UCSB Arts & Lectures - Winter Program 2019 by UCSB Arts & Lectures

Winter Program 2019

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Dear Arts & Lectures’ Friends and Family, 1959

Aldous Huxley

1961

José Limón

1963

Itzhak Perlman

1964

Upton Sinclair Margaret Mead

1967

Marilyn Horne

1968

Alvin Ailey American Dance Theater

1972

Duke Ellington

1979 Yo-Yo Ma

1986

Bishop Desmond Tutu

1997

His Holiness the XIV Dalai Lama

2004

Jane Goodall

2006

Jon Stewart

2010

Midway through our 60th Anniversary Season, I am still humbled by the history of what Arts & Lectures has built in our community. Before most of us on the team were born, Arts & Lectures was already fueling the cultural life of Santa Barbara by presenting vibrant performances, encouraging intellectual growth and aspiring to rigorous standards of excellence. Itzhak Perlman as a teenager, Aldous Huxley and Upton Sinclair as later-in-life sages, Archbishop Desmond Tutu and His Holiness the XIV Dalai Lama: this is our shared history. It’s customary to mark these anniversaries with a very special event, but we are a large and sprawling program that reaches into diverse communities and couldn’t possibly honor our loyal public with a single event. So, this year is a festive collection of brilliant performances, thought-provoking lectures, free community events, mindexpanding educational activities and fun parties. Sixty years from now I hope Arts & Lectures will look back on having stoked the careers of young artists like pianist Beatrice Rana (March 3), photographer Bertie Gregory (January 13), and authors like Eli Saslow (March 4), and having educated, entertained and inspired three more generations through Arts & Lectures’ vast and expansive outreach programs. Thank you for joining me on this extraordinary journey. It’s a privilege to play a role in our community’s vibrant cultural life.

Steve Martin

2011

New York City Ballet MOVES Vienna Philharmonic Orchestra

2015

With deepest appreciation,

Malala Yousafzai

2018

Trevor Noah

Celesta M. Billeci Miller McCune Executive Director

What is it? Arts & Lectures’ Thematic Learning Initiative

extends the conversation from the stage into the community, inspiring lifelong learning opportunities that initiate change and empowerment. Join A&L and other knowledge seekers like you who want to learn more, know more and do more to improve ourselves and the world around us. Connect with others at intimate salon-style discussions, film screenings and added special public events. Receive online educational resources, sign up for book giveaways and more!

What does it cost? It’s FREE! Who participates? More than 2,000 community

members like you and local organizations like social services, health and wellness providers and civic organizations.

Get Involved! Visit www.Thematic-Learning.org or

email TLI@ArtsAndLectures.UCSB.edu to get updates and more information.

Winter 2019 Book Selection

Each quarter, we select a book written by an A&L speaker that expands on one of the season’s themes, and provide free copies for the community.

Rising Out of Hatred: The Awakening of a Former White Nationalist by Eli Saslow

“This is a beautiful and important book. I am a changed person for having read it. If my father were still alive, there would be no book I’d rather discuss with him than this.” – Elisha Wiesel, son of Elie and Marion Wiesel FREE copies of Rising Out of Hatred will be available beginning Jan. 8 at Arts & Lectures’ Campbell Hall Box Office and the Santa Barbara Central Library (40 E Anapamu St). Books available while supplies last.

photo: Kimberly Citro

RELATED EVENT

Eli Saslow public lecture, Mar 4 at Campbell Hall (p.58)

Note new A&L Box Office location in Campbell Hall

With thanks to our visionary partners, Lynda Weinman and Bruce Heavin, for their support of the Thematic Learning Initiative A&L Council Member Lynda Weinman & A&L Program Advisor Bruce Heavin with former U.S. Attorney for the Southern District of New York Preet Bharara

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2018-2019 Themes

Health Matters | Borders & Bridges

FREE EVENTS

Jan 16 FILM: Rebels on Pointe

Starring Les Ballets Trockadero de Monte Carlo 7:30 PM / Campbell Hall

Related Event: Les Ballets Trockadero de Monte Carlo performance, Jan 27 (p. 19)

Jan 30 Talking Circle with Martha Redbone 6 PM / American Indian Cultural Resource Center, UCSB Student Resource Building, Room 1219 Related Event: Martha Redbone Roots Project, Jan 29, (p. 24)

Feb 6 FILM: The Mayo Clinic: Faith - Hope - Science

A film by Ken Burns 7 PM / Santa Barbara Central Library*

The first 50 registrants will receive a copy of Elisabeth Rosenthalâ&#x20AC;&#x2122;s An American Sickness: How Healthcare Became Big Business and How You Can Take It Back (must attend to redeem) BOOK GIVEAWAY

Feb 19 Minimizing Stress and

Maximizing Health for Busy People

Presentation by Jay Winner, MD 6 PM / Impact Hub, 1117 State Street*

Mar 4 Notes from the Field: On Immigration

Discussion with Eli Saslow 3 PM / Unitarian Society of Santa Barbara 1535 Santa Barbara Street*

Related Event: Eli Saslow public lecture, Rising Out of Hatred, Mar 4 (p. 58)

Mar 12 Still Alice

SBPL Fiction Book Club Discussion (note: Author will not be present) 5:30 PM / Santa Barbara Central Library* Related Event: Lisa Genova public lecture, Still Alice: Understanding Alzheimerâ&#x20AC;&#x2122;s, Mar 9 (p. 67)

Mar 15 Charting a World Without Borders

Discussion with Pico Iyer 4 PM / Santa Barbara Central Library*

*Online registration recommended: www.Thematic-Learning.org

www.Thematic-Learning.org

Jon Batiste, solo Fri, Jan 11 / 8 PM / Campbell Hall

Program will be announced from the stage

Born into a long lineage of Louisiana musicians, Jon Batiste is a globally celebrated musician, educator, bandleader and television personality whose musical skill, artistic vision and exuberant charisma have made him a triple threat and the newly “crowned prince of jazz.” Batiste is recognized for his originality, jaw-dropping talent and dapper sense of style. He effortlessly transitions from commanding the piano with virtuosic skill to soulfully crooning to wailing on the harmonaboard (a hybrid of a harmonica and keyboard) to curating unique “social music” experiences all over the world, whether solo or with his band Stay Human. The New York City-based musician delicately balances a demanding schedule on screen and on stage – from his role as bandleader and musical director for The Late Show with Stephen Colbert, to performing the national anthem at the NBA All-Star Game and the U.S. Open, to performing a tribute to Chuck Berry and Fats Domino with Gary Clark Jr. at the Grammys. Batiste was the grand marshal of Mardi Gras’ famed Endymion parade and recently completed a summer festival tour with The Dap-Kings while recording and prepping the release of his first solo album, Hollywood Africans.

noticed – he’s been awarded the American Jazz Museum Lifetime Achievement Award, the Harry Chapin ASCAP Humanitarian Award and made the coveted Forbes 30 under 30 list. Batiste is also an exemplary brand ambassador – he’s been featured in ad campaigns for Chase Bank, the Apple Watch, Lincoln Continental and numerous fashion brands including Polo Ralph Lauren Black Label, Bonobos, Frye, Kate Spade, Jack Spade Barneys, Nordstrom and H&M. Batiste has worked with legendary photographer Annie Leibovitz and his personal style has been profiled in numerous fashion publications including GQ, Vanity Fair, CR Fashion Book, Esquire and Vogue. Batiste received both his undergraduate and master’s degrees in piano from the Juilliard School. He currently resides in Brooklyn, N.Y. Special thanks to

Strongly committed to philanthropy, education and mentoring young musicians, Batiste has led his own Social Music Residency and Mentoring Program sponsored by Chase, as well as hundreds of master classes throughout the world. Batiste is currently the artistic director at large of the National Jazz Museum in Harlem and musical director for The Atlantic. His accolades also can’t go un-

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Bertie Gregory A Wild Life

photo: Bertie Gregory

Sun, Jan 13 / 3 PM / Campbell Hall

Wildlife filmmaker and photographer Bertie Gregory has always been fascinated by the megafauna of wilderness areas. From a young age, Gregory recognized that he could channel his obsession with wildlife into photography. He taught himself to use his father’s camera on walks in the fields near their home in South West England. At the age of 16, he entered his first wildlife photography competition – and won. Selected to be part of 2020 Vision, a project that brought together the U.K.’s top 20 wildlife photographers under 20, Gregory was assigned to find nature in an urban setting. His work demonstrated that there’s wildlife everywhere – even in the heart of a city – and introduced him to his favorite animal: the peregrine falcon. In 2012, he was named Outdoor Photography’s Young Outdoor Photographer of the Year.

Explorer of the Year in 2015. He used his grants to find and film the elusive coastal wolves of Vancouver Island, Canada. The following year, footage from his first solo assignment for National Geographic was commissioned to be its first online wildlife series, wild_life with Bertie Gregory. Gregory has since worked with Steve Winter on a jaguar story for National Geographic, filming a one-hour special for Nat Geo WILD focused on Winter’s work photographing the animal for the magazine. He has also completed the prestigious BBC Natural History Unit camera bursary, spending a year filming a landmark series for the network. Gregory is currently filming new seasons of wild_life for National Geographic.

As a university student, Gregory bartered his photography skills for lodging on overseas trips. Contacting wildlife guides and offering to shoot pictures in exchange for board, he photographed his way through the Amazon and three months in Vancouver. In July 2014, he graduated with honors and a degree in zoology from the University of Bristol – and the next day, he flew to South Africa to assist legendary big cat photographer Steve Winter on assignment for National Geographic. Gregory was named a National Geographic Young Explorer and the Scientific Exploration Society’s Zenith

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64th U.S. Secretary of State An Evening with

Madeleine Albright Tue, Jan 22 / 7:30 PM / Granada Theatre

photo: Timothy Greenfield Sanders

Event Sponsor: Anonymous Corporate Sponsor: Additional Support: Bettina & Glenn Duval Linda & Frederick Gluck Judith Hopkinson Susan & Bruce Worster

Madeleine K. Albright is Chair of Albright Stonebridge Group, a global strategy firm, and Chair of Albright Capital Management LLC, an investment advisory firm focused on emerging markets. She was the 64th Secretary of State of the United States. Dr. Albright received the Presidential Medal of Freedom from President Obama on May 29, 2012. In 1997 Dr. Albright was named the first female Secretary of State and became, at that time, the highest ranking woman in the history of the U.S. government. From 1993 to 1997, Dr. Albright served as the U.S. Permanent Representative to the United Nations and was a member of the President’s Cabinet. From 1989 to 1992, she served as President of the Center for National Policy. Previously, she was a member of President Jimmy Carter’s National Security Council and White House staff and served as Chief Legislative Assistant to U.S. Senator Edmund S. Muskie. Dr. Albright is a Professor in the Practice of Diplomacy at the Georgetown University School of Foreign Service. She chairs the National Democratic Institute for International Affairs and serves as president of the Truman Scholarship Foundation. She serves on the U.S. Department of Defense’s Defense Policy Board, a group tasked with providing the Secretary of Defense with independent, informed advice and opinion concerning matters of defense policy. Dr. Albright also serves on the Board of the Aspen Institute. In 2009 Dr. Albright was asked by NATO Secretary General Anders Fogh Rasmussen to chair a Group of Experts focused on developing NATO’s New Strategic Concept.

Dr. Albright’s most recent book is the No. 1 New York Times bestseller Fascism: A Warning (2018). She is the author of five other bestsellers: her autobiography, Madam Secretary: A Memoir (2003); The Mighty and the Almighty: Reflections on America, God, and World Affairs (2006); Memo to the President: How We Can Restore America’s Reputation and Leadership (2008); Read My Pins: Stories from a Diplomat’s Jewel Box (2009); and Prague Winter: A Personal Story of Remembrance and War, 1937-1948 (2012). Dr. Albright received a Bachelor’s with Honors from Wellesley College, Master’s and Doctorate degrees from Columbia University’s Department of Public Law and Government and a certificate from its Russian Institute. Pre-signed books are available for purchase in the lobby

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

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Mouthpiece

Quote Unquote Collective In association with Why Not Theatre

photo: Brooke Wedlock

Wed, Jan 23 & Thu, Jan 24 / 8 PM / Campbell Hall

Running time: approx. 60 min., no intermission

Presented in association with the UCSB Department of Feminist Studies and the UCSB Women’s Center

Created and performed by Amy Nostbakken and Norah Sadava Directed by Amy Nostbakken Movement and dramaturgy by Orian Michaeli Lighting design by André du Toit Sound design by James Bunton Composed by Amy Nostbakken Associate lighting design, stage and production management by Rebecca Vandevelde About the Program A heart-wrenching and humorous journey into the female psyche, Mouthpiece follows one woman, for one day, as she tries to find her voice in the wake of her mother’s death. Interweaving a cappella harmony, dissonance, text and physicality, two performers express the inner conflict that exists within one modern woman’s head. Ranging from tender to merciless, with uncompromising precision, Mouthpiece magnifies a daughter’s contemplation of her mother and becomes a rigorous investigation of womanhood itself.

Creative Team Amy Nostbakken Amy Nostbakken is co-artistic director of Quote Unquote Collective and core member of Theatre Ad Infinitum U.K. An award-winning playwright, performer and composer, Nostbakken has co-created numerous award-winning productions including Theatre Ad Infinitum’s First Class (2011), The Big Smoke (2012), Ballad of the Burning Star (2013) and Bucket List (2016). She co-wrote, directed, composed and performs Mouthpiece, which is currently touring the world. In 2017 Mouthpiece was published by Coach House Books and adapted into a feature film. Nostbakken recently directed and performed in Quote Unquote Collective’s six-woman play Now You See Her, which performed to sold-out houses in Toronto.

Norah Sadava Co-artistic director of Quote Unquote Collective, Norah Sadava is a Toronto-based actor and creator with a background in devised physical theater. A graduate of the MFA program at the Dell’Arte International School of Physical Theatre, she has been involved in the writing and creation of new work with numerous companies both in Canada and internationally. Sadava co-wrote, created and performs Mouthpiece, which is currently touring the world, was recently published by Coach House Books and is being adapted into a feature film. Sadava recently directed and performed in Quote Unquote Collective’s six-woman play Now You See Her, which performed to sold-out houses in Toronto.

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Orian Michaeli Orian Michaeli was born in 1983 in Israel. Since 2009 she has been working as a freelance choreographer, dancer, deviser and actress. Michaeli has created choreography for Mouthpiece (Quote Unquote Collective), This Might Hurt a Bit (Max Stafford Clark – Out of Joint), Pitcairn (Max Stafford Clark – Out Of Joint), Ballad of the Burning Star (Nir Paldi – Theatre Ad Infinitum), Quite and Talented Like a Demon. Choreography and acting in films include Goose Bumps, It’s Not All That Simple and Fairy on the Roof (director: Hadas Noiman). Awards include a Keren Sharet Foundation Scholarship and the Lohamei Hagetaot Museum Award. Michaeli is currently creating choreography for Quote Unquote Collective’s new work Now You See Her and creating Demo Demonstration, a duet dance piece exploring the territory of protest.

André du Toit André du Toit is a two-time Dora Award-winning lighting designer based in Toronto. Selected theater credits include: The 39 Steps (Soulpepper Theatre); Take Me Back to Jefferson, The Assholes (Theatre Smith-Gilmour); The Double, Paolozzapedia (Bad New Days); Bakelite Masterpiece (Tarragon Theatre ); Watching Glory Die (Canadian Rep Theatre); Ralph + Lina (Edge of the Woods); Mouthpiece (Quote Unquote); SPENT (Theatre Smith-Gilmour, Why Not Theatre, TheatreRUN); Florence (The Deitrich Group) and Jackie Burroughs is Dead (Danielle Baskerville).

James Bunton James Bunton is an independent producer/composer/ Dora-winning sound designer who has performed across North America, the U.K., Europe and Asia in projects including Ohbijou, Evening Hymns, Light Fires and Forest City Lovers. Works include sound design and composition for Scott Free Productions, Quote Unquote Collective, Susie Burpee, Sylvie Bouchard, Anandam DanceTheatre, Forcier Stage Works, Philip McKee, Departures Entertainment Inc. (Outdoor Life Network), Stuart McIntyre and Paul Mathew (Consul Media) and Richie Mehta (Rickshaw Productions). Recent credits include audio production on works by Donovan Woods, Evening Hymns, For Esmé, Blimp Rock, Shawn William Clarke, Light Fires, Vivek Shraya and on the Friends in Bellwoods and SLOW Volumes compilations.

Rebecca Vandevelde Rebecca Vandevelde is a lighting/video/etc. designer, technician and anything-manager who creates interactive

installations like “Flip the Table” and “Blanket Fort” with Art is Hard, freelance production manages and does design and production work with many independent theaters and festivals. Vandevelde holds a Bachelor’s in Drama, History and speaking French sometimes from Glendon College at York. She is of late the production manager for Toronto’s Fringe and Next Stage theater festivals, alongside touring with Quote Unquote Collective and Why Not Theatre’s Mouthpiece. Upcoming: Lighting design for Pandemic Theatre’s Take d Milk, Nah?

Co-producers Quote Unquote Collective Quote Unquote Collective is a Toronto-based multi-disciplinary performance company that aims to work outside the boundaries of tradition and expectation. Engaging with urgent social and political themes, the company is founded on the ﬁrm belief that art and performance are tools to provoke conversation and change. Co-founders Amy Nostbakken and Norah Sadava, who both have a strong background in physical theater and music, have joined forces to produce work in a variety of genres and disciplines as a means to make new, experimental and provocative performance work that ignites conversation within the community and the world at large. Defying conventions of style and form, the collective is built on the premise that individual ideas demand to be expressed through different forms and should be expressed by whatever means necessary. www.quoteunquotecollective.com

Why Not Theatre Why Not Theatre is an agile international theater company based in Toronto, Canada, and rooted in the values of innovation, community and collaboration. Its work is inventive, cross-cultural and reﬂects a passion for the exploration of difference, challenging the status quo by examining what stories are being told and who is telling them. More than just a theater company, it develops creative strategies to build a healthier and stronger arts ecology. It makes and tours critically-acclaimed and award-winning new work, shares resources with other companies and artists to produce and tour their work and provokes change through new producing models and the presentation of work for new audiences. The company is led by Founding Artistic Director Ravi Jain, Managing Director Owais Lightwala and Executive Producer Kelly Read. www.theatrewhynot.org

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Co-sponsored with The Argyropoulos Fund for Hellenic Studies

Leonidas Kavakos, violin Enrico Pace, piano

photo: Marco Borggreve

Fri, Jan 25 / 7 PM / Campbell Hall

Presented in association with the UCSB Department of Music and Saint Barbara Greek Orthodox Church

Program

About the Program

Beethoven: Violin Sonata No. 4 in A minor, op. 23 Presto Andante scherzoso, più allegretto Allegro molto

Ludwig van Beethoven (1770-1827): Violin Sonata No. 4 in A minor, op. 23

Prokofiev: Violin Sonata No. 1 in F minor, op. 80 Andante assai Allegro brusco Andante Allegrissimo – Andante assai, come prima ◆ Intermission ◆ Bartók: Rhapsody No. 1, Sz. 87 Lassú – Friss Enescu: Violin Sonata No. 3 in A minor, op. 25 Moderato malinconico Andante sostenuto e misterioso Allegro con brio, ma non troppo mosso

The first two years of the nineteenth century were, on the surface, productive and happy ones for Beethoven. A series of well-received premieres and performances, as well as satisfying new personal and professional relationships, seemed to bode well for the composer. Yet in the midst of this increasing success, Beethoven harbored the now-famous secret of his encroaching deafness. What he first described as mere “humming and buzzing” grew steadily direr. In July of 1801, around the time he began composing the Fourth Violin Sonata, he wrote to a friend, “Let me tell you that my most prized possession, my hearing, has greatly deteriorated.... You will realize what a sad life I must now lead, seeing that I am cut off from everything that is dear and precious to me.... I must withdraw from everything; and my best years will rapidly pass away without my being able to achieve all that my talent and my strength have commanded me to do.” Despite these cruel vicissitudes of fate, Beethoven remained optimistic, even defiant. In another letter, he proclaimed, “I will seize Fate by the throat; it shall certainly not bend and crush me completely.” Startling piano flourishes initiate the first-movement Presto, an unusual starting tempo for Beethoven. An insistent four-note motive, often descending, dominates the move-

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ment. Much like the opening of his Fifth Symphony, which Beethoven would complete later in the decade, these notes provide not so much a melody as an infectious pulse. A hesitant two-note figure opens the playful second movement. The music soon becomes a jocular, almost flirtatious, call-and-response. The players exchange short outbursts but rarely engage in sustained loudness, instead settling into a shy piano. The piano introduces the main theme of the finale, which the violin then repeats. Three distinct episodes alternate with this theme in an ABACADA pattern. In an extended coda, all make brief reappearances before suddenly winding down.

