UCSB Arts & Lectures - Winter Program 2023

Winter Program 2023

Dear Friends,

If there’s anything I’ve learned from this season’s full return to in-person events, it’s that there is no substitute for the awe and wonder of coming together with friends and neighbors to experience a night at the theater. We’ve danced in the aisles (and sometimes on stage!), laughed, learned, and shared moments that took our breath away. And there are plenty of opportunities for oohs and aahs to come.

Swan Lake by renowned French company Ballet Preljocaj is a stunningly reimagined version of the timeless tale, performed to Tchaikovsky’s unforgettable score.

World renowned mezzo-soprano Joyce DiDonato is planting seeds both real and metaphorical with EDEN, a tour de force theatrical production featuring her incomparable voice alongside Il Pomo d’Oro orchestra.

65 years of Monterey Jazz? That calls for a celebration, and jazz giants Dee Dee Bridgewater and Kurt Elling are just the ticket!

When it comes to lectures, we have an embarrassment of riches. NPR correspondent Nina Totenberg will share her insider insights on the Supreme Court, and especially of her dear friend, the late Justice Ruth Bader Ginsburg. If you’re among the many who couldn’t put down The Lincoln Highway – I’ve been hard-pressed to find anyone who isn’t –author Amor Towles will answer your burning questions. Siddhartha Mukherjee’s latest research is all about the cell, and what our ability to manipulate them means for medicine, and our humanity. Don’t miss our book giveaways, thanks to the Thematic Learning Initiative!

We’ve added Justice for All events on important and timely issues of social justice such as antisemitism and mental health, free and open to all.

With spectacular events for the whole family, insightful lectures, and so much more, we hope this winter will find you back with your A&L family often.

With deepest gratitude,

M. Billeci Miller McCune Executive Director

Celesta

Community Partners

Arts & Lectures remains committed to addressing issues of social justice. Marking our third season illuminating a wide spectrum of systemic injustice, the Justice for All programming initiative looks to today’s great minds and creators and to the courageous leaders across the globe who are forging a new path forward. Join us as we learn from those confronting uncomfortable questions, solving difficult problems, and guiding us all toward a more equitable world.

Mar 3

Dr. Thema Bryant Addressing racial, sexual, cultural and societal trauma

Mar 14 Tracy Kidder Inspiring compassionate care for vulnerable populations

JUSTICE FOR ALL UCSB Faculty Advisory Committee

Gerardo Aldana, Ingrid Banks, Charles Hale, Susannah Scott, Jeffrey Stewart, Sharon Tettegah, Kim Yasuda

Nobel Peace Prizewinner fighting

Arts & Lectures’ Thematic Learning Initiative (TLI) extends the conversation from the stage into the community, enriching lifelong learning and initiating dialogue and empowerment through special events, book giveaways and more.

2022-2023: Leadership and Vision

At a time of seismic cultural and political shifts, we look to innovators who show us that the impossible is truly attainable. We look to visionaries who point the way toward a peaceful and prosperous future. And we look to those who came before to guide our leaders of tomorrow. Join us as we examine leadership and vision from the personal to the global, to help us move forward with strength, determination and hope.

Winter Book Giveaways

Free copies of the winter TLI books will be available at Arts & Lectures’ Campbell Hall Box Office at UCSB, the Santa Barbara Public Library (40 E. Anapamu St.) and Goleta Valley Library (500 N. Fairview Ave.) on the indicated dates. Books available while supplies last.

With thanks to our visionary partners, Lynda Weinman and Bruce Heavin, for their support of the Thematic Learning Initiative

Leadership and Vision - Free Events

Mental Wellness and Young People: Leadership in Action

Tue, Jan 31 & Wed, Feb 1 / 8:30 PM / Campbell Hall / FREE (following both episodes of Hiding in Plain Sight)

Local leaders in mental health share how they are addressing the pressing issue of psychological distress among young people. Learn about how they are addressing current challenges and the actions they are taking to improve access to resources both on campus and in the community.

Friendship, Solidarity & Leadership Roundtables

Sat, Feb 11 / 2-3:30 PM / La Lieff Tasting Room / FREE 210 Gray Ave., Santa Barbara Register at thematic-learning.org/2022-2023

Discuss, network and connect with others in facilitated roundtable discussions reflecting on lessons from Nina Totenberg and her book Dinners with Ruth.

Free copies of Dinners with Ruth will be provided in advance.

Mastering the Profile: Amplifying Voices of Unsung Heroes

Sun. Mar 19 / 1-2 PM / Dart Garden / FREE 121 E Yanonali St., Santa Barbara Register at thematic-learning.org/2022-2023

Drawing from Tracy Kidder’s use of the written profile to bring the groundbreaking achievements of humble leaders to broader public attention, former Santa Barbara Independent Executive Arts Editor Charles Donelan will guide participants in crafting compelling profiles of people they know and admire.

Free copies of Tracy Kidder’s Rough Sleepers will be provided in advance.

RELATED EVENT Tracy Kidder, Mar 14 (p. 64)

“People say you can’t teach writing, but I think that’s nonsense.”

– Tracy Kidder

RELATED EVENT Nina Totenberg, Feb 7 (p. 43)

RELATED EVENT Ken Burns’ documentary Hiding in Plain Sight, Jan 31 & Feb 1 (p. 26)

photo: Sergi Jasanada

Joyce DiDonato

EDEN

Tue, Jan 24 / 7 PM / Granada Theatre

Running time: Approx 90 min., No intermission

An Arts & Lectures Co-Commission

Supporting Sponsors: Allyson & Todd Aldrich, Marilyn & Dick Mazess

Presented in association with Community Environmental Council, the Music Academy, Santa Barbara Botanic Garden, and Santa Barbara Choral Society

Made possible by gifts to the A&L Commission of New Work Endowment Fund

“Both music and nature are showing us the way – a way dictated by harmony and balance. Will we answer the call?” – Joyce DiDonato

Joyce DiDonato, Mezzo-soprano/Executive Producer

Zefira Valova, Violin/Conductor

il Pomo d’Oro

Manuel Palazzo, Actor

Marie Lambert-Le Bihan, Stage Director John Torres, Lighting Designer

Sophie Dand & Rachel Walters, EDEN Engagement Managers and Partnership Liaisons

Askonas Holt, Tour Management

Colin Murphy, Production Manager  Zoe Morgan, Stage Manager  Valentin Bodier, LX Board Operator

Javi Castrillon, Set Technician

Set Created by Escenografia Moia Sergi Galera Nebot, Technical Director Joan Font, Design Consultant

Il Pomo d’Oro Music Ensemble

Violin I: Zefira Valova, Edson Scheid, Dmitry Lepekhov, Laura Andriani, Jesús Merino

Violin II: Nicholas Robinson, Lucia Giraudo, Valentina Mattiussi, Naomi Dumas, Katarzyna Olszewska

Viola: Archimede De Martini, Jessica Troy

Cello: Ludovico Minasi, Natalia Timofeeva

Double Bass: Maria Vahervuo, Sue Yelanjian

Theorbo: Gianluca Geremia

Harpsichord: Alberto Gaspardo

Flute: Eva Ivanova

Oboe: Christopher Palameta

Clarinet: Francesco Spendolini

Bassoon: Alejandro Perez Marin

Horn: Nate Udell, Michael Söllner

Partners: International Teaching Artists Collaborative Botanical Gardens Conservation Internationa l

With a special appearance by the Music Academy Sing! Children’s Chorus

The Sing! program is open to students in Santa Barbara County 1st through 6th grade. Performance opportunities include concerts and collaborations with the Music Academy family of artists. Sing! rehearsals are offered at Adams, Canalino, El Camino, Franklin, Isla Vista, and Monroe Elementary Schools, selected in partnership with the Santa Barbara County Education Office.

“SEEDS OF HOPE”

Composed by the Children of the Canterbury Choir, Bishop Ramsey CE School, England, with Mike Roberts

Seed paper provided by GRUPO POSTA, containing Chamomile seeds, handmade using cotton fibers that have been discarded during industrial processes. The seeds have been specifically chosen for their ease of germination and for the benefits they offer to bees, butterflies and other insects.

Biagio Marini: Scherzi e canzone Op.5 III. “Con le stelle in Ciel che mai” (Natività di Christo, per canto solo da cantarsi nel chitarrone) Text: anonymous

Josef Mysliveček: Aria: “Toglierò le sponde al mare” (Angelo di giustizia) Libretto: Giovanni Granelli Oratorio Adamo ed Eva (Part II)

Aaron Copland: 8 Poems of Emily Dickinson for voice and chamber orchestra I. Nature, the gentlest mother

Giovanni Valentini: Sonata enharmonica

Francesco Cavalli: Aria: “Piante ombrose” (Calisto) Libretto: Giovanni Faustini Opera La Calisto (Act I, Scene 14)

Program

Charles Ives: “The Unanswered Question”

Rachel Portman: “The First Morning of the World” Text: Gene Scheer Commissioned by Linda Nelson in memory of her beloved Stuart

Gustav Mahler: Rückert-Lieder: II. “Ich atmet’ einen linden Duft!” Text: Friedrich Rückert

Marco Uccellini: Sinfonia terza (a cinque stromenti) op.7

Christoph Willibald Gluck: Danza degli spettri e delle furie: Allegro non troppo Opera Orfeo ed Euridice Wq. 30 Opera Ezio Wq. 15 Libretto: Pietro Metastasio

Christoph Willibald Gluck: Recitativo accompagnato: “Misera, dove son!”

Christoph Willibald Gluck: Aria: “Ah! non son io che parlo” (Fulvia)

George Frideric Handel: Aria: “As with rosy steps the morn” (Irene) Dramatic oratorio Theodora HWV 68 (Part I)

Gustav Mahler: Rückert-Lieder III. “Ich bin der Welt abhanden gekommen” Text: Friedrich Rückert

About the Program

EDEN is a call to action to build a paradise for today: to fertilize, nourish and protect the pure bliss that the deepest part of us knows and yearns for: the unpolluted perfume of a linden branch; the comforting shade of a towering tree; the breathtaking sanctity of pure love; the generosity of the endless light that breaks open for us every single morning; the death of the world we have known, only to embrace and live aloud in our heaven, our love, and our song.

Fusing music, movement and theater, EDEN is a breathtaking, through-performed tour de force from the multiaward-winning Joyce DiDonato that’s been immediately celebrated as iconic and groundbreaking. EDEN explores our individual connection to nature and its impact on our world. By traveling seamlessly through four centuries of music, including a new commission from Academy Awardwinning composer Rachel Portman, a searing and singular experience of hope unfolds. To ensure that the EDEN experience continues to grow outside of the concert hall, each audience member receives seeds to plant as Joyce asks: “In this time of upheaval, which seed will you plant today?”

Joyce DiDonato

Kansas-born Joyce DiDonato entrances audiences across the globe, and has been proclaimed “perhaps the most potent female singer of her generation” by The New Yorker. She is the winner of multiple Grammy Awards and the 2018 Olivier Award for Outstanding Achievement in Opera. With a voice “nothing less than 24-carat gold” according to The Times, Joyce has soared to the top of the industry both as a performer and a fierce advocate for the arts, gaining international prominence in operas by Handel and Mozart, as well as through her varied and highly acclaimed discography. She is also widely celebrated for the bel canto roles of Rossini and Donizetti.

Joyce’s exciting 2021/22 season has so far included European tours of her baroque-inspired programme My Favourite Things with Il Pomo d’Oro, in cities including Edinburgh, Salzburg, Bucharest, Barcelona, Antwerp and Lisbon, as well as her Winterreise and In My Solitude recital programmes with pianist and long-time collaborator Craig Terry. Joyce has also returned to the Royal Opera House Covent Garden as Irene in Handel’s Theodora, alongside Julia Bullock and Jakub Józef Orliński. Most recently, Joyce has been touring her newly released album EDEN around Europe and the USA with Il Pomo d’Oro and Maxim Emelyanychev.

Recent highlights have included In My Solitude in Oviedo, Barcelona, Madrid, Essen, Amsterdam, Prague and St Petersburg, a breathtaking recital in Bochum for the Met Stars Live in Concert series and Winterreise at the Musikverein Vienna and Festspielhaus Baden-Baden with Maxim Emelyanychev and Yannick Nézet-Séguin respectively. Joyce was Carnegie Hall’s 19/20 Perspectives Artist with appearances including the Chicago Symphony Orchestra under Muti and Winterreise with Nézet-Séguin. The season also held the final tour of her album In War & Peace with Il Pomo d’Oro to South America culminating in Washington DC, and a tour with the Orchestre Métropolitain under Nézet-Séguin.

In opera, Joyce’s recent roles include Agrippina at the Metropolitan Opera and in a new production at the Royal Opera House, Didon in Les Troyens at the Vienna State Opera; Sesto, Cendrillon and Adalgisa Norma at the Metropolitan Opera; Agrippina in concert with Il Pomo d’Oro under Maxim Emelyanchev; Sister Helen in Dead Man Walking at the Teatro Real Madrid and London’s Barbican Centre; Semiramide at the Bavarian State Opera and Royal Opera House and Charlotte Werther at the Royal Opera.

Much in demand on the concert and recital circuit, Joyce has held residencies at Carnegie Hall and at London’s Barbican Centre, toured extensively in the United States, South America, Europe and Asia, and appeared as guest soloist at the BBC’s Last Night of the Proms. Other concert highlights include the Berlin Philharmonic under Sir Simon Rattle, Orchestre Révolutionnaire et Romantique under Sir John Eliot Gardiner, the Philadelphia Orchestra under Yannick Nézet-Séguin and the Accademia Santa Cecilia Orchestra and the National Youth Orchestra USA under Sir Antonio Pappano.

An exclusive recording artist with Warner Classics/Erato, Joyce’s expansive discography includes Les Troyens, which in 2018 won the Recording (Complete Opera) category at the International Opera Awards, the Opera Award at the BBC Music Magazine Awards and Gramophone’s Recording of the Year, and Handel’s Agrippina which won the Gramophone Opera Recording and Limelight Opera Recording of the Year awards in 2020. Joyce’s other albums include her celebrated Winterreise with Yannick NézetSéguin, Songplay, In War & Peace, which won the 2017 Best Recital Gramophone Award, Stella di Napoli and her Grammy Award-winning Diva Divo and Drama Queens. Other honors include the Gramophone Artist of the Year and Recital of the Year awards, and an induction into the Gramophone Hall of Fame.

Il Pomo D’Oro

The ensemble Il Pomo D’Oro was founded in 2012. It is characterized by an authentic, dynamic interpretation of operas and instrumental works from the Baroque and Classical period. The musicians are all well-known specialists and are among the best in the field of historical performance practice. The ensemble has so far worked with the conductors Riccardo Minasi, Maxim Emelyanychev, Stefano Montanari, George Petrou, Enrico Onofri and Francesco Corti. Concert master Zefira Valova leads the orchestra in various projects. Since 2016 Maxim Emelyanychev has been its chief conductor, and since 2019 Francesco Corti is principal guest conductor.

Il Pomo D’Oro is a regular guest in prestigious concert halls and festivals all over Europe. After the worldwide success of the program In War and Peace with Joyce DiDonato in 2020, Il Pomo D’Oro and Maxim Emelyanychev presented My Favorite Things with her. The ensemble is now on a worldwide tour with DiDonato for EDEN, the latest program and album of Il Pomo D’Oro, Maxim Emelyanychev and the American Mezzo Soprano DiDonato.

The discography of Il Pomo D’Oro includes several opera recordings: G. F. Händel’s Agrippina, Serse, Tamerlano, Partenope and Ottone, Leonardo Vinci’ s Catone in Utica and Alessandro Stradella’s La Doriclea. It features recitals with the countertenors Jakub Józef Orliński, Franco Fagioli, Max Emanuel Cencic and Xavier Sabata, with mezzo sopranos Ann Hallenberg and Joyce DiDonato and with sopranos Lisette Oropesa, Emöke Barath and Francesca Aspromonte. Their instrumental albums include recordings of Haydn’s violin and harpsichord concertos as well as a cello album with Edgar Moreau that received the ‘Echo Klassik’ Award in 2016. Further instrumental recordings are dedicated to the violin concertos and the harpsichord concertos by J.S. Bach, with Shunske Sato and Francesco Corti as soloists, and to virtuoso violin concertos with Dmitry Sinkonvsky.

In 2021, new albums of Bach harpsichord concertos vol.2 with Francesco Corti, Ombra Compagna with Lisette Oropesa (Mozart concert arias) and Jakub Józef Orliński (Anima Aeterna) were released. In 2022, seven albums have been published: Handel’s Apollo e Dafne with Kathryn Lewek (Soprano) and John Chest (Bass), Mandolin on stage with Raffaele La Ragione (Mandolin), the new EDEN recital with Joyce DiDonato, Bach Harpsichord Concertos vol III with Francesco Corti, Violin Concertos by Benda, Graun, Saint-Georges and Sirmen with Zefira Valova as soloist, Roma Travestita

with Soprano Bruno de Sá and Handel’s oratorio Theodora with a stellar cast (Lisette Oropesa, Joyce DiDonato, Paul-Antoine Bénos-Djian, Michael Spyres, John Chest) – also introducing the new vocal ensemble of Il Pomo D‘Oro.

In 2022, Il Pomo D’Oro started a long-term recording project of Mozart symphonies and selected solo concerts with Maxim Emelyanychev conducting.

The albums Anima Sacra with Jakub Józef Orliński and Voglio Cantar with soprano Emöke Barath received the prestigious Opus-Klassik award, and the recording of G.F. Händel’s Serse conducted by Maxim Emelyanychev was awarded the Italian ‘Abbiato del Disco’. In 2018, the recording of Alessandro Stradella’s opera La Doriclea, conducted by Andrea di Carlo, received the German ‘Preis der Deutschen Schallplattenkritik’. Virtuosissimo with Dmitry Sinkovsky, released in 2019, received a ‘Diapason d’Or’. In 2022, EDEN with Joyce DiDonato received a ‘Choc’ from Classica as well as an ‘Opus Klassik’.

Il Pomo D’Oro is the official ambassador of El Sistema Greece, a humanitarian project to provide free musical education to children in Greek refugee camps. Il Pomo D’Oro plays charity concerts and offers workshops and music lessons according to the El Sistema method on a frequent regular basis in various refugee camps in Greece.

The name of the ensemble Il Pomo D’Oro refers to Antonio Cesti’s opera from the year 1666. Composed to the wedding celebrations of Emperor Leopold I and Margarita Teresa of Spain, Il Pomo d’Oro was probably one of the largest, most expensive and most spectacular opera productions in the still young history of the genre. Featuring twenty-four different stage designs, a horse-ballet of 300 horses, a fireworks display of 73,000 rockets, numerous special effects and superlatives, it made the Emperor’s court the highlight of cultural splendor in Europe.

Zefira Valova

Zefira Valova was born in Sofia, where she obtained a Master’s degree at the National Music Academy. From 2009 until 2011, she specialized in baroque violin at the Conservatorium van Amsterdam, having studied with Lucy van Dael.

From 2003 until 2008 she was concertmaster of several orchestras in Bulgaria including The National Youth Orchestra of The Netherlands. She has appeared as a

soloist with the Academic Symphony Orchestra Sofia, Classic FM Radio Orchestra, Chamber Orchestra Orpheus and Ars Barocca Ensemble – awarded by the Bulgarian National Radio with the prize “Ensemble of 2007”.

Zefira Valova is among the founders of the Sofia Baroque Arts Festival; the only annual event dedicated to early music and historically informed performance in Bulgaria. As a member of the European Union Baroque Orchestra in 2008, working with Roy Goodman, Lars Ulrik Mortensen and Enrico Onofri, she started her experience in the historical performance practice.

She has been concertmaster of Il Pomo d’Oro since 2015, mainly under the direction of Maxim Emelyanychev. Since 2016, she has conducted the Sofia Philharmonic Orchestra within their early music series.

Last season she appeared as concertmaster of Il Pomo d’oro performances with Joyce DiDonato, Ann Hallenberg, Franco Fagioli, Jakub Orlinski and Edgar Moreau. She collaborates with Helsinki Baroque Orchestra for a wide range of baroque, classical and romantic repertoire.

She has also collaborated with Orchestra of the Age of Enlightenment, La Chambre Philharmonique, B’Rock, Les Ambassadeurs and others. She appears in chamber music ensembles with pianists Olga Pashchenko, Vasily Ilisavsky, guitarist Izhar Elias and recorder player Erik Bosgraaf.

Zefira Valova was awarded in the competition of the Jumpstart Jr. Foundation, which provided her with a violin Lorenzo & Tomaso Carcassi 1760, Florence.

Marie Lambert-Le Bihan

Marie Lambert-Le Bihan is a Paris-based opera director and lighting designer. Recent credits include direction and lighting for Le Villi (Halle aux grains-Toulouse, cond. Speranza Scappucci), La Fille du Régiment (Opéra Royal de Wallonie starring Jodie Devos and Lawrence Brownlee), lighting for La Casa di Bernarda Alba (Tenerife, dir. Silvia Paoli).

Currently on tour: Mon Amant de Saint-Jean written with and for Stéphanie d’Oustrac and Molière et ses musiques with William Christie and Les Arts Florissants.

She has staged acclaimed productions of Leoncavallo’s Zazà (Opera Holland Park) and La Voix Humaine (Buxton Festival). She was the associate director for Madama

Butterfly (La Monnaie) and La Cenerentola (Opéra de Paris). Other collaborations include The Rain, a virtual reality film by artist HeeWon Lee, Entropy, a scientific lecture with music by Dopplereffekt, and projects with writer Anne-James Chaton.

