UCSB Arts & Lectures - Spring Program 2018 by UCSB Arts & Lectures

Spring Program 2018

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engaged scholarship lies at the heart of any healthy society

Dear Arts & Lectures’ Friends, Thank you again for choosing to spend time today with Arts & Lectures. I hope you noticed the big, bold statement (opposite page) from our Corporate Season Sponsor SAGE Publishing. We are so grateful for their support – their commitment to community is both big and bold. We too believe that engaged scholarship is critical, and are proud to play an important role in the intellectual life of our community. You may have also noticed the growth of our Thematic Learning Initiative, A&L’s key program for lifelong learning. A deepening partnership with the Santa Barbara Central Library, plus strategic partnerships with local organizations (this quarter we’re collaborating with Direct Relief, CALM and the Parkinson Association of Santa Barbara, to name just a few) have helped make the A&L Thematic Learning Initiative a program that responds to local issues and needs while greatly increasing the impact of what we present on stage. This spring we’re launching Town Halls – a new model for community engagement. (See pages 8-9 for details about the Thematic Learning Initiative – and please join us.) We’ll wrap up the 2017-18 season with three blockbuster events at The Granada that you don’t want to miss: Met Opera star Joyce DiDonato (Apr 15), Mark Morris Dance Group (May 10), and Broadway sensation Audra McDonald (May 15). If you don’t have tickets yet, call today! But we’re equally excited for these three exquisite boutique events that will shine brightly this spring. Soprano Julia Bullock (Apr 3) – whom you may remember as a soloist with Music Academy of the West’s New York Philharmonic concert last summer – has a voice that will shimmer like gold in the intimacy of Hahn Hall. Violinist Jennifer Koh (Apr 27), a longtime A&L favorite, has a brilliant program of 14 short pieces written especially for her. Joey Alexander (Apr 29), the jazz prodigy who plays like an artist twice or three times his age, returns with his trio in a “back by popular demand” event. Lastly, thanks to all of you who commit to keeping Arts & Lectures strong with your memberships and contributions – year in and year out, through good times and tough times. And thanks also to those of you who are planning to attend our big fundraiser with Anthony Bourdain on May 9 – it’s going to be a terrific event!

With deepest appreciation,

Celesta M. Billeci Miller McCune Executive Director

Thematic Learning Initiative Transform your life. Transform your community. Arts & Lecturesâ&#x20AC;&#x2122; 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.

2017-2018 Themes:

Apr 5

Creating a Meaningful Life

Our Changing World

Exploring Treasures of Our Local Libraries and Archives featuring Writer/Curator Maria Popova 4 PM / Santa Barbara Central Library*

Related Event: Maria Popova in conversation with Pico Iyer, Apr 5 (p. 14)

Apr 16

Nadine Burke Harris, M.D., Public Lecture (p. 21)

Apr 18

FILM: A Path Appears: Breaking the Cycle of Poverty (Ep. 2)

7:30 PM / Campbell Hall

4 PM / Santa Barbara Central Library* (Author will not be present.) Related Event: TOWN HALL - Building a Resilient Community: Turning Adversity into Opportunity with Nicholas Kristof, Apr 23 (p. 25)

Apr 23

Taking Action Matters: Santa Barbara Organizations as Global Change Makers A Moderated Discussion with Nicholas Kristof 4 PM / Santa Barbara Central Library*

Related Event: TOWN HALL - Building a Resilient Community: Turning Adversity into Opportunity with Nicholas Kristof, Apr 23 (p. 25)

May 11 Mark Morris Dance Group, Dance for PDÂŽ in partnership with Parkinson Association of Santa Barbara

10 AM / Unitarian Society of Santa Barbara, Parish Hall* 1535 Santa Barbara St.

Related Event: Mark Morris Dance Group public performance, May 10 (p. 40)

May 18 Aging While Female: Discussion with Ashton Applewhite 4 PM / Santa Barbara Central Library*

Related Event: TOWN HALL - Aging: The Lifelong Process That Unites Us All with Ashton Applewhite, May 19 (p. 51) *Online registration recommended: www.Thematic-Learning.org

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What is it? The Thematic Learning Initiative provides opportunities for

anyone interested in delving deeper into the issues raised by A&L artists and speakers. Connect with others at town hall meetings, intimate salon-style discussions and added special public events. Receive online educational resources, sign up for book giveaways and more!

Who participates? Community members like you and local

organizations like Sansum Clinic, The Fund for Santa Barbara and Community Environmental Council, to name a few. Visit www.Thematic-Learning.org.

Palliative care physician BJ Miller, M.D. connects with community members during a Q&A

Get Involved!

Email TLI@ArtsAndLectures.UCSB.edu to sign up now.

photo: David Bazemore

What does it cost? It’s FREE!

Spring 2018 Thematic Learning Initiative Book Selections Each quarter, we select books written by A&L speakers that expand upon one of the season’s themes, and provide free copies for the community. FREE copies of both books will be available beginning March 19 at the A&L Ticket Office (UCSB bldg. 402) and the Santa Barbara Central Library (40 E Anapamu St.). Books available while supplies last. Tickets to the Apr 23 and May 19 Town Halls at Campbell Hall are available now (pp. 25 & 51).

A Path Appears: Transforming Lives, Creating Opportunity by Nicholas Kristof and Sheryl WuDunn “Read this book. Seize one of the many opportunities it lists, and change lives for the better, including your own.” The New York Times Building a Resilient Community: Turning Adversity into Opportunity with Nicholas Kristof, Apr 23 (p. 25)

RELATED EVENT

This Chair Rocks: A Manifesto Against Ageism by Ashton Applewhite “Within four or five wise, passionate pages, I had found insight, illumination and inspiration. I never use the word empower, but this book has empowered me.” – Anne Lamott, bestselling author

photo: Grace Kathryn Photography

Aging: The Lifelong Process That Unites Us All with Ashton Applewhite, May 19 (p. 51)

RELATED EVENT

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 Trevor Noah

www.Thematic-Learning.org

Julia Bullock, soprano John Arida, piano

photo: Christian Steiner

Tue, Apr 3 / 7 PM (note special time) / Hahn Hall

Up Close & Musical series sponsored in part by Dr. Bob Weinman Supported in part by the Sonquist Family Endowment

Program Franz Schubert: Suleika I, D. 720 Lachen und Weinen, D. 777 Wandrers Nachtlied II, D.768 Seligkeit, D. 433 Samuel Barber: Hermit Songs “At St Patrick’s Purgatory” “Church Bell at Night” “St Ita’s Vision” “The Heavenly Banquet” “The Crucifixion” “Sea Snatch” “Promiscuity” “The Monk and his Cat” “The Praises of God” “The Desire for Hermitage”

- Intermission Gabriel Fauré: from La chanson d’Ève, op. 95 II. “Prima verba” III. “Roses ardentes” IV. “Comme Dieu rayonne” VII. “Veilles-tu, ma senteur de soleil?” IX. “Crépuscule” X. “O mort, poussière d’étoile” Spencer Williams and Pat Castleton (arr. Jeremy Siskind): “Driftin’ Tide” Maceo Pinkard (arr. Jeremy Siskind): “You Can’t Tell the Difference After Dark” Cora “Lovie” Austin and Alberta Hunter (arr. Jeremy Siskind): “Downhearted Blues” Jeremy Siskind: Frog Tongue Stomp: A Lovie Austin Tribute Billie Holiday and Sonny White (arr. Jeremy Siskind): “Our Love is Different” Nina Simone and Weldon Jonathan Irvine, Jr.: “Revolution” Nina Simone (arr. Jeremy Siskind): “Four Women”

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About the Program Franz Schubert (1797-1828): Suleika I, D. 720 Lachen und Weinen, D. 777 Wandrers Nachtlied II, D.768 Seligkeit, D. 433 Franz Schubert was a prolific composer whose songs – more than 600 of them – encompass some of the greatest poetry of the Romantic era. These four show Schubert as a burgeoning artist: from a teenager eager to make his mark to a frustrated, rejected, yet persistent 20-something; the compositional period of these songs spans six of Schubert’s 31 years. In Suleika I, the East wind brings tidings of Suleika’s lover. Rustling figures in the accompaniment mimic whispering zephyrs while gentle harmonic modulations evoke the undulating breeze. The two stanzas of Lachen und Weinen form mirror images of one another. “Laughter and tears” becomes “Tears and laughter;” as Rückert switches these gestures so too does Schubert subtly alter the music, sometimes changing as little as one note to shift from major to minor. Goethe scrawled the eight lines of “Über allen Gipfeln” (the second of his “Wanderer’s Nightsong” poems) on the wall of a remote mountaintop cabin. He is said to have returned 50 years later, breaking into tears at the sight of the faded verses. Schubert’s music fixes on the ever-present specter of death, repeating the words “wait, wait, soon you too will rest” while the piano intones a dotted rhythm, quietly marking the inevitable march of time. Schubert set Seligkeit in 1816, making it the earliest of his songs on this program. Seligkeit’s heavenly and earthly delights find perfect companions in Schubert’s joyful melody and rocking Ländler rhythm.

Samuel Barber (1910-1981): Hermit Songs Barber’s Hermit Songs are settings of anonymous texts by medieval Irish monks, written in the margins of illuminated manuscripts. At turns pious and bawdy, Barber found them “straightforward, droll and often surprisingly modern.” Like the monks in the texts, Barber himself was something of a hermit: He and his partner Gian Carlo Menotti bought a home in upstate New York to escape the bustle of the city. Spare harmonies and ancient church modes evoke antiquity, yet the directness of the text setting is unmistakably mod-

ern. Barber eschews time signatures throughout, imbuing the songs with a particular rhythmic flexibility. The music is often pictorial and descriptive: An ostinato in the left hand marks the pilgrim’s steady march in “At Saint Patrick’s Purgatory,” and the peal of the carillon rings out in “Church Bell at Night.” In “The Monk and His Cat,” the cats walks across the piano, striking “wrong” notes. “St. Ita’s Vision,” an account of the sixth-century nun, begins with recitative followed by a tender and ecstatic lullaby sung to the baby Jesus. The relationship between sacred and profane permeates the Hermit Songs. Barber heightens the solemn devotion of the Crucifixion with open, modal harmonies and spare melodies, while the vocal line in “Promiscuity,” a fournote figure of minor thirds, resembles a schoolyard taunt. “The Heavenly Banquet” finds a mingling of heavenly and earthly where saints, Jesus and beer are all celebrated. The Hermit Songs conclude in reflection. Musically austere save for an emotional piano interlude, “A Desire for Hermitage” embraces solitude. The open intervals in the final bar of the piano are themselves empty cells, inviting closeness and isolation.

Gabriel Fauré (1845-1924): Selections from La chanson d’Ève, op. 95. The genesis of La chanson d’Ève dates to 1906, when a friend introduced Fauré to a 96 poem collection by writer Charles van Lehberghe. In contrast to the Biblical portrayal of the first woman as passive and childish, van Lehberghe’s Eve is a complex character, one the author described as “very sweet and pure, very tender, very dreamy, very wise and at the same time voluptuous, very capricious, very fantastic.” Adam, the first man, is noticeably absent. The vocal lines in “Prima verba” (“first words” in Latin, the only title in the cycle not in French) are limpid and pure, chromatic inflections erupting like moments of discovery as Eve wanders the garden. Modal harmonies and unadorned melodies imbue the song with a sense of timelessness. “Roses ardentes,” by contrast, is turbulent and insistent with Eve’s longing. “Comme Dieu Rayonne” begins with a rising figure in the right hand of the piano. Fauré weaves this ascending melody throughout the cycle, a gesture reflective of Eve’s search for meaning. The music and text of “Veilles-tu,” the most visceral and frankly erotic song in the set, thrum with sensuality, delighting in taste, smell and touch.

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“Crépuscule” captures the moments after Eve succumbs to temptation. The ascending figure from “Comme Dieu Rayonne” returns, but here it collapses upon itself, God now out of reach. The vocal line is modal with little dissonance; gone is the exotic chromaticism of Paradise, replaced with pain and unanswered questions. One of Fauré’s sons called “O mort, poussière d’étoiles” “a sort of funeral march towards an open-armed Nirvana.” Eve accepts death calmly (though not without some bitterness), the major key suggesting that, as twilight fades, death is but a new journey.

Spencer Williams (1889-1965) and Pat Castleton (Agnes Bage) (d. 1993): “Driftin’ Tide” Maceo Pinkard (1897-1962): “You Can’t Tell the Difference After Dark” Cora “Lovie” Austin (1887-1972) and Alberta Hunter (1895-1984): “Downhearted Blues” Jeremy Siskind (b. 1986): “Frog Tongue Stomp: A Lovie Austin Tribute” Though jazz and the blues originated in the South, the Great Migration spread these African American-created genres northward to urban centers of Black culture. All of the songwriters featured in this set (save for Jeremy Siskind, whose “Frog Tongue Stomp” pays homage to pianist and bandleader “Lovie” Austin) lived in Chicago, New York or both, often working in various capacities as composer, lyricist and performer. This web of collaboration was perfect ground for a cross-pollination of new ideas and techniques, making jazz and the blues two of the most significant developments in the history of American music. Recorded music, on the turntable or over the radio waves, spread these songs far beyond major cities. The mass production of records and record players made the technology affordable, granting greater access to African American audiences, creating expansive markets for jazz and blues musicians. Songs like Alberta Hunter’s “Downhearted Blues,” an early hit for Bessie Smith, would inspire a young Eleanora Fagan to take to the stage, becoming an icon of American music: Billie Holiday. Hunter, an iconic Chicago vaudevillian who recorded the first three songs in this set, once stated that “the blues are almost religious… almost sacred – when we sing the blues, we’re singing out our hearts… our feelings.”

Billie Holiday (1915-1959) and Ellerton Oswald “Sonny” White (1917-1971): “Our Love is Different” As a girl cleaning houses in Baltimore, Eleanora Fagan (known to the world as Billie Holiday) gave herself an unusual music education. In Lady Sings the Blues, Holiday recalled one client, the owner of a brothel, who would play jazz records on her Victrola. On occasion, Billie would clean her front steps for free in exchange for a chance to listen to the latest recordings of Louis Armstrong and Bessie Smith. Holiday recorded “Our Love is Different” in 1939, the year she would release “Strange Fruit,” the anti-lynching song that brought her national recognition. Holiday and Sonny White, the song’s co-author and pianist on the original recording, were having an affair at the time; though the two were deeply in love, the relationship ultimately fell apart.

Nina Simone (1933-2003) and Weldon Jonathan Irvine Jr. (1943-2002): “Revolution” Nina Simone: “Four Women” The events of summer 1969 shocked and changed the world: The Stonewall riots that sparked the modern gay liberation movement, the Manson murders, mankind’s first steps on the Moon, the Woodstock Festival. Two hours south of Woodstock, in Harlem’s Mt. Morris (now Marcus Garvey) Park, New Yorkers were attending the Harlem Cultural Festival, a six-week celebration of Black pride. Some of the era’s most renowned activists and musicians spoke and performed, including Stevie Wonder, Jesse Jackson and Nina Simone. Simone would perform “Revolution” and “Four Women” at the penultimate concert of the festival on August 17. “Revolution,” a response to the Beatles’ 1968 recording of the same name, feels surprisingly optimistic in the year following Martin Luther King Jr.’s death. Its angers and frustrations are channeled and focused, in contrast to Simone’s first protest song, “Mississippi Goddam,” a ragefilled outcry penned in the wake of the 16th Street Baptist Church bombing. “Four Women,” a stinging critique of colorism in America, came to Simone on an airplane while on tour. Its accompaniment is slow and meditative, while the repetitive verse structure points to the cyclic nature of dis-

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crimination. “The song,” she wrote in her autobiography, “told a truth that many people… simply weren’t ready to acknowledge at that time.” Program notes © Andrew McIntyre, 2018

Julia Bullock, soprano Equally at home with opera and concert repertoire, soprano Julia Bullock has captivated audiences with her versatile artistry and commanding stage presence. In 2017-18, she launches the Boston Symphony Orchestra’s season joining Andris Nelsons in its Bernstein Gala, sings Pamina in concert performances of Die Zauberflöte with Gustavo Dudamel and the Los Angeles Philharmonic, makes her San Francisco Opera debut in the world premiere of Girls of the Golden West composed by John Adams to a libretto by Peter Sellars, joins the Dutch National Opera in a company premiere of Simon McBurney’s The Rake’s Progress, sings Maria in a concert version of West Side Story with Tokyo’s NHK Orchestra led by Paavo Järvi and makes her Santa Fe Opera debut in a new Peter Sellars production of Doctor Atomic by John Adams.