Sergei Prokofiev (1891-1953): Violin Sonata No. 1 in F minor, op. 80 Like many artists, Sergei Prokofiev fled Russia in the wake of the 1917 revolutions. He moved between America and Europe for a decade, avoiding the bloodiest chapters of the Revolution while remaining in touch with friends and professional connections in Russia. He began visiting Moscow and Leningrad to perform concerts of his music, and over several years, the Stalinist government persuaded him to move back. Thinking himself separate from the censorship affecting other Soviet artists, Prokofiev returned to Moscow with his family in 1936, just before Stalin’s Great Purge began in earnest. Fêted upon his arrival, Prokofiev soon began to understand the cost of his homecoming; in one ominous episode, his passport was taken at a government appointment and confiscated without explanation. Prokofiev would never leave Russia again. Prokofiev began the Violin Sonata in 1938 but found its composition difficult. A flurry of new projects and the Nazi invasion of the Soviet Union in 1941 pushed the work further from his mind. He eventually completed the Sonata in 1946; it would earn him a Stalin Prize the following year. Unfortunately, the award could not prevent the terror that was to follow. In 1948, the infamous Zhdanov Decree censured many of Russia’s most distinguished composers, including Prokofiev. Ten days later, the police arrested Prokofiev’s wife Lina on trumped-up charges and sent her to the gulag. Fears of enraging the Party led to a de facto ban on his music for more than a year. Emotionally shaken and in ill health, Prokofiev never completely recovered. He died on March 5, 1953, an hour before Stalin. The first and third movements of his Violin Sonata were played at his funeral. Thin, desolate textures and unhurried tempos dominate the first movement. It opens with a gloomy, chant-like melody played in sonorous octaves in the piano’s murky depths. The

violin responds with oscillating interjections, introducing a tension that builds to a piercing cry. Prokofiev likened the wispy, eerie violin runs that follow to “autumn evening wind blowing across a neglected cemetery grave.” The movement closes with a return of the opening chant. Both players introduce the second movement with a brusque, driving theme. The second theme, by contrast, is tuneful and almost heroic, though moored in grief. A seven-note figure from this theme appears several times in both instruments, like a mantra. This hopeful refrain ultimately gives way to a dizzying, screaming finish. The Andante begins as if in a dream, ethereal and untethered. Ominous melodies interrupt this reverie with an obsessive, three-note figure. The dreamy opening arpeggios return, yet the movement’s final shivers suggest anything but tranquility. A cheerful opening to the final movement offers a shortlived respite, but it is cut short as the music takes a pounding, angry turn. The lively opening character reemerges, but ferocious pulses in the piano darken the mood. The violin grows more frantic until the haunted graveyard breeze from the first movement returns. Piano chords ring out like church bells as the music succumbs to despair.

Béla Bartók (1881-1945): Rhapsody No. 1, Sz. 87 Béla Bartók was born in a small town in the Kingdom of Hungary (modern-day Romania). He displayed musical aptitude from an early age, plucking out dozens of folk tunes on the piano by the age of four. Even as he grew fascinated by the modern sounds of Strauss and Debussy, folk music continued to pull at him. In his twenties, Bartók and one of his classmates, pedagogue Zoltán Kodály, journeyed into the Hungarian countryside with Edison cylinders to record indigenous music. These recordings proved massively influential on Bartók, affecting his compositional style as well as his philosophies of music and life. Drawing from extensive field experience, Bartók lauded the so-called “impurities” of blended musical traditions. A letter from 1931 reads, “My own idea... is the brotherhood of peoples, brotherhood in spite of all wars and conflicts. I try... to serve this idea in my music; therefore I don’t reject any influence, be it Slovakian, Rumanian, Arabic or from any other source.” He soon came under fire for his embrace of diversity. As the Hungarian government grew increasingly fascistic, nationalists accused him of further dividing an already fractured nation. Bartók organizes the Rhapsody in a traditional twopart, lassú-friss (slow-fast) structure common to certain

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Hungarian dances. A syncopated piano accompaniment kicks off the slow movement. The two violin melodies in this movement are quite expressive, full of dotted rhythms, repeated pitches, and emphatic double and quadruple stops. Though the dense chords and narrow intervals in the accompaniment can seem dissonant to Western ears, to native listeners these combinations sound perfectly harmonious. In the fast second movement, Bartók strings together lively dance tunes, one following the other. Varied textures evoke instruments and styles from across the Carpathians: pedal tones replace the drone of a bagpipe, piano engages in calland-response with the violin, and sometimes voices drop out entirely. The movement is a tour de force for the violinist, who must rapidly switch between plucking and bowing while navigating high-flying harmonics and increasingly frenetic tempos.

Enescu (1881-1955): Violin Sonata No. 3 in A minor, op. 25 Enescu composed the Third Violin Sonata in 1926 in his native Romania. It was an exciting yet volatile time for the country. Romania, which fought alongside the Allies during World War I, greatly expanded its territory following the dissolution of the Austro-Hungarian Empire. Romania saw this expansion as an opportunity to forge a great, unified national identity, but the rifts created by generations of cultural and geographical separation proved impossible to mend in the brief interwar period. Enescu’s Romania and Bartók’s Hungary shared a large land border and, consequently, a significant musical heritage. Ethnic groups from both nations migrated, intermingled and exchanged ideas, resulting in numerous stylistic commonalities. Enescu, born just a few months after Bartók, proves an interesting foil to the Hungarian composer. To preserve the integrity of a piece, Bartók typically chose to set folk tunes without altering them, adding little more than his own accompaniment (as in his Rhapsody). Enescu, by contrast, grew tired of the limited options offered by simply “setting” Romanian melodies. Shortly before beginning his Third Violin Sonata, Enescu commented that all a composer could do with an existing piece of folk music was “to rhapsodize it, with repetitions and juxtapositions.” Enescu drew inspiration for the Sonata from happy childhood memories. He grew up listening to the clans of professional Romani musicians in his village called Lăutari. Their influence is especially evident in the highly embellished violin lines that stretch across the melancholy first movement. Called doina, these melodies share characteristics with Jewish klezmer traditions (Bartók noted similar idioms as

far away as Algeria and Iraq). Restless piano accompaniment provides harmonies both crunching and dissonant and relaxed and spacious. The unhurried second movement starts with a high, repeated pitch on the piano. The violin plays harmonics to evoke the breathy song of a flute. What began as a simple, oscillating piano accompaniment grows more driving and insistent, building to an extended passage of wailing octaves from the violin. A quiet, pensive section follows before ending in muted, sparse harmonies. A syncopated, klezmer-like dance launches the finale. Throughout the movement, the violin imitates Romani folk sonorities, including extended drones, the slurred vocal lines of singers, and the plucking of a hammered dulcimer before building to a thundering finish. Program notes © Andrew McIntyre

Leonidas Kavakos Leonidas Kavakos is recognized as a violinist and artist of rare quality, known for his virtuosity, superb musicianship and the integrity of his playing. By age 21 Kavakos had already won three major competitions: the Sibelius (1985), Paganini and Naumburg competitions (1988). This success led to his recording the original Sibelius Violin Concerto (1903/4), the first recording of this work in history, which won Gramophone Concerto of the Year Award in 1991. Kavakos was awarded Gramophone Artist of the Year 2014 and is the 2017 winner of the Léonie Sonning Music Prize, Denmark’s highest and most prestigious musical honor. In the 2018-19 season, Leonidas Kavakos is the artist-in-residence at both the Dallas Symphony Orchestra and the Bavarian Radio Symphony Orchestra and will appear in concerto and play-conduct performances with both orchestras. In North America, he performs with the San Francisco Symphony, and embarks on a recital tour with pianist Enrico Pace, with concerts in Santa Barbara, San Francisco, Seattle, Fort Worth and Philadelphia, as well as in concert with Yuja Wang at Carnegie Hall. Highlights in Europe include a tour with Emanuel Ax and Yo-Yo Ma performing the Brahms trios and performances as soloist with the Vienna Philharmonic, London Symphony Orchestra, Royal Concertgebouw Orchestra and Danish National Symphony. Over the years Kavakos has developed close relationships with some of the world’s most prestigious orchestras and, more recently, he has also built a strong profile as a conductor. This season he will conduct the Vienna Symphony

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Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, Chamber Orchestra of Europe and Budapest Festival Orchestra. Kavakos recently signed an exclusive contract with Sony Classical, for whom he has previously recorded the Mendelssohn Violin Concerto and Mozart’s Violin Concertos play-conducting with the Camerata Salzburg. In fall 2017 he joined Yo-Yo Ma and Emanuel Ax for a highly-successful recording of Brahms Trios for the label. Upcoming recording projects include the Beethoven Violin Concerto which he will play-conduct with the Bavarian Radio Symphony Orchestra, followed by the complete Bach Solo Sonatas and Partitas. Kavakos’ other recordings include Virtuoso, Brahms Violin Sonatas with Yuja Wang, Brahms’ Violin Concerto with the Gewandhausorchester Leipzig and Riccardo Chailly and the complete Beethoven Violin Sonatas with Enrico Pace, all on the Decca label. Kavakos plays the Willemotte Stradivarius violin of 1734. www.leonidaskavakos.com www.facebook.com/leonidas.kavakos.violin

Enrico Pace Enrico Pace was born in Rimini, Italy. He studied piano with Franco Scala both at the Rossini Conservatory, Pesaro, where he graduated in Conducting and Composition, and later at the Accademia Pianistica Incontri col Maestro, Imola. Jacques De Tiège was a valued mentor. Winning the Utrecht International Franz Liszt Piano Competition in 1989 marked the beginning of his international career. Since then Enrico Pace has toured extensively, performing in cities such as Amsterdam (Concertgebouw), Milan (Sala Verdi and Teatro alla Scala), Rome, Berlin, London (Wigmore Hall), Dublin, Munich, Salzburg, Prague and various cities in South America. He has performed at numerous festivals including La Roque-d’Anthéron, Verbier, Lucerne, Rheingau, Schleswig-Holstein and Husum. Pace has worked with, among others, the following conductors: Roberto Benzi, David Robertson, Andrey Boreyko, Mark Elder, Janos Fürst, Eliahu Inbal, Lawrence Foster, Kazimierz Kord, Jiří Kout, Gianandrea Noseda, Walter Weller, Carlo Rizzi, Jan Latham-Koenig, Vassily Sinaisky, Stanislav Skrowaczewski, Bruno Weil and Antoni Wit. A very popular soloist, he has performed with many major orchestras such as the Royal Concertgebouw Orchestra, the Munich Philharmonic, the Bamberger Symphoniker, the BBC Philharmonic Orchestra, the Orchestra of Santa

Cecilia Rome, the Rotterdam Philharmonic, the Dutch Radio Philharmonic, the Netherlands Philharmonic, the Sydney and Melbourne symphony orchestras, the Konzerthausorchester Berlin, the MDR-Sinfonieorchester Leipzig, the Warsaw Philharmonic Orchestra, the RTE National Symphony Orchestra, the G. Verdi Orchestra Milan and the Filarmonica Toscanini Parma. Pace greatly enjoys chamber music and has played with the Keller Quartet, the RTE Vanbrugh Quartet, the Quartetto Prometeo and with cellist Daniel Müller-Schott, clarinetist Sharon Kam and horn player Marie Luise Neunecker. He participates regularly in chamber music festivals and has visited Delft, Moritzburg, Risør, Kuhmo, Montreux, Stresa and West Cork. Recent and forthcoming highlights include(d) engagements with the Netherlands Philharmonic Orchestra, the orchestra of the Maggio Musicale Fiorentino, the Hungarian National Philharmonic, the Göteborg and London symphony orchestras, the Stavanger Symphony Orchestra and the Rheinische Philharmonie; the Beethoven Sonata cycle with Leonidas Kavakos in New York (Carnegie Hall), Athens, Florence, Milan, Amsterdam, Moscow and Tokyo and at the Salzburg Festival and the Beethovenfest Bonn, as well as further duo recitals in the U.S., Europe and China; Bach Sonatas with Frank Peter Zimmermann in New York, Amsterdam, Zürich, Frankfurt, Bamberg and Japan; a performance at La Scala in Milan of Schubert’s Schwanengesang with Matthias Goerne; recitals with viola player Antoine Tamestit in Zürich, Frankfurt and Cologne; recitals with Akiko Suwanai in Japan; recitals with cellist Sung-Won Yang in Korea and Japan, and solo recitals in the Amsterdam Concertgebouw and the Herkulessaal in Munich. Pace enjoys ongoing partnerships with violinists Leonidas Kavakos, Frank Peter Zimmermann and Liza Ferschtman. With Kavakos and cellist Patrick Demenga he recorded the piano trios by Mendelssohn (Sony Classical). And his recording of the complete Beethoven Sonatas for piano and violin with Kavakos was released by Decca Classics in January 2013. With Zimmermann he recorded the Busoni Violin Sonata No. 2 and the Six Sonatas for Violin and Piano BWV 1014-1019 by J.S. Bach for Sony Classical. In 2011 the label Piano Classics released his highly praised solo recording of the Années de pèlerinage “Suisse” and “Italie” of Franz Liszt. Special thanks to

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Les Ballets Trockadero de Monte Carlo Sun, Jan 27 / 7 PM / Granada Theatre

photo: Zoran Jelenic

Related Thematic Learning Initiative Event (see page 9)

Event Sponsors: Sara Miller McCune Mandy & Daniel Hochman

Tory Dobrin, Artistic Director Isabel Martinez Rivera, Associate Director Liz Harler, General Manager Dancers: Colette Adae, Ludmila Beaulemova, Nadia Doumiafeyva, Lariska Dumbchenko, Nina Enimenimynimova, Helen Highwaters, Nina Immobilashvili, Elvira Khababgallina, Irina Kolesterolikova, Varvara Laptopova, Sonia Leftova, Vera Namethatuneova, Eugenia Repelskii, Alla Snizova, Olga Supphozova, Maya Thickenthighya, Minnie van Driver, Guzella Verbitskaya Jacques d’Aniels, Pepe Dufka, Boris Dumbkopf, Ketevan Iosifidi, Nicholas Khachafallenjar, Stanislas Kokitch, Dmitri Legupski, Marat Legupski, Sergey Legupski, Vladimir Legupski, Andrei Leftov, Mikhail Mudkin, Boris Mudko, Mikhail Mypansarov, Yuri Smirnov, Innokenti Smoktumuchsky, Kravlji Snepek, William Vanilla

Program ChopEniana Music by Frederic Chopin Staged for the Trockadero by Alexandre Minz Costumes by Mike Gonzales, After Benois Decor by John Claassen Lighting by Kip Marsh Cast Nocturne, Op. 32, No. 2: The Company Valse, Op. 70, No. 1: Olga Supphozova Prelude, Op. 28, No. 7: Nina Immobilashvili Mazurka, Op. 67, No. 3: Nicholas Khachafallenjar Mazurka, Op. 33, No. 3: Nina Enimenimynimova Valse, Op. 64, No. 2: Nina Immobilashvili and Nicholas Khachafallenjar Valse, Op. 18., No 1: The Company ◆ Intermission ◆

Pas de deux, solo or modern work to be announced

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La Trovatiara Pas de Cinq Music by Giuseppe Verdi Choreography by Peter Anastos Costumes by Kenneth Busbin Decor and Lighting by Kip Marsh Cast Eugenia Repelskii, Helen Highwaters, Guzella Verbitskaya, Mikhail Mypansarov, Sergey Legupski

The Bride Raymonda: Nina Enimenimynimova The Groom Count Jean de Brienne: Boris Mudko

About the Program ChopEniana

◆ Intermission ◆

ChopEniana is an abstract classical ballet, without narrative structure or defined characters. Although it atmospherically suggests Giselle and La Sylphide, the sentiments aroused spring from the sublime music of Chopin – the evanescence of dreams, desire and melancholy.

Raymonda’s Wedding

La Trovatiara Pas de Cinq

A Traditionally Confusing Divertissement in Two Scenes Music by Alexander Glazunov Choreography after Marius Petipa Costumes by Mike Gonzales and Ken Busbin Decor by Chas. B. Slackman Lighting by Kip Marsh Cast The White Lady: Lariska Dumbchenko (Left over from Acts 1 and 2, she is sometimes a statue, sometimes a ghost, always an enigma)

Bridesmaids Henriette: Olga Supphozova Clemence: Nadia Doumiafeyva Hortense: Varvara Laptopova Stefanie: Alla Snizova Friends of the Groom Anais and Francois: Helen Highwaters and Vladirmir Legupski Fifi and Bernard: Colette Adae and Marat Legupski Zsa Zsa and Laslo: Nina Immobilashvili and Stanislas Kokitch Magda and Beranger: Guzella Verbitskaya and Mikhail Mudkin

Spending the winter of 1851-52 in Paris, the great Italian opera composer Giuseppe Verdi was persuaded to attend a performance of the enormously popular attraction, Les Filles de Barbary. This all-girl North African ballet troupe, hailing from Fez on the pirate-infested Barbary Coast, was renowned for its lurid interpretations of European romantic ballet and sub-Saharan Apache dance. So smitten was Verdi by the passionate intensity and imaginative tattoos of these pirate girls that he offered to compose a ballet especially for them, to be included in the third act of his new opera, La Trovatiara (The Foundling Queen). The scene is set in Tripoli, dockside, and the pirate girls are commanded to perform a divertissement by the cruel Emir, Saddam el-Djaloppy. It is this scene that constitutes the current Trockadero revival. (In the opera, following their dance, the pirate girls are set free by the suddenly grateful Emir and sent forth to open coin-operated laundries all over Europe). Les Ballets Trockadero de Monte Carlo is indeed fortunate to have uncovered this lost gem from a misplaced Verdi opera.

Raymonda’s Wedding Raymonda, a ballet in three acts and 15 scenes based on the scenario by L. Pashkova, has baffled audiences since its premiere at the Maryinsky (then Kirov, now Maryinsky) Theater in 1898. The plot, which loses something in translation, is as follows: Count Jean de Brienne (a knight), betrothed to Raymonda (a young Hungarian noblewoman), abandons her to

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join the Crusades against the Saracens. In his absence, Abdourahman (a Saracen Emir) woos Raymonda. When she rejects him, he attempts to abduct her. De Brienne, assisted by The White Lady (Raymonda’s Fairy Godmother), slays Abdourahman and marries Raymonda. The Trockadero ignores all of these plot intrigues and presents the happy ending. Scene 1: The entrance of the Bridesmaids and their departure for the wedding. Scene 2: The reception.

About the Company Les Ballets Trockadero de Monte Carlo was founded in 1974 by a group of ballet enthusiasts for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and en travesty. Les Ballets Trockadero first performed in the late-late shows in OffOff Broadway lofts. The Trocks, as they are affectionately known, quickly garnered a major critical essay by Arlene Croce in The New Yorker, which, combined with reviews in The New York Times and The Village Voice established the company as an artistic and popular success. By mid-1975, the Trocks’ loving knowledge of dance, comic approach and commitment to the notion that men can, indeed, dance en pointe without falling flat on their faces, was already garnering attention beyond the company’s New York home. Articles and notices in publications such as Variety, Oui, The London Daily Telegraph and a Richard Avedon photo essay in Vogue, made the company nationally and internationally known. The 1975-76 season was a year of growth and full professionalization. The company found management, qualified for the National Endowment for the Arts Touring Program, and hired a full-time teacher and ballet mistress to oversee daily classes and rehearsals. Also in this season, they made their first extended tours of the United States and Canada. Packing, unpacking and repacking tutus and drops, stocking giant-sized toe shoes by the case; running for planes and chartered buses all became routine parts of life.

Line?, Real People, On-Stage America, with Kermit and Miss Piggy on their show Muppet Babies and a BBC Omnibus special on the world of ballet hosted by Jennifer Saunders. A documentary about the company, Rebels on Pointe by Bobbi Jo Hart, had its theatrical release in 2017. Awards that the Trocks have garnered over the years include: Best Classical Repertoire from the prestigious Critics’ Circle National Dance Awards (2007, U.K.); the Theatrical Managers Award (2006, U.K.); and the 2007 Positano Award (Italy) for excellence in dance. In December 2008 the Trocks performed for members of the British royal family at the 80th anniversary Royal Variety Performance, benefiting the Entertainment Artistes’ Benevolent Fund. The Trocks’ numerous tours have been both popular and critical successes – their frenzied annual schedule has included appearances in more than 35 countries and more than 600 cities worldwide since its founding in 1974, including seasons at the Bolshoi Theater in Moscow and the Chatelet Theater in Paris. The Company continues to appear in benefits for international AIDS organizations such as DRA (Dancers Responding to AIDS) and Classical Action in New York City, the Life Ball in Vienna, Austria, Dancers for Life in Toronto, Canada, London’s Stonewall Gala and Germany’s AIDS Tanz Gala. The original concept of Les Ballets Trockadero de Monte Carlo has not changed. It is a company of professional male dancers performing the full range of the ballet and modern dance repertoire, including classical and original works in faithful renditions of the manners and conceits of those dance styles. The comedy is achieved by incorporating and exaggerating the foibles, accidents and underlying incongruities of serious dance. The fact that men dance all the parts – heavy bodies delicately balancing on toes as swans, sylphs, water sprites, romantic princesses and angst-ridden Victorian ladies – enhances rather than mocks the spirit of dance as an art form, delighting and amusing the most knowledgeable, as well as novices, in the audiences. For the future there are plans for new works in the repertoire; new cities, states and countries to perform in; and for the continuation of the Trocks’ original purpose: to bring the pleasure of dance to the widest possible audience. They will, as they have done for more than 44 years, “keep on Trockin’.”