Marie collaborated extensively with directors Piero Faggioni and David McVicar. She revived La Traviata (Liceu, Madrid, Scottish Opera), La Clemenza di Tito (Toulouse, Marseille, Chicago, Liceu), Die Meistersinger von Nürnberg (Chicago, San Francisco), Carmen (Glyndebourne, Gothenburg) and Andrea Chénier (Liceu, Covent Garden). She also assisted Liliana Cavani, Alfredo Arias, Elijah Moshinsky, Micha Van Hoecke, Lee Blakeley and Chiara Muti. She worked at la Scala, Wiener Staatsoper, Châtelet, Théâtre des Champs-Élysées, Festival d’Aix-en-Provence, Strasburg, Lille, Tokyo, Maggio Musicale, Ravenna Festival, Bologna, Parma, Turin, Genoa, Montpellier, Bari, Palermo and Welsh National Opera.

She works as a translator for various publishers specialized in exhibition catalogues and poetry collections. As a performer and director, she worked on plays by Marivaux, Schnitzler, Goldoni, Calaferte and Le bourgeois Gentilhomme (Teatro Litta).

Marie grew up in Paris and in England. She read literature in Paris and Bologna and trained at la Scala.

John Torres

John Torres is a New York based lighting designer working in theatre, fashion, motion, print and exhibitions. Professionally trained in theatrical lighting design, John has designed for artists such as stage designer and director Robert Wilson, choreographers Lucinda Childs and Trisha Brown and directors Yuval Sharon and Zack Winokur. Recent and upcoming theatrical engagements include, Turandot at Opera National de Paris and Tristan and Isolde at Santa Fe Opera. In fashion, John has designed recent shows for Gucci, Bottega Veneta and Proenza Schouler and is a regular collaborator with fashion photographer Steven Klein. In live music, John is a frequent collaborator with Solange Knowles and recently designed the residency for Usher at The Colosseum in Las Vegas. Within the visual art world, John has designed the exhibition Who is Queen? with artist Adam Pendleton at the Museum of Modern Art in New York and will be collaborating with artist Camille Norment for her upcoming exhibition at Dia Chelsea in New York.

Manuel Palazzo

Studying classical ballet from an early age at the Teatro Colon in his native Argentina, choreographer Manuel Palazzo has traveled the globe performing in both modern and classical dance, opera, theater, film and TV. A regular at the Metropolitan Opera, as well as a featured dancer at the Teatro Liceu (Barcelona) and Teatro Real (Madrid), he has collaborated with directors Sir David McVicar, Harold Prince, Laurent Pelly and Robert Lepage.

Dance credits include participation with Carcalla Dance Theater (Beirut), Belgrade National Theater (Serbia), Lanonima Imperial Dance Company (Barcelona), French Cultural Center (Kinshasa) and Teatro Colon (Buenos Aires). Film and TV credits include Blood Ties, directed by Guillaume Canet, and Boardwalk Empire, directed by Martin Scorsese.

Credits

Joyce DiDonato would like to graciously thank the following for their generous support of EDEN: Sara Morgan, Franci Neely, John Studzinski, Ann Ziff, Helen Berggruen, McDermott Foundation, Linda Nelson, John Singer, Kern Wildenthal, Dame Janet Baker, Michael Beverly, DL, Sarah Billinghurst Solomon Foundation, Katherine G. Farley, Tom and Pamela Frame, Richard Gaddes, The Getty Foundation, Eva Haller, INSPIRATUM, David Jacobs, Eric Laub, Ellen Marcus, Sir Simon Robey.

Joyce would like to thank the Hilti Foundation for their generous support of the EDEN Engagement program.

EDEN has been commissioned by UCSB Arts & Lectures, Stanford Live, Cal Performances at University of California, Berkeley, University Musical Society of the University of Michigan, the Harriman-Jewell Series, Kansas City, and the Abu Dhabi Music & Arts Foundation.

Special Thanks

Emanuel Ax, piano

Leonidas Kavakos, violin Yo-Yo Ma, cello

Program

Ludwig van Beethoven (1770-1827): Symphony No. 4 in B-Flat Major, op. 60 (arr. Shai Wosner)

Adagio – Allegro vivace Adagio

Allegro vivace Allegro ma non troppo - Intermission -

Ludwig van Beethoven (1770-1827):

Piano Trio in B-flat Major, op. 97 (“Archduke”)

Allegro moderato Scherzo (Allegro)

Andante cantabile, ma però con moto

Allegro moderato

Emanuel Ax Leonidas Kavakos Yo-Yo Ma

Fri, Jan 27 / 7 PM / Granada Theatre

Running time: Approx. 90 minutes with Intermission

Major Sponsor: Anonymous

About the Program

Symphony No. 4 in B-flat Major, Opus 60 (arranged for piano trio by Shai Wosner)

For someone so often perceived as an embodiment of the revolutionary musician, it is surprising how rarely Beethoven actually broke the rules. His true genius isn’t in rebelling against his predecessors Haydn and Mozart but rather in expanding their language to reach new, uncharted territories. It enabled him to take the revolutionary ideals he fervently believed in - freedom, individual agency - and reflect them in music without burning down the house.

His 4th Symphony is a case in point. Nestled between two symphonies that are far more famous and dramatic, it can seem less audacious. But it is a prime example of how Beethoven uses existing concepts to express something entirely new.

From the start, Beethoven appears to follow Haydn’s model of opening a symphony with a slow, weighty introduction. But ‘introduction’ is a misnomer here - this music doesn’t exactly set the stage for us. Quite the opposite, in fact, it is daringly abstract: just bare, falling intervals over a diaphanous drone. (You may hear Mahler’s First in it. Or Star Trek. Either way, you are absolutely correct!) We are being blindly led through dark, amorphous space with nothing to indicate the path forward. But just as we hit an impasse, with a sudden chord and a violin flourish - like a burst of sonic light - the music breaks free

photo: Nigel Parry

and sets the rest of the movement on course with irresistible energy. It’s an unforgettable moment, possibly inspired by Haydn’s ‘let there be light’ from The Creation, but fundamentally different: for Beethoven, the triumph of order over chaos is not a religious sentiment but an idealistic, political one. And as if to reiterate that it’s never guaranteed, the music later slides again into that formless abyss, now placing the mysterious drone down in the darkest depths, threatening to devour all other notes. But as if struggling against its pull, the familiar flourishes in the strings that had heralded the moment of freedom build up again, toward an even brighter sonority than before. That’s the one element Beethoven keeps going back to more than anything else in the first movement which he ends with a surge of optimism that is simply intoxicating, the glow of which prevails over the rest of the symphony.

Chamber versions of orchestral music used to be fairly common in the 19th-century. But conveying a Beethoven symphony scored for dozens of instruments through the intimate, more conversational idiom of a piano trio is a bit like translating a truly great novel. To try and illuminate his explosive, timeless ideas through a whole new lens is nothing short of thrilling.

By Shai Wosner

This program opens with familiar music in an unfamiliar form: Beethoven’s Fourth Symphony will be heard in an arrangement for piano trio. Transforming orchestral works into music for piano or chamber ensembles is part of a long, important, and now virtually forgotten tradition. In the eighteenth and nineteenth centuries, when orchestral performances were infrequent and recordings did not exist, such transcriptions allowed music lovers to hear and perform contemporary music. Those transcriptions took many forms. Liszt transcribed Beethoven’s symphonies, Berlioz’s Symphonie fantastique, and many other orchestral works for piano, and in the process he helped bring those works to audiences who might never have a chance to hear them performed by an orchestra. And these arrangements were not just for piano–many were for small chamber ensembles, so that music lovers could play and hear this music in their own homes – Beethoven himself arranged his Second Symphony for piano trio. Today, when we are spoiled by the easy availability of recordings, we should remember the time before recordings when these arrangements brought music into the homes of music lovers and let them keep up with music as it was developing in concert halls far away. The present arrangement of Beethoven’s Fourth

Symphony was made by pianist Shai Wosner, himself well-known for his Beethoven performances.

In the summer of 1806, Beethoven accompanied his patron Prince Karl Lichnowsky to the prince’s summer palace in Silesia. That September, the composer and prince paid a visit to the nearby castle of another nobleman, Count Franz von Oppersdorff. The count was a musical enthusiast almost without equal: he maintained a private orchestra and would hire new staff for the castle only if they played an instrument and could also play in his orchestra. During that visit, the orchestra performed Beethoven’s Second Symphony, and the count commissioned a new symphony from the composer: Beethoven would receive 500 florins, and in return Oppersdorff would get the dedication, the first performance, and exclusive rights to the music for six months. Beethoven’s business dealings could sometimes be slippery, and so they were now. The composer got his 500 florins, but all Oppersdorff got in return was the dedication –Beethoven went ahead and had the Fourth Symphony premiered in Vienna on March 7, 1807, at a private concert that also saw the premiere of the Coriolan Overture and the Fourth Piano Concerto.

The Fourth Symphony has inevitably been overshadowed by the titanic symphonies on either side of it, a relationship best captured in Schumann’s oft-quoted description of the Fourth as “a slender Greek maiden between two Nordic giants.” The Fourth does seem at first a relaxation, a retreat from the path blazed by the Eroica. Some have been ready to consider the Fourth a regression, and others have specifically identified the influence of Haydn on it: the symphony opens with the sort of slow introduction Haydn often used, and it employs the smallest orchestra of any Beethoven symphony (it has only one flute part). But Beethoven’s Fourth Symphony is only superficially Haydnesque, and we need to be careful not to underestimate this music – the Fourth has a concentrated structure and enough energy that it achieves some of the same things as the Fifth, though without the darkness at the heart of that mighty symphony.

The originality of the Fourth Symphony is evident from its first instant–the key signature may say B-flat major, but the symphony opens in B-flat minor. Everything about this Adagio introduction feels strange. Not only is it in the wrong key, but soon it seems to be in no clear key at all. It is hard to make out any thematic material or direction. And the pace of this uncertainty is very slow – in his study of Beethoven’s symphonies, Richard Osborne quotes Carl Maria von Weber’s derisive review

of this opening: “Every quarter of an hour we hear three or four notes. It is exciting!” Yet Beethoven knows what he’s about, and he does the same thing in the introduction to his String Quartet in C Major, Opus 59, No. 3, written at exactly the same time: both works begin in a tonal fog, but those mists blow away with the arrival of the main body of the movement, marked Allegro vivace in both symphony and quartet.

That transition is done beautifully in the Fourth Symphony. As the music approaches the Allegro vivace, huge chords lash it forward, and when the main theme leaps out brightly, we recognize it as simply a speeded-up version of the slow introduction. That shape, so tentative at the very beginning, takes a variety of hard-edged forms in the main body of the movement: it becomes the second theme as well, and it also forms an accompaniment figure, chirping along happily in the background. This is a substantial movement, and it drives to a powerful close.

The Adagio may be just as original. It opens not with a theme but with an accompaniment: the opening dotted rhythms will tap into our consciousness all the way through this movement. Beethoven takes care to mark the first theme cantabile. Hector Berlioz’s comments on this melody may seem a little over the top, but they do speak to its air of great calm: “the being who wrote such a marvel of inspiration as this movement was not a man. Such must be the song of the Archangel Michael as he contemplates the world’s uprising to the threshold of the empyrean.” The second subject, of Italianate ease, preserves some of this same atmosphere. Throughout, Beethoven continually reminds his performers to play not just cantabile but also espressivo, dolce, and legato.

Beethoven marks the third movement Allegro vivace, and this is in every way a scherzo: its outer sections are full of rough edges and blistering energy, and its witty trio is built on a rustic tune spiced with saucy interjections. This movement has an unusual structure: Beethoven brings the trio back for a second appearance (the structure is ABABA) and drives it to a fun close –there is a brief attempt at a fanfare, but this is cut off when Beethoven brings down the guillotine blade of the final chord.

Out of that emphatic ending, the finale bursts to life, and it goes like a rocket. This movement may be in sonata form, but it feels like a perpetual-motion with a basic pulse of racing sixteenth-notes that hardly ever

lets up. There is some relaxed secondary material along the way, but even this is at high speed, and finally the movement races to a grand pause. Out of that silence Beethoven slows the movement almost to a crawl (the perpetual-motion theme feels as if it has become stuck in glue), then suddenly releases it, and the symphony rushes to its powerful concluding chords.

Piano Trio in B-flat Major, Opus 97 “Archduke”

The archduke of this trio’s nickname was Archduke Rudolph von Hapsburg, youngest brother of Emperor Franz. Rudolph studied piano and composition with Beethoven, beginning about 1804, when he was 16. A contemporary portrait shows a young man with fair hair and the full Hapsburg lips; he appears to have been blessed with a sense of humor. Beethoven remained fond of Rudolph, who was destined for the church, throughout his life; it was for Rudolph’s elevation to archbishop that Beethoven composed the Missa Solemnis, and he dedicated a number of his greatest works to Rudolph, including the Fourth and Fifth Piano Concertos, the Hammerklavier Sonata, and the Grosse Fuge, as well as this trio. For his part, Rudolph became one of Beethoven’s most generous and reliable patrons, furnishing him with a substantial annuity for many years and maintaining a collection of his manuscripts. Rudolph, however, did not long survive his teacher – he died in 1831 at age 43.

Beethoven sketched this trio in 1810 and composed it during March 1811, shortly before beginning work on his Seventh and Eighth Symphonies. He was 40 years old and nearing the end of the great burst of creativity that has come to be known as his “Heroic Style,” the period that began with the Eroica in 1803 and ended in about 1812 with the Eighth Symphony. Beethoven was growing increasingly deaf at this time – an unsuccessful performance of the “Archduke” Trio in 1814 was his final public appearance as a pianist – and he would soon enter the six-year period of relative inactivity as a composer that preceded his late style.

The “Archduke” Trio seems well-named, for there is something noble about this music, something grand about its spacious proportions and breadth of spirit. At a length of nearly 45 minutes, it is longer than most of Beethoven’s symphonies, but – unlike the symphonies –this trio is quite relaxed: it makes its way not by unleashing furious energy to fight musical battles but by spinning long, lyric melodic lines. It is as if Beethoven is showing that there is more than one way to write heroic music.

The nobility of this music is evident from the opening instant of the Allegro moderato, where the piano quickly establishes the music’s easy stride (it is characteristic of this music that both outer movements should be marked Allegro moderato rather than the expected Allegro). The piano also introduces the slightly square second theme, and this sonata-form movement develops easily over its lengthy span. Strings open the huge Scherzo, with the piano quickly picking up their theme. Particularly striking here is the trio section – its deep chromatic wanderings alternate with an exuberant waltz and furnish the material for the coda.

The gorgeous Andante cantabile is a set of variations on the piano’s expressive opening subject. These variations proceed by making this simple melody more and more complex: the music appears blacker and blacker on the pages of the score before it falls back to end quietly, proceeding without pause to the concluding Allegro moderato. Full of energy, this rondo-finale is also full of good humor and imaginative rhythms. The music flies to its close on a coda marked Presto.

Program notes by Eric Bromberger

Emanuel Ax

Born to Polish parents in what is today Lyvov, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy.

Mr. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize. In fall 2021 he resumed a post-COVID touring schedule that included concerts with the Colorado, Pacific, Cincinnati and Houston symphonies as well as Minnesota, Los Angeles, New York, Philadelphia and Cleveland orchestras. 2022/2023 will include a tour with Itzhak Perlman “and Friends” and a continuation of the “Beethoven For 3” touring and recording project with partners Leonidas Kavakos and Yo-Yo Ma, this year on the west coast.

In recital he can be heard in Palm Beach, Los Angeles, St. Louis, Chicago, Washington DC, Houston, Las Vegas and New York and with orchestras in Atlanta, Detroit, Boston, San Francisco, San Diego, New York, Naples, Portland OR, Toronto, Philadelphia, Pittsburgh and Cleveland. Touring in Europe in the fall and spring includes concerts in Germany, UK, Switzerland and France.

Mr. Ax has been a Sony Classical exclusive recording artist since 1987 and following the success of the Brahms Trios with Kavakos and Ma, the trio launched an ambitious, multi-year project to record all the Beethoven Trios and Symphonies arranged for trio of which the first two discs have recently been released. He has received GRAMMY® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004/2005 season Mr. Ax contributed to an International EMMY Award-winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Mr. Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th Century Music/Piano). Mr. Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music,Yale University, and Columbia University.

Leonidas Kavakos

Leonidas Kavakos is recognized across the world as a violinist and artist of rare quality, acclaimed for his matchless technique, his captivating artistry and his superb musicianship, and the integrity of his playing. He works regularly with the world’s greatest orchestras and conductors and plays as recitalist in the world’s premier recital halls and festivals. In recent years, Kavakos has also succeeded in building a strong profile as a conductor.

In the 2022/2023 season, Kavakos appears in the U.S. with the National Symphony Orchestra, New York Philharmonic, and with the Minnesota Orchestra in a play-conduct program; and performs in recital with Emanuel Ax and Yo-Yo Ma. He tours Europe with Yuja Wang, and plays a number of concerts throughout Europe and the Middle East with the Royal Concertgebouw Orchestra and Daniel Harding, as well as returning to the Vienna Philharmonic, Bayerischen Rundfunks Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Orchestre Philharmonique de Radio France, NDR Hamburg, and the Czech Philharmonic. He is honored as Artist in Residence at Orquesta y Coro Nacionales de España, where he will appear as both violinist and conductor across the season. He will also conduct the Danish National Symphony Orchestra and RAI Torino Orchestra. Kavakos has two extensive visits to Asia, including a residency at Tongyeong International Music Festival, in addition to a

series of recitals in Japan and South Korea where he will perform Bach’s Partitas and Sonatas, following the release of his critically acclaimed album ‘Bach: Sei Solo’ in 2022.

Kavakos is an exclusive recording artist with Sony Classics. Mostly recently in 2022, Kavakos released Beethoven for Three: Symphonies Nos. 2 and 5 arranged for trio, with Emanuel Ax and Yo-Yo Ma. The second album from this series containing further arrangements of Beethoven Symphonies will be released in Autumn 2022. Kavakos plays the ‘Willemotte’ Stradivarius violin of 1734..

Yo-Yo Ma

Cellist Yo-Yo Ma’s life and career are testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society, or engaging unexpected musical forms, Yo-Yo strives to foster connections that stimulate the imagination and reinforce our humanity.

Yo-Yo Ma was born in 1955 to Chinese parents living in Paris, where he began studying the cello with his father at age four. When he was seven, he moved with his family to New York City, where he continued his cello studies at the Juilliard School before pursuing a liberal arts education at Harvard.

Yo-Yo has recorded more than 100 albums, is the winner of 19 Grammy Awards, and has performed for nine American presidents, most recently on the occasion of President Biden’s inauguration. He has received numerous awards, including the National Medal of the Arts, the Presidential Medal of Freedom, and the Birgit Nilsson Prize. He has been a UN Messenger of Peace since 2006, and was recognized as one of TIME magazine’s 100 Most Influential People of 2020.

Yo-Yo’s latest album is “Beethoven for Three: Symphonies Nos. 2 and 5,” recorded with pianist Emanual Ax and violinist Leonidas Kavakos.

Special Thanks

Matthias Pintscher, Conductor

Martin Adámek, clarinet

Vincent David, saxophone

Lucas Lipari-Mayer, trumpet

Lucas Ounissi, trombone

Aurélien Gignoux, percussion

Pierre Bibault, guitar

Sébastien Vichard, piano

John Stulz, viola

Renaud Déjardin, cello

Film Direction by Hans Karl Breslauer

Musical Score by Olga Neuwirth

Ensemble Intercontemporain

Die Stadt ohne Juden (The City Without Jews)

Sat, Jan 28 / 7 PM (note special time) / Lobero Theatre (note new venue)

Running time: 110 minutes

About the Program

Austrian composer Olga Neuwirth and Ensemble Intercontemporain have long invested in the potential for live performances of film scores to bring new depth and complexity to the concert hall experience. Through live accompaniment of the 1924 silent film Die Stadt ohne Juden, Matthias Pintscher and the musicians of Ensemble Intercontemporain bring their mastery of an extraordinary range of acoustic and electronic instruments to the task of realizing the composer’s brilliant and highly nuanced musical creation.

When Die Stadt ohne Juden was originally exhibited in the late 1920s, it was greeted as a brave rebuke to the rise of anti-semitism in Austria and Germany. The film provided a cautionary tale in the form of a dystopian comedy that unfortunately predicted the horrors of history to come. For decades, the full original cut of the film was thought lost until, in 2015, a complete version was discovered by accident in a Paris flea market. Olga Neuwirth then took on the project of composing a 21st century score for this prescient early 20th century film in order to raise awareness of the renewed rise of anti-semitism in Austria and beyond.

Presented in association with Santa Barbara Hillel and the UCSB Office of Diversity, Equity, and Inclusion

Co-presented with Jewish Federation of Greater Santa Barbara

Camouflage, Ironic Distance and Acoustic Rage

by Olga Neuwirth

Translated by Catherine Kerkhoff-Saxon

My personal history with Die Stadt ohne Juden (The City Without Jews) goes back to the 1980s when I was intensely searching for my identity. While doing so I went on a private guided tour through the Museum of Natural History in Vienna, I noticed some neglected looking objects in the museum’s collections. It turned out I had accidently stumbled upon the suppressed history of a collection of the human remains of murdered Jewish citizens. They had served as anthropological research objects. Shocked, I told Elfriede Jelinek of my discovery. She incorporated my description into a chapter of her book Die Kinder der Toten (The Children of the Dead-1995), and that got the ball rolling. It came to the first public debate on the subject, as well as restitution proceedings and the burial of these human remains. It was also during my “identity search” that I read Hugo Bettauer’s incredibly clairvoyant and visionary book Die Stadt ohne Juden (The City without Jews) written in 1922. And shortly afterwards, I saw the unrestored version of the silent film. So I knew Die Stadt ohne Juden well when in 2016 I was asked by the Wiener Konzerthaus to compose music for the world premiere of the newly restored version of the film.