John Arida, piano Pianist John Arida is active as a collaborative pianist with special emphasis on operatic repertoire. His performances include Carnegie Hall and Mexico recitals with mezzo-soprano Isabel Leonard and a live-streamed memorial tribute to Maestro Lorin Maazel, where his partners included Sir James Galway. Arida is active as a coach and répétiteur, where his studio has included singers on the rosters of the Metropolitan Opera, the Washington National Opera and other leading companies. He worked with Julia Bullock and Peter Sellars’ production of Kaija Saariaho’s La Passion de Simone. Arida holds a master’s degree in collaborative piano from the Juilliard School, where he is currently a Fellow for the Marcus Institute for Vocal Arts.

Bullock has also performed as Clara in Porgy and Bess with the Sydney Symphony Orchestra, with the Los Angeles Philharmonic in John Adams’ El Niño, in West Side Story at the Hollywood Bowl, conducted by Gustavo Dudamel, and as soloist with orchestras including the London Symphony Orchestra with Simon Rattle, the New York Philharmonic with Alan Gilbert and the San Francisco Symphony with Michael Tilson Thomas. Bullock won First Prize at the 2012 Young Concert Artists International Auditions, and holds the Lindemann Vocal Chair of YCA. She has degrees from the Eastman School of Music and Bard Graduate Vocal Arts Program and an Artist’s Diploma from the Juilliard School. Bullock has organized and participated in benefit concerts in support of the FSH Society, the Music and Medicine Initiative for Weill Medical Center (NY) and the Shropshire Music Foundation, a non-profit that serves war-affected children through music programs in Kosovo, Northern Ireland and Uganda.

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Maria Popova In Conversation with Pico Iyer Thu, Apr 5 / 7:30 PM / Campbell Hall

Event Sponsor: Anonymous Donor Related Thematic Learning Initiative Event (see page 8)

Maria Popova Maria Popova is a reader and a writer, and writes about what she reads on Brain Pickings (brainpickings.org), which is included in the Library of Congress archive of culturally valuable materials. She has also written for The New York Times, Wired UK and The Atlantic, among others, and is an MIT Fellow. She is on Twitter as @brainpicker Brain Pickings is a one-woman labor of love – a subjective lens on what matters in the world and why. Mostly, it’s a record of Popova’s own becoming as a person – intellectually, creatively, spiritually – and an inquiry into how to live and what it means to lead a good life. Founded in 2006 as a weekly email that went out to seven friends and eventually brought online, the site was included in the Library of Congress permanent web archive in 2012. The core ethos behind Brain Pickings is that creativity is a combinatorial force: It’s our ability to tap into our mental pool of resources – knowledge, insight, information, inspiration and all the fragments populating our minds – that we’ve accumulated over the years just by being present and alive and awake to the world; and it’s our ability to combine them in extraordinary new ways. In order for us to truly create and contribute to the world, we have to be able to connect countless dots, to cross-pollinate ideas from a wealth of disciplines, to combine and recombine these pieces and build new ideas. Popova thinks of it as LEGOs – if the bricks we have are of only one shape, size and color, we can build things, but there’s a limit to how imaginative and interesting they will

be. The richer and more diverse that pool of resources, that mental library of building blocks, the more visionary and compelling our combinatorial ideas can be. Brain Pickings – which remains ad-free and supported by readers – is cross-disciplinary, spanning art, science, psychology, design, philosophy, history, politics, anthropology and more. Above all, it’s about how these different disciplines illuminate one another to glean some insight, directly or indirectly, into that grand question of how to live, and how to live well.

Pico Iyer Pico Iyer is the author of two novels and 10 works of non-fiction, including such long-running bestsellers as Video Night in Kathmandu, The Lady and the Monk, The Art of Stillness and his meditation on 34 years spent talking with the XIVth Dalai Lama, The Open Road. For more than a quarter-century he has been a constant contributor to Time, The New York Times, Harper’s and more than 200 magazines around the world. He has also written a screenplay for Miramax, several liner notes for Leonard Cohen and the introductions to more than 60 books. His books have been translated into 23 languages and his three TED Talks over the past five years have received more than 7 million views so far. Special thanks to

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Daniel H. Pink

When: The Scientific Secrets of Perfect Timing

photo: Nina Subin

Mon, Apr 9 / 7:30 PM / Campbell Hall

Daniel H. Pink is the author of several provocative, bestselling books about business, work and behavior. His books include:

• When: The Scientific Secrets of Perfect Timing unlocks

the scientific secrets to good timing to help you flourish at work, at school, and at home.

• To Sell is Human: The Surprising Truth About Moving

Others, which uses social science to offer a fresh look at the art and science of sales. To Sell is Human was a No. 1 bestseller on the New York Times, Wall Street Journal and Washington Post lists and is being translated into 31 languages. More than a dozen outlets, from Amazon.com to The Washington Post, selected it as one of the best books of the year. It also won the American Marketing Association’s Berry Book Prize as the year’s best book on marketing.

• Drive: The Surprising Truth about What Motivates

Us, which draws on 50 years of behavioral science to overturn the conventional wisdom about human motivation. Along with being a Wall Street Journal, Boston Globe, Los Angeles Times, San Francisco Chronicle and Publishers Weekly bestseller, Drive spent 159 weeks on the New York Times bestseller lists. A national bestseller in Japan and the United Kingdom, the book has been translated into 35 languages.

• A Whole New Mind: Why Right-Brainers Will Rule the

Future, which charts the rise of right-brain thinking in modern economies and describes the six abilities individuals and organizations must master in an outsourced, automated age. A Whole New Mind was on the New York Times bestseller lists for 96 weeks over four years. It has been a Freshman Read at several U.S. colleges and universities. In 2008, Oprah Winfrey gave away 4,500 copies of the book to Stanford University’s graduating class when she was the school’s commencement speaker.

• The Adventures of Johnny Bunko: The Last Career Guide You’ll Ever Need, the first American business book in the Japanese comic format known as manga and the only graphic novel ever to become a BusinessWeek bestseller. Illustrated by award-winning artist Rob Ten Pas, The Adventures of Johnny Bunko was named an American Library Association best graphic novel for teens.

• Free Agent Nation: The Future of Working for Yourself, a Washington Post bestseller that Publishers Weekly says “has become a cornerstone of employee-management relations.” In 2013, the U.S. Department of Labor and the Library of Congress selected Free Agent Nation as one of 100 Books That Shaped Work in America.

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Pink was host and co-executive producer of Crowd Control, a television series about human behavior on the National Geographic Channel. He also appears frequently on NPR’s Hidden Brain, PBS NewsHour and other TV and radio networks in the U.S. and abroad. He has been a contributing editor at Fast Company and Wired as well as a business columnist for The Sunday Telegraph. His articles and essays have also appeared in The New York Times, Harvard Business Review, The New Republic, Slate and other publications. In 2007, he was a Japan Society Media fellow in Tokyo, where he studied the country’s massive comic industry. For the last six years, London-based Thinkers50 named Daniel Pink, alongside Michael Porter and Clayton Christensen, as one of the top 15 business thinkers in the world.

TOWN HALLS

Stay after the lecture to participate in a Town Hall discussion: Building a Resilient Community: Turning Adversity into Opportunit

Santa Barbara is the place we call home. We want to celebrate it, nourish it, and above all, see it thrive through engaged citizens and productive dialogue. Part of A&L’s Thematic Learning Initiative, these town halls are opportunities to hear from specialists, ask questions and participate in a public conversation about a community issue.

Building a Resilient Community: Turning Adversity Into Opportunity Moderator: John Palminteri

Mon, Apr 23 / 7:30 PM / Campbell Hall

Pink’s TED Talk on the science of motivation is one of the 10 most-watched TED Talks of all time, with more than 19 million views. His RSA Animate video about the ideas in his book, Drive, has collected more than 14 million views.

Keynote Speaker

Before venturing out on his own 20 years ago, Pink worked in several positions in politics and government, including serving from 1995-1997 as chief speechwriter to Vice President Al Gore.

Taking Action: Resiliency, Commitment and Responsibility

He received a Bachelor of Arts from Northwestern University, where he was a Truman Scholar and was elected to Phi Beta Kappa, and a Juris Doctor Degree from Yale Law School. He has also received honorary doctorates from Georgetown University, the Pratt Institute, the Ringling College of Art and Design and Westfield State University. Books are available for purchase in the lobby and a signing follows the event

Nicholas Kristof See page 25

Aging: The Lifelong Process That Unites Us All Moderator: Catherine Remak

Sat, May 19 / 3 PM (note special time) / Campbell Hall Keynote Speaker

Ashton Applewhite

This Chair Rocks: How Ageism Warps Our View of Long Life

Special thanks to

See page 51

Related Thematic Learning Initiative Events and Book Giveaways (see pages 8 & 9)

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Joyce DiDonato, mezzo-soprano Craig Terry, piano

Sun, Apr 15 / 7 PM / Granada Theatre

Event Sponsor: Sheila Wald photo: Pari Dukovic

Promotional Partners: Music Academy of the West Ojai Music Festival Opera Santa Barbara

Program

About the Program

Pablo Luna: “De España vengo” from El niño judío

Pablo Luna (1879-1942): “De España vengo” from El niño judío

Maurice Ravel: Shéhérazade “Asie” “La flûte enchantée” “L’indifférent” Jules Massenet: “Enfin, je suis ici” from Cendrillon - Intermission Enrique Granados: Tonadillas, H. 136, No. 9 La maja dolorosa, No. 1 La maja dolorosa, No. 2 La maja dolorosa, No. 3 Arie Antiche (arr. Craig Terry): George Frideric Handel: “Lascia ch’io pianga” “Caro Mio Ben” “Se tu m’ami” “Star Vicino”

As World War I entered its fifth year, darkness continued its spread across the Iberian Peninsula. Despite Spain’s neutrality, political tension and economic anxiety simmered as poverty swept the country. Zarzuela, a musical theatre genre akin to the operetta, provided affordable entertainment. Scholars trace the origins of zarzuela to the 1600s, when troupes performed musical comedy for the nobility. Over the centuries the zarzuela continued to flourish and evolve, adopting ideas from other musical traditions. In the early 20th century, when Pablo Luna reigned as the most popular zarzuela composer, the operettas of Gilbert and Sullivan and Franz Lehár had noticeably influenced the genre. The absurd plot of The Jewish Boy involves illegitimate children, schemes for wealth and a trip to India. Concha, the protagonist’s girlfriend, sings “De España vengo” to a powerful rajah. Piano trills mimic plucked guitar strings as Concha extols the virtues of Spain, laughing and trilling in “the gypsy style.” At a time of increasing nationalism, the refrain “I hail from Spain, I am a Spaniard” surely resonated with audiences.

Gioachino Rossini: “Tanti Affetti” from La donna del lago

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Maurice Ravel (1875-1937): Shéhérazade Influenced by Rimsky-Korsakov – whose tone poem Scheherazade he had encountered as a boy – and Debussy (“at least spiritually,” he admitted), Ravel composed Shéhérazade in 1903 while studying at the Paris Conservatoire. Scheherazade held a particular fascination for him, as he had written an overture of the same name a few years earlier, and he attempted an opera based on the tale. “Asie, Asie, Asie!” the singer intones, summoning visions of faraway lands. “I wish to… contemplate at leisure those landscape paintings, on fabrics in fir frames” reads a line from “Asie,” and indeed, Ravel’s vivid accompaniment evokes shimmering tapestries of sound. The kaleidoscopic accompaniment shifts with each scene, playing strains of dance music across the Silk Road, then pentatonic melodies (Ravel’s approximation of Chinese music) at the mention of plump mandarins. As the action grows violent so too does the music, erupting in a crescendo as the executioner’s sword falls. Self-aware and sly, the narrator leaves the listener dangling, “for artful effect.” “La flûte enchantée” tells of a slave girl at home with her master. Lush harmonies lie heavy like the still, sticky air of a summer night; a beguiling flute melody cuts through the darkness. Its dotted, rocking rhythm pervades the accompaniment, the narrow interval of a second imbued with longing. The song ends with the flute’s refrain, softer now, as light as a mysterious kiss. Like the androgynous object of the singer’s desire, the music of “L’Indifférent” is equally ambiguous: unhurried and languid, with duple and triple meters overlapping. As the narrator offers the boy a drink, voice and piano meet in marked dissonance at the word “wine,” betraying the narrator’s true intentions. As the boy passes, the piano drops out completely, leaving naught but the emptiness of rejection. The final bars are marked perdendo, a word which means not only “to die away” but also to lose oneself, as in distant memories.

Jules Massenet (1842-1912): “Enfin, je suis ici” from Cendrillon

“Enfin, je suis ici” finds Lucette (Cendrillon) rushing home from the ball, fleeing in terror as the clock strikes midnight. Galloping figures imitate Cendrillon’s feet over the cobblestones, or the racing of her heart. Massenet’s restless music feels more like recitative than aria, capturing Cendrillon’s panic in breathless syllabic phrases. Realizing she has lost her glass slipper, Cendrillon beseeches her godmother for forgiveness, uttering a repetitive three-note figure of almost childlike innocence. The carillon bell rings out in a clamor, urging Cendrillon onward. Sighing with relief, the vocal line dances in flitting coloratura arpeggios, yet as the peal of the bell dies away, Cendrillon mourns her loss, her dreams of marrying the prince now in ashes. She returns to the cold fireplace she has cleaned so many times, whispering, “Resign yourself, little cricket.”

Enrique Granados (1867-1916): Tonadillas, H.136, No. 9 Enrique Granados felt impelled by the rising tide of nationalism to create works capturing the spirit of the Spanish people. Granados grew fascinated by the culture of the majos and their female counterparts, majas. These lower-class denizens of Madrid were known for their extravagant clothes and reckless behavior (even the more demure majas were rumored to carry knives up their dresses). Francisco Goya painted a series of tableaux celebrating the majos that would inspire Granados to compose these tonadillas as well as his most famous composition, Goyescas. Though Granados claims to have written the songs “en estilo antiguo” of the 18th-century tonadilla, he captures the spirit of the genre more than the musical idiom. The first of the “Maja Dolorosa” songs begins with heavy, plodding accompaniment. The angular vocal line keens from high, anguished cries to low, guttural moans. The second and third songs are more tuneful, with dance rhythms and folk-like melodies. Granados inserts a staccato dancing motive into the accompaniment of both songs, an unsettling danse macabre.