Since those beginnings the Trocks have established themselves as a major dance phenomenon throughout the world. They have participated in dance festivals worldwide and there have been television appearances as varied as a Shirley MacLaine special, The Dick Cavett Show, What’s My

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Les Ballets Trockadero de Monte Carlo Dancers Olga Supphozova and Yuri Smirnov: Robert Carter Vera Namethatunenova and Dmitri Legupski: Jahmal Chase Sonia Leftova and Andrei Leftov: Boysie Dikobe Guzella Verbitskaya and Mikhail Mudkin: Jack Furlong, Jr. Helen Highwaters and Vladimir Legupski: Duane Gosa Elvira Khababgallina and Sergey Legupski: Kevin Garcia Minnie van Driver and William Vanilla: Noah Herron Alla Snizova and Innokenti Smoktumuchsky: Carlos Hopuy Nadia Doumiafeyva and Kravlji Snepek: Philip Martin-Nielson Lariska Dumbchenko and Pepe Dufka: Raffaele Morra Colette Adae and Marat Legupski: Christopher Ouellette Nina Immobilashvili and Stanislas Kokitch: Alberto Pretto Irina Kolesterolikova and Boris Mudko: Giovanni Ravelo Eugenia Repelskii and Jacques d’Aniels: Joshua Thake Ludmila Beaulemova and Mikhail Mypansarov: Roberto Vega Maya Thickenthighya and Nicholas Khachafallenjar: Haojun Xie Varvara Laptopova and Boris Dumbkopf: Takaomi Yoshino Nina Enimenimynimova and Ketevan Iosifidi: Long Zou Staff Artistic Director: Tory Dobrin Associate Director / Production Manager: Isabel Martinez Rivera General Manager: Liz Harler Associate Production Manager: Shelby Sonnenberg Ballet Master: Raffaele Morra Lighting Supervisor: Erika Johnson Wardrobe Supervisor: Ryan Hanson Development Manager: Lauren Gibbs Costume Designer: Ken Busbin, Jeffrey Sturdivant Stylistic Guru: Marius Petipa Orthopedic Consultant: Dr. David S. Weiss Photographer: Zoran Jelenic

Les Ballets Trockadero de Monte Carlo, Inc. is a nonprofit dance company chartered by the State of New York. Vaughan de Kirby, president; Martha Cooper, vice-president; Tory Dobrin, secretary/treasurer. James C.P. Berry, Amy Minter Les Ballets Trockadero de Monte Carlo’s 2018-19 season is made possible by the Howard Gilman Foundation; public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature; The Harkness Foundation for Dance; The Max and Victoria Dreyfus Foundation; and many philanthropic individuals. In-kind support is provided by: Capezio of Wayne, NJ Kolano Design MAC Cosmetics Music for Raymonda’s Wedding and Les Sylphides is conducted by Pierre Michel Durand with the Czech Philharmonic Chamber Orchestra, Pavel Prantl, Leader Les Ballets Trockadero de Monte Carlo Box 1325, Gracie Station, New York City, New York 10028 trockadero.org Facebook @thetrocks | instagram @lesballetstrockadero | Twitter @TrocksB Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

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George Saunders

In Conversation with Pico Iyer Mon, Jan 28 / 7:30 PM / Campbell Hall

photo: Chloe Aftel

Presented in association with the UCSB College of Creative Studies Distinguished Visiting Fellow Program

Event Sponsors: Leslie Sweem Bhutani Siri & Bob Marshall Speaking with Pico Series Sponsors: Martha Gabbert Laura Shelburne & Kevin O’Connor

George Saunders George Saunders is the author of a novel, four collections of short stories, a novella, a book of essays and an award-winning children’s book. His long-awaited novel Lincoln in the Bardo was published in 2017 and awarded the Man Booker Prize. His Tenth of December collection (2013) was a finalist for the National Book Award and winner of the 2014 Story Prize for short fiction and the 2014 Folio Prize, which celebrates the best fiction of our time.

In 2002 the New Yorker named Saunders one of the best writers 40 and under, and in 2006 he was awarded both a MacArthur Fellowship and a Guggenheim Fellowship. In 2013 Time magazine listed him as one of the 100 Most Influential People in the World. He teaches in the creative writing program at Syracuse University.

Saunders’ other collections include the bestselling Pastoralia, CivilWarLand in Bad Decline – a finalist for the PEN/Hemingway Award – and In Persuasion Nation, one of three finalists for the 2006 Story Prize. Pastoralia, CivilWarLand in Bad Decline and Tenth of December were all New York Times Notable Books.

Pico Iyer is the author of two novels and 13 works of non-fiction and his books have been translated into 23 languages. He has also written the introductions to more than 60 other works as well as liner notes for Leonard Cohen and a screenplay for Miramax. He is currently Ferris Professor of Journalism at Princeton University and he will be releasing three new books in 2019, including Autumn Light, to appear in April, and A Beginner’s Guide to Japan, to appear in the fall. He recently gave three talks for TED in the space of three years, and they have received more than 8 million views so far.

Saunders is also the author of the illustrated fable The Brief and Frightening Reign of Phil and the New York Times bestselling children’s book, The Very Persistent Gappers of Frip, illustrated by Lane Smith. Congratulations, by the Way (2014) contains the funny and uplifting graduation speech Saunders gave at Syracuse University, which went viral shortly after its delivery. Saunders’ book of essays titled The Braindead Megaphone (2007) received critical acclaim, and his works appear regularly in The New Yorker, GQ and Harper’s Magazine and have been featured in the O. Henry Prize Stories, Best American Short Stories, Best American Non-Required Reading and Best American Travel Writing anthologies.

Pico Iyer

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

Special thanks to

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Martha Redbone Roots Project Tue, Jan 29 / 8 PM / Campbell Hall

Martha Redbone, lead vocal, percussion Aaron Whitby, piano, organ Charlie Burnham, violin, harmonica Marvin Sewell, banjo, acoustic and electric guitar photo: Will Maupin

Program will be announced from stage

Presented in association with UCSB American Indian Student Services and the UCSB American Indian Student Association Related Thematic Learning Initiative Event (see page 9)

Martha Redbone Martha Redbone is one of the most vital voices in American roots music. A multi-award-winning musician, the charismatic songstress is celebrated for her tasty gumbo of roots music, embodying the folk and mountain blues sounds of her childhood in the Appalachian hills of Kentucky mixed with the eclectic grit of her teenage years in pre-gentrified Brooklyn. With her gospel-singing father’s voice and the spirit of her Cherokee/Choctaw mother’s culture, Redbone broadens the boundaries of Americana. Her latest CD The Garden of Love: Songs of William Blake, produced by Nitty Gritty Dirt Band founder/Grammy winner John McEuen, is an unexpected twist – “a brilliant collision of cultures” (New Yorker), with Redbone’s magnificent voice, Blake’s immortal words and a masterful cornucopia of roots music. Redbone and her long-term collaborator, pianist Aaron Whitby, are called “the little engine that could” by their “band of NYC’s finest blues and jazz musicians” (Wall Street Journal). From humble beginnings with residencies at the original Living Room on the Lower East side, Joe’s Pub and nationally at powwows across Indian Country in support of her debut album Home of the Brave, Redbone has built a passionate fan base with her mesmerizing presence and explosive live shows. Her album Skintalk is described as the soulful sound of “Earth, Wind and Fire on the Rez” (Native People’s Magazine) and recognized as an example of contemporary Native American music in the permanent library collection at the Smithsonian National Museum of the American Indian. The Redbone/Whitby team’s newest

work, Bone Hill: The Concert, is based on the stories of her Appalachian mining family’s heritage and culture. In the piece, Redbone travels back in time to her own childhood as well as the memories and tales of her Cherokee ancestors, revealing an untold American story fueled by a celebration of American music. Redbone is a 2016 Fellow of the Native Arts and Cultures Foundation.

Aaron Whitby London-born Aaron Whitby – producer, composer, songwriter and pianist; mentored by Walter “Junie” Morrison of Parliament Funkadelic and Ohio Players – is best known for the multiple award-winning albums he has written and produced with longtime collaborator, and wife, Martha Redbone. He engineered Natalie Cole’s Grammy-winning single “Living for Love” and has recorded and/or performed with George Clinton, Randy Brecker, Lisa Fischer, John McEuen, Raul Midon, Nona Hendryx, Vernon Reid, Omar Faruk Tekbilek, Mino Cinelu, Snehasish Mozumder and Keith Secola, among others. Whitby currently leads his own album project, Cousin from Another Planet, a jazz/punk/funk exploration featuring Charlie Burnham, Keith Loftis, Fred Cash, Jerome Harris, Gary Fritz and Rodney Holmes, to be released in spring 2019 on Ropeadope Records. The Redbone/Whitby team have completed commissions for Joe’s Pub and the Public Theater (Bone Hill: The Concert), New York Theater Workshop for “STARS”

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Plurality of Privacy, a project in partnership with the Goethe Institute, and are contributing composers for Primer for a Failed Superpower, directed by Rachel Chavkin of Natasha, Pierre and the Great Comet of 1812 and Hadestown. They also composed for the Gung Ho Theater Company production The Liangshan Project, a collaboration with Chinese artists from the Yi indigenous community and diverse cast of American actors, which premiered in China in autumn of 2018.

Charlie Burnham Brooklyn-born Charles Burnham is a singular, versatile and virtuosic violinist and composer whose highly imaginative improvisational style crosses bluegrass, delta punk, free jazz, blues, classical and chamber jazz. Worldly and otherworldly sounds can be heard from Burnham’s soulful voice. He has graced the recordings of Cassandra Wilson, James Blood Ulmer, Steven Bernstein, Susie Ibarra, Peter Apfelbaum, Henry Threadgill, String Trio of New York, Ted Daniel, Medeski, Martin & Wood, Living Colour, Queen Esther, John Zorn, Steve Swell, Rufus Wainwright, Krishna Das, Kenny Wollesen, Norah Jones, Billie Joe Armstrong, Jason Kao Hwang, The Woes, Hem, Elysian Fields and many, many others. Burnham also performs on harmonica and mandolin and is a highly regarded singer.

Coming in Spring

Hot Club of Cowtown & Dustbowl Revival Across the Great Divide: A Celebration of the 50th Anniversary of The Band

Marvin Sewell Chicago-born Marvin Sewell learned how to play the guitar with many Chicago basement bands and was exposed to a variety of musical styles such as blues, gospel soul, rock and fusion, playing with famous Chicago musicians including Von Freeman, Ramsey Lewis, Billy Branch, Big Time Sarah and Barbara LaShore. He studied composition at Roosevelt University in Chicago. Now residing in Brooklyn, Sewell plays with stylistically diverse bands, both acoustic and electric. He has performed and/or recorded with Jack DeJohnette, Diedre Murray, Fred Hopkins, Gary Thomas, David Sanborn, Marcus Miller, Greg Osby, George Benson, Sekou Sundiata, Cassandra Wilson, Regina Carter and other esteemed musicians including his own band, The Marvin Sewell Group. Sewell also worked on Hannibal Peterson’s African Portraits, an opera in which he performed in collaboration with the St. Louis Symphony, New Music Symphony and the Westchester Symphony Orchestra. Special thanks to

Hot jazz and western swing trio Hot Club of Cowtown and genre-hopping roots orchestra Dustbowl Revival bring their virtuosity and musical alchemy to the Santa Barbara stage in a celebration of The Band, and 50 years since the legendary group’s debut albums Music From Big Pink and The Band.

Tue, Apr 2 / 8 PM / Campbell Hall Tickets start at $25 / $15 UCSB students

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Tracy K. Smith An Evening with the U.S. Poet Laureate

photo: Rachel Eliza Griffiths

Thu, Jan 31 / 7:30 PM / Campbell Hall

Presented in association with the UCSB Writing Program and the UCSB College of Creative Studies

In 2017, Pulitzer Prize-winning poet Tracy K. Smith was appointed the 22nd United States Poet Laureate. About Smith’s writing, Librarian of Congress Carla Hayden said, “Her work travels the world and takes on its voices; brings history and memory to life; calls on the power of literature as well as science, religion and pop culture. With directness and deftness, she contends with the heavens or plumbs our inner depths – all to better understand what makes us most human.”

Smith’s poems embody the lyrical, rhythmic quality of masters such as Federico García Lorca. At times political, whimsical and always meditative, they speak largely to the role of art and to the conception of what it means to be American, dealing with the “evolution and decline of the culture we belong to.” Her work also explores the dichotomy between the ordered world and the irrationality of the self – in Smith’s own words, “poetry is a way of stepping into the mess of experience.”

Smith is the author of the critically-acclaimed memoir Ordinary Light (2015), a finalist for the 2015 National Book Award in Nonfiction and selected as a Notable Book by the New York Times and Washington Post, as well as three books of poetry. Her most recent collection of poems, Life on Mars (2011), won the 2012 Pulitzer Prize and was selected as a New York Times Notable Book. The collection draws on sources as disparate as Arthur C. Clarke and David Bowie, and is in part an elegiac tribute to her late father, an engineer who worked on the Hubble Telescope. Duende (2007) won the 2006 James Laughlin Award from the Academy of American Poets and an Essence Literary Award. The Body’s Question (2003) was the winner of the 2002 Cave Canem Poetry Prize. Smith was the recipient of a Rona Jaffe Writers Award in 2004 and a Whiting Award in 2005. In 2014, the Academy of American Poets granted Smith the Academy Fellowship. In 2016, she won the 16th annual Robert Creeley Award. Her most recent collection, Wade in the Water (2018) boldly ties America’s contemporary moment both to the nation’s fraught founding history and to a sense of the spirit, the everlasting.

Her memoir, Ordinary Light, “begins with a harrowing scene at the deathbed of Smith’s mother,” writes Craig Morgan Teicher. “From there it circles back to Smith’s early childhood, tracing her growth not just as a writer, but as someone who must learn the hard lessons of puberty and early adulthood, as well as what it means to be a black woman growing up in suburban California. Her discovery of poetry is part of this, but the most remarkable moments in this book are the ones in which Smith deals with ordinary trials, which she treats with rare insight and heart.”

After her undergraduate work at Harvard, Smith earned her Master of Fine Arts at Columbia before going on to be a Stegner Fellow in Poetry at Stanford University from 1997 to 1999. She is the Roger S. Berlind ’52 Professor in the Humanities and director of the creative writing program at Princeton University. Books are available for purchase in the lobby and a signing follows the event

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The 7 Fingers (Les 7 Doigts) Réversible

photo: Matthieu Ponchel

Thu, Feb 7 / 7 PM / Granada Theatre

Directed, written, and choreographed by: Gypsy Snider Starring: Maria del Mar Reyes Saez, Vincent Jutras, Jérémi Lévesque, Natasha Patterson, Hugo Ragetly, Émilie Silliau, Julien Silliau, Emi Vauthey Co-producers: Thomas Lightburn (Vancouver, Canada) TOHU (Montreal, Quebec) Théâtre du Gymnase et des Bernardines (Marseille, France) Commissioning Partner: La Strada (Graz, Austria)

About the Company The 7 Fingers is an arts collective unlike any other. In 2002 the seven founders set out to redefine circus by stripping down the spectacle to its thrilling essence. The contemporary company tells stories using death-defying acrobatics with a life-affirming theatricality that is unique to The 7 Fingers. Since its inception, the company has expanded from its own signature touring shows to creating theatrical experiences as diverse as the very artistic directors themselves: original productions varying from intimate one-man shows to large-scale arena performances, Broadway musicals, artistic collaborations with renowned international artists and companies, production design and direction, special events, Olympic ceremonies, televised performances, fashion, art and music events, immersive experiences and much more. Every one of these projects carries The 7 Fingers’ unequivocal mark. An ambassador of diversity, the company has consistently spread its horizons by mixing genres and exploring new ways to tell stories. Fascinated by the human condition, The 7 Fingers create performances that celebrate our world, our time and our identity. Their shows tour the globe and bring audiences to their feet wherever they go. In 2018 The 7 Fingers opened their very own Centre of Creation and Production. Situated in the heart of Montreal’s downtown theater district, the new center houses all of the company’s activities, departments and dreams under one roof.

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Gypsy Snider, Artistic Director Gypsy Snider is co-founder and acting co-artistic director of The 7 Fingers. Snider wrote, directed and/or co-directed 7 Fingers shows Réversible, Intersection, Amuse, Loft and Traces. In 2013, working with director Diane Paulus, Snider integrated and choreographed circus into a Tony Awardwinning revival of the Broadway musical Pippin. Her work on Pippin earned her a Drama Desk Award and an Outer Critics Circle Award. Other honors include numerous awards for Traces (Outer Critics Circle award, Broadway Alliance Best Special Event award, named one of the Top Ten Plays and Musicals of 2011 by Time magazine), which ran for a year at New York’s Union Square Theater. In 2015, Snider received the Evolving Circus Award in New York. Snider has choreographed televised feature performances for America’s Got Talent, Her Majesty’s Royal Variety Performance, illusionist Darcy Oake’s Edge of Reality, and a Bench fashion show in the Philippines. She is also a guest teacher and guest director at the National Circus School of Montreal. Originally from San Francisco, Snider is the daughter of the founders of The Pickle Family Circus and she grew up performing. After receiving her degree in physical theater from the Accademia Teatro Dimitri in Switzerland in 1993, she performed internationally for 18 years, with Cirque du Soleil and many others.

Nassib El-Husseini, CEO A political scientist and author (L’Occident imaginaire, Éditions PUQ), El-Husseini has been an advisor and volunteer for dozens of provincial, national and international organizations. In 2003 he fell under the charm of The 7 Fingers and took on the executive direction of this jewel of the Montreal stage. El-Husseini is currently the president of the International Exchange for the Performing Arts (CINARS). He sits on the boards of the National Theatre School of Canada and the Société des Arts Technologiques (SAT) and was a board member of the Conseil des arts de Montréal (CAM) from 2012 to 2018. In 2013 he received the Université du Québec à Montréal (UQAM)’s Prix Reconnaissance in recognition of his exceptional career.

Credits

Choreographic Assistant: Kyra Jean Green Chinese Pole Choreography: Shana Carroll Set and Props: Ana Cappelluto Lighting: Yan Lee Chan Costumes: Geneviève Bouchard Acrobatic Coaching: Francisco Cruz Rigger: Guillaume Ménard-Crête Project Manager: Chloé Rondeau Stage Manager: Julie Brosseau-Doré Technical Director: Louis Héon Music Music Direction: Colin Gagné in collaboration with Sébastien Soldevila Original Lyrics and Music, Sound Design, Music Arrangements: Colin Gagné, in collaboration with Raphaël Cruz, Ines Talbi, and Dominiq Hamel Singers and Musicians: Luzio Altobelli, Jocelyn Bigras, Colin Gagné, Guido Del Fabbro, Alexandre Désilets, Cédric Dind-Lavoie, Dominiq Hamel, Frannie Holder, Ines Talbi, Julie-Blanche Vandenbroucque, Leif Vollebekk, Spike Wilner, Maxime Fortin Original music available on BandCamp (album/reversible) Touring Team Tour Manager: Olaf Triebel Technical Director and Lighting Operator: Gabrielle Bérubé-Forest Head Electrician: Marjorie Lefebvre Sound Operator: Mathieu Dumont Rigger: François Brosseau Fans and Whips text excerpt from Eugene Ionesco’s The Bald Soprano With the support of Conseil des art et des lettres du Québec, Conseil des arts de Montréal et Conseil des arts du Canada Instagram @The7fingers Facebook @les7doigts Twitter @The7fingers Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Associate Director: Isabelle Chassé Movement Design Collaborators: Phillip Chbeeb & Hokuto Konishi (AXYZM) 28

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Kodo

One Earth Tour 2019: Evolution

photo: Takashi Okamoto

Sat, Feb 9 / 7 PM / Granada Theatre

Event Sponsors: Jill & Bill Shanbrom

Program

About the Program

Yuta Sumiyoshi: Kei Kei (2012)

Directed by Tamasaburo Bando, Evolution marks the 35th anniversary of the internationally-acclaimed taiko performing arts ensemble Kodo. This brand-new production is a culmination of Kodo’s ever-evolving artistic voyage, which boldly displays the future of taiko on stage. For decades, Kodo has led the genre of taiko performance with dedication and innovation. With Evolution, Kodo promises to drive its next generation to new heights of creative expression.

Kenta Nakagome: Phobos (2009) Yosuke Oda: Mute (2013) Yuta Sumiyoshi: Kusawake (2013) Traditional: O-daiko

arr. Kenta Nakagome and Hayato Otsuka

Maki Ishii: Monochrome (1977) ◆ Intermission ◆

Tamasaburo Bando & Masayuki Sakamoto: Color (2009) Yosuke Oda: Ake no Myojo (2012) Yuta Sumiyoshi: Yuyami (2013) Yuta Sumiyoshi: Ayaori (2016)

Tamasaburo Bando has crafted a program that places Kodo’s best-known work alongside some of the latest core repertoire. Signature pieces like O-daiko and Monochrome, which have been synonymous with Kodo since the days of its antecedent group, are now integrated amongst more recent work such as Kusa-wake and Color. This combination of classic and current is complemented by completely new compositions that were created especially for this production. Ayaori is intricate and uplifting, while the climactic Rasen (Spiral) features motifs of an array of Kodo pieces from various eras of the ensemble’s history. The result is a rousing whirl of energy that carries the audience into a new dimension of taiko performance.

Tamasaburo Bando: Rasen (2016)

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About the Company Exploring the limitless possibilities of the traditional Japanese drum, the taiko, Kodo is forging new directions for a vibrant living art form. In Japanese the word “Kodo” conveys two meanings: Firstly, “heartbeat” – the primal source of all rhythm. The sound of the great taiko is said to resemble a mother’s heartbeat as felt in the womb, and it is no myth that babies are often lulled asleep by its thunderous vibrations. Secondly, read in a different way, the word can mean “children of the drum,” a reflection of Kodo’s desire to play the drums simply, with the heart of a child. Since the group’s debut at the Berlin Festival in 1981, Kodo has given more than 6,000 performances in 50 countries worldwide under the banner One Earth Tour, spending about a third of the year overseas, a third touring in Japan and a third rehearsing and preparing new material on Sado Island. Kodo strives to both preserve and re-interpret traditional Japanese performing arts. Beyond this, members on tours and research trips all over the globe have brought back to Sado a kaleidoscope of world music and experiences which now exert a strong influence on the group’s performances and compositions. Collaborations with other artists and composers extend across the musical spectrum, and Kodo’s lack of preconceptions about its music continues to produce startling new fusion and forms.

Tamasaburo Bando Tamasaburo Bando is a leading Kabuki actor and the most popular and celebrated onnagata (actor specializing in female roles) currently on stage. He has demonstrated his profound aesthetic across numerous platforms, receiving the highest acclaim for his many artistic endeavors. Bando accepted the invitation to become Kodo’s artistic director in 2012. In that same year he was recognized as an Important Intangible Cultural Property Holder (Living National Treasure) and in 2013 he was decorated with the highest honor of France’s Order of Arts and Letters, Commander.

Sado Island 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 peo-

ple 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. Both similarities and differences prompt Kodo members to pause and reflect upon the importance of the varied and rich cultures that color our world. 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.