Today, because politicians are again making hollow formal excuses for racism and everyday hate campaigns, we must put an end to the trivialization of linguistic terms passed down to us. Hence it was particularly important to me to draw a connection with my music from the past (1922/1924) into the present. Also hatred towards Jews is increasingly being expressed today, ever more bluntly–even in Western democracies. Hatred has not disappeared, but was, so to speak, merely absorbed. Indeed, the time has come to stop feigning ignorance and playing down the slogans that are inundating us. The Film Archive Austria has meticulously restored the film, which is rich in gestures, facial expressions and extremely theatrical performances, some of which veer off into grotesque exaggerations. Made in 1924 and based on Bettauer’s novel, the film seems like an apocalyptic vision of what would later become reality. Journalist and author Hugo Bettauer was murdered in his office by a young Nazi only a few months after the film premiered. The murderer was never convicted as he had the protection of anti-Semitic lawyers and influential politicians.

Composing music for this silent film is thus a huge responsibility. It goes without saying that with a medium as fleeting as music, I cannot deliver any sort of objective truth on the film. After analyzing the film material, I could therefore only try to give my own personal musical take on it: a mixture of complexity and productive uncertainty, by applying camouflage techniques, combined with an ironic distance and acoustic rage at the cruelty of humans out of pure selfishness, greed and envy. By using citations, I wanted, among other things, to refer to the jovial quality that was also typical of National Socialistic language and that is being used in the exact same way today. The desire to understand mechanisms such as power, populism and anti-Semitism has always played a significant role in my life. Political engagement was and is my attempt to increase my awareness of the shameless and uninhibited outpouring of resentment, which can now be observed everywhere. The book, which Bettauer subtitled Ein Roman von Ubermorgen (A Novel on the Day After Tomorrow), was also conceived as a scathing satirical analysis of the circumstances of the times. Before the Shoah. Unlike the restored film, the book ends with Vienna’s mayor cynically and hypocritically cooing: “My dear Jew ... “ If an Austrian greets you with “My dear ... “, then you immediately know: Watch out! As drastically depicted in the book, the crowd which had just been euphorically shrieking that all Jews should be expelled from the city, starts cheering when the Jews are asked to return. At the end of the book, Bettauer describes this with bitter irony: “to the sound of fanfare and blaring trumpets, the Mayor of Vienna, Herr Karl Maria Laberl, went out on the balcony and stretched out his arms in a gesture of benediction .... “ Every time I hear the name Karl Maria Laberl, I start laughing because for me it is a clear reference to the founder and leader of Austria’s Christian Social Party (CS), Dr. Karl Lueger, who by 1887 had professed his anti-Semitism.

The German National and Christian Social factions (which are also mentioned in the film) joined forces in 1888 to form an alliance for Vienna’s municipal elections: later they became known as the United Christians. At the time many young clergymen believed that social problems could be solved by resolving what became known as the “Judenfrage” (“Jewish question”). Lueger’s anti-Semitic rhetoric gained widespread popularity. Just as the word “Laberl” has several meanings in Viennese (e.g., “little meat patty”, “small loaf’), the name of Austria’s chancellor in the film, “Dr. Schwerdtfeger”, has a subtext (e.g., it sounds like “someone who sweeps everything aside with his sword”, or even “a sword-waving go-getter”). Initially Chancellor Dr. Schwerdtfeger responds

with reserve to the idea of expelling the Jews, but then for tactical and egotistical reasons moves to make himself the ideological leader of this movement. He delivers emotional speeches before parliament on why it is impossible to co-exist with the city’s Jewish residents. In doing so, he seizes upon a number of stereotypes that strongly coincide with anti-Semitic rhetoric in general, and the way individuals voiced their opinions at the time. In 1899 in Vienna, Karl Kraus called anti-Semitism “the disgrace of the century.” He did not believe in the press’s methods of veiling matters by making them appear ridiculous or in surrounding them in a deathly silence in order to play them down. Like Karl Kraus, Bettauer was an analytical journalist who was critical of the times. Similar to today, people’s lives were dominated by three basic experiences: a sense of loss, the threat of losing their socioeconomic status, as well as a mood oscillating between a culture of revolution, vendettas and agitation – such as often found today in counter movements or public opposition via social networks. And inflation and unemployment exacerbated the tense situation. Populism was and is used to fuel social imbalances and divide the rich and the poor, city and country, locals and foreigners /in- and outsiders.

Current parallels to these hate campaigns and contempt are terrifying. The book, which I read again, as well as the film had a shocking effect. Not only because of the anti-Semitism that was openly expressed in the streets again during the “Waldheim Affair’’ in 1986, putting an end to the lie, namely, that Austria was Hitler’s first victim-but also because of the same mechanisms that are repeatedly employed to win over the perfidy of the “Austrian soul” for diverse purposes. But also because I am troubled by the fact that populism, racism, xenophobia and anti-Semitism are still being practiced and instrumentalised in election campaigns worldwide and so furthering the division of society. No longer do you have to let such “nonsense” as the legal system or the protection of minorities get in your way/hold you back. In this sense the film-and more particularly Hugo Bettauer’s book is extremely topical.

Back to the music. There’s no simple answer to the complicated relationship between image music for a film that due to its subject matter was a prophetic vision. Of course, I don’t want to fall into/indulge in pure representation or “Mickey Mousing”, as Hanns Eisler called it, but sometimes l do anyway, that is, if I think it is necessary - and again and again with bitter irony. For despite how paralyzed I felt (also because not much seems to have changed since the publication of the book in 1922), and

to avoid cliches even if I often allude to them, I have tried to retain a liveliness by making the music both touching and tough, heart-warming and open, amusing and angry, involved and aloof, humorous and sad. It is not only about the anti-Semitism deeply rooted in the Austrian soul, but also about identity and Otherness, home and flight. To just mention a few of the “techniques” I applied: I took and transformed several fragments by Austrian yodelers. They are on the sample that runs throughout the film, although they also appear in some instrumental parts. I’ve also used some very short excerpts of Hans Moser singing Viennese “Heurige Lieder” (wine tavern songs). Hans Moser, who plays the anti-Semitic “Rat Bernard” in the film, was already quite famous, thanks to his appearances in Vienna’s cabarets and revues following World War I. He later became the icon of the typical wine-loving, melancholy Austrian who drinks to forget. In addition. the use of existing musical material can also be found in a fragmented quote from a song that has been used in Austria at rightwing populist election events in recent years. It frightens me with what devotion many people latch on to this kind of nationalist slogan and manipulative music. Yes, sadly, time and again, Austria has been a trailblazer for right-wing movements.

Olga Neuwirth, Composer

Born in Graz, Austria, Olga Neuwirth intended to become a jazz trumpeter until a car accident shattered her jaw at 15. She redirected her attention to composition, studying music – as well as painting and film – in San Francisco, and later in Vienna, where her thesis was on the music in Alan Resnais’ film L’amour à mort. At age 22, she gained international recognition for two short theater pieces on works by Nobel Prize winner Elfriede Jelinek. Her work covers a wide range of genres and media, but with an emphasis on theater and film; she is currently working on an opera for the Vienna Staatsoper.

Ensemble Intercontemporain

Founded in 1976 by Pierre Boulez, Ensemble Intercontemporain is the world’s foremost contemporary music ensemble and winner of the 2022 Polar Prize of the Royal Swedish Academy, the equivalent of the “Nobel Prize” in music. The Ensemble’s 31 soloists share a passion for 20th-21st century music. Under the artistic direction of Matthias Pintscher, the musicians work in close collaboration with composers, exploring instrumental techniques and developing projects that interweave music, dance, theater, film, video and visual arts. In collaboration with the Institute for Research and

Coordination in Acoustics/Music (IRCAM), the Ensemble Intercontemporain is also active in the field of synthetic sound generation.

The Ensemble is renowned for its strong emphasis on music education: concerts for kids, creative workshops for students, training programs for future performers, conductors, composers, etc. As residents of the Philharmonie de Paris, the Ensemble performs and records in France and abroad, taking part in major festivals worldwide. The Ensemble is financed by the Ministry of Culture and receives additional support from the Paris City Council.

Matthias Pintscher, Conductor

The 2022-23 season is Matthias Pintscher’s final season as Music Director of the Ensemble Intercontemporain. In his decade-long artistic leadership of the EIC, Pintscher continued and expanded the cultivation of new work by emerging composers of the 21st century, alongside performances of iconic works by the pillars of the avant-garde of the 20th century. In his valedictory season, Pintscher has a robust season of concerts in Paris including collaborations with the Conservatoire de Paris and Institute for Research and Coordination in Acoustics/ Music (IRCAM), operas-in-concert, and tours throughout Europe and the United States, including performances in Carnegie Hall and Walt Disney Concert Hall.

As a conductor, Pintscher enjoys and maintains relationships with several of the world’s most distinguished orchestras, among them the Bavarian Radio Symphony Orchestra, the Los Angeles Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra and the BBC Scottish Symphony Orchestra. He is also Creative Partner for the Cincinnati Symphony, a title that began with the 20/21 season during the COVID-19 pandemic, and appears with them several times each season as conductor on their regular subscription series, and as performer and creator on other series and specials, with the intent and effect of enlarging the footprint and understanding what it means to be a symphony orchestra in the 21st century. As guest conductor in Europe, he makes debut appearances this season with the Wiener Symphoniker and Gürzenich Orchestra of Cologne. Pintscher has also conducted several opera productions for the Berliner Staatsoper (Beat Furrer’s Violetter Schnee, Wagner’s Lohengrin), Wiener Staatsoper (Olga Neuwirth’s Orlando) and the Théatre du Châtelet in Paris. He returns to the Berliner Staatsoper in 2023 for Die Fliegende Holländer.

Pintscher is well known as a composer, and his works appear frequently on the programs of major symphony orchestras throughout the world. In August 2021, he was the focus of the Suntory Hall Summer Festival – a weeklong celebration of his works with the Tokyo Symphony Orchestra as well as a residency by the EIC with symphonic and chamber music performances. His newest work, Assonanza II, a violin concerto written for Leila Josefowicz, was premiered in January 2022 with the Cincinnati Symphony. Another 2021-22 world premiere was neharot (“rivers”), a co-commission of Suntory Hall, Staatskapelle Dresden, Orchestre Philharmonique de Radio France, Orchestre de la Suisse Romande and Los Angeles Philharmonic.

Pintscher has held titled positions, most recently as the BBC Scottish Symphony Orchestra’s Artist-in-Association for nine seasons. In 2018-19, he served as the Season Creative Chair for the Tonhalle-Orchester Zürich, as well as Artist-in-Residence at the Los Angeles Chamber Orchestra. An enthusiastic supporter of and mentor to students and young musicians, Pintscher was Principal Conductor of the Lucerne Festival Academy Orchestra from 2016-2018 and has worked with the Karajan Academy of the Berlin Philharmonic. He appears virtually every season with the New World Symphony in Miami, a training orchestra for post-conservatory, pre-professional musicians. Pintscher has been on the composition faculty of the Juilliard School since 2014. Matthias Pintscher began his musical training in conducting, studying with Pierre Boulez and Peter Eötvös in his early twenties, when composing soon took a more prominent role in his life. He rapidly gained critical acclaim in both areas of activity and continues to compose in addition to his conducting career.

A prolific composer, Pintscher’s music is championed by some of today’s finest performing artists, orchestras and conductors. His works have been performed by such orchestras as the Boston Symphony, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, Royal Concertgebouw Orchestra and the Orchestre de Paris, among many others. He is published exclusively by Bärenreiter, and recordings of his works can be found on Kairos, EMI, Teldec, Wergo and Winter & Winter.

Monterey Jazz Festival on Tour

Sun, Jan 29 / 7 PM / Campbell Hall

Running time: Approx. 90 minutes

Dee Dee Bridgewater, vocals

Kurt Elling, vocals

Lakecia Benjamin, alto saxophone Christian Sands, piano, music director

Yasushi Nakamura, bass

Clarence Penn, drums

As one of the world’s longest running and most iconic events, the Monterey Jazz Festival celebrates its 65th year with a must-hear once-in-a-lifetime ensemble. Featuring Tony and Grammy Award winning NEA Jazz Master vocalist Dee Dee Bridgewater, alongside Grammy Award winning vocalist Kurt Elling and critically acclaimed rising star saxophonist Lakecia Benjamin, this stellar band will be directed by visionary pianist Christian Sands and anchored by his longtime rhythm section, bassist Yasushi Nakamura and drummer Clarence Penn.

The Monterey Jazz Festival on Tour concept began with its 50th Anniversary in 2007 with the idea of taking the musical spirit of MJF, along with artists who reflect that spirit, and fashion a musical program that engages all the artistry and energy of the festival and bring it to jazz fans throughout the country. That first tour included James Moody, Terence Blanchard, Benny Green, Nnenna Freelon, Derrick Hodge and Kendrick Scott.

Dee Dee Bridgewater

Over the course of a multifaceted career spanning four decades, Grammy and Tony Award-winning jazz giant Dee Dee Bridgewater has ascended to the upper echelon of vocalists, putting her unique spin on standards, as well as taking intrepid leaps of faith in re-envisioning jazz classics. Ever the fearless voyager, explorer, pioneer and keeper of tradition, the three-time Grammy-winner won the Grammy for Best Jazz Vocal Album for Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee.

Bridgewater’s career has always bridged musical genres. She earned her first professional experience as a member of the legendary Thad Jones/Mel Louis Big Band, and throughout the 70s, she performed with such jazz notables as Max Roach, Sonny Rollins, Dexter Gordon and Dizzy Gillespie. After a foray into the pop world during the 1980s, she relocated to Paris and began to turn her attention back to Jazz. Signing with Universal Music Group as a producer (Bridgewater produces all of her CDs), Bridgewater released a series of critically acclaimed titles, beginning with Keeping Tradition in 1993. All but one, including her wildly successful double Grammy Award-winning tribute to Ella Fitzgerald, Dear Ella, have received Grammy nominations.

Bridgewater also pursued a parallel career in musical theater, winning a Tony Award for her role as “Glinda” in The Wiz in 1975. Having recently completed a run as the lead role of Billie Holiday in the off-Broadway production of Lady Day, her other theatrical credits include

Jazz Series Lead Sponsor: Manitou Fund

photo: Kurt Elling Dee Dee Bridgewater

Sophisticated Ladies, Black Ballad, Carmen, Cabaret and the Off-Broadway and West End Productions of Lady Day, for which Bridgewater received the British Laurence Olivier Nomination for Best Actress in a Musical.

As a Goodwill Ambassador to the United Nations’ Food and Agriculture Organization (FAO), Bridgewater continues to appeal for international solidarity to finance global grassroots projects in the fight against world hunger. She spent the last year on an extensive global tour in support of “Dee Dee’s Feathers,” and was recently honored with a stage dedication in her name at the new People’s Health New Orleans Jazz Market. In 2017, Bridgewater was the recipient of an NEA Jazz Masters Fellows Award with honors at the Kennedy Center.

Kurt Elling

Renowned for his singular combination of robust swing and poetic insight, two-time Grammy award winner Kurt Elling has secured his place among the world’s foremost jazz vocalists. The New York Times proclaimed Elling, “the standout male vocalist of our time.” Over a twenty-five year career of touring and recording, Elling has won three Prix du Jazz Vocal (France), two German Echo Awards and two Dutch Edison Awards, and has been nominated for a Grammy award fifteen times. He has had a 14-year run atop the DownBeat Critics and Readers polls, and has won twelve Jazz Journalists Awards for “Male Vocalist of the Year”.

Kurt Elling’s voice is instantly recognizable, embracing listeners with his warm, rich baritone, and navigating the full span of his four-octave range as a virtuoso improvisor and a compelling storyteller. The Guardian (UK) has named Kurt Elling, “a kind of Sinatra with superpowers,” and, “one of jazz’s all-time great vocalists.”

Elling has recorded and toured with Branford Marsalis, Danilo Perez, Stefon Harris, Fred Hersch, James Morrison and Charlie Hunter. He has performed extensively with larger ensembles like The Clayton/Hamilton Orchestra, The National Youth Orchestra (led by Sean Jones), The Bob Mintzer Big Band, The BBC Concert Symphony (led by Guy Barker) The Metropole Orchestra (Holland), The Irish Radio and Television Orchestra (led by Brian Byrne), The Scottish National Jazz Orchestra and The WDR Orchestra and Big Band (Germany).

The Wall Street Journal said, “Elling combines authenticity with stunning originality.” The Washington Post declared that, “since the mid-1990s, no singer in jazz has

been as daring, dynamic or interesting as Kurt Elling.”

Elling’s dynamism is enhanced exponentially by the fact that he consistently generates new vocal material by writing and recording signature and definitive lyrics to the compositions of foundational jazz composers like that of John Coltrane, Keith Jarrett, Pat Metheny, Jaco Pastorius, Wayne Shorter and Joe Zawinul. Additionally, Kurt Elling has co-created multi-disciplinary performances for Chicago’s Steppenwolf Theater and The City of Chicago. Jazz At Lincoln Center saw the world premier of The Big Blind, an entirely new jazz musical-in-progress that Elling is co-writing with collaborator Phil Galdston (“Save The Best For Last”). National Poet Laureate Robert Pinsky declared that, “in Kurt Elling’s art, the voice of jazz gives new spiritual presence to the ancient, sweet and powerful bond between poetry and music.”

Elling has toured the world in a variety of contexts, including UNESCO-sponsored “International Jazz Day” performances in Havana, Cuba, in St. Petersburg, Russia, in Melbourne, Australia and in Washington DC. He has twice performed at the White House, including a performance in collaboration with the late Marvin Hamlisch and the National Symphony Orchestra for President Obama’s first State Dinner. He has served as Artist-InResidence at the Monterey and Singapore Jazz Festivals. As a music industry leader, Elling spent six years serving as a Trustee and two years as Vice Chairman of The National Academy of Recording Arts and Sciences.

Kurt Elling released SuperBlue, recorded in collaboration with Charlie Hunter and members of the future groove band Butcher Brown in 2021 on Edition Records.

Lakecia Benjamin

Voted by 2020 Downbeat Critics Poll Rising star Alto Saxophonist and Up and Coming Artist of the Year by the Jazz Journalists Association, charismatic and dynamic saxophonist Lakecia Benjamin fuses traditional conceptions of Jazz, HipHop and Soul. Benjamin’s electric presence and fiery sax work has shared stages with several legendary artists, including Stevie Wonder, Alicia Keys, The Roots and Macy Gray. As the bandleader of Lakecia Benjamin and Soul Squad, she melds the vintage sounds of James Brown, Maceo Parker, Sly and the Family Stone and the Meters with soaring, dance-floor worthy rhythms. Benjamin’s grooves create something special on every cut – be it a smoldering late-night ambiance, or a forceful jazz intensity, or even the tight funk multi-horn harmony sections.

A streetwise New York City native, born and raised in Washington Heights, Lakecia Benjamin first picked up the saxophone at Fiorello LaGuardia High School for the Performing Arts. From there, she joined the renowned jazz program at New York’s New School University. However, even at that early stage, Benjamin was already playing with renowned jazz figures like Clark Terry and Reggie Workman, which introduced her to opportunities to play and tour with an array of artists, such as Rashied Ali, the David Murray Big Band, Vanessa Rubin and James “Blood” Ulmer. With her deep jazz roots, she was soon in demand as an arranger and horn section leader, landing stints with such acclaimed artists as Anita Baker.

Lakecia Benjamin’s 2020 album Pursuance: The Coltranes is an intergenerational masterpiece that takes one on a journey through the lineage of the music with the works of John and Alice Coltrane. Benjamin pays homage to those who have come before by featuring innovative bandleaders of her generation, such as Reggie Workman (Co-producer and playing), Ron Carter, Gary Bartz, Dee Dee Bridegwater, Meshell Ndegecello, Regina Carter, Bertha Hope, Last Poets, Greg Osby, Steve Wilson, John Benitez, Marc Cary, Marcus Gilmore, Keyon Harrold, Marcus Strickland, Brandee Younger, Georgia Anne Muldrow and Jazzmeia Horn.

Benjamin’s latest and fourth studio album is due out January 27, 2023 via Whirlwind Recordings. The far-reaching new album finds the tour-de-force saxophonist in a poised and profoundly individual position alongside an all-star cast of musicians.

Christian Sands

Christian Sands – Steinway artist and five-time Grammy nominee – is an emerging jazz force. His abundant piano technique perfectly matches his conception, accomplishing a much deeper musical goal: a fresh look at the entire language of jazz. Christian says, “my music is about teaching the way of jazz and keeping it alive.” Whether it’s stride, swing, bebop, progressive, fusion, Brazilian or Afro-Cuban, Sands develops the past while providing unusual and stimulating vehicles for the present… and for the future. He expresses himself through an extensive vocabulary of patterns, textures and structures, all the while maintaining a strong sense of understatement, sensitivity, taste and swing — hallmarks for as long as he has been playing.