Excitement spread across Paris as rumor of Jules Massenet’s Cendrillon reached the press. Massenet was already a hugely successful composer, and audiences had high expectations for the new opera. A friend commented that after its premiere, Massenet would be able to “buy three farms and three châteaux.” She wasn’t far off. Cendrillon was a smash, and the following year would see Massenet’s operas performed 84 times in Paris alone.

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Arie Antiche (arr. Craig Terry) George Frideric Handel (1685-1759): “Lascia ch’io pianga,” from Rinaldo “Caro mio ben” “Se tu m’ami” “Star Vicino”

decades-long fascination with the Scottish highlands in Italian opera, culminating with Donizetti’s Lucia di Lammermoor. In the first act King James, disguised as “Uberto,” falls in love with Elena, the titular Lady of the Lake. Later, Elena’s father and brother rebel against the crown, are captured and condemned to death. Elena, realizing that “Uberto” and King James are the same man, pleads with him to spare her family. Moved by his love for her, James agrees to pardon them both.

Rinaldo premiered in London in 1711, the first Italian opera composed for the city. Its success helped establish Handel in England: He moved to London permanently, and within the decade became music director of the Royal Academy of Music. “Lascia ch’io pianga” is sung by Almirena, Rinaldo’s betrothed, held prisoner by the sorceress Armida. Armida’s lover Argante overhears Almirena and declares his love for her, promising to free her from Armida’s clutches.

“Tanti affetti,” a traditional double aria with a slower A section and a fast B section, is a vocal tour de force replete with multi-octave leaps, roulades and other dazzling coloratura ornaments, each an expression of Elena’s uncontainable joy. The role was written for Isabella Colbran, a Spanish singer who was Rossini’s muse and lover. Over the course of their relationship he composed 10 operas for Colbran, and insisted to the end of his life that hers was the greatest voice he had ever heard.

“Re-discovering” old pieces was en vogue at the end of the 19th century, and publishers were happy to oblige. Music editor Alessandro Parisotti published three volumes of songs under the title Arie antiche. While Parisotti claimed to have discovered these scores, research reveals he wrote some of the songs himself. He likely composed “Se tu m’ami” and deliberately misattributed it to Pergolesi to market the collection. “Se tu m’ami” is something of an Italian counterpart to the “Habanera” from Bizet’s Carmen, both acknowledging the fickleness of love. The music is equally capricious, coy one minute and disdainful the next.

Program notes © Andrew McIntyre, 2018

“Caro mio ben” and “Star Vicino” are also victims of misattribution, albeit unintentionally. “Caro mio ben,” once attributed to Giuseppe Giordani, may have been written by his father (also named Giuseppe) or even his brother. In the case of “Star Vicino,” a song linked to Baroque artist Salvator Rosa, the author remains unknown.

Gioachino Rossini (1792-1868): “Tanti affetti” from La donna del lago While some artists languish in obscurity in their lifetimes only to find posthumous critical acclaim, celebrity found Rossini early. At 18, he premiered La cambiale di matrimonio, and when La donna del lago opened in 1819, he had composed more than 25 operas (four of which premiered in 1819 alone). Within a decade, Rossini had amassed enough wealth to retire. La donna del lago was the earliest Italian staged work based on the writing of Sir Walter Scott. It started a

Joyce DiDonato, mezzo-soprano Multi Grammy Award winner of the 2016 Best Classical Solo Vocal Album Joyce and Tony: Live at Wigmore Hall and the 2012 Best Classical Vocal Solo, Kansas-born Joyce DiDonato entrances audiences across the globe and has been proclaimed “perhaps the most potent female singer of her generation” by The New Yorker. With a voice “nothing less than 24-carat gold” according to the Times, DiDonato has soared to the top of the industry both as a performer and a fierce advocate for the arts, gaining international prominence in operas by Handel and Mozart, as well as through her wide-ranging, acclaimed discography. She is also widely acclaimed for the bel canto roles of Rossini and Donizetti – the Financial Times judging her recent performances as Elena La Donna del Lago as “simply the best singing I’ve heard in years.” Much in demand on the concert and recital circuit, she has recently held residencies at Carnegie Hall and London’s Barbican Centre, toured extensively in South America, Europe and Asia and appeared as guest soloist at the BBC’s Last Night of the Proms. Recent highlights in opera have included her first Semiramide in a new production at the Bavarian State Opera, her first Didon Les Troyens under John Nelsons, her first Charlotte Werther for The Royal Opera under Sir Antonio Pappano, the title role in Maria Stuarda at the Metropolitan Opera, The Royal Opera and the Liceu in Barcelona; as well as the title role in Ariodante on tour with the English Concert and Harry Bicket.

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

Opera highlights in DiDonato’s 2017-18 season include Cendrillon and her first Adalgisa Norma for the Metropolitan Opera, a return to the Royal Opera House as Semiramide under Sir Antonio Pappano and the role of Sister Helen in Heggie’s Dead Man Walking at the Teatro Real Madrid and in a staged performance at the Barbican Centre with the BBC Symphony Orchestra. In concert, DiDonato will join the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Berlin Philharmonic under Sir Simon Rattle and the Kansas City Symphony Orchestra under Michael Stern. She will also tour throughout Europe with Il Pomo d’Oro performing In War & Peace and give recitals at London’s Wigmore Hall with the Brentano Quartet and at the Royal Opera House with Pappano accompanying. An exclusive recording artist with Erato/Warner Classics, DiDonato’s most recent release In War & Peace won Gramophone’s 2017 Best Recital Award. Other recordings include Stella di Napoli, a sumptuous bel canto banquet including little-known gems alongside music by Bellini, Rossini and Donizetti. Her Grammy Award-winning recording Diva Divo comprises arias by male and female characters, celebrating the rich dramatic world of the mezzo-soprano. The following recording Drama Queens was exceptionally well received, both on disc and on several international tours. A retrospective of her first 10 years of recordings entitled ReJoyce! was released in 2013. Other honors include the Gramophone Artist of the Year and Recital of the Year awards, four German Echo Klassik Awards as Female Singer of the Year and an induction into the Gramophone Hall of Fame.

Craig Terry, piano Lauded for his “sensitive and stylish” (The New York Times) and “superb” (Opera News) playing, pianist Craig Terry enjoys an international career regularly performing with the world’s leading singers and instrumentalists. Currently, Terry serves as music director of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago after having served for 11 seasons at Lyric as assistant conductor. Previously, he served as assistant conductor at the Metropolitan Opera after joining its Lindemann Young Artist Development Program. Terry has performed with such esteemed vocalists as Jamie Barton, Stephanie Blythe, Christine Brewer, Lawrence Brownlee, Nicole Cabell, Sasha Cooke, Eric Cutler, Danielle de Niese, Joyce DiDonato, Giuseppe Filianoti, Renée Fleming, Susan Graham, Denyce Graves, Bryan Hymel, Brian Jagde, Joseph Kaiser, Quinn Kelsey, Kate Lindsey, Ana María Martínez, Eric Owens, Ailyn Perez,

Nicholas Phan, Susanna Phillips, Luca Pisaroni, Patricia Racette, Hugh Russell, Bo Skovhus, Garrett Sorenson, Heidi Stober, Amber Wagner, Laura Wilde and Catherine Wyn-Rogers. He has collaborated as a chamber musician with members of the Metropolitan Opera Orchestra, the Lyric Opera of Chicago Orchestra, the Gewandhaus Orchester and the Pro Arte String Quartet. Terry’s 2017-18 season recital performance schedule includes concerts with Stephanie Blythe, Christine Brewer, Joyce DiDonato, Renée Fleming, Susan Graham, Jonathan Johnson, Ana María Martínez, Luca Pisaroni, Patricia Racette, Hugh Russell and Laura Wilde. He is artistic director of Beyond the Aria, a highly acclaimed recital series, now in its fourth sold-out season, presented by the Harris Theater in collaboration with the Ryan Opera Center and Lyric Unlimited. Terry’s discography includes three recently released recordings: Diva on Detour with Patricia Racette, As Long as There are Songs with Stephanie Blythe and Chanson d’Avril with Nicole Cabell. He was also featured in a Live from Lincoln Center national broadcast on PBS with Stephanie Blythe in April 2013. Terry hails from Tullahoma, Tenn., received a Bachelor of Music degree in Music Education from Tennessee Technological University, continued his studies at Florida State University and received a Masters of Music in Piano Performance/Accompanying from the Manhattan School of Music where he was a student of pianist Warren Jones. 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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Nadine Burke Harris, M.D. Healing the Long-Term Effects of Childhood Adversity

photo: Winokur Photography

Mon, Apr 16 / 7:30 PM / Campbell Hall

Presented in association with CALM, KIDS Network, Santa Barbara Neighborhood Clinics and the Resiliency Project Thematic Learning Initiative: Creating a Meaningful Life

A pioneer in the field of medicine, pediatrician Dr. Nadine Burke Harris is a leader in the movement to transform how we respond to early childhood adversity and the resulting toxic stress that can dramatically impact our health and longevity. By exploring the science behind childhood adversity, she offers a new way to understand the formative childhood events that affect us throughout our lifetimes. As the founder/CEO of the Center for Youth Wellness, she has brought these scientific discoveries and her new approach to audiences at the Mayo Clinic, American Academy of Pediatrics, Google Zeitgeist and Dreamforce. Burke Harris’ TED Talk, “How Childhood Trauma Affects Health Across a Lifetime,” has been viewed more than 3.5 million times. Her work has been profiled in The New Yorker, in Paul Tough’s bestselling book How Children Succeed: Grit, Curiosity and the Hidden Power of Character and in Jamie Redford’s feature film Resilience. Burke Harris is the author of a book on the issue of childhood adversity and health called The Deepest Well: Healing the Long-Term Effects of Childhood Adversity that was released in January 2018. Burke Harris’ work has earned her the Arnold P. Gold Foundation Humanism in Medicine Award presented by the American Academy of Pediatrics and the Heinz Award for the Human Condition. Additionally, she serves as an expert advisor on the Too Small to Fail initiative to improve the lives of children and on the American Academy of Pediatrics’ National Advisory Board For Screening.

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

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Learn more about the Center for Youth Wellness at www.centerforyouthwellness.org

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

Bedlam Saint Joan by George Bernard Shaw Thu, Apr 19 / 7 PM (note special time) / Campbell Hall Event Sponsors: Jody & John Arnhold

Hamlet by William Shakespeare photos: C. King Photography

Fri, Apr 20 / 7 PM (note special time) / Campbell Hall Event Sponsors: Jody & John Arnhold Siri & Bob Marshall

Running time: approx. 150 min. There will be two intermissions.

Directed by: Eric Tucker Set Design by: John McDermott Lighting Design by: Les Dickert Costume/Sound Design by: Eric Tucker Fight Direction: Trampas Thompson Production Management: Juliana Beecher Stage Management: Caroline Englander U.S. premiere tour produced in association with ArKtype / Thomas O. Kriegsmann

Cast

Actor #1: Aubie Merrylees Dunois/Warwick and others in Saint Joan Hamlet in Hamlet Actor #2: Aundria Brown Joan in Saint Joan Gertrude/Ophelia and others in Hamlet Actor #3: Kahlil Garcia Dauphin/John de Stogumber and others in Saint Joan Polonius/Horatio and others in Hamlet Actor #4: Sam Massaro Cauchon/Poulengey and others in Saint Joan Claudius/Rosencrantz and others in Hamlet

Saint Joan is presented by special arrangement with Samuel French, Inc. The Actors and Stage Manager employed in this production are members of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States Very special thanks to Celesta M. Billeci, Heather Silva and the amazing staff of UCSB Arts & Lectures

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About the Company Bedlam is a NYC-based not-for-profit theater company under the leadership of artistic director Eric Tucker and managing director Kimberly Pau Boston. Founded in 2012, Bedlam received instant recognition for its production of George Bernard Shaw’s Saint Joan, in which only four actors played over 25 characters. Additional past shows include Sense and Sensibility, Peter Pan, The Seagull, Dead Dog Park, New York Animals, Hamlet and two productions of Twelfth Night that ran in rep with each other. Bedlam’s productions have been noted as Ben Brantley’s Critics’ Picks for The New York Times on six occasions, and been included on The New York Times’ Top Ten Best Show Lists twice, as well as those of The Wall Street Journal and Time magazine. The Wall Street Journal also named Eric Tucker Director of the Year in 2014. Bedlam has won three Irne Awards, two Off Broadway Alliance Awards and an Obie Grant. Bedlam has also been nominated for two Lucille Lortel awards, a Drama League award and five Elliot Norton awards, winning for Outstanding Visiting Production and Best Ensemble for Saint Joan and Outstanding Visiting Production for Twelfth Night / What You Will. Bedlam also offers a free veteran outreach program and adult education workshops in acting, producing and directing. www.bedlam.org

About the Artists Aundria Brown (Actor #2) Regional: Actions & Objectives (Triad Stage); Crumbs from the Table of Joy (Martha’s Vineyard Playhouse). Local: CRH (The Kraine Theater); Aint No’ Mo (New York Theater Workshop); Mary/Stuart (BAM); What I Tell You in the Dark (National Black Theater Of Harlem). Voiceover Work: The Man in the High Castle: Resistance Radio. Education: University of North Carolina School of the Arts. Listen to Brown as Miss Evangeline for The Man in the High Castle: Resistance Radio at www.resistanceradio.com Kahlil Garcia (Actor #3) is thrilled for his Bedlam debut! Regional credits include: Pride and Prejudice (Bingley), Macbeth (Macbeth), As You Like It (Oliver). New York: The Tempest (Caliban), Hard Times (Blackpool). Film/TV: The Newsroom, The Good Wife, The Blacklist. Founding member: 15-501 Productions (@15501pros). Master of Fine Arts: University of North Carolina, Chapel Hill. Bachelor of Fine Arts: Pace University. Twitter/IG: @kg_garcia Sam Massaro (Actor #4) recently graduated from UC Irvine with a Master of Fine Arts degree in acting. A New York-based actor from Florida, he’s worked regionally with companies including Mad Cow Theatre, Summer Repertory

Theatre, New Swan Shakespeare Festival and the B Street Theatre. Some favorite roles include Robert in Boeing Boeing, Touchstone in As You Like It, Lee in True West, Liam in Bad Jews and Michal in The Pillowman. He will be making his film debut this year opposite Christian Bale in Adam McKay’s Backseat. He is a proud member of Actors Equity and honored to be represented by the team at CLA Management! Aubie Merrylees (Actor #1) Regional credits include Hand to God (Philadelphia Theatre Company), Caucasian Chalk Circle (Yale Rep), Stupid Fucking Bird, Rachel Bonds’ At the Old Place (Arden Theatre Company), The Aliens (Theatre Exile), The Liar (Lantern), My Romantic History (Inis Nua) and A Bright New Boise (Simpatico). Merrylees is also a company member at People’s Light & Theatre, where he has appeared in more than 10 productions, including End Days, One Flew Over the Cuckoo’s Nest, Beautiful Boy and Stargirl. He is a graduate of Brown University and the Yale School of Drama. For Mom, always. Eric Tucker (Director) Wall Street Journal Director of the Year 2014. Off Broadway: Peter Pan (Bedlam, Duke on 42nd); Vanity Fair (The Pearl); Bedlam’s Sense and Sensibility (Off Broadway Alliance Award, Lortel nom, Best Director, Drama League nom, Best Revival); A Midsummer Night’s Dream (Drama League nom Best Revival, WSJ Best Classical Production 2015; NY Times Critics’ Pick), Bedlam’s Saint Joan (NY Times/Time magazine top 10; Off Broadway Alliance Best Revival 2014), Bedlam’s Hamlet (NY Times top 10; Time Out NY and Backstage Critics’ Pick), Tina Packer’s Women of Will. For Bedlam: Sense and Sensibility A.R.T.; Hamlet/Saint Joan McCarter Theater; Central Sq. Theater (Elliott Norton Outstanding Visiting Production/ Outstanding Ensemble, Boston Globe Top Ten); Dead Dog Park, New York Animals (World Premiere by Steven Sater/Burt Bacharach), Twelfth Night and What You Will (NY Times Critics’ Picks), The Seagull (WSJ Best Classical Production 2014). Other: The Merry Wives of Windsor (Two River), Disney’s Beauty & the Beast (OSF); Pericles (APT, WSJ Best Classical Production 2017); Sense and Sensibility (The Folger Theater, 4 Helen Hayes awards including Best Director and Best Production), Copenhagen (Central Square Theatre), A Midsummer Night’s Dream, The Two Gentlemen of Verona (HVSF), Mate (The Actors’ Gang). Tucker received his Master of Fine Arts degree from the Trinity Rep Conservatory. He resides in New York City, where he is artistic director of Bedlam.