Kodo Cultural Foundation Thanks to the support of many friends, the Kodo Cultural Foundation was established in 1997 to increase Kodo’s capacity for outreach projects on Sado Island. Its primary mission is to carry out non-profit activities focused on social education and the notion of giving back to the local community. The Kodo Cultural Foundation is committed to the cultural and environmental preservation of Sado Island and oversees many ambitious projects. From the conservation of local habitats to the revitalization of rare craft traditions and Noh theaters throughout Sado Island, the highly collaborative Kodo Cultural Foundation supports many vital initiatives. Its activities include holding workshops, planning the annual Earth Celebration, creating a research library, managing the Kodo Apprentice Centre and the Sado Island Taiko Centre and carrying out research in the performing arts.

Kodo Apprentice Centre In a converted schoolhouse in Kakinoura on Sado Island, the young people who will continue and expand on Kodo’s traditions are trained, not just in musical technique but also in all matters of body and spirit. Beginning in April apprentices live communally and train for two years. From this group probationary members are selected in January of the second year. These chosen few spend one year as junior members, and if they are successful, they then become full Kodo members. Kodo seeks people of all backgrounds who are interested in becoming apprentices as well as the next generation of Kodo players and staff. Apprentices live communally in the Kodo Apprentice Centre where they learn taiko, dance, song and other traditional arts.

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Kodo Performers Mitsuru Ishizuka, Kenta Nakagome, Eri Uchida, Yuta Sumiyoshi, Jun Jidai, Ryoma Tsurumi, Kengo Watanabe, Ryotaro Leo Ikenaga, Hayato Otsuka, Tomoe Miura, Mizuki Yoneyama, Issei Kohira, Yuta Kimura, Yuki Hirata, Chihiro Watanabe, Taiyo Onoda Artistic Director: Tamasaburo Bando Staff Technical Director: Martin Lechner Lighting Designer: Kenichi Mashiko (S.L.S.) Stage Manager: Kazuki Imagai Assistant Stage Manager: Kentaro Shino Production Manager: Yui Kawamoto Tour Manager: Akiko Umegaki, Koji Miyagi

Coming in Spring World Premiere Co-commissioned by UCSB Arts & Lectures

Silkroad Ensemble Heroes Take Their Stands

International Tour Management: IMG Artists, https://imgartists.com/ Publicity: Rebecca Davis PR, http:// rebeccadavispr.com/ For any inquiries, please contact Kodo at: Kodo Village, 148-1 Ogi Kanetashinden, Sado, Niigata 952-0611, Japan Tel. +81-259-86-3630 | Fax. +81-259-86-3631 heartbeat@kodo.or.jp | http://www.kodo.or.jp/ Facebook: @KodoHeartbeat | Twitter: @KodoHeartbeatEn Instagram: @KodoHeartbeat

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

“The most happening, up-to-theminute players in the known world and a constantly evolving repertoire of brilliant, genre-defying new music.” – Charles Donelan, Santa Barbara Independent In celebration of their 20th anniversary, the Grammy-winning ensemble will perform a bold new multimedia project that tells the stories of five heroic figures from diverse cultures – from Dr. Martin Luther King, Jr., to Elektra of Greek mythology, to Arjuna of Hindu epic poetry.

Event Sponsor: Lady Leslie Ridley-Tree

Fri, Apr 26 / 8 PM / Granada Theatre Special thanks to

Tickets start at $35 / $15 UCSB students A Granada facility fee will be added to each ticket price

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Danish String Quartet Tue, Feb 12 / 7 PM / Rockwood, 670 Mission Canyon Rd. Wed, Feb 13 / 7 PM / Campbell Hall

photo: Caroline Bittencourt

Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello

Feb 12 Program Nordic folk selections to be announced from the stage

Feb 13 Program Haydn: String Quartet No. 25 in C Major, op. 20, no. 2 Moderato Capriccio Menuet: Allegretto Fuga Allegro Abrahamsen: String Quartet No. 1 (“Ten Preludes”) ◆ Intermission ◆ Nielsen: String Quartet No. 3 in E Flat Major, op. 14 Allegro con brio Andante sostenuto Allegretto pastorale Finale. Allegro coraggioso

Presented in association with the UCSB Department of Music

Event Sponsors: NancyBell Coe & William Burke

Danish String Quartet Among today’s many exceptional chamber music groups, the Danish String Quartet continuously asserts its preeminence. The quartet’s playing reflects impeccable musicianship, sophisticated artistry, exquisite clarity of ensemble and, above all, an expressivity inextricably bound to the music, from Haydn to Shostakovich to contemporary scores. Their performances bring a rare musical spontaneity, giving audiences the sense of hearing even treasured canon repertoire as if for the first time and exuding a palpable joy in music-making that have made them enormously in-demand on concert stages throughout the world. Since its debut in 2002 the Danish String Quartet has demonstrated a special affinity for Scandinavian composers, from Nielsen to Hans Abrahamsen, alongside the music of Mozart and Beethoven. The quartet’s musical interests also encompass Nordic folk music, the focus of its newest recording, Last Leaf, on the ECM label. The recipient of many awards and prestigious appointments, including the Borletti Buitoni Trust, the Danish String Quartet was named in 2013 as BBC Radio 3 New Generation Artists and appointed to the Chamber Music Society of Lincoln Center’s CMS Two Program. The Danish String Quartet begins the 2018-2019 season in Europe with appearances at the Lammermuir Festival in Scotland, followed by Norway’s Trondheim Festival, where they perform Mendelssohn’s Octet with the Maxwell Quartet and collaborate with pianist Joseph Kalichstein in Brahms’ Piano Quintet. They return to London’s Wigmore

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Hall for a program that contrasts two Beethoven quartets with Webern. The Quartet tours North America, including performances in Toronto, Richmond, Wake Forest, Durham, Ann Arbor and New York. They are presented by the 92nd Street Y, Washington Performing Arts, Houston Da Camera, Ensemble Music Society in Indianapolis and Rockport Music. Concert programs include works by Haydn, Beethoven, Mendelssohn; String Quartet No. 1, “Ten Preludes” by the contemporary Danish composer Hans Abrahamsen; and Scandinavian folk song arrangements. In Europe the Danish String Quartet travels to Munich, Milan, Antwerp, Berlin, Hamburg, and Madrid. The quartet returns to the United States for performances in La Jolla, Santa Barbara and Berkeley, appears for the first time in Logan, Provo and Los Alamos and returns to play for the Vancouver Recital Society and Laramie. The Danish String Quartet’s expansive 2017-2018 North American season included more than 30 performances across 17 states. The chamber group made numerous debuts, including summer festival appearances at Interlochen Center for the Arts, Bravo! Vail and Ravinia as well as Cleveland Chamber Music Society, Ensemble Music Society of Indianapolis, Santa Fe Pro Musica, Oregon Bach Festival and San Francisco Performances. The quartet returned to the Mostly Mozart Festival, UW World Series at Meany Hall in Seattle and the chamber music societies of Lincoln Center, Philadelphia and Buffalo. They collaborated with Finnish pianist Juho Pohjonen for performances in Ravinia and cellist Jakob Koranyi as part of the Chamber Music Society of Lincoln Center residency at the Saratoga Performing Arts Center. In Europe they toured Denmark, Norway, Germany, Luxembourg and the Netherlands and additionally performed in Australia and Asia. The group takes an active role in reaching new audiences through special projects. In 2007 they established the DSQ Festival, now in its 11th year, which takes place in an intimate and informal setting in Copenhagen. This October the Danish String Quartet performs, over the course of six concerts, the complete Beethoven cycle of 16 string quartets. In 2016 they inaugurated a new music festival, Series of Four, for which they both perform and invite colleagues – the Ebène Quartet and mandolin player Chris Thile, among others – to appear at the venerable Danish Radio Concert Hall. Concerts this season range from a chamber version of the Fauré Requiem to a recital with violinist Augustin Hadelich and the Scandinavian debut of the Vision String Quartet. The Danish String Quartet has received numerous citations and prizes, including first prize in the Vagn

Holmboe String Quartet Competition and the Charles Hennen International Chamber Music Competition in the Netherlands as well as the Audience Prize at the Trondheim International String Quartet Competition in 2005. In 2009 the Danish String Quartet won first prize in the 11th London International String Quartet Competition, now known as the Wigmore Hall International String Quartet competition. The quartet was the awarded the 2010 NORDMETALL-Ensemble Prize at the MecklenburgVorpommern Festival in Germany, and in 2011 they received the Carl Nielsen Prize, the highest cultural honor in Denmark. Named artist-in-residence in 2006 by the Danish Radio, the quartet was offered the opportunity to record the Nielsen string quartets at the Danish Radio Concert Hall. The two CDs, released in 2007 and 2008 on the Dacapo label, garnered enthusiastic praise for their first recordings: “These Danish players have excelled in performances of works by Brahms, Mozart and Bartók in recent years. But they play Nielsen’s quartets as if they owned them,” noted The New York Times. In 2012 the Danish String Quartet released a recording of Haydn and Brahms quartets on the German AVI-music label, for which they also received critical notice. “What makes the performance special is the maturity and calm of the playing, even during virtuosic passages that whisk by. This is music-making of wonderful ease and naturalness,” observed The New York Times. Subsequently they recorded works by Brahms and Robert Fuchs with clarinetist Sebastian Manz, released by AVI-music in 2014; Wood Works, an album of traditional Scandinavian folk music, released by Dacapo in 2017 and one of the top classical albums of the year, including on Spotify; and music of Thomas Adès, Per Nøgård and Abrahamsen, the Quartet’s debut album on ECM. Violinists Frederik Øland and Rune Tonsgaard Sørenson and violist Asbjorn Norgaard met as children at a music summer camp where they played soccer and made music together. As teenagers they began the study of classical chamber music and were mentored by Tim Frederiksen of Copenhagen’s Royal Danish Academy of Music. In 2008 the three Danes were joined by Norwegian cellist Fredrik Schøyen Sjölin. www.danishquartet.com The Danish String Quartet is currently exclusive with ECM Records and has previously recorded for Dacapo and CAvi-music/BR Klassik Exclusive Representation: Kirshbaum Associates, Inc. 711 West End Avenue, Suite 5KN, New York, NY 10025 www.kirshbaumassociates.com

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A Far Cry

photo: Yoon S. Byun

Fri, Feb 15 / 7 PM / Hahn Hall

Program J.S. Bach: Brandenburg Concerto No. 3 in G Major, BWV 1048 Allegro Adagio Allegro Philip Glass: Symphony No. 3 Movement I Movement II Movement III Movement IV ◆ Intermission ◆ Bartók: Divertimento for String Orchestra, Sz. 113 Allegro non troppo Molto adagio Allegro assai Osvaldo Golijov: Tenebrae

Up Close & Musical Series Sponsor: Dr. Bob Weinman

A Far Cry The Grammy-nominated string orchestra A Far Cry has developed a distinct approach to music-making, with playing and programming that encourage risk-taking and exploration for both player and audience. Known for its high energy, A Far Cry “brims with personality or, better, personalities, many and varied” (The New York Times). Since its founding in 2007, A Far Cry has fostered those personalities. The self-conducted orchestra is a democracy in which decisions are made collectively and leadership rotates among the players (“Criers”). This structure has led to consistently thoughtful, innovative and unpredictable programming – and impactful collaborations with celebrated performers and composers. Boston Musical Intelligencer sums up the group: “In its first decade, this conductor-free ensemble has earned and sustained a reputation for top-drawer playing, engrossing programming and outstanding guest artists.” A Far Cry’s omnivorous approach has led to collaborations with artists such as Yo-Yo Ma, Roomful of Teeth, the Silkroad Ensemble, Vijay Iyer and David Krakauer. A Far Cry’s 11th season in 2017-18 reflected the group’s ambition and creativity, continuing along a path the Boston Globe describes as “moving ever forward.” The season included 15 Boston-area appearances as part of the group’s long-standing residency at the Isabella Stewart Gardner Museum and its own subscription series. The group made debut appearances at Columbia University’s Miller Theatre and Brooklyn Academy of Music (BAM) in

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New York, Washington Performing Arts, Toronto’s Royal Conservatory and Duke Performances. Recent tour highlights include two new commissioning projects: Philip Glass’ third piano concerto with soloist Simone Dinnerstein (with an album released in May 2018 on Glass’ Orange Mountain Music) and The Blue Hour, “a gorgeous and remarkably unified work” (Washington Post) written by a collaborative of five leading female composers – Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw and Sarah Kirkland Snider; and featuring Grammywinning singer Luciana Souza. A Far Cry also performed as part of composer Matthew Aucoin’s “taut, inspired opera” (The New York Times), Crossing, at BAM. A Far Cry’s Crier Records launched auspiciously in 2014 with the Grammy Award-nominated album Dreams and Prayers. The label’s second release, Law of Mosaics, was included on many 2014 top 10 lists, notably from New Yorker music critic Alex Ross and WQXR’s Q2 Music, which named A Far Cry as one of the “Imagination-Grabbing, Trailblazing Artists of 2014.” In fall 2018, Crier Records released A Far Cry’s Visions and Variations. Featuring music by Britten, Mozart and Prokofiev, the album was nominated for two Grammy Awards. The 18 Criers are proud to call Boston home and maintain strong roots in the city, rehearsing at their storefront music center in Jamaica Plain and fulfilling the role of chamber orchestra-in-residence at the Isabella Stewart Gardner Museum. Collaborating with local students through an educational partnership with the New England Conservatory and Project STEP, A Far Cry aims to pass on the spirit of collaboratively-empowered music to the next generation.

Violin Adrian Anantawan Gabriela Diaz Omar Chen Guey Jesse Irons Janny Joo Jae Cosmos Lee Megumi Stohs Lewis Annie Rabbat Viola Sarah Darling Jason Fisher Franklin Shaw Cello Nicholas Finch Rafael Popper-Keizer Michael Unterman Bass Karl Doty Kris Saebo For more information, visit http://afarcry.org/ Follow them on Facebook and Twitter @ AFarCryMusic A Far Cry records for Crier Records, Native DSD and Ravello Records Management: Middleton Arts Management 98B Long Highway Little Compton, RI 02837

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New York Polyphony Faith and Reason

Wed, Feb 20 / 7 PM / Hahn Hall

photo: Chris Owyoung

Geoffrey Williams, countertenor Steven Caldicott Wilson, tenor Christopher Dylan Herbert, baritone Craig Phillips, bass Event Sponsors: Meg & Dan Burnham Up Close & Musical Series Sponsor: Dr. Bob Weinman

Program Andrew Smith (b. 1970): Kyrie Cunctipotens Genitor Deus Thomas Tallis (1505-1585): Mass for Four Voices Gloria in excelsis Deo Credo in unum Deum Sanctus Benedictus Agnus Dei Gabriel Jackson (b. 1962): Ite Missa est* Gregory Brown (b. 1974): Missa Charles Darwin * Introitus; Tropus Ad Kyrie Gloria: “There is grandeur in this view of life” Alleluia: “It is those who know little and not those who know much” Credo: “All that we can do” Sanctus: “As buds give rise...” Agnus Dei/Ite missa est: “Natural selection...” Traditional: Three American Folk Hymns (arr. Gregory Brown) Morning Trumpet The Dying Californian Sweet Hour of Prayer

About the Program During the Renaissance, settings of the Latin Mass keenly demonstrated a composer’s sensitivity to the temporal forces of the day. On the most basic level, each work is an expression of Roman Catholicism suited to and affected by the religious and political challenges of its time. In the face of movable and at times arbitrary rules and restrictions, however, Thomas Tallis transcended the basic requirements to craft powerful, poignant and deeply personal musical statements. The ascension of the House of Tudor would irreversibly alter religious traditions in England. By the time Tallis was active in the mid-sixteenth century, the religious climate had changed drastically. Tallis witnessed firsthand the separation of England from the Roman Catholic Church and with it the destruction of religious institutions and cherished musical traditions. It is unclear during whose reign Tallis wrote his Mass for Four Voices. Regardless, the piece exhibits masterful pragmatism. Its simple lyricism and economic use of polyphony – likely driven by liturgical necessity – result in an understated and demure masterpiece. When considering the entire output of Thomas Tallis and the fact that over the course of his professional life he served four different monarchs, it is hard not to marvel at how skillfully he adapted artistically to changes in style, liturgy and language. His genius lies not only in his shrewd pragmatism, but also in his careful attention to the setting of text. Tallis applies polyphony only in controlled bursts, relying instead on a steady syllabic structure throughout.

*Composed for New York Polyphony

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The effect is efficient, but never pedantic. Texts are set in a beautifully crafted hierarchy of harmony and discord. In terms of liturgical tradition his Mass for Four Voices is an odd hybrid: Catholic in intent and Anglican in execution. It is not known whether Tallis remained a devout Roman Catholic throughout his life. In the Sanctus, however, he displays a love for the liturgy he knew as a young musician. As a possible nod to the elaborate mass settings of the older Sarum rite, Tallis creates a remarkably lengthy statement. When combined with the Benedictus, it is nearly twice the duration of his concisely syllabic Gloria and Credo. Tallis’ Mass for Four Voices does not include a Kyrie. Perhaps its absence is due to fluctuating liturgical practices of the Chapel Royal. More likely, a remnant of older traditions such as a troped plainsong Kyrie appropriate for the feast day was inserted. Regardless, we offer a modern setting of the troped Kyrie: Cunctipotens genitor Deus, composed for New York Polyphony by Andrew Smith. As further proof that times go by turns, this set concludes with Gabriel Jackson’s playfully intricate Ite missa est, composed for New York Polyphony in 2012. Missa is simply the Latin form of the word Mass and refers to the texts and music of the Roman Catholic liturgy. This liturgy has an established structure and in general terms is associated with a public celebration of faith. Naturalist Charles Darwin’s name forms the latter part of the title due to the fact that the bulk of the texts used in this mass are taken from his writings, particularly the seminal Origin of Species. The musical and liturgical form of the Mass is distinct and canonic, with intrinsic proportions, structure and drama. Casting Darwin’s texts into that form is a way of drawing parallels, and exploring contrasts between the two, as in the Kyrie. The central message of the Kyrie is one of supplication and mercy, while Darwin’s natural selection is inherently lacking in mercy. This format is also a way to venerate Darwin and his legacy in a form that is associated with the public celebration of belief. The practice of substituting a different set of texts into the Mass is not a new one, and has been done in various forms throughout the centuries, though generally with other sacred texts substituting for the typical Mass texts. Perhaps the most notable example of something like this – again sacred – is Ein deutsches Requiem by Johannes Brahms, which uses the name “Requiem,” (a particular type of mass for the dead) but uses Brahms’ own selections from scripture in place of the liturgy. The premise and texts for the Missa Charles Darwin come from New York Polyphony’s bass, Craig Phillips, who

approached the composer with a draft of the libretto and a proposal that it be set to music. There was a brief flurry of collaboration over the disposition and tone of the various texts, and the composer set to work on the music shortly thereafter. In order to bind the work together, the composer devised an opening idea which was linked to Darwin, evolution and genetics. Using a portion of the genetic sequence of Platyspiza crassirostris (a bird from the group commonly known as Darwin’s Finches), he translated the amino acids into notes, thereby deriving a melody. This melody serves as a motto of sorts for the Mass, showing up here and there as generative (musical) material. Other ideas taken from genetics appear in the Credo, where mutation, insertion and deletion are applied to the motto melody (along with standard musical procedures of inversion and retrograde) to create an evolving musical texture. Other underlying ideas in the work include symmetry, which is common to both science and music. A notable example of symmetry comes in the Gloria, where the four voices sing the passage “Different, yet dependent upon each other” in phrases that are point-reflections of one another. The symmetry here serves to underline the interdependence of the voices, at the same time creating something of intricate beauty, and also taking advantage of the double meaning of the word “reflect.” Similarly, the Sanctus is a slowly evolving canon with one basic melodic idea (“As buds give rise by birth to fresh buds…”) presented in four closely-related forms in the four voices. These ideas eventually grow together, intertwining to form an interlocking texture grown from the selfsame idea. The genetic sequence that has (in various guises) served as a motto for the piece returns in the final movement in a slightly altered, yet recognizable, form as a bookend for the piece. The final “Amen” includes a fleeting and oblique quotation of the Ite Missa est in the midst of a reprise of the “Alleluia” that closes the second movement. The Missa Charles Darwin venerates a celebrated work of human ingenuity through the application of an accepted musical form that is uniquely suited to enhance the expressive potential of language. Through music, it seeks to celebrate not only Darwin’s genius, but also his inestimable contribution to the human spirit. Program note by Gregory Brown

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New York Polyphony Praised for a “rich, natural sound that’s larger and more complex than the sum of its parts” (NPR), New York Polyphony is one of the foremost vocal chamber ensembles active today. The four men, “singers of superb musicianship and vocal allure” (The New Yorker), give vibrant, modern voice to repertoire ranging from Gregorian chant to cutting-edge compositions. Their dedication to innovative programming and focus on rare and rediscovered Renaissance and medieval works has earned New York Polyphony two Grammy nominations and wide acclaim, helping to move early music into the classical mainstream. Commissioning new works has been central to New York Polyphony’s mission since their founding in 2006. Both in performance and on recording, the ensemble has demonstrated a commitment to presenting contemporary compositions that explore the boundaries between ancient and modern music. They have forged relationships with numerous composers, including established artists such as Richard Rodney Bennett, Jonathan Berger and Jackson Hill, emerging talents Bora Yoon and Gregory Brown and prominent figures such as Gabriel Jackson and Andrew Smith. In January 2017, as part of Miller Theatre at Columbia University’s Early Music Series, New York Polyphony premiered The Vespers Sequence, a multi-movement setting of the Byzantine evening prayer service composed for the ensemble by Ivan Moody. Future projects include The Bitter Good by American composer Gregory Spears, for which the quartet was awarded a 2016 Commissioning Grant from Chamber Music America. The ensemble’s growing discography includes two Grammy Award-nominated releases and albums that have topped the “best of ” lists of The New Yorker, Gramophone and BBC Music Magazine. In August 2016 New York Polyphony released Roma aeterna, a program highlighted by two masses of the High Renaissance by Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria. The album debuted at No. 4 on Billboard magazine’s Traditional Classical Album chart. It has been hailed as “blissfully confident and beautiful” (BBC Radio 3), “resplendent and elegant” (San Francisco Chronicle) and “nothing short of revelatory” (AllMusic). Called a “spacious, radiant retreat” by The New York Times and selected as a “must have” in its Holiday Gift Guide, 2014’s release Sing thee Nowell scored New York Polyphony its second Grammy nomination in the Best Chamber Music/Small Ensemble Performance category. With the 2013 release of Times go by Turns, the ensemble’s fourth album, New York Polyphony continued “to claim a spot

as one of the finest small vocal groups performing today” (Audiophile Audition). Commended as “a complex, cleareyed yet still painfully beautiful tapestry” (Gramophone), Times go by Turns amassed substantial critical acclaim. In addition to being named one of iTunes’ 10 Best Classical Releases of 2013, the album garnered a Grammy nomination. New York Polyphony released endBeginning in early 2012. Featuring rare and never-before recorded works from the Franco-Flemish Renaissance, the album was hailed as a “gorgeous, reflective program” by NPR and selected as one of the Top 10 Notable Classical Music Recordings of 2012 by The New Yorker. “A stunning tour through chant, polyphony and renaissance harmonies” (Minnesota Public Radio), New York Polyphony’s 2010 effort Tudor City spent three weeks in the Top 10 of the Billboard Classical Album chart. It was featured on Danish Public Radio, American Public Radio and NPR’s All Things Considered. New York Polyphony’s debut album I sing the birth was released in 2007. An intimate meditation on the Christmas season, the disc garnered unanimous praise. Gramophone named it “one of the season’s best,” BBC Music Magazine selected it as Editor’s Christmas Choice and Classic FM Magazine (U.K.) deemed it “a disc for all seasons.” New York Polyphony tours extensively, participating in major concert series and festivals around the world. Noteworthy engagements include debut performances at London’s Wigmore Hall and The Royal Concertgebouw in Amsterdam, residencies at Dartmouth College and Stanford University, concerts under the aegis of the Festival Oude Muziek Utrecht (Netherlands) and the European premiere of the Missa Charles Darwin – a newly commissioned secular Mass setting based on texts of Charles Darwin by composer Gregory Brown – at the Museum für Naturkunde in Berlin. Elsewhere New York Polyphony has performed as part of the Tage Alter Musik Regensburg; Rheingau Musik Festival, Thüringer Bachwochen (Germany); Abvlensis International Music Festival (Spain); Stiftskonzerte Oberösterreich (Austria); Festival de Música de Morelia (Mexico) and the Elora Festival (Canada), among others. They have been featured on Performance Today for American Public Media, Footprints to Paradise: A Medieval Christmas for Public Radio International and BBC Radio 3’s In Tune. In December 2011 New York Polyphony made its national television debut on The Martha Stewart Show.