On his stunning 2020 album, his third for Mack Avenue Records, Be Water, Sands takes inspiration from water’s tranquility and power and muses on the possibilities of-

fered by echoing its fluidity and malleability. Through ten gorgeous and thrilling pieces, Sands alternately conjures the serenity of a sun-dappled lake and the drama of a relentless thunderstorm.

Since arriving on the scene, Sands has shared the stage with such jazz luminaries as Wynton Marsalis, Diane Reeves, Sheila E, Warren Wolf, Tia Fuller, Gary Burton, Stefan Harris, Teri Lynne Carrington, Jason Moran, Geri Allen, Ben Williams, Randy Brecker, Steve Johns, Avery Sharpe, James Moody, Bill Evans (sax), Russell Malone, Terrance Blanchard, Louis Hayes, Patti Austin, Marcus Baylor, Craig Handy, Carl Allen, Kirk Whalum and Wycliffe Gordon.

The power and prowess of his playing has taken him from the Kennedy Center in Washington, D.C., to the world renowned Newport Jazz Festival, Monterey Jazz Festival, Detroit Jazz Festival, to New York’s celebrated jazz clubs such as the Village Vanguard, Jazz Standard, Blue Note and Dizzy’s Club; to international jazz clubs all over the world.

From a very early age, Christian possessed an insatiable appetite for music. He was enrolled in music classes at age 4 and wrote his first composition at age 5. He started playing professionally at the age of 10, and studied at the Neighborhood Music School and the Educational Center for the Arts in New Haven, CT. He received his Bachelor of Arts and Masters degrees from the Manhattan School of Music. For his participation on the MSM Kenya Revisited album, Sands received a Grammy Nomination for Best Latin Piano Solo.

His meteoric rise in the jazz world already includes performances with the legendary Oscar Peterson and Dr. Billy Taylor. He met Dr. Billy Taylor at the Jazz in July program in 2006, and formed an immediate connection. Dr. Taylor dubbed him his protégé, and Christian has followed in his mentor’s footsteps by encouraging, inspiring and advocating for the preservation and history of jazz. He teaches and promotes the passion and richness of jazz to young people, as well as to mature audiences. In 2015, he started the Jazz Kids of Montmartre in Copenhagen, Denmark, and he also teaches at Jazz in July, where he is an alumnus.

A deeply rich and soulful feeling can be heard in Christian’s music, characterized by his infectious energy and spirit. It was that same spirit that caught the attention of Grammy award winning bassist, Christian McBride, who asked Sands — then 20 years old — to

sit in at the Village Vanguard with his big band, Inside Straight. That appearance has led to Sands becoming a member of bassist Christian McBride’s Trio, with whom he has toured throughout the world. Their 2013 CD release Out Here received a Grammy nomination for Best Jazz Instrumental Album.

Christian provides a soulful melodic touch on S. Epatha Merkerson’s documentary, Contradictions of Fairhope, a soundtrack recorded with McBride. Sands was named one of the future rising stars by Wynton Marsalis in Jet Magazine. Vanity Fair “Jazz Youth-Quake” also named him as a future jazz star. He was a finalist for the 2015 Cole Porter Jazz Fellowship Award sponsored by the American Pianist Association.

An in-demand composer and arranger, he appeared on six albums in 2015 as well as releasing two live recordings: Christian McBride Trio Live at the Vanguard and his debut recording in Denmark Take One Live at Jazzhus Montmartre Copenhagen with drummer Alex Reil and bassist Thomas Fonnesbaek, which has received national and international rave reviews.

Pianist Christian Sands invents and re-invents himself with sonorities which define each moment, rhythms which impel his music forward, structures which are surprising and fascinating — and never for a moment un-musical. He personifies the rising musicality and spiritual aspirations of a singularly gifted musical soul. “To whom much is given, much is expected.” Christian Sands doesn’t disappoint.

“When I first met Christian in 2009, it marked a seminal moment in my career as a bandleader. He was the FIRST young musician I’d met who had the drive, passion and skill of my peers like Roy Hargrove, Eric Reed, Greg Hutchinson and Antonio Hart. He’s only worried about being the best musician he can possibly be. He’s the ultimate professional” — Christian McBride

Yasushi Nakamura

Yasushi Nakamura is praised for imaginative, quicksilver bass lines that deepen the groove. His blend of guitar-like precision and gut-level blues has sparked collaborations with artists such as Wynton Marsalis, Wycliffe Gordon, Toshiko Akiyoshi, Hank Jones, Dave Douglas, Steve Miller, etc. With his charismatic stage presence and artful, hard swinging melodic touch, Nakamura is a firstcall performer capturing new audiences and fans around the world.

Born in Tokyo, Nakamura moved to the United States at age 9, and considers both places home. He began with clarinet and tenor saxophone, but his older brother’s study of guitar and drums drove him to pick up the bass. His love of rock and funk aside, the music of Charlie Parker, Ray Brown and Miles Davis were a potent influence on him. Nakamura received a Bachelor of Arts degree in Jazz Performance from Berklee School of Music in 2000, and was awarded a full scholarship to The Juilliard School for his Artist Diploma in 2006. He credits Myron Walden as an early champion, and keeps close ties to Juilliard mentors Victor Goines, Wycliffe Gordon, Carl Allen and Ben Wolfe, all of whom maintain him in their bands.

Nakamura’s career is flourishing, with consistent engagements at premier jazz festivals, including Tokyo, North Sea, Monterey, Ravinia, and venues such as Birdland, Village Vanguard, the Blue Note, the Kennedy Center, Jazz at Lincoln Center and Carnegie Hall. In 2014, he was honored to play the “NEA Jazz Masters Concert: Celebrating Jamey Abersold, Anthony Braxton, Richard Davis and Keith Jarrett,” sharing the stage with Joe Lovano and Dave Liebman. A wide array of projects permits him to explore musical styles and collaborations. In 2016, he recorded with one of his long-time inspirations, Toshiko Akiyoshi, for her recent release, Porgy and Bess. His performance with Akiyoshi’s Jazz Orchestra was also broadcast as a documentary film. Recent works include “For the Love of Duke” with New York City Ballet, choreographed by Susan Stroman, and “Ellington at Christmas: Nutcracker Suite” with Savion Glover, Lizz Wright, the Abyssinian Baptist Choir and David Berger conducting. In 2010, he toured the Middle East with Jazz at Lincoln Center’s “Kings of the Crescent City” project, and he toured Asia in 2008 with the Juilliard All-Stars. As an educator, Nakamura has led master classes and summer intensive courses at the The Juilliard School, New School, Koyo Conservatory, Osaka Geidai and Savannah Swing Central.

In 2016, Nakamura released his first album “A Lifetime Treasure,” and in 2017 he released a second album “Hometown” from Atelier Sawano featuring Lawrence Fields, Bigyuki and Clarence Penn, which received album of the year 2017 in JazzLife magazine.

Clarence Penn

Clarence Penn is one of the busiest jazz drummers in the world, a leader of multiple bands, a composer, a prolific producer and an educator.

Since 1991, when he arrived in New York City, Penn has placed his unique blend of mega-chops, keen intellect and heady musicianship at the service of a staggering array of A-list artists—a chronological short-list includes Ellis and Wynton Marsalis, Betty Carter, Stanley Clarke, Steps Ahead, Makoto Ozone, Michael Brecker, Dave Douglas, Maria Schneider, Luciana Souza, Richard Galliano and Fourplay. Penn’s impressive discography includes several hundred studio albums (including the Grammy-winning recordings 34th and Lex by Randy Brecker and Concert in the Garden and Sky Blue by Maria Schneider), representing a 360-spectrum of jazz expression, and he’s toured extensively throughout the United States, the Americas, Europe, Japan and Southeast Asia. He’s composed music for films and commercials, and produced tracks for numerous singers in the pop and alternative arenas. He earned a “Ten Best of 1997” accolade from the The New York Times for his first leader recording, Penn’s Landing.

A graduate of Virginia Commonwealth University, where he was a protégé of Ellis Marsalis, Penn is active as an educator and drum clinician. From 2004 to 2012, he taught on the faculty of the Banff International Workshop in Jazz and Creative Music. He’s also served on faculty at the Stanford Jazz Workshop, the Saint Louis College of Music in Rome, Italy and the Jazz at Lincoln Center Intensive Jazz Institute.

Penn currently leads several ensembles. His most recent “rhythmically intoxicating” recording is 2014’s Monk: The Lost Files, arrangements of the music of Thelonious Monk. Released on the Origin record label, an amazing quartet comprising saxophonist Chad Leftkowitz-Brown, Pianist Gerald Clayton/Donald Vega and bassist Yasushi Nakamura performing the music of Thelonius Monk with today’s modern jazz sensibility. Near completion is a “world music” studio project of songs and instrumentals that melds background voices—including his own—with a world class band.

Whether Penn is leading his own band or performing as a sideman, he brings to the table unfailing versatility and professionalism, an ability to find creative ways to interpret a global array of styles and idioms, and a stated intention “to play music that’s warm and organic for the people and for myself.”

His motto: “When people hear my name, I want them to think, ‘I don’t know what band he’s playing with tonight or what he’ll be doing, but it’s going to be good, it’s going to be musical.’”

Special Thanks

A Ken Burns Documentary about the Mental Health Crisis Among Youth in America

Hiding in Plain Sight: Youth Mental Illness

Tue, Jan 31 / Episode 1: The Storm (1:56 min.)

Wed, Feb 1 / Episode 2: Resilience (1:52 min.)

6:30 PM / Campbell Hall

Each screening will be followed by panel discussion with local mental health leaders

Presented in association with YouthWell, CALM, Mental Wellness Center, and the following UCSB Departments: the Gevirtz Graduate School of Education, Office of Diversity, Equity and Inclusion, the Division of Student Affairs, and Counseling & Psychological Services

Burns, Executive Producer Erik Ewers and

Loren Ewers, Co-Directors Julie Coffman, Producer David Blistein, Writer

About the Program

Mental illness is one of the most significant health crises in the world—as pervasive as cancer, diabetes, and heart disease—but it often exists in secret and is endured in isolation. It’s the place where sadness leaves off, and depression begins; where nervousness becomes anxiety; excitement becomes mania, and habit becomes addiction. It’s the place where simply living becomes painful.

It affects all ages, in families both rich and poor, healthy and dysfunctional. Trauma can be the trigger—from personal crises such as divorce and neglect to environmental disasters, racial injustice, and pandemics. Over time, the symptoms can progress, and lead to increasingly extreme behaviors—like eating disorders, selfharm, and thoughts of suicide.

The issues surrounding mental illness are extraordinarily complex. The risk factors are daunting, the economics bewildering, and the politics contentious. But the most important step—and often the most difficult one—is to start talking about it. Hiding in Plain Sight will bring that

conversation into homes, schools, the workplace, and community organizations across the country.

The two-part, four-hour film follows the journeys of more than 20 young Americans from all over the country and all walks of life, who have struggled with thoughts and feelings that have troubled—and, at times—overwhelmed them. They share what they have learned about themselves, their families, and the world in which they live. Through first-person accounts, the film presents an unstinting look at both the seemingly insurmountable obstacles faced by those who live with mental disorders and the hope that many have found after that storm. In the process, they will directly confront the issues of stigma, discrimination, awareness, and silence, and, in doing so, support the ongoing shift in the public perception of mental illness today.

About the Filmmaker

Ken Burns has been making documentary films for over forty years. Since the Academy Award nominated Brooklyn Bridge in 1981, Ken has gone on to direct and produce some of the most acclaimed historical documentaries ever made. A December 2002 poll conducted by Real Screen Magazine listed The Civil War as second only to Robert Flaherty’s Nanook of the North as the “most influential documentary of all time,” and named Ken Burns and Robert Flaherty as the “most influential documentary makers” of all time. In March 2009, David Zurawik of The Baltimore Sun said, “… Burns is not only

Ken

Christopher

the greatest documentarian of the day, but also the most influential filmmaker period. That includes feature filmmakers like George Lucas and Steven Spielberg. I say that because Burns not only turned millions of persons onto history with his films, he showed us a new way of looking at our collective past and ourselves.” The late historian Stephen Ambrose said of his films, “More Americans get their history from Ken Burns than any other source.” And Wynton Marsalis has called Ken “a master of timing, and of knowing the sweet spot of a story, of how to ask questions to get to the basic human feeling and to draw out the true spirit of a given subject.”

Ken’s films have been honored with dozens of major awards, including sixteen Emmy Awards, two Grammy Awards and two Oscar nominations. In September of 2008, at the News & Documentary Emmy Awards, Ken was honored by the Academy of Television Arts & Sciences with a Lifetime Achievement Award. In November of 2022, Ken was inducted into the Television Academy Hall of Fame.

Ken has been the recipient of more than thirty honorary degrees and has delivered many treasured commencement addresses. He is a sought-after public speaker, appearing at colleges, civic organizations and business groups throughout the country.

Future film projects include The American Buffalo, Leonardo da Vinci, The American Revolution, Emancipation to Exodus, and LBJ & the Great Society, among others.

Born and raised in the Boston area, Amor Towles graduated from Yale College and received a masters degree in English from Stanford University. His thesis at Stanford, a short story cycle called “The Temptations of Pleasure,” was published in 1989 in Paris Review No. 112. His new novel, The Lincoln Highway, debuted at No. 1 on The New York Times bestseller list, and was a Today Show Read with Jenna Book Club Pick, one of The New York Times 100 Notable Books of 2021, a Washington Post Best Book of the Year, one of Barack Obama’s favorite books of 2021, No. 1 on Amazon’s list of the Best Books of the Year and one of Bill Gates’ 5 Great Books for the Summer.

Towles’s first novel, Rules of Civility, which was published in 2011, was a New York Times bestseller and named by the Wall Street Journal as one of the best books of 2011. The book has been translated into over 15 languages, its French translation receiving the 2012 Prix Fitzgerald. In the fall of 2012, the novel was optioned by Lionsgate to be made into a feature film.

An

Evening

with Amor Towles

Thu, Feb 2 / 7:30 PM / Campbell Hall

Running time: Approx. 90 minutes

Towles’s second novel, A Gentleman in Moscow, which was published in 2016, was on The New York Times bestseller list for over 52 weeks in hardcover and named one of the best books of 2016 by the Chicago Tribune, the Washington Post, the Philadelphia Inquirer, the San Francisco Chronicle and NPR. The book has been translated into over 35 languages, including Russian. In the summer of 2017, the novel was optioned by Entertainment One, via Tom Harper’s company Popcorn Storm Pictures, to be made into a 6-8 hour miniseries for Paramount+ and Showtime starring Ewan McGregor. He is also the author of the ebook You Have Arrived at Your Destination, part of Amazon’s Forward collection.

Having worked as an investment professional for over twenty years, Towles now devotes himself full-time to writing in Manhattan, where he lives with his wife and two children.

Books are available for purchase in the lobby and a signing follows the event

Special Thanks

photo: Bill Hayes

Thomas M. Lauderdale, piano

China Forbes, vocals

Edna Vazquez, guest vocals

Thomas Barber, trumpet

Antonis Andreou, trombone

Nicholas Crosa, violin

Phil Baker, upright bass

Dan Faehnle, guitar

Timothy Nishimoto, vocals and percussion

Reinhardt Melz, congas and percussion

Miguel Bernal, congas and percussion

Andrew Borger, drums and percussion

Pink Martini featuring China Forbes

Feb 3 / 8 PM / Granada Theatre

About Pink Martini

In 1994, in his hometown of Portland, Oregon, Thomas Lauderdale was working in politics, thinking that one day he would run for mayor. Like other eager politicians-in-training, he went to every political fundraiser under the sun… but was dismayed to find the music at these events underwhelming, lackluster, loud and un-neighborly. Drawing inspiration from music from all over the world –crossing genres of classical, jazz and old-fashioned pop – and hoping to appeal to conservatives and liberals alike, he founded the “little orchestra” Pink Martini in 1994 to provide more beautiful and inclusive musical soundtracks for political fundraisers for causes such as civil rights, affordable housing, the environment, libraries, public broadcasting, education and parks.

One year later, Lauderdale called China Forbes, a Harvard classmate who was living in New York City, and asked her to join Pink Martini. They began to write songs together. Their first song, “Sympathique (Je ne veux pas travailler),” became an overnight sensation in France, was nominated for Song of the Year at France’s Victoires de la Musique Awards, and to this day remains a mantra (“Je ne veux pas travailler” or “I don’t want to work”) for striking French workers. Says Lauderdale, “We’re very much an American band, but we spend a lot of time abroad and therefore have the incredible diplomatic opportunity to represent a broader, more inclusive America…the America which remains the most heterogeneously populated country in the world…composed of people of every country, every language, every religion.”

Major Sponsor: Audrey & Timothy O. Fisher

Fri,

photo: Chris Hornbecker

Featuring a dozen musicians, with songs in 25 languages, Pink Martini performs its multilingual repertoire on concert stages on six continents. After making its European debut at the Cannes Film Festival in 1997 and its orchestral debut with the Oregon Symphony in 1998, the band has gone on to play with more than 50 orchestras around the world, including multiple engagements with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Pops, the National Symphony at the Kennedy Center, the San Francisco Symphony, the Cleveland Orchestra and the BBC Concert Orchestra at Royal Albert Hall in London. In 2014, Pink Martini was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame.

Pink Martini has released 11 studio albums on its own independent label Heinz Records (named after Lauderdale’s dog), selling over 3 million albums worldwide. In 2019, the band released two EPs featuring the vocals of Pink Martini’s newest members Jimmie Herrod and Edna Vazquez. Both vocalists are officially part of the group with the release of Herrod’s EP Tomorrow and Vaquez’s Besame Mucho, both of which were co-produced by Thomas Lauderdale and China Forbes.

China Forbes

China Forbes was born and raised in Cambridge, Massachusetts, where she graduated cum laude from Harvard and was awarded the Jonathan Levy Prize for Most Promising Actor. She headed to New York City, and appeared in regional theater and off-Broadway productions, also fronting her first band in numerous New York City clubs. Her solo album Love Handle was released in 1995, and she was chosen to sing “Ordinary Girl,” the theme song to the television show Clueless.

It was that same year that Harvard classmate Thomas Lauderdale invited her to sing with Pink Martini, and she has since written many of the band’s most beloved songs with Lauderdale, including “Sympathique,” “Lilly,” “Clementine,” “Let’s Never Stop Falling in Love” and “Over the Valley,” to name a few. Her original song “Hey Eugene” is the title track of Pink Martini’s third album, and many of her songs can also be heard on television and film. She sang “Qué Será Será” over the credits of Jane Campion’s film In the Cut, and her song “The Northern Line” appears at the end of sister Maya Forbes’ directorial debut Infinitely Polar Bear. Both films star Mark Ruffalo by coincidence.

With Pink Martini, Forbes has appeared on The Late Show with David Letterman, Late Night with Conan O’Brien, The Tonight Show with Jay Leno and Later with Jools Holland. She has performed songs in over 20 languages and has sung duets with Rufus Wainwright, Michael Feinstein, Carol Channing and many other wonderful artists. She has performed in venues from Carnegie Hall, Red Rocks and the Hollywood Bowl to Paris’ l’Olympia and Sydney Opera House.

Pink Martini’s latest original song co-written by Forbes, “The Lemonade Song,” was released during the pandemic to millions of streams. In July 2021, she released her post-pandemic anthem “Full Circle,” followed by her suicide prevention anthem “Rise,” and is currently at work on her third solo album of original material. China Forbes received the 2022 Ella Fitzgerald Award at the Montreal International Jazz Festival; previous winners include Diana Ross, Etta James, Liza Minelli and Aretha Franklin, not to mention Diana Krall, Harry Connick, Jr. and Tony Bennett.

Thomas M. Lauderdale

Raised on a plant nursery in rural Indiana, Pink Martini bandleader Thomas M. Lauderdale began piano lessons at age six with Patricia Garrison. When his family moved to Portland in 1982, he began studying with Sylvia Killman, who to this day continues to serve as his coach and mentor. He has appeared as soloist with numerous orchestras and ensembles, including the Oregon Symphony, the Seattle Symphony, Portland Youth Philharmonic, Chamber Music Northwest and several collaborations with Oregon Ballet Theatre. In 2008, he played Gershwin’s Piano Concerto in F with the Oregon Symphony, under the direction of Christoph Campestrini.

Active in Oregon politics since a student at U.S. Grant High School (where he was student body president), Thomas served under Portland Mayor Bud Clark and Oregon governor Neil Goldschmidt. In 1991, he worked under Portland City Commissioner Gretchen Kafoury on the drafting and passage of the city’s civil rights ordinance. He graduated with honors from Harvard with a degree in History and Literature in 1992. He spent most of his collegiate years, however, in cocktail dresses, taking on the role of “cruise director” – throwing waltzes with live orchestras and ice sculptures, disco masquerades with gigantic pineapples on wheels, midnight swimming parties, and operating a Tuesday night coffeehouse called Café Mardi.

Instead of running for political office, Lauderdale founded Pink Martini in 1994 to play political fundraisers for progressive causes such as civil rights, the environment, affordable housing and public broadcasting. In addition to his work with Pink Martini, Lauderdale has most recently completed two long-awaited collaborations with dear friends. In 2018, he completed Love for Sale, an album of jazz standards with singer/civil rights leader Kathleen Saadat, that began as a gift to a few friends and ended up being a Billboard Jazz charts-ranking album the month it was released.