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John McDermott (Set Design) For Bedlam: Hamlet, Saint Joan, New York Animals, Sense and Sensibility, The Seagull, Dead Dog Park. HVSF: Pride and Prejudice, Twelfth Night, Macbeth, Measure For Measure, As You Like It, The Winter’s Tale, The Arabian Nights. Shakespeare and Company: 4,000 Miles, Red Velvet, The Comedy of Errors, The Taming, Ugly Lies the Bone. Other shows include The Singing Forest (NYSF); Play Yourself (New York Theater Workshop); Dry Land, Everything is Ours, Fish Eye (Colt Coeur Company member). Rattlestick Playwrights Theater: 25 designs including 3C, Lady, The Undeniable Sound of Right Now, The Revisionist. Assistant professor, Adelphi University. Les Dickert (Lighting Design) designs for a diverse range of contemporary and classical theater, modern dance, ballet and international performance art. Many off-Broadway productions include Bedlam’s Sense and Sensibility, The Seagull, New York Animals, Twelfth Night, What You Will and Cry Havoc; Regional: Shakespeare and Company, Great Lakes Theater Festival, Geva Theater, Perseverance Theater, Syracuse Stage, Triad Stage, Arden Theater and others. Dance: White Oak Dance Project, San Francisco Ballet, Boston Ballet, Miami City Ballet, Tulsa Ballet, Joffrey Ballet, San Diego Ballet, Orlando Ballet. International: Le Louvre, Centre Pompidou, La Scala and the National Ballets of England, Denmark, Australia, Belgium, Canada and Russia. Awards: Mahindra, Ovation, multiple Hewes nominations. Dickert is a graduate of the Yale School of Drama. Juliana Beecher (Production Manager) has worked with Bedlam on two previous renditions of Hamlet and Saint Joan and on Sense and Sensibility and The Seagull. Primarily a lighting designer, she works in New York and New England. She has designed for Bridge Rep of Boston, Playhouse Creatures, Northeastern University, Boston University, Fresh Ink, Highland Centre for the Arts and others. Her work as an assistant includes productions at LCT3, HERE Arts Center, New Rep, BAM and the New England Conservatory. Juliana holds a bachelor’s degree from Northeastern University. Caroline Englander (Stage Manager) Off-Broadway: Describe the Night (Atlantic Theater Company), Toshi Reagon’s Parable of the Sower (UTR), The Outer Space (Pubic/NYSF), HAMLET (Waterwell), Sense and Sensibility (Bedlam), The Flick (Barrow Street Theatre), Little Children Dream of God (Roundabout). The Civilians’ The Great Immensity (Public/NYSF), Richard Nelson’s The Apple Family Plays (Public/NYSF), GOODBAR (Waterwell / UTR), Recall (Colt Coeur). Various productions at Juilliard and NYU Tisch School of the Arts Graduate Acting. She received her bachelor’s degree from Barnard College.

Trampas Thompson (Fight Director) is thrilled to be collaborating again with his friends from Bedlam. In addition to choreographing the original critically-acclaimed run of Bedlam’s Hamlet, his theatrical work includes Women of Will for Tina Packer and Richard III for Shakespeare Dallas. Trampas has been a professional stuntman and stunt coordinator in film and television for more than 20 years. His 100-plus credits include four Pirates of the Caribbean films, National Treasure and Zombieland, among many others. Trampas was Michael Keaton’s stunt double in the films Birdman and Spider-Man: Homecoming. He is a member of SAG-AFTRA and the Directors Guild of America. Complete credits can be found on IMDb. Arktype / Thomas O. Kriegsmann (Producer) is founder and president of ArKtype, a management and production company specializing in new work development and touring. His past work in the U.S. and abroad includes projects with Brooklyn Academy of Music, Lincoln Center Theater, Jacob’s Pillow, New York Theatre Workshop, Market Theatre (Johannesburg), Hartford Stage Company, Barbican Centre, Oxford Playhouse, Noorderzon Festival, Performance Space 122 (Fresh Terrain Festival of Performance Theater, Austin, TX), Berkeley Rep, Center Theatre Group / Mark Taper Forum, Bouffes du Nord and The Kitchen, among many others. His work includes projects with Mikhail Baryshnikov, Peter Brook, Victoria Thiérrée-Chaplin, Yael Farber, Annie-B Parson & Paul Lazar, Lisa Peterson, Jay Scheib, Peter Sellars, Julie Taymor and Tony Taccone. Most recently he served as director of programs at New York Live Arts. Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote and foster the art of live theater as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theaters across the United States. Equity members are dedicated to working in the theater as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theater has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org. For further information on Bedlam, please contact: Thomas O. Kriegsmann, President ArKtype P.O. Box 180241, Brooklyn, NY 11218 917.386.5468 / tommy@arktype.org / www.arktype.org

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Building a Resilient Community: Turning Adversity Into Opportunity Moderator: John Palminteri, award-winning radio and television reporter in Santa Barbara Mon, Apr 23 / 7:30 PM / Campbell Hall Santa Barbara is the place we call home. We want to celebrate it, nourish it, and above all, see it thrive through engaged citizens and productive dialogue. Part of A&L’s Thematic Learning Initiative, this town hall is an opportunity to hear from specialists, ask questions and participate in a public conversation about a community issue.

Event Sponsors: Dorothy Largay & Wayne Rosing Presented in association with: Related Thematic Learning Initiative Event and Book Giveaway (see pages 8 & 9)

Keynote Speaker

Nicholas Kristof Taking Action: Resiliency, Commitment and Responsibility Journalist and human rights advocate Nicholas Kristof has lived on four continents, reported on six and traveled to more than 140 countries. During his travels, he has caught malaria, experienced wars, confronted warlords, encountered an Indonesian mob carrying heads on pikes and survived an African airplane crash.

Kristof and WuDunn have written four bestselling books: Half the Sky, A Path Appears, China Wakes and Thunder from the East. Half the Sky and A Path Appears each inspired a primetime PBS documentary series. Archbishop Desmond Tutu dubbed Kristof “an honorary African” for his reporting on conflicts there.

Kristof grew up on a farm near Yamhill, Ore. He graduated Phi Beta Kappa from Harvard College and then studied law at Oxford University on a Rhodes Scholarship, graduating with first class honors. After joining The New York Times in 1984, Kristof served as a correspondent in Los Angeles, Hong Kong, Beijing and Tokyo. He has covered presidential politics and interviewed everyone from President Obama to former Iranian President Ahmadinejad.

Kristof has won innumerable awards including the Dayton Literary Peace Prize, the Anne Frank Award and the Fred Cuny Award for Prevention of Armed Conflict. He also serves on the boards of Harvard University and the Association of American Rhodes Scholars.

In 1990, Kristof and his wife, Sheryl WuDunn – then a New York Times journalist as well – became the first husband-wife team to win a Pulitzer Prize for journalism, for their coverage of China’s Tiananmen Square democracy movement. Kristof won his second Pulitzer in 2006 for what the judges called “his graphic, deeply reported columns that, at personal risk, focused attention on genocide in Darfur and that gave voice to the voiceless in other parts of the world.”

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

Special thanks to

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

An Evening with

Anne Lamott

photo: Sam Lamott

Tue, Apr 24 / 7:30 PM / Granada Theatre

Event Sponsors: Heather & Tom Sturgess Thematic Learning Initiative: Creating a Meaningful Life

Anne Lamott writes and speaks about subjects that begin with capital letters: Alcoholism, Motherhood, Jesus. But armed with self-effacing humor – she is laugh-out-loud funny – and ruthless honesty, Lamott converts her subjects into enchantment. Actually, she writes about what most of us don’t like to think about. She wrote her first novel for her father, the writer Kenneth Lamott, when he was diagnosed with brain cancer. She has said that the book was “a present to someone I loved who was going to die.” In all her novels, Lamott writes about loss – loss of loved ones and loss of personal control. She doesn’t try to sugar-coat the sadness, frustration and disappointment, but tells her stories with honesty, compassion and a pureness of voice. As she says, “I have a lot of hope and a lot of faith and I struggle to communicate that.” Anne Lamott does communicate her faith: In her books and in person, she lifts, comforts and inspires, all the while keeping us laughing. Lamott is the author of seven novels: Hard Laughter, Rosie, Joe Jones, Blue Shoe, All New People, Crooked Little Heart and Imperfect Birds. She has also written several bestselling books of nonfiction, including, Operating Instructions, an account of life as a single mother during her son’s first year; Some Assembly Required: A Journal of My Son’s First Son; and the classic book on writing, Bird by Bird: Some Instructions on Writing and Life. She has also authored several collections of autobiographical essays on faith: Traveling Mercies: Some Thoughts on Faith; Plan B: Further Thoughts on Faith; and Grace (Eventually): Thoughts on Faith. In addition, she has written Help, Thanks, Wow: The Three Essential Prayers; Stitches: A Handbook on Meaning, Hope and Repair; Small Victories: Spotting Improbable

Moments of Grace and most recently, Hallelujah Anyway: Rediscovering Mercy. She is currently working on her next book, tentatively called Dearest: Notes on Hope (fall 2018). Lamott has been honored with a Guggenheim Fellowship and has taught at UC Davis, as well as at writing conferences across the country. Academy Award-winning filmmaker Freida Mock has made a documentary on Lamott, entitled Bird by Bird with Annie (1999). Lamott has also been inducted into the California Hall of Fame. Books are available for purchase in the lobby and a signing follows the event

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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TAO: Drum Heart

photo:

Thu, Apr 26 / 7 PM (note special time) / Campbell Hall

Among Tonightâ&#x20AC;&#x2122;s Performers:

Taro Harasaki, Kiyoko Aito, Hiroyasu Yanaka, Junichi Haraguchi, Yasuaki Yamaguchi, Shohei Nakata, Hiroyasu Ikegoshi, Keisuke Yamamoto, Masanori Takayama, Tatsunori Yamaguchi, Kodai Hiwano, Shoya Hamada, Soshiro Fukumizu, Ryudai Ko, Shoko Sakaguchi, Ayumu Hisanaga and Daisuke Iwama.

Creative Credits

Ikuo Fujitaka, Director & Executive Producer Yuji Urabe, Sound Designer Kensuke Yamazaki, Lighting Designer Junko Koshino, Costume Designer

About the Company Drum TAO brings their phenomenal performance to the stage with overwhelmingly expressive taiko drums and the spellbinding beautiful melodies of the Japanese flute, Shamisen guitar and Japanese harp. In 2004, Drum TAO became the smash hit of the Edinburgh Fringe Festival in their first year there. On the heels of that success and three-month long runs in Germany and Australia, Drum TAO became a global sensation. After being invited to perform at the Vancouver Olympics in 2010, they sold out every show on their first North American tour, visiting 44 cities and performing 50 shows throughout the U.S. Drum TAO has been the recipient of the sixth Annual Commissioner Award from the Japan Tourism Agency, as well as being named an Outstanding Cultural Contribution by Oita Prefecture. TAO rewrites the history of traditional Japanese drumming, yet proudly remains one of the greatest drum ensembles in Japan. www.drum-tao.com Exclusive North American Representation & Tour Production Tim Fox // Alison Williams Columbia Artists Management LLC 5 Columbus Circle @ 1790 Broadway NY, NY 10019 www.cami.com Special thanks to

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

Jennifer Koh, violin Shared Madness

photo: Juergen Frank

Fri, Apr 27 / 7 PM (note special time) / St. Anthony’s Chapel

Program will be performed without intermission.

Program

About the Program

Sam Adams: for jenny

Shared Madness is a project that tells the story of an amazing and generous community of fellow artists and friends who came to my aid at a time when I desperately needed their support and help. Many of them witnessed the eight years during which I tried to raise funds in order to purchase a violin I could perform on for the remainder of my life. When Elizabeth and Justus Schlichting, supporters of new music, stepped in to relieve a great deal of my debt and agreed to accept music commissions as payment instead of funds, my fellow community of artists came rushing to help. These composers have given me the great gift of writing a new work for me to help support this project and they come from a community of colleagues and friends with whom I have worked over the years. Shared Madness celebrates the support of these friends, encapsulates the intensity of the creative process shared between composer and performer, and ultimately reveals the incredible support network that exists between artists.

Zosha di Castri: Patina Missy Mazzoli: Kinski Paganini Timo Andres: Winding Stair Augusta Read Thomas: Venus Enchanted Lisa Bielawa: Vireo Caprice Eric Nathan: Far Beyond Far Mark Grey: Twenty Michael Gordon: kwerk Daníel Bjarnason: First Escape Vijay Iyer: Zany, Cute, Interesting Gabriel Kahane: The Single Art Form Is Dead John Harbison: Painting the Floors Blue Julia Wolfe: Spinning Jenny

Each composer has offered to write a solo violin work exploring the relationship between the violinist and the instrument. While Paganini wrote a landmark set of 24 caprices that explored the relationship of virtuosity on the violin at the beginning of the 19th century, this group of composers will explore the meaning of virtuosity in the 21st century. This new body of work was premiered under the auspices of the New York Philharmonic’s 2nd Biennial in June 2016. (Continued on page 36)

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photos (bottom row): David Bazemore; (top) Cory Weaver

Have fun tonight. Plan for tomorrow. Help sustain Santa Barbaraâ&#x20AC;&#x2122;s vibrant cultural life for the benefit of future generations, by making Arts & Lectures part of your estate plan.

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Pilobolus Dance Theater performs for more than 1,400 elementary school children at The Granada Theatre as part of A&L’s Arts Adventure bus-in program.

Together, we make a difference. Arts & Lectures’ extensive educational outreach programs serve more than 30,000 students and community members each year. We’re making a difference, on-stage and off.

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A&L members know that their contributions help fund our outreach programs, causing a ripple effect of inspiration throughout the community. With your help, A&L visiting artists and speakers will continue to impact young minds in the classroom while they are challenging and inspiring audiences from the stage. Please make a contribution to A&L this year.

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

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To inquire about membership, including joining our Leadership Circle ($10,000+), please call Dana Loughlin at (805) 893-5679 to discuss a customized membership experience.

