (second trombone/alto trombone) from 2010 to 2012, and is currently bass trombonist of the National Arts Center Orchestra. He is also an active chamber musician, performing regularly with several groups, including Elm City Brass, Hendrie’s Heroes Trombone Quartet, Talamh an Eisc, Innismara Vocal Ensemble, iTromboni, and the Yale Sackbut and Cornetto Ensemble.

Mr. Zuber studies with Frank Morelli and is in his second year of the Master of Music degree program at the Yale School of Music.

Mikio Sasaki is pursuing a master’s degree at the Yale School of Music after completing a bachelor’s degree at Juilliard. He began playing trumpet at age seven, studying with his father, Ray Sasaki. Mr. Sasaki is an active performer of various styles in addition to his dedicated work as an educator and arranger.

He has performed with the Yale Philharmonia, Juilliard Orchestra, Axiom Ensemble, Aspen Festival Orchestra, and Feist, among others, and has appeared as a soloist with the Austin Symphony. In addition, he has performed internationally with Axiom Ensemble at the

Mr. Ivany has spent the last three summers studying at the Domaine Forget Brass Program, where he studied with Pierre Beaudry and Douglas Bourden. He performed in masterclasses for Joseph Alessi, Alain Trudel, Jamie Box, Nitzan Haroz, Jonas Bylund, and Jesper Sorenson. He is currently a Master of Music degree candidate at the Yale School of Music, studying with Scott Hartman, and holds a Bachelor of Music degree with honors from Memorial University of Newfoundland and Labrador.

Georgi Videnov specializes in solo and chamber music performance. He has participated in a number of international competitions, both as a soloist and as a member of a chamber ensemble. As an

Artist Profiles

orchestral player, Mr. Videnov served as a percussionist/ timpanist of the Hyogo Performing Arts Center Orchestra for its 2012–13 season. He has attended the Pacific Music Festival, Brevard Music Festival, and Norfolk Chamber Music Festival.

Mr. Videnov was born in Sofia, Bulgaria and began playing percussion at age six. Shortly after graduating from the Peabody Conservatory, he became an endorser for Vic Firth’s Young Artist Program. He is currently pursuing his master’s degree with Professor Robert van Sice at the Yale School of Music as a recipient of the Stephen and Denise Adams Scholarship, and the Henry and Lucy Moses Scholarship.

Liz Diamond is a resident director at Yale Repertory Theatre and serves as chair of the directing department at Yale School of Drama.

Productions at Yale Rep include Shakespeare’s The Winter’s Tale, Lucinda Coxon’s Happy Now? (also at Primary Stages in New York), Marcus Gardley’s dance of the holy ghosts, Strindberg’s Miss Julie,Sunil Kuruvilla’s Fighting Words and Rice Boy, Seamus Heaney’s The Cure at Troy, Brecht’s St. Joan of the Stockyards, and the premieres of The America Play and The Death of the Last Black Man in the Whole Entire World by Suzan-Lori Parks. She has directed new plays and classical works at theaters including the American Repertory Theater, Public Theater, Arena Stage, and Primary Stages, and has won Obie and Connecticut Critics Circle Awards for Outstanding Direction. Ms. Diamond serves on the Board of the Yale Cabaret and is a visiting professor at the Shanghai Theatre Academy in China. Her production of Blaise Cendrar’s epic poem, La Prose du Transsibérien et La Petite Jeanne de France, premiered last fall at Yale and will be touring in the coming year.

She is currently preparing a new production of Brecht’s The Caucasian Chalk Circle for Yale Rep’s 2014–15 season.

A two-time Tony Award winner, Michael Yeargan’s Broadway credits include this season’s The Bridges of Madison Country as well as The Light in the Piazza, South Pacific, Joe Turner’s Come and Gone, and Awake and Sing.

In London’s West End, he designed Becket with Derek Jacoby, Cyrano de Bergerac with Robert Lindsey, and the musical Napoleon.