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photos (bottom row): David Bazemore; (top): Philip Toledano

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Soweto Gospel Choir leads a song and dance workshop at San Marcos High School

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Help secure our future – and theirs – by remembering Arts & Lectures as part of your estate planning. Please call Sandy Robertson at (805) 893-3755 to learn more. Violinist Joshua Bell connects with young fans following his performance at The Granada Theatre

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UC Santa Barbara Arts & Lectures is honored to recognize contributors whose lifetime giving to A&L has made a profound impact on our community. Anonymous Jody & John Arnhold Audrey & Timothy O. Fisher Eva & Yoel Haller

The Orfalea Family Susan & Craig McCaw SAGE Publishing Sara Miller McCune

Heather & Tom Sturgess Anne & Michael* Towbes Lady Leslie Ridley-Tree Lynda Weinman & Bruce Heavin

We also recognize contributors whose lifetime giving to A&L is $100,000 or more. We are very grateful for their longtime, visionary support of A&L and for believing, as we do, that the arts and ideas are essential to our quality of life. Recognition is based on cumulative, lifetime giving.

Anonymous (3) Judy & Bruce Anticouni Monica & Timothy Babich Gary* & Mary Becker Barrie Bergman Loren Booth Meg & Dan Burnham Annette & Dr. Richard Caleel Marcy Carsey Marcia & John Mike Cohen Margo Cohen-Feinberg & Robert Feinberg Barbara Delaune-Warren Ralph H. Fertig* Erika & Matthew Fisher Genevieve & Lewis Geyser

Patricia Gregory, for the Baker Foundation Carla & Stephen* Hahn The James Irvine Foundation Luci & Rich Janssen Ellen & Peter O. Johnson Dorothy Largay & Wayne Rosing Gretchen Lieff Robert Lieff Lillian Lovelace lynda.com Marilyn & Dick Mazess Susan McMillan & Tom Kenny Kay R. McMillan Mission Wealth Montecito Bank & Trust Jillian & Pete Muller

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Arts & Lectures is pleased to acknowledge the generous donors who have made provisions for future support of our program through their estate plans.

Rich Janssen, Co-chair Kath Lavidge, Co-chair Timothy Babich Barrie Bergman Dan Burnham Marcy Carsey Marcia Cohen Timothy O. Fisher Tom Kenny Susan McCaw Sara Miller McCune Natalie Orfalea Lady Leslie Ridley-Tree Fredric E. Steck Tom Sturgess Anne Towbes Milton Warshaw Lynda Weinman

Judy & Bruce Anticouni Estate of Helen Borges Estate of Ralph H. Fertig Audrey & Timothy O. Fisher Eva & Yoel Haller Kim L. Hunter Susan Matsumoto & Mel Kennedy Sara Miller McCune Lisa A. Reich Estate of Hester Schoen Connie J. Smith Heather & Tom Sturgess Leslie S. Thomas Dr. Bob Weinman Lynda Weinman & Bruce Heavin Irene & Ralph Wilson

Arts & Lectures Program Advisor Bruce Heavin

Arts & Lectures Ambassadors 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. Judy Anticouni Monica Babich Meg Burnham Annette Caleel Eva Haller Luci Janssen Donna Christine McGuire Maxine Prisyon Heather Sturgess Anne Towbes Sherry Villanueva

Leadership Circle The Leadership Circle is a group of key visionaries giving $10,000 to $100,000 or more each year, making a significant, tangible difference in the community and making it possible for A&L’s roster of premier artists and global thinkers to come to Santa Barbara. List current as of November 31, 2018

$100,000+ Anonymous Jody & John Arnhold Monica & Timothy Babich Marcy Carsey Audrey & Timothy O. Fisher ◊‡ Erika & Matthew Fisher William H. Kearns Foundation Susan & Craig McCaw Sara Miller McCune ◊‡ Natalie Orfalea & Lou Buglioli Lady Leslie Ridley-Tree SAGE Publishing ‡ Lynda Weinman & Bruce Heavin ◊‡

$50,000+ Anonymous Loren Booth Marcia & John Mike Cohen ‡ Dorothy Largay & Wayne Rosing Ellen & Peter O. Johnson Heather & Tom Sturgess ◊‡ The Towbes Family Susan & Bruce Worster

$25,000+ Anonymous Betsy Atwater Meg & Dan Burnham ‡ Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg Martha Gabbert Hutton Parker Foundation Luci & Rich Janssen ‡ Irma & Morris Jurkowitz Marilyn & Dick Mazess Earl Minnis Mission Wealth Montecito Bank & Trust Jillian & Pete Muller Diana & Simon Raab Jill & Bill Shanbrom Laura Shelburne & Kevin O’Connor Fredric E. Steck ‡ Russell Steiner Barbara Stupay Sheila Wald Dr. Bob Weinman Noelle & Dick Wolf Yardi Systems, Inc.

$10,000+ Anonymous (2) Barrie Bergman Albert & Elaine Borchard Foundation Lyn & David Anderson Margo Baker Barbakow & Jeffrey Barbakow Mary & Gary* Becker ‡ Leslie Sweem Bhutani Tracy & Michael Bollag Sheila & Michael Bonsignore Jessica Smith & Kevin Brine Kimberly & Andrew Busch Elizabeth & Andrew Butcher Dori & Chris Carter Virginia Castagnola-Hunter Tana & Joe Christie COMPASS Connie Frank & Evan Thompson Bettina & Glenn Duval Christine & Bill Fletcher Linda & Frederick Gluck Lisa & Mitchell Green Patricia A. Gregory, for the Baker Foundation Lisa & George Hagerman Eva & Yoel Haller ◊‡ Mandy & Daniel Hochman Hollye & Jeff Jacobs Susan McMillan & Tom Kenny ◊‡ Gretchen Lieff Lisa & Christopher Lloyd

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Producers Circle Recognition is based upon a donor’s cumulative giving/pledges within a 12-month period. Every effort has been made to assure accuracy. Please notify our office of any errors or omissions at (805) 893-2174. List current as of November 31, 2018

Executive Producers Circle $5,000+ Anonymous Judy & Bruce Anticouni Jill & Arnold Bellowe Paul Blake & Mark Bennett Jessica & John Bowlin Lyn Brillo Nancy Brown Sarah & Roger Chrisman NancyBell Coe & William Burke ‡ Deborah David & Norman A. Kurland Wendy & Jim Drasdo Brillo-Sonnino Family Foundation G.A. Fowler Family Foundation Virginia Gardner Melinda Goodman & Robert Kemp Larry & Robyn Gottesdiener Judith Hopkinson‡ Shari & George Isaac Elaine & Herbert Kendall Linda Kiefer & Jerry Roberts ‡ Nancy & Linos Kogevinas Jill & Neil Levinson Ellen McDermott Charney & Scott Charney Suzanne & Duncan Mellichamp Peter R. Melnick Val & Bob Montgomery Maia Kikerpill & Daniel Nash Nancy Newman Leila & Robert Noël Jami & Frank Ostini Julie & Richard Powell

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Mark Rick Adele Rosen Neal Rosenthal Carol Sacks James Sadler Helen & Justus Schlichting Diane Sheldon Holly & Lanny Sherwin Joan & Steven Siegel Jan & George Sirkin Timothy Snider Margaret Spaniolo & Michael Afshar Susan Speers Kay & Theodore Stern Kristin Storey Terry & Art Sturz Patricia Tenney Lila Trachtenberg & George Handler Diane Travis-Teague Marion & Frederick Twichell Clayton Verbinski Gordon Walsh Susan Washing Catherine Weinberger & Mark Sherwin Karl Weis Maryellen & Paul Weisman Ellen Willis-Conger *In Memoriam ◊ Indicates those who have made plans to support UCSB Arts & Lectures through their estate. ‡ Indicates those that have made gifts to Arts & Lectures endowed funds in addition to their annual program support.

Granting Organizations The Baker Foundation Albert & Elaine Borchard Foundation California Arts Council The Carsey Family Foundation Cohen Family Fund of the Community Foundation for Southeast Michigan Audrey Hillman Fisher Foundation William J.J. Gordon Family Foundation William H. Kearns Foundation The Léni Fund National Endowment for the Arts Santa Barbara County Office of Arts & Culture Santa Barbara Foundation UCSB Office of Education Partnerships

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Arts & Lectures Endowments The Fund for Programmatic Excellence The Commissioning of New Work Fund The Education and Outreach Fund Beth Chamberlin Endowment for Cultural Understanding The Harold & Hester Schoen Endowment Sonquist Family Endowment

Thank You! 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 educational outreach by A&L artists and writers who visit classes.

Arts & Lectures Staff Celesta M. Billeci, Miller McCune Executive Director Roman Baratiak, Associate Director Ashley Aquino, Contracts Analyst & Executive Assistant Sarah Jane Bennett, Performing Arts Manager Meghan Bush, Director of Marketing & Communications Michele Bynum, Senior Artist Lyndsay Cooke, Performing Arts Coordinator Kevin Grant, Senior Business Analyst Valerie Kuan, Financial Analyst Rachel Leslie, Manager of Ticketing Operations Mari Levasheff, Marketing Business Analyst Dana Loughlin, Director of Development Hector Medina, Marketing & Communications Production Specialist Bonnie A. Molitor, Chief Financial & Operations Officer Caitlin O’Hara, Senior Writer/Publicist Cathy Oliverson, Director of Education James Reisner, Assistant Ticket Office Manager Sandy Robertson, Senior Director of Development & Special Initiatives Isaac Sheets, Development Analyst Heather Silva, Programming Manager

Jessica Lang Dance

Jessica Lang, Artistic Director William Wagner, Executive Director

photo: Sharen Bradford

Thu, Feb 21 / 8 PM / Granada Theatre Presented in association with the UCSB Department of Theater and Dance

Event Sponsors: Tana & Joe Christie Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg Irma & Morrie Jurkowitz Barbara Stupay

Dancers Patrick Coker, Julie Fiorenza, Eve Jacobs, Kana Kimura, Laura Mead, Milan Misko, Thomas Ragland, Rachel Secrest, Jammie Walker Daniel Diller, Production Stage Manager Shannon Clarke, Lighting Supervisor Callen Gosselin, Company Manager

Aria (excerpt) (2010) Choreography: Jessica Lang Music: George Frideric Handel Costume Design: Fritz Masten Lighting Design: Nicole Pearce III. Julie Fiorenza, Kana Kimura, Laura Mead George Frideric Handel, “Qual nave” from Radamisto. Performed by Lorraine Hunt Lieberson, Philharmonia Baroque Orchestra and Nicholas McGegan. Copyright Harmonia Mundi USA.

Program

Thousand Yard Stare (2016)

Solo Bach (2008)

Choreography: Jessica Lang Music: Ludwig van Beethoven Lighting Design: Nicole Pearce Costume Design: Bradon McDonald

Choreography: Jessica Lang Music: Johann Sebastian Bach Lighting Design: Nicole Pearce Costume Design: Bradon McDonald Jammie Walker Johann Sebastian Bach, Gavotte en Rondeau from Partita No. 3 in E Major, BWV 1006. Performed by Lara St. John, courtesy Ancalagon Records and Lara St. John.

Patrick Coker, Julie Fiorenza, Eve Jacobs, Kana Kimura, Laura Mead, Milan Misko, Thomas Ragland, Rachel Secrest, Jammie Walker This work was generously underwritten by Geoff Fallon and was cocommissioned by Des Moines Performing Arts. Ludwig van Beethoven, “Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart” (Holy song of thanksgiving of a convalescent to the Deity, in the Lydian Mode) from String Quartet No. 15, op. 132. Performed by Takács Quartet.

@ArtsAndLectures

◆ Intermission ◆

glow (2017) Choreography: Jessica Lang Music: Owen Clayton Condon and Ivan Trevino Set Design: Jessica Lang and Nicole Pearce Lighting Design: Nicole Pearce Technical Director: Greg Rowland Patrick Coker, Julie Fiorenza, Eve Jacobs, Thomas Ragland, Rachel Secrest This piece was co-commissioned by Jacob’s Pillow Dance Festival. This piece was made possible with support from Charles and Deborah Adelman. Ivan Trevino, “2+1.” Performed by Bryson Teel and Neal Schassler. Owen Clayton Condon, “Fractalia.” Performed by and used by arrangement with Third Coast Percussion.

The Calling (excerpt from Splendid Isolation II) (2006) Choreography: Jessica Lang Music: Trio Mediaeval Costume Concept: Jessica Lang Costume Design: Elena Comendador Original Lighting: Al Crawford, Recreated by Nicole Pearce Kana Kimura This work was originally premiered by Ailey II in 2006. “O Maria, stella maris,” performed by Trio Mediaeval (p) ECM Records 2005. Used by arrangement with ECM Records, Munich.

This Thing Called Love (2018) Celebrating the music of Tony Bennett

Choreography: Jessica Lang Visual Art: Anthony Benedetto/Tony Bennett Stage Design: Jessica Lang Lighting Design: Nicole Pearce Costume Design: Bradon McDonald Audio Recording: Concept by Jessica Lang Voice: Tony Bennett Recording: Milan Misko

Excerpt from the “Cole Porter Medley” Patrick Coker, Julie Fiorenza, Eve Jacobs, Kana Kimura, Laura Mead, Milan Misko, Thomas Ragland, Rachel Secrest, Jammie Walker “I Left My Heart in San Francisco” Milan Misko with Ensemble “Crazy Rhythm” Ensemble “Smile” Kana Kimura and Jammie Walker with Patrick Coker, Julie Fiorenza, Eve Jacobs, Milan Misko, Thomas Ragland and Rachel Secrest “It Don’t Mean a Thing” Ensemble “For Once in My Life” Artwork: New York Skyline Ensemble This Thing Called Love is dedicated to my mom and dad. – Jessica Lang This work was originally commissioned by The Performing Arts Center at Purchase College, Director Seth Soloway. This work was sponsored by SHS Foundation and Helen Melchior and made possible by the generous support of the National Endowment for the Arts. This work was created (in part) during a residency at Kaatsbaan International Dance Center in Tivoli, New York. Jessica Lang Dance would like to give a special thanks to Benedetto Arts and RPM Productions for helping make this work possible. “Cole Porter Medley” performed by Tony Bennett, courtesy of Concord Records, a division of Concord Music. Also courtesy of Warner Chappell and The Cole Porter Musical and Literary Property Trusts. “It Don’t Mean a Thing (If it Ain’t Got That Swing)” performed by Tony Bennett, courtesy of Concord Records, a division of Concord Music and BMI. “Smile” performed by Tony Bennett courtesy of Columbia Legacy. Music by Charles Chaplin, words by John Turner and Geoffrey Parsons. Copyright © by Bourne Co. Copyright (ASCAP). All Rights Reserved. International Copyright Secured. Used By Permission. “Crazy Rhythm” performed by Tony Bennett. Written by Irving Caesar, Roger Wolfe Kahn and Joseph Meye. All rights on behalf of Irving Caesar Music and itself administered by WB Music Corp. Also courtesy of Columbia Records. “I Left My Heart in San Francisco” performed by Tony Bennett, courtesy of Sony/ATV Music Publishing and Columbia Records. “For Once in My Life” performed by Tony Bennett, courtesy of Sony/ATV Music Publishing and Columbia Records.

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

About the Company Since the company’s inception in 2011, Jessica Lang Dance (JLD) has been devoted to enriching and inspiring global audiences by immersing them in the beauty of movement and music. JLD’s diverse repertoire of original works, created by Bessie-Award winning Artistic Director Jessica Lang, embodies a genre-bending contemporary movement style that resists categorical definition. The company’s trajectory is strongly influenced by a commitment to artistic collaboration with such renowned artists as architect Steven Holl, costume designer Bradon McDonald, lighting designer Nicole Pearce and composer Jakub Ciupinski, as well as visual artist Shinichi Maruyama, among others. In 2017, Lincoln Center’s White Light Festival presented JLD in Lang’s rendition of Pergolesi’s Stabat Mater. Her choreographic genius spans the breadth between these classical works and the legendary music of singer Tony Bennett, with the recent 2018 premiere of This Thing Called Love commissioned by the Performing Arts Center at Purchase College. JLD’s 2018-19 season began with two exceptional residencies to develop new work at White Oak and the coveted Krannert Center for the Performing Arts. JLD has been presented at premier venues and festivals worldwide including Jacob’s Pillow Dance Festival, BAM’s Next Wave Festival, the John F. Kennedy Center for the Performing Arts, the Harris Theater for Music and Dance, the Joyce Theater, the White Light Festival at Lincoln Center, Tel Aviv Performing Arts Center, Bolshoi’s Inversion Festival of Contemporary Dance and Palacio de Bellas Artes, among many others.

Jessica Lang Artistic Director Jessica Lang leads the creative vision of the organization which has garnered remarkable acclaim since the company’s founding in 2011. Under her artistic leadership, the company now offers more than 50 performances annually at some of the world’s most prestigious performing arts centers. Noted for her dedication to educational activities, Lang developed a unique curriculum for JLD called LANGuage, which is offered as part of the company’s programming on tour and locally in New York City, focusing on the Queens community. As one of the most celebrated choreographers of her generation, Lang choreographs and teaches throughout the world. She has created original works for companies including American Ballet Theatre, Alvin Ailey American Dance Theater, Pacific Northwest Ballet, Birmingham Royal Ballet, the National Ballet of Japan and Joffrey Ballet,

among many others. Lang has also worked in opera on the production Aida, directed by Francesca Zambello, for San Francisco Opera and Washington National Opera. She is the recipient of a 2014 Bessie Award and the 2017 Arison Award. She is a graduate of the Juilliard School under the direction of Benjamin Harkarvy and a former member of Twyla Tharp’s company THARP! JLD would like to thank its Board of Trustees and generous donors who made tonight’s program possible. We are especially grateful to our Sponsors’ Circle members for making our 2018-19 touring season and the new work we create and present possible: Underwriting Sponsors Sarah Arison Jay Franke and David Herro Brian J. Heidtke Ann and Weston Hicks

Presenting Sponsors Dau Family Foundation Deidra Wager and Rick Munsen Strelizia Foundation

Supporting Sponsors Charlie and Debra Adelman Helen Melchior Elizabeth and Mark Striebeck We are also enormously grateful to our major funders who make everything possible: The New York Community Trust, Howard Gilman Foundation, Virginia B. Toulmin Foundation, Rockefeller Brothers Fund, the National Endowment for the Arts, New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, The SHS Foundation, The Shubert Foundation, the Jerome Robbins Foundation, the Irving Harris Foundation, the O’Donnell-Green Music and Dance Foundation, the New York City Department of Cultural Affairs, Harkness Foundation for Dance, Dance/NYC and the ArtsCONNECT program of Mid Atlantic Arts Foundation. Dancewear and dance shoes courtesy of Gayle Miller & Capezio NYC. Jessica Lang Dance Staff Jessica Lang, Artistic Director William Wagner, Executive Director Callen Gosselin, Company Manager Daniel Diller, Production and Stage Manager Julie Fiorenza, Administrative Assistant Milan Misko, Video Content Manager Jim Lang, Graphic Designer Allan Hatta, Website Developer Tina Fehlandt, Charla Genn, Lauren Grant, David Leventhal, Therese Wendler, William Whitener, Megan Williams, Company Class Teachers Artist Representative: Margaret Selby, Selby Artists Mgmt LLC 212-382-3260 | mselby@selbyartistsmgmt.com Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

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Doris Kearns Goodwin Leadership in Turbulent Times Fri, Feb 22 / 7:30 PM / Granada Theatre

photo: Annie Leibovitz

Presented in association with the UCSB Department of History and the Division of Humanities and Fine Arts

Event Sponsors:

Doris Kearns Goodwin is a world-renowned presidential historian and Pulitzer Prize-winning, No. 1 New York Times bestselling author. Her seventh book, Leadership in Turbulent Times, was published in 2018 to critical acclaim and became an instant New York Times bestseller. A culmination of Goodwin’s five-decade career of studying the American presidents focusing on Presidents Abraham Lincoln, Theodore Roosevelt, Franklin Roosevelt and Lyndon Baines Johnson, the book provides an essential road map for aspiring and established leaders in every field and for all of us in our everyday lives.

for Steven Spielberg’s hit film Lincoln and was awarded the prestigious Lincoln Prize, the inaugural Book Prize for American History and the Lincoln Leadership Prize.