Join the Producers Circle now and receive invitations to our members-only parties all season long. 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 Audrey & Timothy O. Fisher Eva & Yoel Haller

The Orfalea Family Susan & Craig McCaw 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 Jody & John Arnhold Monica & Timothy Babich Gary & Mary Becker Barrie Bergman Meg & Dan Burnham Annette & Dr. Richard Caleel Marcy Carsey and the Carsey Family Foundation Marcia & John Mike Cohen Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund

Barbara Delaune-Warren Ralph H. Fertig* Genevieve & Lewis Geyser Patricia Gregory, for the Baker Foundation Carla & Stephan* Hahn The James Irvine Foundation Luci & Rich Janssen Ellen & Peter O. Johnson Gretchen Lieff Robert Lieff Lillian Lovelace lynda.com Marilyn & Dick Mazess

Susan McMillan & Tom Kenny Kay R. McMillan Natalie Orfalea & Lou Buglioli Diana & Simon Raab SAGE Publishing Patricia & James Selbert Harold & Hester Schoen* Fredric E. Steck James Warren Marsha* & Bill Wayne William H. Kearns Foundation Irene & Ralph Wilson Yardi Systems, Inc.

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

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 Estate of Hester Schoen Connie J. Smith Heather & Tom Sturgess 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 providing advice to the A&L Miller McCune Executive Director, 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 February 28, 2018

$100,000+ Anonymous (1) Jody & John Arnhold Monica & Timothy Babich Marcy Carsey and the Carsey Family Foundation William H. Kearns Foundation Susan & Craig McCaw Sara Miller McCune ◊‡ Natalie Orfalea & Lou Buglioli Diana & Simon Raab Lady Leslie Ridley-Tree SAGE Publishing ‡ Anne & Michael* Towbes ‡ Lynda Weinman & Bruce Heavin ◊‡

$50,000+ Anonymous (1) Loren Booth Marcia & John Mike Cohen ‡ Audrey & Timothy O. Fisher ◊‡ Luci & Rich Janssen ‡ Ellen & Peter O. Johnson Dorothy Largay & Wayne Rosing Lillian Lovelace Justine Roddick & Tina Schlieske Fredric E. Steck ‡ Heather & Tom Sturgess ◊‡

$25,000+ Anonymous (1) Barrie Bergman Meg & Dan Burnham ‡ Annette & Dr. Richard Caleel Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund Deckers Brands Bettina & Glenn Duval G.A. Fowler Family Foundation Irma & Morrie Jurkowitz Marilyn & Dick Mazess Mission Wealth Montecito Bank & Trust Jillian & Pete Muller Jill & Bill Shanbrom Russell Steiner Barbara Stupay Sheila Wald Dr. Bob Weinman Wells Fargo Bank Susan & Bruce Worster Yardi Systems, Inc.

$10,000+ Anonymous (1) Margo Baker Barbakow & Jeffrey Barbakow Mary & Gary Becker ‡ Tracy & Michael Bollag Sheila & Michael Bonsignore Albert & Elaine Borchard Foundation Elizabeth & Andrew Butcher Casa Dorinda Retirement Residence Virginia Castagnola-Hunter Connie Frank Foundation Curvature Christine & Bill Fletcher Julianna Friedman John Gabbert Martha Gabbert Patricia A. Gregory, for the Baker Foundation Eva & Yoel Haller ◊‡ Betsy & Jule Hannaford Lisa & George Hagerman Mandy & Daniel Hochman Melissa & Ralph Iannelli Hollye & Jeff Jacobs Gretchen Lieff Robert Lieff Lisa & Christopher Lloyd Cindy & Steve Lyons Siri & Bob Marshall Kay R. McMillan ‡ Susan McMillan & Tom Kenny ‡ Northern Trust Sharon & Bill Rich

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Patricia & Jim Selbert Suzi & Glen Serbin Laura Shelburne Stephanie & Jim Sokolove The Stone Family Foundation Kirstie Steiner & John Groccia Judy Wainwright & Jim Mitchell Wyatt Technology Corporation Merryl Snow Zegar & Charles Zegar

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 February 28, 2018

Executive Producers Circle $5,000+ Anonymous (4) Judy & Bruce Anticouni ◊ Sarah Argyropoulos Leslie & Ashish Bhutani Paul Blake & Mark Bennett Brillo-Sonnino Family Foundation Nancy Brown Sarah & Roger Chrisman Tana & Joe Christie NancyBell Coe & William Burke ‡ Wendy & Jim Drasdo Virginia Gardner Larry Gottesdiener Samvada Hilow & Jeff Frank Sharyn Johnson Elaine & Herbert Kendall Maia Kikerpill & Daniel Nash Nancy & Linos Kogevinas Suzanne & Duncan Mellichamp Peter R. Melnick Val & Bob Montgomery Dale & Michael Nissenson Leila & Robert Noël Jan Oetinger Stacy & Ron Pulice Mary Beth Riordan Susan Rose & Allan Ghitterman* Anitra & Dr. Jack Sheen Judi & Larry Silverman Linda Stafford-Burrows Betsey von Summer Moller & John Moller Nicole & Kirt Woodhouse Carolyn & Philip Wyatt Crystal & Clifford Wyatt Laura & Geofrey Wyatt

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Anonymous (2) Allyson & Todd Aldrich Roxana & Fred Anson Pat & Evan Aptaker Laurel Beebe Barrack Jill & Arnie Bellowe Hiroko Benko Jennifer & Jonathan Blum Susan E. Bower Susan D. Bowey Karen & Peter Brill Michael Brinkenhoff Wendel Bruss Susan & Claude Case Tara Carson Robin & Daniel Cerf Karla & Richard Chernick Sue & Jay W. Colin Trudy* & Howard Cooperman William B. Cornfield Lilyan Cuttler & Ned Seder DD Ford Construction Ann Daniel Deborah David & Norman A. Kurland Phyllis DePicciotto & Stan Roden Deanna & Jim Dehlsen Jane Delahoyde & Edwin Clark David W. Doner, Jr. Ginni & Chad Dreier Julia Emerson Christine & Robert Emmons Cinda & Donnelley Erdman Olivia Erschen & Steve Starkey Doris & Tom Everhart Miriam & Richard Flacks Bunny Freidus & John Steel Priscilla & Jason Gaines Paul Gauthier Anna & David Grotenhuis Paul Guido & Stephen Blain Laurie Harris & Richard Hecht Donna & Daniel Hone Judith Hopkinson ‡ Andrea & Richard Hutton Jodie Ireland & Chris Baker Shari & George Isaac Carolyn Jabs & David Zamichow Susan & Palmer Jackson Jr. Michelle Joanou Cheryl & G.L. Justice Linda & Sidney Kastner Susan Keller & Myron Shapero Julie & Jamie Kellner Margaret & Barry Kemp Connie & Richard Kennelly Linda & Bill Kitchen ‡ Jill & Barry Kitnick

Carol Kosterka Karen Lehrer & Steve Sherwin Janice Toyo & David Levasheff Chris & Mark Levine Denise & George Lilly Linda & Richard Lynn Maison K Nohl Martin & Stephen Vella Dona & George McCauley Amanda & Jim* McIntyre Ronnie & Chase Mellen Diane Meyer Simon Ginger & Marlin Miller Harriet Mosson & Robert Kohn Maryanne Mott Myra & Spencer Nadler Nanette & Henry Nevins Elizabeth & Charles Newman Joan Pascal & Ted Rhodes Constance Penley Ann & Dante Pieramici Dori Pierson & Chris Carter Anne & Michael* Pless Lisa Reich & Robert Johnson Julie Ringler & Richard Powell Kyra & Tony Rogers Charlie & Dr. Herb Rogove Gayle & Charles Rosenberg Bobbie & Ed Rosenblatt Ginger Salazar & Brett Matthews Dr. William E. Sanson Jo & Ken Saxon Kim Schizas & Mark Linehan Lynda & Mark Schwartz Stephanie & Fred Shuman Joan Speirs Cynthia & Eric Spivey Lynne Sprecher Carol Spungen & Aaron Lieberman* Dale & Gregory Stamos Prudence & Robert Sternin Debra & Stephen Stewart Mary Jo Swalley Denise & James Taylor Leah & Robert Temkin Patricia Toppel Barbara & Samuel Toumayan David Tufts & Chris Dovich Sandra & Sam Tyler Sherry & Jim Villanueva Esther & Tom Wachtell Sue & Bill Wagner Pamela Walsh Alexis & Mike Weaver Kathy & Bill* Weber Judy & Mort Weisman Irene & Ralph Wilson ◊ Winick Architects Linda & Roger Winkelman Deann & Milton Zampelli

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$500+ Christine Allen American Riviera Bank Linda & Peter Beuret Rochelle & Mark Bookspan Cid & Thomas* Frank Beth & Dodd Geiger Susan Gwynne Vikki Hunt Diana Katsenes Lauren & Steve* Katz Danson Kiplagat Elinor & James Langer Fima & Jere Lifshitz

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$100+ Anonymous (2) Dorothy & Peter Abbey Rebecca & Peter Adams Catherine Albanese Lynn & Joel Altschul Vickie Ascolese & Richard Vincent Mickey Babcock

Bernadette Bagley Marsha Barr Virginia Beebe Jon Beeson Carmen Benz Norrine Besser Vail Bixler Vicky Blum & David Lebell David Brown Rachel & Douglas Burbank Jennifer Capps Jane Carlisle Roxanne & John Chapman Carolyn Chandler Mary Elizabeth Claassen Arthur Collier & Robert Greenberg Mary Dase Adrianne & Andrew Davis Gwen & Rodger Dawson Lila Deeds Joan & Thomas Dent Jeffrey Donahue Kari Ann Eiler Susan Epstein Christine Fancher Casey Fang Karen Farr Vanessa Frank Isabel Gaddis Michele & Fred Gallagher Kristy Glisson Janis Gogel Michael Gordon Robert Loring Grant Elizabeth Gray Linda & Robert Gruber Jane Gutman Gayle Hackamack Roger Harrison Shauna Hartley Kristine Herr Len Homeniuk Elizabeth Howe Barbara & Weldon Howell Sam Howland & Michael Freedman David Irwin Martha Inman Lorch & Douglas Lorch Sarah Jacobs Johanna & Brian Johnson MaryAnn Jordan & Alan Staehle Susan Kadner Denise Kale Lois Kaplan Jean Keely Carole Kennedy Nathan Kimmons Jamie Kinser Paula Kislak Kim Kosai

Zoë Landers Martha & William Lannan Carol & Don Lauer Elizabeth Leddy Kathryn Lepage Catherine & Wayne Lewis Scott Lochridge Sheila Lodge Pamela Lombardo Victoria & John Lubbers Arica Lubin Karen Madden Jean Martinis Stacey Matson Ruth & John Matuszeski Cyndi McHale Julie McLeod Teresa McWilliams Donna & Ron Melville Lori K. Meschler Katharine Metropolis & Jeff Richman Joanne Moran & Mitchell Kauffman Troy Mosie Carolyn & Dennis Naiman Susan & Max Neufeldt Jeri & Jeff O’Mahoney Anne & Robert Patterson Dennis J. Perry Tu Pham Jach Pursel & Enrique Dominguez Lynne Marie Quinlan Albert Reid Robin Riblet Mark Rick Adele Rosen Erica Russell Christine Ryerson Alice & Sheldon Sanov Justus & Helen Schlichting Christiane Schlumberger Holly & Lanny Sherwin Joan & Steven Siegel Margo Smith Mark Smith Timothy Snider Margaret Spaniolo & Michael Afshar Susan Speers Elizabeth & K. Martin Stevenson Kristin Jensen Storey Terry & Art Sturz James Taylor Karen Telleen-Lawton Gail & David Teton-Landis Mary Ellen Tiffany Paul Tonkin Lila Trachtenberg & George Handler Linda Turner Marion & Frederick Twichell Emi Umezawa

Kenny Van Zant Christine VanGieson Susan Washing Maryellen & Paul Weisman Dana Webster Matthew Wegrzynowicz Claudia Whitman & Richard Handin Carla Wilson Paul Wilson Margaret & Gordon Wright Theresa Yandell Stephen Yates Gary Yencich *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 The Roddick Foundation Santa Barbara County Office of Arts & Culture Santa Barbara Foundation UCSB Office of Education Partnerships

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 Donovan Cardenas, Assistant Ticket Office Manager 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 Beatrice Martino, Performing Arts Coordinator Hector Medina, Marketing & Communications Production Specialist Bonnie A. Molitor, Chief Financial & Operations Officer Caitlin O’Hara, Senior Writer/Publicist Cathy Oliverson, Director of Education Sandy Robertson, Senior Director of Development & Special Initiatives Isaac Sheets Development Analyst Heather Silva, Programming Manager

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(Continued from page 28) I cannot find words to express my gratitude for my fellow artists’ incredibly moving acts of generosity and support and only hope that I can show thanks through dedicated performances and a continued advocacy of their music. As an extension of the idea of community that created Shared Madness, I hope to pay it forward by continuing to offer free performances of the composers’ works within the communities in which we work and live; and educational workshops for student composers and instrumentalists which encourage and support the intense relationship between composers and performers so that our “shared madness” will continue to inspire the next generation of artists. – Jennifer Koh

Jennifer Koh, violin Violinist Jennifer Koh is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. An adventurous musician, she collaborates with artists of multiple disciplines and curates projects that find connections between music of all eras, from traditional to contemporary. She believes that all the arts and music of the past and present form a continuum and has premiered more than 60 works written especially for her. Koh has been heard with leading orchestras worldwide, including the New York, Los Angeles and Helsinki Philharmonics; Cleveland, Mariinsky, Minnesota, Philadelphia and Philharmonia (London) Orchestras; and Atlanta, Baltimore, BBC, Chicago, Cincinnati, National, New World, NHK, RAI (Torino) and Singapore Symphonies. This season, she returns to the Indianapolis, Milwaukee, Nashville and Sydney Symphonies and the Los Angeles Chamber Orchestra. She also performs a new concerto by Christopher Cerrone, written for her New American Concerto commissioning project, with the Detroit Symphony Orchestra. Through commissions from a diverse collective of composers, this multi-season project explores the form of the violin concerto and its potential for artistic engagement with contemporary societal concerns and issues. The project launched at the 2017 Ojai Music Festival with the premiere of Vijay Iyer’s concerto Trouble.

more than 30 short solo works that explore violin virtuosity in the 21st century; Bridge to Beethoven, a recital series with pianist Shai Wosner exploring the impact Beethoven has had on a diverse group of artists, pairing the composer’s sonatas for violin and piano with new works by composers Anthony Cheung, Vijay Iyer and Andrew Norman; and Bach and Beyond, which traces the history of the solo violin repertoire from Bach’s six Sonatas and Partitas to works by contemporary composers, including new commissions from John Harbison, Phil Kline, Missy Mazzoli, Kaija Saariaho and video artist Tal Rosner. She continues all of these projects in recital during the 2017-18 season and also recently expanded Shared Madness with a web series on WQXR’s New Sounds (formerly Q2 Music), featuring her interviews with project composers. Koh’s discography for Cedille Records includes Tchaikovsky: Complete Works for Violin and Orchestra with the Odense Symphony Orchestra conducted by Alexander Vedernikov; Bach & Beyond: Parts 1 & 2; Two x Four with her former teacher, violinist Jaime Laredo; Signs, Games + Messages with Shai Wosner; Rhapsodic Musings: 21st Century Works for Solo Violin; the Grammy Awardnominated String Poetic; Portraits with the Grant Park Orchestra under conductor Carlos Kalmar with concerti by Bartók, Martinů and Szymanowski; Violin Fantasies; and Solo Chaconnes. Born in Chicago of Korean parents, Koh began playing the violin by chance, choosing the instrument in a Suzukimethod program only because spaces for cello and piano had been filled. She made her debut with the Chicago Symphony Orchestra at age 11, and went on to win the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition and an Avery Fisher Career Grant. In 2016, she was Musical America’s Instrumentalist of the Year. She has a degree in English literature from Oberlin College and studied at the Curtis Institute, where she worked with Jaime Laredo and Felix Galimir. She is artistic director of arco collaborative, an artist-driven nonprofit that fosters a better understanding of our world through a musical dialogue inspired by ideas and the communities around us. For further information, visit jenniferkoh.com.