Internationally known for his work in opera, he has designed many productions for the Met and New York City Opera. He has designed extensively for resident theaters across the country, including Yale Repertory Theatre, where he serves as resident set designer, and where his designs include the current These Paper Bullets!, The Winter’s Tale, Hay Fever, Pentecost, Edward II, A Lesson from Aloes, The Ladies of the Camellias, and the world premiere of Stephen Sondheim’s The Frogs, which was staged in the Yale swimming pool. Mr. Yeargan is the co-chair of the design department at Yale School of Drama.

Ilona Somogyi’s recent New York area productions include Dinner with Friends (Roundabout Theatre Company); Clybourne Park (Broadway); My Name is Asher Lev, Satchmo at the Waldorf (Westside Theatre); The World Is Round (Ripe Time); Jerry Springer: The Opera (Carnegie Hall); The Lying Lesson, Almost an Evening, Scarcity (Atlantic Theater Company); The Piano Teacher (Vineyard Theatre); Fever Chart, Controversy at Vallalodid, Fucking A (The Public Theater); Regrets, The American Pilot (Manhattan Theatre Club); Hot ’n’ Throbbin’ (Signature Theatre Company); and Savannah Bay (MCC Theater); as well as God of Hell,

Artist Profiles

Wit, Swimming with Watermelons, Unwrap Your Candy, Tabletop, and Hard Times.

Her many regional credits include Three Sisters, We Have Always Lived in the Castle, Passion Play, As You Like It (Yale Rep); Nice Fish, Cat on a Hot Tin Roof (Guthrie Theater); Tom Sawyer, Noises Off, A Midsummer Night’s Dream (Hartford Stage); 4,000 Miles, Lil’s 90th (Long Wharf Theatre); The Torchbearers, The Autumn Garden, Sweet Bird of Youth, Top Girls, On the Razzle (Williamstown Theatre Festival); Tartuffe, Suddenly Last Summer, tick, tick…BOOM!, Scramble, Vigil, and Sedition (Westport Country Playhouse). She was also associate costume designer for Spamalot, The Crucible, and Art on Broadway, and the Ringling Bros. and Barnum & Bailey Circus.

Ms. Somogyi is a proud graduate of Yale School of Drama and is a member of its faculty.

Emily Coates directs the dance studies curriculum at Yale University. She is also a dancer and writer. She has performed internationally with New York City Ballet, Mikhail Baryshnikov’s White Oak Dance Project, Twyla Tharp Dance, and Yvonne Rainer. Career highlights include dancing three duets with Baryshnikov, in works by Mark Morris, Karole Armitage, and Erick Hawkins. At NYCB, she was among the last generation of dancers to work closely with Jerome Robbins. Her choreographic work has been presented at the Baryshnikov Arts Center, Jacob’s Pillow, Cornell, Harvard, St. Mark’s Church, Performa, and Ballet Memphis, among others. She has contributed essays to Performing Arts Journal, Theatre, and the Huffington Post. With particle physicist Sarah Demers, she is currently co-authoring a book on physics and dance, forthcoming from

Yale University Press. She graduated magna cum laude with a ba in English and holds an ma in American studies from Yale.

Solomon Weisbard’s selected credits include Stones in His Pockets (Yale Rep); Rite of Spring (Martha Graham Dance Co.); The Coronation of Poppea (Princeton); The Film Society (Keen/ Theatre Row); I Came to Look for You on Tuesday (La Mama); Lion in Winter, A Class Act (Berkshire Theatre Festival); White’s Lies (New World Stages); Christina Anderson’s Hollow Roots (Public TheatreUnder the Radar); Blind.ness, Quartet v4.0 (Waxfactory); Jitney, A Christmas Carol (Portland Playhouse); Pommerat’s Cinderella (Univ. of Rochester); Faust, The Barber of Seville (Tri-Cities Opera); What of the Night, St. Joan of the Stockyards (Barnard College); 9 to 5, A Chorus Line, All Shook Up (MerryGo-Round Playhouse); Frank London’s A Night in the Old Marketplace (international tour); bauhaus the bauhaus, A Gathering, The Attendants (The Nerve Tank, as resident designer). Original full-length dance/movement pieces with Alethea Adsitt, Jennifer Archibald, Julian Barnett, Ximena Garnica/ Leimay, Lane Gifford, Ofelia Loret de Mola, Patrick Lovejoy, Stefanie Nelson, and three new works as associate set designer with renowned choreographer Bill T. Jones. Education: bfa at Ithaca College, mfa at Yale School of Drama. www.solweisbard.com Dana Tanner-Kennedy is a third-year mfa candidate at Yale School of Drama, where her credits include Peter Pan, Sunday in the Park with George, and Fen. She is the current literary associate for Yale Repertory Theatre and a former managing editor of Theater magazine. She also served as dramaturg and associate artistic director for the 2012 Summer Cabaret. Other dramaturgy credits include Hamlet (Yale Repertory Theatre); Urge for