In 2019, Thomas Lauderdale and members of Pink Martini collaborated on a new release with the international singing sensation Meow Meow. The album Hotel Amour – the culmination of almost a decade of work – features guest appearances by Rufus Wainwright, The von Trapps, Barry Humphries (of Dame Edna fame) and the inimitable late French pianist and composer, Michel Legrand. Currently, Lauderdale is collaborating with the iconic Iranian singer Googoosh, on her forthcoming album. He is currently working on an album with Portland’s own surf-rock indie icons, Satan’s Pilgrims.

Lauderdale currently serves on the boards of the Oregon Symphony, Pioneer Courthouse Square, the Oregon Historical Society and the Confluence Project with Maya Lin. He lives in Portland with his partner Hunter Noack. Special Thanks

Cirque FLIP Fabrique

Muse Sun, Feb

5 / 7 PM

/ Granada Theatre

Running time: approx. 75 min., no intermission Best for ages 8 and up.

Muse

Original concept: FLIP Fabrique

Sophie Thibeault and Maxime Robin, Directors

Bruno Gagnon, Artistic Direction

Vanessa Cadrin, Scenic Design

Erica Schmitz and Camila Comin, Costumes

Nathalie Simard, Makeup

Keven Dubois, Light Design Milimetrik, Music

Valérie Clio, Lyrics

Guillaume Tondreau, Arrangements

Chantal Dupuis, Feminist Studies Consultant

Circus Artists

Thomas Chamber, Hugo Duquette, Anne-Marie Godin, Frédérique Hamel, Léonie Pilote, Martin Regouffre Singer Flávia Nascimento

About the Program

What does it mean to be a woman? Muse, attempts to answer this question circus style! There’s hardly just one answer and exploring the question calls for some acrobatics. The show’s collection of eclectic performers will have to choose between a football uniform or ballet outfit, but few actually identify with either of these archetypes.

Playing with gender roles, Muse offers up a refreshing view of contemporary circus. Get ready to see powerful women, graceful men and every permutation in between. Whether wearing high heels or shoulder pads, the acrobats’ bodies are sure to amaze.

About the Artists

Cedrik Pinault is a trampoline artist from Québec. He started in the competitive trampoline scene where he won three cups while still a novice. He then studied circus and the École de cirque de Québec and turned professional. He performed in Brazil, Hungary, throughout Europe and the United States. His experience and acrobatics are perfect for Muse!

Hugo Duquette is a trapeze artist hailing from the Montérégie region. Hugo has always loved to dance, and as a teenager, developed quite a reputation on the contemporary dance competition circuit. At age 17, he enrolled in circus school and immediately fell in love with trapeze-dancing. This relatively new discipline is the perfect venue to let his creativity (continued on page 42)

photo: Emmanuel Burriel

Education and Community Engagement

We do it with opportunities that are accessible to all. Through Access for ALL – Arts & Lectures’ Learning programs –inspirational, dynamic learning experiences are possible for students and lifelong learners across classrooms, our community and the UCSB campus.

Access for ALL serves more than 30,000 students and community members annually.

Here’s how we’re impacting our community:

• Assemblies in elementary and secondary schools

• Workshops and conversations with artists and speakers

• Ticket subsidies for students at all levels

• The Thematic Learning Initiative’s lifelong learning opportunities

• Matinee field trips for K-12 students at The Granada Theatre

• Lecture-demonstrations and artist panels in University classes

• Master classes for students and community members

• Post-show Q&As with audiences of all ages

• Free family performances in under-resourced neighborhoods

Please consider a contribution to A&L’s award-winning education programs.

Call Director of Development Elise Erb at (805) 893-5679 to learn more.

(805) 893-3535 | www.ArtsAndLectures.UCSB.edu

photo: David Bazemore photo: Isaac Hernández photo: David Bazemore

How do we build a more connected, thoughtful and compassionate community?

Jake Shimabukuro performs for more than 1,000 elementary school children at The Granada Theatre as part of A&L’s Arts Adventures bus-in program

UCSB students and community members rehearse with dancers from Bill T. Jones/Arnie Zane Company before the performance

“If

¡Viva el Arte de Santa Bárbara! brings people together to share the rich cultural heritage of Latin America, serving more than 15,000 students and community members each year throughout Santa Barbara County.

Viva builds bridges through live performance, shared experience and joyful, personal discovery. Created in 2006 out of a commitment to arts access for all, Viva works with dozens of local partners to present high-quality touring artists –Grammy winners and recognized cultural ambassadors – who share their knowledge, passion and commitment. Neighborhood spaces in schools, after-school programs and community centers come alive in these free programs for youth and families.

¡Viva el Arte de Santa Bárbara! is a collaboration between UCSB Arts & Lectures, The Marjorie Luke Theatre, the Guadalupe-Nipomo Dunes Center, and the Isla Vista School Parent Teacher Association serving Carpinteria, Santa Barbara, Goleta, Lompoc, Santa Maria, Guadalupe and New Cuyama.

Coming in 2023

• Mariachi Garibaldi de Jaime Cuéllar

• Grandeza Mexicana

• Tres Souls

• Las Cafeteras

Please consider a contribution to the awardwinning ¡Viva el Arte de Santa Bárbara! program. Call Director of Development Elise Erb at (805) 893-5679 to learn more. (805) 893-3535 |

A young audience member with Grandeza Mexicana dancers after a community performance

Ballet Folklórico de Los Ángeles and Mariachi Garibaldi de Jaime Cuellar perform for families at Isla Vista School

Mariachi Femenil Nuevo Tecalitlán teaching a community music workshop

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Invitation to a reception at a private residence with featured artist or speaker •

Invitations to meet-and-greet opportunities with featured artists and speakers •

Complimentary parking at all ticketed A&L events at UCSB Campbell Hall •

Opportunity to bring guests to a select A&L public event

VIP Ticketing Concierge Service and Priority Seating

Invitations to Producers Circle Receptions with featured artists and speakers

Invitation to Intermission Lounge in the McCune Founders Room during A&L performances and lectures at The Granada (subject to Covid restrictions)

Invitation to A&L’s exclusive Season Announcement Party

Opportunity to attend master classes and other educational activities

Invitation to a member appreciation event

Recognition in select A&L publications and digital media

To inquire about membership or a customized Leadership Circle experience, please call Membership Director Rachel Leslie at (805) 893-3382.

Leadership Circle includes all the benefits of Executive Producers Circle plus your own personalized membership experience.

the force behind our community’s vibrant cultural life.

photo: Isaac Hernández

Thank You Arts & Lectures Members!

Arts & Lectures Council

Arts & Lectures is privileged to acknowledge our Council, a group of insightful community leaders and visionaries who help us meet the challenge to educate, entertain and inspire.

Rich Janssen, Co-Chair

Kath Lavidge, Co-Chair

Marcy Carsey

Timothy O. Fisher

Dorothy Largay

Arts & Lectures Ambassadors

Patricia MacFarlane

Susan McCaw

Sara Miller McCune

Jillian Muller

Natalie Orfalea

Tom Sturgess

Anne Smith Towbes

Lynda Weinman Merryl Snow Zegar

Arts & Lectures is proud to acknowledge our Ambassadors, volunteers who help ensure the sustainability of our program by cultivating new supporters and assisting with fundraising activities.

Donna Fellows

Eva Haller

Robin Himovitz

Luci Janssen Lois Mitchell Maxine Prisyon

Arts & Lectures Program Advisor

Bruce Heavin

Leadership Circle

Heather Sturgess

Anne Smith Towbes Sherry Villanueva

Crystal Wyatt Bridget Yin

Our Leadership Circle members, a group of key visionaries giving $10,000 to $100,000 or more each year, make a significant, tangible difference in the community and help bring A&L’s roster of premier artists and global thinkers to Santa Barbara. We are proud to recognize their philanthropy.

$100,000+

Jody & John Arnhold

Marcy Carsey

Audrey & Timothy O. Fisher ◊ ‡ Connie Frank & Evan Thompson

$50,000+

Marcia & John Mike Cohen ‡

Justin Brooks Fisher Foundation

$25,000+

Betsy Atwater

Mary Becker ‡

Sarah & Roger Chrisman

Margo Cohen-Feinberg & Robert Feinberg

G.A. Fowler Family Foundation

Dorothy Largay & Wayne Rosing Manitou Fund

Sara Miller McCune ◊ ‡ Jillian & Pete Muller

Martha Gabbert William H. Kearns Foundation

Natalie Orfalea & Lou Buglioli

Lynda Weinman & Bruce Heavin ◊ ‡ Dick Wolf

Zegar Family Foundation Anonymous

Heather & Tom Sturgess ◊ ‡

Bridget Yin & Russell Steiner Anonymous (2)

Ellen & Peter O. Johnson

Siri & Bob Marshall

Earl Minnis

Montecito Bank & Trust Laura & Kevin O’Connor

The Shanbrom Family Foundation

Barbara Stupay

Alison & Lyle Turner

Sheila Wald

Susan & Bruce Worster

www.ArtsAndLectures.UCSB.edu

www.ArtsAndLectures.UCSB.edu

$10,000+

Allyson & Todd Aldrich

Jennifer & Jonathan Blum

Tracy & Michael Bollag

The Otis Booth Foundation

Albert & Elaine Borchard Foundation

Elizabeth & Andrew Butcher

Annette & Dr. Richard Caleel

Casa Dorinda Retirement Residence

Scott Charney & Ellen McDermott Charney

Tana & Joe Christie

NancyBell Coe & William Burke ‡

Producers Circle

David & Debby Cohn

Covenant Living at the Samarkand

Thiep Cung AIA

Bettina & Glenn Duval

Donna M. Fellows

Robyn & Larry Gottesdiener

Lisa & Mitchell Green

Robin & Roger Himovitz

Luci & Rich Janssen ‡

Tom Kenny Marilyn & Dick Mazess

Stacy & Ron Pulice

Sharon & Bill Rich

Merrill Sherman

Linda Stafford Burrows

The Stone Family Foundation

Pam & Russ Strobel

Diane Sullivan

Anne Smith Towbes ‡

MUFG Union Bank, N.A. Nicole & Kirt Woodhouse

Crystal & Clifford Wyatt Anonymous (2)

Arts & Lectures gratefully recognizes the commitment and generosity of our Producers Circle members, who have made gifts between $2,500 and $9,999. Recognition is based upon cumulative giving within a 12-month period.

$5,000+ Executive Producers Circle

Leslie Sweem Bhutani

Tim Buckley

Meg & Dan Burnham

Laura Clifford

Susan Eng-Denbaars & Steve Denbaars

Priscilla & Jason* Gaines

Jeff & Nanette Giordano

Tricia & Don Green

The Ann Jackson Family Foundation

$2,500+

Anna & Nathan Alldredge

Roxana & Fred Anson

Marta Babson

Jill & Arnie Bellowe

Deirdre & Fraser Black

Susan D. Bowey

Michael Brinkenhoff

- In Memory of Gayle Tower Brinkenhoff

Victoria Hendler Broom

Wendel Bruss

Sherri Bryan & Tim Dewar

Susan & Claude Case

Lilyan Cuttler & Ned Seder

Deborah David & Norman A. Kurland

Deanna & Jim Dehlsen

Phyllis de Picciotto & Stan Roden

Julia Emerson

Doris & Tom Everhart

Richard Flacks

Tisha Ford

Bunny Freidus

Grafskoy Hindeloopen Limited, LLC

Paul Guido & Stephen Blain

Lois & Richard Gunther

Ruth & Alan Heeger

Shauna & Robert Hirsch

Daniel & Mandy Hochman

Maia Kikerpill & Daniel Nash

Chris & Mark Levine Cindy & Steve Lyons Nancy McGrath

Ann & John McReynolds

Suzanne & Duncan Mellichamp

Lisa Reich & Bob Johnson

Julie Ringler & Richard Powell Kyra & Tony Rogers

Donna & Daniel Hone

Judith L. Hopkinson ‡

Shari & George Isaac

Carolyn Jabs & David Zamichow

Annie & Andrew Kaiser

Mary Grace Kaljian

Margaret & Barry Kemp

Connie & Richard Kennelly

Linda & Bill Kitchen ‡

Jill & Barry* Kitnick

Nancy & Linos Kogevinas

Barbara Shattuck Kohn & Gene Kohn

Larry Koppelman

Patricia Lambert & Frederick Dahlquist

Jacqueline & Robert Laskoff

Karen Lehrer & Steve Sherwin

Mark Levy

Denise & George Lilly

Peggy Lubchenco & Steve Gaines

Nancy & Mike McConnell

Amanda McIntyre

Gene l. Miller

Michael Millhollan & Linda Hedgepeth

Lois & Mark Mitchell

Dale & Michael Nissenson

Jan Oetinger

Cheri Owen

Ginger Salazar & Brett Matthews

Maurice & Hyon Singer

Joan Speirs

The Towbes Foundation

Sandra & Sam Tyler

Judy Wainwright Mitchell & Jim Mitchell

Dr. Richard Watts

Dr. Bob Weinman

Laura & Geofrey Wyatt Anonymous (2)

Lynn & Mel* Pearl

Ann & Dante Pieramici

Ann Pless

Justine Roddick & Tina Schlieske

Charlie & Dr. Herb Rogove

Susan J. Rose

Gayle & Charles Rosenberg

Dr. William E. Sanson

Jo & Ken Saxon

Maryan Schall

Anitra Sheen

Lynne Sprecher

Carol Spungen

Dale & Gregory Stamos

Kirstie Steiner & John Groccia

Debra & Stephen Stewart

Mary Jo Swalley ◊

Denise & James Taylor

Amy & George Tharakan

David Tufts & Cris Dovich

Alan & Kathryn Van Vliet

Dianne & Daniel Vapnek

Sherry & Jim Villanueva

Vicki & Franz von Holzhausen

Esther & Tom* Wachtell

Kathy Weber

Carolyn & Philip Wyatt

www.ArtsAndLectures.UCSB.edu

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Circle of Friends

$1,000+

Holly Becker

Jill Bradnin

Drs. Paula & Thomas Bruice

Michele Brustin

David Cadoff

Marian & Rabbi Stephen Cohen

Ann Daniel

$500+

Bernadette Bagley

Peggy & Steve Barnes

Linda & Peter Beuret

Mark and Shelley Bookspan G. Donald Chandler III

$250+

Vickie Ascolese & Richard Vincent

Michael & Marilyn Avenali

Rochelle & Mark Bookspan

Carolyn Chandler

$100+

Dorothy & Peter Abbey

Rene Aiu

Catherine L Albanese

Julia Alcerro

Lynn & Joel Altschul

Virginia Anders

Katya Armistead

Mickey Babcock

Kelly Bartlett

Thomas Bedland & Laurel Luby Wayne Benner

Randall Berg

Norrine Besser

Tracy J. Blakeslee

Carol Brown

Todd Canfield

Vikki Cavalletto

Michael Chabinyc

Ramona & Guy Clark

Norm Cohen

Maurice J. Cooper

Doreen Daley Skopp

Deva Dalporto

Lila Deeds

Lynn Daniels & John Matthews

Timothy A. Eaton

Vasanti & Joel Fithian Cid & Thomas* Frank

Andrea & Mark Gabbay

Dave Johnson Robert & Janet Kates

Beth & Dodd Geiger

Kris & Eric Green

Sandra Howard Elinor & James Langer Maureen Latourrette

Rebecca & Chuck Kaye

Danson Kiplagat

Susan Matsumoto & Mel Kennedy

Roger & Barbara Kohn

Nancy & Douglas Norberg

Robin Rickershauser Diane & Charles Sheldon

Janice Toyo & David Levasheff

Cathy & Bruce Milner

Almeda & J. Roger Morrison Carol & Stephen Newman Minie & Hjalmer Pompe van Meerdervoort

Victoria Dillon Elizabeth Downing & Peter Hasler James & Diane Giles Stacey & Raymond Janik

Pamela Lombardo

Jeanne & Larry Murdock

Kathlyn & William Paxton

Peter Rathbone

Anne Ready & David Gersh

Delia Smith - In Memory of Paul A. Smith

Nati & Michael Smith

Trudy Smith & Doyle Hayes

Andrew Primack

Bhupi Singh & Gurinder Kaur

Claire & Glenn VanBlaricum Carol Vernon

Trudy Smith & Doyle Hayes

Anita & Eric Sonquist

Cynthia & Eric Spivey

Louise Stewart & Craig Mally Anne & Tony Thacher

Carol Wharmby

Edward & William* DeLoreto

Joan & Thomas Dent

Arlene & Marty Donohue

Tina Downs

James Du Kay Egan

J. C. Elliot

Donnelley & Cinda Erdman

Lorne Fienberg

Carole & Ron Fox

Arthur Flynn

Joe Franken

David & Elizabeth Freed Michelle Gaitan Andrew Gerson

Steve Ginder

Robert Goda

Lin Goodnick

Diane Graham Hildegard Gray Gayle Hackamack

Laura & Michael Hamman

Harla Hampton Janet Healy

Lauren Hobratsch

Richard Hogue

Kathryn Hughes

Katherine Hunter

Laura Ishikawa & Benjamin Weiman

Susan Kadner

Lois Kaplan

Jean Keely

Anna & Peter Kokotovic

Martha & William Lannan

Daniel Lewin

Fima & Jere Lifshitz

Sheila Lodge

Martin Lynch

Cheri & Christopher Mersey

Kindred Murillo

Kathleen Nienhouse

Fredric Pierce

Deborah and Ken Pontifex

Susan Renefrew

Mark & Kathy Rick Adele Rosen

Mark Rosenthal

Carol Sacks

Patricia & Adel Saleh

Susan Sanborn

Joan & Steven Siegel

Ellen & Harvey Silverberg

Jan & George Sirkin

Mitchell Sjerven

Sharon Terry

William & Diana Thomas

Susan Thomason

John Turnham

Frederick & Marion Twichell

Katherine Van Meter

Lorraine Vanmeter-Cline

Arturo Vega & Rebecca Hardin

David Warnock

John Warnock

Elizabeth Watson

Jo Ellen & Thomas Watson

Karl Weis

William Wellman

Anonymous

www.ArtsAndLectures.UCSB.edu

www.ArtsAndLectures.UCSB.edu

Legacy Circle

Legacy Circle members listed below have made provisions in their estate plans to support A&L and ensure our exciting programs continue for future generations. We are pleased to acknowledge these thoughtful commitments.

Judy & Bruce Anticouni

Helen Borges*

Ralph H. Fertig*

Audrey & Timothy O. Fisher

Georgia Funsten*

Eva & Yoel Haller

Susan Matsumoto & Mel Kennedy

Sara Miller McCune

Lisa A. Reich

Sharon & Bill Rich

Hester Schoen*

Heather & Tom Sturgess

Lynda Weinman & Bruce Heavin

Arts & Lectures Endowments

Fund for Programmatic Excellence

Beth Chamberlin Endowment for Cultural Understanding

Commission of New Work Fund

Education and Outreach Fund

Sara Miller McCune Executive Director of Arts & Lectures

Harold & Hester Schoen Arts & Lectures Endowment

Sonquist Family Endowment

Lynda Weinman & Bruce Heavin Arts & Lectures Endowment for Programmatic Excellence

Government & Regional Funders

California Arts Council

City of Santa Barbara National Dance Project National Endowment for the Arts

Santa Barbara County Office of Arts & Culture UCSB Summer Culture and Community Grant Program

University Support

Arts & Lectures is especially grateful to UCSB students for their support through registration and activity fees. These funds directly support lower student ticket prices and education outreach by A&L artists and writers who visit classes.

Arts & Lectures Staff

Celesta M. Billeci, Miller McCune Executive Director

Meghan Bush, Associate Director

Ashley Aquino, Contracts Administrator

Marisa Balter, Financial Analyst

Michele Bynum, Senior Artist

Stacy Cullison, Senior Director of Development & Special Initiatives

Carmela Marie Distura, Assistant Ticket Office Manager

Charles Donelan, Senior Writer/Publicist

Matthew Elkins, Chief Financial & Operations Officer

Elise Erb, Director of Development

Macie Ericksen, Production Coordinator

Kevin Grant, Senior Business Analyst

Ashley Greene, Education Programs Coordinator

Nina Johnson, Interim Marketing Manager

Rachel Leslie, Membership Director

Mari Levasheff, Marketing Manager

Hector Medina, Marketing & Communications Production Specialist

Caitlin O’Hara, Director of Public Lectures & Special Initiatives

Elizabeth Owen, Programming Manager

James Reisner, Manager of Ticketing Operations

Julianna Swilley, Arnhold Education Associate

Angelina Toporov, Marketing Specialist

Laura Wallace, Finance & HR Manager

Eliot Winder, Production Manager

List current as of January 5, 2023. Every effort has been made to ensure accuracy. Please notify our office of any errors or omissions at (805) 893-3382.

*In Memoriam

◊ Indicates those who have made plans to support UCSB Arts & Lectures through their estate

‡ Indicates those who have made gifts to Arts & Lectures endowed funds in addition to their annual program support

41 (805) 893-3535 | www.ArtsAndLectures.UCSB.edu 41 (805) 893-3535 | www.ArtsAndLectures.UCSB.edu

(continued from page 32) soar. Since graduating, he has performed all over the world on cruise ships and for major circus companies. Casting aside labels, Hugo likes to deconstruct gender codes and incorporate drag queen personas into his acts. Hugo spends his spare time on photography, drawing inspiration particularly from the LGBT artists of the 80s that he then applies to his photography, dance and circus performances.