This season, in addition to her New American Concerto project, Koh launches Limitless, which celebrates the collaborative relationship between composer and performer through duo commissions and contemporary works performed by Koh and the composers themselves. She also continues such projects as Shared Madness, comprising

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Joey Alexander Trio Joey Alexander, piano Kristopher Funn, bass Jonathan Blake, drums

photo: Carol Friedman

Sun, Apr 29 / 7 PM (note special time) / Campbell Hall

Event Sponsors: Jody & John Arnhold Elizabeth & Andrew Butcher

Joey Alexander, piano Too often, talented young artists succumb to believing so much in their own ability that they lose sight of their true potential as significant contributors to their field. Thankfully, there are others committed to evolving and lifting the music to new levels of appreciation with enthusiasm, engagement and emotional depth. Enter pianist Joey Alexander. At the age of 14, he has already recorded two Grammy Award-nominated studio albums – 2015’s My Favorite Things and 2016’s Countdown – as well as Joey.Monk.Live!, a critically-acclaimed surprise release from late 2017 to honor Thelonious Monk’s centennial. With his third studio effort Eclipse, his most personal statement to date, Joey takes another giant step forward, demonstrating his aptitude as a composer, bandleader and musician, hinting at the many artistic paths open to him in the decades ahead. Eclipse, recorded over a three-day period beginning on the day of the solar eclipse of 2017, features the pianist with a stellar rhythm section of bassist Reuben Rogers and drummer Eric Harland as well as guest appearances by saxophonist Joshua Redman on three tracks. The program ranges from jazz classics penned by John Coltrane and Bill Evans to the Beatles’ hit “Blackbird” and a reverent gospel reimagining of the 1875 hymn “Draw Me Nearer.” Most importantly though, Eclipse showcases Alexander’s significant progress as an astute composer, writing six of the 11 tunes. Born in 2003 in Bali, Alexander lived in Jakarta from age 8-10 and then moved to New York City in 2014, where he

has experienced one of the most ascendant careers ever seen in jazz. Jason Olaine, a Grammy Award-winning producer who serves as director of programming for Jazz At Lincoln Center and has produced all four of Alexander’s albums, says he continues to be impressed by the pianist’s fantastic gift. “Joey is such a huge talent coming out of a young player, however he wants to create and have fun by playing. It’s not about the accolades or the applause.” He added, “Eclipse shows what an amazing journey Joey has been on, and he’s playing with an openness and clarity.” “Joey has an infectious sense of play and a deep fascination with the kaleidoscopic possibilities of jazz,” says Motema founder Jana Herzen, who signed the artist at age 10. “What an amazing adventure these four years have been with Joey. Each album his musicality gets deeper and broader. Last year with Joey.Monk.Live!, his sophisticated and vibrant approach to the music of one of the most recorded and respected composers in jazz inspired even the toughest of critics to tip their hats. Now, with Eclipse, he’s emerging as a multi-dimensional composer. I can’t wait to hear what happens next.” For Eclipse, Joey, his family and producer Jason Olaine decided to change the recording setting from the bustling city to the peaceful Dreamland Studios in upstate New York. “That was a totally different vibe,” says Alexander. “Everything was green and it felt like home. It was a relaxing time for all of us. It was a good change. I found inspiration there.”

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

With the release of Eclipse, Joey Alexander has created an ever more personal and powerful statement of his musical and artistic vision. His work continues to draw from his inspirations of the past, while putting his own progressive stamp on the music by constantly exploring, both on stage and in the studio.

Kristopher Funn, bass Kristopher Funn was born and raised in Baltimore, Md. He began playing the trumpet at age 4 and took up the double bass at age 14, upon entering high school. Through the instruction of his father, Charles Funn, he performed his first professional bass gig the same year he began learning the instrument. Other early accomplishments included winning the “unsung hero” at the Fish Middleton jazz competition at the East Coast Jazz festival also in the first year of instruction. At age 18, Funn attended Howard University to study computer science while also performing in the Howard University Jazz Ensemble for two years. After graduating with an honors degree in computer science, Funn decided to pursue a career as a professional jazz musician, performing in several venues in the BaltimoreWashington metropolitan area. At age 23, Funn began touring internationally with alto saxophonist Kenny Garrett. Since then, he has traveled to every major jazz festival in the world, touching six continents and performing with artists including Christian Scott, Nicholas Payton, Benny Golson, Bruce Williams, Warren Wolf, Sean Jones, Pharoah Sanders, Jeff Lorber, Kamasi Washington, Joey Alexander and many others. Funn has appeared on several recordings including the Christian Scott albums Yesterday You Said Tomorrow, Christian aTunde Adjuah and Stretch Music. Funn recently released his debut album, Cornerstore, and he continues to perform professionally in the Washington D.C. area when not touring internationally. www.funndamentals.com www.cornerstoremusic.com

Jonathan Blake, drums Born in Philadelphia in 1976, Johnathan Blake is the son of renowned jazz violinist John Blake, Jr., a stylistic chameleon and an important ongoing influence. After beginning on drums at age 10, Blake gained his first performing experience with the Lovett Hines Youth Ensemble, led by the renowned Philly jazz educator. It was during this period, at Hines’s urging, that Blake began to compose his own music. Later he worked with saxophonist Robert Landham in a youth jazz ensemble at Settlement Music School. Blake graduated from George Washington High School and went on to attend the highly respected jazz program at William Paterson University, where he studied with Rufus Reid, John Riley, Steve Wilson and Horace Arnold. He also began working professionally with the Oliver Lake Big Band, Roy Hargrove and David Sanchez. In 2006, he was recognized with an ASCAP Young Jazz Composers Award, and in 2007 he earned his Masters from Rutgers University, focusing on composition. He studied with the likes of Ralph Bowen, Conrad Herwig and Stanley Cowell. Deeply aware of Philadelphia’s role as a historical nerve center of American music, Blake has immersed himself in the city’s storied legacy – not only jazz, but also soul, R&B and hip-hop. In many ways, he’s an heir to Philadelphia drum masters such as Philly Joe Jones, Bobby Durham, Mickey Roker and Edgar Bateman, not to mention younger mentors including Byron Landham, Leon Jordan and Ralph Peterson, Jr. Today, Blake is himself an exponent of the Philadelphia sound, described by Aidan Levy of JazzTimes as “the vertiginous sensation of being both slightly behind the beat and hurtling into the next measure.” Approaches like this, one might add, can only be learned by sitting at Mickey Roker’s right hand and absorbing exactly how the ride cymbal is struck. Such is the painstaking firsthand exploration that undergirds and informs Blake’s musicianship. Blake’s playing helped the Mingus Big Band land Grammy nominations for the albums Tonight at Noon (2002) and I Am Three (2005). It has also earned Blake spots in groups led by Russell Malone, Randy Brecker, Joe Locke, Ronnie Cuber and other seasoned jazz veterans. As trumpet great Brian Lynch has said, “Johnathan Blake is without peer among young drummers for the clarity of his beat and the incisiveness of his swing.” His forward-thinking vision as a leader and ability to harness the varied talents of his bandmates made his 2012 album The Eleventh Hour one of the strongest debuts in recent memory and surely the first of many fine efforts to follow.

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Anthony Doerr In Conversation with Pico Iyer

photo: Todd Meier

Thu, May 3 / 7:30 PM / Campbell Hall

Sponsored in part by Virginia Castagnola-Hunter Distinguished Visiting Fellow in the UCSB College of Creative Studies

Anthony Doerr Since the publication of his first story collection, The Shell Collector, in 2002, Anthony Doerr has been lauded for his lyricism, his precise attention to the physical world and his gift for metaphor. Tamara Straus, a reviewer for the San Francisco Chronicle, characterized Doerr’s literary ancestry as a combination of “Henry David Thoreau (for his pantheistic passions) and Gabriel García Márquez (for his crystal-cut prose and dreamy magic realism).” Doerr’s latest novel, the runaway New York Times bestseller All the Light We Cannot See, won the Pulitzer Prize for Fiction and the Carnegie Medal for Excellence in Fiction and was a finalist for the National Book Award. The novel was on over a dozen year-end lists, including Barnes & Noble, Slate, NPR’s Fresh Air, Entertainment Weekly, The Guardian, Kirkus, The New York Times, The Washington Post and The Christian Science Monitor. Doerr’s other works include About Grace, the story of a scientist who flees the country after having a premonition that he causes the accidental death of his baby daughter; his memoir Four Seasons in Rome; and Memory Wall, a story collection that grapples with issues of preservation and extinction, permanence and evanescence. Doerr’s fiction has been translated into more than 40 languages and is anthologized in The Best American Short Stories, The Anchor Book of New American Short Stories and The Scribner Anthology of Contemporary Fiction. He has won the Rome Prize from the American Academy of Arts and

Letters, the Story Prize and the Sunday Times EFG Short Story Award. He is currently working on two novels, one set in 15th-century Europe and another set in the future.

Pico Iyer Pico Iyer is the author of two novels and ten works of non-fiction, including such long-running bestsellers as Video Night in Kathmandu, The Lady and the Monk, The Art of Stillness and his meditation on 34 years spent talking with the XIVth Dalai Lama, The Open Road. For more than a quarter-century he has been a constant contributor to Time, The New York Times, Harper’s and more than 200 magazines around the world. He has also written a screenplay for Miramax, several liner notes for Leonard Cohen and the introductions to more than 60 books. His books have been translated into 23 languages and his three TED Talks over the past five years have received more than 7 million views so far. Books by both authors are available for purchase in the lobby and a signing follows the event

Special thanks to

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Commissioned in part by UCSB Arts & Lectures

Mark Morris Dance Group Sgt. Pepper at 50: Pepperland Thu, May 10 / 8 PM / Granada Theatre Event Sponsor: G.A. Fowler Family Foundation

photo: Gareth Jones

Additional Support: Marilyn & Dick Mazess Dance Series Sponsors: Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Robert Feinberg and the Cohen Family Fund, Irma & Morrie Jurkowitz, Barbara Stupay Related Thematic Learning Initiative Event (see page 8)

This eveningâ&#x20AC;&#x2122;s program will be performed without an intermission.

Mark Morris Dance Group

Mica Bernas, Sam Black, Durell R. Comedy, Brandon Cournay*, Domingo Estrada, Jr., Lesley Garrison, Lauren Grant, Sarah Haarmann, Brian Lawson, Aaron Loux, Laurel Lynch, Dallas McMurray, Brandon Randolph, Nicole Sabella, Christina Sahaida*, Billy Smith, Noah Vinson *apprentice

MMDG Music Ensemble

Clinton Curtis, Colin Fowler, Jacob Garchik, Ethan Iverson, Sam Newsome, Rob Schwimmer, Vincent Sperrazza Mark Morris, Artistic Director Nancy Umanoff, Executive Director Major support for the Mark Morris Dance Group is provided by American Express, Anonymous, Beyer Blinder Belle Architects & Planners, LLP, Morley and Frederick Bland, Booth Ferris Foundation, Allan and Rhea Bufferd, Suzy Kellems Dominik, Doris Duke Charitable Foundation, Doris Duke Foundation for Islamic Art, Judith R. and Alan H. Fishman, Shelby and Frederick Gans Fund, Isaac Mizrahi & Arnold Germer, Howard Gilman Foundation, Hearst Foundation, Sandy Hill, Ellsworth Kelly Foundation, Elizabeth Liebman, The Pierre and Tana Matisse Foundation, Suzanne Berman and Timothy J. McClimon, McDermott, Will & Emery, The Andrew W. Mellon Foundation, Meyer Sound/Helen and John Meyer, Stavros Niarchos Foundation, Ellen and Arnold Offner, Sarabeth Berman and Evan Osnos, PARC Foundation, Poss-Kapor Family Foundation, Diane Solway and David Resnicow, Resnicow + Associates, Jennifer P. Goodale and Mark Russell, Margaret Conklin and David Sabel, The Fan Fox and Leslie R. Samuels Foundation, Iris Cohen and Mark Selinger, The SHS Foundation, The Shubert Foundation, Jane Stine and R.L. Stine, The White Cedar Fund and Friends of MMDG.

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Pepperland Music: Original songs by The Beatles, arr. by Ethan Iverson* Original compositions by Ethan Iverson† Choreography: Mark Morris Set Design: Johan Henckens Costume Design: Elizabeth Kurtzman Lighting Design: Nick Kolin Assistant to Mr. Morris: Aaron Loux “Sgt. Pepper’s Lonely Hearts Club Band”* “Magna Carta”† “With a Little Help from My Friends”* “Adagio”† “When I’m Sixty-Four”* “Allegro”† “Within You Without You”* “Scherzo”† “Wilbur Scoville”† “Penny Lane”* “A Day in the Life”* “Sgt. Pepper’s Lonely Hearts Club Band”*

Clinton Curtis, vocals; Sam Newsome, soprano sax; Jacob Garchik, trombone; Rob Schwimmer, theremin; Ethan Iverson, piano; Colin Fowler, keyboard; Vincent Sperrazza, percussion Dancers: Mica Bernas, Sam Black, Brandon Cournay, Domingo Estrada, Jr., Lesley Garrison, Lauren Grant, Sarah Haarmann, Brian Lawson, Laurel Lynch, Dallas McMurray, Brandon Randolph, Nicole Sabella, Christina Sahaida, Billy Smith, Noah Vinson Original music by The Beatles. All Rights Reserved. Used by permission from Sony Music Publishing.

Pepperland is a Mark Morris Dance Group production in association with UCSB Arts & Lectures, Santa Barbara, Calif.; American Dance Festival, Durham, N.C.; BAM, Brooklyn, N.Y.; Banff Centre for Arts and Creativity with the Sony Centre, Toronto, Canada; Cal Performances, UC Berkeley, Calif.; Celebrity Series of Boston, Mass.; The City of Liverpool, England, U.K.; Dance Consortium UK; Hopkins Center for the Arts, Dartmouth College, Hanover, NH; International Festival of Arts & Ideas, New Haven, Conn.; The John F. Kennedy Center for the Performing Arts, Washington, D.C.; Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign; La Jolla Music Society, La Jolla, Calif.; Meyer Sound, Berkeley, Calif.; Seattle Theatre Group, Seattle, Wash.; Segerstrom Center for The Arts, Costa Mesa, Calif.; and White Bird, Portland, Ore. Pepperland is supported in part by Friends of MMDG, the Howard Gilman Foundation, PARC Foundation and New Music USA. Music commissioned by the Charles and Joan Gross Family Foundation. The premiere engagement was supported by funding from the Mid-Atlantic Arts Foundation through USArtists International in partnership with the National Endowment for the Arts, the Andrew W. Mellon Foundation and the Howard Gilman Foundation.

Notes on the Score by Ethan Iverson It was Fifty Years Ago Today

“Sgt. Pepper’s Lonely Hearts Club Band” – The original album ended with an unprecedented effect, a very long chord. 50 years later, perhaps a similar chord is good place to begin… “Magna Carta” – A formal invocation of personalities from the LP cover.

“With a Little Help from My Friends” – When Ringo sang it, he was on top of the world. Our version is more vulnerable. “Adagio” – In the age of Tinder, a Lonely Heart advertisement might seem hopelessly quaint. But everyone has always needed to find a match.