Goodwin’s career as a presidential historian and author was inspired when as a 24-year-old graduate student at Harvard she was selected to join the White House Fellows, one of America’s most prestigious programs for leadership and public service. Goodwin worked with Johnson in the White House and later assisted him in the writing of his memoirs. She then wrote Lyndon Johnson and the American Dream, which became a national bestseller and achieved critical acclaim, and will be re-released in spring 2019.

Goodwin graduated magna cum laude from Colby College. She earned a doctorate degree in Government from Harvard University, where she taught Government, including a course on the American Presidency. Among her many honors and awards, Goodwin was awarded the Charles Frankel Prize, the Sarah Josepha Hale Medal, the New England Book Award and the Carl Sandburg Literary Award.

Goodwin was awarded the Pulitzer Prize for No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front in World War II. The Fitzgeralds and the Kennedys was adapted into an award-winning five-part television miniseries. Her memoir Wait Till Next Year is the heartwarming story of growing up loving her family and baseball. Her sixth book, The Bully Pulpit: Theodore Roosevelt, William Howard Taft, and the Golden Age of Journalism, won the Carnegie Medal and is being developed into a film. Goodwin’s Team of Rivals: The Political Genius of Abraham Lincoln served as the basis

Well known for her appearances and commentary on television, Goodwin is frequently seen in documentaries including Ken Burns’ The History of Baseball and The Roosevelts: An Intimate History; on news and cable networks and on shows including Meet The Press and The Late Show with Stephen Colbert. She played herself as a teacher on The Simpsons and an historian on American Horror Story.

Goodwin was the first woman to enter the Boston Red Sox locker room in 1979 and is a devoted fan of the World Series-winning team. Books are available for purchase in the lobby and a signing follows the event

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

Snarky Puppy Sun, Feb 24 / 7 PM Granada Theatre (note new venue)

Event Sponsors: Marcia & John Mike Cohen The last four years have brought dramatic changes for Snarky Puppy. After a decade of relentless touring and recording in all but complete obscurity, the Texas-bred/New York-based quasi-collective suddenly found itself held up by the press and public as one of the major figures in the jazz world. But as the category names for two Grammy Awards would indicate (Best R&B Performance 2014 and Best Contemporary Instrumental Album in 2016 and 2017), Snarky Puppy isn’t exactly a jazz band. It’s not a fusion band, and it’s definitely not a jam band. It’s probably best to take Nate Chinen of The New York Times’ advice, as stated in an online discussion about the group, to “take them for what they are, rather than judge them for what they’re not.” Snarky Puppy is a collective, of sorts, with as many as 25 members in regular rotation. They each maintain busy schedules as sidemen (with such artists as Erykah Badu, Snoop Dogg, Kendrick Lamar and D’Angelo), producers (for Kirk Franklin, David Crosby and Salif Keïta) and solo artists (many of whom are on the band’s indy label, GroundUP Music). At its core, the band represents the convergence of both black and white American music culture with various accents from around the world. Japan, Argentina, Canada, the United Kingdom and Puerto Rico all have representation in the group’s membership. But more than the cultural diversity of the individual players, the defining characteristic of Snarky Puppy’s music is the joy of performing together in the perpetual push to grow creatively. The band was formed by bassist and primary composer Michael League in 2003, starting inconspicuously enough as a group of college friends at the University of North Texas’

Jazz Studies program. Three years later, a serendipitous intersection with the gospel and R&B community in Dallas transformed the music into something funkier, more direct and more visceral. It was at this time that the group absorbed musicians like Robert “Sput” Searight (drums), Shaun Martin (keyboards) and Bobby Sparks (keyboards), and were heavily influenced by legendary keyboardist Bernard Wright (Miles Davis, Chaka Khan, Marcus Miller). Independent since their inception almost 13 years ago, Snarky Puppy’s grassroots approach to the changing music industry has met major critical and commercial success, as well as two Grammy Awards in three years. The first was in 2014 for Best R&B Performance with Lalah Hathaway on Family Dinner – Volume One, and the second in 2016 for Best Contemporary Instrumental Album with the Metropole Orkest on Sylva, a 60-minute suite of music written by League specifically for the 64-piece ensemble. They have been on the cover of both JazzTimes and DownBeat magazines, the feature story in the Sunday Arts section of The New York Times, voted Best Jazz Group in the 2015 DownBeat Readers Poll, voted Best New Artist and Best Electric/Jazz-Rock/Contemporary Group/Artist in the 2014 JazzTimes Readers’ Poll and called “one of the most versatile groups on the planet” by Rolling Stone. They have performed more than 1,200 times on six continents. Snarky Puppy is a three-headed animal. First and foremost, it is a creative music ensemble dedicated to original instrumental music. Secondly, it is a session band that engages in collaboration with outside artists for special projects, as it has with ensembles like the Metropole Orkest and individu-

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als such as Lalah Hathaway, Laura Mvula, Salif Keïta, David Crosby, N’Dambi, Becca Stevens and Jacob Collier, to name a few. And lastly, it is a group of musicians wholeheartedly committed to music education and outreach. They have given clinics and master classes at more than 200 schools around the world, are active as guest speakers in international music business panels and work regularly with nonprofit organizations in an effort to better serve the community at large through the arts. In 2017, Snarky Puppy launched a new online video lessons initiative with specialized tutorials from each individual member of the group.

Coming in Spring

Sō Percussion Amid the Noise

Seeking to capitalize on the music-hungry, audiophile fan base that developed around Snarky Puppy, League launched the imprint GroundUP Music under the umbrella of independent parent company Ropeadope Records in 2011. With the growth of the label, GroundUP went fully independent in 2016 and accumulated a roster of both well-known and up-and-coming acts in an ambitious year of over a dozen releases (including Charlie Hunter and David Crosby, among many others). League brokered a unique partnership with Universal Music in which GroundUP and its artists retain complete creative independence while working with the distribution giant to do what it does best – promote and make music easily available to both new and existing fans worldwide. Fresh off of the heels of its 10th album, Family Dinner – Volume Two, the band returned to its roots as an instrumental ensemble with a new collection of nine original songs entitled Culcha Vulcha. A departure from its signature livefrom-the-studio film and audio style, the band spent a week in the middle of a pecan orchard at the remote Sonic Ranch Studios in Tornillo, Texas, just a five minute walk from the Mexican border. With no cameras, no audience and the opportunity to overdub, they have crafted an album much darker and moodier than any before it. The typical flash and bombastic moments that Snarky Puppy is known for have been replaced by a more patient, restrained and sonically creative approach to both composition and performance. The melodies are intricate, the counterpoint is fluid, and groove reigns supreme in mixes that are bass and percussion-heavy. www.snarkypuppy.com

“Startling technique and almost inhuman precision… skating without a ripple between classical minimalism, hushed gamelan textures and ambient electronics.” Pitchfork

Special thanks to

Sat, Apr 6 / 8 PM / Campbell Hall Tickets start at $20 / $10 UCSB students

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

An Evening with

Annie Leibovitz Thu, Feb 28 / 7:30 PM / Arlington Theatre

photo: Annie Leibovitz

A Q&A moderated by Pico Iyer will follow the presentation

Presented in association with the UCSB Art, Design & Architecture Museum, the UCSB Department of Art and Santa Barbara Museum of Art

Event Sponsors: Sara Miller McCune Susan & Bruce Worster

Annie Leibovitz Annie Leibovitz began her career as a photojournalist for Rolling Stone in 1970, while she was still a student at the San Francisco Art Institute. Her pictures have appeared regularly on magazine covers ever since. Leibovitz’s large and distinguished body of work encompasses some of the most well-known portraits of our time. Leibovitz’s first major assignment was for a cover story on John Lennon. She became Rolling Stone’s chief photographer in 1973, and by the time she left the magazine 10 years later, she had shot 142 covers and published photo essays on scores of stories, including her memorable accounts of the resignation of Richard Nixon and of the 1975 Rolling Stones tour. In 1983 when she joined the staff of the revived Vanity Fair, she was established as the foremost rock music photographer and an astute documentarian of the social landscape. At Vanity Fair, and later at Vogue, she developed a large body of work – portraits of actors, directors, writers, musicians, athletes and political and business figures, as well as fashion photographs – that expanded her collective portrait of contemporary life. In addition to her editorial work, she has created several influential advertising campaigns, including her award-winning portraits for American Express and the Gap. She has also collaborated with many arts organizations. Leibovitz has a special interest in dance, and in 1990 she documented the creation of the White Oak Dance Project with Mikhail Baryshnikov and Mark Morris.

Several collections of Leibovitz’s work have been published. They include Annie Leibovitz: Photographs (1983); Annie Leibovitz: Photographs 1970-1990 (1991); Olympic Portraits (1996); Women (1999), in collaboration with Susan Sontag; American Music (2003); A Photographer’s Life, 1990-2005 (2006); Annie Leibovitz at Work (2008), a first-person commentary on her career; Pilgrimage (2011); an over-sized, limited collector’s edition of her photographs published by Taschen (2014); Annie Leibovitz: Portraits 2005-2016 (2017); and Annie Leibovitz at Work (2018). Exhibitions of Leibovitz’s work have appeared at museums and galleries all over the world, including the National Portrait Gallery and the Corcoran Gallery in Washington, D.C.; the International Center of Photography in New York; the Brooklyn Museum; the Stedelijk Museum in Amsterdam; the Maison Européenne de la Photographie in Paris; the National Portrait Gallery in London; the Hermitage Museum in St. Petersburg, Russia; and the Pushkin State Museum of Fine Arts in Moscow. Leibovitz is the recipient of many honors. In 2006 she was made a Commandeur in the Ordre des Arts et des Lettres by the French government. The previous year, in a compilation of the 40 top magazine covers of the past 40 years by the American Society of Magazine Editors (ASME), she held the top two spots (No. 1 for the photograph of John Lennon and Yoko Ono taken for Rolling Stone the day Lennon was shot, and No. 2 for the pregnant Demi Moore in Vanity Fair). In 2009 she received the International Center of Photography’s Lifetime Achievement Award, ASME’s first Creative Excellence Award and the Centenary

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Medal of the Royal Photographic Society in London. In 2012 she was the recipient of the Los Angeles Museum of Contemporary Art Award to Distinguished Women in the Arts and the Wexner Prize. In 2013 she received the Prince of Asturias Award for Communication and Humanities. She was the inaugural recipient of the San Francisco Museum of Modern Art Contemporary Vision Award in 2015. Leibovitz has been designated a Living Legend by the Library of Congress.

Coming in Spring

Michael Pollan

How to Change Your Mind

Pico Iyer Pico Iyer is the author of two novels and 13 works of non-fiction and his books have been translated into 23 languages. He has also written the introductions to more than 60 other works as well as liner notes for Leonard Cohen and a screenplay for Miramax. He is currently Ferris Professor of Journalism at Princeton University and he will be releasing three new books in 2019, including Autumn Light, to appear in April, and A Beginner’s Guide to Japan, to appear in the fall. He recently gave three talks for TED in the space of three years, and they have received more than 8 million views so far. Pre-signed books are available for purchase in the lobby

Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

“With The Omnivore’s Dilemma, he changed the way we approach our food – and his new book could transform how America thinks of psychedelics.” Rolling Stone

Tue, Apr 23 / 7:30 PM / Granada Theatre Tickets start at $25 / $15 UCSB students A Granada facility fee will be added to each ticket price

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

James Balog

The Human Element: A Photographer’s Journey in the Anthropocene photo: James Balog / Earth Vision Institute

Sat, Mar 2 / 7:30 PM / Granada Theatre Presented in association with Community Environmental Council, Environmental Defense Center, Gaviota Coast Conservancy, Land Trust for Santa Barbara County, Los Padres ForestWatch, The Partnership for Resilient Communities, Santa Barbara Sierra Club, the UCSB Bren School of Environmental Science & Management, the UCSB Department of Environmental Studies, Urban Creeks Council and Wilderness Youth Project

Event Sponsors: Audrey & Timothy O. Fisher and Erika & Matthew Fisher in memory of J. Brooks Fisher

For 40 years, photographer James Balog has broken new conceptual and artistic ground on one of the most important issues of our era: human modification of nature. An avid mountaineer with a graduate degree in geography and geomorphology, Balog is equally at home on a Himalayan peak or a whitewater river, the African savannah or polar icecaps. His new film, The Human Element, is an innovative and visually stunning look at how humanity interacts with earth, air, fire and water. Its world premiere was at the San Francisco Film Festival in April. Since then it has been screened across North America, as well venues in Europe and New Zealand; it was commercially released in early 2019. To reveal the impact of climate change, Balog founded the Extreme Ice Survey (EIS) in 2007. It is the most wide-ranging, ground-based, photographic study of glaciers ever conducted. The project was featured in the internationally-acclaimed documentary Chasing Ice and in the 2009 PBS/NOVA special Extreme Ice. One YouTube video clip from Chasing Ice has received more than 40 million views. Chasing Ice won an Emmy in 2014 and was shortlisted for the Academy Awards. It has been screened at the White House, U.S. Congress, Great Britain’s House of Commons, the United Nations and major international science and policy conferences, including COP-15 in Copenhagen and COP-21 in Paris. NBC, ABC, CBS, CNN, PBS and NPR have done features on Balog’s work, as have David Letterman, Bill Maher and Bill Moyers.

Balog is the author of eight books. His images have been collected in dozens of public and private art collections – and extensively published in the world’s magazines, particularly National Geographic. Many organizations have given James their highest accolades; they include: The Heinz Foundation American Geophysical Union Duke University Universities of Alberta, Missouri and Colorado Nikon American Alpine Club International League of Conservation Photographers, HIPA award under the patronage of the Crown Prince of Dubai Royal Photographic Society of Great Britain TheHumanElementMovie.com JamesBalog.com ExtremeIceSurvey.org EarthVisionInstitute.org GettingThePicture.info Books are available for purchase in the lobby and a signing follows the event

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Beatrice Rana, piano

photo: Nicolas Bets

Sun, Mar 3 / 4 PM / Hahn Hall

Up Close & Musical Series Sponsor: Dr. Bob Weinman

Program

About the Program

Chopin: Études, op. 25 Étude No. 1 in A-flat major Étude No. 2 in F minor Étude No. 3 in F major Étude No. 4 in A minor Étude No. 5 in E minor Étude No. 6 in G-sharp minor Étude No. 7 in C-sharp minor Étude No. 8 in D-flat major Étude No. 9 in G-flat major Étude No. 10 in B minor Étude No. 11 in A minor Étude No. 12 in C minor

Frédéric Chopin (1810-1849): Études, op. 25

◆ Intermission ◆ Ravel: Miroirs Noctuelles Oiseaux tristes Une barque sur l’océan Alborada del gracioso La vallée des cloches Stravinsky: Selections from The Firebird (arr. Agosti) Danse infernale Berceuse Finale

In the early nineteenth century, as Europe’s expanding middle class purchased pianos in earnest, composers churned out teaching material to meet the demand of this new breed of cultivated amateur. Despite the surge of interest in study pieces, the étude (French for “study”) remained almost exclusively didactic, to be practiced in private. With the release of his first set of twelve Études, Op. 10, in 1833, Chopin almost immediately initiated a re-evaluation of the genre. These études combined technical difficulty and artistic sensibility in a way that had previously been absent from most study pieces. Another key element of the Études’ critical reception was their virtuosic performances at the hands of Franz Liszt, the most famous pianist of the era. Chopin claimed that Liszt was the first person to properly play his Études, and even dedicated the first set “to my dear friend, Franz Liszt.” For reasons unknown, Chopin would dedicate his second set of Études, Op. 25, to Liszt’s lover, Marie d’Agoult. While they were friends, rumors abounded about the nature of their relationship. Around the time he finished Opus 25, he became engaged to Maria Wodzińska, the daughter of a Polish count and countess. However, their engagement would be broken off a year later. Her father expressed concern over Chopin’s poor health, and may have objected to the company he kept, including unmarried women such as Marie d’Agoult and the female writer George Sand.

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

Each of the twelve études has a nickname, none given by Chopin, who actually objected to them. Some, such as those of Études Six, Eight, and Ten (“Thirds,” “Sixths,” and “Octaves,” respectively), simply denote the primary technical challenge of the particular piece, while other titles (“Bees” and “The Horseman” for the second and third) are more programmatic. To composer Robert Schumann, the arching arpeggios of the first étude evoked the breezy sound of the Aeolian harp. The first four are short and straightforward, each with one predominant character. Not until the fifth étude (“Wrong Note”) does Chopin introduce individual movements with more developed formal structures and marked shifts of mood. The unaccompanied solo in the bass clef gives Étude Seven the nickname “Cello.” Its dirge-like theme gives way to passionate outbursts contrasted with moments of repose. At five minutes, this étude is by far the longest in the set. Études Ten, Eleven, and Twelve form a tempestuous climax. Fierce, whirling octaves in the tenth recall Franz Liszt’s flashiest show pieces. Number Eleven, “Winter Winds,” crackles with pyrotechnics, surging forward on an insistent march rhythm. In the last piece, Chopin evokes crashing waves across the full range of the piano, spanning multiple octaves with passages marked “as loud as possible.” On the final page, the ocean changes from a seething minor key to triumphant major.

Maurice Ravel (1875-1937): Miroirs The precocious Ravel gained admittance to the prestigious Conservatoire de Paris at the age of fourteen. Initially impressed with the boy, the faculty grew impatient and expelled him for not winning enough prizes. They re-admitted him two years later only to expel him again, both for his failure to win awards and for his progressive musical leanings. Amidst his frustrations with the Conservatoire, Ravel joined a group of avant-garde artists who called themselves Les Apaches. Taken from the Native American tribes of the same name, in Paris, the word “Apaches” referred to a gang of hooligans. Self-styled “artistic outcasts,” the group’s young, almost exclusively-male members came from all walks of artistic life and included the poet Tristan Klingsor (Ravel set some of his texts in his song cycle Shéhérazade), composer Manuel de Falla and Igor Stravinsky, who joined a year before the premiere of his groundbreaking ballet The Firebird. Les Apaches had a lasting influence on Ravel, expanding his artistic horizons and emboldening him to break even further from the conventions espoused by the Conservatoire.

Four years after his second expulsion from the conservatory, Ravel began composing Miroirs. Each of its five movements is dedicated to a different member of Les Apaches. The first, “Noctuelles,” Ravel dedicated to poet Léon-Paul Fargue, whose verses directly inspired it: “Night moths depart their rafters, in ungainly flight, circulating beneath other beams.” Bitonality (the simultaneous playing of music in two different keys), clashing rhythms, and time signature changes illustrate the erratic diving and weaving of the moths. Ravel dedicated “Oiseaux tristes” to Ricardo Viñes, a Spanish pianist and classmate of Ravel’s who would premiere the suite. The composer wrote, “It evokes birds lost in the torpor of a somber forest during the most torrid hours of summer.” Ravel avoids tonic chords throughout much of the movement, heightening the feeling of restlessness. The middle section finds a chorus of birds joining in, screeching and flapping about the wood. A shimmering, cadenza-like finale settles into languor and gloom. A persistent rocking animates “Une barque sur l’océan.” One can easily imagine roaring waves and a prow cutting across the water; the score itself, teeming with upward arcs, resembles the choppy surface of the sea. Contrasting meters pull at one another like wind against sails or rudder against current. Ambiguous, shifting tonalities and tense rhythms build as the music grows increasingly turbulent. Across this background, Ravel paints a kaleidoscope of emotions from tranquility to awe and fear before a triple-forte climax ushers in a hushed sigh of relief. Ravel’s inspiration for “Alborada del gracioso” was likely two-fold. Ricardo Viñes, dedicatee of “Oiseaux tristes,” inculcated Ravel’s interest in Spanish music, while his mother’s Basque-Spanish heritage would inspire Ravel to compose several Spanish-themed works, most famously Boléro. An alborada is a love song sung to a sleeping woman at dawn, while a gracioso is a figure from the Spanish theater similar to a court jester. Jaunty Andalusian dance rhythms evoke the streets of Madrid while dry, jangly arpeggios mimic the pluck of guitar strings and the snap of castanets. The second section opens with unaccompanied recitative, a nod to the cante jondo, or “deep song,” a style of flamenco folk singing. Reflective yet at times agonizingly dissonant, the piano sings of passionate desire. In the third and final section, the gracioso’s strumming again becomes lively and virtuosic, whirling into a driving finish. In “La vallée des cloches,” Ravel depicts five bells ringing across a valley. He uses varying dynamics, rhythms, harmonies, and pitches to create a sense of three-dimensional

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space. Dissonance builds as the bells layer upon one another. Never rising above mezzo forte, the music turns wistful, yet also peaceful. In the final bars, the tolling bells slowly die away, a sonic decrescendo also suggestive of memories fading across time.