Anne-Marie Godin is a circus artist from Québec City who specializes in duet trapeze. Anne -Marie’s love of acrobatics is innate: she started in competitive gymnastics at the age of six before taking up circus arts as a teenager. Since then, she has worked with the world’s greatest circuses, including cabarets in Germany, and she has even skated in large-scale ice shows. For Anne -Marie, the circus is an opportunity to explore her creativity in a world that is free of a strict framework and rules. She also likes to share a message through her movement. Anne -Marie loves to work in duets with other women as an opportunity to highlight feminine strength.

Originally from Québec City, Frédérique Hamel is a circus artist specializing in trampoline. Frédérique has now been a member of the FLIP Fabrique family for many years. In fact, she regularly performs in popular outdoor summertime shows, Crépuscule – Raviver les braises and Crépuscule Vents & marées and in several one-off shows. Since graduating from the École de cirque de Québec, Frédérique has performed all over the world, including in Europe, Africa, the Middle East and the United States.

Evelyne Paquin-Lanthier is a Montréal-based aerial trapeze artist specializing in duet trapeze. As soon as she graduated from the École nationale de cirque, she traveled the world, winning a silver medal at the Wuhan International Circus Festival in China and a gold at the Young Stage International Circus Festival in Basel, Switzerland. Evelyne draws her energy and inspiration from the camaraderie of the circus world. Her greatest pride is taking part in creating a group act that is greater than the sum of each member’s individual talents. One of the few woman trapeze catchers, Evelyne is proud to project a different perspective of femininity: strength. Between tours, she can be found practicing her favorite sport on a climbing wall with friends.

Originally from Hungary, Kata Banhegyi has been jumping rope for more than 25 years. A world and European jump rope champion, Kata performed with Cirque du Soleil for 11 years, worked as a jump rope artist in Portaventura and competed at Supertalent Croatia and semi-finalist at Cesko-Slovensko ma talent.

Jérémie Arsenault is one of the founding artists of FLIP Fabrique. A diabolo specialist, he performed for the biggest circus companies before founding FLIP Fabrique in 2011. Since then, he has traveled with the troupe around the world to present the shows Attrape-Moi, Crépuscule, Transit and now Muse. For Jérémie, the circus has always been a way of life. The travels, the encounters and the family spirit specific to this universe have allowed him to continue during all these years. Jérémie loves to share a message on stage through the circus and he is proud to carry that of inclusion with this new creation.

Maxime Robin and Sophie Thibeault form an extravagant creative duo. Maxime is an award-winning actor and director for the theater, cinema and television. Renowned for his flamboyance, he is a true jack-of-all-trades in the performing arts. A member of the FLIP Fabrique family for several years, Sophie has managed and assisted with the staging on the five Crépuscules and Féria shows, in addition to an accomplished career as an actress and director. Long-time accomplices, Maxime and Sophie work together to create colorful and deeply meaningful shows that amuse and dazzle.

Beatmaker and veteran of the electronic music scene, Millimetrik (Pascal Asselin) constantly seeks renewal and inspiration through travel, photography and cinema. He has worked in a broad musical landscape, ranging from ambient to trip-hop and now to house, disco, soul and dance. Hailing from Québec City, he was garnered at the 2019 ADISQ with a Félix for Best Electronic Album. He has performed at the Osheaga Festival, the FEQ, the FME, Mutek and the Brussels Electronic Music Festival, among other venues.

Flávia Nascimento is a singer who began her career in her native Brazil, where she took to the stage acting, singing, stilt walking and clowning, among other talents. After immigrating to Quebec in 2001, Flávia continued her musical career with the Brazil-inspired groups Péna Rua and Forrossanova. Flávia has performed, with her various bands or solo, in the most prominent concert halls and festivals in Quebec and Canada.

FLIP Fabrique wishes to thank the Canada Council for the Arts, the Conseil des arts et des lettres du Québec and the City of Québec for their financial support

Special Thanks

Nina Totenberg Dinners with Ruth: The Power of Friendships

Tue, Feb 7 / 7:30 PM / Granada Theatre

Running time: 90 minutes

Nina Totenberg is NPR’s award-winning legal affairs correspondent. She appears on NPR’s critically acclaimed news magazines All Things Considered, Morning Edition and Weekend Edition, and on NPR podcasts including the Politics Podcast and The Docket. Totenberg’s Supreme Court and legal coverage has won her every major journalism award in broadcasting. Recognized seven times by the American Bar Association for continued excellence in legal reporting, she has received more than two dozen honorary degrees.

Totenberg is often featured in documentaries – most recently RBG – that deal with issues before the court. As Newsweek put it, “The mainstays [of NPR] are Morning Edition and All Things Considered. But the creme de la creme is Nina Totenberg.”

In 1991, her ground-breaking reporting about University of Oklahoma Law Professor Anita Hill’s allegations of sexual harassment by Judge Clarence Thomas led the Senate Judiciary Committee to re-open Thomas’s Supreme Court confirmation hearings to consider Hill’s charges. NPR received the prestigious George Foster Peabody Award for its gavel-to-gavel coverage – anchored by Totenberg – of both the original hearings and the inquiry into Anita Hill’s allegations, and for Totenberg’s reports and exclusive interview with Hill.

That same coverage earned Totenberg additional awards, including the Long Island University George Polk Award for excellence in journalism; the Sigma Delta Chi Award from the Society of Professional Journalists for investiga-

tive reporting; the Carr Van Anda Award from the Scripps School of Journalism and the prestigious Joan S. Barone Award for excellence in Washington-based national affairs/ public policy reporting, which also acknowledged her coverage of Justice Thurgood Marshall’s retirement.

Totenberg was named Broadcaster of the Year and honored with the 1998 Sol Taishoff Award for Excellence in Broadcasting from the National Press Foundation. She is the first radio journalist to receive the award. She is also the recipient of the American Judicature Society’s first-ever award honoring a career body of work in the field of journalism and the law. In 1988, Totenberg won the Alfred I. duPont-Columbia University Silver Baton for her coverage of Supreme Court nominations. The jurors of the award stated, “Ms. Totenberg broke the story of Judge (Douglas) Ginsburg’s use of marijuana, raising issues of changing social values and credibility with careful perspective under deadline pressure.”

Totenberg has been honored seven times by the American Bar Association for continued excellence in legal reporting. On a lighter note, Esquire magazine twice named her one of the “Women We Love.”

A frequent contributor on TV shows, she has also written for major newspapers and periodicals – among them, The New York Times Magazine, The Harvard Law Review, The Christian Science Monitor, New York magazine and others.

Special Thanks

Event Sponsor: Sara Miller McCune Presented in association with Santa Barbara County Bar Association and Santa Barbara Women Lawyers photo: Allison Shelley

Kodo

Tsuzumi: One Earth Tour

Fri, Feb 10 / 8 PM / Granada Theatre

Running time: Approx. 120 minutes, including a 20 minute intermission

Presented in association with UCSB MultiCultural Center

Yuichiro Funabashi, Director Tsuzumi: One Earth Tour

“The reverberations of taiko awaken the power of heaven and earth. Conjured and honed on Sado, Kodo’s sound is like no other.”

– Yuichiro Funabashi, Director / Leader of Kodo Taiko Performing Arts Ensemble

Performers

Eiichi Saito, Jun Jidai, Koki Miura, Ryotaro Leo Ikenaga, Reo Kitabayashi, Mizuki Yoneyama, Yuta Kimura, Yuki Hirata, Taiyo Onoda, Kei Sadanari, Moe Niiyama, Jumpei Nonaka, Hana Ogawa

Technical Director: Kei Olivier Furukata

Lighting Designer: Kenichi Mashiko (S.L.S.) Stage Manager: Kazuki Imagai, Yusuke Hayakawa Company Manager: Yui Kamiya Tour Managers: Natsumi Ikenaga, Sorami Ikeyama, Minami Sasaki Assistant Manager: Donnie Keeton International Tour Management: IMG Artists Publicity: Soloshoe Communications, LLC Music Advisor: Tatsuya Shimono Voice Instructor: Yumi Nogami Posture & Movement Instructor: Tatsuo Kudo

photo: Takashi Okamoto

Program Part 1

Dyu-Ha

Composed by Maki Ishii 1981

Kono Mine no Composed by Yoko Fujimoto 2003 Hayashi-bayashi

Composed by Masayasu Maeda, Yuta Kimura 2019

Hitohi

Composed by Masayasu Maeda, dance arranged by Koki Miura 2019 Hayate

Composed by Ryotaro Leo Ikenaga 2020 Zoku

Composed by Leonard Eto 1989

Part 2

Monochrome Composed by Maki Ishii 1976 Uchoten Composed by Yuki Hirata 2019 P.P.C

Composed by Yuichiro Funabashi, Mitsuru Ishizuka, Yosuke Oda 2005

Ayumi

Composed by Yuta Sumiyoshi 2020

Izumogaku

Traditional, arranged by Kodo O-daiko

Traditional, arranged by Kodo Yatai-bayashi

Traditional, arranged by Kodo

The following pieces are based on these regional traditional performing arts:

Hitohi: Onidaiko (Sado Island, Niigata)

Hayate: Hachijo Taiko (Hachijo Island, Tokyo)

Yatai-bayashi: Chichibu Yatai-bayashi (Chichibu, Saitama)

About the Program

In Japanese, the word “Kodo” holds a double meaning. It can be translated as “heartbeat,” the primal source of all rhythm. However, our group’s name is written with different characters, which mean “drum” and “child.” This reflects Kodo’s desire to play the drums with the simple heart of a child. To commemorate our 40th anniversary in 2021, we created two new touring productions based on our name: “Tsuzumi” takes its name and theme from the drum character, and “Warabe” from the child element.

Tsuzumi opens with a very special piece in our ensemble’s history that is seldom performed on tour–Dyu-Ha. The late Maki Ishii, a modern composer who was introduced to Kodo by conductor Seiji Ozawa, presented this piece to Kodo as a gift to congratulate our ensemble on its debut in 1981. We will perform DyuHa on this tour for the first time in North America since 1989. Today’s program also features Ishii’s masterpiece Monochrome and other Kodo signature pieces such as O-daiko, Yatai-bayashi and Zoku, coupled with new compositions.

Since 1971, Sado Island has been Kodo’s home and the platform from which the group reaches out to the world. With nature’s warm embrace evident in each of her four seasons, Sado is an extraordinary place where traditional ways of life and the island’s indigenous performing arts still thrive today. This island is the fountain of inspiration for Kodo and the guiding force behind the group’s creative lifestyle. Their goal is to find a harmonious balance between people and the natural world. Each time Kodo ventures off the island, the ensemble encounters new people, customs and traditional performing arts that are ingrained in the lifestyles of each locale. These life lessons permeate each performer’s skin and become an invisible source of their expression. It is through this process of Living, Learning, and Creating that Kodo cultivates a unique aesthetic and sensitivity, reaching out toward a new world culture rooted in the rich possibilities of a peaceful coexistence between humanity and nature.

Special Thanks: Ranjo, Shingo Tokihiro, Kawachi Wakate, Rengebuji Temple North America Tour Support: Asano Taiko U.S., Inc.

C. Brian Williams, Founder & Executive Producer

Lamar Lovelace, Executive Director Mfoniso Akpan, Artistic Director Company

Dionne Eleby, Kayshon Hawkins, Akievia Hickman, Jabari Jones , Conrad Kelly II, Dustin Praylow , Anesia Sandifer , Valencia Springer , Jordan Spry Pelham Warner, Robert Warnsley

Connie L. Perez, Director of Institutional Relations

and Research

Kristen L. Taylor, Company and Communications Manager

Conrad R. Kelly II and Jordan Spry, Assistant Artistic Directors

Joe Murchison, Arts Education Consultant

Step Afrika!

Thu, Feb 16 / 7 PM (note special time) Campbell Hall

Running time: Approx. 90 minutes

Event Sponsor: Jody & John Arnhold

Presented in association with the following UCSB Departments: Center for Black Studies Research, Department of Black Studies and the Office of Diversity, Equity, and Inclusion

Program

Tribute

Choreographed by Jakari Sherman

Ndlamu

Choreographed by Jackie Semela

Isicathulo Choreographed by Jackie Semela Solo Chicago Choreographed by Jakari Sherman

Special Note: Audience participation has been a part of the step tradition since its inception in the 1900’s –members of the audience are invited to clap, stomp, cheer and participate in call and response with the Artists.

photo: Sekou Luke

About the Program

Tribute pays homage to the African American step show. The work combines the distinct stepping styles from different fraternities and sororities and blends them together to showcase the incredible variety of stepping. Tribute includes all the exciting elements of the step show--the use of props, ripples and floor work, creative formations and audience participation.

Ndlamu is a traditional dance of the Zulu people, and for more than 25 years, Step Afrika! has studied the dance form through the Company’s long-standing partnership with the Soweto Dance Theater. Step Afrika! makes this Ndlamu uniquely its own, featuring solos created by each dancer as well as the addition of contemporary movement.

Isicathulo or “the gumboot dance” is a tradition created by South African workers who labored in the oppressive mining industry of then-apartheid South Africa. Isolated from their families for long periods, the miners transformed their rubber boots into percussive instruments to not only entertain but to share secret messages with each other. Isicathulo has become one of the most popular dance forms in South Africa and has striking similarities to the African-American tradition of stepping.

Traditionally, stepping is performed by groups, big and small. In Solo, Step Afrika! investigates the form at its most intimate level.

Chicago finds the rhythm in everyday situations. It is a percussive symphony using body percussion and up to 5 complex polyrhythms performed simultaneously in order to narrate a percussive dance “story.” Inspired by a summer spent in the Windy City, this ground-breaking work transforms the 100-year old, folkloric tradition of stepping into contemporary performance art.

About the Company

Founded in 1994 by C. Brian Williams, Step Afrika! is the first professional company dedicated to the tradition of stepping. Under Mr. Williams’ leadership, stepping has evolved into one of America’s cultural exports, touring more than 50 countries across the globe. Step Afrika! now ranks as one of the top ten African-American dance companies in the United States.

Step Afrika! blends percussive dance styles practiced by historically African American fraternities and sororities; traditional West and Southern African dances; and an array of contemporary dance and art forms into a cohesive, compelling artistic experience. Performances are much more than dance shows; they integrate songs, storytelling, humor and audience participation. The blend of technique, agility, and pure energy makes each performance unique and leaves the audience with their hearts pounding.

Step Afrika! promotes stepping as an educational tool for young people, focusing on teamwork, academic achievement and cross-cultural understanding. Step Afrika! has earned Mayor’s Arts Awards for Outstanding Contribution to Arts Education (2005); Innovation in the Arts (2008); and Excellence in an Artistic Discipline (2012); and performed at the White House for President Barack Obama and the First Lady.

Step Afrika! is featured prominently at the Smithsonian’s new National Museum of African-American History & Culture with the world’s first stepping interactive. In 2017, Step Afrika! made its Off-Broadway debut with the critically-acclaimed production, The Migration: Reflections on Jacob Lawrence.

To learn more, visit www.stepafrika.org

Ainissa Ramirez, Ph.D. is an award-winning scientist and science communicator, who is passionate about getting the general public excited about science. A graduate of Brown University, she earned her doctorate in materials science and engineering from Stanford. Dr. Ramirez started her career as a scientist at Bell Laboratories in Murray Hill, New Jersey, and later worked as an associate professor of mechanical engineering at Yale. She authored the books The Alchemy of Us and Save Our Science, and co-authored Newton’s Football. She has written for Forbes, Time, The Atlantic, Scientific American, American Scientist, and Science and has explained science headlines on CBS, CNN, NPR, ESPN, and PBS.

Ramirez speaks widely on the topics of science and technology and gave a TED talk on the importance of science education. She has been awarded prizes from

Award-winning Materials Scientist and Science Evangelist

Ainissa Ramirez

The Alchemy of Us: Uncovering Hidden Figures in Science Whose Inventions Changed Our Way of Life

Thu, Feb 23 / 7:30 PM / Campbell Hall

Running time: Approx. 90 minutes

Presented in association with the following UCSB departments: Materials Department and Graduate Students for Diversity in Science, Enhancing Success in Transfer Education for Engineering Majors (ESTEEM) and the Office of Diversity, Equity, and Inclusion

the National Science Foundation, the Alfred P. Sloan Foundation, Massachusetts Institute of Technology, and the American Institute of Physics. She speaks internationally on the importance of making science fun and has served as a science advisor to the American Film Institute, WGBH/NOVA, the American Association for the Advancement of Science (AAAS) and several science museums. She also hosts a science podcast called Science Underground.

Books are available for purchase in the lobby

photo: James Duncan Davidson

Ballet Preljocaj

Swan Lake

Angelin Preljocaj, Choreographer

Sat, Feb 25 / 8 PM Sun, Feb 26 / 3 PM (note special time) Granada Theatre

Running time: 110 minutes, no intermission

Dance Series Sponsors: Margo Cohen-Feinberg & Bob Feinberg, Ellen & Peter O. Johnson, Barbara Stupay, and Sheila Wald

Presented in association with UCSB Dept of Theater and Dance

Boris Labbé, Video Design Éric Soyer, Lighting Design Igor Chapurin, Costumes Design Youri Aharon Van den Bosch, Assistant, Deputy to the Artistic Direction Cécile Médour, Rehearsal Assistant Dany Lévêque, Choreologist

Dancers

Lucile Boulay, Celian Bruni, Elliot Bussinet, Zoé Charpentier, Baptiste Coissieu, Leonardo Cremaschi, Mirea Delogu, Lucia Deville, Antoine Dubois, Clara Freschel, Isabel García López, Jack Gibbs, Mar Gómez Ballester, Naïse Hagneré, Verity Jacobsen, Jordan Kindell, Beatrice La Fata, Laurent Le Gall, Théa Martin, Florine Pegat Toquet, Agathe Peluso, Mireia Reyes Valenciano, Simon Ripert, Khevyn Sigismondi, Manuela Spera, Micol Taiana

Luc Corazza, Technical Director

Martin Lecarme, General Production and Sound Manager Anaïs Silmar, Lighting Manager

Fabrice Duhamel, Video Manager Rémy Leblond, Stage Manager Jérémie Blanchard, Stagehand Margarita Ospina, Wardrobe Mistress

Pyotr Ilyich Tchaïkovski, Music

Additional music by 79D

Swan Lake is a production of Ballet Preljocaj. It is a co-production with the Chaillot - Théâtre national de la Danse, Biennale de la danse de Lyon 2021 / Maison de la Danse, La Comédie de Clermont-Ferrand, Festspielhaus St Pölten (Austria), Les Théâtres - Grand Théâtre de Provence, and Théâtres de Compiègne. The Working Residence is the Grand Théâtre de Provence.

photo: JC Carbonne

About the Program

After Snow White and Romeo and Juliet, Angelin Preljocaj is returning to story ballet and his taste for stories. Combining Tchaikovsky’s musical masterpiece with more contemporary arrangements as he likes to do, he takes possession of the myth of the swan-dancer. Faithful to the original work, it transposes the story of the Swan Princess into the context of today’s society, at the heart of the issues of our time.

At the edge of a lake, Rothbart wants to exploit a fossil energy deposit. A young girl, Odette, seems to thwart his plans, he is going to transform her into a swan. Elsewhere, during a party, Siegfried will oppose his father who wants to join forces with Rothbart to build a factory on the shores of Swan Lake.

About the Company

The Ballet Preljocaj, a national choreographic center, has been based in Aix-en-Provence since 1996. With 24 permanent dancers, it gives more than 110 performances per year and performs on stages all over the world. Angelin Preljocaj’s repertoire, which varies from solo to large-scale forms, alternates between large narrative ballets and more abstract pieces. Some of these pieces have been included in the repertoire of international ballets.

In 2006, the Ballet Preljocaj moved into its new venue, the Pavillon Noir, designed by the famous architect Rudy Ricciotti. In its theater and its four studios, meetings and dance performances are offered by invited companies throughout the year. Numerous awareness-raising initiatives are also put in place to introduce dance to as many people as possible, notably thanks to the G.U.I.D. (Groupe Urbain d’Intervention Dansée), which presents excerpts from Angelin Preljocaj’s repertoire in public spaces, hospitals, schools, detention centers, etc. The Ballet Preljocaj Junior also trains young dancers for professional careers each year.

About the Choreographer

Since his beginning, he has created 56 choreographic works, ranging from solo to larger formations, including Romeo & Juliet, Snow White and Swan Lake. He enjoys alternating large narrative ballets with more abstract pieces like Empty moves, Still Life and Deleuze / Hendrix.

Angelin Preljocaj collaborates regularly with other artists in various fields such as music (Goran Vejvoda, Air, Laurent Garnier, Granular Synthesis, Karlheinz Stockhausen), visual arts (Claude Lévêque, Subodh Gupta, Adel Abdessemed), design (Constance Guisset), fashion (Jean Paul Gaultier, Azzedine Alaïa), drawing (Enki Bilal), literature (Pascal Quignard, Laurent Mauvignier) and animated movies (Boris Labbé). His productions are now part of the repertoire of many companies, many of which also commission original productions from him (New York City Ballet, Staatsoper Berlin, Paris Opera Ballet). He has directed several short films and films featuring his choreography. His first feature film, Polina, danser sa vie, directed with Valérie Müller and adapted from the comic strip by Bastien Vivès, was released in 2016. In 2019, he was appointed to the Academy of Fine Arts in the new “Choreography” section. After Swan Lake in 2020 and Deleuze / Hendrix in 2021, he will choreograph and direct Lully’s opera Atys for the Grand Théâtre de Genève in 2022. At the same time, he created a short choreography for the Danse Europe! application, a participatory project open to all. For Dior, he created the choreography and the film Roman Night with the dancers of the Rome Opera Ballet. He also participated in the television series Irma Vep by Olivier Assayas, as an actor and choreographer. In July 2022, he created Mythologies with original music by ex-Daft Punk member Thomas Bangalter at the Opéra National de Bordeaux.

www.preljocaj.org

Exclusive U.S. representation for Ballet Preljocaj: Opus 3 Artists, opus3artists.com

Special Thanks

Choreographer

Angelin Preljocaj was born in France and began studying classical ballet before turning to contemporary dance, which he studied with Karin Waehner, Zena Rommett, Merce Cunningham, and later Viola Farber and Quentin Rouillier. He then joined Dominique Bagouet before founding his own company in December 1984.