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“When I’m Sixty Four” – In between six and four is five. All three (counts to the bar) are heard beneath the music-hall scuffle. “Allegro” – A single offhand line of trombone from “Sgt. Pepper” germinates into a full-fledged sonata form. “Within You Without You” – George Harrison’s sincere study of Indian music aligns easily with another Harrison interested in bringing the East to the West: the great composer Lou Harrison, one of Mark Morris’ most significant collaborators. The hippie-era sentiment of the lyric remains startlingly fresh and relevant today. “Scherzo” – Glenn Gould said he preferred Petula Clark to the Beatles. Apparently Gould, Clark and a chord progression from “Sgt. Pepper” all seem to have inspired this mod number. “Wilbur Scoville” – The first thing we hear on the LP is a guitar blues lick, here transformed into a real blues for the horns to blow on. Wilbur Scoville invented the scale to measure heat in hot sauce: The original Sergeant Pepper? “Cadenza” – After seeing Bach’s Brandenburg 2 on the telly, Paul McCartney came into the studio and told George Martin to add piccolo trumpet to “Penny Lane.” Indeed, detailed references to European classical music are one reason so many Beatles songs still stump the average cover band. “Penny Lane” – Not on Sgt. Pepper, but nonetheless originally planned to be, and of course, especially relevant to the city of Liverpool. “A Day In the Life” – Theremin nocturne, vocal descant, apotheosis. “Sgt. Pepper’s Lonely Hearts Club Band” – Another unprecedented effect on original LP was a reprise of the first theme, which is part of why it is called the first “concept album.” Our later vantage point enables us to project into the next decade, the ’70s, and conjure a disco ball. Thank you, Beatles! Thank you, Sgt. Pepper!

Investing in Dance: The Support That Makes Pepperland Possible by Ryan Wenzel, New York-based writer and editor It takes a long time to bring a work like Mark Morris’ Pepperland to the stage. The steps are many: composing and arranging the music, choreographing the movement, rehearsing the dancers and musicians, designing the decor, lighting and sound. Seldom mentioned is the funding required to set it all in motion. Dance companies often rely on support from foundations and individual donors to fund new works, and only after the premiere convince presenters to schedule performances. Mark Morris Dance Group, however, has developed a model that is unusual in the dance world, whereby multiple arts institutions join together to commission a piece – often years before it will reach their stages. This approach began with Mozart Dances (2006), a three-way commission, and grew over time with Romeo and Juliet (2008), Acis and Galatea (2014) and Layla and Majnun (2016). It reaches unprecedented scale with Pepperland, which received advance funding from no fewer than 17 institutions. They span the United States, Canada, and the United Kingdom; are based in towns, cities and on university campuses; and include both non-profit and for-profit entities. “The support provided by these institutions sustains us and shows their unique understanding of the hidden costs involved with creating dance works of this size,” says Nancy Umanoff, executive director of the Mark Morris Dance Group. This funding model serves the commissioning partners well, too, and is based largely on Morris’ importance and the trust they have in his work. “Like all arts organizations, we need to be careful about how we marshal our resources. But the excellence that Mark represents is at the heart of what we do, so we support it wholeheartedly,” says Matias Tarnopolsky, director of Cal Performances at the University of California, Berkeley, which has worked with Morris and his dancers for three decades. Mike Ross, director of the Krannert Center for the Performing Arts of the University of Illinois at Urbana-Champaign, echoes Tarnopolsky and adds that the Dance Group’s offstage outreach has also been crucial in furthering their close-knit relationship. “In addition to annual performances, they have brought workshops and other activities to our campus and to the local population at large,” says Ross. “Because they have become part of our community, it is easy for us to support them and their work on this level.”

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A separate community – one with a reputation for supporting superior new work – has coalesced around the commissioning organizations themselves, enticing others to join. Pepperland marks the Banff Centre’s first commission of a Morris work, yet there are no plans for the piece to be performed on its stages in Alberta, Canada; It will instead, by arrangement with the Banff Centre, play at the Sony Centre in Toronto, more than 2,000 miles away. “We wanted to support Mark and his company, of course, but also for audiences to know that we support work of this caliber alongside other great organizations,” says Janice Price, the Banff Centre’s president. “It is incredibly rewarding to be seen as part of the ecosystem that makes this happen.” And if history is any indication, that ecosystem will only continue to strengthen and grow.

About the Artists Mark Morris (Artistic Director) was born on August 29, 1956, in Seattle, Washington, where he studied with Verla Flowers and Perry Brunson. In the early years of his career, he performed with the companies of Lar Lubovitch, Hannah Kahn, Laura Dean, Eliot Feld and the Koleda Balkan Dance Ensemble. He formed the Mark Morris Dance Group (MMDG) in 1980, and has since created over 150 works for the company. From 1988 – 1991, he was director of dance at Brussels’ Théâtre Royal de la Monnaie, the national opera house of Belgium. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov. Much in demand as a ballet choreographer, Morris has created 22 ballets since 1986 and his work has been performed by companies worldwide, including San Francisco Ballet, American Ballet Theatre, Ballet du Grand Théâtre de Genève and the Royal New Zealand Ballet. Noted for his musicality, Morris has been described as “undeviating in his devotion to music” (The New Yorker). He began conducting performances for MMDG in 2006 and has since conducted at Tanglewood Music Center, Lincoln Center and BAM (Brooklyn Academy of Music). He served as music director for the 2013 Ojai Music Festival. He also works extensively in opera, directing and choreographing productions for the Metropolitan Opera, New York City Opera, English National Opera and The Royal Opera, Covent Garden, among others. He was named a fellow of the MacArthur Foundation in 1991 and has received 11 honorary doctorates to date. He has taught at the University of Washington, Princeton University and Tanglewood Music Center. He is a member of the American Academy of Arts and Sciences and the American Philosophical Society and has served as an advisory board member for the Rolex Mentor and Protégé Arts Initiative. Morris has received the Samuel H. Scripps/American Dance

Festival Award for Lifetime Achievement, the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, the Benjamin Franklin Laureate Prize for Creativity, the International Society for the Performing Arts’ Distinguished Artist Award, Cal Performances’ Award of Distinction in the Performing Arts, the Orchestra of St. Luke’s Gift of Music Award and the 2016 Doris Duke Artist Award. In 2015, Mark Morris was inducted into the Mr. and Mrs. Cornelius Vanderbilt Whitney Hall of Fame at the National Museum of Dance in Saratoga Springs, New York Morris opened the Mark Morris Dance Center in Brooklyn, New York, in 2001 to provide a home for his company, rehearsal space for the dance community, outreach programs for children and seniors and a school offering dance classes to students of all ages and abilities. Mark Morris Dance Group (MMDG) was formed in 1980 and gave its first performance that year in New York City. The company’s touring schedule steadily expanded to include cities in the United States and around the world, and in 1986, it made its first national television program for the PBS series Dance in America. In 1988, MMDG was invited to become the national dance company of Belgium and spent three years in residence at the Théâtre Royal de la Monnaie in Brussels. The Dance Group returned to the United States in 1991 as one of the world’s leading dance companies. Based in Brooklyn, New York, MMDG maintains strong ties to presenters in several cities around the world, most notably to its West Coast home, Cal Performances in Berkeley, California, and its Midwest home, the Krannert Center for the Performing Arts at the University of Illinois at UrbanaChampaign. MMDG also appears regularly in New York, Boston, Seattle and Fairfax. In New York, the company has performed at New York City Center’s Fall for Dance Festival, regularly performs at Lincoln Center for the Performing Arts’ Mostly Mozart and White Light Festivals and collaborates yearly with BAM on performances and master classes. From the company’s many London seasons, it has received two Laurence Olivier Awards and a Critics’ Circle Dance Award for Best Foreign Dance Company. Reflecting Morris’ commitment to live music, the Dance Group has featured live musicians in every performance since the formation of the MMDG Music Ensemble in 1996. MMDG regularly collaborates with renowned musicians including cellist Yo-Yo Ma, pianist Emanuel Ax, mezzo-soprano Stephanie Blythe and jazz trio The Bad Plus as well as with leading orchestras and opera companies including the Metropolitan Opera, English National Opera and the London Symphony Orchestra. MMDG frequently works with distinguished artists and designers including painters Howard Hodgkin and Robert Bordo, set designers Adrianne Lobel and Allen Moyer, costume designers Martin Pakledinaz and Isaac

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Mizrahi and many others. MMDG’s film and television projects include Dido and Aeneas, The Hard Nut, Falling Down Stairs, two documentaries for the U.K.’s South Bank Show and PBS’ Live from Lincoln Center. In 2015, Morris’ signature work L’Allegro, il Penseroso ed il Moderato had its national television premiere on PBS’ Great Performances. While on tour, the Dance Group partners with local cultural institutions and community organizations to present arts and humanities-based activities for people of all ages and abilities. MMDG Music Ensemble, formed in 1996, is integral to the Dance Group. “With the dancers come the musicians… and what a difference it makes” (Classical Voice of North Carolina). The Ensemble’s repertory ranges from 17th- and 18th-century works by John Wilson and Henry Purcell to more recent scores by Lou Harrison, Henry Cowell and Ethan Iverson. The musicians also participate in the Dance Group’s educational and community programming at home and on tour. The Music Ensemble is led by Colin Fowler, who began to collaborate with MMDG in 2005 during the creation of Mozart Dances. Ethan Iverson (composer, arranger, piano) was a founding member of The Bad Plus (TBP), a game-changing collective with Reid Anderson and David King. The New York Times called TBP “Better than anyone at melding the sensibilities of post-’60s jazz and indie rock.” During his 17-year tenure, TBP performed in venues as diverse as the Village Vanguard, Carnegie Hall and Bonnaroo; collaborated with Joshua Redman, Bill Frisell and the Mark Morris Dance Group; and created a faithful arrangement of Stravinsky’s The Rite of Spring and a radical reinvention of Ornette Coleman’s Science Fiction. Iverson has also been in the critically-acclaimed Billy Hart Quartet for more than a decade, and he occasionally performs with an elder statesman like Albert “Tootie” Heath or Ron Carter. For almost 15 years, Iverson’s blog Do the Math has been a repository of musician-to-musician interviews and analysis, surely one reason Time Out New York selected Iverson as one of 25 essential New York jazz icons: “Perhaps NYC’s most thoughtful and passionate student of jazz tradition – the most admirable sort of artist-scholar.” More recently Iverson has been writing about jazz for the New Yorker. In 2017, Iverson co-curated a major centennial celebration of Thelonious Monk at Duke University and in 2018 he will be premiering an original piano concerto with the American Composers Orchestra and releasing a duo album with Mark Turner on ECM Records. Many years ago, Iverson was the Mark Morris Dance Group’s musical director and is thrilled to be back in the pit for MMDG again!

Mark Morris Dance Group Staff Artistic Director: Mark Morris Executive Director: Nancy Umanoff

Production

Director of Technical Production: Johan Henckens Music Director: Colin Fowler Lighting Supervisor: Nick Kolin Sound Supervisor: Rory Murphy Costume Coordinator: Stephanie Sleeper

Administration

Chief Financial Officer: Elizabeth Fox Finance Manager: Natalia Kurylak Human Resources Manager: Rebecca Hunt IT Director: Aleksandr Kanevskiy Company Manager: Jen Rossi Associate General Manager: Geoff Chang Management Assistant: Julia Weber Archive Project Manager: Stephanie Neel Archive Project Associate: Sandra Aberkalns Archive Project Assistant: Regina Carra Retail Store Manager/Administrative Assistant: Marianny Loveras Intern: Carmel St. Hilaire

Development

Director of Development: Michelle Amador Manager of Institutional Giving: Sophie Mintz Development Associate: Makayla Santiago

Marketing

Director of Marketing: Karyn LeSuer Marketing and Communications Associate: Julie Dietel Web and Social Media Coordinator: Jolleen Richards Marketing Fellow: Kiana Carrington

Education

Director of Education: Sarah Marcus School Director: Kelsey Ley Education Programs Coordinator: Rachel Merry Community Education Programs Manager: Alexandra Rose Education Programs Assistant: Jessica Pearson Education Fellow: Alexandria Ryahl Outreach Director: Eva Nichols Dance for PD® Program Director: David Leventhal Dance for PD® Programs and Engagement Manager: Maria Portman Kelly Dance for PD® Programs Assistant: Amy Bauman Dance for PD® Interns: Kailey McLaughlin, Rachel Stanislawczyk

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Dance Center Operations

Operations Manager: Elise Gaugert Facilities Manager: Mark Sacks Rental Programs Manager: Annie Woller Operations Coordinator: Aria Roach Operations Fellow: Claire Kim Front Desk Manager: Tamika Daniels Front Desk Supervisor: Dominique Terrell Front Desk Associates: Hunter Darnell, Mario Flores, Jr., Roxie Maisel, Tiffany McCue, Kareem Woods Maintenance: Jose Fuentes, Hector Mazariegos, Orlando Rivera, Virginia Ross, Arturo Velazquez Booking Representation: Michael Mushalla, Double M Arts & Events Media and General Consultation Services: William Murray, Better Attitude, Inc. Legal Counsel: Mark Selinger, McDermott, Will & Emery Accountant: O’Connor Davies, Munns & Dobbins, LLP Orthopedist: David S. Weiss, M.D., NYU Langone Medical Center Physical Therapist: Marshall Hagins, PT, PhD Hilot Therapist: Jeffrey Cohen Thanks to Maxine Morris. Sincerest thanks to all the dancers for their dedication, commitment and incalculable contribution to the work. Additional support provided by Amazon, Kenneth Aidekman Family Foundation, The Amphion Foundation, Inc., Arnow Family Fund, Lily Auchincloss Foundation, Inc., Bossak/Heilbron Charitable Foundation, Carali Foundation, Chervenak-Nunnalle Foundation, Con Edison, Joseph and Joan Cullman Foundation for the Arts, Inc., Dau Family Foundation, The Gladys Krieble Delmas Foundation, Estée Lauder Companies, ExxonMobile Corporate Matching Gift Program, Google Matching Gift Program, The Charles and Joan Gross Family Foundation, Guggenheim Partners Matching Gifts, The Harkness Foundation for Dance, Marta Heflin Foundation, IBM Corporation Matching Gifts Program, Jaffe Family Foundation, JP Morgan Chase, Kinder Morgan Foundation, The Langworthy Foundation, Leatherwood Foundation, The John D. and Catherine T. MacArthur Foundation, Materials for the Arts, Mid Atlantic Arts Foundation, Morgan Stanley & Co., Harris A. Berman & Ruth Nemzoff Family Foundation, New Music USA, The L. E. Phillips Family Foundation, The Pinkus Foundation, Jerome Robbins Foundation, Rolex, Billy Rose Foundation, Inc., San Antonio Area Foundation, Schneer Foundation, SingerXenos Wealth Management, Laurie M. Tisch Illumination Fund, Trust for Mutual Understanding, Viad Corp, and Zeitz Fund.

Production Credits

Costumes built by Eric Winterling, Inc. “A Day in the Life,”“Penny Lane,”“Sgt. Pepper’s Lonely Hearts Club Band,” “When I’m Sixty-Four,”“With a Little Help from My Friends” by John Lennon and Paul McCartney “Within You Without You” by George Harrison Pepperland ©2017 Discalced, Inc. For more information contact: Mark Morris Dance Group 3 Lafayette Avenue Brooklyn, NY 11217-1415 (718) 624-8400 www.mmdg.org facebook: markmorrisdancegroup twitter: markmorrisdance instagram : markmorrisdance snapchat : markmorrisdance youtube: Mark Morris Dance Group blogger: Mark Morris Dance Group Sign up for inside news from the Mark Morris Dance Group. Go to mmdg.org/join-email-list or text “MMDG” to 555888. 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

The Mark Morris Dance Group is supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, Mayor Bill de Blasio, Brooklyn Borough President Eric L. Adams, Council Member Helen Rosenthal, the New York City Department for the Aging, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the National Endowment for the Arts. The Mark Morris Dance Group is a member of Dance/USA and the Downtown Brooklyn Arts Alliance.