Igor Stravinsky (1882-1971): Selections from The Firebird (arr. Agosti) As the first decade of the twentieth century drew to a close, Paris stood on the eve of a revolution in ballet. Russian impresario Serge Diaghilev, sensing that the genre had grown stale, imported Russian dancers, scenarios, and composers to the city to capitalize on the French aristocracy’s fascination with Russia and the “exotic East.” Following early successes, Diaghilev sought to create new, uniquely Russian works to enchant Parisian audiences. For the first of these, Diaghilev and his collaborators stitched together two Slavic folktales: that of Koschei the Deathless, an evil sorcerer; and the tale of the Firebird, a mythical creature that brings fortune and devastation to its captor. When Diaghilev approached Igor Stravinsky to write a score for The Firebird, he was little-known outside their native St. Petersburg, yet the impresario saw something special in the impassive young composer with “vague, meditative eyes.” “Mark him well,” Diaghilev urged his dancers. “He is a man on the eve of celebrity!” Diaghilev’s prediction came true. The Firebird made Stravinsky an overnight sensation across Europe, and cemented a relationship with Diaghilev that would lead to four more collaborations, including the ballets Petrushka and the riot-inducing Rite of Spring. Early in the ballet, the handsome Prince Ivan ensnares the Firebird. In exchange for her release, she offers him an enchanted feather that can summon her in time of need. As the tale unfolds, Koschei the Deathless and his minions surround Ivan, who uses the Firebird’s feather to call her to him. The Firebird bewitches the evil coterie, forcing them to perform an elaborate Infernal Dance. Intensely percussive and seething with protean rhythms, this grotesque parody of a waltz builds until Koschei and his demons fall into an exhausted sleep. The Firebird’s Lullaby, while beautiful and restrained, suggests a dark and uneasy slumber. Prince Ivan’s theme, a majestic march, proclaims his triumph over evil. Massive fortissimo chords dazzle as the theme climbs higher and higher, swelling to a dizzying climax. Program notes © Andrew McIntyre

Beatrice Rana At only 25 years old, Beatrice Rana has shaken the international classical music world already and aroused admiration and interest from concert presenters, conductors, critics and audiences in many countries. Rana performs at the world’s most esteemed concert halls and festivals and collaborates with conductors of the highest level such as Riccardo Chailly, Antonio Pappano, Yannick Nézet-Séguin, Fabio Luisi, Yuri Temirkanov, Gianandrea Noseda, Emmanuel Krivine, Jun Märkl, Trevor Pinnock, Mirga Grazinyte-Tyla, Lahav Shani, Andrés Orozco-Estrada, James Gaffigan, Susanna Mälkki, Leonard Slatkin and Zubin Mehta. During the 2018-19 and 2019-20 seasons, she makes debuts with the Royal Concertgebouw Orchestra, Chicago Symphony Orchestra, San Francisco Symphony Orchestra, Orchestre de Paris, Bayerische Rundfunk Sinfonieorchester, Hessischer Rundfunk Sinfonieorchester, Pittsburgh Symphony Orchestra, Vienna Symphony Orchestra, Royal Stockholm Philharmonic Orchestra and Danish National Symphony Orchestra. She performs with the Philadelphia Orchestra with Yannick Nézet-Seguin at Philadelphia’s Kimmel Center and New York’s Carnegie Hall; tours with the London Philharmonic Orchestra and Vladimir Jurowski; and starts a residency at the Zurich Opera with Fabio Luisi and the Philharmonia Zurich for a complete Beethoven concerto cycle. She will play recitals at Geneva’s Victoria Hall, Munich’s Prinzregententheater, London’s Queen Elizabeth Hall and Wigmore Hall, Essen Philharmonie, Berlin Philharmonie’s Kammermusiksaal, Paris’ Théâtre des Champs-Elysées, Gilmore Keyboard Festival and at Zankel Hall in her Carnegie debut. An exclusive Warner Classics recording artist, Rana has two recordings: Bach’s Goldberg Variations and Prokofiev’s Piano Concerto No. 2, and Tchaikovsky’s Piano Concerto No. 1 with Antonio Pappano and Orchestra dell’Accademia Nazionale di Santa Cecilia. She came to public attention in 2011 after winning first prize at the Montreal International Competition and in 2013 when she won the silver medal and the Audience Award at the 14th Van Cliburn International Piano Competition. Beatrice Rana records exclusively for Warner Classics For more information on Beatrice Rana, visit www.beatriceranapiano.com Management for Beatrice Rana: Primo Artists, New York, NY www.primoartists.com

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Co-presented with the Walter H. Capps Center for the Study of Ethics, Religion and Public Life

Eli Saslow

Rising Out of Hatred: The Awakening of a Former White Nationalist photo: Joanna Ceciliani

Mon, Mar 4 / 7:30 PM / Campbell Hall

In his Pulitzer Prize-winning coverage for The Washington Post, Eli Saslow, who has been called “one of the great young journalists in America,” reveals the human stories behind the most divisive issues of our time. From racism and poverty to addiction and school shootings, Saslow’s work uncovers the manifold impacts of major national issues on individuals and families. Saslow won the 2014 Pulitzer Prize in Explanatory Reporting for a year-long series of stories about food stamps and hunger in the United States, which were collected into the book American Hunger. Saslow was also a three-time finalist for the Pulitzer Prize in Feature Writing. “The Lonely Quiet,” Saslow’s intimate portrait of parents whose first-grader was murdered at Sandy Hook in 2012, explores both loss and the determination to wrest something meaningful from that loss. In 2016’s “What Kind of Childhood Is That?” he profiled three children orphaned by America’s opioid epidemic. And his feature “The White Flight of Derek Black,” explored how the one-time heir to America’s white nationalist movement came to question the ideology he helped spread. Derek Black might be termed white nationalist royalty. His father, Don Black, launched the first major white supremacist website; his mother was once married to former KKK Grand Wizard David Duke, who was Derek’s godfather and mentor from birth. Derek was an elected politician at 19, with his own daily radio show on which he urged white nationalists to infiltrate the American political system to prevent what he termed “white genocide.” But when Derek chose to attend a tiny liberal arts college, his ideological foundations began to crack. Saslow’s book Rising Out of

Related Thematic Learning Initiative Event (see page 9)

Hatred charts the rise of white nationalism through the experiences of one person who abandoned everything he was taught to believe. Saslow’s first book is also concerned with untold American stories and the complex ways we understand our leaders. Ten Letters: The Stories Americans Tell Their President, grew out of Saslow’s fascination with President Obama’s daily habit of reading ten letters he had received from Americans. By turns angry, optimistic and moving, these letters serve as Saslow’s lens through which to understand who we are as Americans. Saslow is a longtime staff writer for The Washington Post, where he was initially a sportswriter. He covered the 2008 presidential campaign as well as President Obama’s life in the White House. Four of his stories have been anthologized in Best American Sports Writing, and he is an occasional contributor to ESPN The Magazine. A graduate of Syracuse University, Saslow is the winner of a George Polk Award, a PEN Literary Award, a James Beard Award and other honors. Books are available for purchase in the lobby and a signing follows the event

Special thanks to

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photo: Cheryl Mann (dancers Anais Bueno and Fabrice Calmels in Mammatus

Mar 5 Program

The Joffrey Ballet

Ashley Wheater, The Mary B. Galvin Artistic Director Tue, Mar 5 & Wed, Mar 6 / 8 PM / Granada Theatre

Presented in association with the UCSB Department of Theater and Dance

Event Sponsor: Sara Miller McCune Dance Series Sponsors: Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg Irma & Morrie Jurkowitz Barbara Stupay

About the Company

George Balanchine: The Four Temperaments ◆ Intermission ◆ Nicolas Blanc: Beyond the Shore ◆ Intermission ◆ Alexander Ekman: Joy

Mar 6 Program Justin Peck: In Creases Nicholas Blanc: Encounter ◆ Intermission ◆

Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences and repertoire which includes major story ballets, reconstructions of masterpieces and contemporary works. The Company’s commitment to accessibility is met through an innovative and highly effective education program including the much-lauded Academy of Dance, Official School of The Joffrey Ballet, community engagement programs and collaborations with myriad other visual and performing arts organizations. Founded by visionary teacher Robert Joffrey in 1956 and guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally-renowned Mary B. Galvin Artistic Director Ashley Wheater and President and CEO Greg Cameron.

Alexander Ekman: Joy

Ashley Wheater

◆ Intermission ◆

Born in Scotland and raised in England, Wheater was trained at The Royal Ballet School. Wheater began his professional career with The Royal Ballet and danced at the London Festival Ballet, The Australian Ballet, The Joffrey Ballet and San Francisco Ballet. In 1997 he became ballet master at San Francisco Ballet, and in 2002, assistant to the artistic director.

Annabelle Lopez Ochoa: Mammatus

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In 2007 Wheater was appointed artistic director of The Joffrey Ballet. New work is the lifeblood of a company, and he has introduced numerous premieres to the repertoire. In 2008 the Boeing Corporation recognized his commitment to community outreach and diversity in the world of dance, presenting him with the Game Changer Award. In 2010 Wheater, representing The Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the State of Illinois. The Chicago Tribune selected Wheater as 2013 Chicagoan of the Year for his contributions to dance. In 2014 Wheater accepted the Chicago Spirit of Innovation Award for The Joffrey Ballet and in 2015, he received the University of Chicago Rosenberger Medal for Outstanding Achievement in the Creative and Performing Arts. He also serves as the artistic director of the Joffrey Academy of Dance, Official School of The Joffrey Ballet.

About the Choreographers George Balanchine George Balanchine transformed the world of ballet. He is widely regarded as the most influential choreographer of the 20th century, and he co-founded two of ballet’s most important institutions: New York City Ballet and the School of American Ballet. Balanchine was born in St. Petersburg, Russia, in 1904, studied at the Imperial Ballet School in St. Petersburg and danced with the Maryinsky Theatre Ballet Company, where he began choreographing short works. In the summer of 1924 Balanchine left the newly formed Soviet Union for Europe, where he was invited by impresario Serge Diaghilev to join the Ballets Russes. For that company, Balanchine choreographed his first important ballets: Apollo (1928) and Prodigal Son (1929). After Ballets Russes was dissolved following Diaghilev’s death in 1929, Balanchine spent his next few years on a variety of projects in Europe and then formed his own company, Les Ballets 1933, in Paris. There he met American arts connoisseur Lincoln Kirstein, who persuaded him to come to the United States. In 1934 the pair founded the School of American Ballet (SAB), which remains in operation to this day, training students for companies around the world. Balanchine’s first ballet in the U.S., Serenade, set to music by Tschaikovsky, was created for SAB students and premiered on June 9, 1934, on the grounds of an estate in White Plains. Balanchine and Kirstein founded several short-lived ballet companies before forming Ballet Society in 1946, which was renamed New York City Ballet in 1948. Balanchine served as the Company’s ballet master from that year until his death in 1983, building it into one of the most important performing institutions in the world and a cornerstone of the cultural life of New York City. He choreographed 425 works over the course of 60-plus years,

and his musical choices ranged from Tchaikovsky (one of his favorite composers) to Stravinsky (his compatriot and friend) to Gershwin (who embodied the choreographer’s love of America). Many of Balanchine’s works are considered masterpieces and are performed by ballet companies all over the world.

Nicolas Blanc Nicolas Blanc started his dance training in Montauban, France, continuing at the Academie de Danse Classique Princesse Grace in Monte-Carlo. After winning a scholarship in the 1994 Prix de Lausanne, he completed his education at the Paris Opera Ballet School. He went on to dance for Nice Opera Ballet, Deutsche Oper am Rhein in Dusseldorf, Zurich Ballet and San Francisco Ballet, where he was made principal dancer in 2004. In 2006 and 2007, he created two works for the trainees of San Francisco Ballet School. He also created After Having Been for the International Ballet Competition (IBC) in Jackson, Miss. Blanc was awarded a special prize in performing arts by the city of Dusseldorf in 1998, a special Hometown Recognition Prize in 2004 and 2013 and was also named one of the 25 to Watch by Dance Magazine in 2004. In 2010 he was nominated with Tina LeBlanc for an Isadora Duncan Dance Award. Blanc joined Scottish Ballet as ballet master in 2009 and has been ballet master with The Joffrey Ballet since 2011. Since then he has created several pieces for the annual fundraiser for Embarc Chicago as well as a dance for the Chicago Shakespeare Theatre. In July 2014 Blanc received the choreographic award at IBC for his duet Rendez-vous. He created L’espace d’un Chapitre for a French dance festival in July 2013. It made its U.S. debut under the title Evenfall for The Joffrey Ballet during the 2015 spring program. Blanc was selected to participate in the 2015 National Choreographers Initiative (NCI) and created Orphee in 2015. In fall of 2015 he was chosen to participate in New York City Ballet’s (NYCB) New York Choreographic Institute, where he created the work Mothership which premiered at NYCB’s 2016 Spring Gala.

Alexander Ekman Alexander Ekman is an international choreographer/director creating dance pieces for opera houses, theaters and museums. He also directs films and music videos as well as live performances in pop-up locations. Ekman is known for his fast-paced timing, witty humor and clever transitions. He aims to create work which the

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majority can relate to and connect with. Since 2006 he has devoted his time to creating pieces which both entertain and question the observer. Around 50 dance companies worldwide have performed works by Ekman. A few of them are the Royal Swedish Ballet, Cullberg Ballet, Compañía Nacional de Danza, Goteborg Ballet, Iceland Dance Company, Bern Ballet, Cedar Lake Contemporary Dance, Ballet de l’Opéra du Rhin, The Norwegian National Ballet, Boston Ballet, Royal Ballet of Flanders, Sydney Dance Company, The Royal Ballet of Denmark and Vienna Ballet. He has also created for festivals such as the French Europa Danse and the Athens International Dance Festival. His work Cacti has become a worldwide hit and has been performed by 18 dance companies. Cacti was nominated for the Dutch Zwaan Award in 2010, the National Dance Award (U.K.) in 2012 and the prestigious Olivier Award. In 2014 Ekman created A Swan Lake, his own version of the famous ballet, which received enormous attention worldwide. In 2015 he also created his own version of A Midsummer Night’s Dream at the Royal Swedish Ballet, which became an instant hit with audiences and critics. That same year he received a Swedish MEDEA Award as well as the Såstaholm Award and the Birgit Cullberg Scholarship, and in 2016 he received a German Der Faust award for his ballet COW for the Semperoper Ballet.

Annabelle Lopez Ochoa Annabelle Lopez Ochoa has created works for more than 40 companies worldwide. After training at the Royal Ballet School of Flanders in Belgium, she danced for 12 years, including as a soloist at Scapino Ballet, before focusing her energy solely on choreography. In 2003 NRC Hanselblad called her a “rising star of the Dutch dance scene,” and in 2007 she was invited to participate in New York City Ballet’s prestigious New York Choreographic Institute. Lopez Ochoa has choreographed for New York City Ballet, Atlanta Ballet, Ballet Hispanico, Ballet Nacional de Cuba, Cincinnati Ballet, Compañía Nacional de Danza, Dutch National Ballet, English National Ballet, Finnish National Ballet, Royal Ballet of Flanders, The Joffrey Ballet, Pacific Northwest Ballet, West Australian Ballet, Pennsylvania Ballet, Scottish Ballet and The Washington Ballet, among other companies. Among the honors her work has received, Broken Wings, created for English National Ballet, was named one of 2016’s best premieres by Dance Europe and was nominated for a Critics’ Circle National Dance Award; Sombrerisimo

received Cuba’s Villanueva Award in 2015; A Streetcar Named Desire won the Best Choreography (Classical) award from Critics’ Circle National Dance Awards and was nominated for an Olivier Award in 2012; and Replay won first prize at the Choreographers Competition in Bornem, Belgium, in 2002.

Justin Peck At 31 years old, Justin Peck has already been hailed as an important new voice in 21st-century choreography. He is currently a soloist dancer and the resident choreographer with New York City Ballet (NYCB). Peck, originally from San Diego, Calif., moved to New York at the age of 15 to attend the School of American Ballet. In 2006 he was invited by ballet master-in-chief Peter Martins to become a member of the NYCB. Since joining New York City Ballet, Peck has danced extensive repertoire, including principal roles in George Balanchine’s Concerto Barocco, The Firebird, Liebeslieder Walzer, Tschaikovsky Suite No. 3, La Sonnambula, The Four Temperaments, Brahms-Schoenberg Quartet and A Midsummer Nights Dream; Jerome Robbins’ West Side Story, The Cage, I’m Old Fashioned, Glass Pieces, N.Y. Export: Opus Jazz and Ives Songs; Alexei Ratmansky’s Concerto DSCH; Benjamin Millepied’s Plainspoken and Why am I not where you are; Peter Martins’ Fearful Symmetries, Thou Swell, Waltz Project and Romeo and Juliet; and Christopher Wheeldon’s Scènes de Ballet and Estancia. Peck had his choreographic debut in 2009 and has been fervently creating since then. He has been commissioned by the New York City Ballet, the New York Choreographic Institute, the School of American Ballet, the Miami City Ballet, the New World Symphony, L.A. Dance Project, NY Fall For Dance, the Nantucket Atheneum Dance Festival, Pacific Northwest Ballet, The Guggenheim Museum, the Paris Opera Ballet and more. He has collaborated with the likes of Sufjan Stevens, Shepard Fairey, Bryce Dessner, Prabal Gurung, Sterling Ruby, Mary Katrantzou and Karl Jensen. He is the Tony Award-winning choreographer of the 2018 revival of Rodgers and Hammerstein’s Carousel on Broadway. In 2014 Peck was appointed resident choreographer of New York City Ballet, making him the second choreographer in the history of the institution to hold this position.

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The Joffrey Ballet

Ashley Wheater, The Mary B. Galvin Artistic Director Greg Cameron, President & CEO Robert Joffrey, Founder Gerald Arpino, Founder

Coming in Spring

Artists of The Company Derrick Agnoletti, Yoshihisa Arai, Amanda Assucena, Edson Barbosa, Miguel Angel Blanco, Evan Boersma, Anais Bueno, Fabrice Calmels, Valeria Chaykina, Nicole Ciapponi, Lucia Connolly, April Daly, Derek Drilon, Fernando Duarte, Olivia Duryea, Cara Marie Gary, Anna Gerberich, Stefan Goncalvez, Luis Eduardo Gonzalez, Dylan Gutierrez, Rory Hohenstein, Dara Holmes, Yuka Iwai, Victoria Jaiani, Hansol Jeong, Gayeon Jung, Yumi Kanazawa, Brooke Linford, Greig Matthews, Graham Maverick, Jeraldine Mendoza, Xavier Núñez, Princess Reid, Aaron Renteria, Christine Rocas, Julia Rust, Chloé Sherman, Leticia Stock, Temur Suluashvili, Olivia Tang-Mifsud, Alonso Tepetzi, Elivelton Tomazi, Alberto Velazquez, Joanna Wozniak, Valentino Moneglia Zamora, Joan Sebastián Zamora

From France

Ballet Preljocaj

La Fresque (The Painting on the Wall)

Scott Speck, Music Director Bradley Renner, General Manager Blair Baldwin, Company Manager Nicolas Blanc, Adam Blyde and Suzanne Lopez, Ballet Masters/Principal Coaches Grace Kim and Michael Moricz, Company Pianists Cody Chen, Production Manager Katherine Selig, Principal Stage Manager Amanda Heuermann, Stage Manager Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

Special thanks to

Dance Series Sponsors: Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Robert Feinberg, Irma & Morrie Jurkowitz and Barbara Stupay

Tue, Apr 16 / 8 PM / Granada Theatre Tickets start at $35 / $19 UCSB students A Granada facility fee will be added to each ticket price

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Anne-Sophie Mutter, violin Lambert Orkis, piano photo: Stefan Höderath / DeutscheGrammophon

Fri, Mar 8 / 7 PM / Granada Theatre

Program

About the Program

Mozart: Sonata for Piano and Violin No. 21 in E minor, K.304 I. Allegro II. Tempo di Menuetto

Wolfgang Amadeus Mozart (1756-1791): Sonata for Piano and Violin No. 21 in E minor, K.304

Debussy: Sonata for Violin and Piano I. Allegro vivo II. Intermède: Fantasque et léger III. Finale: Très animé Ravel: Sonata for Violin and Piano [1927] I. Allegretto II. Blues [Moderato] III. Perpetuum mobile [Allegro] ◆ Intermission ◆ Mozart: Sonata for Piano and Violin No. 32 in B-flat Major, K.454 I. Largo – Allegro II. Andante III. Allegretto Poulenc: Sonata for Violin and Piano I. Allegro con fuoco II. Intermezzo: Très lent et calme III. Presto tragico

When a teenage Mozart took a court musician post in Salzburg, he had already composed numerous works – including half a dozen operas and sixteen violin sonatas – and performed for the greatest houses in Europe. Despite this impressive résumé, Mozart was both underappreciated and underpaid; the Italian court composers commanded greater respect and higher salaries. In 1777, the now twenty-oneyear-old Mozart asked to be released from his post to pursue a more prestigious position. The Archbishop responded by firing both Mozart and his father, who had also been employed at the court. After his “resignation,” Mozart left Salzburg in search of new work. He and his mother departed for Munich, followed by the famous court at Mannheim. Rejected in both places, they continued to Paris. Paris proved a miserable experience for Mozart: he detested the music being written and performed there, and he suspected skullduggery on the part of the Court of Guines when they failed to pay him for one of his pieces. In mid-June, his mother fell ill and died a few weeks later. Despite these setbacks, Mozart managed to complete a handful of compositions while in Paris, including this sonata. Violin and piano begin in unison, intoning a mournful, somber theme. In contrast to the high degree of independence seen in its twentieth-century counterparts on this recital,

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this sonata finds the musicians often working in tandem; at times, the violin does little more than fill in harmonies.

Maurice Ravel (1875-1937): Sonata for Violin and Piano [1927]

The main theme of the second movement minuet adheres to the melancholy character of the first, though it lacks the former’s rhythmic drive and resolve. Piano first intones the melody sotto voce, followed by violin in the same register. A tender aria-like section follows, its sense of longing less wistful, before returning to the minor key for a restless finale.