Program

Robert Schumann (1810-1856):

Arabesque in C Major, op. 18

Johann Sebastian Bach (1685-1750):

Goldberg Variations, BWV 988

Goldberg Variation 1-15 with repeats

Goldberg Variation 16-30 with repeats

Lang Lang, piano

Mon, Feb 27 / 7 PM (note special time) / Granada Theatre

Running time: Approx. 90 minutes, no intermission

About the Artist

Lang Lang is a leading figure in classical music today. As a pianist, educator and philanthropist he has become one of the world’s most influential and committed ambassadors for the arts in the 21st century. Equally happy playing for billions of viewers at the 2008 Olympic Opening Ceremony in Beijing or just for a few hundred children in the public schools, he is a master of communicating through music.

Heralded by The New York Times as “the hottest artist on the classical music planet,” Lang Lang plays sold-out concerts all over the world. He has formed ongoing collaborations with conductors including Sir Simon Rattle, Gustavo Dudamel, Daniel Barenboim and Christoph Eschenbach and performs with all the world’s top orchestras. Lang Lang is known for thinking outside the box and frequently steps into different musical worlds. His performances at the Grammy Awards with Metallica, Pharrell Williams or jazz legend Herbie Hancock were watched by millions of viewers.

For about a decade, Lang Lang has contributed to musical education worldwide. In 2008, he founded the Lang Lang International Music Foundation, aimed at cultivating tomorrow’s top pianists, championing music education at the forefront of technology, and building a young audience through live music experiences. In 2013, Lang Lang was designated by the Secretary General of the United Nations as a Messenger of Peace focusing on global education.

Major Sponsor: Anonymous

photo: Gregor Hohenberg and Buro Dirk

Lang Lang started playing the piano at age 3, and gave his first public recital before the age of 5. He entered Beijing’s Central Music Conservatory at age 9, and won First Prize at the International Tchaikovsky Competition for Young Musicians at 13. He subsequently went to Philadelphia to study with legendary pianist Gary Graffman at the Curtis Institute of Music. He was 17 when his big break came, substituting for André Watts at the Gala of the Century, playing Tchaikovsky’s First Piano Concerto with the Chicago Symphony Orchestra under the baton of Christoph Eschenbach: he became an overnight sensation and the invitations started to pour in.

Lang Lang’s boundless drive to attract new audiences to classical music has brought him tremendous recognition: he was presented with the 2010 Crystal Award in Davos and was picked as one of the 250 Young Global Leaders by the World Economic Forum. He is also the recipient of honorary doctorates from the Royal College of Music, the Manhattan School of Music and New York University. In December 2011, he was honored with the highest prize awarded by the Ministry of Culture of the People’s Republic of China and received the highest civilian honors in Germany (Merit of the Federal Republic of Germany) and France (Medal of the Order of Arts and Letters). In 2016 Lang Lang was invited to the Vatican to perform for Pope Francis. He has also performed for numerous other international dignitaries, including four U.S. presidents and monarchs from many nations.

Lang Lang is managed by: Columbia Artists Music LLC www.camimusic.com

General Manager: Jean-Jacques Cesbron

Lang Lang is an Exclusive Recording Artist of Universal Music Group and Deutsche Grammophon www.langlangofficial.com www.langlangfoundation.org

About the Program

Robert Schumann (1810–1856): Arabesque in C major, Op. 18.

In 1838 Robert Schumann was an obscure composer and critic approaching thirty. That autumn he departed Leipzig for Vienna to seek fame and a new home for his journal, the Neue Zeitschrift für Musik. He left behind his young fiancée Clara Wieck, a concert pianist and daughter of Schumann’s former piano teacher, Friedrich Wieck. Friedrich saw their relationship as a threat to Clara’s concert career and vehemently disapproved of the engagement. He even threatened to shoot his future son-in-law (after the births of his first grandchildren, Friedrich would at last make amends). Schumann’s visit to Vienna proved disappointing, as neither his music nor his journal found acceptance there. The months apart from Clara were a torment, leaving Schumann vacillating between periods of depression and manic productivity. From these creative outbursts bloomed several compositions, including the Arabesque.

Contemporary critics and audiences alike had trouble understanding his work: early writings and reviews describe his music as “bizarre,” “excessive,” and “eccentric,” among other things. Schumann’s publishers complained to him that his pieces weren’t selling, while Franz Liszt resisted programming his works because “they are too difficult for the public to digest.” Even Clara implored him to write more commercial works, begging, “Listen Robert, couldn’t you just once compose something brilliant, easily understandable, … a completely coherent piece, not too long and not too short? I’d so much like to have something of yours to play that’s specifically intended for the public. Obviously a genius will find this degrading, but politics demand it every now and again.”

Schumann dismissively referred to the Arabesque as a “delicate salon work written for ladies,” explicitly declaring it less important than other works composed in the same year. Its structure is in simple ABACA form with a coda; the lyrical A section alternates with two dramatic episodes before concluding with a beautiful, pensive epilogue. Compared to many of Schumann’s compositions for piano, the Arabesque poses fewer technical and interpretive challenges. This reinforces the suggestion that Schumann did indeed write it for the cultivated amateur rather than the concert stage, and perhaps explains why he thought less highly of it than his more technically and intellectually demanding works.

Johann Sebastian Bach (1685–1750):

Goldberg Variations, BWV 988.

The Goldberg Variations take their nickname from Johann Gottlieb Goldberg, a gifted musician who studied with Bach as a child. Their origins remain obscured by time and dubious creation myths. One such account comes from Johann Nikolaus Forkel’s 1802 biography of Bach, the first major biography of the composer. In Johann Sebastian Bach: His Life, Art, and Work, Forkel writes, “[For this work] we have to thank … the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. ... Once the Count mentioned in Bach’s presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of variations… thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: “Dear Goldberg, do play me one of my variations.”

The first edition of the score contains no dedication to Kaiserling, throwing doubt on his role in the work’s genesis. It contains no mention of Goldberg, either; the score bears the generic title Clavier Übung (Keyboard Exercise). Goldberg would have been only fourteen at the time of publication, and while he was by all accounts a talented player, his part in the story is almost certainly exaggerated as well. The Goldberg Variations were published in 1741, one of the rare works by Bach to be published in the composer’s lifetime (The Well-Tempered Clavier, for example, remained unpublished until the nineteenth century).

While Forkel’s account claims Bach viewed composing variations as an “ungrateful task,” such works bookended his musical career. Indeed, though Bach wrote few mid-career sets of variations, the 1740s, the last decade of Bach’s life, saw the creation of some of his most renowned keyboard variations including The Art of Fugue; The Musical Offering, a set of variations on a theme by King Frederick II; and the Goldberg Variations.

These late-career variations have contributed to the centuries of praise bestowed upon Bach, but his early experimentations with the form nearly got him fired. At the age of eighteen Bach accepted a position as organist

at the Neue Kirche in Arnstadt, a small town between Frankfurt and Leipzig. There he clashed with the students with whom he was responsible for performing. One of these accused Bach of insulting him and his bassoon and struck Bach with a stick. Bach responded by pulling out a dagger, though fortunately the fight was quickly broken up. Bach’s employers at the church reprimanded him for both the fight and his flamboyant organ playing, specifically “for having hitherto made many curious variations in the chorale.”

This contentious period coincides with Bach’s 1705 pilgrimage to northern Germany to meet fellow composer Dieterich Buxtehude. Scholar Christoph Wolff writes that to Bach and other composers of his generation, Buxtehude “signified a kind of father figure who anticipated the ideal of the autonomous composer, a category unheard of at the time.” Classical music historiography contains numerous tales of young upstarts journeying to meet their elders, from Schubert’s deathbed visit to Beethoven to Brahms’ famous visit to the Schumanns (coincidentally, Schumann and Bach were both twenty when they made their pilgrimages).

According to Bach’s obituary, he made the roughly 275mile journey in each direction on foot. This encounter proved formative, for more than three decades later Bach would turn to Buxtehude’s work as a model for the Goldberg Variations. The Goldberg Variations share many elements with Buxtehude’s La capricciosa variations. Both works are predominantly in G major, contain thirty-two sections, and display a variety of styles and topics. The two pieces even share some of the same music. The main theme of Buxtehude’s work, known in Italian as the Bergamasca, appears in the thirtieth and final of Bach’s variations; in Germany, the tune was called “Kraut und Rüben” (“Cabbage and Turnips”).

While Buxtehude’s example served as the most immediate predecessor to Bach’s own variations, the form has a rich history. Due to the broadness and ubiquity of variation as a formal process, its origins are nearly impossible to pinpoint. We do know that collected sets of variations first appeared in the sixteenth century. One of the first masters of the keyboard variation was Spanish Renaissance composer Antonio de Cabezón. Blind from childhood, the musical prodigy found employment at the age of sixteen under Queen Isabella of Portugal.

The variation form has had a broad and enduring appeal across centuries, cultures, and continents. As all good orators can attest, profound power resides in repetition, a

power that can be further elaborated through variation. From rhetoric to music, variation offers immense opportunities for creativity, from simple deviations to complex variations that only hint at the original subject. The staying power of variation form comes in part from the tension between two very human desires: repetition, that which is familiar and comfortable, and novelty, that which is unfamiliar and exciting. Variation embraces this space between the old and new, and in doing so allows listeners to deeply engage with a musical idea. The Oxford Dictionary of Music notes Bach’s “desire to wring every possible theoretical meaning from a given theme.”

The Goldberg Variations consist of thirty variations flanked by two iterations of the unvaried aria. In total, the set is comprised of thirty-two sections, the same number of bars as contained in the aria (in fact, nearly all of the variations are thirty-two measures long). The aria is a sarabande, a slow courtly dance in triple time. Baroque composers made frequent use of the sarabande in their dance suites, including Bach, who used it as the fourth movement in all six of his cellosuites. The variations are, like Buxtehude’s La capricciosa, constant-harmony variations in which the harmonic progression in the bassline takes precedence over the melody.

One remarkable element of the Goldberg Variations is Bach’s use of canon, or imitation of the melody. Starting with Variation 3, Bach spaces these canons at intervals of three. The canons are arranged in increasing intervals, beginning with a unison and increasing to a ninth: In Variation 3, the “follower” melody begins on the same pitch as the opening “leader” melody. In Variation 6, the first note of the follower is a second higher than the leader; in Variation 9, it begins a third away from the starting note, and so on through Variation 27.

Variation 15, the first of three written in a minor key, marks the halfway point of the set. It is immediately followed by a grandiose French overture. The second half of the Variations shows an increased virtuosity, calling to mind the words of one of Bach’s students, who lamented, “Since he judges according to his own fingers, his pieces are extremely difficult to play; for he demands that singers and instrumentalists should be able to do with their throats and instruments whatever he can play on the keyboard. But this is impossible.” The thirtieth and final variation is a lighthearted quodlibet, or mash-up, of German folk songs including “Kraut und Rüben.” The work concludes with a return of the aria.

© Andrew McIntyre, 2022. Special Thanks

photo:

Dr. Thema Bryant is the president of the American Psychological Association, the leading scientific and professional organization representing psychology with more than 120,000 members.

Dr. Thema completed her doctorate in Clinical Psychology at Duke University and her post-doctoral training at Harvard Medical Center’s Victims of Violence Program. Upon graduating, she became the Coordinator of the Princeton University SHARE Program, which provides intervention and prevention programming to combat sexual assault, sexual harassment, and harassment based on sexual orientation. She is currently a tenured professor of psychology in the Graduate School of Education and Psychology at Pepperdine University, where she directs the Culture and Trauma Research Laboratory. Her clinical and research interests center on interpersonal trauma and the societal trauma of oppression. She is a past president of the Society for the Psychology of Women and a past APA representative to the United Nations. Dr. Thema also served on the APA Committee on International Relations in Psychology and the Committee on Women in Psychology.

The American Psychological Association honored her for Distinguished Early Career Contributions to Psychology in the Public Interest in 2013. The Institute of Violence, Abuse and Trauma honored her with their media award for the film Psychology of Human Trafficking in 2016 and the Institute honored her with the Donald Fridley Memorial Award for excellence in mentoring in the field of trauma in 2018. The California Psychological

Dr. Thema Bryant

Homecoming: Overcoming

Fri, Mar 3 / 7:30 PM / Campbell Hall

Running time: Approx. 90 minutes

Association honored her for Distinguished Scientific Achievement in Psychology in 2015. She is the editor of the APA text Multicultural Feminist Therapy: Helping Adolescent Girls of Color to Thrive. She is one of the foundational scholars on the topic of the trauma of racism and in 2020, she gave an invited keynote address on the topic at APA. In 2020, the International Division of APA honored her for her International Contributions to the Study of Gender and Women for her work in Africa and the Diaspora. Dr. Thema has raised public awareness regarding mental health by extending the reach of psychology beyond the academy and private therapy office through community programming and media engagement, including but not limited to Headline News, National Public Radio, and CNN.

Books are available for purchase in the lobby and a signing follows the event.

Presented in association with the following UCSB Departments: Department of Black Studies, Center for Black Studies Research, Graduate Students for Diversity in Science and the Office of Diversity, Equity, and Inclusion

President of the American Psychological Association

Your Fear and Trauma to Reclaim Your Whole, Authentic Self

Attacca Quartet

Sun, Mar 5 / 4 PM / Hahn Hall

Amy Schroeder (she/her), violin Domenic Salerni (he/him), violin Nathan Schram (he/him), viola Andrew Yee (they/them), cello

Running time: Approx. 90 minutes with intermission

Presented in Association with Ojai Music Festival

Program

Caroline Shaw: Entr’acte Plan & Elevation Blueprint - IntermissionPunctum Three Essays

Valencia About the Program

Program notes by composer Caroline Shaw Entr’acte

Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2 — with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.

Plan & Elevation

I have always loved drawing the architecture around me when traveling, and some of my favorite lessons in musical composition have occurred by chance in my drawing practice over the years. While writing a string quartet to commemorate the 75th anniversary of Dumbarton Oaks, I returned to these essential ideas of space and proportion – to the challenges of trying to represent them on paper. The title, Plan & Elevation, refers to two standard ways of representing architecture – essentially an orthographic, or “bird’s eye,” perspective (“plan”), and a side view which features more ornamental detail (“elevation”). This binary is also a gentle metaphor for one’s path in any endeavor – often the actual journey and results are quite different (and perhaps more elevated) than the original plan.

I was fortunate to have been the inaugural music fellow at Dumbarton Oaks in 2014-15. Plan & Elevation examines different parts of the estate’s beautiful grounds and my personal experience in those particular spaces. Each movement is based on a simple ground bass line which supports a different musical concept or character. “The Ellipse” considers the notion of infinite repetition (I won’t deny a tiny Kierkegaard influence here). One can walk around and around the stone path, beneath the trimmed hornbeams, as I often did as a way to clear my mind while writing. The second movement, “The Cutting Garden,” is a fun fragmentation of various string quartets (primarily Ravel, Mozart K. 387, and my own Entr’acte, Valencia and Punctum), referencing the variety of flowers

photo: David Goddard

grown there before they meet their inevitable end as cuttings for display. “The Herbaceous Border” is spare and strict at first, like the cold geometry of French formal gardens with their clear orthogonals (when viewed from the highest point), before building to the opposite of order: chaos. The fourth movement, “The Orangery,” evokes the slim, fractured shadows in that room as the light tries to peek through the leaves of the aging fig vine. We end with my favorite spot in the garden, “The Beech Tree.” It is strong, simple, ancient, elegant and quiet; it needs no introduction.

Blueprint

The Aizuri Quartet’s name comes from “aizuri-e,” a style of Japanese woodblock printing that primarily uses a blue ink. In the 1820s, artists in Japan began to import a particular blue pigment known as “Prussian blue,” which was first synthesized by German paint producers in the early 18th century and later modified by others as an alternative to indigo. The story of aizuri-e is one of innovation, migration, transformation, craft and beauty. Blueprint, composed for the incredible Aizuri Quartet, takes its title from this beautiful blue woodblock printing tradition, as well as from that familiar standard architectural representation of a proposed structure: the blueprint. This piece began its life as a harmonic reduction – a kind of floor plan – of Beethoven’s string quartet Op. 18 No. 6. As a violinist and violist, I have played this piece many times, in performance and in joyous late-night reading sessions with musician friends. (One such memorable session included Aizuri’s marvelous cellist, Karen Ouzounian.) Chamber music is ultimately about conversation without words. We talk to each other with our dynamics and articulations, and we try to give voice to the composers whose music has inspired us to gather in the same room and play music. Blueprint is also a conversation – with Beethoven, with Haydn (his teacher and the “father” of the string quartet), and with the joys and malinconia of his Op. 18 No. 6.

Punctum

Punctum is essentially an exercise in nostalgia, inspired by Roland Barthes’ description of the “unexpected” in photographs, and in particular, by his extended description of the elusive “Winter Garden” photo in his 1980 book Camera Lucida. Through modular sequences strung together out of context, the piece explores a way of saturating the palette with classicism while denying it form, and of disturbing the legibility of a harmonic progression in order to reinforce it later. One could also say the piece is about the sensation of a particular secondary dominant in Bach’s St. Matthew Passion.

Three Essays

I fell in love with playing string quartets when I was about 10, and it’s been a love and obsession ever since. It’s an amazing way to converse musically with others, and you can really get a sense of someone’s personality through reading a quartet with them for the first time. I keep coming back to string quartets – despite the vast sonic possibilities now in the 21st century – because of the compactness and efficiency of it, and for the dialogue one can have with past quartet repertoire, both the hits and the hidden gems. One of the joys of writing is designing, destroying, and solving the puzzles of the language. It sometimes feels like designing my own game environment and then solving the problems that crop up.

The First Essay (“Nimrod”) began as a simple exercise in translating the lilt and rhythm of one of my favorite authors, Marilynne Robinson, into music. She writes beautifully and bravely on notions of the human soul, weaving delicately in and out of various subjects (politics, religion, science) in each of her rich, methodical essays. Usually my music is inspired by visual art, or food, or some odd physics quirk, but this time I wanted to lunge into language, with all its complex splintering and welding of units and patterns! The piece begins with a gentle lilt, like Robinson herself speaking, but soon begins to fray as the familiar harmony unravels into tumbling fragments and unexpected repetitive tunnels. These musical trap doors lead to various worlds that are built from the materials of the beginning, like the odd way dreams can transform one thing into another. I started writing these three “essays” while listening to the calm optimism of an audio recording of Marilynne Robinson reading from her book The Givenness of Things, but I completed it during the turmoil of the 2016 US Presidential election. The title of the first essay refers to the legendary biblical figure Nimrod, who oversaw the construction of the Tower of Babel – a city designed to be tall enough to reach heaven but which resulted in the confusion and scattering of language. This image of chaos and fragmentation, but also of extraordinary creative energy, may serve as a framework for listening to these three musical essays.

The Second Essay (“Echo”), is a stylistic contrast to the first and third, in the spirit of a typical ‘slow movement’ nested between two quick ones. The title touches on a number of references: the concept of the ‘echo chamber’ that social media fosters in our political discourse; the ‘echo’ function in the Hypertext Preprocessor (PHP) programming language; and of course the effect of an echo.

The Third Essay (“Ruby”), returns to the fragmentation and angularity that was introduced in the first essay but attempts to tame it into some kind of logical structure. The title refers both to the programming language Ruby (developed in Japan in the mid-1990s) as well as the simple beauty of the gemstone for which the language was named. It’s more a point of inspiration than a strict system of generating material.

Valencia

There is something exquisite about the construction of an ordinary orange. (Grocery stores around the country often offer the common “Valencia” as the standard option.) Hundreds of brilliantly colored, impossibly delicate vesicles of juice, ready to explode. It is a thing of nature so simple, yet so complex and extraordinary. In 2012, I performed at the MoMA with the musician and performance artist, Glasser — a song which she described as being about the simple beauty of fruit. Later that summer I wrote Valencia, for a concert I was playing with some good friends in Manchester-by-theSea, Massachusetts. I decided to channel Glasser’s brave and intuitive approach to melody and texture, such that Valencia became an untethered embrace of the architecture of the common Valencia orange, through billowing harmonics and somewhat viscous chords and melodies. It is also a kind of celebration of awareness of the natural, unadorned food that is still available to us.

About the Artists

Grammy award-winning Attacca Quartet, as described by The New York Times, “exuberant, funky and more exactingly nuanced”, are recognized and acclaimed as one of the most versatile and outstanding ensembles of the moment – a quartet for modern times. They received 2023 Grammy nominations for Best Chamber Music/Small Ensemble Performance for Evergreen and Best Arrangement, Instruments and Vocals for 2 + 2 = 5.

In 2021, the Quartet announced their exclusive signing to SONY Classical, releasing two albums that embody their redefinition of what a string quartet can be. The first Album, Real Life, featuring guest artists such as TOKiMONSTA and Daedelus, the second Album, Of All Joys, which features their original take on great Minimalist and Renaissance works seamlessly. In September 2022, Nonesuch Records released the quartet’s new album with Caroline Shaw, Evergreen, a follow up to their Grammyaward winning album, Orange, in 2020.