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

The Weepies

Hideaway 10 Year Anniversary Tour

photo: Robert Sebree

Fri, May 11 / 8 PM / Campbell Hall

Singer-songwriters Deb Talan and Steve Tannen began writing together the night they met, and soon formed indie band The Weepies. On the strength of their simple yet insightful songwriting and distinctive harmonies, they quietly sold more than 1.5 million records with more than 90 million streams on Spotify, 30+ million views on YouTube and more than 110,000 social media followers. They married and had three children, rarely touring but continuing to release their music: five records over seven years. Just before Christmas 2013, when their youngest son was 17 months old, Deb Talan was diagnosed with stage 3 breast cancer. She was in chemo by New Year’s Eve. The couple was unable to travel while Talan was in treatment, so they worked at home, inviting guest musicians to record remotely wherever each musician happened to be, resulting in an unlikely superstar backing band. Players from across the spectrum jumped in, including: Pete Thomas and Steve Nieve (Elvis Costello), Gerry Leonard (David Bowie), Rami Jaffee (Foo Fighters), Tony Levin (Peter Gabriel), Oliver Kraus (Sia) and Matt Chamberlain (Pearl Jam), as well as veteran Weepies compatriots Frank Lenz, Eli Thomson, Jon Flaugher, Meg Toohey and Whynot Jansveld, plus a horns section from New Orleans.

After The Weepies had officially finished the album, and Talan was in recovery, they continued to record remotely with their phenomenal backing musicians for fun, eventually adding a cover of Tom Petty’s “Learning to Fly” and a version of Irish balladeer Mark Geary’s “Volunteer” to the final album. “No one song could capture that year,” says Tannen. “16 seems like a lot to release at once, but each song reflects a different angle of that long, suspended moment. They hang together like a bunch of photographs from a certain time. It was intense, but there was beauty and inspiration, too. Deb made it back. And we’re still here.” Now, to mark the 10th anniversary of their first entrance onto the Billboard charts – 2008’s Hideaway – The Weepies are headlining 22 shows across the U.S. with their band. “We never got to tour behind the original Hideaway record,” says Steve. “For the stars to align 10 years later feels magical.” Special thanks to

In 2014, Talan beat cancer, and The Weepies recorded the best album of their career. Coming back from the edge sharpened their skills and focus. At 16 songs and almost an hour long, Sirens shows a band at the height of its powers.

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An Evening with

Audra McDonald Tue, May 15 / 7 PM / Granada Theatre

photo: Autumn de Wilde

Andrew Einhorn, piano Gene Lewin, drums Mark Vanderpoel, bass

Program will be announced from the stage.

Audra McDonald is unparalleled in the breadth and versatility of her artistry as both a singer and an actress. The winner of a record-breaking six Tony Awards, two Grammy Awards and an Emmy Award, she was named one of Time magazine’s 100 most influential people of 2015 and received a 2015 National Medal of Arts – America’s highest honor for achievement in the arts – from President Barack Obama.

in the Sun and Lady Day at Emerson’s Bar & Grill. In 2018, she joins the cast of The Good Fight for the second season of the CBS All Access original drama series. On film, she has appeared in Seven Servants, The Object of My Affection, Cradle Will Rock, It Runs in the Family, The Best Thief in the World, She Got Problems, Rampart, Ricki and the Flash, Disney’s live-action Beauty and the Beast and the movie-musical Hello Again.

In addition to her Tony Award-winning performances in Carousel, Master Class, Ragtime, A Raisin in the Sun, The Gershwins’ Porgy and Bess and Lady Day at Emerson’s Bar & Grill – the role which also served as the vehicle for her 2017 debut on London’s West End – McDonald has appeared on Broadway in The Secret Garden, Marie Christine (Tony nomination), Henry IV, 110 in the Shade (Tony nomination) and Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed.

An exclusive recording artist for Nonesuch Records, she has released five solo albums for the label. McDonald also maintains a major career as a concert artist, regularly appearing on the great stages of the world and with leading international orchestras. Of all her many roles, her favorites are the ones performed offstage: passionate advocate for equal rights and homeless youth, wife to actor Will Swenson and mother to her children.

The Juilliard-trained soprano’s opera credits include La voix humaine and Send at Houston Grand Opera and Rise and Fall of the City of Mahagonny at Los Angeles Opera. On television, McDonald was seen by millions as the Mother Abbess in NBC’s The Sound of Music Live! and played Dr. Naomi Bennett on ABC’s Private Practice. She won an Emmy Award for her role as host of PBS’s Live from Lincoln Center and has received nominations for Wit, A Raisin

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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Tommy Caldwell

The Push: A Climber’s Search for the Path

photo: Jimmy Chin

Wed, May 16 / 7:30 PM / Campbell Hall

In January 2015, Tommy Caldwell and his climbing partner Kevin Jorgeson made international headlines with what is widely regarded as the hardest climb in history: the Dawn Wall of El Capitan, in Yosemite National Park. The New York Times describes the infamous 3,000-foot slab of granite as “smooth as alabaster, as steep as a bedroom wall, more than half a mile tall.” After an arduous 19-day ascent, Caldwell and Jorgeson were the first to summit it without the assistance of ropes, other than to catch their falls. For Caldwell, this historic climb was the culmination of an entire lifetime of pushing himself to his physical and psychological limits – but it’s only part of his story. Caldwell’s engrossing New York Times bestselling memoir, The Push: A Climber’s Search for the Path, chronicles his inspiring and odds-defying journey to becoming one of the world’s greatest athletes. Growing up in Colorado, Caldwell’s family was an adventurous lot, prone to camping, skiing and rock climbing. His father, a former bodybuilder and mountain guide, was determined to instill toughness and a love of the outdoors in his son. Caldwell was just three years old when he made his first roped climb, wearing a homemade harness of seatbelt webbing and carrying a Spiderman kite. At 17, he entered a major sport climbing competition as an amateur and won. Instead of going to college, he embraced what he calls “the dirtbag life,” traveling to climbing competitions in the U.S. and abroad, sleeping in his car, showering in YMCAs and paying discount for dented cans of food. Caldwell’s talent and obsessive hard work led him to the top of the sport climbing circuit, and then, into the vertigo-inducing world of big wall free climbing.

But Caldwell’s evolution as a climber was met with debilitating setbacks. In his early 20s, while climbing in the Pamir-Alai Mountains of Kyrgyzstan, he and three other climbers were held hostage by militant rebels. After six harrowing days of starving, being on the run and dodging bullets from the Kyrgyz military, they escaped only when Caldwell made an impossible choice: to push one of their captors off a cliff. Soon after surviving that trauma, he lost his left index finger in an accident and thought he might never climb again. But in typical Caldwell style, he was back on the rock in three months. Later, his wife and main climbing partner left him, and he found himself heartbroken and depressed. Yet Caldwell emerged from each hardship with a renewed sense of purpose and determination and set his sights on a goal that he had been thinking about for years: free climbing El Capitan’s biggest, steepest, blankest face. The Dawn Wall had been widely considered too difficult for free climbing, and mastering the route took more than seven years, during which time Tommy redefined the sport, found love again and became a father. Books are available for purchase in the lobby and a signing follows the event

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Arturo O’Farrill and the Afro Latin Jazz Orchestra Thu, May 17 / 8 PM / Campbell Hall Program will be announced from the stage.

Event Sponsors: Jody & John Arnhold

Arturo O’Farrill Grammy Award winning pianist, composer and educator Arturo O’Farrill – leader of the “first family of Afro-Cuban Jazz” (The New York Times) – was born in Mexico and grew up in New York City. Son of the late, great composer Chico O’Farrill, he received his formal musical education at the Manhattan School of Music, Brooklyn College Conservatory and the Aaron Copland School of Music at Queens College. He played piano in Carla Bley’s Big Band from 1979-1983 and earned a reputation as a soloist in groups led by Dizzy Gillespie, Steve Turre, Freddy Cole, Lester Bowie, Wynton Marsalis and Harry Belafonte. In 2002, O’Farrill established the Grammy Award-winning Afro Latin Jazz Orchestra, and in 2007, he founded the Afro Latin Jazz Alliance as a not-for-profit organization dedicated to the performance, education and preservation of Afro Latin music. In December 2010, O’Farrill traveled with the original Chico O’Farrill Afro Cuban Jazz Orchestra to Cuba, returning his father’s musicians to his homeland. He continues to travel to Cuba regularly as an informal cultural ambassador, working with Cuban musicians, dancers and students, bringing local musicians from Cuba to the U.S. and American musicians to Cuba. Concurrently, he is the director of Jazz Studies at CUNY’s Brooklyn College. An avid supporter of all the arts, O’Farrill has performed with Ballet Hispanico and the Malpaso Dance Company, for whom he has written three ballets. In addition, Alvin Ailey American Dance Theater’s Open Door is

choreographed by Ron Brown to several of his compositions and recordings. Ron Brown’s own Evidence Dance Company has commissioned O’Farrill to compose New Conversations, which premieres in the summer of 2018 at Jacob’s Pillow in Becket, Mass. O’Farrill has received commissions from Meet the Composer, Jazz at Lincoln Center, the Philadelphia Music Project, the Apollo Theater, Symphony Space, the Bronx Museum of the Arts, the Young Peoples Chorus of New York and the New York State Council on the Arts. His highly-praised “Afro-Latin Jazz Suite” from the album Cuba: The Conversation Continues (Motéma) took the 2016 Grammy Award for Best Instrumental Composition, and his powerful “Three Revolutions” from the album Familia: Tribute to Chico and Bebo was the 2018 Grammy Award (his sixth) winner for Best Instrumental Composition.

Afro Latin Jazz Orchestra The Grammy Award-winning Afro Latin Jazz Orchestra (ALJO), led by pianist, composer and director Arturo O’Farrill, brings together the drama of big band jazz, the culture of Latin music and the virtuosity of 18 of the world’s most accomplished solo musicians. Twelve years of critically-acclaimed performances have firmly established the ALJO as the standard-bearer for creative interpretation of Latin jazz greats such as Tito

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

Puente, Frank “Machito” Grillo and Chico O’Farrill, as well as the driving force behind new commissions from Latin music’s most talented composers and arrangers. Presenting programs that range from the very best in dance music to repertoire that pushes the genre forward, the ALJO commissions and performs innovative compositions and big band arrangements by Vijay Iyer, Miguel Zenón, Dafnis Prieto, Guillermo Klein, Pablo Mayor, Arturo O’Farrill, Michele Rosewoman, Emilio Solla, Papo Vazquez and many others. The orchestra’s debut album Una Noche Inolvidable was a 2006 Grammy Award nominee, and their second, Song for Chico (ZOHO) won the Grammy Award for Best Latin Jazz Album in 2008. ALJO’s third album, 40 Acres and a Burro, (ZOHO) was a 2012 Grammy Award nominee for Best Large Jazz Ensemble Album. ALJO’s latest release, The Offense of the Drum (Motéma), won the group’s second Grammy Award for Best Latin Jazz Album in 2014. The ALJO has thrilled audiences at Midsummer Night Swing at Lincoln Center, Lincoln Center Out of Doors, the Kennedy Center for the Performing Arts, Boston Symphony Hall, Celebrate Brooklyn Festival, the Newport Jazz Festival, the Litchfield Jazz Festival (Kent, Conn.), the Joyce Theater (with Ballet Hispánico), Rialto Center for the Performing Arts (Atlanta, Ga.), Mahalia Jackson Theater – with Ballet Hispánico (New Orleans), Megaron Concert Hall (Athens, Greece) and the Taichung Jazz Festival (Taichung, Taiwan), among other venues.

Afro Latin Jazz Alliance The non-profit Afro Latin Jazz Alliance (ALJA) was established by Arturo O’Farrill in 2007 to promote Afro Latin Jazz through a comprehensive array of performance and educational programs. ALJA self-produces the Orchestra’s annual performance season at Symphony Space (2007-2017) and maintains a weekly engagement for the Orchestra at the famed jazz club Birdland. The Alliance also maintains a world-class collection of Latin jazz musical scores and recordings. ALJA’s education initiatives include the Afro Latin Jazz Academy of Music in-school residency program, serving public schools citywide with instrumental and ensemble instruction, and the pre-professional youth orchestra, the Fat Afro Latin Jazz Cats, which prepares the next generation of musicians. The Afro Latin Jazz Alliance maintains an administrative office inside the historic Minisink Townhouse in Central Harlem. For more information on the Afro Latin Jazz Alliance, please visit afrolatinjazz.org. Special thanks to

Their release Cuba: The Conversation Continues, was recorded in December of 2014 during the historic reestablishment of diplomatic ties between the United States and Cuba. It was released in August of 2015 on Motéma and won a 2016 Latin Grammy Award for Best Latin Jazz Album. The Afro Latin Jazz Orchestra was formerly an artist-in-residence at the Harlem School of the Arts and is the resident headliner Sunday night at the Birdland Jazz Club.

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Aging: The Lifelong Process That Unites Us All Moderator: Catherine Remak, career broadcaster and co-host of Mornings with Gary and Catherine Sat, May 19 / 3 PM (note special time) / Campbell Hall Santa Barbara is the place we call home. We want to celebrate it, nourish it, and above all, see it thrive through engaged citizens and productive dialogue. Part of A&L’s Thematic Learning Initiative, this town hall is an opportunity to hear from specialists, ask questions and participate in a public conversation about a community issue.

Related Thematic Learning Initiative Event and Book Giveaway (see pages 8 & 9)

Keynote Speaker

Ashton Applewhite This Chair Rocks: How Ageism Warps Our View of Long Life What if discrimination on the basis of age were as unacceptable as any other kind of prejudice? Ashton Applewhite is a leading voice in an emerging movement dedicated to dismantling ageism and making age a criterion for diversity. The author of This Chair Rocks and a TED2017 mainstage speaker, she reveals the untapped possibilities of late life – in our communities, at work and in ourselves. In her book This Chair Rocks: A Manifesto Against Ageism, Applewhite declares that it’s time to dismantle the last acceptable prejudice; it’s time for age pride. In her candid talks – as she does on her blog, This Chair Rocks, and her Q&A Tumblr, Yo, Is This Ageist? – she debunks our culture’s most pervasive myths about getting older. With her funny, straight-talking approach, Applewhite highlights the often-overlooked benefits of advanced age, championing the need for greater age-based diversity in the workplace and our institutions. In 2016, Applewhite joined the PBS site Next Avenue’s annual list of 50 Influencers in Aging as their Influencer of the Year. She has been recognized by The New York Times, NPR and the American Society on Aging as an expert on ageism. She has written for Harper’s, Playboy and The New

York Times and speaks widely at venues that have ranged from universities and community centers to the Library of Congress and the United Nations. Her first serious book, Cutting Loose: Why Women Who End Their Marriages Do So Well, was inspired by the question of why our notion of women’s lives after divorce is so different from the happy and energized reality. Writing under the name Blanche Knott, Applewhite is also the author of the humor collection Truly Tasteless Joes, a bestselling paperback of 1982. She (as Blanche) made publishing history by occupying four of the 15 spots on The New York Times bestseller list. Books are available for purchase in the lobby and a signing follows the event

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