Artist Profiles

Going (The Public Theater); Loot, Tartuffe, Suddenly Last Summer (Westport Country Playhouse); Psychos Never Dream (Kitchen Dog Theater, Dallas); Romeo and Juliet, and Othello (Shakespeare Dallas). She spent five seasons in the education department at Dallas Theater Center, serving as associate director for two, and interned in the literary offices of Atlantic Theater Company and the Public Theater in New York.

Hannah Sullivan is a third-year mfa candidate at Yale School of Drama, where her credits include Sunday in the Park with George, Petty Harbour, A Duck on a Bike, and Angels in America, Part Two: Perestroika. Her Yale Rep credits include The Fairytale Lives of Russian Girls earlier this season, and Hamlet (assistant stage manager). Ms. Sullivan has also worked with Cirque du Soleil, Arena Stage, The Muny, Yale Cabaret, Shakespeare Festival St. Louis, HotCity Theatre, the New Harmony Project, Opera Theatre of St. Louis, Barenaked Ladies Touring, and most recently on the new Broadway musical Beautiful: The Carole King Musical. Training: University of Evansville.

About the Schools

Yale School of Music Established in 1894, the Yale School of Music continues a position of international leadership in the training of performers, composers, and teachers. A professional graduate school and the only school of music in the Ivy League, the Yale School of Music maintains a highly selective admissions process, admitting approximately 200 students who come from the finest American and international conservatories and universities to study with a distinguished faculty. The School has one of the highest international profiles at Yale, engaging globally in cooperative partnerships with leading conservatories, schools, orchestras, and opera companies.

Alumni of the Yale School of Music hold major positions throughout the music world. In addition to performing with and conducting preeminent American and international orchestras, many graduates have founded or joined prominent chamber music ensembles.

Voice alumni earn renown in professional opera companies, with over a dozen Yale graduates on the artist roster of the Metropolitan Opera. Yale composition alumni enjoy noted success with continual premieres of new music. Along with artistic accomplishment, Yale School of Music graduates provide strong leadership in guiding the course of numerous academic and cultural institutions.

The Yale School of Music awards the doctor of musical arts, master of musical arts, and master of music degrees, as well as the artist diploma and the certificate in performance. Âť music.yale.edu

Yale School of Drama Yale School of Drama (James Bundy, Dean; Victoria Nolan, Deputy Dean), together with Yale Repertory Theatre, trains and advances leaders to raise the standards of global professional practice in every theatrical discipline, creating bold art that astonishes the mind, challenges the heart, and delights the senses.

The application of theory to professional practice is a central tenet of training at the School of Drama, enhanced in scope by the integration of the School with the multiple Tony Award–winning Yale Repertory Theatre in a relationship analogous to that of a medical school and a teaching hospital. More than 40 productions are staged at Yale School of Drama, Yale Repertory Theatre, and Yale Cabaret each season. Yale Rep currently is represented on Broadway by The Realistic Joneses by Will Eno, which it commissioned and first produced in 2012.