Touring extensively in the United States, recent highlights include Lincoln Center’s White Lights Festival and Miller Theatre, Phillips Collection, Chamber Music Detroit, Chamber Music Austin, Isabella Stewart Gardner Museum in Boston, Banff String Quartet Festival, Dumbarton Oaks, Howland Chamber Music Circle and Ojai Festival.

In the US, the quartet will also perform at Carnegie Hall, Of All Joys at Catacombs series, Philharmonic Society of Orange County, Lawrence University, GroundUP Music Festival and a residency at Chiarina Chamber Players. The quartet will have their recitals debut in April 2023 at Théâtre de la Ville Paris and Palau de la Música.

Attacca Quartet has also been exploring new digital formats, taking part and also producing a number of filmed and streamed concerts for Banff Centre International String Quartet Festival, IlluminArts, Miller Theatre, Duke Performances, Austin Chamber Music Center, as well as their first digital engagement for Szczecin Philharmonic Orchestra.

Passionate advocates of contemporary repertoire, the Quartet are dedicated to presenting and recording new works. Their Album, Orange, for which they received the 2020 Grammy Award for Best Chamber Music/Small Ensemble Performance, features string quartet works by Pulitzer-prize winning composer Caroline Shaw; it has also been featured in several ‘Best Albums’ lists, such as NPR, New York Times, 2020 BBC Music Magazine Awards and several Opus Klassik Awards.

Previous recordings include three critically acclaimed albums with Azica Records, from which the quartet was the recipient of several awards. Other accolades include First Prize at the 7th Osaka International Chamber Music Competition and the Top Prize and Listeners’ Choice award winners for the Melbourne International Chamber Music Competition.

The Attacca Quartet has engaged in extensive educational and community outreach projects, serving as guest artists and teaching fellows at the Lincoln Center Institute, the Boston University Tanglewood Institute and Bravo! Vail Valley among others.

Attacca Quartet has also served as the Quartet in Residence at the Metropolitan Museum of Art, the Ensemble-in-Residence at the School of Music at Texas State University, Lehigh University and Juilliard’s Graduate Resident String Quartet, where they premiered the film Plan and Elevation featuring the music of Caroline Shaw.

Pioneering oncologist, researcher and award-winning science writer Siddhartha Mukherjee is one of the world’s premiere cancer researchers. He is the author of The New York Times bestselling and Pulitzer Prizewinning book The Emperor of All Maladies: A Biography of Cancer, a groundbreaking work that charts the history of cancer with a cellular biologist’s precision, a historian’s perspective and a biographer’s passion. It was named one of the 100 most influential books of the last 100 years by Time magazine and was adapted into a PBS documentary by filmmaker Ken Burns.

He is also the author of The Laws of Medicine and The New York Times bestselling The Gene: An Intimate History, which brings to life the quest to understand human heredity and its surprising influence on our lives, personalities, identities, fates and choices. His forthcoming book, The Song of the Cell: An Exploration of Medicine and the New Human, tells the story of how scientists discovered cells, began to understand them, and are now using that knowledge to create new humans. With writing that is vivid, lucid and suspenseful, Mukherjee’s third book is an extraordinary exploration of what it means for humans.

In both his writing and his keynote talks, Mukherjee weaves science, social history and personal narrative to illustrate the many medical breakthroughs that have shaped our society and offers a glimpse of what the future might hold for us as well.

Co-presented

Siddhartha Mukherjee

The

Song of the Cell: An Exploration of Medicine and the New Human Wed, Mar 8 / 7:30 PM / Granada Theatre

Mukherjee is an assistant professor of medicine at Columbia University and a staff physician at New YorkPresbyterian Hospital. A Rhodes Scholar, Mukherjee graduated from Stanford University, University of Oxford and Harvard Medical School. He has published articles in The New Yorker, The New England Journal of Medicine, The New York Times, Nature and others. He lives in New York with his wife and daughters.

Presented in association with UCSB Department of Molecular, Cellular & Developmental Biology

with

photo: Deborah Feingold

FRAGMENTS Creative Team

Alisa Weilerstein, Project Creator, Performer

Elkhanah Pulitzer, Director

Seth Reiser, Scenic and Lighting design

Carlos J. Soto, Costume Designer

Hanako Yamaguchi, Artistic Producer / Advisor

About the Program

In Alisa Weilerstein’s groundbreaking, multi-year performance series FRAGMENTS 1-6, new music by some of the most compelling composers of our time meets the timeless beauty of Bach’s Six Suites for Solo Cello in an immersive, multisensory audience experience. In FRAGMENTS 1, individual movements from Bach’s first suite are thoughtfully integrated with selected new commissions to make a wholly original emotional arc. Enhanced by responsive lighting and scenic architecture, the music is performed without pauses or printed program details, creating an atmosphere of enchantment, adventure and discovery.

Featured Composers

Each program of FRAGMENTS 1-6, comprises 5 or 6 composers. The full 28 composers are as follows: Andy Akiho, Courtney Bryan, Chen Yi, Alan Fletcher, Gabriela Lena Frank, Osvaldo Golijov, Joseph Hallman, Gabriel Kahane, Daniel Kidane, Thomas Larcher, Tania León, Allison, Loggins-Hull, Missy Mazzoli, Gerard McBurney, Jessie

Alisa Weilerstein,

cello FRAGMENTS 1

Fri, Mar 10 / 7 PM (note special time)

Campbell Hall

Running time: Approx. 65 minutes

An Arts & Lectures Co-commission

Made

Montgomery, Reinaldo Moya, Jeffrey Mumford, Matthias Pintscher, Gity Razaz, Gili Schwarzman, Caroline Shaw, Carlos Simon, Gabriella Smith, Ana Sokolović, Joan Tower, Mathilde Wantenaar and Paul Wiancko. Further information on the composers and their works will be provided at the conclusion of the performance. With the exception of one composer, all of the music in this program has been commissioned by Alisa Weilerstein and FRAGMENTS.

About the Artist

Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “Genius” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer’s wishes, she inhabits a piece fully and turns it to her own ends,” marvels The New York Times.

In 2021, Weilerstein premiered Joan Tower’s new cello concerto, A New Day, at the Colorado Music Festival. The work was co-commissioned with the Detroit Symphony; the Cleveland Orchestra, and the National Symphony. An ardent proponent of contemporary music, she has also premiered and championed important new works by composers including Pascal Dusapin, Osvaldo Golijov and Matthias Pintscher. Already an authority on Bach’s music

possible by gifts to the A&L Commission of New Work Endowment Fund

photo: Graham Northup

for unaccompanied cello, in the spring of 2020, Weilerstein released a bestselling recording of his solo suites on the Pentatone label, streamed them in her innovative #36DaysOfBach project, and deconstructed his beloved G-major prelude in a Vox.com video, viewed more than two million times. Her discography also includes chart-topping albums and the winner of BBC Music’s Recording of the Year award, while other career milestones include a performance at the White House for President and Mrs. Obama.

Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with the most prestigious conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Gustavo Dudamel, Bernard Haitink, Yannick Nézet-Séguin, Rafael Payare, Michael Tilson Thomas, Joshua Weilerstein and Simone Young. Diagnosed with type 1 diabetes at nine years old, Weilerstein is a staunch advocate for the T1D community. She lives with her husband, Venezuelan conductor Rafael Payare, and their two young children.

Program Note from the Artist

In early December of 2020, during yet another of what seemed to be endless lockdowns due to the Covid-19 pandemic, I started scribbling ideas down on paper, anticipating a time when we would be able to reconvene with one another in the concert hall. I knew I wanted to create a visceral, emotional, and personal concert experience that would embrace the world we live in without sacrificing the intellectual aesthetic qualities that make our artform—concert music—such a singular mode of human expression and communication. I also was searching for a way to strip away our own natural instincts to categorize and contextualize everything we hear and see. I thought, what would our experience of music be like if we could be given the chance to simply listen first?

The entire FRAGMENTS project integrates all of Bach’s cello suites with 27 new commissions in original multi-sensory productions, to make six programs, each an hour long for solo cello. Every program, or Fragment, is played without pauses and the printed program is distributed after the performance.

The composers who have been commissioned to write for FRAGMENTS are diverse with respect to compositional approach, race, gender, age, nationality and ethnic background. There is also an even mix of well-known voices and young composers or composers whose work has heretofore not been adequately appreciated by the wider public. I asked all the composers to write multi-movement pieces for solo cello and to kindly grant me permission to

insert the movements at different points throughout the program. That being said, FRAGMENTS is not a project about people who write music but rather about the music they write. The context and narrative in the sense that we are used to in our artform is far less important than listening to how these disparate voices interact with one another and create an entirely original, unified whole.

Although FRAGMENTS began as a flickering of thoughts and images, it has become something much greater. The remarkable group of artists with whom I am collaborating on this project and their joyful and thoughtful enthusiasm has been nothing short of inspirational to me. At its core, FRAGMENTS is about deep connection; links between disparate compositional voices, between concert music and theater, and most importantly, between audience and performer. I invite you to embark upon this adventure with us.

– Alisa Weilerstein

Leadership support for FRAGMENTS is generously provided by Joan and Irwin Jacobs. Patron support for FRAGMENTS is provided by Judy and Tony Evnin, Clara Wu Tsai and Paul Sekhri. FRAGMENTS has been made possible with commissioning support from Alphadyne Foundation, The San Diego Symphony, UC Santa Barbara Arts & Lectures, Carnegie Hall, Celebrity Series of Boston, and The Royal Conservatory of Music for the 21C Festival. Special thanks to Martha Gilmer for her leadership and counsel, and to Celebrity Series of Boston and Aspen Music Festival and School for their in-kind contributions.

Doña Perón

Nancy Meckler, Artistic Collaborator

Peter Salem, Music

Christopher Ash, Lighting, Set, and Video Designer

Mark Eric, Costume Designer

Adrian White, Production Director

Caitlin Brown, Lighting Supervisor

Morgan Lemos, Stage Manager

Stacy Davila, Wardrobe Director

About the Program

Doña Perón is an explosive portrait of Eva “Evita” Perón, one of the most recognizable, and controversial, women in Argentinian history. The illegitimate daughter of a wealthy landowner, Evita concealed this shameful past as she rose the ranks from dance hall performer to Argentina’s First Lady -all before her untimely death at the age of 33. Doña Perón brings to light the extremes of power at the forefront of Evita’s life. Her work as an activist and advocate for Argentina’s women and working class raised skepticism as she indulged in the opulence of a high-class life. A voice for the people, or a deceitful actress? Ochoa explores these diverging legacies and more in her first-ever evening-length work for Ballet Hispánico.

Ballet Hispánico Doña Perón

Sat, Mar 11 / 8 PM / Granada Theatre

Eduardo Vilaro, Artistic Director and CEO Annabelle Lopez Ochoa, Choreographer Johan Rivera, Artistic Associate and Rehearsal Director

Doña Perón marks her first evening-length work for the Company and reclaims the narrative of the iconic Latina figure by a Latina choreographer. This will be a seminal work for Ballet Hispánico as the organization moves beyond its 50th Anniversary and continues centering the voices of Latinx artists.

“She’s not a fairytale character, she’s not a literary character. She’s a real woman, and for me, it’s interesting to put her on stage because she’s difficult to pinpoint .” – Annabelle Lopez Ochoa

About Ballet Hispanico

Ballet Hispánico is the largest Latine/Latinx/Hispanic cultural organization in the United States and one of America’s Cultural Treasures. Ballet Hispánico’s three main programs, the Company, School of Dance, and Community Arts Partnerships, bring communities together to celebrate the multifaceted Latinx diasporas. Ballet Hispánico’s New York City headquarters provide the physical home and cultural heart for Latine dance in the United States. It is a space that initiates new cultural conversations and explores the intersectionality of Latine cultures. No matter their background or identity – Latine, Latinx, Hispanic – Ballet Hispánico welcomes and serves all, breaking stereotypes and celebrating the beauty and diversity of Hispanic cultures through dance.

Dance visionary and National Medal of Arts recipient Tina Ramirez founded Ballet Hispánico in 1970, at the height of the post-war civil rights movements. From its inception

Lead Sponsor: Jody & John Arnhold Dance Series Sponsors: Margo Cohen-Feinberg & Bob Feinberg, Ellen & Peter O. Johnson, Barbara Stupay, and Sheila Wald

Presented in association with UCSB Dept of Theater and Dance

photo: Paula Lobo

Ballet Hispánico focused on providing a haven for Black and Brown families seeking place and artistic sanctuary. By creating the space for Latine dance and dancers to flourish, Ballet Hispánico uplifted marginalized artists and youth, which combined with the training, cultural pride, and the power of representation, fueled the organization’s roots and trajectory. Eduardo Vilaro joined Ballet Hispánico as a Company dancer in 1985 and became the organization’s second Artistic Director in 2009 and CEO in 2015. Vilaro is building on Ramirez’s impact; expanding, and deepening the legacy of visibilizing Latine cultures, and exposing the intersectionality and depth of diversity found in them.

Through its exemplary artistry, distinguished training program, and deep-rooted community engagement, Ballet Hispánico champions and amplifies Latinx voices in the field. For over fifty years Ballet Hispánico has provided a place of honor for the omitted, overlooked, and othered. As it looks to the future, Ballet Hispánico is pushing the culture forward on issues of dance and Hispanic creative expression.

About the Artists

Eduardo Vilaro, Artistic Director and CEO

Eduardo Vilaro joined Ballet Hispánico as Artistic Director in August 2009, becoming only the second person to head the company since it was founded in 1970. In 2015, Mr. Vilaro took on the additional role of Chief Executive Officer of Ballet Hispánico. He has been part of the Ballet Hispánico family since 1985 as a dancer and educator, after which he began a ten-year record of achievement as founder and Artistic Director of Luna Negra Dance Theater in Chicago. Vilaro has infused Ballet Hispánico’s legacy with a bold and eclectic brand of contemporary dance that reflects America’s changing cultural landscape.

Born in Cuba and raised in New York from the age of six, he is a frequent speaker on the merits of cultural diversity and dance education. Vilaro’s own choreography is devoted to capturing the spiritual, sensual and historical essence of Latino cultures. He created over 20 ballets for Luna Negra and has received commissions from the Ravinia Festival, the Chicago Sinfonietta, the Grant Park Festival, the Lexington Ballet and the Chicago Symphony. In 2001, he was a recipient of a Ruth Page Award for choreography, and in 2003, he was honored for his choreographic work at Panama’s II International Festival of Ballet.

Vilaro was inducted into the Bronx Walk of Fame in 2016 and was awarded HOMBRE Magazine’s 2017 Arts &

Culture Trailblazer of the Year. In 2019, Vilaro was the recipient of the West Side Spirit’s WESTY Award, honored by WNET for his contributions to the arts, and most recently,the recipient of the James W. Dodge Foreign Language Advocate Award. In 2022, Vilaro was included in Crain’s New York lists of Notable Hispanic Leaders and Notable LGBTQ Leaders; and was acknowledged as one of Forbes’ Kings of Culture, Legends of Business.

Annabelle Lopez Ochoa, Choreographer

Annabelle Lopez Ochoa has been choreographing since 2003, following a twelve-year dance career in various contemporary dance companies throughout Europe. She has created works for sixty dance companies worldwide including Ballet Hispánico, Atlanta Ballet, Cincinnati Ballet, Compañia Nacíonal de Danza, Dutch National Ballet, Finnish National Ballet, Royal Ballet of Flanders, Ballet du Grand Théâtre de Genève, Göteborg Ballet, Joffrey Ballet, BJM-Danse Montréal, New York City Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, English National Ballet, San Francisco Ballet and Les Grands Ballets Canadiens, to name a few. In 2012, her first fulllength work, A Streetcar Named Desire, originally created for the Scottish Ballet, received the Critics’ Circle National Dance Award for “Best Classical Choreography,” and was nominated for a prestigious Olivier Award for Best New Dance Production the following year. Lopez Ochoa was the recipient of the Jacob’s Pillow Dance Award in 2019.

MetLife Foundation is an Official Tour Sponsor of Ballet Hispánico. The 2022-2023 Ballet Hispánico National Tour is made possible by JPMorgan Chase, an Official Tour Sponsor.

Tracy Kidder in Conversation with Pico Iyer

Tue, Mar 14 / 7:30 PM / The New Vic

Speaking with Pico Series Sponsors: Martha Gabbert, Siri & Bob Marshall, and Laura & Kevin O’Connor

Presented in association with Doctors Without Walls/Santa Barbara Street Medicine, and the following UCSB Departments: Office of Diversity, Equity, and Inclusion, and Basic Needs Resources

Tracy Kidder

Over his long career, Kidder’s writing has been prolific and outstanding. The Soul of a New Machine – a book celebrated for its insight into the world of high-tech corporate America – earned him a Pulitzer Prize and a National Book Award in 1982. Other bestselling works include House, Among Schoolchildren, Old Friends and Home Town.

His enormously influential book Mountains Beyond Mountains captures two global health crises – tuberculosis and AIDS – through the eyes of a single-minded physician bent on improving the health of some of the poorest people on the planet. The story of Dr. Paul Farmer, a major force in revolutionizing international health, is a gripping and inspiring account of one man’s efforts to establish clinics and hospitals – his compassion for the poor, his inner circle of true believers and, ultimately, his success in helping stem the tide of new HIV and TB infections in Haiti.

Farmer was the founder of Zanmi Lasante (Creole for Partners in Health), a non-governmental organization that is the only healthcare provider on the Plateau Central in Haiti.

In his following book, Strength in What Remains, Kidder delivers the humbling story of Deo, a young man whose will to survive and love of knowledge take him from the horrors of genocide in Burundi to Columbia University, and then on to medical school – a brilliant testament to

the power of second chances and an inspiring account of one immigrant’s remarkable American journey. Dr. Paul Farmer and Partners in Health also play a pivotal role in Deo’s story, as they inspire him to establish his own clinic in Burundi. Strength in What Remains was a finalist for both the 2009 National Book Critics Circle Award and the 2009 Los Angeles Times Book Award.

Kidder followed that up with Good Prose, a guide to the craft of nonfiction writing, written with his longtime editor Richard Todd; and his recent book, A Truck Full Of Money, the story of tech entrepreneur Paul English, who made millions during the rise of the internet while dealing with bipolar disorder.

Much as he did with Paul Farmer in Mountains Beyond Mountains, Kidder’s recent book, Rough Sleepers, will introduce readers to Dr. Jim O’Connell, who helped create a program to care for Boston’s homeless community. Today, Dr. O’Connell and his colleagues lead an organization that includes clinics affiliated with Massachusetts General Hospital and the Boston Medical Center, and a host of teams including a street team who reach rough sleepers by van. A symptom of the systemic failures that feed American poverty – racism, childhood trauma, violence – homelessness afflicts a broad and diverse population. Kidder spent time over five years riding with Dr. O’Connell as he navigated the city at night, offering medical care, socks, soup, empathy and friendship to some of the city’s endangered citizens. In Rough Sleepers, we meet some of the people Dr. O’Connell has cared for over the years, including Tony, a protector of others

on the streets, and Joann, who spent many years on the streets and now lectures each new Harvard Medical School class. The powerful story of an inspiring doctor who made a difference, Rough Sleepers was released in early 2023.

Born in New York City in 1945, Kidder spent his childhood in Oyster Bay, Long Island, where his father was a lawyer and his mother a teacher. He attended Harvard, where he earned a BA in 1967. From June 1968 until June 1969, he served as a lieutenant in Vietnam, for which he was awarded a Bronze Star, an experience chronicled in his memoir My Detachment

After the war, Kidder obtained his Master’s degree from the University of Iowa, where he attended the Iowa Writers’ Workshop. It was there that Kidder met Atlantic contributing editor Dan Wakefield, who helped him get his first assignment as a freelance writer.

Over the years, Kidder’s articles have covered a broad array of topics including railroads, energy, architecture and the environment. His writing has appeared in The New Yorker, Granta, The New York Times Book Review and The New York Times

Pico Iyer

Pico Iyer is the author of 15 books, translated into 23 languages, and dealing with subjects ranging from the XIVth Dalai Lama to Islamic mysticism and from globalism to the Cuban Revolution. They include such long-running sellers as Video Night in Kathmandu, The Lady and the Monk, The Global Soul and The Art of Stillness. He has also written the introductions to more than 70 other books, the liner notes for many Leonard Cohen CDs and Criterion Collection movies and a screenplay for Miramax. Since 1986 he has been a regular essayist for Time, The New York Times, Harper’s, The New York Review of Books and many others.

His four talks for TED have received more than 11 million views so far, and he has been featured in program-length interviews with Oprah, Krista Tippett and Larry King, among others.

Born in Oxford, England in 1957, he was a King’s Scholar at Eton, and was awarded a Congratulatory Double First at Oxford, where he received the highest marks of any student on English Literature at the university. He received a second Master’s degree at Harvard and was recently a Ferris Professor at Princeton.

Based since 1987 in western Japan, he travels widely, and his recent book, The Half Known Life, describes experiences in Iran, North Korea, Kashmir, Sri Lanka, Jerusalem and inner Australia.

Books are available for purchase in the lobby and a signing follows the event.

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Photo: Nell Campbell

Coming in Spring 2023

photo: Randy Toy

Poet Laureate

Isabella Rossellini in Conversation with Pico Iyer

Mark Morris Dance Group, The Look of Love

Charles Montgomery - UCSB READS

Víkingur Ólafsson, piano