Ravel’s final chamber work, the Violin Sonata gave the composer no small amount of grief. He announced its premiere in both 1923 and 1924 before admitting that the work was not ready. Two years later, a student walked into Ravel’s study to find the smoldering remnants of what had been the finale. When the student protested, Ravel responded, “I liked it very much. But it didn’t fit the Sonata. So I have destroyed it and composed another finale which is not so good, but it’s a good finale.”

Claude Debussy (1862-1918): Sonata for Violin and Piano In 1916, as war raged along the Western Front, Claude Debussy was slowly dying of cancer. Photographs from that year show Debussy gaunt and hollow eyed; his personal correspondence reveals a man burdened with sorrow. “Exhausted by chasing phantoms but not tired enough to sleep,” he wrote his wife, “...Nothing ... but my poor anxious heart and an urgent desire to see the end of this marking time which is like a premature burial.” As the body count soared higher and Debussy’s own body continued to fail, he fell into a world-weary melancholy. “When will hate be exhausted?” he demanded. “When will the practice cease of entrusting the destiny of nations to people who see humanity as a way of furthering their careers?” Despite the Sonata’s brevity, Debussy struggled tremendously to complete it. He based the structure not on the popular sonata form but on eighteenth-century French chamber music; the Sonata’s intimacy and dance rhythms further illuminate this musical heritage. The texture of the first movement is sparse, the mood both fatigued and agitated. Later, multi-octave piano arpeggios create a sense of spaciousness, evoking the waves of the sea which forever inspired Debussy. His mastery of tonal color is evident in the variety of violin articulations and textures in the piano. Marked “capricious and light,” the second movement, with staccato bursts and pizzicato, provides a jaunty contrast to the first. Smeared notes in the violin mimic the playing of Gypsy fiddlers. “By one of those very human contradictions,” wrote Debussy, the finale is “full of happiness and uproar.” One should not, he advised, be “taken in by works that seem to fly through the air; they’ve often been wallowing in the shadows of a gloomy brain.” Of the frequent shifts in tempo, key, and mood, he added, “It goes through the most curious contortions before ending up with a simple idea which turns back on itself like a snake biting its own tail – an amusement whose attractions I take leave to doubt!”

Despite these difficulties, Ravel grew quite fond of the piece. He frequently performed the Sonata on his extended tour of the United States. While many audiences gave the Sonata a lukewarm reception, Chicago audiences demanded the “Blues” movement as an encore. Commencing with a lighthearted skipping melody, the Sonata soon turns reflective. At times, the independent part-writing seems to suggest that the two soloists are playing different pieces. In an extended climax, hushed, eerie violin tremolos give way to lush, song-like melodies. The movement closes as the violin ascends into the top of its register, while the opening melody gently reappears in the piano. “Blues” opens with plucked chords on the violin, an overt reference to banjo strumming. The piano enters in an entirely different key, creating a twinge of dissonance not unlike an untuned upright in a juke joint. Ravel imbues the movement with signifiers of jazz, blues and ragtime, including upward slurs in the violin’s bowed lines that echo the expressive sighs of club singers. An infectious interplay of rhythms builds to a raucous climax, capped with a cheeky call-and-response coda. The third movement starts with a teasing back-and-forth between the soloists before the violin launches into a fierce perpetuum mobile. Piano serves as rhythmic anchor as a ceaseless river of sixteenth notes pours from the violin until the last bar.

Wolfgang Amadeus Mozart (1756-1791): Sonata for Piano and Violin No. 32 in B-flat Major, K.454 Nearly six years passed between the composition of Mozart’s Twenty-First and Thirty-Second Violin Sonatas. In that time, he had moved from Salzburg to Vienna, married, and caught the attention of Emperor Joseph II. At last financially secure, he moved himself and his wife Constanze into a swanky apartment (the pool table fea-

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tured in the movie Amadeus was indeed real), though when he died seven years later, he would be buried in a pauper’s grave. Mozart wrote the sonata for Regina Strinasacchi, an Italian virtuoso making an appearance before the Austrian court. She had studied at the prestigious Ospedale della Pietà in Venice, an orphanage and conservatory famous for its female charges (Antonio Vivaldi had served as its music director until 1740). Mozart, who played keyboard at the premiere, had not had time to copy his own part onto paper. To fool the audience, he placed a folder of blank pages at the keyboard and played the part from memory, though legend goes that the Emperor saw through the trick. A slow introduction establishes the equality of both parts. The buoyant Allegro that follows brims with flashy passages for both soloists, including quick chromatic turns and wide leaps in the violin. The tender second movement serves as the emotional crux, sunny all but for a brief passage of clouds. Playful and lively with plenty of technical challenges, the third movement Rondo returns to the virtuoso spirit of the first.

Francis Poulenc (1899-1963): Sonata for Violin and Piano In July 1936, as the rumblings of war again shook Europe, a failed coup in Spain ignited a brutal civil war. Nationalist forces under Francisco Franco quickly began consolidating power with the support of Mussolini and Hitler. The unapologetically gay and liberal writer Federico García Lorca made an easy target for the newly powerful fascist government. Hardly a month after the onset of the war, García Lorca was marched out of Granada, forced to dig his own shallow grave, then unceremoniously shot and buried. Official government documents justified the execution with charges of socialism and “homosexualist [sic] and abnormal practices.”

especially descriptive: passages are to be played roughly, ferociously, relentlessly. Between the two movements, the word violent appears no less than eight times, often preceded by the adverb très (very). The first movement bursts open with jagged shards of melody. As the piano careens forward, the violin alternates dry pizzicato with violent bow slashes. Though not devoid of a certain wry humor, the movement is predominantly angry and devastated, demanding answers. A keening violin line climbs higher before an abrupt finish. The title of the second movement, “Intermezzo,” suggests respite. This lament opens with a line from one of García Lorca’s poems; translated, it reads, “The guitar makes dreams weep.” Violin intones a plaintive Spanish melody accompanied by distant and melancholy strains on the piano. As the violin alternates playing on the fingerboard, plucking, and full-voiced bowing, its textures subsequently move between thin and resonant, as if the poet’s soul were passing back and forth beyond the veil. A final upward glissando suggests, at last, ascension. Below, violence erupts from the first notes of the third and final movement, marked Presto tragico. Dizzying, ferocious violin passages exist alongside moments of levity. Crashing, dissonant chords and screeching violin reach a fever pitch, introducing a sorrowful and angry finale that ends on a last open chord, hollow like the fading echo of a gunshot. Program notes © Andrew McIntyre

Anne-Sophie Mutter

Poulenc, himself a queer artist who resisted fascism during the Nazi occupation of Paris, deeply mourned García Lorca. Given Poulenc’s gift for writing vocal music, a chamber piece seems a surprising tribute. The Sonata was Poulenc’s fourth known attempt to write such a piece, and by his own admission disliked the solo violin. He was intensely critical of the work, referring to the completed draft as une monstre and expressing dismay that he had not given García Lorca a more worthy dedication.

Anne-Sophie Mutter is a musical phenomenon and virtuoso who, for more than 40 years, has been a fixture in all the world’s major concert halls, making her mark in classical music as a soloist, mentor and visionary. Since her recital debut at the 1976 Lucerne Festival and solo debut with the Berliner Philharmoniker under Herbert von Karajan at the 1977 Salzburg Whitsun Festival, Mutter has frequently performed with the world’s greatest orchestras, including the Berliner Philharmoniker, Boston Symphony, Gewandhaus Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Orchestre de Paris, London Symphony Orchestra and Bavarian Radio Symphony Orchestra, and she has collaborated with the most prominent composers and musicians of our time.

While not a literal depiction of García Lorca’s murder, the music remains intensely emotional. As one might expect for a work dedicated to an author, the pages are littered with textual directives. The energetic outer movements are

Mutter is as committed to the great canonical works as to the future of music and has given the world premieres of 26 works, many written for her by composers including Unsuk Chin, Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina,

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Witold Lutoslawski, Norbert Moret, Krzysztof Penderecki, Sir André Previn, Wolfgang Rihm and John Williams. Mutter’s 2018-2019 season included a six-city tour of China in October 2018 with the Sinfonia Varsovia featuring works by Krzysztof Penderecki on the occasion of his 85th birthday. In November 2018 Mutter returned to the Staakskapelle Berlin with the German premiere of Williams’ Markings for Solo Violin, Strings and Harp for the Deutsche Grammophon’s 120th Anniversary Jubilee Concert conducted by Manfred Honeck, followed by appearances with the Royal Scottish National Orchestra in Edinburgh and Glasgow performing Penderecki’s “Metamorphosen” with the conductor on the podium. In March 2019 Mutter returns to North America for a five-city tour of the U.S. and Canada featuring the world premiere of Currier’s Piano Trio at Carnegie Hall. Mutter next embarks on an extensive tour performing Mozart’s Violin Concertos with the Chamber Orchestra ViennaBerlin in May and June 2019 with performances throughout Germany, Austria, Spain, Greece and the U.S. Dedicated to fostering the careers of emerging musicians, Mutter founded the Association of Friends of the AnneSophie Mutter Foundation in 1997, to which the AnneSophie Mutter Foundation was added in 2008. Since 2011 she has regularly shared the spotlight on stage and in the recording studio with the foundation’s exclusive ensemble of fellows, The Mutter Virtuosi. The four-time Grammy Award winner released an all-Penderecki album in August 2018 titled Hommage à Penderecki, which included the world premiere recording of the composer’s Sonata No. 2 for Violin and Piano. The album marks the culmination of Mutter’s season-wide celebration of Penderecki’s 85th birthday in 2018. Mutter has received international awards and honors, including the Polish Gold Medal for Merit to Culture, the Bavarian State Foundation Culture Prize, the Romanian Order of Cultural Merit in the rank of Grand Officer, the insignia of a Commander of the French Order of Arts and Literature, the Crystal Award by the World Economic Forum for her services to music education and young artists, the Ernst von Siemens Music Prize and the German Grand Order of Merit, among numerous others. Columbia Artists Management, LLC R. Douglas Sheldon Ms. Mutter records for Deutsche Grammophon and is available on EMI Classics and Erato/Warner Classics

Lambert Orkis The musical interests of Lambert Orkis encompass traditional and contemporary music performed on modern and period instruments. His substantial career includes more than 11 years of international touring as a partner with cellist Mstislav Rostropovich. For more than 30 years, he has appeared with violinist Anne-Sophie Mutter to capacity audiences in the world’s finest performance venues. Their many recordings for Deutsche Grammophon include the complete sonatas by Mozart (Choc de l’année Award), Beethoven (Grammy Award) and Brahms, and most recently, Penderecki’s Sonata No. 2 for Violin and Piano. His distinguished career includes appearances with cellists Lynn Harrell, Anner Bylsma and Daniel Müller-Schott, violinist Julian Rachlin and violist Steven Dann, and he has performed with the Vertavo, Emerson, American, Mendelssohn, Curtis and Manchester string quartets. As soloist he has made appearances with conductors including Christoph Eschenbach, Mstislav Rostropovich, Leonard Slatkin, Rafael Frühbeck de Burgos, Günther Herbig, Robert Kapilow, Leon Fleisher, Kenneth Slowik and others. Orkis participated as a distinguished performing artist and teacher with Australia’s Musica Viva Festival and has served as juror of and performed for the Trondheim International Chamber Music Competition and Festival. The Carnegie Hall International American Music Competition for Pianists and the Kennedy Center Friedheim Awards Competition have engaged him as adjudicator. He has appeared internationally as an orchestral soloist, performs and has recorded as a member of the Kennedy Center Chamber Players and the Smithsonian Institution’s Castle Trio and holds the positions of principal keyboard of the National Symphony Orchestra and professor of piano at Temple University in Philadelphia. In acknowledgment of his accomplishments Orkis was honored with the Cross of the Order of Merit by the Federal Republic of Germany. Funded in part by the Community Events & Festivals Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Office of Arts and Culture

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Lisa Genova

Still Alice: Understanding Alzheimer’s Sat, Mar 9 / 7:30 PM / Campbell Hall

photo: Greg Mentzer

Presented in association with the UCSB Writing Program Related Thematic Learning Initiative Event (see page 9)

Event Sponsors: Hollye & Jeff Jacobs

Lisa Genova graduated valedictorian, summa cum laude, Phi Beta Kappa from Bates College with a degree in Biopsychology and has a Doctorate in Neuroscience from Harvard University. Acclaimed as the “Oliver Sacks of fiction” and the “Michael Crichton of brain science,” she is the author of the New York Times bestselling novels Still Alice, Left Neglected, Love Anthony, Inside the O’Briens and Every Note Played. Genova’s writing focuses on people living with neurological diseases and disorders who tend to be ignored, feared or misunderstood, portrayed within a narrative that is accessible to the general public. Through fiction, she is dedicated to describing with passion and accuracy the journeys of those affected by neurological diseases, thereby educating, demystifying and inspiring support for care and scientific research. She has written about Alzheimer’s disease, traumatic brain injury, autism, Huntington’s disease and ALS. Still Alice was adapted into a film starring Julianne Moore, Alec Baldwin, Kristen Stewart, Kate Bosworth, and Hunter Parrish. Julianne Moore won the Best Actress Oscar for her role in the film adaptation of Still Alice in 2015. Speaking about the neurological diseases and disorders she writes about, Genova has appeared on the Today Show, Dr. Oz, CNN, PBS NewsHour and NPR and was featured in the Emmy award-winning documentary film To Not Fade Away.

Center Prize for Story in the Public Square, for “distinguished storytelling that has enriched the public dialogue,” the Sargent and Eunice Shriver Profiles in Dignity Award, the Global Genes RARE Champions of Hope Award and the American College of Neuropsychopharmacology Media Award for “informing the public about treatment and ongoing research in medical illness.” In 2016 she received an Honorary Doctorate of Humane Letters from Bates College, the Alzheimer’s Association’s Rita Hayworth Award and the Huntington’s Disease Society of America Community Awareness Award. Genova’s TED talk “What You Can Do to Prevent Alzheimer’s” was one of the most popular TED talks of 2017 and has been viewed over three million times. Her latest novel, Every Note Played, is about ALS and was released in March 2018. Books are available for purchase in the lobby and a signing follows the event

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In 2015 Genova was named one of the U.S. Top 50 Influencers in Aging by Next Avenue. She received the Pell

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

Elisabeth Rosenthal

An American Sickness: How Healthcare Became Big Business and How You Can Take It Back

photo: Nina Subin

Wed, Mar 13 / 7:30 PM / Campbell Hall

Elisabeth Rosenthal, M.D., spent 22 years as a reporter, correspondent and senior writer at The New York Times. The capstone of her journalistic career was an award-winning 2-year-long series about the cost of American healthcare called “Paying Till It Hurts.” Dr. Rosenthal’s reporting “has changed the way we think about health care,” wrote Dr. Andrew Boozary, editor of the Harvard Public Health Review. Paul Raeburn, of the MIT Knight Science Journalism Tracker, called the series “the clearest dissection to date of the health system’s pricing ills.” He added: “It should galvanize the country.” In her new book An American Sickness, Dr. Rosenthal expands on her reporting to take a hard look at the history and current state of our nation’s healthcare. At this moment of sweeping political change, Dr. Rosenthal exposes the limitations of our healthcare system by breaking down the monolithic business into its various components – and reminds us what is at stake. Drawing on her book and work as a journalist, Elisabeth Rosenthal’s lectures penetrate right to the heart of our healthcare problem. She has keynoted healthcare conferences for Consumer Reports, the Robert Wood Johnson Foundation, the American College of Physicians and the Mayo Clinic, to name a few. An enlightening speaker, Dr. Rosenthal tackles this difficult topic with remarkable clarity, whether addressing healthcare providers, doctors or patients.

on media outlets such as MSNBC Morning Joe, C-SPAN, This American Life, NPR’s Fresh Air and The Diane Rehm Show among others. Her awards include the Association of Health Care Journalists’ 2014 beat reporting prize, the 2014 Victor Cohn Prize from the Council for the Advancement of Science Writing, the 2014 Online News Association’s topical reporting prize and the Asia Society’s Osborn Elliott prize, as well as multiple citations from the Newswomen’s Club of New York. Born in New York City, Dr. Rosenthal holds an M.D. degree from Harvard Medical School, trained in internal medicine and worked as an E.R. physician before becoming a full-time journalist. She has been a Poynter Fellow at Yale, a Ferris Visiting Professor at Princeton and an adjunct professor at Columbia University. Currently, Dr. Rosenthal works as the editor-in-chief of Kaiser Health News, an independent foundation-funded reporting project providing health and health policy news to media partners like NPR, PBS, The New York Times, The Washington Post and USA Today. Books are available for purchase in the lobby and a signing follows the event

A frequent contributor to the New York Times’ Sunday Review, Dr. Rosenthal has made national appearances

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Susan Orlean

In Conversation with Pico Iyer

photo: Noah Fecka

Thu, Mar 14 / 7:30 PM / Campbell Hall

Susan Orlean New York Times bestselling author Susan Orlean has been called “a national treasure” by The Washington Post. Her deeply moving explorations of American stories both familiar and obscure have earned her a reputation as one of America’s most distinctive journalistic voices. A staff writer for The New Yorker for more than 20 years and a former contributing editor at Rolling Stone and Vogue, she has been praised as “an exceptional essayist” (Publishers Weekly) and a writer who “approaches her subjects with intense curiosity and fairness” (Bookmarks). Orlean is fascinated by tales of every stripe. Her profiles and interviews for The New Yorker have covered such wide-ranging subjects as Jean Paul Gaultier’s design inspiration, urban chicken farming, the friends and neighbors of Tonya Harding, the contemporary painter responsible for capturing “the art in the Wonder Bread” and the World Taxidermy Championships. From the everyday to the outlandish, she has an eye for the moving, the hilarious and the surprising. In The Orchid Thief – the national bestseller that inspired the Academy Award-winning film Adaptation – Orlean delves into the life of John Laroche, a charismatic schemer once convicted of trying to steal endangered orchids from a state preserve in southern Florida. Orlean spent two years researching the book, going so far as to wade through a swamp in hopes of spotting the elusive ghost orchid. The result is a story that The Wall Street Journal called “a swashbuckling piece of reporting that celebrates some virtues

Presented in association with the UCSB Writing Program Speaking with Pico Series Sponsors: Martha Gabbert Laura Shelburne & Kevin O’Connor

that made America great,” citing “visionary passions and fierce obsessions; heroic settings; outsize characters [and] entrepreneurs on the edge of the frontier.” In 2011’s Rin Tin Tin, Orlean examined how the iconic German shepherd captured the world’s imagination and, nearly a century later, remains a fixture in American culture. On NPR’s Weekend Edition, Scott Simon reflected, “Susan Orlean has written a book about how an orphaned dog became part of millions of households, and hearts, in a way that may reveal the changing bonds between humans and animals, too.” In a career spanning more than three decades, Orlean has also written for Outside, Esquire, The Boston Globe and more. In addition to Rin Tin Tin and The Orchid Thief, she is the author of Saturday Night, a portrait of the varying experience of Saturday night in dozens of communities across the United States. Entertainment Weekly concluded, “I can’t think of a better way to spend Saturday night than staying home and reading this book.” Orlean has served as an editor for Best American Essays and Best American Travel Writing, and her journalism has been compiled into two collections: The Bullfighter Checks Her Makeup: My Encounters with Extraordinary People and My Kind of Place: Travel Stories From a Woman Who’s Been Everywhere. Orlean’s work has inspired two successful films: Blue Crush, the story of young women surfing in Maui, and Adaptation, the metafilm directed by Spike Jonze. Meryl Streep, who portrayed Orlean in the film, was nominated for an Academy Award, as were co-stars Nicholas Cage and Chris Cooper and writer Charlie Kaufman.

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

Her newest work, The Library Book, an exploration of the history, power and future of these endangered institutions, is a finalist for the Andrew Carnegie Medal for Excellence in Nonfiction. The Library Book is told through the lens of Orlean’s quest to solve a notorious cold case: who set fire to the Los Angeles Public Library in 1986, ultimately destroying 400,000 books? Erik Larson, author of The Devil in the White City and Dead Wake, wrote: “After reading Susan Orlean’s The Library Book, I’m quite sure I’ll never look at libraries, or librarians, the same way again. This is classic Orlean – an exploration of a devastating fire becomes a journey through a world of infinite richness, populated with unexpected characters doing unexpected things, with unexpected passion.”

Coming in Spring National Book Award Winner

Andrew Solomon

In Conversation with Pico Iyer

Orlean is currently Rogers Communications Chair in Literary Journalism at the Banff Centre for Arts and Creativity in Alberta, Canada. She is also the host, with actress Sarah Thyre, of the podcast Crybabies, a series of candid conversations with creative guests about the books, music, TV and movies that make them cry. For more information on Susan Orlean, please visit susanorlean.com.

Pico Iyer Pico Iyer is the author of two novels and 13 works of non-fiction and his books have been translated into 23 languages. He has also written the introductions to more than 60 other works as well as liner notes for Leonard Cohen and a screenplay for Miramax. He is currently Ferris Professor of Journalism at Princeton University and he will be releasing three new books in 2019, including Autumn Light, to appear in April, and A Beginner’s Guide to Japan, to appear in the fall. He recently gave three talks for TED in the space of three years, and they have received more than 8 million views so far. Books by both authors are available for purchase in the lobby and a signing follows the event

The author of books including Far from the Tree: Parents, Children & the Search for Identity, The Noonday Demon: An Atlas of Depression and Far and Away, Andrew Solomon blends reflection, decadeslong research and personal experience to create portraits of the human condition like no other.

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Speaking with Pico Series Sponsors: Martha Gabbert Laura Shelburne & Kevin O’Connor

Thu, May 16 / 7:30 PM / Campbell Hall Tickets start at $20 / $10 UCSB students

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