Yale School of Drama has an unparalleled track record of training outstanding and diverse students. Together, our students, faculty, staff, and guest artists form a richly collaborative community reflecting the extraordinary breadth of contemporary society, aesthetics, and theatre experience. Âť drama.yale.edu

Staff Listing

yale school of music Robert Blocker, Dean Melvin Chen, Deputy Dean Michael Yaffe, Associate Dean Krista Johnson, Manager of Concert Programs Carol Jackson, Concert Office Coordinator Dana Astmann, Manager of Communications Monica Ong Reed, Design Manager Austin Kase, Video Producer Tara Deming, Operations Manager Chris Melillo, Operations Coordinator Doug Harry, Lighting Eugene Kimball, Recording Engineer Matt LeFevre, Recording Assistant Roberta Senatore, Darren Hicks, Music Librarians Daniel Schlosberg, Rehearsal Pianist New York Publicity: Aleba Gartner Associates

yale school of drama James Bundy, Dean Victoria Nolan, Deputy Dean Joan Channick, Associate Dean Bronislaw J. Sammler, Head of Production Jonathan Reed, Production Manager Brian Cookson, Properties Master David P. Schrader, Properties Craftsperson Jennifer McClure, Assistant Properties Master Tom McAlister, Costume Shop Manager Robin Hirsch, Associate Costume Shop Manager Clarissa Wylie Youngberg, Mary Zihal, Senior Drapers Deborah Bloch, Harry Johnson, Senior First Hands Donald W. Titus, Lighting Supervisor Linda-Cristal Young, Brian Quiricone, Senior Head Electricians Mike Backhaus, Sound Supervisor Monica Avila, Staff Sound Engineer Tyler Kieffer, Sound Engineer Caitie Hannon, Associate Managing Director Anne Middleton, Management Assistant Anne Trites, Director of Marketing and Communications Steven Padla, Senior Associate Director of Communications Laura Kirk, Associate Director of Audience Services Fabian Aguilar, Assistant Costume Designer Kate Newman, Associate Production Manager

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BRENTANO STRING QUARTET

OCT 28

ART OF THE FUGUE

NOV 18

JUPITER STRING QUARTET

JAN 27

BRENTANO STRING QUARTET

FEB 17

DANISH STRING QUARTET

MAR 3

MUSICA AD RHENUM

MAR 31

LETTERS FROM ARGENTINA

MAY 5

LETTERS FROM ARGENTINA

New Quartet-in-Residence Orion String Quartet & Windscape

Dutch early music ensemble Violinist Cho-Liang Lin & leading Argentinian tango musicians

COMPETITION WINNERS

BRENTANO STRING QUARTET

Subscribe to the 2014–2015 season to guarantee the best seats at the lowest prices. Please call us at 203 432-4158 or visit the box office.

Single tickets go on sale July 1.

» music.yale.edu

Upcoming Events

Peter Oundjian, guest conductor

Yale Cellos

april 4 Yale Philharmonia Woolsey Hall | Friday | 8 pm Christopher Theofanidis: Rainbow Body; Beethoven: Piano Concerto No. 3 in C minor, with Robert Blocker, piano; Shostakovich: Symphony No. 5 in D minor.

Free Admission

april 9 Morse Recital Hall | Wednesday | 8 pm Aldo Parisot, director. Music by Barber, Haydn, Bach, and Vivaldi, plus the world premiere of Ezra Laderman’s Partita No. 2 for solo cello, performed by Ole Akahoshi.

Tickets start at $10 • Students $5

Brentano String Quartet

april 25 Yale Philharmonia Woolsey Hall | Friday | 8 pm Peter Oundjian, guest conductor Rossini: Overture from La Scala di Seta; R. Murray Schafer: Harp Concerto, with Antoine Malette Chénier, harp; Ravel: Daphnis et Chloe Suites No. 1 and 2.

Free Admission

april 8 Oneppo Chamber Music Series Morse Recital Hall | Tuesday | 8 pm Quartets by Haydn and Mendelssohn, and short pieces by Dvořák, Shostakovich, Carter, Ives, Bernstein, and more.

Tickets start at $25 • Students $12

Yale Philharmonia

special thanks: Ralph Chipman Hanna Chipman Marie Diamond Allan Dean Scott Hartmann Beth McGuire Frank Morelli Vicki Shaghoian Don Palma Robert van Sice

Robert Blocker, Dean